24Our Music Magazine: September 2015

34 TWO STEPS FROM HELL

September 2015

It’s a little cliché by now to call a release by Two Steps From Hell ‘sensationally epic,’ along with any other variations you can think of...

FLUME FOR HUMANITY Flume has always been somewhat of a softy. And don’t get me wrong, I don’t mean that in the derogatory, “let’s make fun of Drake” kind of way. I’m just saying his music has heart. It oozes sentiment...

28 08 PEACH KELLI POP Few things in life come to you gorgeous and unexpected, but that’s what it feels like when we talk about Peach Kelli Pop’s “Demos & Rarities,” a mix tape..

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MATTHEW SANTOS’S PIÈCE DE RÉSISTANCE: “INTO THE FURTHER”

56 Table of Content

AGAINST THE CURRENT I reflect back to when I listened to and reviewed Against the Current’s mini-album Infinity at the eve of Summer 2014, and how I instantly

SPEND YOUR AFTERNOON WITH A COUPLE OF POP WEIRDOS Taking a page from those experimental 60s pop acts, “Afternoons EP” by Georgian two-piece Pop Weirdos...

14 22 YOUNG PARIS This South African band uses their sixth full-length studio album to show us just how well they can combine soft melodies with hardhitting guitar riffs and vocals.

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SEETHER ISOLATES AND MEDICATES

Index

September 2015

10. Richy Nix

Richy Nix certainly has an impressive team to supplement his loud and energetic new record Fearless (Joey Sturgis and Celldweller to name a few), and while suf..

38. Color Palette

Color Palette’s “Seventeen” is one of the most wonderfully vibrant yet radio-friendly songs we have heard in a long time. There’s a certain summery feel about this track that rings out and soothes the s...

52. Static Gold

Funk is a cool music genre. Swing is another cool music genre. Fuse the two together and you get a supercool genre — Funkadelic Swing — played by Montréal..

46. Jared Deck

Young Paris is undoubtedly a provocative artist with an intense eye for sociopolitical issues. Speaking on issues of cultural appropriation and violence in the...

54. Handsome Ghost

On March of 2015, Handsome Ghost released their debut EP, “Steps” to a horde of fans held in anticipation.

It would be strange to say such a thing about...

40. Zardonic

Set as the 2015 theme song of NBC Sports Network’s World Series of Fighting (WSOF), Zardonic and Mikey Rukus steps into the ring with “Bring It On.” This isn’t just any other fight song. This is a theme song....

16. Zedd

Born in 1989 from Saratov, Soviet Union, Russian-German EDM artist Zedd has gone a long way and really made a name for himself. Although he failed to find chart success with his track “Shave It Up” in 2011..

42. Papa Roach

Papa Roach boasts a very respectable catalogue of music — as nu-metal and alternative fans will happily attest to — and although their latest effort F.E.A.R might be a little underwhelming, it’s a welcome...

60. The Como Brothers

Although it may be difficult to explain my own tendency to enjoy the “pop rock” genre despite its bland and interchangeable nature (welcome to mainstream music), I just can’t seem to wholly aban-

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Editorial letter

T

he sound of the coolest musicians from all around the world is chugging around the corner again in this month’s issue of 24OurMusic. As usual, we are undyingly committed to presenting you with the coolest music that you may have yet to discover, curated by our very own stylish writing staff. There’s no shortage of excitement in what we do, from the EDM and hip-hop infused Odesza, to the dream pop sensibilities of South Korea’s Yukari, all the way to the folky serenity of Nature Ganganbaigal.

Whether it’s from the diverse tastes and backgrounds of our writers to the plethora of genres and cultures that the artists we cover represents, we will never waver from our promise to curate a collection of music that you are sure to enjoy and have fun discovering.

Creative Department Creative Director: Justin Everest Writing Department Editor-in-Chief: Justin Everest Manging Editor: Brandon Minia Senior Staff Writer: Karl Nicolas Staff Writer: Paulette Staff Writer: Trent B Minia Staff Writer: Evan Crandell Staff Writer: Owen Stroll Staff Writer: Daniel Tremblay Staff Writer: Samantha Mok If you have any questions or would like to advertise with 24OurMusic please contact

30. Years & Years

Since taking the music world by storm with his single “King” from their EP Y & Y, Years & Years wastes no time in delivering more of their youthful electronica pop music through their newest effort ...

us with the provided information below.

EMAIL: Info@24OurNetwork.com

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CREDITS

1

Writer: Paulette

2

Photo Source: Seether

Seether Isolates And Medicates “ VAN COKE KARTEL MAKES YOU WANT TO RELAX WITH A COLD ONE AS THE SONG SUGGESTS “ This South African band uses their sixth full-length studio album to show us just how well they can combine soft melodies with hard-hitting guitar riffs and vocals. The 14-song grungy collection sounds like most relationships with a mixture of softer acoustic tracks in between harder and heavier numbers most of which are accompanied with emotional lyrics that help set the tone.

Seether kicks off the album grabbing your attention with the slower strums of guitar in See You At The Bottom. The song soon breaks into a harder instrumental when drums are introduced and continues into a dark thumping tempo. This basically sets the pace for most of the tracks on the album filled with the same formula.

Don’t let that fool you; the Nirvana influenced band doesn’t hesitate to immediately show us a more laidback side with Same Damn Life. The second track on their album gives listeners a catchier, lighter, easy listen with harmonizing guitar and vocals.

It seems like the band tries to appeal to a wide audience with songs like Watch Me Drown that take on what sounds like a more pop-rock approach. Speaking of catchy, Goodbye Tonight with the assistance of Van Coke Kartel makes you want to relax with a cold one as the

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song suggests to “pour us both a drink my friend” while you vibe to the bass.

Seether has no fear of mixing up the sounds on the album. They’ve included a couple acoustic numbers including Save Today that smoothly leads us into the song with keys and vocals and ends with a powerful bang.

The album closes similar to how it opens with Weak, a track that starts with a slow cinematic intro but you guessed it, unravels into a hard chorus. Isolate and Medicate isn’t groundbreaking or industry changing but leaves a comforting blend of instrumentals with lead singer Shaun Morgan’s Kurt Cobain-esque vocals, throbbing grunge-rock numbers and pleasing alt-rock combinations.

“ SOME OF THE LESS MEMORABLE PIECES, WHILE STILL GREAT BY THEIR OWN RIGHT, CAM FEEL A LITTLE TOO MUCH LIKE FILLER THAN TRACKS BY THEMSELVES “ - Eddie Mumford

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PEACH KELLI POP’S RETRO SPUNK IN DEMOS & RARITIES

Few things in life come to you gorgeous and unexpected, but that’s what it feels like when we talk about Peach Kelli Pop’s “Demos & Rarities,” a mix tape that showcases some fantastic and shiny indie pop sounds.

Perhaps the best way to describe this tape Katy Perry + Charli XCX without heavy synths and generic chord progressions, and with more Beatles and Beach Boys sensibilities (we can even through the Black Keys up there if want something more modern). There’s a charm on this that seems to be a sort of gem nowadays, and what makes this more exciting is that these are “rares,” which does add a bit of novelty to this album.

The track opens with the short and sweet “panchito blues i,” which clocks in at just a quarter over 1 minute and is exemplary of just how short and sweet the rest of the tracks on this album are. Unlike The Young Veins a failed Beatles-esque reincarnation by former Panic! At the Disco member Ryan Ross, Peach Kelli Pop demonstrates in just over a minute that her sound is anything but a cheap emulated novelty, showcasing a sunny and upbeat sound that leads perfectly to track two’s “No One Else Like Me.” This is a gorgeous offering that features some great vocals and harmonies all throughout, making the chorus all the more shiny. The slight rockabilly edge of the guitar is also a fantastic touch.

“Baby Baby” feels like an ode to the burger and shake love songs that would play over the jukebox back in the 60’s, with even a title that feels super nostalgic. Overall, this is a steady song with some great sunny vibes, spilling into track four’s “Away,” a more upbeat rocker that has inklings of Elvis Presley, which is definitely a good thing.

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“Maybe Baby” is a ukulele driven track that ticks at a solid 2 minutes, and its brief nature seems to make it all the more quirky and poppy. The energy and vocal style here is reminiscent of Hellogoodbye’s “Oh, It Is Love” with just a little more nuances, including the dainty sounds of a xylophone and the steady tap of a tambourine.

Then we get to the demos, which first features “Mindreader,” another rocky and upbeat track that doesn’t feel as cool as “Away” but still adds to the stylish flair here. “Lover” is another track that emanates the same — and perhaps flirtier — energy from “Baby Baby,” the grainy vocal recordings adding more to the garagy nostalgic energy of the record. “Julie Oulie” and “Sorry” have great surfer vibes to them, adding to the summery energy of the album and further nuancing this great mix, the latter being purely instrumental. The acoustic version of “No One Else Like Me” is another nice touch, and though it’s not as good as its original counterpart, Peach Kelli Pop does an excellent job channeling the charm that is inherent in most acoustic versions of pop songs.

