Memories of Love is a mid-tempo track that establishes Ha Phuong as a formidable performer. The look back towards the 1990s does Memories of Love well, as Ha’s vocals are able to rise and fall upon a supporting Latin/world-music beat. When Phuong moves into the chorus of Memories of Love, the presence of a secondary set of vocals is more than enough to keep the track energetic. Blending the pop style dominant in this single with a more rap-tinged flow keeps fan interest in the effort high until the track concludes.
Ha Phuong “Memories of Love” / 2018 Self Released / Domain /
Andrew W. Boss has just released his single Avengers (video is above). This effort calls back to the rap-metal of the late 1990s and early 2000s. Hints of Limp Bizkit and P.O.D. can be heard here; a sick flow lays on top of crunchy guitar riffs and intense drum beats. Boss’s vocals draw upon the tortured, furious sound of Freak on a Leash-era Korn. Together, the instrumentation and Boss’s vocals combine to make for a track that will kick your ass as you sing along. Avengers is easily a track that could make it onto rock radio rotation.
Dyk’s Trashcan is a rock track that builds upon the style of U2, Audioslave, and OneRepublic with hints of a harder rock style (e.g. Jane’s Addiction, Chris Cornell, Queens of the Stone Age). The environmentally-friendly message is present at all points during the single. A more jam band guitar line enters in at points, providing a wonderful counterpoint to the harder edge that began things. Contemplative, musically proficient, and with hooks sharp enough to bury themselves deep into the minds and hearts of fans, Trashcan is our choice for bringing in the new year. Let us know what you think of Dyk’s latest single.
On Reveries, Lucas Ray Exp takes listeners through a tremendously intimate journey through his psyche. Initially starting out with a more sedate sound, LRE is able to gradually add in technical guitar riffs and booming drums to the mix. Of the course of this nearly-five minute single, Lucas Ray Exp is able to establish one of the most detailed instrumental compositions that we have ever heard. Effortlessly moving through progressive, technical metal, and power metal formats, Reveries is one of those songs that will stick around one’s brain long after the last note ceases to play. Reveries is a tome of a track, deep and detailed, and one any fan of voluminous texts should search out.
Addi McDaniel’s Are You Serious is a hauntingly beautiful effort that links together 1960s and 1970s female pop with a tinge of mid-1990s indie music. The charisma that is weaved throughout Are You Serious manifests not only in Addi’s vocals but in the sometimes-psychedelic, sometimes-surf guitars that represent the cornerstone of the composition. The interlude (around the 2:45 mark) is enough of a change-up to keep listeners on the edges of their seats while providing enough of a breather for Are You Serious to pick up pace and end as strongly as it has began.
The Stealth 600 headphones by Turtle Beach are a must-have for anyone that is looking for a middle-price head set that has a good build quality and a solid set of features. The design of the head set keeps one’s head comfortable with a big, thick band and comfortable ear cups. The ear cups are covered with a mesh to wick away perspiration. The positionable mic is tiny to hide away when its is not needed, but is able to accurately reproduce one’s voice even in its smaller-than-normal state.The wireless aspect of these headphones makes it easy to find a comfortable position further away from one’s Xbox One or Windows PC (either through the Xbox Wireless Adapter or through the OS). Continue reading “Stealth 600 (Turtle Beach)”
Christmas in the Desert is a touching, sedate effort that allows Miguel ample opportunity to showcase his songwriting skills. The track is able to succeed because Estrada pulls double-duty, telling a story as well as adding a further level of depth to the sleigh bells and backing instrumentation. The smart usage of silence provides further gravitas to the composition.
I feel that Christmas in the Desert is able to be placed among the pantheon of holiday tracks as it draws upon a traditional (almost classical) pacing and sound. The song is dedicated to anyone in service to our country that would be away from friends and family. Check out the single, let us know what you think, and purchase a copy for yourselves (a CDBaby link is below). A portion of the proceeds will go to the Wounded Warrior Project.
Miguel Estrada – Christmas In The Desert / 2018 Self-Released / 3:52 / CDBaby
Tony Tripi has released a trio of Christmas songs that are able to address the topic of the holiday without falling tinto the same pitfall many performers do when attempting to make tracks that have staying power. On Family Christmas, Tripi is able to craft a seventies-infused rock track that includes sizzling guitar work, a female chorus, and absolutely emphatic drum work. With so many pieces shining, it’s no surprise that Tripi’s Family Christmas will stay fresh well after the end of the year.
Tripi’s modern take on Drummer Boy begins with an increase tempo and a powerful vocal swagger in the fashion of a Neil Diamond. The guitars add a bit of country and western sound to the mix. With this bit of urgency present in this cover, it is no surprise that Tripi is able to make it his own. A more introspective section separates the beginning and end of this track, allowing listeners a brief moment to slow down and take a breath. With this message present, Tripi is able to ratchet the speed back up and continue on to the final minute of the effort.
Whole Wide World Christmas is the final of this Christmas-theme trilogy. The track is our favorite of the 3, as it showcases Tripi’s ability to tell a tremendous yarn. In doing this, Tripi is able to refresh the style of performers like George Thorogood and Ray Stevens. The conscious decision to go forth and have the vocals occupy a more focal point is a masterstroke. While the guitar, bass, and drums are still contributing their same high quality of output, this is really an effort that fans will want to properly “get” through understanding its lyrical content. Check out additional information about Tony at his main domain or the latest news about his music at his Facebook.
The Jackson Whites have released their new Christmas 2018 single, Dressed To Get Naked. The track builds upon the down and dirty rock of the 1970s, bringing in hints of blues, funk, and soul in the instrumental mix. We’re in love with the slightly gritty, incredibly charismatic vocals that sit on the top of the track. The instrumentation laid down here by The Jackson Whites is similarly intense. Fans will have to play Dressed To Get Naked multiple times to hear everything that has been inserted in the track. The distinct sections of this single further bolster the replay potential of the single; the stylistic shift that occurs at the 2:30 mark makes for a wholly different sound than originally greeted listeners. The lead-out for the track links together War, Frank Zappa, and even Southside Johnny and The Asbury Jukes.
Where one may think that the sheer range of styles and approaches utilized by The Jackson Whites would lead to a muddied effort in this song, the skill of the band is such that everything joins together to make a cohesive song, a comprehensive take on popular music from the last fifty years. Through the five-plus minute run time of Dressed To Get Naked, the band is able to put their fingerprints on each notes. For more information about the act, check out their Facebook; additional information about Jersey Delta Records can be found at the link for the label.
Dressed To Get Naked is a welcome addition to the corpus of holiday tunes. Unlike many Christmas tracks, The Jackson Whites’ latest can be enjoyed throughout the year. Let us know what you think about this cut below.
Don’t Hold Back, the latest single from Paden, is a tremendously hopeful rock track that will immediately draw fans in with intense instrumentation that resounds loudly with each additional drum hit. The charisma of the vocals works well with these instruments, both telling a story and providing further depth to the harmonies of the single. Paden is able to craft radio-worthy rock in the same vein of Of Mice and Men and Mumford and Son while keeping the song’s instrumentation at 100. Keep focused in, as the two-part vocal harmony beginning at 2:15 is breathtakingly beautiful. This moment allows the act to ride a wave of goodwill to the end of the composition.