Music Interview | posted 30.04.2020
Quelle Chris
Accepting the chaos
He’s the most prolific oddball of the rap underground. And he’s on fire. With »Innocent Country 2« Quelle Chris follows up on his groundbreaking record »Guns« and a process where hopelessness is contradicted by accepting a surreal anxiety.
Text Christoph Benkeser
Quelle+chris+portr%c3%a4t

»It’s a moment for music to assume its highest form as a healing art and a refuge from chaos«, the liner notes for rap-oddball Quelle Chris’s latest record »Innocent Country 2« states. Whereas that’s true for most of the music Quelle Chris has released so far, it’s also a moment where the world as we know it collapses — bringing something forth that’s hard to see when standing in the eye of a storm: acceptance of a situation which seems to be without alternative. »Innocent Country 2« is both the continuation of a fucked up situation and the antidote to it. It’s the light at the end of the tunnel and the headlight of another train approaching, a hopeful soundtrack in a hopeless moment of time — right when we need it the most.


You can find the Vinyl Records of Quelle Chris in the Webshop of HHV Records


»Innocent Country 2« is the most positive and pop savvy record I’ve heard from you since »Ghost at the Finish Line«.
Quelle Chris: Isn’t that ironic?

Yeah, I’m curious how this transition has happened.
That’s a tough question, really, because the album has two points of dark comedic hindsight. First, I was at a point starting to actually see some sort of progress in my career. I finally had my own tours as a headline act. Things were just falling into place. It’s been ten plus years of just straight up non-stop grinding without other jobs. But it has all started to come together. I’m sure that played into the positivity of the album. At the same time the things that seemed to come most to fruition were the negative things anyway. The undertone of »Innocent Country« is like Murphy’s Law. Basically I look up and things are gonna suck balls.

Still, the album sounds like an antithesis to its predecessor. Gone is the hopelessness you conveyed on Part 1, gone is even the anti-everything-vibe of your last record »Guns«. Where does this regained optimism stem from?
The hopelessness isn’t gone. It’s just more of an acceptance of it. There is acknowledgement that shit is fucked up, you know. But hey, what are you going to do about it?

I don’t want to sound cynical, but is it a good starting point for you to be creative?
You find yourself having creative thoughts all the time acting upon them. But is it in any way an equal or better time — definitely not for me. I was supposed to be out there this month, all my tours are canceled and shit. What’s next career wise? This is not just a hobby for me. This is my career. It’s very daunting. You have to replan your entire life let alone your year. When you take that into account, making something out of this situation is not really happening. Right now, priority is the safety of my family.

The name of the album suggests a continuation of »Innocent Country«. Is the situation we faced with Part 1 just going to continue in different situations?
It’s like this »Groundhog Day« thing. Shit is going to continue to be fucked up because there’s always going to be negative energy. The question is: How do you manage to acknowledge the positive in it? »Innocent Country 1« was more like managing it by throwing your hands up and go like »fuck it« whereas Part 2 is throwing your hands up and be like »yay«. To be honest, I don’t know if either is good.

As you speak of acceptance — where have you found it?
You write things and it has a purpose at that time. And its purpose shifts and evolves as the album comes together and life continues. I think making the record was part of the process. After all the things that happened and were around it during the making of it have a strong impact on the acceptance of our situation. It’s like unloading a lot of old baggage. Sometimes there are very weird relationships that go on with the creation process — weird realities, you know. Where it’s like »I love doing this, but I don’t feel like doing it right now.« It’s the combination of all these things that lead up to the songs.

»Innocent Country 2« is the fourth record on the »2Dirt4TV« series you’ve initiated with an EP in 2012. Can you tell me a bit about »2Dirt4TV« and what’s the difference behind it to the usual Quelle Chris release?
The name came up when I was kicking it with Dibia$e for the first »2Dirt4TV« EP back in 2012. I was in Sacramento and he hooked me up with one of his extra rooms. We sat in there for one week and worked out the album. We joked a lot and at some point the general idea that it was »too dirt for TV« came up. The series started to take place going from there. Basically, its theme is that one other person, another entity is handling the production. The first one was Dibia$e, the second one was »Niggas Is Men« which was all produced by Messiah Musik with a couple of joints and some co-production by me. The next one was »Innocent Country« with Chris Keys. And now it’s this one with Chris again.

