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Suzanna Choffel
october 2014
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Porter Robinson’s “Out Of This World”
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Eatiz “All Of It”
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Janelle Monae “The Electric Lady”
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Mike Metro & The Everglows’ Sugary Sun Simon Milan Filling An Empty Soul
Content
october 2014
24. Portugal’s The Capricious
Leiria, Portugal-based Alternative Rock band The Capricious present their album, Rise.
22. The Bixby Knolls
It’s dirty, it’s dangerous, and it’s ready for action. Does this sound like the kind of music you might be into?
24. Impala’s Innerscape
Ac egestas augue, sed hendrerit risus. Nulla imper est sed ullamcorper hendrerit augue,
26. John Rakei “Groove Curse”
One of the most important (and difficult) goals to achieve is to develop a signature sound.
28. Float Fall’s Someday
Dream Pop can be an absolutely stunning genre if executed precisel
29. Zombies and Beatles
33. Richie Loop
In the words of Richie Loop on his Facebook page, “I make fun and dance music!”
34. Phil Maggio
Letters From the Fire features five tracks, including a cover and an acoustic cut.
Maggio reveals another perspective of his confidence and sense of self-importance on “Humboldt Fire” .
30. Lyricest Brings the Apocalypse
35. iamMANOLIS
MakeWay Studios does it again, and this one is special.
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On first listen, iamMANOLIS’ Dayte is nothing more than a technical prowess by an undoubtedly very gifted artist.
Editorial letter
W
elcome once again to 24OurMusic! We are consistently growing and reaching farther to all corners of the musical world, building a culmination of some of the world’s most underrated acts both under-the-radar and completely unknown. The diversity of the music we feature continues to be impressive too, ranging from the visceral hip-hop theatrics of Lyricest to the young and ravenous Letters From The Fire, all the way to the nostalgic and gritty sounds of The Bixby Dolls. With each turn of the page, you are sure to discover something that is right up your alley, or perhaps something you never thought you’d ever enjoy. As our magazine continues to feature a beautiful mélange of styles and sounds, it is my hope that you have fun and bask with us in our growth.
Creative Department Creative Director: Karl Nicolas Senior Designer: Justin Everest
Editoral Department Editor-in-Chief: Justin Everest Managing Editor: Brandon Minia Senior Staff Writer: Karl Nicolas Staff Writer: Samantha Mok Staff Writer: Patricia De Oliveira Staff Writer: Trenton Minia Staff Writer: Evan Crandell Staff Writer: Gustan Koumantaros
If you have any questions or would like to advertise with 24OurMusic please contact us with the provided information below. EMAIL: info@24OurMusic.net
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Writer: Patricia Oliveira
Suzanna Choffel’s Archer Is a gift of light CHOFFEL’S A BOHEMIAN, TAKING THE GOOD AND THE BAD INDISCRIMINATELY, AND MAKING OF SOMETHING HEAVY AND ENCUMBERING A GIFT OF LIGHTNESS AND HUMANITY
Austin native Suzanna Choffel is a daughter of soul and jazz, a one of a kind songstress, dealing darkness and light via her siren’s voice. Her third studio album “Archer” is an enthralling mélange of genres, moods and ambiances; poppy urban ballads coexist with melancholic tunes and the ensemble functions and more. Choffel is by no means a newcomer on the music scene; she has greased the wheels of success for years, always appearing in shadows on her album sleeves, she the dimmest area, her music the most brilliant, the whole worthy of a negative photograph. Suzanna Choffel explores the tremors and trepidations of loving and the delights of funky New York promenades alike, injecting bluesy accents and southern sonorities here, Wurlitzers and vibraphones there, and that smoky voice of hers intoning the grittiest of words.
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Her songs’ titles are stories in themselves: “Race Car,” “Archer,” “Stumble.” Choffel’s voice is a honeyed hush, voyaging along the sceneries she depicts, and she is a fine observer too, in hushed tones she may sing, her words cut nonetheless right through skin parcels. In ten sumptuous tracks, she expertly asserts her craftsmanship and demonstrates the intimist genres that are jazz and soul are to be fought for not because it’s a risky thing to do, but because like rap and hip hop’s hustler narrative, these musical currents are the vehicles for distinctive stories. The instrumentation on this record is in that regard telling; saxophones, trumpets, trombones, pianos and drums merrily fuse without the least bit of effort to produce the veritable whirls these songs are. And these don’t feel overworked or mock, rather they appear seamless in spite of all their intricacies and convolutions. The words are simple yet heavy, whispered yet turbulent and the
melodies are always upbeat and cheerful, the devil being in the double entendres and millisecond-long nuances and the scat-like phrasing’s occasional extra bite. Choffel’s a bohemian, taking the good and the bad indiscriminately, and making of something heavy and encumbering a gift of lightness and humanity, accepting not relativizing, and sharing, always sharing because that is what jazz and soul people do. “Archer” is a gem of perseverance as well; Choffel has been around awhile, done the full lap yet hasn’t achieved the kind of recognition she merits, and with her voice part sulfur part silk, she could very well veer off into other musical styles, enchant by the charms of music and song as a siren would and corrupt her morals. But she chooses not to and ultimately that is precisely what renders “Archer” such a laudable feat; with her bow and arrow, Choffel returns and tears the fables to pieces.
