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The Life of Pablo: A track-by-track review

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“Ultralight Beam”

Nick Bondi: Kanye seemed to be honest when he said that this would be a gospel album. The loud drums and fading sound effects are cool, and I think this track works as a good introduction to the album as a whole. And Chance’s verse is terrific, I like the allusion to earlier verses of Kanye’s.

Max Hill: This is straight 🔥🔥🔥. Everything about this track works for me — Kanye’s straightforward address of his faith, the choir, the production, The-Dream, Kelly Price — but the real star here is Chicago-born Chance the Rapper, who just about steals Kanye’s album from him before it even begins. That verse, man. This might even be the next Nicki Minaj in “Monster.” The album doesn’t exactly live up to the promise of this track, but man, it doesn’t even have to.

“Father Stretch My Hands Pt. 1”

NB: Very laid-back intro, and then it just explodes into a beat produced by Metro Boomin. A lot of Auto-Tune used on this track, but I think it works. Not a fan of the “shock rap” verses that are at the very beginning, but I like the hook and chorus, and the general feel.

MH: An interesting mix of 808s & Heartbreak style vocals with chiptune soul samples à la College Dropout. That bleached asshole line is pure, distilled Kanye. Overall, though, it’s a bit forgettable, and overshadowed by “Pt. 2.”

“Pt. 2”

NB: Love the fast paced switch up that this song brings. Desiigner seems just like a poor man’s Future, so I’m not a big fan of that, nor of the random Daft Punk like interlude at the end. Part 1 is definitely better.

MH: I’m not really sure why Kanye decided to make these two separate tracks — they definitely feel like different parts of the same song. Desiigner’s verse is okay, though he just ends up sounding like a poor man’s version of Future. (I wouldn’t be surprised if most listeners thought he was Future.) There’s a lot to like here, especially Kanye’s heartbreaking first verse, but at two minutes it’s too brief to really get under your skin the way “Ultralight Beam” did. The outro is neat, though.

“Famous”

NB: Dare I say that this sounds like something off of MBDTF. The verse about Taylor is a perfect example of what Kanye’s lyrics have turned into — a line whose sole purpose is to shock people and get them talking. Rihanna’s hook is great as well.

MH: It’s a shame this song has been so overshadowed by Kanye’s instantly infamous (and admittedly misogynistic) Taylor Swift line. The production is absolutely on point, Rihanna’s vocal is fantastic, and the Sister Nancy sample might be the most straight joyful moment on the album. But I get it — Kanye’s just trying to get attention with that Swift diss, and let’s not forget that the worst-selling Swift album still sold more than Kanye’s best. Sorry, Yeezy.

“Feedback”

NB: Unfortunately this track sounds more like something off Yeezus, complete with random sound effects and empty lyrics. Perhaps the low point of the entire album.

MH: Y’all sleeping on me, huh, had a good snooooooooooze? This one feels like a deep cut off of Yeezus, which for me is a good thing. It’s the first song on the album not to feature a guest performance, and as a result it feels a bit more personal and reflective than the rest. There are references to Kayne’s self-doubt, his sense of place, and his fragmented mental state. He also makes a reference to how he’s a mix of Steve Jobs and Steve Austin — that’s the kind of thing that keeps me a Kanye fan, despite everything else.

“Low Lights”

NB: Just a standard interlude complete with nice piano chords and spiritual lyrics. A good segue to the next song.

MH: “I’m crying now.” This one is barely a song — more like an interlude — but it’s an interesting, female-centric ode to Christian faith that seems to stand in opposition to the womanizing excess that characterises the whole album (and hell, Kanye’s discography). Not sure who the performer is, but she nails the passionate delivery here.

 

“Highlights”

NB: I love this track. The piano combined with the simple bass and drum reminds of something off 808s, and I like the use of Auto-Tune on this track. And I love how he called out Ray J. Not a fan of how it changes tone halfway through the song, I think it would be better suited staying the course of the first half. We’ve had “Flashing Lights,” “Street Lights,” “All of the Lights,” and now we have “Highlights.”

MH: Young Thug is super divisive. I’m on the love-him side, so this song works wonders for me. Kanye wishing his dick had GoPro, that Ray J line, the Nation of Islam reference — this one has a lot to unpack. It’s nice to see Kanye just straightforward rapping for more than eight bars. This is also my favourite of The-Dream’s many features on the album. Overall, the song feels a bit like a response to “All of the Lights” from MBDTF.

