24Our Music Magazine: March 2016

14 MEL ALSTON JR.

March 2016

Present a huge challenge to most musicians: writing original love songs and capturing good quality recordings of live shows.

4MINUTE: WENT A DIFFERENT DIRECTION Skrillex and 4minute—two giant electronic pop artists from two different parts of the world—comes together for a collaboration that had me excited.

26 28 ACTIVE CHILD Since his debut in 2011, Active Child, stage name for electronic music artist Pat Grossi, has quickly won the attention of critics and fellow artists.

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ELLIPHANT - ONE MORE FT. MØ

46 Table of Content

NOTHING BUT LOVE FOR LIDO REMIXES ASTR’S “VARSITY” EP: CLASSIC CRAFT WITH AN ORIGINAL PALETTE Silverman's voice is hauntingly enticing, making listeners hang on her every word.

44 32 SKYLAR GREY It would certainly be quite difficult to find many of Skylar Grey’s earlier works – largely due to the fun fact that she hasn’t really… been Skylar Grey for that long.

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JANELLE MONÁE SHOCKS US WITH "THE ELECTRIC LADY"

06. Kassassin Street

A romp through the archives of 24OurMusic will plainly showcase our enthusiasm for five-piece English outfit, Kassassin Street. The hype surrounding this group is thoroughly justified with the release of their latest single, “To Be Young”:

10. Everywhere

Stockholm band Everywhere dishes out “Shades At Night,” a radio-friendly pop rock hit with a summer flair that sings about the challenge of conveying your feelings of affection.

12. Lucía García

There is no pretense With miss García! She had those songs in her head and clearly needed to lay them down, however she had to do it.

24OUR MUSIC 20. The Posterz

That's what performer and producer Joey Sherrett told us in an exclusive interview with 24Our Music, an answer that is telling of just how relaxed and focused the trio is despite their ever-rising path to success.

50. Scarlet Avenue

They are singers. They are songwriters. They are brothers. Scarlet Avenue is a rock band composed of Amos and Adam from Singapore, starting their music careers in France.

48. Véloniños

There’s something surreal about listening to a band sing about being from Alabama when they’re from Glasgow.

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Editorial letter

A T

nother edition of 24Our Music magazine has just arrived! As usual, we pride ourselves on covering a wide diversity of artists from all corners of the world. This month, we vibe with the smooth sounds of California’s Active Child in his release Rapor EP. If you’re looking for something more conventional, take a look at our coverage on Tetra. For people looking for something more upbeat, The Posterz are the group for you, while Everywhere gives us something for those craving something retro.

There’s no telling who you will discover whenever you pick up the pages of a 24Our Music magazine, and this month’s issue continues to prove just that. Our enthusiastic and diverse board of writers allows us to continue and deliver you the goods, just as long as you’re unafraid to see what we’ve got.

INDEX Creative Department Creative Director: Justin Everest Writing Department

Staff Writer: Quinn Mason Staff Writer: Severine Baron Staff Writer: Max BinksCollier

Editor-in-Chief: Justin Everest Manging Editor: Brandon Minia Senior Staff Writer: Karl Nicolas

If you have any questions or would like to advertise with 24Our Music please contact us at the provided email below.

Staff Writer: Michel Orange Staff Writer: Trent B Minia

EMAIL: Info@24OurMusic.net

Staff Writer: Evan Crandell

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CREDITS

1

Writer: Daniel Tremblay

2

Photo Source: Kassassin Street

Kassassin Street RETURNS WITH “TO BE YOUNG”

A romp through the archives of 24Our Music will plainly showcase our enthusiasm for five-piece English outfit, Kassassin Street. The hype surrounding this group is thoroughly justified with the release of their latest single, “To Be Young”: an uptempo modern pop-rock number masquerading as a reverb-soaked 80s tune.

There is something charmingly effortless about the track. We hear a soft, half-hearted reminiscence for something lost or far gone, suspended over a drum track pushing forward with little variation as though it were just plain momentum, while the bass oscillates between a couple of notes every four bars. Yet the listener is swept up in this airy dreamscape, tapping and humming like a bored student. The simplicity of the track is overruled by a sequence of melodies that sound familiar even on the first listen- a true mark of songwriting virtue.

“To Be Young” also marks an obvious departure from the production of previous efforts. The group’s previous two singles are characteristically modern and clean in their recording. That is to say, they are safe. This kind of profile is abandoned on “To Be Young,” as wetter vocals,

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shimmering guitars, and a whole slew of synth swells take centre stage in the mix. This kind of production functions to supplement the retro ethos of the song and it gives it room to breathe and live. A more pristine sound similar to that of the “Centre Straight Atom” or “The Royal Handkerchief Ballet” might have choked the life out of it.

Full of all of the melodic sensibility of the band’s previous singles, this effort has a concerted simplicity to it.

It’s as though the group’s previous efforts were stripped for parts and reassembled in a more efficient design.

Clocking in at 3:40, “To Be Young” shows growth and maturity. Though the group self-identifies as “psychedelic,” there is obvious rhyme and reason to this single.

The effort smacks of a wider reach without coming across as cheap or gimmicky- a feat not nearly as lauded as it should be.

“ “TO BE YOUNG”: AN UPTEMPO MODERN POP-ROCK NUMBER MASQUERADING AS A REVERB-SOAKED 80S TUNE.“ - Daniel Tremblay

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ELLIPHANT ONE MORE FT. MØ

“BY THE END OF THE SONG I WAS CLICKING TO REPEAT.”

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Stay up with me and do one more, I’m buying.

That’s the feeling of the unassuming and tightlymixed “One More,” the title track of Elliphant’s new album, featuring the Danish singer-songwriter MØ and a raunchy video. Last time I saw Elliphant (Ellinor Olovsdotter) on screen she was singing like a Jamaican woman with Skrillex tweaking noise in the background. This time she’s in matching track-suits with her girl MØ getting fucked up in the back of a cab. Not as aesthetically dark as Banks and more chilled out than Charli XCXwhose North American tour Elli joined this year, “One More” is a viable hit from the Swedish singer/rapper, available now on iTunes (via Kemosabe Records).

