coNtent LUCKY LOUISE
Based out of downtown Toronto, this recording studio has a client list to be jealous of.
BRMG STUDIOS
Hailing from Montreal, Quebec; the band’s debut EP shows off the potential of their music that is sure to please all.
LINDSEY STIRLING An epic voyage
BLUE STAHLI
Stahli’s talent just screams for attention, and DEFINITELY deserves some of yours
CHRIS GIANNINI Redefining “Soulful”
UNITY
14
The Latin Tribute To Michael Jackson
CELLDWELLER
The best thing to come out of Australia since Vegemite
KLAYPEX
The question is – can you handle it?
06 42 25 27 04 20 30
SHAM
Montreal’s own Hip-Hop prodigy
MONTHLY MIX
Check out Aprils monthly mix!
28 24 08 12 16 18 34 38 36
HILLTOP HOODS
Paying homage, playing authentic.
CHRONOS
Internationally recognized electronic powerhose from Guadalajara, MX
CAP
Taking a look at his album DeCapitated
SIM
Funky and Contagious
PIERCE WHITE-JONCAS
Come meet the team over at Capitol Boom Records
DREAMHOUSE STUDIOS
Based out of downtown Toronto, this recording studio has a client list to be jealous of.
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Get ready to explore, learn, and discover! This issue is packed with many independent music artists of a wide range of genres. It doesn’t matter if you’re comfortable with a type of music or not; it is imperative that you take at least a three-second glance at each article in order to experience the full effect. While reading through, do not be afraid to take risks and strive to find something that will blow your mind.
message from 44
14 22 40 32 23 26 29
KATIE MORGAN
Pure and Souiful
FOXER Feelin’ Good
KASSASSIN STREET
Very calm, very chill, and then BAM!!!
BORN KILLER
“Born Killer” had no trouble rising to the Top 10 Must Hear Tracks
WARDIE BURNS
High octane Hip-Hop from an unlikely place
THE WATERMELONS
Need a Fresh, Sweet, and Seedles sound?
LHEPPE
Who doesn’t love a band with an interesting history?
editors
Oh…..Hi……I didn’t see you there. WELCOME BACK! You are about to dive into the latest aweinspiring issue of the 24OurMusic Magazine. We here at 24OurMusic are always on the hunt for the latest and greatest in the world of independent music. From artists to production companies we strive to bring all things musical into the spotlight and this month we have got some seriously scintillating sounds to tickle those tired ears. We take a look at UNITY which is a truly groundbreaking tribute to one of the most iconic musicians of all time; we take you on a hip-hop journey starting with Sham in Montreal that literally spans the globe; the phenomenal Lindsey Stirling makes an appearance with her violin; and Celldweller shows us the true meaning of hybrid music. That’s not all either!!! Leaf through these pages, find something that speaks to you, and above all KEEP LISTENING!!!
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FUNKY & CONTAGIOUS SIM
S
iM, the musical twosome of FigZ and Simon Legare-Theoret, has recently released their first EP titled “My Only Feeling”. Despite being composed of only five tracks – it amply showcases their robust talent and the jazzy poprock sound they have adopted as their own. Many new artists
make the mistake of including tunes in their debut album which all sound the same, but the dynamic duo was not afraid to mix it up a bit and demonstrate some versatility in their music. To start off with, we have the first track “My Love”. With a funky vibe and totally contagious guitar riffs, the show-starter gives the listener
a green light to indulge in this treasure chest of an EP. If you aren’t even moderately compelled to bob your head or hum along, there must be something wrong with your eardrums (and that’s not an easy claim to make). Not only are the lyrics amusing and catchy, the listener also gets a great gauge of both the vocal and instrumental talent of SiM right off the bat. By
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the three-minute mark we can only come to one conclusion: these guys really know what they’re doing. Following up is “Daddy Knows”, a jazzier tune that shows that the duo also possesses a hidden flexibility in their music. This is definitely something you can get up and dance to. Best of all, SiM still retains the cheerful, entertaining aura that they exude almost effortlessly – toned down a little bit, but still potent. Next on the docket, is “You and Me”, which admittedly does not dazzle as much as the previous two tracks. Obviously it’s meant to be bluer, and more melancholy, to better symbolize a heartbreak or separation of two lovers. The
result however, is a mish-mash of depressed riffs and gloomy lyrics that – no matter how you try to listen to it – seem to be misplaced. Another melancholy song is the flagship track, “My Only Feeling”. It seems that SiM does a better job here when they retain an upbeat sensation with a tad hint of dejection. Their forte is in their funk, and you can undoubtedly sense that in this song. The last tune is “Blow ‘em out the Way” which finishes things off in a cool, rather relaxed manner. They go back to the jazzy-rock feeling in “Daddy Knows” and try to capitalize with psychedelic guitar riffs and a reduction of the vocals. And it works. This draws attention to
the very groovy, very impressive guitar skills that are highlighted by a radio-raspy voice which complements it perfectly. All in all, “My Only Feeling” was very successful in establishing exactly what the two young songwriters can do. SiM is jumping into a popular genre with a tremendous amount of listeners just aching for catchy, makes-you-dance music which they have shown they can effectively produce. Only time will tell how far the duo can really go.
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SHAM
A
pleasant and refreshing kick-back of an album, Sham’s Chains Of Freedom is a lovely ten-track epic that triumphantly and with beauty liberates the listener from a rigid and imprisoning world. As soon as the listener presses “play,” Sham hurls a musical comet
into our world, shunting the listener into a state of ease as Sham dishes out sounds that are appropriate to a cruise in a Mercedes-Benz around the city. The lead track, “Class,” is a spoken-word piece spat over a jazzy trumpet clapper and shows off, at the onset, Sham’s syllabic and linguistic wit as he masterfully plays with the word “class.”“We are all classified in the universe of chaos”
Sham fires out over the beat, calling in the listeners of the “working class” with communal fashion. Indeed, “Class” is a track that underscores a communal album written for all. “Imagination,” featuring Tim Buron, is a stand-out track of the record, continuing the theme of communal freedom as Sham pulls
24OURMUSIC.NET | 7 the listener into a state of spiraling chaos through a pandemonium of artistic creativity. “Please excuse my imagination,” seems to be a polite yet snarky hook that masks a sinister desire to encapsulate the world with his art. Shot over a head-bobbing electric piano kicker, Sham channels an artistic, laid back swagger that manifests itself in the form of a marching love letter for artistic freedom. Within the first two tracks, the listener is already presented with a world that fosters the power of hard-work, community, and liberation in artistic chaos. “Manifesto,” another spoken word piece bellowed over track four, is an interlude on the album that continues Sham’s revolutionary demeanour on the album, outright challenging the education system and questioning the value of knowledge. Calling out “fascist imaginations” in “deteriorating nations,” Sham sets out a warning to his listener of the dangers in absorbing knowledge from the media and the government, a seemingly ironic yet important contrast to his encouragement of imaginative freedom. “Dictation is the only relation / sucking your essence out your adolescence like filations” is a onetwo punch that fiercely clobbers and delivers his call for creative liberation, ending with “it’s a free world / so load your ammunition.” Indeed, Sham delivers a call to arms to claim our world in communal, artistic fashion and within a fiftyfive second track. After a dark and trippy ride through a piano-ridden cemetery
of “Coffin Eyes,” Sham then brings the listener into the hard-hitting “Priceless.” Featuring more sharpcutting syllabic rhymes spat over the bellowing of a synthetic bass and an infectious keyboard riff, Sham kicks off the second half of his album in hooky, hi-hat punching, and sinister fashion. “I’m just a young man with a criminal mind” Sham blares as the album’s standout track “Afro Depression” drops with ballistic authority. Continuing the glitching stomping swagger of “Time,” Sham delivers a bombastic two-part track that aggressively channels a pugnacious and musically fierce visage before spiraling into a realm of electronic instrumental chaos. “Never been a soldier but I’ve always been a captain” he bellows as the instrumental roars in aggressive electronic fashion, a soundtrack to Sham’s performance as he hurls a shower of musical missiles with anger and vengeance. In two parts, “Afro Depression” is a ferocious two-pronged fiery epic that struts masterfully though the listener’s earphones while outrageously and verbally destroying anyone who dares stand in his way. Catchy and hard-hitting yet lethal and pure, Sham brings the album and its listener to a roaring climax as he dishes out twin-packed lyrical and audio sensation. The album then closes out with the relaxing and out-of-this-world spacey track “Kids On The Moon,” a trippy denouement to an energetic record. “I said kaboom, sonic boom, from the kids on the moon” Sham drills as the album concludes, illustrating a finish that marks the end of a journey from a world
oppressed by the bourgeoisie, right into the infinity of space.”Kids On The Moon” is the ending of a voyage that is a sleepy and relaxing victory anthem in celebration of the escape from the artistic confines of our world, a final song that ends this pulsating invitation of a record that empowers the audience to rule the world and the universe beyond. Chains Of Freedom is artistically and lyrically an energetic call-toarms, a musical promenade for the hard-working, and a parade for the creatively oppressed. Triumphant and epic, Sham calls for the listener to break out of our cells, step out into the world, and fearlessly yell at the top of our lungs, challenge authority, and reclaim the oppressive facets of our world while united and communal. Sham dishes out a utopian ideal that masterfully combines words and music, strung together by catchy beats and contagious melodic sounds. Indeed, this is a pleasing record sure to satisfy any fan of music and inspire those with a fiery passion for art and the beauty of our world community.