“Freestyle 4”

NB: An extremely weird track. The strings and lyrics combined give off a very creepy vibe. This is an example of a song where I don’t think Auto-Tune should have been used, as it doesn’t really add anything to the song. Probably a song best left on the cutting room floor.

MH: Eh. This song is a bit of a letdown. The lyrics are lazy, the sample is shallow and repetitive, and Desiigner’s verse — again — sounds like a second-rate Future impression. This is one of the weakest on the album for me.

“I Love Kanye”

NB: I miss the old Kanye too, Kanye.

MH: This is the most Kanye song on any Kanye album ever.

“Waves”

NB: Maybe the best track on the album. It has such a majestic and heavenly feel, it sounds like a trap song that was made by an angel. Pretty unbelievable that this song was almost left off the album, and it took Chance the Rapper for it to make the final cut.

MH: So I guess this song is the reason the album is late. Chance fought tooth and nail to keep this on the record — if his and Kanye’s Twitter accounts are to be believed — and frankly, he was right to do so. This track rules. It would take a straight masterpiece to make me enjoy Chris Brown’s vocals, and yet here we are. Even though it doesn’t really gel with the rest of the album’s aesthetic, being much more poppy and radio-friendly, I think it’s a nice respite from the harshness of tracks like “Feedback” and “Freestyle 4.”

“FML”

NB: I love the somber piano, and combined with lyrics such as “I would die for those I love” it gives this song a very serious, haunting feeling. A big contrast to “Waves.” And I love The Weeknd’s hook, lyrically (“They wish I would go ahead and fuck my life up/Can’t let them get to me”) and melodically.

MH: One of the best on the album, for sure. The Weeknd really brings it here, and he and Kanye are so on the same page that they feel like two sides of the same person. Where other songs on the album feel lazy and half-baked, this one feels finely tuned and pitch perfect. It’s also a sign that Kanye’s trying a bit harder lyrically, or at least going for a more subtle approach than he did on Yeezus. The cracked vocals at the end hit hard.

“Real Friends”

NB: A track that has been around for a while and hasn’t changed much, unlike some of the other tracks released before the album dropped. Kanye raps about his true friends who won’t leave him, a common theme of his. It was produced by Boi 1da, known for being one of Drake’s go-to producers, and it sounds honestly like something that would be off of Nothing Was the Same. And I really want to meet Kanye’s cousin who stole his laptop.

MH: Classic Kanye. The lyrics are tight, the sample is perfect, the Ty Dolla $ign collaboration is choice. It’s a shame he released it beforehand, as I think it would have hit harder had we not heard it before, but it’s still a highlight.

“Wolves”

NB: A beautiful, haunting track that gave me goosebumps when I first listened to it. I prefer the version with Sia that was leaked awhile back, but this is just as good. It fits well with the previous track, and it’s a seamless transition between the two songs. A fantastic song.

MH: Honestly, this song is overrated. Don’t get me wrong, it’s good, but it’s no “Runaway.” Here’s a hot take for you: I think pulling Vic Mensa and Sia from the mix was a smart choice, though I’ve seen a lot of fans angry at Kanye for shafting them on the album release. Frank Ocean’s verse at the end is fantastic, and for me it really makes the song. Where’s the album, Frank? WHERE IS IT?

“Silver Surfer Intermission”

NB: A conversation between Kanye West and Max B back when the album was called Waves. Just a standard interlude, don’t pay attention too much to it.

MH: Kanye called Max B in prison and had him record a testimony that, yes, it’s okay for Kanye to have used the term “wave” — one that Max B popularised, and that Wiz Khalifa called Kanye out on — just so he could have the last laugh in the thankfully brief Wiz-Kanye beef. Then he put it in the middle of his fucking album, which incidentally is no longer called Waves. Kanye is nothing if not petty.

“30 Hours”

NB: A very reflective track in which Kanye reminisces on past relationships and breaking in as a rapper. The vocals in the background have a very cool whirlpool effect, and it helps amplify the reflective theme throughout. I love the driving drums throughout as well.

MH: This and “No More Parties” feel like they’re of a piece — hifi production and old-school Kanye boasts abound. The Life of Pablo often sounds like a tug-of-war between the pre- and post-My Beautiful Dark Twisted Fantasy Kanyes, and this one is firmly in the pre camp. Which is okay by me. I can’t help but feel like this track is a bit of a waste of André 3000, though. I mean, come on, let the man rap!