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Writer: Trenton Minia
Porter Robinson’s Record Is Out Of This World PORTER ROBINSON’S WORLDS OFFERS A LOT OF TRACKS FOR THE AUDIENCE TO LISTEN THROUGH WITH TWELVE TRACKS IN FIFTY-EIGHT MINUTES. On the scene for nearly a decade, Tel Aviv based rock group Eatliz present their longawaited third LP, All of It. Porter Robinson is already making some serious noise across the electronic music scene. The 22 year old product of Chapel Hill, North Carolina only began making music as a 12 year old. Today, his music is gaining both national and international recognition, performing with other respected producers such as Tiësto,
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Skrillex, and deadmau5, and is finding his own spots on the charts. Amongst his releases include his single “Easy” (with Mat Zo), as well as remixes of Lady Gaga’s “The Edge of Glory” and Yolanda Be Cool/ DCUP’s “We No Speak Americano.” Worlds is Porter’s latest release, brought over to the music universe on August 12, 2014. One notable trait about Porter Robinson’s Worlds is that it features well-known and respected
artists from all over the world. For example, “Divinity” features Broken Social Scene’s Amy Millan. Breanne Düren, who is featured in Owl City’s “The Saltwater Room.” Both she and Sean Casket of Last Dinosaurs sang in Porter’s third track, “Years of War.” “Polygon Dust” also features Norwegian electronic band Lemaitre, as well as Indie bands Imaginary Cities from “Hear the Bells” and Urban Cone from “Lionhearted.” The influence of Eastern Asian culture on Porter Robinson’s Worlds is clear. Right off the bat we see it on the front cover as he uses full-width Japanese punctuation to make an emoticon. Diving into the music, he uses Vocaloid technology (made famous in Japan by Hatsune Miku) in “Sad Machine.” The laid-back fourth track, “Flicker,” features a repeating Japanese phrase that means something about finding what’s important in life. Its music video takes a trip through Japanese landscapes and cities, featuring glitching flickers of colour, pixels, and characters, which are all dominant features of Japanese video games and media. As seen in the “Lionhearted” music video, Porter Robinson appears with Japanese women dressed in youthful Japanese attire, and every-
thing they destroy with weapons also glitch in colours and textures. Porter Robinson’s Worlds offers a lot of tracks for the audience to listen through with twelve tracks in fifty-eight minutes, with some incredbly notable tracks. “Sad Machine,” the album’s moderatelypaced second track, is explosively dreamy. The six-minute song is very dynamic journey that the audience will swim through, with some allusions to Valve’s video game Portal. Sad Machine also utilizes simple and basic harp, orchestral strings, and ocarina synths in a fantastic way to give the listener a calming peace of mind within the song’s quietest moments.
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BEING AN ELECTRONIC AND SYNTH ALBUM, PORTER ROBINSON’S WORLDS SUCCESSFULLY BREAKS THE REPETITIVE EDM FORMULA AND REDEFINES THE GENRE AS HIS OWN.
“Hear the Bells,” the album’s seventh track, has an urgent introduction but also a laid-back and calming chorus with euro-like pop synths and heavily-reverbed vocals. The album’s last three tracks, “Sea of Voices,” “Fellow Feelings,” and “Goodbye to a World,” are cinematically packed to wrap the album up. Being an electronic and synth album, Porter Robinson’s Worlds successfully breaks the repetitive EDM formula and redefines the genre as his own. His creative use of vocal effects and synthesizers morph the world into a video game fantasy of happiness and tragedy. It takes an open-minded electronic listener to appreciate Porter’s music, as it is, without a doubt, different from the usual EDM we’re all used to. But it’s truly amazing that at such a young age, Porter is already producing; he has his own definition of music in his mind and he is sharing it with the world at great execution. It’s
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still difficult to determine where Porter Robinson will stand in the electronic music scene ten or twenty years down the road, but Worlds serves as a building block to Porter’s own electronic music world. Fans can expect his future releases to be taken to new levels, each and every time.
