24Our Music Magazine: December 2014

Content 06

M.U.S.I.C Kelly Krow

Kelly Krow is an artist on the rise and M.U.S.I.C. serves as an apt presentation of his imaginative delivery.

november 2014

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La Isla Bonita - Deerhoof

They’re crazy but in measured doses, and that’s why they’ve endured a decade of musical steps forward.

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Bryce Vine: The New Life of the Party

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SonReal One Long Day

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Wiz Kilo Luvsong

Elizabeth Ajao Gives Us Black

Wiz Kilo’s signature hybrid between electronic and hip hop, but offers a more thoughtful, introspective mood.

Elizabeth Ajao’s recent release Black Betty (Part 1) is a very literal example of a mixtape.

Content

november 2014

08. Trillium

Trillium is an electronic dance music duo based from Brooklyn, New York, USA, composed of Janet Krupin and Alex Caraballo..

10. Ju-Taun

New Jersey vocal group Ju-Taun are returning with brand new single “Come Closer,” a mouth-watering preview off their upcoming album. These guys...

12. San Holo

A lot can be said about the trend of music so endearingly referred to as Future Beats, music composed around the forthcoming concept of what we can...

22. République du Salém

is a three piece rock band from São Paulo, Brazil. No strangers to the music scene, the charismatic rock outfit is returning in 2015 with an upcoming album that is sure to deliver something artfully colourful.

48. Erik Hassle

Canada. The group consists of sisters Sara & Jessica Taddio.

Amongst their latest releases is their single, “Beauty of Being Young.”

Swedish singer/songwriter (and former Rihanna and Shakira lyricist) Erik Hassle released his emotionally needy track “Pathetic” back in February, detailing the way a new woman in his life had been making him feel..

30. Shannon Saunders

50. Kassassin Street

26. Idie & The Mirrors

Shannon Saunders definitely isn’t making music videos for £9 anymore. The 20-year-old English singersongwriter, who got her start posting...

Kassassin Street is a five-piece psychedelic rock band from Southsea, Portsmouth, England. The independent group is made up of Nathan & Ryan...

52. Chonk

Is it possible for music to be two-faced?

We know that it can provide vastly different experiences for listeners depending on someone’s...

32. she

she, stage name of Lain Trzaska, is a Swedish EDM artist who’s been wowing

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Editorial letter

W

elcome to another edition of 24OurMusic! This one features content from even more writers, adding on to our goal for diversity in musical tastes and origins, with sounds coming from literally all over the world. Everything from Young Krow to Kassassin Street, to Trillium to Idie & The Mirrors. There is something for everyone in this issue, as well more for you to discover, just in case you aren’t sure where your intrepid musical cravings are sure where to step next. We encourage bravery in descending into the unknown, and our mission to give you a diverse ocean of music to trek through has never faltered.

Take the plunge and continue forth with us as we resume our journey into giving you content that will take you across the universe.

Creative Department Creative Director: Justin Everest Senior Designer: Karl Nicolas Writing Department Editor-in-Chief: Justin Everest Manging Editor: Brandon Minia Senior Staff Writer: Karl Nicolas Staff Writer: Patricia De Oliveira Staff Writer: Trent B Minia Staff Writer: Evan Crandell Staff Writer: Quinn Mason Staff Writer: Alicia Prince Staff Writer: Rasha Khoweiss

If you have any questions or would like to advertise with 24OurMusic please contact us with the provided information below.

EMAIL: Info@24OurNetwork.com

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Trillium Shines With Aurora AS THE TITLE SUGGESTS, THIS ALBUM IS NOTHING BUT AN AGGRESSIVE CINEMATIC JOURNEY.

Trillium is an electronic dance music duo based from Brooklyn, New York, USA, composed of Janet Krupin and Alex Caraballo.

Their latest release, an extended play entitled “Aurora,” is unlike your usual EDM album. Trillium, in six tracks, delivers brilliance of variety and energy, starting right with the first track, “Prelude.” This song brings waves of emotion and melancholy in the blasting orchestral strings, and the vocals add a haunting effect to complement the overall vibe of the song. The prelude track builds up the perfect amount of energy, setting the stage and the dance floor for the second track, “Us Again.”

The second track proves enough for the listeners that Trillium goes hard and is unafraid to go all-out aggressive, while still maintaining control on the beat and rhythm. The soft but cinematic verses build up perfectly for the dropping, grinding, and jumping synths and beats, which are different both the first and second time around. Janet Krupin, the vocalist, also does a very great job in her vocal performance, showing a lot of power range and dynamics, comparable to Foxes’ vocal

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work in Zedd’s “Clarity.”

The third track, “Bandit,” is a super-catchy track deserving your attention. This fast-paced song is mean, combative, and destructive, giving you energy and adrenaline to watch out for “the best kind of bandit.” The fourth track, “Aurora,” picks up the album’s pace THANK with a faster tempo, and we are given another THE ENC great vocal performance from Janet, featuring solid falsetto work. The album wraps up ING VOCALS with Battle Scars parts 1 and 2. Both parts SYNTHS, TRIP take the album to a cinematic and emoGUITARS, AND tional heights, which makes it a great way to wrap up the album.

TERING DRU

AIM FIRE WILL W

Being an electronic dance album, every THRASHING, track doesn’t go with consistent 4/4 thumping from the first second to the last; Trillium ING ON TO mixes everything up, shuffling the 4/4 beat, speeding up and slowing down the tempo, and differing the sounds of the synths. Trillium introduces their own EDM formula with their EP “Aurora,” and they produced it with great creativity and uniqueness.

D

KS TO

CHANT-

S, TWISTING

PPING BASS & D THE SPLIN-

UMS, READY

CREDITS

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Writer: Trent B Minia

L LEAVE YOU WHILE HOLD-

DEAR LIFE.

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Ju-Taun’s

Newest Single “COME CLOSER” 10 – 24OURMUSIC

CREDITS

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Writer: Patricia De Oliveira

New Jersey vocal group Ju-Taun are returning with brand new single “Come Closer,” a mouth-watering preview off their upcoming album. These guys have had a smooth ride thus far, taking it all in 2009, amongst the short list of select artists to watch, capping it off with a second studio album Love Changes Things that same year. And no wonder Ju-Taun is a success; their beach wavy sound, which is poles apart from their pop and R&B debut, allays. The soft beat and cool vocals confer this first single a reggae vibe, and the ambient lightness and affirmative message render the ensemble a feel-good experience. Featuring a rock-steady tempo and smooth guitars, “Come Closer,” albeit against-type, is nonetheless a merry mixture of poppy flavors, percussive action and clear-voiced optimism. Welcome nostalgia envelops the track, making it more than a head-nodding soft serenade, a pervasive chill.

