The Best DJ Premier Beats Ever
While some producers rely on fundamental, one-size-fits-all beats, a DJ Premier track instantly stands out from the crowd. Production is the backbone of a solid rap song, and Premier helped set the standard high. Here are some of his most impressive beats.
Who is DJ Premier? If you don’t know, you were probably born after the year 2000, and there’s nothing wrong with that. Still, if you love hip hop, the art of production, and music generally, this American producer and DJ, otherwise known as Preemo, was one half of the iconic group Gang Starr, and plays a huge part in hip hop history.
While some producers rely on fundamental, one-size-fits-all beats, a DJ Premier track instantly stands out from the crowd. Production is the backbone of a solid rap song, and Premier helped set the standard high. Full of heavy scratching, raw loops, and impeccable timing, the aggressive nature of a Premier beat brings us back to the hungry hustle that hip hop is based on. He’s a big part of music evolving in the 90s, and entered the 2000s with full force, working with everyone from from Common to Jadakiss. Here are the most impressive beats by DJ Premier.
1. Gang Starr “Family and Loyalty” (feat. J Cole)
We had to start with one of his more recent tracks, just to prove that after decades, Premier hasn’t sold out, and still has that “it” factor that makes his music so addictive. Since Guru’s death, we lost that electric chemistry between MC Guru and DJ Premier, but we were blessed with this posthumous gem, which reminds us of hip hop’s true origins.
2. Big L “The Enemy” (feat Fat Joe)
Premier captures the signature grittiness of NYC rap once again, and despite being raised in Texas, he’s mastered the tough voice of the concrete jungle. “The Enemy” is dirty as can be - it’s a prime example of vintage Preemo, and we might like the unpolished version of him the best.
3. Jay-Z “D’Evils”
Premier has absolutely mastered the art of the piano sample. Want proof? Look no further than this Jay-Z track, which features a sample of Allen Toussaint’s “Go Back Home”, a jazzy juxtaposition that’s woven in to the hard beat flawlessly
4. Capone-N-Noreaga “Invincible”
Agile scratching and a flawless, catchy sample of "Hey Boy Over There” by Jimmie and Vella make “Invincible” a head-nodding banger to beat for many modern day producers. We’re not sure if they’ll ever be as good as this elusive talent.
5. Notorious B.I.G. “Kick in the Door”
If you got lucky enough to produce a Biggie track, that’s proof that you’re creme de la creme as a beat-maker. Apparently, the original Kick in the Door beat couldn’t cut it, so Diddy recruited Premier for a bulletproof makeover. Diddy said he needed a “Tunnel banger”, and this producer definitely delivered.
6. Nas “N.Y. State of Mind”
This 1994 track proves Premier a complete master and innovator of the keys. All it takes is one listen to this song off “Illmatic”. As you listen to that off-key chord that finishes off every bar, you’re transported to dark alleyways and nasty underground cyphers of another era.
7. D’Angelo “Devil’s Pie”
This 1998 classic proves that Premier can easily color outside the lines of hip hop, as he often did with his D’Angelo collaborations. A thumping bass and drums to match make for an explosive (though sultry) rendition that feels timeless, erotic, and perfect for late night listens.
Can’t get enough of these tracks? Check out Spotify’s 50 Best DJ Premier Beats playlist ASAP - https://open.spotify.com/playlist/5nfwgkui49M5p99SPxK6Hf?si=1cfd22ef66364574
Clarian Makes History as the First Artist to Auction an Album, "Whale Shark", as NFT
Visionary artist Clarian making history as the first artist to auction his album, 'Whale Shark', as an NFT, ahead of Kings Of Leon. Besides making history here, Clarian is betting against the music industry that he can sell his new album for 100 thousand dollars in Ethereum.
Visionary artist Clarian announced the first NFT Music Album Auction ever, ahead of Kings of Leon, via The Golden Spoon on peer-to-peer marketplace OpenSea, March 4th. Issuing a challenge to the control that streaming giants such as Spotify have established, Clarian is betting he will sell his aptly titled new album Whale Shark for nothing less than 100 thousand dollars in Ethereum. On the album, listeners will find the noteworthy single ‘Strange Vibrations’. Up for auction is the one and only authentic copy of the album with the publishing rights included as an NFT. The auction ends March 20, 2021, at 4 AM GMT with the Electronic Music Community and Culture (EMC^2) room, on the Clubhouse messaging app, hosting the final album auction countdown.
The exchange of this artifact sends a powerful message and empowers a music industry in need of technological liberation. This is the first of its kind as a purchase of a music content on Blockchain, adding a deeper value of significance and responsibility to the bearer. In purchasing the release you will own the publishing rights to the album.
NFTs, or non-fungible tokens, are a new type of digital asset. Recorded on a secure digital ledger known as “Blockchain” each NFT represents a unique collector's item that can't be duplicated and, therefore, extremely rare. Decentralized Blockchain and NFT technology will lead the way to a much needed music and art revolution and it’s already starting to happen. Clarian believes that the sale of this NFT can empower an entire generation by restoring life and freedom back to the music industry.
Over the years, Clarian has been featured and acclaimed in places such as Rolling Stone, Sonar Festival, The Guardian, CLASH Magazine, BBC Radio, for his unique electronic surrealism, and has worked in the shadows as an engineer and songwriter for underground heroes and Grammy nominated artists alike.
Whale Shark is a collection of dark, woozy, synth-pop tracks underpinned by solid songwriting. Each track offers a unique adventure into the cool, subaquatic world of Whale Shark accompanied by surreal vocals that bubble to the surface of the enchanting experimental production.
Within Clarian’s lyrics for ‘Strange Vibrations’, we can find some unique insight to his mind: “I'm picking up strange vibrations ; She's going through transformations ; I'm picking up strange vibrations ; In the forest light, change awaits ; I'm going through transformations ; In the forest light, change awaits”.
Enter the “Whale Shark” NFT auction below, stream and share the album on Bandcamp and connect with Clarian on his social media.
Enter the “Whale Shark” NFT Auction
DMV Artist Heno. Announces His New LP "Death Ain’t THAT Bad", Out March 19th
Maryland-born LA-based rapper/vocalist/producer @mynameisheno has announced his new LP, “Death Ain't THAT Bad”, available on March 19th.
Maryland-born LA-based rapper/vocalist/producer Heno. has announced a new LP, “Death Ain't THAT Bad” available on March 19th. The album, which includes production from JPEGMAFIA & Anthony Ferraro along with features from ASTU, Ahmed Kazmi, Knyves Escobar, Kuya, and Bianca Brown is a philosophical mediation on stoic outlook.
Growing up in Takoma Park, Maryland, a neighborhood rife with law enforcement and violence, forced a young first-generation Ethiopian-Eritrean child to grow up faster than most. He realized at an early age that having control of your emotions was a mechanism for survival - a Stoic touchstone. Not having a name for it at the time, he eventually came across the writings of Epicurus, whose philosophies reaffirmed Heno.'s outlook on death, emotions; as well as finding comfort within the uncomfortable and the power of our perception.