As with Part 1, Chris Keys plays pretty much all the instruments on the record. How did you first meet Chris?
I met him some years ago in Oakland. He was working on a project with Roc Marciano and I was kicking into Roc a lot during that period of time — he’s an amazing brother and clearly one of the most talented MCs we got out there. So Roc introduced me to Chris. We got into talking about making an album together — the start of a very long process which ultimately turned out to be »Innocent Country« years later. In that process we became close friends and formed a somewhat Dragon Ball Z-ish synergy. The communication and the give-and-take became more and more fluid. The rest is just history (laughs).

»The hopelessness isn’t gone. It’s just more of an acceptance of it. There is acknowledgement that shit is fucked up, you know. But hey, what are you going to do about it? « (Quelle Chris)

You’ve mentioned that the production for the first »Innocent Country« record had started years before it came out in 2015. Now some years have passed between Part 1 & 2 — when did you had the idea of making a sequel?
The continuation just came along. There are other projects where you won’t see all the way through for years, you know? With this it was different. I had a show at Oakhella festival in Oakland. At that moment, I already had another project coming along. I hadn’t necessarily started physically working on it, but while I was there I met Chris and he played some joints. It just felt right. The first ones were probably sketches of »Mirage« and »Horizon«. So we were bothering the idea of hitting a sequel to »Innocent Country«. When I came back to New York I listened through Chris’ joints. At this moment I decided that all the other project have to wait. I wanted to focus on »Innocent Country 2«. As you said, Chris was playing all the instruments. It really was like on »Tubular Bells« by Mike Oldfield — one of my favorite albums — where the jacket lists the instruments and there’s Mike Oldfield, Mike Oldfield, Mike Oldfield.

Speaking of Mike Oldfield, what makes »Tubular Bells« so special for you?
You can find a lot of little of nuggets in there. It’s such a journey because it’s visual with its complexity lying in its seeming simplicity. I had fucking good times listening to this record.

A track that really stands out your album is »Sudden Death« because it’s so different to what you’ve done before. Very melodic, very song-like. How did you end up going in this direction?
»Sudden Death« stands in the vein of projects I’ve been doing since the early 2000s called Awesome in Outer Space. There’s three of those. The first one was »Songs About U«, the second one was »Little Sun« and the third one was »Bones for Girls« which is still on Bandcamp, but the record’s not so much about singing (laughs). Honestly, I don’t get to do it too often even if I’ve always had songs, you know. Usually I get to find a good place for them.

Another killer is »Mirage« with features by Earl Sweatshirt, Merril Garbus and Demark Vessey. In the outro Big Sen issues uncertainty and the need for art — which comes across both dystopic and perfectly on point to our current situation. Can you tell me a bit about the production of »Mirage«?
It was one of the first joints that we started. A lot of the times, Chris will do something very short. He gave me a 20-second clip of it, and I was »Yeah, we got to flesh this out«. He then gave me a couple different ranges, different keys — and I just started writing. By that point I knew I wanted to have Earl and Denmark on it. So on the same day I texted both of them and sent them the joint. I contacted them early because I knew it would take the longest — them being birds of a feather, you know, when someone asks me to do something, it’s the part that always takes the longest. I went back to Oakland a second time to continue working with Chris in the same room. Merril was coming through because she wrote the chorus for »Graphic Bleed Outs«. While she was there that day, I thought of having the kind of constant singing in the back of »Mirage«. I laid down some roughs and Merril came and put me to shame (laughs). In the meantime, Earl sent his verses, so we pieced that together. Just as we were rounding home Denmark came through with a killer verse. It’s my second favorite verse on the album.

What’s your favorite verse?
Starr Busby’s verse on »Make It Better« is just … goddamn .. it’s killer!

Quelle Chris & Chris Keys – Innocent Country:Season 2Blue Vinyl 2LP | ● Vinyl 2LP | ● CD Speaking of killer — on »Innocent Country« you had this drawing of comic figures stabbing each other and themselves, whereas »Innocent Country 2« comes with shapes and colors of clouds and also this silhouette of an orange with a cigarette. What do you want to convey with the cover?
Prior to the idea with the orange, I used to draw these characters. One of them has looked like Tropicana Orange (orange juice with a picture of an orange with a straw). One day we were kicking it at the studio and Chris was like, »you know that the album cover should be? It should be just an orange, but instead of a straw with a cigarette bud coming out of it.« Of course there’s a lot you can read into it. I’m not even gonna try to bore because the imagery speaks for itself. But then my homey Skor Rokswell came through with the calligraphy. We were playing around with it, trying to make it look like subtitles to a movie at the forum. Up until that point I was still iffy about all of it — I clearly wanted the orange with the cigarette, plus me and Chris had already aligned and shook hands on that. Once the black layout came into being, it felt like the opening to a film I wasn’t really sure I knew much about but wanted to know more about.


