Shan Vincent de Paul

Thousands of songs pass through our ears every week. That's not an exaggeration - DJBooth literally receives thousands of submissions. Most of that music blends into a mushy, indistinguishable middle, but every so often something truly catches not just your ear, but your whole being. You have to know more, hear more, and that was my reaction when I first listened to Sri-Lankin born, Toronto-based artist Shan Vincent de Paul. I couldn’t let him go. “Die Iconic” is that potent.

The video is two minutes long but it feels like a full-length picture. It’s so simple yet so dense. For two minutes, de Paul doesn’t even blink he just stares into your soul. The tear rolling down his cheek caps the powerful visuals off, but it’s the way the spit builds in his mouth that convinced me. You can’t manufacture that. That wasn't even spit, it was passion spewing up from his soul like lava. This was my introduction and I knew I had to hear and see more. Since there's no better way to hear an artist's heart than actually speaking to them, and Shan is all heart, I grabbed the buzzmaker for an interview.

"I didn’t expect it to be that emotional. The verse was fresh, it was literally a day old, and I was getting lost in it. The words started to hit me, myself. That line, “father picked da pistol up…” In my head I thought about how my parents have given up so much for me to do this and in an instant, my life flashed before my eyes. Not in a tragic way but almost like an epiphany. After, when I watched it, I said, “I don't think we can put this video out" Even for me, it was just way too uncomfortable. If I'm uncomfortable watching there's no way everyone watching it won't be, but the fact that I felt uncomfortable meant I had to release it."

That verse was a day old? That was one in one take? Shan revealed that they had additional takes after, but none carried the weight of that first go-round. Maybe that’s what subconsciously drew me in? When I write a very personal piece, I always hesitate. It can be hard to put yourself out there emotionally, to let people really see you, but the pieces that are the hardest to publish are often the ones that connect with people the most.

This isn't the only time de Paul puts himself on display on his new album Saviors. He also does it on "Buggin," but in a much more literal way.

"Buggin" is just as revealing and intimate, so much so he was sworn to secrecy. “My girl has told me never to speak on the making of that video,” he mentioned before risking a few nights sleeping on the couch to tell me more. “It's a different side. I wanted to do that because, how do you show your sexuality, the intimacy, without the obvious, without being cliche? A part of me wanted to see how far I could push YouTube's limits.”

Whether it’s a result of trying to push limits or stretch a budget, which according to Paul was definitely part of the equation, those two videos changed how I heard the song and how I saw Shan. That should be the mark of any artist. It takes that extra level of thought, the attention to detail, that makes something worth experiencing, and it's an artistic drive he learned from studying a wide range of influences, from Bjork to DMX, Public Enemy to David Bowie.
During our interview he constantly name dropped artists, breaking down their songs, albums and styles. Our interview turned into two music nerds talking shop, but you don't need to speak to Paul to hear his passion for the arts, it’s already in his music. "Humble" is a vivid, colorful track, which is actually an ode to West Coast rappers. It has that bounce, but the energy is different from any Nate Dogg hook I've ever heard. And then there's "Church," which defies classification. Though it’s been on endless repeat for a few weeks now, I’ve yet to be able to calculate just what it is. His fire and growl scream hip-hop, but that beat is anything but.

Saviors is such aneasy listen that you can easily overlook how diverse it is. It’s only when you break it down, picking out all the songs one by one, that you begin to appreciate each of them more. Speaking with the man I could tell this stems from Shan’s unflinching love of music.

"I study a lot of different kinds of music. Even if I don't like the type of music I’m listening to, I study it to find why people would connect with it."

I worried that writing "he loves music" sounds overly generic, but that was the biggest takeaway from our conversation. His love fuels him, makes him want to reach as many different kinds of people as possible. His love fuels his quest to compete with everyone else making music. His love of music is what makes Saviors an album worth your time.

Interviews are often the best way to get to know an artist, their true selves being no longer masked by branding and calculated 140 character tweets. The artist only lets us in as far as they choose; sometimes even that's a skewed reality. When you actually talk to someone though, human to human, you have a real shot at learning where their heart is at, you can try to separate the artist from the person. But with Shan Vincent de Paul I'm not sure there is a separation, he is his art, and Saviors is the man in musical form. - DjBooth

Sri Lanka born, Toronto-based Shan Vincent de Paul has impacted the 6ix greatly with his brand of innovative musicianship. Today, we’re excited to showcase his new work, “Humble,” which is pegged to his debut album, Saviors.

After gaining traction in the industry with songs such as “Die Iconic” and “Thank God,” Shan Vincent de Paul puts his eclectic sound and look on full display. A refugee from civil war, SVDP fled his native land with his family, eventually emigrating to Toronto where he’s now based. We spoke with the inspiring innovator about the origins of “Humble,” of which he said, “This is my ode to the West. I grew up studying the Hieroglyphics crew, Kurupt, DJ Quik, E-40, Ras Kass, The Pharcyde and that entire movement.”

