Tolu A.’s “My Talents” covers a considerable amount of ground. The sheer amount of narrative quality that is present in the instrumental arrangements – pianos working alongside rich bass lines and punchy drums – is considerable. When the sax enters into the equation, the track is able to reach a higher plateau. Listeners will find themselves planted firmly on the edges of their seats for the entirety of the composition.…
Ty Breezzyy’s “TRUE” has a hopeful message present. There’s a lot of introspection had during this track, but Ty Breezzyy is able to show his indomitable spirit. While there’s a bit of reluctance that listeners will hear during TRUE, TB is able to take that bold step forward and find exactly what he needs to do in the future. With a booming backing beat and a hooky overall groove that…
CHACE’s “Wrecklyss” is a dreamy, otherworldly sort of track that effortlessly shifts through styles and genres. While there are nods to modern R&B, funk, and even electronic that can be easily discerned here, CHACE is able to whip in things and make the resulting effort stick. The track is engrossing, the production immaculate, and the result is a track that would easily garner attention on pop and collegiate stations alike.…
I’m Paintin’ has a mid-1990s sound to it with a luxurious backing beat that include some synth sweeps and thick, bass keys. Couple that amazing backdrop with a pair of rappers in SugaKane and TooTone and one ends up having an effort that will stay fresh through the entirety of 2020. The different approaches that SugaKane and TooTone take with their flow on this single makes this a must listen.…
Mason Embers’s “Rush” is a hopeful, timeless sort of track that succeeds not only because of the carefree vocals but also because of the emotive guitar lines and on-point drums. There’s a bit of mid-1990s alternative here alongside a bit of the richness of Say Anything and Jack Johnson. With there being so many twists and turns present here, Rush is one of those efforts that fans will really need…
Ready Steady Die!’s “Vent” showcases a soulful, passionate set of vocals. Add a bit of slinky instrumentation and the smallest amount of synths, and the bnad ultimately is able to create something that builds upon the alt and goth sounds of the 1990. A robust production has each of the single’s sides able to shine on its own as well as easily contributing to the overall whole of Vent. The…
Marathon Domm’s new single “Stamped Up” (which includes a feature by Philthy Rich) is a powerful refreshing of mid-oughts rap. There’s a very matter of fact flow that issues forth during Stamped Up’s first minutes, as Marathon Domm is able to link together 50 Cent, The Game and even Chamillionaire into something special. The beat is matched masterfully to MD and Philthy Rich’s contributions to the single. Stamped Up is…
DaŹaY’s “Quarantine” has a haunting backing beat that will stick around with listeners long after the song ceases to play. The sly lyrical content and patois of DaŹaY ensures that the song stands out boldly from the rest of the music that’s currently present on rap rotation and radio. The insistent beat playing at the bottom of the track adds a bit of a groove to the laser-like focus of…
Terri Bannister’s Little Is Much has a truly timeless feel to it. Terri’s vocals play at the top of the composition, wile the keys and drums create a memorable instrumentation. The dynamic between Terri’s voice and the instruments pushes each to an entirely higher plateau, while the message that is espoused here is one that will hopefully spark the light of faith deep in listeners’ hearts. Little Is Much is…
Stringz EMB’s Perfect begins with some stellar production. Setting the stage for heady lyrical content, the retro-infused beat of Perfect will immediately bring in fans. The words dropped down here by Stringz EMB showcase some intense emotions, discussing familial riffs and the perseverance of humanity in a fashion that everyone will understand. Perfect’s multi-media approach (the video for the single is below) adds a further dimension to the composition. The…
Pennan Brae’s The Love That I Got is built on a very traditional rock approach that will appease fans of 38 Special and Van Halen. The vocal style utilized here brings in hints of Michael Hutchence and Trent Reznor. What results in Brae’s latest is something fun and catchy as all get out. The Love That I Got has some serious guitar licks that keep things fresh throughout the track.…
Holy Ground (Shake The Memory) is some of the most-polished hard rock that we’ve heard in recent memory. Taking the super-sonic vocal approach of KISS and Stone Temple Pilots and incorporating lush bass lines, sizzling guitar work, and booming drums, The Dead Daisies are truly larger than life here. The tempo of their latest song never slackens; fans will be out of breath by the time that the single concludes.…
Chris St. John’s I Called You Rose has a traditional rock sound that melds together performers as diverse as John Denver and Billy Joel. There’s a bit of a more traditional, even 19th-century approach to St. John’s single that will stick with listeners long after the song ceases. The instrumentation that bubbles forth at points during I Called You Rose hangs with Chris’s voice. There’s a robustness, a richness to…
Does your usual reel spinning online slot experience end up getting far too hot? It can be an incredibly stressful activity, and this, combined with the summer feel of many games at Daisy Slots, can really get you sweating. Sometimes you just need to cool things down a bit, right? Well, Arctic Valor is the perfect game for this, as it takes the frozen expanse of the arctic as its…
Forrest Isn’t Dead’s Here We Are is a track that links together Death Cab For Cutie with Muse and Incubus. Dreamy vocals and layered instrumentation unite to make for a track that will simultaneously impress fans of pop rock and the crunchiest indie out there. With the vocals building up both the narrative and harmony sides of the effort, Forrest Isn’t Dead is able to make some seriously cohesive music…
Okey Dokey’s “Wine Friends” is a fun track that looks all the way back to the mid-1950s and early 1960s for pop music. The sweet vocals and the doo-wop meets garage sound is absolutely timeless. The production of the song simultaneously calls back to the masterfully-product records of the early 1960s while achieving the crispness and clarity of modern music. While Okey Dokey is able to keep their output extremely…
Drew Citron’s “Free Now” is an light and airy composition that immediately brings Drew’s vocals in alignment with a dreamy guitar lien. There’s a bit of fuzz and a hint of reverb; Free Now looks back at the alt-rock of Fiona Apple and Sheryl Crow all while giving Drew the ability to impress her own unique take on things. While it would be easy for the single to make it…
She Agreed, the latest track from Emily Edrosa, will immediately draw listeners in. The guitar / vocal dynamic that is presented from the beginning of the track gradually grows in intensity and momentum. When the speed kicks up, fans can really hear the emotion and intensity bleed through. There’s so much passion presented in this track that when the instrumentation starts to swell (at the 3:!5 mark), one will be…
Tsunami of Sound craft a stripped-down rock approach with their new single Motor Oil that is part surf, part-Mojo Nixon, and part Doors. There’s even hints of bluegrass and psychedelic rock that can be discerned here. The act is able to create a song that has a voluminous amount of narrative despite being instrumental in its approach. This is due to the fact that the act has a tremendous ability…
CEO FLow is a track that immediately hits listeners over their heads. Frank Hugo is able to shake things up with a flow that links together Killer Mike and Freddie GIbbs. There’s a deep and dark sound present to the single’s backing beat, tying together choral elements with a haunting set of synths. There’s nary a second during CEO Flow for listeners to gain their breath as Frank Hugo continues…