Drugs, sex, Jesus and a telecaster’s twang. That’s pretty much the Beaumont formula and hell, if it isn’t enough to make your whole goddamn day. On their first live record, This Is Austin, recorded appropriately enough at Austin’s The White Horse, the five Lubbock cowboys turn in a monstrously hilarious best of compilation in front of a live audience. Whether it’s singing about Toby Keith (“Toby Keith is the…
Gryndin may just be our favorite Jae Mansa song out, as it is able to call back to the early days of Kanye and Styles P. Impressing Young Marco into throwing down some bars for this track is a genius-level decision, as the two distinct approaches taken by the performers makes Gryndin into an unmitigated banger. With smart use of samples and hints of mid-oughts acts (The Game, early Rick…
On Recognize, pineappleCITI is able to create an easy-going rap track that builds upon the framework of Young M.A. and A Boogie. With a backing beat that is more dreamy, accentuating rather than boldly countering PC’s bars, Recognize comes forth as utterly distinct from other rap tracks currently populating playlists. Delicate and replete with an infectious vocal hook, Recognize gradually increases in speed as one hurtles to the end of…
Touch It succeeds because of a haunting, Hypnotise Minds meets Migos sort of production. Intricate wordplay is spat at a bullet’s pace as PM beats fans over their head with the most ornate maul. Get It is a hard-hitting track that has PM spit lyrics that are cocksure and confident. Matched well with a booming bass and trap-inspired backing beat, Get It is the sort of track that will immediately…
Dan Ashley is a celebrity in his own right, but What Really Matters is an effort that will catapult him alongside such rock luminaries like Michael Stanley and Elvis Costello. The same charisma that bubbled through his news broadcasts comes through in droves during his latest single. Easy listening rock with musical chops to add more than a bit of oomph, What Really Matters is able to revive the style…
On Planet, The Phoenix Rose create a wholly unique effort that links together the taut pop-rock of later Genesis, a bit of 311-styled modern rock, and the orchestral pomp of Dream Theater. Throw in some huge jazz-infused bass and a bit of reggae wobble and one will have some semblance of what The Phoenix Rose is trying to do here. The band picks up speed at around the 3:25 mark,…
Jane N’ The Jungle create a technically amazing effort that blends together progressive rock instrumentation with emotive, impassioned vocals. With a set of influences as wide-ranging as Metallica, Jethro Tull, and Santana, Jane N’ The Jungle are continually evolving and refining their musical output. Few songs are able to be enjoyed in such a wide-reaching fashion. One can just take Beach On Fire on its surface or they can dig…
By The Throat is a powerful, introspective effort that refreshes the sound of Nick Cage, Chris Isaak, and Where The Streets Have No Name-era U2. Instrumental and vocal sides struggle for dominance here. The bit of electronic fuzz that the guitar / drum dynamic includes bring The Great Dictators a bit closer to NIN. Alluring and darkly emotional, By The Throat’s shuffling tempo will make fans out of anyone listening…
Zidiq is able to infuse African Mama with an infectious groove and an eye back towards traditional styles, even as he hits fans with some booming EDM beats. Insistent synths match nicely with smooth vocals; hints of Akon and Sean Kingston can be heard in this effort. African Mama turns on a time with slower and quicker sections. With so many things happening during ZIDIQ’s latest single, fans will be…
On Twenty Two, Danny Griego and KP Fitz create a timeless ballad that calls back to the days of Bruce Springsteen and post-1990s John Bon Jovi. Ample guitar work interacts with impassioned vocals to draw fans in, while a message of care issues forth. The usage of silence immediately following an instrumentally intense section provides enough of a switch-up to keep fans on their toes. Honest, earnest, and with a…
Shine From My Casket is a dreamy, emotionally intensive rap track that has an otherworldly sense of harmony to it. Kid Pullen is able to hit fans with a rapid-fire flow that is countered quite nicely with the contemplative backing instrumentation. Can’t Help has Kid Pullen immediately laying out a narrative that will keep fans involved in the single. The backing instrumentation bubbles up at the right points to provide…
Brynn Stanley is able to call back to the modern era of the 20th century with her take on a Christmas cut, Santa Bring My Baby Back To Me. Strong call and response plays at the top of the track, while a walking bass line and impeccable drums unite to make a solid backing instrumentation. The hint of jazz and doo-wop into Santa Bring My Baby Back To Me keeps…
On Slay, Eddie Grand’s latest, a deep and dark trap-infused backing beat provides a stellar canvas upon which Grand’s inimitable lyrical flow can rest. With nods to The Game, Riff Raff, and Three 6 Mafia scattered throughout Slay, Grand ensures the widest swath of listeners will find something that they can appreciate. The haunting melodies presented in Slay ride out the final 30 seconds or so, ensuring that they are…
On Damn, I’m Being Me Again, BREE is able to tie together the pop-rock of Avril Lavigne with Vixen and Bif Naked. Tons of charisma, a stripped-down rock approach, and lush production combine to make something special in this cut. The sort of narrative that is implanted into this composition is something that anyone that has continually messed things up will be able to understand. Few three-piece acts are able…
AERO calls back to the halcyon days of Yung Joc and the Duffel Bag Boys. With a bit of softly-stated vocals playing out over a whistle-heavy backing track. TisaKorean keeps things current and contemporary by joining the mid-oughts rap scene to mumble rap. What results with AERO is an effort that will bury itself deep into the minds and hearts of anyone listening in, as well as drag any reluctant…
We Belong To The Night is a hopeful and fun track that effortlessly crosses over between pop to EDM. Jes’s vocals are in rare form here as they keep fans focused in with each lyric. The dynamic established between the vocal and synth sides of We Belong To The Night pushes each to a higher plateau. Smart increases to the track’s tempo ensure that no two moments are exactly the…
Carteret is a touching effort that builds upon the 1980s new wave style. With moody, dark vocals and a slower tempo, Waldo Witt is able to make something beautiful. With nods to contemporary styles like vaporwave and even ethereal / IDM present here, Carteret is a heady track. Virtually requiring listeners to strap on their favorite pair of headphones, Waldo Witt painstakingly lays down each dynamic. The resulting effort is…
On The Difference, The Odd Neighbourhood are able to link together late sixties / early seventies Apple Records rock with Dick Dale-esque surf and a bit of The Replacements. The multiple instrumental layers that are placed down here by the guitars and drums on The Difference will require listeners play the cut multiple times before hearing each nuance that has been placed within. The passion and charisma oozes off of…
This Hollywood Road begins Rob Alexander’s latest album, Being Myself. The track calls back to the happy-go-lucky sound of 1980s rock, with nods made to Huey Lewis and the News and Robert Palmer. Charisma oozes from Alexander’s vocals, while the upbeat tempo will tattoo the song’s melodies deep into the minds and hearts of listeners. Never Gonna Let You Go ‘s lyrical back and forth continues to build upon the…
In their latest record, titled Time Has Made a Change, popular bluegrass group Jeff Parker & Company get back to basics in a time that has seen their peers doing anything and everything but, and as a result produce an album that could be the most focused of Parker’s extensive career. From the slow-churning swell of strings in “Southern Wind” to the crisp harmonies of a peaceful “Time Has Made a…