“No More Parties in LA”

NB: The best track on the album. It’s as close to an “old Kanye” song as there is on the album, complete with multiple samples that work perfectly and great keyboard and drums. Kendrick’s verse is of course amazing, and Kanye’s second verse is his best in quite a long time.

MH: Madlib, Kendrick Lamar, and Kanye. Need I say more? This song bangs. I could listen to it all day.

“FACTS (Charlie Heat Version)”

NB: A song that has been around for a while, and it’s just him going into Nike. The beat is pretty good, but unless you’re up on Kanye vs. Nike, you’re not going to get much out of this song.

MH: Why is this even on the album? The new mix is okay, but the song was weak when Ye released it two months ago and it’s weak now. The LP would be stronger without it.

“Fade”

NB: Everyone on Twitter was talking about “Waves,” but I think everyone slept on this one. It’s a fire dance track, complete with the rolling bass line and hand claps. Lyrics are simple and repetitive, but the beat alone makes this song.

MH: This is a good one. It’s grimy, the sample is strong, and the beat is one of Kanye’s most danceable. It’s relatively minor when compared to the album’s best tracks, but it’s an interesting note on which to end the record all the same.


 

The verdict

NB: If you were expecting the next MBDTF, you’re going to be disappointed, but it’s a definite step up from Yeezus. It’s not the type of album you’re going to play if you’re hosting a party, but I don’t think that’s the point. Maybe my main problem with it is that it doesn’t really have a consistent feel — it’s all over the place. Songs like “Waves,” “Fade,” and “No More Parties in LA” are great, but it gets bogged down by sub par tracks such as “Freestyle 4” and “Feedback.” The album combines some great elements of his previous work, but I can’t rank it above albums like Late Registration.

MH: The Life of Pablo is a hot mess. But somehow, that feels right. Kanye’s in a weird place right now — an unhealthy place, if former collaborator Rhymefest is to be believed — and the scattershot energy of the LP reflects that. I don’t think it’ll rank high in the Kanye canon (if I were to rank it right now, I’d say it’s his second weakest, after Graduation), but it’s about the best we could have expected, given how divided Ye’s attention is. Had he trimmed down the excess and paid a little more attention to the track sequencing, Kanye might have had another masterpiece on his hands, but for now we’ll have to settle for it just being very, very good.

Sports Briefs

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Men’s Basketball

The streak is over. The Clan won 90–70 over Concordia University Thursday night, snapping an 18-game losing streak that started last November after a loss to Colorado Christian University. SFU now holds a 2–19 overall record, and 1–14 in the conference.

Women’s Wrestling

SFU is the number three seed heading into the 2016 WCWA Women’s College Nationals. In last year’s nationals, SFU finished fourth. Senior Darby Huckle is ranked third in the 101-pound weight class, and Sophomore Abby Lloyd is ranked third in the 116-pound weight class.

Softball

SFU split a doubleheader against the University of Montevallo last Wednesday. The Clan won the first game 12–2, but lost the other game 4–1. SFU is now 3–4 on the season. Their next game is February 27, against rivals Western Washington University.

Champions League Round of 16 predictions

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Barcelona are on a 29-game unbeaten streak in all competition, a club record.

Missing football on TV after the Super Bowl? Worry no more! As the Champions League gets back into action this week, ensuring that you can still get your football fix (of the European variety, that is). Here’s a preview of what’s to come:

Last year’s champions Barcelona get into the thick of things with a tough match against Arsenal FC. The Catalonians are favoured, with Barcelona’s ridiculous Suarez-Messi-Neymar power trio sure to cause a plethora of problems for the Gunners. Arsenal might make it competitive in their home leg, but I expect Barcelona to take the London side apart at the Nou Camp.

Prediction: Barcelona wins 6–1 on aggregate

Another London based side taking part in the second round is Chelsea, who’ll be feeling a bit of déjà vu this year, as they’ll be playing the French champions Paris St. Germain. These two sides also played each other in the second round a year ago, with PSG coming out on top due to away goals. With Chelsea’s struggles in the EPL this season, PSG’s total domination of Ligue 1, and Zlatan Ibrahimovic being the unstoppable beast that he is, it looks like the French side will come out on top once again.

Prediction: PSG wins 3–2 on aggregate

The final English side taking part is Manchester City, who will be up against Ukraine’s Dynamo Kyiv. While City will be heavy favourites, they have an impressive history of choking in European competition, so this game is truly up in the air; however, I expect that they do have enough talent to make it to the next round.

