The artist weaves a multitude of themes and messages into his music, but devotes special attention to rapping about the history of Black, Indigenous, and other marginalized peoples in Canada. His advocacy is not limited to hip hop only. As a historian, Webster travels throughout Canada and the U.S. to speak to high school students about these issues.

In Qc History X, he gives listeners a history lesson right away by mentioning Mathieu Da Costa, the first recorded free Black man to have visited Canada. Da Costa was believed to be Samuel de Champlain’s interpreter in the navigator’s expedition from France to Port Royal in 1608. Originally from the Benin Empire, a pre-colonial African empire in what is now Southern Nigeria, Da Costa’s main role in the exploring party was that of translator. His knowledge of the local language was used to establish contact between European settlers and Indigenous populations. By embedding history in his songs Webster hints at the importance of acknowledging the past to construct a better social and artistic present.

Webster projects his wisdom through both his music and speeches, encouraging his listeners to transform the ignorance prevailing our society into never-ceasing learning. He was also one of the speakers of this year’s launch of Montreal Black History Month.

Webster spoke to The Daily about his career and his message.

The McGill Daily (MD): How do you believe the hip hop genre has changed since you started your career?

Webster (W): Back [in the nineties], hip hop was closer to its literary roots. The text was important, the lyrics [were] important. […] But nowadays the hip hop that is commercialized is like pop music, you don’t have any substance, it’s kinda dull. It’s not interesting. [Back then, the artists] were singing something and they would sell a lot of albums, but today […] there is a recipe where if you say something smart, you won’t sell anything.

MD: What do you think modern Canadians forget most about their past and their heritage?

W: I don’t like to put it like Black or white history because this is History, with a big H. But the thing is, in school, the history that is taught is white history. We don’t really talk about the Natives; we don’t really talk about the Black people, whether they are slaves or free men. We don’t really talk about the Chinese who built the railroads. Some might talk about it, but it’s not a known fact. That is what is important for me, all those facts which aren’t in books, they need to be known by everybody. […] You’ll ask anybody on the street, and they will tell you, ‘Yes, there were slaves in the U.S.,’ but they don’t know that there were slaves here [in Canada]. This is why it needs to become a common knowledge.

“[T]he biggest enemy of society is ignorance, because ignorance brings forth racism and xenophobia. So if you learn, and if you stay aware, you might be able to see things differently,” Webster shared with The Daily.

MD: You started your career rapping in English. What made you switch to rapping in French, and how has your experience and message changed after making that decision?

W: Well, first of all, I started rapping in English because […] my generation didn’t know that we could rap in French. […] I thought that it might be better if I could rap in French, because this is my native tongue, this is what I speak. […] When you’re a writer, you need to own the words, you need to have mastery of the words, and I knew that I was better in French than in English.

MD: You also speak at schools, and to young students especially. How does your music compare to speaking directly to your audience?

W: When I do music, it’s more poetic, you know? So you have better images, it’s nice to hear and the flow’s nice. But it’s not everybody that understands what I am saying through metaphors and comparisons. But when I speak to the people, it’s easier for me to explain concepts, and it’s more direct [and] to the point. That’s why I like to do both, it’s like different sides of the same coin.

MD: So you get the best of both worlds.

W: Yeah, exactly.

MD: Lastly, what do you think listeners and students who are reading this interview can do to become more aware and supportive of your message?

W: Learn. Just learn, stay aware, stay curious, read books. […] This is how we may grow as a society. I think the biggest enemy of society is ignorance, because ignorance brings forth racism and xenophobia. So if you learn, and if you stay aware, you might be able to see things differently. So I think all people need to do is to be curious about history, about the people, and about the world.

This interview has been edited for length and clarity. Listen to the full interview on Unfit to Print here.

The post In battle with ignorance appeared first on The McGill Daily.

