Gorgon City – Michael Go All Night Kiwanuka
I wasn’t of dance-club age in the early 90s, and yet I’m feeling the nostalgia here with Gorgon City’s ‘Go All Night’
A father and his son will always have a special bond. There is so much to be learned from each other, whether it’s the son learning the ways of the...
ASTR’s “Varsity” EP: Classic Craft an Original Pal-
MC Bravado Walk the Line
Seven LC Just like in business and life, music is about branding. For vocalists and rappers, oneâ€™s words, lyrical themes, and overall message, is his or her brand. Of course artists are always expanding on ideas and...
Morgan Frazier Hailing from Breckenridge, Texas, comes Morgan Frazier. After several years exploring performing and songwriting in Nashville as a teen, Morgan managed to land a serious record deal, as well as collaborate...
18. Active Child
Since his debut in 2011, Active Child, stage name for electronic music artist Pat Grossi, has quickly won the attention of critics and fellow artists. After opening for M83, one of Active Child’s songs,...
Peder Losnegård, better known as Lido, is a Norwegian artist, rapper, producer and songwriter. Known for bringing his classical piano training to the world hip-hop, Lido has garnered significant attention...
32. Clover & C-4
1 album, 5 songs, 4 apostrophes, Comin’ Clean is now available on Bandcamp from Seattle’s Clover & C-4...
30. Summer Heart
David Alexander, also known as Summer Heart, is a “summer-wave,” “do-it-yourself” artist based out of Sweden. Amongst his releases is...
28. Little Coyote
Toronto-based Little Coyote’s Blood & Bones EP cover features the young songstress smeared in what appears to be blood or is it rouge?
50. Frightened Rabbit
On the surface, the Selkirk band Frightened Rabbit embodies everything that first comes to mind when imagining a Scottish indie rock group..
52. Hudson Mohawke
As a music producer seeking widespread recognition, working alongside someone like Kanye West is a huge boost. This is the fortune that met Glasgow native Ross Birchard, better known as Hudson Mohawke...
24. Seven Lions
Brostep is supposed to be dead, isn’t it? Since Skrillex’s mainstream radio domination with the likes of “Scary Monsters and Nice Sprites” and everyone from your little sister to your second uncle...
36. Kill The Noise
Jake Stanczak, more commonly known as Kill The Noise, uses his upbringing during 90’s grunge as a brilliant lens through which to view today’s EDM...
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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 Lido and Hudson Mohawke are definitely act that have caught our eye near the end of the year, while Gorgon City effort is a masterpiece. We also look into the world of Seven Lions with our review. 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 Staff Writer: Eddie Mumford 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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Michael Kiwanuka Gives Fatherly Wisdom THE PLAYING AND MUSICAL ARRANGEMENT ARE TIGHT.
A father and his son will always have a special bond. There is so much to be learned from each other, whether it’s the son learning the ways of the world or the father seeing some of his own traits emerge in another human being. In Michael Kiwanuka’s song, “You’ve Got Nothing To Lose,” the singer-songwriter takes the role of a father figure, imparting wisdom to his own kin and all future generations. Kiwanuka’s lyrics drive the song, even though they are often difficult to understand. As the guitars strum ceaselessly and the upright bass plods through the verses, his words float along, uttering lines like, “So don’t be surprised / it’s the trouble that heals.” It’s almost a message of acceptance of the difficulties of life and the need to simply move forward. Later, in the chorus, he sings, “Nothing will turn around / nothing will move / nothing will change your mind / you’ve got nothing to lose.” While the goal he is advocating in having “nothing to lose” is not abundantly clear, Kiwanuka goes on to ensure his importance in the young person’s life, writing, “Son don’t you turn around / I got all that you need / son you won’t be let down / I got all that you need.” Perhaps he is commenting on children’s tendencies to stray from the web of family, which always provides unending love and support. Musically and aesthetically, the song has an open, almost dreamy feel that is perpetuated by the instrumen-
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tal arrangement, the production (by Jack White), and Kiwanuka’s vocals. The instrumentalists, which feature The Buzzards’ Dominic Davis on bass, Cory Younts on piano, Jeremy Lutito on drums, and Lillie Mae Rische on fiddle, are effective in their musical support, maintaining momentum and energy throughout while never overstepping their bounds. The only personal touches come from Rische’s tasteful flourishes in between some of the vocal lines. The song is effective, if a little generic, the instruments are on point, and Kiwanuka sings with a somber, almost moaning inflection. The track is also accompanied by a powerful video directed THE by James Cathcart, which offers an alternate context to the material. UltiSONG CREmately, Kiwanuka’s words transcend ATES AN EFFECthe father-son relationship to apply TIVE BLEND OF to any parent and child and more generally, anyone searching for acSWEETNESS AND ceptance in this challenging world.
Writer: Evan Crandell
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Lido Remixes FRESH, INVIGORATING REMIXES OF LIDO’S ORIGINAL WORK Peder Losnegård, better known as Lido, is a Norwegian artist, rapper, producer and songwriter. Known for bringing his classical piano training to the world hip-hop, Lido has garnered significant attention with his free online mixtapes – most notably “The Good Guy” mixtape. Previously known as LidoLido, this innovative artist has made waves in the Norweigan music scene, with his debut album peaking at number six on the Norweigan Albums Chart. On his current collection, Lido showcases some of the best remixes of his original songs. While Lido’s music tends to straddle the line between pop and EDM, these remixes certainly push his style closer to EDM. The first track, “Love You (Hoodboi Remix)”, is an infectious remix of an already brilliant song. With the perfect beat, the track mixes in the melodic hooks from the original, but expands on the beats and bridges the way a good remix should. This richer, more textured take not only compliments Lido’s personal style, it is the perfect way to reexperience his original hit. The second remix in this collection, “I Love You Pt II (Obey City Remix)”, is another reimagining of Lido’s work that fits nicely with his style. Unlike the first track however, “I Love You Pt II (Obey City Remix)” expands the original into more of a melodic experience than a lyrical statement. Much like the original “I Love You Pt II”, this track utilizes 80’s inspired synth and jazz to create something of an homage to the decade. “Money (Para One Remix)” is a decidedly upbeat remix, which is punctuated by following the nearly lyricless “I Love You Pt II (Obey City Remix)”. In a creative move, Obey City melds upbeat easy listening elements with electronic effects that border on chiptune. Though the mixture might sound strange, the marriage is incredibly successful and uplifting. The next remix is yet another ingenious take on Lido’s work. “Lost (HeavyxMellow Remix)” still falls within the EDM genre, but strikes a pointedly experimental, ghostlike note. This low key offering mixes elements from rock and electronic music, for a truly fresh take on Lido’s sound. Not only that, ordering the tracks the way Lido has – “I Love You Pt II (Obey City Remix)”, “Money (Para One Remix)”, then “Lost (HeavyxMellow Remix)” – lets listeners experience his music in a more experimental way, but also keeps fans interested with the more easy to digest “Money (Para One Remix)”. Finally, this collection of remixes ends with “Money (Lindsay Lowend Remix)”, another slower, somewhat experimental mix. Lindsay Lowend has a terrific talent for bringing originality to his work, which again, compliments Lido’s perfectly. It is obvious why Lido chose this remix to end the collection with, as the tone and overall construction are the perfect way to wrap up this expanded exploration into Lido’s work, as well as the various DJs featured.
