24OurMusic Magazine - Issue 05 2013 by 24Our Music

24ourmusic SEPTEMBER 2013 / ISSUE 05

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CAS IS DEAD One of England’s most rotten rappers

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Dead Exit REVIEW This trio of Producers is bringing a new light to the Dubstep Scene PAGE 32

kOTTONMOUTH KINGS The Kings from Cali are bringing some serious Chronic!

44 PAGES OF EXCLUSIVE RVIEWS,WRITE-UPS & INTERVIEWS

Dysphemic and Miss Eliza Exclusive Interview with King & Queen of Dub-Fusion

THE FORTHCOMING 5TH EDITION OF 24OURMUSIC WILL FEATURE NEW AND EXCITING ARTISTS, LONG TIME CONTRIBUTORS AND AS ALWAYS IS HERE AS YOUR 24ourmusic LOYAL GUIDE THROUGH THE INDEPENDENT MUSIC SCENE

30 28 SOMETHING ELSE TECH N9NE AWOLNATION

CONTENT

Awolnationâ&#x20AC;&#x2122;s Something Else Symphony is exactly- as A the title Megalithic implies: something Masterpiece unseen, visceral, profound, intense, dark, curious, and without a doubt unforgettable.

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32 12 04 DEAD EXIT Dead Exit, quite simply, has the tools and the taste to mix and create something epic.

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A Multi-Dimensional MetamorWE , THE UNphosis DERSIGNED 2

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FaBe & His Dry Bilz SofriThe &tos Kashif 10

Lights I WILL NEVER BE THE Unplugged SAME

DYSPHEMIC & MISS eliza: iNTERVIEW

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Exclusive Interview with King & Queen of Dub-Fusion

16 13 A TRIBE CALLED RED ABLUM REVIEW

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MATHS TIME JOY

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CHRIS GIANNINI

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CAS IS DEAD

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EDITORIAL

This issue of 24OurMusic Magazine features many new artists; From rising talents debuting out of their hometowns, to artists who have put years into their art and seen the results of their efforts. As always, we’re proud to support these musicians and we are striving to bring you some of the best that are making their marks in the ever-growing Independent music scene. This edition of the magazine features an exclusive interview with the respected duo—“Dysphemic & Miss Eliza, a look at Tech N9NE eye opening album Something Else, and much more on what’s happening with bands around the world. Delve into the pages and let the music play; Here is the 5th edition right in front of you, with much to provide to all who love music.

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ENTER DEAD EXIT Samples of Mario exclaiming “oh yeah!,” or bone churning bass grinding..

Almost anyone who avidly listens to today’s music knows of, or is at least familiar with the world electronic and dubstep music. Hardhitting bass and steady marching tempos are a new fashion, outfitting soundtracks to zombie movies, cyber-themed video games, and rough make-out sessions. Whether you view such a movement of music as an obnoxious and noisy nuisance or a necessary dose of aggression on steroids, dubstep seems to have carved a deep niche into the musical universe. This being said, we turn our attention to the force of Dead Exit, a UK-based group who have been roaring since November of 2012. For the time being, their “newness” is a deterrent; while their mixes show vibrancy, energy, and a desire for something genuine and loud, their music seems to still be finding its own unique swagger. Their DeadCasts, for example, showcase the group’s hard-hitting taste for roaring bass drops and aggressive electronic sequences. However, the mix is a constant barrage of epic drop after epic drop, eventually becoming a tiring ordeal, and the transition between the tracks are not as seamless and smooth as they could be. While this style of music is meant satisfyingly loud and obnoxious, does not seem to be a cohesion, lack of variegation, being more and random than organized. As a 4

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to be there and a loose result,

while the DeadCasts fulfill any need for something pulsating and loud to be roaring in the background, its roughness can be very difficult to listen to.

Writer of the story Chris Fisher Photographer Dead Exit

Their remix for Inner City’s “Good Life,” on the other hand, is a pleasant experience. As a more lovestep-sounding track, the song progresses smoothly and alternates nicely from Inner City’s sounds before dropping into a trippy sequence of electronic bass. The build-up to each drop is at the right intensity, resulting in a satisfying drop that seems to politely walk the listener lovingly through a relaxing, electronic infused “good life.” One feature of their music are Dead Exit’s mixes from their MarioBass EP, featuring three tracks themed around the Nintendo Super Mario series, and while not perfect, all three mixes are satisfying with the way they hit at just the right moments; whether they be 8-bit sequences, samples of Mario exclaiming “oh yeah!,” or bone churning bass grinding, Dead Exit has, for the most part, hit just the right notes. While still suffering from a drowning repetitiveness that detracts from all three

mixes’ cohesion, the idea of tying together all three tracks to the theme of Super Mario keeps all the sounds together and creates something satisfying for music fans and oldschool video gamers alike. “MarioStep,” the best of the three tracks, progresses nicely into its bass drops, and while the build-ups may not be the best, the induced head bobbing is still all the more satisfying. “MarioTrap” is also worth a listen, progressing nicely between each trippy electronic sequence and also inducing satisfying head bobbing action.

music, as well a good ear for seamless stitching of a cornucopia of sounds. Dead Exit, quite simply, has the tools and the taste to mix and create something epic, and it seems that their legacy has only just begun. “Work On You,” a free track from their upcoming EP, already promises to showcase an epic continuance of their work, which seems to be a commitment to producing satisfying electronic music. It is exciting to see what work and sounds Dead Exit can churn out over the next few years.

An important highlight of their work is their debut mix (listed as “The Mix” in three volumes on YouTube). An electronic masterpiece, this mix showcases a catalogue of electronic sounds of various songs and artists beautifully woven together in a 30-minute epic (I was very excited to hear Blue’s “Gemini” in Volume 1). The word “important” is underscored here simply because, despite my woes of their DeadCasts, “The Mix” showcases both a refined and excellent taste in electronic

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Writer of the story Chris Fisher

CAS IS DEAD It’s not very often you hear rappers talking badly about all the drugs they get to do..