Ju-Taun began as a multi-cultural effort, a group of young aspiring artists who met in high school, and fused their myriad influences, pushing barriers and breaking out of their genres of predilection. Now a fully formed band, Ju-Taun and their unprounouncable band name – their sound is just as undefinable – are back, and bear in mind “Come Closer” is merely a foretaste, with specially concocted songs packed with warmth and certain melancholy; their soulful background vocal harmonies have an emboldening effect. And with a bunch of new members helping, they seem dead set on expanding their comfort zone to unknown lengths, mixing and whipping sounds into memorable melodies, giving ever more and pursuing their love of experimentalism, not the technical side of things, but the subtle weaving of sonic feats. In the end, Ju-Taun is no hit maker, being decidedly on the independent side of the fence, simmering songs, adding, subtracting, taking extra care in what they produce, creating puzzles of stunning ease and grace.

NOW A FULLY FORMED BAND, JU-TAUN AND THEIR UNPROUNOUNCABLE BAND NAME – THEIR SOUND IS JUST AS UNDEFINABLE – ARE BACK, AND BEAR IN MIND “COME CLOSER” IS MERELY A FORETASTE. 11 – 24OURMUSIC

San Holo is making sure you are comfortable and ready for take-off.

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Writer: Rasha Khoweiss

San Holo’s Galatic Journey A lot can be said about the trend of music so endearingly referred to as Future Beats, music composed around the forthcoming concept of what we can effectively label as music, especially in an age where it is all digital.

Many seem to misinterpret such digital effects for musical quality, while musical puritans dismiss digital effects all together. Cosmos walks a fine line between both notions, however credence is to be given at what Cosmos, the debut EP from San Holo, is trying to achieve.

“Welcome” for Virgin Galactic one day.

San Holo’s Cosmos is your four track odyssey through the intergalactic multiverse, and in San Halo’s dimension your journey will be a vibrant, creative, and atmospheric experience. Cosmos is delightfully bass ridden, with special effect vocals accumulating in Trance-like spacey beats.

“Memories” follows the same feel as “Fly”, and contains more of the kick drum and hi hat score that is more synonymous with Future Beats music. It isn’t until “Hiding” featuring The Nicholas, whose voice is subtle and cold like chrome, that you realize your destination has been reached, a somewhat interstellar dance party.

“Welcome,” the first track, plays very similar to that pleasant background music you hear when you are boarding an aircraft, however instead of a plane, substitute a galactic spaceship and it’s almost certain this opening track will be playing. With “Welcome,” San Holo is making sure you are comfortable and ready for take-off. In fact, Richard Branson could look into using

Receiving attention from Future Beats counterparts LessThan3, Earmilk, and Trap.Net, Cosmos can be described as visionary. Not in the inspirational context of visionary as it is conventionally known, but visionary in wanting music to formulate an image of wanting to be taken away, or as one might even dare say, abducted.

The stand out track is “Fly” and showcases San Holo’s objective for you to escape away into the galaxy. “Fly” possesses a drifting quality in its sound, manifested by its delicate synthesizer and beats that seem to move along lightly as if almost skittering past a meditative melody. If fully invested in San Holo’s cosmic sojourn, “Fly” would simply be on another wavelength.

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KELLY KROW’S M.U.S.I.CAL FORCE 16 – 24OURMUSIC

Young Krow describes his music pretty ac-

ity. In the last 30 seconds of track, Young

curately. The Montreal rapper’s recent EP

Krow gives us a brief introduction to his

“Loud,” which features the honey smooth

is titled M.U.S.I.C., an acronym for My Un-

style and worldview. Over a bombastic,

vocals of Vai’cee, is one of those sensu-

derground Sound Insanely Commercial.

live-sounding beat from Tone Jonez, he

al slow jams (produced by Maskerade) that

raps, “I started with nothing but nothing is

someone could put on with dim lighting to

In what seems almost surprising to him,

impossible / the world itself says I’m pos-

get in the mood for love. The sultry sing-

his music lies directly between the worlds

sible / if it doesn’t challenge you it doesn’t

er’s interplay with Young Krow creates a

of the more esoteric, independent aes-

change you.”

playful energy and portrays the idea of two people finding solace and excitement

thetic and the catchiness of mainstream appeal. Young Krow’s rhymes and pro-

The introductory track transitions smooth-

in one another. Interestingly, while his

duction on M.U.S.I.C. are creative and for-

ly into the slower, more atmospheric

call-and-response verses don’t make much

ward-thinking, all while maintaining an

sound of “Comprehend,” produced by Paul

of an effort to depict love in anything but

overall sound that appears ready for the

Cabbin. The airy, sustained female vocal

a sexual context (“I’ll make your body be

big time.

note, which is sustained throughout the

my record baby / play it loud”), Vai’cee’s

track, is quickly met with the song’s man-

lyrics depict someone whose heart con-

The first track of M.U.S.I.C. shares the EP’s

tra, “What is life for you?” In the song,

trols her body’s actions. It’s a peculiar dis-

name and opens with a sample of Alfred

Young Krow seems to affirm his own dis-

connect in such a cohesive song, but per-

Hitchcock being asked about his defini-

position and personal confidence amid a

haps these artists wanted to play up that

tion of happiness. The infamous filmmaker

world of constant questions of life’s pur-

stereotypical dynamic between men and

perhaps serves as an inspiration to Young

pose. He appears totally comfortable ig-

women.

Krow with his quirky, outside-of-the-

noring these questions, writing, “I never

box approach to filmmaking that still led

give a moment to anything and compre-

to astounding success. In the somewhat

hend everything / what’s the life you’re

lengthy sample, Hitchcock defines his ver-

lookin’ for? / what are you lookin’ for?

sion of happiness as the times in life when

What should you lookin’ for?” He goes on

hatred and emotional pettiness are put

to confirm his path in life, even proclaim-

aside, giving room for uninhibited creativ-

ing himself the greatest in Montreal.