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THE ARRANGEMENTS, SONG CRAFT, AND MUSICIANSHIP ON “MELODY CALLING” ARE ALL UNDERSTATED BUT EFFECTIVE.
Writer: Alicia Prince
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Writer: Evan Crandell
SEVEN LC “BLACK CROISSANT IN AMERICA”: A SOUNDTRACK
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Just like in business and life, music is
album works, showing us that despite his
used on the album, the airy instrumen-
about branding. For vocalists and rap-
thematic ambiguities, Seven LC is some-
tals on “Be Sorry” are encouraging. Pos-
pers, one’s words, lyrical themes, and
one to watch on the local scene. The al-
sibly the most noteworthy track is the
overall message, is his or her brand.
bum’s first track, “Be Sorry” aptly encap-
dubious “Bilzerian,” an unabashed trib-
sulates these uneven dynamics. It is led
ute to the notorious playboy and Insta-
Of course artists are always expand-
by some enticingly mysterious synth tex-
ing on ideas and pushing the bounda-
tures that capture the listener’s attention
ries of convention but if they have put
before Seven LC enters with processed
The choice of Bilzerian as a muse here is
any thought into the marketability of
vocals and unclear wording: “Tryin’ to
bizarrely earnest and frighteningly tell-
their work, there will be some consistent
make me holding back”? The grammat-
ing of Seven LC’s life philosophy given
traits that help define that artist’s iden-
ical issues would be easier to excuse if
Bilzerian’s lavish lifestyle that includes
tity. Montreal rapper Seven LC’s album
this wasn’t the first phrase of the album.
money, women, drugs, three heart at-
Black Croissant in America, out on Mon-
And it is hardly its only head-scratch-
tacks by the age of 32 and multiple law-
trill Records, portrays an artist who has
ing lyrical moment. Regardless, his point
suits from women who were injured in
some talent but is still grappling with
is made on the track, that he cannot be
his company. Seven LC writes, “Bilze-
finding that singular, cohesive sound and
held back in his musical, financial, and
rian, bitches bitches Bilzerian / money
sexual escapades. And based on his cre-
over money n***a Bilzerian… fuckin’ dif-
ative phrasing and quick tongue, he’s not
ferent bitches every night / Bilzerian.”
Nevertheless, backed by strong produc-
totally wrong. And aside from the shrill
Through his nonsensical delivery, Seven
tion from a handful of collaborators, the
percussion that quickly becomes over-
LC makes it clear here that he is in the
" THE PRODUCTION CREW DELIVERS, CREATING MOSTLY STIMULATING TRACKS. " Evan Crandell
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game more for the lifestyle and superficial rewards than for the
choices to make as his career moves forward from Black Croissant
art. Honesty is a virtue, though, and his openness about his goals
in America. Because ultimately, the backbone of the album is its
is commendable, no matter how one may feel about them. Some
stimulating production over which we find generally juvenile lyri-
of Seven LC’s strongest moments on Black Croissant in Ameri-
ca come when he raps about his own resilience and strength of will, like on “Black Croissant.” Although it’s a well-trodden theme,
Clearly it is important to stay current with one’s music, but Seven
Seven LC makes it work here as he sings, “Some people told me I
LC must also think about his legacy and what he will have left be-
wouldn’t make it, I didn’t pay attention ‘cause you can never nev-
hind when it’s all said and done. One must be careful dabbling in
er know… better than me / you can never never tell… what I can
too much topical themes for fear of being passé. Obviously “Bil-
be.” Perhaps because of the lack of prior lyrical substance, these
zerian” might have a niche audience, and the song was hopeful-
words stick out over Tha Ill Kid’s slow burning track. On “Will of
ly made with a certain level of humor, which would allow its cre-
Fire,” Seven LC continues the theme of him against the world in
ators to realize the lyrics won’t be viable for long. But things like
possibly the most pop-oriented and catchy song on the album,
the use of the word, “bitch” when referring to women, which Sev-
with bombastic production from Kevin-Dave. In a tender moment
en LC does repeatedly throughout the album, is something that
that almost makes up for the debauchery of tracks like “Bilzeri-
will hopefully soon be a thing of the past, which, unfortunate-
an”, Seven LC raps, “I do what I have to do / I’m rude when I have
ly for him, will place him on the wrong side of that historical par-
to be… Everybody cares if you’re tryin’ to shine / then everybody
adigm. He clearly has the means to take his music in any direction
hate when you find a shine / like they want you to grind but never
he wants, so let’s hope that the positive moments on Black Crois-
get it.” Is it all an act? Is all the materialism and misogyny on the
sant in America, and not the negative ones, are more indicative of
album part of an elaborate character piece, concocted to simply
what’s to come for Seven LC.
generate buzz about his work? It’s definitely a stretch to assume this conclusion, but maybe worth pondering. Seven LC has some
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THE FEW SKILLFUL MOMENTS FROM SEVEN LC CAN’T MASK THE BORDERLINE SILLINESS OF SOME OF HIS 15 – 24OURMUSIC
Substantial and well-produced, with enough punch to please audiences. 16 â€“ 24OURMUSIC
Writer: Eddie Mumford
Gorgon City: Go All Night Ft. Jennifer Hudson I wasn’t of dance-club age in the early 90s, and yet I’m feeling the nostalgia here with Gorgon City’s ‘Go All Night’ Ft. the unrecognisable Jennifer Hudson. The Oscar winner is a pleasure to listen to, and though the song has its repetitive nature (this is a dance song remember!) the Gorgons (North London producers Kye “Foamo” Gibbon and Matt “RackNRuin” Robson-Scott ) have enough substance to keep it stimulating. It seems like enough of us Gen Ys have complained about the hole that the 90s left in our lives, and now it’s being brought back with artists like Gorgon City, Karen Harding and many more are bringing back the style of the time, still electric, but nothing fancy to obscure the raw talent. It’s not a total surprise that these artists would want to go back to the roots of EDM when the basic elements first gained recognition in and around the CC Music Factory. Building a name for themselves in the UK, ‘Go All Night’ is their first song to go #1 on US billboard dance charts.