A masterclass in precision Heno.'s command of flow on “Blackstarrr” is remarkable and is interspersed with infectious pop hooks. On the track Heno. explains “Blackstarrr is about fearing death being irrational because it’s the only thing that’s promised to us; based on the philosophy of Epicurus. We tend to have a negative perception of death; being an uncomfortable topic to talk about (in some cases taboo). Although I pull from my story as context for why I think the way that I do, this song (and album) aren’t really about me; I just want to have a bigger conversation about how we view and perceive things that make us uncomfortable and find comfort within that. Just because death is inevitable and the only thing promised to us doesn’t mean that we have to loathe or be afraid of it. It hinders our quality of life when we do.”
Heno.'s latest release "Parallel Timelines" is accompanied by a lyric video set to the juxtaposition of different parallels the song is a meditation on just that but ultimately surrenders to the acceptance of how things are.
Watch “BLACKSTARRR” and the lyric video for “Parallel Timelines” now, stream them on your preferred music service and connect with Heno. on his social media. Most importantly, be ready to purchase/stream “Death Ain’t THAT Bad” on March 19th!
Stream and Share “BLACKSTARRR”
Has TikTok Changed the Music Industry For Better or Worse?
In 2020 alone, the @tiktok_us app had 176 songs, which culminated in over a billion unique video views. But it leads us to wonder - is this app bringing musicians popularity based on talent, or chance?
The music industry has always had to adjust and adapt along with technological advances. The way we consume and get put onto new songs is different nowadays, and will keep evolving. The MP3 was once the most coveted form of music, but since then we've moved onto ad-free streaming services, and more recently (mostly due to TikTok) we’ve come to discover music through snippets. TikTok was initially musical.ly, before $75 billion Chinese corporation ByteDance bought it and seamlessly urned it into TikTok.
A random 15-second clip can lead to an avalanche of luck for musicians nowadays. Still, it comes with frustrating side effects, like getting famous from a 13 year old lip-synching or doing a ridiculous dance. In 2020 alone, the app had 176 songs, which culminated in over a billion unique video views. But it leads us to wonder - is this app bringing musicians popularity based on talent, or chance?
This app has become a champ at blending music with videos, adding a new definition to the idea of the “music video”. Music is an essential part of the TikTok formula, and plenty of young fans even flock to this app to discover new music, rather than Spotify, Bandcamp, or Soundcloud.
And while a lot of the articles out there are talking about numbers and how TikTok could bring money to the music industry, we’re looking at this through another lens. Social media apps have made getting famous easier than ever. Additionally, music has been commodified like never before.
As music has evolved in the mainstream, it’s become less about the songs themselves, and more about what I like to call The Viral Factor. This changes the musical logic behind the song popularity. It doesn’t matter anymore whether the song is objectively well-constructed, or “good”. It becomes based on whether a large amount of people have come upon it by chance, making the talent of the musicians irrelevant and based on circumstance.
On the other hand, one could argue that TikTok is driving discovery to new artists and their streams, engaging users beyond the short video clip. Songs that have gotten famous from challenges and clips include blue-haired rap-pop artist Ashnikko’s tracks “Daisy” and “STUPID” ft. Yung Baby Tate.
It also adds a unique resource for musicians,When they heard her track “Daisy”, Dr. Dre’s Beats created the #BeatsDaisyChallenge, a TikTok campaign to make a music video out of user-created content. Over the course of a month, the company compiled clips submitted by users, corresponding to the Beats headphone colors. Thanks to the app, “Daisy” rose to #24 on the U.K. charts.
Old school rock band Fleetwood Mac also experienced a spike in streams and listens with their track “Dreams” which was made famous by a TikTok video with a skateboarder and some cranberry juice, in another random aberration of music logic. This was not an intentional promo for the band - it was just another instance of viral TikTok magic.
Perhaps it’s just another means of influencers influencing, but music is sacred for our souls, and it feels wrong to treat it as a mere commodity. If this app uses their powers for good and helps bring a spotlight to underrepresented hidden talents and independent artist, it’ll make the future of music just a little more optimistic.
Interview: Grand Rapids, MI Rap Artist J. RoB Talks About His New Video "Money Bags"
Big shout out to Grand Rapids, MI based rapper @jrobscampaign who connected with DCWS for an exclusive Q&A to discuss his very DOPE new music video for “Money Bags”, directed by Orange Cap.
“My creative process is all about the feel. I let the beat talk to me and whatever it tells me, I do. ”
Tell us about your creative process when developing new music. Also, what do you look for in the production that you decide to write to?
My creative process is all about the feel. I let the beat talk to me and whatever it tells me, I do. I also love just to build with a producer on the spot, that always makes for some dope music. I just take life and write about it, that's it in a nutshell. It's all real.
Congratulations on the release of your new single/video "Money Bags". Tell us what inspired you to write the song and how you connected with its producer V12 The Hitman.
Took a trip out to LA before the pandemic and connected with V12 who is also from the city that I'm from, Grand Rapids. We kicked it along with my guy Neighborhood Kid, and while on the trip we went to G. Perico's release party and the time was just lit.
Got back to Grand Rapids, and heard he was in town, and would be at Neighborhood's shop, and he played me some beats he had tucked, and the instant I heard the beat for “Money Bags”, I got that stank face you get when you hear a banging beat. From there “Money Bags” was made.
Shout out to V12 The Hitman, who has worked with some of your favorite artists in the game.
Regarding the visual, how did you and the director Orange Cap come up with its concept?
Shout out to Orange Cap productions, if you're an artist looking for great quality work hit him up. I've been working with Orange Cap for a few years now, and I told him that this one made me feel like the Joker in Gotham City. Like it sounds like an anthem for Gotham. From there he was like "Yo we gotta get one of the masks they used in Dark Knight." I trust him behind that lens so from there we drew from the famous robbery scene from that movie with our own spin to it.
We were blown away by that El Camino in the video; how would you say that car culture and the rap scene in Grand Rapids (or midwest overall) intersect?
Man that El Camino is crazy, its even crazier on the inside lol, shout out to my good friend and car club owner Steve Russo of Midwest Executives. I think it goes hand in hand with each other and really helps out both sides as far as supporters and networking. I mean eventually you need a dope whip in your video at some point lol, and what car owner doesn't want their whip in a music video lol. The Car culture brings the crowd and artists do the same.
With "Money Bags" now released, what's next for you musically? Can we expect it to appear on an upcoming EP or album this year?
I will be dropping music this whole year, every quarter. I have a Live EP with the band Bedrock the Foundation set to release shortly. I also have a collab EP with another artist by the name of A1 which will be produced by Troy Ceasar, and an EP with V12 The Hitman of course. This year we are busy again.
Interview: Texas Based Band Roadkeeper Discuss Their Single/Video "Enemy Mine"
We connected with Texas based band @roadkeepermusic for an exclusive interview to discuss their new single/video “Enemy Mine”, and much more.
““Enemy Mine” came together fast. We basically saw it as soon as the jam started. The song is about impressionable people, especially young boys, being radicalized via social networks. ”
What originally led you to come together and decide to form the band Roadkeeper?
We have always played together off and on and in other forms. Through different avenues, we have ended up here in this iteration and are enjoying it so far. Aiming to keep it moving.
