Electric Youth Announce New Album ‘Breathing,’ Share First Single

Toronto-based duo Electric Youth have announced their new album, Breathing, out September 22 on Milan Records.

It’s their first full-length record since 2014’s Innerworld, and was originally meant to be a score for a film directed by fellow Torontonian Anthony Scott Burns. Together, they came up with a 23-track soundtrack that Electric Youth described in a statement as combining synth-pop with “traditional score elements and more experimental sounds.” The project was short-lived however, as differences in creative direction during post-production resulted in Burns leaving, and the duo followed soon after. Rather than cast the music aside, Bronwyn Griffin and Austin Garrick instead chose to make it their next album.

“That film Anthony set out to create, the film we set out to score, is lost in time now,” they wrote. “There is another film in its place, using some of its footage but with a different spirit… This is the soundtrack from the lost film, an audio relic of the special film that once was.”

Alongside the announcement, Electric Youth have shared the LP’s opening track, “This Was Our House,” which in its brief two minutes instantly summons waves of nostalgia with gentle piano, childlike vocal runs, and heart-swelling synths.

Listen to it below, check out the tracklist for Breathing, and revisit the duo’s 2016 Story of the Runways mix inspired by Martin Bell’s Oscar-nominated 1984 documentary Streetwise.

Breathing Tracklist:

1. This Was Our House
2. Where Did You Go
3. Breathing
4. It’s Them
5. New Things
6. Machine 2.0
7. In the Air Two
8. Still My Love
9. Here It Is
10. Loni’s Goodbye
11. This Was Our House (Reprise)
12. Machine 1.0
13. Sisters Theme
14. They’re Still Here
15. What Is It
16. Ether
17. Still My Love (Reprise)
18. In the Air One
19. Believe
20. Nic’s Theme
21. Chunnel Pt. 1
22. Dark Truth
23. Chunnel Pt. 2

Joel Eel's Eclectic Techno Debut Explores Growing Up Korean-Canadian

This post appeared originally on THUMP Canada.

When it came time for Joel Eel to create his debut album last year, the Korean-Canadian producer found himself being inspired by two very distinct places. Following his first trip to Seoul in 25 years, the Toronto-based artist made Very Good Person, a nine-track LP which reflects both his geographical and sonic influences.

A whip-smart blend of techno, EBM, and post-punk, the self-released record’s more than simply a body of club-ready songs, with Eel presenting a captivating narrative that you don’t often find in dance music. The album’s title is a reference to the producer’s Korean name—which translates in English to “to be good”—and spoken word lyrics are delivered in both languages. Throughout, he attempts to unpack his complicated feelings growing up the son of immigrant parents, and the challenges of navigating cultural expectations, without resorting to hackneyed musical tropes to signify his heritage.

We recently caught up with Eel in Toronto to talk about making Very Good Person, the importance of identifying as a Korean-Canadian artist, and how he uses music to address the complexities of the diasporic experience.

THUMP: Can you talk about your relationship with punk and dance music, and how the two might work with or against each other?

Joel Eel: My relationship with punk has always been about doing things in your own way, regardless of how unconventional or awkward the outcome may be. Growing up listening to punk bands, reflected an attitude and an ethos that still carries on to this day. For me, dance music was always sitting around the corner, untouched and more of a subconscious endeavor. I had an older brother who was really into techno, house, and jungle, and he would be trying to play records for me all the time, but at the time I was too focused playing with my guitar. So it took me a bit longer to get fully engaged with it.

The two play rather nice together when it comes to the nature of DIY. It’s very apparent on both sides since their beginnings, but even more so now. They both share the rituals of lo-fi productions, self-made labels, collectives, and fan zines. There has been a performative aspect that live in both—punk being a lot more predominant due to the nature of instruments—but I think now you’re starting to a lot of producers play live sets, and bring something other than DJing.

Techno is often coded as an “anonymous” genre. How did you arrive at the decision that this album would deal with your own personal experiences and frustrations as a Korean-Canadian artist?
Being identified as a Korean-Canadian artist is important. Due to my appearance, I’m asked all the time where I’m from, even in Canada. Having to acquire another culture made me understand the differences of the mentality of one who has immigrated to a country, and by realizing the translations between the two.

At first, it’s something I didn’t want to express in my art. For some reason, I felt like it was something that I didn’t really want to have to explain, perhaps because of people not relating to it (mostly my white friends). Later, I came to realize that it was important to express these experiences since they were deep-rooted in me. To show a point of view in a positive light, without having to feel jaded knowing that others may feel alike.

What’s the narrative you’re trying to present with Very Good Person?
I want to express everything I’ve witnessed in a positive light. The majority of the album is about trying to find clarity when I was younger, a reflection of what you couldn’t understand. As time goes by, your self-identity matures, and you realize what you learned is not what it seems. There was an alarming sense of cultural guilt that got in the way of a lot of things, and this was the way to properly expose those properties.

The struggle of trying figure how to please yourself and not to displease your elders was due to cultural guilt. At times it was extremely imposing. In the end, I had really no other choice than to keep doing what I felt was right, regardless of the sense of approval from my parents or their friends. The way I had to address it was to having to lie in order to have those fulfilling gains, while trying maintain a stable career, in order to make money (parents’ main concern), and pretending music was a phase or just a hobby.

As an Asian-Canadian man creating music in a genre that’s often dominated by white men, do you feel there needs to be a different approach to the way you do things?
I believe there needs to be a unique approach to break free from stereotypes. Being an Asian man, and musician from Canada, who is associated with techno—these are three variables that have their own biases. My approach has always been to try to break free from stereotypes, with the following included. A person’s racial identity or cultural background should never matter, as music itself is a non-physical entity.

Can you speak about any particular instances where you felt othered by members of the dance community?
Definitely. When I was in my teens growing up, and going to punk or hardcore shows, or even walking in public. It’s been a constant reminder by people who would really go out of their way to remind me that I was “Asian” by pointing out my ethnicity. I remember a time when I was walking my dog with my cousins in Oshawa, and two random kids walked by and said, “It’s kinda nippy, don’t you chink?” Instances like this would occur periodically in my life to the point where I had to question my identity and self-belonging.

To myself and my friends, I was Canadian, but to everyone else I was visibly Asian. I think it was a really difficult time when I was younger to understand racialization and racism when it occurs because it stuns you immediately. The one thing my mother would tell me all the time, “No matter where you were born, you will always be Korean.” It took me quite some time to really understood what she meant by this.

