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Content 10
Stampede Queen’s
Beard Garden
Vancouver-based Stampede Queen re-erects classic rock’s guitar riffs and abrasive vocals...
august 2014
11 High Seas’ New EP
Involvement and continuity are good describers for High Seas’ new EP Storm Season...
12
Such Sights One of the biggest obstacles of sustaining any sort of musical genre is the constant threat of saturation...
20
Esper Scout Belay” Review Characterized by brooding guitars and hauntingly melodic vocal melodies, the band’s...
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The 1975 Review
Orphan’s Gift & Curse
Dealing with everything from sex, drugs, and rock and roll, to matters of life, death...
Utilizing heavy bass with flirtatiously catchy beats, accentuated by a lethal mix of hard-hitting rap...
Content
august 2014
22. Cosmobrown
The second EP “Tragic Holiday” by artist Cosmobrown breathes French...
24. Kassassin Street
Hailing from Portsmouth, England is five-piece psychedelic rock band Kassassin Street with...
25. Great Good Fine OK
Great Good Fine OK — a fresh new face in the Indie electro-pop scene — delivers us with their single...
26. Glass Animals
UK’s Glass Animals bewitches with languorous sonorities and smoky vocals, penetrating the skin...
28. Irish Moutarde
Right from the start, “Raise ‘Em All” is short, fast, loud, and Irish – in all the best ways...
30. Jumaane Smith
Each track is a surprise on the debut EP by New York native five-piece indie band Stereo Off...
32. PJ Kingpin Wilson
He has just released his first short EP and let me tell you, there’s some very real, very wonderful type...
36. Michael Lington
The grand majority of the tracks are purely instrumental and prove...
38. Stereo Off: Interview
There is a good deal to be said about Stereo Off’s capacity to blend and fuse...
40. Glass Animals Event Small was the venue, whose antique chandeliers and futuristic metal-plated ceiling...
42. We Are Human
Right off the bat, we have a fiery introduction—a fascinating pattern of...
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Content
august 2014
43. Rayne
“Human Imitation” starts off with a moving intro that sets the tone for the whole song...
44. Arika Kane
American singer-songwriter Arika Kane is an artist of conviction, never once failing her...
46. Green or Blue
Green or Blue is not your typical acoustic alternative rock band...
48. E-Grooves Volume I
In the pipeline for ten years, this full-length feature highlights a superb combination of East African...
49. Against the Current This three-piece rock band from Poughkeepsie, New York is already making huge waves, reaching out to listeners...
50. Karen Oberlin
Karen Oberlin voices her musings and delusions in A Wish, her newest album, ...
52. Karen Oberlin: Interview
Karen Oberlin is the kind of artist who uses such terms as “visceral” and “connection” interchably...
54. Tony Memmel
Tony Memmel’s “I Know We’ll Get There” is a simply-produced song with only an...
56. Mark McLean
The ensemble proves a delight to both accustomed and unaccustomed eardrums...
58. Parkside
I Would Rather Be Asleep, their most recent release, is a collection of four songs whos...
60. Heart Street
It’s incredibly shocking that the record clocks in at only about fifteen minutes...
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Content
august 2014
62. Stereo Off
Each track is a surprise on the debut EP by New York native five-piece indie band Stereo Off...
63. Hideaway/Cota
Punk formations Hideaway and Cota jointly collaborate in a two-song EP titled Hidaway/Cota...
64. ENTER MVDHOUSE
Spring is all about rebirth, newness, and youth. Sometimes it includes stepping out of your boundaries...
66. Starfoxx
StarFoxx’s very first and gutsy effort Up & Cumming Vol. Deux has undeniable energy...
68. The Icarus Account
This band from Fort Myers, Florida, has already made significant waves across the Indie pop scene...
69. The Idan Raichel Project
The Idan Raichel Project, the brainchild of Tel Aviv based keyboardist-singer, composer...
70. Old Towns
Navigating the waters of genres like pop punk and folk rock can be a tricky endeavour for many...
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72. Tri Polar
This particular album presents a blend of different flavours of music, with...
Editorial letter
W
elcome to the August 2014 issue of the young and the bold, 24OurMusic!
It’s been a long journey to finally getting this one out, and in the process we’ve brought on a new band of writers. We’re in an exciting period of growth for the magazine; this issue is a signifier of what’s to come. Right now, we are featuring one of the widest variety of musicians than 24OurMusic has ever fielded, and this isn’t even the widest it can get. Montreal’s Orphan and Heart Streets dish us some quality beats and lyrics, a deadly combination; PJ Kingpin Wilson offers us his big voice as our magazine’s first male r&b artist; New York’s Stereo Off brings us some refreshing and stylish indie noise while Paris’ Cosmobrown provides the world with some fiery pop sounds. There’s something for everyone in this issue from all corners of the world.
Creative Department Creative Director: Karl Nicolas Assistant Editor: Justin Everest Editoral Department Editor-in-Chief: Justin Everest Managing Editor: Brandon Minia Senior Staff Writer: Karl Nicolas
We are committed to promoting the sounds of all the best the world has to offer that just have not been discovered yet, and with the advances we have made we feel we are just getting better and better.
Staff Writer: Samantha Mok Staff Writer: Trenton Minia Staff Writer: Patricia De Oliveira
With a new team of writers that is still growing as I write this, I guarantee you some quality discoveries thanks to the enthusiastic energy and promotion of our staff. I invite you to read, discover, and grow with us, as 24OurMusic continues to grow as the number one source for all your independent and underground music needs.
If you have any questions or would like to advertise with 24OurMusic please contact us via email or phone. EMAIL: info@24OurMusic.net PHONE: +1 438.402.5301
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MONTREAL CLUBS
Calendar august 2014 August 2014
Stereo Nightclub WAS ESTABLISHED IN 1998 AND IS LOCATED IN HEART OF DOWNTOWN MONTREAL. IT OPERATED AS A BAR, AFTER HOURS AND LIVE MUSIC VENUE FOR UP TO 1000 PEOPLE.
STEREO NIGHTCLUB IS RENOWNED FOR ITS UNIQUE AND INTERNATION-
August 2014
Metropolis
ALLY FAMOUS SOUND SYSTEM. IT WAS ORIGINALLY UPGRADED AND
LIKE A CAT, YOU COULD SAY THE METROPOLIS HAS NINE LIVES. OR
PERFECTED BY FORMER TWILO SOUND
EVEN MORE! FIRST USED AS A SKATING RINK IN 1884, THEN AS A
TECH CRAIG “SHORTY” BERNABEU. IT
SUMMER THEATRE THE FOLLOWING YEAR, IT WAS SEVERELY DAM-
IS CANADA’S UNDISPUTED PREMIER
AGED BY FIRE AT THE TURN OF THE CENTURY. RECONSTRUCTED
CLUB BRAND, AND ONE OF THE FEW
AS A THEATRE THEN AS A MOVIE THEATRE AS OF 1923, IT AGAIN
REMAINING “HOT SPOTS” IN NORTH
SUCCUMBED TO FLAMES IN THE EARLY 30S.
AMERICA. RENOVATED SHORTLY AFTER AND DECORATED BY EMMANUEL
ADDRESS: 858 ST CATHERINE ST E , MONTREAL
BRIFFA, THE INTERIOR DESIGNER TO WHOM WE OWE THE DECORATION FOR THE OUTREMONT THEATRE, AMONG OTHERS, THE BUILDING’S VOCATION RETURNED TO ITS FIRST LOVE, THE THEATRE, BEFORE BECOMING A PORN MOVIE HOUSE IN 1960. AFTER CLOSING ITS DOORS IN 1981, IT REOPENED SIX YEARS LATER, THIS TIME AS A DISCO.
August 2014
Copacabana
ADDRESS: 59 SAINTE-CATHERINE STREET EAST , MONTREAL
NAMED « THE HOTTEST NIGHTCLUB NORTH OF HAVANA », COPACABANA IS A SENSUAL NIGHTCLUB THAT CONTINUES TO SPREAD THE LATINO FEVER ONTO THE MONTREAL SCENE SINCE ITS OPENING IN 1999. LOCATED IN THE HEART OF DOWNTOWN MONTREAL, COPACABANA OFFERS A TROPICAL ATMOSPHERE TO ITS CLIENTELE.
ADDRESS: 1106 DE MAISONNEUVE , MONTREAL
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August 2014
Apollon YOU, DEAR GODS AND GODDESSES, DESERVE A TREATMENT WORTHY OF YOUR DIVINE STATUS. APOLLON GOT IT. IN A DECOR INSPIRED
BY THE LEGENDARY PARTHENON IN ATHENS, THE MOST POPULAR CLUB (AND THE NEWEST!) OF THE GAY VILLAGE IN MONTREAL URGES YOU TO JUMP FROM THE RIGHT PATH AND TO LIVE, ON ITS TWO SPACIOUS FLOORS, NIGHTS OF DECADENT PLEASURE. THE POWER OF THE SOUND SYSTEM, THE VIVACITY OF THE LED LIGHTING AND GIANT SCREEN, IN ADDITION OF THE ENERGY OF THE STAFF AS ATTENTIVE AS RUMBUSTIOUS OF APOLLON NIGHTCLUB WILL GIVE YOU, IN THE SPACE OF A FEW DROPS OF HEAVENLY NECTAR, THE IMPRESSION TO EMBODY THE IMMORTALS... UNTIL YOUR NEXT HANGOVER!
ADDRESS: 1450 ST. CATHERINE STREET EAST, MONTREAL
August 2014
Muzique OPENING ITS DOORS IN THE FALL OF 2009 MUZIQUE HAS REDEFINED VELVET ROPE EXCLUSIVITY, POSITIONING ITSELF AS THE FLAGSHIP FOR ALL THINGS FABULOUS IN MONTREAL’S HIGH-END
August 2014
Blvd44
PARTY SCENE. BLVD44 REDEFINES LUXURY AS A FRONT RUNNER IN THE MODERN MONTREAL
ADDRESS: 3781 BOULEVARD SAINT LAURENT , MONTREAL
NIGHTLIFE SCENE. FOUND IN THE CENTER OF DOWNTOWN INSIDE HOTEL10, THE NIGHTCLUB OFFERS A SOPHISTICATED AND UPSCALE PARTY, PERFECT FOR BUSINESS OUTINGS, HANGING OUT WITH FRIENDS, OR ENJOYING BOTTLE SERVICE AT ONE OF THE MANY VIP TABLES BOTH INSIDE AND OUT THAT ARE MODELED IN EUROPEAN STYLE AND FORM.
ADDRESS: 2108 BOULEVARD SAINT-LAURENT BOULEVARD , MONTREAL
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Writer: Patricia O. Editor: Brandon M.
Stampede Queen’s Beard Garden: LOVE’SWILDSOUND SINGLE REVIEW ous ensemble producing but a lastingly haunting effect. While the clean tango of power chords, solid vocals and content-packed lyrics is both masterful and commands respect, Beard Gardenis safe and straight-forward and pleases rather than stuns, never once stepping on toes. It does, however, succeed in rekindling the fervor of gone by days when rock music proved a rallying force transforming such raw emotions as rage, rancor, heartbreak and mind-numbing pleasure into vibrant hymns to live by and draw good from.
Vancouver-based Stampede Queen re-erects classic rock’s guitar riffs and abrasive vocals in their new single Beard Garden, a formulaic anthem for an enflamed night on the town. Sonically puissant and wild-spirited, the song proves a zesty mélange of instrumental roundness and colorful lyrics: love sickness rushing a man to the nearest airportto gorge on his back-tattooed queen and icy beers, no last call, no curfew, no limits. Hence the vocal distortions punctuating each verse line, greasing the wheels for a memorable rendezvous. The track offers few surprises other than relentless energy and upbeat themes, with the overtly harmoni-
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Stampede Queen demonstrates technical adroitness in this feisty single and enthuses even the most skeptical, reviving pangs of nostalgia for oh so sweet vigor of sound and catchy phrases. The urgency and verve displayed in this virtual guide to fast fun and disorderly conduct guarantee blithe moments and no-brainer enjoyment. Although narrow in scope, Beard Garden is all in all a feel-good tune, replete with honest enthusiasm and more than a mere hint of rebellion – a pulsating garden deafeningly illicit, all the more pleasurable because forbidden.
High Seas’ New EP
Nothing But Smooth Sailing
Involvement and continuity are good describers for High Seas’ new EP Storm Season. Pop punk in style, this quartet from Toronto delivers here a clean and solid production, one of unwavering punchiness and deep-hearted lyrics. Wellrounded and consistent, Storm Season is a great EP in its ability to pique listeners’ interests and keep them engaged till its conclusion. And that is the principal challenge of an EP: to create enough of a savory foretaste in a short package to ensure listenership which, luckily, seems to be High Seas’ forte. Indeed, our interest is sparked. The EP starts off with “February,” full of singing guitars and energetic drums, which is a speedy and cluttered song. Although at times unintelligible, this song attests to High Seas’ musical puissance and remarkable fervor. Here, nothing is held back and nothing is concealed. Second track “Slack Tide” is very much in line with “February”, although a tad bit softer, and serves to confirm these mighty Torontonians’ verve and unrelenting stamina. In the
case of “Cutting Ties,” a clear change of tone is pronounced; at long last the pop streak is unveiled, and while the punk is never far away, this shift to smoother, and sincerer tones is welcomed. Vocals become less blurry, and the lyrics are more absorbable. This great twist, which occurs halfway to the EP’s end, demonstrates how much High Seas has placed into this collection of five songs. These are committed and industrious musicians. On we go with “Flat Beer,” a song which blends moments of beautiful mellowness and passages of throbbing acrimony. With its rapid drum beat, “Flat Beer” maintains the logic of Storm Season and draws attention to High Seas’ grandest qualities: undying vitality and audaciousness. The EP concludes and brings it home with “Brimorton,” a street in High Seas’ native Toronto. This final song, touchingly melancholic, proves a befitting conclusion to Storm Season with its quieter drums and guitars and legible vocals. The EP finishes satisfactorily enough as all seems to have been said and all the venom has been expelled, and while closure is here never truly
achieved despite innumerable efforts, we certainly hope they will keep on trying via many albums to come. High Seas are no doubt a promising band. Their capacity to fuse fragility and ire within the space of a song so fluently is outstanding. It seems they go with the flow of their own emotions, and while the EP possesses an inherent logic —one pre-cautiously thought-out — it never gets in the way of High Sea’s emotional outbursts and uncensored truthfulness. They pour their hearts out and let the poison gush out until there remains but droplets of precious nectar. Storm Season is a convincing EP which will leave a lasting impression. Indeed, there are here enough alluring ingredients to please everyone and quite enough spleen to relate to.
