Content 34
lights unplugged
After a two-year hiatus, Canadian electro-pop singer Lights has released a brand new album...
march 2014
12
gold in the hills of old town
Start up your campfires and yank out your acoustic guitars. “Better Years” by Edmonton-based Old Towns is a fun and quirky little EP...
48
forest floors’ “no smoke” “No Smoke” is the newest single by Forest Floors, a four-piece band hailing from Portsmouth, UK...
42
ballistic and bombastic
Bare Minimum’s Hit After Hit does exactly what the album title suggests: it pummels the sh*t out of
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44
inherit the stars
“starships & dark tints”
Alternative Rock five-piece outfit Inherit The Stars release the bombastic epic of a single “Ground Zero.”...
Coming your way with their latest EP “Starships & Dark Tints” is The Posterz, a three-piece hip-hop...
Content
march 2014
08. Sleigh Bells
Sleigh Bell’s Derek Miller and Alexis Krauss offer a swift kick to the head...
10. Young Hare
Young Hare’s debut record Unbreak My Heart isn’t the shiniest and most spectacular record of its genre...
13. Bodh’aktan
26. Sandveiss
The Québecois band uses melodic guitars combined with gruff vocals to create something aggressive and methodic noise that is not too...
32. Pretty Mouth
Bodh’aktan has created a unique flavour of music that tastily blends Celtic, Punk, and Folk music with some...
The Toronto-based band concocts something that is edgy yet vibrant, mashing the creepy ambience of a horror...
28. Interview With Zardonic
36. Edward Bose
From pots and pans to multi-million-dollar Dj tours, Zardonic developped a style all on its own...
16. Voicians
Voicians is able to blend so many different sounds and mash them with the conventions of electronic music...
22. Melissa Bel
Melissa Bel has a great voice, and we can undoubtedly expect much more from her future...
24. Makeway Studios
The production is outstanding. Vocal nuances are well-placed, and the instrumentals sound toe-to-toe with the performers...
Is an up-and-coming poet rapper who just released his latest album – Defense Mechanisms...
38. Hollywood Undead
They are an interesting bunch to say the least – using pseudonyms rather than real names, and wearing unique masks...
46. Krewella
Krewella has released an impressive debut full-length album entitled ‘Get Wet’...
49. Of The Pack
Canada is no stranger to alternative-indie rock. With bands the likes of Yukon...
50. The Blue Stones
Anyone who grabs a hold of this album will surely want to take out an insurance...
52. Kennedy
“Other Failures” is a raucous hardcore smasher by Montreal-based band Kennedy, and boy is this one...
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Editorial letter W e are unbelievably pumped to finally complete our sixth ever and first issue of the year! In this one we showcase the talents of both old friends and new. Older readers will be familiar with the talents of acts such as Voicians and Krewella before mixing it up and delving into the worlds of performers such as Sandveiss, Pretty Mouth, and The Posterz. Of course, we are also incredibly excited to feature an exclusive interview with the explosive Zardonic.
Creative Department It has been such a pleasure to write about such a wide variety of talented artists whose experience in the industry ranges from new and green to proud and veteran, and we hope you the reader enjoys discovering, learning, or revisiting just a snippet of the most amazing sounds that the world of indie music has to offer. Submit Your Band 24OurMusic is dedicated to showcasing independent musicians from all over the world in every kind of music genre. We provide a service for all artists by promoting their music across a variety of platforms such as YouTube, SoundCloud, Tumblr, Twitter, Facebook and our website 24OurMusic.net, where we provide reviews, write-ups, and interviews, along with a monthly online magazine. Currently our readership is close to 10, 000 and is expanding more each month. 24OurMusic is the ultimate indie music network that gives our listeners the chance to discover new and exciting music.
Click Here To Submit
Creative Director: Justin Everest Marketing & Operations Senior Partner: Robert Rudmann Editoral Department Editor In Chief: Justin Everest Managing Editor/News Editor: Karl Nicolas Senior Staff Writer: Brandon Edward Minia Staff Writer: Erik Mckay Staff Writer: Anime Page Assistant Editor: AurĂŠlia Meunier
If you have any questions or would like to advertise with 24OurMusic please contact us via email or phone. EMAIL: info@24OurMusic.net PHONE: +1 514.638.9453
5 – 24OurMusic
EVENTS
Calendar march 2014 March 06
Melissa Bel MELISSA BEL INTRODUCE NEW SONGS, BUT MORE IMPORTANTLY, HER NEW SOUND. MELISSA EXPLAINS HER APPROACH: “I’M EXCITED TO GET OUT OF MY BOX AND OPEN UP TO DIFFERENT STYLES AND SOUNDS. ONE OF THE THINGS I LOVE MOST ABOUT MAKING MUSIC - AND ALSO SOMETHING THAT PRESENTS A CHALLENGE
March 30
YelaWolf
IN ITSELF - IS THAT THE POSSIBILITIES ARE ENDLESS!
YELAWOLF IS AN UNDERGROUND RAPPER FROM A SMALL TOWN IN THE SOUTH WHO FOUND MAJOR-LABEL SUCCESS IN 2011.
MY GOAL IS TO ALWAYS CONTINUE
BORN MICHAEL WAYNE ATHA ON DECEMBER 30, 1979, IN GADS-
LEARNING AND EVOLVING AS AN
DEN, ALABAMA, HE MADE HIS FULL-LENGTH ALBUM DEBUT WITH
ARTIST, AND I HOPE THAT WILL COME
THE INDEPENDENT RELEASE CREEKWATER (2005). HE SUBSE-
ACROSS WITH EACH NEW ALBUM I
QUENTLY MADE THE JUMP TO SONY BMG FOR THE RELEASE OF A
MAKE.”
PROMOTIONAL SINGLE, “KICKIN’” (2007). DISILLUSIONED WITH LIFE ON A MAJOR LABEL, HE RETURNED TO THE UNDERGROUND
PRICE: $15 CONTACT: +1 514.274.8902 ADDRESS: O PATRO VYS, 356, MONT-ROYAL
RAP SCENE.
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March 22
OF THE PACK THIS IS THE BIG ONE THAT WE’VE BEEN WAITING FOR! WE ARE RELEASING OUR EP “OBSTACLES” TO THE WORLD ON MARCH 14TH BUT THAT’S NOT THE ONLY DAY WE WANT TO CELEBRATE! SO ON MARCH 22ND WE’RE PARTYING AT VILLAINS BEASTRO WITH OUR BEST FRIENDS IN BLEACH, AND OUR NEW FRIENDS IN OF THE PACK!
PRICE: $5 CONTACT: +1 519.915.5215 ADDRESS: 256 PELISSIER AVE. WINDSOR, ON
6 – 24OurMusic
April 14
TECH N9NE DON’T MISS YOUR CHANCE TO EXPERIENCE TECH N9NE’S INDEPENDENT GRIND TOUR 2014 LIKE A VIP! FOR $175 PLUS SHIPPING YOU CAN ROLL LIKE A VIP - YOU’LL GET COMPLIMENTARY ADMISSION WITH FRONT OF LINE ACCESS TO THE SHOW OF YOUR CHOICE, A ONE-HOUR MEET & GREET WITH THE ARTISTS, A LIMITED EDITION VIP SHIRT (XL ONLY), ALONG WITH SOME AMAZING MERCHANDISE WORTH OVER $300! DON’T MISS YOUR CHANCE TO EXPERIENCE THE HOTTEST TOUR OF THE YEAR, VIP STYLE! CLICK HERE TO ORDER YOUR TECH N9NE’S INDEPENDENT GRIND TOUR 2014 VIP PACKAGE NOW!
CONTACT: SM-STORE@STRANGEMUSICINC. COM ADDRESS: 325 PARK CENTRAL EAST, SPRINGFIELD, MISSOURI 65806
March 27
Bodh’aktan BODH’AKTAN!!! SEPT MUSICIENS QUI,
March 21
Krewella
COMME DES PIRATES, DÉBARQUENT POUR PILLER LES TRACAS DU QUOTIDIEN POUR NE LAISSER QUE BON TEMPS ET BONNE HUMEUR DERRIÈRE EUX!!! ARMÉS D’UNE MUSIQUE TEINTÉE DE
THE FORMER REACHED NUMBER TEN ON BILLBOARD’S TOP
TRADITIONNEL, DE POLKA, DE CELTIQUE, DE PUNK, AINSI QUE DE FOLKLORE
DANCE/ELECTRONIC ALBUMS CHART. THE SAME YEAR, THE TRIO
INSPIRÉ DE L’IRLANDE, DE LA BRETAGNE, DES MARITIMES ET ÉVIDEMMENT
BECAME A STAPLE OF THE FESTIVAL CIRCUIT, INCLUDING NEW
DU QUÉBEC, ILS ONT L’AUDACE DE LIVRER LEUR MÉTISSAGE MUSICAL
YORK’S ELECTRIC ZOO AND TEXAS’ MELTDOWN. 2013 SAW THE
DANS UNE VAGUE D’HUMOUR ET DE ROCK. SEPT MUSICIENS TALENTUEUX,
RELEASE OF THE GROUPS FIRST FULL-LENGTH, THE BOMBASTIC
QUI NE SE PRENNENT PAS AU SÉRIEUX MAIS QUI ONT POUR SEUL BUT DE
GET WET. THE ALBUM SPAWNED SEVERAL SINGLES AND VIDEOS,
DONNER DE L’AGRÉMENT!!! SOLIDE COMME UN ROCK SUR DISQUE, C’EST
INCLUDING THE SENSATIONAL UNDERGROUND ANTHEM “LIVE
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CONTACT: PHILLIPE GEORGIADES - CEL. 514-458-2083 ADDRESS: 16, 5E AVENUE, FORESTVILLE, QUEBEC G0T 1E0
7 – 24OurMusic
Photographer: David
Sleigh Bells: Bitter Rivals
Adams Writer: Erik Mckay
Another strong addition to the Sleigh Bells already strong collection of works. “Showcases the sound which, despite being the bands third studio album, still manages to sound fresh and innovative.” Sleigh Bells are the definition of noise-pop. Since first blowing a hole in the music-sphere with their debut in 2009 the duo powered through Treats and Reign of Terror before stumbling with their latest release Bitter Rivals, though that can be chalked up as an awkward creative adolescence. Built upon the definitive contrast of their sound, Sleigh Bells seem intent on illustrating some sort of beautiful nightmare. With dreamlike
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pop-hooks mixed with harsh, driving guitar Sleigh Bell’s Derek Miller and Alexis Krauss offer a swift kick to the head, a driving blast that’ll make you forget the sweet acoustic melodies and soft lyrical nuances of our modern alternative music scene. Formed from the remnants of experimental punk band Poison the Well and teen-bop Ruby Blue the band quickly garnered attention with their self-titled EP Sleigh Bells in 2009 before releasing Treats the following year. Treats was a breath of fresh air, a visceral release from the overlystylized pop and pretentious
alternative music that coloured 2010. With next-to-universal critical acclaim the album established the bands crushing sound as definitive of modern noise-pop while 2012’s Reign of Terror solidified it. Offering a more expansive sound to its predecessor the sophomore album followed the tenants of every great follow up: make it bigger and better.