How do your parents feel about your music now?
I don’t know since I haven’t shared any of this material with them. But I’m sure they would still freak out. A friend told me I should make a video of them listening to my music for the first time, but I don’t think it would be a good idea.

As a producer, what do you make of Toronto’s electronic scene today? What’s changed since you started?
Toronto right now seems to be in a good spot for dance music in terms of events. I think from all the experiences I’ve had moving back and forth a few times has made me look at it differently. I think Toronto is constantly changing, and it’s still growing to have a strong voice in dance music. There are a lot of interesting things happening with young and old producers.

Although our niches may not be big as London or New York, I think there is a lot of diversified talent here, and there are a few spaces and people who have really helped to create and landscape for it. I truly believe at this moment if we all put our best foot forward collectively, I think we can take a pretty dominant stance, globally-speaking. I mean there will always be challenges, but my optimism wants to best for not just myself, but for others.

Very Good Person is out now via Bandcamp.

Sofia Luu is on Twitter.

Coco Supreme Wants to Create Safer Dancefloors For Everybody

Coco Supreme has an idea of how you should write her story after she’s gone. She’s only 23, but the Toronto-based DJ’s already made significant strides as a trans woman of colour in a music scene that often feels as large as the city that supports it.

“I really want to be vain and want people to say she was so pretty, she was so smart, so funny, so cool, but I feel like I should say something more articulate,” she tells THUMP with a laugh over the phone.

It’s a refreshing response from a quickly rising selector in a Canadian metropolis that has been frequently critiqued for its inability to let loose. Born and raised in Buffalo, New York, Supreme cites crucial figures in Toronto’s LGBTQ community like DJ Eloquenz, who introduced her to traditional DJing techniques before she settled into playing more left-field music. Despite the fact she only started performing professionally less than a year ago, she’s already built up an impressive CV, supporting acts including Discwoman members DJ Haram and SHYBOI, and Yes Yes Y’all‘s Nino Brown. Next month, she’ll be co-curating a Pride Toronto showcase, which she says is about creating “those sorts of spaces that people say exist for queer and trans people of colour in Toronto but don’t actually.”

Her approach to DJing is wildly kinetic and designed to have maximum reach: in a single set, she may drop a ballroom remix of Vybz Kartel, only to follow it up with “super experimental, weird club noise.” Supreme’s exclusive Sugar, Spice and Nothing Nice mix for THUMP replicates the same energy of her live performances, with super fast cuts punctuating loud basslines and drum patterns. Sped up vocals from R&B artists like NAO and more haunting melodies from underground artists like AH MER AU SU anchor the chaos. “For me it’s about keeping people on their toes” she explains.

Listen to the mix below, and read our Q&A with Supreme to find out why she’s one to watch in 2017.

What have been some of your strategies for breaking into the electronic scene in Toronto, which can sometimes feel a bit difficult to permeate?

Coco Supreme: I don’t really do the whole branding and commodification of myself as an artist thing. I’ve mostly just been a SoundCloud thot. A lot of the reasons why I wanted to start doing music in the first place was to be able to share it with other people who were just as fed up with the nightlife scene here. I think that’s the biggest thing for me. Just having a community of people that I trust and that support.

How have your experiences as a trans woman of colour informed your approach to DJing?
That’s a big question. On the one hand I think that the holy trifecta of identities: trans, woman and person of colour are very pervasive now with the publicization of Janet Mock and Laverne Cox. I think it’s an interesting time as someone who is starting out. Some people hear that and they are interested to some extent, and then other people see and they’re like “Wow, what the fuck is that,” and have expectations about me and the kind of music I’ll play or the kind of crowd that I’ll bring.

Do you feel like music scenes often hold artists from racialized and queer communities responsible for making political statements in their work and performances?
I think it’s cool if it happens, but to put the onus on people to constantly be subversive or revolutionary can be really exhausting. I’m really about people just doing what they want to do, especially other trans women of colour, and other brown and black girls. Even just doing your own thing and putting it into the world, and providing for yourself is inherently subversive in some way.

It’s interesting to look at the way history tells people’s stories for them. The history of music and the narratives attached to a phase of disco or house music. That’s something that I’m really interested in: how my story will be told after I’m gone. And not just my story, but the stories of people around me.

In the middle of a DJ set, what’s your ideal moment?
I guess I don’t really think about what I do as “moments.” It’s really easy to do things that are predictable and you know people will react in a very specific way too. For myself, whenever I leave the house, I don’t really know what my day is going to be like. Even when I go out with friends, it’s like, “Am I going to get kicked out of the washroom tonight?” “Is the bouncer going to ask for my legal name tonight?” I care more about the safety of the people that are there, rather than whether I’m going to drop this song and people are going to blow up.

Can you talk a bit about your mix for THUMP and what inspired some of your selections?
I started it off with an audio clip about Him from Powerpuff Girls, which I watched growing up, and Him was just this villain that was basically a scary trans woman. Going off that same vibe, I included club edits of Spice Girls and Britney Spears. That sort of stuff is fun for me to do because it’s something that everyone knows the words to. It was what I grew up listening to as a kid who was being told to perform this young, South Asian masculinity.

Sugar, Spice and Nothing Nice Tracklist:

The Powerpuff Girls Intro
Lil Uzi Vert & 1127 – My Rule (Avbvrn Bootleg)
Kelela – Enemy (MA NGUZU Ironsoul Edit)
Girl Unit – Queen B
Raziek – Lovin It
JAVASCRIPT – Thirstayyy (Swisha Remix)
LAO – Xibalba (NEW FEAR Remix)
Gang Fatale – Limón (Kieran Loftus, Neans)
CHLO – Zigazig Ha
Thast – Take A Pic
RETINA SET – So Seductive & Busy
Gillette – Short Dick Man
Mad Villains – Poppin’
Young Luxenberg & Ca$h Bandicoot – Jusswanna
NAO – Bad Blood (Austin Lebrón Remix)
davOmakesbeats – Somebody (feat. DDM & AH MER AH SU)
Schwarz – Hands
CHLO – Get It Shawty
Ca$h Bandicoot – IMMA
Tsvi – Parade
MikeQ & DJ Sliink – The Bitch (Retina Set Club Edit)
Suspect Bitch – Dnt Wanna
Cakes Da Killa – Get 2 Werk (Club Kween) (feat. Rye Rye)
BASSBEAR!! – Jumpman (BASSBEAR Refix)
STRICT FACE – Crew Montagem (Strict Face’s Okeyszoke Expedition Remix)

Lead and mix photo by Renée Tran.

Melissa Vincent is on Twitter.