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Seeing is
Writer: Samantha M. Editor: Brandon M.
Believing
Such Sights
One of the biggest obstacles of sustaining any sort of musical genre is the constant threat of saturation; as certain sounds and aesthetics rise in popularity and accessibility, so too does the genre’s inclination towards predictability, banality, and in many cases – mediocrity. The current incarnation of the pop punk (and its various combinations of “–core”) genre is a good example of this – after nearly a decade of popularity, it can be difficult for bands to sound and appear original or distinctive while still remaining true to their influences and scenes.
(and succeed at so far). Their debut EP Where Hell Begins combines explosive energy with expert musicianship across all instruments, with impressive and catchy songwriting, perfectly embodying the nature of a good pop punk show in all the right ways. Their latest release, “Seeing Is Believing” seems to sound rather reminiscent of the 2003-2006 pop punk / post hardcore scene, while still feeling at home in 2014. But while it does have its individual merits, the single may ultimately leave listeners divided in opinion on the band’s current stylistic direction.
Luckily for Such Sights, a five-piece “pop punk / easycore” band out of Sheffield, UK, breaking out in 2014 seems to be a challenge they are happy to undertake
“Seeing Is Believing” begins with a questionable start – with any sort of pop punk / post-hardcore sound, slow, four-chord progressions can very quickly feel overused
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s
g
s
and predictable. Thankfully, this is almost immediately remedied as the other instrumental layers begin to filter in; the rapid hi hat and steady kick drum patterns combined with the quick riffing bass line provide a subtle (but much welcomed) bottom-end heaviness, providing the perfect foundation to hold the rest of the track up. The song’s build up is slow in the sense of being deliberate and focused; though subdued, there is still an obvious sense of raw energy lingering somewhere beneath its surface impression. The chorus itself doesn’t quite explode in the same way Such Sights’ previous releases do, but is nonetheless catchy enough to sing along to. Vocal-wise, the beginning of the verse demonstrates Kobierowski’s impressive navigation of melody and intensity; there is an undeniable sense of growling urgency, without being too over the top or melodramatic (a common pitfall for many bands both in and out of the genre). During the second verse, however, Kobierowski switches to more of a shout that is arguably one of the weaker stylistic choices within the song. The later use of screamed vocals in the bridge / post chorus, however, reflects a much stronger example and use of the band’s metal and alt rock influences, as well as Kobierowski’s capabilities as a singer. In fact, as one of the heavier and harder hitting sections, the point from the bridge onwards seems to be one of the track’s highest moments. As a whole, “Seeing Is Believing” is a steadfast single – but it’s debatable whether it is distinct or unique enough to be definitive of Such Sights’ talents. Thematically, the single almost plays it a tad toosafe; while solid enough, the lyrics seem to lack the same personal anecdotal touch the band has previously demonstrated. And given that Such Sights present themselves as a “fast paced and distinctly anthemic” band with a “reputation for exploding with raw energy and potential,” one can’t help but miss the aforementioned energy and pace of their earlier releases. Of course, as a band continues to grow, listeners cannot (and should not) reasonably expect them to release the same songs over and over – in the end, stylistic changes are always a great test of true potential. Thus, while it would definitely be nice to see the band perhaps move closer to their original roots as they continue to write and perform, “Seeing Is Believing” is still good and reliable enough to get Such Sights on the radar, if they weren’t already there before.
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SEX, DRUGS, ROCK AND ROLL AND EXISTENTIAL CRISES
The 1975 Review When watching any given interview featuring The 1975, there is a very good chance you will catch lead singer Matty Healy uttering some variation of the words: “well we’ve been a band for about ten years now.” It’s become a sort of running joke for fans of the band, but it’s easy to see why it keeps coming up – they are, after all, one of the best ‘new bands’ out there right now. But, perhaps “new” is the wrong way to describe The 1975, whose debut album (released last September) quickly shot to the top of the charts within a matter of weeks. After all, one solid listenthrough of their eponymously named record renders Healy’s mantra almost redundant: this is obviously a band that knows their way around the ropes.
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Hailing from a town just south of Manchester, The 1975 is an English band comprising of Matty Healy (guitars, vocals), Adam Hann (guitar, synth), Ross MacDonald (bass, synth), and George Daniel (drums, vocals). Though generally roped into the “alternative rock” category, there is no single genre that encapsulates this band or their record. Self-described as a “noir aesthetic, juxtaposed with classical pop sensibilities,” The 1975 seems to be a mix of everything from electronic-synth to post-punk new wave, along with 80s pop rock and hints of classic R&B – and suffice it to say, the result is phenomenal. Dealing with everything from sex, drugs, and rock and roll, to matters of life, death, and other youthful ex-
istential crises, the record manages to somehow combine melancholy and ennui with haunting vocals, impossibly catchy hooks, and an impossibly bigger sound; on tracks like “The City,” “Chocolate,” and “Girls,” you can’t help but move your body to killer guitar riffs, big drums, and even bigger choruses. Other tracks like “Sex” or “Settle Down” aren’t as upbeat and joyful, but are certainly as (if not entirely more) enthusiastic in the rawest way possible, with guitar licks and synth riffs that seem to be screaming for attention (in a good way). Even the records’ gloomier offerings like “Robbers” and “M.O.N.E.Y.” find a way to bring a sense of energy to the ennui. Of his own interpretation of what The 1975 represents, Healy often
says the record is as much a 10-year reflection of the band’s own lives as it is a reflection of the fans who listen to it. And while that’s quite an introspective statement on its own, it also reveals one of the albums most noteworthy strengths — it’s the sort of record you can revisit over and over and experience completely differently each time. For example, more recent plays of the record have led me to rediscover and appreciate tracks like “Menswear” (which features about 2 minutes of instrumentals before diving into a very short lyrical segment) and “Is There Somebody Who Can Watch You” (a solemn but earnest track featuring only Healy on piano that closes off the album). In short, The 1975 will make you want to dance, want to cry, want to
experience joy, and want to destroy everything around you — all at the same time. This record (and band) seems to be the combined result of many influences, many talents, and many experiences, each of which is a new detail worth exploring. Ultimately, if this is your first foray into the world of The 1975, you probably don’t need to immediately know that Michael Jackson is one of the band’s biggest influences, or that they’re really into film noir, or even that they’ve been a band for nearly ten years now. But the one thing you do need to know? It’s that you’re definitely going to regret not getting into this band sooner.
put any negative points about the album at all.
Writer: Samantha M. Editor: Brandon M.
Editor’s note: From her notes in the original draft of this article, Samantha really loved this record, and it looked like she did not want to
ON PHOTO: The 1975 seems to be a mix of everything from electronicsynth to post-punk new wave, along with 80s pop rock and hints of classic R&B.
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Cool And Contagious from track-to-track 16 – 24OurMusic
Photographer: Cedric Sequerra Writer: Brandon M.
Orphan’s Gift & Curse Brings only good luck There must be something in the water at MakeWay Studios because they always seem to churn out some quality music that never fails to leave lasting impressions. Utilizing heavy bass with flirtatiously catchy beats, accentuated by a lethal mix of hard-hitting rap verses and smooth crooning vocals, MakeWay is certainly carving an identity for itself that is both recognizable and incredibly stylish. In many ways, Orphan’s 2014 mix tape The Gift And The Curse is just another well-groomed product of the Montreal-based studio, while at the same time it stands
high above its colleagues. On one hand, it has MakeWay’s trademark bass and pomp, driving some cool, contagious beats all throughout the record, track-to-track. On the other hand, Orphan’s own unique flair channels something surprisingly introspective, far from being simply ‘mellow,’ but never too flamboyant or bombastic. It rides right on that fine line separating swag and smoothness, reminiscent of some fantastic lyricism and auras ranging
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it feels too redundant and allowing the mix to begin rolling at a slow yet heavy momentum. “Doing It Too” is another smooth drop that features more of that MakeWay bass with some snare and hi-hat drum beats rolling underneath as Orphan dishes out some stylish verses, each lyric hitting in just the right corners as this silky track rolls seductively through the listener’s ears. With a slightly jazzy feel, “Doing It Too” is a surefire fan favourite with its euphoric, feel-good sound. “Except You” feels a little darker, complemented by a snide drum beat and the low growling rap vocals of Orphan, complemented by some nice vocal melodies and nuances that certainly put this heavier track over the top. Orphan gets personal and intrusive, spitting the hooky lyrics of “except you” with a subtle ferocity. The heaviness only continues with “Vegas,” continuing to showcase the stellar one-two punch of MakeWay’s bombastic production and Orphan’s slicing verses. “Diesel” on track seven only continues this fiery combination even further, which feature some of the best vocal work on the entire album.
as far as Kanye West’s classic profundity to the Kendrick Lamar sway of present-day. Indeed, The Gift And The Curse is some fine, honest, and admirably genuine music that fans of good music will swallow sublimely with pleasure. The mix begins cinematically in quiet fashion with the “Intro” on track one,
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featuring the slick verses of Orphan over a humming bass and melancholic electric guitar, allowing the listener to ease smoothly into the mix. This allows for the modest yet ceremonious drop of “TGATC” on track two, a catchy head-bobber featuring a slick and contagious chorus of Orphan bellowing the lyrics of “the gift; the curse,” ending perfectly just before
After going through “I Got This” on track eight, one of the mix’s more smoother and spacey offerings, the mix then drops into a Jay-Z stylized “Thoughts Of The Pacific,” a more dramatic-sounding track that signifies the mix’s slow spiral down into more contemplative themes. These two aren’t some of the more recognizable tracks of the mix, but they are still noteworthy looks. “Reload” is one of Orphan’s more pomp tracks, featuring more wellplaced percussive verses, a headbobbing beat, and one of the mix’s
THE WAY HE UNDERSTANDS WHERE TO PAUSE AND BREATHE ALLOWS EACH LYRIC TO RISE OVER THE TOP AND TRULY MAKE EACH NOTE AND BEAT ON THIS MIX SPECTACULAR...
more inspiring choruses. “Haters talkin but they not talkin to me though / I goes hard then I reload,” he croons in triumphant fashion; indeed, “Reload” is one of the more celebratory tracks on the mix and is sure to strike the right chords with his audience. The celebratory mood continues only in “Kodak,” also being one of the mix’s more real tracks with some fantastic lyrics and a great, heart-warming feel. “I swear this life is more a bitch the more it pans out” Orphan raps; certain to be another fan favourite, “Kodak” is perhaps the most inspirational on the record, featuring some smooth saxophone sequences and a velvety chorus. The production on this record is fantastic, each beat complementing Orphan’s wonderful vocal work that never feels overly embellished or underwhelming. The nuances in his
verses, his rhythmic breaks, and the way he understands where to pause and breathe allows each lyric to rise over the top and truly make each note and beat on this mix spectacular; truly, some great attention to detail is demonstrated here in his vocal work. Some offerings do feel somewhat safe, and the shinier tracks such as “Kodak” don’t feel as if they shine as much as they could, but that doesn’t stop Orphan from dishing out some fine rapping and magnificent lyricism in every track. Beneath this work, there certainly seems to be a quiet rumbling of something promising, something that feels real and genuine. The Gift And The Curse is truly a great mix that shows a lot of potential for something honest and profound.
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Photographer: Esper Scout
ESPER SCOUT
Writer: Samantha M.
Belay 7” Review
“Self-described as being “driven by an enthusiasm for harmony, guitar textures, and dynamic rhythms,” Esper Scout is a four-piece female experimental rock band from Leeds, UK.”
Most recently, the band released a two-track 7” single on their band camp, containing the eponymously named tracks “Belay,” and “Carpet of a Crest.” Characterized by brooding guitars and hauntingly melodic vocal melodies, the band’s latest release, “Belay” and “Carpet of a Crest” bring to mind feelings of dancing in a darkened bar to old school classic rock, while still feeling quite at home in the 2014 alternative scene. Suffice it to say, it’s an impressive endeavor for this day and age. Clocking in at 4:30 each, both “Belay” and “Carpet of a Crest”
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highlight the band’s propensity for well-balanced, but still “in-yourface” songwriting, demonstrating a skillful navigation of rock-and-roll sensibilities in both their instrumentation and lyrics. The first, “Belay” begins show with a low, clean guitar, but almost immediately kicks into action as the gain is turned up and the drums tune in. Combined with Sarah’s wonderfully gloomy yet alluring vocals (think 1970s classic rock meets melancholy punk meets modern day Silversun Pickups, etc), the song embodies the right amount of emotion and introversion while still feeling like something you could dance away to.
The second track, “Carpet of a Crest” begins much more quietly, to the point of almost being jarringly subdued when played directly in succession from track 1. Fortunately, this is a brief and fleeting moment of rest, as a minute into the track, the entire tone goes from 1 to 11 – not only bringing that rock and roll / punk vibe right back to the table, but practically smacking you in the head with it (this is, incidentally, a good thing). Back with chugging and screaming electric guitars, pounding and crashing drums, and an inherently more aggressive edge in Sarah’s voice and wails, “Carpet of a Crest” completely commands its listener’s attention. Again, think
70’s / 80’s hard rock (Rush, early Led Zeppelin, etc) but with a wholly more melancholy and darker edge, perfectly suited for today. As a whole, the 7” single may not be for everyone or for every situation – though it would feel completely suited to dark underground shows or long drives home (or for this reviewer at least, the soundtrack to a modern Jim Jarmusch film), it would definitely bring a weird atmosphere to the room in more upbeat or lighter situations. Still, a dark energy is still energy nonetheless – so when you find yourself in the mood, this is definitely a single you’ll want to have waiting nearby.
