SyncFloor Partners With Mavin Records to Launch Afropop-Centric SyncSite
Sync licensing platform SyncFloor will help illuminate Nigeria-based Mavin Records' catalog of electric Afropop music with the announcement of their new partnership, making Mavin’s catalog easily discoverable and licensable for commercial use -- including podcasts, film, TV, ads and more.
SyncFloor, the commercial music marketplace, is announcing its partnership with Mavin Records, bringing the label’s catalog to more potential sync buyers via syncfloor.com and its newly launched Mavin Records SyncSite. SyncFloor’s SyncSites allow its rights holder partners to surface a sync-oriented website that presents thematic, customized blocks of tracks and allows potential users to search for and find tracks from within the partner’s one-stop catalog, using natural language and cultural references.
“Afropop is golden, and Mavin Records is a powerhouse of African talent,” explains SyncFloor CEO Kirt Debique. “We are honored to get their beautiful music in front of production professionals worldwide.”
SyncFloor recently launched its commercial marketplace, along with a sister site SongsForPodcasters. Mavin’s one-stop catalog will also be featured in the podcast focused marketplace, making their infectious sounds and rhythmic vibrations accessible to the growing podcast phenomenon.
"SyncFloor's groundbreaking service promises immense access, making them fitting partners to expand our dealings in commercial music licensing," says Oghenejobo P. Tega, Chief Operating Officer, Mavin Records, "Over time, Afrobeats, and African culture, in general, have converted audiences across the globe with massive moments. We’re glad to offer our vast catalogue to brands and platforms looking to tell global stories in film and digital content."
About SyncFloor
SyncFloor is a revolutionary new marketplace designed to unleash the full potential of music in commerce. We are revolutionizing music licensing, from music discovery through license clearance, for advertisements, film, TV, video games, and more.
About SongsForPodcasters
SongsForPodcasters is a marketplace of commercial music to be used in podcasts of all types. Built on the SyncFloor platform, SongsForPodcasters simplifies the discovery and licensing of music for podcast creators and producers through customized discovery, pricing, and licensing workflows.
About Mavin Records
Mavin Records was founded in 2012 by legendary Afrobeats producer, Don Jazzy, and produced some of the definitive music and artists such as Wande Cole, Tiwa Savage, and Reekado Banks. Currently, its roster spans a variety of genres with artists including Korede Bello, Johnny Drille, Di'ja, D'Prince, Dr. SID, LadiPoe, DNA, Rema, Crayon and DJ Big N. Today, Mavin is a community of amazing people dedicated to creativity, innovation and breaking new frontiers.
Connect with SyncFloor: Website
Connect with SongsForPodcasters: Website
Connect with Mavin Records: Website
Interview: Chicago Based Artist Emcee Monte Talks About His New Single/Lyric Video "#BlackLivesMatter"
Shout out to Chicago based rap artist and producer @EmceeMonte who connected with DCWS for an exclusive interview to discuss his new single/lyric video “#BlackLivesMatter”, and much more.
“I want everyone that listens to this track to feel a sense of urgency and to be moved to act now. The only way we can change what is happening right now in America is to change it ourselves. That is what this song is all about.”
Congratulations on the release of your new single/lyric video “#BlackLivesMatter”. What inspired you to create this timely and relevant track?
Thank you. I was inspired by the Black Lives Matter movement that has been going on for some time now. I was inspired by the injustice and the police brutality that we see every day in this country. I was inspired by the activists that came before me and made change happen in America during the civil rights movement.
Creating beautiful art out of the pain and suffering we experience in America has been apart of the black story. It is in my DNA to take what I see, hear and experience and channel it into something positive, beautiful, uplifting, and also rebellious and revolutionary!
When someone listens to the track for the first time, what do you want them to take away from the experience?
When someone listens for the first time, I want them to feel the pain that we go through daily being black in America. I want them to feel the anger and the sadness that the families of victims of police brutality feel. I want them to feel an awakening, a moment of clarity, a moment of solidarity, empathy, and more.
I want everyone that listens to this track to feel a sense of urgency and to be moved to act now. The only way we can change what is happening right now in America is to change it ourselves. That is what this song is all about.
Can we expect to hear this track on an upcoming EP or mixtape? Also, do you have any plans for an official video?
I will be releasing a 4 or 5 track EP next month titled “Change Gone Come” featuring this song as well as “Change Gone Come”, “They Don't Care” remix and “Lean On Me”. The sound is very reminiscent of the early 2000s Kanye West or J Dilla style of production.
I would like to make an official video for “#BlackLivesMatter”. Chicago is preparing to enter into phase 4 so we shall see how possible that idea is and how I can make it happen right now. It would be great to get the Chicago activist community involved in the official music video for “#BlackLivesMatter”.
How would you say that the city of Chicago influences the music that you create?
Chicago has a huge influence on the music I make. I am very happy to live and have grown up in Chicago. I see the beauty, the diversity, the culture and the creative community Chicago has to offer. It is such a unique city. But, I also see the segregation, the injustice, the economic disparities, the violence, the over-policing and I want to speak on it all.
Chicago is two different cities in one but I love it and I am proud to call Chi-town my home. I came up with an idea for an album about my experiences growing up in Chicago years ago, so I think it is about time for me to make that project happen next!
What would you say the state of Hip-Hop is in 2020? Do you think too much focus is placed on rap and not the other components of Hip-Hop like breakdancing and DJing?
First let me start by saying that I love hip hop so it is from love that I answer this question. Second I would like to say that I am honored and humbled by the fact that I had the best hip hop mentors that anyone could ask for. My teachers taught me all the elements of hip hop and instilled in me the duty to share what I learned. Through them, I learned to be a practitioner of all of the elements of hip hop. I am one of a few people that can say they do all of the elements of hip hop.