By the time the 21st century had settled into place (after the “Y2K” followers emerged from their bunkers) a new wave of music, presently known as “Grime”, was sprouting in the streets of Bow, London. Pioneers of the rap subgenre, such as Wiley, Dizzee Rascal, Skepta, and JME, started out pushing their Grime in London’s inner city projects. Similar to the rise of Hip-Hop in the early 70’s, a negative stigma was quickly attached to the music, not surprisingly, considering all the talk of drug peddling, murder, and life in the impoverished inner city that gives Grime its grit. With all of the emerging artists making headway in the scene, one would think that Grime is flourishing and lively, which is a reasonable assumption. That is, until you get to know CAS. The masked, drug slinging rapper from the UK (regardless of his intentions of remaining unknown to the public) is one of the filthiest in the rap game, with a definite rotten style that stems from his persistent claims of being a corpse. That being the case, I respectfully give him the credit he deserves (along with my attention). He’s exceptionally clever for a deadman. Earlier this year he released his EP titled “Commercial”. The title is ironic considering CAS’s exceptionally underground status, but nevertheless, his potential to grow has yet to find its limits. The EP features a wide variety of songs, however, a few stray vastly from the common Grimy sound. 6

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“Yellow/Red” has a Jazzy sound with lovely female vocals (performed by Serena Soya) and speak much truth about ghetto hardship and the cycles that people get caught in, like gambling and, most often, drugs. “Where I’m from there’s thirty bookmakers... but not one book shop.” - Yellow/Red CAS says almost nonchalantly, yet this line strikes me particularly because it’s a comment on the focus’s people adopt living in ghetto’s. Education is not held at the top of

at a table in his flat which is covered with cocaine, and has glimpses of a crack addict doing his thing with a lightbulb. One of the darker videos, but the lyricism is catchy and full of wit, and had me rapping along within a few times listening to it. In other songs, CAS relentlessly pushes the limits of perversity and vulgarity. This is what Grime is all about. His newest song titled “Charlotte” came out with a music video in which half of the six

Maybe England would be safer without this guy walking London’s streets..

not ‘cause I’m handsome, no, it’s cause her parents ain’t responding to the ransom note.” So, maybe England would be safer without this guy walking London’s streets, but I get to enjoy his music from across the pond. Carry on making music, in that case, because the man can rap and it sounds great through my speakers. CAS has an awesome style though, in all seriousness, and has a strong ability to portray himself under different lights. That’s a big part of entertainment, keeping your listeners/viewers interested. His spontaneity and the conviction he speaks within his music plays a powerful role, and has turned me into a consistent fan. Cheers, DeadTeam.

His spontaneity and the conviction he speaks within his music plays a powerful role.. natural English gloom), struggling with addiction, and being lost in loneliness. “Numb, like I took a hit to the vein, done, threw the shit down the drain” - Walkin’ It’s not very often you hear rappers talking badly about all the drugs they get to do, at least not until they end up in court or rehab. CAS wrote a song that captures the true nature of addiction, and he’s sure that the “Drugs Don’t Work”. The music video shows CAS waking up in a puddle of vomit, rapping

minute video is him psychologically tormenting a girl who he supposedly loved before finally killing her by smashing her head with a metal bar. The gore doesn’t stop there but I insist you watch it for yourself or on the next family film night. “All Hallows” was the first song I ever heard by CAS, and the one that got me hooked. The lyrics speak for themselves. “I got this young chick waitin’ for me at home. She knows to only answer to me alone. It’s

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Writer of the story Karl Nicolas

You would be hard-pressed to find someone who hasn’t at least heard of Lights in today’s pop music culture (despite being filled to the brim with various artists). Born Valerie Anne Poxleitner in Timmins, Ontario, Lights spent her childhood travelling the world with her missionary parents – with destinations that included Philippines, Jamaica, and Canada – before settling in Toronto. Shortly after putting down roots, she legally changed her name to Lights and became a trendsetting electropop musician, singer, and songwriter. Her highly infectious, synthesized dreampop music has exposed the world to smooth electric beats which tackle the contemporary, to complement the tiny Wonder Woman’s quirky personality. Lights also says that she was inspired by Bjork, and first began to attract attention through her Myspace page as an independent music artist. Beyond programming her own instruments and writing her own lyrics, Lights has also won the 2009 Juno Award for New Artist of the Year and released many notable (and recognized) singles, including “Second Go” and “Toes”. Independence and confidence is in fact, a very rare combination among aspiring artists, and Lights excelled at both from the very beginning. Her 2008 self-titled debut EP and gold-selling follow-up The Listening were both very successful. These achievements led to the release of Siberia in 2011, and the chance to write for, and collaborate with artists such as Shad to refine her music and make an impact in the industry.

LIGHTS WRITE-UP 8

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Every song and single she has released since then has followed her early success – and her emotion-soaked music continues to thrive in the most recent 2013 album release Siberia Acoustic – where the Canadian artist chooses to show us a more intimate side. Rest assured, more awards and success awaits Lights in the future. Her self-reliance and undeniable talent only serves to guarantee a remarkable road ahead.

editors three picks for the month

FLIPSYDE

RIOT 87

I WILL NEVER BE THE SAME

Flipsyde’s message of optimism and overcoming adversity can be felt in all they produce. Whether music, film, theater or community service, this band strives to create the world they want to live in. Everyday the Flipsyde Family is growing larger and more inspired, join them today in a tidal wave of change that is transforming the world.

RIOT 87 - a band which can’t be put in one genre. Fusing the tempos from 140bmp dubstep to 180bpm drum’n’bass, with hard-rock guitar rifs and hooligan anthems / 90’ rave synths, Darko and Igor are trying to create their own genre, their own recognizable sound.

I Will Never Be The Same mixes hardedged melodic rock with pulsing ambient and industrial chords. Lighting up the stage at packed Viper Room shows in Los Angeles and securing a spot on Dave Navarro’s “Dark Matter” radio show, the band built their debut album Standby as a solo affair, but transformed it into a captivating live spectacle.

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Writer of the story Chris Fisher

DYSPHEMIC & MISS ELIZA:INTERVIEW Everything to do with Synthetic was so pedantic and outta control at the same time. But the best is still yet to come Bloomed in Melbourne, Australia from a kiss in the depths of a drum and bass party, D&E’s obsession with music and each other spawned an outfit built on melodic complexity, slamming drums, violin virtuosity and double Chris Fisher - Hey guys thanks for talking to me, I’ve been keeping an eye out for what’s been going on with your group since the release of your debut album “Synthetic Symphony”. Naturally, I have a few questions for you! Holla! 1) When did you two start playing music together, and what do you think influenced your sound? D - About 2 years ago we started doing music together. This project is pretty much every style or music we have ever made in our own solo careers mashed up together.

with each other developed since your formation until now? E - It’s always switching up. Sometimes one is more bossy or lazy than the other. Sometimes we hate each other and write nothing. Other times we just write and write and everything is liquid and like a dream – the best ever up with life, total destiny! Just depends what day baby - and whether you ask me or Dys. 3) You’ve been playing in Melbourne for sometime now, which is a city with a great scene I imagine but you were touring recently in the U.S and if I’m not mistaken, you have Europe to look forward to. What does your daily schedule look like relying solely on music?

or activate roll in ditch time. But a typical day is play with dog, music/music biz related things, teach (depends what day), imagine, ballet or hustle, disco balls, fashion alerts (I love www.all4me.com.au (sexiest high heels and lingerie EVER!) and www.charismatico. com (best!) plus the obligatory midnight adventures. D - Haha yeah our schedule is pretty damn hectic most days and seems to be getting more busy every day. But hell wouldn’t have it any other way. Bring it! 4) Have you had any notable high or low points of the tour that you could tell me about? E - oh gosh…. Alert a medic!

