On Welsh Avenue’s new single “Come Back Home”, a tremendously introspective journey into the musicians’ heart ends up showcasing some of the most honest and earnest music we’ve heard. There’s a fun blending of acoustic and electric here as Welsh Avenue brings in hints of Owl City, Oliver Tree, and Sean Lennon. Come Back Home reaches its pinnacle as the guitars, drums, and vox unite to make one fulfilling effort.…
On FLOAT, Denise Marsa is able to blend together a poppy set of vocals with an absolutely entrancing instrumentation. With a thick bass line, finesse-full guitar work and perfectly planned percussion, FLOAT is one of those efforts that will have toes tapping. Marsa’s charisma is on full display here; there’s a level of confidence that is weaved throughout the composition. Truly the glue that unites these distinct elements, Denise’s voice…
Vanity Wyze’s Stayed Down will immediately bury itself deeply into the minds and hearts of listeners. The introduction works well in the pop groove, while the quicker pitter-patter of the lyrical flow that enters into the equation shortly after keeps listeners firmly planted on the edges of their seats. Including Sonny King’s inimitable patois into the mix accomplishes two distinct goals. Firstly, the frenetic momentum of Stayed Down is maintained…
Two Dogs & a Rat, the latest composition by Michelle A. Jones, starts with a warm guitar line and a strong narrative component. With nods to 1990s alternative and college rock, the single contains more than enough for adult listeners. Children will be able to sing along after a few plays of the song. Two Dogs & a Rat is a multimedia effort in that the attached video (below) provides…
On The Roughhousers’ new single “Toenail Soup”, Grey is able to call back to 50s and 60s pop country music with hints of Dolly Parton, Johnny Cash and Nancy Sinatra. The charisma exuded here by DeLisle will have people tapping their toes, while the instrumentation has its time in the sun. The walking bass-style arrangement is given a sparkle with Eddie’s vibrant guitar work. The video for Toenail Soup has…
Michael Dean Hall’s new single It Really Sucks Getting Old bemoans the aging process with a tremendously bouncy beat and an overall style that ties together 1990s country with 1980s rock. The taut instrumentation experienced during the track ensures that the single will remain fresh long after one’s first experience with it. It Really Sucks Getting Old is one of those efforts that anyone will be able to appreciate no…
Seal Party’s “Maison” is a diverse track that effortlessly slides through funk, gospel, R&B and funk. The eclectic approach taken here ensures that fans of the widest swath of artists will be able to find something that they can appreciate it. The charisma of the vox cannot be denied, given a perfect counterpoint with the assertive horns that peek through at points. The cohesive entity that is Maison will stick…
At first exposure, the ethereal “Scars,” by Savarre, sounds like it’s tailor mode to be the soundtrack to the next Bond film. New York based, Savarre is something of a hybrid act, with a number of what some would call, exotic influences. The group is fronted by Shannon Denise Evans, who exudes a natural mystique and inner magnetism. Evans, who counts novelist and playwright among her job titles, co-wrote the…
guUs’ “Moonhangin Man” has a Sinatra meets Crosby sort of sound as the track links together blues, jazz, and 1950s cool. A deliberate walking bass line presents itself through much of the track, while the Spanish-meets-surf style of the guitar work transforms the song into something that would play well during a Connery-era Bond movie. As the vocals gradually fade at the three-minute mark, fans will be floored by the…
Najjah Calibur’s “I’m Good” is a song that refreshes the new wave sound of the 1980s with a frenetic sort of energy. Imagine if you blended together The Psychedelic Furs with Fall Out Boy and Walk the Moon and you’ll get some semblance of idea about what Calibur is cooking up here. Assertive drum beats and a haunting backing chorus bubble up during I’m Good’s middle third, giving fans a…
On his new cut, B. West is able to bear the standard of those like Nas and Freeway who preceded him. The Narrative is a sparkling track, one that succeeds not only through the impressive bars dropped by B. West but the fantastic beat that plays throughout. There’s a bit of the classic Chicago sound here, interspersed with monolithic keys to make something that simultaneously whets the appetites of old…
Mighty Koba’s 2 Many is a beautiful R&B track that showcases the performer’s sultry vocals, played alongside a booming bass line and thoughtful keys. With a bass line bubbling up at points, the instrumentation that plays at the bottom of 2 Many draws mightily from the 1980s funk and 1990s dance genres. Adding Jaey London to the mix gives 2 Many the additional oomph it needs to end as authoritatively…
On Big Bands, Star2 is able to club listeners over their heads with ample braggadocio. The flow presented here stands in bold opposition with the West Coast-infused backing beat. The feature on Big Bands by $tupid Young does well to provide further depth to the song while adding a further air of realness to the composition. The song is able to immediately reach its goals and ride out shortly after…
Albert Cummings’ “Meet The Man” is a powerful country track that succeeds due to the dusty guitar work, the deliberate drums, and Albert’s inimitable vocals. These elements join together to make something absolutely timeless in its execution. With a slower pace, each and every note of Meet The Man has a point. Each note is immaculate, leaving listeners with a track that will have them sitting firmly at the edges…
On Sunset Black’s latest single White Trash Wasted, a blend of punk and rap-infused pop dominate. With nods to performers like Riff Raff, Good Charlotte and MGK, Sunset Black exudes enough charisma to ensure that the cut will garner looks on radio and Spotify playlist. The ability of SB to both tell a story and provide further harmonies to the backing instrumentation makes White Trash Wasted a cohesive statement that…
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Blue On the Inside is a powerful track that defies genre conventions. There are nods that Katie makes here to Fleetwood Mac, Paramore, and Blondie. The dynamic instrumentation present here builds upon the angular sound of acts like Franz Ferdinand, Bloc Party and Interpol. This single will easily chart on a bevy of different playlists due to this every-person sort of sound. We’re particularly enamored with the track’s bridge, in…
Eyes Wide Open, the latest track by Powered by Joy, has an eclectic sound to it that links together pop and alt rock. The instrumentation presented listeners here is eclectic, with guitars, drums, bass, and vocals working simultaneously to promote themselves while building up a cohesive entity. The hooky chorus will be bouncing around listeners’ brains long after the song ceases to play. I’ll Be Waiting has a slower tempo…
Zen Juddhism (Jude Ωne Eight and collaborators) have released their new album, Return of the Juddha. The album begins with Love Will Save The Day, a fuzzy homage to the post-grunge of acts like Hole. Pammie’s vox here provide additional depth to a thoughtful instrumentation while ensuring that the resulting effort is hooky enough to garner play on college rock stations. Sing My Song has Jude Ωne Eight blend a…
The Roughhousers (Grey DeLisle and Eddie Clendening) have released a new song with their “Monkey Butt”. The track has Eddie laying down a set of vocals drawing inspiration from Roy Orbison, while the subject material captures the griminess of young children. There’s more than a fair share of tongue-in-cheek statements here that any parent will appreciate while being crafted in a fashion that will amuse the younger set. Coming forth…