Projections starts with a soft entrance – “Nina’s Charm” features light vocals and a jazzy feel. A shorter track in this album, this song suddenly launches into the second track, “Work Song,” which is much heavier and funkier than the first. Romare introduces heavier beats from this track onward, often using vocal samples and layers of drum and bass, funk and soulful melodies.

Different moods are thrown into the mix; “Motherless Child” sounds spacey and strange, “Roots” is composed almost entirely of one creepy, ominous beat, and “Jimmy’s Lament” brings us back to the softness that the album began with. One track that seems like an odd addition is “Rainbow” – sounding like an early 90’s house beat, this song seems almost too modern. Lacking in any ethnic influence, it really doesn’t seem to fit in with the rest.

Romare’s sound is incredibly sophisticated, yet the album is inconsistent. Of course, his talent is made obvious, as nearly every track is likeable and offers a very danceable, complex beat. However, as a whole, the album seems rough-hewn and almost too inconsistent to be considered one collaged “art piece”. As an artist, Romare takes his namesake very seriously, although we are left wondering if Romare’s next album will offer a sound that we could recognise as distinctly “Romare” versus a collection of unique sounds thrown together to form a loosely formatted album.

Release date: February 24, 2015 via Ninja Tune

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Flashlight only features three tracks, all with different wavelengths and slightly different moods. All capture Bonobo’s skilful use of atmospheric sound and haunting ambience, but in different ways. Perhaps these three tracks were chosen for the very fact that they are all unique in tempo, mood and sound complexity.

The title track is light, jolly, airy and has an upbeat vibe. A feel-good track, “Flashlight,” leaves you dancing in a field at dawn. One can almost describe this track as “spritely” and lighthearted, which is quite a departure from Bonobo’s recognisable “darkness.”

“Pelican,” the second track, sounds a bit more like Bonobo’s North Borders tracks – a bit deeper, mellower, and definitely sexier than the title track. Choppy beats layered with choppier female vocals give this progressive beat a loungey sound. Definitely a song that can make you feel sultry and seductive. One has to wonder, though, why he chose a word like “pelican” to describe this sexy beat.

“Return to Air” finishes off this too-short EP with a typical Bonobo rhythm – not too fast, not too slow and oozing with feminine influence. International sounds can be heard in this track – from light repetitive Latin drum beats to a deeper African bass, mixed with a modern atmospheric sound. The pace changes slightly throughout the song, keeping things interesting as Bonobo always does.

Listening to these three chosen tracks leaves you yearning for more. Bonobo definitely knows how to keep his fans intrigued; his next full-length release will most likely be his best ever yet. His sounds keep evolving into increasingly complex layered music, yet he still manages to retain a certain style to his impressive music.

Release date: December 2, 2014

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“Burnstick,” Flux’s feature song, sounds like a direct spin-off or continuation of “Heads,” the first track heard on the album. Immediately following the two similar songs are “For the Sun” and “Great Unknown,” the former being unremarkable and the latter sounding refreshingly different from the first half of the album, with a quicker pace and louder sounds.

The second half of the album introduces “The Silence I” and “The Silence II,” both melancholic melodies with sadness-inducing guitar riffs. The two tracks drag a bit too long, and leaves you wondering why they were titled sequentially–although both somber, the tracks are unique in sound. Towards the end of the album, the track “Take It Back” breathes some life into Flux, adding a different type of vocal treatment and a livelier beat.

For a brand new band from Saskatoon (not the most wildly popular place for budding Canadian musicians), Close Talker’s sounds are definitely pleasant and easy to listen to. Close Talker offers a light sound with hints of seriousness; it is almost as if their sound was crafted specifically for use in trendy coffee shops or study playlists. Perhaps the fact that all the songs on Flux were written in one week is the reason why the sounds of each track don’t differ quite enough. Despite the almost too-similar sounds throughout, Flux is a relaxing set of tracks that will surely please most on a quiet rainy day indoors.

The post Close Talker’s sophomore album “Flux” review appeared first on Quip Magazine.

Having been immersed in the electronic music scene for almost a decade, Dorian Concept is no newbie to mixing his own sounds. Backed with a full education in music production as well as experience working with other European producers at a young age, DC is no doubt a skilful beat maker. A quick listen of his past works will throw you into a world with louder sounds, bigger beats, and an overall club-friendly sound.