E – We were both, and still are, dangerously in love with Squarepusher and appreciate slick IDM programming skills. We also hated spending time apart whilst touring solo, so we just formed a band so we could tour/hang out together all the time. 2) How has the creative process in working 10

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E - Yeah Melbourne forevaaaaa! Shout outs to my filo familia, godchild trifecta and Twisted Audio crew! Well I’m an insomniac and dys is a slug (loves to sleep) so it’s like one big day or sometimes the days are the same and we’re always trying, but music is the best and all we want and dream and eat. I don’t know how to live any other way so it’s either music

D - dude! E - hehe….. I’ll plead the 5th but we played some super duper shows, got fun tatts (Mary Jane www.paristattoos.com in Charlotte holla!) pool break and enters or general mischief near or on water (and land and feel

in the sky). So many adventures, giggles and ‘oh oh!’ moments with Rhianna as the soundtrack (we also lived in a haunted house. Scary o’clock). Lessons learnt and re-learnt, big dreams and everything all in - America is so crazy I love it so much. Kisses to all the hilarious and essential friends we made on the way. I nominated Scott at Cybergroove for ‘Most patient / non dickhead agent Award’ (he so nice and witty, love him hehe). Every experience was ‘notable’, particually the ones I can’t remember. Being in a band is the best/ worst thing ever. D - Supporting Mt Eden in Denver was def the high light for me. Epicness. 5) How has the release of Synthetic Symphony, your debut album, affected you as a group? Has it given you more to aspire to? D - We put so much effort into that release, more time and energy than either of us have put into a project. So the next album is going to have to be pretty damn mammoth. Expect Synthetic Symphony on steroids for that one. E - Everything to do with Synthetic was so pedantic and outta control at the same time. But the best is still yet to come (hopefully). 6) “Melbourne’s Burning” is a great song off of that album, and it also got picked to be in an independent movie. Would you have chosen that song to be in a movie above the other five? E - Hehe thanks babe! We are super duper excited yaaaaay movie! Well, I love all our songs so if one of them decides to be in a movie, woohoo! Melbourne’s Burning is a bit of a drama queen so I totally support his foray into the land of film. D - Ha Eliza will probably fall asleep during the screening as she does with every movie, being an insomniac that is probably a good thing. Yeah I always thought that tune was very cinematic and would be perfect for visuals! So mega stoked about that and looking forward to more soundtrack work whoooop

“Synthetic Symphony”, offers up a whole new world of dubstep. Released jan. 7th

7) Are there any places in the world that you 24ourmusic

I have been wanting to collab with singers specifically from the meditteraninan... you could branch out more to, where your music would have a significant impact? D - Def looking forward to touring the UK and Europe no doubt.

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24/7. I was completely obsessed with freestyle to the point where I had trouble sleeping cos my brain wouldn’t stop rhyming shit in my head!! So it was only natural to chuck it in the mix. My rap in the D&E project is all double/ triple time fast show off rap stylee.

E - Japan. Cos anything is fun and can get big in Japan (see: David Hasselhoff ) hehe!

E - Dys has a GREAT rap hand.

8) I’ve heard that you’re working on a new EP. Anything you can tell me about it?

D - We also settle arguments at d&e HQ through freestyle battle rap.

E - The ‘Only One’ EP (Muti Music) was written just a wee bit after Synthetic was released. It’s a friendly lil 2 track and has the total opposite vibe. Fast forward present tense: Dys is working on a solo ep whilst I do my miss eliza collabs and fashion things.

E - Freestyle battle rap FROM THE HEART yo.

D - Yeah I’m finishing up a new Dysphemic Ep that I wrote on our last USA tour. Middle eastern mystical zombie Glitch Hop/G Funk tunage for the ear drums.

D - I have been wanting to collab with singers specifically from the meditteraninan for a while now. After we play in Greece expect some crazy ass combo’s in the works.

9) Dysphemic also raps on some tracks, right? What inspired you to add rapping into the mix, and what does your rap focus on?

E - Major Lazer (best ever), Tricky (essential), Rhianna (so hot I die), edit (purely crying over pro’s for no reason baby), Teebee (yum), Vybz Kartel (fun) and 2pac (love him r.i.p).

D - Maybe you didn’t know but once upon a time all I did was make hip hop beats and rap

24OurMusic Alright thank you for your time once again!

10) With the style of music you’ve adapted, clearly you could get very experimental. Any artists you would consider collaborating with to create an even deeper fusion?

I was completely obsessed with freestyle to the point where I had trouble sleeping cos my brain wouldnâ&#x20AC;&#x2122;t stop rhyming..

Freestyle battle rap FROM THE HEART yo.

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MIXE1: AN EPIC ADVENTURE Writer of the story Brandon Edward Minia

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MiXE1 (for your information, pronounced “Mikes 1”) is a mindblowingly stupendous musical act. Hailing from Herts, UK, MiXE1 is a beautiful culmination of Pop and Rock music swirled by the neon sharpness of electronic music with the aggressive dirtiness of metal music (think Breathe Carolina’s 2009 Hello Fascination but with a little more griminess.) The concept of their music is quite interesting too: their music takes place in a futuristic city (eponymously named “MiXE1”). Artistic concepts have always been a boon in music; famous artists that were prolific in the idea of conceptualized music include

Green Day, My Chemical Romance, and David Bowie, all of whom have enjoyed prominence and success. MiXE1’s recent installment within this futuristic city, Module 2, hits on all the right notes that you would expect out of grimy pop and rock music with electronic sound, delivering a fantastic and pleasurable sound topped by emotionally driven vocals. Module 2 opens with “This Is Not Goodbye,” an edgier and grimier opening in comparison to the more pop-oriented “Breathe” from their previous release Module 1. Its fastpaced, breakneck speed is completed by hard slicing screaming vocals. Catchy and

Its fast-paced, breakneck speed is completed by hard slicing screaming vocals.. breathtaking, “This Is Not Goodbye” is alike to a Celldweller track injected by the pop sensibilities of Keane. “Your Heart’s The Beat,” the second track from the EP, is also fast-paced and upbeat, with a continuous pulsating synth reverberating throughout that makes the listener feel like he is traveling through the city of MiXE1 at fast-speed. Catchy and relentless, “Your Heart’s The Beat” seems to only be missing an even hookier chorus that would complement the contagious synthesizers. The EP ends with a candle-lit, piano version

of “This Is Not Goodbye,” spinning the epic track into a whole new, cinematic direction. Listeners will appreciate this more soft, mellow approach to the band’s material in contrast to the more neon-laced aggression of their other tracks. To summarize, MiXE1 seems to be a force just getting started. Module 1 and Module 2 seem to channel something promising and refreshing, but they are by no means the lethal daggers that are sure to cut deep into the listener. In fact, it would be more accurate to call these records stepping stones; their upcoming EP Lights Out seems

to channel something that neither of the first two Modules channel: a vaster, refined landscape that fleshes out this city of MiXE1. The eponymous-named lead track sounds fresher, cleaner, and seems to refine on all the high notes that Module 1 and Module 2 have already struck. As their futuristic sound implies, MiXE1 is charging headstrong into tomorrow. Indeed, if you cannot wait to get your fix of tomorrow’s music, MiXE1 seems like a musical adventure worth jumping into.

