What is normally a hyped-up festival began with chaotic guesswork; it was difficult to know which of the multitude of bands to catch without hours of listening beforehand. This year, the four-day music festival in Victoria, BC, took on an outer space theme, and the tagline “A weekend of discovery,” a statement which has never been more true.

Thankfully, on the flipside, what the festival does best is unify the city and its residents over four nights of spontaneity, all in the name of the unexpected. What makes Rifflandia, or Riff, so unique in the first place is its multi-venue approach, in addition to two main stages located at Royal Athletic Park, better known as the “Park”, Riff 2014 managed to book over 150 artists at 15 venues located around Victoria – no small feat for the size of the city.

Highlights included a flashy lights show to Tiger and Woods and a retro performance by Cool that can only be described as “rad.” (They sold tapes instead of records or CDs – I’d call that pretty Cool.)

But the real cherry on top was Pickwick’s performance at the gorgeous Alix Goolden Hall church on Friday night. After crowds had listened to hours of mediocre electronica, they offered up incredible energy, spirit, and unexpected beauty. The six-piece indie rock band from Seattle invoked a sense of realness, not to mention flawless acoustics that amounted to the perfect Rifflandia moment.

Half Moon Run also delivered tight performances on both Saturday night and Sunday afternoon, in what were, perhaps, the most current and highly anticipated shows the festival had to offer this year.

Alternatively, Born Ruffians delivered a lukewarm performance at the Park on Friday, followed by the adorable Dragonette, who, despite being somewhat of a has-been, literally appeared out of dry ice, getting the audience’s hands high in the air with old favourites.

Over the course of the weekend, the Park boasted the usual array of food trucks, mini shops and merch, including Rifflandia t-shirts with “September Forever” in caps across the front. In typical festival fashion, hipsters with floral crowns spent long afternoons soaking up the last of the summer sun. Rifflandia is a festival that captures the spirit of summer and holds it in its palm for one last time.

To conclude a weekend full of surprises, an actual meteor streamed across the sky during Death Cab for Cutie, eerily matching this year’s galactic theme. It’s moments like this that make Riff just so damn magical. It’s quite simply hard not to love Rifflandia.

While the initial release of the lineup suffered from a little bit of backlash, as always, fans of the much-loved festival (or rather, everyone in Victoria) came crawling back and it was no less out of this world than it has been in the past. Cheers, Rifflandia. And here’s to next year.

See more photos from the festival here.

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What is most striking about MØ, a 25-year-old up and coming artist who has a hard to define brand of alternative pop, is her down-to-earth nature. For someone who’s quickly on the rise to fame, she’s unbelievably normal. I had the chance to talk to the budding musician and performer about her album, youth and how we’re all made of stardust.

Her debut album, No Mythologies To Follow, is a punchy, beat-heavy meditation on youthful uncertainty, a project MØ, or Karen Marie Ørsted, describes as a dream come true. “I’m very, very happy with the album, because you know, I believed in the album”, she says. When I complemented her on the album’s success, which has earned consistently positive praise since its release in March, she gushed a surprised thanks with a genuine sense of warmth.

Perhaps her normalcy has something to do with the fact that she writes all of her own music at her parents’ house in Denmark. Not surprisingly, she places a particular importance on teenage years as a time of both frustration and wonder. In her adorable, unmistakable Danish accent, she asked for clarification on a question about her teenage years, “Oh, my teen years? The teen years have made a huge difference to me, you know, in a good way. I think I learned a lot,” she said, admitting that for her they weren’t always carefree, a fact that has ultimately given her creative fuel.

It’s really almost as if MØ is a high school classmate, spilling out her deepest thoughts over the phone, it feels like a private conversation. It’s also apparent that she’s not afraid to be upfront about her thoughts and beliefs. In fact, she’s developed a reputation for having an outspoken, rebellious attitude, in her musical style and her image, her hit, “Waste of Time”, being the perfect example. She admitted that as part of the punk activist movement in Denmark as a teen, she developed a sense of rebellion and attitude that has carried over to her current, sometimes defiant, girl-power sound.

With those days behind her for now, it becomes obvious that in spite of her public image, MØ is actually quite reflective and sentimental. She oozes a youthful charm, and in a way, a kind of innocence. “Well, I mean like, as much as I have this rebellious, aggressive, energetic kind of side to my persona, I’m also, you know, emotional, I’m very aware of my vulnerable side.”

“I guess I’ve always kind of been a melancholic person,” she continued, “And you know, all the vocals I recorded on my own in kind of a silent place, so that’s a good way for me to kind of get in touch with the feelings that you have writing the lyrics.”

