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Kevin Gates Luca Brasi 2

Probably the most distinctive thing about Kevin Gates is his complete nonconformity..

february 2015

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Great Good Fine OK’s

Based out of Brooklyn, New York, rising electronic Indie-pop duo Jon Sandler and Luke Moellman, under the name Great Good Fine OK, comes out with their four-track album Body Diamond as....

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Big Sean (Ft. E-40) – I Don’t Fuck With You


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Aplin’s Long Journey Away From Home

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Mara Hruby Works Through Heartbreak with “Archaic Rapture”

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Layla Layla is the British pop singer to watch, it’s those big dark eyes and limpid vocals, the broken-hearted girl spilling sorrows in songs that sound more like hymns of liberation. Her latest EP titled...


Content

february 2015

08. Maudlin Strangers

n the same way that love is timeless, so is it’s evil twin, heartbreak. Although the two emotions can be mutually exclusive, chances are that anyone who has ever experienced..

10. The Vaccines

Trust is difficult. Particularly in love and romance, building it between two people usually takes extended periods of various trials...

12. Andrew Foster

There’s no boundaries when it comes to music, at least when you consider what Andrew Foster wants to accomplish in his music..

28. Imagine Dragons

By now, most listeners are likely familiar with rock newcomers Imagine Dragons...

32. Powers meet The Knocks

40. Dizzy Wright

38. Sky Ferreira

44. Aquilo

Powers is an American alt-pop duo that splits its time between New York and Los Angeles. In 2012, they recorded the single “Classic” with electronic music prodigies The Knocks, a kind of hazy summer hit...

Sky Ferreira hasn’t had the easiest of journeys so far. As talented as she is, her potential hasn’t materialized into album success and the fact that it has taken her so long to release a debut album is...

There is a lot of repetition in rap these days. Certain topics have been trodden over so many times that the mere thought of them makes audiences groan....

Aquilos, an experimental electro pop two piece from Lancashire, England have been featured several times in The Guardian, as well as on BBC 1.

48. Brave Shores

Toronto brother-sister duo Brave Shores comes out with two summer pop songs off their upcoming EP packed with confetti fun plus enough rock edginess to please all crowds.

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Editorial letter

W

elcome back to another issue of 24OurMusic Magazine featuring some of the most exciting music that we curated and cannot wait to share with you all.

We pride ourselves for being able to boast content that features musicians from all backgrounds, no matter the genre or levels of experience. Groups like The Vaccines and Big Sean are definitely act that have caught our eye near the end of the year, while Brave Shores effort is a masterpiece. We also look into the world of Andrew Foster with an exclusive interview. The variety continues to surge, and 2015 will be a continuation (if not an even bigger wave) of that energy.

Creative Department Creative Director: Justin Everest Senior Designer: Karl Nicolas Writing Department Editor-in-Chief: Justin Everest Manging Editor: Brandon Minia Senior Staff Writer: Karl Nicolas Staff Writer: Patricia De Oliveira Staff Writer: Trent B Minia Staff Writer: Evan Crandell Staff Writer: Quinn Mason Staff Writer: Alicia Prince Staff Writer: Rasha Khoweiss If you have any questions or would like to advertise with 24OurMusic please contact us with the provided information below. EMAIL: Info@24OurNetwork.com

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Maudlin Strangers “Overdose” UTTER YES FROM TEEN‘S SOPHOMORE ALBUM THE WAY AND COLOR (CARPARK RECORDS)

Sex incarnate! The black quicksand of Maudlin Strangers and their new EP Overdose is now available, and there’s just enough soul left in these doomed bodies. Darkindie rock like this is the music of cured vampires, not the same vibe as emo, or enough sharp edges to have a nine inch nail sticking out, it is a suitable soundtrack to what alt rock has been turning into over the past few decades. Overdose, which s its release at The Lyric Theater in LA, is sleek and brooding as a Victorian heart-throb, reminiscent of a less whimsical Arctic Monkeys with a glistening comb run through its hair. The album opens with ‘AIM’ strutting across like the start of a James Bond movie. When the guitars rear up at the end I had already worked out an elaborate and psychedelic intro of limbs and guns and bullets in all sorts of suggestive positions. ‘Overdose’ the album’s title track swaps the electric guitars for distended guitar strings wavering like a lap-slide, paired with the dance beat and layered vocals. This song is, all of the songs are, incredibly well put together. Normally something too good or too bad swells my perception of an album or one of its tracks and then I can focus on that, but with Overdose the elements have all been dissolved in this mixture purely and I’m spellbound. Which brings me to ‘Stay Young,’ sexy like a track from The Black Keys, largely thanks to the vocal performance of Jake Hays (who is the son of Cherie Currie, the fabulous lead singer of The Runaways) which sunk nicely in the dark and dreamy levels that were also composed by Hays;

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shuddering organ, piano pin drops. It’s a great segue into the soft ballad ‘Pennies.’ Songs like this are usually too ethereal and fragile like a sculpture made of eggshells and ectoplasm. Lying down on the floor and listening to Maudlin Stangers (who recently signed with Vagrant Records) numerous Alt memories floated across: Garbage, White Town, 3 Doors Down, Fastball, The Smashing Pumpkins, The Black Keys but only hints of them, never a solid reflection. That’s what impressed me: it’s familiar enough to situate, but not so familiar that there’s spatulas marks from where they dug it out from the Alt-rock template. This is me praising this album (Give it a chance!) you might like it, especially if you dig the Alt scene. Obviously you will like them, and you’re in luck, they’re currently on tour with Bad Suns right freaking GARBAGE, WHITE now: http://maudlinTOWN, 3 DOORS DOWN, strangers.com/tour

FASTBALL, THE SMASHING PUMPKINS, THE BLACK KEYS BUT ONLY HINTS OF THEM, NEVER A SOLID REFLECTION.