Listening to his last album release, When Planets Explode (2009), or his last EP, Her Tears Taste Like Pears (2011), is a completely different experience from listening to Joined Ends. Joined Ends is more of a technical experiment, featuring softer tracks that are atmospheric and sci-fi inspired. “Ann River, Mn,” the second track in Joined Ends, is ghostly and mesmerising. “Clap Track 4” is just that – a mid-tempo track featuring lots of clapping sounds, resulting in a strange and dreamy feel. “Draft Culture,” perhaps the most likeable track on this album, is funky and a bit more fast paced than the other tracks. “Schadentrauer” is a solid full minute of ambient sound, a small break perhaps.

Despite the fact that Joined Ends is very different from his many past mixes, releases and albums, Dorian Concept’s talent is still 100% evident in this album. Whether or not this marks the start of a new sound for him is the question. As most artists do, he may simply be evolving to reach another demographic, challenge himself, or master new mixing. Whatever the reason, Dorian Concept’s work always has one thing in common – skill. A true master of blending sounds and voices, DC’s work will never disappoint, but this album may surprise a few.

Release date: October 21, 2014

The post Dorian Concept’s “Joined Ends” – a technical experiment appeared first on Quip Magazine.

The crowd matched the venue pretty well: everyone dressed über casually in plaid and layers of knit sweaters topped with messy high-buns, beards, and a variety of hipster glasses frames. The Tavern itself is just as layered, with everything you can think of plastered on the walls behind the bar – layers upon layers of random photography, beer bottles, and foreign currency making up the wallpaper.

Toronto local Petra Glynt was the opening act, sharing her explosive music that borders on performance art. It was evident from listening to Petra’s set that the Horseshoe Tavern wasn’t so bass-friendly; at times, you couldn’t understand Petra’s lyrics and all you could hear was the vibration of bass, with a layer of her drone-like chanting beneath. Petra’s sweaty, glittery set was over quickly, and, surprisingly, the performances seemed to be right on schedule. Glass Animals walked on stage at precisely 11:30, to a semi-full Tavern.

The four young Englishman from Oxford were dressed in plain shirts and jeans, and looked barely 18. Singer Dave Bayley started off the night jumping right into “Black Mambo,” one of the more recognizable tracks on their recently released EP, Zaba. Dave’s airy vocals sounded exactly as heard on their album, he is a natural singer with a certain kind of ease on stage, even his grandiose arm flailing looked natural.

By the time their biggest hit to date “Gooey” was played on stage, the crowd was really warming up and not being so shy with their awkward dance moves. Some hopped on tables to get their wind on, a few couples in the back danced a strange salsa-like routine to Glass Animal’s soothing, sensuous “Gooey” sound.

At times, the sound quality was poor, leaving you wondering what Dave Bayley was singing, but, overall, the band played a perfect rendition of Zaba. After 11 tracks, they called it quits only to march back on stage within seconds of the crowd cheering for an encore. The encore consisted of their amazing cover of Kanye West’s “Love Lockdown,” which left the crowd swaying and singing along to the popular song’s lyrics. Animals really made the track their own, giving the intense song a beautifully lighter sound. The band decided to end the night with “Pools,” another track from their Zaba EP. The set was short, ending just after an hour.

Glass Animals are an obviously talented quad of young men who have their entire musical career ahead of them. With easy-to-like tracks like “Gooey” and “Black Mambo,” which can best be classified as psychedelic indie R&B, they have a sound that can be appreciated by almost anyone. Their performance at the Horseshoe Tavern was too short and left me wanting more; however, that is never a bad thing. I know the next time they’re in Toronto the crowd that attended on Friday will make sure to return and get another full fix of the Glass Animals, and, by the time that happens, they’ll likely be heard on every mainstream radio station. With a strong sound and an amazingly talented vocalist, the Glass Animals are destined to become renowned worldwide, and it surely won’t take long to be loved by the masses.

The post Playing with Glass Animals live at the Toronto’s Horseshoe Tavern appeared first on Quip Magazine.

COFRESI is a talented DJ and producer, offering impressive remixes often using recognisable music from mainstream artists such as Lorde, Kendrick Lamar, Frank Ocean and Snoop Dogg. A regularly featured DJ in the club music blogosphere (i.e., RunTheTrap.com), COFRESI has released his own original mixes in the past; however, his latest track releases show a noticeably mellower side of the producer.

