Angel Haze has lived a life that most people couldn’t imagine living, much less understand. The young artist was raised in the Greater Apostolic Faith, which she’d sooner refer to as a cult than a community. She was raped between the ages of seven and ten while living in an insular environment that frowned upon communication with the outside world, including music. When she was 16, her family broke free of the church’s rules and relocated to Brooklyn, New York. It was then that Haze discovered music for the first time.
“You can imagine not consuming something for such a long amount of time, and then feeling like a crazy, gluttonous hunger for it,” she says of her initial attraction to music. It wasn’t long before she decided to make it her career. In early mixtapes such as 2012’s Reservation and Classick, Haze confronts some of the sordid and desperate moments of her past, broaching topics like sexual abuse, depression, drug addiction and insecurities. She signed to Republic Records and released her debut album, Dirty Gold, in 2013, and then parted ways with the label in 2015 following a yearlong hiatus. Now, she’s recaptured control of her destiny, and has not only taken back her career, but also her health and happiness.
“I learned only in the past two years that music and life circumstances are for a reason. Everything I’ve ever gone through has shaped this path for me,” she says. “It feels like I’m starting a new life and turning over a new leaf, and being able to say, ‘Yeah, my past doesn’t define me.’ It created who I am now, and it helped me get to where I am, but it’s not where I’m going. I think it’s cool. I’m a lot more calm and patient… positive and optimistic about my life because of music.”
The creative process involved in Haze’s latest release, Back to the Woods, took advantage of her sound-to-colour synesthesia – a sensory condition in which affected individuals see colours upon hearing musical notes. The album was recorded in a dark space with colour strobes illuminating the walls; particular colours were chosen based on the palettes she perceived from the songs. Stylistically, Back to the Woods marks a return to the stripped-down sound Haze had when she first came into the industry. “The reason Back to the Woods is a lot different than Dirty Gold is that I had the opportunity and also the privilege of making it by myself, with my brother… The recording process is different because when I was with Universal and making Dirty Gold, there were a lot of other people involved,” she says. “I’m talking teams and teams, and flying me to Spain and doing this with this person and whatever, and it was more of a job. [Back to the Woods] was just about expression, and as clear and plain as I can put it, just expressing myself.”
Reflecting on her brief mentorship with Kanye West, Haze remarks: “Sometimes you get so caught up in thinking about what you need to do, what you’re supposed to do, or what people are expecting of you that you don’t do what you want… I played [Kanye] some stuff that I hadn’t played for anyone when Dirty Gold was out, and he was like, ‘Why aren’t you doing this? This shit is crazy!’ When he told me to do what I wanted to do, I basically did what I wanted to do – and here we have Back to the Woods.”
With a new outlook on her career, as well as a healthier state of mind, Haze is paving her way to an illustrious career – including a new label and the goal of releasing a new album and two mixtapes by the end of the year. With a confident tone, she concludes: “I think because I have my head screwed on so tight, that my future is the brightest it’s ever been. Artistically, I’ve got a vision for everything that I do, everything that I am.”
The meaning of Jazz Cartier’s Fleurever is rooted in duality. In the two years since his sophomore mixtape, Hotel Paranoia, the artist has had to “[battle] the balances of love and money, risks and rewards, right and wrong, or living and dying”, alongside coming to terms with the throes of wealth and fame. Subsequently Fleurever—or, as he calls it, his “third project”—explores Cartier’s personal growth in the years following. With his newfound maturity in tow, Toronto’s rising rap star is on course to start a music revolution—well, that’s the idea anyway. Georgie caught up with Cartier to talk about gratitude, the rapper’s personal transformation, and the driving force behind Fleurever. G—Can you tell us a bit about your latest album Fleurever and the inspiration behind it? JC—Most of the inspiration came from growth, and a bit from my departure from Toronto. A lot of the record was made in my last days in Toronto, and just having that cloud over my head and knowing that I’d be leaving soon—it was more so showing my affection for the city that pretty much shaped my sound. G—Did you have a vision in mind when you started writing this album? JC—For the most part Fleurever is just myself and my
When asked to describe herself in three words, Nina Nesbitt didn’t hesitate. “Introverted, creative, and driven”. While you wouldn’t guess the former from her edgy, empowering tracks—her latest single “Loyal To Me” is a girl-power anthem, rallying women to ditch their unfaithful partners—the latter two can’t be questioned. In the six years since she was discovered in an unplanned encounter with Ed Sheeran, Nesbitt has released three EPs and one full length album; toured with Sheeran, Justin Bieber, and U.K rapper Example; and carved her way into the alt-pop scene with a harmonious blend of groove and grit. Earlier this year, the Edinborough-native was one of three emerging female artists chosen to partake in Spotify’s “Louder Together” initiative, recording the first collaborative Spotify single (“Psychopath”) with Sasha Sloan and Charlotte Lawrence, and showcasing her signature style of thoughtful messages pulsating atop hook-driven melodies. With her sophomore album ready to drop, Georgie spoke with Nesbitt about her experience being thrust into the spotlight and maintaining her creative independence throughout it all. G—You’ve been touring a lot this year, specifically in North America. How have your North American audiences been receiving your shows? Is it different than performing for UK audiences?
Named for the Toronto area they grew up in, The Beaches are a far cry from a placid day on the lake. Led by singer/bassist Jordan Miller—with her sister and guitarist Kylie Miller, guitarist/keyboardist Leandra Earl and drummer Eliza Enman-McDaniel—the Canadian four-piece burst out of Toronto with their 2018 debut, Late Show, and have since built up an aura of dissident swagger. Taking home this year’s Juno for Breakthrough Group of the Year, the all-fem rock quartet is bringing grunge, gloss, and 70s glamour to a predominantly male genre. Georgie caught up with Leandra to talk about the band’s latest music video, taking charge of their music, and three simple ways to keep women in the industry. G—Did you grow up together in Toronto? LE—Yeah, I met the girls in high school. Jordan and Kylie are sisters, so they’ve known each other a bit longer, but they grew up with Eliza in Toronto’s Beaches area. G—What kind of music were you listening to at that time? LE—We grew up listening to all of the music our parents listened to. That definitely influenced us while writing our debut album since we drew from a lot of the 70’s music that our