Since bursting onto the scene in 2007 with the release of Télé Télé, the Acadian, Montreal-based duo Gabriel Louis Bernard Malenfant and Jacques Alphonse Doucet of Radio Radio have continued to impress critics and fans alike with their signature blend of electro hip-hop – and they have the accolades to prove it, including the Independent Music Award for Rap/Hip Hop Album, short-listed for a Polaris Prize and a Félix for Hip-Hop Album of the Year. Georgie recently caught up with Malenfant to get the scoop on the upcoming release of Radio Radio’s first-ever English album and the motivation behind it.
G—Can you give us any details about the new album, like the title, release date, or direction?
Gabriel Malenfant—No title yet. We usually put out albums every two years in the spring, around March. This album is lined up to drop around the same time. In terms of direction, we let it flow as usual. The idea is to stay sensitive, open and inspired all the time so that once you start writing and get to the studio, you’ve got shit to say and a universe to share. We were pretty gung ho on doing this first English album so it just came out without forcing it. As usual, we like our stuff to be upbeat and to have many layers to dissect if need be, but overall to be something that feels good on the inside. All our albums live by the motto ”take heavier stuff lightly and lighter stuff much more seriously”.
G—Sonically, does this album have a different sound that your previous records?
GM—Our first four albums were made by one of the founders of the group Alexandre Bilodeau, a.k.a. Nom de Plume, a.k.a Arthur Comeau. He is no long working with us, so we decided to work with a couple of young producers from Montréal, which is buzzing with talent right now, with guys like Kaytranada. We’re working with Shash’u, who just signed with Fools Gold ¬¬– which is A-Trak’s, Brooklyn-based label. His sound is hard funk electro. We’re also working with J.u.D., who put out a great album last year called St.Flower – it had a spring in electro space type of vibe… a new-agey sound, which I like. And, overseeing the project as producer, is Alex McMahon, a hip cat with tons of experience working with artists in Quebec, like Ariane Moffatt and Alex Nevsky. We also collaborated with Champion on a track called ”I’m a ho”.
G—Your upcoming release will be your first English album release. What motivated your decision to release an English album?
GM—For us, it wasn’t very complicated. We’ve been in Eastern Canada, where we’ve lived, worked and dated (and frenched) English people. On top of that, we’re also raised on American culture, since we never really identified with Quebec culture and much of what was presented as French culture in the media. We associated more with Fresh Prince of Bel-Air and the Cosby Show than much of what was being showed on Radio Canada.
G—How do you think the Francophone fan base will feel about the new direction?
GM—I think it will be pretty casual. It’s something you see more and more I guess. Last year, Lisa Leblanc – a French-Acadian musician – became Quebec’s sweetheart with her hit ”Ma vie c’est de la marde”, and she just put out an English EP which was very well received. And Coeur de Pirate, a Quebec and French sensation, is also doing the same thing, so I don’t think this is anything new. There are always some insecure purists out there that will bad trip, but’s that okay – they were bad tripping before we got here anyway.
G—We recently interviewed French artist, Yelle, and talked about the possibility of her releasing an English record. She was very resistant to the idea even though it seems to be a struggle for Francophone artists to break through to English speaking audiences. Was it a hard decision to make or do you think it is the natural progression for the band?
GM—It was very natural for us. We’ve been hanging-out with English people for about 250 years. In Moncton, the Acadians there learn to speak English by proximity before going to kindergarten, so yes, very natural. It wasn’t forced for us. It just came out and it came out good.
G—Can you give us some final thoughts that sum up your upcoming record release and the band’s perspective on being a Canadian music group?
GM—We’re just super stoked to be putting it out and to be working with amazing talent from Montreal. We have new wind in our sails and it feels great. We can’t wait to tour it and the spread the love. And being in Canada, it’ll be great to connect with them on this. other level, but the lets face it – the groove is the main thing we’re serving and that we will keep sharing like we always do!
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