Markus Schulz’s “Upon My Shoulders”is an effort that builds upon the synth pop of the 1980s while having an assertive beat that is interlaid amongst the effort. Together with Sebu (from Capital Cities), Schulz is able to make a track that will keep listeners focused in until the final note. Masterful synth work flutters at the top of the track, acting as a perfect counterpoint for the booming percussive elements. Upon My Shoulders’ vocals are heavenly, further bolstering the replay value of the single. Give the video for Upon My Shoulders (featured below the jump) a play. Continue reading “Markus Schulz feat. Sebu (Capital Cities) “Upon My Shoulders””
Beartooth’s “Disease” immediately starts in high gear with insane guitars, intricate drum fills, and a catchiness that callas back to the tradition of Trapt, Nine Inch Nails, and Hawthorne Heights. Never fitting into one specific genre or sound, Beartooth is able to make in Disease an effort that is wholly unique while ready for rock radio rotation. A stellar production allows each of the elements – guitar, vox, bass, and drums – to shine brightly while further contributing to the overall sound of the song. Disease’s 2:10 split makes for a considerable boost to the momentum and some of the thickest, chunkiest riffs we’ve heard. Continue reading “Beartooth “Disease””
The Get Up Kids are back with I’m Sorry, an infectious pop-punk track that immediately draws listeners in with taut bass lines and the inimitable vocals that have marked the band’s output these last twenty years. Timeless while adding enough in the way of contemplative guitar work, I’m Sorry is one of those sunny tracks that will have listeners singing along long after the single has ceased to play. A bit of fuzz in the production is essential, making each of the elements play closely with one another. Check out the video for The Get Up Kids’ latest below the jump.
We last covered GUK in 2011.
Pablo Embon has released a new album, Nobody’s Land. On Dragonfly, the album’s first track, Embon is able to make a musically intricate effort that tells a rich tale through the interaction of guitars and drums. While the song is only about 4 minutes long, Embon adds a number of twists and turns to ensure that listeners are on the edges of their seat. The frenetic tempo of this introductory track continues into Absent Minded. Continue reading “Pablo Embon – Nobody’s Land CD Review”
I’ve had the chance to listen to some pretty awesome music this year, not just as a member of the indie music media but as a fan in general. Of course there’s plenty of trash that we have to wade through to discover the real studs amongst the duds, but overall I feel like 2018 has been a winner in terms of productivity and increased exposure for the new, up and coming artists who really deserve it. One of the coolest new groups that I’ve gotten the chance to get to know recently is none other than Crack of Dawn, a hardcore experimental soul/R&B crew from north of the border whose new album Spotlight is taking critics across the continent by storm at the moment, and for good reason. Spotlight isn’t just another R&B album to emerge from the Canadian wilderness this year, and it certainly has a lot more stamina and literacy than the dearly disappointing summer release by fellow countryman Drake. What I found in Spotlight is something really special, something that we don’t scoff at in this industry. You see, Crack of Dawn are onto a particularly exciting new formula for making pop music. Continue reading “Crack of Dawn – Spotlight”
The Drought, by Ryan Chernin, is tremendously engaging from its onset. A deliberate guitar line, a set of strings that rise and fall, and spades of passion keeps fans interested throughout. Chernin’s ability to bolster the overall harmonies of The Drought is unmatched; together, the instrumental and vocal sides combine to make a seamless track. Ryan is able to meld together an orchestral, 1960s rock sound a bit before the two-minute mark. When the rest of the guitars and drums kick back in, fans are hurtled to the end of this track. Continue reading “Ryan Chernin – The Drought”
Bright Colors is the current single by Montauk, New York’s Liquid Phase. The track has a dreamy style that links together They Might Be Giants and Out of Time-era R.E.M.. Laid back and sunny in its disposition, this effort allows each of the constituent elements of Liquid Phase to shine. The bongos and bass combine with chunky guitars. Countless styles are broached during this cut – there is a hint of 1960s psychedelia in the guitars and a more 1980s feel when the synthesizers come. Liquid Phase’s track will continue to yield new twists and turns as listeners play the song multiple times. Continue reading “Liquid Phase – Bright Colors”
Mariel Darling’s debut single No Mirrors builds upon the foundation of Jess Glynne, Taylor Swift, and Halsey. A shining 1980s new-wave meets Owl City backdrop provides a resounding highlight to Darling’s vocals. There is a richness to Darling’s vocals that ensures that pop aficiados are able to find something beautiful in this track. We particularly like the ability of Mariel to add more than lyrical content. At a great many moments during this work, Darling is pulling double duty by harmonizing with the synths. A punchy set of beats provide the perfect counterpoints to Mariel’s vox. Continue reading “Mariel Darling – No Mirrors”
Keep in Touch is the lead single off of All Types of Kinds’ new EP, Love Songs (Or Songs for Your Ex). The effort blends intricate guitars and a unified blast of the band as the track moves towards its single. Keep In Touch has a chorus that will tattoo itself on listeners’ hearts. The narrative quality of the track is further bolstered through the sizzling lick of the guitars. Effortlessly moving through genres as diverse as alternative rock, R&B, and pop, All Types of Kinds have a major hit on their hands with Keep In Touch. Check out the track below. Love Songs (Or Songs for Your Ex) is available at iTunes and Amazon Music. Continue reading “All Types of Kinds – Keep In Touch”
On I Believe, Cowboy Mouth is able to blend together 1990s alternative and country-infused rock into a track that will get listeners singing along. Rich vocals and smart arrangements between the vocals / guitars and guitars/drums make a melody that will be tattooed deep into fans’ psyches. While I Believe only makes it to the three-minute mark, the band is able to make a massive track that is deep, engrossing, and utterly unique when compared to the fare currently garnering college radio airplay. I Believe is another high-water mark for the band. Continue reading “Cowboy Mouth “I Believe””