SVDP routinely explores themes like religion, spirituality and culture, yet on “Humble,” he channels Miles Davis and Kanye West in offering some really dope lyricism. “It wasn’t until I delved into West Coast music that I learned how fearless and free you could be with style and cadence. You can’t deny the funk,” he told us exclusively. SVDP is a perfect example as to how cultural influences, no matter where they originate from, can mix and mingle to create an unique take on style and sound.

Check out the fourth single from Shan’s debut album, Saviors, which will hit stores on April 15, 2016, and is available for pre-sale now. You can listen to the captivating track, “Humble,” below! - Okayplayer

Without competition, rap would be boring.

On “Symbiotic,” Shan Vincent de Paul explores the importance of rivalry in hip-hop. "As tiring as the whole bravado angle can get, there's still something to be said about the competitive nature of rap culture,” he told Complex. “It's almost as if we depend on our competitors for the growth and evolution of our own art. It's a very symbiotic relationship in that sense.”

Overtop of a sparse, electronic instrumental, the Toronto rapper spits frenetic bars and clever subliminals aimed at anyone who might dare to doubt him. He relents only for a melodic, vocoder-induced hook, while tuneful 808 stabs take the listener somewhere altogether different for the outro. Whether it was intentional or not, the union of melody and aggression on this track is another symbiotic relationship brought to life.

Fittingly, Shan has found collaborators and motivators in the Sideways collective, alongside Coleman Hell, Micah, and the producer of “Symbiotic,” LA+CH. Sideways handles every aspect of their creative endeavours, from songwriting, to production, to design and execution. The level of talent in this group pushes its individual members to strive to better with every release, so you’d better keep an eye on them—they’re about to make some major moves in Toronto and beyond.

Listen to “Symbiotic” by Shan Vincent de Paul below, and stay tuned for the upcoming EP Trigger, coming this fall. - Complex

Sri Lanka-born, Toronto-based musician Shan Vincent de Paul is readying his debut full-length Saviors for release this week, and Exclaim! is giving you a preview of what's to come with the exclusive premiere of album cut "Church."

The hip-hopper and his family fled civil war at home, establishing new foundations in Toronto — where he's carved out his own spot in the artistic fabric of Toronto. Working alongside La+ch, Coleman Hell and Michah, Shan Vincent de Paul creates music as one quarter of the city's Sideways crew, though Saviors finds him stepping up to take his own share of the spotlight.

"Church" blends a psychedelic electro beat with a hazy, infectious hook and quick, articulate verses, making for a slick track that breaks down the walls between hip-hop and R&B, with an electronic undercurrent bubbling beneath the surface.

"I was listening to a lot of Brazilian artists when writing this one," he tells Exclaim! "I wanted to capture that playful rhythm you find in South American music but translate it into rap cadences. It's like Jorge Ben meets Pharcyde meets N.E.R.D. It's also a nice break from a lot of the heavy hearted stuff I'm doing on the project, a needed balance."

Listen to the eclectically inspired new track in the player below.

Saviors is officially out on April 15. - Exclaim!

Toronto-based rapper, Shan Vincent de Paul shot his music video for “Die Iconic” in a single take. Once you watch it you will understand the full impact of that achievement. It’s no small feat. He puts himself on display and doesn’t back down from the camera’s unrelenting gaze.

The video carries the weight of the world on its shoulders, attempting to send an endless barrage of wordplay at the viewer. As with any song that crams so many words into such a short time frame, the lyrics have their highs and lows. But the highs reach an impressive altitude. With turns of phrase like, “I’m no saint, but I can’t run from my birth name, so I duct tape my halo,” it’s easy to be impressed.

But to me the lyrics lack impact in comparison with his unblinking and urgent delivery. He conveys a primal desire to be heard and understood. That is where the true power of Shan’s music lies and this video perfectly captures that.

“Die Iconic” is the first single off of his upcoming album Saviors, which is set to release in spring of 2016. If this video is any indication we will have plenty to be thankful for come this spring. - MilkCrater

Hip-hop and electronic music have been the two leading genres during the augmentation of internet entertainment, and the two have been expected to conjoin themselves with great anticipation. However, I myself have not seen the experiment succeed in endless attempts over the last few years, first with emcees like Sammy Adams and then to "here and there" drops of electro in big name (yet shameful) artists like Pitbull and Flo Rida. I never thought I would mention their names here, but Shàn Vincent de Paul makes these dudes tremble with his properly executed electro mesh with La+ch.

"Some Girls" isn't just an excerpt of modern production with a verse recorded over it, it's a collaboration between lyricism and production. There are moments the song turns corners into new breakdowns, but the overall performance of the two musicians is unmistakably collaborative just upon a meer first listen. I shared La+ch's new single "Nights" at the beginning of this month, but it's always enjoyable for me to see my favorite producers team up with worthy emcees.

Take a listen to Shàn Vincent de Paul's new track "Some Girls" now, and step into the new wave of electro-hop.