I feel like the state of hip hop has a major divide and it has been this way for a while now. There used to be a balance of styles and a variety of rap music on the radio and in the media. Now there is no balance.
Everything presented in the mainstream media is the same. If you want to see, hear, or experience something different, new, or just like variety, you have to be apart of the underground scene. On one side you have the people that have been holding it down. People in the hip hop community, people that participate in the culture, that recognize the importance of the history and the significance of the birth of an art form that would grow to be the most influential art world wide, have been repping hard and preserving the culture as a whole.
On the other hand, you have the people who have been taking from the culture and not giving anything back. Appropriating hip hop and using it for personal gain. Or just trying to be hip hop without knowing anything about the culture, the history, where it came from or who created it. Profit has been placed over cultural preservation.
But, with the current black lives matter movement demanding black art be treated with respect, our contributions be recognized and that everything we create is appreciated and not appropriated, I feel a shift coming in a positive direction. Certain outlets and people have always shown the importance of sharing the history of hip hop but mainstream media has never been about that. So it is cool to see when organizations and artists make it a priority. On July 1st the USPS has a new set of stamps coming out that pay tribute to the hip hop culture. Seeing that actually put a smile on my face and I think that is cool.
There are 5 elements or pillars of hip hop culture. 1. DJing 2. Breakdance 3. Rapping (MCing) 4. Graffiti and 5. The Teacher. The 5th element is not widely known or talked about but it is the most important. Without the teacher passing down the knowledge and history of the culture, the culture dies. That has happened a little bit over the years.
Record labels and appropriation have contributed to the death of hip hop. Thankfully there has been a revival, a resurrection and if I have my way, hip hop will continue to live on, forever! There has been too much focus placed on rap and people look to rap and rappers to represent all of hip hop but that is an incomplete representation. Rap is only one aspect of hip hop. Hip Hop is and will always be a culture.
Connect with Emcee Monte: Website | Twitter | Instagram | Facebook
Ontario Rock Duo Kadeema Release Their Debut EP "Napoleon Tornapart"
Southern Ontario’s @kadeemamusic are charting a new path with their debut eight-song EP, “Napoleon Tornapart”, a tongue-in-cheek collection of rock songs that range from empowering to reflective, capturing the ups and downs of day-to-day life.
Southern Ontario’s Kadeema are charting a new path with their debut eight-song EP, “Napoleon Tornapart”, officially available now.
Songwriters Jimmy Chauveau (vocals) and Tal Vaisman (guitar/vocals) worked closely with producer and drummer, Isaac Carpenter (AWOLNATION, Duff McKagan, Adam Lambert) to create a tongue-in-cheek collection of rock songs that range from empowering to reflective, capturing the ups and downs of day-to-day life. Carpenter served as the group’s de facto third member, developing an environment that allowed Kadeema to write and record with complete freedom.
This can be heard in the record’s varied production, including “Beat Up Car,” which pairs triumphant riffs with blunt lyricism, acknowledging and exploring dejection and loss.
The title Napoleon Tornapart, like the EP’s lyrics, juxtaposes adversity with humour. “It’s the idea that any human can be brought down by the day,” says Chauveau. “I love the idea of a military-esque man just broken over a table, almost like a Renaissance painting.”
Kadeema has written a body of work that doesn’t shy away from their experiences of personal and professional imprisonment, yet it crucially harnesses the ability to rebuild and live honestly through life’s challenges. “We wrote the songs that felt like the right thing at the time because they really reflected our lives,” acknowledges Vaisman.
At the core of Napoleon Tornapart is a message that resonates, one of finding catharsis and light through one’s darkest moments. The EP affirms that it is okay to be struggling and to want more from one’s life. Through writing these songs, Kadeema have found empowerment and a renewed sense of identity.
Listen to the “Napoleon Tornapart” EP now, stream it on your preferred music service and connect with Kadeema on their social media.
Interview: Pittsburgh Pop-Rock Band Sommelier Talk About Their New Single "The Bar Bore"
Thanks to J. Trafford and Brian Ferrell of the Pittsburgh pop-rock band Sommelier for connecting with DCWS for an exclusive interview to talk about their new single “The Bar Bore”, and much more.
““The Bar Bore” was something that we started working on as a band right before the quarantine started. Since band practice was on hold, we thought it would be fun to record a song that would be completely different from what we hope to play live. We felt this song would sound good stripped down.”
How would you describe the band's creative process when developing new music?
J.: It’s really very collaborative, which I love. Even within the time-tested rock lineup, there are so many potential directions to take when arranging the melodies we’re writing. It’s nice for me to follow a path I may not have considered.
Congratulations on the release of your new single "The Bar Bore"; tell us about the experience of having to record the song separately due to the quarantine.
Brian: “The Bar Bore” was something that we started working on as a band right before the quarantine started. Since band practice was on hold, we thought it would be fun to record a song that would be completely different from what we hope to play live. We felt this song would sound good stripped down.
My wife is a professional cellist, so I arranged a part for her, and we recorded that in our living room. Sending individual tracks back and forth each night was a lot of fun. I would send a sample of cello and guitar, then J would demo vocals and send it back. Once we had tracks we both liked, we did the final mix.
Not to be undone by "The Bar Bore", you guys have also just released the track "Ronnie the Rhododendron", also recorded separately. How did this song end up on the "Bukit Bail Fund" compilation album?
J.: Fortunately, many players in the Pittsburgh independent music community have shown unfaltering support of those most critically impacted by police brutality. We owe it to Sheridan Woika for putting this compilation together and for including some really magical moments on it.
