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December, 2018 | L3 Magazine ft. Cali P | Life. Love. Lyrics. | www.L3Magazine.com

L3

Music Charts Video Charts Music News New on iTunes Guns and Bullets and Music

M A G A Z I N E

The Kemist: Producer - Remixer And DJ Extraordinaire Shani Kimelman Guitar Rocker

Nairobi 254 Cools Down Tarrus Riley Editorial: The New Year and What Are We Really Celebrating

G 98.7 FM’s Alicia Wright-Dacosta

The ‘Baddest’

Cali P


L3 Magazine | December | 2018 | No. 58 CEO and Editor-in-Chief

Natasha Von Castle – natashavoncastle@gmail.com

Chief Creative Officer

L3 Group of Companies – L3Magazine@hotmail.com

Publisher

L3 Group of Companies

Managing Partner Rohan Beckford Music Review Editor Jennifer Menster

Charts Analyst Emelio Lynch aka Melio Sounds Contributing Editor and Caribbean Affairs Editor Tricia ‘ZJ Sparks’ Spence

Contributing Editor and Music Editor Tre Carn

Travel Editor Stacia Von Castle

Director of Caribbean Promotions Keisha Pinnock

Special Consultants Camille aka Talent Promo | Tilsa Wright

UK Editor Evelyn Germain Senior Writers & Photography

Song River | Marcus Weller | Joah Baston | Zakada Milton | Raul Dunkley Contributing Writers Portia Clarke | Mimi Mamichula | Ayeola George | Zakada Milton | Rico Vibes | Andre Gomez | Pia Jordine Roger Lashley | Gelina aka Baby G – UK Correspondent | Michelle Parker | April Stanford | David Peters | SteffyT L3 Magazine | December 2018 ft. Cali P - Pg. 3


Editors Heart... The last month on the calendar and people far and wide are festive and celebratory. Birthday’s, anniversaries, and most importantly, family togetherness bubble to a crescendo as many look forward to the new year and all the blessings it will bring. That’s what I call ‘surface celebration.’ There’s another celebration that is equally important and worthy to be noted – the rebuild of self. Many experienced a skin-shed 2018 which discarded old skin, and old habits that served no purpose, only to re-wrap themselves with rewired and right thinking of success and self-love. Being anchored in the right soil with the right nutrients means that hopefully, we will blossom into a mighty fruit bearing tree. The earth needs more fruit bearing trees. When we celebrate the Christmas and New Years season, it’s important to know what we’re really celebrating. It’s not just another party – you can do that anywhere at any time. You are celebrating you – the fact that you made it. You overcame challenges and you are here. You prayed for a breakthrough and after so many years, what you want is finally coming to you – that is reason to celebrate! Too often in life, we move on to the next so quickly that we don’t absorb the magnitude of what we have achieved. You climbed the mountain that some said was ‘un-climbable’ and you want that to pass with minimal acknowledgment? For all of you who have triumphed in 2018 and are moving into 2019 with triumphant energy I say, “congrats and well done.” Your new year will be so incredible and so filled with glitter that the stars in the sky will ask you how you created your own magic! Agree or disagree via Twitter @NatashaVonC


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You are a chosen beacon of light who beams at a thousand watts for the world to see. Your light keeps other on course, and dims the distractions that are sometimes caused by Life. Over the Holidays, take time to enjoy your beauty and enjoy your reflection in the hearts and faces of others. Take time to marvel at how your works causes others to smile! Wishing you the happiest of holidays and the merriest of cheer as you celebrate the Christmas season!

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“We have to put the lyrics on a deeper level – we have to get to my mission, and my mission is to speak to people through the music. I am a Rastaman and I love all this young music, but what always remains for me is message. I want to connect the youths with the feelings, so connecting them with the feeling in the music they’re accustomed to helps me do that.”

- Cali P

L3 Magazine interview on page 54


December, 2018 featuring Cali P

Pg. 18 Walking in the shoes of Alicia Wright-Dacosta means walking in multiple hats at the same time while making the walk look seemless. To be one of the gems and backbones at G 98 FM, Canada’s only Adult Contemporary Radio station, we take a look at how Alicia makes things happen. Pg. 20 The gun trade has a history which dates back to the days of the slave trade. Many people don’t know about this and view it as a modern societal sore. We explore the history betweens guns and trade and we ask why this trade is always around music. Pg. 28 Dalton Harris is the X-Factor! While new fans are just getting to know the artist and his music, the ‘industry’ has known about Dalton thanks to Donovan Germain from Penthouse Records ... and now we have Simon Cowell! Pg. 32 When Women speak about Reggae and Dub, and some of the obstacles they face in the industry, people take notice, especially when it’s a discussion hosted by YAAM Berlin and Riddim Magazine, a lot was learned. Pg. 64 You are dancing to The Kemists music and you may not know but that’s ok because he knows! The world renowned producer, Remixer and DJ opens up about his music and latest project. He inherited his work ethic from Reggae Royalty - wait until you find out who. Pg. 72 Shani Kimelman is a Rock guitarist which is only one of the reasons why you will like her. Her journey in music begins at the age of 7 and continues with the influence of her father who insisted she learn to play music by ear. We’d say Shani did it the right way. Rock on!

On the Cover: Cali P is one of the ‘Baddest.’ The Reggae star’s roots begins in Guedolope, continues to Switzerland and then on to Jamaica before sailing the seas to cover the world. With each stop, he carries a message in his music: we must all live positively. What really got our attention was his view that the life we live should reflect our consciousness. Wow! L3 Magazine | December 2018 ft. Cali P - Pg. 13


LI


FE Photo Credit: Justin Buzzard L3 Magazine | December 2018 ft. Cali P - Pg. 15


Delightful December! December is the month where gift giving is abundant and it’s a time when friends and family come together to celebrate this special time of year. Team L3 Magazine couldn’t think of a sweeter way to end 2018 than by having Cover Girl model Nefatari be the calendar girl for December, 2018! With striking beauty, and undeniable tenacity, Nefatari is breaking barriers and showing the world what is possible when we dream, then achieve! Her travels in entertainment has placed her music on the radio, has seen her perform in front of thousands and earned her the famous ‘money pullup’ at various live-events across the United States. Though these milestones have been sweet, Nefatari is focused on her modeling career and gracing runways the world over. No doubt, her calendar image will be the screen-saver on mobile phones and computer screens of fans around the world! Connect with Nefatari on social media @nefatarimusic

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In the Groove with Alicia Wright-Dacosta of G98 FM! By: Jennifer Menster