You can find the Vinyl Records of Quelle Chris in the Webshop of HHV Records

Your Comment
Related Articles
Music Review | posted 16.11.2011
Quelle Chris
Shotgun & Sleek Rifle
Detroit has been a great place for raw MC’s and producers to develop. After Guilty Simpson and Danny Brown Quelle Chris is the next proof for that.
Music Review | posted 25.03.2011
Apollo Brown
Clouds
Apollo Browns most recent oeuvre holds the tradition of old Hip-Hop beat tapes.
Music Review | posted 15.04.2011
Has-Lo
In Case I Don't Make It
Has-Lo proves on his debut that he’s capable of painting musical pictures that are getting stuck in the listeners’ heads.
Music Review | posted 22.05.2011
Oddisee
Odd Seasons
With 31 enormously diverse tracks, on Odd Seasons Oddisee leads us through Spring, Summer, Autumn and Winter .
Music Review | posted 18.09.2011
Oddisee
Rock Creek Park
Rock Creek Park is a nostalgic soundtrack of the summer and an ode to the park of the same name in Washington, D.C.
Music Review | posted 18.10.2011
Hassaan Mackey & Apollo Brown
Daily Bread
Apollo Brown is teaming up with the rapper Hassaan Mackey. Those in favor of a souly kind of Hip Hop will be well entertained.
Music Review | posted 17.10.2011
DTMD
Makin' Dollars
DTMD are presenting a very relaxed sound on their debut, inspired by Pete Rock and Jazzy Jeff.
Music Review | posted 06.02.2012
yU
The Earn
Thoughtful and independent is the rap-music by yU. It’s worth taking a closer look at what’s happening in Washington, D.C.
Music Review | posted 09.03.2012
Sean Born
Behind The Scale
Together with a big part of the Mello Music Group’s artist-repertoire, Sean Born has created an album that’s yearning for the spring.
Music Review | posted 03.04.2012
Apollo Brown & O.C.
Trophies
On their first collaboration, Apollo Brown and O.C. deliver a quality team-play.
Music Review | posted 24.09.2012
Oddisee
People Hear What They See
»People Hear What They See« focuses on musical and textual standards which clearly value timelessness more than zeitgeist.
Music Review | posted 06.11.2012
The Black Opera
Libretto: Of King Legend
You could call it worldmusic 2.0. You could also label The Black Opera’s music as the HipHop of the future.
Music Review | posted 06.11.2012
7even Thirty
Heaven's Computer
»Heaven’s Computer« is no moon landing, but can be compared in it’s solidity to a musical sky dive from the stratosphere.
Music Review | posted 12.11.2012
Apollo Brown & Guilty Simpson
Dice Game
The Brown/Simpson-axis harmonizes with traditional sample-aesthetics and the classic MPC-arrangements in the style of 1993’s RZA-school.
Music Review | posted 22.05.2013
Ugly Heroes
Ugly Heroes
No other than Apollo Brown is hiding behind the alias Ugly Heroes, providing Red Pill and Verbal Kent with some of his best beats.
Music Review | posted 24.10.2013
Oddisee
The Beauty In All
»The Beauty in All«, Oddisee’s seventeenth (!) release, renders homage to the beauty of the imperfect.
Music Review | posted 05.05.2014
Apollo Brown
»Thirty Eight«
Apollo Brown’s »Thirty Eight« proves that it only takes a bit of oil and polish to make the wheel run smoothly again.
Music Review | posted 09.10.2014
Apollo Brown & Ras Kass
Blasphemy
On »Blasphemy«, Apollo Brown proves together with Ras Kass that a failing rap star’s ultimate hideaway lies within the surroundings of soul-samples.
Music Review | posted 29.04.2015
Red Pill
Look What This World Did To Us
Disarming honesty and a warm soul-bap-background: Red Pill‘s »Look What This World Did To Us« comes with laid back working-class rap.
Music Review | posted 15.05.2015
Oddisee
The Good Fight
With his lyrics, Oddisee refrains from all the rap-clichés. »The Good Fight« remains light-footed and catchy at all times.
Music Review | posted 13.03.2012
Gensu Dean
Lo-Fi Fingahz
Gensu Dean brings together rap heroes of the nineties for his classic boom bap sound. The potential of this get-together hasn’t been used though.
Music Review | posted 30.11.2010
Kanye West
My Beautiful Dark Twisted Fantasy
Kanye West returns to his root-skills, places his bets on big Pop-moments and thereby takes one or two steps forward again.
Music Review | posted 10.03.2007
Evidence
The Weatherman LP
Less nostalgia, more willingness to take risks without leaving his own neo-classical niche: hating Evidence has become uncool again.
Music Review | posted 14.06.2007
Pharoahe Monch
