A Mighty New Force In Hip-Hop: Haviah Mighty Raps To Empower

Photo by Yung Yemi

After a fiery performance at the NXNE festival stage in downtown Toronto, Haviah Mighty is still in constant motion, waving to fans and chatting with photographers, all while assisting her crew with equipment takedown. The rising hip-hop star has performed four times throughout the week, including at halftime at a Toronto Raptors outdoor viewing party in her Brampton hometown, and her energy hasn’t diminished. On top of that, Mighty’s most ambitious album to date, 13th Floor, was released a month ago to acclaim, earning her a spot on the recently announced 2019 Polaris Music Prize Short List.

Mighty is a commanding presence on stage. Her raps are dexterous and her movements are athletic. Though only a small number of people were present at the start of her show, her electric performance turned passersby into a captivated audience. And by the time she played her last song, the crowd stretched down Yonge Street for more than half a block.

When Mighty jumps from the stage to greet her fans after the show, she speaks with the warmth and enthusiasm of an artist who genuinely appreciates her audience. She says one of the most consistent aspects of her live shows is the “upbeat energy I’m getting back from the audience, no matter where the show happens or what the audience is like.”

Even when she plays to a large audience, which she is doing more often, Mighty aims to connect with individuals: “It’s important to connect with people by looking at them, by being in the same space as them, by sharing the experience with them and creating less of a separation,” she says backstage after her gig. This sense of connection creates a “more rewarding” experience for her audience and for her.

In conversation, Mighty is engaging and self-assured. “I feel more confident in what I’m saying,” she says, when she finally sits down to relax. Her confidence is evident in the type of music she included on 13th Floor. On “Blame” and “Fugazi,” Mighty’s swagger and production quality rivals that of some of hip hop’s biggest names.

Her growing acclaim has also given her the platform to address meaningful subjects. “Thirteen” is a moving song about slavery in North America and the ways it reverberates in the present as systematic oppression of Black people. She released the song now because “the social climate was ready to hear it and I was ready to say it,” she says. “I wasn’t going to release an album with a bunch of songs that were fun but not speak on something I feel passionate about.”

Her passion is evident in her performance of “In Women Colour.” She performs the song so her audience will learn more about her and understand her “very personal experiences” as a Black woman in Canada.

“There are many young women just like me who need to hear this,” she says. “I feel triumphant that I have overcome the things people have said. Had I let it change who I am as a person, ‘In Women Colour’ and 13th Floor wouldn’t exist.”

As Mighty’s star continues to rise, she says, “I’m hoping that what I add to the industry can continue to push hip-hop in the direction of being more accepting so more people will understand the music women are making and enjoy it.”

This article was originally published in BeatRoute Magazine.

Album Review: FIDLAR is Almost Free

FIDLAR Almost Free album cover graffiti writing on a concrete block by a beach

For the most die-hard fans, FIDLAR – which stands for “Fuck it dog life’s a risk” – is a band, a motto and an ethos. Rather than become pigeonholed in skate punk for fear of disappointing fans, the Los Angeles four-piece has diversified their sound since their eponymous LP and hit single “Cheap Beer.” That’s what their latest album Almost Free is about. Frontman Zac Carper has said the album was influenced by the aesthetics of Soundcloud hip-hop, but opening track “Get Off My Rock” is more Beastie Boys than Lil Pump.

“Can’t You See” is a departure from FIDLAR’s usual sound with a piano solo and walking bass line, while the satire on materialism is in keeping with Carper’s lyrical style. “By Myself” also revisits a familiar subject – drinking that teeters toward self-destruction – with fresh percussive range.
“Too Real” is FIDLAR’s most explicitly political song. Carper howls, “Well, of course the government is going to fucking lie.” While much of Too (2015) focused on Carper’s struggle with addiction and sobriety, tracks like “Too Real” and the Clash-esque “Scam Likely” prove he can write as passionately about the political as he can the personal.

Parts of Almost Free retread familiar territory. “Alcohol” could fit on any FIDLAR album in sound and subject. Blistering forty second track “Nuke” has the intensity of underrated Too track, “Punks.”

“Called You Twice” is a surprise standout. Carper’s vocals meet their match in a duet with K.Flay about both sides of a messy breakup. It’s warm, vulnerable – the album’s emotional core.

While Almost Free is less consistent than its predecessors, the range it displays proves that FIDLAR is far from finished.

This article was originally published in BeatRoute Magazine.