CREDITS

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Writer: Eddie Mumford

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The Vaccines THE VACCINES REFLECT HOPE AND PAIN WITH “MELODY CALLING” Trust is difficult. Particularly in love and romance, building it between two people usually takes extended periods of various trials. With trust, love can be otherworldly, and without it, a relationship can crumble to nothing at any moment. The London-based rock outfit The Vaccines deal with the issue of trust, though not overtly, with their EPMelody Calling. The three songs in the set are all centered on romance and the challenges and potential rewards of taking the leap of believing in others. The Vaccines have developed a following with their brand of post-punk commercial rock that features tight arrangements and effective song craft. The band is made up of Justin Young (vocals, guitar), Árni Hjörvar (bass), Freddie Cowan (guitar), and Pete Robertson (drums). The Melody Calling EP was released in 2013 as a follow up to their second studio album Coming of Age. The EP leads off with the title track, an atmospheric, propelling song that features layered, airy guitar work and lyrics about a cautious but hopeful lover. In the first verse Young’s words seem to deal with the fear of trusting one’s instincts. He sings, “How could I go on with it much further / I didn’t think that it would go any further / but now it has and it is making me nervous / a wonderful motion that is carrying your every notion.” He continues to sing about his apprehension of taking a chance even though when he hears a melody calling he hears it from his lover. “Melody Calling” starts the EP off on a hopeful note that is helped by the gently pumping drum and bass playing. Before hearing a note of the EP’s second track, it’s easy to tell there’s going to be a negative thematic shift. The song is titled “Everybody’s Gonna Let You Down” and never strays very far from that premise. It has a driving drumbeat and repeating guitar riffs that underscore Young’s melancholy vocals, lamenting about people’s ill intentions and broken trust. Although the lyrics are often framed in the second person, they are undeniably self-pitying, suggesting that Young is offering words of advice to himself. In the chorus, he writes, “I gotta warn ya / ‘Cause what if I become like all of this / Self fornication, but with no hesitation / I just burn all night, it’s a lonely life / A lonely ride, let me down easy.” This is someone who it appears is significantly incensed and disillusioned with humanity, fearing his own descent into that unsavory way of being. “Do You Want a Man” rounds out the EP in a more uplifting, flirtatious manner and is given a brightened remix treatment by John Hill and Rich Costey. The song presents a more traditional cat-and-mouse dynamic of love and reflects the push and pull between wanting to trust a budding romance and being fearful from past mistakes. The Hill/Costey remix brings the song into a more bouncy, upbeat sound world, almost reminiscent of the old days of Motown. The arrangements on Melody Calling are succinct and the musicianship is adequately understated. Although the songs are somewhat forgettable and at times lack the range of energies that The Vaccines seem to be attempting, the thematic content is relatable to anyone who has grappled with the issue of trust, which is at the core of any romance. Melody Calling effectively portrays how some days we feel high and ready to take chances in love and other days we would rather remain in solitude. Perhaps it’s that unpredictability that has us constantly coming back for more.

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THE ARRANGEMENTS, SONG CRAFT, AND MUSICIANSHIP ON “MELODY CALLING” ARE ALL UNDERSTATED BUT EFFECTIVE.


CREDITS

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Writer: Evan Crandell

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CREDITS

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Writer: Brandon Minia Writer: Aaron Bennett

ANDREW FOSTER MEETING THE ARTIST 12 – 24OURMUSIC


24OurMusic recently had the honour of

ter wants to accomplish, and his upcom-

I personally love many different styles

sitting down with Andrew Foster, the force

ing plans for 2015. Thank you Andrew Fos-

of music and production and get pulled

behind Science & Magic, an album we

ter for your time, and we hope it’s not long

in different directions when I hear some-

gave a positive review on last year.

before we feature you again in our mag-

thing and think...”I could do that”... for ex-

azine!

ample track 3 on my album, called Dreamscape, is totally synth led as opposed to

When asked how one would describe his sound, his first response was that “it’s a

24 - In 140 characters or less, tell the

guitar. Fundamentally though it normally

difficult question,” stating that his music

world who you are and what you do.

starts with an acoustic guitar; I am a singer/songwriter with slight psychedelic lean-

“takes its own path.” Perhaps it’s difficult

ings.

to keep under control something that as-

A - My name is Andrew Foster and I’m an

sumes a life of its own, as expected when

singer/songwriter from the South Coast of

it’s put together by the forces of science

England. Think Matt Smith’s Dr Who with

24 -What is your favorite part about what

and magic.

an acoustic guitar and your kind of in the

you do?

right ball park. A - I like the experiences I have travel-

There’s no boundaries when it comes to music, at least when you consider what

24 - How would you describe your sound?

ling around gigging and meeting people after a show who engage with what I

Andrew Foster wants to accomplish in A - It’s a difficult question. When I play live

do. There’s something very special about

him (through email, of course,) we discov-

I’m an acoustic singer/songwriter with ef-

someone parting with their hard earned

ered a man who is at the foreground of

fects pedals. On record, my music takes

cash on something I’ve created. The peo-

many backgrounds, citing everything from

on its own path. With the album Science

ple at shows all have busy full lives, so to

acoustic sounds to dance. He also men-

& Magic I tried not to compromise on an

make a connection on an emotional lev-

tions David Bowie and Neil Young in this

overall sound and instead was drawn on

el without conversation and for them to

very same interview, so it’s clear that no

what the individual songs needed. It was

also invest in you is a very special thing

walls of any music genre is safe from Fos-

difficult to pull together, even harder for

to be able to do. The experience of play-

ter’s attack. Below, you’ll also find out

Pete Maher the mastering engineer to

ing music to people is often documented

the challenges of music so far, what Fos-

work on as it genre leaps!

but er properly expressed because it al-

his music. In sitting down and talking to

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always sounds pretentious. I can only liken it to the power in a

vision, something that goes back to basics. I am not taking any-

first kiss, an achievement at work or life....that sort of moment

thing away from ‘Science & Magic’ at all but this year I would like

when you feel connected instead of confused and if that sounds

to explore the basics of who I am and produce something earthy...

pretentious, its because it kind of is!

a perhaps more coherent songbook.

