Buddy Nelson – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Tue, 12 Dec 2017 17:49:40 +0000 en-US hourly 1 King Draper: “1992” reminds one of exactly why hip-hop was so vital in the first place http://jamsphere.com/newreleases/king-draper-1992-reminds-one-exactly-hip-hop-vital-first-place http://jamsphere.com/newreleases/king-draper-1992-reminds-one-exactly-hip-hop-vital-first-place#respond Tue, 05 Dec 2017 00:40:58 +0000 http://jamsphere.com/?p=30924 You can’t write about underground or independent hip-hop and not write about King Draper. Or at least I seemingly can’t. For the past couple years the man’s been a nearly constant presence in my journalistic exploits. And now, I’m sitting down again to review his latest 11 track project, “1992”.  The King hits me with […]

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You can’t write about underground or independent hip-hop and not write about King Draper. Or at least I seemingly can’t. For the past couple years the man’s been a nearly constant presence in my journalistic exploits. And now, I’m sitting down again to review his latest 11 track project, “1992”.  The King hits me with dope music and I write about it, and I’m more than happy with the arrangement. If you’ve peeped any of King Draper’s projects before, what you get from this project won’t surprise you. Draper with his soulful, jazzy, production and his smart anecdotes detailing tales of life, love and from around the block. All while still reminding you that he’s better than your favorite rapper. King Draper continues his legacy of making consistently dope hip-hop music.

King Draper has always had a talent in storytelling, with his ability to build a plot and give soul to the characters, and these tracks are no different. He is often capable of conveying the seriousness of daily struggles but tells the story in a way the listener understands and still enjoys the track.

Of course it goes without saying that the production soundscapes set the tone perfectly for King Draper to go in. “1992” is quintessential hip hop from its sound to its sentiment and it’s not trying to add anything new or unique to the genre, rather, it’s trying to bring back the shine this genre once had. “1992” reminds one of exactly why hip-hop was so vital in the first place.

From the opening track, “Money Talks” (prod. by KR Beats), the Birmingham, AL rapper lays his skills on the table. It is simplistic in its premise but unquestionably real in its execution, and from there on out King Draper delivers a set of eclectic modern day tracks, which stay steadfast in their ode to the old school ways.

The instrumentals all feature beats that are littered with a slew of soulful sounds that aid King Draper in conveying a range of varying tones and subjects as we jump from track to track. And it doesn’t groovier or smoother than “Charlie Blue” (ft. Vick Jones) (prod. by Omari MC) and “Energy” (ft. Cutt Dogg) (prod. by Black Diamond Music).

King Draper has always had an absolute gift for painting pictures and it makes me so happy to know that he still has the ability to blow my mind with some fresh shit, like “Street Corners” (ft. Pollo Creed and Poet) (prod. by Yondo) and “Lost In Translation” (ft. Judah Morrison) (prod. by Origami).

In-between he still has the time to be fully melodic, as on “Politics” (prod. by Hoodzone), or totally confrontational, as on “Dead Homies” (ft. Damia West) (prod. by Origami). Another one of my favorite things about this acclaimed underground emcee is that all of his stories are so much more relatable than those of his numerous contemporaries and current colleagues. Something he showcases on the easygoing “Long Enough” (prod. by King Draper).

“1992” contains fascinating tales with an ample smattering of character building, setup, and dramatic plot points that will have you hanging on every word. This is exactly what I love to hear from a confident rapper and it offers a timely reminder of just how powerful the art of storytelling in hip hop can be when it’s crafted by a
true artist.

OFFICIAL LINKS: WEBSITE – FACEBOOK – TWITTER – INSTAGRAM – YOUTUBE

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Edgler Vess: “Violet” – One of the truly unique storytellers! http://jamsphere.com/newreleases/edgler-vess-violet-one-truly-unique-storytellers http://jamsphere.com/newreleases/edgler-vess-violet-one-truly-unique-storytellers#respond Mon, 04 Dec 2017 18:36:39 +0000 http://jamsphere.com/?p=30919 Every album that Edgler Vess releases, breathes with a distinct personality, each a shape-shifting assemblage of personage and programming that sounds more like a kind of miraculous hyperlinked sound collage than rap. His lyrical feats go unmatched for sheer idiosyncrasy and insight; beyond rap enthusiasts, many of his strongest supporters are probably writers and music […]

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Every album that Edgler Vess releases, breathes with a distinct personality, each a shape-shifting assemblage of personage and programming that sounds more like a kind of miraculous hyperlinked sound collage than rap. His lyrical feats go unmatched for sheer idiosyncrasy and insight; beyond rap enthusiasts, many of his strongest supporters are probably writers and music heads. A master of the microphone and the beats, Vess has constantly swapped out his tools and themes, avoiding revision and instead choosing innovation. When Edgler Vess does what he does, he’s impossible to ignore.

He’s profound, he’s impressive, and he’s damn entertaining. In short, he’s one of the best underground rappers going. Over and above that he is also a prolific artist, frequently dropping new recordings. Two months since his surprise EP “Nathan”, the Portland based rap artist returns with his next full length project, “Violet”.

Across the 8 tracks that make up the album, Vess’ voice is one of the best parts about his sound. His voice soothes the soul while it blasts rhymes at any speed he chooses. The opening track “Pm Dawn Fm” is a perfect example of this. A soft psychedelic keyboard sample is looped throughout the song over an understated, but thumping drum beat.

The title track “Violet” layers a whole lot more of the goodness found on the first cut, with Vess’ resonant voice taking center stage. Although secondary to the genius lyricism, and Edgler Vess’ flow, the album’s production is outstanding throughout as well.

“Seasonal Affective Disorder” showcases exactly how to put together an alternative rap track with a groovy beat, set against a backdrop of swirling keyboards and lush vocal arrangements. Vess picks up the pace and flips into a funky bass driven joint on “Purple Pico”, before sliding into the slow and slippery vibe of “James Brown”.

The overbearing and sometimes uncomfortably eclectic backing track sounds both twisted and glorious, especially when Vess adds in his lo-fi flow and bizarre stream of consciousness lyrics. And that is why this is essential to your hip-hop collection.

“Sophia” has a muted beat and sample in its underbelly, while it’s Vess’ voice that once again triumphantly carries the track on its shoulder. One of the truly unique storytellers currently in the game, Edgler Vess maintains the same structure on “Mama Thinks I’m Handsome (Interlude)”, as he weaves through a hypnotic sonic backdrop to emphasize the lyrics, while using the instrumentation as a tool to permeate the verses and choruses. However unconventional, this strategy works perfectly in promoting focus on the rhymes.