Growing up in Denmark, she gained inspiration from nature and its vastness. “Yeah, well I mean, I get very inspired, or how could you say, moody and stuff like that. Like you know sometimes when you just feel like your surroundings are beautiful? I know it sounds cheesy, but you know, like [on] a walk in the mountains, or if you’re on your own by the countryside, you get this feeling of greatness sometimes, like the world is big and you’re [made] out of matter…but you’re still a part of this big, big thing. This big puzzle.”

Her candor, as well as her approach to songwriting, is refreshing. “New music is coming up”, she disclosed. MØ and her producer, Ronni Vindahl, are already in the process of working on new songs while on tour. Until then, MØ continues to wonder, and to contemplate the stuff beyond the shining success of her album, and her rock star persona. When I ask her how surroundings, such as the city, inspire her music, her voice returns to a thoughtful tone as she said: “It’s more like a ‘what is all this?’ you know? And you can look at it and find it very, very beautiful and kind of weird.”

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The Danish soon-to-be-sensation, whose real name is Karen Marie Ørsted, is just cool. And it’s not simply because she’s super Scandinavian, fashionable and has a great voice. Apparently, it comes naturally to her – in the album’s centrepiece, “Walk This Way,” she belts out, “All my life / I’ve stepped to the rhythm / of the drums inside / Hey yeah yeah yeah.” Unruffled and unapologetic, Ørsted has been compared to Santigold, Twin Shadow and Lykke Li, but maintains her own.

Straight out of a galaxy of glitter and gold, platforms and cool hair, MØ is hardly bursting onto the scene, having released more than a handful of singles and an EP since 2012. It’s more of a slow-burning success hinged upon the genius marketing of a contemporary babe. Whatever the case, she’s going to be big.

It’s hard to imagine that the full-length recording could top the quality of her already released singles, but somehow she’s done it – the album delivers anthem after sparkling anthem.

Her brilliant collaboration with renowned producer and DJ, Diplo, on “XXX 88” shows her versatility with hints of Major Lazer, while the previously unreleased tracks on the album are creative gems, including “Slow Love,” a sultry, echoing ode to Grimes, and “Red in the Grey,” with its solid hip hop groove.

Although on certain tracks, MØ’s moody pout is hardly discernible from Lana del Rey’s, particularly in “Dust Is Gone” as she croons, “Have you kissed the lips of the one you like so hard / you couldn’t stay alive?” Luckily, she makes up for her sad streak with incredibly catchy hooks and danceable rhythms. At times, No Mythologies also plays like a dark and brooding breakup album, and switches to a soundtrack to dancing in the mirror, heavily punctuated with “hey yo’s,” “uh’s,” and “holla’s”.

Despite her glamour-infused ballads, she’s simply real. Amongst a parade of polished, present-day artists, here comes MØ, stripped down and raw, with wild, untamed hair, unkempt eyebrows and a pieced-together grunge look. She’s like your coolest friend who is living life to the max and doesn’t give a damn. Her authenticity thunders throughout the album’s tracks and you can tell MØ is an artist who’s here to make the world a little bit cooler.

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The trendy pair are are best known for consistent, contemporary indie rock for the edgy, yet soft at heart. Despite their relatively underground existence since 2007, they have managed to insert themselves into a small bubble of the electronic rock genre that pleases the masses and alternative fans all at once.

In their latest work, they tend to play it safe, though Sarah Barthel’s vocals are as strong as ever, and still make the grade for originality, especially in the mellowed-out, angsty “Celebrating Nothing”. Velvety, flowing melodies are coupled with lyrical endearments that are candid, though a little bit predictable.

“Black Out Days” is the obvious single, with sex appeal somehow reminiscent of Massive Attack without the heavy basslines. More of Barthel’s soft, breathy vocals are found throughout “The Day You Died” which, really, could be a racier version of a song by The XX.

Even their lyrics have moved into adolescence, with true-to-life anthems that hit the mark: “Strange you didn’t affect me / Oh I came to say goodbye”. Their earlier ballads seem to have been replaced by darker, deeper themes and more openhearted sentiments.

It’s not hard to see why Phantogram are popular. They have electro, pop and rock appeal, and male and female vocals. Though honestly, nothing will top their catchy singles such as “Don’t Move” and “When I’m Small”. And from the sounds of it, they’ve grown up and calmed down instead of holding on to the spirit of their previous EP, Nightlife.

The undeviating, but decidedly confident EP promises either a solid album to follow or much of the same upbeat, moody genre that is already doing what it does best.

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Rifflandia takes place over four days at venues around downtown Victoria (Vancouver Island’s largest and most populated city), with two main stages at Royal Athletic Park. It’s kind of like a choose-your-own-adventure. Plus, Victoria is so small that you see everyone you know, making it one of those magical, all-nighter adventures you talk about for months afterwards.

A strange mix of old school electro, indie rock, and Canadian talent, this year’s festival also turned out to be pleasantly hip-hop heavy and a little bit nostalgic.