24 -Last year we wrote a review on your album Science and Mag-

24 -What were the challenges, if any, of recording Science and

ic. Can you tell us about anything you learned about yourself or

Magic?

about music? A - Challenges are often financial. For many musicians it’s always A - Your review was great actually, I felt you understood the re-

hard to strike a balance between vision and budget. This album

cord well. I’ve learned that sometimes I can make it hard for peo-

is quite expansive and was recorded over a long period of time

ple to engage with what I do because I have such a wide range of

in many different studio scenarios. There are different producers

styles that I approach. I think the next release will be smaller in

iolved, including myself and I borrowed all kinds of synths,

" A UNIQUE APPROACH TO MUSICAL TRADITIONS " Gustan Koumantaros

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including myself and I borrowed all kinds of synths,

where my songs tend to start. Benjamin Francis Left-

instruments and favors in its conception. So the chal-

wich, Ray Davis (lyrically one of England’s best song-

lenge is to bring it all together under a marketable

writers), Seth Lakeman, Damon Albarn, Bowie and

umbrella which was challenging indeed!

Ryan Adams all have regular plays as I travel around.

24 -Do you have any plans for 2015?

24 -Are there any artists, past or present, that you would like to do a collaboration with?

A - Lots! I have many dates already booked in that will take me on tour across the country and also to Swe-

A - I enjoy Dance music and love the idea of working

den. Some gigs with Terry Reid, new songs, record-

with Dance producers lending my vocals and melo-

ings, festivals and hopefully some --collaborations. Its

dies to their productions, so a band like ‘The Chemical

going to be a busy one!

Brothers’ will always inspire me to want to collaborate. Saying that on the opposite end of the spec-

24 -What artists have you been listening to lately?

trum my biggest wish has been to perform with an orchestra but that is maybe a grand vision for now! I

A - This year is exciting with a whole host of new al-

think I’d like to subvert the idea of a duet and make

bums from artists I love. Marika Hackman’s new album

something dark with a female songwriter like Lau-

is something I’m looking forward to as she has been

ra Marling. To record with David Bowie or Neil Young

drip feeding us these slightly twisted folk songs for

though, surely thats the dream isn’t it?!

over a year now! The Charlatans, Noel Gallagher, and Gaz Coombes all have new material that is great, and

24 -What goals have you set for yourself, musically or

I still like discovering psychedelic music from the 60’s.

not, that you hope to accomplish within the next five

I obviously also listen to a lot of folk music as this is

years?

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24 -What goals have you set for yourself, musically or not, that you hope to accomplish within the next five years?

24 -Finally, if you were to one day become a flavor of ice cream, which one would it be?

A - I’d like to explore the adventure of playing more abroad. Getting over to America and playing some shows and getting on some of the incredible festivals all across Europe.

A - I’d definitely be Mint Choc-Chip.

24 - What’s one interesting thing that happened to you in the last week that you don’t mind sharing with our readers? A - I went to the dentist and am pleased to announced to 24OurMusic that there are no problems... Must keep an eye on that wisdom tooth though ;-) ;-)

24 -Thank you for your time Andrew! I wish you luck and we’re looking forward to seeing more of your music in the future. (: A - Thanks to you guys at 24OurMusic, keep up the good work covering new and undiscovered artists!

" THE MUSIC PRODUCTION IS WELLCRAFTED AND IMPRESSIVE ACROSS A RANGE OF STYLES. " Andrew Foster

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Weiss’ lyrics of heartbreak and lost love.. 18 – 24OURMUSIC


IMAGES CREDITS

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Writer: Patricia

Layla’s Rebirth: New EP “Weightless” Layla is the British pop singer to watch, it’s those big dark eyes and limpid vocals, the broken-hearted girl spilling sorrows in songs that sound more like hymns of liberation. Her latest EP titled Weightless features four tracks that blend sophisti pop and jazzy accents, no half measures here, the whole of her recent experiences being neatly collected and compiled with words meticulously chosen and a kind of languor that isn’t sadness, rather something of a renaissance. The young Brit makes a point of asserting her strength and delivers a project that is positive and bolstering. That self-affirmative trend is in the tracks’ titles and it’s also in the songs themselves: opening track “For You” is fairly soft-sung and even the core chorus line “you don’t know about my love” is well inside the lines. She is controlling her outpourings and flare-ups or has she outgrown them? “Fight the Fire” remains in that melancholy vein introduced by “For You”. The words Fight the Fire are cautious ones; the fire and the hunger she speaks of will be dealt with by means of acceptance and the resoluteness to move on a “bigger” and “brighter” version of herself. Third track “Cassiopeia” is emblematic of

beauty and power, unrivaled, notable, and incandescent. Layla operates a renascence of sorts and why not don the mantle of a circumpolar constellation, and the most dazzling at that? The beauty of this EP isn’t its lacework songs, it isn’t its well-crafted melodies, nor is it the masterfulness at play when it comes to restraint and dosage, it is the honesty on display, the overall message that the record diffuses, that is the courage to overcome one’s own insecurities and fears, and the determination that it takes to renew and better oneself and brim anew with light. This EP has been, it seems, a cathartic experience for Layla, and she only comes out stronger at the end, “weightless” as it were, unburdened and unencumbered, ready to take it the new and the unknown with the same gusto of yore. The concluding song which is also the title track features a welcome rock vibe, the echoes of an engine’s fiery rumbling, which can only mean one thing: Layla is on to her next journey, one surely just as introspective and wellcalibered. It seems the young songstress is not one to let her emotions get the best of her; she’s battle-proven.