Using this formula Reign of Terror offered a more expansive feel with the same stripped-down, scorched sound as Treats with Miller handling the majority of the behind-thescenes work. Here, with the recent release of Bitter Rivals, lies the
defining difference between the bands first two albums and their latest endeavor: the creative input of Ms. Alexis Krauss. Where Miller once reigned authoritative creative control, Bitter Rivals marks the beginnings of a more creative partnership between Miller and Krauss with the latter now contributing the majority of the new albums lyrics and melodies. Bitter Rivals reflects these creative changes for both better and worse. Where Reign of Terror aimed to make Treats bigger, Bitter Rivals looks to become more diverse. With the inclusion of more eclectic sounds, vocals and instrumentation the album reflects the challenges of a band going through creative adolescence.
Overlaying synthesizers and building guitar riffs make it clear that, despite Sleigh Bell’s suggested mantra, bigger does not always mean better. Where Treats and Reign of Terror underlined LOUD as one of their chief musical styles, their grating sound and production was always marked by a distinctive clarity and order within the chaos. With Bitter Rivals they attempt to take this one step further, incorporating new sounds into their established structure, but in doing so lose control of their sound, often sounding both both sloppy and incoherent. Bitter Rivals marks a fresh creative break from its predecessors, delving into new territory and playing with some fun new toys. Sounds and synthesizers play with and build on one another seemingly at
ON PHOTO:
random and often distract from a song, or album, that would have once thrived in its simplicity. For all its strengths, Bitter Rivals lacks the lucidity so prominent in their first two releases and so crucial to successfully navigating the maelstrom that is the Sleigh Bells. But despite its shortcomings Bitter Rivals does suggest a maturing sound, a developing creativity. The album represents a more substantial creative change than Reign of Terror did to their debut, even if it feels as the band is overreaching artistically. The album exhibits a stronger vocal range from Krauss, likely thanks to her increased creative input, and suggests that the band has their view firmly set forward.
Derek Miller and Alexis Krauss offer a swift kick to the head, a driving blast that’ll
make you forget the sweet acoustic melodies and soft lyrical nuances of our modern alternative music scene.
9 – 24OurMusic
Writer: Brandon Edward Minia Photographer: Young Hare
Young Hare’s Debut Album “CAU LAU” IS EASILY THE BEST SONG ON THE ALBUM WHILE “ISLE OF EMOTIONS” IS A SURPRISING, HAUNTING ENDING.”
Step into the world
of Young Hare exciting to see what Young Hare will make in the future. As it stands, the record has a more ambience feel rather than a conventional one, making it a good soundtrack for late night study sessions or spacing out. Regrettably, however, most of the tracks are forgettable and just not that attractive. The opening track “Don’t Be Cruel” isn’t the best introduction to an album, and while it does showcase the spacey and eerie feel of the record it doesn’t do an adequate enough job of snagging the audience into its ride.
Young Hare’s debut record Unbreak My Heart isn’t the shiniest and most spectacular record of its genre, but it has a handful of high points that make it an album worth looking into. Combining 80’s synths with indie aesthetics and electronic vocals, Unbreak My Heart seems to be a good step in the right direction for the young band from Frankfurt, Germany, and with wonderful tracks like “Cau Lau” and “Isle of Emotions,” it is
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The instrumental sounds tight and crisp, but the vocals seem to fall short of delivery, even with some notable harmony vocal sequences. “Sienna” does a much better job of opening the album, the instrumentals and vocals standing toe-to-toe here thanks to some great production. Unfortunately, “Sienna” seems to be more of a short-and-sweet track rather than a fleshed out song, which is a shame since this track seems to have the potential to be a real fan favourite. The first half overall, while featuring some great instru-
Neither abrupt nor too long, “Isle of Emotions” is a mentals, is just not that spectacular. It rides on some memorable ending to the record, closing off a stellar great sounds, but nothing seems memorable or pops second half of the record. out as a definite highlight. Indeed, “Sure” has a great hi-hat drum sequence that will leave the listener bobUnbreak My Heart has some memorable bing their head while “Isla Nebula” has a very tracks that are worth looking into, dancey feel to it thanks to some styldespite a forgettable first half of the ish drum sequences, pulsating bass THE PROalbum. The production is fantastic, grooves, and piano sprinkles, but featuring tight 80’s infused instruthey don’t seem to stand-out as DUCTION IS mentals with vocal work that is much as they could. CRISP, WITH THE SOUNDS overall okay but still inspiring VARIEGATED AND EACH and wonderful at various points Even the steel drum interlude throughout the record. of “The World We Are” doesn’t SONG HOLDING ITS sound as compelling or even OWN UNIQUE IDENTITY This isn’t an album that will necessary. Overall, tracks one WHILE STILL HOLDING turn heads, but it certainly through five seems more a colshows that Young Hare has lection of experimentation, and THE ENTIRE RECORD the tools and the capacity to for the most part it leaves much TOGETHER. make something memorable and to be desired. beautiful. The future looks exciting indeed. While the early half of the album is a regrettable lull, the second half is anything but. In fact, the second half sounds more inspiring, an energy that was missing in the first half finally seeping through. This second half starts on track six with “Cau Lau,” a slow and mellow snapper that has some of the record’s best vocal work, complete with an electronic instrumental that is neither too embellished nor falling short of a spectacle. The burst of sound in the middle of the song is more haunting than startling, grabbing the listener and hurtling them gently through an alternate universe of ecstasy and love before putting them back on the ground with a pleasant and echoey ending. “Cau Lau” is absolutely wonderful, all while retaining the spacey and eerie edge of the entire record, a track that stands a strong case to being the best on the entire album.
“The second half of the record has some stellar and memorable tracks. “ “Rio Doro” and “Pond Life” continue the euphoric energy of the second half before the last track “Isle of Emotions” kicks in, a surprising and hauntingly beautiful conclusion to the record. Reminiscent of Imogen Heap’s “Hide and Seek,” Young Hare ends the record with grace, the song sounding like a combination of Heap’s iconic song with the eerie synthetic sounds of an 80’s movie closing credits.
ON PHOTO: LATE NIGHT CHEETOES, CRAMING FOR YOUR EXAMS OR 3AM STALE PIZZA LOOKING TO SPACE OUT A FEW MORE HOURS? PULL OUT THE JAVA BEANS AND IPOD EAR BUDS CAUSE YOUGN HARES JUST WHAT YOU NEED WHEN YOU WANNA GET IT AMBIENT SERIOUS
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Writer: Brandon Edward Minia Photographer: Jackie Bartel
Gold In The Hills of Old Town’s “Better Years” “A blend of folkier sounds with some edgy punk vocals and fast riffs make for some memorable tunes.”
Start up your campfires and yank out your acoustic guitars. “Better Years” by Edmonton-based Old Towns is a fun and quirky little EP that is sure to warm you up. Opening with “Foreign Policies,” this is your standard joyful campfire clapper, and makes for a wonderful opening to the record. The song skips playfully and daintily around upbeat drum sequences and a warm acoustic guitar before swaying into “Strathcona” (good luck spelling that one). If you like songs about drinking and forgetting the world, “Strathcona” is the song for you. Lines about escape, good friends, and of course taking shots are abound in this one. It is a wonderfully fun track to have on repeat. Track three’s eponymously named “Better Years” is surprisingly sweet and contemplative in nature, and I’m sure will be a fan favourite. There’s essences of A Rocket To The Moon, Rookie of The Year, and Icarus Account mashed with gruff vocals, just to name a few performers who have mastered the more contemplative and landscapey acoustic guitar type tracks. Ending with the line “better years are how it begins,” this honest and pure track is sure to leave fans feeling thoughtful, nostalgic, and perhaps even hopeful. I’m going to im-
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mediately pin this one as the EP’s arguably best track, especially considering how sweet, mellow, and just downright heartfelt it feels. The album ends with another sweet song “The Great Gold Rush,” one that features the smatterings of a harmonica and a banjo, both stylish sounds that really drive forth the energy of this track. Just like that, the EP moves in and out across the record’s landscape in stylish short-and-sweet fashion. The production value here with the additional instruments in track four is well done, however the vocals do seem to fall short and underwhelming in some spots. Nevertheless, what the band manages to do in four short tracks is put the listener through a very quick journey of happiness and thought, one that isn’t too outlandish or safe, leaving the audience satisfied but wanting more. It’s difficult to not ask for more considering how short and wonderful this EP is. With a new album on the horizon, I’m excited to see how much sweeter and fun this band can be. Old Towns has some better years coming up for sure.
Writer: Amie Page Photographer: Bodh’aktan
Bodh’aktan: Album Review Unlike the repetitiveness that sometimes surrounds the instrumental landscape of traditional Celtic music, Bodh’aktan has created a unique flavour of music that tastily blends Celtic, Punk, and Folk music with some Polka seasonings added to the mix! ‘Against winds and Tides’ blends traditional Celtic melodies with their own fresh compositional style. Simply stated, it’s an ‘ear-ily’ delicious adventure from beginning to end! This band is stacked with such incredible musicians that the impeccable artistry which flows throughout this album is nothing less than satisfying and inevitable! One of the great things about this band is that everyone sings and 4 out of 7 play more than one
instrument! Drummer Eric Gousy and Bassist Rob Langlois create such a kiiiillller, rock solid rhythm section that forms the backbone from which all other melodic instrumental/vocal genius flows on top of. Also, the confidence both Eric and Rob have playing together allows for some very tasty moments where they can experiment and play off each other. Jonathan Moorman’s outrageously gifted violin skills creates some exquisite, electrifying solos, as well as some ear grabbing hooks that float underneath the main vocals. Alain Barriault, plays the electric guitar, dobro, banjo and is very adept at adding the delicious hooks and other subtler musical flavors throughout the album. Alex Richard has a great, gritty but clear, voice that is perfectly
suited to this band’s style. He is a talented multi-instrumentalist who leads this band with passion and fire. He has great versatilitySometimes he’s raunchy and sometimes he’s like a smooth irish whiskey! Great qualities for a frontman!!One of the coolest, haunting features of the band is accordion player Eric Tanguay. His playing shows up at the perfect time in every song and helps create this haunting, gypsy-like sound to the songs- it’s so spicy it’s hot! The songs would definitely be lacking something if it wasn’t for Eric’s ‘magic wand’. What Celtic-influenced music doesn’t have bagpipes?!?! Well this one sure does! Luc Bourgeois delivers! He also plays flute and guitar. There is just so much going on instrumentally and all the subtle-
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gets stuck in your head like a bad joke-only difference is that you’ll welcome this song to stay on repeat in your brain! The lyrics alone will get people gleefully clinking their pints and trying to dance an Irish jig! There are very sweet hooky riffs that flows throughout the song on top of a very tight rhythmic landscape. Track 3 “Maids of the Sea” has major wow factor- it starts with fiddle playing a gypsyesque riff that sounds similar to “We three Kings” which really sets the tone for the song. Almost 2mins into the song the electric guitar rips a sweeeet solo before violin responds with a warm, rich, melodic solo! The lyrics are great- effective moments of a call-response between voices. The drums and bass are so tight and hypnotic (which happens to be consistently exhibited throughout the CD). This is one of the must-listen to tunes foooooor suuure!