"It's a Crisis:" Students Want Better Access to Drug Testing Kits

This post appeared originally on THUMP Canada.

In The Festival Harm Reduction Project series, we examine drug use at music festivals and clubs across the globe, and explore what artists, organizers, harm reduction groups, and concert-goers are doing to make nightlife safer.

With at least 2300 fatal overdoses in Canada last year, Canadian Minister of Health Jane Philpott recently said opioid crisis deaths has surpassed the AIDS epidemic at its height, while the United States is seeing equally alarming statistics. The latest discovery by a pharmacy in Victoria, British Columbia that 90 percent of the street drugs they tested were cut with fentanyl only underscores the importance of people knowing what’s in the drugs they’re taking.

One grassroots youth organization at the forefront for advocating testing is the Canadian Students For Sensible Drug Policy, which has chapters in universities across the country. In their bid for effecting change at a policy level, they’re first hoping to change the stigma around drug use by promoting a culture of education and compassion. They see better access to test kits for substances as central to that mission.

THUMP recently attended an event held by the University of Toronto branch on using reagents to identify the presence of a specific drug within a given sample. Reagents are inorganic compounds and acids that cause predictable reactions when mixed with specific drugs. They can be used to spot test for the presence of everything from 2C-B to sugar.

As instructor Dmitry Lipkanou of the Toronto Psychedelic Society and Checkitkit explained, it’s a common practice that’s been used for decades, first by government agencies in the late 70s/early 80s, and gradually later by harm reduction groups. Though the reagents can’t detect the presence of fentanyl alone, which usually appears laced in drugs like cocaine or MDMA in very small doses, the workshop demonstrated that testing substances can save lives even when fentanyl isn’t involved. (Kits that specifically test for fentanyl do exist but so far they are not widely available in Canada.)

There we spoke to the chapter’s founder, Sab Rich, and a number of students about their reasons for attending. Some use substances recreationally, while others were interested in learning out of a feeling of social responsibility. As the workshop demonstrated, no matter how far removed someone might think they are from “drug culture,” everyone is affected by it in some way.

Sab Rich

THUMP: Do you have a background in harm reduction?

I started out at a Queen West community project called The Trip Project. And through that I met so many people. All of us, it’s the same story for everyone involved with CSSDP, pretty much. We started in one place, and it just branches off. We all work hand-in-hand, and make those connections as much as possible.

Could you talk a little bit about CSSDP’s approach to harm reduction?
Primarily [drug use] is a health issue. If you just focus on [criminality], it’s a bandaid solution. A drug policy that doesn’t focus on that isn’t going to fix anything. You’re just perpetuating the same cycle that we’ve seen historically with prohibition.

At CSSDP, we like to approach drug policy from a way that’s focused on harm reduction and not so much on the criminality. Drug use is a really complicated issue that involves a lot of factors: socioeconomics, education, race, gender. So we want to step in and help out with the fentanyl crisis going on right now. It’s starting to appear in what people think is LSD blotters, cocaine, and people who are using heroin are also being affected by it. So if there’s anything we can do to curb that, then we’ll be doing it.

As a campus resource, are you hearing from students about their own concerns?
Yeah, we try to reach out to the student population as much as possible, and we do get students coming up to us. They tell us about their own experiences and why they believe this is important.

Is this the first workshop and what are you hoping to do in the future?
We’re having another workshop about the mysticism, the religion around drugs. So historically, we like to go into that as well. We’ve done psychedelic storytellings, which is like a comedy event with an open mic section where people can talk about their own experiences, be they good, bad, funny. It’s really all about giving people the chance to voice whatever it is they want to around drugs. They don’t all necessarily hang out with people who would be comfortable talking about these things. We want to do a naloxone workshop where we can distribute kits and teach people how to use them properly, as well as talk about the dangers surrounding this crisis.

In the info for this event you say that you don’t advocate for the use of drugs, but some of your other programming has more to do with the recreational community.
We don’t advocate for the use of drugs. But we are aware that people are going to use them, regardless of the risks involved. Because of that stigma, a lot of people might not know where they can get the right information, like on how to test their drugs or something like that, and that puts anyone who’s a drug user in danger.

Naomi Alon

Is this the first workshop you’ve attended on this subject?
I went to the CSSDP conference a few years ago. It was a great experience.

So you have an interest in harm reduction strategies then?
I have lots of friends that use recreationally. I have a lot of friends who are that whole “crunchy granola jam band type following Phish on tour for entire summers at a time.” I don’t do that, but I think that if my friends are going to crawl around and eat glue, then they should do it responsibly.

I have siblings who have had experiences with addiction. Being an addict is a lifelong thing, but my sister currently does not use heroin. So I thank god for that. But I also live in a time when what you’re being sold could be anything. I think everybody who chooses to function within a society that is as large a thriving metropolis like Toronto or Vancouver, you have a social responsibility to have the naloxone training, [to learn how to use the reagents] to do what needs to be done in order to de-stigmatize these aspects of our society.

Mahmoud Bitar

Why are you interested in drug checking?
I have a few friends who use drugs, and they’ve talked about getting the stuff. I’ve seen them take substances from different places, different sources, and I’ve heard them talk about testing. But nothing bad has happened yet so no one is motivated to get it done. I wanted to learn to [use the reagents] to help facilitate, or at least be able to encourage them and show them how to use it.

So you’ve all had the conversation about harm reduction?
Exactly. I’ve hearing different accounts from people about how their experiences have been different when they take the same substances and that alone is troubling. Even though I haven’t had any terrible experiences yet it’s clear that things aren’t always as they appear to be all the time. I feel like motivated enough to try to test these things and figure out.

Jonathan Schiller

How did you hear about this workshop?
I tree planted with Dmitry last season, and my godfather found the event page on Facebook and passed it along to me. I had acquired the kits, but was a little apprehensive about exactly how to use them. They can be a little trial and error. You want to make sure you’re being safe with these kinds of chemicals.

What made you want to get your own reagent kit?
I think [the fentanyl crisis] keeps me on my toes about not just taking anything that anyone gives me, which is important. It’s a crisis and we need to be prepared for that. For me going out tree planting, I personally go into it for the work. There’s a lot of play that happens in those camps, but for me I can’t do all that play and then get up in the morning at 6 AM to work. A lot of people do that, so if I’m going to be the sober one, I’d like to properly know how to reduce this harm, right?

Even in every step with these testing kits, with these reagents, you can get a better idea of what you’re taking before you take it. It’s more of a preventative measure than learning the naloxone kits, which only helps to keep someone who is overdosing alive to their trip to the emergency room. It’s important, but hopefully by testing we can stop that trip to the ER from happening.

