Cold As Ice

Exclaim! - - REVIEWS - MATT BAUER KASSANDRA GUAGLIARDI BRAY­DEN TURENNE

Har­ri­son

Apric­ity

The ti­tle of Toronto wun­derkind pro­ducer Har­ri­son’s sopho­more ef­fort is de­fined as “the warmth of the sun in win­ter” — sym­bolic of his emer­gence from de­pres­sion. No mat­ter the lis­tener’s men­tal state, Apric­ity is the an­ti­dote to any up­com­ing great white north dol­drums. More as­sured and con­fi­dent than 2016’s Junonom­i­nated Check­point Ti­ta­nium, not to men­tion more pol­ished, Apric­ity is a de­light. “Cel­ica Supra” kicks the set off with an en­er­giz­ing slice of elec­tro-funk that ef­fort­lessly con­jures the early ’80s and break­danc­ing with­out sur­ren­der­ing to self-con­scious nos­tal­gia. “Waves­ta­tion” is deep house bathed in a balmy glow, and the indigo am­bi­ence of “Next Blue” is hyp­no­tiz­ing. Both are prime ex­am­ples of Har­ri­son’s growth mu­si­cally, both in chord struc­ture and melody.

Like its pre­de­ces­sor, Apric­ity fea­tures nu­mer­ous col­lab­o­ra­tions. “Your Girl” is a charm­ing elec­tro-pop con­fec­tion with Ralph re­as­sur­ing a girl­friend af­ter a nasty breakup; “Bet­ter” (with Daniela An­drade) is a sen­sual quiet storm throb; and “Mid­night Snack” (with iaamSaam and BADBADNOTGOOD’s Matty Tavares) has a con­ta­gious glide. This cat’s only 23, which makes Apric­ity that much more im­pres­sive and makes us itchy with an­tic­i­pa­tion for what Har­ri­son has in the fu­ture. (Last Gang, last­gang.com)

Apric­ity is a much more co­he­sive than your de­but, would you agree?

I hope so. I re­ally tried for that this time; I was ba­si­cally show­cas­ing dif­fer­ent types of pro­duc­tion on my first

lis­ten­ers back in with the 21 Sav­age­as­sisted “Pass Out,” and even though his verse is just okay, it’s good to have 21 back. “Flip the Switch” wouldn’t have been the same with­out Drizzy’s touch, while “Workin Me” is one of the few tracks where Quavo holds his own with­out any fea­tures. “Cham­pagne Rosé” starts off with a hook from Madonna that has her sound­ing like an out-of­place ro­botic Geisha, and gets even weirder as she tries to rap, but ends up sin­gle-hand­edly mak­ing Auto-Tune un­cool again. God bless Cardi B though. She comes in and saves the track, but with the short­est verse in Cardi B his­tory. “Fuck 12” is Quavo at his most woke; the song is in­tro­duced with a sam­ple from a Mal­colm X speech where he speaks on hu­man rights and skin colour. Off­set comes in hard with his verse along­side a punch­ing hook that chants “Fuck 12! Fuck 12! Fuck 12!” This is the 2018 mum­ble rap ver­sion of “Fuck Tha Po­lice” and to be hon­est, it’s catchy and hard to hate. By the end of the project, Quavo Hun­cho be­gins to feel more like a ELEC­TRONIC al­bum. I wanted to make this al­bum for the last four years. I sat down with an idea of what I wanted to do, as op­posed to the first al­bum, which was kind of a com­pi­la­tion and not as the­matic. I con­tin­ued to like it while mak­ing it; I think that’s why it sounds more co­he­sive.

What is the idea be­hind the al­bum’s ti­tle?

Most of the al­bum was made dur­ing the win­ter. I saw a cou­ple dif­fer­ent def­i­ni­tions of apric­ity. The main one that I heard was the warmth of the sun — specif­i­cally the warmth of the sun in win­ter. I’m Cana­dian. I un­der­stand that the win­ters are cold and I’ve been watch­ing my friends with sea­sonal de­pres­sion and it can be very up­set­ting some­times. It was more about the idea of em­brac­ing that time to pur­sue other things.

mix­tape, with Quavo pop­ping out to add a few un­en­er­getic verses and repet­i­tive adlibs rather than a strong solo de­but. Quavo Hun­cho’s in­di­vid­ual fea­tures pro­vide more of a draw than ev­ery solo track com­bined, prov­ing that Quavo still needs some time to grow and de­velop as a solo artist. (Qual­ity Con­trol/Capi­tol) BLACK METAL band also com­bat monotony in the vo­cals, which go from the most of­ten uti­lized screech­ing to a more be­moaned howl or cry. Un­bound is a must lis­ten for black metal fans. It stands on the frigid foun­da­tions of May­hem and Em­peror, while lay­ing into the clas­sic rock ten­den­cies of later Dark­throne, giv­ing the al­bum a lit­tle more va­ri­ety than un­end­ing tremolo pick­ing and blasts. ( World Ter­ror Com­mit­tee) HIP- HOP

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