Always abstract but never completely outside of his atmosphere, “Breakfast at Tiffany’s” is a perfect example of complex lyrical passages coupled with the illest beat this side of experimental. It’s definitely an acquired taste, but once you become familiar with Edgler Vess, you’ll see why this is a landmark in independent hip-hop.

Get it in any way you possibly can, because no hip-hop head should have to do without this album. “Violet” clearly shows the quality and effort which was put into its making. From one of the busiest and talented emcees in the game right now you owe it to yourself to get this album, assuming you can get hold of it…

OFFICIAL LINKS: TIDALGOOGLE PLAYITUNESSPOTIFYAMAZONDEEZERTWITTERFACEBOOKYOUTUBE

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Yung Rose: “I Don’t Need It” – The entire listening experience is consistently enjoyable http://jamsphere.com/newreleases/yung-rose-dont-need-entire-listening-experience-consistently-enjoyable http://jamsphere.com/newreleases/yung-rose-dont-need-entire-listening-experience-consistently-enjoyable#respond Sat, 02 Dec 2017 23:53:08 +0000 http://jamsphere.com/?p=30911 Yung Rose is an underground Hip-hop artist from Ohio who started as an EDM spinner in the group, HUF Boyz. The name Yung Rose has the meaning “Bring Balance to The Unequal”, showing the leadership side of his potential in music. On his latest single, “I Don’t Need It”, Yung Rose provides fans with a […]

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Yung Rose is an underground Hip-hop artist from Ohio who started as an EDM spinner in the group, HUF Boyz. The name Yung Rose has the meaning “Bring Balance to The Unequal”, showing the leadership side of his potential in music. On his latest single, “I Don’t Need It”, Yung Rose provides fans with a banger and the kind of quotables that would impress the pickiest of lyricists. He kills with style and melody, and delivers with a plethora of flows and punchlines. He’s unapologetically and undeniably charismatic.

I feel like I’ve heard this before. Interesting keys. Drums just kicking in and a nice bounce here. I feel like this is the kind of music that sounds best when you’re on your third drink in the club and start feeling yourself. Yung Rose is sing-song rapping. I mean, he is rhyming with such precision, and each lyric matters.

The verse flow is why Yung Rose is an insane writer. He understands how delivery can make a song an experience. Sometimes what can make a rapper memorable isn’t what he says but how he says it. On, “I Don’t Need It”, Yung Rose kind of both, say’s and sings it.

A light build up, with keys thumping, and I’m loving the imagery that Yung Rose is painting. He’s somewhere between reminiscing and where he is in the present-tense. The entire listening experience is consistently enjoyable.

He makes the kind of music that blurs the lines between ear grabbing and introspective honesty. Yung Rose stepped up to the plate, and delivered a track that highlights his strengths as an artist. You hear an artist who wanted to prove something, who wanted to prove that he hasn’t come here to fall off.

In fact listening to “I Don’t Need It”, it’s obvious from the jump that Yung Rose isn’t looking to slow down anytime soon, but rather, is intentioned on building his momentum. The production too, is ear-catching on this track. It never feels generic or bland, but is also never overwhelming; staying varied and smooth enough for Yung Rose to easily flow over.

This is just more proof that when this artist really puts his mind to it, he can make legitimately great music. “I Don’t Need It” may be Yung Rose’s most colorful and impacting project to date as he showcases his bravado and vocal skills in a tasteful way.

Yung Rose isn’t only cruising down a comfortable lane, but he is also making tracks that people will continuously have fun with while he is musically evolving. You can’t resist but nod your head along to this joint as Yung Rose floats on “I Don’t Need It”, with absolute ease.

OFFICIAL LINKS: SOUNDCLOUDINSTAGRAMTWITTER

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Reverse Mechanic: “Cruise Control” – his flow will challenge and command your attention http://jamsphere.com/newreleases/reverse-mechanic-cruise-control-flow-will-challenge-command-attention http://jamsphere.com/newreleases/reverse-mechanic-cruise-control-flow-will-challenge-command-attention#respond Fri, 01 Dec 2017 23:58:53 +0000 http://jamsphere.com/?p=30898 Reverse Mechanic is a completely independent hip hop artist breakin’ it down in Minneapolis, MN. As a former published poet with a Bachelor’s in creative writing, he has been doing the reverse limbo, raising the bar for lyricists since 2012. His recent music videos on YouTube have helped him gain notoriety, winning several Artists and […]

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Reverse Mechanic is a completely independent hip hop artist breakin’ it down in Minneapolis, MN. As a former published poet with a Bachelor’s in creative writing, he has been doing the reverse limbo, raising the bar for lyricists since 2012. His recent music videos on YouTube have helped him gain notoriety, winning several Artists and Repertoire Awards from Beat100, as well as entertaining fans throughout the year. Reverse Mechanic’s latest album “The Mixed Ape”, which has been in the works for a while, is almost set for release. In the meantime he has dropped a new single, “Cruise Control” (Co-Prod. Kannix), which should also appear on the upcoming album.

So how does someone start writing another review about the best underground rapper heard in a very long time. Would that someone start by saying that it’s a sad time when so called “artists” (and I won’t name them, as you already know who they are) make millions when truly talented artists such as Reverse Mechanic has to do everything on his own steam?

This dude is awesome. The lyrical skill, the tempo changes, the technique, all of it! And I’m not just talking about this track. It’s on every track he releases. Reverse Mechanic flaunts his flow for the fans to love on every song he drops

“Cruise Control” is full of humor, witty lines and a fun, positive sound. I discovered Reverse Mechanic towards the end of 2016 back while reviewing the track “The Box”. My disenchantment with the genre post 2000 grew to great heights because most radio rap was unbelievably bad. Upon the first listen of “The Box”, and then subsequently, “This Hole In My Throat” (feat. Michael Shynes), I was totally blown away.

The beats were lush and the lyrics were stunning. Reverse Mechanic’s flow was extremely polished, and almost to a fault. There are very few rappers around that can compete with his utterly stunning delivery. No matter how you look at it, his flow will challenge you and command your attention. Exactly as it does on “Cruise Control”.

Reverse Mechanic spits very quickly and fluidly, but the results are intended to be thought provoking. The listener finds themselves at rapt attention because of the astounding sincerity portrayed through the music. On “Cruise Control”, Reverse Mechanic keeps things straight and simple.

Going for the energetic fun factor, rather than the more profound themes he had been handling on previous tracks: “I spit the type of shit to make you lose control, Got the pedal to the metal no cruise control, Woooo Lose control, We naturally rock, so we choose to roll.”