Prediction: Manchester City wins 5–2 on aggregate

The final this year is taking place at the San Siro stadium in Milan, Italy. While no Milan teams feature in this year’s Champions League, two Italian teams still have a chance to win on home soil. One of those teams is Roma, who will be heavily outgunned against Real Madrid. While the likes of Edin Dzeko and Francesco Totti will probably nab a couple goals, Real’s Ronaldo, Benzema, Modric, Rodriguez, Bale, etc. will prove to be too big of a challenge.

Prediction: Real Madrid wins 7–3 on aggregate

The other match with an Italian side is arguably the juiciest of the bunch, Juventus vs Bayern Munich. Juventus will heavily rely on their solid defensive skills, but I suspect that Munich’s Muller-Lewandowski tandem will be too much for Juventus to handle.

Prediction: Bayern Munich wins 3–0 on aggregate

Zenit St. Petersburg vs Benfica might not have the glamor of other matches, but this fixture does give you a great chance to accumulate Air Miles. The distance between the two clubs is 3600 km, so the team with best in flight movies will come out on top — that being Zenit, after being inspired by Eisenstein’s classic “Battleship Potemkin.”

Prediciton: Zenit St. Petersburg wins 4–3 on aggregate

PSV Eindhoven vs Atletico Madrid is bound to also be a fantastic series. It’s only two years ago that Atletico was runner up, and they’ll be looking to go one step further this time around. PSV will be a tough hurdle to climb though as they knocked out Manchester United in this year’s competition, but Atletico should be able to navigate this Dutch challenge.

Prediction: Atletico Madrid wins 1–0 on aggregate

Finally, we have Wolfsburg vs Gent. Gent is the first Belgian team since 2001 to make the second round, and I think they’ll continue their impressive run by surprising the Wolves of Germany. While they don’t have any household names on their roster, their strong showing in the group stages and in the Belgian Jupiler League makes me think that they’re more than capable of punching above their weight.

Prediction: Gent wins 2–2 on away goals

Softball team looks towards the future

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SFU will look to improve its batting average from last season, in which the team finished last.

Last year, SFU’s softball team had what Head Coach Mike Renney called a “mediocre year.” They finished sixth in the conference, and have been picked to finish seventh in the annual preseason Coaches Poll.

“You know, at this point [the standings are] pretty much wide open,” coach Renney told The Peak. “We’re in the early stages of what I would call a rebuilding process.”

“Having said that, it often comes down to chemistry at this point. We got a good group of seniors in terms of experience and numbers, but we haven’t produced on a regular basis yet. So if the seniors have a good year, we’re going to have a good year.”

The team will have six returning seniors for the season, and Renney expects them to lead the team throughout the season, and show the younger players how it’s done for the future.

“Lead through example and performance, and certainly help guide the underclassmen,” he said on his expectations for the seniors. “Their stats themselves have to certainly be at the top end of the team. But again, it’s going to be them bringing up either our new kids or younger kids, bringing them up to speed quick enough so that they can all contribute.”

One of the biggest challenges heading into the season is how to prepare. Due to the weather, the team has not been able to practice much outdoors, instead having to practice regularly in the gym. There has been a couple of times where the team had to scrap plans to play inside, due to snow being on the field.

“This is adversity,” said Renney. “Quality rises to adversity, and that’s what we hope to do. We certainly have had good success from the past, coming from a gymnasium to an outside softball field [. . .] you got to deal with wind, you got to deal with weather, all those sort of things. So, we’re practicing at 6’oclock in the morning when the university is still asleep, and so our athletes are getting up early and dealing with that adversity. Now they get to sleep in and play a game under the daylight.”

Another challenge for this team will be scoring runs, as they were last in batting average and other major offensive categories. But Renney stresses a balanced approach will bring more success.

“I think it’s a combination of offence and defence. You just simply can’t put them in separate vacuums. Because if we’re struggling defensively, and we’re giving up more runs, that puts more pressure on the offence, and then the offence gets tight. If we can cut down on some of the runs against, keep us in more games, the offence will be a little more free swinging, so to speak. And they both hand in hand will support each other.”

The Clan’s first home game will be February 28 against rivals Western Washington.

Women’s basketball wins 84–74

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Ellen Kent (#5) tied a GNAC record with 16 assists on the night.

Coming into Thursday night’s game against Saint Martin’s University, most would have expected a comfortable win for SFU. The Clan looked for their 10th win of the season, while Saint Martin’s was ninth in the GNAC with just three wins. But after blowing a 15 point lead in the second quarter, SFU was able to win the game 84–74, led by a record-tying performance from Ellen Kett.

