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By: Molly Randhawa

For most young people, figuring out what you want to do with the rest of your life can be a daunting task. For producer Sam Gellaitry, however, making the decision to drop out of school at age 16 to focus on music was natural for the young star. At age 17, his actions were reaffirmed when he signed to L.A.-based record label Soulection. Now, three years later, the producer has signed to his dream label at XL Recordings and is crafting music that beautifully orchestrates the cinematic sounds of his daily life.

The last time the Scottish-born artist stopped in Vancouver was in October of last year opening for the Glass Animals’ “How to be a Human Being” tour where he played a set of all his own music. “[It was] very refreshing. It felt like a milestone because I never used to play much of my own music in DJ sets,” the young artist shares. “The fact that I can travel playing my own music really strengthens my self-belief in producing and makes my music stronger.”

Having just released the conclusive third EP from his Escapism trilogy, Gellaitry has a lot to take in over his worldwide tour promoting the new record. With an eye for capturing sounds through an objective lens and, quite literally, a camera lens, he encourages his fans to take a peek into the sounds that he composes through photography. “It’s a great way of capturing atmosphere and surroundings which [in turn] inspire the music I make,” he explains. “I like the contrast between photography and production because it’s capturing something in the best way possible rather than creating something completely new and different.”

Gellaitry pushes the sound in his new album through enigmatic imagery, intricately detailing the vivid sounds of his surroundings. He shares how each of the songs off of his new EP has its own picture to paint. “[My sound is] very hard to pinpoint to a specific genre. I just call it ‘electronic,’” explains Gellaitry. With tracks like “Jungle Waters” being inspired by film scores and “Acres” being inspired by his hometown, Escapism III showcases the diversity within the young musician’s sound.

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Sam Gellaitry performs at Fortune Sound Club on Sunday, April 15th as part of Seasons Festival. Tickets are available for $20 in advance.

Originally published on BeatRoute Magazine.

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By: Jamie Goyman

Having graced the sound systems of numerous clubs, lofts and warehouses around the world with his music, the now Toronto-based Jacques Greene, known by his friends as Philip Aubin-Dionne, has finally released his first full-length album, Infinite, and it’s fucking phenomenal. “I think a lot of art and culture needs to be extravagant or extreme [towards] whichever direction you want to get people to,” says Aubin-Dionne. “If you’re trying to make people feel sexy there are R&B songs that are almost pornographic, about fucking, but you [actually just] want to make people get close and grind. It’s almost a caricature of the mood.”

The LP itself, chock-full of earnest and melodramatic emotions, not only tunes fans into where Aubin-Dionne is headed musically, but also displays the talent it takes to connect listeners to his entire body of work in just one album. “It’s sort of an exciting and scary time because the album is sort of a manifesto of the Jacques Greene sound up until this point, a sort of celebration of all those EPs,” he says. “With that comes the need to switch it up. I’ll have a bit of time in studio between a couple festival things and hopefully be able to do that. To just keep it going, really.”

Spending the past five years teasing fans with EPs and singles, it would seem that the album took longer than five or six weeks during the summer of 2015 for Aubin-Dionne to get the album’s 11 tracks ready for mastering. “Feel Infinite,” the second track on the album, sets a precedent for the remainder of the LP, closing out with the artist’s own favourite track, “You Can See All My Light.” “Even to this day when I play it gets me in my feelings and resonates a lot,” says Aubin-Dionne.

The only intentional vocal feature that happens on the album is with How To Dress Well, who is artistically very much on the same level as Green. “I really like the guy and we have very similar ideas as far as our intersections with pop music. He’s a pretty smart guy and it’s always fun to pick his brain,” explains Aubin-Dionne. “When it came time to make this record I didn’t want a producer album that was full of random ‘features.’ It also made so much sense to call upon a really good friend and someone I trusted to work with how I wanted this record to be.” Infinite came from an honest place and when something is created in absolute purity, it can’t be tarnished.

Deciding to bring half his studio with him on tour, Aubin-Dionne has been working on a responsive light setup to work alongside customized projections with friends from Montreal: Melissa Matos, Adam Hummell, Shadi Assadi and Emmanuel Rinfret. “It’s the first time I’m going on tour with a full body of work, but the way I perform it’s going to be a little different every night,” he says. “A bunch of the synths [I have] can’t save pre-set sounds so I have to make it up as I go along. I want it to be sort of like a show that needs to work out the ebbs and flows.”

Jacques Greene

Jacques Greene performs live at Fortune Sound Club on Sunday, April 9th. Tickets are available for $15 in advance.

Originally published on BeatRoute Magazine.

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The eclectic house producer from Montreal empties the bountiful contents of his psychic record bag (via The Guardian).

The track that currently gets the most rewinds
Murda Beatz ft Pressa: Novacane

 

 

I live in Toronto now and Pressa has quickly become a local legend. If the weather is nice out it plays out of every other car with the windows down. He sounds like a cartoon character in the best way and the Murda Beatz production is insanely addictive. I still listen to this song about six times a day.

 

The track I wish I’d signed to my label
Evian Christ: Fuck It None of Ya’ll Don’t Rap

 

 

I was one of the first people to message Evian Christ and couldn’t stop listening to his songs. I asked him about releasing this record but Tri Angle Records beat me by a few days. But honestly I’m glad Tri Angle did it because they really did that record justice.

 

The track I’d play to show off my eclectic tastes

November Növelet: Free

 

 

I feel like I gave up the idea of musical listening habits as a badge of cool a very long time ago. When I speak to someone and they only listen to a handful of genres I’m baffled and frankly a bit worried for them. But I guess in my DJ sets people would not see a cold synthpop track coming.

 

The track that got me out of bed this morning

Abra: Pull Up

 

 

I usually have one song that I wake up with in my head that I need to hear as quickly as possible, and it’s this right now. How can my day go wrong?

 

The track that should have been a crossover hit

Tiga: 3 Rules

 

 

I’m the biggest Tiga fan. Obviously making dance music and coming from Montreal I owe a lot to him but also I really enjoy how he’ll inject humour into a world that often so desperately needs it. I wish this became a fondly remembered dance classic.

 

The track I’d play at sunset in Ibiza

Denis Sulta: Nein Fortiate

 

 

I feel like I have no read for what “Ibiza” means now. Is it still dudes in Rick Owens drinking sake playing sub-120bpm lounge tech house or has it gone full EDM? This is more of a 6am keeping the vibe alive record but I feel like end of day Ibiza might be a similar mindset.

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