To be one of the gems and backbones of G98.7 FM, Canada’s only Adult Urban Contemporary radio station founded by Mr. Fitzroy Gordon, means you must have an understanding of how several things work individually and at the same time, you must be able to wear many hats – sometimes several in a day, and many in a week. Those qualities describe Alicia Wright-DaCosta who is one of the radio stations on-air personalities as well as she manages logistics and operations behind the scenes. As an on-air personality, Alicia is the producer and co-host of Gospel Morning. Drawing on her faith in God, as well as 20 plus years of experience in corporate, the community and ministry, also as a Pastor at a progressive local church, Alicia uses song to proclaim the goodness of God, and the word to minister to those who may be in need of a reassuring message. “I love what I do. There is nothing like seeing people’s lives being touched and transformed because of the word and deed of God. I have witnessed this so many times, and it is beautiful every time!” While at the offices of Canada’s only commercial Urban radio station, Alicia directs the day to day operations which includes logistics – making sure that personalities are live on location interacting with the community, as well as co-ordinating unique listener experiences such as enjoying live broadcasts internationally, all across the Caribbean including sunny Jamaica as a part of the stations annual ‘Good Morning From Jamaica!’ “One of the things I love about my job is hearing feedback from the community about what we do. Whether it’s fans calling in excitement about winning a car, or people joining us in Jamaica for our live broadcasts, or even being able to help people in need, being here is one of my most rewarding experiences.” Alicia has worked extensively within the corporate, community, media, arts and music industries and is a graduate of York University. Her love for her family, community and high energy are just a few of the contributing characteristics to her successful track record over the years. When asked about plans for the station throughout 2019, she said “2019 will be an outstanding year for our listeners. We have community initiatives that will keep us engaged, and we have a few things coming that I can’t share right now, but we know our fans will enjoy!”

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The History of The Gun Trade and Why Music? By: Zakada Milton

For many people, the concept of gun smuggling, gun-dealing and gun ownership will never be understood. Why would anyone have a need for a gun, and more over, when it comes to entertainment, where most artistes are singing or rapping about a better life, why would THEY have a need for a gun? Guns in the ‘community’ can be traced to western Africa and the slave trade. In speaking to Slate.com, professor Priya Satia said “guns were a very big trade item on the West African coast. They were used in the slave trade, and exchanged for slaves. In that way, they’re part of the slave trade. Then they’re also used to enforce slavery on plantations. They’re an instrument of discipline, and oppression, and violence in the whole slave plantation system that the British helped create, that trans-Atlantic system. But even after the slave trade is abolished in 1807, guns remain a big part of the trade with West Africa. They’re just exchanged for other types of goods instead. The end of the slave trade doesn’t actually spell the end of the gun trade in West Africa, but what initially drives the gun trade in West Africa is the European interest in procuring slaves.” Update to 2018, and we still see the mentality acted out, only now it is increasing in the name of music. In Toronto, Rapper Smoke Dawg was gunned down; in Florida Rapper XXXTentacion was gunned down and in New Orleans, Young Greatness was cut down. Hip Hop stars Biggie Smalls, Tupac Shakur, and Jam Master Jay also died by the gun and it is alleged that these murders were acted out by people of African decent. Who supplied the guns? The gun trade of days past has become the gun smuggling of today. In Toronto (November, 2018), it is alleged that Reggae singer and pillar in the Rastafari community, Iley Dread, as well as artist manager Rima Mansour plotted to move guns from Buffalo, New York to Toronto at a time when the City saw an unprecedented 91 murders. Why would they contribute to this problem? Money. The revenue earned from gun sales can be ‘re-invested’ in entertainment events or artists careers and that formula is simply wrong. Glorifying gun culture in song lyrics, music video’s or the funding of artistic projects is problematic. Allowing an artist to perform with violent visuals that are transmitted to onlookers and fans is also problematic – these acts keep the cycle on ‘repeat.’ Our ancestors didn’t forge a path for us to repeat, they forged a path, so we can move on and rise above. Connect with your local community outreach and become involved in initiatives to reduce gun trafficking and gun violence.

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The New Canadian $10 Bill By: Alex Cooke, The Canadian Press A new $10 banknote featuring Viola Desmond’s portrait is now in circulation just over 72 years after she was ousted from the whites-only section of a movie theatre in New Glasgow, Nova Scotia. The civil rights pioneer and businesswoman is the first Canadian woman to be featured on a regularly circulating banknote, which will also show a map of Halifax’s historic north end, home to one of Canada’s oldest black communities and the site where Desmond opened her first salon. Irvine Carvery, a prominent member of Halifax’s north end and a former school board chair, said he’s excited that the bill will pay tribute to her, describing the inclusion of a black woman on the note as “a historic moment. What it means is that there’s recognition in terms of the struggle that we, as African Canadians have gone through for all of our years of being here,” he said. “That was a pinnacle event, down in New Glasgow, when she refused to give up her seat. So to put her on the bill is, for me, a recognition that those struggles were real, and they continue through to today.” Carvery, 65, lives a stone’s throw from Desmond’s childhood home in north end Halifax and hopes to eventually see a commemorative marker on the house. On Nov. 8, 1946 -- nearly a decade before Rosa Parks refused to give up her seat on a segregated bus in Alabama -- Desmond was dragged out of the Roseland Theatre by police, arrested, thrown in jail for 12 hours and fined. It would take 63 years for Nova Scotia to issue Desmond, who died in 1965, a posthumous apology and pardon. Carvery said he hopes the new bill will inspire young girls to pursue their dreams and push back against injustice, adding that he believes it will raise awareness for who Desmond was and what she accomplished. “I’m hoping having Viola on the bill will prompt people to want to know what’s the story behind her, because still, there’s a lot of people who have no idea who she was and what she stands for,” he said. “Being on the $10 bill, people might want to say, ‘who is that person? Let me do a little research.”’ Desmond was selected to be on the bill after an open call for nominations and a public opinion survey on the Bank of Canada website. The map shown behind Desmond’s portrait includes the stretch of Gottingen Street, the city’s north end’s main drag, where the beautician opened a salon as part of a business that would eventually expand into her own line of cosmetics and a beauty school, which allowed her to mentor black women from across the country. Her sister, Wanda Robson, has said that Desmond fought to overcome the many obstacles in her path to pursue her career: training as a beautician in Montreal, Atlantic City and New York when she was unable to study in Halifax because of the colour of her skin. The new bill was first unveiled in Halifax on March 8 -- International Women’s Day -- by Finance Minister Bill Morneau and Bank of Canada Governor Stephen Poloz during a ceremony at the Halifax Central Library. L3 Magazine | December 2018 ft. Cali P - Pg. 23


