Edmonton native, Calvin Love, is taking listeners along a journey of self-discovery with the recent release of Super Future – his first album under the esteemed indie label, Arts & Crafts, and his second to date. Featuring themes of love, loss, frustration and nostalgia, the album’s title befits its distinctly celestial sound – think dream-like synths and textured melodies underscored by funky bass lines and upbeat drums.
Like 2012’s New Radar, Love wrote and recorded Super Future entirely by himself, only bringing in outside help for mixing. As a self-professed “control freak”, the solitary recording process is something that works well for Love. “I’ve played in bands before and I like collaborating, but I just kind of needed to prove to myself that I could do it all on my own – and it’s nice to be the only one calling the shots.”
I’ve played in bands before and I like collaborating, but I just kind of needed to prove to myself that I could do it all on my own – and it’s nice to be the only one calling the shots.
But despite the similar recording process, Super Future is a markedly more optimistic effort than New Radar – something he partly credits to a change in disposition. “Yeah, I was in a good place. I was feeling really stoked on life at the time. I met a new girl, so that was cool.”
The otherworldliness of Super Future is beautifully captured in the video for “Calls from Jupiter”. It was shot and recorded using only Love’s iPhone while visiting Castillo del Mundo – a Haitian art gallery and UFO museum found in an alien-sighting hotspot of the Dominican Republic. “I thought the UFO vibe and the song worked together,” says Love. “So I just shot it at magic hour, pieced it all together and put it on the Internet.”
If he makes shooting a music video look easy, perhaps it’s because Love has a deep-rooted appreciation for the relationship between film and music. “In everyday situations, I’m always kind of hearing music in my mind – kind of like a soundtrack.” Expressing a desire to someday score music for film, Love says, “I tend to write cinematic kind of movie music, so I think it would come pretty naturally to me – I’d like to try that out.”
Already knee-deep in writing his third record, Love is preparing to break out of his comfort zone. He wants his next release to have more of a live feel – for instance, using drums instead of drum machines. “I’m still going to be the guy who comes up with the songs, the melodies, the riffs, but for this next record I’m definitely way more open to collaborating. I’m hoping to work with a likeminded engineer or producer who can push what I do even further.”
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