Download the album now for FREE! - www.shamartofficial.com
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Scintillating Violin Lovely Lindsey St
P
erhaps the most tantalizing performer in recent history to grace the violin, Lindsey Stirling is a musical warrior who polymerizes the nostalgic sounds of Classical with the noise of today and the sensations of the audio future. Hailing from the United States of America from the town of Provo, Utah, Lindsey Stirling is on a global musical legacy. Her first big exposure came through the American TV show America’s Got Talent, where she auditioned as a hip-hop violinist and received much criticism for her performance ethic. In spite of their criticism, Sharon Osborne
called her “electrifying” and Howie Mandel assured her that she is “still a winner for getting so far in the competition.” Lindsey Stirling achieved much critical acclaim for her unique performance style, her commitment to revolutionizing the violin, and as a result is now enjoying much success worldwide. One of her most popular videos on YouTube, her music video for “Crystallize”, was shot in a scenic ice castle complex in Colorado and features her widely acclaimed track that brings together the sounds of violins and the scintillating electric surges of dubstep music. “Crystallize” is Lindsey Stirling’s love letter to the evolving musical
world, acknowledging the sounds of the old world and bringing it to the forum of the new world. It is a gigantic torch that signifies the new boundaries of music, lighting a new path for future artists and showing the world a plethora of possible musical realms to explore. Cinematic and electrical, Lindsey Stirling’s “Crystallize” hits with a force that will throw the listener into a dreamy, wintry, futuristic world. “Electric Daisy Violin” meanwhile blends a four-four dance and pop beat with the dramatic crooning of a violin, set to electrical eurotrance loops, head-bobbing side chains, and summery synthetic
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ns - The tirling
blips. Likewise, “Spontaneous Me” creates an upbeat techno world that sounds like an electric summer dance party in a Belgium town from the movie Tangled. Through these two tracks, Stirling channels an upbeat and fun sound that centralizes the violin in a novel way.
laced by synthetic blaring and a pulsating drum beat. The music videos for “Moon Trance” and her other pop-infused epic “Shadows” showcase the unique aesthetic eye Stirling has for music, masterfully crafting an electronic and cinematic soundtrack for the background of dance choreography and narrative concept.
Stirling also channels her ear for the cinematic quality of soundtracks through her medley of music from The Legend of Zelda video game series, as well her cover of the Dragonborn theme from Skyrim of the “Moon Trance” is an epic track that Elder Scrolls series (featuring the vocal work of Peter Hollens). With her encapsulates the idea of Lindsey obvious attention to the popular culture of today, Stirling is able to Stirling bringing together the blend her unique performance style to modernize and revolutionize sounds of tomorrow with the the sounds of the new and the old. Her music is available for streaming cinematic nostalgia of yesteryear. at her YouTube channel (lindseystomp) and can be downloaded The music video, reminiscent of on iTunes. As well, more information is available at her website Michael Jackson’s “Thriller,” brings (lindseystirlingviolin.com). Lindsey Stirling’s appreciation for the music pop music to a theatrical level, of today and tomorrow and her special attention to production quality bringing together flash-dancing and cinematic aesthetic value bring forth a unique and intriguing zombies, dramatic violin sequences, sound that all fans of music should gravitate and pay attention to; this is cinematic musical interludes, and only the beginning of something incredible and epic.
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Paying H
“Every single sound that
LUCKY LOU
Lucky Louise, made up of band member Ryley Gartshore, Blake Daly, Josh Wright, an from
Homage, Playing Authentic
e song that they have put out so far has a t will not only take you back, but will give you an energetic and invigorating feel.”
UISE
rs Christian Milani, nd Brad Daly, hails m London, Ontario.
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T
heir rocking tracks exude inspiration and spot-on lyrics, the type of music that you’ll definitely be singing to shortly afterwards. Coming together in late 2010, Lucky Louise is an under-the-radar five piece band that has already rocked out at notable venues such as the Hard Rock Café in Toronto, and more recently, the London Music Awards. All of their founding members bring to the group their own unique musical flavour, and the mixture of individual talent and taste has resulted in a distinctive and multifaceted type of rock which has already allowed them to take home first place at Last Band Standing 2011, an event hosted by Norma Jean’s. Relatively new to the scene, Lucky Louise has written songs which give polite homage to sounds of contemporary rock bands, yet retaining raw, authentic segments which allow their audience to enter into a realm of new-age satisfaction and comfortable nostalgia simply unique to their music. Fans of the old-and-new rock bands should have no problem listening to the Lucky Louise’s eclectic tunes to find something they like and appreciate. Although having only officially released five songs – the band is poised to produce more top-notch music in the coming years. One of their current tracks, “Caught in Life” starts slow with guitars, and then leads into Milani’s gruff but extraordinarily pleasing voice. The entire track itself has an extremely nonchalant, old-school groove to it. Its rollercoaster rhythm is also fun to listen to, at times fast and frivolous, and then slowing down in preparation for the subsequent
climax. Their song “Come Back Home” is a little on the slower side, a small ballad begging for a lover to come back home. Despite the obviously more downtrodden and dejected aura that the song exudes, Lucky Louise retains their great vocals and strong guitar riffs, ubiquitous in all five singles they have put out. It won’t make you jump out of your seat like the other tracks, but rather wish you had that old lover back in your arms. Strong stuff. “Lucky”, another gem of their first tracks, is an invigorating, fun song full of sensational sounds and shifts in regularity, and you do get the feeling of being hilariously lucky or simply high on life. It is a great pick-me-up if you ever need to hear one. Every single song that they have put out so far has a sound that will not only take you back, but will give you an energetic and invigorating feel. Their energy alone could propel them onto today’s radio stations. The guitars have that great, persistent presence, while the bass walks beside them handin-hand – easily supporting the already electric tone. The drums finish to add the tenacious, rapid heartbeat that each of Lucky Louise’s songs embodies. The group is slowly carving its place into the London indie rock scene, as a stimulating rock band that can be compared to the Red Hot Chili Peppers, and Led Zeppelin. They are not “trying something new” per se, but their “tried and tested” formula mixed in with their own distinctive musical backgrounds should have everyone able to relate and tuning into to their music. If you’re a fan of great rock music, Lucky Louise is the band for you.
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BLUE STAHLI Stahli’s talent just screams for attention, and definitely deserves some of yours.
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HOT WRITE-UP
Musical Warrior Practicing his art by battling the elements themselves.
The powerful, emotional atmosphere that Blue Stahli creates is irreproducible, and he wields that power like a madman on a mission.
Stahli is celebrated for his aggressive, provocative tracks
he astounding solo multi-instrumentalist Bret Autrey, from Detroit, Michigan, initially released his first set of songs under the pseudonym Voxis. This edgy, inflammatory talent immediately caught the attention of FiXT Studios, which would quickly sign Autrey as Blue Stahli.
Understandably then, Blue Stahli is celebrated for his aggressive, provocative tracks that really get your blood pumping.
about his tracks that enthral you. The powerful, emotional atmosphere that Blue Stahli creates is irreproducible, and he wields that power like a madman on a mission.