Perhaps the best part of this track is the fact that despite the fun factor, the lyrics actually make sense from beginning to end. Reverse Mechanic doesn’t just throw lines in to rhyme, but writes the lyrics in an intellectually cohesive way. After you pick your jaw up off of the floor, and listen to this track a few times, you start to see that his sheer talent is on display just as much as his cohesiveness of vision.

OFFICIAL LINKS: WEBSITETWITTERINSTAGRAMFACEBOOKYOUTUBE

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Lyndon Rivers: “Be At Your Beck And Call” – pulsing on an orgasmic bassline http://jamsphere.com/newreleases/lyndon-rivers-beck-call-pulsing-orgasmic-bassline http://jamsphere.com/newreleases/lyndon-rivers-beck-call-pulsing-orgasmic-bassline#respond Thu, 23 Nov 2017 01:21:06 +0000 http://jamsphere.com/?p=30845 Everything about “Be At Your Beck And Call”, the brand new track by the Australian-based, English producer, Lyndon Rivers, feels right and so groovy. As the funky, soulful, and perennially yearning voice lingers, Lyndon’s synths throb and rush, breaking over the relentless beat in big Balearic waves of ecstasy. It is a perfect encapsulation of […]

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Everything about “Be At Your Beck And Call”, the brand new track by the Australian-based, English producer, Lyndon Rivers, feels right and so groovy. As the funky, soulful, and perennially yearning voice lingers, Lyndon’s synths throb and rush, breaking over the relentless beat in big Balearic waves of ecstasy. It is a perfect encapsulation of the communal, near spiritual rapture of great dance music, wrapped up in a blissed-out, melodic techno anthem. Rivers sounds like his having a really good time producing this one.

“Be At Your Beck And Call” has a spring in its step, combining the single-mindedness and bright beats of club culture with Lyndon’s own characteristic melodiousness, finely attuned sense of song structure and slightly detached air of being both in the song and above it.

Lyndon balances ever-changing textures and colors while maintaining constant underlying movement, thus the track remains fluorescent and mesmeric, awash with shimmering vocals and pulsing on an orgasmic bassline.

Each Lyndon Rivers track seems to be a reaction to the one which precedes it. Hence “Be At Your Beck And Call” is loaded with wonkily pulsating keyboards, and a very funky beat, while its delicious vocalist signals a wholly unexpected new sense of purpose and direction in Lyndon’s music.

After a run of tightly-constructed, carefully-crafted singles, “Be At Your Beck And Call” is a reminder that there is always room for improvement no matter how good you think you are.

“Be At Your Beck And Call” is a work of renewed purpose whose 5-minute time-frame showcases the gems that lies within.  Odes to their past, clever innovation, and an energy that is truly infectious.

With this track, I feel that Lyndon Rivers allows himself to push the boundaries in several ways: not worrying about current trends, not caring about what he has done in the past, and going for the edge rather than the center. And naturally to not beg anyone for attention with pandering. In fact that’s how he has done such a brilliant job of evolving through each single release.

Truly, Lyndon continues to deliver beautiful and interesting music that always manages to move and groove its listeners. Each and every song evokes its very own atmosphere, taking us away into its story.

This is hardly surprising given that Lyndon Rivers is simultaneously one of the most backward- and forward-looking underground producers working today. His love for all that’s retro and thumping, is obvious, but so is his ability to transform it into contemporary electronic sounds.

OFFICIAL LINKS: ITUNESREVERBNATIONTWITTERFACEBOOK

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SckSolo: “Trippy” is packed tight with thoughts, anxieties, and anecdotes! http://jamsphere.com/reviews/scksolo-trippy-packed-tight-thoughts-anxieties-anecdotes http://jamsphere.com/reviews/scksolo-trippy-packed-tight-thoughts-anxieties-anecdotes#respond Mon, 20 Nov 2017 18:34:53 +0000 http://jamsphere.com/?p=30821 You get great rappers, you get superb producers…and then you get nineteen year old Solomon King, aka SckSolo (pronounced SickSolo), who does both equally well. Born in Alaska, raised in Georgia and currently based in Las Vegas, SckSolo shows rap tendencies with a pop sensibility. The results are a multitude of quick-witted lyricism, placed on […]

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You get great rappers, you get superb producers…and then you get nineteen year old Solomon King, aka SckSolo (pronounced SickSolo), who does both equally well. Born in Alaska, raised in Georgia and currently based in Las Vegas, SckSolo shows rap tendencies with a pop sensibility. The results are a multitude of quick-witted lyricism, placed on a rolling piano-driven catchy track. On “Trippy”, he shows his ability to write and sing a strong hook. The track is complete with a pumping bass line, and every intention of getting listeners into a groove.

Now we all know the quality of hip-hop has gone downhill, with a lot of artists either going for shock value with vulgar lyrics or relying heavily on production rather than good rhymes. SckSolo brings a different game to the table. “Trippy” has a great blend of what hip-hop should be. Awesome production combined with good lyricism.

SckSolo tends to not be overly vulgar, which is positive for me too. While the industry still tries to find a sense of direction, SckSolo managed to make a good single that unfortunately may be passed over by many fans, who may not get to hear about it.

The blend of melody and hip hop in “Trippy” is another reason I’ll keep coming back for more. Often this is a forgotten or totally ignored aspect for the genre, mostly because rappers don’t have singing voices, and probably don’t need to have one anyway, but it is kind of a defining factor when you find a rapper that can carry a tune, something SckSolo is capable of.

As it just gives the track that extra flavor and diversity. But what I like most about SckSolo is that he doesn’t present himself as a wizened philosopher and carries on like an ordinary human being, without the overthinking and over-explaining that defines some of his peers.

It’s a difference between intelligent artists and wack artists. In other words, SckSolo doesn’t sermonize, he just raps and the music pivots accordingly. “Trippy” is packed tight with thoughts, anxieties, and anecdotes, which SckSolo shapes into a big picture for all to see and relate to.

It really doesn’t get easier than this – as long as you stick closely to his flow, you’ll get the vibe. SckSolo is a good technical rapper. He is incredibly nimble and when he’s in the zone he can go toe to toe with many. His best moments on “Trippy” find him dropping into double-time at will and lacerating tough phrases like a master craftsman. Not bad for a nineteen year old!

