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For Railford, there's more work to be done and he'll continue spreading the word with both microphone and megaphone. (Sample cut: "Most BLM protests were people / Predatorily arrested / Felonies for yelling in the street / Instead of misdemeanors.") Railford, who's been performing since 2005, told the Arizona Republic in July his rap career helped him segue into being an activist, and both pursuits ultimately have the same goal: working to inform others about social ills like police brutality and systemic racism. As rapper Roqy Tyraid, he dexterously spits lyrically complex flows in weekly Twitter videos calling out local cops for brutal tactics and politicians for misrepresenting his group and Black Lives Matter protesters as criminal gangs.
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As an activist and community organizer, he's wielded a megaphone while participating in dozens of protests since the murder of George Floyd in 2020 and is a founding member of anti-police-brutality organization W.E. Local rapper Jacob Railford fights for social justice and civil rights in the streets and behind the mic. This is pop music for a new, more strange world, and we should all be thankful for Evans' guiding presence in it. The album itself doesn't just celebrate the great music of yesteryear, but tweaks and evolves it in real time to present something that's otherworldly and beguiling without losing any relatability or playfulness. It's as if Evans himself is captaining an interdimensional tandem bike to take us through the pop sphere, pulling at bits of melody and romantic energies to delight and amuse along the way. It's how Evans and his collaborators spin in strands of psychedelic, baroque, and '60s pop to make something far more groovy than the sum of its catchy parts. What makes this 10-track LP so magical isn't just the gimmicks, like "songs within songs" or some kind of nebulous story or concept. The excellent Diamond Destroyer of Death, which New Times deemed a standout in the first half of 2021, is a totally sweeping pop record. ROAR frontman Owen Evans is somewhat soft-spoken in person, but don't mistake that for a lack of ambition or artistic confidence. The band is the best example of the "'80s but make it modern" vibe that a lot of local acts put out these days, and although we're still waiting for a follow-up to their 2019 album, Popular Confessions, we can sustain ourselves by seeing them at venues like The Rebel Lounge and listening to songs like the quasi-title track "Pop Confessions." Back when the album came out, synth player Patro Gaston told us the song is about "how it feels like the world is nearly going to end, but it's okay to let go and enjoy life anyway." Sounds like the perfect music for 2021. Sounding a bit like Duran Duran and a bit like The Killers, Paper Foxes don't trade substance for style rather, the slick synths and angular guitars draw you in so you can get hit with the lyrics, which are often about heartbreak, political turmoil, and the like. Their infectious blend of New Wave and disco not only packs shows Valley-wide but exemplifies the lively and joyous aspects of the local music scene. But Paper Foxes represent a choice that also feels properly aligned with Phoenix as a rich and vibrant city. It's difficult to say that any one band is a city's greatest musical asset - metro Phoenix teems with excellent, multi-genre artists.