Some musical releases of the week

Among all the new albums released recently, here are a few that caught our attention.

Indie-pop

After the storm

Eveline

Headquarter

Éveline is Éveline Grégoire-Rousseau, a talented harpist who has accompanied artists such as Beyries, Ingrid St-Pierre, Pierre Lapointe and The Brooks for 15 years. After the storm is his second solo album – the first dates back to 2018 – and it wanders between classical, jazz and indie pop influences, while flirting with the experimental. Co-produced with François Jalbert, it is a work full of textures and explorations, where the rich voice, and of course the harp, of this singer-songwriter with a unique universe slip through. Its launch show will take place at Verre Bouteille on February 20, from 8 p.m.

Josée Lapointe, The Press

Instrumental music

Origami

Louise Bessette

ATMA Classic

Origami is the result of the summit meeting between Montreal composer Anthony Rozankovic and classical pianist Louise Bessette. The renowned musician, winner of around ten Opus prizes in her career, has drawn from the vast repertoire of the man who over 40 years has composed more than 500 works. It is especially those that he wrote for the cinema that she has retained, in this elegant album which distills as much delicacy as lyrical flights, and even sometimes a little chaos, and which scrolls from one end to the next. the other all kinds of images.

Josée Lapointe, The Press

Rap

2093

Yeat

Capitol Records

Yeat is only 23 – almost 24 – and 2093 is already his fourth album, in addition to his few EPs. The Los Angeles rapper has a certain artistic maturity, in the sense that the trap he offers is more experimental than average. Its themes are also more varied, going beyond drugs and sex – without excluding them. The one who had a much appreciated appearance at the Metro Metro festival last year describes a dystopian world on the 22 pieces of 2093. He provides a good part of the production and only has two guests, but not the least: Lil Wayne and Future.

Pascal LeBlanc, The Press