The music video is as exploitive as it is greasy. It appears they both have a lot creative control in the behind the scenes making of the video, no evidence to say contrary, but “In a way to be a pop artist today… you feel a little bit like a prostitute,” Elli goes on to says “I wanted a geisha thing, I thought it was a cool thing,” regarding their crayon-geisha hairstyles. The raunchy clip also responds to the infamous question about going to the toilet in films—or on the curb, track pants around the ankles with LED stacked trainers lighting up your crotch. Not sure how I feel about all their young, eager fans watching pop-stars piss hard-core on camera. Euro-hipsters making me feel boring again.

“One More” comes on with hip-hop drum-machinery, working in the glassy synth, haunting along with their sweet and salty vocals. It took a minute to get to me, but when the bridge blasts with the unrelenting synth, initiating the ramp-up; if you’re not into the song by the bridge then turn away, otherwise prepare to be fish-hooked. The almost desperate screams from Elli near the end and the backup from MØis a crafty mix, and when the laces fold together I like it. Simple, almost simplistic but not tedious, I can see this song being incredibly popular with audiences not exhausted with “I really don’t wanna go home[s]” and “stay with me tonight[s],” though the sentiments are universal with any afterparty intentions.

If you enjoy this track-suit then continue clicking for MØ, categorically worth the unskippable mascara commercials on YouTube (the One Direction commercial less forgivable). Elliphant‘s pseudo-creepy edge is in flattering company withMØ’s higher pitch.

Less pretentious than Kiesza, but not as impressive as Tove Lo, independent pop is a hot scene right now, and Eliphant and MØ might be a powder keg or a big metal drum burning under an overpass at night. “We can count the street lights” and almost a million hits on the Tube.

CREDITS

1

Writer: Eddie Mumford

2

Photo Source: West Coast Fix

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CREDITS

1

Writer: Trent B Minia

2

Photo Source: Winduprecords

EVERYWHERE SINGS TRIUMPHANTLY IN SHADES AT NIGHT

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EVERYWHERE DISHES OUT “SHADES AT NIGHT,” A RADIO-FRIENDLY POP ROCK HIT THAT WILL SURELY LEAVE YOU CRAVING FOR MORE.

Stockholm band Everywhere dishes out “Shades At Night,” a radio-friendly pop rock hit with a summer flair that sings about the challenge of conveying your feelings of affection. It’s a surprisingly catchy hit with a tight production and a catchy chorus, its lyrics accessible and straight-forward for conventional audiences.

Channeling the easy listening sensibilities with the likes of The Killers, Coldplay, and The 1975, “Shades At Night” is a tasty pop rock delight that will surely leave you craving for more The song progresses at a pretty steady pace too.

It doesn’t rush through its verses, and doesn’t try hammering you over the head with any incessant hooks, synth lines, or guitar riffs. Instead we are taken gently through a conventional verse-chorus song structure that is supplemented by a steady stream of soft-pop rock sounds and buoyed by vocalist Max Berga’s peaceful crooning. It’s a short track with fantastic progression that makes each burst of the catchy chorus a satisfying and feelgood payoff.

If there’s a time for the young band to finally break out, “Shades At Night” is one cut that should throw them out there. A track is ready to stream over and over again on the radio, “Shades At Night” is an exciting marker for music fans.

In due time, we will be able to say that if you’re looking for something young, exciting, and sonically pleasant, you can find it Everywhere.

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CREDITS

1

Writer: Severine Baron

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Photographer: Jeff Holt

Discover the Power-Personality of Lucía García 12 – 24OURMUSIC

“

- Severine Baron

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

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

“

A DEMO THAT WE HOPE WILL BE PASSED AROUND THERE IS A CLEAR SPARK AND PERSONALITY IN JUCIA GARCIA’S MUSIC. SOLID MELODIES AND A VOICE REMINISCENT OF THE RAWNESS IN FIONA APPLE’S. There is no pretense with miss García! She had those songs in her head and clearly needed to lay them down, however she had to do it. Her and her electric piano show that one doesn’t need fancy instrumentation and effects to put together an EP. The sincere and authentic way she expresses herself is refreshing and warm.

The tracks are not too long, not too short, and to the point. But girl, let go of the reverb, it’s overrated on vocals and you don’t need it!

hat playing her electric piano with her eyes closed and being completely into it. (Edit: I was very happy with myself once I had finished to write this article. I usually don’t go to artists’ social networks accounts until I’m done reviewing. And guess what? She’s long-hair brunette! Mwahahaha, fear my psychic abilities!)

Anyway… There is good potential in this demo, it’s simple yet has strength and personality. And what more do you want from a song than to relate to the artist behind it!?

Her voice reminds me of Fiona Apple sometimes in the lows of her voice as well as her faster vibrato.

The first song, Clementine, hits the ground running, setting the mood this artist wants to exress. It’s her, and if you don’t like it, look away then! You go, girl! It’s definitely a pixie dream girl kind of EP. You picture this very present urban brunette Bobo Californian with long straight hair and a hippie

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CREDITS

1

Writer: Evan Crandell

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Photo by: Alex R. Kirzhner

Mel Alston Jr. Gives an Explosive Glimpse into his Live Shows ALTHOUGH ALSTON JR. OFTEN SOUNDS LIKE OTHER SINGERS ON THE EP, “MOVIE MUZIK: DIRECTOR’S CUT” GIVES AN APT PORTRAYAL OF HIS LIVE SHOWS. THE SONGWRITING IS CREATIVE, THE PERFORMANCES ARE STRONG, AND THE PRODUCTION IS STELLAR FOR A LIVE RECORDING.

There are two things that present a huge challenge to most musicians: writing original love songs and capturing good quality recordings of live shows. With Movie Muzik: Director’s Cut, Mel Alston Jr. has achieved both. Along with co-writer and producer Willie Stone and backing band The Sound Barrier Experience, the Philadelphia-based singer has offered up an EP of original music that puts a fresh spin on some timeworn themes. What makes the seven songs even more impressive is the fact that they are taken from a live show at the Philadelphia venue “The Fire,” a fact that is not overly apparent due to the high production value.

While live albums normally offer a marked drop in sound quality and struggle to capture the live energy, Movie Muzik: Director’s Cut gives us an adequate portrayal of Alston Jr.’s live shows. The recording exhibits not only Alston Jr.’s soulful vocal delivery, but also his impressive writing work with Stone and the strong playing of the Sound Barrier Experience.

