The now Colombian resident, Will Holland, aka Quantic, understands the increasingly borderless world that we live in. As staunch purists try to enforce categories to maintain their own validity, in the context of the music world like any other, Quantic’s production style is a post-modern hodgepodge of cultural inspiration that transcends genre categorizations and geographical limits. Down-tempo/dub Reggae/Afro-Latin funk/hip-hop and jazz, Quantic’s expansion beyond even a few recognizable genres makes it exceedingly difficult for people, including himself to define. That challenge in itself is why his newest album Quantic Presenta Flowering Inferno: Dog With a Rope, is so invigorating and outstanding to listen to.

If in mathematical terms, quantic is defined as a “homogeneous polynomial having at least two variables,” Quantic, the producer is fittingly that very thing in musical terms. Sampling is the dominant modality, but raw instrumentation brings vibrancy and fullness to his productions. Very guitar, and percussion heavy, Bossa Nova, and Samba are also notable undercurrents to his music. Instrumentally driven, with spurting accents of vocals is the only expectation throughout the 10-track album. Fierce and polyrhythmic, Dog With a Rope is ode to African and Latin elements, with a tinge of a progressively and modern hip-hop vibe.

The producer movement is one that must stay versatile in order to strive. Take Ticklah for an example, a Brooklyn based session musician, keyboardist for Antibalas Afrobeat Orchestra, and on the low, Dub producer. In a similar vein, Quantic’s one of many aliases aids in his discovery of new markets, while pushing the sound envelope while staying incredibly accessible and being globally representative (and not in a Putumayo kind of way). Quantic gives context and meaning to his cultural sampling. There is a distinct difference between playing world music, and extracting from music around the world to formulate new creations. Quantic is clearly the culprit of the latter.

Quantic’s frequent appearances in metropolitan hot spots around the word makes him recurrently tagged haphazardly as an “alternative dance” DJ/producer. His actual complexity can be exemplified by this: Echate Pa’lla first appears on the album recognizably poly-rhythmically Afro-Cuban with some dub reverb. Later, it is revisited with a blaring jazz horn section. Sampling is Quantic’s elixir, and the album is the springboard to shine light on not so obvious, but important details. There is no shortage of music lessons on Dog With a Rope.  It appears that there are as many ways to listen to the album, as there are elements to the album, all there for your enjoyment.

words by Boyuan Gao

Toronto duo Tona and Lyve’s new collaborative album, Direct Deposit is perhaps an ode to the old school, but is a demonstration of some of the most ingenious meldings of many musical influences. Dilla references tickle the purists, the Janet Jackson vocals on the outro track “The Departure” marries the nostalgia of the golden era with the progression of new millenniarap. The most alluring reference are the familiar vocals on “Hold Back” with the seductive D’Angelo “Devil’s Pie” hook.

Tona’s vocal flexing coupled with the Lyve’s production is reminiscent of an earlier Slum Village sensibility. There is a certain cohesion threading together the tracks that is decidedly familiar, yet simultaneously fresh.

Tona is a veteran to the industry. The visionary of Da District Entertainment, Tona is trying to infiltrate various aspects of the hip-hop from the culture to the industry. Tona and Lyve’s massive sound here is clearly part of a bigger agenda. The versatility and range of influences in Lyve’s production is accent to Tona’s commanding boom vocals—boom bap, that is—coupled with electronic fills, bangin-ass beats with soft baby-making vocals in any variation of your choosing, or so you are led to believe.

Toronto’s been strong on the come up. The burgeoning community including Shad, Eternia, and obviously our still fresh faced industry favorite, Drake, prove that there is a consistent influx of talent and hunger from our northern neighbors coming down to feast. And that’s okay. We welcome that. This album is chock-full of lesser-known artists as well, including Saukrates, Richie Sosa, and others. Tona’s honesty, his loyalty to his hometown as a key subject, and his commanding vocals are captivating enough to take a listen. Once you’re in, you’ll likely stay a while.

-Boyuan Gao

At this point, I’m a little tired of beach-themed bands, songs, and albums (despite loving Best Coast’s debut…and correct me if I’m wrong, but isn’t that also a cat on their album cover?). That being said, Wavves are essentially weed-smokin’ hipster dudes from San Diego, so I guess it makes sense. And a summertime theme never hurt anyone.

The band's third album, King of the Beach, delivers poppy, mildly psychedelic, lo-fi, punky tunes with all the noise and surf rock vibes these guys are known for. Also known for putting on crazy live shows, and having already embarked on a jam-packed tour that includes opening for Phoenix, they manage to capture and preserve their chaotic energy on record.