Desire
Those who’ve heard the Monch’s flow would buy any album on which he just raps.
Music Review | posted 01.11.2010
Maxmillion Dunbar
Cool Water
Slow Motion House? Cosmic Boogie? All is possible, nothing is carved in stone. But we are astonished by one of this year´s best albums.
Music Review | posted 04.05.2011
Kaimbr & Kev Brown
The Alexander Green Project
Al Green samples with good ol’ Hip Hop beats and Old Schol flows: a placid Rap-album for a relaxed bounce-along.
Music Review | posted 23.04.2011
Visioneers
Apache/Shaft in Africa
Marc Mac has blown the dust off two timeless classics and lets them shine in a funky B-Boy-manner just like in their old days.
Music Review | posted 27.04.2011
Blueprint
Adventures In Counter Culture
Blueprint re-discovers synthesizer, rock and HipHop. His album Adventures In Counter Culture totally lives up to its name.
Music Review | posted 06.05.2011
Blitz The Ambassador
Native Sun
Native Sun is a Rap-album deep down inside, gaining its cheerful lightness through the exotic harmonies from Blitz’es home country.
Music Review | posted 09.05.2011
Atmosphere
The Family Sign
The Family Sign is almost a concept album, leaning towards blues, while only bearing little resemblance to Ant’s production-experiments…
Music List
Record Store Day 2020 – 2nd Drop
Another 12 releases you should look out for
On September 26, 2020 the second of three Record Store Days this year will take place. More than 150 exclusive releases have been announced. We have picked out twelve vinyl records that we would like to recommend to you.
Music Portrait
Melody As Truth
On the threshold of sound and silence
With his label Melody As Truth, Jonny Nash moves between balearic and ambient. The journey leads from new age to a new art of world chamber music.
Music Interview
Kelly Lee Owens
»We store emotions in our body«
The Welsh musician released her second album »Inner Song« which wipes tears from cried-out eyes with one hand after the closing set while opening the window into everyday life with the other. A conversation with Owens about rave memories, trauma sessions and her challenge with Four Tet.
Music List
Harmonious Thelonious
10 All Time Favs
With »Plong« Stefan Schwander shakes the foundations of club music. His new solo album as Harmonious Thelonious lets everyday noises develop an eerie life of their own. He told us which 10 records have have shaped, improved and formed him.
Music List
Record Store Day 2020 – 1st Drop
12 vinyl records to look out for
On August 29, 2020 the first of three Record Store Days will take place this year. More than 350 exclusive releases have been announced for this event alone. We have picked out twelve records that we would like to recommend to you.
Music List
Jonathan Bree
10 All Time Favs
Jonathan Bree hides his face behind a latex mask. Well, right. But that’s not the most remarkable thing about the new zealander. Because he is first and foremost a first-rate songwriter. He told us which 10 records have shaped, improved and formed him.
Music Portrait
Light In The Attic
Everything Is Illuminated
For almost 20 years, the Seattle-based record label Light In The Attic has been shedding light on those releases that have been in the dark. The fact that they focused on vinyl right from the start, today the label is considered a pioneer.
Music List
Jay Glass Dubs
10 All Time Favs
»Soma« means »body« in Greek and that’s who the music of Jay Glass Dubs is aimed at. »Soma« is also the name of his new album. This was the chance to ask the Greek musician for 10 Vinyl records that formed him. He answers in, well, Greek.
Music Portrait
WeWantSounds
Contagious passion
WeWantSounds has been publishing music from the 1970s and 1980s since 2015. The name of the label is a catchphrase. When the Parisian two-man company selects the reissues, genre and country borders don‘t matter.
Music Essay
Baltic & Finnish Jazz
Removing Boundaries
While jazz from London to L.A. is evolving a fresh pop sensibility or even tries to update the fusion heritage, cool flavors between new blood and nostalgia are cultivated on the shores of the Baltic Sea. Here the genre is cosmopolitan as well and yet totally distinct.
Music Portrait
International Anthem
In search of the truth