OFFICIAL LINKS: WEBSITESOUNDCLOUD – All Social Media: @SckSolo

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Grey Smith: solidifies his sound and soul on the upcoming project “Ghost Notes” http://jamsphere.com/newreleases/grey-smith-solidifies-sound-soul-upcoming-project-ghost-notes http://jamsphere.com/newreleases/grey-smith-solidifies-sound-soul-upcoming-project-ghost-notes#respond Wed, 15 Nov 2017 16:39:40 +0000 http://jamsphere.com/?p=30754 Grey Smith solidified his sound and his soul, engraving it in stone with the first track, “Fear”, taken off his upcoming project, the “Ghost Notes” album. Grey, who wrote, played, sang and engineered every piece of the record is fundraising the entire project via to finance the mixing and mastering of the album, the back-end […]

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Grey Smith solidified his sound and his soul, engraving it in stone with the first track, “Fear”, taken off his upcoming project, the “Ghost Notes” album. Grey, who wrote, played, sang and engineered every piece of the record is fundraising the entire project via to finance the mixing and mastering of the album, the back-end administrative items like trademarking, publishing, copy-writing, marketing, publishing to  iTunes, Spotify etc., as well as shooting a video for the first song. You can be an important part of this process by logging on to his fundraising page HERE.

On “Fear” Grey Smith sounds so comfortable, passionate and melodic. The organic drums hit hard inside the smooth and soulful instrumental. There is a little something for everyone who may not be a fan of just hip hop, but alternative and straight vibes.

The man literally pours his heart out on this track as his fights the demons that usually afflict those who have been through major struggles in their lives. The song contains an infinite set of mixed emotions based off Grey’s own personal experiences and you can really hear the love and passion for the music, as well as the pain and suffering of its messages.

Take some time to grab a decent set of headphones or high quality speakers and dive into the sounds of the song, don’t just play it in the background and judge it based off that. Listen to how Grey Smith comes out of the box with brutally honest confessions about the inner demons some people have to battle on a daily basis, and that many of us sometimes take for granted.

Grey goes deep into the recesses of his mind, giving listeners a panoramic view of his inner-workings. It’s a fascinating sonic adventure from start to finish. “Releasing this music,” says Grey Smith, “I’m hoping to inspire those of us who have gone through a struggle. Whether it be drug addiction, mental illness, physical impairments…the message is that there is beauty through hope.”

The lyrics come across not only as genuine but extremely heartfelt as well, as Grey has no trouble staying true to his musical standpoint on the record. He achieves this with calculated studio precision, unbridled performance emotion and total instrumental sophistication.

It’s no secret that Grey Smith’s music can easily serve as therapy for music fans, most of whom will be able to relate to him on a personal level in one way or another. On “Fear”, Grey deals the vibes, and his fans will feel the vibes — it’s as simple as that.

OFFICIAL LINKS: FACEBOOKYOUTUBESOUNDCLOUDGOFUNDME

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Jaief & Asong: “Don’t Need To” – a complete sonic package! http://jamsphere.com/newreleases/jaief-asong-dont-need-to-complete-sonic-package http://jamsphere.com/newreleases/jaief-asong-dont-need-to-complete-sonic-package#respond Tue, 14 Nov 2017 09:54:27 +0000 http://jamsphere.com/?p=30740 The two friends Jaief & Asong live in separate cities in the south of Germany but plan and execute their musical projects with producer KasAkustix in Berlin. In 2014, with a baggage of musical tastes that stretch across genres like Hip-hop, Country, Jazz, Soul, Rock, Pop, Electronic, and Afro-pop, among others, Jaief & Asong formed […]

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The two friends Jaief & Asong live in separate cities in the south of Germany but plan and execute their musical projects with producer KasAkustix in Berlin. In 2014, with a baggage of musical tastes that stretch across genres like Hip-hop, Country, Jazz, Soul, Rock, Pop, Electronic, and Afro-pop, among others, Jaief & Asong formed a musical duo that released its debut project, “EARWORMS”, in the fall of that same year. The recording amassed over 1 million streams; over 200,000 downloads and several sync licenses, were totaled exclusively on the Jamendo music platform. 2017 sees the duo working on new music and continuing their momentum with the release of their latest single “Don’t Need To”.

It’s hard to stand out in a world where so many artists sound the same. Turn on your radio, or find a popular streaming playlist, and you’ll hear plenty of artists that all sound the same. Why stand out when you can fit in and still make money? For many this has become the norm.

There are exceptions to the rule; Jaief & Asong is one of these. While their production and style are dissimilar to many artists out now, their voices also cut through and sounds different to their counterparts. Not to mention their lyrical content on “Don’t Need To”, which is cleverly focused and totally clean – another rarity in the genre!

The production and vibe of this project are solid. It’s a record you can throw on while you’re getting ready for a night out…or even returning from a night out. The chilled out piano and mid-tempo hand-clapping rhythm, is as much uplifting as it is relaxing. The bittersweet lyrics which looks at a love story that’s been terminated, is as melancholic and nostalgic in the same measure that it is heartening and soothing.

The song is a simple and delightfully restrained ballad of love lost. Devoid of the treacly sentimentality, cloying vocals and tired platitudes we’ve come to expect of such songs, “Don’t Need To” excels by being plain and direct.

Uncluttered by the theatrics and commotion of overwrought lyrics, extravagant singing and dramatic beats, the track is an understated showcase of minimalistic rap and pop – a perfect illustration of Jaief & Asong’s appeal as artists.

The production coincides with the vibe of the lyrical content, providing the appropriate atmosphere on the record. Altogether, it creates a complete sonic package. “Don’t Need To” adds to a growing body of work that reflects artists in motion.

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKINSTAGRAMYOUTUBE

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Earl Adamant Allen: “Can’t Get Enough” – verses of true meaning http://jamsphere.com/newreleases/earl-adamant-allen-cant-get-enough-verses-true-meaning http://jamsphere.com/newreleases/earl-adamant-allen-cant-get-enough-verses-true-meaning#respond Sun, 12 Nov 2017 10:04:11 +0000 http://jamsphere.com/?p=30727 Listen to the latest track “Can’t Get Enough” by Earl Adamant Allen while you’re reading this. Do you hear that? It’s innovation in hip-hop. Adamant is a mic controller if there ever was one. His songs are the kind of laid back that makes the listener feel like they just woke up on a sunny […]

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Listen to the latest track “Can’t Get Enough” by Earl Adamant Allen while you’re reading this. Do you hear that? It’s innovation in hip-hop. Adamant is a mic controller if there ever was one. His songs are the kind of laid back that makes the listener feel like they just woke up on a sunny Sunday morning, lying next to a beautiful woman after the deepest most romantic night they’ve had in weeks. Yeah, it is that good. Earl Adamant Allen is most definitely an inventor when it comes to the world of hip-hop. Not because he mixes R&B into his rap music – that’s been done for years – but the way he executes his deliveries.

He stays within a hemisphere that is inhabited by few while he’s doing all his discovery in hip-hop. His lyrics can kill most beats if the situation came to it, yet they always manage to retain the same laid back feel that few other underground emcees ever graduate into.