The first song on Movie Muzik: Director’s Cut is “Science & Math,” which reveals Alston Jr. and Stone’s clever approach to songwriting

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right away. The song is defined by academic references alluding to the extensive study of a romantic partner. It is an unobtrusive opener to the EP with stripped down instrumentation of guitar, bass, and Alston Jr.’s voice, the last of which has moments of sounding like John Legend. The references to education are relentless in the track with lines like, “your body is a math equation I have been waiting to solve / a calculated fraction of numbers and thoughts,” and “I’m just sittin’ in the bedroom classroom wondering what you’re gonna’ teach me next / I’m pulling your body close to mine now that the stars are aligned.” Even though Alston Jr. and Stone are fairly heavy-handed with the imagery, the track never loses its soul, mostly due to the performances and Alston Jr.’s seductive delivery.

Alston Jr. shows a wide range of vocal influences on Movie Muzik: Director’s Cut, with the aforementioned likeness to John Legend and additional allusions to singers like Prince on “Purple” and Lenny Kravitz on “The Impossible.” It seems as though he is still honing in on a niche somewhere between R&B and

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“ ALTHOUGH ALSTON JR. OFTEN SOUNDS LIKE OTHER SINGERS ON THE EP, “MOVIE MUZIK: DIRECTOR’S CUT” GIVES AN APT PORTRAYAL OF HIS LIVE SHOWS. THE SONGWRITING IS CREATIVE, THE PERFORMANCES ARE STRONG, AND THE PRODUCTION IS STELLAR FOR A LIVE RECORDING.“ - Evan Crandell

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Photo by: Andrew Lipovsky 16 – 24OURMUSIC

rock. It’s clear that eventually, we won’t need to compare Alston Jr. to other musicians, as he will hopefully continue to cultivate his own unique sound.

We get a glimpse of that possible original sound on “The Day After Forever,” where Alston Jr. lets loose in his feelings about a lover who got away, with his singing set against a hard-hitting instrumental arrangement. His raw vocal delivery reflects someone who has been burned in romance, particularly with lines like, “isn’t it true if my love was the rule you broke that law… you were the one who brought on my demise as I recall.” The palpable anger with which Alston Jr. sings on the song are enhanced by the apparent frustration of not being able to shake the thought of the person despite the wrongdoing. In the hook, he writes, “could it be the reason why I never let go / I can hear your voice inside of every echo / can’t forget your kiss, your lips, your every breath, no / ‘cause even when you’re gone you still will cast a shadow.”

The tormented lyrics work with the edgy instrumental performances to create a sound that is both classic and inventive.

The set concludes with “Bonus 1” and “Bonus 2,” which both maintain the theme of romance, although in much more positive light. In them, Alston Jr. showers a lover with praise in more traditional R&B crooner fashion. The two songs represent the wide array of musical styles present on Movie Muzik: Director’s Cut, made more impressive by the fact that every moment maintains cohesion under the umbrella of Alston Jr.’s sound. That sonic signature seems to be evolving, though, as his singing still raises comparisons to others. Alston Jr. has the songwriting prowess to eventually distinguish his voice from others and he also has the aid of expert production from Stone to make his musical vision a reality. The day is not far off where one will be able to play any amount of Alston Jr.’s music and immediately identify it as his alone.

- Brandon Minia

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GO PROFESSIONAL

Equipment: - D-Lite RX - MiniSoft-44 - Boom Stand - Backdrop 10x36 (Black & White) - 45 Convertible White Umbrella - 2x Softbox Location: - 1195 Av de l’Église, Montreal, Québec H4G 2P1 Contact: - Info@24OurNetwork.com

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CREDITS

1 2

Writer: Brandon Minia Photos by: Spencer Edwards

THE POSTERZ 20 – 24OURMUSIC

THE POSTERZ AND 24OUR MUSIC UNITE IN EXCLUSIVE INTERVIEW Despite the soaring growth of the char-

Posterz on stop signs around Montre-

they’ve been do-

ismatic hip-hop group The Posterz from

al, their live shows are so fiery that it has

ing this for a long

Montreal, there’s “no pressure.”

even gotten them black listed at a ma-

time. It’s the perfect ap-

jor music festival, and their growth as mu-

pearance of old yet not old

That’s what performer and producer Joey

sicians between their two EP’s is genuine

that makes you realize that

Sherrett told us in an exclusive interview

and honest, where Joey states their music

there’s something special and

with 24Our Music, an answer that is telling

turned towards more “organic” sounds. Did

real about this band.

of just how relaxed and focused the trio is

we also mention they’ve gotten interna-

despite their ever-rising path to success.

tional acclaim?

Whereas one would think that any young

You’re missing out on a lot if you haven’t yet experienced what The Posterz and

artist seeing international stages would

And really, what’s not to be excited about?

each of their individual talents have to of-

somehow buckle under the weight of the

This is an enigmatic group of musicians

fer, although maybe it’s not totally your

global eye, The Posterz remain methodic

who dropped one of the slickest indie

fault. They are, after all, ‘something unex-

and hungry in their campaign.

tracks of the year in “Bulalay” that was ap-

pected from a city you never expected.’

parently performed through a ‘DIY portaIn many ways, it was almost guaranteed

ble mic,’ which you probably wouldn’t have

24 - Hey Posterz, let us know real quick

the group would be heading to where

guessed considering how tight and fiery

who you all are and what you do.

they are now given just how well organ-

the production is. Clearly, there’s an unde-

ized and skilled they are. It’s almost im-

niably raw and garagey feel to this group,

P - We’ve got Nate – Vocalist, rapper. Chris

possible not to spot stickers donning The

and yet their skill and swagger suggests

the $pirit who is vocalist and rapper, and

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It’s not categorizable really, it’s just alternative hip-hop 24 - “Something unexpected from a city you never expected.” is a pretty cool description for your group. Could you elaborate on this, maybe tell us about what is “expected” and why Montreal might be part of this equation?

P - Basically it means you never expected dope alternative hip hop that’s worthy of international acclaim coming from a place called Montreal, you know what I mean? Montreal is known more for it’s indie rock like Arcade Fire, all these things. You wouldn’t expect this dope-ass alternative hiphop group to come out of here.

24 - You can definitely tell that the current state of The Posterz is that they’re rising to new heights, but that must mean some new pressures. How do you handle these pressures as a group?

P - Honestly, there are no pressures, man. It’s all fun. We just create. We create what we want to create. At the current time there’s no stock holders, it’s not like a crazy business operation right now, we’re still kinda growing this thing. Right now it’s about the music and the art, so right now there aren’t really any pressures. The only pressure is the one we put upon ourselves to be the best we can be.

