Since the introduction of The Weeknd, the world has become familiar with a new sound in R&B, one that’s fuelled by drug addictions, dark atmospheres and moody vibes – all of which have subsequently laid out the blueprint for several artists to come, including Kentucky native Bryson Tiller. What’s been understood as a niche ‘Toronto Sound’ has taken its journey across the border and into this 23-year-old’s world, spawning hits like “Exchange” and “Don’t”, and even inciting The Weeknd to jump on “Rambo” himself.
For Bryson Tiller, a high school dropout, success has come at an alarming pace. He started making music and quickly landed on Timbaland’s radar. “[He] told me to quit my job. [I] went down there and he was busy,” he says of the opportunity. “He had this artist named Tink that he was working with, and he was really focused on her, and he didn’t really have time for me and didn’t think it through. He felt bad, but you know, it just told me there’s no turning back. I had already quit my job and I worked really hard to get that job, so now I gotta keep going. I gotta keep making music and see where it goes,” he states firmly.
This game is all about the decisions you make, the people you meet and who you surround with.’ I just always kept that in my mind.
Not long after that encounter Bryson once again captured the attention of the music industry elite – OVO Sound, to be exact. While it was rumored that he had signed to the label’s imprint, Tiller ultimately settled down with RCA Records, following the advice of his manager and lawyers. “There was really nothing at RCA that made me want to sign with RCA. Obviously I wanted to sign to Drake, but I’m happy with RCA now – very happy, actually,” he says. But prior to that decision, he sat down with both Noah “40” Shebib and Drake for some words of wisdom. “[40 and I] really just talked about things sonically, and stuff like sound and music. We also talked about the things you have to do when you’re signed to a major label,” he says. “And Drake, when I first talked to him and asked him for some advice, he said this to me and I’ll never forget: ‘A lot of really talented people fall deeper and deeper into a hole based on this character… This game is all about the decisions you make, the people you meet and who you surround with.’ I just always kept that in my mind.”
Bryson admits that he never listened to Kentucky artists growing up, but rather the likes of Chris Brown and Omarion instead – with the exception of one artist. “Static Major is from Louisville, Kentucky, and he has a different way of approaching every song and harmonies and stuff like that, and I try to implement that in my music too,” he says. Static isn’t the only influence in Bryson’s music, as he goes on to say: “I really want to work with The-Dream. I wanna figure out how he’s been doing all the stuff I fell in love with. I just wanna sit down and pick his brain, like ‘Yo, how did you do this?’ He’s a dope harmonist, and I always wanted to know how to do that.”
If there’s any advice the young rising talent has, it’s to stabilize the fame and family. “Don’t get caught up in anything – not even in work. I got family back home and I can get caught up all the foolishness and ruin what I have back home, and if I get caught up in work, I can still possibly ruin what I got back home, know what I mean? I just try to keep everything balanced.”
As for the rest of the year, Tiller has two goals – create a solid album, and “chill with my daughter.”
Morgan Saint was born into a creative life. Upon growing up in Mattituck, NY with a family of musicians on her mother’s side and parents who worked in interior design, Saint graduated from Parsons School of Design in Manhattan, where she has lived for the past six years. With a major in illustration and a focus on photography and graphic design, Saint has executed a clear vision of her musical artistry. In 2017, at the age of 23, Saint released her debut EP, 17 Hero, on Epic Records. She is a storyteller at heart, combining all of her talents to reveal her narrative as truthfully as possible, one vignette at a time, as seen in all three of the EP’s videos, “Glass House”, “You”, and “Just Friends”. She co-produced each glossy, beautifully choreographed, and high-definition clip with Nathan Crooker, but the lyrics are all hers. They come from personal places yet are vague enough to be relatable. Her electronic pop is lo-fi, but you’ll most likely find yourself snapping your fingers to it. As Saint prepared for a sold-out show supporting Missio in Austin, Texas, Georgie connected with her to discuss coming into her own as a songwriter and
Listening to any track on EDEN’s debut album, vertigo, is like visiting your favourite city for the fiftieth time except nothing is quite where you remember it. The hotel is on the river, not by the park, and city hall is upside down. The Dublin-raised singer/songwriter/producer who began his career as The Eden Project, melted the best of indie, hip hop, and electronica into 13 deconstructed tracks for vertigo. Following two successful EPs, a shout-out from Lorde, and mid-way through the vertigo world tour, we caught up with EDEN to talk about his new record, and the musical evolution that brought him to it. G—From The Eden Project to the EPs to vertigo, you’ve had some pretty big changes in style. Does it feel that way to you or does it just kind of feel like you’re constantly evolving? E—I definitely see that. There are similarities [between I think you think too much of me and vertigo]—my voice still sounds the same (laughs) and there are various instruments that I just like using—but it’s about progression for me. I could never be someone to make End Credits 2 or something like that. It’s not interesting to me to stay
In the ten years since Swedish sisters Klara and Johanna Söderberg started First Aid Kit, they have been going non-stop. The indie-folk duo got their start when their cover of Fleet Foxes’ “Tiger Mountain Peasant Song” went viral, and have since released four albums, won five Swedish Grammis awards, and brought two of their idols to tears on live television. Following a brief hiatus, and four years after their last record, Stay Gold, First Aid Kit is back with Ruins, a raw account of losing love and finding yourself. In the middle of a North American tour, Georgie talked to Klara and Johanna about the new album and what brought them to Ruins. G—You’ve said in past interviews that Stay Gold was a more put-together, polished kind of album, and Ruins is a lot rawer. What caused that shift? JS—The production of Stay Gold is very lush and elegant, and I think that’s what we wanted at the time. But we started longing for this rawness, this almost lo-fi aspect that we had on our first records. [For Ruins]…our attitude was that everything doesn’t have to be perfect. If we sing a bum note or there’s a little crack