Since this EP is only five tracks, COFRESI was smart to be selective with the tracks that fit the bill. And fit they did – all of his chosen tracks, titled after rich, sumptuous fabrics and textures, mesh together almost seamlessly. Despite the fact that these five tracks range in tempo and temperature, they all have something that his past mixes may lack: a seductively slower groove, tinted with baby-making R&B influence.

https://www.youtube.com/watch?v=xoraT1CBMJI

The tracks “Satin” and “Avant Suede” are feminine, sultry, and a bit brighter with a quick tempo. “Velvet” is even faster-paced, featuring tons of layered futuristic sounds (think lasers and quickly cut vocals), and is definitely the climax of the short EP. “Leather” is as masculine as it sounds – rich and mellow, with multilayered echoes and deep vocals in the background. “Silk” is by far the sexiest of the bunch; the slower waves of bass entering in and out of the track can leave you feeling some type of way.

Avant Suede succeeds in not only giving COFRESI’s listeners a taste of his sensual side, but it also evokes emotion, something that most of his listeners may not be used to. As a club-industry heavy hitter, COFRESI’s work may be best associated with the superficial party life: big beats, tons of bass, and big hit remixes. With Avant Suede, you’re exposed to a more vulnerable side of COFRESI. Grab your mink coat and a glass of champagne when listening to this track list; this playlist is a must for any luxurious night out, or sexy night in.

The post COFRESI’s “Avant Suede” EP review appeared first on Quip Magazine.

ODESZA has been around for barely 2 years. A team comprised of Harrison Mills and Clayton Knight, who met during their latter years at Western Washington University, ODESZA is a youngblood in the game where youngbloods dominate – the electronic music scene (i.e the twenty-somethings that are Disclosure and Flume). Their music does not fail to compete with the aforementioned producers – airy, light and completely fresh, ODESZA has a mellow sound that is nothing but pleasing.

Unlike their previous releases, In Return is a vocally heavy album, which is a welcome change from the limited voice samplings they’ve offered in their past 2 EPs. Featuring up-and-coming artists from surrounding areas, such as Washington’s Jenni Potts and Portland’s Shy Girls. Mills and Knight know they have a wealth of talent in their own backyard and use it well.

Many of In Return’s tracks feature feminine vocals (with the exception of Shy Girl’s falsetto on the track “All We Need”) and seem to be influenced by what you could describe as fantasy sequences. Most of ODESZA’s chosen vocalists for the album have a Blood Orange, The Weeknd, Jessy Lanza or Grimes-like sound, adding to the dreamy feel of this playlist. Light bells, chimes, and not-too-heavy beats are also a common track characteristic here; most electronic music of 2014 features heavier trap-like influences; this may be a quality differentiator for ODESZA.

Travel is also a common theme; the track “Sundara“ is heavily Indian influenced with long, winding sitar solos. “Kusanagi“ is clearly of Japanese influence and is a direct reference to the track’s name (a kusanagi is a type of Japanese fighting sword). Both tracks are obvious interpretations of each country – majestic, rich with history, complex.

In Return, although not too far of a sound departure from ODESZA’s last release My Friends Never Die, is a fresh turn for the duo. Their choices in vocal artists were perfect for their selected tracks, and all songs chosen for this EP worked seamlessly together to project a dream-like state that some young music producers fail to convey as of late. Amazingly light and fresh, In Return is a galactic voyage through dewy meadows and iridescent oceans; it will not fail as the perfect soundtrack to a relaxing evening of stargazing.

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Sauvage is comprised of only seven tracks, most of them dripping in North African and East Asian influence. Eyes closed, listening to the tracks “Tiger” and “Darjeeling,” I’m automatically transported into a nondescript hut situated somewhere in a balmy Indian desert. Repetitive bass beats accompanied by moans and chants; sounds of bells, drums and sitars have me breathing in the scent of incense, the high of opium, and moving my body as I imagine dancing with wolves under the light of the Himalayan moon.

