TONA, Shaela Miller, and Hélène Barbier
TONA
Good Energy // District Ent.
TONA’s newest album, Good Energy, is resolutely and triumphantly perseverant in the face of last year’s barrage of hardships. Kwame Nantwi, or TONA, is a student of Hip-Hop through and through. Hailing initially from Ghana, the MC has a long list of Canadian accolades and moves through his chosen genre with a respect and ease that does not waver throughout the entire 18 songs on this project. The central theme of the album, “good energy”, is TONA’s response to the pandemic alongside George Floyd’s murder and the slew of prejudices and consequent conversations that happened this last year: Good Energy is TONA’s refusal to be disheartened, to disengage, or to even slow down just a little bit.
Contained within the idea of Good Energy is a myriad of topics and styles that fill the album to the brim. The topic of faith is heavily infused into this project, being a foundation of TONA’s worldview and take on the last year; the opening track, “PSA”, begins the album by announcing that this year has been God’s plan and that nothing “can shorten or extend your life on this planet if you are a believer in the almighty God”. Through this lense, TONA goes on to touch on the state of the world, from technology, to Hip-Hop, to fake internet personas and slacktivists, to the continued struggle for black liberation in America. After the interlude, Good Energy takes a bit of a pivot to enjoy itself with some party tracks and a little bit of well-earned flexing. The end result is that TONA weaves a tapestry of the year that birthed Good Energy, leaving nothing out and giving his good energy to the whole of it, the good and the bad in equal measure: “it’s also time for some people to get slapped in their fuckin’ face, but that can be good energy too.”
Alongside a wide range of topics blended together into the ideal of “good energy” is a myriad of flows and styles that denote TONA’s dedication to his craft. Sometimes singing hooks, sometimes hitting some more old school flows a la Talib Kweli, and sometimes hitting more popular styles like triplets, TONA does not waste bars or mince words on this project. Alongside the flows is a wide range of musical production: the project was produced entirely by The Kount, but ranges from lo-fi to boombap to a harder, trap-influenced style.
The end result is a project that is hard hitting, varied, and above all, consistent. TONA takes no breaks on Good Energy, wasting no time and showcasing strong convictions and opinions competently and in a way that is thoroughly engaging. Good Energy encompasses as much of the Hip-Hop genre as could possibly be expected from an 18 song album while simultaneously evoking TONA’s unique approach and mindset, as well as his “good energy”, as vividly as possible.
- Devon Acuña
Shaela Miller
Big Hair Small City // Jam Music
I fortuitously received this assignment less than a week after having caught Shaela Miller for the first time at the newly minted Lielow music festival in Milo AB, along with other local country and cowboy adjacent acts such as Boots and the Hoots, Joe Vickers, Sadlier Brown and The Wheel. As my first real re-introduction to Alberta’s live music culture after a 7 year stint on the west coast, it served as a great reminder just how much stellar talent is simmering below the mainstream Country surface in our little province. Along with other local faves such as Bella White, Mariel Buckley, Liquor Mountain and Rifle Country Players, one could easily be convinced that there’s a genuine renaissance going on at the moment. I haven’t seen this much diversity and songwriting talent in our C&W talent pool since Corb Lund left the Smalls for greener, rural pastures.
Catching Shaela’s live act in a festival setting was a fitting introduction. With her larger-than-life persona (and hair to boot) and grand, rock-informed anthemic tunes, she’s a perfect act for a big live venue, and she writes the kind of high-energy boogie backbeat songs that are perfect for getting a crowd on their feet. Her backing band is tight and funky, and moored by a genuine standout talent in her steel guitar player, Skinny Dyck (a great songwriter and recording talent in his own right), who brought some major Flying Burrito Bros vibes in to gussy the tunes up.
That big live energy also comes across in spades on her fourth LP Big Hair Small City, which manages to eschew downtempo tunes until the bitter end, and even then, album closer “Good Woman” still has a fantastic, lackadaisical groove, boosted by warm organs and tight guitar interplay. Miller is clearly a songwriter who comes from the “A-sides only” school - every song on Big Hair sounds like a potential radio hit, and one can’t help but get the feeling that this LP could potentially be the one that opens her up to national attention. The album comes on hot right out of the gates with the one-two singles punch of “I’m Gonna Fall” and the title track, a paean to the quintessential Nashville hairdo. It’s a great vintage throwback accompanied by a charming video that has Miller showing off her mind-blowing vintage purple fringed bodysuit, and firmly establishes her as an atypical talent, informed by a very different style of country music than the modern, pickup truck-centric offerings one hears on corporate radio. There’s very much a feeling that Shaela is continuing in a tradition or artistry that travels from Patsy Cline to Lucinda Williams by way of Dolly Parton, Emmylou Harris and Linda Ronstadt. It’s clear from even a cursory listen to Big Hair Small City that Miller has studied her history and lovingly embraced some of the deeper elements of the culture. I was particularly impressed by her dropping the Ernest Tubbs classic “Thanks a Lot” into her recent set, a sign I took as a confirmation that this was an artist devoted to keeping the classic honky tonk sound alive and well in the modern era.
As far as performance and production, I’d feel comfortable in saying that there’s a real sterling level of professionalism expressed in the instrumental performances here, one that I find easily on par with anything currently coming out of Nashville. These players know their history, and understand how to arrange a song to feel warm, open and alive. It’s all elevated significantly by the quality of Miller’s vocal abilities, which very much remind me of a young Linda Ronstadt (arrangement and style wise, as well). All in all, there’s a real classic 70’s country vibe on Big Hair Small City, and the whole album is just irrepressibly fun and funky, a light-hearted, breezy jaunt full of peppy, danceable tunes with wry lyrics that make you want to suck back longneck Budweisers and get your two-stepping ass on the dance floor.
- Shaun Lee
Hélène Barbier
Regulus // Celluloid Lunch Records
Regulus is a new post punk, avant garde, alternative, and somewhat jazzy album by Quebec artist Hélène Barbier. At only 30 minutes long it’s a nice short and sweet experience you can play and play again. Hélène Barbier’s soft and soothing vocals serenade you through the synthesis of smooth basslines, creative keyboard sounds, excellent drumwork, and perfectly done guitar melodies.
Doesn’t matter if you speak french or not, the beautiful, distant yet ever present lyrics are sure to help you study, sleep, party, or just chill. And the lyrics you do catch are sure to be sung along to. And if great vocals weren't good enough for you, what comes with it certainly will be. The guitar-work is masterclass, it sells the avant garde feel of the album perfectly. Along with the lovely bass that ties all of it together, and is perfectly utilised.
Regulus will keep you guessing song after song, and sweep you away again and again. My favourite track from this album has to be the tenth song, “You Little Nothing.” The lyrics are simple and easy to get along to, and it is wonderfully groovy. The bassline makes a nice support for the wild guitar riffs and tangents. As well as its great drums. It also perfectly leads into the last song of this album, “Carpet.”
“Carpet” is a calm, collected and smooth track that does a great job closing a great album. Showcasing the capabilities of the drumming perfectly; it’s smooth, fast, and jazzy. The guitar on this track wonderfully encapsulates all of the songs before it, bringing that unique sound out one last time. The vocals are amazing as has been consistent throughout this entire album, but in this song the instruments really get to shine.
All in all Regulus is an amazing piece of music, comparable with post punk classics like Fugazi’s 13 songs. With a unique and unreplicable sound, Hélène Barbier’s Regulus is sure to impress on your car rides, or at your parties.
- Kaden Peaslee