For this same reason, his music has been used in trailers and promos for films such as Tron Legacy, The Tourist, Jonah Hex and The Final Destination.
Whether it’s his compelling vocals, thrilling guitar-playing, or wellplaced glitchy effects, Blue Stahli is known not to hold back.
Not to be outdone, TV shows like America’s Next Top Model, Bones and Criminal Minds have also featured his electrifying musical backdrop. Videogames and commercials as well, have adopted his songs, like Stahli’s “Scrape” and “Shiny” featured in Dead Rising 2.
His steadily increasing (and already substantial) fanbase has grown to love his tough-as-nails music which encompasses a vast plethora of genres, from alternative metal, to electronica and industrial music. Stahli’s talent just screams for attention, and definitely deserves some of yours.
t
Often regarded as being an epic one-man band, he now performs regularly as part of the Celldweller live show. Klayton, the label head of Celldweller, would act as his guest vocalist, mixer, and producer. Stahli is known to frequent the stage with a tricked-out tribal drum set or just wile-out with his guitar. Either method showcases his flair for intense emotional performances, and ability to rouse the crowd.
But it was his self-titled debut album released in 2008 which truly set the stage, and captured the essence of the tenacious music he would be making throughout his career. There is simply something dangerously primal and striking
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PURE AND SOULFUL: KATIE MORGAN
F
rom Wales of the United Kingdom hails soul singer Katie Morgan. Collaborating with Brian Clayton, they form a label by the name of Soul and More, a project dedicated to collaborating with other artists and seeking work with other music producers. Citing many famous divas such as Adele, Alicia Keys, and Amy Winehouse, Morgan’s music is pure and encroaches deep into the heart, carrying on the chilling reverberation of her voice and using its plasticity in a variety of song styles to capture the hearts of many audiences.
24OURMUSIC.NET | 15 A quick listen-through of the music on her Facebook page will present to you the versatility of Morgan’s songwriting and singing. “Just Somebody” seems to be your typical soul-infused song, opening with the chorus of a piano as Morgan elegantly croons over Clayton’s keys. “I’m just a simple girl who’s caught up in this mess / all my hopes and dreams depending on somebody” she softly sings, two lines that course throughout the song and deliver visions of an Adele creeping beneath the sounds. “Your Love” on the other hand seems to channel Canadian superstar Celine Dion’s trademark vibrato vocals, as Morgan delivers her voice over the sound of a glowing piano. The higher notes of which she hits helps audiences to see the Alicia Keys influence in her voice.
To say, however, that Morgan’s music is simply a reincarnation of the “Rolling In The Deep” singer’s music is an insulting simplification; you will quickly see this with Morgan’s song “On and On.” This pleasant feel-good track is one to kick off your shoes to and dance barefoot on a hardwood floor. “No more excuses in my life / no one to blame but my pride” she triumphantly sings, as Morgan announces her detachment from her sorrows and chooses instead to sing and dance about it. The swirl of strings and the clapping snare line that lingers beneath Morgan’s joyful singing help create this pop-tune that is sure to please audiences looking for music not too introspective and is simply something simple to play in the background. Meanwhile, “Never See Me Cry” is both upbeat and soulful, encouraging the audience
to revel in her defiance against her emotions while performing a head-bob worthy tune. In short, Katie Morgan’s music is an eclectic slate of her finest song writing, all tied together by the sheer power of her voice. While channeling her influences such as Adele and Alicia Keys, Morgan’s lyrics and singing patent her music to her, and her alone. With the production of Brian Klayton, Katie Morgan’s music is sure to please a variety of audiences whether they want something easylistening or soulful and introspective. Her music is available for online streaming on her Facebook page “katiemorganmusic,” as well on ReverbNation and SoundCloud (soulandmore).
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REDEFING “SOULFU CHRIS GIANNINI E
very so often, there is an artist that emerges out of throngs of aspiring hopefuls and breathes some much needed fresh air into a saturated genre. This time, Chris Giannini defies the odds, and reveals himself to be that breath of fresh air, with his album “If it’s me”. The 22-year-old singer songwriter from Montreal has begun his climb up the rungs of the pop rock genre, and has created quite a gigantic splash with his arrival. The delightful expedition he takes us on begins with this debut album, and if the quality of music he will be putting out in the future is anywhere near this level – then we are in for a hell of a ride. “If it’s me” contains ten memorable tracks that resonate with the lighthearted, soulful music of times past, but stays true to the upbeat, catchy tunes currently dominating the charts. Needless to say, his songs will most likely appeal to most music enthusiasts, just because of the obvious talent oozing out of each guitar rift, every vocal highand-low, and every single headbobbing beat. His song “One Way Ticket to
Nowhere” sets the stage for the album, an upbeat track about a happy-go-lucky traveler with a one way ticket to nowhere. This lucky traveler is you, as Giannini uses his soulful vocals and exceptional guitar riffs to whisk you off to a land far, far away. The blissful vibe makes the song unconditionally contagious, and it’s not difficult to find yourself tapping your feet and singing along to the catchy track within seconds. You can be guaranteed that “nowhere” is the last place you’ll be going as you venture deeper into the album. Afterwards, the talented young singer mesmerizes and draws you in with “Leave the Past Behind”. It kicks off with light acoustic
melodies and gorgeous lyrics that allow your emotions to completely take the wheel. Without knowing it, you are in the wilderness, leaving behind the conventions you know – and just listening to the inspiring message that Chris infuses within his masterpiece. This goes handin-hand beautifully with his next track “Moving Forward”, which acts almost like a continuation, guiding you further along the road. The same soulful voice keeps you close and ensnared in the beautiful ballad he performs.
UL” -
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He changes gears in “The Missing Part”, a truly touching track that slows the world down a step. Here, Chris shows that there is more to the album than just rainbows there are also the butterflies. It’s a graceful song, with an “airy” feel that pulls at your heartstrings via a remorseful violin and beautiful lyricism. If ever you need a song to stir your imagination and keep you teetering on the edge of emotion, this is the tune to play out of your speakers. All the songs on the album are definitely worthy of praise and hours of undeterred listening, but the flagship track “If it’s me” just takes the cake. Like a storm, it starts off slow – lulling you into a false sense of security with a slow melody and heavy-eyed vocals. But when you least expect it, there is an explosion of bass and powerful guitar riffs that just shatter the tranquility into pieces.
It just does not get any better than that. How can one not be impressed by the effortless shift in mood and technical grace Giannini displays throughout this song? Not only can you fall in love with this type of tempest, you can get lost in the eye of the storm – an unbelievable frenzied mix of soulful lyricism and charming composition. Chris Giannini undoubtedly delivers an astounding performance within his album “If it’s me” that reinvigorates the appeal of the undiscovered artist. He conveys a refreshing pop rock sound to today’s saturated music scene, cleaning up the airwaves, and bringing hope back to the eager listeners. In case you ever need to get away from the all the rough-ntumble in your life, don’t be afraid to take a listen to the album. You are guaranteed to delight in the downtime.
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he King of Pop, the man with the sticky shoes, moonwalker, undisputedly Michael Jackson is among the cream in music’s greatest crop, now and forever; as experienced and noted in the event of his passing and the sheer unanimous global attention detracted from the icons final curtain call, the scope of his appeal, emotion and spectacle live on eternally. Over the decades many musicians have paid their tributes to the master himself with heartfelt renditions of his songs and even tribute shows in his honor…or even collaborations with numerous acts and individuals to create a Latinbased tribute album, transforming all of his songs into tropical pop fusion. Wait. Hold on just a second, that last sentence said what?
t
Enter Tony Succar, an independent record label owning music
producer based out of Miami, FL, and his elaborate, hard to achieve, as it once seemed, plan. Beginning with no funds, ‘UNITY: The Latin Tribute To Michael Jackson’, is now steaming full speed ahead in anticipation for its release, with tens of thousands of people supporting and spreading the word on the project. To assume that this release will be received with vast appreciation and love is no joke, as it’s one of the most captivating and unique projects to revolve around the man himself, showcasing the ability to somehow reinvent the music behind the lyrics and harness the emotion and feeling of its true original.
and nine internationally known and heralded singers including the legendary salsa maestros Tito Nieves, the talented Obie Bermudez and Jennifer Pena, Michael Stuart, Kevin Ceballo, Jan and more, and will contain fourteen separate renditions of his classics. In production for over three years, the album has been recorded at many different studios in many different locations including New York City, Orlando, Houston, Puerto Rico and of course Miami, the feeling of the journey is much more than just simply evident here. As well as being the architect behind this endeavor, Succar himself produces and arranges the pieces himself.