IMAGES CREDITS

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Writer: Evan Crandell

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Photo Credit: Etienne De Durocher

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In perhaps the most self-conscious track on M.U.S.I.C., “Question”

on the EP and create a sense of momentum to close it out. The

reveals Young Krow at his most vulnerable. Seemingly contradict-

lyrics mark a return of Young Krow’s suave swagger as he remarks

ing the self-assured bravado of “Comprehend,” “Question” finds

on his power that knows no boundaries. The track, which was pro-

him asking about relationships and life in a surprising change

duced by Young Krow himself, has a slowed down beatbox inter-

from the aforementioned track. After the mostly underwhelm-

lude that highlights his inventive use of layering and interspersing

ing sample at the beginning of the track describing what friend-

of various samples that can be found throughout M.U.S.I.C.

ship means, Young Krow goes on to ask questions like, “How many dreams you won’t tell / how many friends you know well / how

Young Krow is an artist on the rise and M.U.S.I.C. serves as an apt

many devils in heaven / how many angels in hell.” These lines

presentation of his imaginative delivery and wide ranging lyri-

suggest that he has perhaps been burned in the past by disingen-

cal content. Given that each track has a different producer, the

uous relations. The DopeBoi-produced track, with its slow, dreamy

EP lacks a cohesive sonic palette and there are some portions of

feel and low synth bass, creates an ominous mood that compli-

songs that get repetitive, perhaps hinting at points where Young

ments the introspectively inquisitive lyrical content.

Krow’s freshness may have ran dry. That being said, M.U.S.I.C. effectively carves out that spot in between the underground and

The final track “I got that” is an immediate contrast to the others,

mainstream music worlds, offering very exciting content for mem-

offering an upbeat, club banger that is all about getting down.

bers of both camps.

The song’s bouncy, angular synth bass and reverbed drums, with its four-on-the-floor driving beat, act as a needed change of pace

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" OVER A BOMBASTIC, LIVESOUNDING BEAT FROM TONE JONEZ, HE RAPS, “I STARTED WITH NOTHING BUT NOTHING IS IMPOSSIBLE / THE WORLD ITSELF SAYS I’M POSSIBLE / IF IT DOESN’T CHALLENGE YOU IT DOESN’T CHANGE YOU.” " Evan Crandell

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Writer: Alicia Prince

WIZ KILO GOES RAW ON LUVSONG AN ACTIVE MUSICIAN SINCE 2002, INDEPENDENT HIP HOP ARTIST, ACTOR, AND MODEL WIZ KILO CAN ONLY BE CONSIDERED A VETERAN ENTERTAINER. SINCE 2007, WIZ KILO HAS RELEASED FOUR STUDIO ALBUMS, PLUS A SLEW OF SINGLES. 20 – 24OURMUSIC

One such single, “Luvsong”, is somewhat of a departure from Wiz Kilo’s typical style.

Where Wiz Kilo normally embraces faster tempos, approaching more of a dance sound, “Luvsong” is considerably slower. This single still showcases Wiz Kilo’s signature hybrid between electronic and hip hop, but offers a more thoughtful, introspective mood. This song also more extensively showcases Wiz Kilo’s vocal chops, something not all hip hop artists can skillfully display.

Although this song holds to Wiz Kilo’s usual sound, the slower tempo and more melodic base create a much more intimate feel than his other songs.

This more raw approach works in his favour as Wiz Kilo leads listeners through a recent broken heart.

Despite what the title suggests, “Luvsong” examines a failed relationship that is harder than most to overcome. Wiz Kilo uses story-like lyrics to take listeners through what went wrong.

Though the song echoes Wiz Kilo’s intriguing personal style of electronic sounds and catchy beats, the overall tone of the song is reminiscent of other popular artists. While Wiz Kilo normally strikes a distinctive tone, “Luvsong” sounds incredibly akin to some of Drake’s slower tracks. The tune and direct, literal lyrics bring to mind radio friendly, interchangeable artists, which fails to display Wiz Kilo’s strengths.

This somewhat common sound is a shame, because Wiz Kilo showcases incredible individuality and creativity on most of his other tracks. While the song is in no way a chore to listen to, it may not be the best page in Wiz Kilos book of tricks.

With a well developed personal style and clear skill for songwriting, Wiz Kilo remains a force to be reckoned with in independent music. However, this single lacks the originality that gives his other music such a spark. “Luvsong” is a song that is honest and easy to listen to, but doesn’t quite live up to the caliber of the rest of Wiz Kilo’s catalogue.

Though emotive and catchy, “Luvsong” is a less than polished release from an otherwise remarkable artist.

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Republique du Salem’s Talks New Album & Peace in Chaos REPUBLIQUE DU SALEM IS A THREE PIECE ROCK BAND FROM SÃO PAULO, BRAZIL. NO STRANGERS TO THE MUSIC SCENE, THE CHARISMATIC ROCK OUTFIT IS RETURNING IN 2015 WITH AN UPCOMING ALBUM THAT IS SURE TO DELIVER SOMETHING ARTFULLY COLOURFUL.

Noting the very people-oriented connotation of the band’s name, “Republique du Salem stands for ‘a place of peace among chaos’” says vocalist David Stracci, and what a noble name for a very striking musical group. And yet, as worldly as their visage sounds, they are in actuality just a humble group of men looking to improve their craft. It’s this balance of humility and worldiness, as well as a very easy-going demeanour that I had the pleasure of encountering, that makes us all the more excited for this Brazilian rock band.

When trying to record their upcoming album, drummer Nae Silva described the recording process to be alike to “learning to walk again.” Indeed, this is not a

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band that claims to be already high above their ceiling, rather they are constantly working towards that never ending cap, bettering themselves and having fun making good music while they’re at it.

With Marc Ford (formerly of Black Crowes) at the helm of the project, there’s definitely something special brewing inside the laboratory of these three enigmatic gentlemen. Check out the interview below for our exclusive interview with this exciting act.

CREDITS

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Writer: Brandon M. Photo Credit: Rinaldo de Oliveira

" THE NAME IS INSPIRED BY THE LITERARY WORK OF THE PHILOSOPHER PLATO, SPECIFICALLY PRESENTED ON “THE REPUBLIC”. "

David Stracci

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24: Firstly, who are you guys, and why should the world know about you?

24: I’m curious to the meaning behind the name of your band, as what really jumps out at me is that you call yourselves a “re-

Rod Lopez: Hi there! Republique is David Stracci (vocals, tambourine), Nae Silva (drums, percussion, harmonica) and myself (guitars, bass, piano, lap steel). We believe that each person has his own energy and sense of purpose in the universe, that means, music is ultimately a reflection of who you are and not just the notes you play. Our songs embodies this spirit, so yes we have a message to be delivered, and we’re looking forward to presenting that to the world.

public,” it really invokes the idea of you guys being a band for the people.