Porter Robinson The 22 year old only began music as a 12 year old. 11 – 24OURMUSIC
Eatiz Gives Us “All Of It” On the scene for nearly a decade, Tel Aviv based rock group Eatliz present their longawaited third LP, All of It. This critically acclaimed five-piece art band is one of Israel’s hottest acts, with a growing cult following across the world. All of It, a project two years in the making, is a 10-track effort well worth the wait. The LP opens with “One Of Us,” a four-minute invitation into Eatliz’s diverse musical universe. Listening to this track, you almost immediately understand their worldwide appeal. This sonic trip features production of the highest quality. Heightened by their self-awareness, Eatliz flex their
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collective muscles with “Miserable.” The song’s evocative melody creates an atmosphere of brevity that is only enhanced by front-woman Sivan Abelson’s nightmarishly dreamy vocals. The mix is both deep and haunting, in the best possible way. Track three, “Bees,” is a much softer song than the previous two outings. While not as heart pumping and thunderous as “Miserable,” the track’s pop inspired melody speaks to Eatliz’s diversity as a band. Tracks four and five, “Lilith” and “Misanthrope,” are highlighted by their lyrics. Written by Abelson and guitarist Guy Ben Shetri, both “Lilith” and “Misanthrope” possess an exciting depth through their words. “A version of me crawls from under my bed,” sings Abelson
in “Lilith.” “She sits on a chair with a cloud for a head / Playing me music that I’ve never heard / Like thousands of bats singing, ‘Your love is dead’.” Displaying an equal measure of lyrical mastery, “A Giant Fall,” the sixth track off All of It, is another moody, haunting song that, along with “Miserable,” is among the highlights of the EP. The dreamy, melancholy melodies of tracks seven and eight, “Heavenly” and “A visit to Dendroida,” make them feel like one song and act as a cooling off period for the listener before the unpredictable ninth track, “Potion.” The jarring, contradictory melody of this four-minute adventure is unlike anything else on the EP, and unlike anything heard in contemporary music. It is a song to be appreciated and experienced.
The final track on All of It, “Last Bite,” might be the EP’s most traditional sounding song, but it is also its most beautiful. The amalgamation of strong lyrics, perfect production and Abelson’s hypnotic voice, create the perfect ending to Eatliz’s uniquely fresh sound. If you’re looking for something new, unique and exciting, All of It is a must listen.
Writer: Goustan Koumantaros
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Janelle Monae The production and songcraft on The Electric Lady is astounding. 14 – 24OURMUSIC
Writer: Evan Crandell
Janelle Monae Shocks Us With The Electric Lady
THE ELECTRIC LADY HAS PLENTY TO OFFER LISTENERS IN TERMS OF SOPHISTICATED MUSIC MAKING Welcome back to the world of Cindi Mayweather. Oh, you don’t know her? Let’s get you up to speed. Mayweather is the alter ego of singer Janelle Monáe and plays the central role in Monáe’s ongoing seven-part Metropolis suite. Mayweather is a feisty, rebellious android amid a post-millennial dystopia. The album The Electric Lady serves as parts four and five in the suite, following Monáe’s 2007 debut EP Metropolis: Suite I (The Chase) and her subsequent full-length album
The ArchAndroid (2010). Although it is enticing and relatively easy to get wrapped up in the universe Monáe has created with these works, The Electric Lady has plenty to offer listeners in terms of sophisticated music making and several songs that stand alone on their own merit. The production and songcraft on The Electric Lady, covered by Monáe and her associates at the Wondaland Arts Society, is astounding. The sassy, futuristic sonic aesthetic laid
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down by Chuck Lightning, Nate “Rocket” Wonder, and Roman GianArthur perfectly suit Monáe’s buoyant but calculated vocal presence. Delving into the intricacies of the production would take hours of deep, active listening, but any lay listener in one hearing can easily notice the massive amount of work and attention to detail that went into the construction of this album. Each part of the suite on the album is introduced by grand symphonic overtures that sound almost like Quincy Jones was hired to compose a James Bond score. Careful listeners will also notice string arrangements interspersed throughout the album, tying the occasionally sprawling musical ideas together, much like in the world of opera and musical theater. Aside from the string arrangements, the production on the album is all at once entirely original while also being noticeably reminiscent of 70s and 80s funk and soul acts like Stevie Wonder and The Jackson 5. At the center of it all, though, is always Monáe and her pure and soulful vocals. She splits her time on The Electric Lady delivering playful dance material like on the bouncy “Dance Apocalyptic,” diving into love themes as found in the steamy slow jam duet with Miguel “PrimeTime,” and revealing a more introspective, 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
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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 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.
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Mike Metro & Simon Milan
Filling An Empty Soul
METRO’S COMPOSITION AND PRODUCTION ARE WELL SUITED FOR MILAN’S SULTRY GUITAR LINES Many years from now, when music historians are examining this current era of musical genres, they will probably note an influx of blending different genres together. The Internet and social media have made music as accessible as ever and have aided in the cross-communication between people in different places and of different backgrounds. One of the more seemingly odd combinations to take place in recent years is jazz house music, championed by Australian beat maker Mike Metro. In his recent single “Empty Soul” featuring Simon Milan on guitar, Metro combines elements of jazz, house, blues, and soul music to create a thoughtful, driving track that respects its stylistic inspirations. The song begins with sustained guitar and keyboard chords, laying down a musical pad for a melancholic female vocal sample. As the energy builds toward the beat drop, Milan strays from his chords and beings responding to the vocal lines with bluesy guitar licks. The beat enters with a typical house drumbeat and a funky, repetitive synth bass line that is soon joined by Milan’s guitar, first with accompanying chords, and then doubling the bass riff. The vocals then return as
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the bass drops out and carry on to a breakdown, all the while with Milan in conversation with the vocalist. After everything drops out except Milan and the drums, the original drum beat and bass riff return, now doubled by the guitar, continuing to a fadeout. Metro’s composition and production are well suited for Milan’s sultry guitar lines, and together with the vocal samples, they concoct a song that works as the sum of several varying influences. While some listeners might key in on the propulsive drum beat and bass riff, others might focus on Milan’s tasteful lines, or perhaps the airy but sorrowful vocals. One of the happy consequences of mixing styles is that there are elements in the music that appeal to different kinds of people, an occurrence clearly evident in “Empty Soul.” Whether the listener is looking for a dance track or a song to reflect on inner pain, Mike Metro and Simon Milan deliver.
