Shy, but bold. Eclectic, but tailored. Gifted, but still obstinate when it comes to his craft. These are a few of the characteristics that define DMV rapper and ‘future bounce’ artist GoldLink, leading him to the fork in the road between independent artist and soon-to-be household name. In just two years, GoldLink has embarked on a journey that took him from the shark tank of hip-hop upstarts to a coveted position on the 2015 XXL Freshman list, and finally to the attention of Rick Rubin, who executively produced his debut album, And After That, We Didn’t Talk.
It’s like Montell Jordan’s ‘This Is How We Do It’ on crack… It’s the sound I’m bringing out of the DMV, one heavily influenced by go-go.
Despite his quick rise to fame, when it comes to his music, GoldLink remains true to the path he wants to walk. “I started making music a little over two years ago because I was bored with the music that was coming out,” he explains. “Soulection connected with me on that – we collectively sought out other options this industry has to offer. ‘Future bounce’ was a term created by [Soulection’s] Lakim. It’s like Montell Jordan’s ‘This Is How We Do It’ on crack… It’s the sound I’m bringing out of the DMV, one heavily influenced by go-go.”
This sense of nostalgia mixed with modern-day elements of hip-hop music has created a distinct and potent sound in GoldLink’s music, most notably heard on recent singles “Dance On Me” or “Spectrum”.
With the support of the Soulection collective, GoldLink also worked actively in 2015 with hip-hop veteran and seasoned producer Rick Rubin, who shaped the careers of Frank Ocean, Johnny Cash and Kanye West, to name a few. “Rick’s taught me that what has gotten me here, will keep me here. He offers light suggestions here and there, but he’s like a spirit guide,” GoldLink says.
In an era of ‘microwave journalism’ – as click-bait headlines and gossip have come to be known – GoldLink strives to focus on personal connections: “I think, overall, if you speak with conviction and truly believe in it, that’s how you directly connect with anyone.” Holding on to artistic purity, GoldLink has found himself at the helm of critical praise, but reminds us that “you can either be told what to believe or listen and believe it for yourself.” So do accolades like ‘Album of the Year’ or even acclaimed awards such as the Grammys mean anything to him? “Maybe one day. But my biggest accolade is seeing my mom proud and supportive of me.”
GoldLink will be heading on an American tour later this spring.
What do you get when you combine the start of a worldwide tour and the release of a highly-anticipated album on the same day? Ask Lord Huron’s founder and frontman, Ben Schneider, and he’ll say a pretty damn exciting journey ahead. The band’s third album, Vide Noir, released April 20, is already receiving accolades for its raw, lyrical storytelling from songs like “Wait by the River” and “When the Night is Over”. To engage fans at a deeper level, the band plans on creating immersive experiences that elevate the album’s narratives. Lord Huron’s tour includes a stop at Toronto’s Sony Centre on July 25, and at Osheaga in Montreal on August 4. Schneider spoke to us about his love of storytelling, Raymond Chandler influences, and what it was like working with Flaming Lips’ producer David Fridmann. G—You grew up in Michigan. Is that where your interest in music began? BS—There was always music on at our house, and I remember imagining the people the songs were about. The storytelling of songs is what’s always captured me most. As time went on, I was able to convince my parents to let me play bass in the orchestra, which led to me
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