Would you say that Roadkeeper’s music has an overall concept or message that you want to convey to the listener and/or viewer?
ego die hard
Congratulations on the release of your new video for “Enemy Mine”; it’s very intense. Regarding the song itself, what was the band’s inspiration for its lyrics and what was your creative process for its development?
“Enemy Mine” came together fast. We basically saw it as soon as the jam started. The song is about impressionable people, especially young boys, being radicalized via social networks. It is infuriating to see the results and we are thankful we have not been radicalized ourselves. I do not think a lot of people realize how easy it is to get pulled in that direction, especially if you are a younger white guy.
It is an exponential decline that starts off soft. When you are young, and things are not going your way it is easy to anchor your ideology to concepts like logic and reason. But logic and reason do not always equal truth. They often do not, and you cannot base your whole perspective around them.
How did you connect with the video’s director and come up with its overall theme visually?
That is our good friend Robert (https://www.instagram.com/wunderfuldesign/?hl=en). He does fantastic work. Not just video, he designs a ton of things for people. Merch, videos, brewery labels, everything. We are always pleased with what he does with video though. He has done a few of our other videos, Downs and Narcissistic Peoples, off the top of my head.
As far as the theme of the video goes, we just sent the song to him and said, you know, make something cool that goes with this, we have been watching old metal videos and like those, he says cool. He does the video, and it is cool, then we are good and have a video to release.
Will “Enemy Mine” be a part of an upcoming album or EP this year? If so, what can you tell us about it?
Possibly. We are going to release more music.
Stream and Share “Enemy Mine” on Spotify
Connect with Roadkeeper: Website | Twitter | Instagram | Facebook
UK Drill Artists (Besides Skepta) That You Should Get to Know
@Drake recently shone a light on UK Drill with his series “Top Boy”, but a lot of people in North America are still missing out on it. Here’s a list of drill rappers in the United Kingdom (besides household names @Skepta and @DizzeeRascal) that are taking over the scene.
Drake recently shone a light on UK Drill with his series “Top Boy”, but a lot of people in North America are still missing out on UK Drill, a hard-hitting sub-genre of rap that follows its own beat.
Drill is a sub-genre of hip hop and trap (preceded by grime) that actually came out of Chicago’s South Side around 2010. Drill is signified by gritty, violent lyrics versus the cleaner appeal of mainstream, radio-friendly hip hop. This then gave birth to UK drill, which came out of London and which the Brixton district was particularly famous for. By the mid-2010s, it skyrocketed in popularity, shaping European and NY Drill with artists such as the late Pop Smoke.
Today, UK Drill has expanded and flourished within the drill scene, with themes of loyalty, lives lost and stolen, and things being bought or sold. Lyrics, flow, and cadence of these UK artists indicate a fiery hunger that we sometimes miss from their lazier mumble-rap US counterparts. Here are drill rappers in the United Kingdom (besides household names Skepta and Dizzee Rascal) that are taking over the scene.
Headie One
Often referred to as the King of Drill, Headie One has featured with Drake and his album debut Edna came out at #1 on the UK charts. He has that “it” quality on every feature, often stealing the spotlight from the main artist. Between impeccable storytelling and uncanny punchlines, it’s clear that this star from North London is only just getting started.
Ivorian Doll
If Headie One is the King of Drill, then Ivorian is his queen. Her freestyles and track albums are equally hard-hitting, but she never forgets to get a little cheeky with it. She’s dedicated and gritty, but also not afraid to flaunt her promiscuity and admire herself while giving a wave to the haters.
Shaybo
Shaybo has been in the game for the longest out of most female drill rappers in the UK. And even though she’s not new to the limelight, people are finally starting to appreciate her for her raw talent, effortless swagger, and refusal to sugarcoat things. She’s head to head with the top male rappers in the game, and we can’t think of a better way to break up that boys club.
Abra Cadabra
Abra Cadabra first came on the map after UK rap duo Krept and Konan remixed one of his tracks, “Robbery”. He ended up winning MOBO award in 2016 for the song. People often draw comparisons between him and Pop Smoke due to their voices, but Abra Cadabra’s experimentation with flow and melody sets him apart from the crowd. Everything he delivers is relentless (see: “On Deck”) and impossible not to nod along to.
Dutchavelli
Dutchavelli became a staple at DCW when he featured on “I Dunno” with Stormzy and
Tion Wayne. For a while, Drake has been his hype-man by reposting various Dutchavelli clips - not a bad endorsement. Fun fact: his biological sis is Stefflon Don. His bars are endless and never stuffed up with filler content. Other must-hear tracks include “Never Really Mine” and his 2020 album, “Dutch From The 5th”
TeeZandos
TeeZandos is trending hard right now, and while many drill rappers work within a certain format, teenaged Tee isn’t afraid to color outside the lines. An IG freestyle is what made her go viral, but that was just the start for this energetic and unexpected rapper who isn’t afraid to stand out. She puts it best herself on her breakout track “Need Focus:” “F*ck being normal, I want to be the oddest one.”
Recap: 5th Annual Northern Power Summit Inspires Greatness
Check out our recap of the recent virtual 5th Annual Northern Power Summit, which provided education and tools, in addition to access to panelists helping Canadian artists and industry professionals develop their careers.
The Northern Power Summit recently took place on February 20th, 2021. This year’s event was called BLACK365 and was a virtual conference put on in partnership with Believe Music with an aim to provide education and tools, in addition to access to individuals who can help Canadian artists and industry professionals develop their careers. With workshops running from 1-6pm the summit was an informative event with a comfortable atmosphere. Rapper D.O. Gibson was host for the day and helped to provide an unpretentious atmosphere where lovers of hip hop could come together and bare witness to some really powerful conversations. With the event falling into Black History Month many of the speakers took the time to talk about last year’s global call to action by Black Lives Matter as the world watched police take the life of George Floyd and others like Breonna Taylor. The theme of approaching music authentically and evolving rang present through the entire event.
Henca Madura, founder of New Skool Rules International Urban Music Conference and Festival (located in Rotterdam, Netherlands) started the event off on a great note. As keynote, she spoke on the importance on giving it all no matter what. There are many times when upcoming artists can become frustrated by shows with a small audience or the general difficulty of making it up the musical chain. Henca wants you to know that your “network is your net worth” and it’s never a bad idea to work on expanding your circle with genuine connections. She recalled a story where an artist performed at a showcase at New Skool Rules where it was obvious that the were a bit disappointed about the lack of an audience and therefore didn’t give their best performance. That artist ended up making a big mistake by way of their lackluster attitude as the 10 or so people in the crowd all happened to be festival bookers and other music industry professionals who could have really changed their life. Henca says it’s always better to approach things with a positive attitude and leave the ego aside “Nobody cares about talent. We can make you sound good. Really good” – Henca Madura.
The next panel was an important discussion on gender identity, expression and queerness in the hip hop community. The panel was led by underground rap hero Mindbender Supreme in conversation with Vancouver artist, Ndidi Cascade and Toronto based artist, Dijah. The conversation was an informative window into the issues that queer artists can face. The group spoke of the patriarchy that still largely plagues hip hop. In particular the group mentioned the hostility that can be thrown towards female artists who are masculine presenting, or the sexual harassment put onto female rappers who appear to have a heteronormative or feminine look. We have seen strides with more female rappers being put forth and queer artists like Frank Ocean and Lil Nas X making huge waves but there is still work to be done. We hope to see a day in hip hop where artists who do not fit regular heteronormative expectations can show us who they are from day one and be embraced.