Esper Scout’s - Rebecca Jane
ON PHOTO:
Esper Scout’s latest tracks are characterized by brooding guitars and hauntingly
melodic vocal melody.
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Writer: Patricia O. Editor: Brandon M.
COSMOBROWN Wants a Tragic Holiday The second EP “Tragic Holiday” by artist Cosmobrown breathes French touch through and through with six tracks of pop-electro accents prone to stupefy dance floor regulars. Cosmobrown has long been in the business of creating the perfect pop song; his first album, ravagingly pop, was to his own avowal, a formulaic production prompted by his label at the time. Now selfproduced, Cosmobrown rejoices in the task of creating fully personal songs, soulful and heartfelt, to be enjoyed by a great many listeners. A true cinephile and music enthusiast, he cites such broad influences as Donald O’Connor’s character Cosmobrown in musical comedy Singing in the Rain and The Beatles. Truly, he is enamored with the
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theatricality of the former and the mellowness of the latter. “Tragic Holiday” is no ordinary EP, and while it speaks of the deviant ways we communicate in modern society, sitting sedentarily behind computer screens, exaggerating our lives and passing mere experiences off as exploit or prowess, it does it using modern musical techniques, with hard electro sonorities which will tragically have you leaping up and down. And ultimately, that is the dilemma Cosmobrown is confronted with: the choice between the past and the future, the nostalgia of bygone days versus the wild possibilities modernity offer. And yes, it seems all tasted sweeter, realer, before the internet arrived and boxed us in cages of our own creation, morphing us into fully-ar-
mored and untouchable automats, but it can also be said that it unbolted the gate for talents and things otherwise hidden or unknown. And that is why Cosmobrown’s ‘Holiday’ is so tragic, because past and future can irremediably find no present. Cosmobrown navigates genres and eras with fluidity and aplomb, blending pop, electro and R&B, unashamedly, returning to the basics when he pleases and indulging in nostalgic bouts when the mood strikes, as with fourth track “Complex,” a summer ballad served up old school style. Composing and writing as he feels, following his every instinct, and opening himself to artistic collaborations as in the case of the EP’s two remixes, Cosmobrown shows no fear as far as his songs go, and steers clear of predetermined formats of making music, knowing from experience the lasting impact of pushy labels’ money-motivated strategies. In lieu, Cosmobrown delineates his own path, one strewn with smaller venues and audiences, but nonetheless replete with enthusiastic fans and superb sounds which haven’t yet gone viral and must decidedly be enjoyed live. While Cosmobrown ponders the benefits of the digital era, longing for the communicativeness of the eighties and the spirit of exchange there existed, he readily confesses to needing what the internet purveys: the sharing business in all its incongruity and surfeit. It is this ambivalence and constant oscillation that renders “Tragic Holiday” such a transfixing experience, for it holds up a mirror to our darkest and most outlandish ways. Cosmobrown’s “Tragic Holiday” is available for download on iTunes. Cosmobrown will be releasing a new album in the fall.
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Writer: Trent B Minia Editor: Brandon M.
Kassassin Street
The Royal Handkerchief Ballet Hailing from Portsmouth, England is five-piece psychedelic rock band Kassassin Street with their latest upbeat, getoff-your-seat single “The Royal Handkerchief Ballet.” The moment you play this track, you’re already drawn in thanks to the guitars, the bass, and the drum beat. The vocals don’t kick in until roughly thirty-five seconds in, but the queue is perfect, as it doesn’t destroy the flow of the song. The drumming performance is absolutely phenomenal. Everything in this song is arranged well, and there is enough variety that it keeps the listener energized. The song runs for four minutes until it quiets down, and ends with: “In the morning, I won’t leave you, ‘cause I’m your good friend,” sung twice, leaving you wanting more. Along with the song, its strange music video delivers the mix of psychedelic colours and filters, and an 1800’s sepiatone retro vibe.
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It’s quite difficult to point out any negatives from this track. It is very professionally done, uplifting, and addictive. It is simply produced; nothing is overdone, and as a result nothing is taken away from Kassassin Street’s psychedelic image. More vocals and lyrics, however, would be desirable. Right from the start of the song to the last measure, this song captures your every attention. It is perfect for getting revved and pumped up. This psychedelic rock dance anthem is appropriate for welcoming you into The Royal Handkerchief Ballet and the world of Kassassin Street. Their sound is definitely nothing short of unique, spewing nothing but exciting potential as they leave us doing nothing but craving for more. The rock scene better look out for Kassassin Street, because they just may be on their way of making it big.
Not Going Home Great Good Fine OK
Great Good Fine OK — a fresh new face in the Indie electro-pop scene — delivers us with their single, “Not Going Home”. This track starts off with a very upbeat intro, which is reminiscent and befitting of either waking up in a bright sunny and sleepy suburb, or getting through a rainy morning commute. Once the vocals begin, song lifts right off from the ground. The whispery but melodic and alive vocals make this track pleasant to listen to. The simple and modest synths, as well the happy outgoing beat, easily makes this a choice for a morning pick-me-up. The build-up to the chorus is well-executed, and the chorus serves as the highest
point of the song; the vocals, the synths, and the harmonies are very engaging to help keep up the energy of the song. There is enough content in this song to keep you from getting bored and hitting the skip button, and it is mixed and mastered so well unlike most pop songs on the radio that you don’t have to worry about the sound clipping or turning down the volume because it’s too loud. Everything in this song certainly wasn’t overdone, making it is a solid single to listen to. The only slight downfall is that the track sounds a tad too familiar and alike to other songs in its niche, disallowing this track from really standing out from its crowd.
All in all, Not Going Home is a good track. If you have a playlist of songs that is supposed to wake you up pleasantly with a laid-back happy beat for a busy day ahead of you, and if you like Songza’s “Sunshine Indie Pop” playlist, then this song should definitely be added to that repertoire. Not Going Home is also a good representation of what Great Good Fine OK can do as they develop as a band and explore how they best connect with their audience. Look out for more of them in the future as they definitely have a lot more they can offer.
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Writer: Patrica O. Editor: Brandon M.
Glass Animal’s Gooey Wonder EP REVIEW spitting shades of lava red and sapphire blue, headily cozy and entrapping.
UK’s Glass Animals bewitches with languorous sonorities and smoky vocals, penetrating the skin in milliseconds. There is in their most recent EP, aptly titled Gooey, an ooze of alien splendor which enthralls and holds both vessels and cells irretrievably captive. Their sound emits something of the warmth of a womb, a downy cocoon
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The EP commences with groovy and full-flavored “Gooey”, the tale of a birth or renaissance, metaphorical or hallucinogen-induced, in all its primeval rawness, the flesh-enrobing goo and skin-consciousness, an icky and peanut buttery façade on which the notes gush and spill. Glass Animals excels at creating atmospheres whose aesthetics can at times repel and at others enchant: unearthly plasticine animals versus secretory excess of saliva and other viscous matter, both representing unfamiliar visual vocabularies, and novelty is good! We pursue the sensory voyage with “Holiest” featuring Vancouver-based pop-electro duchess Tei-Shi, a downtempo song so airy it instantaneously transports listeners into a chill-room club “like you live in a dream.” This honeyed timber of hers is in itself a haven to revel in; an
GOOEY PROVES TO BE A STELLAR EP IN ITS ABILITY TO EVOKE AND ENRAPTURE, A VORTEX OF ABYSSAL DEPTHS INTO UNCHARTERED TERRITORY WHERE HAZY SURREALISM REIGNS
irresistible languor and sensuousness not of our realm. “Gooey Rework” opens with young hip-hop artist Chester Watson’s deadpan rapping on Gooey’s entrancing beat followed by a series of muffled choruses, which offset Watson’s poise in this quicksand of a song. “Rework“ favors a language that is forward, less in denial, a welcomed dose of dirt in a universe that is outlandishly aseptic. “Gilligan Moss Remix” by Chicagoan musician Gilligan Moss has an introductory crescendo of sparkly notes that augurs a detonation of psychedelic goodness which, sadly, never arrives. In lieu, Moss serves us a myriad of beat and voice accelerations/decelerations along with blurry phrase repetitions – a bubbly take that is a tad too sterile. While the execution is clean and the end result pleasant, this track should have assuredly been explosive had it been rigged to blast. Finally, “Kingdom Remix” achieves the impossible: it contents us, refrains our want for more. A true wake-up call, the song, stripped of its lyrics, save for a lingering and pervasive hum, sets out to explore new grounds, featuring abrasive
beats in glorious abundance. This is an invigorating decoction that will have you dance the night away if put on repeat. Kingdom manages to preserve Gooey’s dreaminess and escapism, only transforming its essence from a loner’s reverie to a collective experience. Gooey proves to be a stellar EP in its ability to evoke and enrapture, a vortex of abyssal depths into unchartered territory where hazy surrealism reigns, a dream sequence that few will awaken from unperturbed. Glass Animals’ Gooey also compounds a certain fragility, navigating the ice-thin line that exists between saneness and lunacy, and instills in us the incongruous need to make our very own sticky friends to play with. Sole rulers of a world where modeling clay creatures roam free amidst fluorescent waters, Glass Animals are at the helm of an empire of goo which is likely to prosper and continue to enslave a great many more trance amateurs, and we cannot thank them enough!
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Writer: Samantha M. Photographer: Kevin
Irish Moutarde
Doucet
Bagpipes, Electric Guitars, and Whiskey: Irish Moutarde and the rise of Canadian Celtic Punk Rock
Here’s an experiment: think about the greatest pub night you’ve ever been to with your friends, and combine that with the way you felt when you first discovered punk rock. You’re probably feeling pretty great, right? Next, picture yourself stumbling through the streets and alleyways of Quebec City at night without a care in the world. Got all that? Awesome. Now, imagine if you could take every single one of those feelings, and somehow convert them into a 40-minute album. Ready? Here’s what you’ll get:
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Hailing from Quebec City, Irish Moutarde is a 7-piece band, whose 2013 release “Raise ‘Em All” offers an eclectic blend of punk rock, traditional Celtic music, and power-metal, OR in their own words: “Celtic punk as it should be!”. With killer guitar and banjo licks, unbelievably fast drums, and the perfect blend of folk hooks with humorous but thoughtful lyrics, “Raise ‘Em All” is an album definitely worth knowing. Right from the start, “Raise ‘Em All” is short, fast, loud, and Irish – in all the best ways. The first track “The Black Mill” opens with a fiery bagpipe and banjo riff, quickly
punctuated by electric guitars and even faster drumming. By the time the lyrics kick in, you can’t help but want to stomp your feet or profusely head-bang or order a round of drinks – maybe even all three (at the same time). The second track on album, “Farewell to Drunkenness” does have a noticeably quieter and folk-based start (perhaps to let everyone catch their breath or refill their glass), but quickly restores the liveliness of the album with its humorous anecdotes of alcohol-fueled adventures and a promise (although most likely a halfhearted one) to quit drinking, layered over screaming guitars and bagpipes and insanely catchy hooks.
The album maintains a steady level of infectious energy from beginning to end, though tracks like “I Heard Jesus Was” and “The Bear and the Maiden Fair” stand out as personal favorites as they seem to feature a bit more pop structure and punk-sensibility than some of the heavier tracks (also, having lyrics such as “I heard Jesus was a cool lad” in a French-tinted accent doesn’t hurt). Of course, that’s not to say that the slower songs on the album aren’t of equal merit; “Glasses to the Sky” in particular manages to be both endearingly introspective and heartfelt, while still featuring guitars with the ‘gain’ levels turned up to 11.
Overall, the album is impressively mixed and produced; for an album that features such spirited and fastpaced instrumentation as well as multiple vocalists, there is a great sense of balance throughout. The only negative aspect is perhaps a matter of taste; as the band draws from both punk rock and traditional Celtic influences, the riffs and chord progressions (as well as song structures) do tend to feel a bit repetitive and hard to distinguish, especially towards the middle of the album. Like grilled cheese with jam or French fries and ice cream, Celtic punk is the final result of two amazing things put together – a little bit strange, but
overall, quite enjoyable. Of course, these combinations are not for everyone’s taste and while they can be great if you’re in the right mood, sometimes they just aren’t what you’re craving (as good as the record is, it is not unreasonable to think that there are times where listening to it may feel more draining than stimulating and invigorating). Still, when you do find yourself in the right mood for the clashing worlds of Irish folk music and the Quebecois punk rock scene, do yourself a favor and listen to this record (and maybe make yourself a grilled cheese with strawberry jam sandwich. Don’t worry – you can trust me on both of these things).
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Writer: Brandon Edward Minia Editor: Brandon M.
We only have ears for Jumaane Smith “MUSIC FANS WILL CERTAINLY APPRECIATE JUMAANE SMITH’S TAKE ON SOME OF MUSIC HISTORY’S GREATEST SONGS.”
Stunning Vocals &
Instrumental truly a celebration of some of the greatest tunes of all time.
Jumaane Smith’s debut record I Only Have Eyes For You is a culmination of years in the music industry and schooling for his craft since his teenage years. The result is something smooth, sensual, and just downright stunning, creating something that cuts deep but softly croons at the same time. Featuring the vocals of many artists such as contemporary great Michael Bublé, I Only Have Eyes For You is
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The record opens with the collaboration of massive star power Michael Bublé in “Come Rain Or Come Shine” as both gentlemen deliver a tune that does a stellar job establishing the swinging swag of the entire record. This momentum is carried on majestically by “Dream” and “Georgia On My Mind,” two excellent renditions that will keep the audience captivated before transitioning into the surprisingly sweet and eponymously named “I Only Have Eyes For You.” Featuring the a capella work of Naturally 7, the track is a headbobber simultaneously sultry and energetic, the stylish pomp of Smith’s trumpet playing magnificently alongside the upbeat swagger of Naturally 7′s vocals. “I Only Have Eyes For You” is certain to be a fan favourite. Smith’s own vocals stand terrifically toe-to-toe with the entire album, standing especially strong in “What A Wonderful World” (and later in “La Vie
it has the potential to be something even more. The talent, the star power, all the way down to the precision in instrumentation is present here, but it certainly seems like there could be more. Indeed, for someone who is as traveled and Jumaane Smith, you would perhaps expect something more varied and wide-reaching than what we have THE PROhere, but that doesn’t mean what is already here isn’t absolutely DUCTION IS stunning and memorable. This CRISP, WITH THE SOUNDS is an enjoyable and accessible VARIEGATED AND EACH record, one that music fans, and listeners of some classic hits SONG HOLDING ITS will certainly adore.
