By: Yildiz Subuk, Staff Writer
Never Better and Better Now by Wild Rivers
Hailey Miller, Staff Writer
Toronto indie-rock trio Wild Rivers — comprised of Khalid Yassein, Devan Glover, and Andrew Oliver — released two back-to-back sister albums this year, followed by a world tour. Never Better was the first out of the gate, released on July 26. The albums house a fresh dose of folk and harmonies that serenade, alongside raw guitar riffs and tangible lyrics with no need for over-production.
As the title track, “Never Better” sets the tone with Wild Rivers’ signature folky sound, complete with groovy rhythms and honey-soaked three-part harmonies. “Hardly Ever” is my favourite song off the record with its catchy guitar riffs, effortless vocals, and beats that’ll have you dancing on your feet.
The band stated that they had countless songs written from the sessions that birthed Never Better, and they couldn’t bear to part with any of the tracks that would have otherwise been cut. Then came Better Now, released on October 18.
This album is more timid, exploring different, more melancholic perspectives compared to the previous record. “Freezing” depicts Glover’s time moving from Toronto to LA and missing the cold. The acoustic masterpiece and narrative lyrics display that of yearning for what’s lost. In contrast, “I Want Everything” is more lively with heavy-hitting guitar chords that complement the harmonies.
With Wild Rivers’ signature sound and elements of flawless vocals, guitar, groovy rhythms, and whimsical vibes full of emotion, their 2024 albums highlighted exactly who the band has set out to be as they’ve evolved artistically over the years.
Orquídeas by Kali Uchis
Izzy Cheung, Arts & Culture Editor
I’d consider myself to be a casual Kali Uchis fan, having gravitated towards some of her hits off of Por Vida, Sin Miedo (del Amor y Otros Demonios), and Red Moon in Venus. Her newest release, Orquídeas (Orchids), caters to any and all of the moods you could be feeling at any given moment, during any season, and for any situations you may encounter. Uchis’ harmonious, lip-gloss-smeared vocals compliment both the album’s funky, club-like beats as well as the more nostalgic, vocals-centred ballads.
The album begins with “¿Cómo Así?” (How Come?), which transports you into the soundtrack of a vintage arcade videogame. The arcadecore aesthetic it conjures is created by the virtual-sounding backing similar to the thrum of a rapidly beating heart. “Pensamientos Intrusivos” (Intrusive Thoughts) is an instant play for getting ready with friends before a night out, swaying with a drink in hand at an upscale bar, and rolling the windows of your Uber down on the way back home. This lively track, despite the party-girl mood it sets, echoes the unyielding strength of the speaker’s love in the face of frequent heartbreak. Only two songs after this comes the slower, syrupy “Te Mata” (Kills You). It’s a track that transports you to a vibrant Latin town, where you’re dancing under a single streetlight as this song plays in the background. It’s a fantastic track that emphasizes Uchis’s voice with the sensual strums and richly-raw belting of bolero music.
Verbathim by Nemahsis
Petra Chase, Editor-in-Chief
Nemah Hasan cleverly coined Verbathim to represent being misinterpreted. A refreshing blend of art pop, R&B, and electronic, her debut album is brimming with evocative wordplay. Deeply introspective and inspired by the word “nemesis,” Nemahsis at times, becomes her own. “Dead giveway” feels like it was written for fleeing a crime scene. In “delusion,” she reveals twisted truths about herself alongside riddles like “gas in a Tesla, I’d fill it just to see what happens” singing “lalala, delusion hallucination, reality could never.” You unveil new dimensions every time you listen to the album, whether it’s how computer-crisp synthesized vocals are woven into electronic hooks, or unpacking theatrical epithets and terms-and-conditions speak. All 12 tracks bring surprises; as a whole, a full range of emotions are felt.
“I borrow happiness from tomorrow” laments about being in a happiness shortage. In “You wore it better,” Hasan belts over artsy piano about comparison, a theme also explored in “coloured concrete;” metaphorically, of not looking at her neighbour’s swimming pool unless making sure it’s not dried out. All this is done while displaying incredible vocal range and control. Sprinkled within her vulnerability, there is also clarity. Maybe it’s the gentle strumming or yodel effect of her pretty vocal flipping, but “miss construed” sounds suited to be sung by a pond. It’s about art being misinterpreted by those who won’t even try to understand, and it’s written as if to a self with less experience, warning “not to be eager.” The album itself is a testament to letting go of having to please everyone and losing the “fight” — her label dropped her for being “sellable” to them as a Palestinian Canadian. It’s proof being true to herself and her art is what resonates.