All interviews have been edited and condensed for clarity.

All photos by Colin Medley.

Michael Rancic is on Twitter.

Joel Eel Loses Himself to Dance in the "아주 좋은 사람 (Very Good Person)" Video

This post appeared originally on THUMP Canada. 

From Christopher Walken in Fatboy Slim’s “Weapon of Choice” to Jessy Lanza’s “Kathy Lee,” some of the best music videos of all-time have featured a solitary dancer showing off their best moves. Following in this tradition, Korean-Canadian producer Joel Eel has shared a new clip for his single “”아주 좋은 사람 (Very Good Person).”

Shot in Mexico City and co-directed by Aabid Youssef, the video finds the Toronto native (sporting an excellent Elvis tee) shimmying through a plant-filled apartment building. It’s a simple concept, but one that’s very effective when set to the throbbing, post-punk techno track, which was inspired by Eel’s experiences during a trip to Seoul.

“I was asked on several occasions if I was a good person since my name means ‘to be good.’ Due to the rhetorical nature of the question, ‘let’s go quickly” was the only phrase I could think to say at the time—in my broken Korean, my only way of trying to move the conversation forward,” he explained to THUMP over email. “It proved to show disassociation by the distance between myself and other Koreans who moved there from other parts of the world.

Watch it above and look for the producer’s self-released album out later this spring.

Max Mertens is on Twitter.

One Dead and Four Hospitalized in Suspected Overdoses Connected to Toronto Clubs

One person has died and five more have been hospitalized in Toronto after reportedly consuming MDMA.

According to Toronto’s City News, police responded to a call at Uniun Nightclub around 12:30 a.m. Saturday morning after a 24-year-old woman collapsed after reportedly taking MDMA. The woman was later taken to a hospital where she was pronounced dead.

Another woman also reportedly collapsed at the same location and was taken to the hospital in serious condition. Another incident was also reported at the nightclub, but details of the incident remain unknown.

According to City News, police also responded to a medical complaint at Rebel Nightclub later that morning around 1:30 a.m. According to reports, two men and one woman collapsed at the nightclub and were taken to the hospital.

Police have issued a public safety alert in the wake of the overdoses. “We deal with overdoes probably every day. It is an unfortunate part of our business. But to see the severity of injuries that we are talking about and the number of them is something that is unusual,” said Const. David Hopkinson to CP24. “We have to investigate where this is coming from.”

In a statement reported by CP24, INK Entertainment (which reportedly owns both nightclubs said): “Public safety and security is our top priority at INK Entertainment and we will continue to ensure that it remains that way with the highest standard of support.”

Get Familiar with Toronto's DIY Experimental Community Through This New Compilation

This post ran originally on THUMP Canada. 

When Brett Despotovich launched CHANNEL in January 2016, he envisioned the Toronto-based multi-disciplinary arts series as an opportunity to showcase “existing work and provocation of new projects.” Past editions have featured explorations of how soundtracking affects meaning in film, and the relationship between social and private engagement.

For their third installment, CHANNEL is hitting the road, curating a showcase at this year’s Kazoo! Festival in Guelph, Ontario, with Toronto artists Brigitte Bardon’t (who will also be performing her live score of Todd Haynes’ 1987 biopic Superstar: The Karen Carpenter Story ), HEXZUUL, Xuan Ye, and New York’s Roarke Menzies. “The CHANNEL idea is still young, and honestly, I was very apprehensive about taking it beyond the first incarnation,” Despotovich told THUMP over email. “The ‘brand’ provides a common ground and vehicle that allows me to speak and react to a larger context.”

To that end, they’re also releasing their first compilation featuring new work by CHANNEL regulars (and touring lineup), which we’re premiering today. CHANNEL 3 begins with a generous slab of noise courtesy of HEXZUUL’s “Pleistocene Drift,” before flowing into dreamier territory. Brigitte Bardon’t’s “B4 + After (Sexy Bitch Demo)” is a reflecting pool of field recordings and YouTube drone, while Despotovich’s solo project Inchoate closes out side one with the spare-but-cavernous “Remains.” Xuan Ye and Roarke Menzies split side two, with the former sounding like the gradual pulling apart of sound itself, and the latter countering by guiding the tape to a serene conclusion of spectral phases that build before slowly fading away.

Stream the compilation below and head over CHANNEL’s website to get more info on upcoming shows.

CHANNEL 3 Tracklist:

Side 1
1. HEZZUUL – Pleistocene Drift
2. Brigitte Bardon’t – B4 + After (Sexy Bitch Demo)
3. Inchoate – Remains

Side 2
1. Xuan Ye – Dawns Upon Me In The Snow, Becoming Ravens
2. Roarke Menzies – Prosthetic Memory

Michael Rancic is on Twitter.

The A-Z Guide To Every Song Sampled On Drake's 'More Life'

Photo via Wikimedia Commons. This post ran originally on THUMP Canada.

After Drake announced the follow-up to 2016’s chart-topping Views wouldn’t be an album, but rather a “playlist,” there was plenty of speculation as to his reasoning behind the categorization. Was it a move to give the artists on his OVO label, or others in his global orbit, more attention? A calculated way of acknowledging the importance streaming services place on curation today? Perhaps by treating it as a loose collection of songs, the Canadian rapper could avoid some of the lukewarm criticism leveled against his fourth studio record?

When More Life dropped Saturday night, the answer seemed to be all of the above, with the project having something for everybody. At 22 tracks, the release still feels overstuffed, but the format’s casualness encourages fans to pick and choose their favorites. While the production is handled largely by a cabal of OVO regulars, including Noah “40” Shebib, Boi-1da, Murda Beatz, and Frank Dukes, the strongest tracks here are rooted in global dance music.

The rapper’s relationship with Caribbean dancehall and UK grime has been well-documented, but there’s also forays into South African house (“Get It Together”) and lite disco (“Passionfruit”). From Canadian YouTubers 4YallEntertainment to Tomoya Ohtani’s Sonic the Hedgehog theme song, here’s our guide to every sample on More Life.

4Yall Entertainment, “T-Dot Goon Scrap DVD”

Sampled On: “Madiba Riddlim”

While the nimble, spiritually themed “Madiba Riddim”co-produced by the triumvirate of Frank Dukes, Nineteen85, and Charlie Handsomehews more closely to Afrobeat than any other genre, the parody video by popular Brampton, Ontario YouTubers 4YallEntertainment which closes the song couldn’t have come from anywhere but Toronto. The clip is a 416-centred spoof of street fight compilations and significantly funnier than the time Drake and pals dressed up as Shoppers Drug Mart employees.