Will these two song releases be featured on an upcoming Sommelier EP or album? Also, can we expect music videos for them?
Brian: We hope to do some videos soon. Before quarantine, we were working on about a half dozen songs. During the lockdown, we shifted our focus to make the quarantine variation tracks.
J.: These tracks will be revisited in the format of full band recordings.
The band's creation is relatively new; tell us about how you all came together and decided to form a band, and the impact that the pandemic has had on your development.
Brian: We had only practiced for a few weeks before the lockdown began. Zach, Ben, and I were working on a project that went on hiatus in 2019 - and I wanted to start something new.
J.: And the group that I previously fronted slowed to a stop last year; it turned out that we both had similar goals, so it’s been a great fit.
Stream "KERN", the Debut EP by Dutch Rapper Ido
22 year old rapper Ido Hoogendoorn comes to DCWS from Woerden in the Netherlands with his DOPE new EP “KERN”. Listen to it now!
New to DCWS is Ido Hoogendoorn, a 22 year innovative artist from Woerden in the Netherlands who dreams of taking hip-hop to the next level in his country and becoming a pioneer in the next generation of rap. Ido’s style is intense, intriguing, melancholic and sometimes on the dark side, and his lyrical subject matter is confrontational and personal, focusing on illusions from the depths of the psyche, and from the core of the cell, pure and real.
Ido’s influences include Eminem, Kendrick Lamar, Dr. Dre, and Kanye West, but with his debut EP, “KERN”, it’s clear that he is his own emcee and is building a solid foundation of DOPE music, song by song.
Listen to “KERN” right now, connect with Ido on IG and be on the lookout for our in-depth review of the project, as well as our exclusive interview with him, both coming soon!
Connect with Ido: Instagram
Interview: New York Rap Artist ChrisCVine Discusses His "Knew It" Music Video
Salute to talented New York based rapper @ChrisCVine who connected with DCWS to discuss his music video “Knew It”, his upcoming EP “2017”, and much more.
“...finding places and music that bring me closer to me and fit the person I am, have helped inspire me to achieve more of my goals and have kept me focused on what I love doing most, making music. ”
What are some things, people and places that inspire your creativity when working on new music?
Inspiration, obsession, whatever you want to call it, anyone who knows me could tell you that the desert, Lil Peep, Los Angeles, Las Vegas, Migos, and the former app “Vine” are my life.
I first discovered my love for the desert on a frequent “father/son” trip to Las Vegas in 2017 ( ironically). It was a place where I felt like I could actually take a full deep breath. It instantly cleared my mind of unwanted thoughts. It’s just you and your surroundings.
I later found a similar feeling of relief in Los Angeles. Making those two places KEY ingredients for my inspiration. To add to the relief, I would always be listening to the late, unforgettable Lil Peep. Finally, finding places and music that bring me closer to me and fit the person I am, have helped inspire me to achieve more of my goals and have kept me focused on what I love doing most, making music.
Tell us about what you look for in production when writing new music.
I am ALWAYS looking for new sounds, flows, melodies, and ideas. I am always pushing myself out of my comfort zone in terms of sounds.
I always ask myself, “What could I do differently this time that has never been done?” or “What could I do differently that I’ve never done before?”. I often find my best work to be freestyles as mentioned earlier but I’ll write occasionally when I have a topic or if I’m in the vibe.
Congratulations on the release of the clip for your song "Knew It"; what inspired you to write it and how did you end up selecting the instrumental by ThatBossEvan?
Thank you! “Knew It” was actually rather spontaneous. I was sitting in the car with a friend of mine and we were browsing different beats off YouTube and freestyling to them. As I usually find my best work to be through freestyles, I hardly have something recording due to it being in the moment. Luckily that wasn’t the case for “Knew It”.
We had a phone recording and before you know it I was singing “I swear I knew it from the start”. Because it was a freestyle, the words and melody weren’t exact but when I first heard the recording back I knew this was something I wanted to pursue as soon as possible, so 2 hours before my studio session (the next day) I listened back making minor corrections and adding new flows.
This song is my favorite piece of work because it is the first of its kind for me and it is really heartfelt. This melodic sound is something I’ve been aiming for over the past couple years but to finally achieve it in such a unique, personal way really made it hit home.
Regarding the video itself, what stuck out to you about the city of Montreal and who was your leading lady?
The whole concept from freestyle-filming was about a week process. I happened to be taking a trip to Montreal the following week and being there before, I knew it was the perfect city for the video of this song. The snow, “Notre-Dame Basilica'', as well as the areas surrounding the “Old Port” in Montreal specifically really stood out to me due to the elegant, gothic vibe to it. The roads are cobblestone with unique street signs and lots of history behind it all. That vibe definitely stood out to me and I felt like it fit my song perfectly. The scenes in front of the “Notre-Dame Basilica” stood out to me a lot because that church is so big and beautiful. It’s a location I did NOT want to miss.
Arielle (“leading lady”) played a HUGE role in this video, because of her natural aesthetic. I felt she definitely helped complete the story. The original idea was a story. Arielle to be “brushing me off” as I was attempting to reach out to her, but I didn’t really find that “story” to be fully fitted with the idea of the song “Knew It.”
Instead, it was replaced with poses and a more elegant, natural vibe to it, which I am much more happy about. With less than a week's notice, I was able to meet an amazing production team to work with (Cinemagi Productions) (www.cinemagiproductions.com), as well as Arielle Villandré (@Arielle.Villandre) to accompany me in the visuals.
Everything happened very spontaneously and on such short notice, but even with the cold weather and occasional snowfall, I had such a great time working with everyone and could not have been more pleased with the outcome.
