The Sleaze, the new single from MC Homeless, Mickey Avalon, and Rove, benefits from having two distinctly different rap styles bounccing back and forth with each other. There’s brilliant wordplay and a backing beat that is able to stand up boldly to the bars that are being dropped. The chorus of The Sleaze will have fans bouncing their heads throughout. While inimitable in their own approaches, Homeless and Avalon join…
Botanical Violence is the first track on Goblin Smut’s introductory release, Flea Market of Love. The extended play begins with a breakneck speed and looops in furioursly-fired-out vocals, sizzling guitar work, and splushy drums before moving into a sludgier groove that has swirling eddys of guitar/drum arrangements. It’s surprising how much the band is able to pack into the space of 100 seconds. This introduction will keep listeners firmly on…
Taylor Jules will be with us for many years to come. This is a singer/songwriter with staying power. She’s early in her career, but already exhibiting veteran characteristics and an aesthetic far beyond her years. Her new single “MIA” reveals these traits to anyone paying attention. It doesn’t rely on the latest sonic flavor of the month to ensnare listeners. Producer Marc Swersky, a two-time Grammy award winner, wouldn’t be…
Danny Paisley’s “Till Lonesome Comes Around” will please both longtime country and bluegrass fans as well as casual listeners. The three-time IBMA Male Vocalist of the Year returns from a three-year health-related layoff with a stunning solo rendition of this Brink Brinkman and David Stewart-penned tune. His bluegrass chops have a transformative effect on the performance while likewise appealing to county music aficionados. I’m bowled over by the vast span…
DJ Amaze’s LOCO LIMBO is one of those dance tracks that will be absolutely perfect for this summer season. There”s a quick tempo, infectious beats, and smart repetition of the titular phrase with just enough in the way of changes to keep things interesting until the performer closes up shop. I can just imagine a bar setting up a limbo bar and putting this single on. With ample amount of…
Hey, it’s someone local to us! Uncle Ryano starts his latest video over at The Stroud, a Shreveport-area institution. Run Wide Open is a track that is destined for country radio, something that both works in the current paradigm as well as draws mightily from the country standards of the 1990s and early 2000s. From its quick tempo to a luxurious production that allows the titular performer the ability to…
Mrs. Henry’s “Everybody Wants Peace and Love” starts out with a tremendous bass line and a hooky repeat of “Everybody” that calls back to the pop-rock of the 1970s. In addition, there are numerous nods to styles as wide-ranging as funk, gospel, soul, and psychedelic. The track sparkles with so many disparate elements striving for dominance. Mrs. Henry’s ability to corral all of these nuances into a cogent and coherent…
On Lonely Together, Morgan Hudson and Lonnie Britton are able to reinvigorate traditional country music in a way that new generations will be able to appreciate. The song’s instrumental opening will draw in listeners, while Morgan’s vox start out in a crisp and clean fashion. The tautness of the guitars, keys, and drums are on display here, providing ample highlighting for each line that Morgan belts out. When Lonnie enters…
Leave Me has a backing beat that calls back to the late 1990s, with equal amounts of Nelly and Will Smith influence creating a luxurious bed upon which Dasgasdom3 is able to lay his own unique flair. There’s a supreme confidence that is interlaced in each bar. The track’s yin and yang of vox and beat combines to make for something that is decidedly greater than the sum of its…
Slam Dance is a refreshing of the rap-rock style of the early 2000s. There are nods to Limp Bizkit, Crazy Town, and P.O.D. inserted within the track. The dynamic established between the guitars and the ropy bass lines on DEF MACHINE’s newest track ensures that this track goes hard. There are so many things that are going down within the soundscape of Slam Dance that one will have to play…
Holy Mother of God is a straight-forward rock track that shines because of Greg Hoy’s charismatic vocals and the strong relationships that are fostered between the aforementioned vocals, drums, guitars, and bass. Part of the allure here has to be how uniquely Hoy’s the track is. It works well with The Hives, The Kinks, and The Strokes but in no way sounds like any of them. We love the intense…
On Break Thru, DEF MACHINE is able to speak directly to listeners with his message of hope and faith. There’s a rapid-fire flow that begins things before a more ethereal, gospel-infusedset of vocals takeover. It is this ability to quickly shift through styles that will keep listeners’ attentions throughout the entirety of the track’s run time. The production of Break Thru creates emotive calls to action all while making Break…
On her new single I Remember PT2, Kelly Morgan is able to make a bouncy dance-meets-pop track that showcases how one can overcome challenges in one’s life – personal, professional, or spiritual – and become even stronger for it. Kelly’s vocals sit softly upon the booming bass lines and guitar strums. The single’s infectious beat will have fans get on out to the dance floor, while there’s enough in the…
Honeydew is the newest single from Lauren Hulbert. On this track, a very close-knit composition with guitar and vocals open things up before percussive elements enter into the mix. It is this trio of contributions that are able to gel together and create something much greater than their constituent parts. The single reminds me of early-1990s alternative fare like Jill Sobule and Rusted Root. The brightness of Honeydew will put…
They Don’t (Make’m Like You) is a powerful R&B track from Levi DaRosa.The track draws upon the output of Brandi and Monica, while bringing in hints of soul and gospel. The twinkling backing beat provide ample highlighting for DaRosa’s vocals. There’s a delicate nature to this single that stands boldly out from other modern efforts. In an era where loudness is commonplace, it is this honesty and earnest approach that…
Light ‘Em Up starts off with a fast tempo and assertive vox. The Dead Daisies are contuing to build out their unique take on 1980s hard rock and hair metal. With sizzling guitar work matched with splashy drums, it’s no surprise that the resulting track will be burying itself deep into the minds and hearts of listeners. The production is skillful here, both keeping the rough-hewn sound of the period…
Elise Harper’s “Bartender Therapy” is a touching pop-country track that expresses a sentiment a great proportion of her listeners will understand. The desire to reach out and have human interactions is part of life. Elise’s vocals are great here, both establishing a narrative and bolstering in the backing instrumentation. The presence of lap steel and deliberate drums in this track tie Bartender Therapy into the larger country and western tradition.…
Strange Company’s “Lois Lane” has timeless pop-rock qualities that make it an instant winner with me. The Memphis/Nashville outfit’s debut album, Eyes Wide Open, promises to be one of 2024’s best efforts in this vein based on the promise of this number alone. Vocalist Chris Burris and lead guitarist Aaron “Crash” Robinette lead the way for this outstanding young band, but it isn’t a glorified vehicle for their talents alone. Make no mistake – Strange Company plays as a cohesive and full-fledged band,…
Devil At My Heels has some fantastic guitar licks issuing forth during its run time. Add to that the country-meets-pop approach of Ginny Luke and what results is something that is an amped-up version of a Kelly Clarkson or Maren Morris. The song could easily be brought on modern music playlists, but there’s a lot more meat to the track’s bones. Specifically, the dynamic that is established between the guitars…
Starting out with a second-wave ska bop, Nuek The Bugs’ new single Bugs will immediately draw in fans. With a nod to They Might Be Giants and Elvis Costello, the vocals act as the more straight-laced side of the track, while the bouncy beat and up-strum of the guitars keep things light. Inserting in just a hint of psych and rockabilly (with Knopfler-meets-Police elements)to the post-chorus section, the act continues…