Photo Credit: Instagram.com/fayannlyons Launch for Rebellion Mas Band


Dancehall Embraces Carnival in Jamaica By: The Carnevale Network.co.uk

The 2019 Carnival season has officially begun. With all three bands in the island expected to roll out their costumes before the end of the month, the soca scene is heating up. As Jamaica gets ready to be transformed into a soca kingdom, the battle lines between soca and dancehall have again been drawn. However, this time, the discussion involving both genres, surrounds how much dancehall has grown in the carnival space. Over the years, despite the genres being put against each other in the public sphere, both have been infused to deliver a unique Jamaican Carnival experience. According to Kamal Bankay, co-chairman of Carnival in Jamaica, patrons who travel to Jamaica for Carnival, come for an experience that includes the integration of aspects of the dancehall culture. “Tourists from all over the Caribbean and the rest of the world, come to Jamaica because they want a unique Jamaican carnival experience that they cannot get elsewhere. I think what people need to understand is that the Jamaican carnival product is very unique. It’s not like the Trinidad Carnival product - where its 100 per cent soca. At carnival in Jamaica, we play Caribbean soca music, but we also incorporate our homegrown music,” he said. He continued, “The last road parade that we did, we had some of the biggest dancehall stars on the road with us - partying side by side with the biggest soca stars. We had Aidonia, Beenie Man, Ding Dong, Shenseea etc and we also had traditional dancehall selectors on the road with us as well. I know for Xodus in particular, we definitely encourage our selectors to play local music, and mix it up and give people that unique experience they can’t get anywhere else. What better way to do that than to include the best music in the world – reggae / dancehall?” Bankay explained that with the growth of Carnival in Jamaica over the last few years, fusing both genres is the best thing to happen to Jamaica. He said that the growth of Carnival has caused more people to get involved as Carnival doesn’t just cater to a niche market anymore, and so the experience has to be adjusted to ensure everyone is satisfied. For Xaymaca co-director Kandi King, dancehall has always been infused in Carnival in Jamaica. This year, her band is paying tribute to the culture with a section dubbed ‘Dancehall Queen’. The introduction of the section during the band’s launch sparked debates surrounding just how much dancehall should be included in the soca parade. She explained that while Carnival is a soca event, dancehall is always given its fair share of highlight at the parade. “We want people to have a good time and incorporating dancehall is one way we ensure that. We have never been one to put the genres against each other because they really work hand in hand. We want to be able to mix things up and cater to everyone on the road, and at our events. This industry is built on unity, so we do not support the whole soca vs dancehall argument.” L3 Magazine | December 2018 ft. Cali P - Pg. 25


LoVE


Music We Love Dalton Harris is ...


The X-Factor! Jamaica’s Dalton Harris is the 2018 X Factor! After singing his heart out in Saturday’s finals, Dalton Harris went home confident that he would be crowned the winner. The vocalist went up against Scarlett Lee and Anthony Russell in a fierce battle of the last three finalists, but in the end, he was just too good of a singer not to take home the grand prize. One of the judges asked Harris why he is not already an established act with six albums under his belt. Dalton Harris, 24, performed Donna Hathaway’s classic “A Song For You” as the audience erupted in cheers and applause. Some fans even shedding tears as the young singer hit the high notes. “Dalton, wow. Dalton, what an incredibly powerful performance!” X Factor judge Ayda Field said. “Look, I mean there’s not much I can say that 10,000 people aren’t saying right now… You know what Dalton, you’re already a superstar but I hope you still talk to me when you become a megastar.” Dalton Harris marks the first time that a Jamaican singer is winning the X Factor UK, a talent show founded by Simon Cowell, who called Harris’ performance on Saturday as one of the best he has ever seen on the show. “You hear a lot of hyperbole and all that, but in my opinion, this is up there as one of the best performances I have ever seen on this show,” Cowell said. Dalton Harris has reached number one in the Official Vodafone Big Top 40 chart after being crowned winner of The X Factor last week. The singer duetted with previous X Factor winner James Arthur on a cover of Frankie Goes to Hollywood’s 1984 hit single, The Power of Love, and after entering the charts at number four, he has now gone on to take the top spot. Meanwhile, Dalton - who was mentored by Louis Tomlinson - recently insisted he doesn’t just want to be known as ‘The X Factor guy’ after being crowned the winner of this year’s series. Connect with Dalton on Instagram @realdaltonharris L3 Magazine | December 2018 ft. Cali P - Pg. 29


Music We Love Let There Be Reggae


Art Basel 2018 Let There Be Reggae, an exclusive reggae art event was held in Miami as a part of the Art Basel 2018 experience. The successful event was a unique vibe showcasing a curated snapshot of Reggae music and Dancehall culture through art. Miami Art Week and Art Basel brought together artists, celebrities, musicians and art lovers from all over the world to Miami to enjoy artistic sights that can only be seen in the Art Basel setting. This year, Let There Be Reggae featured exhibitors Patricia Chin, co-founder of VP Records; Ranking Levy & Ellen G from Tel Aviv, Israel; Maria Hitchins from Dancers of Jamaica and Photographer Jik-Reuben. Art Basel’s world-leading shows in Basel, Hong Kong and Miami connect collectors, galleries, and artists, and are a driving force in supporting the role galleries play in nurturing the careers of artists. The recently launched Art Basel Cities initiative highlights local art scenes and facilitates international collaborations. The Art Basel publications The Art Market and the Art Market Principles and Best Practices are a commitment to increasing the transparency and accountability of the art market. Focusing on Patricia Chin, visitors discovered that with her husband Vincent Chin, the duo successfully trailblazed uncharted territory by being a force in reggae music and after many years of being a record shop, VP Records, which stands for Vincent and Patricia, expanded into music production and recording. Years after settling in New York, they grew the company exponentially and 40 years later the company has expanded to locations in London, Japan, Brazil, South Africa and their hometown in Kingston, Jamaica. Their collection of photos and artifacts helped to add visual context to the companies 40 year history. “We have been here for 40 years, building our brand, serving the community and doing what we do best, making reggae music and all types of music for all to enjoy.” “I’m happy that the world can enjoy our history too!” An Art Exhibition on Reggae music would not be complete without musical guests. The Opening Reception featured a performance by VP Recording artist Christopher Martin, legendary sound selector of Renaissance Disco – DJ Delano and Miami’s Eccentrix Sound. See more here: https://www.vprecords.com/let-there-be-reggae-art-basel-2018-curated-snapshot-of-reggae-music-and-dancehall-culture/ L3 Magazine | December 2018 ft. Cali P - Pg. 31