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CREDITS

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Writer: Rasha

Aplin’s Long Journey Away From Home Simple and heartwarming lyrics There is always that excitement one has when playing with firecrackers. It’s the time between when you light it and wait for it to go off; the precious few seconds you anticipate and wait for the ‘Boom!” moment. Gabrielle Aplin is that firecracker, and now is the time that she is just about ready to burst onto the global music scene. British born Aplin’s third EP entitled, Home, is ironically an ode to her leaving her native Somerset behind and reminiscing while looking into the rear-view mirror. Home is a translucent effort, and when we learn that Aplin is solely responsible for the song writing and composition of all the songs featured, her talent appears unnerving almost foreshadowing the star she is likely to become. Those aware of her previous two EP’s will note that home follows the same trend as her first

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two attempts, but what continues to stand out is her voice. It does reflect her youth, however her range dispels any lack of maturity or experience as it possesses an unforced elegance. Home can be easily classified as pop rock, but her craftiness and vibrancy is demonstrated through every string she plucks and piano note hit. The title track, “Home”, is full of nostalgic undertones as Aplin’s voice delicately resonates amongst lyrics of missing home. “Home” is Aplin not forgetting where she is from, as well as breeding an adolescent enthusiasm for finding yourself and understanding that we all have a path forward. Her words are figurative (‘Cause they say homeis where your heart is set in stone/is where you go when you’re alone). Her growth is heralded amid sensitive acous-


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CREDITS

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Photo Credit: Gabrielle Alpin

we all have a path forward. Her words are figurative (‘Cause they say homeis where your heart is set in stone/is where you go when you’re alone). Her growth is heralded amid sensitive acoustic strings and soft rumbles of drum beats. “Home” is a product expected of someone much older than the young Aplin, making her just that more impressive. “Keep Pushing Me” is slightly ironical in that its lyrics extoll the pain of heartbreak, while the chorus rapidly blasts into a more optimistic vibe. While “Out on My Own”, presents Aplin’s folk origins with an ensemble of meticulous acoustic picking, heavy pounding of the piano keys and sudden vocal changes. “Out on My Own” is pivotal in that it is emblazoned with whistles and hand claps, a melodic celebration

of a life changing moment. The last two offerings, “Romeo Must Die”, and “Let Me In”, are consistent in delivery and feature Aplin’s trademark softness and gentleness when she sings. Home subtly plays between an upbeat tone and pensive narratives, cementing Aplin as one to watch. She already has an extensive online presence and has played at Glastonbury, all Aplin needs is the spark to set her off.

" FEELS LIKE A FAMILIAR

SOUND- NOT TOO INNOVATIVE" Rasha

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GO PROFESSIONAL

Equipment: - D-Lite RX - MiniSoft-44 - Boom Stand - Backdrop 10x36 (Black & White) - 45 Convertible White Umbrella - 2x Softbox Location: - Montreal Contact: - Info@24OurNetwork.com

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CREDITS

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Writer: Trent B Minia

GREAT GOOD FINE OK’S BODY DIAMOND – ALBUM REVIEW

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Based out of Brooklyn, New York, rising

tures synths that move and soothe, with a

and wraps up Blue Diamond. Like the pre-

electronic Indie-pop duo Jon Sandler and

nice build-up towards the chorus. The hit-

vious track, it is fast-paced, but it is chill

Luke Moellman, under the name Great

ting of the high notes on the chorus adds

and cool on the synths and the beat.

Good Fine OK, comes out with their four-

to the song’s flashy dynamics.

track album Body Diamond as their latest release.

As a whole, Great Good Fine OK’s Body DiThe album’s third track, “By My Side,” is a

amond is great, good, and fine. Each track

song with a little faster pace, with lustful

offers a solid serving of soothing synth

The album opens up with “You’re the One

beats, swirls of mysterious high-pitched

and cool vocal work. Moreover, each track

for Me.” The track opens up with quiet and

synths, and heart-thumping heavy drum

just does enough to engage the listen-

smooth synths accompanied by “oh’s”, be-

beats near the end of the song. Over-

er, allowing them to sit back and enjoy the

fore exploding in the chorus with the title

all, By My Side has enough of the warmth

music. This album serves as another step-

of the song exclaimed. The second track,

and thrill of love to make a dull rainy day

ping stone for the duo as they work to-

“Not Going Home,” makes a great get-me-

worth spending your life through. The

wards becoming one a big indie-pop group

up song. This moderately paced song fea-

fourth track, “Say It All,” is the final track

in the music universe.

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CREDITS

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Writer: Samantha Mok

Less Than Stellar From Imagine Dragons IMAGINE DRAGONS BURST ONTO THE INTERNATIONAL SCENE WITH THEIR FIRST STUDIO ALBUM, “NIGHT VISIONS”.

By now, most listeners are likely familiar with rock newcomers Imagine Dragons. Formed between 2008 and 2009, the band collected accolades with their first four EPs. After filling in for Train at Bite of Las Vegas in 2009, Imagine Dragons quickly became local favourites among music fans in their home base of Las Vegas. By 2012, Imagine Dragons burst onto the international scene with their first studio album, “Night Visions”. In fact, just two weeks after it’s release, Night Visions peaked at number two on the Billboard 200 chart. After multiple hit singles, and a European/North American tour, Imagine Dragons returns with new releases from their forthcoming album “Smoke and Mirrors”. This particular single, “Warriors”, is intended to be released as a part of the deluxe edition of “Smoke and Mirrors”. However, “Warriors” was also released as a digital single in 2014 to promote the annual League of Legends video game tournament. “Warriors” is stylistically similar to the rest of Imagine Dragons catalog, drawing on their signature heavy guitar riffs and loops. This makes “Warriors” a song that holds to the band’s already established sound, echoing the melodies and style already thoroughly explored on their first album. However, fans of this sound will likely find the song to be one worth experiencing more than

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once. In terms of meaning, the lyrics leave something to be desired. The first verse discusses a subject who works while everyone else plays, creating an image of a person dedicated and willing to go the distance. The second verse references moving on into the afterlife, feeling accomplished and rewarded. With the tone of the first verse, the song may have been stronger exploring the struggle of someone who gives up fun for accomplishment, but instead skips over this struggle entirely in the second verse to talk about the life hereafter. With only two verses and a repeating chorus, the song structure also comes off as thin, or perhaps rushed. Seeing as the song was originally produced to promote the League of Legends tournament, it’s possible that a rushed construction is indeed the case. Additionally, the lyrics and instrumentals echo previous releases, bringing very few surprises for the listener. The song itself is enjoyable enough and will likely find success among listeners looking for simple high-energy tuned, but lacks deeper thoughts, multilayered meanings, or double entendres. Of course, Imagine Dragons is definitely more than a talented group, and their full catalog of music speaks to their skill and polish as both musicians and songwriters. However, this particular song may not be the best showcase of their full spectrum of work as refined artists.