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LIGHTS UNPLUGGED REVIEW We can instantly recognize why Siberia Acoustic may just be one of the most impressive albums Lights has ever put out.

After a two-year hiatus, Canadian electropop singer Lights has released a brand new album entitled Siberia Acoustic. This is a big divergence from Siberia which she released in 2011 – as she says arrivederci to all things electronic – and ‘hello’ to acoustic guitars, pianos, and cellos. This unplugged album veers away from the fireworks and synths we are used to hearing, and brings her oftoverlooked musical talent and smooth, soft vocals to the forefront.

underneath layers of electronica (a big plus) – and that holds true for the rest of the tracks in the album.

The album begins with “Banner”, and we can instantly recognize why Siberia Acoustic may just be one of the most impressive albums Lights has ever put out. We are able to hear the magical voice usually concealed

Moving on, we have “Where the Fence is Low” which seems to sound better with the fairytale feel of the original rendition, but still succeeds in displaying the vocal grit that Lights is capable of. To bring things back up

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Next on the docket is “Siberia”. And everything about this track – from the soothing arpeggios, to the complementary vocals of Max Kerman, and the wonderful harmony that results from the partnership – can lead the listener to only one conclusion. This track is delightful musical witchcraft.

to speed, she enlists Adam Young from Owl City for “Cactus in the Valley”. If you thought the vocal mix in “Siberia” was good, you are in for a pleasant surprise. Adam has never sounded as great as he does singing alongside Lights. Many music aficionados begin to assume that electro-pop artists can’t sing, and that’s why they chose their genres. These two triumph in throwing that assumption out the proverbial window. Their voices are simply sublime – alone and together. Regrettably, there comes a point where the acoustics begin to drag on – an inevitable result of relying too much on the relaxing piano and guitar as backdrops. “Suspension”

Writer of the story Karl Nicolas

” and “Flux and Flow” can cause a few yawns in the average listener (but in the positive light, are great tracks to doze off to on repeat). Their pacing is just incredibly slow, and lack the lyrical stimulation offered by previous songs in the album. But Siberia Acoustic has so much more to offer that these are immediately remedied by a quick skip to the following tracks. For example “Peace Sign” with Coeur de Pirate is a gigantic wake-up call. If you’re not translating the gorgeous French, then you are being amused by the wonderful second half of the song which slows everything down, and enchants you with a mollifying melody. This song is bound to be an instant,

endearing favorite in Lights’ album. And we really shouldn’t forget about “Toes”, which was considered great before, but is absolutely brilliant now. Every guitar chord lightly treads on your heartstrings and moves you to listen, to understand the tender tale that Light weaves throughout the song. There is also “Heavy Rope” which admittedly sounds a bit like country pop… but not in a bad way. The change in unique timbre she applies here shows that there is certainly much more than a little electro-pop princess.

on the pedestal. A voice often forgotten in a myriad of sounds. The smooth, magical quality of her vocals is masterfully utilized in all aspects of Siberia Acoustic. So keep the Lights on. You wouldn’t want to miss this.

Overall, this album does have its lows, but as the antithesis of something overflowing with noise – it gloriously puts Lights’ vocals on the 24ourmusic

A TRIBE CALLED RED The chanting female vocals are light and fluffy, and sound great with the hollow sounding bass rhythm..

For the longest time, I had no issues or qualms about disregarding electronic music. The aggressiveness of Skrillex put hives on my eardrums, I didn’t take Deadmau5 seriously, and I had never heard of Richie Hawtin. If you’re a deep-running electronic fan, you’re probably shaking your head at me by now. Excuse my ignorance...Not too long ago, I was shown the depth of what Dance music has to say. Once I developed a more appreciative ear, I was able to settle into the restless crowd of ravers. A friend of mine explained the tribalistic setting that Dance music revolved around. I realized the validity of what I was told when I saw, in full affect, the energy of a club packed like a sardine can. All of the people connected by the pulse of the bass, engulfed in the rhythms’ solidarity.

It’s like being back in an underground club which was made entirely of cement..

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A Tribe Called Red, a First Nations trio (Made up of Dee Jay, Bear Witness, and DJ Shub) from Ottawa has utilized their heritage to combine with contemporary electronic music. If you’re familiar with Pow Wow’s, you can understand the importance dance has in Native traditions and ceremonies. The constant drum beating has a power to it. These guys hooked that power up to an amplifier and subs to produce a truly bone shaking twist on some real classical music. Since then, they’ve released two EP’s

(Moombah Hip Moombah hop, Trapline) and two albums (the first being A Tribe Called Red – self titled). Their most recent release is , available for digital download, came out May 7th of this year. The albums has ten new songs, featuring a variety of Native artists. The first song of the album is called “Bread & Cheese” and features Black Bear, an Aboriginal musician. I can’t say that I’m sure why it was given the name, because this song has an incomparable rawness and stands a really strong opener for a banging album. The chanting that the group has become known for incorporating into their songs fits in nice and snug. Not to mention, there’s an unrelenting drive in the four count bass that pounds like Ron Jeremy. I’ll leave you with that, reader. Next up is “NDN Stakes” which features Sitting Bear, another guest artist on the album. The bass drops hard on this song. It opens with a much faster paced hide drum counting fours, and then a layer of sub is put to back up the rhythm. The off beats and snare come in and you would think it’s going to be some sort of techno song. Then the beat dies down, and you’re left with a sort of white noise mix. Don’t let your guard down, though, because a half time, deep-womping bass kicks in with

chanting and you might just break your neck. The third song of the album, called “The Road”, follows in the footsteps of the first two tracks, with a very natural sounding animal hide drum that kicks off the groove. There’s a great percussion part on this song, when everything comes to, and the layers will have you picking out new details with every replay. One of my favorite songs of the albums is called “Sisters” and features Northern Voice. Of all electronic music and its forever developing subgenres, I’ve favored the minimalistic side more than any other. This song has a vibe, although definitely not purely minimal, that gives me a nostalgic feeling. It’s like being back in an underground club which was made entirely of cement, where the bathroom is a convenience store for drugs and everybody stinks of sweat salts. Delicious.