Most prefer being up on a pedestal preaching death, drugs or some other hedonistic mayhem. They treat their ladies like sh*t. Love, romanticism and appreciation, are four letter words to these fellows. Hence Earl Adamant Allen is out in the hip-hop wilderness forging his own path of positive, love-filled lyrical themes.

He proved his point on a previous track called “More Than Life”, and now consolidates that existential statement with “Can’t Get Enough”, another ode to the woman in his life. “This is a record I crafted acknowledging that I have a good woman, and ensures her, that everything she does has been noticed and appreciated,” says Allen.

No, this is not the subject of simple lines, but verses of true meaning that showcase Earl Adamant Allen’s cleverly structured storytelling and positive, open thinking, as well as his wordsmith skills. You won’t find repetitive, monotonous and pretentious wordplay, but sincere, heartfelt lyricism meant to resonate with forthright devoutness.

“Can’t Get Enough” is either ahead of its time, or it has been too long since hip-hop breathed in this way. Simply put the workings of Earl Adamant Allen are coming to its pinnacle. Allen is the smoothest emcee this side of everywhere. His is the kind of calm demeanor you don’t see with many a rapper.

Not only is Earl Adamant Allen the coolest thing this side of Smirnoff Ice, he also has lyrics to back it up; he avoids trying to be the mathematical emcee some backpackers fiend for, instead he goes for tight rhymes, laced with heartfelt positivity, rarely found elsewhere.

MORE ABOUT: Rapper Earl Lee Allen was born and raised in Hammond, Indiana, but currently resides in San Antonio, Texas. While he enjoys his work as a supervisor at a juvenile treatment center, making music, is his ‘true’ passion. “I believe the music I create is relatable and can make a positive impact in someone’s life,” he says. Allen describes his music as having a therapeutic approach to it—it’s conscience, thought provoking material.

“I enjoy writing and performing spoken word,” says Earl, who began with a poetry base before transitioning into writing hip-hop over soulful instrumentals. He initially became inspired by his younger brother, Rico Loso—an artist who has been crafting material for years. He’s quick to acknowledge that his biggest influences and motivating factors, though, are his adoring wife and daughter. “My aim is to make music my kids can be proud of–[music] that will make them proud to say that’s my dad.”

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKSOUNDCLOUDINSTAGRAMREVERBNATIONCDBABYSPOTIFYITUNESGOOGLE PLAYAMAZON

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Deltiimo: “Now Sing Out Loud” ft. Amba Tremain & Devin Jade – a bold, captivating hook http://jamsphere.com/reviews/deltiimo-now-sing-loud-ft-amba-tremain-devin-jade-bold-captivating-hook http://jamsphere.com/reviews/deltiimo-now-sing-loud-ft-amba-tremain-devin-jade-bold-captivating-hook#respond Fri, 10 Nov 2017 18:35:13 +0000 http://jamsphere.com/?p=30715 Founded in the UK by dance music veteran Gary Louca, Deltiimo is a Portsmouth UK founded musical production and song writing team that specializes in releasing uplifting dance pop anthems. Deltiimo have collaborated with Bradon Grobler from Holland to produce crossover Dance pop anthem “Now Sing Out Loud”, featuring the amazing vocals of Amba Tremain […]

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Founded in the UK by dance music veteran Gary Louca, Deltiimo is a Portsmouth UK founded musical production and song writing team that specializes in releasing uplifting dance pop anthems. Deltiimo have collaborated with Bradon Grobler from Holland to produce crossover Dance pop anthem “Now Sing Out Loud”, featuring the amazing vocals of Amba Tremain & Devin Jade. The track has already hit No 1 spot on the USA Kings of Spins Chart and the Starfleet Music Pool with over two million views.

Deltiimo (Gary Louca) is no stranger to monumental dance tracks – even his straightforward cuts can dwarf what, for another producer, might seem their most epic anthem. But with “Now Sing Out Loud” and its rising and falling mood shifts, he outdid himself. Certain dance tracks make no sense in any context other than blaring from festival speakers at a volume bordering on lethal. This is not one of them. The track is infested with enough melody – both vocally and musically that it could easily ride the radio airwaves without damaging any eardrums. Of course if you switch up the volume…

When it comes to bringing the energy and getting you to dance, Deltiimo is one of the EDM projects that really know how to get the job done. This new track, “Now Sing Out Loud” is here and it’s a brilliant display of the project’s talent and ability to tap into any groove they want to.

Looking at their catalog Deltiimo has been incredibly consistent. That same consistency continues on the new track. You could say that “Now Sing Out Loud” will really get fans excited, however, anyone who has listened to Deltiimo’s cuts in the past knows the project is skilled at what they do.

That of course, includes the selection of collaborators, which is a vital skill in itself, when trying to nail an EDM/Pop crossover hit. For “Now Sing Out Loud”, Deltiimo brought a pretty heated lineup.

Amba Tremain & Devin Jade make up a stunning pair of contrasting singers, whose voices blend soaring soul and smooth melody. The track features an intense dance bass-driven groove from the jump, which the girls comfortably slip into and devour, before taking it to the limit in the choruses.

As a production unit, Deltiimo’s synth tones and beats have the sort of energy and groove that can match the firepower of anybody in the genre today, but also have enough restraint to intensify the tension for their singers to join in undisturbed.

With their continued momentum and habit of churning out inspiring anthems, Deltiimo should manage to carve out a crucial space in mainstream music pretty soon. Something they seem to have already achieved with ease in the club and dance scene.

 “Now Sing Out Loud” throws caution to the winds with a bold, captivating hook that floats effortlessly over the handclaps, chants and dandling synths — packing all the colors of the night into one single potent chant!

OFFICIAL LINKS: ITUNESTWITTERYOUTUBEFACEBOOK

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PROFA: “Blue Strip” sounds engaged and energetic! http://jamsphere.com/reviews/profa-blue-strip-sounds-engaged-energetic http://jamsphere.com/reviews/profa-blue-strip-sounds-engaged-energetic#respond Thu, 09 Nov 2017 22:34:10 +0000 http://jamsphere.com/?p=30706 Maryland based rapper PROFA is a paradoxical figure, equal parts old-school battle rapper and new-school millennial prophet. The Montgomery County Artist, Producer, Song Writer and Graphic Designer has his own record label – The Nu Threatz Entertainment – through which he has released the mixtapes: The Plague (2005), Music Monstrosity (2011), Weeds (2012), and Weeds […]

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Maryland based rapper PROFA is a paradoxical figure, equal parts old-school battle rapper and new-school millennial prophet. The Montgomery County Artist, Producer, Song Writer and Graphic Designer has his own record label – The Nu Threatz Entertainment – through which he has released the mixtapes: The Plague (2005), Music Monstrosity (2011), Weeds (2012), and Weeds 2 (2015). PROFA is at his most entertaining when indulging his eccentricities. While most rappers try to stress their hardcore street knowledge, he has a persona that stresses not only his undeniable strengths as a lyricist, but his knowledge of both hardcore and distinctly un-hardcore topics as well. PROFA has a great flow, and very creative metaphors. He has a good rap voice, and never seems to slow down.