Techno has a bit of a reputation for impermanence – ephemeral labels releasing records by even more ephemeral aliases. Take Ilian Tape, for example, – the German record label was founded in 2007 but released its second LP, Shred by Skee Mask, only two weeks ago on February 1. Little is known about the band, besides being from Munich and having released two EPs on Ilian Tape in the past two years. The lack of an image to latch onto can make it difficult to distinguish bands who tend to appear only rarely; nevertheless, a distinct techno sound is there. While Skee Mask doesn’t innovate or push the boundaries of techno, Shred is a well-produced album with great sequencing.

The album opens with “Everest,” an ambient track with gently pulsating and atmospheric synths. The track sets the mood for the album: certainly nocturnal and a bit cold, but not unwelcoming. For the most part, the rest of Shred bears the usual markers that techno producers have used for the past 25 years: cold, mechanistic synthesized drums, a lack of vocals, and relatively sparse, repetitive synthesizer arrangements.

Starting with “HAL Conv.,” the album progressively picks up steam. The track is still fairly subdued, with its quiet, skittery beats perhaps more suited for home listening than for dancing. But the misleadingly named “Autotuned” begins a series of sounds where each is more hard-hitting and danceable than the previous one, culminating in the sixth track, “Melczop 2.” This track’s synth arrangements are still fairly atmospheric, even delicate. However, the breakbeat-inspired drums in the sound are much more aggressive than the preceding tracks. “Melczop 2” is an excellent payoff for all the buildup of the first five tracks, and a definite highlight.

The next few tunes represent something of a comedown; the drums hit a bit less hard and the songs are less immediate. However, “Japan Air” and “Shady Jibbin’” feature fairly intricate and complex drum patterns, which makes them stand out among other sounds. The final track, “South Mathematikz,” is an excellent closer, subdued, and influenced by breakbeat similar to that heard in “Melczop 2.” While Skee Mask doesn’t stray far from techno’s usual characteristics, there’s a lot of artistry and subtlety in Shred. The album creates a nice experience not unlike a good DJ set.

Moss Lime – Zoo du Québec

Zoo du Québec is the third and most recent album by Moss Lime, a relatively new Montreal band that has grown in popularity since it appeared in 2014. Released on December 8, it features repetitive vocals with rhythmic undertones. The band’s music is best categorized as psychedelic rock. Moss Lime’s own interpretation of the genre has a unique indie feel, which adds character and authenticity to the album, making it snappy and identifiable right away. However, despite its creative direction, Zoo du Québec is lacking in quality of execution, as some instruments do not contribute to the band’s blend of sound equally, but, rather, leave it to the vocals and minimalist beat to do the trick.

Most of the songs in Zoo du Québec start with a catchy guitar introduction, which does an excellent job drawing the audience into the musical vibe. One of the songs, “Bottom Feeder,” has an especially luring mysteriousness to it, growing into an assertive beat and intense lyrics: “Couldn’t be more depressed / I think we’re both repressed.” The sound’s energetic pulse creates a feeling of self-assertiveness, but the guitar’s piercing chords splash ambiguity onto the melody, best exemplified by “Rock Paper.”

Quite often, however, the flow of the sound falters when more instruments are introduced. The band attempts to add depth to its music with multiple layers and syncopated patterns, but the final product ends up sounding messy and out of sync. The drums are especially lacking in consistency and clarity. Some rhythms have the potential to be quite good, but are muddled by the lack of coordination.

Nevertheless, Zoo du Québec continues the psychedelic rock staple of repetitive beats and vocals. The recurring vocals’ unconventionality is particularly good at capturing that kaleidoscopic sound known to fans. However, the pattern’s inconsistent rhythm is a hindrance to audience engagement with the tune, which leaves most songs sounding stale.

Despite some shortcomings in execution, Moss Lime’s psychedelic mix of sounds has a lot of potential. Zoo du Québec is a unique blend of upbeat minimalism with a fusion of playful guitar and intense blunt vocals. Fans of minimalist psychedelic tunes will have no trouble distinguishing the album among others.

The post The Daily Reviews appeared first on The McGill Daily.