Born in the Congo – but living in Montreal – the jovial Pierre Kwenders is an up-and-coming contributor to Afrofuturism, an emerging genre that blends African roots music with electro artistry. When characterizing the complex sound, even Kwenders struggles with forming the appropriate vernacular. “To be honest, I don’t really know how to describe my own music,” he laughs. “There’s no point in trying to describe something that is meant to be felt.”
Finding his musical origin and inspirations in Congolese Rumba, songs like “Mardi Gras”, from his album Le Dernier Empereur Bantou (2014), highlight the genesis of his sound. However, the obvious electro-futurist element can hardly be ignored. Heavily saturated with Congolese rhythms and electronic influences, he explains: “It’s very weird, what I do. I like to consider it as a Sci-fi type of genre. It’s fiction. And the thing with fiction is that it’s a mix of many worlds – many visions of the future and the past – and you end up in a world where you don’t understand anything.”
This enterprising genre has a wide fan base, but his shows lack a prominent African audience. Kwenders chalks this up to a fear of unfamiliarity. “You can’t ask a Country Boy to get out of the country… If a cowboy has always loved listening to country music, sometimes it can be hard for him to get out there and listen to pop or electro – he has to change his mindset.”
However, Kwenders’ goal isn’t to reach his fellow Africans, nor is it to teach cultural lessons to those unversed in African cultures. “I’m doing this to make myself feel good, and if while I’m making myself feel good I can make other people feel good, then mission accomplished.” Nevertheless, the idea of prodding those who are unfamiliar with the Afrocentric beats and foreign lyrics to dig a little deeper into African history is, of course, an associated benefit.
So, who’s paving the way for this genre? Kwenders recommends listening to Shabazz Palaces, Spoek Mathambo, or Petite Noir.
“There are so many of us out there doing our own thing in so many different ways, giving a new light on Africa, and giving a new definition of African music and African life. […] There are many others, especially my generation, doing this type of music. Well, not this type of music, because there’s not really a type of music. But, we’re bringing something new. We’re bringing a breath of fresh air into the music industry. People are listening to it and opening their ears to discover what’s new and what’s coming out of Africa right now.”
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