I’ve come to admire A Tribe Called Red, for their obvious creative abilities and also for their constant consideration of where they come from. “It’s not even a choice. It’s a responsibility that we have to carry as aboriginal artists because it’s just part of our life”, said Bear Witness in an interview.

by MTV and Pitchfork, collaborated with the likes of Das Racist, and were even featured in the Washington Post’s top 10 albums of the year. Their success is well earned, and it will be a pleasure to see their path deepen and opportunities widen, and hopefully inspire some young people along the way.

Tradition and culture are not held near and dear by modernized Americans and Canadians, who fail to recognize their own roots. This trio is standing strong with who they are, both as carriers of their ancestry and as young people in the ever-advancing technological world. All that work takes passion, and their final products have earned them tours in Europe. They’ve been picked up

“PBC” is another that stands out. Much calmer, chiller, laid back...whatever. It’s like walking into the dimly lit “chill out” section of a London club. The only difference being the mesmerizing chanting going on rather than some Noden’s Ictus tracks. There are a few songs on this album that sound like they were made to be mixed, and one that strikes me in particularly is “Red Riddim”. The chanting female vocals are light and fluffy, and sound great with the hollow sounding bass rhythm and pop-y synth line. If you’re into mixing songs, consider this track, and don’t be afraid to add a little bit more punch. In terms of songs that have power, “Tanto’s Revenge” is a killer. This track is a banger, and it has a good use of the classic Trap-y high hat. It’s second to last on the album and it holds a lot of purpose being in that position. The final song of the album is titled, “Sweet Milk Pop”, and it has really been heavily sweetened. It’s an unexpected change from the rest of the album, being that it has a fast pace and overtly pop synth that squeals and dances from an apparent sweet milk sugar high.

Writer of the story Chris Fisher

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ROBERT RUDMANN PHOTOGRAPHY 20

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We understand that image is everything to you. Let us accommodate you with all your creative needs in our studio and see why we keep getting bigger and better. Studio time should always be pleasant while delivering outstanding results and we do this with pride. For more information on our rates please click the link below. Price list RRP (PDF) BOOK YOUR PHOTO SESSION Based in Montreal, we travel regularly for our clients when requested. www.robertrudmannphotography.com info@robertrudmannphotography.com

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Writer of the story Karl Nicolas

SKYLAR GREY ALBUM REVIEW A Multi-Dimensional Metamorphosis

It would certainly be quite difficult to find many of Skylar Grey’s earlier works – largely due to the fun fact that she hasn’t really… been Skylar Grey for that long. This delightful singer-songwriter from Wisconsin originally performed under her birth name Holly Brook – perhaps recognized by many for the vocals she lent to Fort Minor’s “Where’d You Go”.

To complete this metamorphosis and inaugurate her new pseudonym, Skylar Grey released her second stab at a debut album, Don’t Look Down. A quick listen to her first album Like Blood Like Honey, shows her transformation into a more confident individual who has a lot to offer those who would give her music a chance.

Holly would later undergo a surprising change in stage name and write “Love the Way You Lie” for Rihanna and Eminem, as well as co-write Diddy’s “Coming Home” as Skylar Grey. Both were chart-topping (and catchy) songs in their own right, pushing her into the musical spotlight.

We first face the raw, almost alarming emotions she possesses, come to life in “Back from the Dead” (no pun intended) and “Final Warning”. The slow build-up and eerie psychedelic backdrop allows Skylar Grey to weave a stimulating tale in both tracks – something that can be paralleled to rap-rants attributed to Eminem in the industry. The

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feeling is effervescent and electric. As the album continues, she mellows out and lets her listener in on a more sensitive side of her music – “Wear Me Out” and “Religion” presents to us a young, soul-searching woman who seems hesitant at first to put her feelings to paper. The vibe is almost country, but not quite, an interesting genre which she explores with solid poise and musical grace. But Skylar doesn’t stop there in terms of genre exploration – she continues by taking a dip in electro-pop with “Glow in the Dark” and “Final Warning”. Rather than weakening the overall cohesiveness of her album, it only makes the final product stronger. We

begin to understand this second debut as not only a re-emergence, but an affirmation and preparedness to tackle multiple facets of music. Beautifully. The epitome of this is “White Suburban”, where Skylar takes us on a jazzy adventure through the highs-and-lows of an old flame. Some may say that the track is awfully out of place in the album – but they would be mistaken. It simply compliments the many roads she is taking, the back-alleys and dirt roads that she is not afraid to brave in the name of her new sound, her new identity. The iTunes store version of this album allows you to take a listen to Skylar’s own rendition of “Love the Way You Lie” (which I wholeheartedly recommend). Rihanna really does do an amazing job in her chart-topper, but it would be a crime not to listen to Skylar sing the song as she originally sampled it. Every emotion and every lyric in the tragic romance can truly be understood through her performance – it is not something to dismiss as just an ‘extra’. This track must be listened to if you are looking to purchase the album. From the first track to the last, there is definitely going to be something in Skylar Grey’s new album that will appeal to even the most entrenched music lovers. She has covered the bases of electro-pop, to even classical, in a triumphant attempt to win over an audience with powerful lyricism and

Don’t Look Down puts Skylar Grey on display for the world to see – on a pedestal among the greatest female singersongwriters of our time

MAKE SURE TO CHECK OUT SKYLAR GREYS PREVIOUS albums & Ep! Tracks in Invinsible: Beautiful Nightmare, Building A Monster, Can’t Haunt Me, Dance Without You, Final Warning, Invisible, Tower, Weirdo, Intro

Like Blood Like Honey is the debut studio album by American singer-songwriter Skylar Grey, then known as Holly Brook. It was released by Warner Bros. Records on May 23, 2006. The album peaked at number 35 on Billboard’s Heatseekers Albums char

SKYLAR GREY RELEASED JER SECOND STAB AT A DEBUT ALBUM, DON’T LOOK DOWN.

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5 time grammy nominated singer “AS A SONGWRITER, PRODUCER AND MUSIC FAN MYSELF, I LOVE THE WAY TECHNOLOGY HAS ALLOWED US TO LISTEN TO MORE MUSIC IN MORE PLACES

infectious vocal charm. Don’t Look Down puts Skylar Grey on display for the world to see – on a pedestal among the greatest female singer-songwriters of our time – so why would we ever want to look down? Skylar on the Web: http://www.skylargreymusic.com/ http://www.twitter.com/skylargrey http://www.facebook.com/skylargrey http://skylargreymusic.tumblr.com/ http://www.youtube.com/skylargrey Follow Skylar on Instagram @Skylargreyofficial

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FABE & HIS GREEN SOFRITO Looking all the way back to his roots in Puerto Rico, FaBe has always been considered by those around him as musical talent. His interest in Hip-Hop motivated him to mature into the giftedartist-songwriterthat he is today. His first full-length album will soon be released, and Green Sofrito looks very promising. First on the docket is “Vacación” and that’s certainly what it feels like. The song plays like your typicallaidbacksummer day. No noise or complications, justFaBe’s lyrical ebb and flow coupled with a measured beat, whichkeeps the track at just the optimal point of relaxation – a definitivechillax track.