24 - When might it — if ever — have begun to sink in that The Posterz was beginning to gain traction with music fans?

P- As soon as you see a couple thousand fans watching a video, comment, all these things; when you’re booked for shows, when there’s articles being done and you get interviews that you start to notice that, “okay, my music is actually getting me somewhere, and you know, it’s starting to gain a bit of traction.”

Joey Sherrett, vocalist, rapper, singer, producer. That’s what’s up.

24 - It seems like yesterday 24Our Music first did a review on you, which I believe was back in 2013 when we looked at Starships and Dark Tints. How has it been since then?

P - We’ve worked on a lot of new music, we put out an EP titled Junga, we got a lot more traction, spread the music a lot more, done shows in France, New York, done a little bit of traveling, and now we’re working on new music. Many projects to come.

24 - For fans that maybe, for some reason, still haven’t had a chance to pick your music up, how might you describe it?

P - Our music is, it speaks for itself. It’s like alternative hiphop, dope, just, y’know, one-of-one hip-hop stuff, y’know what I mean?

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" BASS, LIVE DRUMS, LIVE GUITARS, YOU KNOW, THERE’S JUST MORE MUSICIANSHIP INVOLVED. " - The Posterz

" THE POSTERZ REMAIN METHODIC AND HUNGRY IN THEIR CAMPAIGN." - Brandin Minia

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" THE TRACKS EMIT ENOUGH ENERGY " - Brandon Minia

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24 - Let’s talk a little about Junga. How did the writing and recording process for this differ from Starships, if at all?

P - We were aiming to do more organic production in these sounds, so we recorded a lot more live instruments. Bass, live drums, live guitars, you know, there’s just more musicianship involved, so there’s that. We recorded all the vocals in a basement studio with a portable mic booth-thing, so it was kinda DIY but it ended up sounding good.

24 - “Bulalay” is undoubtedly a massive track, and it’s fantastic to see how much it has blown up. What went into it, lyrically and technically?

The production quality on it is tight.

P - Well if you listen to it you can kinda see, it’s just minimal production, minimal tribal hinted production, there’s a hint of rock shit in there too because there’s like bass and guitar melodies, kinda like a bit of, what I like to call “Dr. Dre meets phorical bars but still relating to his every day if you listen closely and that’s what it is, just a day in the life of the Junga, the concrete jungle.

24 - What can we expect next? Your EP just dropped, but might we be seeing even more music on the way soon?

P - Right now we’re all working on solo endeavours because we’re all individual artists that come together for Posterz.

As for the next Posterz release, it’s probably going to be a full-length album.

question? My memory’s really bad…

No, okay, so, in France, there was this really cool venue in Leon, I think it’s the same town that gesaffelstein the French producer is from, we performed at a wicked ass show there. We had maybe like, 600 or 500 French people all going nuts. It felt like some bad-ass rockstar shit. That was really cool.

We’ve done Jazzfest. Jazzfest was fun because, it was “The Jazzfest” and we were doing like hardcore hip-hop stuff, well, more hardcore than anything that was being played there at the time. We kinda got blacklisted because we were blasting water bottles around and we hit some equipment, and we were just getting to turn up at the Jazzfest which is fun. So yeah, we’ve had a few cool shows.

24 - Could we possibly be seeing The Posterz play maybe at a major music festival any time soon? I was at Governor’s Ball last summer and I could imagine you all playing music at a place like that.

P - We have played, like I just said, Jazzfest.

We’ve played Hillside. We’ve played North By Northeast. We’re headed to South By Southwest this year. We’ll definitely be playing many festivals to come.

24 - Thank you all for your time, we hope we get to speak more with you guys some time again soon!

P - Yeah man, yeah! Til next time, homie.

24 - It’s pretty cool seeing that, now two EP’s in, you all have already traveled quite a ways to play music. Whether in Europe or back here in North America, what are some interesting venues or shows that you can tell us about?

P - Interesting venues? Aw…fuck. Can I skip this

- Owen Stroll

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CREDITS

1

Writer: Trent B Minia

Source: 2 Photo 4Minute

4minute and Skrillex’s Hate is a Letdown HATE IS THE PRODUCT OF A COLLABORATION BETWEEN 4MINUTE AND SKRILLEX—TWO GIANTS IN THE K-POP AND EDM WORLDS RESPECTIVELY—WHICH FAILS TO REACH THE HIGH LEVEL OF EXCITEMENT AND EXPLOSIVENESS.

Skrillex and 4minute—two giant electronic pop artists from two different parts of the world—comes together for a collaboration that had me excited.

Hate is a strong word, but Hate by 4minute and Skrillex is ultimately a big letdown.

The song does go off to a good start.

Gayoon’s soft voice really compliments the instrumental and the mood that the song sets. Hyuna and Jihyun’s rap/ singing verse that follows fills the song with that needed power to take it to the next level. Sohyun’s “Go! Go! Go!” part pumped with bass-rumbling kicks that splits into quarter, eighth, and sixteenthnote patterns as well as urgent synths lifts the song with the required aggression and intensity. At this point we are hearing a build-up for a drop and the build-up is good. Right before the beat drops the instrumental’s pitch rises and Sohyun belts her voice out at the end of it which I thought was a nice touch.

Then we get to the drop.

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I remember when I was listening to the song for the first time, and all I was thinking was, “What is this?”

First, let me take the drop completely out of the song and look at it alone. It doessound good. I like the synth, the riff, and the bass that makes the subwoofers shake the floor and tear open cracks across it. However, when I look at the drop as it is arranged with the song as a whole, it really doesn’t match the atmosphere of what I felt the song was supposed to achieve. I imagined the drop to be darker, grindy, something where it makes you so angry I want to throw stuff across the room. I imagined the drop would make me turn into some insane, out-of-control maniac that anything and anyone who stands in front of my way is dead. That’s what the song prior to the drop set me up to anticipate for especially since Hyuna is chanting, in her cute, high-pitched voice, “I hate you!” and “I don’t need you!” Instead, the drop just feels so out of place. It feels like they tried to emulate the same drop used in Take Ü There with Kiesza, Skrillex, and Diplo. It just doesn’t work well.

After the drop, the listener is treated with another verse with Jiyoon rapping, Jihyun singing and Gayoon working the buildup until the same drop is heard again. The instrumental gets quiet like the intro with Hyuna taking over, working the final build-up before the same drop is heard again, and the song ends.