Chedo of The Come Up Show led a panel with theTAYcover, Wanz and E The Mad Assassin specifically speaking on the anti-black racism unveiled to the rest of the world in 2020. When asked if he believed that race relations were improving E The Mad Assassin said yes, we all watched it happen, some of us are so tired of the trend of police brutality and some of us were just becoming aware for the first time, either way people want it to stop. Although it can sometimes be exhausting to have to keep explaining the systemic issues that Black people continue to face in society Wanz said he took the “Negro whisperer” approach and decided to inform his colleagues and friends anyway. He went on to say that he was glad that they were asking because that meant they wanted to learn. theTAYcover felt that this Black History Month had a different energy. He saw that Black people were more cognizant of their buying power and that non-Black peers seemed more interested in acknowledging Black contributions to society. When Chedo asked how the artists felt about the use of the N-word by non-Black individuals in this day the answers varied. One thing for sure is that the general rule of thumb is if you’re not Black
then don’t say it! It was acknowledged that there are some non-Black individuals who grew up saying it culturally or that some of their Black friends were okay with their usage. There is definitely a difference between using it and calling someone it, the latter being a huge faux pas. At the end of the day just because some Black people you know are okay with it doesn’t mean that all Black people are, so you need to act accordingly as there will be consequences.
The BLACK 365 panel led by Michael Williams was an inspirational deep dive into success in the music industry. D.O. Gibson, Dru Grange, Jarrel The Young, and Terell Safadi all provided their unique perspective on the ups and downs that vocal artists and producers alike can face while carving out their own space in the scene. Dru candidly spoke about an early time in his career when ego caused him and In Essence to flop a pretty important show. Jarrel talked about really listening to yourself and going with gut feelings, the scene may not respond well at the beginning because you’re new, but you just have to get through it. Terell gave insight into playing the long game in hip hop and preparing oneself to go the distance. D.O. tied things together nicely by stating that you have to define what success means for you as an artist, we may not all make it to Michael Jackson status, but we can all inspire at any level. The talk ended a powerful quote by Michael “If you can’t make money make history”.
D.O. Gibson had a conversation with hip hop heavyweight, Shad and discussed the importance of humility in the game. Something everyone seems to enjoy about Shad is that even though he’s had such an amazing career having been a Juno winner and all four of his albums shortlisted for the Polaris Prize he still comes across as someone who is open and easy to talk to. When he’s interviewing other successful artists on Netflix’s Hip Hop Evolution, he keeps up his journalistic integrity by allowing the guest to tell their story without pulling the focus back to him and his career.
The last interview of the day and second keynote speaker was none other than the legendary Maestro Fresh-Wes. The Canadian hip hop pioneer spoke about his journey from Toronto to making the decision to move to New York as that’s where his first label was located. Physically being in NYC made a huge difference in terms of his momentum growing as he was available for the large demand. Maestro stressed the importance of knowing your history, referencing the contributions of Black people in his music and online presence, Maestro prides himself on leading the youth in the right direction. He remarked that in order for the youth to achieve greatness, they have to see it, to know about it. He used Quincy Jones as an example of someone who was able to find success by being brave enough to expand his musical repertoire as he had. Maestro is a great example of what any artist can be if they evolve with the times and focus on putting out great music. “Don’t make records, make history” are the words that continue to ring in one’s ear after the chat had concluded.
The last session for the day was an iconic DJ set by official Toronto Raptor’s DJ, 4Korners. The set went back in time to hip hop’s first days in Canada all the way to current times. All in all, the Northern Power summit was an amazing event that left me feeling motivated to create. Although the speakers ranged from artist, producers, event planners, founders and so much more one thing really stuck out, don’t be a jerk! Across every conversation in one way or another the speakers emphasized the importance of being a good team player and someone who is easy to work with. Great advice for an artist at any level is to put your craft first and to treat people with respect, the rest will come.
Interview: Tiiva and Luan Mei Discuss Their Remix to "Yellow"
Major thanks to @itsLuanMei and @TiivaMusic who connected with DCWS for an exclusive interview to discuss the recently released remix to Luan’s single “Yellow”, and much more.
“Self discovery in popular culture comes from dismantling the gender norms that we have been surrounded by for so long, and to do that means establishing these identities, allowing those voices to be heard, and asking questions so that those queer voices have a platform to speak.”
“Thinking about it from the outside and analysing it, when I’m writing a song, I get wrapped in a ‘’bubble’’ with myself and with all the possible inspirations (either objects, feelings, colours, experiences, words, etc) that I have had so far in my life until that moment. ”
Do you think that queer love stories underrepresented in music as they are in film? What’s the importance of having these voices for our youth, and how can it help facilitate self discovery?
Tiiva: I'm so glad that you asked this. I feel that queer love stories are still underrepresented and this is one of the reasons i wanted to make this remix. Hearing any love song, people make assumptions about the gender of who is singing or who it’s about, and those assumptions are so ingrained in our society.
I don’t set out to write queer songs, it’s just a part of who I am so it feels inevitable. It’s important to me that the songs can be received as queer offerings but I don’t need them to be defined by this.
Self discovery in popular culture comes from dismantling the gender norms that we have been surrounded by for so long, and to do that means establishing these identities, allowing those voices to be heard, and asking questions so that those queer voices have a platform to speak.
Self discovery as a young queer person could come from hearing a cool love song and allowing the message of love to come forward, enjoying it and not feeling so conscious about the gender within. It’s complicated because I want my queerness to come across in everything I make, it’s an important part of my identity, and at the same time I want the music to speak as though being queer isn’t anything different and wouldn’t need to be mentioned.
Just like gender can bend on a spectrum, you’ve described your music in different ways, like jazzy, poppy, mellow, and sweet. This remix of the original “Yellow” is choppier, with a rhythm that colors outside the lines. The untouched version feels more innocent and vulnerable, almost. What mood or comment would you say the remix is adding to the song?
Tiiva: I usually go pretty hard with chopping and tearing stuff up in remixes, I cut up and re tuned a lot of Luan’s vocals to create a pattern, adding in some drums and loads of percussive samples. I usually make the beats from scratch, based on the emotion of the song, to let the main vocal come through.
The bass is a juno 106 (for anyone asking) and I included a few field recorded samples in there too. I wanted to make something that felt darker, that allowed Luan’s beautiful vocals to sit and I guess make a soundscape that takes you on the same kind of emotive journey I went on when I first heard the original song.
Luan, you’ve previously said that you don’t think about what genre a song will be when you’re writing it, and that songwriting itself quite personal. How do you get inspiration for those diverse melodies and chord progressions, and in your eyes, what makes the songwriting process so intimate?
Luan: Definitely, in my personal case, inspiration comes from many different ‘’sources’’. During my songwriting process, I’m not consciously aware of what is inspiring me in that moment, if that makes sense. Thinking about it from the outside and analysing it, when I’m writing a song, I get wrapped in a ‘’bubble’’ with myself and with all the possible inspirations (either objects, feelings, colours, experiences, words, etc) that I have had so far in my life until that moment.