Writer: Evan Crandell
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ON PHOTO: Unlike some of their previous tracks, “Sugary Sun” does seem to have more of a 70s British punk edge to it, sounding not too unlike The Buzzcocks or The Damned.
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Writer: Samantha Mok
The Everglows’ Sugary Sun A Much Welcomed Nostalgia “SUGARY SUN” BRINGS BACK TO THE TABLE EVERYTHING WE’VE COME TO LIKE ABOUT THE EVERGLOWS SO FAR The last time we heard from The Everglows, we praised the London three-piece for their stand out approach to 60s mod rock for the new millennia and the success of their impressively catchy and energetic single “Rainy Day Summer.” This week, I’m happy to report that The Everglows are back on our radar with their equally noteworthy release, “Sugary Sun.” “Sugary Sun” brings back to the table everything we’ve come to like about The Everglows so far: simple but straightforward songwriting and a short but sweet barrage of fast drums and fuzz guitar. There is an undeniable sense of liveliness that every piece of this band’s discography seems to embody, and this track is no different. Unlike some of their previous tracks, “Sugary Sun” does seem to have more of a 70s British punk edge to it, sounding not too unlike The Buzzcocks or The Damned. Again, this speaks as a great testament to the band’s ability to recapture great, early eras of British rock in 2014. One of the criticisms we had for our last Everglows review touched on some production flaws, as the
vocals tended to sound drowned out or indecipherable at times. On “Sugary Sun”, this seems to be less of an issue and as a whole, the song seems a lot more consistently balanced, both production-wise and from a song-writing perspective. To narrow in a bit further, one of the best moments of the entire track happens around the 1:38 mark during the song’s bridge, which highlights the band’s catchier Brit pop side for a brief moment. From this point onwards, each layer of instrumentation seems to stand out more than it did before – most notably, the bass guitar seems to absolutely growl from here on out, which is a very, very cool detail. Ultimately, there are a lot of things from the 60s and 70s that should probably stay where they are – bellbottoms, go-go boots, disco, etc. But when it comes to things like mod rock, brit pop, and 70s punk, I’m rather glad for bands like The Everglows which seem to be at the forefront of their revitalization. In my last review, I closed by noting how refreshing it is to see a band who “so clearly know what they are meant to do and do it well”; this is still a statement I strongly stand by.
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Writer: Samantha Mok
The Bixby Knolls’ Bite Viciously With Tomorrow Never Comes I have a confession: I am the biggest sucker for anything that sounds like it should be the soundtrack to speeding through empty roads in the middle of the night, possibly in the rain, on the way towards crazy adventures while wearing a leather jacket (like maybe fighting criminals or robbing a bank… well, maybe not robbing a bank). It’s dirty, it’s dangerous, and it’s ready for action. Does this sound like the kind of music you might be into? If it does, I’ve got some good news for you. Formed in 2009, The Bixby Knolls are a four-piece band hailing from Los Angeles, CA – although you’d have a hard time placing them given the range of influences their music seems to embody. Think about the bite and anthemic punch of Brit and power pop with the perfect hit of dark and drawling garage rock, and I suppose you’d be somewhere close, but confining the band to a list of genres would be selling them short. Adding to numerous tours and a full-length album, the band’s latest accomplishment comes in the form of their most recent EP, Tomorrow Never Comes (2014). Though it clocks in with less than 20 minutes, the four-track EP packs in electronic riffs, howling vocals, fuzz guitars and growling basses, heavy hitting drum driven beats, and everything in between (including hand claps, which are always a good thing). If this EP is your first foray into the Bixby Knoll’s catalogue, Tomorrow Never Comes certainly sets the tone. This is a band
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that clearly knows their way around composing a solid, multilayered instrumental track, given how well each riff, cymbal crash, bass and percussion line blend into one another before giving way to front man Curt Barlage’s signature vocal drawl, full of conviction and a story to tell. “Juvenile Heart Crime” is dark, dreamy, and catchy, but ultimately very focused and deliberate. The second track, “Preacher, Teacher”, takes a somewhat mellower turn, resulting sonically in what sounds like a very good revival of The Clash’s Combat Rock era. The latter half of the EP provides a good demonstration of the band’s versatility and navigation of sounds, as tracks 3 and 4 take a much more New Wave and Britpop-influenced approach. As far as potential singles go, the eponymous “Tomorrow Never Comes” seems to be the track that stands out the most on the EP – catchy and rhythmic without compromising any of the band’s instrumental strengths or stylistic touches (think Moz and The Smiths or Duran Duran, but heavier). That being said, the EP’s closing track “You Gotta Give” could very well give the latter track a run for it’s money, as it seems to be the track that really takes the best of both worlds The Bixby Knolls seem to come from. Catchy, but substantial, energetic but with the right amount of darkness and melancholy – there really is no end to hybrid of sounds and sense that The Bixby Knolls seem to be able to create with just four tracks. Suffice it to say that Tomorrow Never Comes is an all-around solid EP that is most definitely worth looking into, as I’m sure it is only a preview of what this LA band has in store.