Music We Love When Women Speak


About Reggae and Dub By: Chiara Nacchia

Culture Talks is an exploration of female sound system collectives and the role of woman in the reggae & dub scene. Born on the island of Jamaica, the sound system culture has developed during the decades with specific geographic and cultural features all over the world. The rise of the scene and the love for the Jamaican originated music and entertainment format has involved many female representatives who, with different roles and approaches, have shaped and declined it with their contribution in the different regions. Women are active in the scene and bring their energy as producers, selectress, DJs and singers, promoters and operators while networking to keep the culture alive. Organised by YAAM, Riddim Magazine and Reggaeradio.it in Berlin, topics such as the importance of creating space where women can learn and express themselves on sound system (as singers, DJs, selectress, promoters, producers), national and international working arrangements, and sound system experiences were front and center. The guests brought their experiences and thoughts about why the scene is so male dominated while women are predominantly behind the scenes. They also presented the picture of ways the industry is now attracting more women to be in full view and offered a glimpse as to who is coming in the next generation of females in the business. Some experiences came from as far away as Brazil, in particular, bringing the music to disadvantaged areas. Some of the national and international guests who participated include Feminine Hi-Fi from São Paulo (Brazil) as a musical project that could help empower women within the local reggae and sound system scenes. Its founders - Lovesteady, I-Pisces, Laylah Arruda and Lys Ventura – have individually been active in the scene for 10 years before starting the collective. FHF is now touring Europe starting from Berlin. Julie from Roots Daughters comes from Pula, Croatia. She started playing in 2009 and is co-founder of Roots Daughters, a duo of serious soundsystem addicts and roots music lovers. They became part of the Dub Lab Crew in Ljubljana, AKC Metelkova (SLO), where they hosted and promoted many national & outernational artists and soundsystems. Saralène is part of the German reggae and soundsystem scene for more then 15 years. She studied jazz rock and pop singing in Dresden and was part of several Reggae Band Projects as well as a solo artist. This year she was part of the album “Women on a Mission” by Vibronics and performed with them at Rototom Sunsplash. L3 Magazine | December 2018 ft. Cali P - Pg. 33


Music We Love Nairobi, Kenya Decides to

Photo Credit: Biko Macoins


‘Cool Down’ Tarrus Riley! By: Embukane Libosso Photo: Biko Macoins

“Ever since we met Kenya, no need for running around, Kenya you cool me down!” With these simple lines, Tarrus Riley explained in a nutshell why Nairobi, and Kenya in particular, was dear to him upon his return while speaking to media during a conference in advance of the show. With an instrumental intro of his big hit, ‘Gimme Likkle One Drop,’ his voice came and the verses flowed. He rocked a flowery shirt, black pants, a white cap and matching white sneakers. He smiled at everyone, “Mambo Kenya! Wha gwaan Kenya!” He thundered. His set was eruptive from the onset as he delivered dance moves, jumps along with teachings of the Most High. With his new album (to be released in 2019), we can look forward to wonderful songs like Guess Who, which he performed to a receptive audience. The spotlight lay on him but not one to be selfish, he shared that spotlight with Dean Fraser whose Redemption Song rendition with the saxophone exploded the venue. Kenyan star, Zikki, with whom they collaborated on the track called ‘Kamata’ and who they would banter back and forth on stage, Riley belted some lines in Swahili to the excitement of the crowd, and finally with Everton Blender, who their ‘Lion Paw’ greeting on stage on the background of Nyabinghi drums lit up the night. Kenyan flags alongside red-gold and green flags waved all night celebrating a proper gathering of Rastafarians. Always one to be personal, Tarrus kept close contact with the audience, shaking hands over and over to the delight of the fans. He received his art gift before picking up the Kenyan flag from the audience and waving it. Some of the songs performed include “Parables,” “Contagious” and “She’s Royal.” We can’t of course forget “Cool Me Down” which was a huge hit in Kenya. Together with the Blak Soil Band and a crowd that sang his songs word for word, at one point almost drowning him and Dean Fraser out, more than two hours of a breathtaking joyride from the “Superman.” Additional tracklisting that necessitated an instant pull up includes JBoog’s “Let’s Do It Again,” the General Degree collaboration “Feeling Irie” interlude refix “La La La La Everybody Feeling Irie” continuing with “Love Like Ours,” the ground-breaking collaboration with Estelle. Tarrus also honored Kenyan ancestors on the same night Kenya was celebrating its heroes (Mashujaa Day). Connect with Tarrus on Instagram @tarrusrileyja L3 Magazine | December 2018 ft. Cali P - Pg. 34


Music We Love Tarrus Riley’s Music Video


‘Guess Who’ ft. Mykal Rose Reggae crooner, Tarrus Riley, also known as “Singy Singy” is back with his new single “Guess Who” featuring Mykal Rose of the Reggae group Black Uhuru. They originally released their hit “Guess Who’s Coming to Dinner” in 1979 titled after the famous 1967 movie with Sidney Pottier. The re-imagined version by Tarrus Riley brings a fresh modern twist to the classic song, “Roots with a little pepper,” Tarrus says about the single. The video has premiered today on Tarrus Riley’s YouTube channel. The single will be available for streaming and download on November 30th and is the first from his upcoming album slated for release on VP Records in 2019. Produced by Sly Dunbar, Robbie Shakespeare, Shane Brown and Dean Fraser, the remake comes at a time when Youth are taking a stance on political and socio-economical issues more than ever. “Guess Who’s Coming to Dinner,” in short “Guess Who” is a simple way of stating that one is “coming for their food” as Tarrus chants throughout the song. The single seamlessly bridges the gap between traditional conscious roots music with a bouncy dancehall riddim and swagger. “It’s like Kendrick Lamar, and J.Cole,” says Tarrus. “They give you conscious music, but they give it to you with style.” The stunning visual for the song, directed by ID studios, brings the songs energy to life with colorful and vibrant shots of local people coupled with scenes of Tarrus and Mykal vibing on a rooftop, in the streets and at a bashment party. On the video shoot, Mykal Rose states, “The atmosphere was proper. We actually woke up early to catch the sun. We know the history of the location and it was just a good energy.” The original song “Guess Who’s Coming to Dinner” by Black Uhuru was a major hit and caught the attention of many. The band gained so much traction that they were the winners of the first ever reggae Grammy award with Best Reggae Album in 1985. They then went on to sell thousands of albums and earning additional Grammy nominations in 1994 and 1995. Mykal Rose was happy to jump on Tarrus Riley’s remake as he states “I wouldn’t say it’s a sample, it’s an example. Everything just manifests.” Watch “Guess Who” on YouTube: https://www.youtube.com/watch?v=7jfukkXIyW0 Connect with Tarrus on Instagram @tarrusrileyja

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Music We Love 2019 GRAMMY Nominations


Best Reggae Album The recording industry’s most prestigious award, the GRAMMY, is presented annually by The Recording Academy. A GRAMMY is awarded by The Recording Academy’s voting membership to honor excellence in the recording arts and sciences. It is truly a peer honor, awarded by and to artists and technical professionals for artistic or technical achievement, not sales or chart positions. The 2019 nominees for Best Reggae Album have been announced! Full GRAMMY Award coverage will be streamed on GRAMMY.com.