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Other releases from their upcoming CD, including “I Bet my Life on You”, feature more creativity in their sound. These other releases also speak more to their skill than this single, and certainly points towards “Smoke and Mirrors” holding some incredible tracks. If this single were from an untested group, it would likely be better received. From a group with the experience that Imagine Dragons has however, audiences have come to expect more than a run of the mill pop punk tune. Since this song is included on “Smoke and Mirrors” as a bonus track on the deluxe edition only, it is likely that the rest of the album will hold deeper, better developed songs.

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" IMAGINE DRAGONS BURST ONTO THE INTERNATIONAL SCENE WITH THEIR FIRST STUDIO ALBUM, “NIGHT VISIONS”. " Samantha Mok

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Great summer song, will have you dance till dawn. 32 – 24OURMUSIC


CREDITS

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Writer: Patricia

Powers Meets The Knocks for a Classic Tour THE TWO MIXES PROPOSE TWO DISTINCTIVE ATMOPSHERES. DAY AND NIGHT IN ADDITION TO ALL THE GREAT NUANCES.

Powers is an American alt-pop duo that splits its time between New York and Los Angeles. In 2012, they recorded the single “Classic” with electronic music prodigies The Knocks, a kind of hazy summer hit both uplifting and danceable. This perfect summery tune is, as its title indicates, somewhat of a classic as it compounds all the nonpareil feelings that the season procures, leaving listeners with acute pangs of nostalgia. The vocals are sultry and the lyrics catchy, press play, you’re on till dawn. The dance track has enough good vibes to go round and a kind of optimism and openness that signifies a real aperture on the part of both bands; The Knocks started out as producers of beats and remixes before focusing on their own sound, and Powers seemed more than willing to tag along on this explorative journey. The result is

something of an evocation, not just the typical summer hit that has heads shaking and bodies leaping up and down, but an arcade where each can tap into his/her own emotions present and past. The “Powers Sunset Version” of “Classic” is slower, more languorous, a natural progression from the original track, the night version as it were. The sun has set and spirits have come down, unwound, ceding place to a form of contemplation. This mix is mellower, smoother, yet another layer of summer evocativeness. These guys have hit the nail right on the head by proposing a track that is collective in scope and packed with such massive energy.

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CREDITS

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Writer: Eddie Mumford

Big Sean (Ft. E-40) I Don’t Fuck With You

This is a break-up song for the twitter-facebook-instagram relationships that never actually end. Your creeping your ex’s profile or maybe their new man pops up in your feed. “I ain’t fuckin’ wit choo!” It’s a break-up rap song people, there will be strong language. “You little stupid ass bitch, I ain’t fuckin’ wit choo.” I’m talking about Big Sean’s ‘I Don’t Fuck With You’ (Ft. E-40) (Prod. DJ Mustard & Kanye West / Co-Prod.

chase bread, aw damn, she got a bird brain,” while adding little to the communal tableau of ‘Rapper dates ho, ho acts like ho, surprised, rapper raps about the evil ho that acted like a ho.’ The end? Not yet, E-40 needs a few seconds as filler and grand-stander: “I bet you she into me, her cheddar, she givin’ me / I make a bitch stand outside forever like the Statue of Liberty.” Well played?

DJ Dahi & keY Wane). Ironically the song’s existence negates the title and content’s claim “I ain’t fuckin’ wit choo” which is repeated near endlessly between rap verses from Sean, whose raps have some flow and a few lyrical slaps that stick around like “These hoes

Stylistically it’s got those soulful samples that are often required to add depth in the digitals, women (or chipmunked men) howling vowels forcefully in the background, to me symbolic of the hos of yore, wailing like banshees at their helmet-headed Macbeths and

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" EXCELLENT PRODUCTION AND SAMPLE CHOICE " Eddie Mumford

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It’s hard to take the song seriously, excuse my language (throughout), but he goes on about having no time for this one bitch. He has so little time for her that he wrote a song about how he’s got “a million trillion things I’d rather fuckin’ do / Than to be fuckin’ with you / Little stupid ass, I don’t give a fuck / I don’t give a fuck, I don’t I don’t I don’t give a fuck / Bitch I don’t give a fuck about you or anything that you do / Don’t give a fuck about you or anything that you do.” Ok, ok, the rapper doth protest the bitch too much, no? “I guess drama makes the best content.”

from the basement, contrasted by the light digital bells that pinch like crystal. And that minor change near the end of the sample is what my ear waits for every time it comes around again. When I relocate myself from the lyrics I kind of like this song, but what I’m really into is ‘Say You Love Me, One More Time’ by D.J. Rogers, the source of ‘I Don’t Fuck With You[‘s]’ sped-up sample. It’s worth checking out, more so than this misogyny wrought from the twitter-facebook-instagram relationships that never actually end.