But UNITY isn’t just an album, nor is it just a stand-alone project, after its release a tour is planned in its honor, this is all independent of course, and the project in total has so far encompassed over eighty professional musicians
The main question here obviously is what this sound is like behind Michael’s licks, and how the musical sycophancy emerges between the two cultures. Tony aims to blend the broad appeal of Latin fusion pop with highly
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HOT WRITE-UP
mainstream, revered and critically lauded American music. It’s quite extraordinary to see this in action, blending the elements to create natural renditions that somehow honor both MJ and Salsa music at once, and ultimately appealing to an international target audience of Latin music lovers. ‘Tropical music is known and embraced worldwide and its rhythms, passion and brio marry perfectly with Michael’s sophisticated and dynamic approach to composition’, Tony explains, and as he aims for the future, adds that the scale and grandiose of the live performance will be even better, including large scale orchestration of the composition. From the start the goal has always been how audiences will react and interpret the renditions of these classics from the driving seat of big band, Latin harmonization, and how the underlying themes and emotions of Michael’s messages will be supported or even bolstered by this new approach.
UNITY isnt just an album, nor is it a stand-alone project. After its release , a tour is planned in its honor.
Unity is harmony, and the host of musicians who have been involved in the project so far have done so for one common factor: the shared love of dance, expression and meaning through music, not just in one sense or culture, but in a beyond-barriers exposition that dissolves the underlying tensions and diversity, the ability to ‘shine a light on that which draws us all together’ Tony explains, slipping into the vein of what Michael Jackson himself had always advocated; Unity in motion. Drawing back slightly, perhaps the most amazing thing about this project is the scope of it. Started independently, produced independently, marketed independently, the support that has gathered around the album’s anticipated release is a true testament to the efforts and passion involved, with Succar himself attempting to remain as true and personal to the moonwalkers legacy, putting a blurred focus on the seemingly important aims for a project this size in usual senses, profit and
ENTER TONY SUCCAR
mainstream recognition. In a world chock with under-par mainstream swindle, Unity is a true diamond in the rough, something Mr. Jackson would surely be astonished and touched by given that he was still here to bear witness. From the start to the finish of this adventure, Succar has no regrets, calling it ‘a once in a lifetime experience’ and something that in all regards, he should be tremendously proud of, something so passionate and touching will not go unnoticed, and the album, when dropped, should grab many a person’s attention. So far, one single has been dropped, ‘I Want You Back (Featuring Tito Nieves)’, and is an agonizing teaser for how the thirteen other renditions will unfold. Splashed with salsa grooves, Latin fusion and extraordinary vocals from one of the legends of the genre himself, its this kind of impact that makes you exhale a breath of fresh air.
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interview PIERCE WHITEJONCAS Our staff writer, Karl Nicolas, recently had a chance to talk to and interview Pierce White-Joncas, one of the two visionary entrepreneurs in charge over at Capital Boom Records.
a business, it almost made sense to be partners. For JC, being in the music industry for some time at this point, inspiration came from wanting a record label that was more personal, willing to take the time and provide constructive 24OurMusic feedback, and also wouldn’t First off, can you tell us about be clouded with a big ego. For how you and Shawn “JC BooM!” myself, being introduced into Dauphin got everything off the a new industry, a new genre ground? What inspired you? of music even, it was a new challenge for me, one I was Pierce White Joncas willing to take knowing I had It was definitely a combination all the knowledge I’d need of resources we already had right next to me. and ideas that needed to be worked out on paper For both of us, we wanted to that got us off the ground. do something different. We JC’s extensive network of wanted to be able to provide producers, DJ’s, label owners a different choice for those and distributors as well as producers looking to become his knowledge of music was the next Excision or Avicii very important in getting us to where we are today. Along 24OurMusic with my corporate knowledge, Awesome! Do you have any and how to effectively manage specific goals that you would
like to see your label achieve in the near future? 24OurMusic Wow, very impressive. Do you have any advice for independent artists who are looking to take their first steps and seek help from promotional companies such as yours? Pierce White Joncas We are actually launching a new monthly event in Ottawa starting January 2013, so that is something we’re both very excited for. We’ve got some pretty good bookings lined up, so we’re optimistic it will be received well by the EDM scene here. In terms of the production side of the business, we’re hoping 2013 will be the year we start collaborating with big name artists, in order to provide incentive for to those new artists to sign their tracks with Capital Boom. I’d also say broadening our scope in the type of EDM we release. We’d like to see a few more Electro-style releases, to compliment the bass heavy Dubstep we’ve been pumping out. 24OurMusic
24OURMUSIC.NET | 21 Interesting, how do you usually go about marketing Capital Boom to prospective listeners and new artists? And is it a very strict process by which you decide which of the the talent you bring on board?
and Soundcloud. The not so obvious platforms to the general public would be the blogs or magazines, such as yourselves. Marketing via the Internet is frustrating because sometimes the messages you want to convey don’t 24OurMusic get through to the targeted Aha, true enough! It seems that audience. That’s where the you understand the current events come into play. We state of the industry as it know that the majority of the stands right now, can you give people attending the events us more insight? are the targeted audience. Stickers, hand bills, even just Pierce White Joncas talking to the fans, spreading Marketing, it’s like being stuck the word, we exhaust every in between a rock and a hard available avenue whenever place. As you may or may they present themselves. not know, with a record label of our nature, marketing is 24OurMusic slightly difficult. In terms of Sounds incredibly tough, but internet, there are the obvious its great that you have tried, platforms, being Facebook, and are trying, new methods to Twitter, Google +, Youtube get the word out! Pierce White Joncas And the process is not so strict, no. There is a small criteria for producers who wish to submit their tracks. That being said, we do look for a high standard of production quality in the tracks being sold to us. Meeting the criteria is not necessarily getting a contract.stuff coming up that we can’t wait to announce. 24OurMusic Excellent, I hope that the aspiring artists take note! Would you say that you are happy with the success of your recent releases? 24OurMusic has covered your “Born Killer” EP, and we assume that you take a lot of factors into consideration before basing putting out such albums?
Pierce White Joncas We’re decently happy considering we’ve had fierce competition from the industry leaders on recent release dates. The Born Killer Remixed EP is one of those albums where each artist provided top notch production on their track, inspired from the solid production quality of the Born Killer EP released a year prior. That is the most important factor for us. If the production style and quality gets better and better, we know that we will have a successful release. It’s also pairing the right artists together for releases, another challenge in it’s own, because of how unique the industry is. 24OurMusic Great! One more question. What are you most excited about this coming year? Does
CAPITAL BOOM be a part of. There are definitely a lot of challenges for Capital Boom in the months to come, Pierce White Joncas but we’re ready to bring the fans We are definitely everything they excited about expect and more. the launch of the new monthly, Flex Fridays, and all the 24OurMusic artists we’re going Awesome! Thank to have roll through. you so much for your time. We wish The industry is Capital Boom all the starting to build up, so we feel very best in your future confident. With the endeavors! evolution of new sub genres and old sub genres making their come back, you never know what can happen, but that’s why it’s a good industry to the label feel good about 2013 and the state of the industry?