Another standout is “Heart of Glass” which explores a past relationship where both individuals were unfaithful. It plays like a love song, but it’s nothing but ‘ice cold’ to the bone. All things considered, Dry Sofrito is a debut album that will surely establish FaBe as a contender in the Hip-Hop genre. Certain

tracks can’t exactly be labelled ‘original’ but there are also a handful of absolutely exceptional hits that will have you begging the man to make more music. If you’re up for some old and new school Hip-Hop with the potential to get you hooked and lifted – look no further. FaBe’s got exactly what you need.

Writer of the story Karl Nicolas

Switch lanes and we have “El Campo” and “To My Establishment”. These onesgo much harder than their predecessor; shots fired and provocative lines make them difficult to ignore. Unfortunately, the two tracks are reminiscent of numerous other hits by artists in Hip-Hop with troubled pasts. The story and atmosphere run the same lines, and leave you eager and thirsty for a more distinctive sound in the rest of the album. We don’t get much of that until “Spoiled Coffee”. But you just have to admire the spot-on lyricism and old school feel. FaBe really shows herethat he has the potential to spread past the traditional, typical sound you hear on the radio – an exciting proposition in a verycongested genre. The real story of the album however, is “Half Dead”. If you aren’t immediately hypnotized by the backdrop and bewitching female vocalist, then you are already too far gone. The psychedelic vibe and minimal, but effective, verses give this track the perfect ‘hotbox’ feel, and you can definitely lose

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COLOSSAL CULVER American hard rock band Culver delivers a crushing yet beautiful musical monstrosity. Driven by the intensity of gritty guitars, pulsating methodic drum lines, and topped by the laceration of Andrew Cruz’s vocals, Culver is mighty, majestic, and destructive in the same blow. “Line Chaser” is heavy and pure, dishing forth grinding distorted guitar backed by a heart pounding bass drum and wrapped together by Cruz’s honest and hard-hitting vocals. There is nothing to deliberate over a hammering anthem such as this, blending together a youthful heaviness that reeks of bands such as Default and Thousand Foot Crunch. Aggression, aggression, aggression; 26

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that seems to be the key force of this song, and it’s a theme that will appear in more of Culver’s music. “Indicator” has a war-like intensity that begins with the beckoning of a sinister bass line, treading lightly before exploding into straight-forward testosterone-injected pugnacity. Methodic and pure yet heavy and unrelenting, “Indicator” brings a clear and direct urgency that is reminiscent of Trapt’s “Headstrong” and Queens of The Stone Age’s “No One Knows.” No secrets, and no close reading involved, “Indicator” gracefully and masterfully drives forth aggressive bombastic swagger in the form of heavy guitars, gyrating bass, and pulsating drums.

Writer of the story Brandon Edward Minia

“I’ll cut you right where you stand;...” a line from “Indicator,” and a line that summarizes what Culver seems to want its audience to learn right at the onset. There is no beating about the bush, no magical tricks, and no deliberation over meaning; Culver is direct on delivery and are absolutely magnificent while they do it. Their music is available on Soundcloud (culver-band) and on Facebook (Culverband). A band that seems to have more conventional weapons to pull out of their sleeves, Culver seems to just have begun their bombardment of heavy hitting rock music.

MATHS TIME JOY Writer of the story Chris Fisher

England, especially London, has become one of my favorite counties in terms of the electronic music produced there. There is a killer scene with a lot of artists who put a soul in their music that remains unique to that region. The Boiler Room sessions in London are remarkable, with dazzlingly talented artists that never disappoint. What really catches my attention in electronic music is the soul they put into, that meshes perfectly with the atmospheric vibes. One of my recent discoveries has brought that gripping feel to a whole new level. Maths Time Joy is a producer from Kent, a county of south east London. The name is an anagram of his first two names, Timothy James. He has produced three EP’s (Faces, Hideaway, and Lightyears) along with various singles and remixes. There is an unmistakable style that he has developed, and it’s one that has connected with me both lyrically and musically. “Walk With Me” is the first single I heard from Maths Time Joy, and it landed a spot in my music library within 30 seconds of listening. Three lines of lyrics repeat over various musical textures throughout the song, and are as follows: “Remember the time I lost my mind but found my heart. Keep saying these dreams and empty rooms can’t keep us apart, these four walls have been here right from the start.”

These lyrics hover over a mellow beat, with little blurbs of various percussions and synths adding into the songs groove. Then the big drop of the song explodes into a swirling synth before going back into the calm soulful vocal repetition. What strikes me, along with many of his listeners I’m sure, are his deeply detailed percussion parts that seem to morph and play around as the song plays through. “Let Go” is another favorite of mine, with a greatly unique vocal part that skips and plays with cadence. What grabbed me, in particular, in this track was the great combination of natural sounds with the electronic affects (i.e. the vocal part). The songs have a sort of somber tone, but the beauty in them gives you a feeling of rejoice. This is a musthear track if you’re a fan of the electro-soul movement that is on the rise around the world. “Faces” is a single from Lightyears, track number two on the EP and the first with Timothy’s vocals. His English accent is much more apparent on this song than most others, and it has a dreary tone that matches well. There’s also a sort of break down in the song that stands out with his usual style of busy, schizoid percussion sounds but it also changes the tone of the song. Also from the Lightyears EP is the song “Guardian”. This is a very house-y song, and he speaks sings rawly, with an organic sounding vocal part layered for affect. This whole EP moves along a very calm progression throughout, and is great for chilling out. Whatever the weather, rain or shine, this is a recommendation I’m proud to give for all the introverts and artsy kids alike.

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CHRIS GIANNINI Like a storm, it starts off slow lulling you into ta false sense of security with a slow melody and heavy-eyed vocals. Writer of the story Karl Nicolas Every so often, there is an artist that emerges out of throngs of aspiring hopefuls and breathes some much needed fresh air into a saturated genre. This time, Chris Giannini defies the odds, and reveals himself to be that breath of fresh air, with his album “If it’s me”. The 22-year-old singer songwriter from Montreal has begun his climb up the rungs of the pop rock genre, and has created quite a gigantic splash with his arrival.

way ticket to nowhere. This lucky traveler is you, as Giannini uses his soulful vocals and exceptional guitar riffs to whisk you off to a land far, far away. The blissful vibe makes the song unconditionally contagious, and it’s not difficult to find yourself tapping your feet and singing along to the catchy track within seconds. You can be guaranteed that “nowhere” is the last place you’ll be going as you venture deeper into the album.