The production value is supple, I cannot lie, and it sounds as taut as anything with Kanye’s name on it, with respect to DJ Dahi & keY Wane as well; those flat, lo-fi syths tapping

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Trying to hard to pass off as indie rock... 38 – 24OURMUSIC


IMAGES CREDITS

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Writer: Rasha

Sky Ferreira’s “You’re not the One” Sky Ferreira hasn’t had the easiest of journeys so far. As talented as she is, her potential hasn’t materialized into album success and the fact that it has taken her so long to release a debut album is indicative of a record company focusing more on collecting dollars than preserving raw talent. Ferreira teased us with “Everything is Embarrassing” and “Lost in My Bedroom”, so what can we expect from her single, “You’re not the One”? An inspired and intense response that if gesticulated would require the middle finger.

“You’re not the One” is engaging and its chorus is simply enough to warrant a crowd chant if called upon. Lyrics such as (“It’s the middle of the night and I’m so gone/And I’m thinking about how much I need you/But you really want somebody else”) animate the frustration of a one sided relationship, similar to millennial’s version of “He is just not that into you”, one could also interpret Ferreira’s ferocity as being directed at her record label, but one thing stands out and that being that Sky Ferreira is focused.

“You’re not the One” is the first track off her long awaited debut album Night time, My time and its five track remix EP has been available for quite some time on iTunes. “You’re not the One” snarls through its opening of forceful drums and a rebellious guitar rift, while her vocals gently drive through the ruckus. Ferreira summons the ghost of 80’s Madonna with her attitude, which hides behind the reeds of her discontent at a past lover. Watch the video clip and witness Ferreira throw her hair around, manically pouts and molests a stingy nightclub wall to know that this girl is angry about something.

Where the track excels is in its gritty rock roots that are a far cry from her previous offering of the synthesized electro dish of “Everything is Embarrassing”. The mixture of its unpolished percussion and electric guitar further cements Sky’s new direction. The stand out remix on “You’re not the One” EP id Cid Rim’s. The track removes its pop rock bitterness and replaces it with an electro/hip hop sound, it is made more intriguing with Cid Rim’s inclusion of hand claps underneath Ferreira’s vocals, which adds a new take on the song.

The accomplishment of the track produced by Ariel Rechtshaid and Justin Raisen is that it an indie rock pop melody without the Ariana Grande sprinkles and Katy Perry frosting.

If Ferreira can maintain the same drive and intensity into future releases, it won’t be too long until we witness the Sky falling upon us.

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CREDITS

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Writer: Evan Crandell

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Dizzy Wright Hints at New Directions

There is a lot of repetition in rap these days. Certain topics have been trodden over so many times that the mere thought of them makes audiences groan. Everyone needs a good party jam now and then, but the redundancy of topics like drinking, smoking, sexual escapades, and general male bravado make it difficult for songs with these themes to get noticed. Las Vegas-based rapper Dizzy Wright has the skills and creativity to break out of that mold but doesn’t quite get there with his State of Mind EP. In it, Wright seems torn between two different thematic zones: the aforementioned party music and more contentbased artistic expression. In the EP’s title track, Wright offers up a mission statement about his stance as an artist and possibly where he’s headed. Over a jagged drumbeat and a whining guitar sample from producer MLB, WRIGHT Wright hints CAN’T SEEM at his TO RESIST THE desire REDUNDANT TOPto ICS OF PARTYING be AND SEX. taken seri-

ously. He writes several lines about his own skill and integrity such as, “gotta quiet all of these critics, the most devoted in my division / they do it for the mention, but I’ll never trade respect for attention.” It’s a pretty standard “me against the world (the critics)” mentality, but coming from someone who raps about women twerking on his lap and repeatedly references smoking weed, it’s a welcome change of pace for him to defend his art. Where “State of Mind” really surprises, though, is in its chorus where Wright raps, “picked up the yoga, put down the soda / my healthy mind that’s what’s gonna’ help me over.” For a guy seemingly steeped in macho party culture, just mentioning yoga, let alone in the EP’s opening title track, is a fascinating choice. “Too Real for This” again finds Wright clamoring for more originality, albeit with an imbedded sense of hubris that is all too prevalent in the culture from which he is trying to dissociate. He writes about his artistic evolution: “My biggest fear is being right here next year selling y’all the same ass dreams.” Paired with MLB’s dreamy, spaced out beat, Wright’s lyrics make it seem like he is taking his music in a more progressive direction. What’s still unclear is the reason behind his emphasis on continued creation. He references those same critics as before when he raps, “can’t waste no time,

by the time that’s built they all want something new.” Is he working to put out new music because he feels a calling to do so or simply because audiences are constantly clamoring for new material? There are seven tracks on State of Mind, but the two mentioned here are the ones that most seem to push the thematic envelope on the EP. Elsewhere Wright focuses on rapping about partying and reminding us of his perceived immense skill. And aside from the frequent lack of lyrical substance in his work, Wright does have undeniable rapping talent, with a smooth flow, creative rhyme schemes, and unpredictable syllabic emphases. State of Mind also features some additional production that is effective, if not entirely memorable, from Roc N Mayne, Sledgren, 6ix, and 1stBorn. The reception of State of Mind will undoubtedly be determined by that someone’s perception of what the EP represents. If this is the end goal, which seems unlikely, Dizzy Wright leaves us wishing for more. If we see it instead as a tease of new directions with some filler material mixed in, we can definitely look forward to Wright’s future output.