“I thought at times we were very good, and at times we were horrific,” said Head Coach Bruce Langford. “In the first quarter we moved the ball very well, we got our baskets [. . .] but in the second [quarter] we were terrible defensively, we were careless, we were lazy at times. We certainly let them back in it. In the second half we kind of continued a bit of back-and-forth between the two.”

Before the game, Elisa Homer was honoured by SFU Athletics Director Theresa Hanson for breaking the GNAC record for most three points shots made in a single game. She then proceeded to score the first points of the game with a corner three. SFU moved the ball around beautifully in the quarter, and at the end it was 26–13. It looked like it was going to be a blowout.

The second quarter was a different story. SFU at one point was getting outscored 18–2, and Saint Martin’s was hitting big shots. At the end of the first half, SFU was down a point and shell-shocked.

“He said we weren’t competing hard enough,” said Ellen Kett on coach Langford’s halftime address. “We looked a bit tired, our hands weren’t up on defence, we weren’t moving our feet. So he said, ‘make sure you’re competing.’”

The Clan came out competing in the second half, with Elisa Homer sinking a free throw to immediately tie the game up. That seemed to give SFU confidence, as they outscored the visitors by nine in the quarter, thanks in large part to Kett’s incredible vision. The fourth quarter featured Rachel Fradgley’s 25th point on the night, a career high for her at SFU. Dagger threes by Kett, Homer, and Vanessa Gee sent SFU off with a 84–74 win.

Kett finished with 16 assists on the night. This tied the GNAC record, and was one assist shy of the SFU school record. She probably could have broken it as well, but fouled out with five personal fouls near the end of the game.

Said Kett, “I really didn’t know until [coach] Langford said that after I fouled out [. . .] I don’t mind passing the ball, it’s what I look for most of the time, I’m more of a pass-first player. When everybody makes their baskets, it’s easy for me to make assists. So credit to everybody else for making all their shots.”

“I thought it was a good night on her part, except for her fouls,” said Langford on the record setting game by Kett. “[If] she could have stayed in the game longer, she could have broken the record. But she doesn’t care about that. She cares about the team win.”

Despite improving play, men’s basketball sees last loss of streak

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Gibran Sewani (#21) looked good in limited minutes on the night.

The SFU Clan Men’s Basketball team were defeated 86–66 by the Alaska Anchorage Seawolves on Saturday night in front of a strong crowd of Clan-faithfuls. Offensively, the Clan executed quite well, connecting on 49 percent of their field goal attempts and sinking seven of their 15 three-point attempts. The loss though, marked their 18th consecutive loss.

However, SFU’s defensive struggles continued, as they allowed the Seawolves to connect on 50 percent of their field goal attempts, and committed 31 fouls, which resulted in an astonishing 39 free throw attempts by Alaska-Anchorage. This was essentially the ball game, as the Seawolves connected on 32 of 39 attempts, while the Clan made only 11 of their 18. Starting Guard Max Barkeley’s performance was particularly indicative of the Clan’s overall performance.

At a key point in the first half, with SFU trailing 25–20, Barkeley received a technical foul, his fourth of the game while on the bench. The Clan was gaining some momentum prior to this lapse in judgment after a Tyrell Lewin basket was followed by a long three-point make by Hidde Vos. Oshea Gairey and Bowen Bakken then made key defensive plays which were followed by the technical foul.

SFU would rally back with a 6–0 run to close the quarter, highlighted by a Gibran Sewani offensive rebound and put back. The play was followed by an incredible steal by Freshman Oshea Gairey, who sprinted the length of the court, connected on the layup while being fouled, and made the ensuing free throw with just 2.7 seconds left on the clock.

The second half saw Alaska-Anchorage slowly stretch the lead to 10 with 9:11 left and then pull away. The game concluded with a steal by the Seawolves’ Sekou Wiggs on the game’s final possession, which resulted in an emphatic reverse dunk. The Clan was also undone by the play of Seawolves guard Brian McGill, who netted 34 points on just 15 field goal attempts.

Second-half SFU highlights included the bare-knuckles intense defense of Bowen Bakkan, who also made back-to-back three-point baskets. There was another dunk in the game by  Redshirt Junior Gibran Sewani. His offensive rebound put back he converted into a three-point play and, a highlight-reel blocked shot on defence.