While certainly not as skilled a vocalist as the featured artists on the record, nothing stops Smith from belting out his smooth vocals as he croons with authoritative confidence in “What A Wonderful World,” a cover that certainly does the historically gigantic song justice, and is perhaps the dark horse favourite of the album. The purely instrumental tracks are a sublime treat that really top off this fantastic album, with The Beatles massive single “Yesterday” making a spectacular appearance. Smith’s rendition is cinematic and memorable, swaying from verse to chorus and tickling your heart in just the right places, beckoning you to sing along. This is truly a beautiful and fantastic cover that is a can’t-miss hit on the record.
OWN UNIQUE IDENTITY WHILE STILL HOLDING THE ENTIRE RECORD TOGETHER.
“La Vie On Rose”, featuring the vocals of Jackie Evancho, is perhaps the best track on the entire album, a rendition that is accessible and enjoyable to all listeners both new and old. Goosebumps will slowly sway back and forth as the track opens with the memorable and familiar trumpet line before Smith’s vocals enter, and finally again with the husky sultriness of Jackie Evancho’s voice. It’s certainly a shame that Evancho’s feature in the song is relatively small in a song that feels it could be fleshed out a lot more than it already is, but it cannot be overlooked how spectacular and tight this song already feels. The production of the album, to sum up in one word, is fantastic. In a music style that begs for pomp showiness, I Only Have Eyes For You does exactly that, shorting out nowhere on the record and doing everything it can to transform every passage and every note into something spectacular. Nothing feels cheap or oddly placed; everything from the vocals right down to the instrument themselves in the instrumentals feels precise. The attention to detail is downright admirable, complementing the talent and star power that graces this album. Although a faster-paced number will certainly be desired as the record is mostly a chilled Sunday afternoon soundtrack, nothing can take away from the wonderfully showy content that is packed into this eleven-track album.
ON PHOTO: Jumaane Smith’s debut record I Only Have Eyes For You is a culmination of years in the music industry and schooling for his craft since his teenage years.
I Only Have Eyes For You is spectacular, and it feels like
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“A Breath Of Fresh Air” 32 – 24OurMusic
Writer: Karl Nicolas Editor: Brandon M.
PJ Kingpin Wilson A big voice and a whole lotta soul When was the last time you heard anything in the musical genre of “Soul”? In fact, when was the last time you heard a soulful song on the charts? This is the reason PJ KingPin Wilson is such a breath of fresh air. He was born and raised in Barrie, Ontario (Canada, for those still confused) where his parents would play the likes of Marvin Gaye and Smokey Robinson, sparking an interest for that legendary musical time. His own father sang at a church, and before long PJ enrolled in the vocal lessons that would send him down the path to becoming the talented singer he is now. He has just released his first short EP and let me
tell you… there’s some very real, very wonderful type of soul in “Rise Of The KingPin”. PJ’s first track “Give Goodbye A Try” is an old school charmer. It really brings you back to the 70’s and 80’s with some soothing vibes and a genuinely soulful sound. The story he weaves in the song tells of a couple who have just lost that spark, and the only way they can both move forward is to go their separate ways. Sounds kind
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sad right? And yet, the rhythm and blues refuses to let you be sad about it. You end up just grooving along to the catchy lyrics and stellar sound. And then we have “Lonely Tonight” and… oh boy. After listening to this song, I had to backtrack and take a good long listen to an old Disney jewel by the great Elton John known as “Can You Feel The Love Tonight.” I wanted to know why in the world I was feeling the same vibe, the same chills when listening to PJ’s track. I found that nothing is really the same per se, but there is one similar progression these songs had, sung by similarly powerful, enchanting voices which struck a chord so strong – it got me nostalgic. If you ever wanted to know exactly what I’m referring to, then skip to 0:55 in “Lonely Tonight:” I wonder if she’s out there, I wonder who she is, I wonder if she knows. Which just absolutely resonated (melodically, lyrically, what you may) with these lines from “Can You Feel The Love Tonight” at 0:32: An enchanted moment, and it sees me through, it’s enough for this restless warrior just to be with you. Two truly enchanting moments and beautiful lyricism in both tracks. If you ever feel alone or down, “Lonely Tonight” can remind you that there’s definitely “someone out there for (you) tonight.” PJ deserves my comparison (and every future comparison anyone makes for that matter) to Elton John. Of course, more magic is conjured by PJ as he pulls “No Worries” out of his hat. This is a feel good track to its very core. Almost every other line in this song could be an uplifting quote from any ‘guide to happiness’ book, which is why I won’t even bother picking just one.
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Of course, more magic is conjured by PJ as he pulls “No Worries” out of his hat. This is a feel good track to its very core. Almost every other line in this song could be an uplifting quote from any ‘guide to happiness’ book, which is why I won’t even bother picking just one. It wouldn’t do enough justice to the amount of happiness it inspires – move over, Pharrell! Once you get about halfway through the song, and again at the outro, you are treated to almost ten seconds of catchy nanana’s. It would be shameful if I neglected to mention that
this is reminiscent of other legendary oldie outros. “Hey Jude” by The Beatles comes to mind, along with the last seconds of “Lovin, Touchin, Squeezin” by Journey. If there was ever a proper method to pay homage to musical legends, then PJ has it down pat. Bottom line: this track is a toe-tappin’, head-bobbin’ good time! Next up on the docket is “Say You Will”, a nice smooth track where PJ takes some time to flex his vocals. If you perk up and listen, you can hear how he explores the ups-and-downs of his vocal range here, in addition to
A GREAT FOLLOW-UP TO FANS OF HIS OLD EP “COLORS,” NOW ADDING MORE INDUSTRIAL SENSIBILITIES TO HIS MUSIC AND IS ALSO A GREAT INDICATION OF HOW WELL VOICIANS WORKS
to throwing a few goodies in the form of vibratos, unexpected high notes, and the like. Lines like down on every knee, begging baby please ensures that there is still a story within the song, but it would be odd to disregard the obvious talent begging to be recognized in this four-minute stunner. If you want to know if PJ can really, really sing: here you go. “She’s So Fine” is different again (I mean can we really expect anything else at this point). And it certainly starts off sounding… different to begin with. But a good different. There’s a tropical island vacation vibe to this one, retaining the same catchy energy which permeates through “No Worries”. Lines like sail with me and it’s just a fantasy, it’s never meant to be, back to reality give you a good feel of that. It’s a real, infectious type of sound that compels you to get up and just clap, tap, and sing along with PJ. He gets introduced in “Sinners” as someone with a big voice, and a whole lotta soul, and there was
never an introduction so much more on point than that. “Sinners” acts like a confessional – one that asks you to reflect on your own sinful ways – but there’s nothing wrong with that, because you’re not alone! PJ certainly has a way of getting his message across, while sounding just phenomenal at the same time. And that’s basically the recurring theme throughout “Rise of the KingPin”. It’s rare that I have one, and only one criticism, to speak of. And even rarer when that criticism isn’t even about the actual music itself – but rather about names. Going into this review, I was expecting that someone whose stage name was “PJ KingPin Wilson,” with an EP called “Rise of the KingPin,” would be putting out some corner store Hip-Hop or urban music with a side of coke, but that certainly wasn’t the case. “KingPin” just sounded so… Kanye to me.
(among other things). There’s not a single track on this album I didn’t like, not one that didn’t make me feel some sort of real emotion, a real connection with the message he was trying to convey. “I mean, in a world where the Top 100 charts are filled to the brim with garbage, autotuned artists, and Lil Wayne, we need someone like PJ. Someone with a voice that is powerful enough to be noticed in this industry, while still channelling the nostalgic vibes of the past with an unparalleled sophistication.”
Much to my listening pleasure, PJ’s music is inspiring, uplifting, contagious, melancholic, soulful, and legendary all at the same time
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Writer: Patricia O. Editor: Brandon M.
Michael Lington’s SOUL APPEAL HOPEFULLY ONE IN A LONG LIST
ALBUM REVIEW released yet another exploratory venture titled Soul Appeal, which oozes with charm and sophistication. Delightful and restorative, this opus acts as an anxiolytic, a balm smeared on septic wounds, a therapeutic cocktail. The grand majority of the tracks are purely instrumental and prove to be more than mere displays of technical prowess; rather they richly fuse funky, bluesy sonorities and pay homage to all the celebrated musicians of the 60’s and 70’s Memphis soul scene. Michael Lington indulges in an exercise he is not utterly unfamiliar with: take something he adores and make it his own. I Would Rather Be Asleep, their most recent DanishAmerican saxophonist Michael Lington has made an entire career of titillating ears with songs suave and flavorsome. Seven albums and numerous radio hits to his credit, Lington, whose musical path features no shortage of intrepid moves and defiant choices, recently
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Groove-infused “Soul Appeal,” “Taking Off” and “Uptown Groove” open the album and exhibit a musical lushness that is remarkable; we applaud Lington’s generosity in producing an ambience propitious to exchange and musical abandon. Never once does his sax playing encumber or overpower the other musicians’ parts, allowing
in this thrill-packed opus. While the album excels for a rock-solid circle to form, one rich in slickness at reenacting the immediacy and flavor of Soul and exuberance. In “Gonna Love You Tonight,” wonders past, it does at the detriment of variety, Lington’s sax arbors a more romantic suit, and accausing it, on a second hearing, to lose a soupcon companies brilliant R&B vocalist Kenny Lattimore, of its initial appeal. as any gentleman would, letting the former voice an amorous ode to his or desired beloved, never interrupting, only egging on with the aid “GOING of stirringly smooth sax lines HOME” KEEPS IT – the ideal wingman! “Manhattan Nights” transports us to a 90’s dim and smoky jazz bar in New York, women dancing in retro clothes while men eye them; dulcet and a tad lascivious, this track concludes the first half of Soul Appeal on a particularly hot note.
HOME WITH A LANGUID SAX LEAD IN THIS SA-
VORY BALLAD, REPLETE WITH FITS OF ÉLAN AND MOMENTS OF POIGNANT NOSTALGIA.
“In the Pocket,” a reworking of King Curtis’ classic, is nicely jazzy and features a both ardent and nuanced saxophonic solo. “Leave Me You,” a powerful ballad led by Georgian soul musician Ryan Shaw, is another example of Michael Lington’s illustrious musicianship: he withdraws when needed, playing down musical agility in favor of emotional wealth. “Going Home” keeps it home with a languid sax lead in this savory ballad, replete with fits of élan and moments of poignant nostalgia. “Double Down” further grounds Lington’s dexterity and band spirit while “Memphis Soul Stew,” another inventive variant of King Curtis’ hit, establishes him as an eminent instrumentalist whose artistic possibilities are infinite. The album finishes on “Follow Your Heart,” a slow and melancholy piano-sax track, which, although devoid of lyrics, seems to convey untold feelings and sensations, a last appeal to soulful and authentic music. Soul Appeal demonstrates Lington’s savoir-faire as well as his penchant for risk-taking and gathers, much to our delight, an assembly of gifted artists ON PHOTO: The grand majority of the tracks are purely instrumental and prove to be more than mere displays of technical prowess.
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Stereo Off: The Moment of Inspiration
WHAT STARTED OUT AS A SINGLE EFFORT RAPIDLY PROGRESSED INTO A FIVE-PIECE BAND WITH MEMBERS COMPARABLE TO FIVE-STAR CHEFS...
Article: Patricia O. Editor: Brandon M.
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There is a good deal to be said about Stereo Off’s capacity to blend and fuse their myriad influences into something that is uniquely theirs. True, as they say, “[they are] not looking to reinvent the wheel” but they might well try to do just that. What started out as a single effort rapidly progressed into a five-piece band with members comparable to five-star chefs doing fusion cuisine, each bringing something of value to the table. The result: a multihyphenated musical genre comprised of pop, electro, indie, post punk to name only a few. And as they so rightfully remind us, Stereo Off is young, with a path to true recognition yet to be travelled. They cannot and won’t yet be asked to concoct an anthology of the rockstar’s lifestyle but they can and do speak with grace and élan true words of inspiration: practice is key and make them mistakes because inspiration is one elusive witch. Thank you Stereo Off for granting us this superb interview!
M.O. It was originally a solo project by Sebastian (lead singer), who programmed and produced most of it digitally. As the first songs started coming together he realized it had to be a real band with a balance of digital and analog, which started initially with him, Darren and Bridget. They looked at auditioning a guitar player when their friend Steve from electro-folkpop band Peculiar Gentleman and other bands such as Badacaster volunteered to join. In 2012 Niall joined as their bassist to complete the current 5-piece lineup and the group began expanding their sound and track list. P.O. How would you describe your musical style and could you list some of your influences, musical and otherwise? M.O. As noted in your review (thanks) and on several other sites that have mentioned us, we’re not looking to reinvent the wheel here (but maybe renovate and alter it somewhat). As a result, the music ends up adaptable to a wide array of listeners and styles cited often include things from 80’s synth-rock down to faster paced 90’s indie bands. As the band progresses, I think the style and some of the similarities tend to involve bands we like such as Friendly Fires, Phoenix, Chain Gang of 1974, The Strokes, etc, that right mix of indie-electropost-punk styles. P.O. Your first EP is truly eclectic and displays a variety of sonorities. How do you, as a band, go about writing a song?