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

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

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CREDITS

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Writer: Alicia

Aquilo Does It Again With Their Debut Release “Human” IN KEEPING WITH THE BAND’S ESTABLISHED SOUND

Aquilos, an experimental electro pop two piece from Lancashire, England have been featured several times in The Guardian, as well as on BBC 1. Made up of Tom Higham and Ben Fletcher, these two forward thinking musicians are experiencing early success among critics and listeners alike. In fact, an earlier song of theirs, “Calling Me And You”, was chosen for inclusion on the Best Of BBC Introducing Stage from the 2014 Glastonbury Festival. Often described as “hypnotizing”, Aquilo utilizes a calm, dreamlike sound, sewing in many electronic, experimental and pop elements. Released early December 2014, the EP Human is off to a strong debut. With overwhelmingly positive comments for the EP from their nearly 10 000 SoundCloud followers, Aquilo is rapidly showing off their best musical traits. Benefitting from positive reviews and exposure, the band continues to amass fans of experimental electro pop. The first song from this EP, “You There”, is even featured in the trailer for the independent 2014 film “Camp X Ray”, starring Kristen Stewart. Musically, “You There” is a perfect hybrid between indie pop and electro pop. The tune uses electronic elements sparingly, remaining melodic and accessible. The simple piano chords are haunting, and the yearning lyrics fit perfectly with the overall sound. Keeping to the band’s

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favoured sounds of chilled out, introspective melodies with an electronic twist, the lead track is one listeners will love exploring time and time again. On the second track, “It All Comes Down To This”, Aquilo immerses listeners in a more experimental, electronic sound. The track sounds distinctly ethereal, making heavy use of experimental sounds and effects. However, the song does not depart from “You There”s easy to love melodies. In no way is “It All Comes Down To This” a straight electronic song, making for an appealing electro pop hybrid. Much like the first song, this second tune discusses love in a realistic way, accepting the turmoil and tension that comes when love doesn’t quite work out. The third track, echoes the tones and experimental vibe of the second track. Much like the second track however, “Part of Your Life” doesn’t get too carried away with the experimental nature of the song, folding in effective melodies and a catchy chorus to keep the song on track. The song seems to accept problematic experiences, suggesting the peace that comes with moving on. The judicious use of electronic and pop elements compliment the track’s meaning perfectly, making the tune it’s own experience. Once again, the chorus is one that holds the song together, all while driving home the lyrical meanings in the track.


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In an effective bookend, the fourth track recalls the more melodic stylings found in the first track, yet brings together many electronic effects from “It All Comes Down To This” and “Part of Your Life”. Keeping to a more upbeat melody, “I Don’t Want To See It” is an excellent end to the album. The song features a catchy melody, yet discusses heavier topics. The dueling nature of the song’s sound and meanings make for an utterly delicious track. Aquilo’s work shows what Bon Iver would sound like if he took a dive into a soft, electronic dreamscape. Already hitting a chord with listeners, this EP is another in a long line of impressive releases from Aquilo. Yet, the group’s nearly 10 000 fans on SoundCloud simply do not reflect the band’s immense talent and potential. Available on iTunes, Aquilo EP is a truly ideal collection for fans of electro pop and independent artists.

" THIS EP IS ANOTHER IN A LONG LINE OF IMPRESSIVE RELEASES FROM AQUILO. " Alicia

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CREDITS

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Writer: Patricia

Brave Shores: Fun World Ahead BRAVE SHORES EXPRESS COMMUNICATIVE JOY AND ENERGY AND THAT IS REFRESHING.

Toronto brother-sister duo Brave Shores comes out with two summer pop songs off their upcoming EP packed with confetti fun plus enough rock edginess to please all crowds. “Dancing Underwater” and its rallying heys and unrelenting guitars is something of a pick me up, and one cannot but dance to the sound of such a spirited effort; it’s ultra-colorful, jovial, and slightly acid. These Torontonians know how to throw parties that’ll leave irremovable traces, there’ll be glitter aplenty for sure, there’ll be glow sticks strewn on the floor at sunup. More than a mere pop song, “Dancing Underwater” is quasi anthemic, and reminds of British duo Icona Pop’s single “I love It,” for the kind of blaring optimism and free-flowing energy that it features. Second track “Never Come Down” is similar in scope, same party, different time, and the peak has yet to be reached. “Never Come Down” is the kind of song that can be replayed a number of times without it ever losing any of its original appeal. It’s poppy, electro, and blatantly honest, a first draft of a song that could

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have been produced to death but instead was kept in its rougher state to keep vibes moist and tender. They didn’t overwork it, and the final product isn’t the least bit contrived for the goal here was to entertain not dazzle with technical feats. Brave Shores is a band that gives, that sings in unison, that propels the typical pool party to a realm that is HOPEFULLY THEIR flamboyant, exciting UPCOMING EP WILL and a little crazy, but the good intentions are FEATURE MORE there, unadulterated. DIVERSITY IN TERMS It’s fun felt tenfold, it’s generosity galore. OF SONG DYNAMICS.


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MARA HRUBY ARCHAIC RAPTURE 50 – 24OURMUSIC


In the same way that love is timeless, so

loss and the resolve needed to move on

Me a River,” which leans on its dark string

is it’s evil twin, heartbreak. Although the

from broken ties. The instrumentation and

accompaniment and Hruby’s haunting de-

two emotions can be mutually exclusive,

production on the EP are generally under-

livery to give the track a dark and cinemat-

chances are that anyone who has ever ex-

stated and minimal, leaving ample room

ic palette, almost fitting of a James Bond

perienced one has probably experienced

for the Oakland, California native to croon

song. The EP ends with the more upbeat

the other. Singer Mara Hruby uses her re-

over the top, speaking to all of us in some

“Set Me Free,” which still maintains Hru-

cent EP Archaic Rapture to work through a

way with each word. Even though the

by’s vocal sensuality while detailing the

serious broken heart after dating someone

songs come from the jazz canon, there is

theme of moving on from a broken heart.

who cheated on her with six other women.

an undeniable country vibe throughout,

The concluding song is a reminder that al-

mostly due to the dominating guitar twang

though heartbreak may feel insurmount-

The EP consists of mostly covers of jazz

in the mix and simple bass lines. The mu-

able, at some point everyone has to sum-

standards save for one original by Hru-

sic is often reminiscent of one of Hruby’s

mon the determination to set oneself free

by’s aunt, giving the set a retro style while

stated inspirations, Patsy Cline.

from the sadness. And by going through that process of honest introspection, we

touching on subjects that will always have a place in our collective consciousness.