What can you tell us about your upcoming EP that you will be dropping soon? From a thematic and sonic standpoint, what can we expect from it?
My upcoming EP titled “2017” is a look back at a time where I was very pleased and satisfied with my life (even though I am in a much better position now). I was 16 years old in 2017, just starting to release my music and my emotions to the public. I just discovered this new sound of music that I could really relate to. It put me in a very calm state of mind. Artists like, “6 Dogs” and “Lil Peep” to name some.
I was recording most of my music on Garageband at home with very limited tools or knowledge. I was releasing anything regardless of the quality. However, as an artist, there is nothing wrong with that, if that’s what you like. I got my point through, I released my emotions… next…. Fast forward 3 years, quality is very important to me because it completes my “story” but I’ve been stuck inside during this pandemic making studio sessions a bit complicated.
Having all of these built up emotions and thoughts and nowhere to release it was an issue so I decided to make the best of it by learning new techniques and software and the outcome was VERY impressive. Pretty much I am using the inspiration I had, as well as artists and producers that I listened to in 2017 and combining it with the advancement, maturity, and person I am today and the knowledge I have today, as well as the story I have to tell. I am more than excited to have the opportunity to work with a number of artists that picked me up and inspired me.
My first single from the EP titled “In My Pocket” was just released on Soundcloud featuring Lil Hawk Boy, produced by gotgash and being able to work with them was so inspiring and personal as gotgash produced a number of the songs I discovered in 2017 and Lil Hawk Boy being an artist that I really looked up to. 2017 is my most heartfelt work and will really help shape the future for my upcoming sounds and ideas.
Instead of each single telling the story, the tape as a whole tells the story and this is my first body of work I’ve achieved. This EP is my most personal, meaningful, work to me so far and I cannot wait to release it however I am taking my time because I want it to be the best it could be!
Connect with ChrisCVine: Website | Twitter | Instagram | Facebook
Interview: New Orleans Rock Band Rich Octopus Talk About Their Self-Titled Album "Rich Octopus"
We connected with New Orleans based rock band @richoctopus for an exclusive interview to discuss their recently released self titled album “Rich Octopus”, and much more.
“These songs really are a snapshot of our early twenties and mean a lot to us. Recording an album is no easy feat, but we’re very proud of ourselves for putting in the work to make it happen.”
Where did the band's name "Rich Octopus" originate and what does it mean?
It's kind of a goofy story, as you can imagine. In our senior year of high school, we tried to start a band with a few of our friends. It was a ridiculous line-up of six or seven people with limited or no prior music experience. We met up for one writing session and somehow managed to create a very corny and bad "spoken word" song.
We had a different band name we were going to release it under, but we decided against it because it included the name of one of our teachers. We were kicking around alternate band names when a friend was suddenly like, "Look at me, guys!" He was half-dancing, half-flailing around the room, holding two Chaos Emeralds in his hands... Chaos Emeralds like, from Sonic The Hedgehog. We all got a kick out of it, and Ian exclaimed, "You look like a... rich octopus!"
Something about that line clicked with us, so we decided to release the "single" under the moniker Rich Octopus. Like we said, nothing else would come from that iteration of the band after that song was released. When Christian, Will, and Ian decided to start a band for real a few years later, the idea of re-using the name came up and it just stuck with us. You guys are now the first outlet to officially have that story on record, haha!
Congratulations on the completion and release of your self-titled debut album "Rich Octopus"; tell us what you are most proud of with this project.
Thank you so much! Honestly, just to have the record out at all feels like an incredible accomplishment! The band has been through a lot, from our early days as an acoustic trio to where we are now as a full band. But after two whole years of writing, we were beyond stoked to finally get to immortalize these songs we'd been playing for so long at shows.
These songs really are a snapshot of our early twenties and mean a lot to us. Recording an album is no easy feat, but we're very proud of ourselves for putting in the work to make it happen.
Tell us about the band's creative process for the album's songs, and the things/people/places that inspired the songwriting.
In the Rich Octopus camp, the creative process is probably a bit more sporadic than most. Typically, we just start with a guitar part, then we work on a melody and lyrics, then the drums and bass come in. But in a few instances, one of us will write a song, music and lyrics, and the rest of us will work to create the rest of the song around it.
As far as inspirations go, we give credit to bands like Say Anything, The Front Bottoms, The Wonder Years, and New Found Glory. In terms of lyrical content, like we said, our self-titled record was really inspired by where we were in life at the time of writing those songs: Drinking High Lifes with our friends at house parties, playing shows while working day jobs in the pizza industry, falling in and out of love and coping with the emotions that come with that, and just coming to terms with who you are as a person and the challenges that "growing up" brings.
While we are heavily inspired by the emo genre, we wanted to write songs that could be honest and deeply personal, but also songs that were uplifting and not afraid to be whimsical, too.
How would you describe the rock music scene in New Orleans in 2020? Are locals supportive of homegrown talent and are there a lot of rock venues to perform at?
The scene in Louisiana, in general, is very rad. We've been lucky enough to play a multitude of shows over the years in our hometown of New Orleans, as well other nearby cities. Each scene is unique in itself, but you can feel there's a common thread that runs through them all: bands that genuinely love what they do, and audiences who are always eager in their support of those bands.
As far as venues go, we've played so many cool places and no two are the same. Gasa Gasa is our favorite hometown venue in New Orleans, not only as performers but as show-goers; It's a fun atmosphere that caters to so many different types of acts. Southside Arts Center in Baton Rouge is an old car shop, converted into a DIY space with local art painted on every wall. We also have to give a mention to the incredible house venues like The Spot (RIP) and The Loud House in Hammond and Lafayette respectively, which are truly as DIY as they come.