As The World Turns Black Uhuru Reggae Forever Etana Rebellion Rises Ziggy Marley A Matter of Time Protoje 44 / 876 Sting & Shaggy L3 Magazine | December 2018 ft. Cali P - Pg. 39


Music We Love Work Your Waistline

Dancer from DanceDeets.com


Energy Tracks For a Fit Body!

Images by Robin Claire originally created for LargeUp.com

By: Steffy T

Christmas is that time of year when you know for sure you’re going to be eating, and drinking, then eating and drinking - on repeat! No doubt you will do some dancing too, but let’s not wait for the DJ. Let’s get you working that waistline in-between your next festive event!

Popcaan - Body So Good The Kemist ft. Nyanda - Body Can’t Lie QQ - Boom Busy Signal - Bounce It Renee Sixthirty - Haffi Share YCee - Juice Beach Boii - Rude Sean Taylor - Ginger QRAIG ft Javada - Hooked On You Marlon Easy - Katana Alicai Harley - Killa L3 Magazine | December 2018 ft. Cali P - Pg. 41


L3’s Top 2018 Independent Spins

TOP DIGITAL SPINS - 2018

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Spice – Gum Vybz Kartel - Under Water Masicka - They Don’t Know Vybz Kartel - X (All of Your Exes) Govana - One And Move Spice - Tick Tak Spice - Under Fire Spice - Black Hypocrisy Aidonia x Govana - Breeze Teejay - Uptop Popcaan - Family Rygin King – Tuff Rygin King – Learn Squash – Lavish Govana - Bake Bean Shenseea - Pon Mi Alkaline – Juggernaut Alkaline - My Type Ding Dong - Dweet (Genna Bounce) Teejay – Uptopboss

*Charts are based on radio airplay in Canada / YouTube Views / Live Event Selection Fan Feedback

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Frenz For Real Most Watched Videos - 2018

2018 MOST WATCHED VIDEO’S

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Popcaan – Family Spice - Tick Tak Busy Signal - Stay So Shenseea - Love I Got For You Vybz Kartel - Under Water Masicka - They Don’t Know Rygin King – Tuff Teejay – Uptop Busy Signal - One Way Bake Bean - Govana *Based on recent YouTube views

L3 Magazine | December 2018 ft. Cali P - Pg. 45


People We Love Stan Lee

Photo Credit: Getty Images


Marvel Universe

L3 Magazine’s April 2015 issue featured an interview Lebeau Underwood, Inker for Marvel Comics. The interview was done with Senior Writer Song River, so, with the passing of Marvel founder Stan Lee, we feel it fitting to share Lebeau’s thoughts as he remembers the Comic Icon, Legend and Hero…. “When I was a kid growing up on the Westside of Chicago, I didn’t have any living heroes, other than my father and grandfather. I remember waking up early Saturday morning to watch Spider-Man and his Amazing Friends. I instantly gravitated to Stan Lee’s voice, as he narrated each episode. Seeing some of the things I did growing up, I was fixated on to comics because it represented a world where injustice ALWAYS was defeated and the heroes always did the right thing. I knew in my heart that, that was something that I wanted to be a part of, and for years, I pushed to make it happen. I didn’t care if Iron Man was white...I just thought that all of the Marvel characters were cool. Thank you, Stan. For giving a kid from the hood, hope.” - Lebeau Underwood Inker, Marvel Comics L3 Magazine | December 2018 ft. Cali P - Pg. 46


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LYR


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Cali P

‘Baddest’

By: Natasha Von Castle | Photography: Florian Nitsch

It feels like just yesterday that I was introduced to the magnificent voice of Cali P. It was around 2009 during one of my many trips to Jamaica when Richie introduced me, and Cali became an energy I would never part with, nor would any fan who has ever encountered his music. Cali, originally from the French island of Guadeloupe, began his journey in music with the intention of impacting people with his lyrics and his livity. He was not focused on becoming a star because he knew he was a star (my interpretation – Cali has never used those words); instead he was focused on being in Jamaica and making music with the core – the veterans – the elites in Reggae. His Vision is now a reality. Embraced by fellow artistes, fans and sound systems, you will likely hear Cali P’s music being played at any given moment on a Reggae radio program everywhere in the world. This interview, in part, shares revelations as to how Cali P has become Cali P, and also looks at his newest EP entitled ‘Vizion 1.’ From the making to the two-year incubation of the new-wave genre, Cali P shares all!


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NVC: Cali! You have come a long way in this business, and you’re still trodding with your trademark ‘sunshine smile!’ What is the source of that smile?! CP:

To hear that makes me happy! It’s a give and take. The same joy I get from life, I reflect; even when things are rough, we charge up with joy. We spend time with the family, live healthy, make good music, be positive and all those things contributes to my joy.

NVC: You’ve been making music for many years, and every time I think I’ve heard you reach your best, you record material that is even better than the project from before. How do explain constantly going higher and not having a pinnacle? CP:

It’s the goals that I set for myself as a singer and a musician. Music is a school. I started in music at the age of 15 so I always looked at music as the subject I’m studying so I want to and have to improve. I didn’t go to music school, but I worked and learned from my belly. I learned to make the song, then the next step was to harmonize the song and on and on. I’m still learning.

When I make new music, I stand with the project fully knowing that this is the best of me and my heart right now. When the next project comes along, I want to do it even better. That’s the goal – so you and fans hearing the ‘better’ from me means that I am achieving my goals.

NVC: Some of our favorite hit records over the years are “Roll Deep,” “Herbalist” and “Dem Ago Burn Up featuring Capleton.” What are some of your favorites?! CP:

There are so many songs that we did over the years and many of them are special to me, but the ones that really stick out because of their special message, and because people from all over the world contact me and tell me who the music touched them are “Don’t Give Up,” “I Know There is Life” and “Sweetest Thing.”

“Sweetest Thing” was a song I did for my daughter who is now 7. She feels like it’s ‘her’ song and gets jealous if she hears anyone else play that song because it’s hers!

NVC: Today we’re paying attention to your EP entitled ‘Vizion 1.’ This project was produced by Teka and is a four-song power pack. Who approached who in terms of collaborating? CP:

In a very natural way, and without a big plan, the project happened. Teka is someone I have known for a long time and is a producer who has worked on all Cali P projects. He has always had a song on whatever I was working on – he was always in the mix since the beginning of me making music.