ties throughout the songs hold the interest of the listener. The lyrical subject matter is relatable and appeals to a wide variety of people regardless of where they come from. Bodh’akton’s exceptional music snagged the enthusiastic support of Great Big Sea’s frontman Alan Doyle, who lent his song writing and vocal
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talents to “Dansez! Dance Hey!” and “The Three Captains”, which are both high energy songs to keep the crowd rockin’ in Pubs across the world.Some of the albums highlights are as follows: Track 2 “Nothing left to lose” is such a lyrically hooky song. The kind that
Track 7 “Hell of a Day” has a very melodic chord progression with a cool minor feel. Nice stick work on the rims by the drummer as the other instruments slowly build dynamically to the point where the full band enters into the fun and games! The accordion is awesomely haunting in this song. The lyrics are so clever and relatable- has potential to be a ‘pub anthem’! Awesome violin solo round the 3:15 mark which adds a bit of Nashville sound to this tune. The ‘ah’s’ sung in harmony leading up the gang vocals sung in the chorus is very effective climax leading to the end. It is the perfect song to put on after a really bad day- pour a drink and sing loudly and feel the stress melt away!
BLENDING CELTIC, PUNK, AND FOLK MUSIC; TAKES A CERTAIN BREED. BODH’ AKTAN ARE THE ALPHA MALES WHO CAN DO JUST THAT. AND THEY CAN DO IT BETTER THEN ANYBODY ELSE.
The title track “Against Winds and Tides” is a fabulous, quick jig dancing tune which is dripping with Celtic flavors. There is a very nice contrast between the verse and chorus with high energy transitions between the verses themselves and between the verse and chorus, which is really interesting! The accordian that plays more in the foreground during the verses. This song has a very hooky chorus melody on top of a strong chord progression. The instrumental interlude after the second chorus is great with the violin taking the lead solo before it quiets down, building with flute and violin playing together with bass line playing something akin to an ACDC bass riff-very cool! Great track to name the album after! Track 9 “The Ballad of Jonathon Lewis” starts off dramatically different from the rest of the album. A beautiful female voice enters singing a lovely Irish lilting melody over a ¾ waltz. After about a minute of that, the Bodh’akton boys kick it into overdrive, employing an
intense polka beat with violin playing a very hooky melody over a very tight rhythm section. The sporadic gang vocals are again effective, and a tool to get crowd singing along. The use of two male singers playing off each other is a nice change up from the usual strong vocal presence of Alex. Pure deliciousness all around- take a trip to goose bump city! Well there is one city whose citizens will most definitely adopt track 10 “Streets of Montreal” as their new anthem! The combination of a very catchy chorus and the quick, punchy polka beat would have the dance floor busy with loud and proud singing! This band has a real talent for writing lyrics that will grab their audiences’ hearts, while combining it with great dance beats which enable them to express their passion in singing and dance form!Track 12 “Here by the Sea” is another great waltzy, hook-drenched chorus that will be a crowd pleaser. Again, they employ gang vocals during the chorus that
is a subconscious cue to get everyone singing and feeling a part of the song! The album ends on an emotionally charged tune called “Killing in the Name” that explores political/religious issues. A nice change starting with an acoustic guitar while slowly adding instruments before the full band explodes into something akin to ‘Celtic Metal’! It’ll get you head banging with your hands in the air! The chorus is so catchy that a week after hearing it you still won’t be able to get it out of your head! The fiddle and rhythm section play a key role in shaping the mood of this song. The lyrics will likely cause a reaction, but whether you agree or not with their lyrical platform, the song will still grab you! It goes without saying that after listening to this CD or seeing Bodh’akton perform live you will find yourself exclaiming, ‘WOW! What a musical ride!!!!!!’
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A Cinematic And Memorable Masterpiece 16 – 24OurMusic
Photographer: Florian Kolb Writer: Brandon Minia
Voicians A Matter Of Time “WONDERFUL BLEND OF MORE CONVENTIONAL ELECTRONIC AND POP MUSIC COMBINED WITH THE SOUNDS OF MORE CINEMATIC TRACKS.” Voicians’ 2014 release “A Matter of Time” is exciting and spectacular. It’s a cybernetic theatrical masterpiece that blends epic cinematic sequences with the sensibilities of more modern, electronic music. Building on his recent 2013 EP “Colors,” Voicians continues what worked on that record with this eighteen-track album: there are more epic electronic sequences, a continuation of cinematic scores, and a touch of some sounds that were not as prominent on the EP
such as dirty industrial swagger, chilling rock sequences, and monstrous electronic sounds. “A Matter of Time” is just downright epic and promises something fun and enjoyable for a wide audience. The first few tracks of the record are reminiscent of Celldweller’s industrial sounds, which is indicative of Voicians’ recent signing to FiXT, Celldweller’s label. The smidges of industrial sounds in these tracks do not compromise Voicians’ identity;
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“The final stretch of tracks are a phenomenal and spectacular ending to what is already a stellar album.” rather it seems to add a whole new nuance that was missing from “Colors.” Tracks like “Telepathic” sound spacey and epically mechanic, his vocals standing toe-to-toe with the head-bobbing drum beat. The song progresses through haunting synths, its more hooky sequences slightly reminiscent of Gemini’s “Blue.” “This Pain Feels Real” on track three is slightly reminiscent of Celldweller’s “Stay With Me (Unlikely).” “Prayer” on track ten throws in gritty vocals, nuanced whispers and screams, and string sounds, making for an energetic and raucous song. Indeed, Voicians does a stupendous job showcasing the more gritty industrial sounds that were missing from “Colors” (and in all honesty, “Colors” was not missing much to begin with). Fans of Voicians’ “Colors” will be pleased to see some more familiar sounds on this record. “Follow The Stream” sounds like a continuation of the luvsteppier tracks, creating something that is relaxing and fun. “Stomping Ground” rolls in with a familiar and eerie 80’s swagger, making something that sounds like it could be an epic score from the movie Blade Runner, one that progresses into a surprising exit of melancholic pianos, swelling synth bass, and wailing strings. “A Journey Without Return” has a more ambient feel to it, yet should not be simply relegated to the category of “background music.” Indeed, this track is more cinematic than ambient, and is quite a stylish number for a track that is really just an
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interlude into the last part of the album.
cally beautiful, combining the soothing sounds of electronic synth
The last seven-or-so tracks are by far the most memorable and epic stretch of tracks on the entire record. There is no denying the power of cinematic music, and these tracks demonstrate the potency of that. “The Construct” on track twelve is fast-paced and reminiscent of some great electronic artists such as Nero, weaving swirls of epic distorted synth sounds over the swelling pounding of an intense beat. “Transfer” and “What Goes Around Comes Around” are cinemati-
combining the soothing sounds of electronic synth with clean guitars and alternative pop drum sounds. The tightness of these two tracks oozes with maturity. There’s a few hip-hop oriented tracks here too. “Brainstorm” sounds intense and energetic while “The World Today” has a dark and profound vibe to it, completed by a hi-hat headbobbing beat that is reminiscent of some more chill tracks by Kendrick Lamar,
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
Drake, and Tyga. “The World Today” only serves as an interlude, but by itself it still sounds great. It’s almost a shame that it wasn’t fleshed out into a longer track. The rockier sounds are here too. “Endure” has licks of an upbeat pop track while rounding it with some great power chord electric guitar lines and synthetic embellishment. The headbobbing snare-infused drum line keeps this track moving. “Stay” sounds like a harrowing mix between a Seether track and an 80’s electropop soundtrack. It seems to lull a little too long and feels as if it builds up too much without a memorable conclusion, but it’s still nuanced enough that it is certain to drive home something eerie and haunting. synthetic embellishment. The headbobbing snare-infused drum line keeps this track moving. “Stay” sounds like a harrowing mix between a Seether track and an 80’s electropop soundtrack. It seems to lull a little too long and feels as if it builds up too much without a
memorable conclusion, but it’s still nuanced enough that it is certain to drive home something eerie and haunting. The album concludes with the penultimate epic “Ultimate Riot,” a six-minute track that starts with a roaring pop-infused Skrillexesque stomper and fades out with a memorably mellow and chill sequence. It isn’t until the last track that the album finally features and concludes with the theatric orchestral sounds of the eponymous named “A Matter Of Time,” a haunting ending to what is a fabulous and memorable record. What is most incredible about this album is how Voicians is able to blend so many different sounds and mash them with the conventions of electronic music and make something that isn’t merely a grab bag of music catering to different people. There’s tracks that some will appreciate more than others, but the bottom line is that “A Matter Of Time” is a gorgeous masterpiece, one that weaves through different sounds
and still retains a certain cohesion that gently reminds the listener they are listening to Voicians. It is a record that is merely more than just an extension of “Colors,” in fact it seems to be a vast improvement, adding what was missing, and making something that spins together harmoniously. I personally would have liked to see more cinematic-sounding tracks (and for that reason “Stomping Ground” is one of my personal favourites,) but that’s hardly a complaint, especially with a record that is so wonderfully produced and laid out. Voicians’ record isn’t merely “something-for-everyone;” it’s just downright stellar.