In relation to melodies and chords, it’s all about improvisation and natural instinct. I like playing chords around, searching for different sounds/progressions which are colourful for me, attractive. Once that foundation is solid, I improvise on top of the chord progression, playing with melodic rhythms, visualizing how the melody moves up, low or stays flat.
Within that process there’s not only a single element of inspiration. It’s a whole unique sensation, chords and melodies have different colours and textures, which will lead the song to say one thing or another depending on the overall ‘painting’ of the instrumental, seeing as a canvas. As for example, a chord progression might sound blue/green for me and evoke a feeling of distance, thinking about the sea and who it is related to. From there, lyrics come on their own when I’m thinking strongly about a person, experience or my own thoughts.
Music-wise I let it flow, I never ever restrict it to any genre or type of melodies/rhythm, everything is welcome as I personally think that different genres could mean different ways of approaching moods and that is what it’s all about, letting yourself create without boundaries.
During the pandemic, how have you been staying busy and inspired? Is the music making process easier or harder with our new normal? Is it a coping mechanism for mental health at this precarious time?
Tiiva: I’ve been making a lot of remixes which has been so much fun, and also has made me feel really connected with other producers and artists. It’s felt a lovely and personal way to engage during this time and I’m so happy to be creating and meeting people along the way. I’ve also been planning for the release of my next single in March which feels exciting.
I’m happy to get to write and feel that it’s ok to engage with the more difficult emotions, and hopefully make something honest at the end of it. Writing music is always a coping mechanism for me, and I have written a bunch of songs that came directly from being in the lowest places, but that’s why music is great, it’s part of my healing process.
Luan, your instagram is dotted with images of you playing different instruments, from guitar to brass instruments. To both of you: what’s your favorite instrument to play and why?
Luan: So far I have to say that the saxophone is so much fun to play (and almost my fav one) even though my neighbours probably hate me and it’s not only quite complicated to play properly but it’s so difficult to find a place and moment to do it. The sound the saxophone makes is huge but sweet and the same time, and I absolutely love it. It’s like it says ‘’Hey! I’m here, listen to me!’’ and that’s great.
Nevertheless, my lovely electric guitar is my number one and I think it will be forever. I’ve been playing guitar for 10 years already and I never get tired of it. I’m currently learning loads about pedals and all the almost infinite amount of different sounds that you can get out of it. Guitar is definitely the love of my life, always with me on stage. I don’t remember not knowing how to play guitar and I could never ever picture myself without it.
Tiiva: My favourite instrument to play is maybe the violin if we’re in a pub with whisky, the synth if i’m being dead existential in a studio, guitar to serenade someone, maybe piano if i’m alone and it’s quiet with just the blustery wind outside the window. Course i could be extra and just say that the best instruments are our bodies, but I haven't had any wine so… depends on my mood.
What was some music that helped you discover yourself and your identity as part of the LGBTQI community? What role did music have in your own personal process of shaping your self-identity?
Tiiva: Tegan and Sara, Peaches, Planningtorock, Dorian Electra, Christine and The Queens, Mykki Blanco, Hercules and Love affair, Kim Petras, Lil Nas X, Perfume Genius. Then all the bangers that you’d listen to at queer nights. Dalston Superstore and queer venues that are important to our community, I miss dancing and i miss these queer parties!
Music has always shaped who i want to be, and where i’m going, it’s saved me at the lowest points and is always a way of capturing the best moments too. The influences of queer music, culture and community is so entwined with everything I write, and my identity, I’d probably challenge you to spot the heteronormative influences in there…. There’s no way you could :D
Review: "Autumn Ruminations", "Fool", Yeti Demos II", and "Love to Give" EPs by Cooper Chasse
Check out our in-depth reviews of Cooper Chasse's newly released EPs, "Autumn Ruminations", "Fool", Yeti Demos II", and "Love to Give", which complete his Quarantine Demos collection.
“Autumn Ruminations” offers a looking-back beauty, proving Cooper Chasse to be an exceptional storyteller. Neatly summarizing the state of the world without directly alluding to it, the collection is aptly named for there is an autumnal beauty about it. With these songs focused on a sort of reflective stance, the pieces unfurl at their own pace. Here he employs a slower, more delicate approach with the guitar as everything has a hushed awe about it. Lyrics feature small moments that make up a life from standing out in the street to watch the fourth of July to the way that one gets inside their own head, trying to dissect what just happened to them.
The reference point here is one from a bit of a while ago, specifically Red House Painters’ “Down Colorful Hill”. Like that release, there is a hint of thoughtfulness behind it. Gestures here are kept to the essentials and volume is not a must, for these are songs that are perfect for listening to after a long hard day and simply wanting to fully get away. Cooper’s voice here has an unvarnished tenderness to it, for the lyrics have a sense of poetry to them.
On “Tonight” the collection begins with a hushed awe to it. Cooper sings it earnestly and honestly for the lyrics touch the very soul. By far the very core of the whole collection comes from the angelic “Autumn Ruminations I & II”. Letting things sprawl out a bit, he manages to explore a certain sense of wonder.
Relationships here rest in the very heart of the matter, as Cooper’s expressiveness and the carefully considered flourishes have a sense of serenity to them. Guitar work in particular has a gorgeous touch to it, for the pacing proves to be pitch-perfect. Careful elements come together on the balance of “Autumn Rumination III”. Here Cooper references the zeitgeist indirectly, allowing for large bursts of colors that feels outright vibrant. The song unfurls at its own pace as there is a sense of community that comes into view.
Cooper Chasse carves out a gorgeous spry little series of vignettes on the lovely “Autumn Ruminations”.
Stream and Share “Autumn Ruminations” on: Apple Music | Spotify
Cooper Chasse shows the power of minimalism on the bountiful “Fool”. Experimentation occurs in the smallest of ways, from the tuning of the guitar to the way he lets the sound build up. There is an adventurous spirit that guides the entirety of the collection while he utilizes every single resource at his disposal while keeping things so clean. Within such a pared-down set, he manages to cover quite a bit of terrain. A careful storyteller he lets these narratives grow and elaborates upon the many details, with every verse weighted for maximum impact. Here he takes a few risks with the pace, with the tempo, and with the texture of the guitar chords themselves resulting in a series of unexpectedly joyous twists.
In terms of its ambition, Cooper Chasse’s work recalls a bit of the Microphones in terms of its unusual approach. Like the Microphones, he allows a series of hypnotic little elements to grow and build themselves into outright bursts of color. Beyond this, his close, powerful voice does feel a bit reminiscent of early Mountain Goats at their absolute best and most raw. There is a grit here behind what he does, even as his voice tries to remain strong. A sense of vulnerability works absolute wonders for the way the sound unfurls gives it a small sense of majesty.