Sewani made the case for increased playing time with a very efficient offensive performance that included 16 points on seven of nine shooting. Tyrell Lewin, too, had an exciting two-play sequence where he banked in a long two to beat the shot clock and then took a charge at the other end. Oshea Gairey who finished with 12 points and six assists continued to demonstrate toughness and perseverance with several fine plays in the second half.

National Signing Day a success for the Clan

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Jalen Jana, a Division II transfer, played football at STMC in Burnaby.

February 3 marked the NCAA’s National Signing Day, the first day that a high school student can sign a binding letter of intent with an NCAA school. Since then, with a stable coaching staff, SFU Football has announced 30 new members of the team.

The announcement of 27 new players on Signing Day is up from only two last year — one of whom rescinded his national letter of intent in order to play with UBC.

Also, by March 9, 2015, the team had announced four new recruits, while in 2014, the team waited until May 8 to announce their first 11 prospects.

On National Signing Day 2016, the names just kept coming, creating the kind of excitement that elite American schools must feel on National Signing Day, or that hockey fans feel during the NHL Draft.

In large part, this is because this recruiting season was the first full one with a head coach in place since 2012/13, after former head coach Dave Johnson was dismissed in December 2013 and Jacques Chapdelaine left the program in December 2014.

“Recruiting is the lifeline of your team, so it was extremely important to hit the ground running, and put together a class that both had depth in talent and depth in numbers, to try and rebuild this roster,” said Head Coach Kelly Bates. “It’s no secret up here what people have gone through the last few years with coaching turnover — it has hurt recruiting tremendously.”

The recruiting class contains 16 BC high school seniors and two NCAA transfers.

Bates was particularly excited about three local players who will play receiver for the Clan: Gavin Cobb, AAA player of the year at Mt Douglas in Victoria; Nathanael Durkan, who played quarterback at John Barsby in Nanaimo; and Rysen John, a six-foot-seven wide receiver and BC provincial all-star.

“Those three guys bring in a mix of size and athletic ability, are committed to getting better, and are just great young kids,” said Bates.

At quarterback, SFU added three players: Jack Graham of Long Beach, CA; Patrick Pearson of Kinmount, ON; and Conner Richardson, a transfer student coming from Pima Junior College in Tucson, AZ.

Richardson, who was a back-up at NCAA Division I Eastern Washington before transferring to Pima, will likely get the starting position.

“We tried to get him last year from Eastern Washington, but their head coach contacted me [. . .] we really wanted him last year, but he really wanted to give Division I opportunity another try, and I didn’t expect to see him this year,” said Bates. “What really sticks out about Conner is that he’s just a good man off the field, and when you combine that with his competitiveness, his skillset, everything he brings to the table, it’s a complete package.

“Right now we’re fairly inexperienced at the quarterback position — going into spring ball, we’ve only got one quarterback on the roster, and he’s not seen a snap of game time action yet. Conner, with the experience he has, will be named the starter to begin with. However, recruiting isn’t done yet, and Conner welcomes competition.”

The Clan also added running back Jalen Jana, a Division II transfer from Cheyney University, who played at St. Thomas More Collegiate in Burnaby two years ago.

With 30 new players coming, SFU has added quite a bit of depth, something the team lacked last year. However, recruiting season is not quite over, as Bates is still looking for some more talent.

“We’re still looking for offensive linemen — it’s tough to find lineman on either side of the ball [. . .] but that’s no different than any other team.”

Album Reviews

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Savvie – Night Eyes

Savvie is a Vancouver band lead by Savannah Leigh   Wellman (previously of Redbird). They’re as musically together live as they are on the recording, a tell-tale sign of talented artists. Featuring Wellman’s powerful, sultry voice that can just toe the line of the hard-rock-rasp, Savvie delivers top quality rock with catchy pop hooks.

This album is seductive, a little bit brooding, and impressively melodic. Powerful guitar blends with tight bass riffs to give a very rhythmic product. If you need a little something to play loudly during some amorous adventures — so as not to disturb roommates — look no further.

“I Fall Again” is a favourite with its groovy licks and feel-good beats. It’s perfect for impromptu kitchen dance-offs or long bus rides to school. “Where We Wanna Be” is a slow-burn that practically begs you to soulfully rock your head to it.

“The Tower” is a marathon ending to Savvie’s debut, clocking in at just under 10 and a half minutes. It brings this CD and this period in Savvie’s musicality to a close by persuading you to throw off the chains of nostalgia and have faith in yourself: “Looking to the heavens for a purpose when all that you need, you already know.”