The Bixby Knolls Catchy, but substantial, energetic but with the right amount of darkness and melancholy. 23 – 24OURMUSIC
Writer: Patricia Oliveira
Tame Impala’s Uncharted Innerscape THESE AUSTRALIAN WIZARDS ENCAPSULATE THE VERY FABRIC OF YOUTH, ITS AGGRANDIZING EGOS, ITS HEAVY BEATS AND MELLOWNESS.
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Aussie rock three-piece Tame Impala is what Arthurian legend Merlin was frequently called: a wizard and a madman.
to be heard as a whole; indeed it would be hard to pick out favorite songs. None particularly stands out; rather all function as a link to a greater picture and feel.
These Perth natives have made a business of dipping with a hand most gentle and a one of a kind suaveness into the vintage archive and retrieve its most gleaming scrapes. Masters of the trippy – each of their song feels as a grand psychedelic circus – Tame Impala are fusion cooks with largesse, throwing 60’s rock killer riffs, British pop and psychedelia into one vast cast-iron wok. Their debut album InnerSpeaker released in 2010 with its veiled vocals and menagerie of instruments paints the image of a far-off wonderland where certain languor reigns. The record is meant
An interesting dose of melancholy tinges InnerSpeaker, a pop dreaminess close to the likes of Maryland based Beach House’s, slow-moving and ethereal. One can detect such influences as MGMT and Led Zeppelin in Tame Impala’s exploratory endeavor, an all-engulfing appetite for novelty and risk-taking. Vocalist Kevin Parker’s distinctive timber and use of multiple effects pedals contribute to a great extent to the formation’s musical ambience; the former is an unforgettable attraction, the latter allows for a variety of guitar tones, the predominant instrument here. Park is involved in
various bands outside of main act Tame Impala and is part of the large Perth music scene; a voyager he is, careening along beaten paths, veering off when needed. The retro shiny coat on this record is a seductive one but the story doesn’t end there, thankfully so, and that is why InnerSpeaker is such a stunning debut: as much as the album borrows from the past, the resulting mélange is not one bit old or forced. InnerSpeaker is a synesthetic experience in that it engages and unites all five senses. The record’s sleeve and its after-image like trails of trees and clouds contribute to the progressive deepening into the sensory maze of human perception that the album triggers. And with their overabundance of sounds and effects, the hazy vocals and the reverb and the fuzz, all trademarks of psychedelic rock, Tame Impala create these alien yet familiar symphonies to expand minds to. And it is in the intuitive arranging of things, things we otherwise know by instinct, that these Australian wizards encapsulate the very fabric of youth, its aggrandizing egos, its heavy beats and mellowness, its expansiveness and abrupt end which cedes place to nostalgic recollection. And in their maddening journey to reconstructing a given state of mind and being, Tame Impala brought to sound a breadth so vast it touches each and every one of us.
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Jordan Rakei Sets A G For any musician, regardless of background or genre, one of the most important (and difficult) goals to achieve is to develop a signature sound. This objective can take years of practice and experimentation before audiences need only a few seconds of music to easily recognize its creator. Australian multi-instrumentalist and singer Jordan Rakei has certainly found that auditory and creative haven. In his sophomore EP “Groove Curse,” with its laid back beats, tasteful musicianship, and soulful vocals, if someone were to drop the needle on any of the five tracks, she or he would be able to tell unquestionably that it’s Jordan Rakei, and that his sound is that of superb quality. While listening to “Groove Curse,”
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it’s often difficult to choose which elements to marvel at first. Rakei’s singing and lush vocal harmonizing throughout the set are confident and expressive, reminiscent of John Legend. Beyond the vocal delivery, Rakei wrote or co-wrote all of the songs and takes care of the majority of the instruments and production on the EP. It’s rare nowadays to find a musician with such a succinct vision for the music and the ability to execute the bulk of the work, much like Stevie Wonder and Prince did years ago. Rakei makes these challenges seem effortless. Some highlights from “Groove Curse” include “Street Light” which showcases Rakei’s laid back beat sensibility, perhaps influenced by the late producer J Dilla. The track also features Rakei’s understated but effective arranging techniques
Groove Curse Upon Us and a sensual guest vocal spot from Gwen Bunn. The introduction to “A Tribe Called Government” reminds us that aside from singing and producing, Rakei has considerable keyboard chops as well, with his Rhodes intro that, while remaining funky, ventures into some exciting harmonic territory toward the end of the line. This track is as close as Rakei gets to writing about politics, with lines like “The government and me, where my fantasy’s free / we spend all our money on a fantasy tree / and we chop it and we chip it and turn it to pulp / and we press it and we print it just to give us some wealth.”
don’t want to see no more, alright” over the soulful, floating 6/8 groove. Also worth noting is his piano solo, which reflects a musician whose musical output is completely consistent and aligned, whether it’s in his programming, synth bass playing, or improvising. Throughout “Groove Curse,” Rakei seems to employ the idea that less is more, in his compositions, arrangements, and production. All the parts of each song seem to fit right into place, none drawing too much attention. The result is a cohesive, heartfelt work that will succeed as much to the casual listener as it will to the active critic.