Getting your foot in the door in the music scene down here seems daunting at first glance, but once you join the show circuit, you make so many incredible friendships that connect you to so many different artists and venues. It's truly an honor to be even a small part of that community, and watching it blossom over the past few years has been awesome.
With the album now released, what's next for the band musically? Any new projects on the horizon?
We're working on creating some more content related to our first album, including music videos! We desperately miss playing live shows, so we're planning on doing a few livestreams over on our Instagram, too!
We're also currently in the process of writing our second EP, which includes some of our favorite songs we've written yet! With the current state of the music scene being up-in-the-air at the moment, we're just excited to press forward and look to the future in any way that we can.
Stream and Share “Rich Octopus” on: Spotify | Bandcamp
Interview: Dallas Rapper Sho Underscore Discusses His New Music Video "What You Talking Bout"
Shout out to Dallas based rapper Sho Underscore who connected with DCWS for an exclusive interview to discuss the brand new music video for his track “What You Talking Bout”, off his EP, “Foreigner”.
“Southern Eclectic really is North Texas Hip Hop. We have people from everywhere that have settled here and its people from all over the South. Southern Eclectic is a musical gumbo of different influences with me leading the charge.”
Congratulations on the release of your new music video "What You Talking Bout"; who directed it and why did you choose to shoot a video for this track specifically?
Mello and I both directed the video. I am very specific on what I want the imagery to be. I chose to shoot a video for this track due to the popularity of the song on various internet radio and streaming platforms. Also it was applicable to the times.
Tell us about "Foreigner", the EP for which "What You Talking Bout" appears on; what are you most proud of with that project?
This project was my first release after a two year hiatus from rap. I was so disappointed with what was happening to the culture and politics as it relates to hip hop. I was going to stop rapping.
DVM of Mavtones started to do a few projects and asked me to be on them and I felt it was time to re-integrate. The biggest thing I'm proud of is being able to identify my approach moving forward.
What can you tell us about the music genre that you coined "Southern Eclectic"?
Southern Eclectic really is North Texas Hip Hop. We have people from everywhere that have settled here and its people from all over the South. Southern Eclectic is a musical gumbo of different influences with me leading the charge.
What can we expect sonically and thematically from your upcoming album entitled "“What You Here Fo”?
It’s more bass driven and definitely diverse. This album has beat combinations that go so damn hard. A lot of wigs will be blown back. It’s also a progression of the Southern Eclectic sound.
When developing new music, how would you describe your creative process? Also, what do you look for in the production that you select to write to?
Very simple. The beat has to speak to me. Once I hear the path, then I follow it. There are beats that other people don’t like, but I attack the track once I hear the path on it and it’s loud and clear.
After I write to it, everyone starts to like it simply because they didn’t know the song had potential. In July I will upload songs to my channel that will have examples of how I have done this very thing. Stay tuned.
Stream and Share “Foreigner” on Spotify
Connect with Sho Underscore: YouTube
Interview: Hanover, PA Artist/Producer Scanlon Talks About His New Single and EP "Soul Food"
We connected with Hanover, PA based artist and producer Scanlon for an exclusive interview to discuss his new single and EP “Soul Food”, which he produced using the @Splice beat making platform.
“My main goal is to just make sure I’m leaving a positive impact on my listeners. I wanna have fun and don’t get me wrong, I got some more fun upbeat projects on the way, but I want my music to mean something.”
As a music creator, what are some of your goals artistically, and what do you want your listeners to take away from your music?
I have a lot of big goals when it comes to my music. I mean I wanna be up there with some of the greats. I think I'm fully capable, I think my writing is there, I just need to stay on the grind and keep a positive attitude.
You know, a couple of months ago I wouldn't have even thought I'd be where I am now. I'm working on trying to start doing some performances, you know I really wanna expand my base. I believe 80% of this is how you market yourself, cause you can have the best sounding music out there, but if you're not tending to the business side of things, you'll never see a return.
My main goal is to just make sure I'm leaving a positive impact on my listeners. I wanna have fun and don't get me wrong, I got some more fun upbeat projects on the way, but I want my music to mean something. It's so easy to forget that having this kind of platform gives you a wider realm of influence and that you have the ability to affect people.
I just want people to be inspired and motivated to chase their goals, especially coming from someone like me, I always lacked that confidence as an independent artist. I didn't believe for a long time that I was worthy of putting my own stuff out there, and no one should ever think like that.
Your music is very diverse, and isn't easy to pigeonhole, which is a good thing. List a few artists who've influenced your work throughout the years.
I have so many artists that influence me. In the Rap scene you got guys like Mac Miller, J Cole, Kendrick, Token, Hopsin, Earthgang, JID, Reason, Eminem and so many others.
I also really look up to some other guys like Anderson Paak, Thundercat, Frank Ocean, Gallant, and Daniel Caesar. I could honestly list so many more, but I'd say these are among my top influences.
Congratulations on the release of your new track "Soul Food", which you wrote during quarantine. Tell us about your creative process for its development.
Thanks first off! The creative process for this song was actually funny because it wasn't originally intended to be a song. I was learning the ins and outs of vocal editing and I just kinda was doing it by ear.
I started with those "na na nas' ' that are in the beginning and after a little bit of editing, I was like "Woah wait, this sounds hot..." and I decided to roll with it and started building the song around it.
It took me a couple of days to get the song where I wanted it. I actually originally wrote the track back in March right after the lockdown started and was kinda keeping it in the bag cause I had already planned the release of my 2nd track "Fade Away".
You created the instrumental using the beat maker program Splice; had you used it before and have you made any beats since on it?