The delightful expedition he takes us on begins with this debut album, and if the quality of music he will be putting out in the future is anywhere near this level – then we are in for a hell of a ride. “If it’s me” contains ten memorable tracks that resonate with the lighthearted, soulful music of times past, but stays true to the upbeat, catchy tunes currently dominating the charts. Needless to say, his songs will most likely appeal to most music enthusiasts, just because of the obvious talent oozing out of each guitar rift, every vocal high-and-low, and every single head-bobbing beat.

Afterwards, the talented young singer mesmerizes and draws you in with “Leave the Past Behind”. It kicks off with light acoustic melodies and gorgeous lyrics that allow your emotions to completely take the wheel. Without knowing it, you are in the wilderness, leaving behind the conventions you know – and just listening to the inspiring message that Chris infuses within his masterpiece. This goes hand-in-hand beautifully with his next track “Moving Forward”, which acts almost like a continuation, guiding you further along the road. The same soulful voice keeps you close and ensnared in the beautiful ballad he performs.

His song “One Way Ticket to Nowhere” sets the stage for the album, an upbeat track about a happy-go-lucky traveler with a one 28

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Writer of the story John Sebastian Doe Photographer John Arnold Doe

He changes gears in “The Missing Part”, a truly touching track that slows the world down a step. Here, Chris shows that there is more to the album than justrainbows – there are also the butterflies. It’s a graceful song, with an “airy” feel that pulls at your heartstrings via a remorseful violin and beautiful lyricism. If ever you need a song to stir your imagination and keep you teeteringon the edge of emotion, this is the tune to play out of your speakers.

All the songs on the album are definitely worthy of praise and hours of undeterred listening, but the flagship track “If it’s me” just takes the cake. Like a storm, it starts off slow – lulling you into a false sense of security with a slow melody and heavy-eyed vocals. But when you least expect it, there is an explosion of bass and powerful guitar riffs that just shatter the tranquility into pieces. Itjust does not get any better than that. How can one not be impressed by the effortless shift in mood and technical grace Giannini displays throughout this song? Not only can you fall in love with this type of tempest, you can get lost in the eye of the storm – an unbelievable frenzied mix of soulful lyricism and charming composition. Chris Giannini undoubtedly delivers an astounding performance within his album “If it’s me” that reinvigorates the appeal of the undiscovered artist. He conveys a refreshing pop rock sound to today’s saturated music scene, cleaning up the airwaves, and bringing hope back to the eager listeners. In case you ever need to get away from the all the roughn-tumble in your life, don’t be afraid to take a listen to the album. You are guaranteed to delight in the downtime.

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Writer of the story Brandon Edward Minia “Something Else,” depending on the tone and context of the speaker, can denote something strange. Something exceptional. Something never before seen, and perhaps even all of the above. “Something Else” is also the name of the thirteenth studio album by American rapper Tech N9ne. Visceral yet profound, Something Else attempts something that is mature, intense, and throws down everything on the line. Whether the exceptional trait of this record is the massive production quality, the contagious and cutting delivery of Tech’s fire, or the plethora of featured artists from across different music genres that create the finely stitched fabric the record, Something Else is an ambitious record that, while falling slightly short of being something truly immortal, is still explosive and memorable in incredibly grand ways. The record is divided into three parts, the album’s themes moving from the darker tones of “Fire” (tracks 2-10), transitioning (perhaps cleansing) through “Water” (tracks 11-14) and then finally ending with a section entitled “Earth.” The movement is tight and cohesive, and conceptually it is easy to follow 30

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TECH N9NE SOMETHING ELSE

and move through. The inclusion of different music styles - albeit slightly sporadic - adds flavours that are not only suitable for each of the album’s sections, but ensure that there is something enjoyable for the widest of audiences. The cinematic quality is not perfect, but it is monstrous enough that it undoubtedly adds an epic dimension to the record. The “skits” (“News With Mark Alford) that introduce, interlude, and exit the album add a beautiful aesthetic edge that entice the listener to listen to the record all the way through.

However, after the explosive introduction of “Straight Out The Gate” (which features a haunting chorus sung by Serj Tankian [System of a Down]) the record seems to stumble slightly through the Earth section, and does not seem to accelerate and cruise at a comfortable pace until track eight’s “Fragile” kicks in and builds up to track nine’s bombastic “Priorities.” What is more

regrettable is that this rough movement through the “Fire” section renders tracks 3-7 to not be as memorable as they could be (albeit, with several replays, the songs can eventually begin to grow on the listener quite nicely - see “Fortune Force Field.”) For example, “B.I.T.C.H,” although executed masterfully with seamless transition from the previous track, falls flat, even with the featured chorus of T-Pain. Moreover, while the variety of sounds and artists offer a refreshingly wide landscape for the listener to breathe in, the movement of the tracks in the “Fire” section is not as smooth - both thematically and aesthetically - relative to the “Water” and “Earth” sections. As a result, the record suffers from a slightly broken cinematic cohesion, but this is otherwise a notably small shortcoming of a great record. Notable highlights of “Fire”

include “Love 2 Dislike Me” a surprising and unforgettable sleeper track that features edgy rock sounds, an eerie melodic chorus, and metal screaming. “Fragile,” the section’s arguably best track, is ominous and eerie sounding, complete with collaboration from Kendrick Lamar, Kendall Morgan, and label group ¡Mayday!. Showcasing a catchy beat, an ear-pleasing clean guitar, a head-bobbing beat and slicing rap vocals, “Fragile” is a standout hard-hitting track that perhaps arrives too late to carry a section that is regrettably not as lethal as it could be. “Water,” the middle section of the record, is poppy and satisfyingly fun. Exploding with the hard-hitting wind up of “Priorities” from the “Fire” section, “Water” is upbeat, exhilarating, and stomping. Poppy, headbobbing, and radio-friendly, the record transitions into a more mainstream section that is pleasing and stimulating. “See Me,” the section’s highlight song, features B.o.B and Wiz Khalifa, delivering something melodic and structured that closes off “Water” with something easy-listening before gliding into the final section of the record.