Black Coffee feat. Bucie, “Superman”

Sampled On: “Get It Together”

On Monday, New York City hip-hop radio personality Ebro tweeted his thoughts on the playlist, saying “Fuck it…Drake brining House Music back!!” While this proclamation might seem a little out-of-touch, songs like “Take Care” and “Controlla” show that the rapper’s biggest hits come when he has one eye on the dancefloor and just a hint of melancholy in his heart.

This rework of South Africa DJ and producer Black Coffee’s 2010 piano-house anthem “Superman”British jazz-R&B singer-songwriter Jorja Smith replaces Bucie on vocalsis a natural successor to both those songs and wouldn’t be totally out of place on a Now That’s What I Call Ibiza Music! compilation. Drake doesn’t even show up until the 1:21 mark, and he stays mostly out of the way, letting the beat do the heavy lifting.

Drake, “Doing It Wrong”

Sampled On: “Jorja Interlude”

It’s a real Inception move to sample yourself, and he’s hardly the first rapper to do so, but the Take Care deep cut’s saxophone section fits this interlude nicely.

Earth, Wind & Fire, “Devotion”

Sampled On: “Glow”

One of the more curious inclusions on More Life, “Glow” sees Drake and Kanye West rekindling their on-again, off-again friendship and trading aspirational toasts over a sparse, metronomic beat. While it isn’t the first time the latter has borrowed from the Chicago pioneers’ deep discography, using Maurice White and company’s 1974 hit as the outro lends the collaboration some soulful heft.

Gabriel Garzn-Montano, “6 8”

Sampled On: “Glow”

Drake fans will remember the French-Colombian singer-songwriter’s delicate croon as the backbone of If You’re Reading This, It’s Too Late highlight “Jungle.”

Hiatus Kaiyote, “Building a Ladder”

Sampled On: “Free Smoke”

The first voice we hear on More Life belongs to Nai Palm, lead singer, songwriter, and guitarist of Australian neo-soul group Hiatus Kaiyote. Similar to “Over My Dead Body” from 2011’s Take Care, which featured a Chantal Kreviazuk hook, “Free Smoke” starts out mellow before Drake’s vaguely worded warning from the 2016 American Music Awards abruptly cuts her off. From there, the beat cools off several degrees to a more sinewy and ominous form, while the rapper puts interlopers in his crosshairs.

Jennifer Lopez, “If You Had My Love”

Sampled On: “Teenage Fever”

A friend of mine recently described Toronto producer Hagler’s J Lo flip as “weaponized nostalgia,” and I can’t think of a better way to describe the slowed-down sample in the moody downtempo jam, which directly caters to whatever part of the brain makes you wistful for the late 90s.

Lionel Richie, “All Night Long (All Night)”

Sampled On: “Blem”

Sampling this treacly 1983 Motown mega-hit seems like such a no-brainer for Drake, I had to double-check to make sure he hadn’t before. “Dad,” indeed.

Moodymann Live at The Roadhouse in Manchester, UK, September 2010

Sampled On: “Passionfruit”

Though electronic music fans were decidedly divided in their reactions to the Detroit don’s crowd address being used at the beginning of breezy highlight “Passionfruit,” it’s a testament to Drake and his production team’s ability to take a left-field chop and spin it into pop-house gold (see also: Timmy Thomas’ “Why Can’t We Live Together” and “Hotline Bling”). Here’s hoping we get a Moodymann set at next year’s OVO Fest.

R. Kelly, “Wings Clipped”

Sampled On: “Way Back When”

Blink and you’ll miss the subtle “Wings Clipped” sample at the end of this perfunctory PARTYNEXTDOOR feature, which is still better than Drake’s corny “Remix (Ignition)” reference on “Lose You.”

Satan’s Choice (1966)

Sampled On: “Lose You”

As The FADER points out, “Lose You” opens with a snippet of dialogue from Satan’s Choice, a 1966 CBC documentary about a Toronto motorcycle gang directed by Donald Shebib, the father of OVO Sound co-founder and producer Noah “40” Shebib. In the clip, the chapter’s former president John “Tiny” Taylor offers up his thoughts on societal norms and personal mantra, saying:

“I don’t care what society thinks. But they’re nothing anyway. They’re no better than me. Out there you just have to fit into a pattern that somebody’s already laid out for you. Life we live, you have to set your own patterns, your own ideals. You have to handle the whole job yourself.”

Remind you of anybody?

Skepta, “Shutdown” (Live)

Sampled On: “KMT”

A callback to the song that first marked the alliance between OVO and Skepta’s BBK crew, the latter’s voice can be briefly be heard at the beginning of Drake’s collaboration with UK grime rapper Giggs, who steals the show and somehow manages to make a Game of Thrones reference sound tough.

Snoh Aalegra, “Time”

Sampled On: “Do Not Disturb”

The last tracks on Drake’s releases are typically reserved for slow-burning, ruminative meditations on family and the future, and More Life is no different, with liquified vocals from Swedish singer Snoh Aalegra’s “Time.” In a recent Billboard interview, she said the original was inspired by her father’s death in 2009, which makes it even more poignant.

Tony Yayo feat. Danny Brown, “Roll Up”

Sampled On: “Free Smoke”

Did you know that the G-Unit third-stringer and the Warp-signed rapper put out a mixtape called Hawaiian Snow in 2010? Me neither.

Tomoya Ohtani, “His World”

Sampled On: “KMT”

Hip-hop sampling video game soundtracks is nothing new, but New York producer Ness sampling a high-energy Sonic the Hedgehog theme makes perfect sense for Drake’s rapid-fire, cross-Atlantic team-up with Giggs.

Max Mertens is on

How Toronto's Electronic Community Fought The City's Rave Ban And Won

iDance Rally photo courtesy of Robb M.

This post ran originally on THUMP Canada.

In our Dancing vs. The State series, THUMP explores nightlife’s complicated relationship to law enforcement, past and present.

In the late 1990s, the rave scene was huge in Toronto, and had become so big that it couldn’t stay under the radar any more. What started as a small underground scene of warehouse parties in the downtown core had blown up to a point where promoters were taking over sites including the CN Tower and the Ontario Science Centre, attracting thousands of partiers. Larger events were pulling in crowds of over 10,000, and organizers were increasingly turning to city-owned properties like the Better Living Centre on the Canadian National Exhibition grounds to accommodate the massive events.

