The Other Side of Tomorrow
Slakah the Beatchild has made such an impressive impact on the Canadian urban music scene these past few years that the long awaited offering from his alter ego, the Slakadeliqs, will likely be perceived as a sharp left turn. Although awash in folk, '70s rock, new wave and psychedelic influences, The Other Side of Tomorrow sounds as far from a gimmicky or indulgent side-project as is possible. What's remarkable is how flawlessly the Sarnia-born and Toronto-based producer/singer integrates these diverse sonic flourishes into a cohesive, organic and, yes, soulful whole. "Dear Lucy" has an uplifting funk/rock drive, seasoned with touches of flute and spacey synthesizer, while the cosmic "Love Controls the Sun," featuring Justin Nozuka's rich vocals, recalls the folksy warmth of Terry Callier before bursting into a rambunctious, bouncy groove, replete with a cabinet shaking thump and sing-along chorus. The acoustic, sunny duet with Tanika Charles, "Everything For Nothing," has an irresistible charm that perfectly condenses the album's feel-good vibe. On par with Slakah's previous offerings, Soul Movement Vol. 1 and Something Forever, The Other Side of Tomorrow is a fresh, funky and feel-good release that markedly raises the bar for Canadian soul music in 2012.
How would you describe this album's sound?
It's a fusion of classic rock influences: the Zombies, Neil Young and also a mix of sounds from groups like the B-52's, the Beatles and Lenny Kravitz. I hear so many different things from people who have heard the record. I was trying to go universal; I wasn't trying to pigeon-hole myself into a sound, I just wanted to make music that anyone can relate to no matter what genre of music they listen to.
Tell me about your alter ego, the Slakadeliqs?
The name came about from a fellow artist who came into the studio and she looked at me and went, "slakadeliq" [laughs]. I'm a fan of '70s music and the whole psychedelic sound. I thought that was a cool combination of words. We're forming the band right now. I did all the instruments on this album except for strings and flutes.
What was the inspiration for the title?
I'm being a little more experimental; I'm going to have a different outlook and different fans based on the sound. It's going to be a different tomorrow after you hear the music, a different experience then the one you're used to.
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