David Stracci: You know, it’s good you noticed that. The name is inspired by the literary work of the philosopher Plato, specifically presented on “The Republic”. The dialogue deals with the concept of Justice, and the relevance of being. “Salem” has many different meanings, some of which were originated on middle-eastern cultures (like Hebrew and Arab), it is often re-

24: What are your goals for this band and as musicians?

lated to the concept of peace. So Republique du Salem stands for “a place of peace among chaos”.

David Stracci: Being honest to ourselves, communicating what we believe to those willing to know more about our art, and see that as part of their lives.

24: Let’s talk album — you guys have a new album coming up, and so we want to know: what is it? What might it sound like?

And what’s the progress on it?

Nae Silva: Achieving our dreams; I think we’re struggling everyday to achieve our dreams, some of them already came true, but some are yet to be accomplished!

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Rod Lopez: We just finished recording the new material in Long Beach, California; it’s a solid collection of songs. I think they give a good idea of who and where we are right

now, so we decided to make it a self-titled album. I’m biased to label the kind of music we do - we’re often referred to as an Art/Vintage Rock act - but if I were to, I’d say it offers a blend of subtle revivalism, psychedelia and latin-flavoured percussions.

24: When can we expect the album?

We were blessed by having Marc Ford (ex-Black Crowes, Ben Harper, Burning Tree) to helm our new album, and guide us through the process of making this record. The album is being mixed right now.

24: Finally, if each of you were to suddenly become a flavour of ice cream, which one would you be?

24: What are your goals for this album?

David Stracci: We want to get our music reachable to people, so we have plans of having the new album released and available in both hemispheres. Playing live is vital for a band - it allows you to get in touch with people, know different places and make new friends – so we’re looking forward to getting back to the road and touring as much as we can for this album.

24: Were there any challenges during the process of recording this album?

Rod: Yes, we’ve been challenged to adapt, to be resilient. I mean, it’s ok to give ideas, but sometimes you have to take the backseat and enjoy the view, and it’s great when you’re working with people you trust. Once you develop this cool and relaxed environment, things start to flow naturally, you know. At the end of the day, it was all there, everyone was happy about the outcome, and there was growth all the way.

Besides that, I was also challenged to wear a leather Michael Jackson jacket (a real tight one) and do the moonwalk; but I think Nae Silva (drummer) was given a greater challenge, he had to stand against the mighty “Hat Trick”. We filmed this epic facedown and posted it on our Instagram account, check that out.

24: Was there anything new or interesting you learned during the recording process?

Nae Silva: Yes, we learned a lot during the pre-production sessions; whether we were thinking arrangements or jamming, we learned a lot from each other. Respect different opinions, deal with the fact that you’re not as smart as you thought you were, those things were great lessons for us as band. It’s funny to say that, but during the recording of this album, I felt as I was learning everything again “how to play the snare, how to play cymbals”. It’s fair to say Marc (producer) and Antoine (studio engineer) were kind and respectful to us, so it became easy letting go of everything I thought I knew, and starting off from the basics – like learning to walk again.

David Stracci: As of now, we don’t have an estimated release date yet. But it’s sure to tell we’re shooting for a lateMarch 2015 release. Stay tuned!

David Stracci: Some ice cream mixing classic with exotic flavors, with a psychedelic look, maybe chocolate ice cream with snake meat (!) with a colorful topping.

Nae Silva: This is the hardest question… I would say a lemon ice cream; people know that it’s sour and acid, but they still love it!

Rod Lopez: I’m not sure about the flavour, but I would like it to have beer (I believe someone may have tried that already). It would be cool to have some glowing ingredient, so people would find me even in the dark.

24: Thank you Republique du Salem for your time, we cannot wait for your album!

David Stracci: Give yourself an opportunity to know our music, and you won’t regret. Thank you 24ourmusic for the interview, you guys make an excellent work.

Nae Silva: Thanks, and hope too see you on the road very soon! God bless.

Rod Lopez: 24ourMusic, congrats for the work. To our friends and fans, the wait has been long, but we’re back!

" IT’S FUNNY TO SAY THAT, BUT DURING THE RECORDING OF THIS ALBUM, I FELT AS I WAS LEARNING EVERYTHING AGAIN “HOW TO PLAY THE SNARE, HOW TO PLAY CYMBALS”. " Nae Silva

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IDIE & THE MIRRORS NOSTALGIC RIDE WITH BEAUTY OF BEING YOUNG Idie & the Mirrors is a duo electro-pop group based out of Montreal, Quebec, Canada. The group consists of sisters Sara & Jessica Taddio. Amongst their latest releases is their single, “Beauty of Being Young.”

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Writer: Trent B Minia

The “Beauty of Being Young” is produced as an 80’s pop throwback. Any throwback song, in general, makes us feel good because they remind us of the past memories that tell us how precious life can be, and it’s how we learn our lessons and become a better person for the future. These songs resurrect those moments and brings them alive again through our ears, and that’s why Beauty of Being Young is such an effective and well-written track. It’s a got a certain vibe that is reminiscent of the legendary “Girls Just Wanna Have Fun,” and probably wouldn’t sound too out of place from being on the soundtrack for The Breakfast Club, both of which are definitely good things in terms of a radio-friendly, happy-go-lucky pop song.

“Beauty of Being Young” starts off with a simple 4/4 drum beat for a few measures until the 80s-like iconic synths play along. We notice the chord progression at the start: It follows a similar pattern that a lot of pop songs follow, much since the 80s and earlier.

Throughout the song, the vocals are well performed, delivering melody, power, emotion, and harmony. The track is very easy to listen to, and it makes it simple and easy for the listeners to tap their toes to, bob their heads with, and sing & harmonize along with, especially at the “da-da-da-da-da-da’s.” The chorus’ message is simple and uplifting (hence my previous allusions to 80’s pop culture), Overall, “Beauty of Being Young” is a well-produced track. They successfully use their creativity and motives behind “Idie & the Mirrors”, which is about the good and bad reflections and inspirations from every day experiences. Beauty of Being Young is a good 80s throwback pop song that nostalgically spawns all the good moments in our lives, and making us relive them again.

“GIRLS JUST WANNA HAVE FUN,” AND PROBABLY WOULDN’T SOUND TOO OUT OF PLACE FROM BEING ON THE SOUNDTRACK FOR THE BREAKFAST CLUB.