The Young Rising Sons – The Kids Will Be Fine

Young Rising Sons is an indie pop-rock band from Red Bank, New Jersey. This is their second EP following the success of their self-titled release in 2014. The catchy lyrics will have you singing along your first listen-through, but the talent and the infectious optimism will have you hitting replay time and again.

Soulful vocals by Andy Tongren, brilliantly constructed guitar lines from Dylan Scott, groovy bass via Julian Dimagiba, and toe-tapping drum riffs from Steve Patrick all merge together to create awesome, uplifting music for every occasion.

Despite its sad basis — “So tell me who burned you with their cigarette” — “Fucked Up” is catchy and boasts that love isn’t conditional. “You’re so fucked up and I love it. You’re so obtuse, but I love you anyway,” it croons. Singing along to the bridge makes you feel badass, something everyone needs sometimes.

Emotional ballad-like tones introduce “Flesh and Bone” before it builds into a resounding chorus about our mortality. But that it’s okay, the song seems to say, because you strive for as much as you can, and sometimes you crash and burn. “The future’s ours to own,” no matter what happens.

“Ghost of Me” screams ‘I’m a conqueror’ at your haters and leans more to the indie-pop side of their sound. It’s one to belt while driving in the rain. “Somebody” is melodic and brilliantly showcases Tongren’s vocal range. It almost gets a little bluesy, too.

All in all, it’s an excellent EP to blast any time, as loud as you can crank it.

Marlon Williams kicks off North American tour in Vancouver

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Marlon Williams changes up the classic folk sound.

With a heavy bluegrass influence and hailing from New Zealand, Marlon Williams and band have started their North American tour right here in Vancouver.

The group is lead by lead singer Marlon Williams, who “cobbled a band together when [he] recorded the album,” said Williams. The self-titled album is Marlon’s debut solo album, “so it feels a little bit different. . . both daunting and exciting at the same time,” he told The Peak

Although Marlon identified his music as folk, his sound is influenced heavily by bluegrass and country. Marlon said these genres are “the ethos, the philosophy behind the music that drives me most.” However, he admitted to listening to everything from hip-hop to classical.

“I always feel the most creatively free when I’m at home,” said Marlon on his inspirations. He continued, “the wide open spaces [of New Zealand] were really a big part of it; I guess that’s sort of a parallel with country music from America, it’s associated with an infinite amount of space.”

The touring lifestyle “really does get to you,” said Marlon. On the other side of touring, though, he says, “the masochist in me just likes the punishing nature of touring, it’s quite addictive. It feels like a marathon, once you hit your stride you get that sort of runners high. . . It’s a really invigorating feeling.”

Playing to a packed house, the show opened with Shelley Short, a singer-songwriter with a sweet, soulful voice. The audience was reverently silent as she sat on stage, just her and her guitar, performing a mix of original songs and covers.

After Short’s set, the crowd eagerly awaited the main event, pulling out chairs from storage to create a makeshift concert hall in the club. As Marlon Williams appeared on stage, the crowd went crazy, escalating until he started the set alone with his guitar, crooning about love.

The band soon followed him onstage with mandolin and upright bass in tow for a set of true-blue bluegrass, dressed in their finest country-hipster chic. The concert continued, flipping between upbeat tunes and soulful ballads, the set list studded with hilarious quips between songs.

After a few instrument changes, the sound became more folksy, and Marlon tried to end the set as it began: just himself and his guitar onstage. But after raucous applause, two encore pieces ensued, with the musicians ending the night together as a band.

With Willams great voice, solid band, and a passionate audience, the concert was an overwhelming success. Overall, Marlon Williams is a refreshing change in the folk music scene unique in the very best of ways.

CENTRE STAGE: In Review: Huff, Relative Collider, L’Immediat, Closer Than Ever

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Closer Than Ever is all song and dance with minimal plot.

HUFF

I don’t think I’ve ever been so disturbed at a show or found something as difficult to watch as Huff. Cliff Cardinal’s one-man show presented as part of the PuSh International Performing Arts Festival at the Firehall Arts Centre is a barrage of badly treated characters doing bad things. The content is not for the faint of heart, and if anyone in the audience has lived through any similar horrors, the feelings it might bring back could be quite traumatizing.  