As for the music video, it’s phenomenal, right from the cinematography, to the mise-en-scène, and down to the choreography. The video makes

the song more pleasurable to listen to—even the drop!

Looking at the track as a whole, Hate is an underwhelming release by 4minute and Skrillex. Here’s the thing: Mirror, Mirror and Hot Issue by 4minute are awesome tracks. First of the Year (Equinox) and Bangarang by Skrillex are awesome tracks, too. So I was expecting this super collaboration between these two to be explosive, and in the end I was left with a song that lacks the firepower to blow

the roof off. Perhaps it requires a few or many listen-throughs before the song grows on me, but Hate will never reach the same level as 4minute’s other comeback single, Crazy.

“ TETRA’S CROONING IS POWERFUL AND POIGNANT, PLEASANTLY FADING IN AND OUT OF THE BACKGROUND.“ -

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CREDITS

1

Writer: Alicia

2

Photo Source: Active Child

ACTIVE CHILD BRINGS BACK THE BEST OF THE 80’S

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ACTIVE CHILD NOT ONLY SHOWCASES A UNIQUE BLENDING OF RETRO STYLES AND ELEGANT SONG CONSTRUCTION, HE SHOWS A TALENT FOR MODERNITY AS WELL.

Since his debut in 2011, Active Child, stage name for electronic music artist Pat Grossi, has quickly won the attention of critics and fellow artists. After opening for M83, one of Active Child’s songs, “Hanging On”, was covered by Ellie Goulding on her second album “Halcyon”. Not only that, several publications, including Pitchfork Media and Drowned in Sound, have given Active Child impressive reviews.

While every EDM artist certainly owes much of their inspiration to the 80’s, few produce music that sounds like it could have been lifted from the decade. In an interesting take on electronic music, Active Child’s style is not only reminiscent of 80’s electronica, it would fit right in next to David Bowie and Duran Duran. This firm commitment to the 80’s sound might not be a revolutionary style, but is certainly groundbreaking at a time when EDM revolves around expanding on the “basic” sounds of the era.

On the first song, Active Child eases listeners into his style. Titled “She Cut Me”, the song features sparse lyrics, and strikes an ethereal, spirit-like mood. The track seems to be less of a melody, and more of an experience. If the title is any clue, the track calls to mind the feelings churned up when hurt by someone close to you.

“Subtle” is the next track on Active Child’s EP, which shows off the artist’s unique preoccupation with the sounds of the 80’s. In a departure from the style of “She Cut Me”, “Subtle” has a more structured composition. The next song, “Feeling Is Gone”, is easily a dance tune, but once again brings to mind stylings from the 80’s. Upbeat and forward thinking, the song blends modern elements into retro effects. In fact, parts of the song bring to mind elements from the Labyrinth soundtrack.

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Showcasing his connection with Ellie Goulding is “Silhouette”. Herself known for thoughtful and effective love songs, Active Child’s choice to feature Ellie Goulding on his love song is a wise one. Not only do the two harmonize brilliantly and meld their styles flawlessly, the song’s lyrics are true to life. Despite being a love song, the lyrics don’t come off as sappy or overly dramatic, instead painting a sincere and heartfelt portrait of two faulty, struggling lovers.

The next song, “Calling In The Name Of Love”, suggests the song may become what the last song was not, but instead explores the inherently unbalanced nature of love. As the lyrics discuss the need to hold on to the ones you love, they also suggest the fading nature of most connections. Of course, this is all underscored by Active Child’s throwback style.

Finally, the EP ends on a somewhat emotionally downbeat note with “Evening Ceremony”.

The track takes the themes explored in “Calling In The Name Of Love” one step further, and perhaps addresses conflicts in love more head on. By exploring the conflicting desires and goals of two people in love, the song effectively portrays the struggles all of us feel in relationships.

Active Child not only showcases a unique blending of retro styles and elegant song construction; he shows a talent for modernity as well. Most notably on “She Cut Me”, Active Child shows he is not afraid to throw conventions out the window and venture into truly experimental territory. This talent for a modern edge underlines Active Child’s decidedly 80s sound, creating a striking, yet captivating balance.

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" ACTIVE CHILD’S CHOICE TO FEATURE ELLIE GOULDING ON HIS LOVE SONG IS A WISE ONE. " - Alicia

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CREDITS

1

Writer: Karl Nik

2

Photos by: P.R. Brown

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

Holly would later undergo a surprising change in stage name and write “Love the Way You Lie” for Rihanna and Eminem, as well as co-write Diddy’s “Coming Home” as Skylar Grey. Both were chart-topping (and catchy) songs in their own right, pushing her into the musical spotlight. To complete this metamorphosis and inaugurate her new pseudonym, Skylar Grey released her second stab at a debut album, Don’t Look Down. A quick listen to her first album Like Blood Like Honey, shows her transformation into a more confident individual who has a lot to offer those who would give her music a chance.

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

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be paralleled to rap-rants attributed to Eminem in the industry. The feeling is effervescent and electric.

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

The epitome of this is “White Suburban”, where Skylar takes us on a jazzy adventure through the highs-andlows of an old flame. Some may say that the track is awfully out of place in the album – but they would be mistaken. It simply compliments the many roads she is taking, the back-alleys and dirt roads that she is not afraid to brave in the name of her new sound, her new identity.

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SKYLAR

The iTunes store version of this album allows you to take a listen to Skylar’s own rendition of “Love the Way You Lie” (which I whole-heartedly recommend). Rihanna really does do an amazing job in her chart-topper, but it would be a crime not to listen to Skylar sing the song as she originally sampled it. Every emotion and every lyric in the tragic romance can truly be understood through her performance – it is not something to dismiss as just an ‘extra’. This track must be listened to if you are looking to purchase the album.

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GREY

From the first track to the last, there is definitely going to be something in Skylar Grey’s new album that will appeal to even the most entrenched music lovers. She has covered the bases of electro-pop, to even classical, in a triumphant attempt to win over an audience with powerful lyricism and infectious vocal charm. Don’t Look Down puts Skylar Grey on display for the world to see – on a pedestal among the greatest female singer-songwriters of our time – so why would we ever want to look down?

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GET YOUR MUSIC HEARD Submit us your music for a chance to receive a review & to be feature in our upcoming Magazine releases.