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Ground Zero Exploding With Inherit The Stars Writer: Brandon Edward Minia Photographer: C-Simmons
“Inherit The Stars are an explosion of sound that should not be missed.” Alternative Rock five-piece outfit Inherit The Stars release the bombastic epic of a single “Ground Zero.” Fast and furious, the Sheffield band does not hold back as they rip through a gritty vocal intro and explode into noise, jumping around in cinematic rock style and gripping the listener with an anthemic chorus. “Ground Zero” is loud, powerful, and beautiful. There is nothing ‘”try hard” about this song; there is something mature and vibrant amidst the angsty ambience of this track. It neither runs too long nor too short, and no section of the song seems too embellished or out of place. The instrumental is tight and moves gracefully, complete with tom sequences, clean guitar riffs, and urgent synth lines. The vocals are
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not one-dimensional, creating a massive chorus and adding an aesthetic edge throughout the whole song that is not limited to simply “screaming.” Indeed, the production and arrangement of this track is well-placed and well-crafted, creating a roaring rock anthem. The music video, set in a seemingly dystopian 2024, follow the kidnapping of a mysterious “Hodie,” which opens with a brief and ominous introduction of Inherit The Stars’ universe. Indeed, the band underscores their intent on being something theatric and profound, for being something more than just a group of musicians making noise. 30 Seconds To Mars, Green Day, and the late My Chemical Romance are among recent heavy weights that are demonstrative of how massive and spectacular music can be when licked by that extra theatric element. Citing Fightstar, Funeral For A Friend, and Chiodos as major influ-
ences, Inherit The Stars’ “Ground Zero” underlines a declarative intent to create something meaningful through story and loud noise. Indeed, “Ground Zero” is for music fans familiar with heavy rock music looking for something that is profound, meaningful, and anthemic. With a song and music video as cinematic and explosive as this, Inherit The Stars is an act to definitely watch as they begin to carve their way through the music scene.
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On photo: Daniel Jeffery
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On photo: Theo Egginton
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On photo: Lewis Wild
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On photo: Chris Brayshaw
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On photo: Jordan Rabjohn
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Photographer: Darko Photo Editor: Karl Nicolas
Melissa Bel Don’t Forget to Breathe: A Sultry Spectacle “Sexy, Smooth, and reminiscent of old jazzy bar jams that you just can’t help but shimmy to.” It’s simply a pleasure to listen to a beautiful voice, and it’s just a bonus if that voice happens to belong to a beautiful face as well. Apparently, there is someone who can give us all that. Enter the gorgeous 24-year-old Melissa Bel, a Torontonian whose tracks are steadily gaining more exposure, from radio play in Germany, to number one on Montreal’s Jazz & Blues Charts. Her latest album was released in June of 2013, and Don’t Forget to Breathe is certainly a sign of her growth and improvement as an artist. The opening track is “Homeless”, and it is absolutely breathtaking.
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Although she is classified as a Pop & Rock kind of gal, this one certainly has a bit of a country vibe to it. And there’s nothing wrong with that. Her vocals go a long way in this song, as it does get somewhat repetitive, but the slower, sultry sound is a great break from the popular tracks on the radio nowadays. I also definitely have to talk about “Don’t Forget to Breathe” which is the title track of the album. You can hear a bit of “Homeless” in it as well, similar songs in a mellow, endearing kind of way.
At this point I was hoping for something else, something different to make me see that there was more to Bel than what I’d heard so far. And then she gave me “C’est La
“A voice that has power and soul comes also with great packaging from a petite 24 year old singer name Melissa Bel. Already touring around the world and singing with known artist like Colin James, Serena Ryder and Sloan. Melissa last released album “Don’t forget to breath” is simply heaven to our ears.”
Vie”. And oh boy, this one’s a doozie – sexy, smooth, and reminiscent of old jazzy bar jams that you just can’t help but shimmy to. And if you can’t sing along the second time around, then you weren’t really listening. It’s simple and catchy, with a playful melody and Bel’s amazing vocals to match. This one is definitely something to look forward to if you pick up the album. We also have “McNiven Road” which sounds a lot like soft rock (which means it sounds great). The girl really knows how to hit the right notes, and her emotions really carry through the lyrics of the song. Unfortunately, at some points I felt as though I might have been listening to a Christmas carol, but it may have just been the great vibes that her music seemed to draw out of me. Overall Don’t Forget to Breathe is an amazing album, and a great one to just play in the background while trying to relax or take a break from life in general. Melissa Bel has a great voice, and we can undoubtedly expect much more from her future. Certain points in the sevensong album can get a bit dull or repetitive, but that may just be a side-effect of my own exposure to too much of today’s urban music. If relaxation and good vibes are your thing, pick up this album and give miss Bel a chance to sing you to serenity.
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Photographer: Makeway Studios Writer: Brandon Edward Minia
MakeWay Studios: Continues To Impress With Fantastic Mixtape If you’ve never heard of Montreal’s MakeWay Studios before, here’s a good segway into their wonderful hip-hop world to see what you have been missing. And though “A Gift To You” from 2013 was obviously meant to be a Christmas gift, who would ever turn down presents, especially ones that are so finely crafted as this one? Wrapped (or “rapped?”) by the stellar work of producer BuDz and sprinkled with stars such as High Q and Jahnear, this is a belated Christmas present that will showcase exactly what kind of sounds you should be expecting from the fantastic production of MakeWay: mellow bass grooves,
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euphorically catchy drum sequences, and satisfying percussive rap verses. MakeWay loves their bellowing bass, as evidenced right through the first few tracks. The intro begins with heavy bass before dropping into the very suave-sounding “Swear To God,” BuDz’s and High Q’s official and very stylish welcome to you into MakeWay’s Christmas present. All the makings of the studio’s trademark mix of mellow and head-bobbing beats are here right at the onset of the mix, transitioning into the icy cool crooning of Amanda Rowland on track three’s “Yours For Christmas.” Without veering too off
“Swelling bass is never too in-your-face, and the drum beats are very well varied and attractive, making each track on this mix a fantastic listen.” course, the record then slides very smoothly into “Eyes Low,” a trademark and fan-favourite mellow bobber of the studio and a surefire highlight of the mix.
this is a fantastic and memorable mix showcasing the studio’s magnificent work. Euphoric bass and stylish drum beats are abound in this one, making “A Gift To You” a great mix to have in your music library, as well an excellent portal into the amazingly produced world of MakeWay Studios.
There’s the cinematic value of the record here too. The interlude is a stylish transition that is a very nostalgic and contemplative piece about the meaning of Christmas. This interlude transitions into High Q’s “90 Proof,” a fantastic track that features impressive vocal nuances and a fiery rap flow that slides with slick precision over a mellow head-bobbing beat. Along with “Eyes Low,” this is another highlight track on the mix for sure. There’s some tracks that you’re going to wish were longer. “Ain’t No Sunshine” with High Q and Jahnear is a perfect example of that. An incredibly stylish hi-hat drum sequence that exits with a sample of the famous chorus from Bill Withers’ song, this fantastic and inspiring track comes and goes right when you’re beginning to settle in and enjoy yourself. It’s a shame that it ends so soon, but still a great track on the mix. The last two tracks before the outro, which also happen to be the mix’s longer songs, are two fantastically produced cuts. “Make You Love Me” with Jonesy, Orphan, and High Q is embellished by some well-placed strings and piano while “Flamingo Roads” with High Q, BuDz, and Starfox is a fun and perhaps the catchiest of the mix, featuring a very hooky chorus that rings out the mix triumphantly before ending with the cinematic and contemplative outro. Is this a mix that hip-hop fans should check out and possibly covet? Absolutely. And though there aren’t any fast numbers that we know the studio can pump out (see “Set The Club On Fire” from BuDz’s mix Pure Zest),
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Photographer: Jean-Sebastien Plante
Sandveiss Smashes
Writer: Brandon Edwar Minia
Through With Scream Queen Sandveiss’ 2013 release Scream Queen is one for those craving something swaggeringly dirty, explosive yet steady. The Québecois band uses melodic guitars combined with gruff vocals to create something aggressive and methodic, noise that is not too loud so that it spews chaos, something that is edgy and exciting but not too hyperactive. The attitude packed into this record swings back and forth steadily like the head-bobbing drums, an energy that swells and pulsates carefully yet loudly like the bass. This record is stylish while at the same time straight-forward, making a rock record that fans of the rock genre will swallow with sublime satisfaction. The record begins with the six-minute epic “Blindsided,” a pulsating intro that showcases with unrestrained ferocity the thrashing energy of their sound, featuring every-
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thing from Luc Bourgeois’ vocals to the roaring hum of Daniel Girard’s bass, the steady marching of drums and wailing guitar work streaming all over and in between. The final sequence of the song picks up quite nicely, the sudden tempo change feeling natural and not too spontaneous. This raucous energy flows nicely into “Do You Really Know,” a shinier and slicker track that kicks in explosively, riding right through the wake of the record’s six-minute epic intro and perpetuating the energy of the first track. Right through the first ten-minutes, Sandveiss boasts something spectacular that is spontaneously straight-forward. “Untie Me” opens with a hooky guitar riff and features a more poppy chorus, creating a track that will certainly appeal to more conventional listeners. The head-bobbing on this track is massive and contagious, and its brief length of just
under three minutes makes this track short and sweet, a potential favourite for listeners and one of the record’s best tracks. “Scar” in the meantime sounds more metallic and raucous, the vocals sounding edgier and gruffer as they ride and jump around on some more fine guitar work. The musical interlude is also one of the better of all the interludes on the record, jumping through some fun and energetic guitar sequences. This track is appropriate for beating up someone you really don’t like. Perhaps in a bar. It’s got that mean edge to it that isn’t as strongly pronounced in the other songs, and stands to be one of the more aggressive and rowdier of the tracks. The chorus tops off the entire song, and certainly elevates “Scar” as another of the record’s standout tracks. “The Bomb” features a fabulous guitar interlude that rings in the
middle of the song, an arenareverberating epic that smashes right through your earphones with some more rowdy and fun energy. It doesn’t seem as attractive as its earlier tracks, but still continues some fancy yet direct explosive guitar work. “Bottomless Lies” has a bellowing intro, a growling guitar humming low into what becomes an absolutely enormous track, a straightforward and loud song that features the record’s catchiest chorus and more sinister guitars. Downright dirty, this track sounds like one that listeners craving something a little more direct than extravagant will swallow up with satisfaction. “Dead Man Stare” is another stylish stomper that features some slick and swaggering guitar work, the
arena sounds of the record really shining here. To top it all off, this track has a pretty catchy hook, one that accentuates the equally tasty guitar licks. The record ends with “Green For Gold,” the fastest record on the track, and one that could potentially be a huge fan favourite. This explosive finisher of the bombastic record is another feature of slick and stylish guitar work, an epic arena-screamer, and an appropriate ending to a record that just never seemed to stop strutting as it marched its way through. The production of the entire piece is loud but conscious of maintaining the balance between its aggressive, swaggering noise with clarity and cohesion. The boastful and
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raucous energy of the record never compromises the listening experience; indeed, Scream Queen blends dirty, distorted electric guitars and rough vocals with mastery, the mixing done so that each track sounds clear and precise without sacrificing the bombastic force propelled by the band. The variety of sounds and techniques, though not as well pronounced and diverse, seem to subtly showcase the group’s definite ear to creating something enjoyable, while leaving the listener to crave more of what the band can do. A record as relentless and dirty but at the same time clean and direct deserves to be listened and thrashed around to with the same unrestrained energy that weaves through the record’s eight epic tracks.