In 1999, three drug-related deaths at raves led to increased media scrutiny of the scene. A 20-year-old student named Kieran Kelly died in July at a three-day rave in Sauble Beach, and another 20-year-old man overdosed at a party at the Warehouse club in August. The most high profile tragedy was 21-year-old Ryerson University student Allan Ho, who died at a happy hardcore party in an underground parking garage after ingesting MDMA. This spurred a coroner’s inquest, and also led to a charged political debate at city hall about whether Toronto should continue to permit all-night dance parties on city-owned property, and how to regulate these events on private property.

Rave promoters and harm reduction organizations like TRIP came together to represent the community and to help guide the creation of safety protocols. Unfortunately, police chief Julian Fantino and mayor Mel Lastman were both pushing for a harsher response. Rather than simply implementing the recommendations that came out of the Allan Ho inquest, the politician put forward a complete ban on raves on city property, as well as a city-wide ban on all electronic music events after 3 AM.

Lastman was the kind of wacky, right-wing populist leader that Toronto’s infamous crack-smoking mayor Rob Ford would later model himself after. Some of his many foibles during his career included calling in the army to cope with a heavy snowfall, and making a joke to the press about ending up in “a pot of boiling water with all these natives dancing around” before a trip to Kenya. He made it his mission to crack down on the rave scene, positioning himself against left-wing councillors like Olivia Chow (wife of late NDP leader Jack Layton), who attempted to stand up for the scene by comparing it to previous youth culture movements such as hippies in the 60s.

“They started a very public media campaign smearing raves, calling them havens for drug use,” recalled Will Chang, a corporate lawyer who ended up acting as a spokesman for the underground party scene. “There was one press conference I remember, where Fantino stood in front of a table covered in guns and knives, and tried to claim that this was what you found at raves.” (It later turned out that the weapons had actually been seized at an illegal after-hours bar.)

At the time, Chang was a young raver who had just started his law career, and was close with several event production companies. These organizers had begun turning to him for advice as they dealt with authorities, and he became involved in a loose collective of promoters, harm reduction advocates, and activists called the Toronto Dance Safety Committee. Attempting to push back against the sensationalist narrative coming from the media and politicians, the group’s goals were to head of the impending crackdown through self-regulation and changing the media narrative.

“We were trying to become more legitimate, at the same time as the city and the authorities were seemingly trying to make it more difficult to do so,” remembers Ryan Kruger, a member of the committee, who ran production company Destiny Events. “We were going into city-owned properties and working with the police for paid duty officers, working with the city on getting permits. We wanted to go legit, because our parties were getting big enough that we needed to.

City councillor Olivia Chow at the 2000 iDance Rally, photo courtesy of Robb M.

While Kruger welcomed the support of Councillor Chow, he recalls having reservations about trusting any politician, despite the logistical help her office was providing to the TDSC. The idea of working with the authorities was still controversial in a community that had flourished while operating in legal grey areas. “It was a high-profile situation, so for politicians it looks good to be involved, whether they’re on one side or the other,” says Kruger. “At the end of the day, I think Olivia Chow’s intentions were correct and her heart was in it, but a politician is a politician, so you’ve always got that in the back of your mind.”

Chow’s support became crucial once the ban passed. The councillor had managed to attach an amendment to the resolution calling on city council to revisit the issue in a few months, and actively worked with the TDSC to hone their strategy. “Olivia and her office helped us with the press releases, and how to deliver the message properly,” says Chang. “They told us to slow down and feed our arguments to the media one piece at a time, so that we could stay in the news over a period of months, instead of just putting it out all at once.”

The collective decided that the best response would be to throw a protest party outside of city hall at Nathan Phillips Square where, coincidentally, ravers had traditionally congregated to board rented school busses to take them to parties at secret locations across Toronto. The event was named iDance and scheduled for August 1, 2000.

When it came to planning and executing the rally, the TDSC built on what they’d learned throwing parties, with DJs, sound, lighting, and security companies donating their services for free. There were some key differences between throwing a conventional party and organizing a protest of course. For one thing, raves were still outlawed at the time.

“If I remember correctly, there was a loophole that allowed us to move forward because it was designed as a protest and not a for-profit event,” Kruger explains. “One of the key aspects is that we had a lot of speakers, and it wasn’t just DJs all day long. The whole point was showing a bunch of people having a great time because they love the music, and not because they’re drug addicts.”

The event drew a massive crowd of approximately 20,000 people, and went off without a hitch. The lineup included international house DJs Derrick Carter, Miss Honey Dijon, and Bad Boy Bill, as well as drum and bass representatives like Ed Rush & Optical and Jumpin’ Jack Frost. They also booked local heroes Kenny Glasgow and Dr Trance, and suspended a giant disco ball over the square.

Photo courtesy of Robb M.

Speeches between acts not only featured representatives from the scene, but also former mayors Barbara Hall and John Sewell, who were both anti-ban. City councillors who pledged to vote against the ban were given the opportunity to speak as well, while those who supported it had their names projected on screens all day. Other than some dancing in the fountain, the ravers were on their best behaviour, likely a result of community peer pressure to put forward a good image and combat perpetuating stereotypes.

As a result of the protest and the media campaign, the ban was overturned at council by a massive margin of 50-4 the next day, and the rally went down in history as one of the biggest protests ever at city hall. The following year, the TDSC organized a iDance sequel at Nathan Phillips Square, but it was very different from the first. Activist group Party People Project weren’t involved this time, and it was criticized for being sponsored by Microsoft and the Toronto Star. The event drew a big crowd, but the moment of urgency had passed.

Meanwhile, the rave scene was changing dramaticallypromoters were dealing with increased regulations and the big profits of the 90s were no longer as easy to achieve. Police began demanding a higher number of paid duty officers at events, which became a major expense for promoters. Venue owners also started hiking their rental fees, after realizing how much money some raves were making. There were also a lot fewer empty warehouses available, as the condo boom ate up those spaces.

Read More on THUMP: How Real Estate Trends and Zoning Bylaws Are Threatening Canadian Nightlife

Regulations weren’t the only thing making raves less lucrative: tastes were changing too, and clubs had started absorbing the music and energy of the underground. “The reason the ban happened in the first place was that we got to a size where we were on the radar,” Kruger recalls. “A lot of the time, when things get big and popular, that doesn’t last very long. Kids’ tastes and desires move on, and typically the next generation doesn’t do what the previous one did.”

While the Toronto rave scene was massive in 1999, it had peaked in popularity. Over the next few years, parties became much smaller, and no longer attracted thousands of kids every weekend. The ravers had won the right to use large city-owned venues, but the crowds just weren’t big enough to need them anymore.