On my last album ‘I Thoughts,’ he produced the song “Guiding Shield” and after that I checked in with him to see what he was working on. I happened to be on YouTube one day and heard a remix he did that was Trap and Reggae. It featured Migos on the remix and it was a Hip Hop thing but at the same time, the riddim was Roots, and I knew instantly that this was really big. This was a new vibe and a new sound that felt really nice.


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con’d...

I linked him and asked if he would send me the instrumental so I can make a song. That’s when he told me that he has already made 12 to 15 instrumentals in that style. Immediately, I flew to Berlin (Germany), went to the studio, and in 2 days we recorded eight tracks. I got really inspired in the studio. He did not access any social media, we turned off the phones, listened to riddims, wrote songs, recorded and that’s it.

We decided on the top tracks we liked, and agreed that we weren’t going to just put out an album – we are going to give fans step by step the vision of how we see this new genre of music!

NVC: The two of you are ahead of and on the right side of the curve when it comes to Trap and Reggae. Do you really know the incredible fore the two of you have created? CP:

It’s crazy! Even though this project is just being released, we’ve been working on this for 2 years now. We didn’t talk about it, but we have taken the time to really develop this sound. When I heard it two years ago I knew this would be the thing. Now, I realize that this is the perfect time and the perfect energy – this inspiration is not limited to one person, it goes worldwide.

NVC: Whereas others are trying to blend Dancehall with Trap, you have successfully merged Roots Reggae and Trap which is the formula! CP:

Yes and it has a special sound. Teka found a unique style of sound that we have to big him up for. There are some producers who produce a little bit of this and a little bit of that but to find a producer who has created an original style and sound – this is amazing. It’s beautiful!

NVC: Track 2 is called “Life Lesson.” You hit us with powerful lyrics such as “use your life to show the level of your consciousness” and “Most High Jah, Jah have an answer fih dis.” CP:

Yes I. We have to put the lyrics on a deeper level – we have to get to my mission, and my mission is to speak to people through the music. I am a Rastaman and I love all this young music, but what always remains for me is message. I want to connect the youths with the feelings, so connecting them with the feeling in the music they’re accustomed to helps me do that. Also, the Roots massive will hear something new so we have the youths and we have the Roots and it comes down to what I believe in which is Word – Sound – Power. That is my foundation.

My experience, living in Jamaica and seeing the hype, and seeing the streets run fast, I wanted to make a song that has the hype and the vibe but at the same time tell people that they need to stop the violence and the crime – they must open their eyes.

I had to keep things positive. Every individual is a living example and the life they live shows how conscious they are. Every action will earn a response whether positive or negative. We are all examples.


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NVC: Your lyrical delivery is a chant that is in sync with my heartbeat. CP:

Wow! I think this is about being true to me and why I’m here which is to keep people who love music on the positive side. I had a lot of time; there was no pressure or stress and I was working at my pace. I was also working with a producer and engineer who was there – very present – we were in sync which allowed my lyrical delivery to flow the way it did. We have the skills to sing and make music, now we have to deliver feelings and that’s what we did.

NVC: You also make time and space to acknowledge Love on the EP. Why was that important to you? CP:

I love to talk about that song, “When You Hold Me” because when you’re in love, and you’re comfortable with the person you’re with, it shows in your everyday life. At that time, I recorded that project I was in a very good place and very free to speak. It really came from the heart and straight from ‘A’ to ‘Z!’

NVC: “Baddest” is definitely an anthem! Very cleverly, you call out the names of some of the baddest males and females past and present! Did the lyrics come first, or did the riddim come first, and what was the look on Teka’s face when he heard your performance of the song in the booth? CP:

I heard the riddim in the studio and I just heard ‘Bad!’ (Laughs)! I held a vibe with it and I got inspired. I wanted to make a song that is ‘bad’ but then I began to think ‘what is the message in this?’ That’s when all the names of the artists came to me who are the baddest to me. The revolutionaries in our music had to be honored. That’s how it came about. It’s a word game because people are expecting to hear the names of Gangsta’s but we give you the musical greats!

I want to big up the person who did the music video for “Baddest.” His name is Osiriz33 and a Rapper from Germany. He made time for me and I really appreciate that. Also, Teka, Low-Low Records and Riga from Hemphire.

NVC: You have achieved many milestones in your career. Are there any from this year that are extra special? CP:

Definitely! I performed in Ethiopia for the first time. It was Tiwony from Guadeloupe, Luciano from Jamaica and me. The concert was in Addis Ababa and it was beautiful. I stayed for a month and definitely a highlight for the year and for a lifetime. I give thanks!

NVC: The name of the magazine is L3 and each ‘L’ has a meaning! The first is for Life, the second for Love and the third for Lyrics. What general advice would you give readers on Life, Love and Lyrics? CP:

So, let me put the three in one: the most important thing in life is love, and love conquers every thing including lyrics. Don’t take love slight because it’s a broad force that covers everything. You may not see it, but it is there, and it will move when you least expect it to.


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Stream Cali P’s Music on iTunes and Join him on Social Media @calipmusic L3 Magazine | December 2018 ft. Cali P - Pg. 63


The Kemist

Producer - Remixer - DJ By: Jennifer Menster | Photography via Tropic Electric

Universal. Whenever you hear people speak about The Kemist, just think Universal. Not only is his music truly global, he is signed to the label, paving the way for an even greater platform, and more ears, to hear his music. The signing was unexpected but is seen by most as a reflection of the grind and commitment The Kemist puts in his career. It would be easy to go the traditional Reggae and Dancehall route where production is concerned, but The Kemists vision and range is a little broader. He can see how multiple genres coming together is a good thing, especially in a world of cultural diversity and musically pleasing several people at the same time – sometimes at the same event. The Kemist makes it look easy – please be assured that it’s not. What I think happens, is the Universe touches his hands and mind with magic which results in our ears hearing the ‘must dance to’ music he makes! There is simply no other like The Kemist: Producer, Remixer, DJ....


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JM:

You take pleasure in making people move to high energy music. Why and when did you consciously decide that uptempo is the route you’re going with music you create, knowing you would easily travel the ‘expected’ route, ie Reggae or Dancehall?

K:

I don’t think it was a conscious decision to go high-energy or up-tempo. It was pretty easy and natural. Growing up in Jamaica listening to Dancehall and Reggae, most of it is up-tempo and high-energy. People love to dance, and create dances (Signal the plane – Bogle – Butterfly etc) so it was a natural direction to go in, and I put my flavour and spin to it.

JM:

In songs like “Ego” by William William you do neatly share some of your foundation while keeping the Remix up-tempo – clever and creative!

