Fitzsimon and Brogan – Big Blue World

In a dazzling explosion of colorful tones and mammoth, glowing melodies that seem to melt through the stereo speakers like some sort of magical elixir, Fitzsimon and Brogan’s new album Big Blue World is making some gigantic waves even before it hits stores this June, and it shouldn’t come as a shock to anyone who has been following the European indie underground lately. There’s been a lot of energy gathering in the new surrealist’s movement of 2018/2019, but never has it been as obvious that music will play an integral part of the revolution until now. Big Blue World, along with a couple of other albums that came out earlier in the year that at this point go without mentioning, isn’t just a hot new record; it’s a book in the gospel of a style that some of my fellow music journalists and I have been affectionately calling “post-pop” in reference to the indie pop music being produced by modern artists who have little to no interest in reinterpreting rhythm and blues yet another time. They’re far too busy expanding and evolving the depth and capabilities of the sound board and all of the new, digitalized resources that are practically endless in volume and plentifully available and at their disposal. This is pop music for the future, and if you don’t understand it, you might not be ready to experience just how wild and categorically transcendent it really is. Continue reading “Fitzsimon and Brogan – Big Blue World”

Kelly Padrick “Heavenly Ride”

Kelly Padrick’s “Heavenly Ride” draws upon the B-52, Nancy Sinatra, and Fleetwood Mac for inspiration. The guitars pull inspiration from 1960s surf music, while there is a bit of fuzz that touches upon the anarchistic 1990s indie-rock scene. Kelly’s vocals are the glue that make the sizzling guitars, chugging bass line, and groovy drums work together. Padrick’s vocals are able to fill in the breaks in the instrumentation while imbuing the entirety of Heavenly Ride with a unique flair. We’ll be eagerly awaiting more from Kelly in the future. Until then, check out the video for her latest single below the jump. Let us know what you think about Heavenly Ride. Continue reading “Kelly Padrick “Heavenly Ride””

Azmeryth x NTRE “Feel You”

The collaboration between Azmeryth x NTRE, “Feel You”, begins with a sweeping set of synths and dreamy vocals. A slower tempo gradually picks up at the 1:15 mark before moving into an instrumental back and forth between assertive synths and sequenced percussion. Feel You is a journey. At nearly five minutes, one will be surprised at how rapidly the track goes by. The single effortlessly includes intricate and deep instrumentation, a complex two-vocal dynamic, and a cogent thread that is weaved through a very immense arrangement. Azmeryth x NTRE make for one of the headiest songs we’ve heard this summer. Strap your headphones on and be taken on a journey. Continue reading “Azmeryth x NTRE “Feel You””

VanWyck “Red River Girl”

VanWyck’s intensely personal effort “Red River Girl” will draw fans in through a careful and intricately-arranged 90-second introduction. The rich tones of VanWyck’s videos contribute doubly to the track in that they lay out a cogent narrative as well as interact with the strings and strummed guitars. The dynamic between instrumental and vocal sections of Red River Girl are continually shifting and changing, ensuring that the four-minute run time of the single goes by incredibly fast. Subsequent plays of the song are integral for hearing every nuance, every twist and turn that VanWyck has included within. Continue reading “VanWyck “Red River Girl””

Jazzy Amra “You Got Me” ft. Wyclef Jean & Riley

Jazzy Amra’s “You Got Me” is an effort that draws from late 1990s R&B, funk, and pop styles while cultivating a very unique sort of sound. The richness of Jazzy’s vocals makes the backing instrumentation pop. We’re big fans of the vocal / synth dynamic that is fostered throughout You Got Me. By crafting keys that build off of the 1980s electro-funk, this single feels absolutely timeless. The presence of Wyclef Jean on You Got Me ensures that the effort possesses a polish that could easily allow it to be slotted on playlists. We’re excited to hear more from Jazzy Amra in the next months and years. Continue reading “Jazzy Amra “You Got Me” ft. Wyclef Jean & Riley”

Mikey Wax “Big Little Life”

Mikey Wax’s “Big Little Life” is an emotional, passionate single that will have Mikey tattoo his melodies deep into listeners’ minds. The backing instrumentation blends bass with 1980s-tinged guitar, while additional vocal layers reveal themselves like an onion with subsequent plays. Wax’s latest single reaches its next plateau at the 2:45 mark, where the momentum kicks up and the instrumentation stands as a bold counterpoint to Mikey’s vox. Big Little Life is the perfect example of a single that could easily cross over between pop, college rock, and alternative music stations/playlists. Check out the video below the drop. Continue reading “Mikey Wax “Big Little Life””

Clayton Morgan – Taste For Love

I’ve been down this road before – the Detroit music landscape. It’s crinkled edges dog-eared for rock’s dingy clubs. Or maybe it’s the Motown avenue, where vocal groups in perfect harmony have synchronized themselves walking down the street. Still yet, maybe Detroit is the hardened, rough streets where rappers use lyrics instead of fists. There’s always room for more, the ghosts of Detroit remind me. Always. Continue reading “Clayton Morgan – Taste For Love”

Hi Low Ha

Hi Lo Ha’s intriguing new offering Ain’t Gone Tonight opens in the gentle daze of its leading track “Cold Weather Clothes,” a slow churning journey through a sonic oasis delicately pieced together in an ethereal patchwork woven by its four equally talented players. Its essential harmony isn’t buried in feedback but instead presented to us in an extremely vulnerable clarity that creates a unique feeling of intimacy between the listener and Hi Lo Ha that persists throughout the entire record but is never quite as opulent as it is in this first song. From here, it’s a solid ascension into the clouds and freeform nature of the endless skies above. Continue reading “Hi Low Ha”

MAAD “New Religion”

MAAD’s “New Religion” exists at the nexus of a number of styles, as MAAD’s vocals pull from the mid-oughts R&B style and the bass/keys backing beat interacts with the thick beats of modern EDM. The light, airy sound of MAAD’s vocals work perfectly with the heavier bass elements. The extended synth solo that occurs at the 2:15 mark provides just enough in the way of variation to refresh fans and keep the singing along until New Religion finishes up. Confident, establishing a unique sound as she draws upon a storied musical traditions, MAAD is an artist that we will be hearing more from in the future. Continue reading “MAAD “New Religion””

Nothing More “Just Say When”

Nothing More’s “Just Say When” begins with a contemplative instrumentation that gradually snowballs into an orchestral brand of rock that draws from the rich musical tradition of Mumford and Sons and Of Mice and Men. A multi-layered approach means that any second of Just Say When has vocals, drums, and guitars shining brightly while contributing to a cohesive and coherent sound. The raw passion and charisma of the lead vocals will have fans hanging on every word, while the guitars act as a bridge between the single’s narrative efforts and the dense instrumentation that acts as a perfect backdrop. Continue reading “Nothing More “Just Say When””