AV Super Sunshine are an act that needs to be seen to be believed, and the video for their “Time Bomb” single is a cut above. The visuals – a pair of individuals running away from certain danger – parallels quite well the frenetic pace of the track. With additional actors providing a bit of realism to the run through the neighborhood, one feels that they want to experience the rest…
Steven Graves’s “How Long” is a track that draws upon the rock of the 1970s and 1980s; hints of The Eagles and Dire Straits can be inferred from the track. A robust instrumentation ensures that each ropy bass line, drum hit, and fuzzy guitar riff contributes to the overall easy-feeling sound of the single. How Long is one of those efforts that listeners can continually delve into and find new…
The Ivy Walls’s “White Ocean” sits at the boundary between 1980s goth and new wave styles. On their latest single, the act is able to use vocals to both tell a story and establish further depth to the harmonies achieved. With a haunting beauty, the act is able to deftly weave in synths and vocals into a cohesive entity. Gradually rising and falling, White Ocean is an effort that is…
Malea’s “Swept Away” is a sedate and alluring effort that draws upon the British pop style of the late nineties and early 2000s. Hints of Portishead and Morcheeba come bubbling up. The dreamy instrumentation of Swept Away whips in equal amounts of Massive Attack and Danny Elfman. A haunting sound will have listeners hanging on to every word, as the track is able to gain momentum. The 2:30-3:00 mark is…
Mu’Sonique Records present Dustyy Lane, a band and a duo in one, with a new single, “Now It’s Christmas.” The Dustyy Lane Band spell the name with two y’s, but that could just distinct them from other using the same name. But they’re not just a duo, as pointed out they are also a big stage band. This is a review of their original new hit single together, as they’ve…
Bogan Via’s new track I Want You, I Want You Too calls back to the synth-pop of the 1980s. Deep, rich vocals provide the perfect counterpoint to the twinkling electronic-tinged instrumentation. The effort continues to shift and change through styles, keeping listeners firmly planted on the edges of their seats. The rapid-fire style of Bogan Via’s delivery pulls in just a hint of rap, making something wholly different than what…
Steeped in enigmatic lyrics that could double for riddles, romantic exchanges between two equally talented vocalists and haunting harmonies between both the players and the instruments, Timber deliver a watershed album in The Family that promises to satisfy the pair’s longtime fans and newcomers alike. The most sensational quality that this record has to offer is its riveting tonality, which triumphs in the face of discordant rhythm and impossibly cerebral grooves with…
I don’t care much for albums with an inordinate amount of polish. Too often musicians working in the Americana vein will opt for glossy over authentic, but you don’t get any of that with Molly Hanmer. Her vocal and musical skills are unquestionable, but she also clearly pushes herself to dig as deep into a song as she can and isn’t afraid to put herself on the line. The opener…
The Silver Snails’ “Ave Maria a Zio Virgilio” draws an a classical musical tradition to weave a narrative that will have listeners focus in to each vocal layer and alluring arrangement. The vocals pull double duty on Ave Maria a Zio Virgilio in that they provide a narrative quality while adding to the overall harmonies achieved by the act. An extended instrumental interlude at the 2:30 mark keeps things fresh, as…
Nika Cantabile has just released the follow-up to Naked Soul Opus 2. Starting off with Sennen Kowa Sagashiteru (from D Gray Man), Nika is able to bring forth tremendous highs and a heavier, chunkier sound together into something that will immediately draw listeners in. Naruto’s Orochimaru No showcases repetition to a fantastic degree, with just enough in the way of variation to keep listeners keyed on in through the effort’s four-plus minute…
Stephen Winston’s “Maybe It’s For James” is a hopeful track in the vein of Cat Stevens or John Denver. The track is able to move through a number of styles, with nods to gospel and the progressive genre of early-Genesis. Maybe It’s For James is one of those efforts that need a few listens – one needs to focus on the lyrical content of Winston initially before moving into the…
Melanie Taylor’s “Adderall” is a powerful and introspective effort that provides listeners a good introduction into the performer. In the lyrics that Melanie lays down here, fans will be able to emphasize and understand precisely what is being discussed. The instrumentation on Adderall is a blend of pop, EDM, and R&B that is able to keep one’s attention until the effort rides out. Melanie is able to make something in…
Scott Gray’s “Raincoats” is a bouncy pop track that showcases a smooth set of vocals, bouncy guitar/piano dynamic, and an overall sound that will inject a bit of happiness into listeners’ days. Gray’s vocal range is pretty considerable, takes fans on highrises and counters with a rich tenor. Raincoats has a traditional production in that everything is dynamic; Gray is able to avoid the tendency present in popular music to…
This last time we reviewed Tris McCall, it was through his contributions to Jim Testa’s There Goes The Neighborhood CD. During “Conspiracy Theory”, McCall is able to call back to the 1980s with nods to R.E.M. and Warren Zevon. Synthesizers, a backing set of female vocals, and a world-conscious set of lyrics make Conspiracy Theory into something brilliant. With a production allowing each element to shine alone or in service…
Isaac Castor’s “Da Bounce” calls back to the late 1990s with a grimy, NO-inspired flow. With nods to Lil Wayne and Romeo, the track is able to deftly whip in past and present. Da Bounce impresses with strong wordplay and a hard-hitting beat that will bury itself deep into the minds and hearts of listeners. The constantly scintillating backing beat provides just enough in the way of oomph to emphatically…
No Confidence Man is an effort that ties together a wide variety of styles, whether it be Computer Love-era Kraftwerk, Franz Ferdinand, or Muse. The Woolly Mammoth, who have just released the single, are able to weave together an engrossing track that takes fans over this wide swath of sound in the course of three and a half minute. The single is similar to an onion; one can continue to…
Silver is an assertive, dominant track that immediately hits listeners over their heads with a sultry set of vocals, sizzling guitar licks, and a brooding instrumentation that will catch listeners’ attentions. The guitar/vocal dynamic on Silver pushes each to a higher plateau, but it is the bassier synth line that is weaved through the single that shines in the first half of the effort. The intense psychedelic-styled guitar work that…
The Camino Side Project have released an effort in Wheels that ties together the sultry rock of INXS with a bit of the seriousness of Depeche Mode. The haunting instrumentation that is laced through this single will keep listeners on the edges of their seat. The breathy, intense vocals that play at the top of Wheels interact nicely with the instrumentation. Adding a ropy bass line into the mix at…
Hello, Pablo. How are things going? How is 2019 shaping up for you? A: Very good. Thanks for hosting me at NeuFutur, James. 2018 has been indeed a very exciting year from the musical perspective and I envision great things will also happen next year as I have started working on a new music project which I hope will expand horizons much further beyond “Nobody’s Land”.
Keith Mosfet’s newest single Let Me Go effortlessly ties together 1960s pop, 1970s folk, and the Britpop of the 1990s. The taut instrumentation on Mosfet’s latest provides a robust backdrop for the paired (female and male) vocals. The guitars are technically proficient while building off of the folk-rock of performers like Neil Young. Let Me Go’s chorus will tattoo itself deep into the minds and hearts of listeners, while the…