The use of such a well-known American singer may have aided in that affair, thank you American Idle and Beyoncé, but the song is getting traction on the global stage: those classic dance effects are undeniable, plus, who doesn’t love a song that tells you to ‘Keep on Dancin’’? Not this reviewer. Simple digitals backed with the soulful bliss of a talented woman. That’s how I remember classic EDM, and here we are. Electro-violin in the intro and that persistent clap as Jennifer leads us into to the mix of stripped electric keyboards and those low-fi bass taps that show up eventually. Delicious! I might just keep on dancing actually; this is great music to dance/clean/exercise/ lip-sync/perform in drag to. It’ll get your hips bouncing in little circles, and uncontrollable dance movement is a good omen in my Necronomicon. Best case scenario: ‘Go All Night’ classifies as ‘instant classic’ and becomes a new go-to for ‘Everybody Dance Now!’
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Writer: Alicia Prince
Active Child Brings Back The Best Of The 80’s Simple and heartwarming lyrics Since his debut in 2011, Active Child, stage name for electronic music artist Pat Grossi, has quickly won the attention of critics and fellow artists. After opening for M83, one of Active Child’s songs, “Hanging On”, was covered by Ellie Goulding on her second album “Halcyon”. Not only that, several publications, including Pitchfork Media and Drowned in Sound, have given Active Child impressive reviews. While every EDM artist certainly owes much of their inspiration to the 80’s, few produce music that sounds like it could have been lifted from the decade. In an interesting take on electronic music, Active Child’s style is not only reminiscent of 80’s electronica, it would fit right in next to David Bowie and Duran Duran. This firm commitment to the 80’s sound might not be a revolutionary style, but is certainly
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groundbreaking at a time when EDM revolves around expanding on the “basic” sounds of the era. On the first song, Active Child eases listeners into his style. Titled “She Cut Me”, the song features sparse lyrics, and strikes an ethereal, spirit-like mood. The track seems to be less of a melody, and more of an experience. If the title is any clue, the track calls to mind the feelings churned up when hurt by someone close to you. “Subtle” is the next track on Active Child’s EP, which shows off the artist’s unique preoccupation with the sounds of the 80’s. In a departure from the style of “She Cut Me”, “Subtle” has a more structured composition. The next song, “Feeling Is Gone”, is easily a dance tune, but
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" UNIQUE APPROACH TO ELECTRONIC MUSIC " Alicia Prince
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The next song, “Feeling Is Gone”, is easily a dance tune, but once again brings to mind stylings from the 80’s. Upbeat and forward thinking, the song blends modern elements into retro effects. In fact, parts of the song bring to mind elements from the Labyrinth soundtrack. Showcasing his connection with Ellie Goulding is “Silhouette”. Herself known for thoughtful and effective love songs, Active Child’s choice to feature Ellie Goulding on his love song is a wise one. Not only do the two harmonize brilliantly and meld their styles flawlessly, the song’s lyrics are true to life. Despite being a love song, the lyrics don’t come off as sappy or overly dramatic, instead painting a sincere and heartfelt portrait of two faulty, struggling lovers.
Finally, the EP ends on a somewhat emotionally downbeat note with “Evening Ceremony”. The track takes the themes explored in “Calling In The Name Of Love” one step further, and perhaps addresses conflicts in love more head on. By exploring the conflicting desires and goals of two people in love, the song effectively portrays the struggles all of us feel in relationships. Active Child not only showcases a unique blending of retro styles and elegant song construction, he shows a talent for modernity as well. Most notably on “She Cut Me”, Active Child shows he is not afraid to throw conventions out the window and venture into truly experimental territory. This talent for a modern edge underlines Active Child’s decidedly 80s sound, creating a striking, yet captivating balance.
The next song, “Calling In The Name Of Love”, suggests the song may become what the last song was not, but instead explores the inherently unbalanced nature of love. As the lyrics discuss the need to hold on to the ones you love, they also suggest the fading nature of most connections. Of course, this is all underscored by Active Child’s throwback style.
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Seven Lions: Worlds Apart from the Old Brostep SEVEN LIONS PICKS UP WHERE BROSTEP STALLED AND LEFT OFF A FEW YEARS AGO, AT THE SAME TIME BRINGING A FRESH FEEL TO THE GENRE.
Brostep is supposed to be dead, isn’t it? Since Skrillex’s mainstream radio domination with the likes of “Scary Monsters and Nice Sprites” and everyone from your little sister to your second uncle “raving” at one of the many electronic dance music festivals that subsequently sprung up like an uncontrollable plague, I had thought it was safe to say that that particular brand of dubstep was passe. You know, the brand of dubstep most commonly associated with douchey college bros and scantily dressed neon bimbos, suddenly convinced of their own deep and thorough knowledge of the underground music scene. Except, since so many people seemingly came to this conclusion simultaneously, taking to over packed festival fields in body paint, glitter, and Jagermeister sunglasses, that whole vein of music was dragged from the underground and abruptly shoved into the glare of the mainstream, where rather than evolve it sort of just sat… content to repackage the same adrenaline pulsing bass drops over and over again. So Worlds Apart, the EP from Santa Barbara DJ Jeff Montalvo, or Seven Lions, may seem incongruent with the current musical state of the union. A Skrillex protege and successful brostep manufacturer back at the height of the style’s popularity, Worlds Apart, released on April 29th, 2014,
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marked his first release in almost two years. It was as if he disappeared from the music scene at the height of brostep’s popularity only to reappear after the furor had, for the most part, died down. But I think the question here shouldn’t be “why now?” but rather “why did it take him so long?” Montalvo manages to breathe fresh life into a musical style stuck in rehashed recyclings and peeking through Katy Perry songs for the past few years. Worlds Apart is a changeup that manages to feel well thought out and refreshing while still retaining the qualities of brostep that originally attracted us to the musical style. Indeed, in an interview with Rolling Stone he said his focus had shifted in the making of this EP, to “songwriting instead of just pure dance-floor aggression” All five tracks together take the listener on a mind expanding journey, demonstrating Montalvo’s range and dexterity as an artist. The EP starts off with “Don’t Leave” featuring Ellie Goulding’s signature vocals in a rather jubilant and upbeat track. Next, Kerli features on two tracks, “Keep It Close” and the title track “Worlds Apart”. While “Keep It Close” is perhaps the most reserved track on the EP, “Worlds Apart” is a monument to Seven Lions’s greatness, with long protracted breaks and a lyric centred progression.