M.O. Unlike several past bands, the making of a song here has a bit more of a structured beginning. Sebastian will usually have some ideas in mind, various melodies he’d like to explore. Or Niall will lay down a bunch of guitar riff melodies and bass lines for Sebastian to build from. That’s how most of the songs began at least – very much just an initial foundation for ideas. Then when we work on refining these and rehearsing them with each of the other band members, and they tend to evolve slightly as the rest of the band adds their ideas to the foundation. P.O. Your music reveals a penchant for theatricality which also seems to permeate your visual identity. How did this come to be and what inspired it? I wouldn’t say necessarily theatrical, but I think we identify with people who stand at the corner where the intersection of art, music and DJ cultures meet. The dna of performing is very much within us, be it from our parents and siblings or the many artists, musicians and film makers we are friends with and fans of.
P.O. A word of advice to aspiring artists? M.O. It might be too early on to answer that one, our band itself has a lot of aspirations that we have barely just begun progressing towards. If there is anything I can advise on, it’s for any band to get on with it and get it out there. Unfortunately becoming an established artist is not about just the music, but about the business, how you market it and how you get the word out.
Stereo Off a multi-hyphenated musical genre comprised of pop, electro, indie, post punk...
P.O. Stereo Off started out as a single effort, how did it evolve into a five-piece band?
What one can initially control is ideally to do as much as you can as soon as you can. Practice, practice and more practice. Get those tracks well cut and get a release out, market your band and continually try to experiment with your sound. Don’t be afraid to make mistakes or try to be perfect, or the moment of inspiration may pass you by.
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Glass Animals Nouveau Casino, Paris 29 April 2014 Live at Nouveau Casino on April 29th, in the buoyant eleventh arrondissement of Paris, near the Bastille, is Glass Animals, a band that is undeniably one that must be heard and seen in person. Small was the venue, whose antique chandeliers and futuristic metalplated ceiling made for an intimist décor, and so was the crowd; pockets of hipsters and curious music enthusiasts neatly dispersed and irremediably entranced. Welsh artist Gruff Rhys opened the show, clad in a furry wolf-headed hat and scruffy beard, and sang with the most penetrative of voices, inundated in vermilion and amber lights, reenacting the simple beauty and lyricism of a bonfire night. It is shoeless and in quasi-holed tshirts that Glass Animals arrived on stage, producing from the first note on the effect of an ecstatic rush, spilling rather than singing, their hearts and souls’ contents, gesticulating with fierce abandon, under
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the influence of their own mesmeric sound. Songs such as “Gooey” and “Psylla” sent tremors down spines and had limbs waving and wanting for more. The concert was brief, for as they declared “[they] don’t have many songs,” yet it engrossed and shook; the show being one of four artists enamored with the task of casting spells. Those of us fortunate enough to have attended will without a doubt reminisce and conjure up this matchless synesthetic experience, one of sensory overload, on days and nights of ennui and tedium. And them to finish with a cover of Kanye West’s “Love Lockdown,” front man Dave Bayley reading the lyrics on his cellphone, was tentative yet insouciant, casual yet preternatural. Glass Animals are ambiance creators, a brotherhood of sorcerers capable of suffusing magic in the most somber corners, sans artifice or tricks.
Writer: Patrica O. Editor: Brandon M.
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Writer: Trent B Minia Editor: Brandon M.
Apotheosis: We Are Human SINGLE REVIEW Well, what else is there to say about this song? Unfortunately, it’s not that much else. It is really just five minutes screaming about how we are superior and we will raze everything. There isn’t much structure to this song either as at times I’ve gotten lost and wondering what I was listening to and where I was in “Apotheosis.” It has a captivating introduction with hard-hitting double-kick and guitar patterns, and it definitely goes hard throughout the song. That’s pretty much everything this song has to offer.
We Are Human is a five-piece Canadian indie metal product from Woodstock, Ontario, presenting their recently released and debut song, “Apotheosis”. Right off the bat, we have a fiery introduction—a fascinating pattern of double-kicks and guitars in sync, and it really got my head thrashing right away. The vocals throughout the song are all screamed. Charlie Chaplin’s famous dictator speech is also played, right around the middle to the end. Also note the Biblical reference at the beginning, regarding the story about Cain and Abel.
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In addition to its scorching introduction, “Apotheosis” is very well produced, mixed, and mastered. The volume leveling and the panning is all balanced out well, and the compressors are hard at work like the song itself to make this track great to listen to, without anything else trying to scream over each other for loudness. In terms of structure and content, there’s not a lot this song has given in five minutes. It perhaps would not hurt for We Are Human should start adding some melodic vocals into their music; either way, it is apparent that We Are Human has it in them to offer their audience a lot more, we just haven’t heard it yet. Regardless, there are surely metal audiences who will eat up songs like these and if you are one of them, then perhaps this track is worth taking a look at.
Human Imitation RAYNE: Single Review
Coming from Sunderland, England, is three-piece alternative rock band Rayne. Their latest single release brings us “Human Imitation.“ “Human Imitation” starts off with a moving intro that sets the tone for the whole song; an atmospheric pad with a reverbed percussion beat is then followed by a nostalgic piano melody two measures later topped, off with guitars strumming a chord progression. The vocals don’t kick in until roughly forty seconds. By this point, the heavy reverb becomes noticeable, showing itself in the drums and the vocals to give off an atmospheric, anthemic rock vibe to it. The chorus is performed with a lot of attitude, feeling, and power. The climax of the song is reached after the chorus is played a second time, which features a simple solo guitar and vocal performance, before the song ends and fades, leaving
you craving more of the song. Its mesmerizing effect wraps up the listener and can make them reminisce on good memories. The feel-good, calm feeling that emits inside of you while listening to this song is similar to that of the popular love rock song “Chasing Cars” by Snow Patrol. While the reverb is a cool effect for a concert-like vibe, there was too much of it applied on the vocals, and as a result, it drowns out the instrumental. You don’t need too much reverb to achieve that anthemic arena effect (take “Stadium Love” by Metric and “I Don’t Care” by Fall Out Boy as good examples of well-mixed, light-reverb songs.)
your high school friends before graduation. But too much reverb being applied to the vocals immensely drowns out the instrumental, and as a result makes it really difficult to understand the vocals. This single does, however, define their potential, as they certainly have left an exciting impression with this massive single.
Writer: Trent B Minia Editor: Brandon M.
“Human Imitation” by Rayne certainly achieves a grand, anthemic sound. The tune gives a very nostalgic vibe to it and can draw you into a calming atmosphere to reminisce on good memories, whether it would be a date to prom, or your last night with
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It’s Definitely
Photo Credit: Arika Kane Writer: Brandon M.
There With Arika Kane’s New Single There is a certain sweetness emanating all over Arika Kane’s recent single “It’s There.”
With 90′s style contemporary R&B beats, mellow bass grooves, twinkling pianos, and a dash of electric guitar, the track sounds nostalgic, wonderfully heartwarming, and is magnificently moving. It also goes without saying how lovely yet powerful Arika Kane’s vocals are as they melodically croon with triumphant soulfulness from verse to chorus. On top of that, the song features Brian McKnight, who is more than likely a familiar household name to the R&B music community (previous collaborations include Mariah Carrey and Vanessa Williams). I can’t stress how much of a winning combination this is: nostalgic 90′s sounds, Arika Kane’s stunning vocals, and the featured voice of the incredibly talented and Grammy nominated Brian McKnight? R&B fans will definitely not want to miss
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this one. How else do I possibly describe something as fantastic and refreshing as “It’s There?” For one, it’s mature. There’s nothing too bubble gum poppy or obscure, nor is there anything too overly embellished or safe. The chorus is hooky, and each verse flows elegantly, with just the right amount of sway and energy. This is the working of an artist who has really laboured on her craft, as it dips just right between slow and relaxing, yet cheery and sentimental. I mention nostalgia because it oozes throughout the song so strongly. I remember the 90′s for its strong and soulful R&B music, the type that is unfortunately not as prolific on the radio anymore. “It’s There” is strongly reminiscent of those wonderful sounds that made
I mention nostalgia because it oozes throughout the song so strongly. I remember the 90′s for its strong and soulful R&B music, the type that is unfortunately not as prolific on the radio anymore. “It’s There” is strongly reminiscent of those wonderful sounds that made up the many wedding receptions and 18th birthday ceremonies I have ever attended, as well music that my parents would play in the living room when I was a kid (Mariah Carrey and Shania Twain to name a few). That type of nostalgia just drives forth the already sweet sentimentality that coats this song, and it makes this track just that much more wonderful.
The production is fantastic and rarely misses a beat, if at all. The vocal harmonies are crisp and on point, echoing at just the right places and really evoking the kind of happy soulfulness you want to hear in an R&B love song. Brian McKnight’s vocals also mesh superbly and stand toe-to-toe with Arika Kane’s as they don’t feel too spontaneously painted into the track. Rather, they accentuate the soulful sweetness of the song quite beautifully. There is also no overshadowing of one vocalist over the other; every lyric is sung by both singers with heartfelt totality, the annunciation and pacing of their words beckoning the listener to cling on to and drink in every single word and note. The chemistry of both singers is most certainly here too, as not only do you hear their voices swirling magnificently together, but you feel it. You definitely feel the euphoria that the lyrics and the instrumental evokes, and as a result makes this an ideal song to be played at weddings, prom nights, or just to sing as a serenade to your favourite person. There is most definitely something wonderful and moving going on in this song, and the way that both artists bring it out is almost magical.
I’m looking forward to seeing what the rest of the album sounds like, due in June of this year. As it stands, Arika Kane’s “It’s There” is sweet, wonderful, and downright fantastic. It does feel like there’s a little bit of wiggle room left that could be filled to make this song even more memorable and soulfully moving, perhaps in the way of an explosive high note after the bridge. This, however, is a minor concern that takes away none of the heartfelt potency of this track. With its easylistening sensibilities and pop accessibility, this song truly has the potential to bring the syrupy and soulful contemporary R&B sounds of yesteryear back into the forefront of the music community. “It’s There” is a must listen for all contemporary R&B fans or anyone looking for something radio-friendly and reminiscent of the 90′s.
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Article: Trent B Minia Editor: Brandon M.
A Shot Below the Moon Green or Blue LP Review What makes artists unique amongst each other is what music means to them, and how they want to deliver their art to their audience. Green or Blue is not your typical acoustic alternative rock band. As an independent, three-member band coming right out of Malverne, New York, USA, Green or Blue is about creating an invincible bond with their audience through art. Guitarist and vocalist Matt Nicolae wrote a song about what colour a woman said her eyes were, and that’s how the band’s name came to be. The band’s influences range from the Goo Goo Dolls, to Death Cab for Cutie, to Coldplay, to
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Barcelona, to Taking Back Sunday, and John Mayer’s drummer, Steve Jordan, for Green and Blue drummer Andy Weber. Released in 2014 of February, Green or Blue delivers their thirteen-track LP, “A Shot Below the Moon.” If The 88, City and Colour, Mayday Parade, This Providence, Every Avenue, Holiday Parade, and Blue October are amongst your repertoire of favourite bands, then A Shot to the Moon would be a no-brainer recommendation. To open up the thirteen-track longplay album, Green or Blue presents the song “In Love With a Liar.” It has everything from powerful vocals, to
soothing guitars, to revving marching snare drums, and they’re all started off with a cinematic string intro; there wasn’t any better way to start this album. Any album increases in quality when it has songs that gaplessly transitions into the next song, and “In Love With a Liar,” beautifully and cinematically, transitions into track two, “Something You Can’t See.” Every album needs a good surprise, am I right? A slow quiet album needs to have a fast happy song. An angry metal album needs that “heck yeah, let’s party” song, and a fast punk album needs that slow ballad love song in there as well. Even metal giants Avenged Sevenfold has
that spontaneous country song in their self-titled white album. Green or Blue’s A Shot to the Moon has songs where you can just rest your head, close your eyes, and think about life peacefully, but it has been like that for six straight songs now, and in a thirteen-track album, the audience will definitely would have expected more variety at this point. But A Shot Below the Moon begins to change its course at track eight, “Swift Redemption.” Track nine, “Are You Alone,” presents us with an edgier, darker, and aggressive side of Green or Blue. Track ten, “In Sooth,” is a clear showcase of the vocal power and range, which is a pleasure to listen to. Then at the first half of track eleven, “With Loving Hearts”, it seems to calm the
album down with a more upbeat and happier sound, but midway through, it turns into an emotional, climactic showdown. Finally, as the album begins to close, we get track twelve, “Sinking Ships”, which brings the album right back down into its peaceful and calming nature that we were used to when the album began.
This band still has more up their sleeves to offer us, the listeners, and A Shot Below the Moon seems to just be a start.
Green or Blue stands as a promising alternative rock band with a good vision of what music means to them. Their name is still spreading around, especially through social networking, and they have already gained recognition and support internationally through A Shot Below the Moon, which was a kickstarter project, believe it or not.
ON PHOTO: Green or Blue is not your typical acoustic alternative rock band. They’ve got the neon lights to prove it!
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Writer: Patrica O. Editor: Brandon M.
E Grooves Vol. 1 COMPILES THE VERY BEST OF EAST AFRICAN URBAN SOUND
East African urban music compilation E Grooves Vol. 1 released by Seattle-based entertainment agency Sector 7 Access is no doubt a unique endeavor. In the pipeline for ten years, this fulllength feature highlights a superb combination of East African artists, long celebrated and acclaimed in their countries of origin, but little known and deplorably underrepresented elsewhere. The chief goal of this compilation is to help them gain the recognition they so justifiably deserve. Fifteen artists populate the first volume of the E Grooves mix, illustrating themselves in varied undercurrents of the regional urban sound (Bongo, Genge, Afro Soul etc.), some singing in patois, others performing in English, all dipping into the ancient and diverse musical traditions of the African continent. The American influence is evident on
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this record, by reason of the African diaspora, with the incorporation of soul, R&B and rap among other genres. E Grooves Vol. 1 is a veritable aperture into a musical culture that is copious and rich, and documents not only the sonic wealth and diversity of the East African scene but the sociocultural conditions in which it arose. Seventh track “The Story” by Kenyan urban music pioneer KG Omulo is a call for justice and urge to awareness, sung in English in the survivor’s spirit of his educators, Bob Marley and Marvin Gay, and tells of localespecific issues, dropping clues as to the political tapestry of a section of the world we know very little of. In a similar vein, “Those Days in Nairobi” by South Sudan reggae master DynamiQ. provides listeners with “the kind of education” which cannot be acquired in colleges, namely quality of life in the Kenyan capital as
gauged by one who has stood there amongst the populace. Most of the artists featured on this compilation are mostly emerging, although a few are award winners or nominated acts, and while they will without question know great success in their homelands, there is good hope they will equally touch multitudes worldwide. Their songs speak words of inspiration and transcendence, dipping deep into and capitalizing on their roots, producing stories worthy to be heard. The E Grooves effort compiles a flavorful blend of contemporary music and those very distinctive sounds of the streets these artists peruse daily, and thus possesses the potential for wide appeal. This is only the beginning of a lengthy journey for these East African urban music ambassadors, one strewn with passion, sharing and certain humbleness.
