THe LYONZ (Anthony Salvo, Terrell McLeod Richardson) sprouted out of Montreal’s 17th century cobblestones in 2013, nourished by the city’s unconventional perspective on what it means to be North American. The pair’s broad musical background and deep appreciation for all art relieve listeners trapped in an era of factory-farmed beats and cosmetic verse. Salvo’s lust for electro-acoustic composition—often scrapping the 808 to record sounds organically—and Richardson’s cascading melancholy verse (Marty McFly, T.S. Eliot) redefine what we talk about when we talk a hip-hop duo. The problem with the market for all art, these days, is that it is one of over-saturation and shallow standards—it leaves little space to account for brilliance. The beauty of THe LYONZ is their capacity to make that space their own and create something truly worthwhile.