I recently caught up with his “Weeds 2” mixtape, as well as the single “Blue Strip” (Prod. PC Beats). PROFA is a mastermind of the English language. The verbose verbiage of the language on his works is a deadly weapon when spewed by this focused rapper.

The sheer magnitude of savagely efficient and elaborate rhymes speak directly, both to old school heads as well as to the present day hip-hop audience. But there can be no mistaking that the fury with which he delivers his passionate rhymes is meant for the true home of rap – the underground.

Die-hard PROFA fans will love the “Weeds 2” mixtape for years, as it combines the emcee’s best talents, the battle, sharp introspective lyrics, and deep overall themes to dissect within the 14 songs. The rapper is consistent throughout. He brings coherence to every track that he’s on and delivers well-constructed, thought out rhymes.

He sounds engaged and energetic; there’s purpose in his verses. The hunger that he shows here, is missing from many current hip-hop productions. With guest features and diverse producers, it requires somebody with a clear vision to orchestrate everything and assure that the “Weeds 2” mixtape stays on course. PROFA is that figure.

On “Blue Strip” (Prod. PC Beats), he showcases that same all-round charisma without falling into the same formulaic tendencies that they ridicule mainstream artists for. If you’re looking for instant atmosphere, the bass-driven beat on this track does just that. I really like this song. It’s a fusion of PROFA’s pimpin’ mentality and his refreshing honesty, and it works well on this track.

What separates PROFA from many of his rapping brethren is that beneath his nigh-impenetrable web of words, there seems to lie a soul. Whether you’re comparing his music to other singles, mixtapes or to actual albums available on store shelves. You can reserve my seat on the PROFA bandwagon for now, as we patiently wait for him to drop new tracks, to see just where he has taken his craft since these releases first came out.

OFFICIAL LINKS: SOUNDCLOUDMIXTAPEINSTAGRAMTWITTERFACEBOOKYOUTUBESNAPCHAT

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HotBoy Slick: “Drug Musik” ft. Shy Glizzy – seeking a fast lane into the mainstream! http://jamsphere.com/reviews/hotboy-slick-drug-musik-ft-shy-glizzy-seeking-fast-lane-mainstream http://jamsphere.com/reviews/hotboy-slick-drug-musik-ft-shy-glizzy-seeking-fast-lane-mainstream#respond Mon, 06 Nov 2017 11:16:24 +0000 http://jamsphere.com/?p=30693 HotBoy Slick is a 23 year old artist from West Baltimore who creates rap songs with wicked flows and R&B undertones. A regular on the Baltimore underground scene for the last few years, Slick has loaded plenty of heart and soul into his new single, “Drug Musik” ft. Shy Glizzy, seeking a fast lane into […]

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HotBoy Slick is a 23 year old artist from West Baltimore who creates rap songs with wicked flows and R&B undertones. A regular on the Baltimore underground scene for the last few years, Slick has loaded plenty of heart and soul into his new single, “Drug Musik” ft. Shy Glizzy, seeking a fast lane into the mainstream.  The song has not only garnered the artist spins in the local clubs, but also on 92Q, Baltimore’s #1 urban station.  Smooth yet tight vocals are laid over a breathy and atmospheric soundscape, and as HotBoy Slick goes between singing and rapping his verses you get lost in his world. It’s clear that “Drug Musik” is lyrically a personal track to Slick as he tackles relationship intricacies head on with his pen and paper.

The track doesn’t rely on the usual confrontational and profanity method so often used in this genre, but rather on personal testimony and declaration, as HotBoy Slick lays his thoughts on the table for all to hear. The dude tells you a story and takes you on a journey through his music.

You see the effort he put into it. This is the music he loves to make. He’s found his niche, his pocket, and he’s running with it. That’s him being true to himself. His real fans will support him. Down the line, I do want to see more from HotBoy Slick. We all do as fans of music in general. I think as he grows into his own, we will see even more creativity and growth.

HotBoy Slick is traditional in his sense of sound, but provides a new age twist – half rap, half R&B hybrid – and never does it seem as if he’s reaching for something he has no connection to musically. There are no contrived influences which is something to be said for most crossover rap and R&B acts these days.

He can easily take control of what he has created and surpass a lot of the artists now in the same lane. The key for Slick, is taking the calm, cool, collective trap vibe he has created on “Drug Musik” ft. Shy Glizzy and catapulting its sonic aesthetic to the masses.

The explosion of new underground artists to the mainstream scale is a cycle that will continue forever. The small rebellious minority that fiercely represent their creativity has always in some way managed to infiltrate what’s popular and successful to the masses. At his best, HotBoy Slick is an honest and emotional millennial whose songs strokes the soul, and whose talent is existent through his rhymes and his flow.

OFFICIAL LINKS: SOUNDCLOUDTWITTERINSTAGRAMFACEBOOK

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Young Mensah: “LaLa” ft. Bull – a pleasant departure from the beaten and stale http://jamsphere.com/newreleases/young-mensah-lala-ft-bull-pleasant-departure-beaten-stale http://jamsphere.com/newreleases/young-mensah-lala-ft-bull-pleasant-departure-beaten-stale#respond Sat, 04 Nov 2017 16:23:58 +0000 http://jamsphere.com/?p=30666 Young Mensah, inspired by fellow classmates like Chance the Rapper and Isaiah G, started rapping in his junior year while attending Jones College Prep. After dropping his first mixtape Ellsworth he has done shows in Chicago, Dallas, and Shreveport. His latest single release is “LaLa” ft. Bull. Every rap region has its signature style. The […]

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Young Mensah, inspired by fellow classmates like Chance the Rapper and Isaiah G, started rapping in his junior year while attending Jones College Prep. After dropping his first mixtape Ellsworth he has done shows in Chicago, Dallas, and Shreveport. His latest single release is “LaLa” ft. Bull. Every rap region has its signature style. The west coast has its gangstas, the east coast their lyricists, the south its banging productions, and the often unloved Midwest has carved its niche for possessing rapid firing emcees. Effortlessly mixing gangsta rap, lascivious odes to pimping, and underground-style consciousness, Young Mensah feels eclectic without stooping to demographic-pandering.