“Alright” is a noticeably positive departure from the rest of the songs as it has more live instruments than any other track on the EP. The song, which was recently featured on Gilles Peterson’s renowned BBC6 radio show, gives us a window in Rakei’s raw emotions, as he repeatedly croons, “I
Writer: Evan Crandell
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Float Fall’s Someday Calming and Dreamy Dream Pop can be an absolutely stunning genre if executed precisely. Aside from trying to sound differently from Owl City and The Postal Service, Dream Pop should be able to paint a picture or a moving scene in the audience’s minds both aurally and visually, and produce the music as “dreamy” as possible. The audience should be able to see it, feel it, and hear the music simultaneously the moment they close their eyes. Float Fall is an electronic duo based in Leuven, Belgium, and is composed of Rozanne Descheemaeker and Ruben Lefever. Among their released singles is “Someday,” released approximately a year ago.
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The approximately four-minute song starts with soothing atmospheric synths, soothing bass, and snare drums bouncing alluringly. Ruben, whose vocals introduce the first verse, sets the temperature of the song with the lyrics: “It’s cold outside. It’s wintertime.” After a quiet verse, the song builds with the addition of a soft reverbed chorus. A wailing guitar kicks in the second verse, and plucked guitars kick in at the second chorus. The song gradually builds up towards roughly at the two-minute mark, where it features thunderous triballike drums, screaming guitars, and melodic synths. The song breaks back down to quietness and the chorus is repeated, before the song ends with a dynamic synth.
Both Rozanne and Ruben show great chemistry to produce a misty, calming, moving picture with their dynamic and dramatic vocal work. Float Fall’s Someday is calming and dreamy; it has all the ingredients to have an impacting dream pop song. Any listener looking to add to their dream-pop playlist should highly consider adding Float Fall. As long as they can deliver to listeners more of what they can do, they should be able to take off.
Writer: Trenton
Text: John Doe
Zombies and Beatles: Letters From The Fire
Photograph: David Adams Editor: Anna Smith
Letters From The Fire is a five-piece metal band from the San Francisco Bay Area, California. Their lineup consists of Elliot Weber on vocals, Mike Keller and Grayson Hurd on guitars, Clayton Wages on bass, and Ben Anderson on drums. The band’s founder, Mike Keller, became inspired to start his own rock band when Metallica, along with Limp Bizkit, Linkin Park, Deftones, and Mudvayne brought their talents to Candlestick Park, San Francisco for their Summer Sanitarium Tour in 2003. Coming a long way, from casual jam sessions to the studio and stage, and from changing their name from Park Lane to Letters From the Fire, they present their latest self-titled release from the summer of August 2014. Letters From the Fire features five tracks, including a cover and an acoustic cut. The first track, “Zombies in the Sun,” introduces the album. This song begins with a dark build-up of mysterious grinding synths, which prepares us for what comes next: fast-paced guitars, high-jumping drums, and emotionally-filled vocals and screams, with a slow assaulting chorus and a warpacked bridge, complete with instrumental break near the end, like you’re fighting the zombies yourself.
Minia
Their rendition finds tremendous balance between both effort and sound, and they successfully avoid the traps of other rock bands when they cover pop songs with noisy 4/4 crashes, power chords, and screams; Letters From the Fire’s rendition of Eleanor Rigby should easily be an instant favourite for any rock fan. The extended play’s third track, “This Moment,” offers nearly the same to its previous tracks on the album, delivering fast-paced action of epic vocals, drums, guitars, and dynamic bass. The fourth track, “Waiting,” is beautifully cinematic and easily serves as the album’s slow side. This piece holds emotion, tragedy, anger, sadness, courage, and ambition. Letters From the Fire EP’s epic slow song is succeeded by an acoustic version of “Zombies in the Sun,” and even though it just features vocals, acoustic guitars, and a cajón (you know, that box with a hole in it), it’s just as elevating as its counterpart. It’s so difficult to find the one right word to describe Letters From the Fire’s self-titled EP; “impressive” just might not be enough. In just five songs, it delivers tons of fuel to add to your rock playlists.
The album’s second track, “Eleanor Rigby,” is LFTF’s rendition of The Beatles’ classic, and is already finding success in the rock scene, already reaching #41 on the Active Rock Radio charts. Letters From the Fire added their own LFTF flair to this song, providing loneliness, rage, and aggressive inspiration as the side-dishes.
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Writer: Brandon Minia
Lyricest Brings the Apocalypse PRESENTING LYRICEST’S DEBUT RECORD APOCALYPSE, THIS TWELVETRACK RECORD WILL SURELY SWEEP YOU OFF YOUR FEET.
Debut Album senting Lyricest’s debut record Apocalypse, this twelvetrack record will surely sweep you off your feet.