A fragile introduction opens the collection strong with the passionate “Idol”. Little moments are celebrated in full on the tenderness of “Sometimes”. Small traces of true longing come through over the course of “Sometimes”. A surprisingly brisk pace gives “Frida” a loving, tender tone as he lets his hair down just a little bit, as the guitar work flutters on by. Going in the opposite direction “A Creature Well Lived” has a dreamy cadence to it all for it swirls about in a fantastic haze, making it easily the highlight of the entire journey. Bringing it all home in the delicacy of “Fool” which ends things with such power.
“Fool” presents a rather thoughtful tenor, one that highlights Cooper Chasse’s uncanny ability to find serenity in the still air.
Stream and Share “Fool” on: Apple Music | Spotify
Cooper Chasse offers up a fiery, passionate performance on the lo-fi intimacy of “Yeti Demos II”. Vocals here have an intense, clear-eyed focus to them recalling elements of the blues that filter into the fray. By keeping things fully felt there is an urgency that helps to tie the whole of the collection together. His guitar playing has a fierceness to it for the chords sing up into the sky with a sense of true catharsis. Within the entirety of the collection Cooper pours out his very heart and soul, making the journey one that feels so vivid.
Over the course of the collection one particular source of inspiration rings true, specifically that of Elliott Smith’s “Roman Candle”. Cooper channels Elliott’s spirit in a number of ways, from the raw sense of place that the pieces pervade to the way the songs have a quiet fury about them. At any moment, the tension feels like it could practically explode. Yet, like “Roman Candle” Cooper keeps things calm, cool, and collected, while teasing the possibility of an outburst to lend the entirety of the trip a sense of purpose.
Things start off on a spirited note with the gracious guitar licks of “Breathe” where there is a certain cathartic presence about the entire thing. His voice has a commanding presence to them, with his lyrics cutting right down to the very bone. Vulnerability reigns supreme for the word choice revels in the outpouring of his very soul, as he explores longing in full. Gentle in tone “Follow” has a playful quality to it, as the pastoral beauty of the track lets in so much springtime sun. Going for a contemplate tact, “Keep On” features some rather lush guitar work, as there’s a sense of hope and purpose that runs through the whole thing. By far though the highlight comes with the fantastic finale “Lessons”. Here he appears to touch upon some sort of classic folk magic as there’s an affectionate quality to the way it all unfurls.
“Yeti Demos II” shows off the undeniable deft skill of Cooper Chasse in exploring a world that feels truly and fully lived in.
Stream and Share “Yeti Demos II” on: Apple Music | Spotify
A stripped-down soulful piece, Cooper Chasse explores an intimate spirit with “Love to Give”. The pathos with which he plays the guitar grants it a tremendous undeniable power. Every gesture fully considered; the way the thing sings alongside him feels outright magical. By far though the true heart of the entire sound comes from the expressiveness of his voice. He conveys whole lifetimes within these pieces each one of which has its own narrative. With a literary flair to it all his careful character studies have a poignancy to them. Vast space proves to be an important ally within the sound as he ensures that the whole collection has a sense of place behind it.
Cooper Chasse has a sense of purpose that drives these pieces forward. Not in any sort of pounding drums sort of way, it is rather more of a vision. His cadence and delicate work recall the poetic beauty of Nick Drake for the songs have such depth despite their minimal origins. Within this, his sound has a bluesy quality to it for he pours his entirety into these tracks. Guitar work recalls a bit of John Fahey’s careful ragas, as the gestures matter when they are taken in as a singular whole.
“Morning Song” opens things up with a bit of early sunlight entering into the sound. There is a meditative quality that comes from it as he reflects upon all those he’s met and those he has yet to meet. Passionate to its core “To Have” has an intense romanticism to it, as the song takes its time in evolving ever so gingerly. Pastoral imagery is at play on the outright pretty “To Hold”. Vocals work wonders on the spaciousness of the title track “Love to Give” by far the highlight of the collection, as the song feels drenched in light. Delicate phrasing adds to the hushed reverence of “Stay”. Quite lovely, the soulful “One” neatly ties together all that came before it.
Reflective and outright stunning in its simplicity, Cooper Chasse proves to be an important addition to the singer-songwriter tradition with “Love to Give”.
Stream and Share “Love to Give” on: Apple Music | Spotify
Interview: London Based Singer-Songwriter Cooper Chasse Talks About His Quarantine Demos Collection
We connected with London based singer-songwriter Cooper Chasse for an exclusive Q&A to discuss the newly released four EPs of his Quarantine Demos collection, and much more.
“A lot of the Quarantine Demos are songs I wrote post break-up. “Love to Give” is meant to be the final EP of the Quarantine Demos...”
We're huge fans of your new single "Stay", off your just released EP "Love to Give". Why did you choose to release this song as the lead single? Also, can we expect an official music video for it?
I'm very passionate about all the songs I write, but "Stay" stood out as one that I thought could be most relatable to listeners. It's about a wonderful first date and I think a lot of people can relate to that feeling of wonderment and excitement that comes with a really good date.
On a sonic level, as I was going through the engineering process I kept making mental notes of which ones sounded the best, not only with sound quality but my own performance. The tricky thing with this project is that both guitar and vocals were recorded at the same time in my living room, so pitch correction was off the table, mistake editing was tricky, and pesky room tone was a cause of much frustration. After all this, "Stay" remained one of the shining songs that I thought could be a great introduction to my work. Others came close, but "Stay" stood out the most.
There's been talks of doing a music video, but as of yet no solid ideas have come to light. If there is a music video then it'll be very on brand with the Quarantine Demos meaning it'll be a very raw and simple homemade project.
Tell us about the "Love to Give" EP and your creative process for its six songs.
After "Demos from Hancock Road" and "Yeti Demos" were released I had no cohesive plan for any successive installments. So early on, "Love to Give" was just mixed in with the other songs I had planned to record. I had labeled everything as "Yeti Demos 2, 3, 4" and so on and I believe that "Love to Give" was originally two separate EPs. At a certain point, I realized that the songs I had labeled as "Yeti Demos 5" and "Yeti Demos 6" shared a similar thematic tone, so I scrapped a song or two and put together what became "Love to Give."
In terms of the actual creative process, they were all songs I had written within the last eight months, but they stood out to me as being some of my strongest work. Half of it was written back in Toronto and half was written here in London. They all touch on post break-up thoughts, like what does the future hold for me, where do I go next, and things of that sort.
Being from Canada, what led you to London and how has the move impacted your songwriting and music development, overall?
I came to London to try to pursue music more seriously, but with the pandemic it just made things trickier as an artist. I've always had a struggle to find the meaning of "home" for me.
Geographically, Canada is my home, or at least one of, but as I've gotten older the feeling of home had lost its magic in the Great White North. Once I arrived here, my songs have been less about "where to go next?" and more of "alright, I'm here, how can I make the most of this situation?"
There is much inspiration to be cultivated in London, and I suspect my next releases will touch a lot more on that. Songs like "Stay," "Morning Song," "Love to Give," and "Tonight" from "Autumn Ruminations" were all written in London and, to me, at least, they have a different feel than the ones written in Canada.
What initially motivated you to develop the Quarantine Demos? Has your goal always been to have over 25 songs as part of this collection?