4 guys that love to rock and love even more to play it when not getting into trou-
ble. Luc Bourgeois, Shawn Rice, Daniel Girard and DzemalTrtak got together just over two years ago and have been busy writing songs and preparing for the their album debut. Finally released in December 2014. Welcome Sandveiss; your music has been awaited for much too long.
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Exclusive interview with Federico Agreda ZARDONIC IF THERE’S A WINNING FIGURE IN THE WORLD OF EDM, THAT’S FEDERICO AGREDA AKA ZARDONIC. From pots and pans to multimillion-dollar Dj tours, Zardonic developped a style all on its own that will make you wanting to discover more each time. His signature logo, the intriguing white mask he is recognized for, is more than just marketing ploy: It became part of his character, creating an aura that adds a special dimension to his work. His music has no boundaries as he says himself. “I make music for the people
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and it can be anyone”. As long as they’re out there supporting that?s all I need. Be it metalheads, hot Russians, personal trainers or your Grandma! With a solid vision, a good head on his shoulder and a profound passion for the music, Zardonic will leave you anything but indifferent.
guess that’s one of the things that keeps me on my way as well, knowing that I have no intention of doing anything that is not music. It forces you in the right path to achieve your dreams.
Zardonic. The pleasure is mine man! I’m happy to do this. Love the work you guys are doing!
Karl Nicolas. Definitely some strong motivation and a super kickass mask too! Can you tell us what inspired that mask?
Artists need the attention of the media to get to their fans, and you are serving as the medium between us and them. So for me, it’s an honor.
Karl Nicolas. Thanks for that! We do our best to try and help talents, such as yourself, get your voice and music heard. So before we get too deep into it, how about you tell us a bit about yourself and your music? Zardonic. Well, my real name is Federico Agreda. I wear a sick fucking mask based on my logo, created in the small town of Yaritagua in Venezuela, where I was born, raised and where I still reside. I’ve been involved with music since an early age. If making noise with pots and pans and playing toy Casio keyboards counts as music! But I didn’t take it seriously until I was sixteen years old when I started with my black metal and ambient projects. Then in the end of 2004, when I was turning nineteen, I started to get the hang of electronic music. Always loved it but never tried it, so that together with my metal background gave birth to the Zardonic project, which to this day is my passion, my hobby, my job and my only source of income. No Plan B. I
Zardonic. It’s actually based on my face, and slowly evolved into the logo that is now. After the logo was finished, I didn’t really use any masks for the first 7-8 years. Then I realized that no one would identify me with the logo I created, or at least not the way I wanted to. So I decided to put it on my face, after all, it was somehow my face. Then after I wore the mask for the first time and looked at myself in the mirror, I realized everything was going to change. This was not just a marketing strategy anymore. This was going to be an extremely powerful channel to spread any kind of message. More ideas came: creating short films, comics, books, videogames based on the character. Most of that are just ideas right now, but with enough time and effort, nothing is impossible.
Karl Nicolas. A mark of progression then? I like it! So I gather that you’re approaching your tenth anniversary? What can you tell us about the path you’ve taken so far? Has it been tough, or has everything been somewhat favorable on your journey?
Voted the #1 DJ in Venezuela Reached #1 in Beatport’s Drum & Bass Release
Karl Nicolas. First of all, thanks you so much for accommodating me (and 24OurMusic) in your schedule for this interview. We definitely appreciate it
Photographer: Ricardo Marapacuto Interviewer: Karl Nicolas
Zardonic. If you do what you love, nothing is tough. I mean, of
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course you always have to deal with a lot of obstacles, but then again, that’s just part of the path. If you understand it as such, it’s easier to bear. Thankfully I have a lot of faithful fans and great support. Of course when I say support, I don’t mean support from the mainstream media or the A-List DJ groups. I mean the people themselves. And that’s why Zardonic stands strong, because it’s not a trend; it’s not a handpicked DJ by some big label. It’s built on the people. Not that I’d be against getting signed on a big label, but I think you catch my drift. If that ever happens, it’s because the fans helped me do it. And if I get signed then dropped by some mainstream label, I will know that the fans are still there, with full support.
Karl Nicolas. Wise words, and honest too. We do wish the best of luck to many of the artists we feature; success in the mainstream is always a big plus! Zardonic. Absolutely, helps reaching new fans too! Karl Nicolas. So what would you say are the best and worst parts of being a DJ, for you? Zardonic. Best part is you get to play alone and you are in total control of what’s going on, contrary to the case of a band where everyone has to work together to make sure it works. I have to admit I have a hard time with teamwork. I try my best with my agent, and always glad when there’s people willing to help me, but I’m the kind of guy that just gives something in return so I have no debts. I pay my dues,
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and then I’m free to do my thing alone. Also, it’s usually cheaper for promoters to book you because they don’t have to pay for ten plane tickets which include the four band members, their girlfriends, their manager and their sound engineer. In the DJ world, you are a one man army. Worst part is, though, exactly the same. I make a lot of friends everywhere, but sometimes it’s lonely when you’re touring for so long. There’s always a pro and a con to everything I guess. But at the end of the day, I’m happy to do what I love for a living.
Karl Nicolas. Very true, it can be a lonely road for many DJs, which is why it’s great that fans sprout up in every place you visit! What do you think sets your music apart from other DJs out there? What keeps fans coming back, and what do you think will bring in new ones to propel you forward? Zardonic. I’m not sure. Well, I mean, I do. But all I do is making the music I like and then some people like it and some people don’t. One thing that most fans say is the fact that it really seems to please both metalheads and dancers alike. That means you can see both girls shaking their booties while there’s a crazy dude banging his head and slamdancing like there’s no tomorrow. There’s heaviness, power in it. Also I’ve heard a lot of people work out to my music. Which is funny because I’m the laziest bastard ever! I never get out of the computer. But I’m happy the music is empowering people out there to work those abs!
Karl Nicolas. A very welcome unintended effect! That’s awesome.So I’m guess you aren’t trying to just focus on one target group here? Zardonic. Hell no. That’s the underground mindset and it falls on the same elitism that I stand against. I make music for the people, and it can be anyone. As long as they’re out there supporting, that’s all I need. Be it metalheads, hot russians, personal trainers or your grandma! Karl Nicolas. A+ philosophy right there ! Would you mind telling us about the labels who you’ve signed with in the past? Zardonic. I’ve released stuff on over 20 labels, but the few I can mention that really took it all to the next level are Human Imprint (part of the Planet Human group led by DJ Dieselboy and Steve Gordon from Circle Talent Agency), Big Riddim (created by Grammy nominee AK1200) and OWSLA (led by Skrillex). The rest did a good job but there wasn’t much promotion going on. And I understand, it’s not easy to have a label yourself. Hell, I had a free net label and I haven’t released anything since 2011. I might re-launch that at some point, but I don’t think the time is now as I have to focus on my new album which is either coming out on a huge label outside the scene or coming out independently. Karl Nicolas. Can you tell our readers what to expect from your new album? Are you switching anything up or is it just a more refined sound!
Zardonic. It’s basically going to be a refined version of what we’ve been hearing in the past, but exploring the Metal EDM hybrid a bit further, due to the success of Bring Back The Glory getting millions of plays, I realized that what people loved the most from me is exactly what I love doing the most. So Zardonic is about to just be more metal than ever. And perhaps, also other tempos different from Drum & Bass. I want an album full of Electro, Breakbeat, Hardcore and other stuff. Want to make it interesting for the listener audience as well. Karl Nicolas. Awesome, really looking forward to giving it a listen. What is the most memorable moment of your career so far? Zardonic. Playing at Pirate Station Revolution in Russia. Pirate Station is the biggest Drum & Bass festival in the world and playing there allowed me to show my music to nearly 10.000 people, and of course, that got incredible attention. I think 2014 will mark the beginning of something beyond my expectations. It scares me sometimes, but I’m working my ass off to make sure everything’s perfect and ready when the time comes.
even acts like deadmau5 give me inspiration.
Karl Nicolas. Well I certainly feel as though we’ve given our readers a lot to get them curious about you Zardonic, but would you like to say something to hook them and truly get them on board with your music? Zardonic. All I can say is thank you for taking the time to read this. If you want to know more about the recent releases and previous ones, head straight to my pages: http://www.zardonic.net facebook.com/zardonic soundcloud.com/zardonic twitter.com/zardonic And so on. Hell, just google Zardonic and you’ll see what it’s all about! Thank you so much for your time!
Karl Nicolas. No, thank you! We definitely hope to hear a lot more from you in the future!
Karl Nicolas. Exciting stuff, we’re nearly done but I’m curious, have you ever been inspired by any other DJs or musicians? Zardonic. Many, I’d say. Aphex Twin was a great inspiration for me in my first tracks. Also metal composers like Devin Townsend or Chuck Schuldiner. The mixes of DJ Dieselboy were also always very inspiring to me. “The Dungeonmaster’s Guide” is the reason I’m into Drum & Bass these days. Counterstrike, Black Sun Empire, and
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Spectacular Nightmare of Pretty Mouth’s “Fears”Mouth’s “Fears”
Photographer: Yoshi Cooper Writer: Brandon Edward Minia
“There’s no denying how sensationalist and horrifying this album sounds. Pretty Mouth did a great job creating something spectacular.” If you’re looking for something sensationalist, loud, dark, but fun, look no further than Pretty Mouth’s “Fears.” The Torontobased band concocts something that is edgy yet vibrant, mashing the creepy ambience of a horror flick with the musical aesthetics of the more thrashier side of metal music. Each track will summon something different and is sure to throw you into a hellish ride (meant endearingly). “Ghosts” on track two drops in with a roaring ferocity (one that made me jump!) after the hauntingly gritty intro of “Eyes.” “Bridges” and “Demons” are fun to jump around to and bob your head while tracks like “Bastards” are fun to destroy things to. The album ends cinematically with the haunting story interlude of “Nights” and finally closing the record with “The Joke”
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in bloody, theatric fashion. There’s two brilliant points about this record that needs to be brought attention to. First is how crisp and toe-to-toe the mixing is; the vocals never sound washed out, the guitars and bass roar in symphony together, and the drums never sound over-embellished anywhere on the album. The second, bigger highlight of this record is how surprisingly theatric and spectacular this record is, throwing the audience into a nightmarish cyclone which results in a bloody yet satisfying conclusion. It’s impossible to listen to this record without feeling even in the least bit spooked or aggressive. Kudos must be given to Pretty Mouth for creating something that is so sensational without coming off
THE SOUNDS HERE ARE NEITHER MIXED TOGETHER TOO CHAOTICALLY NOR TOO REDUNDANT, CREATING SOMETHING THAT IS SURE TO BE REFRESHING WITH EACH LISTEN THROUGH.
that is so sensational without coming off as too outlandish or messy. There are no real major drawbacks to this record, as everything sounds mature, well-paced, and as sensational as it can be. However, I personally would have liked to see something perhaps more balladic or conventional. “Nights” was promising as a more candle-lit and eerie crooner, which turned out to be a more cinematically chilling interlude, but would
have been quite spectacular had it featured singing vocals. Some of the shorter songs, such as “Bridges” feel like they could have been fleshed out into something longer (the intro with the squeaky bass pedal and the cutting guitar riffs was fabulous). Still, the abrupt yet crisp pacing of the entire record makes it hard to argue that many drastic changes could be made, if at all. This is a record that fans of more obscure metal music are sure to eat up with pleasure. Nothing is too embellished or in your face, but the dark, horrifying and raucous nature is definitely there and it’s absolutely satisfying. Take a listen and get ready to face your Fears.