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“Strangers”, with Myon &Shane 54 and vocalist Tove Lo is a house anthem that manages to sound both familiar and progressive, building brightly and crisply altering tempo. Finally, “Nepenthe” is the only solo track of the bunch, dipping more into trance territory than previous songs, alternating between dub beats and a more frenetic fast paced and ethereal tempo. With top notch production values, top shelf vocal collaborations, and top tier musical arrangement, Seven Lions manages to pick up where brostep left off, but in a way that’s worlds apart from the type of recycled beat drops the genre has limited itself to in the past.
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" THE PRODUCTION AND MASTERING IS VERY WELL DONE, ALLOWING YOU TO APPRECIATE THE INTRICATE LAYERING OF EACH TRACK. " Quinn
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Little Coyote’s wistful and poetic rendition is inspiring. 28 – 24OURMUSIC
Writer: Patricia De Oliveira
Little Coyote’s Blood & Bones EP will intrigue
Toronto-based Little Coyote’s Blood & Bones EP cover features the young songstress smeared in what appears to be blood or is it rouge? And that in itself bodes trouble. Little Coyote’s two-track EP is misleading, take the tracks’ titles: “Body Parts” and “Blood Rush,” perfect double-entendres that will leave listeners wondering. The songs, however, are not as theatrical as the packaging would suggest, and so the early excitement rapidly dwindles and is left in its place curiosity unrewarded – pretty folk tunes void of rawness, an oneiric forest stroll as opposed to the much anticipated, and may I add advertised primeval encounter. “Body Parts” and “Blood Rush” are great songs in their own right; they have wistfulness and longing to them, they have melancholia, they are autumnal, they might even be bare-boned in their attempt at getting to the
elemental, but the discomfort the cover provokes and the melodic softness of the record’s content don’t quite compute and these mixed messages are ultimately distractive. Little Coyote sings beautifully here and much praise should be granted her for these two tracks. She takes us on a ride along through unchartered territory and so careful is her tread. She is a poetess; she can conjure up the fabric of dreams, a sheet of organza that she spreads across that microcosm of hers, sheer and crisp, leaving one to divine shapes and silhouettes. Little Coyote is a master at indie folk ambiances and the deftness at play on this EP is commendable, and for that she will be remembered.
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Writer: Trent B Minia
Sleep All Day With Summer Heart PALLIN’S PRODUCTION ACHIEVES A GREAT RANGE IN MOOD, FROM CHILLED OUT TO BOMBASTIC.
David Alexander, also known as Summer Heart, is a “summer-wave,” “do-it-yourself” artist based out of Sweden. Amongst his releases is Sleep.
emotions and senses are lightly tugged at in this matter. They can just close their eyes with this song playing in their ears and dream away.
Although this three-minute and twenty-one second song seems to be short, it is also a fulfilling and dreamy mental ride. This moderately-paced (with a little lean towards a slow tempo) track begins with a soothing and cute introductory melody accompanied by a harmonizing synth and guitar strumming layered on top of a four-four beat. Once the vocals kick in a few measures in, listen closely and you’ll notice a bit of auto-tune and pitch correction processed. But hey, this doesn’t mean he can’t sing. A reason a lot of electronic producers use auto-tune is to assist the vocals in blending and working well with the song.
Besides, he sings it all in the lyrics: “Sleep all day and look for perfection / you’ve been awake all day / you need some reflection,” and “There’s some summer in your head.” The only way to maximize the effects and meaning of these lyrics is to make the song sound relaxing and summer-y, and Summer Heart does an excellent job maintaining just that.
For example, the futuristic style of The Black Eyed Peas in a few songs heavily processes Stacy Ferguson’s voice with auto-tune to give her voice a robotic sound to it. Summer Heart still shows us a good vocal range throughout the song, including a falsetto in the chorus. Along with the vocal work, the used synths and percussion does more than enough to keep the relaxing and sleepy atmosphere of a glistening summer scene full of sunshine or rain—whichever weather you prefer. Sleep by Summer Heart contains a wonderful mix of feelings of hope and catastrophe thanks to the chord progression. The audience will have an easy time engaging with a track like this as long as their
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The mixing and mastering of the song fell quite short. Upon switching to other songs (in my iTunes library I compared it to Alive by Empire of the Sun and Cool Kids by Echosmith) the dynamic range in those two songs are much wider. Either the mid-range is too high or the treble is too low, but as an electronic track, the song should be able to utilize all the ranges on the equalizer. Instead, the track is not as clear and crisp as it could be. Overall, Sleep by Summer Heart is a relaxing and peaceful track that easily creates a summer atmosphere in your mind. The vocal and synth work layered on a moderately-slow paced four-four bat allows the listener to just close his or her eyes and dream away. If you’re looking for a little peace of mind while working, studying, or facing life challenges, then go ahead and pop this track in.