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Shelley Nutbrown
FEEL GOOD WITH FOXER
rom Portsmouth, Britain, garage-indierock outfit Foxer delivers a raw and pure sound that “might just save your life.” Their songs seem to be spat out at just the right pace, weaving together bass grooves, guitar licks, percussive stomping and dirty crooning at just the right levels and increments. “Save Your Life” begins with a head-bobbing hi-hat drum line that progresses in rawness when the main guitar and bass riffs kick in, topped by the laceration of vocals before following into a trippy sequence of blaring rhythm guitar choruses and screaming melodic interludes. “Higher and Higher” begins with the march of a bass
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guitar complemented by a tambourine and stamping tom-tom drums before returning to head-bobbing choruses of “higher and higher” crooning through the listener’s speakers. “Higher and Higher” is the perfect song to blast precariously through your car speakers as you drive through suburbia on a hot summer’s day, and would surely complement the July wind as it blows through your car windows and your hair. “Wrong” in the mean time picks up the pace and features an upbeat distorted guitar riff and bass groove, pulsating throughout and creating a massive cranium shaker that is suitable to push out your subwoofer
as you flail around your living room with your windows open and your neighbours to hear. Indeed, Foxer is a band that will be sure to supplement you with feel-good noise that will surely complete your summer adventures. Raw and pure, Foxer delivers a garage sound that will pulsate through your earphones and encourage you to move, perhaps even dance around, and forget about the complexities of the real world. Foxer can be experienced through their SoundCloud (foxer-decoy), and can be followed on Twitter (@FoxerBand)
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WARDIE BURNS
High octane Hip-Hop from an unlikely place Hailing from Edinburgh, Scotland, Wardie Burns is a hip-hop artist of Powercut Productions. Delivering lyrics across high-octane powered beats, Wardie Burns leaves a positive impression, and is a curiosity worth checking out. Teaming up with UVBeatz, Wardie Burns shows off sharp-cutting delivery over an explosive beat, with much to be desired in production quality. “Stuck In The Scene” channels a head bobbing demeanour in hard-hitting syllabic fashion whose lethality is watered down by a chorus lacking the production aesthetics of harmonies. With closer attention to the melodic
aspects of the track, “Stuck In The Scene” has the potential to be a massive and slicing song. “I’m Bru Man” is a raucous track, channeling the Black Sabbath swagger of “Iron Man” in its chorus but once again falls short in production value. Polymerizing the explosiveness of distorted guitar and wobbly bass, “I’m Bru Man” has the template to be a hard-hitting track that is unfortunately watered down by poorly recorded vocals. Once again, tightening up with the vocals will help complement the lethal clobbering of the beat. Wardie Burns channels his best through his track
Hand Grenade
Check it out on Youtube!!!
“Hand Grenade,” produced by Steg G; spat over snare and blips, Wardie Burns roars “do not honour me / I am not Sean Connery” as if staking his identity into the audience, addressing both his name and his Scottish nationality. The song winds up into a bombastic track that signify a triumphant entrance through the listener’s headphones, complemented by a contagious hook of a chorus. Wardie Burns’ lyrics cut tight with a sharp electronic beat, giving listeners a cancerous head bobber. Wardie Burns’ music is available on Powercut Production’s website, and his video “Hand Grenade” is available for viewing on YouTube. With an infectious swagger and massive beats, Wardie Burns seems ready to dish out some more walloping tracks.
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CHRONOS HESSELL Internationally Recognized Electronic Powerhouse From Guadalajara, MX
The first member, DJ Hessel, was born in 1985 and began to DJ when he turned 19. He gradually polished his technique before meeting up with Tanko, the second member of Chronos. Both are natives of Guadalajara and no strangers to the trance genre.
rom the city of Guadalajara, Mexico, comes a budding trance duo known nationwide as Chronos.
From then on, their combined tastes in music, in addition to skills with software and elemental hardware, gained them fans at some of the most respected music festivals in Mexico. It would not be long before their first releases at namaha records and dacru records, signalling the duos’ entrance into the professional music industry and ushering them into the spotlight. Their current tracks on SoundCloud, which include Evoque, Silence is my Canvas, and Flaming Lamborghini all showcase the unique flavour of Chronos.
Claiming their genre as techouse, they have so far released songs that aptly encapsulate the hybridity of that genre. Chronos’ psychedelic melodies have a sedative effect, relaxing and enthralling your senses with a very sophisticated sound ubiquitous in their various tracks.
They would eventually sign with the Belgian label bacru records and begin to perform worldwide. Venues in Tokyo, Amsterdam, Vancouver, Brussels, Osaka, Cd. Juarez, Thessaloniki, Dalaman, Cancun, Lisbon, La Paz, and Ghent have all been frequented by the rising stars.
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Where at first Chronos experimented with their style, they have now found a potent, powerful funk to roll with. Theirs is clearly an ever-evolving technique, and we can undoubtedly expect them to contribute much more to the future of the tech and house genre.
26 | 24OURMUSIC.NET of unbelievable intensity, as there are apprehensive tranquillities. It really brings its listeners into an episode of dramatic highsand-lows, building them up and bringing them down like a conductor would his orchestra. The very first song in the EP, “What You Want”, will have you awkwardly singing along to the catchy, echoing chorus, and captivated by the vigorous guitars. The song is an amazing recipe for a pop hit, keeping the lyrics lingering in your head with shattering effectiveness. Ironically, they are giving you exactly what you want to hear and enjoy in a modern-day chart topper. Something I am positive that if given the chance, that the Watermelons can produce. Another track, “Dance Strangely Together”, is a whirlwind of guitar riffs and powerful vocals from the lead singer that just screams of a wild rawness – typical of fresh young garage bands. But they have definitely refined that sound, fashioning an edgy, contemporary tune that begs you to just get up and dance!
THE WATERMELONS Need A Fresh, Sweet, and Seedless Sound? – try the Watermelons
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he West Sussexbased indie pop group, Watermelons, has recently released their six-song EP “Better Together” on iTunes. Clocking in at just around 20 minutes, invested listeners and curious cats alike will definitely not be disappointed when they bite into this vivacious and lively musical gem. The deceptively simple tracks spark off a myriad of emotion, prompting you to subconsciously start bobbing, tapping, and singing (or any other parallel actions) to the beat of their drums. Though only a modest four-piece group, consisting
of band members Toby Bain, Matt Wagstaff, David Kelly, and Sam Salkeld, the Watermelons should not be underestimated. The band simply exudes a remarkable amount of oomph in their songs – what can be attributed to the fine balance they have between ambience and attitude. They run the tried-and-true set-up of lead and rhythm guitar, backed up by remarkable bass and drums. But all this is masterfully tied together by undeniably enchanting vocals. All six songs in the EP take the listener on a truly rollercoaster-type journey, with just as many moments
As if this wasn’t enough, the band takes the same song a step further in their “Dance Strangely Together Pola Remix”. The original is now replaced by a club-worthy pop triumph, an outstanding demonstration of the ability of the Watermelons to shift gears and cater to a whole different crowd of music aficionados. This unhurried, more psychedelic version of the song creates an unbearably intense atmosphere that the masses would just simply eat up. The rest of their songs, including the flagship track “Better Together”, exemplify the rest of what the Watermelons are capable of. The dreamy, “faraway” sound of this love song simply draws you in and refuses to spit you out. It really begs the question, what type of pop song is this group really incapable of tackling? It is incredibly difficult to believe that there existed a period in musical history when bands would be criticized for this type of diversity, and reaching out from what should be their “comfort zone”. The Watermelons are breaking the mould, delivering high-energy sound and undeniably distinguishable talent. The time of one-dimensional bands is coming to a close; they are all going to have to move over once they get a load of this.
24OURMUSIC.NET | 27 the audience is personally invited to partake in a the journey to bring back hip hop back to being genuine, and to find individuals who “do it for the love of it.”
THE SOUND OF DECAPITATION ap’s DeCapitated is a raucous masterpiece featuring hardhitting tracks and percussively slicing verses. The California hip hop artist wastes no time demonstrating the bombastic sounds of his record with the opening track “Capish,” sampling the infamous sinister guitar riff from Coheed and Cambria’s “Welcome Home.” What sounds like the opening of a coffin and the grunting of an awakening vampire, Cap channels a rejuvenating energy powerful enough to summon the undead, indeed a fitting image for a track featuring a rock song called “Welcome Home.”
