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!
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