For six years the label International Anthem from Chicago has been reliably delivering jazz with their own attitude and idea. Although the founders refuse to be ascribed almost any kind of attribution to a genre. For them, the most beautiful sound is just always: the truth.
Music Portrait
We Jazz
With emphasis on We
We Jazz, that stands for edgy, surprising jazz from the north. And also not. Since 2013 the festival has been held in Helsinki, since 2016 the label was founded. Matti Nives mainly publishes Finnish bands there. And acts as one of the most important networkers of the local scene.
Music Portrait
Roy Ayers
Warm vibrations with universal attraction
The American vibraphonist, singer, songwriter and arranger Roy Ayers is one of the most sampled contemporary musicians. With songs like »Everybody Loves The Sunshine«, the soul jazz legend, which celebrates it’s 80th birthday in September, became the main inspiration for Acid Jazz in the late 90s. His new album “Roy Ayers JID 002” on Jazz Is Dead with Adrian Younge and ex-ATCQ producer Ali Shaheed Muhammad continues his golden period of the Polydor years in the 70s seamlessly.
Music Interview
Gary Bartz
»We no longer see reality«
The Grammy-winning soprano saxophonist shared the stage with Miles Davis, Art Blakey and Max Roach. Now he has recorded an album with British outfit Maisha — and discovered something new.
Music Portrait
Dekmantel
Infinite Holidays
For the better part of a decade now, the Dekmantel imprint from Amsterdam is successfully squaring the circle as label, festival and promoter of several events: Connecting innovation and underground with a quality standard that is by now globally recognized without failing its aspirations. An end? Even in times of crisis far away.
Music List
Rafael Anton Irisarri
10 All Time Favs
Ambient? Maybe. But with splinters of metal, neo-classical and other stuff. Rafael Anton Irisarri paints overwhelming sound paintings with thick brushstrokes. For us the American composer has revealed his influences.
Music Portrait
Muriel Grossmann
Abstraction with a sea view
Saxophonist Muriel Grossmann reaches abstraction on the Balearic Islands, rides the waves with hard bop and even amazes billionaires with standards. Who is the secret pioneer of the spiritual revival?
Music Portrait
Roza Terenzi
Rave in a time capsule
Roza Terenzi turns past rave days upside down and brushes it with jungle breaks and techno cuts. On »Modern Bliss« she finally ends up in the future.
Music Portrait
Soviet Grail
Collective memory
Amid jazz experiments, electronic brutalism and psychedelic underground, Sergey Klimov digs for treasures for which musicians ended up in prison. With Soviet Grail, the Russian label boss traces the history of Soviet music.
Music List
ADULT.
10 All Time Favs
ADULT. have been making music for more than 20 years now. And they still don’t want simple attributions, sunlight, self-deception. Instead they wanted to call us records, which they shaped, improved, formed.
Music Interview
Quelle Chris
Accepting the chaos
He’s the most prolific oddball of the rap underground. And he’s on fire. With »Innocent Country 2« Quelle Chris follows up on his groundbreaking record »Guns« and a process where hopelessness is contradicted by accepting a surreal anxiety.
Music List
Peaking Lights
10 All Time Favs
In these days the new album «E S C A P E» of the Peaking Lights is released on Dekmantel. We had the opportunity to ask Aaron Coyes and Indra Dunis about 10 records that they have shaped, improved and formed.
Music Portrait
Patricia Kokett
Part of his own Movement
Patricia Kokett blends rave with mysticism, futuristic industrial with shamanistic noise, the spirit of Coil with imaginary records from Kompakt Records. The music of the Lithuanian producer Gediminas Jakubka, who turns into Patricia on stage, balances between borders. An attempt at orientation.
Music List
Jeff Parker
10 All Time Favs
The guitarist Jeff Parker is no newcomer to the music scene. And yet you get the feeling he’s just starting out. But he already wrote music history as part of Tortoise. Now his new album »Suite for Max Brown« has been released on International Anthem. For this occasion we have asked Jeff Parker to choose 10 records that have shaped, improved and formed him.
Music Portrait
Kalahari Oyster Cult
The best of all possible worlds
Diving for pearls in the mud, tracking down rave classics from the nineties and working with producers for whom it doesn’t matter if the record ends up in the Beatport charts: Colin Volvert’s label Kalahari Oyster Cult mixes up the underground with its DIY ethos.
