Veronica Bianqui’s Victim is an alt-rock track that brings in some interesting inclusion; the heavy rock sound that issued from from Detroit, the swirling eddys of mid-1990s alt music, and hints of the 1960s singers (e.g. Nancy Sinatra, Joan Baez) in Veronica’s vocals. A fun track that will bury itself deep into the minds and hearts of listeners, Victim is one of the best tracks that we have heard this…
Mr. Flannery and His Feelings’ “Embers Of Dead Fires” is an indie rock track that showcases a number of influences and styles. There are hints of Bright Eyes and Death Cab for Cutie in the vocals, while the jangling guitars and noisy production speaks to the fuzzy sounds of mid-oughts emo (The Appleseed Cast, The Anniversary). What results in Embers of Dead Fires is an effort that is beautiful, expansive,…
Brooklyn Queen’s “EMOJI” calls back to a middle-oughts pop style. The twinkling sound of the production works well to provide a further boost to her vocals, while the interspersed visual scenes (showcasing BQ in detention) provide a bit more information about the performer. The track’s overall sound is catchy and feels destined for radio rotation; the subject matter speaks to anyone that is going through a hard day and needs…
Wyclef Jean – What Happened to Love’s a high-energy track that shines due to the inclusion of the vocals of Lunch Money Lewis. The retro sound of this single is reminiscent of the sunny style of the early 1990s. The shuffling beat, sizzling vocals, and shifting styles make for an effort that will slot into playlists easily. The spontaneous sound of What Happened to Love gives it legs; there are…
Rich Chigga’s “Glow Like Dat” is a dreamy sort of rap track that shines due to Chigga’s intense wordplay. The melodies that Chigga contributes to this single makes for a fuller sounding single than a great many rap tracks clogging radio play and playlists. SargeantJohn Sargeant, writing on NeuFutur as Sargeant, is the founder and editor-in-chief of NeuFutur Magazine, where he has covered independent music, PC hardware, consumer tech, and…
Oriel Poole’s Homegirl is an interesting pop track that takes on a number of distinct styles. This means that there are nods here to 1980s new wave, 1990s dance, and bits of glitch and trip-hop. The retro sound of the instrumentation will please fans of artists like MGMT and Passion Pit, while the sultry vocals laid down by Poole during Homegirl exudes tremendous cool. SargeantJohn Sargeant, writing on NeuFutur as…
Julia Othmer’s Hungry Days (Make Me Feel) is an effort that builds off of a rich pop tradition. Othmer’s vocals take hints of Pink and Kelly Clarkson and adds hints of Nancy Sinatra, all while a high energy blend of rock and electronic styles create a compelling backing beat. SargeantJohn Sargeant, writing on NeuFutur as Sargeant, is the founder and editor-in-chief of NeuFutur Magazine, where he has covered independent music,…
Melissa Robertson’s ‘He’s A Writer Of Songs’ is a powerful track that draws upon the 1970s singer-songwriter; Robertson is able to build off of the framework of performers like Carole King and Karen Carpenter. The instrumentation presented to fans on He’s A Writer Of Songs ties together pop, country, and folk styles. Melissa’s vocals are the focal point on this single, rising and falling with tremendous care. These vocals, while confident…
Londale’s Let’s Take A Ride is a mid-tempo effort that is tremendously touching, emotionally intense effort. The dynamic between the lyric and vocal sides pushes each to an entirely higher plateau. The drum / guitar back and forth creates the backdrop upon which the weathered, slightly gritty vocals can shine. The track does well in showcasing the weariness of life and how refreshing the titular activity would be. Let’s Take…
On Quaker Hill, Kala Farnham is able to establish a unique style that ties together 1960s pop, folk, and country music. With an instrumentation firmly located in the bluegrass / folk style, Quaker Hill is a track that is bouncy, emotionally intense, and ultimately appreciable by anyone that has ever felt like a fish out of water. The production of Quaker Hill allows each instrument and lyric to shine on…
Tommy Stinson surprised many earlier this year by resurrecting his old band (or the moniker at least), Bash & Pop to put out a new full LP of tracks. The result was “Anything Could Happen,” a dozen down and dirty straight up rock songs that hues pretty close to The Replacements, the band that started it all for Tommy. John B. Moorewww.neufutur.com
There is a rich array of sounds that Masaki Hanakata can included on his current release, the Bremen Soundtrack. Donkey’s Fanfare is a track that is deceptively deep, and is doubly so when one considers that the track does not break the two minute mark. The song draws from an earlier (19th/early 20th) folk sound, while adopting hints of Celtic music. The track is instrumental, but Hanakata is able to…
Though he started as a drummer with ‘60s garage rockers The Doughboys, Richard X. Heyman has proved albums after album, since his first solo effort in the ‘80s, that his real talents are meant to be at the front of the stage. John B. Moorewww.neufutur.com
Rhode Island’s Deer Tick decided to go big on their latest release and man did it pay off. After a four years absence, the indie band is back with two phenomenal albums, boasting two completely different sounds, quiet and reflective (Vol. 1) and loud and rowdy (Vol. 2). John B. Moorewww.neufutur.com
Natalie Paige Bentley’s “Ride Home” defies genre convention. The track unites indie rock, sedate singer-songwriter, and world music styles. The track ties together organic and electronic, loud and soft, and exists as a testament to Bentley’s ability to seamlessly meld together disparate styles. Natalie’s vocals, the focal part of Ride Home, add a bit of humanity to immaculately arranged guitars and drums. The instrumental side of things echoes and resounds…
Jane N’ The Jungle’s “Killed Someone”comes forth with the same instrumental intensity of early sublime; there are just so many things going on during the band’s latest single Killed Someone that fans will have to go and spin it multiple times before hearing everything that is contained within. The strong female vocals, the Fugazi-esque bursts of intensity, and an overall style that touches upon rock, emo, and metal pushes Killed…
Van Gordon Martin’s “Let it Grow” is a track that effortlessly ties together reggae and ska styles in a very radio-friendly format. The instrumentation is solid, allowing the bass and guitars ample time to shine alone or as part of the greater whole. The complexity of this arrangement, which include a bit of drums as well, makes it easy for listeners to continually find new twists and turns that had…
MaWayy “Wrong” possesses hints of Maroon 5 and Coldplay, all laying on top of an EDM-infused composition that will appease fans of artists like Avicii and Diplo. There is a tribal beat and island sound that will get fans out on the dance floor, which is matched with sultry vocals. The blending of slower and quicker elements during Wrong will keep fans’ attention throughout the single’s three-ish minute run time.…
Sarah Ragsdale’s “This Kiss” is a pop track that draws on a modern (1950s-1960s) tradition. Sarah’s vocals stand out boldly from the backdrop of the single, which succeeds via a plinking piano line. The richness of This Kiss will lift the spirits of anyone listening in, while Sarah’s vocals do double duty in providing fans with a narrative and adding considerably to the overall sound of the cut. Ragsdale is…
Sammi Rae Murciano’s Reflection is a powerful statement. Rich vocals soar out above the track, while the backing instrumentation provides a solid backdrop upon which Sammi Rae’s vocals can shiner. The R&B meets pop sound of Reflection is catchy, emotionally effecting, and fits right alongside the rotation/playlist of pop and R&B charts. SargeantJohn Sargeant, writing on NeuFutur as Sargeant, is the founder and editor-in-chief of NeuFutur Magazine, where he has…