K:

“Ego!” I really enjoyed doing that remix. I love doing remixes; taking an existing vocal made for something else and re-create a new accompaniment to it. To come up with something fresh and new; people call me the Kemist and this is how I got my name. I like to mix different genres and sounds – play with textures. That vocal gave me the opportunity to slip between Dancehall and traditional Reggae one-drop. It was Bob Marley’s “War” that was used for the basis of the remix.

JM:

Do you speak French? I ask because of the language element of the remix!

K:

I don’t speak French but I did consult with a French speaker to pick the right words from the song to use in the drop.

JM:

When you’re on stage and look out in the crowd and see music moving bodies, hands (and cups / drinks) in the air – carefree and living life, how does that visual make you feel?

K:

Wow! That’s an amazing feeling - to see people letting go and enjoying themselves; all of them having a good time – it’s very euphoric. It’s an energy and high that is very intoxicating. The creative process culminates from a thought to being in a studio – to being on a stage – to the crowd …. To go from a thought to people responding that way is a very good feeling.

JM:

Not only do you make music as a producer, you perform music and you play music as a DJ. Is this your way of unleashing your music super-powers on the world to make sure people fall under the ‘positive vibes only’ influence?

K:

Of course! Well put – musical super powers! I love music and all aspects of it. I like making it, performing it, DJing it and especially listening to it. At the end of the day I enjoy a good piece of music; playing instruments too. When I fell in love with music at a very young age, I remember wanting to know everything about it – the sounds – what makes it work – the ins and outs – the lyrics – I wanted to know everything.

I dove in completely and tried to cover and understand everything about music.


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JM:

Before we get to the stage where you get to see the effect of your music magic on a crowd, you have a creative process. Walk us through some of that – as in how do you make the music you make?

K:

Process. I don’t have a set process. It’s different on different days. I try not to make it mechanical. Usually it comes from a spark … most times I am at the piano or the guitar and it starts there.

JM:

How do you decide which artist to work with? Does the beat you produce decide or do artists come to you and ask for a beat?

K:

It’s both. Sometimes I create and I can say ‘I hear this person on this beat,’ or the person comes to me and we both create on the spot. Definitely both.

JM:

Some people may not know that your Mom is Queen, Legend, and Icon Marcia Griffiths. You have carved your own path in music, but, did any of her methodology influence you in terms of your approach to music and the making of it?

K:

Not so much the making of the music, but she influenced me where my work ethic is concerned. My Mom always works hard – always touring – rehearsing – recording – and she loves what she does. Her professionalism and standards is definitely what has influenced me.

JM:

2 people we would say you have an excellent creative relationship with is Nyanda and The Wixard. Tell us about those two incredible women and how the ‘kemistry’ took root between you all!

K:

(Laughs) They are two talented artists. Funny enough, Nyanda and I met while she was singing background for my Mom. I used to play piano for my Mom so I was familiar with Nyanda’s talent. Also, I used to produce for Brick n Lace back in the day (Nyanda and sister Nailah formed the group) and I produced by Nyanda’s solo project. Wixard is the daughter of the great Beres Hammond. She is an incredible producer and performer. Beres and my Mom are good friends and music partners so the link was made with Wiz.

Everything really came together on the track “Mash It Up.” Wix and I were vibing; we were having fun, Nyanda walked in and started freestyling and before we knew it the song was born and we continued to create. I’m still working today!

JM:

Weird-ioms! Do you have any ‘weird’ things you have to do before going into the studio (for example) or taking the stage such as eating purple pack skittles, or chewing yellow flavoured juicy fruit bubble gum?

K:

Not really! (Laughs)

JM:

When not making music, what are some of your interests?


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K:

I play Football (European), but most of my free time is spent researching and learning. Things like History, creation, science – all of it is fascinating and where I spend most of my time.

JM:

Coming back around to your music, your newest release is “Body Can’t Lie” which we love. You feature Nyanda and keep fans up-tempo musically. You also get creative with the music video. Tell us about the song and the video!

K:

Yes. The song is nice and infectious. It’s a sexy blend of Latin, Dancehall and Pop … there’s a little electronic in there too. The song is really about the unspoken communication in body language between men and women. The video was shot by Michael Garcia – a brilliant director from Miami. I came up with the concept which is a detective interrogating a sexy female as she’s hooked up to a lie detector and I’m trying to get a confession and she’s trying to seduce me. It came out really good (watch the video here).

JM:

The name of our magazine is L3 and each ‘L’ has a meaning. The first is for Life, the second for Love and the third for Lyrics. What general advice can you give our readers on Life, Love and Lyrics?

K:

Life is precious – it’s a gift – it’s the art of drawing with no eraser. Everyone should live it and accept it and what matters most is what we care about. Life is the experience and Love is the motivation. Love makes Life worth living and Lyrics … while I stand on the side of music, a lot of the emotional weight comes from Lyrics – which delves deeper into the emotion expressed!

Connect with The Kemist on social media: @iamthekemist


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Shani Kimelman

Guitarist - Songwriter - Rocker By: Song River | Photography: Joe Schaeffer

There is nothing that I love more than Rock n’ Roll, so when I come across a bad-ass rocker, who also happens to be extremely good, and also happens to be a female; I jump up and down. The rocker who has me jumping up and down is Shani Kimelman! Playing the guitar is not as easy as it looks. Yes it’s glamorous, and performing for fans gives you a rush, but the time it takes to perfect the notes and actually learn the music and technique can take some time, especially when you want to have the same effect on fans night after night ... after night. Shani’s journey with her guitar is the tip of the iceberg. How she developed her talent in other areas related to music becomes her depth, and the part of her story you might enjoy the most. Nothing has come easy and nothing has been given. Shani rolled up her sleeves, and ‘put down her guitar’ to get to where she is today.


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SR:

Shani! I have to jump right in and ask you to name your top 5 early musical influences and what impact they had on your development.

SK:

My early top 5 would be Pantera, Tool, Children of Bodom, Fear Factory, and my father. The first 4 bands I mentioned are the first metal bands I discovered that made me really excited and amazed by this whole genre, and they are the reason I wanted to become a guitarist. It was a bit later on that I also discovered my current guitar heroes, but these bands have a special place in my heart. I also mentioned my dad, who is probably the top influencer on my early development as a musician. He taught me everything I know as far as music theory, he taught me how to play the saxophone when I was 7 and having him around I was exposed to progressive harmonic concepts at a pretty young age. I’m very thankful for that.

SR:

How does practicing your guitar techniques differ from earlier on in your career?

