In his new 2-song EP, Too Bright to Fade Away, troubadour Reed Waddle experiments with elements of easygoing folk/rock and indie pop to forge a fantastic pair of ballads more than worth your time this summer. Both the title track in Too Bright to Fade Away and its counterpart in “Bells of Brooklyn” borrow a lot from the Bakersfield sound of the 1970’s, as well as a dose of tempered, Neil Young-style poeticisms,…
On Sixteenth Summer, Liam Mogan is able to imbue each beat with a charisma that is hard to deny. While the track straddles the line between pop and country, there’s enough of a nod made here to EDM and even rock to jazz up the widest possible swath of fans. The bit of hope and carefree living that is discussed during the single is replicated perfectly by the backing instrumentation.…
RiSE, the latest single from Nadia Vaeh, immediately showcases tremendous vocal talent. The scintillating backing instrumentation links together synth, sequenced drums, and a booming sound that lends a lot to the deep end of the composition. With nature sounds (a “bird chirp” sample) included here, Vaeh is able to make a fulfilling effort that continues to showcase new twists and turns even multiple plays in. The presence of Hazel Rose’s…
Blushing with a wintry melodicism that feels surprisingly appropriate this June, Paul Mark & the Van Dorens’ “December at the P.O.” has an aching compositional integrity that essentially comes standard on the album Gravity, currently out everywhere quality indie music is sold and streamed. Armed with Mark’s trademark poetry and a glowing piano as sterling as that of “I Spin When You Grin,” “December at the P.O.” is rightly the closing…
During New World, Normal Machine (David Cohen and Amanda Silvera) are able to blend together a dark, industrial sound – imagine KMFDM mixed with Orgy – with supersonic pop-themed vocals. Building off of the sound of Willa Ford and Kittie, Amanda’s vox are able to reach tremendous highs and rich lows. A distortion-laced guitar interacts with splashy drums to establish a grim and gritty backdrop. New World’s combination of voice…
In their new single, titled “Come As You Are,” Mad River deliver an unquestionably uplifting listen devoid of any over the top theatrics that separate true hits from fleeting trends. From the get-go, there isn’t a speck of pessimism to be sifted through in these lyrics – Mad River have a lot to get off their collective chest, but of all their emissions, negativity influences none of them. There’s a…
During Lemonade, Good Fella Uno is able to lay out some seriously soulful lyrics. These bars are given further highlighting through a laid-back production that deftly repeats a bit of guitar strum. Marrying the guitar line with booming bass beats, this backdrop provides the perfect counterpoint for GFU’s unmatched voice. The track has just a bit of world-weariness to showcase that the performer has lived all of the perils and…
The first few seconds of Kamilah Shani’s Certified have some of the most rapid-fire deliveries this side of Busta Rhymes or Twista. There’re other influences that bubble up to the surface on this single, as well; hints of Trina and Nicki Minaj can be discerned here. Shani is able to separate herself from the vast mass of rappers due to a crisp patois and tounge-twisting lines that will trip up…
Mix It Up is an extremely catchy effort that builds upon the tradition of performer like Sean Kingston and Nico & Vinz. With rapid shifts through R&B, pop, and rap, iinvad3 is able to call out to a wide swath of listeners. With some soulful vocals leading up to and including the song’s chorus, Mix It Up is one of those earworms that will continue to bounce into listeners’ brains…
Do The Damn THing is a confident, assertive statement laid down by Blondia. With no-nonsense lyrics dropped alongside a brooding and intense backing beat, Blondia immediately draws in listeners’ attentions. There’s a harmony, a cadence which Blondia uses to great effect in this single. The rising and falling movements of the song established a varied sound – no two moments of Do The Damn Thing are the exact thing. Utterly…
On Hotel, A.T.L.D.V. bring a bit of T-Pain, Tyrese, and Public Announcement to the current era. Tremendous vocals, a sexy groove, and a funky production backing the vox combine to make for something that could easily chart on modern R&B and pop stations. There’re a lot of things going on during this track, but A.T.L.D.V. are able to corral everything into a cogent sound that will ring loudly in listeners’…
Someday is a hopeful track that ties together bright vocals and a backing instrumentation that draws heavily from the 1970s soul and funk styles. The jazz-infused drum line adds a bit of spontaneity to Da$Htone’s lately. The flow that is weaved through Someday simultaneously furthers the positive narrative while adding a further layer of complexity to the mix. Bringing in Alma Cook’s vocals to the second half of Someday, Da$Htone…
Thee End has an eclectic sound to it that is united by the inimitable vocal flow of Maribased1; there are calls back to 1990’s California rap, the wavy sound of Kid Cudi, and a nod to the modern approach of performers like Migos and Post Malone. Whipping in a bassier flow from D Menace, Thee End ensures that it has considerable replay value throughout the rest of the summer. With…
You Were Light is the introductory effort on Arielle Silver’s A Thousand Tiny Torches. Rich vocals immediately wash over listeners, as Silver builds upon the tradition of performers like Carole King and Sarah McLachlan. The guitar work calls to a different style, adopting the trappings of 1980s and 1990 country. The rising and falling sections on You Were Light keep fans firmly planted on the edges of their seats. There…
Follow Me Home begins with an atmospheric production that sets the stage for Benny Freestyle’s laid-back approach.A hooky chorus will have listeners singing along; the bit of guitars and percussive elements are more than able to make an alluring backdrop. The narrative that is established here with Benny Freestyle’s lyrics and the hauntingly brilliant female vox imbue the composition with a bit more substance than what is typically encountered on…
A little anxious but attractive to listeners who dig chic grooves in contemporary pop, the sensuous and alluring beats in “Lemon” are perhaps the perfect yin to the yang that is Hewas’ lead vocal. If you’ve never heard of Hewas before, don’t feel left out – “Lemon” is his official studio debut, and it’s hitting record store shelves at a particularly important time this season. Eclectically stylized but not quite…
The Side Deal is not your run-of-the-mill rag tag band. These guys can play and they have themselves a solid hit in the updated rendition of “I Can See Clearly Now” out now via Goldie Records. If one song could encapsulate the hopes and dreams of a nation, and the summer of what to come, this is the time. “I Can See Clearly Now” is a bright, bright hit. Originally…
Few songwriters today can claim to be as eclectic as Seattle’s Electric E. A former resident of New York City, there’s no doubt the songs on Babylon Music and 3 Sides to Every Story have a distinctly urban flavor, but Electric E never confines himself to electronic music alone. Babylon Music is more varied overall than 3 Sides to Every Story – this is clear from the first song. The title track recalls Tom Waits in some ways…
I Want It Now is a powerful opening to the new album by Sundogs, The Code. With sizzling guitar work and an emotive take on the song’s arrangements, the act is able to bring listeners in by the barrelful. Settling into the seventies style of rock that links together early Ted Nugent with Boston and Bachman-Turner Overdrive with a dollup of 1980s hair metal (e.g. Ratt, Cinderella), Sundogs immediately kick…
Elly Ball’s Control begins with a funky, layered approach that acts as a nice counterpoint for single’s poppy vocals.There’s a nice chiaroscuro exhibited during this composition with Ball’s soft and sly vocals interacting with the bassy synths. These two elements combine to make for an engrossing sound. The slowdown that occurs at around the 2:40 to 2:45 mark allows Ball to move into a vocal approach that draws from traditional…