The entire process of the Quarantine Demos was odd. There was no planning, really, and the project became what it was every next step of the process, if that makes sense. The first EP, "Demos from Hancock Road," was done merely as a chance to get in a studio and do a solo project the proper way. Because I was just warming up to people hearing my music and hearing me sing, I was very nervous for the entirety of recording.
So, "Yeti Demos" was born out of the idea that I can record songs without spending a dime in a place and situation I was more comfortable in. Everything after these initial two EPs was recorded all at once in bulk and then sorted after based on theme. So there's a clear difference between these newest installments and the first two EPs. Also the reason why I released the latest four EPs at once.
How would you compare the "Love to Give" EP to the other EPs in the Quarantine Demos? From a thematic and sonic standpoint, is there much of a contrast?
A lot of the Quarantine Demos are songs I wrote post break-up. "Love to Give" is meant to be the final EP of the Quarantine Demos, and if you were to follow the themes from "Demos from Hancock Road" all the way to "Love to Give," with the exception of "Fool," you'll see the progression of how I felt.
So thematically, the early songs were very heartbreak heavy and the later songs, especially the ones written in London, really go into starting the next chapter. Sonically, "Demos from Hancock Road," sounds the best because it's recorded in a studio and mastered by an experienced engineer. I've been personally studying audio engineering so as a means to save money, "Yeti Demos" and onward was engineered by myself. So definitely not as high in the sound quality department.
Stream and Share “Quarantine Demos” on: Apple Music | Spotify
Interview: Max Sharp of Destruction's Creation Talks About Their Debut Single "Puppet"
We connected with Max Sharp, of the Tempe, AZ based music project @DestroyCreated for an exclusive interview to discuss their debut single “Puppet”, and much more.
“Honestly, when crafting away, I try to think of the most emotional moments of my life so far. Those events will be the big ones in your life; the first break up, loosing a loved one, falling in/out of love, back and forth, back and forth.”
Salute to you on the release of "Puppet", the debut single by Destruction's Creation. Tell us about your creative process for the development of the track.
Hey thanks! “Puppet” was actually an experimental creative process that just happened to work out really. I had sent a demo for the song to Sylvia Massy after a friend had done some work with her and she ended up liking it and put me together with a brilliant programmer and mixer. Scratch, Click, Program, Mix, Master, and Release!
With "Puppet" now released, can we expect a music video to follow, or is another single in the pipeline?
So, yes to both actually! I am spending most our time/funds on the next single, "Get Away From Me," but have been slowly building a stash to buy a film grade movie camara.
Video is a huge part of the music for us and we feel like it can push the vibes! We have it all storyboarded and ready to go minus a drone and lighting.
How did Destruction's Creation as a new music project come together, and who are the participants?
DC came about through Sylvia's vision initially and we all kinda jus ran with it. While in Secret Static I had always played very heavy and with a lot of distortion, screaming my ass off. Replying to the demo, she had the idea of collaborating with Eric Anest, whom she felt had the same dark presence yet could beef up the melody and completely change the dynamic of the sound from a dirty garage grunge to something a bit more progressive.
Once we got the mix back from Eric, she put me with her, at the time, studio manager who mixed pop named Ivan Handwerk and that was really a critical piece of the DC pie. We all have such different styles yet the same outlook on music sounds, if that makes sense at all?
When you are crafting new songs, what are some things/people/places that inspire you creatively from a songwriter and production perspective?
Honestly, when crafting away, I try to think of the most emotional moments of my life so far. Those events will be the big ones in your life; the first break up, loosing a loved one, falling in/out of love, back and forth, back and forth. Ya know, it seems to be the most tragic events that stand out the loudest and I'm not sure why.
You've mentioned that the Destruction's Creation will be touring this year, with an emphasis on contemporary visual arts. What can you tell us about the upcoming tour and what we can expect visually?
Alright, so the tour we are piecing together is going to run heavy with contemporary film rolls that I have been collecting and archiving for a while. I've been messing around with embedding colors and objects in both stock footage and my own videos that represent the desired emotions and feelings that the songs project. Even at the starting point if the idea we are seeing some very cool phenomenon with the vibe that we are dying to share with the world. Goosebumps, tears, and smiles is the idea. We want you to feel.
Connect with Destruction’s Creation: Website | Twitter | Instagram | Facebook | Bandcamp | Tik Tok
Singer-Songwriter Cooper Chasse Unveils the Final Four Additions of the Quarantine Demos
Canadian singer-songwriter Cooper Chasse has just unveiled the final four additions of his acoustic Quarantine Demos collection with the release of “Yeti Demos 2”, “Autumn Ruminations”, “Fool”, and “Love to Give”.
Canadian singer-songwriter Cooper Chasse has just unveiled the final four additions of his Quarantine Demos collection on Spotify and Apple Music.
Following the quiet release of “Demos from Hancock Road” and “Yeti Demos”, the six-part acoustic collection is now complete with the release of “Yeti Demos 2”, “Autumn Ruminations”, “Fool”, and “Love to Give”.
The Quarantine Demos features 27 tracks in total, with 18 brand-new tracks including his single, “Stay”.
Inspired heavily by the Avett Brothers, Chasse delivers an acoustic folk sound with raw, refreshing honesty bleeding through his lyrics and performances that he hopes will resonate with listeners after the tumultuous past year.
A broken heart, a global pandemic and a lot of time for reflection while life was on pause led the 26-year-old to his new home.
Stripped back in every sense, five of the six albums were recorded between Chasse’s living room in Toronto and his living room in his new flat in London.
‘The recordings are a deeply personal story of love, loss and the existential confusion we all felt in some way or another in the past year,’ Chasse says.
‘I was in quarantine for two weeks when I got back from teaching in Korea for a year. I was stuck in a bedroom with a guitar, so I thought I may as well write some songs. It just snowballed from there.
‘There were a lot of emotions in the last part of last year – I wasn’t working, I’d just experienced a break-up, I was waiting to move to London. So I would pretty much just wake up, grab my guitar and write a song – pretty much every day.’
‘The collection kind of starts on the emotions of a broken heart; the confused feelings. And then they started developing into songs about, you know, what’s next? A lot of existential pondering – everything that happened in that last six months was on brand with what everyone was going through in the world.
‘Towards the end, the collection steers away from that heartbreak. At a certain point I started writing songs about my struggle with what I call ‘home’. That struggle to discern what is home for me. Tonight, on Autumn Ruminations, is the first song I wrote when I got to London and is about finding peace, even when you’re sleeping oceans away from home.
‘And one album is almost entirely dedicated to my pets – I’ll let you guess which one that is. ‘The final album is Love to Give, which deals with the search for meaningfulness, appreciation and gratitude; new beginnings.’
Listen to “Yeti Demos 2”, “Autumn Ruminations”, “Fool”, and “Love to Give” now, stream them on Apple Music and connect with Cooper Chasse on his social media. Also, be on the lookout for our exclusive interview with Cooper, as well as our in-depth review of the EPs, coming soon.
Monsta X Rapper, I.M, Releases His Solo Mini Album "DUALITY" and "God Damn" Video
I.M, rapper of K-pop group @OfficialMonstaX, has released his highly anticipated solo Digital Mini Album, "DUALITY", as well as the music video for “God Damn,” the focus track.