" THE PRODUCTION CREW DELIVERS, CREATING MOSTLY STIMULATING TRACKS. " Evan Crandell
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Writer: Eddie Mumford
Clover & C-4 Comin’ Clean 1 album, 5 songs, 4 apostrophes, Comin’ Clean is now available on Bandcamp from Seattle’s Clover & C-4. This is an American rap album from a formerly wild and rebellious man with big blue eyes. The EP starts with this rough and eerie personality that’s not shabby, but the quality does not sustain throughout. Track 1 ‘Round Here’ is just amateur enough to soundoff justly, and this is a hardly-takes-a-breath kind of rap-song, or the kind of rap song you might expect from an “Irish kid” who sounds like he’s gotten some flak for being a white rapper (surprise!). Unfortunately the amateurisms compiled in the next track ‘D’Generation.’ The music video for ‘D’Generation’ is rooted much closer to the corny-field than the song itself, which is too bad, because the message behind it is pretty good (when it gets around to that message). One could say it’s like a really excellent rap for an after-school program, which is both a compliment and critique. ‘Layin’ Low’ has this sinister bass waving lowly as he raps about hiding out and skipping imprisonment. Sounds pretty ‘hard,’ only the lyrics and especially the flow veered too close to corn, without crashing and burning, and making popcorn if we follow the analogy. A quote from the film ‘Layer Cake’ was a nice intro to ‘What They Feindin’ 4.’ “You’re born, you take shit. You get out in the world, you take more shit. You climb a little higher, you take less shit. Till one day you’re up in the rarefied atmosphere and you’ve forgotten what shit even looks like.” Listening to the lyrics absentmindedly you might think is another clichéd rapper bragging about pushing illegal money around, but it’s actually
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the happier kind of clichéd rapper and his reformation story for the sake of a younger brother that looks up to him. The twinkling bell-riff sounds a bit like the intro to the TV series ‘Murdoch Mysteries’ (not a fan) so that was distracting, but well placed. The last track ‘Decisions’ enlightens us on the coke charges and misplaced value systems, but he raps so very much on the beat that it’s too tense for most verses, and then contrasted heavily as he relaxes in the less strenuous chorus. That was a major concern in this album, enunciation; words too often broken into jagged beats, exaggeratedly at times as a parody rapper might. (Pulling now from my vast knowledge of white rappers) take someone like Eminem, who’s developed an affectation to his voice (rather than completely steal the ‘blackcent’ as many do), the difference is that the raps on Comin’ Clean are too clean, and sound too UNDER much like a sped-up speaking voice. But I’m not a cruel person, I know what it’s PRODUCED like to make a piece of art and then AND LYRICS A have it hanging out there for everyone LITTLE TOO CLIto see. It’s always a big event when an artist finishes a piece, even if the CHÉ FOR OUR work isn’t mesmerizing. With Clover & LIKING. C-4 I think there’s potential for a more improved sound, maybe in the hands of a more experienced producer, a more developed persona and style, or a few more years of practice. Maybe next time.
" THERE’S A WELL OF UNTAPPED POTENTIAL HERE. " Eddie Mumford
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Writer: Alicia Prince
Photographer: Felipe Krust
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BLACK MAGIC REMIXES EP
PALLIN’S PRODUCTION ACHIEVES A GREAT RANGE IN MOOD, FROM CHILLED OUT TO BOMBASTIC. Jake Stanczak, more commonly known as Kill The Noise, uses his upbringing during 90’s grunge as a brilliant lens through which to view today’s EDM Scene. Having already established himself at leading music festivals like Coachella, EDC, and Lollapalooza, this DJ has also had the good fortune to collaborate with heavy hitters Tommy Trash, Deadmau5, and Skrillex. Kill The Noise has already won two MTV video music awards, making his new works more exciting than ever. As the artist adds to an already noteworthy body of work, fans will be delighted with where he takes us. This EP, “Black Magic Remixes”, is an exciting collection of remixes from Kill The Noise’s earlier EP “Black Magic”. On the first track “Saturn (GTA Remix)”, Kill The Noise shows off his truly professional musical chops. The song is a perfect EDM tune, featuring lyrical melodic breaks, as well as strong electronic drops and danceable interludes. On “Mosh It Up (Henry Fong Remix)”, Kill The Noise provides the soundtrack to do just that. The song is heavily upbeat and energizing, somehow injecting a more infectious energy than the original. The next song, “Rockers (Brosafari & UFO! Remix)”, is another appropriate title for the song’s melody and energy. In this remix, Kill The Noise once again builds to an energetic peak, utilizing strategic and effective drops. Despite having a pointedly electronic sound, the song’s construction and effect show off Kill The Noise’s rock influences. On another remix of “Saturn”, “Saturn (Kill Paris Remix)”, the DJ’s take a more lighthearted approach to the song. Using elements reminiscent of Porter Robinson, “Saturn (Kill Paris Remix)” takes on a sound that reminds us of chiptune. The remix not only does the original justice, it is a eye-opening experience to listen to both the remixes of “Saturn” back to back, showing the many directions at DJ can potentially take a song.
On the next track, “Jump Ya Body (LOUDPVCK Remix)”, Kill The Noise melds sounds from EDM and hip-hop together. The song is a successful blending of the two genres, showing listeners a variety of effective sounds. On the sixth track, “Thumbs Up (For Rock N’ Roll)”, Kill The Noise returns to a more pure EDM sound, as the song features excellent electronic melodies. However, Kill The Noise still makes use of calmer times in the song, accentuating dramatic bass drops. Another incredible remix, the song shows off Kill The Noise’s unique skill. The next song, “Jump Ya Body (ExMAG Remix)”, doesn’t skimp on showing off the original as skillfully as the first remix of “Jump Ya Body”. With a more energetic take this time around, this remix plays with more electronic elements then the first. On the eighth track, “Black Magic ( Jonah Kay & Dead The Noise Remix)”, the 90s rock music of Kill The Noise’s childhood is clearly influential. The song delves into heavy rock elements, yet sews in electronic beats in an effective way. In particular, the remix effectively juxtaposes the two styles, creating an electronic song even the most pure metalheads will be able to appreciate. Finally, on “Talk To Me (Brillz Remix)”, Kill The Noise’s original is remixed into a new experience. Unlike the other remixes on the EP, the song utilizes mainly EDM elements, and creatively mixes in dial tones of the telephone. The song is a unique way to end the EP, underlining the variety of styles expressed on this collection of Kill The Noise’s music. Overall, this EP showcases not only Kill The Noise’s creative and impressive work, but also shows where future stylings and growth might take his music. Already popular with EDM fans, this collection of Kill The Noise’s songs is the perfect way to re experience his work.