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" PURE LUCK X IS A MONTREAL BASED CLOTHING BRAND THAT CREATES PIECES THAT LIVE AND BREATH THE CITY WE COME FROM. EVERYTHING FROM OUR “C’EST MA VILLE” COLLECTION, TO OUR “MONTREAL” BEANIES WERE INSPIRED BY THE CULTURE THAT WE SEE EVERY DAY." 29 – 24OURMUSIC Pure Luck X

Writer: Evan Crandell

SHANNON SAUNDERS Sings About The Silly Little Things SHANNON SAUNDERS DEFINITELY ISN’T MAKING MUSIC VIDEOS FOR £9 ANYMORE.

The 20-year-old English singer-songwriter, who got her start posting self-produced videos on YouTube as a teen, recently took a big step towards international recognition with the release of her single, “Silly Little Things.”

While she posted an acoustic version of the song was almost two years ago, it’s clear that Saunders’ popularity has grown exponentially in that time, as the song is now matched with fully fleshed out pop production and a sleek lyric video. The song maintains an organic feel with stomp-like drums and scattered hand clapping throughout the track. Underneath it all are somewhat stagnant synth bass subtones and other atmospheric effects that fill out the sound. Paired with Saunders’ sassy flowing vocals, the product appears ready for the mainstream airwaves.

The lyrical content of “Silly Little Things” finds Saunders shedding the desire and tendency to fall back with an insincere former lover. Her words imply that this person lived a fast life and perhaps lured in Saunders with the appeal of possibly raising her status. She admits, “I wanted to feel upper class / you grab my shoulder said I looked like a superstar / fast like a supercar.” It’s somewhat ironic that it is this song – which talks about these experiences and temptations with this person – that might possibly lift her to those desired heights.

Saunders’ admission of being seduced by this person, however, is not the crux of the song. Her later declaration of having moved on from those old longings is the focus and the subject matter of the song’s recurring

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chorus. She claims to have outgrown all of those “silly little things,” presumably allowing herself to move forward with her hopes and dreams. There is a hint of ambiguity, though, when at the end of each refrain after mentioning her growth, she laments, “it’s such a shame.” Is it a shame that she was drawn into those emotional games or that she has outgrown them? Either way, it’s clear that it takes Saunders considerable effort to avoid those temptations to turn back.

Given that the song covers some complex emotions, the production seems to lack an adequately wide ranging palette of expression. The track features very little variation in overall sound and power to reflect the words. Even the song’s bridge, which does feature one of the song’s only dynamic drops, feels as though it’s cut short and never really seems to take off, particularly when the refrain returns in exactly the same manner as it has been delivered before, making it somewhat anticlimactic.

Before the release of the full-blown version of “Silly Little Things,” Shannon Saunders had already shown enough skills in songwriting and vocal talent to ensure a bright future and amass a loving fan base. And given that she comes from an acoustic background, which is somewhat dynamically limiting, it seems normal that she tends to lean toward more static production. That considered, and being that “Silly Little Things” is her first foray into the infinite sonic possibilities of professional production magic, we can still look forward to what’s next.

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SHE BLOWS US AWAY AGAIN WITH “COME SEE ME”

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Writer: Alicia Prince

she, stage name of Lain Trzaska, is a Swedish EDM artist who’s been wowing us since the very first day. From his experimental, ambient beats to his creative use of synthetic distortion, she captivates listeners with innovative melodies and effects. she’s newest full release, “Come See Me”, is another impressive chronicle in this artist’s entertaining discography.

“Archetype”, the first track from this EP, kicks off the album with many of she’s signature effects. Chiptune, the process of creating music using sounds from outdated computers and video game

THE TITLE TRACK, “COME SEE ME,” THEN STRIKES AN UPBEAT, ALMOST REBELLIOUS NOTE, WITH LYRICS THAT SUGGEST CHALLENGING DETRACTORS IN LIFE.

consoles, once again features prominently in this album. However, she also brings in elements from experimental, ambient, and classical genres. Nowhere is this more prevalent than “Archetype”, which flirts between several genres, and even fluctuates in tempo.

On the second track, “Come See Me,” she pursues a more traditionally EDM sound.

This track is an upbeat and dance worthy one, among the more catchy songs she has ever released. In “Come See Me,” listeners will also find more synthetic distortion, which mimics the sound of a file improperly downloaded. The tasteful integration of synthetic distortion is something that she does unbelievably well, and “Come See Me” is no exception.

On “Distortia”, she takes the EP in a more experimental direction. As the title suggests, this song is laden with glitchy, compressed effects embracing a perfect balance between ambient, acoustic tones and more mainstream song structure. On the fourth and final song, “Since You Left,” she strikes a light, joyful chord after the interlude of “Distortia”.

One of the most noteworthy things about she is the artist’s intention on each fresh release. Each album is meant to suggest a story for the listener, from beginning to end. As the listener moves through the tracks, they are lead through a series of related moments and emotions, essentially crafting a unique story for each person. With “Come See Me,” she employs this tactic once more. On “Archetype,” there’s a clear feeling of going into the unknown, as if something is about to begin. The title track, “Come See Me,” then strikes an upbeat, almost rebellious note, with lyrics that suggest challenging detractors in life. “Distortia” then paints a despondent and removed picture, leaving the listener to fill in what happened. Finally, “Since You Left” evokes decidedly optimistic feelings.

With Come See Me she once again displays a refined and sophisticated approach to chiptune, and electronic dance music as a whole. By combining the best elements of several electronic genres, she consistently produces some of the most exciting, yet unexpected dance music available.

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Bryce Vine Doing what they do best, no curve balls or magic tricks...

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Writer: Rasha Khoweiss

BRYCE VINE The New Life Of The Party ALTHOUGH BORN IN NEW YORK CITY, BRYCE VINE’S EP LAZY FAIR SEEPS SOUTHERN CALIFORNIAN LIFESTYLE WITH ITS UP TEMPO REVELRIES, POOL PARTY JAMS, AND ENOUGH TRACKS WITH POTENTIAL TO BE HITS THAT DON KING, IF STILL ALIVE, WOULD HAVE SIGNED HIM UP IN NO TIME.

Vine’s sound inspired by his move to California to launch his hip hop career, may seem familiar at first. His style could be easily compared to more known artists of his genre such as Travie McCoy or B.O.B, but Vine is establishing himself on his debut EP, and if judging by his performance on Lazy Fair, it is not unpredictable to say that Vine could be better than both aforementioned artists.