Click here to Submit Your Band

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" HERE AT 24OM WE FOCUS ON PROVIDING NEW CONTENT ON A WEEKLY BASIS TO OUR AWESOME READERS WHERE WE PROVIDE REVIEWS, INTERVIEWS & WRITE-UPS FOR TALENTED MUSICIANS FROM ALL CORNERS OF THE GLOBE. " 24Our Music

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CREDITS

1

Writer: Eddie Mumford

2

Photo Source: Teen Press

Teen - “Tied Up and Tied Down” SUMMER IS COMING EARLY, FRONT SEAT FEELIN’ IS THE SUMMER ANTHEM WE DIDN’T EVEN KNOW WE NEEDED.

Utter yes from TEEN‘s sophomore album The Way and Color (Carpark Records) “Tied Up and Tied Down,” arguably the best song on the album, is psyche-pop perfection. Referencing the constrictive nature of the heart, it rocks and bites and it’s difficult to feign neutrality when I’ve clearly found a new favourite band. Having now listened to everything I could find from TEEN, “[Tied Up]” is another pulsar performance, not as shoegazey as the bulk, but just as feathered.

This Brooklyn band, about half of which are sisters, is a Paisley recharge, rougher thanThe Bangles and softer than Bleeding Rainbow. If those aren’t helpful comparisons: I ask a lot from my music andTEEN supplies it with their sonic kick. The track is breathy but not too breathy, suggesting Lesley Feist but with the crunchy bass and low-fi charm of Peaches’ early work. Lyrically it’s insightful without sacrificing clarity or indulging cliché, and the fervent beat pumps blood through each constricted limbs and emotions. Practiced and

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not arrogant, “[Tied Up]” sounds like the band is loving what they do, regardless of the serious and thoughtful strands; “And all the seeking in the mirror, listening the clear,” with the unrelenting snare and the background howls of young love.

A touch more rock than contemporaries Dignan Porch and HAIM, TEENcontributes with a stress-free yet punchy blend of rock instruments and effects. Their cohesion, sound, and indie cred is an omen of future success (I pray to the indie spirits). With a simple yet beautiful video directed by Jordan Michael Blake, I expect to see the cool kids on my bus route deliberate on Brooklyn’s finest, and share a tangled ear-bud home with “Tied Up and Tied Down.”

“ LYRICALLY IT’S INSIGHTFUL WITHOUT SACRIFICING CLARITY OR INDULGING CLICHÉ.“ - Eddie Mumford

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CREDITS

1

Writer: Evan Crandell

2

Photo Source: Janelle Monáe

JANELLE MONÁE SHOCKS US WITH "THE ELECTRIC LADY"

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“ THE DEPTH TO WHICH THE CINDI MAYWEATHER NARRATIVE IS FULLY REALIZED IS UNDENIABLY IMPRESSIVE AND MONÁE’S VOCALS COMMAND THE LISTENER’S ATTENTION THROUGHOUT.“ - Evan Crandell

Welcome back to the world of Cindi May-

The production and songcraft on The Elec-

Careful listeners will also notice string ar-

weather. Oh, you don’t know her? Let’s get

tric Lady, covered by Monáe and her as-

rangements interspersed throughout the

you up to speed. Mayweather is the alter

sociates at the Wondaland Arts Society, is

album, tying the occasionally sprawling

ego of singer Janelle Monáe and plays the

astounding. The sassy, futuristic sonic aes-

musical ideas together, much like in the

central role in Monáe’s ongoing seven-part

thetic laid down by Chuck Lightning, Nate

world of opera and musical theater. Aside

Metropolis suite. Mayweather is a feisty,

“Rocket” Wonder, and Roman GianArthur

from the string arrangements, the produc-

rebellious android amid a post-millenni-

perfectly suit Monáe’s buoyant but calcu-

tion on the album is all at once entirely

al dystopia. The album The Electric Lady

lated vocal presence. Delving into the in-

original while also being noticeably remi-

serves as parts four and five in the suite,

tricacies of the production would take

niscent of 70s and 80s funk and soul acts

following Monáe’s 2007 debut EP Metrop-

hours of deep, active listening, but any lay

like Stevie Wonder and The Jackson 5.

olis: Suite I (The Chase) and her subse-

listener in one hearing can easily notice

quent full-length album The ArchAndroid

the massive amount of work and attention

At the center of it all, though, is always

(2010). Although it is enticing and relative-

to detail that went into the construction of

Monáe and her pure and soulful vocals.

ly easy to get wrapped up in the universe

this album.

She splits her time on The Electric Lady

Monáe has created with these works,The

delivering playful dance material like on

Electric Lady has plenty to offer listen-

Each part of the suite on the album is in-

the bouncy “Dance Apocalyptic,” diving

ers in terms of sophisticated music mak-

troduced by grand symphonic overtures

into love themes as found in the steamy

ing and several songs that stand alone on

that sound almost like Quincy Jones was

slow jam duet with Miguel “PrimeTime,”

their own merit.

hired to compose a James Bond score.

and revealing a more introspective,

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personal side of herself (or Mayweather’s self?) with “Sally Ride” where she sings, “I’m packin’ up my spacesuit and I’m takin’ my shit and movin’ to the moon / Where there are no rules.”

Let us not also lose track of the absolutely indispensible guest appearances spread throughout the program. In the first full song of the album Prince gets in on the action with the dirty soul banger “Givin’ Em What They Love,” which has a seemingly more “Take What I’m Giving You” vibe with all of its funk and sass. Erykah Badu arrives for “Q.U.E.E.N.,” along her signature buttery soul vocals that do not allow the funk to let up.

Other guests include bass virtuoso Esperanza Spaulding on “Dorothy Dandridge Eyes” and Solange on the album’s go-go inspired title track.

As if it is not abundantly clear by now, there is a whole lot of music to process in The Electric Lady. The album is conceptually and musically deep and epic but maintains momentum from Monáe’s irresistible charm. The ear is always drawn to her vocals, regardless of the consistently intricate accompaniment.

It is unclear how much of Monáe’s true character is portrayed through Mayweather (or vice versa) throughout the saga, and perhaps Monáe prefers it that way. Along with the extensive musical content to absorb, there

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is always the volatile political situation in Metropolis and animosity between humans and androids to examine.

Whichever aspect of The Electric Lady one chooses to focus on at any particular time will inevitably be a rewarding experience. Monáe has proven that her grandiose and detailed vision of the suite’s narrative, combined with her dynamic presence and immense musical talent, help to create a largely satisfying work and make us eager for the next installments in the suite.