-Burn The World,” the first track of the “Earth” section, is visceral and heartfelt, as is track fifteen’s “That’s My Kid” An honest commentary on civilian violence, the “Earth” section kicks off with a theatric ferocity, and will soon flesh out to be what is the best of the album’s three sections. Every single song in this section is intense and throws down everything on the line with emotional urgency and a heartfelt fire burning right to the finale. This finale is the hands-down highlight of the section, perhaps the entire record; featuring the inspiration to Tech’s label name, The Doors are appear at the record’s climax, and Something Else ends melodically and triumphantly. Moreover, the production - while top-notch throughout the entire record - stands highest in the “Water” section. It only leaves us to wish that the record did not take so long before delivering the bombastic orchestral ecstasy of the final tracks. The imperfect delivery of the record is but a miniscule short-coming to what is otherwise a fantastic album. The movement of dark themes in “Fire” right to the introspective and profound anthems of “Earth” create a record that is memorable and promising. Much praise must be given to the experimental nature of the record, blending in a wide variety of sounds and artists that create something chaotic yet smooth and cohesive, and while “Earth’s” blending of sounds into something eerie and dark is a little more on the rough and messy side, every section delivers something that every member of the

album’s wide audience will be able to take away with them. The cinematic aesthetic of the record, while not perfect, is one of the album’s best dimensions, barely bleeding through the record with the “News” tracks on one, ten, and seventeen, but are not as theatrically potent as they could be. A finer and more consistent blending of orchestral sections with energetic beats and dark synthesizers may have leant a more structured and fluid movement throughout the record, and would have certainly fixed the choppy areas of the record that are difficult for the listener to walk through. However, in the end, Something Else is exactly as the title implies: something unseen, visceral, profound, intense, dark, curious, and without a doubt unforgettable.

Whether the exceptional trait of this record is the massive production quality, the contagious and cutting delivery of Tech’s fire

Tech calls the “Earth” section the “heavenly” section, and he delivers this promise with mastery. The cinematic build up of the record seems to near its climax here, featuring melodic choruses, epic vocal choirs, echoey piano tracks, 80’s-style synthesizers and theatric string sequences that add a definite ominous, emotional, and introspective dimension to the entire record. “My Haiku24ourmusic

KOTTONMOUTH KINGS MILE HIGH ALBUM REVIEW Krispy Kreme donuts and getting high, the ingredients of a top-down, summer cruising soundtrack are all here. “Hella fun,” is one way - perhaps the only way - to summarize Mile High, an 18-track 2012 epic stomper from California-based rock-rap piece Kottonmouth Kings. Spitting fire since 1994, Kottonmouth Kings have been around for quite some time, drawing influence from other aged legends ranging from Beastie Boys to The Notorious B.I.G to Red Hot Chili Peppers. This age does not show; not only does Mile High feel refined and mature, but it feels fresh and youthful. It is with this aged yet smart immortality that Mile High allows itself to be fun, catchy, upbeat, and downright explosive. Immortal youthfulness is what pulsates in the first twenty-five minutes; straying away from the punk-rock edge of their older songs “Bump” and “Where I’m Going?,” wobbly bass drops on track two’s “Hold It In.” In comparison to fast drum beats and grimy guitar riffs, “Hold It In” is a welcoming, refreshing track that blends the newer sounds of swaggering dubstep with traditional themes of relaxation and getting high. As a high point of the album, Mile High’s use of these newer, houseoriented sounds does not stop here. Track four’s “Get Some” will entice you to do just that. With a hooky chorus and pulsating synth and bass throughout the entire song, “Get Some” sounds like an epic club smasher, a track that would certainly set dance floors 32

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on fire. “Packin the Goods” on track five is another hard-hitting track that continues the album’s use of dubstep, creating an aggressive, swaggering stomper that is both satisfying and destructive. Track six’s “Kottonmouth Bitch” is yet another electronic smasher, doubling as both a hard-hitting stomper and a club banger. These three tracks are heavy, hard-hitting, and mature, yet catchy and youthful, making them automatic stand-outs on Mile High.

Writer of the story Brandon Edward Minia Photographer KKKottonmouth Kings

“Mile High” is the Kottonmouth Kings on steroids with a twist of ecstasy and a pot brownie! The sonics and bass alone on “Mile High” will blow speakers from coast to “Roll Us A Joint” on track three is one of the more lighter, easier-listening songs of the record, and is another highlight track of Mile High. With references to Bob Marley, Jay-Z, Krispy Kreme donuts and getting high, the ingredients of a top-down, summer cruising soundtrack are all here. Track seven meanwhile goes back to channeling a punk, rocky edge, with “Get Out The Way” sounding like a soundtrack to an epic fighting scene in a Quentin Tarentino movie. Both tracks are two more highlights of the album, contrasting in feel, but both exhilarating thrills.

relentless. A combination of well-crafted, hard-hitting tracks topped by contagious hooks are not only abundant, but varied. The hooks in “Boombox” and “High Haters” are not only different, but the instrumentals seem to possess their own identities. Moreover, the more melodic “This Addiction” is catchy because of its emphasis on a sweet-sounding, resonating chorus. “End Of The Rope” on the other hand is compelling because of the feel it gives; urgent, desperate screaming vocals topped over a fast drum beat makes this track contagiously aggressive.

Mile High is so chock full of banging tracks that the entire album feels satisfyingly

The massive variety of sounds, hooks, and vocals on this album make Mile High a

refreshing experience for every listen. With styles ranging from hard-hitting house, to stomping dubstep, to fast-paced punk rock, Mile High does not feel like a messy mosaic of music; everything seems so seamlessly stitched together that each song seems to nicely flow into each other, creating something fun and listenable to a wide audience. It is this masterful blending of different styles into a cohesive record that showcases the aged maturation of Kottonmouth, showing off a growth and movement of the band through time, and of which draws the difference between a messy mix of songs and a tightly knit, strongstanding record. Indeed, Mile High is the catchy, youthful, yet refined music that will quench your thirst, and will certainly leave you upbeat and satisfied.

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CARL HAUCK

Writer of the story Karl Nicolas

James. He has produced three EP’s (Faces, Hideaway, and Lightyears) along with various singles and remixes. There is an unmistakable style that he has developed, and it’s one that has connected with me both lyrically and musically.

Maths Time Joy is a producer from Kent, a county of south east London. The name is an anagram of his first two names, Timothy

“Remember the time I lost my mind but found my heart. Keep saying these dreams and empty rooms can’t keep us apart, these

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“Walk With Me” is the first single I heard from Maths Time Joy, and it landed a spot in my music library within 30 seconds of listening. Three lines of lyrics repeat over various musical textures throughout the song, and are as follows:

four walls have been here right from the start.” These lyrics hover over a mellow beat, with little blurbs of various percussions and synths adding into the songs groove. Then the big drop of the song explodes into a swirling synth before going back into the calm soulful vocal repetition. What strikes me, along with many of his listeners I’m sure, are his deeply detailed percussion parts that seem to morph and play around as the song plays through. “Let Go” is another favorite of mine, with a greatly unique vocal part that skips and plays with cadence. What grabbed me, in particular, in this track was the great combination of

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