I.M, Rapper of K-pop group Monsta X, has released his highly anticipated Solo Digital Mini Album, DUALITY, which Metro UK referred to as "...a chill, trap-inspired five-track record best listened to on a long night time drive." This release comes about two years after his solo mixtape, HORIZON. Not only did I.M contribute to composing and arranging on DUALITY, but he also wrote the lyrics for all five tracks. The release of DUALITY is meant to solidify his musicality as a member of Monsta X, but also expand his own world of music on a solo level. Accompanying the Mini Album, I.M has also released the music video for “God Damn,” the focus track.
DUALITY is a metaphorical album that depicts I.M’s intense inner confessions, more specifically he talks about the difference between the outside and inside of one’s thoughts and mind. The focus track "God Damn” plays a role of center-play for this album, talking about the feelings of having no choice but to “lie to myself about being happy even if I’m not.” The music video for "God Damn" expresses a sense of freedom without knowing exactly where it comes from, and finding one's hope out from the wander. The emotional lyrics are implemented through the video, with visuals of ones gathered around the concert hall with a void in their heart; their gaze feels somewhat strange but familiar at the same time. The album's message raises questions about his own existence, which is quite different from the usual music of Monsta X.
The process of finding one's true identity through the gap between the ideal world and reality has been projected through all five tracks on the album. With the track “Howlin,” I.M talks about ups and downs in life, and the track “Burn” is about letting things go without dwelling on the past. His fourth track “Happy To Die” tells the story of being at peace in this very moment, with lyrics such as “I wanna get lost here forever. You brought me back to the real love.” The happiness that one is facing right now, moment by moment, could be the very last, and in this moment “I am happy to die right now, cause I’m happy.” NME stated “I.M shared that his inspiration came from one of Jim Carrey’s lines in the 2004 movie Eternal Sunshine of the Spotless Mind: “I could die right now”. The rest, he added matter-of-factly (or cryptically), is up for interpretation. The last track “시든 꽃(Flower-ed)” is like a poem to a loved one containing the message of consolation and empathy.
Listen to “DUALITY” right now, stream it on Apple Music and connect with I.M on his social media.
New Zealand Pop Duo Foley Announce New EP "Vacation", Out March 12
On March 12th, New Zealand-based pop duo @wearefoley will share their sophomore EP, ‘Vacation.’ The EP is available to pre-order and pre-save on steaming platforms now.
On March 12th, New Zealand-based pop duo Foley will share their sophomore EP, ‘Vacation.’ The EP is available to pre-order and pre-save on steaming platforms now: https://orcd.co/vacation
Foley is the late night conversations, not-so-existential crises, and the genuinely unbreakable friendship of 20-somethings Ash Wallace and Gabriel Everett. Honest to a fault, Foley have quickly picked up a fanbase of young like-minded listeners for their confessions of love, loss and learning. With a sibling like closeness at their core, their transparency with each other and their audience makes for a hilarious, emotionally authentic and carefree relationship that will have you laughing and crying in the same breath.
‘Vacation’ follows in the footsteps of their 2020 debut EP, ‘On My Conscience,’ which saw huge success across commercial radio and streaming platforms, hitting #10 on the NZ Album Charts, and plastered the pair across multiple Spotify playlist covers. To support the release of 'Vacation', Foley are embarking on a New Zealand tour with stops in Wellington, Dunedin and Auckland. More information on the tour can be found HERE.
Interview: Indie Pop Duo Anate Discuss Their Brand New Single "Rio"
Major thanks to Paris/Milan based indie pop duo @anatetweets who connected to DCWS for an exclusive interview to discuss their new single “Rio”, which will be featured on their upcoming album “Confessions”, and much more.
“I am a very contemplative person in general and all that I’ve ever lived, observed, experienced can somehow be found in my music. Duality for example is a topic that is very personal to me - hence why the whole album is revolving around this concept.”
Congratulations on the release of your new single "Rio", which appears on your debut album "Confessions". Why did you decide to share this song and when will "Confessions" be released?
Thank you so much! We've decided to share this song mainly because of its beautiful message (a simple one: life is beautiful if you stop for a moment and enjoy the little things) and the super nice vibes. We personally can't stop smiling when listening to this song and we hope it will have the same impact on our listeners :)
“Confessions” will be fully released this summer! Until then, we have more singles coming up.
Tell us about your creative process for the development of the "Rio" song, and from a songwriting standpoint, what its inspiration was.
The lyrics were mainly written during my trip in Rio de Janeiro two years ago. They can be regarded as a "journal" of what I was experiencing on the spot, if I could say so. I was influenced by the love of life of the Carioca people, by the idea of finding happiness in simple things. Some lyrics even get quite literal - for example, fun fact about the lyrics "Neon lights, midnight stop/ Keep on driving there's no stopping for us": I actually wrote them when we were driving through some dangerous parts of Rio at night. It is common not to stop at redlights in those areas, because you might get in trouble. I wrote that down and it turned out to be a cool metaphor about life itself :)
The instrumental also has such a great vibe because it was born during a late jam session with Andrea in the studio. It was totally spontaneous - Andrea started playing the main theme of the song on the guitar and I just went on reading the lyrics I already had on my phone. We really had a great time creating the song and I think it can be felt in the end result.
How initially did you two meet and then decide to form Anaté? Do you both enjoy the same types of music?
We met quite randomly through a common friend and we realised from the start that we hit it off artistically. Andrea was looking for a singer/songwriter for his downtempo project, having a very specific voice in mind. I happened to be exactly that voice that he was looking for, which was clearly an advantage. On top of that, when we started working on a song together and saw how easily the ideas were flowing from one to the other (not to mention that all of this was happening remotely), starting to build together the Anate project was a no brainer. :)
Andrea and I have main core influences that come from our idols back in the days, such as Pink Floyd or Led Zeppelin. Beyond that, I could say that my influences turn a bit more towards pop, while Andrea keeps the alternative, trip hop influences flowing into our songs. It's an interesting mix and probably also the reason why it is difficult to clearly define a genre for our music.
With the "Rio" single now released, what can we expect next from Anaté musically?
As mentioned, we have some more singles to be released until summer, when the whole album will be out. You can expect the same downtempo, chill vibes that you experienced so far, with lyrics with a message and songs putting you in a contemplative mood let's say. We have some more video material to come, including a live session with the band in the studio, where we will be playing 4 songs of the album and one new cover.
When you are working on a new song, when do you know that it is complete? Do you seek input from outside the duo for their opinions during the creative process?
That's a really good question! For me it's a matter of feeling it - I am personally searching to be moved by the music that I am doing and to convey a message. When I reach that point, I guess I could say the song is 'complete'. Of course we search for feedback as well, but it usually comes after the point where we are both ok with what we have.
Do your life experiences (ie where you've lived, past/current relationships, etc) influence your songwriting and themes of your music?
In my case, absolutely. I am a very contemplative person in general and all that I've ever lived, observed, experienced can somehow be found in my music. Duality for example is a topic that is very personal to me - hence why the whole album is revolving around this concept.
Stream and Share “Rio” on: Apple Music | Deezer | Amazon Music | YouTube | Soundcloud
Connect with Anaté: Website | Twitter | Instagram | Facebook