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Track 3 features a massive head-
bobber called “Bring Hip Hop Back,” featuring Kay Flow and S Confidential. Complete with a hihat laced drum line, a bellowing electric guitar, and a chorus of piano keys, “Bring Hip Hop Back” is an appropriate track to play while cruising through the city in a black Audi. “Whatever happened to rap,” is a question that resonates throughout the song, supplemented by lines like “news flash: all dogs go to heaven / the state of this music reminds me of nine-eleven.” The audience in this song is challenged to question the state of hip hop in today’s age, doubling as a warning against what is real versus fake music. “We’re just trying to bring hip hop back” the chorus resonates;
“Superstar” featuring Stix on track 7 is a song about chasing your dreams. “I wanna be a superstar / I won’t be satisfied ‘til I am” declares the chorus; Cap and Stix channel the resiliency of becoming something great and beautiful, formulating a hook that is sure to resonate in the minds of the listener and drive home the age-old mantra of “go big or go home.” With lines like “you’ll need a telescope to see me: I’m a spaceman” coupled by the taunting bellowing of electric guitars and the methodic stomping of drums, “Superstar” is a declaration and a warning against the world of greatness and ambition. Track 8’s “Falling” is a surprising power ballad that starts with a dreamy acoustic guitar humming underneath the crooning of JaeS before exploding into Cap’s dramatic verses. Somehow, the duo combines the bombastic edge of slicing rap verses with a soft melodic pop chorus and the cinematic roaring of electric guitars, and pulls it off with aplomb. “Falling down, all I see is your face right in front of me,” the chorus wails, followed by the fast-paced slicing lyrics of Cap in Eminem-reminiscent fashion: “could’ve been a better man / should’ve been a better man.”“Falling” polymerizes sounds of One Republic’s “Apologize” with Eminem’s “When I’m Gone” and the theatric edge of a Trans-Siberian Orchestra guitar, creating a loveapology serenade that channels the purity of a Maroon 5 love song. Clocking in at only 3 minutes and 17 seconds, the song should have been packaged with a bridge
28 | 24OURMUSIC.NET or a longer coda, as the track seems to zip by a little too quickly. Nevertheless, this is a song that listeners are sure to gravitate. DeCapitated is an upbeat and energetic record that is sure to satisfy listeners seeking a percussive hip hop sound. With a wide range of sounds served in a musical piece with quality production, DeCapitated is worth popping into your car as you cruise through the city, or perhaps a record that can evoke introspectiveness as you sit back and relax through the night.
BRANDON KARL JUSTIN XANDER EVEREST MINIA NICOLAS GAWRON
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resident/ Founder/CEO of 24OurMusic
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24OurMusic strives to support independent musicians around the world and help them gain the recognition they deserve. While other websites allow musicians to upload their content and hope for attention, many of theses sites showcase big name celebrities that overshadow the potential of their independent artists. Our extensive social network allows us to promote your music as well as your own social media networks at no cost to you.
24OURMUSIC.NET | 29 present throughout the song. If you are going to listen to any track in the album, we would have to recommend this one over any others. However if you need a gem with vocals included, take a listen to “Fly A Way”. It does not have as much oomph as the previously mentioned track, but it still features the same feel accompanied by a decent set of lyrics to keep the mood going. By the end, you will probably be in – or close to – a state of flying away on the soft melody that LHEPPE generously provides. Much like the songs we have already mentioned, the rest of the album is simply a mixed bag. In the end, you may find yourself liking a few of the tracks, but it is incredibly difficult to appreciate each and every one of the songs they have put in. It might have been a better idea to have narrowed down the song selection and chosentracks they felt were better than the rest to place in the double album. LHEPPE must have just wanted many songs out there, to be accessible, in order to hit home for a wider listener group.
LHEPPE – ODE TO A PINAPPLE Who doesn’t love a band with an interesting history?
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HEPPE (pronounced leh-pay) is a three-piece band from Montreal, Quebec, consisting of members Pete Warning, Jimmy Vegas, and Jeff Lo. But more interestingly, they state that they were originally a four-piece band which lost its bassist to a fan from Mexico. Odd yet intriguing. Moving on – we are going to be talking about their album, or rather double album, recently released and known as “Across The Pineapple”.
Overall, it is a decent album with moments where it can surprise and be effective, but it also has flaws and blemishes which the band should go back to and address in order to produce better songs in the future.
Claiming to dabble in the Dream Pop/Alternative/Psychedelic arena of music, LHEPPE certainly hits home in all twenty tracksand eighty-two minutes of the DA. Unfortunately, for those not willing to wade through the songs a couple of times, they might find themselves nodding off to sleep if they aren’t paying attention. It can be a difficult album to listen to if the noticeable flaws are not something the listener is willing to overlook. “Tiki Samba” for one, is a nice track which is complemented by great drumming – but falls shorts in terms of vocals. It’s not that the vocals themselves are bad, but the fact that they just do not mesh well with the background music that accompanies it. As if in direct contrast however, in “Heaven is Black”, what could have been great vocals are just drowned out and lost in the drumming that just overpowers what the singer is trying to convey. It is clear that LHEPPE needs to find a way to work on that balance for now. “Counter Clockwork” is an odd mish-mash, but unlike the earlier two, it works to an extent. The slow drawn-out vocals with an equally sluggish instrumental makes for a very lullaby-ish song. A dream pop feel is established and retained, and certain parts of the track do shine through despite what it is missing in terms of excitement. If you need something to actually doze off to during bouts of insomnia, you can definitely count on this number to send you off to dreamland. The flagship track “Across the Pineapple” is a different story altogether. The wonderful instrumental which relays an elegant, historic ballroom-dance feel is wonderfully orchestrated. Additionally, the lack of vocals simply allows the listener to pay more attention to the details and minute moments of sophistication ever-
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DREAMHOUSE STUDIOS Based out of downtown Toronto, this recording studio has a client list to be jealous of.
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ocated in a tiny and graffitilaced brick house with a living room holding the vast arsenal of recording equipment and instruments, Dreamhouse is a setting ideal for bringing out the grimy and dark edge of Toronto’s urban scene. Serving the Toronto music landscape, Dreamhouse boasts a large and wide collection of clients, reflective of the culturally and
Dreamhouse is clearly committed to serving artists who are dedicated to producing music... musically broad and diverse nature of the city. Residents of the Dreamhouse include production duo RealBlaze, a team dedicated to creating “radio-friendly hip hop with underground appeal” (as quoted from
their website.) Alex Bonenfant, another resident, is the founder of the small and independent label White Girl Records. Dreamhouse is also home to Vulture Culture Films, a music video production company who has worked with acts such as Torontonian hardcore punk band Cancer Bats and Hamiltonian rock piece Arkells. Jon Drew, Thomas D’Arcy, Crispin Day, and Arthur McArthur serve as Dreamhouse’s resident producers, engineers, and songwriters. Perhaps the most famous of Dreamhouse’s clients include the late post-hardcore rock outfit Alexisonfire, featuring the soft vocals of Dallas Green (City and Colour) and the edgy screaming
24OURMUSIC.NET | 31 of George Pettit. The raucous and dirty style of Alexisonfire’s music is a perfect representation of Toronto’s urban scene and Dreamhouse’s physical exterior itself: loud, borderline-obnoxious, yet refined and pure. Alexisonfire’s music and Dreamhouse itself both represent the purity and rawness of Toronto. The Airplane Boys, a hip hop duo hailing from Scarborough, the east side of the city, is another example of artistry that represents the dirty purity of Dreamhouse and Toronto. With tracks such as “Like You” and their hit single “Beau Monde,” The Airplane Boys channel the energetic vibe of Scarborough and the rest of Toronto, thus scoring them a perfect fit with the grimy energy of Dreamhouse. The Weeknd, another Scarborough-based artist, is an R&B artist whose music channels dark grittiness, another perfect representation of Toronto’s music scene. Dreamhouse is clearly committed to serving artists who are dedicated to producing music that is laden with the dark purity of the self and the city. In such a culturally diverse Canadian city,
Dreamhouse has done a great job serving artists seeking to show-off to the world the difficulty of finding identity in this strange collage of a city called Toronto. Dreamhouse Studios, as well as a complete list of their recording equipment and all the clients they have served is available for contact on Facebook, Twitter, and their website http://thedreamhousestudio.com.
CONTACT
info@ thedreamhousestudio. com
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THAT’S “BORN KILLER”, WITH A CAPITAL BOOM What should all good digital record labels aim to accomplish? Well, for one – bring in artists who generate chart-topping songs.
“Born Killer” had no trouble rising to the Top 10 Must Hear Tracks
What should an exceptional digital record label do? Take that charttopping song, throw a contest to remix it, and toss the top entry into one jaw-dropping EP (along with additional remixes from other top producers).
