The Gillum Bros are able to reinvigorate the style of Lou Reed and Pulp with their latest track, Sticky Note. With wistful guitars and deliberate keys, the act is able to imbue a timeless sound to the composition. Beautiful in its execution, The Gillum Bros are able to make something that will stick with listeners long after the song ceases to play. All too short at a hair over three minutes, Sticky Note is a track that will have fans clamoring for more. Let us know what you think about The Gillum Bros’ latest in the comment section below.
Chris Butler creates his own brand of 1960-infused rock. Dreamy vocals and contemplative guitar riffs paint a solid picture while Butler’s vocals add fine detail to the composition. With a lead-in to the chorus built upon the tradition of Van Morrison and The Who, Summer Money sails away with contemplative arrangements. The extended instrumental interlude separates the two sections of the track, keeping the song’s energy high while showcasing some fascinating guitar / drum dynamics. The track is timeless, Butler’s voice is just right for the arrangement, and the resulting single shines brightly.
The Pale Blue Dot is a bouncy effort that links together surf rock, rockabilly, and has the band come forth with a tremendous amount of charisma. The distinct sections to the track are what will keep fans coming back to the track, as it showcases the tremendous capability of the band. Able to change up styles at the drop of a dime, the NaveBlues are able to keep their fans guessing and firmly planted on the edges of their seats. Purely epic in its sound, Pale Blue Dot will continue to yield new twists and turns as listeners continue to play the song. Give it a go.
ONLAP creates some hard-hitting melodic rock with their new single Miracle. The track is delightful not only for the supersonic vocals that reach their crescendo during the song’s chorus, but also for the intricate arrangements and interplays that exist between the guitars and drums. Each part of ONLAP on Miracle is clear and crisp, be it the synths, the double-bass drums, or the shouted-out statement “We Don’t Care”. With enough twists and turns presented here, ONLAP has ensured that their Miracle will be able to maintain high levels of airplay throughout the rest of summer. Check out the video for Miracle below.
On Breaking Your Silence, the Generationals are able to call back to the power-pop of the 1970s and a bit of the late-oughts (e.g. Peter Bjorn and John) alt sound. The dreamy vocals are matched well with punctual drums. When the synths and a fuzzy, echo-laden section confronts listeners at the 1:15 mark, the effort is well on its well. With gradual increases in the song’s momentum as it continues to play, Breaking Your Silence will have feet tapping while the band issues forth some engrossing arrangements. The 2:10 mark has the Generationals keep things fresh by moving to an instrumental, atmospheric sort of sound before kicking things back into a higher gear.
On Stay High, Brittany Howard is able to create a soulful, laid-back effort that draws on 1970s soul and funk. Including Terry Crews is a major get, but Howard’s technical ability will ultimately be what wins fans over. The sheer range that is achieved by these vox is testament to Howard’s ability. The percussion and driving beat that plays behind Howard’s voice adds a bit of momentum to Stay High. Timeless in its execution, Stay High is one of those rare songs that will stick around with one long after the effort ceases to play. The last 45 seconds are a stellar conclusion to one of the more memorable songs released this year.
On Tenderness, Jay Som is able to make a compelling track that opens up with little more than softly-sung vocals and a sequenced drum beat / guitar back drop. When the song opens up (at around the 1:20 mark), the instrumental dynamic become more dense and thrushier, a response to the higher registers Jay Som reaches. The interesting arrangements continue through to the second half of Tenderness. A subtle update to the 1980s style of The Pointer Sisters and later electro-funk style of Chromeo, Jay Som imbues
Bold starts listeners off on Donna Zed’s new release, the Surrounding Me EP. The piano that kicks off things creates the perfect backing instrumentation upon which Zed’s 1990-infused vox can shine. Together, these two elements are able to make a rocking chorus that will tattoo itself deeply into fan’s psyche. The strings / vocal dynamic is perhaps the most tantalizing of this first track; fans of Fiona Apple or Tori Amos will find something meaty to sink their teeth into here. Enough Years allows Zed ample opportunity to shine; while the strings are persistent in following her voice, this song will provide listeners with a good amount of education about Donna’s vocal range.