All in all, Peach Kelli Pop does a stellar job showcasing her sound through what is hard to believe is just a round of demos and rare tracks. This isn’t a novelty emulation of sounds that were common in the 60’s, nor is it a continuation of indie pop artists who enjoy that retro aesthetic. This is Peach Kelli Pop doing what she and only she does best, and it’d be wonderful to see her doing the festival circuit one day.

CREDITS

1

Writer: Brandon Minia

2

Photographer: Alicia Prince

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CREDITS

1

Writer: Brandon Minia

2

Photographer: Brandon James Liddy

RICHY NIX AMBITIOUS RICHY NIX IS FEARLESS

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A SOLID DEBUT EFFORT THAT COMBINES A LOT OF RICHY NIX’S INTERESTS AND SKILLS INTO A VERY COHESIVE RECORD

Richy Nix certainly has an impressive

on track three follows up the energy of

en which has a more metallic and rockier

team to supplement his loud and en-

“Senseless”tw quite nicely, showcasing

edge laced all over it, infused very nice-

ergetic new record Fearless (Joey Stur-

the hard-hitting yet emotional energy of

ly by Richy’s hard cutting raps. The cho-

gis and Celldweller to name a few), and

Richy Nix. The instrumental and produc-

rus doesn’t seem to mesh as well here

while suffering a little from a monoto-

tion sounds tight here, but more impor-

with the overall structure of the song,

nous energy and lack of variety, this is

tant of note is just how real and down-

and the breakdown near the end is a lit-

still a solid record that should turn heads

to-earth the song writing is. “There’s

tle more obscure and harder to swallow,

towards the Detroit-area artist.

nothing you can say to me that will ever

but it’s got a solid sound to it that seems

bring me down” is a powerful and hooky

enough for anyone looking for anything

“Senseless” is an apt opening to the al-

chorus that will resonate strongly with

loud and atmospheric.

bum, carrying with it a surging ener-

fans, and it’s got all the makings to be a

gy that opens the record with a fero-

potential anthem for many music fans.

It does take a while before the album finally shows a little bit of variety, but

cious bite. The Celldweller influence is definitely strong here, allowing Richy

“Revenge” is one of the harder songs on

“Watch Over Us” on track eight is a wel-

Nix’s energy to soar. From verse to cho-

the album, and it’s got a certain cutting

come cut and change of pace from the

rus, all the way through to the break-

energy that seems to have been absent

industrial sounds that pulsate through-

through, this is a track that will definite-

since “Senseless” on track 2. This is a

out the rest of the album. While still very

ly pull listeners right on board. “Coward”

great interlude to “Psycho” on track sev-

electronic in its own right, there is some-

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soulful and honest about this track that is sure to swoon audienc-

(This goes without even mentioning the surprise coda that takes

es, coupled with a huge chorus and an atmospherically emotional

up the last three minutes of the album).

instrumental. Although not exactly a song that will blow audiences away, this is still a great way to showcase the different energies

This isn’t an album that will blow music fans away, but it certain-

that Richy Nix is able to channel.

ly does enough to turn heads. It suffers a little too greatly from a sound that is a tad too monotonous, with only “Watch Over Us”

After the penultimate track “I’ll Be King,” which channels more

being a real reprieve from the energy that pulses throughout. It

hip-hop flair on this track compared to the rest of the album, Richy

could probably also do to have a little more hip-hop energy to bal-

Nix concludes with “Love, Loyalty & Respect,” and there was prob-

ance out the rock and electronic sounds, and there’s definitely a

ably no better cinematic and epic way to end the record. While

way to do this without straying too much into the territory of the

some of the other tracks on the album seem to be a little messy at

likes of Hollywood Undead. But Fearless is a record that Richy Nix

doing this, “Love, Loyalty & Respect” seems to masterfully swirl

should still be proud of, as it does just enough to show the music

together everything that Richy Nix is an expert on. Whether it’s

world that he is here to play, and he is here to do it with an energy

hip-hop, electronic sounds, or a metallic and rocky edge, this is

that is visceral yet honest.

a track that roars with an authoritative ferocity, and is the perfect nail in the coffin of a solid and fairly respectable debut album.

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" THE OVERALL ENERGY FEELS A TAD TOO

MONOTONOUS, LACKING A GOOD VARIETY TO KEEP THE LISTENER ON THEIR TOES " - Brandon Minia

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CREDITS

1

Writer: Daniel Tremblay

2

Photographer: Pop Weirdos

Spend Your Afternoon With A Couple Of Pop Weirdos 14 – 24OURMUSIC

“

VERY TONGUE-IN-CHEEK, THE SONG SEEMS TO OB-

SERVE WHATEVER DAY “PARTY DAY” IS IN A VERY PERFUNCTORY MANNER.

“

- Daniel Tremblay

“BA BA BA’S” (REMINISCENT OF THE BEACH BOYS, OF COURSE) AND LAZY SOUNDING CHORAL HARMONIES.

Taking a page from those experimental 60s pop acts, “Afternoons EP” by Georgian two-piece Pop Weirdos is a playful and delightful free lesson in melody making.

Highly original and replete with eccentricities, “Afternoons EP” has all of the charm of something simple and palatable even in its complex arrangements and melodic nuances. Though the duo admit it straight up, you might have guessed on your first listen that these Weirdos “really, really like Pet Sounds.”

The record’s eponymous track is characterized by a generally languid soundscape.

Sparsely percussive, the song is instead filled out by auxiliary “ba ba ba’s” (reminiscent of the Beach Boys, of course) and lazy sounding choral harmonies. The song eventually fades out with layered and imprecisely performed whistles which do well to contribute to the song’s playful overtones. The track’s quirky theme, played on both the guitar and keys, also imbues the whole with the sort of feeling one might have on a lazy afternoon after a busy night.

Track two, “Party Day,” takes off right where “Afternoons” leaves off. The repetition of layered, almost monotonous sounding unharmonized vocals singing, “Say, oh say how it’s party day” have a charming irony to them. The song itself sounds predominately too tired to party until the cacophonous sounding party orchestra of pots and pans makes its appearance later in the song. Very tongue-in-cheek, the song seems to observe whatever day “Party Day” is in a very perfunctory manner. By its conclusion, track two has all of the qualities of that same lazy afternoon spent writing pop songs.

Though I really don’t want to use the word “serious,” track three, “All Through Our Crippled Zone,” is a bit more serious by any traditional standards. There is a bit of silliness to the record’s first two songs, and this is not as obvious in track three.

The song’s instrumentation is fuller, and its drums are quite driving. Though, there are still some vintage sounding qualities that save it from being incongruous with the whole.

The record’s penultimate track, “Follow Drifting Ocean,” is a pretty sounding, instrumental interlude with a crescendoing trajectory; one that takes a pretty simple riff and elaborates on its surrounding sounds for a good four minutes of so. It leads into the record’s final song quite well.

“Stay (Why Don’t You)” is a soft sounding, love song which deals with the interaction of two cassette-tape enthusiasts. It is is quite traditional in its arrangement, even if it has some strings on it. I have to say I miss the quirky instrumentation and synths that are heard on tracks one and two in this song. It’s an odd choice to end a record so light in ethos on such a heavy note (The cello just sounds like it should be saved for really serious subject matter. It’s stuffy, and classical. It doesn’t really fit).

On the whole, the record is very good. For the most part, Pop Weirdo’s successfully curate the feeling of an afternoon spent lazily exploring creative ventures. Here’s hoping for more afternoons such as this one.

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CREDITS

1

Writer: Trent B Minia

2

Photo Source Zedd

Zedd’s True Colors shines through THERE WAS CERTAINLY A LOT OF CREATIVITY PUT INTO THE ALBUM, MOST EVIDENTLY IN THE PREVIEW TOUR IN THE US PRIOR TO THE ALBUM RELEASE

Born in 1989 from Saratov, Soviet Union, Russian-German EDM artist Zedd has gone a long way and really made a name for himself.

Although he failed to find chart success with his track “Shave It Up” in 2011, he was able to break out with his third single, “Clarity,” reaching 17th on the Billboard Canadian Top 100, and receiving gold, silver, and platinum certifications across multiple recording industries.

Zedd’s first album, “Clarity,” was beyond amazing. The music was explosive and electrifying.

The featured artists and their world-class vocal performance, ranging from Foxes, Ryan Tedder, Matthew Koma, Hayley Williams, among others made the music much more exciting to anticipate for.

Now we get to Zedd’s latest 2015 album, True Colors, and it’s unfortunately underwhelming.

Simply put, this album is exactly what you look for in a typical Zedd production–the sound effects (such as clock ticking), the synths, the synth patterns, the buildups, the drops–all follow the now-seemingly-obvious Zedd formula.

