Reyna Roberts’ “I’m Coming For Ya” is a track that would absolutely be at home on pop radio stations. This R&B meets trap sound takes up equal amounts of the 2000s and 2010s to make for a track that will stick with listeners long after it concludes.
Bassett’s Ghost Hwy is a contemplative piece of indie-rock that has Bassett take listeners on a lyrical and musical journey. Listeners can discern hints of Cherub Rock-era Smashing Pumpkin and Joseph Arthur. The track continues to build with strings and windswept instrumentation, imparting a more ethereal sound to the single.
Dobolo’s able to create a very tropical sort of rap / R&B. Thick bass lines and smooth, Akon and Sean Kingston-inspired vocals make for a hooky, catchy experience. The backing beat works here; it fades a bit into the periphery when Dobolo is vocalizing and moves into a more intense role when Dobolo steps back.
Pablo Embon immediately starts off Funky Side of the Road with Is That You, a track that deftly unites 1990s jazz with the more experimental modern (1950s/1960s) and fusion jazz styles. The narrative that is weaved through this track needs no vocals; Embon’s arrangements and dynamics (percussion / guitar, piano/ bass) make a fairly lighthearted opening something substantially more intricate than it seems.
John Vincent Curry’s Still The Same is an honest and touching folk-infused pop music. Curry’s Americana approach and poignant subject material will make fans out of listeners. The production of Still The Same is fantastic, capturing a considerable increase in the momentum while allowing the track to have a close and cozy sound.
The Dead Daisies’ new track Song And A Prayer is a powerful piece of hard rock that succeeds due to confident vocals and a stronger instrumentation. The dynamic that is created between the guitars and drums makes for a perfect backdrop for the vocals.
Walking Through The Night immediately begins with a sizzling guitar line and authoritative drums. Iggy Pop’s lyrics provide the perfect sort of wizened and tempered sound to the more fiery instrumentation on the single.
Doggy Filter, the latest cut from Boston’s J Roy Champion does much to reinvigorate the rap of performers like T-Pain and Soulja Boy. A bit of vocal effects on J Roy Champion’s flow, and the song feels destined to be included on rap rotation.
Inner Call’s Gravity is a fascinating track that ties together hints of pop, rock, and industrial music. Gravity has so many distinct elements that are able to coalesce into a cohesive format.
Hello, Thomas. What’s happening musically in Norway this December? Hey, here in Norway new great music are made about every day. We got great musicians here in Norway. I make around 2 songs a week, and I have a lot of ideas in the future.
Bad Reed craft a fun brand of rock that brings in hints of electronic, industrial, and even a bit of metal during their latest single Stained Glass. The supersonic vocals are the highlight of Stained Glass, but fans will hear some seriously heady instrumental arrangements that are interspersed at the bottom of the composition.
Kaye’s vocals on Ain’t Dead Yet draw upon a rich musical tradition that was established by performers like Tori Amos and Stevie Nicks. A deliberate instrumentation creates a unique sound for the single.
Christmas Come Early is a powerful new holiday single that is bouncy and fun, drawing upon the tradition of performers like One Direction and Jason Derulo. The collaboration of vocal and instrumental elements pushes each to an entirely higher plateau.
Better Not Wait is the first track on Zen Juddhism’s 2, immediately hitting listeners with an alternative-cum-punk style. The strong females are precisely what will keep listeners on the edges of their seats. This initial effort is further fleshed out through the inclusion of ska-influenced horns, splashy drums and deft guitar work. Stage Fright incorporates a bit more alternative rock into the equation, ultimately spinning the cut into a new…
Soles Of Passion’s “Say I Will” is built off of the dynamic between guitar and synth. The robust, bouncy instrumentation is the perfect backdrop from the emphatic vocals laid down by Myla, making for an effort that works well no matter whether a listener is a fan of 1980s, 1990s, or more current music. The multiple layers that compromise Say I Will further increases the replay value of the single,…
STRFKR’s Open Your Eyes is a dreamy sort of indie rock that adopts the distinct synth sound of 1980’s new wave. Emotive, warm vocals run parallel to the bold instrumental arrangements. When these vocals drop out for a second in the middle of the track, Open Your Eyes is reinvigorated.
The Bodhisattwa Trio (Kolkata, India) has just released their latest album, Heart of Darkness. The title begins with Sections, a haunting, ethereal sound that links together a sound that feels more at home in a horror or dystopian film score. The track immediately draws listeners’ attention in, making the sudden change in sound that is presented during the opening seconds of Transcendence all the more shocking. The trio’s tautness is shown nicely here, with…
SilverSnake Michelle begins their Her Snakeness with Drops of Time. We have taken a look at the single before, but the re-mastered version that leads off Her Snakeness feels that much more punchy and in-your-face.
Todd Curry and Focus create a gospel track that is reverent while still possessing a catchy, hooky sound. The back and forth between Curry and Focus pushes each side to a greater plateau. A taut instrumentation is the final cherry on top of that sundae, while an extended vocal section provides further variety to the single.
Raftree’s “All The Time” is a smoothed out but musically ferocious hard rock track. Hints of 311, early Foo Fighters, and Shinedown can be discerned here, but what Raftree does here is considerably different than their influences indicate.