Writer: Trent B Minia Editor: Brandon M.
Infinity
Against The Current
If you keep tabs on the newest and latest artists on YouTube, chances are you already know or are familiar with who Against the Current are. This three-piece rock band from Poughkeepsie, New York is already making huge waves, reaching out to listeners and making new fans. They have released covers of popular songs, whilst collaborating with other artists such as Kurt Schneider and fellow Poughkeepsie artist Alex Goot, who’s already made it huge through Purevolume and Youtube. Against the Current’s exciting spur of creativity delivers us their new extended-play album entitled “Infinity,” released in late May of 2014. The EP opens up with the eponymous “Infinity,” opening up the fivetrack album perfectly. It’s like Katy
Perry, Jessie, J, and The Summer Set mixed in a blender for an over-thetop, fresh and energetic pop-rock dance anthem. The guitars especially are executed excellently. The drums provide pumping beating energy at the perfect tempo, and the vocals and lyrics make this song fun to listen and sing along to.The second track, “Something You Need”, is a more laid-back song compared to “Infinity,” but with still enough spirit to keep you engaged with the music. The third track “Comeback Kid” caters to more of what pop music has been delivering lately, like “Roar” by Katy Perry, “22” by Taylor Swift, and “Kiss You” by One Direction. This type of style is not exactly my thing but it’s still something the average listener would turn the volume up on, let loose, sing along, and have fun. It’s a perfect sunny summer anthem.
The fourth track “Another You (Another Way)” lifts the pace of the album with an intense string intro and an impressive dance-y chorus. This whole song is a mash-up of elements of We Are the In Crowd, Alex Goot, Demi Lovato, and Selena Gomez, perfectly balancing the happiness and tragedy of love, combined with a great beat from the first second to the last, and may well be a fan favourite off the album; it’s surely a high point of the EP. Finally, the last track of Infinity, “Closer, Faster,” is a lively, energetic, summer afternoon beach-type of song. It’s fun to listen to, but the radio-like effect on the vocals in the chorus were a bit awkward to listen to. It doesn’t, however, spoil the song at all.
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Decadent celebrations with cabaret-style theatricality,... 50 – 24OurMusic
Writer: Patricia O. Editor: Brandon M.
Karen Oberlin’s Wishful Thinking Karen Oberlin voices her musings and delusions in A Wish, her newest album, with cabaret-style theatricality, yet sans red lights or satire. In lieu, she lets her stiletto heels clink and clank before emerging on the stage enfolded in plain dark muslin, guitarist Sean Harkness discreetly following with strings so smooth they evanesce, leaving behind but a tremor that heaves with nostalgic punch. Oberlin takes her sweet time enunciating whatever unfulfilled desires have kept her imprisoned in her donjon of solitude, one where the air is embalmed with heady jazz and blues. Collaborations on this album include songs written by such renowned songwriters as Joni Mitchell, Paul McCartney and Dorothy Fields among various others. Here, a hundred wishes coalesce and fuse in what seems the intimacy of a minuscule 1920 Manhattan jazz club; every word is heard and every uttered wish falls upon wide open ears. Oberlin is accustomed to the cabaret scene, not the one of seediness and decadent celebrations, rather the cabaret where violet lights glimmer on smoke-bathed silhouettes, and a face one side glamorous, the other hectic with gloom. Her message here on this record is authentic, yet compounds the syrupy expectations of one who believes still, in spite of life’s timid offerings. And she appears to know too well how courageous one must be to survive life’s envenomed gifts.
determination. It seems she is fighting an urge to chip away at the veneer of pseudo-cheerfulness she valiantly displays, shouting out at her disenchantment and regrets. But she doesn’t, and so it is with certain languor and longing that she confides, as though all has been maturely thought out and her resolve cannot be broken; or can it? She has a foggy notion of the ideal man and the model scenery for an idyll, but she is not one to tell, rather it is in her mounting surrendering that her faltering strength of mind manifests. Oberlin is an eternal optimist, who hopes her songs to be transformative, for her singing is vital and perilous. Her performance is here soft and warm because her life is the cabaret, a scene replete with ruses and fallacies, and that is why her opus is so ingenuous and clean. On the last track, “Remind Me,” she sings Karen Oberlin voices her musings and delusions in A Wish, her newest album, with cabaret-style theatricality, yet sans red lights or satire. In lieu, she lets her stiletto heels clink and clank before emerging on the stage enfolded in plain dark muslin, guitarist Sean Harkness discreetly following with strings so smooth they evanesce, leaving behind but a tremor that heaves with nostalgic punch. Oberlin takes her sweet time enunciating whatever unfulfilled desires have kept her imprisoned in her donjon of solitude, one where the air is embalmed with heady jazz and blues.
In her words, “Love is not evil,” and contains something of a child, puerile and naïve. Love can also be cruel and rob us of our ability to trust and entrust our secrets and heart. A Wish epilogues the ponderings of a woman who has led an existence strewn with successes and failures as well as sporadic instances of soul-shaking poetry and romantic breaks, which have her a while forget the inexorability of heartbreak. Oberlin holds fast to memories of autumn nocturnal promenades and voyages with the one she loves or loved, and interminably relativizes past grieves with such earnest
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Interviewer: Patricia O. Editor: Brandon M.
The Eternal Optimist Karen Oberlin Editor’s Note: For reader’s interest, the dialogue of the original interview used as a source for this write-up has been added at the end of Patricia’s article. Enjoy! Karen Oberlin is the kind of artist who uses such terms as “visceral” and “connection” interchangeably. For Oberlin, not all stories are worth recounting, only the ones which prove meaningful and replete with integrity, whether they be a week or a century old; hence her daring career choices. Listing Joni Mitchell, Frank Sinatra, Elvis Costello and Mabel Mercer as her constant musical influences, she also cites Pharrell Williams as a potential candidate for a duet, for she profoundly admires his “great creativity, heart and musical prowess.” And with that genuine line, she demounts the cliché of jazz being an elitist genre, remote and recluse from all the other currents. Oberlin’s most recent release “A Wish,” in collaboration with guitarist Sean Harkness, was nearly improvisation, an impromptu meeting which led to a visceral bond and bred the most sumptuous airs. And it seems that is the idea one retains of jazz, the cool and casual production
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of tunes, the instantaneous cohesiveness where the beat never drops. And while that is true, it is also the transformative confrontation with new and inventive musical patterns which feeds and nourishes it, at least in the minds of those most progressive, with the urge to express rather than define residing at its core. And that is what Oberlin serves us up with in her latest record, an unclassifiable guitar-voice marvel which some will say is jazzy, others swingy or soulful, but ultimately, as Duke Ellington once said: “It’s all music,” a manifestation of the soul, authentic and noble. Oberlin delivers stories with languor and pensiveness yet with urgency and relentlessness for, despite her honeyed timber, her heart and soul never stay put. Oberlin is also an optimist who believes life is a matter of resourcefulness and perseverance. “Don’t let anyone convince you to give up if that’s what you really want,” she says. “Be yourself and take your chances,” is her advice to aspiring artists, words of wisdom from one who follows her heart as the music calls and responds.
K.O. Sean and I had known each other from being in the same musical circles, and I admired his work… For a long time I had dreamed of collaborating with only guitar, and at an event, a benefit, we spontaneously played “My One and Only Love” together and it felt so good for both of us, not to sound silly, but there was a great and immediate connection and trust between us. P.O. You’ve been quite daring in your career choices, what would you say is the one constant in your production? K.O. Thank you! I’d like to believe that I make interesting song choices, and that’s certainly among the most important aspects of what I do. The songs can be 100 years or 1 week old, but there has to be a meaningful story within the song in the music and the lyrics, and it has to have… integrity. And in this project, Sean and I had to share a visceral connection to the material, too, for our project. P.O. What are some of your musical influences? Who would you say has inspired you the most?
be? K.O. Wow, this could be a long list! At this split second I’m inspired by Pharrell Williams’ great creativity, heart and musical prowess. P.O. What, in your opinion, are the greatest obstacles to becoming a jazz singer? Would you say it is a harder a genre to make a name for oneself? K.O. I think it can all be hard, no matter the genre… i think it just takes commitment to your creative heart and mind and a lot of per perverance. The music world is a challenge right now, more than it was when I started out, so you need to be resourceful and not be willing to give up! P.O. Any word of advice for aspiring artists? K.O. Be yourself, take chances and don’t let anyone convince you to give up if it’s what you really want.
Oberlin’s music is a manifestation of the soul, authentic and noble...
P.O. How did your collaboration with Sean Harkness come about?
K.O. Although this evolves to some degree, I would have to say some constants are the great storytellers, like Mabel Mercer, Frank Sinatra, Peggy Lee, Doris Day, Paul Simon, Susannah McCorkle, Marilyn Maye, Joni Mitchell, Randy Newman, Elvis Costello, Blossom Dearie… among others. P.O. If could do a duet with someone who is not from the jazz world, who would it
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I Know We’ll Get There Tony Memmel’s Song About Fame
Photographer: Lesleigh Memmel Writer: Trent B Minia
“There’s no denying how sensationalist and horrifying this album sounds. Pretty Mouth did a great job creating something spectacular.” Nashville, Tennessee products Tony and Lesleigh Memmel participated in the “You Oughta Know” Make a Band Famous competition by VH1 and Republic Records. Being a top 8 finalist together, they were required to write a song about fame. The resulting piece, “I Know We’ll Get There,” ranked Tony and Lesleigh fourth place, thanks to their overwhelming fan support. It’s truly a fantastic and inspirational song, one that just seems all the more genuine and pure when you find out that Tony Memmel was born without his left forearm, and yet was able to find a way to master the guitar. Tony Memmel’s “I Know We’ll Get There” is a simply-produced song with only an acoustic guitar and vocals—the lead being sung by Tony, and the backup being sung by Lesleigh. This country-style tune has
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a pretty straightforward layout: verse, chorus, verse, chorus, repeating bridge, and chorus. The lyrics are easy to understand to and connect to, and the song as a whole is not complicated to listen to. The two vocalists sing with an impressive cohesion, standing toe-to-toe and never outdoing the other whether by skill or emotion. Being an acoustic-only song, artists have to be able to connect to the listener through their vocals and accompanying instrument emotionally without coming off as impure and gimmicky. Some good examples of tracks that avoid this cliche are rock bands Escape the
THE SOUNDS HERE ARE NEITHER MIXED TOGETHER TOO CHAOTICALLY NOR TOO REDUNDANT, CREATING SOMETHING THAT IS SURE TO BE REFRESHING WITH EACH LISTEN THROUGH.
A Lot to You,” and the acoustic version of “You’re Not Alone,” all respectively; each of those songs accomplish the emotional and meaningful connection between the
vocalist and the listener. I Know We’ll Get Thereaccomplishes this as well through the same medium, which is what makes Tony and Lesleigh’s song a feel-good track to listen to. The balance between Tony’s and Lesleigh’s vocals, in terms of volume, could have been better. But other than that, the production and mastering of this acoustic track is great: the acoustic guitar is not loud enough, which allows the vocals to stand out. Tony and Lesleigh Memmel’s track about fame is very difficult to dislike. It’s easy to listen to, easy to understand, and easy to connect to. Nothing in this song is overdone and it is very well produced, topped by the voices of two very skilled singers. If you need a feel-good, lay-back, eyes-closed, reminiscing track, there should be no hesitation to add “I Know We’ll Get There”onto your music players. Tony Memmel’s great musical potential along with his inspirational story and battle without one of his forearms just may captivate you to keep fighting until you get there.
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Writer: Patricia O. Editor: Brandon M.
Mark McLean’s
“Feel Alright” remedies all ills New York based Ontario native Mark McLean’s newest album Feel Alright is the epitome of finesse and groove. This magnum opus caters to all music enthusiasts indistinct of genre preferences, and features a myriad of notable artists lending their suave timbres to jazzy notes and cadenced rhythms. The ensemble proves a delight to both accustomed and unaccustomed eardrums and flows with candid grace as though these eleven songs had materialized out of an unpremeditated jam session. Such is the level of flawlessness at play. “Shining Star Be Mine” inaugurates the festivities with a Jimmy Cliffesque intro ceding the terrain to Wade O. Brown’s velvety vocals and whistling ode to love supreme,
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delivered with metrical precision. Segueing into “24 Years,” a welldosed melancholy slow song led by Kellylee Evans’ airy voice, where restraint supplants élan, McLean serves us a heart-to-heart on the passing of time and immortality of feelings, thereby affirming the mood set in Shining Star. “Sugar Bones” kills wistfulness in favor of certain exuberance in a playful menagerie of jazz, blues and southern accents, which “January Rain” promptly quiets down with disconcerting sincerity, articulating both sorrow and longing in elongated syllables and emotive piano notes. A heart-wrenching ballad giving tremors. “Surrounded by You” and its crooning vocals is a swingy, jazzy tune, with a peculiar timeless quality perhaps due to grand vocalist Howard Fishman’s dispassion of speech and weary delivery, a song emerged, it seems, from an old black and white picture, yet
very contemporary – ennui makes a comeback. In “Where’s the Door,” we somersault into yet another ambience, one of jazz-bathed romance down in Vegas or Hollywood, a touch extravagant and insufferably sweet. “Damn Shame” signifies a return to less fanciful preoccupations, addressing the difficulties and hurdles one with a GED and busboy position is bound to encounter when dating a PhD student, a message delivered with unabashed grooviness and dash. “Only Friend,” a bittersweet ballad, refreshes with its stark introspectiveness and unassuming beauty, which is equally true of “Angel on your Pillow,” although a great deal more upbeat; here a similar kind of honesty and profundity of soul transpire and move. “Silent Prayer” stirs with its lament-like vocals, stripped of all artifice, piano as nearly sole accompaniment, a full frontal exposure of the soul. The record concludes with “Feel Alright,” a hymn to joy, elated and conquering, a call to harmony and celebration. Feel Alright meanders through the sinuous paths of human experience, its joyous and sorrowful moments, always contrasting the two with sensitive cleverness. The result is a coherent and cohesive collection of songs whose strength resides in the purity of style and soul-baring lyrics and vocals, which astound and daze, leaving a mark never to be effaced. McLean’s drums are impeccable and appear to function as a supportive framework enabling this brotherhood of artists to deliver their finest and smoothest, in a spirit of communion and exchange. There is in Feel Alright the stuff of ardent romance, loss and wisdom, weaved together without the least bit of ostentation or pretense, rather intoned with the modesty and openness only true musicians and men could display.