On his latest track, Young Mensah here proves that he’s a big dog, worthy of major-league status, officially escaping the label of novelty act. There’s plenty of impressive tongue-twisting here, and he’s even more impressive when he slips down a gear to work the song’s underbelly.

Young Mensah best work seems to have transpired over two types of tracks – dark, brooding soundscapes, and stirring bass driven bangers. On “LaLa” ft. Bull, Young Mensah makes the most of his opportunities on a blend of the two.

Young Mensah and Bull go from 0 to 100 on “LaLa” – a track with a beat that thumps like Sasquatch, with the two emcees altering their flows from slow-burning pauses before launching into breathless, rapid-fire metaphors. It’s like two unarmed sprinters dashing through a war zone.

The one goes absolutely ballistic with an endless stream of alliteration while the other throws out oddball references to throw the enemy off. Transcribing their wordplay here just doesn’t do it justice. Just listen, it’s mind-blowing.

The Young Mensah and Bull pairing sounds like a perfect match. No one can question Young Mensah lyrical prowess, as he proves that he’s more than just a gimmick. He knows how to inject both a little lightning and thunder into his tracks.

Something he achieves impressively with “LaLa” ft. Bull. The rapper’s hurricane rhyming, and the track’s booming production are easily the two most identifiable highlights here.

Criticisms or compliments alike, there can be no denying that Young Mensah forms part of those more unique groups of emcees around today, and any offering by him is a pleasant departure from the beaten and stale. The combination of Young Mensah’s quick rhymes and the track’s dark booming soundscape makes a great formula for yet another potential Chicago classic.

OFFICIAL LINKS: INSTAGRAMTWITTERSOUNDCLOUDYOUTUBE

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OCM: “Talking To Myself” the mixtape – the captivating recording plays out like a movie http://jamsphere.com/newreleases/ocm-talking-mixtape-captivating-recording-plays-like-movie http://jamsphere.com/newreleases/ocm-talking-mixtape-captivating-recording-plays-like-movie#respond Sat, 04 Nov 2017 13:50:42 +0000 http://jamsphere.com/?p=30661 OCM – One Crazy Mexican’s latest recording, “Talking To Myself” the mixtape, offers his usual; some of his greatest flows, and some of his rawest lyrics ever heard. This mixtape is perfect for fans of his previous music, as well as newcomers to the table, and doesn’t disappoint, keeping the momentum of his last excellent […]

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OCM – One Crazy Mexican’s latest recording, “Talking To Myself” the mixtape, offers his usual; some of his greatest flows, and some of his rawest lyrics ever heard. This mixtape is perfect for fans of his previous music, as well as newcomers to the table, and doesn’t disappoint, keeping the momentum of his last excellent album. In fact, this is one of the few modern rap albums I can listen to all the way through, with its brilliantly haunting and original production. OCM is extremely talented in creating his horrorcore storylines, although this time around he branches out in other lyrical themes too. His lyrics and flows only compliment the captivating recording that plays out like a movie.

OCM’s rhythmic flow is fantastic. His skillful cutting up of lines and his varied forms of emphasis keep the songs kicking as they go by. There is a far larger focus on hooks than one would expect from this this type of hard-hitting subject matter, but it works favorably with the production style showcased.

While his contemporaries often fall into a pit of self-satire, OCM is distinguished by his seriously over-the-top, but yet very much sober rhyming. Born in Phoenix Arizona, and rapping out of San Antonio in a little town called Devine, OCM has a passion for horrorcore raps.

After starting out at as early as 13, and then taking a long break, OCM started rapping seriously again at 22, releasing his first song a year later. Since then he has released 2 EP’s “When Devils Pray” and “The Monster Within”.  “Talking To Myself”, the mixtape, represents his ongoing artistic evolution. OCM remains a compelling and strangely believable tour guide through his journey of soul-searching and darkness.

The lines spat, mix a believable narrative and extreme interpretations, resulting in some crespular and explicit lyrics. The result is a somewhat surreal experience; OCM creates a mysterious, somber atmosphere and storyline, and offers immersion in it with some more realistic notions.

“Talking To Myself” the mixtape, also benefits from its extensive showcasing of maliciously dark bass and heavy drums providing the foundation for most of the beats. OCM sounds absolutely perfect on these beats and I might even go as far as to say that this album presents the most fitting sound that he has received so far in his career.

The most impressive tracks being “good as it gets” (prod. by syndrome beats), “lunatic” (prod. by Ryini Beats), “evil inside of me” (prod. by TunnaBeats), “out the door” (prod. nobe ing gang beats), “changing” (prod.kaveil Beats) and the title track “talking to myself” ( prod. syndrome).

On most thematic hip-hop albums and mixtapes, skits completely bother me and usually prove a hindrance to my attention and the album’s overall flow. This doesn’t happen here, as OCM – One Crazy Mexican’s keeps the mixtape brimming with songs and music, avoiding skits.

So what about OCM’s performances? One Crazy Mexican is arguably at the pinnacle of his skill and technique. He can rap fast, slow, a flow going here, a flow going there. He has incredible dynamics and he can convincingly embody the mind and soul of his lyrics and stories.

OFFICIAL LINKS:  SOUNDCLOUD – FACEBOOK – TWITTERYOUTUBE

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N0va: “Lessons and Blessings” – a shining specimen of epic dynamism http://jamsphere.com/newreleases/n0va-lessons-blessings-shining-specimen-epic-dynamism http://jamsphere.com/newreleases/n0va-lessons-blessings-shining-specimen-epic-dynamism#respond Sat, 04 Nov 2017 09:53:12 +0000 http://jamsphere.com/?p=30655 Mega lengthy mixtapes are notorious for doing poorly with fans. The issue lies in the content and the listeners’ attention span. Can you make it through 22 tracks of the same artist and find something different about each song you like? That’s almost impossible…unless it’s “Lessons and Blessings” by Shawn Nova, better known as N0va […]

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Mega lengthy mixtapes are notorious for doing poorly with fans. The issue lies in the content and the listeners’ attention span. Can you make it through 22 tracks of the same artist and find something different about each song you like? That’s almost impossible…unless it’s “Lessons and Blessings” by Shawn Nova, better known as N0va of course! Most hip-hop heads can easily rattle off a few dozen albums that qualify as bona fide masterpieces, seminal song suites that embody the best of the genre’s rich recorded canon to date. But ask them to name double-albums massive mega mixtapes that fit the same bill, and that number invariably dwindles to no more than a few, most often comprised of 2Pac’s expansive All Eyez on Me, the Notorious B.I.G.’s posthumous Life After Death, and the Wu-Tang Clan’s triumphant Wu-Tang Forever.