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Masterful blend of everything that MC Bravado knows and does best. 38 â€“ 24OURMUSIC
Writer: Eddie Mumford
Photographer: Andrew Bryan
MC Bravado Walk the Line Walk the Line, no not the country album, this is MC Bravado’s third release since 2012 and I’m going to stamp it right now as being his best. So get your comically oversized ear-phones on, because if you’re as impressed as I am, you’ll want every detail honed and sharpened. Of course Bravado’s not alone, this is a rap album, this is a hip-hop album, meaning a song is only as good as it’s ‘featuring,’ and in this case we have a full line-up of peripheral black-belt nasty. The good kind of nasty. Each song movingly mixed and produced, Walk the Line is nourishing ear candy. Existential rap, here we go! Last track wooed me: ‘Infinite/Finite (Man Comes Around) ft. Soul Khan and C-Nature’ borrows riffs and samples and interviews from Johnny Cash to make a pithy song about religion and the infinite. Not atheist in any dimension, but certainly suspicious of conventional and hypocritical dogmas, aka the “hypocridiots.” The performances from MC Bravado, Soul Khan and C-Nature bit right through my eardrums, extra crispy. I love a good epigram in the morning “Remove the ‘I’ from finite.” And the Cash riff is what the samplers dream of; chugging guitar loop, my chin can’t help but drop on the down-beat. Cash permeates every song on this album, justifying the album title and adding a trans-generational and transgenre correlation that elevates the
music. It’s fascinating to see a morethan-emerging artist empathising with the reformed Johnny, who made it out of his drug fueled ring of fire with only a few scars. A little bit angry at the haters and the doubters; they’ve certainly informed his lyrics. ‘X’s&O’s/O’s to Exes (Hurt) ft. Aaron Michael Chamberlain brings out a sample of June and Johnny bantering on stage as she prepares to sing a love poem; it’s a quaint set-up that flips entirely when the familiar ‘Hurt’ riff and opening lyrics are looped as a base. “Made a goddamn discussion” this is a ‘wish I wasn’t in love’ song; playing the game is hard when no one wants to commit fully to a relationship. The song is arresting and moving, like the last instrumentals: light and ethereal touches afford a platform for the lyrics of adult reality. No whiney brats on this EP. “We all hope to go to heaven,” the last words of the album, the last seconds of time given up to Cash: the spirit animal of Walk the Line (this version of walk the line). Normally I would harp about riding coat-tails and key-words for cross-referencing search-engines, but MC Bravado is a beast with an old-soul, and I think I’m in love. Also featuring performances from Anthony Vincent of Ten Second Songs, Fonte Cruise, SC Static, and No-Name, this album is oozing with ability. The good kind of oozing. The sexy kind. Both serious, and seriously talented, MC Bravado is a master from Maryland.
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Writer: Alicia Prince
Photographer: Curb Records
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Morgan Frazier Is Country’s New Darling Morgan’s voice is captivating and melodic Hailing from Breckenridge, Texas, comes Morgan Frazier. After several years exploring performing and songwriting in Nashville as a teen, Morgan managed to land a serious record deal, as well as collaborate with some of the biggest names in country music songwriting. Morgan certainly fits into country music as a genre. Her voice is more than capable, and her timbre complements the country style. Additionally, Morgan Frazier writes, or cowrites, all her own songs. Impressively, she has already garnered considerable attention from country music outlets, and continues to collaborate with some of the most established country music song writers. Morgan Frazier’s voice is among her best attributes. She is in command of an instrument that is both forceful and expressive, soft and strong. Morgan uses this to her advantage by exploring music with varying tones and moods. At first listen, audience members will surely draw parallels between Morgan and established artists like Miranda Lambert or Carrie Underwood. Being in the company of such voices is certainly not an insult, and reflects Morgan’s skill and control over her vocals. Furthermore, as a genre, country music tends to reward those who showcase traditional training and skills, so fans of country music will
likely be enamored by her. The next preview, “Love Letters” appears from the title to be a typical love song. Though the song seems to be a typical depiction of love, Morgan’s voice once again proves beautiful and captivating. On the next snippet, titled “Halo”, Morgan Frazier explores the flawed portrait of a lover. From the audio available, “Halo” shows potential partners as three-dimensional, flawed beings – a refreshing approach for this genre. Finally, on “Part Of My Show” Morgan portrays herself as a multifaceted and complex individual, particularly exploring disingenuous actions. Though the full audio for this track is not yet available, the song shows incredible potential, moving away from predictable, typical country songs and closer to expert songwriting. Overall, Morgan Frazier does not lack talent, vocal chops, or basic songwriting skills. However, the first track on Morgan’s album relies on direct, on the nose lyrics. On the other hand, the second song and the previews available, point towards a more developed, refined ability to communicate subtext. This willingness to dive deep into a subject will hopefully surface in Morgan’s future work, since her voice deserves to be shown off in the most penultimate ways possible.
That being said, country music is not always a genre known for its innovation. Where other genres, such as hip-hop or EDM, demand constant evolution in sound, country music tends to prefer talent that can deliver a truly heartwarming, if somewhat predictable, piece. This approach is not necessarily a drawback for the genre, and makes Morgan Frazier’s more direct songs perfectly suited for the genre she has chosen. While many listeners prefer free thinking and experimental artists, fans of country music will likely enjoy Morgan’s music, if not fall in love with it. Yet, higher review scores are generally reserved for artists who are not only talented, but also show a willingness to break the rules intelligently and strategically. This means Morgan Frazier’s score in no way reflects the artist’s voice or musical talent, but points to the fact that the qualities which make her stand out from the crowd are limited.
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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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Writer: Evan Crandell
ASTR’s “Varsity” EP Classic Craft with an Original Palette PALLIN’S PRODUCTION ACHIEVES A GREAT RANGE IN MOOD, FROM CHILLED OUT TO BOMBASTIC.