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Photographer: Cedric Sequerra Writer: Karl Nicolas
Lights Unplugged After a two-year hiatus, Canadian electro-pop singer Lights has released a brand new album entitled Siberia Acoustic. This is a big divergence from Siberia which she released in 2011 – as she says arrivederci to all things electronic – and ‘hello’ to acoustic guitars, pianos, and cellos. This unplugged album veers away from the fireworks and synths we are used to hearing, and
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brings her oft-overlooked musical talent and smooth, soft vocals to the forefront.
electronica (a big plus) – and that holds true for the rest of the tracks in the album.
The album begins with “Banner”, and we can instantly recognize why Siberia Acoustic may just be one of the most impressive albums Lights has ever put out. We are able to hear the magical voice usually concealed underneath layers of
Next on the docket is “Siberia”. And everything about this track – from the soothing arpeggios, to the complementary vocals of Max Kerman, and the wonderful harmony that results from the partnership – can lead the listener to only one
“SIBERIA ACOUSTIC HAS SO MUCH MORE TO OFFER THAT THESE ARE IMMEDIATELY REMEDIED BY A QUICK SKIP TO THE FOLLOWING TRACKS.”
This track is delightful musical witchcraft. Moving on, we have “Where the Fence is Low” which seems to sound better with the fairytale feel of the original rendition, but still succeeds in displaying the vocal grit that Lights is capable of. To bring things back up to speed, she enlists Adam Young from Owl City for “Cactus in the Valley”. If you thought the vocal mix in “Siberia” was good, you are in for a pleasant surprise. Adam has never sounded as great as he does singing alongside Lights. Many music aficionados begin to assume that electro-pop artists can’t sing, and that’s why they chose their genres. These two triumph in throwing that assumption out the proverbial window. Their voices are simply sublime – alone and together.
Regrettably, there comes a point where the acoustics begin to drag on – an inevitable result of relying too much on the relaxing piano and guitar as backdrops. “Suspension” and “Flux and Flow” can cause a few yawns in the average listener (but in the positive light, are great tracks to doze off to on repeat). Their pacing is just incredibly slow, and lack the lyrical stimulation offered by previous songs in the album. But Siberia Acoustic has so much more to offer that these are immediately remedied by a quick skip to the following tracks.
tive light, are great tracks to doze off to on repeat). Their pacing is just incredibly slow, and lack the lyrical stimulation offered by previous songs in the album. But Siberia Acoustic has so much more to offer that these are immediately remedied by a quick skip to the following tracks. Aliquam tincidunt vel enim quis posuere. Nam elit est, fermentum ut felis eget, gravida accumsan erat.
Regrettably, there comes a point where the acoustics begin to drag on – an inevitable result of relying too much on the relaxing piano and guitar as backdrops. “Suspension” and “Flux and Flow” can cause a few yawns in the average listener (but in the posi-
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Writer: Karl Nicolas Photographer: Edward Bose
Edward Bose Defense Mechanisms: A Mixed Bag BOSE PULLS IT OFF EXCEPTIONALLY, SHOWCASING HIS POWERFUL LYRICISM AND PENCHANT FOR SYLLABIC EMPHASIS.
A selection of tunes for Everyone. spurns you to move forward despite tough times. I’ve always found it all the more inspiring when artists who have not made it themselves yet, do their best to make motivational music for others having trouble keeping their heads up. It just so happens to be a plus that Bose pulls it off exceptionally, showcasing his powerful lyricism and penchant for syllabic emphasis.
Edward Bose is an up-and-coming poet rapper who just released his latest album – Defense Mechanisms. His tracks are an intense mixture of hard-hitting, inspiring music that certainly seems as “real” as it gets. But there are peculiarities that some people probably wouldn’t be too happy to hear in his songs. He begins with “Never Give Up”, an uplifting song that
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“Don’t Come Down” and “Dear Darkness” are very similar songs in the way Bose spits his usual syllabic flow on more somber instrumentals. They force you to listen to what he has to say, which can sometimes be tricky to take in. There are more good lines than bad however, and these two gems are the perfect gauge if you want to feel this man’s lyrical potential. We also have the song “Save the Clocktower” which is more like spoken word, and one of my favourite songs on the album. There is something more appealing about raw lyricism on a mellow melody that really brings an artist’s emotions to life. Unfortunately, there are tracks on the album where the message is quite…
back down, repeating the cycle for eternity. Bose’s song questionable. Take “Back for the First Time” as an spins the punishment as a gift, alluding to pumping out example. Although it is definitely a headbanger, sporttracks as the repetitive action that the king of the story ing superb rhythmic flow that really gets you jumping, had to undergo, but praising the free time to do whatthere are too many problematic lyrics on this track that ever he wanted as the rock rolled down. It’s a potential fans would immediately loathe powerful song with a powerful message, upon hearing. For example, one of his definitely worth a listen. The latter lines are “My flow is like a battered two tracks show similar promise, wife, cuz I abuse it”. Not only is RAP MUST looking for the good in the bad, this incredibly offensive, but he STAND FOR and compelling some type of adds some salt on the wound change in the individual or larger by calling out those he would RHYTHM AND POETRY, society. probably offend, “To all the THAT’S WHY I’M ALIVE feminists…” I’m all for the ocWHEN I FLOW/FOR EVERY Overall Defense Mechanisms casional offense disguised as is nothing but a mixed bag. a joke, but this quip certainly RHYTHM HAS HEARTBEAT There are good tracks, great does more harm than good AND EVERY POEM HAS A tracks, and tracks you just have for his maturing reputation. SOUL. no choice but to hate. But you Additionally, in an age where can’t blame Bose for being as honoriginality reigns supreme, you est as he is. If you want to listen to simply cannot recycle lyrics that are an artist who isn’t afraid to say what he known universally because they were in wants to say, then definitely give this album a chart-topping song. Notable lines such as a listen. He’s new to the industry and therefore bound “If they hate then let them hate and watch the money to make mistakes, but he shows too much promise with pile up” from 50 Cent’s “In Da Club” are definitely one of his masterful use of powerful lyricism and compelling those lyrics. instrumentals, to ignore. Another song that just rubs me the wrong way is “A If you ask me, Bose is definitely off to a good start. Ballad for Rap”, which instead of being a Ballad (usually connoting something elegant and well thought out) turned out to be a messy, raunchy track filled from 0:00 to 2:16 with expletives and sexual allusion. It definitely sounded more like backstreet freestyle, not a ballad for rap. Similarly, “What its come to” is a song where Bose actually says “uh, uh, uh, yeah” (as battle rappers often do when scrambling for lines), which might sound good on the streets, but seems more like someone gasping for air when recited in a supposedly mastered track. “Moving on” before you take a listen, is a dis track. A dis track to his mom. So if you’re not into that (I know I’m not), skip this one. In a span of just thirty seconds, he manages to label his mother a “fucking buffoon”, a psycho and a bitch. There might be a niche for this type of music but it’s going to be very difficult to find. On the other hand, if you want to hear the best Edward has to offer, you’re going to have to listen to “Sisyphus”, “My Cross”, and “Part of the Fight”. All three tracks undoubtedly show us the raw talent he’s hiding without the unfortunate veil of questionable subject matter. “Sisyphus” if you’re not familiar with the term, is the story of a king who was punished for his chronic deceitfulness by forever pushing a rock up a hill and watch it roll
ON PHOTO:
Speaking our mind without backing down
is part of the lesson in the rap business. Edward Bose has strong lyrics and thinned ice comments that demonstrate class is now in session. But oh what will come out upon graduation will be no doubt a master rapper showered in adulation, adored by his fans.
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Hitting Every Stop on the Rap-Rock Spectrum 38 – 24OurMusic
Photographer: Hollywood Undead Editor: Karl Nicolas
Hollywood Undead:Notes From The Underground Hollywood Undead is an up-andcoming alternative rock rap band hailing from Los Angeles, California. They are an interesting bunch to say the least – using pseudonyms rather than real names, and wearing unique masks (based on the traditional goaltender design) when they are performing or seen in public. Their current roster includes Charlie Scene, Da Kurlzz, Danny, Funny Man, J-Dog, and Johnny 3 Tear. Although Hollywood Undead is what you could call the ‘new
kids on the block’ (which is ironic since their first song was titled “The Kids”), they have already put out two albums before releasing Notes from the Underground. Their debut album Swan Song and second album American Tragedy definitely did well on the market, selling over three million records worldwide. And now, they have released Notes from the Underground which is the second album since the departure of their lead singer, Deuce.
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“The album was released on January 13 and sold over 53,000 copies in its first week, charting at No. 2 on the Billboard 200 and No. 1 on Canada’s Top Albums chart.” We can start off with the first track “Dead Bite”, a great starter in that they are beginning with a track that actually reflects their unconventional band name (Hollywood Undead, Dead Bite! Get it?). Rap and rock battle it out in this track, with heavy guitar here and there to emphasize that this is definitely not just a raptrack. In the end, neither wins out so you get the best of both worlds. You definitely can’t knock the group for pulling off such a tricky blend, and in my opinion, producing a great ‘taster’ for the album. This leads us into “From the Ground”, which I can certainly say would have sounded even more amazing if another band had just continued with the melody they began with – instead it just gets kind of creepy. That’s not a bad thing by the way, as hard-hitting lyricism keeps you on your toes, with lines such as “these fallacies, I don’t believe in things that nobody knows”, and masterfully contrasting the high-speed and slower rapping which is similar to drinking some red bull every time you feel like you’re dozing off – electric. Needless to say, the synth powered verse cycled with glimpses of metal is innovative and it works. If you’re picking up this album, definitely try to listen to this track on repeat. Then we get into “Another Way Out” which has a more ‘mainstream’ feel to it. The techno/hip-hop beat is catchy and rhythmic, something
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EVERYTHING HIP-HOP AND EVERYTHING RAP THAT THEY ATTEMPTED TO AMALGAMATE, SURPRISINGLY MESHED WELL TOGETHER.