Album Review: Preoccupations Dive Deeper Into Obscurity with New Material

To listen to Preoccupations is to plunge into arrangements that are more enigmatic the deeper you go. Though Preoccupations’ third LP New Material is the most listenable in their discography, it reveals a labyrinthine sound. Since name change and subsequent eponymous album, they have moved away from the dissonance that characterized Viet Cong while maintaining the essence of what makes their music compelling: each layer of sound obscures the next.

The obscurity is by design. Scott Munro told label Jagjaguwar, “My ultimate goal would be to make a record where nobody knows what instrument is playing and I think we’ve come closer than ever [on New Material].”

The album opens with echoing percussion, indistinguishably patterned yet not quite arrhythmic. While it is decidedly more subtle than the unyielding pummel of Viet Cong opener “Newspaper Spoons,” it proves Preoccupations’ commitment to percussive experimentation, whether by way of Mike Wallace’s brilliant drum work or Munro’s synth. Espionage is driven by a new wave melody. It struck me at first listen as far removed from the post-punk guitar and bass work for which the band first gained acclaim. However, the post-punk elements are still present are the song’s core.

Likewise, synth has always had a presence in Preoccupations’ music, sometimes as whispers and other times, as on much ofNew Material, as a driving force. Among the discordant layers of Decompose is a shimmering chime, repeated to the point of abstraction. Disarray is the most brightly melodic song in their discography, composed of cascading chords that contrast to Matt Flegel’s unaffected repetition of “Disarray, disarray, disarray.”

Flegel’s lyrical prepossession with technological determinism gives into a sense of futility that leans towards nihilism. OnDisarray, he sings, “Everything you’ve ever been told is a lie.” Manipulation bears the weight of its subject. It trudges towards a final cry, “Please don’t remember me like I always remember you.” Not to be overlooked is the subtle build-up of Wallace’s drum roll.

While Antidote is the best representation of Preoccupations’ style on New Material, “Solace” is the most successful marriage of the band’s old and new style. The former layers rolling drum patterns and distinct bass with effervescent synth. I’m reminded of “Ricochet” by David Bowie, though Flegel’s bass work darkens the mood to better suit the lyrics. The uptempo of Antidote is at odds with the hopelessness of its lyrics: “Whether we asked for it or not, to live is to suffer.” With bellows and clanking in its latter half, “Antidote” moves from post-punk to art rock. Flegel sings as if from the depth of an ocean. Blame it on my bias toward their earlier work, but I’d call ” Solace” the maturation of the Viet Cong style. To hear Munro’s guitar and Flegel’s bass distinctly, enhanced but not overpowered by synth, is immensely satisfying.

While penultimate track “Doubt” matches and exceeds Manipulation in its desolation, it has a gravitas previously unheard in the band’s catalogue. If Antidote is reminiscent of Let’s Dance era Bowie, “Doubt” has the weight of Blackstar with a tone more sinister than melancholy. Flegel’s voice reverberates in whispers of “Multiply” before it fades into instrumental Compliance.

If ever one was to doubt the calibre of Preoccupations’ musicianship, Compliance proves that any such doubts are unfounded. It’s a departure from anything they have recorded previously, darkly industrial. The sound is vast. But for distinct percussion, each instrument melds with the others. It’s enigmatic, evocative and indicative of the depths to which Preoccupations can take their music.

New Material is available through BandcampSpotify and Apple Music.

This article was originally posted on Savage Thrills

Vic Mensa Gets Up Close and Personal With The Autobiography

Four months after the release of his debut LP The Autobiography and two months into supporting Jay-Z’s 4:44 tour, Vic Mensa sounds more content with his career than he ever has. “It feels phenomenal. I love it. I had a point in time when I was performing music that was not as honest and I just felt phoney on stage, I just felt like I wasn’t me. Just saying ‘Turn up!’ every other song. ‘Turn up!’”

Part of the reason why Mensa feels more authentic when he performs is because The Autobiography is a very personal album. He describes the recording process as cathartic. “It was a process of unearthing repressed memories and drawing connections from the past to the present and the future.” He draws on childhood and adolescent experiences on “Memories on 47th St.” and recalls the impact of crime and gun violence on his community on “Heaven on Earth.”

Since Mensa first started to record as a solo artist in 2013, he has aimed to be more forthcoming in his lyrics. He says, “I try to be honest in my music.” While he uses his platform predominantly to speak honestly about his own life, he is a vocal critic of social inequalities in America. “Police brutality, mass incarceration, I know the information, I know the truth. So I think along with that comes the responsibility to vocalize.” Though he admits he doesn’t love using social media, “I do at times try to use social media to talk about the things that are important to me.”