And Capital Boom Records has done just that. Founded in May of 2011 by entrepreneurs Shawn Dauphin and Pierce White-Joncas, the label is still relatively fresh in the industry. Unlike others with similar aspirations however, they would not have to wait long to top the charts. One of Capital Boom’s many gifted artists, Bold Equation, would quickly put out a hard-hitting track which just screamed for musical recognition. This hit song was “Born Killer”, appropriately named for its total domination of countless unsuspecting eardrums. Sporting a wild, energetic progression, coupled with a riveting tempo, it had no trouble rising to the top 10 “must hear tracks of the week” on Beatport – the largest DJ and electronic community on the Internet. It also sat in their top 100 chart for over four weeks, peaking at 20th place. Needless to say, this was quite an achievement. It is fitting that their latest EP took that success, and challenged other DJs and artists to add their own twist, to refine, and improve on Born Killer. “Bold Equation - Born Killer Remixed EP” is the result of this. Handpicked from their roster, as well as the best contestant of the contest held by Capital Boom Records themselves, it truly is an electrifying release. The four included remixes were created by 1uP, Bass Machines, Bold Equation and Dubzee – with
Dubzee’s remix being crowned the deciding victor, Bold Equation giving the song a second-go, and Bass Machines and 1uP exclusively being chosen by Capital Boom to showcase their talent. The first track, “Bold Equation - Born Killer (Bass Machines Remix)”, initially just tickles your speakers with scattered hihats, but quickly brings in the rest of the electronic orchestra with furious vengeance. The pace accelerates instantly, and confuses your senses. Even when you feel like you are starting to settle in to somewhat of a rhythm, the song blindsides you by going in a completely different direction. It’s a strong showing; an edgier, funkier version of the song that ensures party-goers a hell of a fun time. The “Bold Equation - Born Killer (1uP Remix)”, is another first-rate remix, beginning with a relatively slow beat and time signature, but quickly catching up to the electronic tempo everyone looks for. The track is a bit predictable though, and you know exactly where and when this drop will occur – but you’ll certainly love it all the same. It still retains all the oomph of the original song, but absolutely incorporates more of an “electric feel”.
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What Should An Exceptional Digital Record Label Do?
The sporadic vocals are also a big plus, adding an interesting sparkle to the spellbinding sea of sounds. Further along, you will run into the “Bold Equation - Born Killer (Bold Equation VIP)” remix, which is another alternative hit that slows the song down a notch, remixed by the original artist himself. It compensates for its pacing by showcasing the track’s glitchy side, bombarding you with an unsettling combination of synth and sound that chills you into submission. Not to mention the undeniably bloodcurdling vocal interjections that just pushes the creepy effect to new heights. It’s absolutely fantastic. Last, but certainly not least, is the crowned champion of the remix contest held by Capital Boom, the “Bold Equation - Born Killer (Dubzee Remix)”. And damn, did they ever make the right choice. This track is a remix if I ever heard one. The essence of Born Killer is still there of course, but you can tell astonishing effort has been exerted to overhaul and improve on the original. Although the other remixes relied on intermittent vocals, this hit practically integrates the spoken snippets into the pounding
The exotic layers of sound are a downright pleasure to listen to, showing brilliant innovation and unbelievable workmanship. It is hard to find a flaw in something so beautifully re-mastered that it could be called its own. Capital Boom has unquestionably made an outstanding choice in releasing this small album – not only revelling in the success of an incredibly successful track, but tactically exposing other frontrunners from their roster at the same time. The young record label still has much more to offer the DJ and electronic music community, whether in terms of chart-toppers or larger-than-life remixes. It is clear to see that The Bold Equation - Born Killer Remixed EP was definitely just a taste of what Capital Boom is capable of producing. If you are looking for a record label with a bright future, and a strategic yet committed approach to appealing to their listeners, make sure to keep a tab on this promising label.
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KILLIN’ ZOMBIES WITH CELLDWELLER
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illin’ Zombies With Celldweller Hailing from the city of Detroit, Celldweller brings forth a musical culmination of electronic Dubstep, Drum & Bass, and Electro, swirled together with the melodic aggression of Rock and Metal and topped by a frosting of Orchestral magnificence. The mastermind behind this musical project, Klayton, is a multiinstrumentalist, producer, remixer, DJ, and a performer; with a wide background of performance skills;
Celldweller is a grand combination of his musical skill. As stated in his Facebook bio, Celldweller aims to “personify the sound of the iPod generation...creating a pioneering vision of the future of electronic music.” This statement, as well as his gigantic mashing of different musical sounds and skills, creates a wonderful and futuristic world meshing together “today and tomorrow” and crafting a stimulating treat for the mind and the soul. In the early years of Celldweller,
his music has been featured in popular video games. The song “Stay With Me (Please Don’t Go)” appeared on the soundtrack for Electronic Arts’ NHL2003 and was played on occasion during ingame cinematics. The same song was featured in the “Rock music” section of Flash Flash Revolution, an online flash emulation of the popular Dance Dance Revolution video games. “Stay With Me” is a complementary song for both games, as the chorus’ melodic crooning seems to mesh well with the cinematic drama that often
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accompanies the atmosphere of hockey games. As well, the rhythm of both the synthesizers and the drums make for an excellent song to “dance” to in Flash. In his more recent works, Celldweller continues mashing together his musical skills and genres, creating his signature “tomorrow and today” sound. “Kill The Sound,” a song featured in the zombie slaying video game Dead Rising 2, is a perfect song to have blaring through your earphones as your run a chainsaw through the living dead to the tune of screaming guitars and screeching synthesizers. The Dead Rising 2
Original Soundtrack also features “unreleased” tracks, such as the song “Switchback.” Although this song was in actuality already heard in Flash Flash Revolution, the Dead Rising 2 Original Soundtrack exemplifies Celldweller’s commitment to making sounds that complement “today and tomorrow.” The upbeat aggression of “Switchback” swirls well when woven beside “Kill The Sound,” not only affirming that Celldweller is perfect zombie-killing music, but that his dedication to making music reflective of his interests remains a consistent force throughout his career. In the last fourteen years,
Celldweller’s music has already slammed its personalized notches into many facets of our world, creating musical worlds and playing as a modern-day cinematic soundtrack. By combining elements of the old and new across many different genres, Celldweller creates an audio masterpiece that slams together the past and the future, marrying them into the present yet giving the listener a window into tomorrow. Perhaps someone should consider producing a post-apocalyptic dystopian movie that is based around a Celldweller soundtrack.
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DJ Breakfighter makes up the JAE E, a twenty-four year old one-man act Maskattack, an American rapper from New electronic artist of the drum Orleans, Louisiana, has just and bass, break beat, and dubstep recently released his latest project: persuasion.infuse music that is both ADITL: First Class. energetic and melodic. It’s always a treat to see a couple drawn together by their love of music and propelled to greater artistic heights by that union. Such was the case when Dub FX
With over a decade in the mix Rhiannon has managed to establish a career as a trustworthy DJ delivering an impeccable performance at every event.
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It is extremely difficult to find another person who can do precisely what the talented musician Paul Lizzi has done.
Boasting an array of metal/ rock stylings, “We, the Undersigned” are set to dredge the stagnant waters of music’s auto-tuned leaches.
Kill Kasper’s debut EP Stuck Between The Devil And Blues In Drop C is everything they described on their Facebook page: “loud, dirty rock music in [an] old ammunitions dump in a quiet part of the city.
”Play Hard” is what Since his first piano lessons they beckon to you in at age five, Josh Money the middle of intense has been composing music. competition, and that is exactly Looking forward to a promising future as a traditional composer, he what Krewella seductively whispers studied classical composition, guitar, to its audience in their debut EP. and piano at Macon State
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On March 23 2012, Toronto would warily welcome brothers Alex and Chris Andre to a very saturated electro scene.
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24OURMUSIC.NET | 39 ust the Tip of the Iceberg – “Ready to Go” by Klaypex There is definitely no shortage of typical electronic producers nowadays, but the dubstep duo of Johnny Atar and Mark Emmanuel are far from the typical. Better known of course – as Klaypex, their explosive style incorporates eye-opening drops, spotless synth lines, as well as cleverly-selected vocal samples. And that’s just the tip of the iceberg.