Every year around this time we are graced with the grand spectacle that allows the most famous celebrities in music and their corporate executive pals to pat themselves on the back for dominating the airwaves for yet another year, controlling what audiences hear and enjoy, proving again that even in the artistic field of music, money always wins. It’s the Grammys. For anyone who is a fan of music beyond the ultra-mainstream, the Grammys consistently exhibit a lack of creativity in the breadth of nominees, which is unfortunate given that the music world today is bursting with new exciting artists who deserve to be heard and congratulated. And while it undoubtedly still matters to win a Grammy, it seems almost insurmountable for anyone without a major record deal to even dream of one day getting there. It’s a sales competition. But that’s the fault of the Grammys and the mainstream music industry as a whole, and they’re the ones missing out, because artists like ASTR are blazing their own trails based on the merits of their music. Last year, the NYC duo of Zoe Silverman on vocals and producer Adam Pallin released their Varsity EP, which is a collection of futuristic sounding songs with timeless themes and an inescapable pop sensibility. The EP proves that artists don’t necessarily need major label backing to put out worthwhile music.
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Varsity begins on a gloomy note with the spacey “We Fall Down” where Silverman describes past troubles, accompanied by dense synth pads. The first lines of the song are, “All of my dreams been crushed before / I’ve been swallowed, we fall down / All of my love’s been lost before / I’ve been stomped into the ground.” Things don’t stay so dreary throughout, though, as other songs on the EP deal with more hopeful aspects of relationships like in “R U With Me” and in the case of the ethereal slow jam “Blue Hawaii,” escaping reality and living in a paradise world with no regrets. The sample of Black Box’s “Everybody Everybody” on the latter certainly contributes to its sense of paradisiac nostalgia. There are frequent elusions to doctors and surgery in the EP, particularly in “Operate” and “Razor.” In “Operate,” Silverman, sings over a minimal synth bass line, labeling herself as a doctor intent on healing her lover from emotional pain. The song’s oppositional counterpart “Razor,” on the other hand, finds Silverman again in disconsolate terrain, describing her lover cutting into her like a razor blade, with harmful effects. Interestingly, “Operate” has a slower tempo and more ominous production than the bouncy, propulsive “Razor,” which contains a typical-sounding pop chorus. The final entry on Varsity is an atmospheric cover of
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The final entry on Varsity is an atmospheric cover of Drake’s “Hold On We’re Going Home.” Covering well-known songs can be difficult territory, but ASTR pulls off the feat of paying tribute to the original while concurrently offering something new. The skills and nuance of both Silverman and Pallin are on display with Silverman’s words and harmonies floating along to Pallin’s textures that have just enough funk in the percussion to keep things moving. The Varsity EP combines many elements that appeal to wide audiences and yet it is an example of the kind of work that would likely never be considered for the Grammys. It has catchy hooks, tasteful production, and relatable themes. It’s doubtful that Silverman and Pallin are sitting around wondering why they aren’t recognized by the Grammys, but their music serves as a reminder that despite the homogeneity and narrow-mindedness of the mainstream music consciousness, there is a boundless spring of fresh sounds outside of those confines that is continually gaining momentum. With Varsity, ASTR have firmly established themselves within this movement in progressive music.
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" SILVERMAN’S VOICE IS HAUNTINGLY ENTICING, MAKING LISTENERS HANG ON HER EVERY WORD. " Evan Crandell
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Writer: Alicia Prince
NICK MULVEY BRINGS FEVER TO FOLK 48 – 24OURMUSIC
Listeners unfamiliar with Nick Mulvey will
In a prudent move, Nick begins the song
tying the EP back into the first song nice-
be surprised to learn that in only a few
slowly, then effectively builds in the sec-
ly. Nick’s impressive musical education
years of activity, this young artist has al-
ond half, until the listener feels more alive
certainly shows through in both the song
ready garnered serious attention.
and more passionate than at the begin-
construction, and the musical stylings on
ning. Such a technique is a brilliant har-
“Fever to the Form”. At a young age, Nick
Most impressively, his first music act, Por-
mony between the lyrical meaning of the
Mulvey has already successfully set him
tico Quartet, was nominated for a Mercu-
song and the song’s construction. Not only
apart from rival artists, yet shown he can
ry prize in 2008 with heavyweights Radi-
is this a creative expression and reflection
complement the folk music genre as it
ohead, Adele, and Elbow. Although Nick
of the lyrics, Nick’s emotive voice lends it-
stands. This rare balance between innova-
Mulvey hails from England, this multi tal-
self perfectly to the song’s meaning. On
tion and willingness to excel in an estab-
ented artist formally studied music in
the second track, “House of Saint Give Me”,
lished style is one that wins fans – both
Cuba. His traditional education doesn’t
Nick shows off his international stylings.
fansattracted to existing artists within the
stop there however, as Nick expanded his
Most likely influenced by his musical stud-
genre, and those looking for artists who
studies by majoring in ethnomusicology
ies in Cuba, the song has a decidedly Lat-
take a style one step further.
upon his return to the UK. All of these in-
in feel. The guitar mimics 12 string Latino
fluences are obvious in his work, which
styles, lending texture and depth to this
These two qualities are most definite-
tends to fluctuate between typical indie
metaphorical song. Against such beguiling
ly found in Nick Mulvey’s music: he is both
folk, Latin infused folk, and mediterranean
music, the song explores themes related
an indie folk artist, and an artist willing
tunes. Nick Mulvey has since released two
to life and death. Not only is the musical
to experiment. He inherently understands
solo EPs, the second of which will sure-
style an effective approach to the topic,
and utilizes folk music techniques, yet is
ly blow folk fans away. The first track on
the overall sound is haunting, yet melodic,
comfortable expanding on these estab-
Nick’s EP “Fever to the Form”, is a hard-hit-
which is an impactful way to explore the
lished rules. With over 450 000 followers
ting and emotive tune of the same name.
subject. Nick expands his musical diversi-
on Soundcloud, and over 250 000 plays on
A mix between a folk and rock ballad, the
ty on the next track, “River Lea”. The song
“Fever to the Form”, Nick Mulvey is rapidly
song is catchy, well thought out, impact-
has a decidedly Mediterranean sound, but
amassing fans and critics alike who recog-
ful, and easy to fall in love with. The song
manages to separate itself from “House
nize this rare marriage of talent and orig-
explorers bringing passion to an otherwise
of Saint Give Me”. The next track, “Jurami-
grid like, predictable existence.