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Writer: Patricia O. Editor: Brandon M.
Parkside’s I WOULD RATHER BE ASLEEP IS A GEM OF NAÏVE CANDOR.
EP REVIEW tempered by intermittent moments of softness, a softness borne out of certain lassitude. Indeed, Parkside would rather be asleep than rolling in “Stained Sheets” or picking up “Ashes” off the ground, and it shows. The density to their lyrics is remarkable, and although the enraged streak could rapidly become unnerving, the instrumentation, never too heavy, nicely canalizes this eruption of bile, the sonic upbeatness of each track counteracting the lyrical darkness, rendering this release of frustration more liberating than explosive.
Ontario-based punk rock band Parkside claim to be merely dudes who love making music and playing shows, and they are mighty good at it. I Would Rather Be Asleep, their most recent release, is a collection of four songs whose incensed content and forceful sound are only
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Parkside appear experienced in the tragedy of disappointments and seem to have a way with words, always steering clear of clichés and banal affronts, dipping deep into their ordeal savings with dexterity and restraint.
Their lyrics are to the point and so biting it experiment with at will.. cuts right through skin. Such lyrics as “Back when you gave Randi cigarettes I was fucking stupid then and now one drink slowly turns into ten,” from third track “Kingston” are valid examples of Parkside’s subtleness when it comes to lashing out. PARKSIDE While one could mistake ARE MASTERS AT the freshness and linTHE EXERCISE OF TAKearity of their sound for safeness, at times ING A CERTAIN FORMAT reminiscent of Blink AND MOLDING IT IN SUCH 182’s early material, A FASHION IT BECOMES their ability to surprise listeners with moments THEIR OWN of uncoated candor as in “Stained Sheets” or “Joyride,” when vocals emerge and an epiphany seems to occur, is uncanny. Parkside are masters at the exercise of taking a certain format and molding it in such a fashion it becomes their own; they could also very well discard it altogether and propose something entirely new. And they do, without a doubt, already possess this tendency to veer into other musical variants; “Joyride’s” hard rock feel, with its heavy guitars, proves a nice touch and spices up a superb EP, which could certainly have been greater had such tiny touches been more recurrent. But in the end, no one will deny the coherence of I Would Rather Be Asleep as a whole, and while Parkside’s experience in life’s twisted blows and their quasi-inexperience in transforming those in a manner that pierces and leaves an indelible mark is manifest, it is also the reason why their EP is so touching. These are men and musicians who are true to who they are and do not try to pose as anyone or anything else. Their sound will mature as they do, and the ire will ultimately dissipate as wisdom comes, and when the guitars and the drums explode, their words will speak a different truth. The song “Ashes” concludes with the line “I feel this weight off my shoulders,” and one does wish Parkside to transcend primal anger and fear so they can transmute and elevate themselves and find, not civility or cordialness, but a certain peace they can
ON PHOTO: Album cover for “I Would Rather Be Asleep” by Parkside.
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Photographer: Julien Laperrière Writer: Brandon M.
Heart Street’s Stunning EP “Brings Beats, Blunts and Broads” It’s incredibly shocking that the record clocks in at only about fifteen minutes. For such a small little mix, the record is jampacked and stupendously produced, a lethal one-two punch that drives this record overthe-top and leaving the listener breathless. The cover art is quite ballin’ too. Indeed, this is a stylish record inside and out.
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The EP begins with the smooth bass of “Word Up,” reminiscent of Montreal’s jazzy music scene and hints of Gwen Stefani’s sensible and glitzy pop. This is a triumphant beginning for the EP, topped by three minutes of head-bobbing as the stylish duo exchanges impressively written verses and choruses over a smooth and creamy beat. It’s
only fair to warn that listeners stand in danger of falling violently in love with the duo’s incredible ear for some sweet sounds The penmanship of the two truly shows and continues in “Arizona,” a relentless continuation of punchy rap verses spat through some beautifully written lyrics. By now, it’s plain to see
THE 2013 EP “BEATS, BLUNTS AND BROADS” BY MONTREAL FEMALE RAP DUO HEART STREETS IS BOTH SMOOTH AND EDGY IN A FOUR-TRACK EP THAT IS LARGER THAN LIFE.
to see how impressive, nuanced, and controlled the vocals are, driven through by the snarky and clever “F-U-C-K-I-T,” all while continuing the preachy triumph of “I can be.” But track three’s “Ruby” is when the record takes an impressive soar, with a surprisingly deep instrumental and compounded by some of the punchiest rap vocals on the record. This isn’t to say that “Ruby” stands out as the sole highlight of the record, but that it builds and swirls together the impressive production of the album with Heart Streets’ impressive ear for beautiful lyrics and tight instrumentals. All of this, and there’s still one last song on the EP. “Head Down High” featuring City Fidelia has the heaviest swagger on the record, featuring a catchy chorus, some inspiring lyrics and an impressive verse by City Fidelia that complements rather
than clashes with the star female duo. This is what you could a ‘celebratory break-up song,’ but it wouldn’t be fair to simplify it as that; it’s an incredibly wellwritten and well-produced track that tells a story, one that mixes heartache and regret, full of emotion and rawness. Indeed, both Heart Streets and City Fidelia are unafraid to lay down everything on the line. Worth noting, no line seems to hit as hard as the repeated “and now we both agree to fuck the rest” (although that is a general consensus; listeners will find many lines in this wondertrack that will surely hit hard). “Head Down High” is undoubtedly the best song on the album, one that is a surefire fan favourite, and yet is only one piece of this impressive record. It’s unbelievable to conclude this review with the realization that Heart Streets still has a lot to of-
fer. Four tracks is never enough to showcase all that you got, and the amount of substance that is artfully packed into this mix just seems to scream potential, style, and a signal for amazing things to come. This will probably be the first ever record with less than five tracks that you will ever listen through and feel fully satisfied, despite its shortness. It’s a record overflowing with raw content, quality production, tied together by some tight vocals that stand toe-to-toe with some amazing penmanship. By the time you finish this record, I promise you that you will feel satiated and in disbelief that this was not a full-length album. Truly, there’s no such thing as perfect, but in terms of a four-track EP, “Beats, Blunts and Broads” stands awfully close to being just that.
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Stereo Off Those Sexy Devils Each track is a surprise on the debut EP by New York native five-piece indie band Stereo Off. And that is how an EP should be: a synthesis of musical aspirations and talents, a widely eclectic ensemble which enthralls listeners, yet compact and readable enough to avoid alienating them. Displays of technique will impress, authenticity infused in carefully crafted melodies and lyrics will ring and resonate, all leaving a durable impression. Stereo Off’s EP proves to be a virtuosic feat, not because it pretends to reinvent a genre or create a new one, but because it shines with sheer lightness while being contentheavy. Fusing with brio a wide range of sonorities, going from punk rock to electro, not once skipping a beat, these New Yorkers are ambiance creators, painting with each song a picture whose ever-changing tones dazzle. And that is this matchless equilibrium between light and heavy, the technical wealth versus the groovy, at times sexy touches and nuances that render this EP a thrill to experience. Stereo Off’s exploratory mind is manifest on this record, and unquestionably places them within the realm of other fastrising alternative formations whose prolific creative efforts ultimately bear fruit. The EP commences with “Photographs” and its heavy bass lines and low-pitched vocals; a song groovy and sensuous designed to be savored piecemeal. “Bullet Time” steps up the glamorous vibe by featuring a higher-pitched voice, distorted guitars and pop electro undertones, which third
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Writer: Patricia O. Editor: Brandon M.
track “Effectual” is replete of. The song, vaguely reminiscent of electrofunk band Chromeo, another New York-based formation, is a dancing hymn, whose haunting beats will ravage dance floors worldwide. “The Thrill” veers into yet another direction, favoring the intimist atmosphere of indie films, all close-up and personal, and is strewn with melancholic guitars and synths, making us girls want to crawl up against unbathed boys. The last song of the EP, titled “MI6”, is nicely punk rock featuring abrasive vocals and lyrics, and proves to be yet another great surprise on this singular record. While it seems it would have more logical to conclude this EP with “The Thrill,” Stereo off chooses instead to diverge and indulge in their unquenchable thirst for experimentation and serves us with a wild and raging song whose mixed emotions will leave listeners pondering, waiting and wanting for more. Stereo Off is a true band in the sense that each member is given an uncensored voice; all talents and abilities are purposefully engaged, nothing wasted, but all transformed into something pleasant and alluring. Stereo Off evidently steers clear of big hit formulas yet has managed to create enough harmony within to produce something that is cool, different, and tremendously fun. And those are the ingredients of success: a desire to explore and innovate combined with talent and openness. Stereo Off possesses all the keys; let’s hope the doors will keep wide open.
Writer: Patricia O. Editor: Brandon M.
Hideaway / Cota Rebels With Massive Hearts EP REVIEW Following a similar construction, “Dirt” by Hideaway arbors, however, a very different getup, featuring a grungier sound and abrasive, raucous vocals. The energy on this second track pleasantly offsets “Pieces;” the affirmativeness of the former complements the poignancy of the latter, producing a coherent ensemble, one that is awash with nods to the musical and lyrical elements of the Punk rock movement, yet decidedly attuned to current sensibilities.
Punk formations Hideaway and Cota jointly collaborate in a two-song EP titled Hidaway/Cota 7” Split, whose unbowlderized sound will make many waves. “Pieces” by Cota is an emotional well which brims with angst bordering on fragility and emotiveness. There is in “Pieces” something which grabs, grips and never lets go; rawness puts on a sugarcoat and the result rivets. “Pieces” is an attempt at finding a semblance of a future and it is in the tamed vocals and overpowering guitars that the vital compulsion to catalyze change manifests – a persevering itch to break barriers which culminates in the vocalist’s belting it out. Alas, the voice fades out as the two guitars take over and engage in riff solos to the very end until there remains only the undying echo of a hapless youth. This track is minimalist in form yet far-reaching in scope. Indeed, it compounds several lifetimes of hopes and expectations. With intermittent moments of darkness, “Pieces” calls to mind experimental rock band Ataxia’s most bleak songs, thereby showing great promise. Although the verse-chorus format has been discarded in favor as a stream-of-consciousness structure, the song is more alternative than pure punk as devoid of overt rebelliousness and replete with the adornments which render it nicely accessible.
Cota removes their carapace while Hideaway steps into the light and performs with great muscle. This splendid collaboration of rebels winds up jerking tears from the most doubtful, for there is in this marvelous EP a wealth of emotions coaxed out inchmeal and whose amplitude is beyond measure. Cota and Hideaway join forces and flaws but in small amounts only, for they live in semi shadow, asleep yet awake, separate yet together.
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Photographer: Keep It Ohgee Writer: Brandon M.
ENTER MVDHOUSE SINGLE REVIEW But in a world where you are pressured to conform and stick to what you know, is a spring of rebirth possible at all? Enter Mvdhouse (pronounced “Madhouse”), an upcoming underground hip-hop label located in Scarborough, the east end of Toronto, Canada’s largest city. Conceived over a year ago, Mvdhouse is the brainchild of Wesley Cabarios, currently holding five acts by the names of Neverland Gang, Rekast, Andretheiller, Lanzo, and Rafeal. Residing in the east end of one of North America’s biggest metropolises can be restraining enough; constantly living in the shadow of the bustling downtown, wracked by media coverage that paints the area in an overly violent and negative image, and surrounded to the
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north and east by more desirable cities, it’s hard not to look at Scarborough as a mythologized place of stagnancy and darkness. Hence why the movement of Mvdhouse is so important; their music, image, swagger and everything about them screams “underdog climbing all the way to the top,” and it’s the kind of climb from the bottom to the top that is nothing like what we already associate with Toronto. And thus why the introductory single “M.V.D.D City” featuring all the label’s currently signed artists is a triumphant celebration, a ferocious scream of power and freedom, and a coming-of-age for some young people ready to showcase their craft. “M.V.D.D City,” was recently released just over a week ago, in
in time for their past first show on April the 20th, and it demonstrates some of the wonderful energy and imagery that is only just beginning to chug out of the independent Toronto label. The song has a strong Kendrick Lamar energy, one that is easily seen for more than just same sample of the signature loop from The Chakachas that is featured in Kendrick’s “Backseat Frestyle,” or the fact that the title “M.V.D.D City” is an obvious allusion to the rapper’s critically acclaimed and Grammy nominated album. There exists the same kind of visceral
and hard-hitting energy in “good kid, m.A.A.d city” that drives through Mvdhouse’s single, trailing monstrously through verse to chorus, a catchy and contagious hook compounded by a swelling instrumental and a head-bobbing beat. The quality of the single’s music video is impressive as well, featuring some high quality and colourful shots of glammed out and well-dressed friends, views of Scarborough, and of course the label’s main acts, sitting high and mighty on a throne as smoke billows across the screen. The organization of the label shows
here, and it’s unbelievable that so much can be achieved by an independent label that is only a year old. There’s a certain creative intensity that seems waiting to fully unleash itself, one that Mvdhouse surely is just beginning to peel away and expose. Whatever comes next is your next best guess, but spring has just begun and there is still so much time to make something magnificent. Hip hop fans looking for something raw, honest, and up-and-coming should look no further.