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Ever since their debut album, “Loose Dirt”, the Miami-based Klaypex has steadily risen closer and closer to the top-tier of electronic music makers. Now, with their recent release of “Ready to Go”, the duo seems poised to start dominating the club scene with head-banging hits that just scream for attention. Anyone in the industry knows that musical adaptability is everything, and they have done just that. Whether you want hard, pounding beats to get everyone in the club dancing a little harder, or just need everyone at your party to understand that things are about to heat up in an unbelievable way – Klaypex is here to save the day. The question is – can you handle it? The album’s vast selection of club tracks is very generous, to say the least. From “Petrified”, all the way to “Song 12”, Klaypex constantly keeps the energy level up and pervasive. The latter of the two, starts off gently, drawing you in and entrancing you with its hazardous, seductive foundation. Before long, you find yourself carelessly dropped and submerged in an incredible array of hard-hitting bass and shattering synth-lines. Just what the doctor ordered. “Petrified” is similar, but also integrating a
very welcome addition of detached vocals, appropriately creating the feeling of being hypnotized and petrified. The sensation is exceptional, and a powerful step-up from the archetypical wubwubwub of the genre. And if you think Klaypex can’t slow it down and keep you absorbed, then you are definitely mistaken. “Double Vision” isn’t something you crack open when everyone is sizzling and ready to wile out – but it is a great warm-up. Not too hot, and not too heavy, the track is just right for gearing up to blast out the speakers. Shifting gears again, “Crazy”, is a song stuck between two worlds. It doesn’t bend steel like the other tracks, but it isn’t light enough to just be considered a warm-up song like “Double Vision” either. Some might say that these two relative snails bring the album down a notch, but the occasional breathers are necessary to keep the album vitality level as sky high as possible. Klaypex also allows another artist into the spotlight, bringing in guest singer Sara Kay to further liven up their album. In her first contribution, “Stars”, Kay is not the forerunner – she is merely part of the remarkable ensemble of sound that Klaypex puts together. Her vocals are methodically littered all over the track, adding supplementary effect to the already-spellbinding rhythm. On the other side of the coin is a song aptly named “Sunrise”. Sara is more audible in this one, able to sing more than just a few memorable lines before the gates of hell open – and the God of Bass steps into your speakers. It is definitely a bona fide club banger, capable of keeping you dancing ‘til the sunrise. Their main album track, “Ready
to Go” is just, plain and simple, a golden nugget of an ElectroDubstep hit. If there was ever any question to whether Klaypex could establish itself with a song that would potentially rip out old tracks at the dance hall, it is long gone. With the reverberating question “Are you ready to go?” constantly echoing throughout the song (and through your skull), the listener is just forced to answer. Whether it is by viciously responding with a flurry of fist pumps, or the reverent acknowledgement of a bobbing head, an avid lover of the genre will find what they love in this electrifying smash hit. The album also houses other exceptional tracks, such as “Hello” and “Manners”, barring you from making any further judgment on the duo until you are pleasured on all fronts by the entire selection of “Ready to Go”. Klaypex definitely lives up to their name, and are no doubt skilful enough to reach the summit of the electro music world. This album keeps you engrossed and engaged to a point where you may start questioning whether you should look for alternative electronic music ever again, when these guys exist to set the bar for all others in their genre. Although young, they are unquestionably growing into a major force in the industry, and soon they will be able to iron out the minor flaws that exist here-andthere in their music. Stay tuned, “Ready to Go” is just a teaser for the myriad of mainstream electronica and club favourites that Klaypex has the potential to produce. They are not at the apex yet, but rest assured, they are coming.
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SIMPLY SPELLBINDING – KASSASSIN Just float away and get lost in good music, you can definitely rely on Kassassin Street.
of alot more edge. “Centre Straight Atom” showcases the band’s gift for making a beat contagious, but maintaining their mesmerizing, distinct style throughout. The momentary lapses don’t prepare you for the absolutely volatile guitar riffs that follow. If you want to take note of the band’s technical skills – definitely check this track. The mix does an impeccable job of bringing out each instrumental and manipulating the vocals to complement the song to a “T”.
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assassin Street is back on the block once again, with their brand new EP “Moloko Vellocet”. The five-piece electronic band comprised of Rowan Bastable, Nathan Hill, Ryan Hill, Andy Hurst, and Tom Wells shift into high gear once more, to create what can only be described as an undeniably explosive work of art. This time around, they have also borrowed the talents of South Korean electronic music producer Juno Lee, better known as Postino, to mix and master their tracks. That’s just the icing on the cake. The three-song collection sports a distinct hallucinogenic sound that will have you mesmerized
the moment you start listening. Kassassin Street is clearly trying to carve a niche into the psychedelic scene, and have no doubt, they are succeeding at it. Their first track “Play Dead”, defines their sound. At first, it plays like an experiment – a mish-mash of unrelated lyrics and pulsating vibration that purposely tries to puzzle you. But the drums finally kick in, allowing the rhythm and atmosphere to solidify, and give way to the compelling vocals. Before long, you are drowning in a pool of intoxicating sound. All due to these types of tracks that chew up virgin eardrums and swallow them whole. The next track is wilder, with a hell
The final hit is both parallel and unique from their previous creations. “Talk in Riddles” is an ingenious experiment, with the occasional reference to the sound we make. The track is not made for you to fully comprehend, but rather to listen and get tangled up in; to be led astray in every direction the song decides to slither and shift. It is hard not to recognize true psychedelic, electronic prodigies when you hear them. If the genre needed a mascot, this song could be it – aptly drawing elements from both styles, and deploying them magnificently. Whenever you need to be hypnotized, to just float away and get lost in good music, you can definitely rely on Kassassin Street. Their tracks have the beguiling sound that simply draws you in, and implores you to listen on. The Portsmouth based band has definitely come a long way, and it would not be a longshot to say
24OURMUSIC.NET | 41 that they can only go up from here. Moloko Vellocet is worth every minute you spend listening to it on replay.
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HILLTOP HOODS
The best thing to come out of Australia since Vegemite. Pressure and Suffa are taking their styles worldwide to great applause.
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ailing from Adelaide, South Australia is the very successful trio of emcees Suffa, Pressure, and DJ Debris. Calling themselves The Hilltop Hoods, the artists have already achieved notable awards and national recognition
since their debut in the 90’s. They have released six studio albums so far, with music influenced by distinguished American hip hop artists Notorious B.I.G., KRS-One, Gang Starr, Wu-Tang Clan and Public Enemy. They dropped their first EP Back
24OURMUSIC.NET | 43 Once Again in 1997, drawing attention to their undeniable talent in a time where the Australian music industry was just beginning to flourish. Particularly, Suffa and Pressure displayed an intense rhyming chemistry that brought their Hip-Hop flavour to the next level. Since then, three of their albums have already peaked at number one on the ARIA Albums Charts: The Hard Road, State of the Art (2009) and Drinking from the Sun (2012). Two tracks have also reached the top 10 on the ARIA Singles Chart, “Chase That Feeling” (2009) and “I Love It” (2011). This cemented the Hoods as an innovative, risqué, and popular fixture in the Australian music scene. Their willingness to grow but still follow the path of their influences, gave birth to an incredible sound that is definitely appreciated by their ever-inflating fan base. The Hoods have also already been described as one of the hottest live acts in Australia, selling out a national tour and various festival spots. This includes the Big Day Out, Splendour in the Grass and The Falls festival, which all attested to the trio’s ability to draw the crowds and throw an amazing show. Their music specifically, is a no-nonsense type deal. They drop sophisticated lines and powerful wordplay to just draw you in and have you begging for more. Additionally, the selection they provide is extensive and doesn’t drop in passion and dynamism just because they put out a lot of songs – in other words, they specialize in consistency. Proof of this is The Hard Road which topped as number one on the ARIA Album chart and became the group’s second Platinum certified album. As if that wasn’t enough, The Hard Road: Restrung achieved Gold certification and won the 2007 ARIA Award for Urban Release. If you aren’t impressed yet, then you certainly should be. The Hilltop Hoods have shown that they are not in the industry to mess around or drop out after a few achievements. This Australian Hip-Hop trio is here to stay, and if their past says anything about their future – things are only getting better from here.
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PAUL LIZZI
It is extremely difficult to find another person who can do precisely what the talented musician Paul Lizzi has done.