The most notable track off Lazy Fair, is “Sour Patch Kids”. Emblazoned with an upbeat hip hop rhythm, catchy guitar riff, and a hook so fun and playful that we are encouraged to be nostalgic. “Sour Patch Kids” is ridden with 90’s pop culture references, and a yearning to return to the days of youth (Packed lunch/ School crush/ Bus home/ And play Sonic”. Ending with big band trumpets, “Sour Patch Kids” does provide the sugar rush some of us may need.

Pass down that king’s crown lets torch town for no good reason), as he continues to exhort youthful inebriation before finally telling us he feels “alive/I’m free tonight”.

“Take Me Home’ is Vine showing off his hip hop swagger, laced with the enthusiasm of the bouncy bass line and string loops, he truly is enjoying his time on this album.

Vine really shines with his fresh delivery of his hooks, they are simple and of broad appeal. He is not trying to be edgy or provide some form of insightful social commentary that most people measure as a requirement of hip hop, instead his lyrical dexterity is more reflective and fun intended. Thankfully, to allow some street cred, Vine does let rip some expletives in his verses.

Lazy Fair is a playful, laid back album and most likely enjoyed better if it was blasted from a VW van by the beach. Vine’s debut can only signal that his sun won’t set for a while.

Another standout is “Where the Wild Things Are”, which reveals itself as big rock anthem inspired hip hop embodying that distinctive SoCal sound. Being inspired by the book of the same name, Vine hastily raps (Blacked out, midnight kingdom/Act out, too much freedom/

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SONREAL

BRINGS THE DRAMA 38 – 24OURMUSIC

Something dramatic is happening in the

straight into his rhymes at the first drop.

ment you are lulled into thoughtful con-

North American hip hop scene. And one of

It’s a low tempo song that provides a suc-

templation, forced to confront issues such

the artists at the forefront of this change

cinct introduction to SonReal’s skill at jux-

as his tumultuous relationships with wom-

is Aaron Hoffman, better known as Ju-

taposing intelligent lyrics, measured tem-

en, as well as a surprisingly poignant per-

no-nominated MC SonReal. Born in Ver-

po, and alternative production elements.

spective on female sexuality and respect

non, British Columbia and currently based

The track also lays the groundwork for the

in the Burd Keyz produced “Nothing In-

out of Vancouver, SonReal’s sound has

dialogical narrative Son creates through-

terlude”. The next moment you’re caught

been polished through his persistence and

out the mixtape.

up in the up-tempo bravado of songs like “Honor Roll” and “Believe.” Other songs,

extreme productivity over the past six years; since his first mixtape was released

The next track, “Shit’s Epic”, produced by

like “Today Tomorrow” and “Let Me” show

in 2008 he has released approximately a

Rich Kidd, also begins with a piano loop

SonReal alternating between soulful song

mixtape each year, not to mention his Juno

but is almost instantly more upbeat than

and heartfelt rhymes from one verse to

nominated full-length album with Toron-

“Confession”. Although more stylized, with

the next. Son manages to show off his bal-

to’s Rich Kidd The Closer in 2012.

the synthesizer and electric guitar riffs

ance of emotional yet lyrical flows with

making appearances, the sound isn’t over-

sing-along anthems, all while highlighting

The result is his most recently released

whelming because the instrumentation

some of the most polished production and

mixtape “One Long Day” with a second

scales back to simple piano again while

mastering emerging in the music world to-

full-length album promised later this year.

Son raps.

day, not just the insular hip hop community.

“One Long Day” weaves together Son’s thought-provoking and ambitious lyrics

The whole mixtape explores this dynamic

with nuanced production that explores

between balance and opposition. In fact,

more instruments than the synthesizer

one of the strengths of the mix as a whole

and bass drums.

is this ebb and flow in the music, build-

IMAGES CREDITS

1

Writer: Quinn Mason

ing and layering during choruses but genThe mix begins with the Arthur MacArthur

tly directing the listener’s attention to the

track “Confession.” A gentle piano loop

significance in the rhymes. This contrast is

eases the listener in and then Son jumps

highlighted throughout the tape. One mo-

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In fact, this is chiefly what distinguishes SonReal from oth-

produced by Mad Ruk Entertainment and often directed by Peter

er hip hop artists; he doesn’t restrict himself to that insular bub-

Huang (also known for directing the forceful video for Avicii and

ble. Rather, he incorporates drama, comedy, theatricality, and

Nicki Romero’s “I Could Be the One”) feature his alter ego Steven,

his own unique brand of performance, borrowing elements from

a Napoleon Dynamite-esque nerd. The videos are very stylized

multiple music genres as well as – I would argue – musical the-

and each one follows a narrative arc; they are entertaining works

atre. His videography work is almost as prodigious as his musi-

of art in their own right. SonReal is bringing his own brand of dra-

cal work, having released 22 music videos since 2010. The videos,

matic performance and style to hip hop, and it rules.

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CREDITS

1

Writer: Quinn Mason

" MY MUSIC HAS ALWAYS BEEN A REFLECTION OF THE LIFE I LEAD, HAVE LED OR WILL LEAD, SO WHEN I MAKE MUSIC WITH OTHER ARTISTS, I’M JUST BRINGING MYSELF TO THE TABLE, NOTHING MORE, NOTHING LESS. " SonReal

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Erik Hassel’s full length EP “Everybody’s Party” is also available for download now.

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Writer: Quinn Mason

Erik Hassle’s “Pathetic” Is Anything But SWEDISH SINGER/SONGWRITER (AND FORMER RIHANNA AND SHAKIRA LYRICIST) ERIK HASSLE RELEASED HIS EMOTIONALLY NEEDY TRACK “PATHETIC” BACK IN FEBRUARY, DETAILING THE WAY A NEW WOMAN IN HIS LIFE HAD BEEN MAKING HIM FEEL.

According to the opening lyrics, his momma always told him to look out for himself, but to no avail. However, his impressive vocal abilities more than make up for his apparent vulnerability. His soaring electro-funk performance draws clear inspiration from predecessors Prince and Chromeo, but still manages to introduce his own personal take with his soaring vocals, blending masterfully with SOHN (whose Artifice dropped earlier this year) and Nick Ruth’s sinuous and addictive instrumentation.

Hassle has also released a video for the song, showing him in front of a neon backdrop and showing off his hairstyle, which proves to be as unique as his style.

This pulsating, unique take on R&B has already drawn the attention of rising West Coast rap star Vince Staples and Brooklyn producer Jeremy Malvin’s Chrome Sparks project, both of whom have released remixes that still manage to showcase Hassle’s dexterous vocals. Hassle’s full length EP “Everybody’s Party” is also available for download now.