SK:

Today I focus more on rhythm playing and right hand in general. Even when playing the same stuff I used to practice in the past, the focus and way to look at things is now a bit different. One thing I did from the very beginning was to learn songs by ear. I think it’s the best way to learn new techniques, vocabulary and of course, develop your ears (and I always hated tabs). When I was just starting on the guitar I couldn’t play most of the songs I liked so I would learn small bits and move on. I didn’t have even one song I could play from start to finish and that was pretty frustrating. With time those small bits grew into a full song and today I learn complete songs really fast. I try not to think about what I play melodically and feel it rhythmically instead. It’s a bit weird to explain - the focus is just different. It makes things technically easier for me, and all of a sudden I find out many technical barriers are now gone.

SR:

You chose to study music production and engineering at Berklee. Talk about the experience and what it leads you to.

SK:

Berklee’s MP&E facilities are really top-notch. I got to work in great studios with large format consoles and tons of outboard gear, the professors were great and I gained a crazy amount of knowledge while I was there. It was also pretty intense, especially in my last semesters, I had to put down the guitar. I spent a lot of hours everyday sitting in class, being in the studio, recording other musicians, reading a million pages of some book or manual, mixing something at home etc. Somewhere around this point I realized I’m really not as passionate about engineering and producing as other students in this major, and I always wait for the sessions to be done so I can just go home and play my guitar. I was already pretty close to graduation, so I just finished what I started (and I’m glad I did). As soon as that happened I made sure there will be no more soft skin on my left-hand fingertips.

SR:

You have a new EP. Where did the components come from in creating this release?

SK: The EP consists of 3 tracks that I wrote in different years. After Berklee, it was a good time to use what I learned, take those tracks and enhance them, and produce myself an EP.


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SR:

What went into the writing process?

SK:

I like to write my music alone, and almost always without a guitar in my hand. I hear melodies and chords in my head and manage to write them in MIDI, and after I have the initial idea written down, I start shaping the sound and the overall vibe of the track. It might be different with certain tracks, but this is usually how I work.

SR:

Which part of the process of creating recordings do you find most challenging?

SK:

I think the mixing stage is the most challenging. It’s in the mixing stage where you can design what your track conveys, totally ruin your music or make it way better. I see it like cooking (I’m not a great cook though); you finished cutting all the veggies and now you’re adding spices. If you add too much salt … you get what I’m saying. I also delayed the release of my EP in a few months just because of the mixing process. It took some time but now I’m really happy with the final mixes and the whole release in general.

SR:

Who did you work with and how much input and drive was from you in engineering, mixing, mastering, etc?

SK:

The final versions of all the tracks on my EP were recorded at home. That didn’t require too much engineering and I did that myself. I did record drums and bass for Beta Particles at the Berklee studios and had Andres Gonzales Cardona engineer the session and give really amazing sounding results. Mastering was done by Maor Appelbaum and mixing was done by David Mihaljevic (Beta Particles and Space Cats) and Colin Liebich (Psylence). I decided not to do the mixing myself because I wanted some fresh ears on my music, and besides, I did pretty much everything on my own. So I was pretty annoying for a mixing engineer to work with, but it was David Mihaljevic and Colin Liebich who eventually got exactly what I wanted.

SR:

Talk about the story behind the individual tracks and the collective end.

SK:

Beta Particles was written sometime in 2011 and with this track, it was the first time I started working with synths. It had a different name, and about 4-5 years ago I recorded it at a friend’s studio before I knew anything about producing and recording. The difference between the two versions really reflects the huge amount of knowledge I gained in the last years, and every time I listen to it, I think of all the changes that occurred in my life since it was first written. Physics defines Beta Particles as a high speed, high energy electron / positron emitted by the radioactive decay of an atomic nucleus during the process of beta decay. I found a symbolic meaning in this term and its definition and that’s why I decided to call it Beta Particles.

With Space Cats, I found an old recording of the main riff on my computer. I can’t remember exactly when it was written but the recording was so bad that I’m sure it happened way before 2010. No sense of time, really bad sound, but the idea was good. I took that riff and wrote the rest of the song right before the release of my EP, re-recorded and re-arranged everything. The part that


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starts at 2:20 and until the end of the track ended up being my favorite in the whole EP. Psylence is the last track in the EP and it’s very different than the other two. I recorded it a long, long time ago before I knew anything about recording. In late 2017 I re-recorded it in a much better studio with top of the line gear that I didn’t have access to during the first recording. The recording sounded great but there was something missing. I think there was some magic captured in that first performance that I wasn’t able to re-create and I ended up using that for my EP. The EP as a whole really reflects the journey I’ve done in the last few years, at least for me. Each song combines something old and something new. The name of the EP is Escape Velocity which is, like Beta Particles, a definition from the world of physics. It’s the minimum speed an object must have in order to escape the gravitational field of a massive body. Once again, I could relate and find a subjective meaning between the lines. And yes I’m a huge geek!

SR:

Would it be safe to say through the discovery of your guitar passions you found who you were meant to be?

SK: I’m not sure about that, all I know is that I am who I am and I do what I love. I try to keep it simple. SR:

Where to next Shani? What would you like to develop, where would you like to perform, and even personal goals you’re setting for yourself in 2019.

SK:

My first goal is to release a full album in 2019. I wanted to do it this year but things took a whole different turn since I moved to LA. I’d also like to keep touring and performing everywhere possible. I love being on stage and I love to travel. I think 2019 is going to be very interesting music-wise and I have a lot planned, including bringing my YouTube channel back to life (since I’ve been neglecting it in the past year). As far as personal goals it always started with wanting to become a better guitarist and keep developing as a musician, and I want to be able to do it in LA. There’s also a list of bands that I owe myself to go watch live this year. I’m all about music and there aren’t many other things that are important to me enough to make me set goals for myself (boring I know), and honestly the last year was so crazy that I’m not sure what to expect anymore, but I know I’m excited to see what the near future holds for me.

SR: Any sponsors or individuals in particular that you’d like to thank? SK: I’d like to thank Andrew from All That Shreds Magazine, Tom and Tracy of TAG Publicity, Ernie Ball and 4 Seasons Pickups. SR: The savviest piece of advice you could pass onto any guitarist male or female would be? SK: Don’t think you’re better than others around you because that will get you stuck in the same place, and also make you a douchebag (and nobody likes them). It’s not just for guitarists either. SR: SK:

A day in the life of Shani Kimelman starts by? COFFEEEEEEEE!


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Stream Shani’s Music on cdbaby and Join her on Social Media @shani.kimelman L3 Magazine | December 2018 ft. Cali P - Pg. 81


Profile for L3 Magazine

L3 Magazine ft. Cali P - December, 2018  

Cali P is one of the ‘Baddest!’ The Reggae star’s roots begins in Guedolope, continues to Switzerland and then on to Jamaica before sailin...

L3 Magazine ft. Cali P - December, 2018  

Cali P is one of the ‘Baddest!’ The Reggae star’s roots begins in Guedolope, continues to Switzerland and then on to Jamaica before sailin...