The main character, Wind, and his two brothers live on a First Nations reserve in Ontario. They are very young when their mother commits suicide, and their father proceeds to shack up with their aunt (who also wears their mother’s clothes). The play involves the aftermath of this event as well as Wind explaining that the Trickster (a folkloric prankster) can come and disrupt or influence your life when you least expect it.

The show opened with Cardinal speaking to us through a plastic bag that was duct-taped around his neck, his hands duct-taped behind his back. He explained that it takes about five to six minutes for someone to use up all the oxygen in the bag, and that this wasn’t the first time he had attempted suicide in this way. Eventually, he asked an audience member in the front row to help him remove the bag.

With constant neglect from their father, no strong role models, and nothing better to do, the three boys spend their days at an abandoned motel huffing gasoline. The oldest brother forces the two younger ones to perform sex acts for him, and this was the worst scene to watch, as Wind told his younger brother that they had to do what their older brother said.

The brothers also play “the pass out game” where they take turns pushing on each other’s windpipes until they pass out. I don’t think this play left out any horrors including violence, abuse of all kinds, substance abuse, self-harm, and arson.

Cardinal brings a multitude of characters to life aside from the brothers including his father, aunt, grandmother, and school teacher. He should be commended for his bold storytelling and ability to convey it with a relatively simple set, but the play was difficult to watch and I would have a hard time recommending it to anyone.


 

RELATIVE COLLIDER

Also part of the PuSh International Performing Arts Festival, I saw Relative Collider, a minimalist, experimental dance work from France. This interesting experiment in melding strict patterns and natural language processing to create a dance work was tedious yet intriguing.

The first half of the show involved very little movement, aside from the three dancers moving their heels up and down in time to metronome and a set of eight eight-count patterns. At times they moved so little it was hard to tell that they were moving at all. The patterns repeated, and each time they did the movement would become a bit more expansive.

By the second half, they dancers were actually moving around the stage, and they were accompanied by Pierre Godard reading out randomly generated selections of text that followed the same eight-count pattern. Godard explained after the show that the text samples are taken from open source documents on Gutenberg.org, and ended up being mostly from cookbooks or the Bible.

The dancers were flawless, never missing a beat in this repetitive, pattern-based choreography, but, for the audience, it was not very entertaining to watch. The concept behind the show was more interesting than the show itself.


 

L’IMMÉDIAT

L’Immédiat, a PuSh Festival show at the Vancouver Playhouse,  was an absurdist, surrealist, and circus comedy-inspired show. It was one of the most entertaining things I’d seen in a long time, and had me laughing throughout.

Seven acrobats of France’s Association Immédiat dazzled with their inventive scenes and quirky props. The opening scene was superb, as two performers returned to their small apartment only to have everything fall apart. The table collapsed, the walls tumbled down, and even their pants wouldn’t stay up. The scene evolved from there as the entire stage seemed to be breaking down, and another performer leaped from ladder to wall to chair, each one crumbling or toppling as he nimbly moved over them.

After this opening bombardment of hilarity and slapstick fun, the stage was a complete mess. One of the performers grabbed a megaphone and told us there would be a five minute break as they cleaned up. Even this was a monumental scene of physical comedy as they went about tossing cardboard boxes into the wings, sweeping debris to the back of the stage, and opening the back door of the stage to push everything out of the way.

The following scenes were no less riveting as characters, such as a woman who keeps floating upward and has to be held down and a man who lives in a cupboard, punctuated the scenes with perfect comic timing, and the set pieces moves about as if of their own volition.

This is one of those shows that you don’t want to end. It keeps the surprises coming with endlessly entertaining and creative scenes that are impressive and incredibly clever.


CLOSER THAN EVER

Gateway Theatre’s Closer Than Ever, on until February 20, is a collection of songs about the trials and tribulations of midlife. The cast of five performed this string of songs with bravado and conviction, but I couldn’t help but think that I’d like a little more plot with my song and dance.

There are many musicals with too little plot, or not enough plot-driven songs, but for a musical to involve only a series of thematically connected yet independent songs, each a short story in and of itself, makes it hard to maintain the audience’s attention.

Themes of divorce, marital strife, and unreadiness for the events of midlife like having children, taking care of parents, and growing apart from old friends recurred throughout. A standout song was “The March of Time,” which brought to mind the uncomfortable fact that no matter what we do, time continues moving forward, we get older, and life moves on whether we’re ready or not.

If you’re looking for a nice evening of song by a talented cast, this show will be a delight, but don’t expect to become invested in any characters or to be caught up in climactic events — there are none to be found.