The two-minute “Post Acid” has singer/primary songwriter Nathan Williams singing, “I’m just having fun, with you!”—in some parts, it sounds like he’s underwater—to an incredibly upbeat melody with theme-song readiness that momentarily dissolves into moan-like screams before returning to the chorus…just in case you thought they were getting too sugary. The song flawlessly segues into another gem, “Take on the World,” with glazy “ooh’s” in the background and, literally, waves of grainy guitars.

Of course we can’t ignore the self-titled opener, which will have listeners locked into the album almost as fast (but not quite; I mean, come on now!) as “Smells Like Teen Spirit.” This song was made for skateboarding on the boardwalk in cut-off shorts and Converse…probably a bandana too. And a spliff behind your ear. But the thing is, the song isn’t hokey or self-indulgent; it simply represents a new twenty-something sense of freedom cropping up here and there, especially in various hipster lands…freedom from former generations, freedom from societal norms, freedom from Gen-X-era depression and also from winter’s grip. So the song is anthemic, yes, but I don't think it means to be.

“When Will You Come” begins exactly like Bat for Lashes’ “What’s A Girl To Do?” and probably handfuls of other songs too, with its simple beat and hand claps. But by way of a Brian Jonestown meets Pixies manner, Wavves do their own thing. “Linus Spacehead,” written by former Jay Reatard bandmate Stephen Pope, involves fluctuating “ooh’s,” which appear thoughout the record, coupled with a low-key, disheveled ambivalence.

Even though Wavves is apparently being sued (seriously!) by Disney for using the name “Mickey Mouse” as a song title, the song in question showcases the band’s love for and proper use of fuzz and distortion. One part ambient, another part Animal Collective, and yet another part Psycho Candy, it’s worth the legal trouble. While Williams’ subjects may be considered somewhat uninspiring— “weed, boredom, and the beach"—he’s got the vocal and musical talent to make something out of nothing…to celebrate simply being alive. In the summertime.

-Amy Dupcak

Rating: 8.6

Born in Flint, Michigan. Perfecting his craft in Philadelphia, Pennsylvania. The 23 years old musician Gilbere Forte' releases his 87 Dreams debut via Anigma Ent/RPM. Some might remember this young Philly bred artist who in conjunction with the clothing line BLVCK SCVLE released Gilbere Forte is BLVCK, with only three tracks kept the people anticipating more. Together with his partner Raak, they manage to produce the album in it entirety. After carefully listening to the debut, its no longer a dream but a realization that Forte's sound is second to bar none.

From the opening of the album, you'll understand why Gilbere Forte' is unlike your normal hip hop artist. With featuring guest Freelance Whales, Forte' fuses hip-hop and indie rock into a concoction like none other. And just when you thought his range would end there, he follows up with "Why I'm Here". The song also showcases the different variations of the young artist from Philly. He lyrically shreds the self-produced beat in .63 second, but then you also hear him sing as well on the hook. As a listener, you just become a fiend looking for a fix. With the ever growing expectations of what next to come, the debut never let's down.

The lead single from 87 Dreams, “Black Chukkas” features the other half of the production duo, Raak. Has been garnishing major attention. Many consider which considered the song an ode to the Vans chukka boot was merely a track about Mr. Forte's everyday grind inside the shoe. The video was directed by legendary video director Chris Robinson. And has quickly glided across MTV on their video programming. With witty rhymes and the ill fated sound on the track makes the song a perfect pilot for the album.

With so much promise with the 1st three tracks you become hook, line and sinker. Gilbere certainly holds his end of the bargain. Each track providing a much needed refreshing ambiance in the music game. The debut consist of all original music, very rare from a new artist who is introducing himself for the first time. There isn't a single time where the songs become repetitive. Some of my stand out tracks are “My Time” featuring STS (a/k/a Sugar Tongue Slim), “Burn Me Down”, “BLO (We Gon Roll)”, “A Place We Go (Summertime)”, “Reflections”. “Cold Summer” featuring Brian Underwood is another incredible record, from start of the piano and drums then adding of electric guitar with bass just sends chills up your spine. Not to be done is the word play “I will make it to the road/ with the apple and the vulture/Pick the apple up and put it back in the tree that it fell from/ Changin' history is the reason why we failed him.”

Gilbere Forte's debut with 87 Dreams definitely passes with flying colors. With hip-hop emerging with creativeness again, it couldn't have happen at at a better time for the 23-year-old Michigan native. He brings alive almost every track with his words painting a vivid picture. One of the best LP's this year, and that is reality.

-J. Gregory Figueroa