I use Splice a lot, I'm not a super instrumentally talented artist yet. Pretty much everything I've released thus far has been built around Splice samples. I'm slowly trying to separate from that and wanna start transitioning to more independent production, but my goal is to only release things that I really believe sound good, so my main focus is to start small.
I'm getting better with making my own drum tracks and bass lines, buts its been a process for sure. I like to think I've made great strides seeing as I really only started my own productions over this past winter.
Were there other songs created that you decide not to include on the 2-track EP "Soul Food"? If so, why did they not make the final cut?
The EP was actually supposed to be 6-7 songs in the beginning. I had almost finished all of them but in early May, my laptop crashed and I lost almost everything I had done up to that point.
I was able to salvage these two tracks because I had them saved on my phone. That was a really tough moment for me, but I'm super happy with how things have gone since then.
What are some things that inspire your creativity as an artist and producer?
So I grew up in a military family. I've lived in several different states such as California and Virginia and I lived in London for 3 years as well, so I like to think that my experiences have kind of shaped me as an artist.
One of the big things for me has been the local music scene here in PA. Once I started writing my own songs, I started discovering all these other local musicians that really are tearing it up. I honestly listen to more locally produced stuff now than I do mainstream. A buddy of mine, Markel Demetrius, another local producer, helped push me into my own thing and I don't really think I'd be doing this right now if he hadn't been there.
Review: "Rich Octopus" Album by Rich Octopus
A rollicking, wild, animalistic fervor defines @RichOctopus self-titled debut album. Volume is an absolute must, for these songs are true forces of nature. Read our in-depth review of "Rich Octopus" now.
A rollicking, wild, animalistic fervor defines Rich Octopus’ self-titled debut. Volume is an absolute must, for these songs are true forces of nature. Gnarled guitar riffs intermingle with unhinged rhythms to give the entirety of the “Rich Octopus” album a blurred beauty.
Best of all are the vocals which effortlessly rise above the din. Delivered with such bluntness, the lyrics have a lived-in quality to them. Everything about the album works wonders from the sheer energy behind it to the way that the album comes together as a singular whole. The band’s attention to detail feels profound for they make sure not to waste a single moment. Stylistically they are heavily versed within a mid-00s sort of pop punk ethos.
Rich Octopus’ references abound throughout the journey. Elements of New Found Glory’s unstoppable energy appear in every track. Sheer catchiness recalls a bit of Blink 182’s anthemic presence. Everything about the sound features such a strong, welcoming presence. By embracing these sorts of groups, bringing them into their overall approach the way that they simply grow feels outright majestic. Buildups are non-existent for they simply start up immediately without any fanfare or anticipation, as the album rushes through swinging.
“Monotony” sets the tone for the “Rich Octopus” album with pure jolt as they dive headfirst into the sea of sound. For “Ron Swansong” they opt for a dramatic flourish to start things up with an economical beat anchoring it. Playful to its very core is the angular guitar work of “Elysian Feels”. Sung with such earnestness is the Beck-inspired lyricism of “Scars/Pieces of Me” where it takes on a warped sort of beauty.
An ode to the disoriented bliss, “High” stuns with its sheer passion. Things spread out a bit on the dreamier “Into Space”. Distortion reigns supreme over the fuzzed-out guitars of “Saul Gucci”. By far the highlight of the album is the rollicking “Heaven Knows” with multiple layers intermingling for maximum effect. Here Rich Octopus even bring a bit of shoegaze into the fray. Perfectly closing everything on a high note is the reflective “Diversion”.
Rich Octopus’ self-titled debut is one of those joyful things, a truly cathartic experience sung straight from the heart.
Stream and Share “Rich Octopus” on: Bandcamp | Spotify
Monsta X Announce Live Stream Concert on July 25th
Worldwide phenomenon, @OfficialMonstaX, have announced their only full-length global performance scheduled for 2020. The highly anticipated live stream will take place on Saturday, July 25th at 8:00PM PT / 11:00PM ET / Sunday, July 26th at 12:00PM KST.
Worldwide phenomenon, Monsta X, have announced their only full-length global performance scheduled for 2020. The highly anticipated live stream will take place on Saturday, July 25th at 8:00PM PT / 11:00PM ET / Sunday, July 26th at 12:00PM KST. Ticket sales will kick off on June 26th at 8:00AM ET, on LiveXLive’s site and apps [LivexLive.com/MonstaX]
“We are so excited to play this one of a kind global concert with so many surprises for our fans - Monbebe,” said the band. “We miss everyone so much and since we couldn’t tour this year, we want to give you the opportunity to see us live and spend a few hours together. This is our message to the world, we are all one, and this is the time for Monbebe and people from all over the world to join us live at the same time, and bring new energy to the world.”
LiveXLive and Monsta X will redefine the pay-per-view experience by including unique behind the scenes footage, docureality-style coverage coupled with premium tiered pricing with tickets that include VIP experiences, exclusive merchandise, meet-and-greets, and other event-exclusive perks. With prices starting at $19.99, the pay-per-view concert marks the first and only time Monsta X will perform this particular set list, combining both English-language and Korean-language songs. The event will feature never-before-seen choreographed routines as well as backstage footage, interviews and fan interaction.
Review: "The Imperfect Storm" EP by Wale
On “The Imperfect Storm” EP, Wale deserves praise not only for speaking out, but for doing it in a creative way. He mentioned in the project that he wants to try and cheer people up. The beats that play behind these deep topics will do just that.
Wale, often known for his happy, upbeat, and poetic raps has recently switched up his tone a bit. His 2019 project, “Wow… That’s Crazy” focused a lot on the plight of black people. Now that the world has started to shine even more light on this plight, Wale felt it was the perfect time to release a project that addressed the topic more head on and in a unique way.
