Magi Merlin, Jasmyn, and Pastel Blank
Magi Merlin
Gone Girl // Bonsound
In my experience, the most exciting moment for a music writer is being able to witness the evolution of an artist and being able to cover THAT album–the culmination of all past artistry into one explosive album that marks a new era for that artist. Well folks, this is THAT album; Magi Merlin’s new EP Gone Girl (May 27, 2022, Bonsound) is a harnessing of power, boldness unrestrained, one’s true self so hyper-charged that it erupts unapologetically.
This album is so markedly different from the past–each song is stuffed with confidence to the brim, even “No Ego” which talks about not knowing a single thing about anything. In a recent interview, Merlin discloses her fascination with Optimistic Nihilism, the theory of thought that basically states that nothing matters, when you die you’re dead, so spend this time doing whatever you want and make it good. We hear the thesis statement right off the top of the album, with the very first lyrics of Milkweed: “Fuck you, baby, you ain’t entitled to my time, I’m raising hell” (can we also just say, how badass is it to start your new EP with “fuck you, baby”? We are not worthy).
Creating in tandem with her producer pal Funky.What, Merlin is not afraid to get cerebral–Merlin is witty, tongue-in-cheek, and angry, packing all that anger into quick-paced insults to ex-partners who can go figure out their baggage somewhere else without Merlin having to pacify any part of herself. She’s realized that there’s no more time to waste being chill or sweet, it’s time to let the fire burn and if you don’t like it? Good.
Not only have her lyrics evolved, but her sound also embodies this newfound confidence with strong house beats, groovy bass lines, and a whole lot of fun. We get Merlin’s signature warm singing voice with rap, laughter, yelling, and sass–really a whole cast of characters used to tell this story of power. It’s also worth noting, this EP just sounds and feels GOOD. It’s the kind you could dance to, put on while driving, cook to, sit and listen to, it really is just good, funky music. It’s not a far stretch to say this is the beginning of more explosive artistry from Magi Merlin, and I’m here for it.
- Lana Winterhalt
Jasmyn
In the Wild // Royal Mountain Records
The singer of Toronto’s awesome indie-pop band Weaves has put out an album of her own, and it is one of my favourite releases of the year so far. I am always eager to discover the personal style of members from bands I like, and this was one I was really looking forward to. It is fascinating to hear how much influence individual members have in the collective band, if their creativity has been dampened in the group setting, or if they have some experimental ideas they have been itching to try. Jasmyn’s album definitely shows off her creativity and proves that a lot of the spunk Weaves had was a direct result of her style.
Released June 4, 2022 through Royal Mountain Records, In The Wild has already had a ton of buzz. I have no doubt Jasmyn will be an extremely successful solo artist. The new album is undeniably edgy, has many seriously groovy earworms, and features her distinct vocals throughout. I have always admired how much personality and rawness Jasmyn’s voice is able to carry through the various distortion effects often used on her vocals in music. This is not lost in her new album and is possibly featured even more. In songs “Galaxy” and “Happy Tarot” she plays around with different filters on her vocals, adding another layer to her already super interesting voice.
A couple of tracks have stood out to me on In The Wild, both showcasing an impressive aspect of Jasmyn’s musicianship. First up is one of the singles she released prior to the album, “Cruel Moon”. I liked this one from the initial five seconds of the song, getting hooked by the catchy ah’s she offers on top of the punchy instrumentals. The entire song is bop central and really shows off Jasmyn’s song writing skills.
Another track I have had on repeat is “Killer Instinct”. The combination of semitones and harsher percussion make for a really interesting song that is fun, yet somewhat uneasy – and it works great. If “Killer Instinct” is any glimpse into what Jasmyn can do as a musician, we are in for a wildly fantastic ride.
In The Wild is a pretty impressive debut album for Jasmyn, so keep your eyes and ears out for this artist. With her head-turning vocals, groovy synth sounds, and distinct writing skills, she has barely made her mark. In The Wild is weird and unhinged in the best ways imaginable.
- Holly-Anne Gilroy
Pastel Blank
Pastel Blanc // Self-Released
New quartet band hailing all the way from Victoria B.C, Pastel Blank solidifies itself as an act worth keeping an eye on. Pastel Blanc is a fun, psychedelic frenzy. Lyrics like “Did you truly believe she was a bad seed? Object spectacle, for your children to see.” from its track “Attention Shopkeeper” echo the romanticism of early Velvet Underground while the upbeat electric rock soundscape rivals The Talking Heads. Overall, this is an act that should be on every music lover’s list to see live. In an interview earlier this year, songwriter Angus Watt describes the band’s sound as “rock music that’s funky, playful, and a bit wonky.” It’s a sound aimed at getting the listener off their feet and dancing without the omniscience of self-consciousness. Pastel Blank’s debut album smashes through these expectations.
“Goomba Stomp” is a fun, electric opener with echoes of the Velvet Underground in its matter-of-fact vocals and explicit guitar strums. The final minute leaves you feeling as if you’ve slipped into a fever dream. In “Cellophane Clocks”, the opening riff of its initial ten seconds give off the slippery thoughtfulness of “Tugboat” by Galaxy 500. However, almost immediately, the tune returns to its fun pop/rock party. “Attention Shopkeeper”, while more disco in sound, is a classic punk rock song in the barebones sense: it combines the “in-your-face” melodies with a lingering story the listener can’t help but question. “Shopkeeper” is a story about a store clerk shaming a book-thieving mother. Lyrics incite a groovy fable into morality: Is it wrong to steal? Yes. But to bring into harsh limelight a mother into an ‘object of spectacle’, Pastel Blank makes it clear this infamous shopkeeper is no better. It’s a 70’s fueled bass-heavy dance number that, when examined closely that dares the listener into a morality-themed reflection. “Picture Perfect” has the stylings of a French acoustic session. After the engaging riff-raff of the previous track, it’s a relaxing cool-down from all the theoretical dancing. “Fences” has an opening riff that rivals classic punk rock acts such as Gang of Four or the Buzzcocks. Its fanatic pace firmly cements the band as someone you’d pay good money to see live. “Slouching Like A Seraph” slows, like a cool-down period after a heavy work-out session, everything that preceded this was an energetic frenzy; “Slouching” is a nice opposite while still representing the recognizable bass and ever-present drum kicks. This closing track sends the listener off on a high note.
Movement. Energy. Fun. Three main motifs that are scattered throughout the album. “When I’m writing for Pastel Blank, my hope is to give occasion to joy and elation.” Watt explains in that same interview mentioned earlier. “I’m inspired by art that is able to pull me out of my head and into my body.”
Pastel Blanc is an album that will pull any listener out of their head and out onto the dance floor.
- Josalynn Lawrence