dan”, returns to more of an indie rock feel,
" EXCELLENT SONG CONSTRUCTION. "
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Frightened Rabbit: Backyard Skulls EP FRABBIT MANAGES TO SHOWCASE A MORE SOLEMN SIDE TO THEIR MUSIC WHILE STILL RETAINING THE OVERALL FEEL OF THEIR SIGNATURE MUSICAL STYLE. On the surface, the Selkirk band Frightened Rabbit embodies everything that first comes to mind when imagining a Scottish indie rock group. Whiskey, anthemic Celtic guitar music, heartbreak, and more whiskey. And in some ways, they embrace this image, with frontman Scott Hutchison unabashedly proclaiming that drink has shaped their music while freely giving sage advice on what makes a good ale. However, it’s the way that the group also subtly transgresses these boundaries that has garnered them a fierce and loyal following over the past twelve years. Frightened Rabbit supposedly got their name from Hutchison’s childhood nickname; his mother used to call him her frightened rabbit because he was painfully shy around other kids growing up. Formed in 2003 when Scott teamed up with his brother Grant on drums, he was later joined by guitarist Billy Kennedy and guitarist/keyboardist Andy Monaghan. Following the band’s exceptional release Pedestrian Verse, the band released an EP for the track “Backyard Skulls” from that album. The EP includes alternate versions of “Woodpile” and “Holy (also from Pedestrian Verse). The title track, “Backyard Skulls”, is a perfect example of the band’s ability to be at once both light and dark. The metaphor 50 – 24OURMUSIC of buried skulls as secrets that we all have buried in our back-
yard is paired with rather poppy, upbeat instrumentals. The track is also a good example of the band’s skill and dexterity regarding musical layering. Restrained guitar work driven by furious drumming and the rippling sounds of an organ balance nicely with Hutchison’s plaintive lovetorn singing. “Holy” also really stands out in this re-imagining of the song. Originally a more upbeat jab at religion and self, on the EP it is stripped back to the bare essentials, lending a measure of gravity and seriousness to Hutchison’s vocals. “Woodpile” is similarly simplified, but in the process arguably loses some of the charm of the more rousing original. With this EP Frightened Rabbit show their ability to go even one step further than the already very mature sounding Pedestrian Verse. For any serious Frabbit fan, this EP adds even more dimension to their previous work, while new listeners will still be able to appreciate the core of their signature sound.
THE ORIGINAL VERSION OF “WOODPILE” IS ARGUABLY MORE ROUSING AND ENJOYABLE.
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Mohawke’s production is top-notch and he keeps the audience guessing. 52 – 24OURMUSIC
Writer: Evan Crandell
Photographer: Andrew Bryan
Hudson Mohawke Gives Us a Tease As a music producer seeking widespread recognition, working alongside someone like Kanye West is a huge boost. This is the fortune that met Glasgow native Ross Birchard, better known as Hudson Mohawke. After building a strong reputation from various unofficial solo releases, guest collaborations, and the creation of TNGHT with Montreal producer Lunice, Mohawke was enlisted to be part of the fleet of producers on Kanye’s Yeezus. Working on such a weighty album with someone as ubiquitous as Kanye has certainly brought Mohawke closer to the international spotlight, but he’s not allowing his music to be confined in anyone’s mainstream expectations. His 2014 EP Chimes, while brief and somewhat nondescript, showcases an artist with one foot in the mainstream music ideals of today and another grasping for sonic worlds beyond. Chimes’ title track, for example, seems at times to be waiting for a headlining rapper to jump in and drop a verse. In a possible nod to Mohawke’s time with TNGHT, the song contains elements of a trap beat with its unhurried tempo and heavily processed drum sounds. Although the song has stimulating synth patterns and is almost engaging enough to stand on its own as a straight up instrumental track, one can’t help but still crave some form of vocals in the mix. It acts like a sampler of what Mohawke is capable of in producing for mainstream acts. Listeners
who fall into this desire for vocals on “Chimes” can turn to the remix which features Pusha T, Future, Travi$ Scott, and French Montana. Just when it feels like Mohawke has settled into a certain musical aesthetic with the final notes of “Chimes,” we are introduced to the celestial, bubbling synth textures of “Brainwave.” Undoubtedly the most distinctive, eccentric, and therefore arguably the most interesting song on the EP, the otherworldly “Brainwave” proves that Mohawke’s music can’t and shouldn’t be packaged in any one box. The track is reminiscent of composer Steve Reich’s phase music with its use of repetitive synth riffs, vocal layers, and dense harmonies. Teeing up the audience with “Chimes” and then following it up with “Brainwave” is a cheeky move by Mohawke, creating a certain expectation and then immediately doing something completely different. It reflects the idiosyncrasy of the producer and perhaps explains why some artists have shied away from his beats while those who are more adventurous embrace his work. The music of Chimes comes back to Earth with the third track “King Kong Beaver.” The track boasts a propulsive drumbeat throughout and a cohesive synth melody that makes it perhaps the most traditional electronic instrumental track on the EP. Without the aid of lyrics, Mohawke achieves a wide
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" WITH THE EP BEING SO SHORT, THE RANGE IN STYLES CREATE A SENSE OF DISJOINTEDNESS. " Evan Crandell
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The music of Chimes comes back to Earth with the third track “King Kong Beaver.” The track boasts a propulsive drumbeat throughout and a cohesive synth melody that makes it perhaps the most traditional electronic instrumental track on the EP. Without the aid of lyrics, Mohawke achieves a wide range of energies, building up tension at times and then releasing it with big bass blasts and soaring synth pads, and later stripping it all back down again. The song reflects Mohawke’s ability to adhere to standard songwriting craft while still experimenting with diverse textures and techniques. Chimes is bookended with the UK producer Gammer’s remix of “Chimes,” which, aside from increasing the tempo and adding certain percussion tracks, doesn’t contribute much new material to the set. The remix comes off more as an abandoned original idea for the song than a reworking that stands on its own alongside the original. Each version works singularly, but together they seem redundant. Although Chimes doesn’t quite blow away the listener with intensity or creativity, it does put Mohawke’s foot in the door, maintaining our attention for his upcoming album Lantern, due out on June 16 for Warp Records. Additionally, what his Chimes EP does is prove that Hudson Mohakwe is forging new paths with his music and although he has a good feel for mainstream sensibilities, his work isn’t easily categorized. These are admirable traits that should manifest themselves in exciting ways in a full album format. It seems as though Hudson Mohawke’s best is yet to come.
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Published on Mar 24, 2015
Published on Mar 24, 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...