Then we get into “Another Way Out” which has a more ‘mainstream’ feel to it. The techno/hip-hop beat is catchy and rhythmic, something you would definitely catch turning on the car radio. Love it. We then move into “Lion”, which like “From the Ground” has a melody they began with, which I wish they could continue because it sounds pretty damn good. But luckily, the song gets better, with a great transition into the electric alternative rock rhythm and rapping, which really flows well from verse to chorus, and back again. I wish we had more of this type of truly enjoyable music in place of some trash playing in our Top 40 Charts right now.
And then I listened to “Pigskin”… and found myself flashbacking to the 50 Cent and G-Unit era of hiphop music. It’s great. That’s the bottom line. Whether they’re looking to parody the club-type “come here bitch” type music or simply borrow inspiration and bravely apply it to their own tracks, it’s working. We can even see that there are members specifically influenced by Fifty, and Eminem – and who doesn’t want to hear some more of that? If you need more of the same, check out “One More Bottle” and “Delish” for some party tracks that your guests will definitely be asking you the download link for. But maybe the tracks go too hard? Or maybe you don’t want your heart racing right now? That’s okay too. The album also has slower tracks! In an unexpected way, we have “Rain” and “Believe” which touch on topics such as believing in yourself, that are also part of
the pleasure puzzle which is Notes from the Underground. And they sound really good too – an absolute plus. The rest of the tracks in Notes from the Underground follow this same style, exploring the rockrap spectrum ranging from hard metal rock to throwback banger rap. This is what I feel, makes Hollywood Underground an amazing band. With such versatility, and the ability to pull off innovation with aplomb, what’s stopping them from breaking out and finding success in the mainstream? It certainly seems like just a matter of time.
Everything hip-hop and everything rap that they attempted to amalgamate, surprisingly meshed with a great deal of success. It’s a ton of material packed into one album – way more than what the average listener would expect. But that’s what people who buy an album really want to have, and what music aficionado feels they deserve. Their money’s worth.
Overall, Hollywood Underground does a great job of finding a slot for everyone in the group, and vocal overdubbing on the production side of things was very impressive. Their harmonies for the songs which actually required some vocal talent, were on point. They aren’t singers, that’s for sure, but they did a great job regardless.
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Ballistic and Bombastic: Bare Minimum’s “Hit After Hit Bare Minimum’s Hit After Hit does exactly what the album title suggests: it pummels the sh*t out of you. Despite having eleven tracks, the Toronto group’s record clocks in at about twenty-seven minutes, which, if you do the math means that the average song length is just a little under twoand-a-half minutes per track. Heart-thumping drum beats, rapid guitar riffs, some desperate and aggressive vocal work driven with a Four-Year-Strongesque swagger make this one hell of an album that fans of the rock genre will swallow with pleasure. If you like it fast and hard, Hit After Hit will make you moan until your
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jaw hurts and your body is numb but still wanting more. The lead track “Party Alarm” is misleading because it comes in at lightning speed and is barely an alarm for the incoming record. Clocking in at just over one minute, this intro is anything but gimmicky, hit-and-run punk. It does the job of taking the listener by the collar and dragging him through a rough patch of violently exploding drum kicks and fast guitar licks, all while making them want more of the record at the same time. “Sheets In The Wind” has the potential to be a fan
“Amazing production. Instrumentals and mixing is crisp, and with such a fast and loud demeanour it is astounding that the vocals are not too drowned out. It’s nice to know that if the band wants to beat you up musically, they’ll do it with style and cleanliness.” favourite, being one of the more melodic tracks on the record and is reminiscent of Four Year Strong’s “Wasting Time.” Slick guitar work and great vocal melodies elevate this fast number to pleasurable heights. “Mucho Frio” might also be a fan favourite, one of the more memorable guitar riffs on the record singing loudly here. “Destroy The Human Race” is one of the slower and mellower songs on the record, a good place to catch your breath if you’re shaken up real hard at this point of the album, even though it’s a song about aliens decimating humans. A catchy chorus and some more fine production quality makes this track another highlight on the record. “Circus Tiger” smashes through with animalistic ferocity right after the melancholic alien song, followed by the rowdier “Dead In The Dirt.” Both tracks continue the unrestrained fun of the record, but both also end a little too abruptly. The sudden endings of both songs might be a little disappointing to some listeners, especially since the melodic “Dead In The Dirt” has the potential to be a real favourite for listeners. “Body And Soul” is possibly one of the more contemplative tracks of the record, an upbeat head-bobber rounded out by some conventional guitar melodies and a sweet chorus. Again, this is a track that fans may wish could have been longer, being one of the slower songs despite clocking in at only two minutes and thirty-two seconds.
“All Is All” is a great ending to the record, opting to finish the album as unceremoniously as it began. The longest of the eleven tracks, clocking in at just under four minutes, is a treat for more conventional listeners who may not have a sweet tooth for the faster punk tracks that the record holds in abundance, as well compensating for those who wish “Body And Soul” was a little longer. The track has a hopeful and sunny edge about it, leaving the listener on a high note and perhaps make them glad that they decided to roll through this quick barrage of well-produced rock music. Speaking of which, the production quality on this record is astounding, especially for an album whose genre includes the characteristics of loudness and speed. The guitars sound crisp, the bass warm, the drums clear and the vocals not too drowned out. All in all, this record has amazing mixing and sound quality. Hit After Hit will deliver one blow after another, each hit not being too much like the other, although a little more variety in sounds wouldn’t hurt. The record is fun and fast, its energy an inspiration for listeners who are craving something a little more loose and unrestrained. Without spiraling out into gimmicky fast rock that is simply too loud and obnoxious to handle, Bare Minimum does a stupendous job delivering fast and fun music without sacrificing quality and cohesion, their maturity surely showing here. Hit After Hit is a fantastic album that I absolutely recommend to rock fans seeking something fun and energetic.
Writer: Brandon Edward Minia Photograph:er Bare Minimum
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Photographer: Keep It Ohgee Writer: Brandon Edward Minia
The Posterz’ Drop “Starships & Dark Tints” With Dark Intensity Coming your way with their latest EP “Starships & Dark Tints” is The Posterz, a three-piece hip-hop group from Montreal, Canada. This five-track record is dark, ominous, and viscerally intense, compounded by deep beats, swelling synth sounds, and hypnotic instrumental melodies topped by slicing rap vocals. Very introspective in its swagger, this EP is certainly one which fans of the hip-hop indie music scene will gladly add to their listening repertoire. The record moves quite nicely from track-to-track, rarely veering off-course and never throwing unpleasant surprises at the listener. The EP begins with “All I Know,” an eerie head-bobber that appropriately primes the listener’s visceral musical journey, setting a very dark
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and methodic moving atmosphere combined with swaggering beats and sinister verses. The track’s ominous wind-up of airy synth is enough to forewarn the listener of the very spacy, eerie nature of the entire EP. “Those Days” has a more crooning, serenading edge, compounded by a catchy swinging chorus and the haunting, gritty synth line that lingers beneath. “The Bass” bumps heavier, its instrumental swelling more intensely here. Both songs are atmospheric and dark, with “The Bass” adding a slightly more fun dimension to the record, and while the record seems to slow down a little more than it needs to here, both tracks still carry the charmingly dark and intense flair of the EP. Notably, “The Bass” seems to
the record seems to slow down a little more than it needs to here, both tracks still carry the charmingly dark and intense flair of the EP. Notably, “The Bass” seems to have the potential to be something gigantic and explosive. “Paradise” is perhaps the most optimistic of the record, setting themes of greatness and escapism against an instrumental complete with filtered drum sounds and humming bass, cre-
ating backing noise that seems to emanate hope and determination. However, the best track of the EP is hands down “Game 6,” where the record explodes in one final big bang, setting off something gritty and hard-hitting. Complete with a contagious beat, a fiery chorus, and swirling with the trio’s cutting vocals, “Game 6” has the energy of a firecracker on a roulette board, its burning force hitting hard and unexpectedly at the very end of
the entire EP. This track is certain to be a favourite. This is definitely a record worth bumping, suffering only from a lack of tightness that plagues “Those Days” and “The Bass,” but not detrimental enough to detract from its overall enjoyment. Regardless, “Game 6” and “Paradise” are two hot tracks that absolutely deserve a listen. In an abrupt conclusion, “Starships & Dark Limits” is dark and
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Krewella Get Wet!
Photographer: Krewella Writer: Amie Page
Pure Energy & Deliciousness for all! Just over a year after the release of their EP Play Hard, Krewella has released an impressive debut fulllength album entitled ‘Get Wet’. The Chicago-based trio consists of two sisters- Jahan and Yasmine Yousaf (songwriter/vocalists) and producer Kris “Rain Man” Trindl. This hypertalented group are revolutionizing EDM as showcased in this album. Generally speaking, the vocals are beautiful, smooth, strong yet exhibit vulnerability in various spots, very melodic as well as percussive to either match the driving beat or play off of it. Rain man’s choice of instrumentation for each song holds the listener’s attention as he smoothly weaves sequences and loops together with hooky riffs and groovin’ dance beats. The dynamic range in each song and the album as a whole could very well serve as a tasty
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soundtrack for a crowd-pleasing night of dancing! The entire album, with the exception of a few tracks (that act more as ‘fillers), is so unbelievably catchy, due in combination of the vocal melodies sung by Yasmine and Jahan that get cemented into your brain, along with the grooves cultivated by Rain Man. The album opens up with the club anthem ‘Live for the Night’. This song builds into a high energy start to 12 tracks of EDM deliciousness! It has punchy hooks, nice contrasts between interesting beat changeups, solid vocal melody with lyrics that are relatable. This track will surely get the crowd rockin’! Track 3 ‘Come and Get It’ sounds like something you’d hear on the MTV show ‘The Hills’! Very hooky melodies and cool vocal effects. There are some very nice dynamic contrasts that consist of quieter
moments where there is only keyboards and voice before charging back up to energetic dance beats. It has a mellow ending that nicely transitions to track 4. Track 4 ‘Enjoy the Ride’- could very well be one of the best tracks on album! This song is pure unadulterated ear candy from the very, very melodic smooth vocal hooks and instrumentation, to the nice dynamic back and forth between hard driving percussive dance beats and soft, mellower sections of piano and vocals that display the beauty of the voices. After hearing this track, you will very likely wake up with the hook continuously flowing through your head! It could definitely take its place among the top club anthems playing right now! Track 7 ‘Alive’ is another display of
EDM deliciousness- starts off with beautiful piano and vocals that slowly builds to yet another great club anthem! It displays nice hooky synthesizer samples over the driving beats. The lyrics and melody are yet again catchy, which seems to be a real strength for this trio! They are brilliant at creating music that acts like an earwig- once it’s in your brain, good luck getting it out! Track 10 ‘Human’ really shows just how versatile this trio is! Starting off with Acoustic guitar and then Rain Man starts the layering process that he has done a bang up job of throughout this album. This guy has great ears! There is nice interplay between the two vocal parts. This is
a track that would end up being the ‘slow dance’ equivalent to ‘Stairway to Heaven’ at the end of the night! Track 11 ‘Killin It’ is a great head bangin’ track! It’s like heavy metal meets EDM! Very heavy percussion and electronic effects on this tune. Starts off with an interesting Middle Eastern riff before it starts revving its engines! It provides a nice contrast to the rest of the very melodic album. It’s a good workout song- put on repeat and jump on the elliptical!
joy on the dance floor, which is remarkable given that a lot of albums out there have a couple of great tracks combined with a lot of ‘filler’. Krewella is both easy on the eyes and the ears. If you weren’t a fan of this style of music before, I assure you that after listening to this album you will become an EDMaholic!