The music is still thumping and electrifying– not as electrifying as Clarity–but still gushes enough power to get you up and moving.

Although the tracks have uplifting power and

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emotion to qualify as dancefloor anthems, True Colors just doesn’t do enough to say that it’s a super amazing EDM album and that it’s one of the best in 2015.

Since Zedd doesn’t really sing himself, he has featured artists for the vocal work throughout the album. The two standout artists that a lot of listeners should immediately recognize are Selena Gomez and Echosmith, with both featured on track two, “I Want You To Know” (co-written by Ryan Tedder) and track eleven, “Illusion,” respectively. 24-year old Jon Bellion provides the vocal work for track three, “Beautiful Now.” Bahari, known for their single “Wild Ones,” are featured in the first track, “Addicted to a Memory” (co-written by Matthew Koma). Logic X and Ambassadors are featured on “Transmission,” Troye Sivan appears on “Papercut,” and Botnek is heard on “Bumble Bee,” with sampled vocals from Roger Troutman.

“Straight Into the Fire” and “Daisy” features Julia Michaels, Jacob Luttrell provides the vocals for “Done With Love,” and Tim James sings on “True Colors.” This lineup, compared to “Clarity” or even Skrillex & Diplo’s “Jack Ü,” isn’t that exciting or attractive. The upside is that their vocal performance are still done very well, making the songs a worthwhile to listen to.

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" THE TRACKS EMIT ENOUGH ENERGY TO GET YOU UP ON YOUR FEET AND MOVING " - Trent B Minia

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One impressive aspect regarding the release of True Colors was the little preview tour. Zedd would perform a new track from the album in ten secret locations around the United States. Fans would have to follow clues around their city, find and step on a stylized “Z,” and receive a ticket. The fans with tickets would then be transported to the secret location where Zedd himself would premier his new track. Each song had its own coloured theme, and every party that previewed the track would have decorations matching the color. For example, the theme for “Straight Into the Fire” was orange, “Done With Love” was teal, and “True Colors,” the last stop of the tour, was red. These songs were previewed near Joshua Tree, California, in the Grand Canyon, and the Empire State Building, respectively. This cool preview tour that Zedd put together reflects his creative involvement with his music, adding a visual feel to each of his music.

Diving into the actual music, however, the excitement level either plateaus or decreases. The songs are still upbeat and pulsing of energy, but there’s not much in this album that can make you go, “Wow!” or “Amazing!” The songs featuring two of the most known artists in this album, “Illusion” featuring Echosmith and “I Want You To Know” featuring Selena Gomez are just like any other generic Zedd tunes and doesn’t really stand out. Both songs have catchy melodies. “I Want You To Know” has the grindy, glitchy sounds and revving buildups, as well as that “bang-bang” sound

similar to the one heard in “Clarity” featuring Foxes (and it sounds very random and out of place.) “Illusion” is a more laid-back cinematic tune, with the usual Zedd synth played in eighth notes (first heard around the thirty-five second mark.) Selena Gomez and Echosmith did a very great job in performing the vocals on their respective songs but both also didn’t offer much sparkle and pop, enough to skyrocket the excitement through the roof.

“Papercut” featuring Troye Sivan is one track that stands out because it sounds different. Dominated by a piano, it’s more of a quiet and chilled track, but still catchy and upbeat, and it gives off the classic, feel-good eurodance sound. Its emotionally dark atmosphere makes it a perfect late-night alone track; whether you are in your room picking yourself back up or out for a drive on a lonely road, “Papercut” provides the perfect sound for self-refuelling alone time.

The bottom line: True Colors does enough to get you up on your feet and moving to the beat. Each song emits enough power to get the energy flowing through you as you blast the music through your speakers or earphones. On the downside, Zedd hasn’t shown enough growth in his sound.

Therefore, the album just seems like Clarity 2.0 with a minor sound update.

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CREDITS

1 2

Writer: Brandon Minia Writer: Cedric Sequerra

YOUNG PARIS 22 – 24OURMUSIC

Young Paris is undoubtedly a provocative

YP- My father co-founded the first nation-

as or influences so to be connected to that

artist with an intense eye for sociopolit-

al ballet in Congo and traveled as a world

for me is something I take great pride in

ical issues. Speaking on issues of cultur-

renowned dancer and painter. My mother

but I’m also seeing other artists with big-

al appropriation and violence in the black

was touring the Ivory coast and later was

ger followings pushing the original sound

community, Young Paris is part of a wave

invited to dance in Paris where she met my

in their music. The pioneer I’d say to bring

of artists (who aren’t Macklemore or Iggy

father. Growing up with 9 siblings I’ve al-

Afro beats to the mainstream was clear-

Azalea) aiming to speak for the non-priv-

ways been surrounded by a lot of fami-

ly [Fela Kuti] and we grew up listening to

ileged and minority. It’s an exciting and

ly as you could imagine and because my

Fela so it’s super interesting to see how

anxious time for pop culture in today’s so-

parents were both artists and performers

his ideology of politics and how he bril-

ciety, and Young Paris gives us a taste of

we all naturally carried on our traditions.

liantly merged it with jazz and dance mu-

his involvement in this new musical time

These days we’re evolving into amazing

sic is being accepted. People want to be

period.

creatives using different mediums of the

connected to what’s real and African mu-

arts from dance, clothing design, jewelry,

sic and history is the source of everything

24- In 140 characters or less, state who

painting, and even mixed martial arts, we

we know today. So as more popular artists

you are, where you’re from, and what you

all stay active and encourage each other

bring that influence in their music you’ll

do.

to stay true to our cultural values.

be seeing more and more of the sounds of Africa.

YP- Young Paris, Bantu, Creative Director,

24- We see that Afro beats are becoming a

Musician, Founder of #MelaninMonday,

big trend in the mainstream music scene.

24- There’s a big debate going on right

brother of 9 siblings, born inParis, raised

Why do you think that is?

now about cultural appropriation, for example we have Azealia Banks who is very

in NY, son of Le Grande Elombe and PameYP- I think music lovers and musicians are

vocal about artists like Iggy Azealia steal-

expanding their understanding of music

ing cultural identity. What’s your take on

24- You come from a family of artists, can

and opening their minds to new sounds.

that?

you tell us more about your family and

African music has always been the most

la Badila.

what they do?

real and in depth music because of its history and creativity untouched to other ide-

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MEETING THE ARTIST

YP- I personally think Azealia Banks had all the (every) right to express herself (the way) as she did. When you’re educated on Americas racism and institutionalized white supremacy it’s extremely frustrating for many (not all) black artists and/ or artists of color to create art knowing very few of us share the same privileges of notoriety. We feel like we make it, they take. Folk, Jazz, “Country” Rock n Roll, Punk, House, was all at one time a very ‘Black’ music. I mean just imagine because I love Irish music I take the outfits and create an accent and start to become successful appropriating the culture to the point where I’m awarded with the highest accolades in a genre and culture I don’t really understand.

That’s what’s once again happening and it’s taking over Hip Hop as more people (not just white people) who don’t understand the origins of the culture begin to reshape its origins and values, but this has been going on for a long time even in the black community, the old hiphop heads spoke of many black artists the way people speak of azealias or macklemores or what have you in a similar context.

24- I saw pictures online with you and Win Butler from Arcade Fire, I know you worked together. He also does African DJ sets as DJ windows 98. Do you see his work as cultural appropriation?

YP - Funny I was at Win’s very first DJ set and I’ve since seen many but getting to know him and his take on how he values culture and historic preservation I put him in a category of musicians I’ve learned to respect because of their talents but even more for their values. Win is not trying to be an African, he’s not wearing Dashiki’s on the regular, He’s not using an African accent when he sings and he’s not building his carrier around our sound.

Win has a DJ set; a DJ picks songs of interest and plays them for an audience. Having a public playlist is not appropriation, to me its homage and I see it as him showing his fans where the origins of music come from. I’m glad he’s inspired. Dashiki’s on the regular, He’s not using an African accent when he sings and he’s not building his carrier around our sound. Win has a DJ set; a DJ picks songs of interest and plays them for an audience. Having a public playlist is not appropriation, to me its homage and I see it as him showing his fans where the origins of music come from. I’m glad he’s inspired.

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24- Your music makes the world dance yet there’s a po-

realize many are suffering and I try to create a lyrical

litical edge to your lyricism, what message are you try-

visual for the privileged and under privileged to open

ing to get across?

their ears to those who don’t relate to what many think equality is especially in America.

YP- I think that’s the key to making the most effective overall song. All of my favorite or the greatest mu-

24- What artists right now, in your opinion, are the most

sicians were able to make people dance while saying

important in educating the world about sociopolitical

something political. From Marley’s “I Shot The Sheriff”

issues?

to Michael Jackson’s “They Don’t Care About Us,” taking that approach to songs is genius because people are dancing and listening, the balance, the good and the bad at the same time. I follow that technique.