The 2000 iDance Rally had been a major victory, but in some ways, it was also the beginning of the end for the rave era. The scene had already splintered into many different factions, many of whom didn’t even want to be associated with the word “rave.” While they temporarily put aside their differences to fight the ban, once that battle was over, the culture went back to splitting itself into smaller sub-cultures.

Nevertheless, it proved that by working together as a community, they could have a very real political impact. Subsequent attempts to halt EDM-era events on city property have been blocked without any need for large-scale protests. “It wasn’t until a decade later that the pendulum would swing back again and dance started getting big again,” points out Kruger. “But when it came back as EDM, it was a different kind of thing. It wasn’t independent promoters trying to claim legitimacy this timenow it was the major corporations becoming involved and bringing with them automatic legitimacy.”

Benjamin Boles is on Twitter.

Here's 7 Things You Need To Know About Starting An Electronic Label

Photo courtesy of Record Store Day. This post ran originally on THUMP Canada.

So, you’ve decided to start your own record label. Why not, right? You’ve been keeping a keen eye on the local scene for a while, that online diploma you received in project management is still fresh in your mind, and your mum has always said you can use the basement as an office, so the stars are basically aligned. This is going to be sick. All you really need is a Facebook page and probably some stamps. Except that two days in you begin to realize that your newfound credentials are less than adequate, stamps are extortionately expensive, and the basementnow littered with forgotten exercise equipmenthas become a gym for some very buff-looking rodents.

The fact of the matter is that running a label these days comes with a variety of pitfalls. First off, there’s the illusion of profit: most labels are struggling to break even on a good day. Then there’s the promotional side of things, where even online publicity can become a full-time gig. Distribution too is an oft-overlooked aspect: which stores and what areas of the world your records end up boils down to your distributor. Not to mention the fact that some digital outlets will only deal with the distributor and never you directly. Next up are the all-important graphics, which can often be the linchpin for any organizationshaping its style, feel, and overall image. Do you have an aesthetic in mind? A specific graphic designer? Will you keep everything local? Should you focus on a wide range of styles or something specific? Are you going to be vinyl-only?

The questions are endless, but so are the rewards for those who are able to find the right balance. From Vancouver’s Genero to Toronto’s Slow Release, we reached out to five of the most exciting Canadian electronic labels right now to find out just how they do it.

1. Get in for the right reasons.

Image courtesy of Genero

Cameron Reed : Bandcamp was really handy in the beginning and I had just started to produce tracks with some friends as well. I had a couple of small releases on compilations with other labels so that gave me an idea about what I might expect or ask of artists. I found digital distro for the releases, as some online storesespecially those geared towards DJ music, such as Traxsource, Beatportneed you to have a distro rather than deal directly with the label.

I also wanted to make some physical copies of releases and latched on to the whole revival of underground tapes, which were way cheaper to produce than vinyl and could have a very limited run. Another reason for doing tapes (which was partially influenced by punk/metal bands) was to have some physical product at live shows, which we started doing more of in recent years.

Marshall: Selling vinyl still needs to be a labour of love, as it’s a tough game from all angles. I keep reading these “Vinyl sales hit new record!” articles, but from an independent perspective, I still think it’s generally considered a success if you end up making your money backand not losing your shirt. There’s the digital angle as well for labels, and I think that definitely helps shore up vinyl or other formats that might sustain a loss, but I don’t think anyone’s getting rich off downloads currently either.

The challenge of people only being able to get your music through external stores or mediawhere you aren’t really in control of the presentation of the storefront, or the aesthetics of your brandhas been solved by Bandcamp quite nicely.

Read More on THUMP: Meet the Cassette Labels That Are Returning DIY Dance Music to its Roots

6. Being focused doesn’t mean being myopic.

Skilz: Have a vision for your label; don’t just sign anything or a broad range of styles. I like labels that are coherent in their look and sound. That’s why we have two labels which focus on different ends of the electronic spectrum.

Marshall: I think many labels drift more into the “establish a real record label businessdirection, which is understandable. We definitely set ourselves apart from that crowd by treating each release, and each detail of the label, more as a platform for creating and refining a certain aesthetic.

7. Consider a minimalist method.

Image courtesy of Low Noise Productions

Secondino: We choose to limit the number of releases to really focus on having a very cohesive catalogue and create a unique “Visage Musique sound.” A lot of our music is also bilingual, which is probably a key characteristic. It is not uncommon to have both languages in a single song. There’s also a minimalist approach to our aesthetic. This minimal graphic aesthetic comes from the desire to put music in the foreground. We try to give as much space as possible to the music of our artists.

Reed: There’s a type of minimalism that I’m very interested in. I suppose what sets my label apart is my own taste, which may be impeccable depending on who you ask (please don’t ask anyone).

Daryl Keating is on Twitter.

The Weeknd's Mysterious Producer Prince 85 Made Us A Mix Of French Electro And Hip-Hop

Photo courtesy of artist
This post ran originally on THUMP Canada.

While everyone collectively lost their minds to the Weeknd’s chart-chewing, 80s-referencing behemoths “Starboy” and “I Feel It Coming” last year, Daft Punk weren’t the only French producers on the Canadian R&B singer’s third album. Tucked away towards the tail end of Starboy is “Die For You,” a confessional ballad which sees Abel Tesfaye crooning about a long-distance relationship, over fluttering synths and slowly building percussion. If a song on one of the best-selling records of 2016 could possibly be described as “underrated,” “Die For You” certainly fits that description.

One of the musicians credited on the track was Prince 85, a mysterious French producer, who appears in his press photos wearing a prosthetic mask straight out of a slasher flick. Though his identity is unknown, he’s revealed that he’s also spent time living in New York and Toronto (where he met Tesfaye and would end up opening for the artist on the latter’s 2013 European tour), and there’s a trove of original material and remixes on his SoundCloud and Bandcamp (including a eight-track remake of Kanye West’s 2013 album Yeezus). On the heels of his biggest placement to date, he’s dropped his latest solo EP, Source Code, which splits the difference between John Carpenter’s horror scores and fellow countryman Kavinsky’s throbbing, after-dark electro-house.

Following his excellent OVO Sound Radio guest mix, we asked him to make us one, and he obliged with 46 minutes of trap bruisers, 90s big beat anthems, and his own bump in the night, synth-hewn instrumentals. Appropriately given his background, it’s heavy on Weeknd cuts and French electronic titans past and present (DJ Mehdi, Gesaffelstein, Justice), with more than a few left turns (when’s the last time you heard songs by Harlem rap crew the Diplomats and Britpop kings Oasis in one place?). Over email, Prince 85 described the mix’s ideal listening coordinates as “in the middle of the Antarctica during an aurora while waiting for the mothership to return,” which gives you a sense of the otherworldly approach he takes to his craft.