MakeWay Studios does it again, and this one is special.
There are no restraints, despite beginning with a mellow vibe. Track one’s “Aller Simple” featuring MakeWay’s rising star Orphan has a very orchestral vibe to it, stylishly sweeping through verse and chorus and maintaining an ominous swagger all the way through. “Baiser baiser tard la nuit / fuck the world for the fuck of it / J’lève mon verre à l’apocalypse”; right at the start of the record, Lyricest rolls with a mighty and aggressive musical force, fierce yet elegant, dancing in the midst of some tight production. This heavy bite continues in track two with “Dans ma zone” featuring Freddy Gruesum.
Finally, from the city of Montreal, the hip-hop studio releases something that seems to spiritually and truly embody the culturally rich city: jazzy beats, heavy bass, unquestionable swagger and, best of all, an incredibly stylish mélange of lyrics in English et en Français. Pre-
The cinematic aspect of the album continues in track three, which is more of an interlude, but does not fall short on quality. “Bouteille à la mer (partie 1)” is more personal, visceral, and angst-laiden, and with lines such as “J’continue d’combattre mais kess ke jpeux faire
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devant tant d’refus,” Lyricest calls the listener forth to revel in his dark world with him.
The record concludes with “Trône de lotus,” a more upbeat track on the record that emanates a lot of familiar vibes from MakeWay Studios, before ending with the third and final installment of “Bouteille à la mer.”
“Satoshi Nakamoto” featuring FiligraNn is a lyrical masterpiece, which includes a ferocious word Lyricest’s “Apocalypse” is an absolute exchange between Lyricest and FiligraNn. gem, combining the aggression of The production of the beats, the perthe rapper’s fierce English and cussive nuances of the lyrics (proFrench lyrics with the deep nounced all the more with the THIS RECORD production of MakeWay Studios. beauty of the French language) IS THE MANIFESThis record is the manifestaflows strongly here, which TATION OF SWAGGER AND tion of swagger and beauty, only continues in track five’s and it’s one that listeners will “Roulette russe,” arguably the BEAUTY, AND IT’S ONE want to play to over and over album’s strongest track. THAT LISTENERS WILL again. With great cuts such as WANT TO PLAY TO OVER “Roulette russe” and “Romance With the record’s catchiest d’été,” you will definitely not chorus and it’s amazing conAND OVER AGAIN. want to miss out on this record. trast to Lyricest’s aggressive and We all know the world is ending emotionally cutting lyrics, “Rouone day, but Lyricest’s “Apocalypse” lette russe” is one of those tracks is the beginning of something incredyou’ll have playing on repeat, cruising at ibly beautiful. night with the windows down. The amount of chill and swagger that emanates throughout this track is outstanding; truly a can’t miss hit for all listeners. “Left me wondering” has a more 80’s vibe to it, complete with a trippy synth that perpetuates throughout the song. Topped by another one of the record’s catchiest choruses and compounded by more of Lyricest’s ferocious rap, this track’s got unbelievable head-bobbing swagger that will leave the listener nodding in approval all throughout. The 80’s vibe continues with part two of the “Bouteille à la mer” interludes on track eight, casually reminding the listener of the record’s strong cinematic quality. “Romance d’été” on track nine is the sunniest track on the album, a welcome change of pace from the aggressive fire of Lyricest, without sacrificing the edge he brings to this album. There are many things wonderful about this track, from the nostalgic and bright lyrics, to the chill head-bobbing beat that perpetuates in the background, to the sweet electric piano crooning along with the verses. This is a song that will surely help you recall your own summer romances and leave you feeling strange and perhaps fluffy on the inside.
ON PHOTO:
We all know the world is ending one
day, but Lyricest’s “Apocalypse” is the beginning of something incredibly beautiful.
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Richie Loop shows us how to have a good time... 32 – 24OURMUSIC
Writer: Evan Crandell
Richie Loop Turns It Up THIS TRACK REPRESENTS RICHIE’S ABILITY TO TAP INTO OUR TIMELESS INSATIABLE URGE AS HUMAN BEINGS TO HAVE FUN.
In the words of Richie Loop on his Facebook page, “I make fun and dance music!” The young Jamaican singer/songwriter and producer clearly has a succinct vision for his musical output, a credo that is evident in his recent single, “Turn It Up.” The radio-ready song is fit for anyone wanting to party. “Turn It Up” makes no bones about its intent as a club banger. After its pulsing instrumental intro Richie enters with a vocal refrain that returns throughout the song, in which he sings, “Tonight we gonna turn it up/We got drinks/We gonna turn it up, yeah/Right now we gonna turn it up/What’s in my cup goes to my gut/Everybody in the club throw your hands up.” Richie’s subsequent verses cover various topics surrounding partying and club culture. Anyone listening to this song will probably be focused on one thing: having a good time.