24- How important do you think music is in helping to educate people, especially the privileged, on sociopolit-

YP- Guys like Immortal Technique, Dead Prez, Rhymefest, and Kanye West, plenty more I cant think off top.

24- Who, alive or dead, past or present, would you like to collaborate with?

ical issues?

YP- To quote Fela, I believe music is the weapon of the people. This is how we communicate abroad, how we keep the world conscious on what’s going on in our

YP- My father, Konono No1, Mos Def, Mode Selektor, Staff Benda Billili, Tom Yorke, Erykah Badu, Kaytranada, Kasai All-Stars, M.I.A., Azealia Banks, Dj Nigga Fox, Renato Xtrova, Eddy Tussa.

communities. From turning up telling the other side we’re enjoying ourselves, the police brutality, it’s all rel-

24- Where can fans see Young Paris in 5 years?

evant and sharing experiences is what keeps lyricism and music alive. I see myself in a place of many privileges but it depends on how you dissect the word.

I have a family that loves me unconditionally, a home to

YP- Mostly Touring but in parallel I’ll be running the lifestyle brand “Melanin” build around encouraging black excellence through Music, Fashion, Politics, Culture, and the Arts.

sleep in, I’m able to record music and share with an audience amongst many things so I’m not coming from a depressed perspective. I’m aware of the oppression and

24- If you could be a flavour of ice cream, which one would you be?

institutionalized racism, in ways it effects me but I’m also in many ways independent so I have advantages in how I’m able to live as opposed to many others but I do

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YP- Dark Chocolate Gelato with caramel, almonds, toffee, peanuts and coconut

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CREDITS

1

Writer: Owen Stroll

2 Photographer Lisa Frieling

Flume PLANTS THE SEEDS FOR HUMANITY’S DOWNFALL WITH SOME MINDS FT. ANDREW WYATT Flume has always been somewhat of a softy. And don’t get me wrong, I don’t mean that in the derogatory, “let’s make fun of Drake” kind of way. I’m just saying his music has heart. It oozes sentimentality. You can feel it even in the most beat driven and club-worthy of his tracks. During a recent interview, the Australian Producer, Dj, and musical mad scientist noted “I never really made music for festivals. I made it for people to listen to at home or on the bus. I didn’t realize anyone would ever want to dance to it”. I think that quote’s interesting because it addresses the question of why his songs seem to work in both intimate and social settings. How they can be dance-evoking and relaxing at the same time. More importantly, I think the quote also sheds light on a personal mythology that goes along with Flume’s growth as an artist. It is the story of someone who was thrusted into a genre he initially didn’t set out to join, thrived in it, and kept hold of his identity throughout the process.

Although In recent years, the 24 year old has gravitated towards a heavier sound (mainly releasing remixes), his sensibilities and overall identity haven’t changed.

On May 28th we were gifted with the single Some Minds feat. Andrew Wyatt; a dark etherial track that feels a little more soft spoken and intimate then 2013’s Drop The Game”. The song seamlessly blends in elements of Indy Rock with EDM, creating a unique sound that has everybody buzzing.

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The aforementioned Indy Rock influences could be the work of Andrew Wyatt, who’s unique vocals are a welcome addition to the piece. His voice almost has an Elliot Smith quality to it.

Fleeting yet powerful.

There’s also something to be said on behalf of his climbing up into that falsetto range, which is hard to pull off and usually reserved for the likes of Thom Yorke and Neil Young. It takes a good deal of skill but Wyatt meets the challenge with grace.

Flume, called their recording session “one of the most natural he’s ever done.” and honestly it shows.

The two really vibe well together and I can only hope this track gives way to more collaborations.

Lyrically, “Some Minds” paints a vivid picture of a relationship that emotionally ended quite some time ago, but for whatever reason the couple has decided to ignore the impending heartbreak and stay together. Maybe it’s out routine or comfort or just simple attraction (as some of the lyrics suggest). Regardless, Andrew wishes it would change. That

HE would change. More than anything, he’d like to look over at the person he once loved and be able to feel something again. Unfortunately all he sees is someone looking back at him, a mirrored blank stare. He can’t help but wonder if this was ever meant to be. That maybe they’ve been fighting to keep something that never truly existed. Now they both wait, hoping for some sort of miraculous change of heart.

Hey guys! Fun Fact! Did you know

this song is co-authored by A MOTHERF%&IN’ ROBOT!?!… Ok. Fine!

I’m getting ahead of myself! It’s not technically a robot. But you know that awesome “chiptune” solo that comes after the drop? That was created by a randomizer! To be more specific, Flume runs a computer program designed to play a sequence of randomly generated notes off of his synthesizer and then records it. He later goes through the chaotic recordings, picking out the bits he likes and stringing them together to create the

solo. It’s a really innovative technique, but be carful Flume. This is how it always starts – Before you know it we’re living in The Matrix and black leather trench coats are cool again! And that’s not a future I want to live in, bro!

“ A VISCERAL JOURNEY THROUGH THAT LAST DAYS OF A DECAYING RELATIONSHIP. “ - Owen Stroll

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CREDITS

1

Writer: Brandon Minia

1

Photo Source Years & Years

No Risks With Years & Years “Communion” FOR A RECORD WITH A FEW GOOD CUTS LIKE “KING,” THIS IS A RECORD THAT JUST FEELS TOO SAFE

Since taking the music world by storm with his single “King” from their EP Y & Y, Years & Years wastes no time in delivering more of their youthful electronica pop music through their newest effort Communion. In thirteen tracks, Years & Years demonstrates a crafty ear for sounds that are catchy and cool. And while some parts of the album may feel a little underwhelming, this is still a one that sets them in a positive direction for more great music to come.

And when we said the group wastes no time, we meant it. “Real” is only the second track on the album, and it’s enough to get audiences moving. Showing off an upbeat chorus right at the start blended with the cool vibe of more R&B-esque styles, it would appeal to fans of the likes of Miguel. The next track, “Shine”, is a little more cliché and generic in its sound structure (think Jason Derulo — and this is not necessarily a bad thing), Years & Years shows off its fantastic ear for catchy choruses, and overall the opening songs on this album, while considerably safe, are just fun to listen to and very danceworthy.

“Take Shelter” continues the cool vibe of the album thus far, and this one feels a little more Lord-esque, which is definitely a good thing. As yet, there haven’t really

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been any track that pops out, but that may change with “Worship,” which channels a more prominent hip-hop flair compared to the earlier tracks; and an energy that is more flirty and seductive than cool. Its feature is undoubtedly he massive chorus that strikes heavy and hard, and other than the chorus on “King” this is one of the better hooks on the record.

Speaking of “King,” it’s here. The song that thrusted them into the limelight of indie dance pop is here in all its glory, and it’s still as good as ever. “Desire” follows shortly after, which is another of the massive songs that defined their EP. We would’ve like to see some of the newer songs catch our attention so far, but these two tracks, ‘classics’ if you will, are still great as ever.

There’s inklings of a softer side to the band too, lead off by “Eyes Shut” on track seven, which is bolstered by some well-placed piano and a heartfelt chorus that music fans are going to love singing along to. “Nothing’s gonna hurt me with my eyes shut / I can see through them” is a hook that you would call ‘real,’ and it goes without saying that this song is probably the biggest surprise so far on the album. The soulfulness doesn’t end there, “Without” shows off some of the better vocal work on the album, channeling one of the strongest R&B

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Eventually we hit “Border,” and it’s strange to think about but this feels like one of the most involved songs on the record. There’s a jazzy vibe which complements the cool and upbeat brand of pop Years & Years has demonstrated all throughout It also features some great technical skill that we wish were a bit little more prominent throughout the record. Undoubtedly one of the more polished and mature offerings, this is a track that certainly lifts the record just a little more and shows off a slightly more grownup side to the band.

The record ends with the dreamy “Memo,” another Y & Y gem, which feels like a collaboration with Sam Smith. This is, again, maturesounding track that ends Communion on a very soulful and contemplative note; and this is definitely a good way to end any pop record. It does feel a little too short, but the great musicianship of the band here is shown greatly.

While this is an album that shows off some fantastic musicianship in the form of upbeat energy and cool spirits, overall this is still a record that feels too safe, especially for a band whose last EP had gargantuan tracks like “King” and “Desire.” Of the newer tracks, “Border,” “Eyes Shut,” and perhaps even “Without” may be the only cuts that will really turn heads, while “Worship” has the makings of a catchy chorus that is great in its own right, but nowhere near the same level as the previous three tracks I mentioned. Also, and as previously stated, “Memo” feels too short and underwhelming of an outro for the record, which isn’t too much of a drawback considering the song still sounds quite polished. But despite the lack of danger on this album, “Communion” is still a record that showcases a great electronica and pop band, and in terms of catchy indie dance pop it’s an album that still delivers with mastery. Just don’t expect too many curveballs.