As ethnic as his music is, the trippy sound of Fakear’s Indian and Arabian influence would be perfect for a modern day hookah lounge or perhaps an over-priced spa somewhere in Dubai. Sauvage would be more suitable for a chilled-out smoking session and/or relaxing spa experience, instead of heard at a typical electronic music festival or club. Pleasant and full of deep repetitive sounds, Sauvage is more of a calming tool than a hype-beat electro EP.

“La Lune Rousse” is an oddball track in the small collection chosen for Sauvage. Although mellow and even-tempered like the other tracks in this EP, Fakear chose a more commercial sound with this track. La Lune Rousse could easily be heard in the background of an emotionally charged iPhone commercial, or an extended YouTube advertisement for luxe vacation deals. Although beautiful in its own right, this specific track seems out of place among the tribal grooves of his other tracks on Sauvage.

Overall, Fakear’s third EP does not fail to transcend space and time. Similar to his last release, Dark Lands, this set of tracks will have you feeling mellow, relaxed, and aching with wanderlust. Perfect for a mental trip, Sauvage is the perfect magic carpet ride that can heighten your high, calm your nerves, or enhance your relaxation experience.

The post Into the wild with Fakear’s “Sauvage” appeared first on Quip Magazine.

Below is an interview with Grand Analog’s frontman Odario Williams and drummer TJ Garcia that happened over a slice of pizza. We talked music, vintage devices and Canadian hip hop.

Stephanie Casino: Odario, I read somewhere that you grew up listening to hip hop on your Cookie Monster radio. Is that true? 

Odario Williams: [laughs loudly] Yep, it’s true. I had the cookie monster clock radio close to my bed, and I never wanted to sleep…so I had to turn on my radio really low so my mom wouldn’t hear it.

SC: I hope you still have it. 

OW: Nooo!! I gotta find one! I wish I kept that thing! I had that Cookie Monster radio turned really low each night, and listened to this radio show that doesn’t exist anymore on CBC, called Brave New Waves. All they did was play indie rock. And out of nowhere, I remember the host saying one night “Here’s something different for you – a hip hop band called De La Soul. This is their track “Say No Go”. I was FLOORED – like, what is this music? What IS this? It’s beautiful, and it moved me, changed me.

SC: Were you a practicing musician when you heard this on the CBC radio show?

OW: Noooo, I was not even into music yet at that age! I must have been only 9 or 10.

SC: So this really was a defining moment for you.

OW: Completely, 100%. It changed me! I had to know who this group was…I ended up writing letters to Brave New Waves, asking them what the song was that was played at this certain time on this certain date…I must have written 3 letters before someone ended up mailing me a copy of De La Soul’s album 3 Feet High and Rising, all the way from Montreal! They sent it all the way to my house in Winnipeg. It meant so much to me. I loved that album and just played it over and over! People don’t do that anymore. That act of kindness changed my life.

SC: That’s so sweet. Amazing, it’s true, people don’t do things like that anymore.

OW: I opened the album, I smelled it, I kissed it and hugged it! Through this, I learned about Tribe [Called Quest] etc., etc. Amazing.

SC: How did you guys meet?

TJG: I was a fan of Grand Analog even before I met these dudes. I was high school friends with Warren, the bass player. He had already been playing with Odario, he worked in a music store that Odario worked in too. Alister, our keyboard player, had a brother named Oliver, who owned the music store they worked at, and Oliver also owned a studio that we ended up using for most of our recordings (The Hive). It was an automatic connection.

Tonight will be special actually; the first time I ever saw Grand Analog perform (before I was in the band) was at Wrongbar!

OW: Don’t mind him, if he starts crying on stage, just remember; it’s an emotional time for him [laughs].

When this band started in 2006, we had different people involved…but this core we have now (TJ, Alister, Warren, DJ Ofield and Odario) just works. Tonight though, we are featuring a horns section, with Aubrey McGhee and Max Stanutz. They’re SO good. These two are the only horns we’d ever use.

SC: What was the first major music festival that GA played at?

OW: SXSW was probably the first. Wait – our very FIRST show as Grand Analog was in 2006 at NXNE! That was our debut.

SC: What was the wildest performance you can remember?

OW: Well, Grand Analog was invited to the Winter Olympics in 2010 in Vancouver, to represent Winnipeg, which was amazing in itself. We opened for Burton Cummings, to 20,000 people!! It was insane. Madness. It was a LOT of people!! Can’t even describe it. I came out on stage, and I missed my first track because I was too busy staring at all the people!

