On first listen, you’d be hard pressed to give a specific year that Oberon Rose put together “Tell Me About It.” The band’s specifically unique brand of psychedelic-tinged pop music brings to mind everyone from Big Star and Badfinger to Wings and The Posies, a decidedly timeless sound. Elsewhere on the record, on tracks like “No Stranger,” they play garage rock in the vein of The Flammin’ Groovies or The Kinks. It could have just as believably come out in 1978 as 2018. Continue reading “Oberon Rose – Tell me About It”
Tigo B’s “Where You Come From” is a vocal-heavy blend of R&B and rap styles, with nods to Tyga and Drake present. The addition of DJ Luke Nasty as a feature to this single adds further variety to the song. A bright production ensures that the synths and percussive elements highlight Tigo B’s vocals throughout the single. We’re excited with the tongue-twisting lyrical flow that can be picked up during the song; it’s surprising that such a radio-friendly track could contain such intricate and nuanced bars. The video’s below; what do you think about Where You Come From? Continue reading “Tigo B “Where You Come From” ft. DJ Luke Nasty”
Mouse On Tha Track & Level’s “I Bet You Won’t” is an infectious rap track that links together Soulja Boi, Boosie, and Three 6 Mafia in a fashion that will get listeners out on the dance floor. With nods to the late nineties New Orleans rap and bounce scenes sprinkled throughout, I Bet You Won’t is funky, fast-paced, and absolutely pops. The distinct rap flow weaves itself masterfully through I Bet U Won’t, while the track bounces between stanza and chorus with tremendous ease. 2018 is looking very good for Mouse On The Track and Level; this is a cut that could easily garner rotation on rap stations throughout the United States. Continue reading “Mouse & Level “I Bet You Won’t””
Elia’s “The Question” is a fascinating effort. The unique vocal styles pull double duty in that they are a cornerstone of the song’s harmony while providing the narrative for the song. The guitars and drums on The Question put this nominally into the rock genre but the effort is so much more than that. Rising and falling, with a momentum that picks up at all the right points, The Question is one of those rare efforts that listeners will be energized by by the time that the song concludes. We weren’t too terribly familiar with Elia before this, but we’ll be keeping much more of an ear on the ground for this act in the future. Continue reading “Elia “The Question””
Raquel Aurilia’s “Pretty Roses” is a somber and touching track that deftly blends together alternative, singer-songwriter, and country styles into a unique approach. Raquel’s vocals do more than lay out the narrative for the single, they add considerably to the overall harmony achieved by the guitars and drums. Listeners would do well to play Pretty Roses multiple times to focus on each part as there is ample depth to be plumbed. With a stunning video showcasing the gravity of the song, Aurilia is able to impress upon listeners her own unique approach to music. We’re hoping to hear more from her in the future.
Raquel Aurilia “Pretty Roses” / Domain
No Alarms’ “Amateur Telephony” is a track that calls back to the vocals of Robert Smith (The Cure), the emotive guitar work of The Police, and the driving bass and progression of Fugazi or Mission to Burma. The blending together of new wave and 1st-wave emo make this track pop, as does the angularity of the instrumentation here. No Alarms put a strong foot forward and make a track in Amateur Telephony that could easily slot into college radio or alternative rock rotation. The hookiness of the track ensures that listeners will be singing along with it long after the cut ceases to play. Continue reading “No Alarms “Amateur Telephony””
Alex Sparrow has just released a trio of songs this spring.
On She’s Crazy But She’s Mine, Sparrow is able to call back to the halycon days of 1990s pop stars like Ricky Martin and N*Sync. There’s a hint of current pop styles (Maroon 5) here, but the bit of a smirk that permeates this track will gain Sparrow a number of fans alone.
Got Me Good has a bit of an Enrique meets Bruno Mars sound to it, a call-back to the Motown and doo-wop sounds of the 1950s and 1960s.
Again and Again is our favorite single of the three, blending together the same nuevo-retro sound of the previous tracks with a quicker tempo. Listeners will be singing along after their first experience with Sparrow.
Alex Sparrow “She’s Crazy But She’s Mine”, “Got Me Good” and “Again and Again” / Twitter
The BUNNIES’ “The Problem With Link Think” is a jangly rock track that ties together the late-era psychedelic rock with the angular sound of Franz Ferdinand and Bloc Party. The video for The Problem With Link Think is animated wonderfully, feeling like a melange of Adventure Time and Steven Universe. The masterful dynamic enacted between the inimitable vocals, storytelling drum lines and an epic set of guitars make this single one of the most voluminous and jam-packed compositions that we have heard so far this year. Indie, alternative, psychedelic, and introspective, BUNNIES are boldly forging their own path in life. Continue reading “BUNNIES “The Problem With Link Think””
Kate Faust’s “Trouble” is a powerful pop track that builds off the tradition of performers like Halsey and Taylor Swift. A dark, instrumentation creates a perfect backdrop for Kate’s vocals. When this instrumentation recedes (around the 2:30 mark), Faust’s vocal range is able to shine. The chiaroscuro utilized here makes for a track that absolutely shines among the mass of other pop tracks littering the landscape. Kate Faust makes an alluring track that stands out starkly when compared to other singles garnering radio airplay this spring. Check out Trouble’s video below. Continue reading “Kate Faust “Trouble””
Dhruv Visvanath’s “Wild” gradually opens up like a flower. Dreamy vocals are brought into the mix next, with a style that draws upon the singer-songwriter style of the 1970s with the modern alternative stylings (e.g. Death Cab for Cutie) of the early oughts. With vocal harmonies kicking in nicely at the 2:15 mark, Wild is given a nice boost to its momentum that is further highlighted through the presence of stings and a clap track at about the 3 minute mark. Taken all together, the twists and turns in Dhruv Visvanath’s “Wild” are engaging and will keep fans hanging on every note. Continue reading “Dhruv Visvanath “Wild””