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" “EYES SHUT” IS A SOULFUL, PLEASANT SURPRISE " - Brandon Minia

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Two Steps From Hell Delivers An Epic Battle Cry PALLIN’S PRODUCTION ACHIEVES A GREAT RANGE IN MOOD, FROM CHILLED OUT TO BOMBASTIC.

It’s a little cliché by now to call a release by Two Steps From Hell ‘sensationally epic,’ along with any other variations you can think of, but there is probably no better way to describe the production company’s latest effort Battlecry, a 26-track epic that throws the listener into worlds far beyond our boundaries. This isn’t really a surprise to any music fan who has indulged themselves in the duo’s music before, spearheaded in two-pronged fashion by Thomas Bergersen and Nick Phoenix, but the wonderment that hits listeners of the past and present of these two talented composers amongst the first listen is still ever present. The return to the epic war sounds that defined previous efforts Invincible and Archangel may also be a welcome return for listeners fresh off the studio’s 2014 ethereal and spacy Sun (Bergersen’s second solo record), but considering how hard those two albums hit fans, does this one still hit with the same ferocity?

CREDITS

1 Writer: Brandon Minia

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2 Artwork Cover art by Steven Gilmore

The short answer: yes. The record wastes absolutely no time with the bombastic one-two punch of “None Shall Live” and “Stormkeeper,” showcasing fabulously the individual styles of Bergersen and Phoenix, respectably. And while both tracks do feel a bit underwhelming relative to what we know the duo is capable of churning out, these are still two cuts that bite hard and are sure to yank the listener right into the universe of the record.

Following the opening punch combo comes “Victory,” showcasing just how masterful Bergersen is with combining epic orchestras with soulful, haunting vocals, making this track one of the better cuts on the album. This one truly feels like an anthem to victory, and it sounds all the more heroic when set next to Phoenix’s “Wolf King.” The atmosphere on this track is alike to a grand mural of a sprawling landscape, and so far we like how the two styles of the composers swirl and complement each other magnificently.

Amongst favourites from Nick Phoenix include “Spellcaster” on track six, at absolutely monstrous and atmospheric cut that feels like the anthem for a heroic wizard, who perhaps lives in the “Red Tower” that gets its own composition on track 8, also by Phoenix, which uses haunting and cinematic vocals as effectively as Bergersen does in most of his own compositions. Just like “Spellcaster,” “Red Tower” is atmospheric and epic, and further reinforces the exciting make up of Battlecry’s universe. “Ultraground” comes a lot later on in the record, on track 14 in the second half to be more precise, and it sounds absolutely chilling.

You could probably imagine something sorrowful or terrible happening on screen as this piece plays, perhaps a tragic death or the rise of a villain, and Phoenix does an amazing job capturing that moment artfully and epically.

Then we have “Cannon in D Minor,” a track that deserves mentioning on its own, and this is quite possibly the best piece on the album. The progression is modest yet ceremonious, building up to something bustling and even catchy, creating a contagious energy that almost makes you want to dance. It’s got an aura about it that seems to make you imagine a buzzing marketplace, sailors getting ready for a voyage, or a barracks of soldiers training for a big battle, but no matter what you imagine this is a track that will charm and inspire listeners. Thomas Bergersen is known for creating pieces that have a cinematic and story-like feel to it while still being incredibly energetic and catchy, and this track best exemplifies that mastery. If there is only one reason to even consider listening to Battlecry, let it be this track.

" “CANNON IN D MINOR” AND “ULTRAGROUND” ARE SOME OF THE MOST MASSIVE TRACKS ON THE ENTIRE RECORD " - Brandon Minia

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“Star Sky” is a surprising lyrical entry that serves as a fantastic ending to this epic album.

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Competing for contention for best track, however, might be “Flight Of The Silverbird,” and this one is absolutely ferocious. It’s a track that absolutely takes the listener to new heights, its progression twisting and turning seemingly through the air before finally stopping and leaving us in a flurry of excitement, an end to a ride that you surely wish never stopped.

This makes Phoenix’s “Outpost” something of a surprising gem because it follows “Flight Of The Silverbird,” and the hauntingly cinematic energy that courses throughout this short piece is breathtaking. The short length of this piece, clocking in at just a hair under three minutes, seems fitting for a song that still tries to be epic despite following one of the bigger masterpieces on the album, and we gotta say that it’s executed quite superbly here.

The record concludes with “Star Sky,” a five minute song featuring fantastic vocal work by Felicia Ferrare, whose penmanship is nothing spectacular but still incredibly fitting for the type of aura that permeates throughout the record’s epic conclusion. Ferrare’s skillful singing immediately shunts this track upwards as an instant highlight for the record, and the outstanding production value on this piece from instrumental to vocals is enough to wrap Battlecry up in a seemingly perfect and unbelievable package.

There are a few regrettable misses of note on this sprawling and lavish album. “Battleborne” is perhaps the most obvious, and while it’s not a bad composition by its own right, the inclusion of the vocals are wonky and questionable. The lyricism feels goofy and a little forced all over the place, and Nick’s performance overall isn’t bad but it doesn’t feel as if it elevates the song to any new heights like it probably should. Overall, this is still a sensational cut by Two Steps From Hell’s standards, but we do wish that the track did a better job living up to its expectations. (Never fear though, for there is an instrumental version of the track available.)

Moreover, there are several instances when the epic energy of the album seems to drag on and feel a little over-the-top. “Never Back Down,” for example, feels more like an intermission rather than a bridge between “Spellcaster” and “Red Tower,” while “Blackout” has understandably a lot to live up to as it follows our muchraved “Cannon In D Minor.” And we know the duo is more capable of creating better ‘filler’ tracks, with “Release Me” and “Freedom Ship” being an example of two tracks that doesn’t possess the same memorable energy of the track before it (in this case, both being right after “Ultraground,”) and still being something stunning in its own right. “Outpost,” a track we mentioned above, is another great example of a piece that directly follows something that is absolutely stellar and memorable. Of

course, considering who we are talking about, these are seemingly very trivial criticisms for a musical duo whose music is monstrous no matter what.

What’s the long answer when it comes to our previous question as to how ferocious this record is in comparison to the duo’s previous epic hits? It’s a copout answer, but the answer really depends on the listener. A new listener who has never heard any of the duo’s previous work may be absolutely blown away, as they should, while a more veteran fan may be a little underwhelmed at first due to the ever high expectations that comes with a record by Two Steps From Hell. Undeniably, this is the company’s highest quality production to date, but whether the record soars to new heights previously unseen is definitely a question subject to debate. Nevertheless, Battlecry gives you exactly what you are looking for when it comes to an album from Two Steps From Hell, and with tracks like “Cannon In D Minor,” “Flight Of The Silverbird,” “Ultraground,” and “Spellcaster,” there is surely something on here that will inspire anyone and everyone.

“ SOME OF THE LESS MEMORABLE PIECES, WHILE STILL GREAT BY THEIR OWN RIGHT, CAM FEEL A LITTLE TOO MUCH LIKE FILLER THAN TRACKS

BY THEMSELVES “ - Brandon Minia

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CREDITS

1

Writer: Brandon Minia

2

Photo Source: Color Palette

Color Palette Quietly Charms With Single “Seventeen” PHENOMENAL LITTLE TRACK THAT SHOWCASES A MATURE AND REFINED SOUND

Color Palette’s “Seventeen” is one of the most wonderfully vibrant yet radio-friendly songs we have heard in a long time. There’s a certain summery feel about this track that rings out and soothes the soul; clocking in at just four minutes and thirty seconds, this is a track that neither tickles the body for too long, nor does it tease the listener and leave.

The song writing is phenomenal here, crooned by Jay Nemeyer’s haunting yet sweet voice, backed by an instrumental that is nostalgic yet grounded. The drums never pulse along too quickly or slowly, keeping up gracefully with the mellow and dreamy tone of the song.

The guitar work isn’t too flashy, but that’s great for a song of this type, as it melts into the song rather than carries or stand out. There are hints of brit pop oozing at every second of the track, coupled very nicely by an alternative energy that is reminiscent of Coldplay and Blink-182 during their post-punk days. The chorus seems to drip away softly at every turn, a hook that is as catchy as it is enthralling. As a result, you have a band

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whose maturity seems to transcend even them, and with a song such as “Seventeen” it seems their potential to produce even more quality songs is all the more higher.

“Seventeen” is the mark of an exciting young band that seems to already have the tools and skills to please audiences and create good music. Some people may wish the production was a little tighter, but as it stands the current mixing gives the song a great raw garage feel, which is excellent for those who enjoy that. But considering how tight and polished other great anthemic tracks of this type are — and I dare to namedrop legendary songs such as Every Tear Drop Is A Waterfall (Coldplay) and Iris (Goo Goo Dolls) — you might find yourself wishing the production of this song aspired to be like the crispness of songs like those. Nevertheless, it is clear that if the quality of this charming little track is any indication as to how good this Washington DC band can be, it seems only a matter of time before they captivate the indie rock scene. Keep this band on your radar.

