Solo Flight
Do You Drive?
Clairmont The Second is becoming an ever-more important artist on the Toronto music scene. He’s one of the only acts who can claim 100 percent selfsufficiency; even notoriously featureless MC J. Cole had help. Needless to say, being the sole orchestrator of a project isn’t the norm, but then, neither is Clairmont’s new project. Do You Drive? is an absolute gem, accentuated by the sheer level of artistry that he’s able to demonstrate, both as producer, artist, engineer and overall captain of the ship. The eightsong effort manages to make an eclectic melding of sonic influences sound fluid and comfortable, while the content itself is rich, exciting and loaded with replay value.
The meticulous sequencing as he carries you from the project’s more commercial fare, “Grip,” into the deep musicality of “Grace” — with its unorthodox structure and Kanye-esque attention to instrumental detail — preceded by the almost Californian aesthetic of “Grain,” is magical. The project’s vibe isn’t about riding any waves, nor conforming to what the current sound of Toronto has grown to become over the past few years on a mainstream level. This is the soundtrack to a late night drive through the city, filled with meaningful content and hyper-localized references that never regionalize the overall listening experience. While you could try to draw comparisons to other artists, he himself says the only person who can put him in a box is his barber (on the song “Po’”). Do You Drive? is a jazzy, neo-soul, hip-hop triumph. (Independent)
soundtrack turns quickly into a cringy reminder of a Facebook status made in middle school. One moment you’ll feel ready to tear down barriers and block roadways, next, you’ll be thinking about your old MySpace page. It’s jarring, especially from a band that are so outwardly political. Fever 333 have cast their net out too far on Strength in Numb333rs. By trying to tap into the worldwide political unrest and deliver it to the kids, they’ve almost ended up being a parody of themselves. But all is not lost; they’ve captured our attention and are in a great position to go further. Whichever path they choose now, either as arbiters of the resistance or a band that helps you through your first breakup, they’ll dominate. (Roadrunner) ROCK
Clairmont The Second
I’m [now] at the level where the production is just topnotch. Capturing feelings and discovering new sounds is more natural and it’s easier for me to do. I’m older now. The music is better, the writing is better, the production is better — my ears are much better. I’m much calmer when I’m creating now.
Where does this new calm come from?
From not really trying to please anybody. That’s a big thing. I think, when you’re trying to keep a fan base, you find yourself not being able to make what you want to make — you keep trying to fill this mould. I’m making what naturally comes to me and doing whatever I want musically. Hopefully, I’ll have fans who are more interested in growing with me as opposed to liking me for one thing.
starts the album off on a low point; the brazen guitar strums reminiscent of ’90s rock band Slint, and Tucker’s orotund voice, are enjoyable, but never mesh well with the rest of the record. It only gets better, though. “Stale Device” is smothered with twangy guitar and hypnotic drumming; “Where You Sink” and “Pretty” are welcomed by Tividad’s honeyed vocals. Shining on every track she sings on, Tividad puts a unique touch to her pop punk lyrics. The raw acoustic ballad “Hoax and the Shrine” really flaunts the duo’s talent. Stripped down to just Tucker slowly strumming and Tividad singing in a higher register, this emotional piece takes the spotlight. Tividad’s sun-kissed vocals, on top of the slow, dreamy instrumentals all over What Chaos Is Imaginary, help make the record feel cinematic. The drone-like voice complementing the vibration of heavy buzzing bass will make you slip in and out of reality. (Anti-) FOLK HIP- HOP
How have you grown as an artist since Lil Mont From the Ave?
on the momentum of her 2017 record, Hide Nor Hair, but was assembled in moments of movement. Lapell pulled from her trove of unreleased songs and spent time crafting the tracks — and writing “Shape of a Mountain” — at an artist’s residency at the Banff Centre. What she selected for Getaway was a batch of songs that celebrate space.
Movement occurs in multiple ways, and Lapell also spends time with actions of the social world: Nodding at the #MeToo movement on “Little Noise” — a danceable swoop with horns that put a haunting twist on celebration — and finding a sweet piano melody on “Leningrad,” a track that outlines falling in love with a Putinlike autocrat with a dash of humour. Getaway pushes at the bounds of what Lapell has achieved so far. Drawing horns, harmonica and even an accordion together, the soundscapes paint pictures of their own. (Coax) HIP- HOP