The whole album is, without a doubt, 12 tracks of ear-grabbing material. At least 10 of the 12 tracks will have you drooling in a pool of
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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: Brandon Edward Minia
Forest Floors’ No Smoke Is Sweet And Sugary “No Smoke” is the newest single by Forest Floors, a fourpiece band hailing from Portsmouth, UK. A mellow head bobber topped by anthemic, tight crooning vocals, this track is smooth and straight-forward with the potential to be even more explosive. The overall feel of the song has a feel-good, upbeat tone, accentuated by a gritty Foo Fighteresque energy. In fact, you can hear a smattering of David Grohl in the vocals; rarely do they remain static as they oscillate between smooth, indie-rock sounds and more rougher alternative growling. The guitar riffs sing melodiously together, with parts rarely seeming out of place or empty, tightened only by the gentle hum of bass guitar and rounded by washy cymbals and catchy drum sequences. The song progresses nicely in catchy pop style while taking scenic walks through colourful and melodic guitar riffs before ending simplistic and satisfying. While the instrumental sounds tight and mature, there still seem to be glaring holes in the song as a whole, however these empty spaces signify the potential for this song rather than detract from its value. The chorus
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is not as catchy as it admittedly could be, and the melodic guitar riffs are not as pronounced as it seems they could, particularly in the short interlude before the last chorus. Adding more raucous, anthemic sounds here could definitely add and accentuate the triumphant, serotonin-injecting feel of the entire song. While not something that a fan of the music genre would label “shortcomings,” these are definitely places that, if tightened up, could elevate this catchy little indie-rocker on explosive levels. “No Smoke” indeed showcases the tight maturity of this indie-rock band, tying together sugar-sweet vocals, guitar riffs that are both rough and smooth, hypnotizing and upbeat hum of bass compounded and completed by head-bobbing drum work. Forest Floors have created something like hot chocolate on a frostbitten winter’s day: sweet, feel-good, and absolutely wonderful.
Photographer: Sean Nicholas Davidson Writer: Eric Mckay
Of The Pack: EP Review Canada is no stranger to alternativeindie rock. With bands the likes of Yukon Blonde,Hey Rosetta! and Said the Whale colouring the music scene of the Great White North, Canada is quickly becoming the definitive purveyor of the genre.Of The Pack is testament to this. Emerging from Windsor, Ontario the self described indiedance-rock band’s debut EP is dropping November 2, 2013. Reminiscent of the alternative-rock bands of the mid 2000s, Of The Pack runs with the upbeat riffs andpounding basslines central to the genre and just keeps on going. Kicking off with “Sea the Shore” the band starts by delivering what they promise: “foottapping beats, driving basslines, and
unbeatable harmonies.” This mantra is particularlytrue in the second track off the album, “Shallow Grave,” where the fast-paced overlyupbeatguitar riffs gives way to strong vocal harmonies. An album highlight. The seven song EP gives the Canadian three-piece plenty of space to showcase their talent, running through the different niches and cliches of the genre with a confidence and apparent ease. Yet, despite its strengths, the EP seems anything but fresh. The band seems contentechoing the likes of their contemporaries with a sound comparable to the Arctic Monkeys and The Kooks back when they were defining this musical niche back in 2005and 2006.The influence of
Hamilton-based band the Arkells is also fairly evident, many of the EP’s tracks would blend seamlessly into the Arkells’ 2008 Jackson Square. This blemishes the resonating impact of the EP. The bands unwillingness, or inability to,venture beyond the established guidelines of their predecessors overshadows theevident skill throughout the album. If the album were to have been released in say 2006,it would have been a very different story.Regardless, the band may the real deal. With upbeat, catchy songs Of The Pack presents an impressive debut that would have been a massive hit back when their niche was being established. They’ve just arrived a 49 – 24OurMusic little late for the party.
Writer: Aimie Page Photographer: Todd Keast
The Blue Stones: Hows That Sound
Photographer: Yoshi Cooper
Editor: Brandon Edward Minia
“I ‘ve never said this about another band. But I’m ready to put my shoes on the table add a little salt and pepper and eat my “J’s on my feet” if this band doesn’t make the charts within the next year or so.” New. Favorite. Alt-Blues band!!!! Thanks to the team at ChurcHouse for bringing The Blue Stones to the attention of 24Our Music! The sound these two talented guys create and achieve usually takes the collaboration of 4-6 people! Windsor natives Tarek Jafar (vocals/guitars) and JustinTessier (percussion/back-up vocals) are the masterminds behind this raw yet polished, gritty yet smoooooooth musical machine and boy do they deliver! Their music is catchy and accessible while still retaining an in-your-face edgey soulfulness. Their second album is titled “How’s that sound?” and that question can easily be answered: unfrigginbelievable!!!!! From the music to the lyrics this album oozes
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awesomeness. The first track called “Rolling with the punches”, is a hooky, melodic rocker that has ‘hit single’ written all over it. The contrast between melodic guitar riffs in the verse and then the amped up distortion-laced chorus is genius. This song will be on repeat after the first listen. ‘All I Ever’ is an interesting track, comprising of a hypnotic drum beat under quasihaunting melodies and beautiful lyricism. It has a bit of ‘City and Colour’ flavour. The harmonies are great and there are a lot of delicious subtleties that will hold the listeners attention. ‘Soul’s Full’ has a laid back haunting grit to it.
have a supreme talent for painting a lyrical It’s like a song soaked in a single malt landscape that people can really feel and scotch: smooth with a bit of bite, relate to. They are real. Very real. burns then soooothes. The lyrics are heart grabbing, “ROLLAnyone who grabs a hold of this particularly, ‘They ING WITH THE album will surely want to take haven’t stolen my PUNCHES”, IS A HOOKY, out an insurance policy on itsoul, so in this cold its juuuust thaaat gooooood! lonesome desert MELODIC ROCKER THAT If The Blue Stones aren’t at I will retain control’. HAS ‘HIT SINGLE’ WRITthe top of the charts within 3 TEN ALL OVER IT. THE years, I’ll eat my own shoe. ‘Eats you up’ will eat you up and CONTRAST BETWEEN swallow you whole! MELODIC GUITAR RIFFS IN Greeeeeat post THE VERSE break-up tune to put on full blast, sing at the top of your lungs and feel your heart begin to heal. These guys
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Writer: Brandon Edward Minia Photographer: Michael-Vincent
Kennedy Crushes With Other Failures KENNEDY SPAWNS FROM A DISASSOCIATION BETWEEN MEMBERS, CITIES AND FORMER BAND LIVES EARLY 2012.
Masochistically and Wonderful short and sweet. “Hate Crimes” is raw and heartfelt, full of anger and destruction, while “Van Smash” sounds just straight-up thrashy and destructive. They begin and end in a flash, but enough can happen in the three-or-so minutes these two songs occupy, one that is sure to be a favourite of audiences looking for something bombastic to thrash around to.
“Other Failures” is a raucous hardcore smasher by Montreal-based band Kennedy, and boy is this one mesmerizing. Crisp screaming vocals, bellowing guitars, compounded by loud-mouthed bass and drums make this EP a memorable and destructive record, one that winds into one epic and impressive short adventure. The first two tracks are quick, but are anything from
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“Enable / Disable” on track three is a stunning collaboration with Nathan Zorn and Keenan Pylychaty from Fall City Fall, one that weaves elegantly and noisily throughout, and is sure to mesmerize and tire audiences by the song’s end. Indeed, this raucous and loudmouthed track stands case for being the best on the record. The vocal quality does fluctuate a little at “Rose City,” but it’s still a stylish track that stands out for being one of the more emotionally-driven, desperate tracks on the record, one that cascades down into a burning inferno of guitars and drums. The record ends with the haunting and surprising “It Is Here,” one reminiscent of the ominous and dirty vibes from all your favourite zombie flicks in the last ten
the various tempo and style changes that the record jumps around to never feels too tiring or spontaneous. The flow feels perfect throughout the five tracks. Indeed, “Other Failures” accomplishes what Kennedy declares to be all about with their music; making something loud-mouthed and masochistically wonderful that will KENNEDY make audiences sweat, bleed out, scream, convulse, perhaps pass SPAWNS FROM out, but still begging for more in DISASSOCIATION BEthe end.
years, featuring a swinging drum and bass sequence topped by stylishly horrific scream vocals, one that closes this adventure memorably and with teeth-pulling flair.
The mixing on this record is impressive, each element sounding crisp and clear, all while meshing well with each other. The vocals are never drowned out, and none of the A louder instruments ever take TWEEN MEMBERS, CITtoo much hold of the audience. The vocal work, for the most IES AND FORMER BAND part, shines brightly on this LIVES EARLY 2012. WHEN record, each nuance and vocal FORMER IDEALIST MUSIC effect never too overwhelming or outlandish. BECAME IRRELEVANT AND
BORING...
Everything is well-placed too, making the listening experience all the more pleasant. The content that is packed into this short record is spectacular too, never feeling too repetitive or redundant, and yet
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Kennedy spawns from a disassociation
between members, cities and former band lives early 2012. After crafting a self-titled EP in the careful spring, Kennedy began taking opportunity to start the weekend warriors through southern Ontario.
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