“ THE GARAGE-LIKE FEEL OF THE PRODUCTION IS GREAT TO THOSE WHO LIKE IT BUT OFF-PUTTING TO THOSE WHO PREFER MORE POLISHED TRACKS OF THIS TYPE “ - Brandon Minia

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CREDITS

1

Writer: Trent B Minia

2

Photographer Frankie J

ZARDONIC & MIKEY RUKUS BRINGS ON THE FIGHT

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“ THE COLLABORATION BETWEEN ZARDONIC’S ELECTRONIC METAL STYLE AND MIKEY RUKUS’ EXPERIENCE IN PRODUCING MMA THEME MUSIC RESULTS IN AN OVERALL WELL-PRODUCED TRACK “ - Trent B Minia

Set as the 2015 theme song of NBC

Concentrating on the song alone, “Bring It

blazing track composed and produced as

Sports Network’s World Series of Fighting

On” delivers the sound with enough juice

the 2015 theme song for NBC SN’s World

(WSOF), Zardonic and Mikey Rukus steps

to make you destroy stuff. The song begins

Series of Fighting.

into the ring with “Bring It On.”

with fierce lashing vocals that invites the listener to look into the singer’s eyes, step

The audience hears Zardonic’s fiery elec-

This isn’t just any other fight song. This is

up, and bring it on… That’s very much ex-

tronic metal fusion and Mikey Rukus’ years

a theme song for a mixed martial arts tel-

pected from a fighting theme song. After

of experience and knowledge with produc-

evision program! Just like theme songs for

the opening vocals, the rest of the instru-

ing creative theme music in sports. With

wrestling and mixed martial arts fight-

mental kicks in and the audience is thrown

the two together, the final product deliv-

ers, the music should be fiery and emo-

Zardonic’s electronic and metal genre fu-

ered to the audience “Bring It On” that ap-

tional with lyrics telling you’re opponent,

sion. “Bring It On” brings driving guitars

propriately fits the atmosphere and emo-

“I’m the boss and I am going to take you

and screaming vocals delivered by Mikey

tion for WSOF, but hey; it doesn’t just have

down!” In addition, the aggressive na-

Rukus, along with smashing drums and

to be for the show. Go ahead and add this

ture of the sound should be perfectly fit-

energetic synths created by Zardonic, all

to your gym workout, driving, metal par-

ting with fighting clips from the show.

working together to raise the audience’s

ty, sports & racing video game soundtrack,

“Bring It On” checks everything off the list,

adrenaline level exceed past the limit.

“I’m the boss,” or any suiting playlists you

and Zardonic and Mikey Rukus makes it

Overall, Zardonic and Mikey Rukus is a ge-

have. “Bring It On” is just the song you

very much an appropriate theme song for

nius collaboration and they both put to-

need to bring it on.

WSOF 2015.

gether a great all-forces-out and all-fists-

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PAPA ROACH STRIKES AGAIN WITH F.E.A.R

CREDITS

1 Writer: Brandon Minia Photo Source: 2 Papa Roach 42

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ANOTHER SOLID RECORD BY ONE OF MODERN ROCK’S EMERGING CLASSIC NAMES Papa Roach boasts a very respectable catalogue of music — as nu-metal and alternative fans will happily attest to — and although their latest effort F.E.A.R might be a little underwhelming, it’s a welcome addition to a collection of music that fans both new and old will enjoy.

Early standouts include “Skeletons,” a surprisingly poppy yet still heavy track that is real in its lyrics and straight-forward in its delivery. Singing about the troubles of past relationships and abuse is nothing new for the band, as fans who remember “Scars” will tell you, and although “Skeletons” is not as potent as the band’s breakout single, this is still a solid song. As the band themselves states, F.E.A.R is an album that is heavier than fans may be used to, and the catchy yet raw pomp of “Skeletons” should demonstrate that quite perfectly.

“Gravity” is undoubtedly a fan favourite, channeling some old school nu-metal and rap metal vibes and embellishing it with one of the album’s most powerful choruses. Papa Roach does an undeniably good job of inserting this angsty cut which, while normally out of place on a record that has a rockier and more alternative feel, still fits very well on F.E.A.R, and is a very apt ode to the band’s roots. Although musicians are never obligated to do so, Papa Roach’s temporary return to their rap metal origins in one of the album’s tighter tracks is a nice touch that older fans will drink exuberantly. Fall Out Boy’sPAX AM Days is probably the biggest example I can think of where an artist does this, with the spontaneous EP being a fantastic nod to the old punk and skater rock that dominated their Take This To Your Grave days. Indeed, “Gravity” is a fantastic track that not only deserves this lengthy paragraph about musicians taking random trips back in time, but also your attention when you pick up this record yourself.

If there’s a track that might stand as the best on the entire album, my bet would be “Love Me Til It Hurts.” Shaddix’s vocals sound absolutely stellar here, standing toe-to-toe with the entire instrumental. The progression between verse and chorus is smooth, the hook is both angsty and punchy, and the overall emotion is emotionally raw. This particular song should certainly be in contention for one of the band’s greatest, and should most definitely be one of the main reasons to pick up this album.

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All this being said, a lot of lyrics are do feel a little too on the nose (see “Devil,” “Falling Apart”).

There isn’t anything too grandiose or clever, but that doesn’t mean the song writing is bad. If anything, the raw and straight-forward nature of the words lend itself to the brisk and heavy style ofF.E.A.R. Now, while this is stylistically a good thing, technically this isn’t something that everyone will enjoy, and as a result you do get some tracks that just don’t seem to have as big a punch as you’d want them too. This is also without considering that some tracks seem to lack an instrumental that allows it to stand out from the rest of the record. To my grievance, this includes the lead track “Face Everything And Rise,” which is nowhere close to the energy and force that hits with “Skeletons” right after.

F.E.A.R indeed is a wonderful collection of songs that show off what we knew Papa Roach could do.

“Love Me Til It Hurts” is a fantastic cut that should leave listeners on their toes while “Gravity” is a welcome nod back to the group’s rap metal beginnings. A few songs will certainly impress you, but you’d be hard pressed to find too many things that will shock or catch you off guard. That’s not necessarily a good thing, but that also means you won’t be blown away too much by this record, even if it is a solid album in its own right. Rock fans familiar with Papa Roach’s work may consume this one with delight, but fans with wider and more nuanced taste might find this album harder to appreciate.

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" THERE’S A FEW TRACKS HERE THAT WON’T PARTICULARLY BLOW YOU AWAY, WHICH OTHERWISE PROLONG THE ALBUM A LITTLE MORE THAN IT NEEDS TO " - Brandon Minia

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Jared Deck gives us a crash course on Midamericana with “17 Miles” 46 – 24OURMUSIC

CREDITS

1

Writer: Karl Nicolas

2

Photo Source: Jared Deck

“ DECK’S RASPY VOCALS REALLY INVIGORATE AND PUNCTUATE THE TRACK.“ - Karl Nicolas

THE INSTRUMENTAL ARRANGEMENT IS ABSOLUTELY STELLAR: SOMETHING LIKE AN ORGANIZED YET CHAOTIC SYMPHONY OF SOUND. Have you heard of the genre “Midamericana”? Well, neither have I. But luckily for us, Oklahoma native Jared Deck is here to give us a crash course on music that is said to be “crafted to invoke the spirit of Middle America”. His latest single titled “17 Miles” was just released on June 2, and I’m curious to see how it captures the essence of mid-American sound, and whether that sound is something that has the potential to join our standard rotation. Jared Deck is an artist who comes in with an abundance of experience under his belt, having performed live at Sundance, NX35 and other high profile music festivals and venues.

Hopefully, this single reflects that experience which so many budding artists today seem to lack.

Where to begin. There’s so much good going on in “17 Miles” that it’s not easy to pinpoint just one specific aspect.

But a nice place to start would probably be Jared Deck’s own rich and raspy vocals. Every iteration of “17 Miles” he croons out seems to be perfect, meshing seamlessly with the wild backdrop of instruments. And then he punctuates his song/journey (being 17 miles away from his destination) by heartily repeating the lines “I’m coming home” before the end of the track, providing a stellar finish to his fantastic vocal performance.

Of course, Deck isn’t a one-man band, and the toe-tapping instrumental rocking out behind him has got to come from somewhere. One particularly striking sound is Brandon Cink’s electric guitar, which really adds a dash of spice with stellar licks that pepper the “17 Miles”, along with Jacy Deck and Chris Wiser who supplement the already rich sound with complementary organ and piano. Last but not least, it would be criminal to forget Fred Handradt and Travis McKinzie who lead the rockin’ rollin’ track with their bass and percussion, respectively.