Judge for yourself below, and read our brief Q&A with the anonymous French producer.

THUMP: Describe the Paris hip-hop scene today for those who aren’t familiar.

Prince 85: The new hip-hop scene in Paris is still searching for its identity. In my opinion it’s redundant, there’s many vacancies waiting to be filled.

Why do you think North American rappers have embraced French electronic music in the last few years? What similarities do you see between the two?
Unfortunately the majority of these tracks influenced by French electro are done strategically to achieve mainstream success. Rare are the ones where there’s a genuine cultural exchange between these two movements. Similar to all collaborations, there’s a good and a bad side to it. As far as I’m concerned, the similarity between these two movements is their common use of machines (drum machines, synths, samplers, sequencers). There’s a unique “human-to-machine” interaction while creating music that’s almost intimate, and that no one sees. I’m hoping it stays that way.

How did you get involved with the XO camp and end up co-producing “Die For You”?
We met seven years ago in Toronto. It’s first and foremost a human connection and a friendship. It is not a business relationship. I’ve been sending the Weeknd several beats for some time, and “Die For You” happened organically.

You’ve said in previous interviews that Kavinsky is a major influence on your work, do you remember when you first heard his music?
Kavinsky and I are not from the same planet but he’s a close friend. On a musical and cultural level, he’s the man. The first time I heard one of his frequencies it was “Testarossa Autodrive” during the MySpace era.

Your latest release Source Code is heavily synth-based, can you talk a little bit about your collection and studio setup?
My audio tools are quite simple. It’s similar to a culinary preparation, you need to pick the right tools in order to proceed efficiently. Synth-wise, I use the Juno-60, TR-808, VP-330, DX7, and Jupiter-8.

What’s the perfect setting for listening to this mix?
In the middle of Antarctica during an aurora while waiting for the mothership to return.

What else can we expect from you the rest of 2017?
Several projects are in the works. A new EP scheduled for June, it will be the third and last of the trilogy Series 1. Numerous audio encounters, the video clip for the track “Damage” featuring Ryland, and a short movie.


Dae Dae – Dead Ass Wrong
Migos – Slippery
NAV feat. The Weeknd – Some Way
The Diplomats – S.A.N.T.A.N.A.
The Weeknd – Reminder
DD85 – ?????
The Weeknd- Starboy
Gesaffelstein- Hellifornia
Big Sean feat. Eminem – No Favors
Oasis – Fuckin’ in the Bushes
Prince 85 feat. Ryland – Damage
Boys Noize – Rock the Bells
Kavinsky feat. The Weeknd – Odd Look
Prince 85 – Temporium
Tears for Fears – Pale Shelter
The Weeknd – Secrets
Mr Oizo – HAM (Prince 85 Remix)
Rico the Wizard – Spell of Love
DJ Mehdi – Signatune
Thomas Bangalter – Outrun
The Chemical Brothers – Hey Boy Hey Girl
Justice – Phantom Part II (Soulwax Remix)
Casino Gold – Ricochet
Daft Punk – Rollin’ & Scratchin’
Burial – Fostercare
DD85 – ?????
The Prodigy – Smack My Bitch Up

Max Mertens is on Twitter.

Solange, Peter Gabriel, And Salsa Rub Shoulders In Skratch Bastid And Cosmo Baker's New Mix

Artwork by Rhek

This post ran originally on THUMP Canada.

While we might be two months into 2017, that hasn’t stopped Toronto-based DJ and producer Skratch Bastid and New York City’s Cosmo Baker from sharing the fifth installment in their genre-spanning Songs We Listened To A Lot mix series. For the past four years, the duo have compiled their favourite records of the year, ranging from electro-pop to dancehall to jazz and more.

Their latest two-and-a-half hour mix is no exception, balancing contemporary cuts by A Tribe Called Quest, Solange, and Thundercat, with classic hits by iconic artists who passed away in 2016 (Prince’s “Little Red Corvette,” Peter Gabriel’s cover of David Bowie’s “Heroes”).

Other standouts include Pastor T.L. Barrett’s “Father Stretch My Hands,” which was notably sampled on Kanye West’s The Life of Pablo, a brilliant rework of “Everybody Loves The Sunshine” courtesy of the Reflex, and Andre 3000’s “Solo (Reprise)” from Frank Ocean’s album Blonde.

Check out the tracklist below, and read our interview with Skratch Bastid and DJ Jazzy Jeff here.


Joey Dosik – The Night Before
Andy Shauf – The Magician
Invisible – Ruido de Magia
A Tribe Called Quest – Dis Generation
Mr Eazi & Juls – Shitor
Gilberto Gil – Toda Menina Bahiana (Tahira Re-Edit Edit)
Heidi Leonore – Everybody Loves The Sunshine (The Reflex Edit)
Solange – Cranes In The Sky (Kaytranada Edit)
Tinashe – Vulnerable (Pomo Remix)
Chance The Rapper – All Night (feat. Knox Fortune) (Kaytranada Extended Joint)
DJ Stuart – Re-Work
Housemate – Always Here For You (Stro Elliott Mix)
Maxwell – NoOne (UnCut)
Prince – Little Red Corvette (12″ Mix Edit)
Foals – Night Swimmers (Mura Masa Edit)
Bird Peterson – Funky For You
Troyboi – And Wot
Rudimental – Healing (feat. Joseph Angel)
Amin – Caroline
Z-Ro – Legendary
Christian Rich – Still (feat. Tunji Ige, High Klassified & Kris Bowers)
Isaiah Rashad – Wat’s Wrong (feat. Kendrick Lamar & Zacari)
Andre 3000 – Solo (Interlude)
BADBADNOTGOOD – In Your Eyes (feat. Charlotte Day Wilson)
Childish Gambino – Redbone
Wings – Arrow Through Me
The Sylvers – What’s It All About
Chronixx – Spanish Town Rocking
Marsha Ambrosius – Have You Ever?
Dennis Brown – Revolution
Cassiano – Onda
Willie Coln & Rubn Blades – Plastico
Mbongwana Star – Malukayi (feat. Konono No. 1)
Thundercat – Bus In These Streets
Pastor T.L. Barrett – Father Stretch My Hands
Peter Gabriel – Heroes

Corinne Przybyslawski is on Twitter.