Among the topics important to Mensa is mental health. He says that when he first started talking about it, “It felt like I was being real with myself first and foremost. I never set out to be a spokesman for mental health.” When he wrote “There’s Alot Going On” for his 2016 EP of the same name he says, “I just told the truth about my own experience. I said exactly the shit I was going through. I talked about how I was addicted to drugs and depressed and suicidal and shit at points in time.” With the EP and with that record in particular, “A lot of people reached out to me to say maybe that song saved their life or got them through a tough time. I just started to realize how silent so many people are about those types of issues. I realized I could help people as a writer who really speaks candidly about mental illness.”

It was Mensa’s intention from the outset to speak candidly about his self destructive tendencies on “Wings,” his collaboration with Pharrell Williams and Saul Williams. It is an unflinching look at depression, infrequently depicted in hip hop.

“I knew I needed to make a song like that, something that spoke about those things in my life. And so I tried a couple times and when I ended up getting with Pharrell that day, it just clicked. The lyrics kind of just wrote themselves,” he says.

The future Mensa envisions on The Autobiography is not without hope. “‘We Could Be Free’ [is] an imagining of what freedom could look like in the future,” he says. “Having a broad, wide angle view of pain and privilege as they present themselves.”

Having struggled with and overcome addiction and depression, Mensa is grateful to be where he’s at today and is already excited to get back into the studio. As for the audience response to his self-reflective music he says, “People appreciate it in a different way. It hits you in a different way.”

This article was originally published in BeatRoute Magazine.

Live Review: DMA’S Quiet Acoustic Meets Energetic Indie Rock

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All photo credits go to Ryley Clarke for Savage Thrills

Darkness fell on North Melbourne’s Meat Market before DMA’S arrived on stage. The show opened with Tommy O’Dell’s distinct vocals and Johnny Took’s acoustic guitar on the quiet opening of “So We Know”. At the song’s crescendo, guitarist and backing vocalist Matt Mason and the three members of DMA’S touring band joined to complete “So We Know” in a fully lit stage. With the whole band assembled, they played “Feels Like 37”, a favourite from their eponymous EP.

Clad in a white turtleneck and a panel cap, O’Dell looked like the epitome of dad style rather than the frontman of a band that received international acclaim for its cover of Cher’s “Believe” on Triple J. While O’Dell kept his stage banter to a minimum, the Sydney band seemed at home in Melbourne, graciously thanking the audience between songs.

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I hadn’t known what kind of energy to expect prior to the show, not the least because DMA’s is better known for emotive acoustic tracks than for stadium bangers. Songs like “Too Soon” proved that DMA’S live shows are well capable of commanding a room and invigorating an audience.

With an album forthcoming, it’s inevitable that DMA’S would play a few new songs. With Took’s guitar prominent at its outset, the new song sounded more country than rock. As is often the case when a band debuts tracks, the crowd was less engaged than when DMA’S played fan favourites. Within a few notes from the start of “Melbourne,” the energy level surged again. Though I wouldn’t consider “Melbourne” a standout on the stellar album Hills End, the audience responded with enthusiasm for the song named for their city.

“Timeless” showcased the band’s instrumental synergy. The song had a richness and depth that exceeded its recorded version. While Mason took the vocal lead in the latter half of the song, O’Dell interacted with the audience. In contrast with his reserved addresses to the audience between songs, he was physically commanding during. He spread his arms to the hundred of hands stretched out before him.

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“In the Moment,” too, was an instrumental standout with dissonant guitar coupled with Took’s prominent acoustic. The sound faded into the quiet opening verses of acclaimed single “Delete”. The band was silhouetted on a dark stage until a burst of light met the song’s euphoric final chorus.

DMA’S latest single “Dawning”, the lead for their forthcoming album, made a fitting follow up to the band’s early single “Delete”. Though it had only been released a month prior, it was met with enthusiasm. “Step Up the Morphine” became a singalong that created a community out of the Meat Market. “Laced” faded to dissonance to close the first part of the show.

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The band returned for “Play It Out”. As the closing track on Hills End, it made a fitting encore. While it’s not as well known or catchy as some of DMA’S singles, it’s an instrumental standout in their discography and their live show. The band’s most famous track “Lay Down”. was the perfect choice to close the show. After one last final dance and singalong, DMA’s bid their audience farewell. From their musicianship to their energy level, DMA’s exceeded all of my expectations.

This review was originally posted on Savage Thrills.