For an emerging genre (or maybe I’m just an ignorant Canadian), Jared Deck’s brand of Midamericana has certainly impressed. Coming off like a mixture of equal parts rock & roll and country music, the result is a song that doesn’t sound congested, or forced. On the contrary, “17 Miles” is engaging, and sounds about as complete as a song can be. This is a single that would probably make it quite high on the top charts, provided it was given enough exposure.

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CREDITS

1

Writer: Karl Nicolas

2

Photo Source: Matthew Santos

Matthew Santos’s Pièce De Résistance: “Into the Further” Absolutely whimsical craftsmanship on every level. The album sounds superb.

I don’t know how many indie musicians, or even slightlyremoved-from-mainstream-musicians, I’ve reviewed that actually have a Grammy nomination under their belt… much less two. But that’s exactly what the soulful Matthew Santos has. In addition to six records, he also boasts having done 300 live performances world-wide, and has appeared on such shows as David Letterman, Jimmy Kimmel, and Ellen. Now he is set to release a seventh album titled “Into the Further” in which he has bares his soul in fourteen new tracks. Could another Grammy nomination be waiting in the mix?

The album starts off with the titular track “Into the Further”, immediately enveloping you in a dreamy cocoon occupied by echoes of multiple unnerving voices, all repeating “into the further”. This is accompanied by some spellbinding drumming which fades into the further to conclude the short track. I guess the real meaning behind the

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puzzling name of the album and song is simply something of an invitation, calling out for the listener to delve deeper into the depths of Santos’s fourteen track album (so: “once more into the breach” my readers!).

The most impressive track on the album (at least in my opinion) is “Seven Years”, which also slowly eases you into its ambient atmosphere. The same riveting drumming which drove the first track returns, along with a nice synth which seems to carefully tiptoe along. We also get the first taste of Santos’s unbelievable vocals here: a powerful voice that absolutely blows you away the moment you hear it. But in this track, it doesn’t take center stage. Rather, Santos’s vocals weave comfortably in and out of the instruments, creating a whimsical, melodic fabric. This track ends up flowing like silk from beginning to end.

I had to brace myself for whatever was next: could Santos

really maintain the same quality throughout his album?

“Seven Years” is followed by “It All Works Out”, wherein my scepticism was immediately addressed. The track begins simple enough, once again with some inspired drumming, which is then supplemented by some stellar strings, adrenaline-fueled plucking which set every hair on my body on edge. The same strange feeling which hung over the first track also emerged in this one, and Santos’s voice soon joined the fray to assure the listener, that despite the somber, chilling tone of the instrumental – “It all works out”.

One track on the album which seemed a bit odd (at least to start) was “Winter’s Song”. In order to hear anything at the beginning, I had to turn my volume to max, and even then, it was challenging. When Santos finally becomes audible, it sounds as if he’s crooning over an open fire, the ballad

slowly gaining ground as the warmth envelops him. The track truly has something of a “warmth”, as its volume and tempo increase to summon up some magnificent imagery of an open flame gently bursting into life. Towards the end, the song caps off with a welcome violin cameo, before everything begins fading away into a slow-burning flame.

The album concludes on the track “And Now the Leap” which in a brilliant move, also uses the same hollow and chilling voices in the first song on the album. We’ve come full circle, and the lyrics “Into the Further” are now also supplemented by “follow me”. And to be honest, I’d be inclined to follow the talented trailblazer. Santos’s music arouses real emotions, powerful imagery, and just sounds great. The quality of his album refuses to dip despite my own concerns, and I can only really complain about the volume level on one song (which was probably purposefully, and artistically, done anyway). The bottom line really

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CREDITS

1

Writer: Owen Stroll

2

Photo Source: Static Gold

Static Gold THE FURY WITH STATIC GOLD’S MASTERPIECE

Funk is a cool music genre. Swing is another cool music genre. Fuse the two together and you get a super-cool genre — Funkadelic Swing — played by Montréal-based six-piece band Static Gold.

With Daniel Pombo on the guitar, Thomas Viardot on bass, Samuel Chaco Kohn on the keys, Beth McKenna on sax, clarinet, and flute, Louis “LoudHands” Souverain on the drums, and Zaynab “Zaya” Solange on the vocals, this very talented group forms Static Gold. In 2014 they released their first eight-track album, Speaking Easy, a play on the word speakeasy, which is a prohibitionera term that describes a place where then-illegal alcoholic beverages were sold. “Fury’s Dance” is Speaking Easy’s third track, and in four minutes there’s certainly a lot that happens.

The track is split into two: The first two and a half minutes Zaya performs the vocals of the song, showing her range and power. The drums also play a role in controlling the pace of the song without changing the tempo itself. A whistle synth is also heard throughout the song to give Fury Dance a cool modern feel to the sound. The second half of the song is purely instrumental, including a saxophone solo, and pretty much the drums, guitars, bass, keyboard, and brass performing a fury of beats, notes, and rhythms to complete the song.

The music video, developed by Legato

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Productions and released under Static Gold’s YouTube channel, is the band’s first released music video, which appropriately captures what the group really is about.

The retro-themed video begins with three traditional dancers performing in front of some of the band members who play the judges. All of a sudden the traditional jazz music stops with the sound of a needle scratch, and Fury’s Dance starts playing.

The modern dancers make their way to the stage and begins their own routine. Everyone else, including the bartender played by Thomas, looks unimpressed, even with the judges scoring them as low as a two. Soon enough the traditional dancers join in and the viewer starts to see tradition and modern music and dance fuse together, much to the judges’ and the bartender’s bewilderment. The video concludes with the whole band playing together, along with the traditional and modern dancers breaking out more dance moves.

From their first album to their first music video, all professionally produced and

From their first album to their first music video, all professionally produced and developed by a group of very talented musicians, Montréal’s Static Gold has a very bright future ahead of them. Fury’s Dance, one of the tracks in their debut album Speaking Easy, fully captures the style of the group and what Funkadelic Swing is all about. The music video, which features a fury of musical dance and performance, also accurately portrays Static Gold’s unique and fused flair. Once

they brush up on their mixing and mastering, they will be on their way to creating music of solid gold.

“ A VISCERAL JOURNEY THROUGH THAT LAST DAYS OF A DECAYING RELATIONSHIP. “ - Owen Stroll

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CREDITS

1

Writer: Daniel Tremblay

2

Photo Source: Paradigm Talent Agency

HANDSOME GHOST DEBUTS WITH “STEPS” EP

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THE DISPARITY FROM THE DEMO VERSION “BLOOD STUTTER” AND ITS INCARNATION ON THE ALBUM CERTAINLY POINTS TO THIS.

On March of 2015, Handsome Ghost re-

er music, and so it is interesting to hear of

gles, or even further back to the success of

leased their debut EP, “Steps” to a horde

Noyes’ refusal to house the electric gui-

“Suit and Tie” era JT, it is surely no wonder

of fans held in anticipation. It would be

tar on his recordings. An ironic act of musi-

that Handsome Ghost would try to play up

strange to say such a thing about a six

cal puritanism, one remembers Bob Dylan

their roots in music of the past. Nostalgia

track effort were it not for the band being

being booed offstage for playing an elec-

has been salable forever. The problem is

Spotify-famous before its release. A demo

tric guitar at the Newport Folk Festival (as

that these “influences” are not at all obvi-

version of the group’s song, “Blood Stut-

the myth goes), and can’t help but feel like

ous in their music, and that the whole ex-

ter” hit something close to the seven mil-

Handsome Ghost misses the point of folk

ercise is as confusing as it is annoying.

lion play mark leading up to the release of

in more ways than one. This sort of brand-

The standout track on the record is

“Steps,” making their signing to Photo Fin-

ing shows you the monetary potential of

“Weight Of It All” precisely because it

ish/Republic something of a no-brainer for

selling pop music to scene girls by market-

seems less abashed about being a pop

record execs.

ing it as anything but.

song than the rest. The melodies on this

You tend to hear scene success stories

Like any new business, Handsome Ghost

the rest of the record. That hook is sim-

such as these every now and again, and

has some kinks to work out. The melodies

ple, concerted, and effective. Going for-

usually, as is the case here, they come with

on this EP are quite good at times, but cer-

ward, tracks such as these seemed primed

a back story. In almost all of the literature,

tainly not “radio-good”; the obvious end

to give the group a degree of success that

and press releases on this group you’ll find

game here. The disparity from the demo

will overshadow what they’ve been able

a discussion of frontman Tim Noyes’ aban-

version “Blood Stutter” and its incarna-

to do so far. And in a review ripe with crit-

doned teaching and folk music careers, as

tion on the album certainly points to this.

icism, that should come across as a great

well as buzz words which label its product

On the demo the vocals are hard-tuned; a

compliment.

