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“PP15 Interlude” goes hard as ***, and the menacing production (courtesy of Lovell himself and Dylan Brady) really helps it to lurch along. Lovell does get some good verses in, thankfully. This hampers some of the edge to the lyrics, and casts many of the more ambitious choruses as overly simplistic. “Guidance” serves as another example of this quirk, where Lovell can barely pull together the chorus without the yeahs serving as an unnecessary lyrical crutch. The song barely escapes the chorus, and every sentence is punctuated with a yeah that serves as the only connective tissue between dissonant and unrhyming words. Just listen to lead single “Contraband” and you’ll see what I mean. Gone are the bars that recall other technical rappers like Bones or Vince Staples. But the lethal and technical flows that Lovell seemed to be overflowing with on previous efforts have been replaced with sing-songy choruses and repetitive structures marked with more filler that belies an aggressively lazy flow. This project is still head and shoulders above something like Lil Boat. That’s not to say that Red Teenage Melody is a bad album, or even on the level of contemporaries like Vert and Yachty. Following up such a statement was always going to be a tall order, and unfortunately Lovell’s newest effort is colored a bit by the trappings (no pun intended) of modern rap. Songs like “The Renegade Never Dies” and “Trees of the Valley” were ice cold, and forecasted the arrival of one of rap’s newest and best iconoclasts. Lovell’s debut album, Concept Vague, was a confident statement that painted in broad black strokes. While piss-poor aesthetes like Lil Yachty and Lil Uzi Vert supposed carry the torch of rap in the mainstream, figures like Lovell are making definitive statements and progressive music that moves the body of work forward. “But there are people demonstrating that you can, from your basement in Ottawa or Stittsville, Orléans or Barrhaven, actually have a spot on the world stage.Make no mistake: Night Lovell is one of the best rappers in the game right now. “You’re competing against the world,” Pascoe said. (Register by searching “ IMB #38 – Managing Indie Artists” at eventbrite.ca.) 2 and will explore managing an online presence and revenue streams.
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Pascoe and Jamie Kwong, executive director of the Ottawa Music Industry Coalition, have been presenting a series of free, online seminars to help independent artists find their way in the digital realm. There are no barriers to entry,” Pascoe said. “The reality of 2020 and beyond, pandemic aside, is you don’t need a major label in order to do what you want to do. Ottawa music lawyer Byron Pascoe says the challenge for any artist who’s gone viral is translating the moment into a sustainable music career. “The news cycle is changing minute by minute, and that’s what happens with music, too.” The old model of taking a year or two to make a record and then releasing 12 songs at once doesn’t make sense anymore. “If I didn’t have that, the music I was making wouldn’t have got any better.”ĭropping one song at a time is a smart strategy, notes Ottawa music producer Steve Foley, co-owner of Audio Valley Recording Studio, who’s worked with 404Vincent. “SoundCloud was the place I would go to listen to new music and experiment with s–t, and help find my own sound, and that had a huge impact on me,” he said in the interview.
He also got a boost from his music being added to playlists on Fortnite, the popular online video game. He said he got serious about it last summer, adopting the stage name 404Vincent and posting professional-sounding tracks. In a recent Fresh Pressed interview, Vautour said he’d been posting his tracks to the audio platform SoundCloud for years, a process that helped him develop his sound, which hovers somewhere between explicit rap and indie rock.
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