We Need You is an assertive track that showcases the need for women to make their voice heard. On this 100th anniversary of women getting their franchise, there is still a sense that the overall representation lags behind women’s proportion of the population. To bolster turnout is a perniciously difficult thing, and this track works under the assertion that a catchy song can change the world. Women Get Out The…
Everybody’s Calling is a hopeful track by The Fortune tellerz that shines with a 1960s / 1970s pop-rock approach. Charismatic vocals blend nicely with bouncy keys and guitars with just the lightest hint of distortion. The lyrical content of Everybody’s Calling is similarly happy, providing listeners with a sense that things will be better. The guitar and synth section that start at around the three-minute mark build up the dramatic…
Playing Both Sides is a wonderful blend of R&B and ethereal, EDM-infused backing beats. The more heavenly backing sysnths are a solid counterpoint for the pointed lyrical flow of the track’s main stanzas. The dreamier vox show considerable collaboration between these voices and the instrumental side if the composition. The most surprising thing about Playing Both Sides here has to be how much matewrial is placed into a 2:30 space.…
Back TO Me has a smooth, compassionate sound that is provided by Will Jordan’s silken vocals. The thick, bassy beat that plays at the bottom of the track is coupled with the lightest trapping of guitar to create something that highlights Will’s voice at all the right points. Back To Me has a timeless feel, bringing in hints of 1990s and early oughts R&B even as Will’s vocals resound perfectly…
Nas is able to keep a consistent sound in his latest effort, Spicy. Where artists sometimes seek to adopt the latest trends, Nas is able to keep walloping people with his timeless approach. The inclusion of Fivio Foreign and A$AP Ferg into the mix has the same effect – expanding his music to a wider population – but Nas is able to keep his inimitable flow at 100% for the…
Phosphenes is an instrumentally complex effort that has some of the same emotive arrangements of early The Police and Cure. Ruby Ryan’s vocals are touching and heartfelt here; anyone that has had to go through the expression of young love will be able to understand the leitmotif of the track. The inclusion of synths to the mix bring in a hint of acts like Walk The Moon and OK Go.…
The sick bass line that begins Disaster will immediately draw in listeners, while the additional layers of guitars and drums makes for an infectious track that builds off of the post-grunge work of acts like Bush and Stabbing Westward. The vocals come forth with equal parts Dave Grohl and Billy Corgan as the lack gradually moves into the wall of fuzz of acts like At The Drive-In and Converge. The…
Can’t Keep Up, the latest effort from Keldamuzik, straddles the line between R&B and rap. The vocals laid down here are beautiful, while the stanzas showcases some hard-hitting lyrical flow. The synth lines and rapid-fire percussive elements create a vibrant backdrop upon which each side of Keldamuzik’s output is able to shine. There’s a considerable amount of different sounds and styles that reach prominence during this cut, ensuring Can’t Keep…
Stacy Gabel showcases the modern way of life with her new single, Stir Crazy. The sound builds up a catchy, infectious set of vocals from Stacy utilizing a guitar riff that is steeped in the Spanish guitar tradition. Confidence issues forth from this track in droves, even if the subject material in Stir Crazy showcases the considerable amount of uncertainty that we have all had to experience during this pandemic.…
Money Dance is a perfect blend of R&B, rap, and just enough EDM to get listeners out onto the dance floor. The charisma exhibited during Money Dance is palpable. MaxKaella is able to craft something familiar yet completely distinct from the rest of what’s garnering airplay here in the United States. The complex arrangements that play in the background in the lead-up to the single’s chorus further increases Money Dance’s…
Naked Love has the vocal flair of mid-1990s Natalie Cole or Tori Amos. The first minute or so of The Orange Apples.’s new single is soft and sedate, while the track begins to incorporate keys and a bit of distortion shortly after. These two sections battle for dominance during the effort, making for something absolutely engrossing. Each note feels deliberately placed with a greater consideration of its impact than much…
Joint and a Jukebox, the latest single from Lousiville’s Joey Phantom, is a sublimely chill smoking track. The laidback flow presented during the song’s first minute by JP is gradually increased in speed until his flow reaches a blinding speed. The backing instrumentation is fantastic, blending together the 1970s-inspired approach of J Dilla before screwing and chopping the beat in the cut’s final minute. There’s a lot of things occurring…
All Nights is a booming reggae track that has Snypa bringing vocals in the vein of Sean Kingston while incorporating more traditional drum beats. The resulting track is a fantastic blend of old and new, cutting-edge and timeless, making for a song that will grab fans attention from the drop. We love the sea change that occurs in the second half of All Night, as the more leisurely tempo of…
Messed Up World has Greg Hoy blend confident guitar riffs with dreamy 1970s pop-rock vocals. The timeless approach that is adopted here is given other accoutrements (a bit of 1990s alt here, some prog-rock guitars / keys there), making for a fulfilling track that will impress jaded music aficionados as well as people that are all-in with something they can vibe to. Greg’s charismatic vocals are the cherry on top…
On Gone In One, Lauren Hulbert is able to carry the standards of 1990s performers like Courtney Love, The Cranberries and Fiona Apple. Tender and assertive in the space of a minute, Lauren’s range is perhaps the strongest side of her latest single. The backing instrumentation is no slouch, either – there is an intense bass line that plays at the bottom of Gone In One. The tempo rises and…
Lucky You has Justina Valentine create her most expansive effort. This crossover track touches upon drum and bass, ambient, and pop music in a way that will undoubtedly appease a wide swath of fans. The backing instrumentation creates a fantastic canvas upon which JV’s inimitable approach can shine. Imprinting the song with “come” and “lower”, Justina is able to bring the sultry and sexy side of physical content to the…
On Enjoy The View, Papi Shittake blends together surf with lounge music. The vocals are clear and alluring, baked in the late-1990s oven of acts like Weezer and Cake. The guitar / bass / vocal dynamic that represents the nucleus of Enjoy The View will have listeners tapping their feet, all while the airy effort points at a bit of heavy emotional content. Papi Shiitake’s Enjoy The View ends up…
Keep Doin’ What You’re Doin is an effort that has Sudano lay down a mid-tempo, funky approach that is deceptively deep. Each element in Bruce’s latest single is able to contribute something to the coherent composition here. There’s a robust bass line, on-point drums, and smoky blues and rock-infused guitars. While each of these arrangements could be enjoyed on their own, there’s a sense that if taken on their own,…
On Take It Away, Like Machine is able to immediately come forth with some furious guitar work. When the band is able to switch gears and move towards a slinkier sound (bringing in hints of Layne Staley and Scott Weiland), they are able to show exactly how talented they are. The act is able to combine instrumental and vocal sides to make for somethign that could easy garner attention from…
On Yous A Hoe, Sukihana is able to immediately whip up listeners into a frenzy. With a rapid-fire flow that builds off of the tradition of performers like Trina and Mya, Sukihana is able to make one of the catchiest rap efforts we’ve heard so far in 2020. With the chorus taking on early Eminem, Sukihana is able to touch upon rap royalty while creating something wholly different from what’s…