Read more at http://earmilk.com/2014/10/13/debunk-old-trends-in-shan-vincent-de-pauls-some-girls-prod-by-lach-download/#Q5fCzRX4LDkgyKfP.99 - Earmilk

Shan Vincent de Paul
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Shan Vincent de Paul – Water Water, Money, Power
By Brandon Howard @BrandonHoward_ · On September 28, 2015

The Work of Art in the Age of Mechanical Reproduction can be a tricky task. From the time a piece of art was able to be mechanically and technically reproduced in mass for an economic end, artists have forever been struggling with the ethics and implications of art for commodity sake. Tom Wolfe addressed the idea of commodification of modern art in his book The Painted Word, discussing the cycle of commodification as first a “boho dance,” where the artist shows his work among his community as if not caring about museum curators or cultural elite. The “boho dance” leads to “the consummation,” where the culturati hand-pick the most exciting artists to shower “with all the rewards of celebrity.” Which is to say, in short, Wolfe saw the high-art community and the faux avant-garde postwar modern art movement as an elaborate dance between those pretending to care about their art and those willing to sell themselves for it.

In his self-directed video for “Water Water, Money, Power,” Toronto based artist Shan Vincent de Paul presents images of gluttony and commodification in a delicate, abstract manner (de Paul’s direction was influenced by filmmakers such as Michele Gondry and Wes Anderson). Issues of economic precarity are expressed through images of a man trapped in a fish-bowl being doused in gasoline, surrounded by a lavish but cavernous red shrine to material. The song’s production itself is minimal and free jazz inspired, drawing attention to de Paul’s emotive, clever voice. As if reading the title of the song wasn’t enough to solidify the anti-corporate greed message, the capturer’s dinner table is framed by a behemoth painting of Donald Trump. Artists all over the world are catching on to how our political system, built and influenced by mass amounts of lobbying and corporate election dollars, needs to get its shit together.

In one particularly jarring verse, de Paul raps over a sparse drum pattern and a flaring trumpet:

“It’s vital that we stay sharp now more than ever/ That’s the only way to stay afloat with the sharks in this industry with walls made of cardboard and feathers/ You can’t make out the source of the message/ From what’s paid for by corporate investments/ They’ll sell you a ringtone disguised in a song that comes with the lifestyle in the form of a beverage…”

The song doesn’t shy away from being overtly political in lyricism, even when paired with visual abstractions representing greed. Is it an elaborate “boho dance”? I don’t think so. Have a look for yourself. Shan Vincent de Paul and the SIDEWAYS crew are definitely artists to keep an eye on going into 2016. - 1833

In January, I first heard Shan Vincent de Paul’s music and I instantly became a fan. Four tracks later, I didn’t think it would be possible to love this man’s music more than I already did but then he dropped ‘Fight For Us’. I will admit, it brought me to tears because I feel his passion, his honesty, in the way he delivers each word. Shan Vincent de Paul will make you reflect on every aspect of your life with each track he releases.

‘Fight For Us’ goes out to his loved ones, those who’ve stood by him through thick and thin. As Shan says…

“This is a song giving praise to the people closest to me. The first verse is for my daughter X and the
second verse is for my sideways brothers. All of us have family, most of us have close friends and a few of us are fortunate enough to have saviors. I wrote this for them. The ones that have seen me at my worst and gave me light in my darkest hours….my saviors.”

Shan is 1/4 of the sideways crew, a group of like-minded artists operating out of a Toronto West End studio who handle everything from songwriting and production to art design and videos. - Music is My Life

From his upcoming debut album, Saviors, Toronto’s Shan Vincent de Paul has released the deeply personal single, Thank God. Drawing inspiration from his complex and troubling relationship with religion and his ultimate quest for spiritual enlightenment, Shan Vincent gives praise to the progression he’s made in his journey. As he explained, “The church fucked up my relationship with god. I walked away from religion a long time ago and have no plans of returning. Now I wear the last name like an old scar. Making this album let me discover my own understanding of spirituality and finding that greater force. Thank God is a song giving praise to that discovery.”

Three years in the making, Savior is due on April 16th with help from fellow sideways member, La+ch. Look out for it and watch the passionate video for the first single, Die Iconic, down below. - OhEsTee

Why do we like this?

Toronto's Shan Vincent de Paul is such a mind bending maelstrom of cultural and musical influences, I wasn't exactly sure how to describe his artistry at first. He combines his Sri Lankan background with pieces of modern music and film to create a enthralling and unprecedented patchwork of creative expression.

Radical and raw, Shan asserts his dominance on "Fight For Us," a track dedicated to his loved ones and support system. In his words:

"This is a song giving praise to the people closest to me....All of us have family, most of us have close friends and a few of us are fortunate enough to have saviors. I wrote this for them. The ones that have seen me at my worst and gave me light in my darkest hours...."

With the storytelling abilities of J.Cole and Atmosphere, the passion of Sadistik and crisp, dynamic production courtesy of La+ch, Shan spins an emotive and innovative hip-hop track. He also matches his musical talents with a striking and vibrant aesthetic. While there's no official video for "Fight For Us" yet, check out the killer one-take "Die Iconic". - Indieshuffle