“ THE ALBUM IS LONG AND WHILE THERE IS LITTLE FILLER, GIVING THE MUSIC THE FOCUS IT DESERVES FOR 19 TRACKS CAN BE MENTALLY TIRING.“ - Evan Crandell

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CREDITS

1

Writer: Evan Crandell

Source: 2 Photo ASTR

ASTR’s “Varsity” EP: CLASSIC CRAFT WITH AN ORIGINAL PALETTE

Every year around this time we are graced with the grand spectacle that allows the most famous celebrities in music and their corporate executive pals to pat themselves on the back for dominating the airwaves for yet another year, controlling what audiences hear and enjoy, proving again that even in the artistic field of music, money always wins. It’s the Grammys. For anyone who is a fan of music beyond the ultra-mainstream, the Grammys consistently exhibit a lack of creativity in the breadth of nominees, which is unfortunate given that the music world today is bursting with new exciting artists who deserve to be heard and congratulated. And while it undoubtedly still matters to win a Grammy, it seems almost insurmountable for anyone without a major record deal to even dream of one day getting there. It’s a sales competition. But that’s the fault of the Grammys and the mainstream music industry as a whole, and they’re the ones missing out, because artists like ASTR are blazing their own trails based on the merits of their music.

Last year, the NYC duo of Zoe Silverman on vocals and producer Adam Pallin released their Varsity EP, which is a collection of futuristic sounding songs with timeless themes and an inescapable pop sensibility. The EP proves that artists don’t necessarily need major label back-

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ing to put out worthwhile music.

Varsity begins on a gloomy note with the spacey “We Fall Down” where Silverman describes past troubles, accompanied by dense synth pads. The first lines of the song are, “All of my dreams been crushed before / I’ve been swallowed, we fall down / All of my love’s been lost before / I’ve been stomped into the ground.” Things don’t stay so dreary throughout, though, as other songs on the EP deal with more hopeful aspects of relationships like in “R U With Me” and in the case of the ethereal slow jam “Blue Hawaii,” escaping reality and living in a paradise world with no regrets. The sample of Black Box’s “Everybody Everybody” on the latter certainly contributes to its sense of paradisiac nostalgia.

There are frequent elusions to doctors and surgery in the EP, particularly in “Operate” and “Razor.” In “Operate,” Silverman, sings over a minimal synth bass line, labeling herself as a doctor intent on healing her lover from emotional pain. The song’s oppositional counterpart “Razor,” on the other hand, finds Silverman again in disconsolate terrain, describing her lover cutting into her like a razor blade, with harmful effects.

Interestingly, “Operate” has a slower tempo and more ominous production than the bouncy, propulsive “Razor,”

which contains a typical-sounding pop chorus.

The final entry on Varsity is an atmospheric cover of Drake’s “Hold On We’re Going Home.” Covering wellknown songs can be difficult territory, but ASTR pulls off the feat of paying tribute to the original while concurrently offering something new. The skills and nuance of both Silverman and Pallin are on display with Silverman’s words and harmonies floating along to Pallin’s textures that have

just enough funk in the percussion to keep things moving.

The Varsity EP combines many elements that appeal to wide audiences and yet it is an example of the kind of work that would likely never be considered for the Grammys. It has catchy hooks, tasteful production, and relatable themes. It’s doubtful that Silverman and Pallin are sitting around wondering why they aren’t recognized by the Grammys, but their music serves as a reminder that

despite the homogeneity and narrowmindedness of the mainstream music consciousness, there is a boundless spring of fresh sounds outside of those confines that is continually gaining momentum. With Varsity,ASTR

have firmly established themselves within this movement in progressive music.

“ STR ARE BLAZING THEIR OWN TRAILS

BASED ON THE MERITS OF THEIR MUSIC.“ -

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CREDITS

1 Writer: Evan Crandell Source: 2 Photo Lido Press

Nothing But Love For Lido Remixes

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Peder Losnegård, better known as Lido, is a Norwegian artist, rapper, producer and songwriter. Known for bringing his classical piano training to the world hip-hop, Lido has garnered significant attention with his free online mixtapes – most notably “The Good Guy” mixtape. Previously known as LidoLido, this innovative artist has made waves in the Norweigan music scene, with his debut album peaking at number six on the Norweigan Albums Chart. On his current collection, Lido showcases some of the best remixes of his original songs.

While Lido’s music tends to straddle the line between pop and EDM, these remixes certainly push his style closer to EDM. The first track, “Love You (Hoodboi Remix)”, is an infectious remix of an already brilliant song. With the perfect beat, the track mixes in the melodic hooks from the original, but expands on the beats and bridges the way a good remix should. This richer, more textured take not only compliments Lido’s personal style, it is the perfect way to reexperience his original hit.

The second remix in this collection, “I Love You Pt II (Obey City Remix)”, is another reimagining of Lido’s work that fits nicely with his style. Unlike the first track however, “I Love You Pt II (Obey City Remix)” expands the original into more of a melodic experience than a lyrical statement. Much like the original “I Love You Pt II”, this track utilizes 80’s inspired synth and jazz to create something of an homage to the decade. “Money (Para One Remix)” is a decidedly upbeat remix, which is punctuated by following the nearly lyricless “I Love You Pt II (Obey City Remix)”. In a creative move, Obey City melds upbeat easy listening elements with electronic effects that border on chiptune. Though the mixture might sound strange, the marriage is incredibly successful and uplifting.

The next remix is yet another ingenious take on Lido’s work. “Lost (HeavyxMellow Remix)” still falls within the EDM genre, but strikes a pointedly experimental, ghostlike note. This low key offering mixes elements from rock and electronic music, for a truly fresh take on Lido’s sound. Not only that, ordering the tracks the way Lido has – “I Love You Pt II (Obey City Remix)”, “Money (Para One Remix)”, then “Lost (HeavyxMellow Remix)” – lets listeners experience his music in a more experimental way, but also keeps fans interested with the more easy to digest “Money (Para One Remix)”.

Finally, this collection of remixes ends with “Money (Lindsay Lowend Remix)”, another slower, somewhat experimental mix.

Lindsay Lowend has a terrific talent for bringing originality to his work, which again, compliments Lido’s perfectly. It is obvious why Lido chose this remix to end the collection with, as the tone and overall construction are the perfect way to wrap up this expanded exploration into Lido’s work, as well as the various DJs featured.