TJG: It was amazing. It was deafening.

OW: I tested my mic, I didn’t believe that one little mic could deliver sound to 20,000 people. I knew what it felt like to be Beyonce [laughs].

SC: Do you think there’s enough support for the hip hop scene in Canada?

OW: Well, I get a lot of people asking from other cities, to describe the hip hop scene in Toronto and Canada.

TJG: It’s a tough question to answer. There’s still a lot of niches, cliques within hip hop. There are so many styles nowadays, some of them don’t even agree with one another.

SC: What do you think is trending now in hip hop? 

OW: It’s too vast now. Honestly, I don’t want to govern anything. I think that’s what’s the NEXT thing – do your own thing. I don’t want to run any “next hip hop trend”. I just want to do what I love. Trends end…I don’t plan on ending my hip hop career any time soon!

SC: That’s a great answer! Do you guys actually use analog devices in your recordings?

OW: Of course!!! At The Hive, Oliver’s studio [Alistair’s brother], has a lot of collector’s items that he found at garage sales, thrift stores, wherever! We’d literally blow the dust off and see if it worked. We’d keep working the vintage stuff ‘til it worked.

SC: Do you think you’ll always keep an analog element to your recordings?

TJG: Yea, we don’t want to be hypocritical. But I do love my Macbook and my iPhone haha [laughs].

SC: I’ve noticed there’s been mainly Canadian collaborations in your Modern Thunder album. Is this on purpose?

TJG: We just think there’s enough talent in our own backyard, and why not use it? Canadians are so talented, we should showcase that!

OW: Yea, it’s not that we’re against bringing in some foreign talent, it’s just that we are so sure that there’s enough talent here in Canada that hasn’t been featured or showcased yet.

The post Grand Analog – an interview, some pizza, and a show appeared first on Quip Magazine.

Stephanie Casino: How long did it take to craft the album, Pull My Hair Back? Did it turn out to be what you were aiming for?

Jessy Lanza: The album took two years, I think, to become a finished product. When we [referring to band partner Jeremy Greenspan] first started recording everything, we weren’t even really sure it was going to turn into an album. Eventually, we had enough tracks that sounded like they belonged together.

SC: Did you have a lot more songs than you actually included in the final version of Pull My Hair Back?

JL: We actually had a lot of earlier tracks that we thought we would end up using, but in the end they didn’t seem to fit. We had to edit a lot. We had 16 songs or something, and with 8 of the 16, we thought “these are shitty” – so we ended up cutting out a lot.

SC: The album turned out sounding very unified, kudos on grouping together the select 8 for your album.

JL: Thank you, I really appreciate you saying that because I go through waves of paranoia where I think my album is just a hodge podge of shit [laughs].

SC: It doesn’t feel like that at all! It has a signature sound. Speaking of sound, how is it working with Jeremy Greenspan? 

JL: We both do a lot of work independently of one another. At the beginning, we’d work together in his studio and it would seem to end up being just one of us working and the other sitting on the couch, playing on our phone. I found it worked better when he started a song or I started a song, then we’d pass the files back and forth and work on the tracks independently at our own studios. But when it came to mixing, we always mixed together. I found that even though we are in a band together, it worked better doing things separately and then we’d come together at the very end.

SC: I’ve read that you inherited synthesizers from your father, was he a musician?

JL: Yes he was, he was in a few bands in the Hamilton, Ontario area.

SC: Did he have a big influence in your decision to become a musician?

JL: Yes, definitely. From the time I began to speak, he threw me in different lessons. He would say things like “You’re going to be a singer! You’re going to act!” He put me in dance, singing, and acting classes. I was terrible in dance and acting though, I only liked the music lessons. Both my parents have been super supportive since childhood.

SC: How do you feel being compared to Aaliyah and Kelela in the recent NY Times article?

JL: It was awesome! Aaliyah was a huge influence for me. I’ve loved her music since I was a kid. And Kelela is amazing, her mixtape is just amazing. I was really flattered to be included in that little group of comparisons. I was honestly surprised when I heard about the article!

SC: What a pleasant surprise!

JL: Totally! I wasn’t expecting to be in the NY Times! Let alone being compared to those two. I was like “Sure, I’ll take that!”