The production blends a staccato bass line with hypnotic percussion – managing to layer with and complement Hassle’s vocals without sounding too busy. At the same time, Hassle’s vocals manage to croon and convey emotional charge without coming off whiny, effectively saving him from truly sounding “pathetic” for lack of a better word. The track is both an unabashedly 80s throwback and a radical reshaping that distinguishes it from other recent releases of that genre.

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Writer: Evan Crandell

ELIZABETH AJAO Gives us Black Betty ELIZABETH AJAO’S RECENT RELEASE BLACK BETTY (PART 1) IS A VERY LITERAL EXAMPLE OF A MIXTAPE.

The London-based songstress’s R&B-pop-infused compilation takes us back to the days of matching up an artist’s best jams on cassette tapes, creating the ultimate playlists. Given that Ajao is still getting her footing in the music world, Black Betty (Part 1) acts more like an introductory sampler rather than a greatest hits compilation. The mixtape gives us a taste of what’s to come, and if it’s any indication, that will mean more soulful, well-crafted pop songs.

reinforcing her worth in the arms of a lover (“When the valley was low it didn’t stop me, no no / I knew you were waiting… for me”), “Sick” takes a much more self-critical turn, highlighting her tendencies to be drawn to an unsavory mate.

The mixtape starts with a bang, with Ajao making her creative production and vocal presence felt in the revue-type reworking of Earth, Wind & Fire’s “Can’t Hide Love.” While the 1975 original was a sensual slow burner, Ajao’s version is an energetic, funky romp, complete with breakbeat drums. Ajao offers some alterations to the original song form, particularly with the chorus and some new verses. It’s clear from the opening that she is respectful of her predecessors, but also confident in the development of her own signature sound.

The latter song is perhaps the most effective (and memorable) on Black Betty (Part 1). It finds Ajao at her most vulnerable but powerful, the songwriting is on point, and the ethereal production aptly portrays her pain.

The syncopated chorus is undeniably catchy: “Who are you, you to me / Why do I crave you endlessly / My hate for you runs through my veins / How you got me I don’t understand.” We’ve all been there. “Sick” also makes perhaps the best use of Ajao’s songwriting technique of building energy in a bridge section and returning to the chorus to close the song. We could still use to hear her vocally let loose a bit more toward the end of the song, but her point is made and the song stays in one’s ear well after the first listen.

What follows is a pair of slinky soul-pop originals that cement Ajao’s place firmly in the milieu of R&B sirens.

The two songs, “Chasing Dreams” and “Sick” are both down tempo and showcase Ajao’s alluring vocal delivery, but thematically offer the opposite side of the same coin: romance. While “Chasing Dreams” finds her

The mixtape takes a few unexpected turns with the self-conscious “Pay Attention” and stylistically sprawling “Girls.” The former features the husband and wife hip hop duo and Dave Stewart-supported Mr. & Mrs (Swish and Nadirah X). The thought-provoking rap verses glide over the driving beat and thumping bass, all while Ajao’s

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vocals float over the top. Nadirah X and Swish are clearly on the same wavelength. She raps, “Our thoughts bring our dreams to reality / speak it into power and capture immortality,” and he responds, “How we supposed to reach ours while men fight over greed and perceive power / Cipher dreams fight for cream and deceive ours / So I speak for those that need to be empowered.” Ajao even temporarily changes her romance-laden tune, lamenting, “The bigger the picture gets the more of a mess that we make / The more we think we know the more that we make the mistakes.”

The aforementioned “Girls” rounds out the set, and acts almost as a mixtape within itself. In another loose adaptation of a classic, here Ajao takes some serious liberties with Cyndi Lauper’s pop standard. The songs starts with Ajao’s voice sounding exposed, joined only by piano. It gradually builds, first with vocal layering and then with the introduction of various pads and percussion that turns into a simple soft rock beat. The listener then gets sonically slapped in the face about half way through the track, with a half time feel and darker tone. The soft rock returns briefly before giving way to Ajao’s altered voice repeating, “just wanna” over a pulsing hip-hop beat. It’s as if we are witnessing her history and growth as an artist condensed into a single track.

Mixtapes by nature are not necessarily known for their seamless continuity, and Black Betty (Part 1) is no exception. The changes in feel and style are sometimes jarring and the two (unmentioned) short snippet-songs make us feel like we’re missing integral parts of the story. It would probably be safe to guess that this is why Ajao made sure to add Part 1 to the mixtape’s title. While it’s somewhat disjointed, Black Betty (Part 1) is wholly effective in enticing our interest and making us crave more of Ajao’s skillful vocals and songwriting.

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Writer: Patrici

Deerhoof‘s Acidic Island ASIDE FROM THEIR DECIDEDLY ECLECTIC APPROACH, WEAVING POP, PUNK AND NOISE ROCK, TO NAME A FEW, SAN FRANCISCO-BASED DEERHOOF ARE ONE CONSISTENT BAND. They’re crazy but in measured doses, and that’s why they’ve endured a decade of musical steps forward and are to this day causing heads to tilt in wonder. Their most recent release La Isla Bonita is a collection of ten tracks that blends the disquietingly trippy and the poppy surreal with admirable ease. The rationed cryptic lyrics are characteristic of Deerhoof, with the intermittent dissonance and atonality framing them as politicking rebels; or are they mere goofballs in disguise?

Lead singer Satomi Matsuzaki is found repeating the same lines over and over as if intoning mantras, her voice often in the background as if stuck in an opaque cloud, her messages subliminal and hypnotic. She is telling us something, restating and retelling it until it sinks, and most likely it won’t until many years, maybe because it has no meaning. And that is the charm of Deerhoof’s La Isla Bonita; whether it aims at a higher truth or is a grouping of random ramblings, it does make us wonder. Does our tendency to intellectualize art that is difficult to decode blur our perception, or is La Isla Bonita a true work of genius whose impact will be felt over time?

The variety of ambiances this record showcases is another great plus, and in addition to the menagerie of cool sounds and effects – tin cans, saw-sounding guitars and the arrhythmic beats – La Isla Bonita has us travel through ghost towns, acidulous worlds and enchanted forests. Their sound can be ensorceling, gloomy, robotic or downright poppy. And to fully take in the experience, one must not ask where it leads or what it means, but take it in stride and accept what’s to come. That curious and outré sound of theirs is both a plus point and a tough sell, and while many might find themselves reticent to penetrate this breach of sheer madness and inescapable swirl, Deerhoof can’t be denied gold stars for the kind of audacity and perilous maneuvering they rally. They are magicians with a penchant for horror shows, and for those willing to leap in, the view’ll be impregnable.