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Photographer: Starfoxx Writer: Brandon M.
StarFoxx’s First Tape is Gutsy and Energetic StarFoxx’s very first and gutsy effort Up & Cumming Vol. Deux has undeniable energy, flowing all the way through from start to finish. Beginning with “Welcome” on track one, StarFoxx welcomes the listener to his record, an emphatic two and a half minutes that introduces himself and friends from Montreal’s MakeWay Studios. Listeners will note the strong Childish Gambino vibe emanating from StarFoxx’s vocals, a vibe that is soon to emanate all the way through the record. And indeed, track two’s “Ranch Tostitos” is full of this vibe, from lead to background vocals, and featuring MakeWay’s Orphan. The chorus is catchy, the produc-
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tion is crisp, and the performers both shine brightly in this number. Listeners will pin this one as a favourite of theirs. StarFoxx then drops a more relaxing and chilled-out hit in “2014 Prelude,” a jazzier and more spacey track that listeners will swallow sublimely. “My Clique” on track four is a stylish offering that features stellar performances by StarFoxx, Orphan, and Dr. Master Mind over the infamous beat made famous by Kanye, Big Sean, and Jay-Z. Rapping over this beat seems like a big void to fill, but the three gentlemen do it superbly, matching the hardhitting energy demanded by the instrumental and delivering fiery lyrics with ferocious confidence.
“Hands On The Wheel (Ghost Ride)” on track five begins with the all-too familiar opening line from Kid Cudi’s “Pursuit Of Happiness.” It’s a little misleading to quote this line because the track feels a little less of a get-high-to-this party number, but it still contains a very nice and chill vibe that will sound picturesque with your late night cruises through your town. Following this is track six’s “My Side,” which feels a little overproduced and embellished, but not too out of place. Track seven’s “Voices In My Head” is one of the more contemplative tracks on the record, complete with a sweet chorus that stands strong between StarFoxx’s fantastic vocals. But the best song on the record arrives
after this one, with “Pearly Gates” sitting high and proud on track eight. Crisp production, tight rap verses, a nicely channeled Kendrick Lamar vibe and a contagious chorus make this one a must-listen on the entire album, and is one that StarFoxx should be proud of. It must also be mentioned that the track features High Q and Renata, two great performers from Montreal’s MakeWay Studios, which makes “Pearly Gates” ascend all the more higher. The record then drops into celebration with Orphan and StarFoxx on “Makeway
Anthem” before finishing off with the borderline-bedroom track Adios, capping off one fantastic album.
to feel ecstatic over while listening, and will surely feel more than satisfied once they finish.
There’s a lot to like about this eleven-track album. StarFoxx channels something of his own identity, one that makes him recognizable, built by some great tracks with scorching energy, and supported by his friends from MakeWay Studios (and if you haven’t heard the work of BuDz and company, nor are familiar with the Montreal studio, you best get acquainted now). Up & Cumming is one that listeners are going
ON PHOTO:
Krewella is an American electronic dance music trio from Chicago, Illinois, that
formed in 2007. The trio consists of Jahan Yousaf, Yasmine Yousaf and Rain Man.
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Photographer: Tom Langford Writer: Trenton B Minia
Girls Like You The Icarus Account This band from Fort Myers, Florida, has already made significant waves across the Indie pop scene, releasing both original and cover music on the Internet. One of their most popular songs is “Favorite Girl,” which is the first song I have listened to on their Purevolume page (and liked). The Icarus Account is a duo composed of brothers Ty and Trey Turner. Their late April of 2014 release presents to us an extended-play record entitled “Girls Like You.” The EP opens up with “Bad News,” which is a very warm and upbeat-happy love song. I like the cool use of the drums, the acoustic guitar strumming, and the tambourine to keep the track cheerful. Their second track, “You,” compared to the first track, is slower in pace. It’s an acoustic love-ballad where the singer tells a significant other that he or she is all the singer desires over anyone else. Track three, “Girls Like You,” the eponymously-titled song of the EP, is slow in pace like the second track, but has a very melodic piano with very casual background vocals that urge the audience to “come on, and sing it!” Overall, it’s a post-breakup celebration song. Track four, entitled “No One Else,” gives off a calm-
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ing sunset vibe thanks to the acoustic guitar at the intro. It’s yet another love song about expressing one’s desire for a significant other. The instrumental, the chord progression, and the vocals makes this my favourite track off the EP. The finale of the EP, “Everything We’ve Got”, closes the album off with a quite-slow-paced, campfirenight relaxation love song. Listening to “Girls Like You” the EP from start to finish, it was like it began as a delightful happy day, progressing into a relieving, relaxing, and colourful sunset, until we rest at a warm campfire in the middle of a cold night. The album was sequenced well. Girls Like You, however, could have been a little more engaging, and production and mastering could have been more well balanced and sharply crisp as it fell short and rumpled in some aspects of the EP. This enjoyable album proves the Icarus Account has taken a step forward in the duo’s musical career. I definitely hear a huge difference compared to when I first heard “Favorite Girl,” and Girls Like You
Editor: Brandon M. Writer: Patricia O.
The Idan Raichel Project The Idan Raichel Project played live at the Theatre Saint-Denis in Montreal on May 11th unveiling a show which left attendees in awe. The Idan Raichel Project, the brainchild of Tel Aviv based keyboardist-singer, composer and producer Idan Raichel, is a one of a kind enterprise: a blend of electronics, traditional Hebrew texts, Arab and Ethiopian music. Raichel is a dreadlocked thirty-six-year-old musician who readily confesses to his lack of family musical roots, which in turn made him open to all music genres. He began playing the accordion at the age of nine and has been experimenting with music ever since, citing Tango and Gypsy sonorities as some of his early influences. The Idan Raichel Project was formed around 2002 as an
egalitarian effort. Their goal: to celebrate Israel’s diversity as well as highlight the cultural wealth of their native land by fusing varied sounds and languages, what they call the sound of the streets. Although Idan Raichel is clearly at the helm of this unique venture, The Idan Raichel Project remains nonetheless a democratic collective with no front man; a group of artists of diverse cultures, backgrounds, ethnicities, religions and beliefs, whose voices are deeply moving and mind-altering. And that is the goal of the Idan Raichel Project: to inspire future generations to create a peaceful and barrier-free world where ideas can be exchanged regardless of who voices them. According to Raichel, Israeli artists must
be actively involved in promoting change and mutual understanding in the hopeful anticipation that Israel becomes a land where cultures can coexist in a state of all-embracing acceptance,and arrive at not merely a paper-signed State-instigated peace, but one that will emerge from the people as a community of men and women. Their most recent album “Quarter to Six” features such multi-ethic and multi-lingual artists as Portuguese fado star Ana Moura, Palestinian-Israeli singer Mira Awad, German counter-tenor Andreas Scholl, Colombia’s Marta Gómez, Vieux Farka Touré among many others, illustrating the far-reaching scope of these peace ambassadors’ message.
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OLD TOWNS/ NEW TUNES Out of the prairies and into the world N
avigating the waters of genres like pop punk and folk rock can be a tricky endeavour for many modern bands; even the most earnest attempts at authentic and candid songwriting often land artists in the territories of cliché anecdotal lyrics and redundant chord progressions. Luckily for Old Towns, a folk / punk group from Edmonton, Alberta, this is not an issue they need worry about right now – because if their latest release, Leaving Songs, is any indication of what the future holds in store, it seems that they’ll be just fine. Beginning as a sort of creative outlet for lead singer / songwriter Robbie Shirriff, 2013 saw the development of the band into a fully functioning 4-piece collective (including guitarist Andrew Nixon, drummer Tyler Ennis, and bassist Randy Kowaluk) who would end up with a four-track demo EP (Better Years) and three tours under their belts before the end of the year. Their most recent and first “proper record,” Leaving Songs, was released in February of this year. Slightly reminiscent of the early 2000s sounds of Say Anything and Max Bemis, or perhaps a more folk-based side of bands like Title Fight and Tigers Jaw, the EP blends clear and captivating folk sensibilities and vocal melodies with heavier and more upbeat punk instrumentation, occasionally erring on the side of acoustic pop punk as well. With six tracks in total, each song revolves around an honest and introspective exploration of life experiences –
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everything from ended relationships to life in the prairies to feelings of both hope and hopelessness in the future. The record begins with “December,” a short and mostly acoustic track that, despite being relatively upbeat instrumentally, sets up a quite melancholic mood. However, this is not necessarily a bad thing, as it sets the tone for the next track “Friend and Foe.” Showcasing the band’s punk capabilities and Shirriff’s clever lyrics, lines like “I am the happiest unhappy person I know” on top of expertly layered backing vocals and underlying guitar riffs, arguably make “Friend and Foe” one of the strongest and most memorable tracks on the record. On the other hand, track three’s, “San Francisco” very closely toes the line of being thematically cliché, but overall is another mostly solid and honestly written song; ticeably, the acoustics are switched for a relatively clean electric guitar, which adds a welcome ‘heaviness’ in tone and effectively matching the lyrical
Ultimately, Leaving Songs, may not offer the most groundmood. The second half of the EP takes on a noticeably more breaking lyrical themes or musical composition, but that in blended and genre-influenced sound, with tracks four and no way suggests that it isn’t a great debut record full of its five (“So Long, Saskatchewan” and “Older Man,” respecown merits. tively) highlighting classic folk-rock melodies and progressions. Again, each track stands as All the way through, the production values a sort of confession for thoughts about and recording are wonderful – no matthe future and thoughts about the “ROLLter where you pick up on the record, it is past, both in restlessness and reING WITH THE catchy and easy-going enough that even luctance. “Older Man” also showPUNCHES”, IS A HOOKY, ‘non-regular’ listeners could thoroughly cases the other band members’ enjoy it, while those who are already talents, with wonderful guitar MELODIC ROCKER THAT fans of the folk/punk genre will work and a great walking bass HAS ‘HIT SINGLE’ WRITappreciate its familiarity without riff under it all. The final track, TEN ALL OVER IT. THE feeling a sense of redundancy or the eponymous “Leaving overexposure all the way through. Songs,” ends the EP on a great CONTRAST BETWEEN In the end, if this is what Edmonton’s note, signing off thematically MELODIC GUITAR RIFFS IN music scene has resulted in so far, the as a raised middle finger to the THE VERSE future is definitely bright for Old Towns past and an optimistic outlook on and Canadian musicians alike. things to come, complete with gang chants and what is probably the catchiWriter: Samantha M. est melody on the entire record.
Photographer: Jackie Bartel
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Writer: Trent B Minia Editor: Brandon M.
Tri Polar Bang Dirty Album Review KENNEDY SPAWNS FROM A DISASSOCIATION BETWEEN MEMBERS, CITIES AND FORMER BAND LIVES EARLY 2012.
Masochistically and Wonderful flavour. The first track of Tri Polar that Bang Dirty presents us is “Real.” It opens up with a basic but tight basic drum beat and bassline. The accompanying instrumental adds many different flavours and dimensions to the song. The rap vocals were rhythmically spot-on. Overall, “Real” was a fun juggle between retro rap and electric ambience music.
Bang Dirty is a trio composed of Adam Holmes, Stuart Jackson, and MOG. Based out of Edinburgh, Scotland, this group blends the folk, rap, and electronic genres into one, and as a follow-up to their debut album, “Everyone Out,” they release their second LP, Tri Polar. This particular album presents a blend of different flavours of music, with almost each of its tracks standing out as its own kind of
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Track two, “Early Rise,” is short but aggressively emotional with a catchy chorus. The electric guitars in this song were well executed and played. The third track, “Made Better,” is a summer-chilling, laid-back summer track. This song just makes you want to sit on a hot patio with clear blue skies above you and a piña colada in your hand. Going from a happy-go-lucky to an angry-go-raging track, we have “Enigma.” The opening bassline emits an intensely aggressive vibe. In addition, the distorted guitars supports the destructive attitude of the track. Bang Dirty then transitions into a
ON PHOTO: Bang Dirty blends the folk, rap, and electronic genres into one, and as a follow-up to their debut album.
love-emotionally-filled song with track five, “She.” The execution of the piano, the guitars, and a moving chorus fulfills the aforementioned vibe.
end, the song then delivers electric guitars, strings, and drums with quarter-note crashes to give it a thrashy metal feeling. The Cat’s Tale makes you feel like you’re about to confront catastrophe, and then suddenly you’re thrown into it.
Track six, “So Many Mics,” is an exquisite pleasure to listen to and the overall instrumental of the song. Track seven, “Love Letter,” is given a gloomy heartfelt feel KENNEDY to it due to the acapella perforSPAWNS FROM mance and the electric guitar at A DISASSOCIATION BEthe start. Track eight, “Darkest Knight,” is a chill and rhythmic TWEEN MEMBERS, CITsong, layered down with a cool IES AND FORMER BAND drum beat. One of the slower LIVES EARLY 2012. WHEN numbers on the album, but still enjoyable nevertheless. FORMER IDEALIST MUSIC
Scottish trio Bang Dirty has definitely brewed multiple flavours of styles into one album. Overall, the album is engaging and enjoyable. Some of the tracks slow the album down however, and while the mixing of this album gave it a garage/basement/bedroomproduced atmosphere to it, I still felt it could have been more clean and clear. BECAME IRRELEVANT AND Nevertheless, this ten-track The ninth track, “At Bay,” is a BORING... long-play record delivers quite a chilly but soothing song, moved lot. Whether you’re a hardcore or with an atmospheric acoustic guitar casual listener of rap music, give Bang and a chord progression, a rhythmic Dirty a listen-through and you might like rap verse, and a vocal and melodic chorus. them. Bang Dirty’s potential is fairly high with This is perhaps my favourite track off the album, and this album, and they can only get better with every new it is a song a lot of listeners will surely enjoy. The final release they make. track, “The Cat’s Tale”, is at first dominated by vocals, an acoustic guitar, and a bass guitar. Once we near the
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