SC: So you’re about to embark on a European tour. What are you most excited about?

JL: I’m really excited to play outside of Ontario! I’ve done a couple shows in Montreal, but most of the shows I’ve played have been local. It’ll be really exciting to see how people in completely different places react to my music. That’s what I’m most excited to see – which songs most people get excited for.

SC: It could be a different result in every city.

JL: That’s what I want to see, if it changes in every city!

SC: Will you be taking a break from making music while touring? Or are you planning on jumping right back into the next album?

JL: I have plans to do an EP and another album as well, but not for a little while. I won’t be able to do much while I’m touring. My tour is only about a month, but as soon as I’m back, I plan on picking up some work I’ve already started.

SC: What was your first time performing a track off of Pull My Hair Back like?

JL: My first time was part of an opening act for Diamond Rings, who’s also from Hamilton. It was a sold out show in our hometown and all my friends and family were there, and I was pretty nervous, but it turned out fine. Thinking about performing live was such a scary thought before I’d actually done it. I mean, there’s no one else up there but me, only me to blame if things go wrong!

SC: Thanks for the chat Jessy, good luck on your European tour and we can’t wait for more of your music.

JL: Thanks for having me!

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Thursday night at The Hoxton started off not much different from other typical party nights at this venue: long unreasonable line ups, gruff employees, flocks of overdressed girls, and security chain smoking at the doors. The Hoxton’s narrow stage felt too small to house all of that equipment, and the dance floor seemed too small for anyone to get their real dance on, but that did not stop people from trying.

Toronto’s own Torro Torro kicked of day 3, throwing down Diplo and moombahton like it was nobody’s business. The crowd was completely in love with this head bobbing duo. The championships showcased the finalists from Jamaica, US, South Korea, and Canada. Jamaica’s DJ Inferno went on first with a reggae and trap heavy mix, ending with a Rob Ford spin on Jay Z’s “Tom Ford” which, obviously, got a mad reaction from the crowd. Canada’s Adam Doubleyou showed off his amazing technical skills, pounding away at the drum machine. South Korea’s Acorn brought a strange mix of old school (“old” as in 1965’s famous Woolly Bully) with new school beats. But it was DJ Trentino from Chicago that caused the crowd to throb, scream, and fist pump. His skilled DJ showmanship (flipping in circles, mixing from under the knee, from behind) in combination with the crowd pleasing blend of house, reggae, trap, and gangster rap made him the obvious choice for winner of the night 3 finals.

Uber-talented A-Trak ended the night with his signature mind-blowing house and electronica-influenced set. The Hoxton vibrated till 2am, quite possibly wrecking every attendee’s work ethic for the following day, but leaving all in attendance feeling lifted.

Friday night elimination took place at The Danforth Music Hall, a much better-suited venue for a DJ Competition. Able to accommodate 1500 guests the venue seemed to be at full capacity. People clad in beanies, high tops, and leather leggings filled the venue, heads bobbing and shoulders shrugging in tune with the beats. The night immediately had a different vibe from the clubby feel of the Hoxton – hip hop heads from far and wide were in attendance to see DJs Maseo and Ali Shaheed Muhammad of De la Soul and A Tribe Called Quest.

Night 4 finalists were DJs from Switzerland, Brazil, Albania, Spain, and Belgium. The most memorable sets of the night were DJ Vicky from Albania whose show inspired the entire theatre to maniacally hop around, Spain’s DJ LaEse, and DJ Madfingaz from Belgium showing off his quick wrist flicks and scratching techniques. At the end, it was DJ Marquinhos Espinosa and his Brazilian house influence that stole the winning title for the night.

DJ Maseo and Ali Shaheed played the entire Best Of Tribe album getting hip hop heads rowdy with excitement. The crowd screamed every familiar lyric, hands up in the air, cheering and jamming to the legendary DJs. Much to the dismay of the attendees the party shut down at 2:30am but an after party location was announced, causing a good percentage of the attendees to flee quickly once they realized their favorite DJs would be taking the rains on the after hours entertainment.

Four days into the world finale Championship Red Bull Thre3style already made a huge impact on the city. People could not stop talking about how epic the night was leaving the venue. Saturday night finals were a history in the making, but that’s a different story.

Image courtesy of Red Bull

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