The production of the songs on Surrounding Me is crisp and clear, ensuring any of the EP’s efforts could easily be slotted into radio or playlist rotation. For additional information about Zed and her music, give her domain or social media profiles some action.
Step Away has a more laid-back sound that both keeps with the overall flair of the composition while contributing mightily to the overall understanding that those experiencing this release will have. The drums come to the fore this time, while the song itself is important musically because of its magnificent, challenging time signatures.
Against the Rising Sun is the penultimate composition on the Surrounding Me release. While it rings up a few minutes shorter than the magnificent six minutes of Step Away, the taut bass lines and rapid shifts through musical styles makes this single into something epic.
The titular effort to Surrounding Me concludes the EP, providing an emphatic exclamation point that relies on multiple vocal layers and a piano / drum dynamic that whips up into a beautiful violin solo. A fitting end to a wholly engrossing extended play.
Baradar (translated as “Brother”) is a short film about the distance that exists by two siblings. Composer Daniele Carmosino is able to cover a wide swath of ground with Hope, the release’s first composition. He is able to create an effort that will tattoo itself deep into the minds and hearts of listeners. Hope has an airy sound that builds its way to prominence by linking together a gradually-increasing tempo with a blend of traditional, classical-based composition with a more modern electronic music flavor. There is a narrative element that is established at the top of Hope that sets the stage for the efforts to follow.
Big Brother, Pt. 1 has a more sedate, engaging sort of feel. The softer sound of this second effort on the Baradar soundtrack kicks into a full-fledged dance track by the 1:45 mark, with subtle nods made to both the ambient and new age styles.
Before Dawn is our favorite release on this soundtrack. The skilled hands of Carmosino is able to make good use of silence, matching up a haunting set of strings and keys that continue to interact with one another through the whole of the run time.
Big Brother Pt. 2 is the final effort of the Baradar Original Motion Picture Soundtrack. A more insistent movement begins at the 1:20 mark, adding considerably to the song’s momentum as it moves into its second half. We enjoy how much material Daniele is able to include in the relatively short time (roughly 9 minutes) of music. As such, we wish to see how he evolves in the follow-up recording to the Baradar music. If you would like to hear more from this performer and check out the music for yourself, check out the Spotify embed below.
Top Tracks: Big Brother, Pt. 1 , Before Dawn
Baradar Original Motion Picture Soundtrack / 2019 Self Released / 4 Tracks / Domain /
Low is the first effort on Summer Colds’ Here Comes Nothing, which unites the vocal styles of They Might Be Giants with the heavy fuzz of mid-1990s alternative. The bouncy beat that the band crafts during this intial salvo will draw in listeners, a trend that continues with Found. The refreshing take on pop-alt music like Weezer will appease fans of the style as well as those that are coming into the style. The more laid-back sound of Found is built through a chugging guitar line and splashy drums. The dynamism of Summer Colds means that fans are ferried quite far from the position that they exist at the beginning of the single.
Copenhagen is one of our favorite cuts from Here Comes Nothing. While the song starts out with a medium tempo, the band is able to ramp things up as they move into the chorus. By touching upon the Descendents and early Unwritten Law, Summer Colds are able to infuse the second half of the album with a bit of punk urgency. Killing Flies moves even further into this pop-punk mold with a stripped-back set of arrangements (guitars and drums working toward a specific sound) and a vocal sound that would make Joey Ramone happy.
Dee End whips in a bit of surf to the focused guitar riffs and punchy drums, keeping things interesting as fans move onto the final one-two punch that is Sober October and Centipedes. The hammering home of the guitars towards the final half-minute or so of Sober October is reminiscent of the late-nineties / early oughts sound of The Smoking Popes and The Red Hot Valentines, while Centipedes has an air of finality to it that ends Here Comes Nothing perfectly.
Top Tracks: Killing Flies, Sober October
Summer Colds – Here Comes Nothing / 2019 Self Released / 8 Tracks / Bandcamp / Domain /