I believe that most will find themselves confused while listening to this for the very first time. If you don’t listen closely to the words, you may think that this project is supposed to be happy and fun. Wale uses upbeat, bouncy beats that almost make you want to dance. This is a stark contrast from the cover art which showcases a dark, empty street that is on fire.
I believe that Wale had two reasons for doing this. The first is that it shows irony. The second is that it’s a creative way to get people to hear the real issues without listening to extremely melancholy music.
In this short 18 minute project, Wale touches on topics that range from Covid-19, police brutality, needing to protect black women and how America treats people of color.
In the intro, “MOVIN’ DIFFERENT”, Wale raps over an upbeat dance beat about how in 2020, he’s having to watch the way he’s moving in order to avoid being killed. He also uses a skit to touch on how protesters have been getting attacked.
On the song “BLUE YELLOW GREEN PINK WHITE”, Wale raps over a beat that’s almost impossible not to dance to. “Blue, yellow, green, pink, white. I ain’t bout to judge a muhf*****, livin life”, he raps. A very creative way to teach the simple lesson that racism is ridiculous.
“JUNE 5th / QueenZnGodZ” is probably the track with the most serious beat and vibe. Wale touches on two serious topics. The first half of the track speaks on how he feels as a black man in America in 2020. The second half of the track is meant to edify black women and show that they’re appreciated despite how poorly they’re treated.
Wale adds skits throughout the project that shine light on the current state of America. This adds even more depth to the already heavy project. I believe that Wale deserves praise not only for speaking out, but for doing it in a creative way. He mentioned in the project that he wants to try and cheer people up. The beats that play behind these deep topics will do just that.
Stream and Share “The Imperfect Storm” on: Spotify | Apple Music
New Orleans Based Rock Band Rich Octopus Release Their Self Titled Album
New Orleans rock band @RichOctopus has released their self-titled “Rich Octopus” album, which captures the essence of the band in the first two years of its existence.
Rich Octopus is a New Orleans based rock band consisting of Christian Babin (bass), Will Hoffpauir (vocals), Andre DeRouen (drums), and Ian Maxwell (vocals/guitar). The group originally debuted as an acoustic trio, greatly inspired by mid/late-'00s pop punk/emo bands like Say Anything and The Wonder Years, and early-'10s acts like The Front Bottoms and Modern Baseball. The band's mantra was to be honest and emotional, but never to forget to have fun with the project.
With only Garageband and a Blue Yeti microphone at their disposal, Rich Octopus self-recorded and released their debut EP, “Phone Home”, as well as “The Split” (a collaboration with Illinois' based bedroom-pop artist, happytears) in the summer and winter of 2016, respectively.
Fast forward to 2020, the band has released their self-titled “Rich Octopus” album, which captures their essence in the first two years of its existence. As the band puts it, “"Rich Octopus" deals with themes of growing up, drinking High Lifes with house parties with your friends, finding and losing love, and learning to pick up the pieces when everything seems to fall apart from underneath you. It's a honest look back onto our early twenties, and the highs and lows that come with that”.
This debut album kept true to the band's original vision, crafting a sound that is deeply personal and honest, but unafraid of being whimsical and carefree. From songs about finding and losing love, the LP tells a story of growing up, and coming to terms with who you are as you navigate the highs and lows of young adulthood.
Listen to “Rich Octopus” right now, stream it on Bandcamp, connect with the band on their social media, and be on the lookout for our in-depth review of the album, as well as our exclusive interview.
Neo-Classical Artist Fierro Ex Machina Releases His New Album "Processions"
Los Angeles multi-instrumentalist Fierro Ex Machina shares his expansive and reverberating new album 'Processions.' The brainchild of artist Alex Norelli, Fierro Ex Machina aims to explore the emotional journey in sensory responses through the study of the process.
Fierro Ex Machina is the brainchild of multi-disciplinary artist Alex Norelli. Their artistic journey has been one of constant exploration. A study of the process.
Originally from Brooklyn and now living in Los Angeles, Norelli’s formative years were spent in rural Pennsylvania taking influence and inspiration from the wisdom of nature. They learned how to use their hands, build things, and mold the world around them. This way of thinking pervaded the rest of their artistic career and how they now view their musical method of expression.
Despite honing in artistic sensibilities through photography, painting, and writing Norelli’s journey did not lead to music until turning twenty-five years old. From the beginning, music involved experimenting with effects and tapes. Learning guitar evolved into building a home studio and soon with that came the ability to mix and manipulate.
From this mindset, Fierro Ex Machina was born. The debut LP ‘Processions’ contains both intricate and sparse movements that trigger dynamic responses through neoclassical structures. They study the emotional journeys experienced in a sensory world. “There is potential energy and there is energy being passed through matter and all is altering in the process,” says Norelli. It’s one thing to understand these ideas, it’s another to experience them viscerally through emotions. On ‘Processions’ this is where Norelli aims to go.
Norelli’s methodology is almost as fascinating as the end goal itself. Their non-traditional lens is guided by the view of an outsider. The result is primal, emotive music that twists and turns, excites and scares. When conventional instruments fail, that’s where Norelli harkens back to their own experience building things.
“I’ve been building instruments for several years. I call them “noise harps” which are deconstructed electric versions of classical string instruments basically. I also collect unwanted instruments and have my grandmother’s S-1 Hammond organ from the 1950s that is completely out of tune. I like to use instruments in ways that are not typical, and take the long road instead of using typical go-to chords or progressions. I try and subvert some of my initial inclinations to find more nuanced and unique sounds always.”