The accompaniment and production on the track are tight but understated. Complete with a thumping bass line, airy synth pads laying down the simple chord progression, a (slightly) varying bridge section, and a minimal drum beat, “Turn It Up” has the ingredients of standard pop music fare. Although these elements are noticeable and solid, what makes the song unique is unquestionably Richie’s catchy vocal hook. This isn’t a song to sit down and contemplate the complexities of life to; this track represents Richie’s ability to tap into our timeless insatiable urge as human beings to have fun. People will crave a musical release from the struggles of every day life, and that manifests itself in a song that is catchy and fun as this one. When we find ourselves in those time of need, songs like “Turn It Up” will be there to lift our spirits and to make us dance.
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Phil Maggio Gets Personal On Goreiginal Maggio reveals another perspective of his confidence and sense of self-importance on “Humboldt Fire” where he raps, “Hearing skills of this magnitude’s about as rare as an I-like-to-share attitude / When every rapper dude seems like a hoarder / the way they’re feestylin’ in the corner with recorders.” Maggio appears not to consider himself a tortured, reclusive artist and feels that his music needs to be heard.
Sometimes listening to an album is like watching a film or reading a book. There are themes explored through different chapters and an overarching story that ties everything together. Other times listening to an album is like reading pages out of someone’s diary, becoming aware of that person’s raw and oftentimes disjointed thoughts and feelings. Phil Maggio’s recent release Goreiginal falls into the latter category. The Utah-based rapper gives listeners an unfiltered lens into his psyche, offering an introspective and sometimes dark collection of songs. The focal point of Goreiginal is certainly Maggio’s lyrics, which reflect a man still grappling with the issue of finding his own identity in the world. In “Two Hot” he writes, “I write my rage on a page ‘til it’s filled like a cup left out in the rain / then it spills / can’t contain it.” Later in the song, Maggio’s feelings about his own skills are shown to be inconsistent. After boasting through verses about his rapping and sexual prowess, he ends the song by berating himself and his misogynistic lyrics, even bashing his own beat. It’s either a self-reflective musing about his juvenile sex fantasies or a jab at his haters who undoubtedly challenge him when he spouts insensitive lyrics about women.
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The sense of Goreiginal being a stream of consciousness, diary type album is perpetuated by self-deprecating tracks like “Blood’s Blue But Bleeds Burgundy.” In it, Maggio laments about his mistakes and faults that led to missed opportunities in his life. He writes, “The mere fact that kids won’t remember me is throwing salt and insult to injury / I knew fault would be involved eventually when the kid bombs like the end-all of history.” Perhaps all of Maggio’s bravado sprinkled through the album is simply his own fantasy, a perception of his artistic self that he once strove for but could not obtain. It is clear on Goreiginal that Maggio’s intent was not to make a rap album with pop tendencies. There are no hooks on the album and the instrumental tracks come off more as moody compositional sketches. Maggio does succeed in creating a consistent auditory aesthetic throughout the album, one that is laid back and contemplative. Listeners truly get a view into Maggio’s consciousness. Everything on the album – words and music – reflects the unfiltered and sometimes unorganized moods of its creator.
Writer: Evan Crandell
Writer: Patricia Oliveira
iamMANOLIS’s 80’s Grail DAYTE IS NOTHING MORE THAN A TECHNICAL PROWESS BY AN UNDOUBTEDLY VERY GIFTED ARTIST
Album Review spot. iamMANOLIS clings to the vestiges of the period’s glorious and high-spirited ways in a non-wry, non-ironic fashion, Dayte being a celebration, or rather a conjuring up of the liberalization and laissez-faire the time period saw, hence the pervasive upbeatness and vitality.
iamMANOLIS is a multi-instrumentalist from Greece who draws his influences from the 70’s and 80’s and its omnipresent synths, disco feel and retro-futuristic fervor. Dayte, his most recent release is a collection of twelve instrumental songs which abundantly borrows from the era’s stripped-down funk and electro-pop shockwaves, if not attempts to emulate it. Whether in sound or aesthetics, iamMANOLIS is no tribute giver or revivalist; his work is not infused with the nostalgia of bygone wonders; rather it appears the man may be trying to reenact and re-erect the essence of eighties bliss with powerfully constructed tunes, whose saccharine titles “My Future Girlfriend,” ‘After Sunset,” “Escape Vacations” simply hit the
On first listen, iamMANOLIS’ Dayte is nothing more than a technical prowess by an undoubtedly very gifted artist. On closer inspection, it seems the Greece native is guilty indeed of resurrecting the mood of a beloved two decades’ fun and groovy madness, the violet lights and platform shoes, the glitter and the puffy hairdos, the boombox and tanning fever, the sexual revolution and the allure of space voyages and tech gadgets. iamMANOLIS invokes the imagery so dear to eighties dwellers and amateurs alike, and he does it without ostentation or artifice in the space of twelve raving tracks. His flair for good music leaves one in awe, egging dancers on to the floor and nostalgists to don once more their party attires, be they unseemly or pseudo-passé. Suddenly, the eighties are the time to be for both veterans and newcomers, and although with the new millennium interest for electronic music was renewed with a clear synthpop revival, it seems the injecting of modernity into past genres has been the rule rather than the exception. iamMANOLIS has shied away from this reengineering penchant, favoring instead the extraction of nectar — organic, not modified. Dayte belongs in and to the eighties, and should be regarded as an artefact of the past one should be so lucky to possess.
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