Unsurprisingly, Hruby’s strongest moments

The title alone, Archaic Rapture, holds a

on Archaic Rapture come when she is at

certain weight with its religious overtones,

her most original. Her cover of Billie Hol-

but seems more likely to hint at the age-

liday’s rendition of “Gone with the Wind,”

less idea of finding strength and honesty

for example, keeps the same plodding

in oneself in times of strife.

tempo as Holliday’s but adds dense, lush pads of vocal layers, synths, and rever-

Hruby’s voice is at the forefront of the mu-

bed guitar, giving the song a modern and

sic and rightfully so, as her gentle, pure

unique sound. Similar techniques are used

delivery aptly conveys both the pain of

on the cover Julie London’s version of “Cry

make ourselves stronger.

CREDITS

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Writer: Evan Crandell

" HRUBY’S VOICE PORTRAYS GREAT SKILL AND EMOTION. "

Evan Crandell

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Archaic Rapture gives us another exhibition of Hruby’s talents

matic terrain. If her work on Archaic Rapture has proven anything,

both in her vocal stills and her ability to adapt old songs as her

though, it’s that no matter what the future holds, Hruby’s work is

own. It is also a preview (we can only hope) of more original ma-

certainly worth a listen in the here and now.

terial to be released in the future. While Hruby’s work on this EP is captivatingly vulnerable as she works through her emotional conflict, it is exciting to think of the possibilities if she would open her music up to new and different compositional and the-

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" THE EP’S PRODUCTION IS UNDERSTATED AND ADEQUATELY SUPPORTS HRUBY THROUGHOUT. " Evan Crandell

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CREDITS

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Writer: Quinn

Kevin Gates: More Than an Internet Meme ENGLISH SINGER SONGWRITER JESSIE WARE SINGS TRIALS AND HEARTBREAKS IN HUSHED TONES; THE “TOUGH LOVE” Probably the most distinctive thing about Kevin Gates is his complete nonconformity. He is good at many things, most of them seemingly contradictory, but above all he is excellent at being uniquely himself. He is both a talented rapper and singer. He is the originator of the current booty-eating renaissance in hetero male hip hop culture (http://gawker. com/the-booty-eating-renaissance-1633706123) as well as a vocal fan of Nicholas Sparks who was brought to tears by The Notebook (the book, not the movie). He is a convicted felon but continues to believe in the power of true love and namedropped The Lumineers and Taylor Swift as artists that he listens to in a recent interview with Mass Appeal. But this dichotomy works for Gates, as his music effortlessly, sometimes quite suddenly, transitions between styles, topics, and vocal styles. Sometimes he’s mushy and sometimes he doesn’t behave all that admirably, but he shares all sides of him with his fans. “I’d rather be hated for who I am than love who I’m not any day. Take this quote from Mass Appeal: “That’s my philosophy, and I think that’s what resonates with the people that listen to my music. I give you the real me” (http://massappeal.com/kevingates-a-new-kind-of-rap-star/). Even when the real him has been informed by his grandmother that he is, in fact, sleeping with his cousin, wherein he took to instagram to recount the tale and stubbornly insist that he wasn’t going to stop. This kind of straightforward attitude and honesty are apparent both in his lyrics and in the raw timbre of his singing voice. The Baton Rouge, Louisiana native has been rapping since the 7th grade but didn’t really start going full throttle until 2011, when he was released from prison. He grew up amidst gang related violence, a fact that lends his grittier lyrics credibility. He gained widespread attention with his mixtape The Luca Brasi Story in 2013, a reference to the feared personal enforcer of Vito Corleone in The Godfather novel and movie. 54 – 24OURMUSIC His newest mixtape, Luca Brasi 2, was released this past

december and purports to pick up where the first one left off. Indeed, it is representative of his now signature style, developed over the course of 6 full length mixtapes/albums since 2012. The oppositions inherent to his personality are also, by extension, inherent to his musical style. His unique croaky voice melts easily from a barking rap lyric to a tender and loving sing song within the space of a few bars, lending his music an unpredictable and unsettled feeling that is surprisingly pleasant. The first six songs are a masterfully executed symphony of unbridled rap tension, a guttural release that feels raw and real and emotive. The intro track is over two minutes of nonstop hookless and decidedly feverish rapping. Even the R&B influence of the second track, “I Don’t Get Tired”, a collaboration with August Alsina, can’t dial back the stress, paranoia, and tension palpable on the remaining tracks. He discusses prison flashbacks on “Don’t Panic”, rhymes about grimy drug dens in “Thugged Out”, and spits the occasional cautionary warning to drug dealers about getting caught. On the Bobby Johnson-produced “Sit Down” it sounds like he’s rapping in four different distinct voices at once. It all feels very therapeutic and real, as if Gates sat down and all of this manic rhyming just poured out of him, getting a lot off his chest in the process. He’s not just musically but also lyrically divergent, often alternating between wanting to fuck you and love you tender: in “Wassup With It” he wants to both kiss you in public and “hit that pussy one more time”. In “Wild Ride” he inquires if it would be morally permissible for him to “Fuck you with one of my niggas/ If afterward I promised I wouldn’t look at

GATES HAS A VOICE LIKE NO ONE ELSE IN RAP RIGHT NOW, MOVING FROM A THROATY CROAK TO


you different?” He manages to sound both tender and rough at the same time. He also addresses the anilingus discussion surrounding him that has gone viral ever since he discussed his advocacy for it on radio a while back, promising to “lick all in ya anus” in “Pourin’ the Syrup”. Ultimately, however, Gates is an extremely talented artist with a well-crafted and unique technical sound and a rawness and veracity to his music. It would be a shame for his name to be reduced to a viral meme of controversy that is already on the way to being passe. Even if you hear of Kevin Gates thanks to his booty lickin’ comments, his music deserves a second, even third and fourth, listen. His unique brand of honesty and high-stakes rap just might distinguish him as the best underground rapper in America right now.

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24Our Music Magazine: February 2015  

Welcome back to another issue of 24OurMusic Magazine featuring some of the most exciting music that we curated and cannot wait to share with...

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