Music List
Malcolm Catto of The Heliocentrics
10 All Time Favs
The Heliocentrics have just released »Infinity Of Now«. The album has the potential to inspire future musicians. Malcolm Catto, however, has first revealed to us the records that have shaped, improved and formed him.
Music Portrait
Mad About Records
Sinfully summery
With his label Mad About the Portuguese Joaquim Paulo takes care of the really hard to find records from Jazz to Bossa Nova. With success. We introduce you to the label in detail.
Music Portrait
Blackest Ever Black
Search for alienation
Among connoisseurs of fucked up, intoxicating sounds, the record label Blackest Ever Black was appreciated like no other. IAt the end of the year 2019 it was suddenly closed. We look back on a label that musically determined the 2010s like few others.
Music Comment
RSD Black Friday 2019
12 Vinyl records to look out for
We’ve browsed through this year’s list of exclusive Record Store Day Black Friday 2019 releases and put together a selection of twelve Vinyl records that we’ve identified as possible highlights.
Music List
Polish Jazz
An introduction in 10 vinyl records
The Polish jazz scene is considered one of the most important and creative in Europe. Today it oscillates between superficial conventions and hidden ruptures. A little search for clues.
Music Essay
Women Of Jazz
We Insist Female
Women in jazz are still not a matter of course. That has to change. For in the past, female musicians have had a decisive influence on jazz and the future is also in their hands.
Music Column
Records Revisited
Lootpack – Soundpieces: Da Antidote! (1999)
The breakthrough: »Soundpieces: Da Antidote« lifted the still young West Coast label Stones Throw from the circle of experts to the cult Olympus. Now the underground classic is 20 years old.
Music Essay
British Jazz
On The Hot Spot
Jazz in Great Britain is in the midst of a generational shift. New talents from Manchester to London are revising gridlocked listening habits and are testing the limits of the genre. But why now?
Music List
Record Store Day 2019
12 releases to look out for
We’ve searched through this year’s list of releases exclusively released for Record Store Day 2019 and put together a selection of twelve records that we’ve identified as possible highlights.
Music Column
Records Revisited
J Dilla – The Shining (2006)
»The Shining« was J Dilla’s first posthumous album. You get soul, you get funk, you get the tricky stuff, and you can also get this raw rap shit. You get the infinite forms of expression that J Dilla mastered. It’s a true classic.
Music Interview
Midori Takada
Deep inward scenerys
The exceptional percussionist Midori Takada gives us an insight into the recordings and circumstances of her masterpiece »Through The Looking Glass«, which is now re-released by WRWTFWW Records in cooperation with Palto Flats.
Music Portrait
New Record Labels #26
Parallel Berlin, Power Vacuum, Superfly und Super Rhythm Trax
Every month we introduce you to labels, which we recently included in our Shop and/ or the discovery of which is worth it! The chosen ones this time around: Parallel Berlin, Power Vacuum, Superfly and Super Rhythm Trax.
Music Portrait
New Record Labels #25
Bliq, Dub Disco, Ectotherm, and Jazzaggression
Month by Month we are going to introduce you to a bunch of record labels, which are new at hhv.de webshop and/or you definitely have to discover now. The record labels this month are: Bliq, Dub Disco, Ectotherm, Jazzaggression.
Music List
Acid Arab
10 All Time Favs
We ask musicians to list and comment on 10 records by which they have been formed, bettered and educated. This time, the production collective Acid Arab takes on the task.
Music Interview
Abra
Turnt Up Art Kid
Abra comes with the charisma, the talent and the looks to become one of the great figures of pop. At the same time she’s bizarre enough to be love by those who hate Spotify. For a long time she was just one thing for many: too bizarre.
Music List
Deadbeat
10 Canadian Favorites
Deadbeat is one of the musicians who carry the torch for contemporary electronic music from Canada. There are others, there have been others. In his list Deadbeats names them – plus influntial canadian musicians from other genres.