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CREDITS

1

Writer: Quinn Mason

2

Photo Source: Véloniños

Glasgow’s Véloniños is Making Some of the Best New Americana Music 48 – 24OURMUSIC

“ DAVIE AND GUITARIST KENNY MCLELLAN WERE FORMER MEMBERS OF THE 80S ROCKABILLY TRIO THE SHAKIN’ PYRAMIDS.“ - Quinn Mason

GLASCOW MUSIC VETS DUNCAN, JAMIESON, - Karl Nicolas MCLELLAN, AND CUFFE COME TOGETHER TO CREATE A ROCKABILLY ALBUM THAT SHOWCASES THEIR COLLECTIVE MUSIC EXPERIENCE AND ABILITY. There’s something surreal about listening to a band sing about being from Alabama when they’re from Glasgow.

The thing is, if you didn’t know they weren’t from the southern US, you would go along with it, even praise it as great rockabilly. And geographical origins aside, it is simply great Americana music.

VéloniñosThe name Véloniño comes from vocalist Davie Duncan and double bassist Shug Jamieson’s passion for road cycling; it’s an homage to the greatest bike race on earth. But before they were avid cyclists, Davie and Shug were old pals in the Glasgow rock scene for quite some time. Davie and guitarist Kenny McLellan were former members of the 80s rockabilly trio The Shakin’ Pyramids. When a planned reunion of that band fell through, they approached Shug and other longtime pal guitarist Laurie Cuffe (both former members of The Spooks) with a few songs they’d already written and Velonino was born. With a shared love of the music of Hank Williams, Gene Vincent, and The Everly Brothers, Véloniños’ cohesive Americana sound was born.

VéloniñosOpening track, “Hey Velonino”, immediately showcases the group’s technical ability. With perfectly executed guitar riffs and tight rhythms,

the song feels well thought out and practiced, a testament to the members’ years of experience; but the spotlight stealer is probably the catchy lyrics on this track. “Alabamaman” includes even more competent guitar while the lyrics tease, “I’m an Alabama man, born and bred”. There’s also an impressively executed harmonica solo midway through.

Other album highlights include “Henseltown”, a slower love ballad clearly showing The Everly Brothers influence. “By this time tomorrow, sails will have set, winds of regret blowing”, croons Davie over subtle guitar picking. “Mad Cat Dynamo” is an upbeat get-on-your-feet-and-dance jam that lets Shug’s bass have some time center stage.

With the mention of Dallas, Texas and Alabama and their upbeat and swingy sound, it would be all too easy to assume Véloniños is from the country they sing so much about. But even knowing they’re from across the pond fails to detract from the quality and instrumental tightness of this group.

The years of experience between the group’s members is evident from the quality of sound and technical ability on this record, and the upbeat dance ability of this album alludes to a rocking good live show.

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CREDITS

1

Writer: Brandon Minia

2

Photo Source: Anderon .Paak

SCARLET AVENUE ROCKS HEARTS WITH HAPPY HEARTBREAK

They are singers. They are songwriters. They are brothers. Scarlet Avenue is a rock band composed of Amos and Adam from Singapore, starting their music careers in France. Since then, they have performed and been involved in multiple events and charities. Their sponsors and endorsements with brands such as J7 Image, Flesh Imp, and HTC shows they have captured the attention of big companies and are destined for big things. Released under United Records, their latest album release is a four-track album entitled Happy Heartbreak.

If you’re looking for something to boost your adrenaline and add fuel to your fire of anger and fury, this album will do just the exact opposite. Happy Heartbreak just has the sound to keep you in the mellow spirit, relaxed in a rainy afternoon in a café or your writing space with a cup of coffee, leaving lots of mental room for life contemplation.

Take the first track, “Happy Heartbreak,” for instance. It starts off with a soothing clean guitar riff, and the catchy chorus allows listeners to sing along and pour their hearts

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out. It has the perfect sound to cure any listener recovering from a heartbreak and move forward with their lives. The music video, uploaded and released on Scarlet Avenue’s YouTube channel, features the band playing the song in a smoky room illuminated by a few bright lights, and stars a woman surrounded by crumpled paper, tissues, alcohol, and pictures of her memories with her then-significant other. While she clearly just suffered from a heartbreak, she pulls herself back up, cleanses herself with a shower, packs up, and leave. For her, there’s no turning back from here.

Dominated by strumming chords of acoustic guitars and powerful vocals, picked up later throughout the song by electric guitars, “Girl Next Door” is the album’s second track, with the sound that makes you feel like you’re in an early-2000’s school dance. “I Want You Back” sees the band use orchestral synth strings, which has enough emotion to generate feelings of missing someone and reminiscing on those special memories with your special other.

The guitar solo towards the end of the track helps drive

the climax of the song with feeling and power. Finally, track four, “Tears,” closes the album with a cute twinkling love song. Featuring bass, strings, and an acoustic guitar with a clean electric guitar playing a solo, the song places you next to a campfire, warming up under a bright starry night.

The music video for this song (which I like a lot, more than the video for Happy Heartbreak) features a woman in a wedding dress, and the brothers in formal attire singing.

After listening to the first minute of the first track, or any track of that matter, listeners can hear that the mixing and mastering quality is more of a bedroom or garage type.

There’s even that random scratch noise in the first track that’s heard before the first chorus, and it becomes an unpleasant sound to expect if you have it on repeat. But even at the bedroom/garage quality level, the mixing and mastering is still very acceptable.

Finally, while it’s great that Scarlet Avenue presents a great mellow sound with catchy melodies and meaningful lyrics, they haven’t shown their ability to play a variety

of rock to their listeners. Other rock bands like Boys Like Girls with “Hero/Heroine” and “Thunder” on their 2006 self-titled album, Holiday Parade with “Where Did I Go” and “Southern Skies” on their album Tickets & Passports, and New Heights with “Peaches” and “Whisper” on their 2007 self-titled EP, have shown a variety of their rock style while still having a solid and defined sound. One energetic anthem in Scarlet Avenue’s EP would have had more listeners captured and invested in their sound. Instead, Happy Heartbreak seems to be the type of album where Scarlet Avenue is still trying to discover their unique and distinct sound, style, and image. There’s nothing significant from the album that stands out and defines Scarlet Avenue’s sound and who they are.

Overall, Happy Heartbreak is a welcome addition to the libraries of rock listeners looking for a mellow rock sound to relax to or pour their hearts over. If you’re ever sitting in your favourite café with your favourite hot (or cold) drink writing away, or lying in bed contemplating about life, go ahead and give this album a listen.

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