Hot Hot Heat played on Saturday afternoon and sounded exactly like they did on the radio, circa 2004. Stars, Hawksley Workman and Souls of Mischief also graced the festival with their old school ways. (Souls are getting a bit old by the way – wasn’t ‘93, like, twenty years ago?)

But that’s not to say Rifflandia is for the uncool. Oozing West Coast everything – from trendy food trucks to colourful hippie fashions – there were a ton of great acts and, unfortunately, not enough time to see them all, even when running from venue to venue. Kid Koala, Mykki Blanco, and Bosnian Rainbows (Omar Rodríguez-López’s new project) were a few of the standout performances.

St. Lucia was also a breath of fresh air. They were so good live, in fact, they could have converted many a nonfan into die-hard supporters. Despite some technical difficulties, their set ended on a high note with the much-loved hit “September,” which was probably the highlight of the festival, as well-dressed West Coasters swayed in the afternoon sun.

Wintersleep was another highlight, drawing in a more wholesome crowd. They played a tight set, appropriately timed during nice weather, “You guys are fun. This is awesome!” they shouted, after playing their gorgeous new single, “Nothing Is Anything”.

In true festival fashion, rain poured during the headliners on the final night, making the whole experience a little more authentic, if not hardcore. The rain cast a spell on people drunkenly grooving to the last of the live music. Big Boi stole the show as he sat on a throne and pumped out his famous rhymes, including a few OutKast hits, obviously.

Matt & Kim also gave an outstanding performance that could have been hit or miss. Their fun energy in songs such as the brilliant “Let’s Go” and “Block After Block” remixed with hip hop beats, made up for the cold, blustery rain. Finally, it felt like a badass West Coastin’ festival.

Despite seamless vocals by Jade Castrinos, Edward Sharpe and the Magnetic Zeros delivered an extremely lacklustre close to the weekend, especially in comparison to last year’s performance by Mother Mother, who topped off the festival with an epic, upbeat show.

The rain finally stopped, and crowds tiredly yawned their way home to recoup from four days of hearty fun.

Rifflandia, while still figuring out its direction as a festival, is most definitely the magical, mystery kind, with a little love and nostalgia, too.

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Known for his dreamy, laid-back sound, synth virtuoso Washed Out has been providing tunes for hipsters to daydream to since ’09.

Washed Out’s newest release, Paracosm, is surely a change of scenery, if not mood. Instead of epic and angsty the entire album sounds like it’s been sun-warped and faded from too many days by the pool.

The tracks are peppered with shouts and laughter – commonly known as good timin’ party sounds. And then there are the wildlife noises. At times we’re not sure if he’s going for one of those albums they play at the spa, or if it is a genuine attempt to bring “nature” back to us, from the depths of technology.

What’s decidedly missing is an intense, edgy beat present in so many of his earlier tracks on Life of Leisure and Within and Without. Greene’s major achievement so far has been creating songs with a sense of movement. Paracosm is a little too relaxed and linear – like he’s singing from one of those floaty pool chairs, while half asleep in the blaring sunlight.

That’s not to say it’s a complete write off. Greene should listen to his stellar “Don’t Give Up” a few times – certain tracks do weave their chillwave spell.  Single “It All Feels Right” glows with nostalgia, conjuring images of silky summer nights and sepia-toned montages, while “All I Know” is the standout track with it’s soaring hook.

While Greene may do angst better than optimism, Paracosm is sure to be a hit with fans as the summer weather peaks. Not quite his best work, but Greene ultimately stays true to his genre with a twist, like a lime on your summertime beer.

Album release date: August 13, 2013

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Now based in Berlin, the North Carolina native is infamous for his ever-shifting identity and electronic music powerhouse title.  Here he uses a special blend of knowledge, experience and technique to deliver his hand-crafted sound.

The first single, “Eyesdontlie,” is a hard and trippy first look at dreamland. After an overly cacophonous preamble, the track progresses with what might be a bit too much jarring repetition, but let’s face it, that’s the effect he’s going for; a modern take on early 90s synth-y electronica. What’s to love about this track is the breakdown halfway through – ethereal acid house replaces robotic vocals in a moment of clarity, a la Underworld. It’s both varied and lush, metallic and old school.

B-side “Body Touch” is at first understated and yet is perhaps the better track of the two after a few listens. A slightly more laid back version of “Eyesdontlie”, not without a dash of hip hop and sleazy vocals, it seeps into your very being, willing you to dance the night away in Stewart’s haunting dream world.

Both songs feature outstanding production quality, distinctly Ninja Tune, and a sound which still manages to seem fresh and relevant among the millions of electronic tracks found in the universe.

While it seems Machinedrum has been merely playing with different mixes and sounds since his last full-length album, it’s obvious that his experiments have finally come to fruition. If this is any indication of what’s to come, we can’t wait to hear the rest.

Release date: July 29, 2013

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