“electro-folk” or “synth-folk”- marketing

pop-trope no longer en vogue. Converse-

tools intended to distract the listener from

ly, the album version keeps them “natural”

This commodity is just mislabelled. In the

the obvious realization that the music just

sounding. There has been a general move-

Walmart that is the music industry, we

ment amongst pop artists towards the fa-

aren’t finding “Steps” in the electronics

cade of naturalness, of being analogue,

section, and we should be.

track are ahead of the pack relative to

isn’t that good.

“Steps” is packaged and sold to its listen-

in recent years. Looking at the success of

er as an amalgam of folk and synthesiz-

Mark Ronson’s explicitly retro-inspired sin-

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“Uplifting Album Defies Gravity” CREDITS

1 Writer: Trent B Minia Photo Source: 2 Again The Current 56 – 24OURMUSIC

I reflect back to when I listened to and reviewed Against the Current’s mini-album Infinity at the eve of Summer 2014, and how I instantly fell in love with it. To this day, “Infinity” (the first track) is my go-to play-along song for practice drumming sessions, and “Comeback Kid” is my number one feel-good, head up, giving-no-damn chilling song. (Heck, I even use it as one of my goal-against songs in NHL14.)

Since their release of Infinity, the young trio of Chrissy Costanza, Dan Gow, and Will Ferri (brother of Mike Ferri of We Are the In Crowd) from Poughkeepsie, New York continues to grow together as a band and take the rock scene by storm. They have performed and uploaded covers of other popular songs such as Paramore’s Ain’t It Fun and Mark Ronson and Bruno Mars’ Uptown Funk on their YouTube channel, as well as Taylor Swift’s Shake It Off (via Kurt Schneider’s YouTube channel), with each of the aforementioned covers amassing at least three million views. They are nominees for the 2015 Kerrang! Awards for Best International Newcomer, and in March 2015, signed with Fueled by Ramen! (Wait, so you mean THE Fueled by Ramen, the same record label who also has artists like Fun., Panic! at the Disco, Paramore, and

Young the Giant signed?! This is no joke—Against the Current is joining huge company here.)

Their latest six track extended-play, Gravity, was released mid-February of 2015 as an online download. While sticking to their unique style of rock, Chrissy and company pushes their limits past the sky and shows a more aggressive side compared to the sound of Infinity.

The mini-album opens up with “Gravity.” This three-and-ahalf minute fast-paced track is about losing someone who was once your “gravity,” and the song showcases Chrissy’s powerful vocals of driving force with an excellent range. The music video, released on their YouTube channel at the end of October 2014, features the band performing in a room with smoke and lively lighting effects.

The second track, “Talk,” also fast paced, adds a bit of angst and fire to make it another candidate for your “I don’t give a damn about anything” playlist. If you’re coming off of a breakup or betrayed by a now-former friend, “Talk” has the perfect spirit to keep you on your feet, your head up, and

- Trent B Minia

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the strength to keep you walking in this tough world. The accompanied music video features Chrissy and the band pulling a guy out of a trunk with his head covered, sitting him on a chair and tying his wrists together, as ATC begins to performs the song in front of him. We don’t know exactly what the guy did to deserve all that, but hopefully after watching the video you will know better not to mess with Chrissy.

Ever.

The album slows down with “Dreaming Alone,” a three minute love anthem featuring Taka from Japanese alternative rock band One Ok Rock (sounds like “one o’crock,” not “one oh-kay rock”). The song has the perfect vibe to keep you in a cool and heart-warming atmosphere while holding your spirits uplifted. A music video, released by Warner Music Japan and directed by Dillon Novak, sees Chrissy lying in a grassy field singing with arrows pierced through her, clearly in pain. The scene switches to night, as the rest of the band, with Taka also singing, standing with arrows on his back, are seen performing in the same grassy field, illuminated by distant lights in the background. Taka begins pulling the arrows off of both of them, and the video concludes with Taka and Chrissy singing against a tree, in the same shot.

The fourth track, “Paralyzed,” brings the tempo of the album back up to a fast pace. The song cranks up with thumping toms and a guitar riff, readying for a fight. This particular track works great as a self-healing song, as Chrissy sings about facing, fighting, and conquering your inner demons; life will always present itself with a difficult and rocky path, but you must always keep your head up and battle through it,

even if the voices in your head are trying to tell you everything is impossible.

In the music video, ATC performs this song in a room with lightbulbs hanging from the ceiling.

The fifth track, “Fireproof,” is another high-energy rock anthem. The track is a great keep-your-head-up song that tells the world you won’t put up with anyone’s betrayal and heartbreak. Gravity closes out with the sixth track, “Brighter.” It’s slower in pace like “Dreaming Alone,” but contains an exhilarating atmosphere where Chrissy sings about putting the past behind, coming out stronger, and being unafraid to take risks.

Against the Current impresses yet again with their six-track album, Gravity. The young trio did a fantastic job showcasing each of their talents and wide range of sound as a whole, composing both fast and slow anthemic rock songs that captures the hearts of listeners who can emotionally invest and connect with the music. It will be exciting to see where ATC goes from here, and how their sound will evolve now that they are under Fueled by Ramen. They have all the charm to get new listeners enthralled, while keeping current listeners in love. While many listeners compare almost any female-fronted rock band to Hayley Williams and Paramore (sometimes ones that don’t make any sense at all), ATC is reaching towards the point that soon enough listeners will start making the same kind of comparisons to Chrissy Costanza and Against the Current.

“ GRAVITY TAKES ANOTHER STEP FORWARD FROM THEIR LAST ALBUM “INFINITY,” SHOWING A MORE AGGRESSIVE SIDE TO THEIR ROCK STYLE “ - Trent B Minia

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CREDITS Source: 1 Writer: 2 Photo 60 – 24OURMUSIC Karl Nicolas Rick Wenner Photography

The Como Brothers impress with harmonics on “Imagination” ALL THE ELEMENTS OF GOOD POP ROCK IN “IMAGINATION”.

Although it may be difficult to explain my own tendency to enjoy the “pop rock” genre despite its bland and interchangeable nature (welcome to mainstream music), I just can’t seem to wholly abandon it for something more niche or distinctive. There’s something about those blasted one liners, infectious instrumentals and the ubiquitous theme of love and heartbreak that I simply cannot cut off. So, essentially, the pop rock duo of The Como Brothers are right up my (love/hate) alley.

The duo’s six-track album Imagination has a lot to prove however, as to stay ahead of the pack you do need something divergent about your sound, but paradoxically, a unique sound in this genre is nothing short of a miracle.

Luckily, the brothers have an

impressive track record, with their music already being featured on shows like Keeping Up With The Kardashians and MTV’s Real World Portland, in addition to having spent years playing with a Beatles cover band and working with Grammy award winning producers.

It all begins with “Good Enough For Me”, a rousing track with an uber-catchy chorus which you could probably commit to memory after three listens (surprise, surprise!): “I’m riding with my eyes on the distance, never gonna blind my existence, I’m gonna take a shot with what I’ve got, and that’s good enough for me”. Although these lines are rather cheesy and comically recycled from pop song to pop song, an electrifying guitar solo shakes things up near the end, promptly followed up by an exceptional harmony to cap off the track. Something else of note: there wasn’t anything particularly impressive or special about The Como Brothers’ voices, but the song as a whole still has the chops to get some run on today’s radio.

The duo gets smart in the following track, opting to start off with their wonderful harmonics this time around. “Tell You I’m Fine” is by far a more impressive vocal showing from Matt and Andrew, all the while still incorporating a memorable, funky fresh tune as per modern pop rock anthems. One thing ultimately becomes certain by the

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The titular track on the album “Imagination” is definitely driven by the brothers’ John Mayer inspiration. In much the same way as the legendary playboy himself, the brothers are able to get that charming raspy sound just right, not just singing but serenading their listeners into submission. The delightful keyboard also drives the track, occasionally punctuated by some fantastic drumming courtesy of Steve Jordan. The strings are also particularly groovy in this track, especially towards the end with a short but provocative guitar solo.

All in all, The Como Brothers are unable to really churn out their own “unique” sound. The titular track “Imagination” sounded like something John Mayer could have released in his earlier days, and everything else might have a copycat on the Billboard Hot 100. However, the brothers do have voices which are quite distinct from other singers today, and with them being a “duo”, those voices together is in itself something spectacular to hear. The typical pop rock elements are also packaged into their music, whether it’s the catchy choruses or I’ve-hear-itbefore-but-it-still-sounds-great instrumentals, it’s all included in Imagination. All that’s missing is some critical attention and The Como Brothers will be on the airwaves soon enough.

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" A GOOD “JOHN MAYER”-ESQUE SOUND FROM HIS HAYDAYS ALONG WITH SOME WONDERFUL HARMONY BETWEEN THE BROTHERS." - Karl Nicolas

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