S.J. Armstrong’s “Some Restful Day” is a piece of dreamy atmospheric indie rock that will stick with listeners long after the single ceases to play. There is a very deliberate approach that is taken during the song that gradually builds to something intense. Wholly engrossing from the onset, it is not a surprise that the track’s four-plus minute run time goes by quickly. Coming forth with a new tack on a well-trod style is always a hard thing to do, but Armstrong is able to make an indelible imprint upon indie with this single. While one could easily leave the song on and do chores, we’d recommend strapping on a pair of earphones and really engaging yourself with this song.
Les Stroud’s cover of “Big Yellow Taxi” is punctuated with a soulful blend of harmonica and country-tinged guitar work. The passion and charisma laid down by Stroud here is unparalleled. A crystal-clear production ensures that each constituent element is able to shine alone or in tandem with the rest of the contributing elements on Big Yellow Taxi. The brooding instrumentation that plays in the backdrop stands in for the unquenchable desires of multinational corporations to destroy the world. The track may be over fifty years old at this point, but still holds tremendous relevancy in this current era.Continue reading “Les Stroud “Big Yellow Taxi””
Kyla Imani’s “Sitting Up In My Room” is a track that has roots in the powerful R&B singer style of the 1990s. The arrangement playing in the background pulls a bit from trap and EDM style, making for a fun new effort that will have listeners sitting on the edges of their seats. The presence of Jay Critch in Sitting Up In My Room keeps things vibrant while spinning the single in a bold new fashion. With the back and forth that is present on the song, Kyla Imani is able to have a song that stands up quite nicely to repeat plays.Continue reading “Kyla Imani “Sitting Up In My Room””
The Dead Daisies’s new single “Dead and Gone” may just be the hardest effort that we have heard from the band. The act is able to build upon the hair metal tradition with nods to Joe Perry (Aerosmith) and Motorhead. Sizzling guitar lines at points build upon AC/DC and Slash, while there is a raw passion to the vocals that would make this an easy inclusion on any hard rock radio station or Spotify playlist. With a polished production, the band is able to make Dead and Gone their best track yet. We’ll be playing this throughout the summer here at NeuFutur.Continue reading “The Dead Daisies “Dead and Gone””
Big Sam’s Funky Nation’s “Pokechop” is a track that is dripping with the spirit of the blues, mid-1970s, drill, and hip-hop styles. This varied approach is able to cull together the styles of the last fifty years into something that will tattoo itself deep into the minds and hearts of listeners. With nods to DJ Jimi and a bit of Flashlight interspersed throughout Pokechop, the unique flair of the act is moored to some of the best music of the 20th century. Flawless, fun, and funky, we’re excited to hear more from Big Sam’s Funky Nation in the second half of 2018.Continue reading “Big Sam’s Funky Nation “Pokechop””
Jackie Greene’s “Crazy Comes Easy” is a soulful, easy going track that contains a fulfilling backing instrumentation. Greene’s vocals come out of the Black Crowes tradition, while the bass and guitar dynamic is utterly timeless. We’re particular fans of the 1:45-2:15 section which allows the instrumental side of things ample time to shine. The two distinct parts of Crazy Comes Easy combine to provide fans with a solid introduction to Jackie Greene while creating something that could easily slot onto alternative or rock stations. Check the video out below the break and let us know what you think of Greene’s latest track.Continue reading “Jackie Greene “Crazy Comes Easy””
Featuring the talents of The Howling Tongues in tow, Beau + Luci’s new release Live from Aggie Theatre is a powerful audio document testifying to the strong literary qualities, spirit, and bluesy atmospherics at the tandem’s disposal. Their highly individual brand of Americana/roots music has enchanted national audiences, but their performance from Aggie Theatre brings the duo and their musical style “back home”, so to speak, and plays well for an appreciative Southern crowd. The six song collection blends folk, blues, rock, and deep soul as a unique mix on the modern music scene and the visceral power of this release suggests Beau + Luci’s artistic vision for their music is fully realized and, tantalizingly, hasn’t peaked yet. Live from Aggie Theatre presents Beau + Luci’s talents in the best possible light and, despite its relatively brief duration, packs all the weight and gravitas you’d expect from a full length offering of any type. Continue reading “Beau + Luci – Live from Aggie Theatre”
Over the years, the music documentary genre has become fairly predictable. There’s the childhood background story, the rise and ultimate fall of the musician or band (usually a result of drugs, inter-band squabbles or changing musical trends), followed by the relaunch after years of soul searching, all told though interviews with those close to the band. VH1 set up the template years ago with Behind the Music and a whole generation of filmmakers seems to be on autopilot recreating it again and again.
But, thankfully the British ska band Madness, who’ve bucked convention from the very beginning, continue their streak of non-conformity and bring it to the band doc. Platform.
One Man’s Madness, a documentary about Lee Thompson, co-founder of the band, their sax player and one of their chief songwriters, is an exercise in creativity. Yes, the doc is littered with interviews, everyone from Lee’s family, his bandmates and various managers, but you never see these folks until the final minutes of the film. Instead, Thompson, dressed in various costumes and wigs, lip synchs (sometimes horribly) the audio from each interview.
The ridiculousness of this spectacle is enjoyably compelling, at times laugh out loud funny and perfectly in line with what Madness as a band have stood for since the late ‘70s – irreverent, creative and above all else, fun.
Margo Timmins is one of just a handful of singers, alongside Nick Cave, PJ Harvey and the late Leonard Cohen, who consistently manage to take vulnerability and emotional rawness and translate it into powerfully moving records time and time again. “All That Reckoning,” the Canadian band’s latest, is certainly no exception. Continue reading “Cowboy Junkies – All That Reckoning”
Steve Wheeler’s EP release Terminal Velocity marks a divergent point for this talented composer when he affords himself the opportunity to step away from his “day job” as a media composer for major network sporting events and video games in favor of a more personal project. The instrumental EP is brief, only three songs and running less than ten minutes, but Wheeler’s writing makes the sort of impact music tailored to accentuate sports programming can’t hope to equal. The personal investment in this music is, ultimately, the deciding factor alongside the removal of arbitrary borders he’s forced to observe when building compositions for NCAA or PGA events, among others. The Orlando, Florida based musician distinguishes himself here. Terminal Velocity deserves mention as one of the year’s finest instrumental efforts. Continue reading “Steve Wheeler – Terminal Velocity”