Quinton Barnes/Julien’s Daughter
Quinton Barnes
As A Motherfucker // Grimalkin
Quinton Barnes’ newest effort, As A Motherfucker, is first and foremost a polished project. With radio-ready vocals in the vein of Frank Ocean, The Weeknd, and mid-career Childish Gambino; Quinton Barnes’ songwriting is clean. Produced by himself, Barnes stands out on the strength of his performance alone as well as how well he works within the genre that he’s chosen, nostalgic and modern all at once. It seems likely that he’s got a music video where someone is riding a bike down an empty street, and it seems likely that video is dope. An impressive feat considering that this genre is perhaps the most oversaturated in the world with up-and-comers. The real strength of this project, though, is that on top of a polished mainstream effort, Quinton Barnes adds an experimental and glitchy production style that gives an edge to his sound and differentiates him as having an individual style on top of being a skilled musician working within an established genre.
On As A Motherfucker, Barnes isn’t afraid to take time for switch-ups and breakdowns, like the ones at the end of “Harmony” and “Heartbeat,” for example. Glitchy interventions and interesting effects are sprinkled over this project seemingly wherever Barnes feels like it, relying on his ear and personal taste over formula, and he is definitely rewarded for it. Where the same strategy can tend to make artists sound unfocused or less practiced, it is done with intention on this project and only adds to the artistic merit. The fourth track, “Switch,” comes in with grimy and energetic rap bars, punching everything up quickly from the three opening tracks and displaying a range in both vocal performance and production that is only hinted at on the rest of the project. As a potentially jarring intervention between R&B tracks, “Switch” and the albums other switch-ups imbue an intention and restraint into the rest of the project, making As A Motherfucker all the more engaging.
Layered vocals and shimmery effects such as on “True and You,” the fifth track, are also abound on this project. Introspective, emotional subject matter is given without too much time wasted on detailing or describing. Quinton Barnes is more focused on the delivery, and verbose sections on this release are few and far between. That’s not to say there isn’t emotion: the intricacy and cleanness of the vocals and production elevate repeated phrases and their delivery to a meaningful place without over describing. This album feels like it was custom made for a late-night drive. Overall, As A Motherfucker is conscious of the R&B and popular legacy it contributes to, and takes up its own particular place in that legacy, confidently and with success.
- Devon Acuña
Julien’s Daughter
The Static That Carries Over // House Of Wonders
Winnipeg’s most recent musical gem, Julien’s Daughter, is bringing their danceable alt-rock sound to the table with their debut EP The Static That Carries Over, a collection of the band’s strongest work from their first active year together.
Julien’s Daughter has created a vast musical landscape from the countless hours they spent together in their basement. They were able to combine all their influences into a cohesive sound that captures your attention from the very beginning. The band knew they were onto something good after only a few practices together; and shortly after, at their first show, they learned that audiences felt that excitement too.
Their first work together is definitely an experience. “These songs are about confrontation, guilty consciences, substance use, and strange human habits,” says Emma Murphy, the charismatic frontwoman. The opening track, “Coffee”, is a powerful song with subtle moments of tranquility that bring you deep into the band’s sonic ocean. “Barb 217” takes you on a melodic ride through the waves with Emma’s sweet voice and Ian’s infectious guitar riffs. “Wellington”, their third track, gives you a mean bass line with a dynamic rhythm section that resembles a colourful sunset in the prairies. So far, The Static That Carries Over has shown a mature, yet fresh, sound that makes you want to listen more.
But how did the band come to be? Julien’s Daughter met as strangers. Murphy is responsible for the accomplishment. One by one through posts online, Murphy found Chelly Osuntade, the band's secret-weapon bass player and multi-instrumentalist; Ian Tata, their moody and driving guitarist; and Cody Kennerd, the drummer vet who lays down the band's deep, foundational groove.
By this point I’m sure the band has caught your attention. I’ll leave the other half of the EP for you to experience, just let me tell you this: The Static That Carries Over will not disappoint.
Now is your turn to listen to Julien’s Daughter on all the music platforms. And make sure to follow them on social media to find out more about their music.
- Fel Gamarra