It is in this vein, Fierro Ex Machina serves as the “fiery machine” by which Nicroelli relays their experiences.
Interview: Baby Cate Talks About Her Self-Produced New EP "Self Love"
We’re excited to share with you our exclusive interview with Boston based female rapper/producer @babycate. We discussed her brand new EP “Self Love”, and much more; check it out right now!
“I know my worth as a black, female rapper, producer, songwriter and engineer. I know it’s important to represent that. I know what it’s like being an A&R for a label, because I was one at my school. I know I’m different, but others don’t know that yet, so I’m working on it. ”
Congratulations on the completion and release of your EP "Self Love"; we love it. What does the EP's title represent to you?
Thank you. I think the title represents a time in my life that I needed to learn about what makes me happy. This EP is about loving yourself and the people that surround you, but also it’s about letting go of people that may be toxic.
Tell us about your creative process as a songwriter and producer for the EP. Also, what software/hardware do you use for production?
The thing with my process is it’s never the same each time. I could start making a beat with just a lead, bass line, and snaps, much like I did with ‘WE GOOD.’ I wrote the whole song off of that. Then I built the production around the vibe.
Other times I could have a beat idea in my head, and just write the whole song off of that. Then I go and do the beat, like for the song ‘Cry.’ Or I could have production I did one day and sit on it for a while, the write to it like I did with ‘Move On.’ Often times I play the chords on guitar for my songs and write to that too. There are so many ways to make music.
Also, I use Logic Pro X for production, and export the files to Pro Tools to mix.
How long did the EP take to complete and what were some things that inspired you when developing the four tracks?
Altogether the EP probably took a month the finalize. I found a great engineer to mix it, because I don’t really like mixing my own vocals, and I’m starting to invest in myself at this point in my career.
Before the EP, my peers and friends were making music and putting it out and their hustle just doesn’t stop. At the time, I think I had hit a wall creatively and to be completely transparent, I was depressed, so seeing my friends like Dimitryus, Omarvelous, Lbs., and Vintage Rob releasing their own music got me inspired.
When I released ‘WE GOOD.’ back in February, I was literally on my way to New Orleans for Mardi Gras, so I was in a good place at that point. After I got back, I was inspired to add in a voice memo from 2017 after seeing my grandmother recently. That was the last thing to go on the EP.
Tell us about how your studies at Hofstra University have impacted you as a creative and as a music brand?
If I never went to Hofstra, I obviously wouldn’t have the friendships I have today. In 2019, I received a degree in Music Business, so I might know a lot more than what people might think about the industry. However, you don’t need to go to college to see that a lot of things aren’t what they seem.
I know my worth as a black, female rapper, producer, songwriter and engineer. I know it’s important to represent that. I know what it’s like being an A&R for a label, because I was one at my school. I know I’m different, but others don’t know that yet, so I’m working on it. College isn’t for everyone though.
With this incredible EP now released, what are some of your goals musically for the remainder of 2020?
Thank you again for the kind words. One goal is to release a new mixtape by the end of the summer. Another is to let people know that Last Hope is ‘pullin’ up.’
With my new music, I want to reflect the times we’re in. I don’t know; I just want to move out of my parent’s house and make this a full-time job.
Connect with Baby Cate: Website | Twitter | Instagram | Facebook
Interview: Charlottesville, VA Duo EquallyOpposite Discuss Their New Single "FEELGOODSONG"
Shout out to Zach and Gordo of the Charlottesville, VA based @calluseo who connected with DCWS for an exclusive interview to discuss their new single “FEELGOODSONG”, which you can check out on their project “2 Little 2 Know Fame”.
“The project [2 Little 2 Know Fame] is one of proudest accomplishments so far. It represents our growth in our sound. The title of the project itself represents repetitive failure with hope of accomplishing. A lot of people feel small when it comes to looking at the stars, and some, feel small in general because of other reasons. ”
How did you two initially connect and decide to form this musical duo?
Gordo: Zach basically stalked me for a week in college trying to be a part of my skits he saw on YouTube.
Then we both realized each other rapped and formed this entity that is EquallyOpposite.
Salute to you guys on the release of your single “FEELGOODSONG”; tell us who produced it and what your creative process was for its development.
It was produced by one of our producers, Noxid. Our last project called “Siinergii” had a lot more dark energy, and at the time we wrote it, we figured we oughta do something a little more positive.
The song is featured on your latest release “2 Little 2 Know Fame”; what are you most proud of with this project and what does the title represent?
The project is one of proudest accomplishments so far. It represents our growth in our sound. The title of the project itself represents repetitive failure with hope of accomplishing. A lot of people feel small when it comes to looking at the stars, and some, feel small in general because of other reasons.
A major goal we hope to accomplish is becoming the little people for the people who want to be big, AKA Our EOpiens.
How would you describe the music scene in Charlottesville, VA? Are locals generally supportive of homegrown talent and are there a lot of venues to perform?
There are some dope venues to perform at, but the music scene consists more of Indie, rock and alternative. There is Hip Hop, but it could be better because the local support isn't that strong. We normally travel and play out of town.
Tell us about the typical EquallyOpposite live show and what you enjoy most about performing for an audience. Also, do you have a favorite song to perform live?
A typical show is like hot chocolate and marshmallows when you come in from the snow, just soothing. High energy, but yet, chill like Naruto and Sasuke, Goku, Vegeta, CatDog, Gumball and Darwin, Mordecai and Rigby ...you know.... like that.
Our favorite songs to perform would be “Yabba Dabba” and “Amen”.
Stream and Share “2 Little 2 Know Fame” on Spotify
Connect with EquallyOpposite: Website | Twitter | Instagram | Facebook