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ia De Oliveira

Tracks like “Paradise Girls,” and “Last Fad” with its speedy guitars, are amongst the most trippy and bizarre, and so is “Tiny Bubbles,” although more disturbing featuring high-pitched vocals, alarmist lyrics and a series of hoarse sounds, and the funny thing is it starts to become charming enough. Gems on this album are “Black Pitch” and “Oh Bummer.” These bewitch and prove to be nice breaks in this joyous jumble of an island. They also conclude the album, marking a return to a rock sound that is more compact and filtered down. “Oh Bummer” ends with the word “True,” a giveaway or mere coincidence which will be construed and misconstrued ad infinitum.

Deerhoof have twelve albums to their name, averaging a record a year, and with their love of experimentalism and lavish mixes, they’ve created a sound and world that is uniquely theirs, causing stirs amongst fans as to what their next album will sound like. And this spirit of adventure that is felt song after song, is another reason why La Isla Bonita is deserving of great attention. That kind of explorative effort is risky and can alienate as much as it can enthrall. It’s a thin line few are willing to navigate and Deerhoof have made it their creed, managing to entice quite the faithful crowd.

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Writer: Trent B Minia

Kassassin Street’s Centre Straight Atom Is Explosive KASSASSIN STREET IS A FIVE-PIECE PSYCHEDELIC ROCK BAND FROM SOUTHSEA, PORTSMOUTH, ENGLAND. THE INDEPENDENT GROUP IS MADE UP OF NATHAN & RYAN HILL, ROWAN BASTABLE, ANDY HURST, AND TOM WELLS.

To follow up with their amazing, super-catchy debut single entitled “The Royal Handkerchief Ballet” (which we have already raved about in our previous review), the band is looking to carry over the momentum from their successful debut which has won the hearts, ears, headphones, and speakers of many listeners and critics into their upcoming and latest single, “Centre Straight Atom.”

A follow-up single, most of the time, can lead to two things: it can either take the artist to even higher levels, proving to listeners more than one song and style can define who they are, or it can totally bomb, making the artist look like a promising one-hit wonder.

In the case for Kassassin Street, “Centre Straight Atom” impresses to new levels. The single begins with grindy bass synths before the guitars and drums kick in, strumming and playing to a steady 4/4 beat. The chorus is contagiously catchy produced to grip hard onto your head, with captivating vocals, a dance-evoking drum beat, and mean-revving guitars. A song can never have enough cowbell, and the use of it after the chorus plays a second

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time makes the song more attractive. Centre Straight Atom is fast, and dark, which goes from quiet to loud, back down quiet, before rising back to loud again. This gorgeously-addictive track will have you scrambling for the repeat button, making you listen to it so many times it will never be enough to get it out of your head.

Their first single “The Royal Handkerchief Ballet” was an impressive debut track for the young Kassassin Street, and their second single, “Centre Straight Atom,” elevates them to higher levels once again. This song is by no means a direct copy of their previous single; Kassassin Street uses their creativity prowess to take Centre Straight Atom to a whole new different level of their music, while sticking to their psychedelic rock roots and adding their distinctive and unique Kassassin Street flair to it.

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Writer: Evan Crandell

Chonk & The Ghostfiddler’s ODE To The Trees 52 – 24OURMUSIC

Is it possible for music to be two-faced? We know that it can provide vastly different experiences for listeners depending on someone’s expectations and taste, but have you ever heard songs that offer completely diverging aural sensations depending on what aspect of the music you decide to put your focus? This duality exists on the sampler “’Ode to the trees’ and other hits” by Chonk & the Ghostfiddler. The band’s lyrics and music contrast each other greatly and yet oddly work together to form a unique sound.

The instrumental accompaniment that underlays the Berkeley, California band’s aesthetic falls right into their self-described wheelhouse of blues, country, and bluegrass. The songs are mostly upbeat and bouncy, employing many well-trodden compositional tropes and folk clichés.

With the whistling intro of “Ode to the Trees,” the driving groove of “Carousel,” and the blues-tinged “Pie in the Sky,” it seems like if these songs were left instrumental, they could easily get a barn-full of square dancers rocking.

If audiences stop to focus on the lyrical content of the EP, they will discover a vastly different tone to the group. The words from singer Chonk are mostly biting, self-conscious, and aggressive in nature, and give the band an attitude that is somewhat surprising given the light, happy instrumental material. There is cursing on the EP, mentions of murder, and frequent introspective, often cynical perspectives of life.

“Crippled Inside,” for example, is a cheerful, thumping composition

by John Lennon, right up to the melodic contours and delivery of the vocals. The lyrics, however, describe the numerous things one can do to appear content and normal but then adds the refrain, “one thing you can’t hide is when you’re crippled inside.” Perhaps the buoyant music is and was always part of the joke.

‘Ode to the trees’ and other hits by Chonk & the Ghostfiddler The track that perhaps best exemplifies the band’s distinctive stylistic dichotomy is “I Wi$h I had $ome $$” in which Chonk laments about his dire financial circumstances that lead to selling his bong, performing fellatio for cocaine, wanting to murder an ex-lover (who gave him crabs), and suicide, all over a cheerful, commonly used folk chord progression.

In “Boggled Whiskeydream,” the band offers a more straightforward look at the pains of lost love. It’s a delicate composition in which Chonk sings, “always chasing down a setting sun / the beginning of the end has just begun.”

The production on “’Ode to the Trees’ and other hits” is appropriately raw, matching the often potent lyrics and acoustic instrumentation.

What’s odd, though, is that there are random snippets of attempted production affects sprinkled through the EP, which mostly come off as jarring and take away from its musical integrity. Another odd choice, at least for keen listeners and music theorists, is the decision to end some songs with Dominant 7 chords instead of the major chords that were played through the rest of the song. These peculiar endings are not enough to detract from the songs but are certainly surprising and may prevent some listeners from feeling a sense of finality.

Chonk & the Ghostfiddler describe their music as anti-folk. Before hearing to their music, it’s difficult to speculate what exactly that means. After listening, though, we can tell that the band clearly takes great inspiration from the folk genre and the use of standard chord progressions and instrumentation. It seems as though it is with his scathing and often comedic lyrics that Chonk diverts from the folk canon. What we receive in the end is a unique EP that could attract fans of both folky instrumentals and forceful lyrics.

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