You can also throw in OutKast’s Speakerboxxx/The Love Below, which sold more than 11 million units. The truth is, aside from these rare shining specimens of epic dynamism, most massive multi-track efforts—hip-hop or otherwise—typically fall victim to diminishing returns. This is largely due to the inevitable presence of superfluous filler fare, which constitutes little more than mediocre tracks best left to an artist’s diehard fans.

Enter N0va’s new 22 track mixtape, “Lessons and Blessings”, the Canadian emcee’s most ambitious recording yet, which proves the exception to the rule outlined above. Beyond proving to be one of the most fully realized and masterfully orchestrated mega-mixtapes underground hip-hop has witnessed in the last few years , “Lessons and Blessings” is also unequivocally one of 2017’s finest long players, regardless of genre classifications.

Reflecting on the past and prepping for the future, the tracks on this mixtape swell into N0va’s signature frantic-but-laidback style as he pounds through the verses on top of clamorous beats and catchy choruses that build up to unify the underlying messages.

Thus the duality of the mixtape is established early on, with N0va willing to bounce back and forth between his reflective and earnest personas quite intentionally, on tracks like “Selfish Eyes” – Produced by B. Young x Abel Petit and “Swervin’” – Produced by CashMoneyAp x CedDidIt.

“Lessons and Blessings” masterfully balances N0va’s demured and frantic styles quite realistically. From track to track, he exposes his shifting perspectives which keeps the mixtape moving at a good clip. Aiding the dichotomous quality of these tracks are N0va’s bellowing vocals, deep and resonant and meshing against the luscious bass-driven instrumentals.

Major cases in point are “Along the Way” – Produced by Noise system, “Tongue Tied” – Produced by Noise system, “I Don’t Need That” – Produced by Homage, and “Boomerang” – Produced by Homage, among others.

N0va has no interest in bending his music or the public’s perception of his art for the sake of a mere hit single; if a song of his becomes popular he’d rather it be because the public deemed it so than because he forced himself into something that would fit on the radio.

As such, eclectic, alternative and progressive standouts like “Heart of Stone2 – Produced by B. Young, “Oh Lord” – Produced by The Beat Plug and “Spider’s Web” – Produced by Abel Petit, turn out to be as catchy as hell on their own terms.

“Lessons and Blessings” does something important for N0va going forward. It exposes the rapper as a guy who’s unquestionably made his influences his own and is now ready to poke and prod the finished product, to play with it in a self-confident fashion that allows for pronounced and interesting artistic growth. N0va’s experimentation with new flows and lusher, diverse instrumentation makes for a release that just cannot be missed.

OFFICIAL LINKS: BANDCAMP – SOUNDCLOUD – FACEBOOK – TWITTER – INSTAGRAM

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The Keymakers: ‘Good for You’ – an emotional output of sustained excellence http://jamsphere.com/newreleases/keymakers-good-emotional-output-sustained-excellence http://jamsphere.com/newreleases/keymakers-good-emotional-output-sustained-excellence#respond Sun, 29 Oct 2017 21:52:29 +0000 http://jamsphere.com/?p=30625 Boston-based, but Pittsburg, PA, born and raised, brothers Rome Alexander and Rederic form the musical project The Keymakers. Individually, the boys have been making music for as long as they can remember, but have been working together as a team for just on a year now. Singer-songwriter Rome, officially started his musical journey back in […]

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Boston-based, but Pittsburg, PA, born and raised, brothers Rome Alexander and Rederic form the musical project The Keymakers. Individually, the boys have been making music for as long as they can remember, but have been working together as a team for just on a year now. Singer-songwriter Rome, officially started his musical journey back in 2010 with his first release, and has since put out several songs to critical acclaim through various platforms. Most recently he had the idea to continue his passion almost exclusively as a writer before taking on this project with his brother. Rederic, on the other hand started his work in music between learning and playing piano, guitar, and drums. In high school, he discovered the world of electronic music production and released his first remix in 2011 and first original production in 2014.

Now as a team, the brothers have been working under the direction of Jesse Christophr and the AMAG artist collective, founded and headed by industry leader Anshuman “AM” Sharma. And even though the duo has already collaborated with high profile artists, as well as earning their first placements they are eager to progress with their own performing career. Hence The Keymakers dropped their debut single, ‘Good for You’ during September. A sensuous, gritty, and unabashed emotional output of sustained excellence.

The track surpasses many other current R&B works because it includes the maturity of two growing young men who are willing to reveal a refreshing vulnerability that many other male R&B artist are incapable or unwilling to reveal through their music.

Talking about the lyrics, Rome said that “We all mess up sometimes, and neglect the people we care about. No one’s perfect. But this song is about owning those mistakes, the constant effort to be better, and the person that makes that process worth it.”

The sound hinges on two elements — the duo’s special mix of ultra-modern electronics and smooth R&B with subtle tinctures of old school flavoring. The business of Rome Alexander’s soulful vocals and the tight harmonies against the bouncing mid-tempo sonics gives the song its sound variety and intensity.

There’s a strong sense of the present in the production, as extracts of catchy Top40 Pop hooks and flowing EDM timbres come to the fore. It gives the sound a rich, deep, yet spacious setting, while the song structures make savvy use of the duo’s essential approach to melody.

In short, much of what makes The Keymakers such a memorable new act is the same thing that has always made old school R&B music so appealing – their willingness to be honest and vulnerable without sacrificing one iota of their virility. Added to their modern sound production, that adds up to a killer musical formula.

So while the youngsters will gravitate to the trendy sound, the more mature will fall prey to the classic storytelling style. The Keymakers’ approach to the tune reflects the commercial demands of today, as defined by the advance of electronic elements. But at the same time maintains the melismatic characteristics of the genre’s roots.

However ‘Good for You’ is no opportunistic cash-in on the genre’s legacy, this is a confident, refined affirmation of a new subject now present at the table – a necessary one in a field starving for duos or groups with collective ideas. Rome Alexander and Rederic’s earnestness and enthusiasm helps them overcome clichéd lyrics and melodramatic vocals, and there are plenty of great moments sprinkled throughout this track to make it worthwhile for any urban contemporary listeners.

OFFICIAL LINKS: WEBSITETWITTERINSTAGRAMSPOTIFY

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THE GIFT: “Ol’ School Lovin” – an elevated level of sensitive sharpness http://jamsphere.com/reviews/gift-ol-school-lovin-elevated-level-sensitive-sharpness http://jamsphere.com/reviews/gift-ol-school-lovin-elevated-level-sensitive-sharpness#respond Sat, 28 Oct 2017 08:23:10 +0000 http://jamsphere.com/?p=30593 Since the early 2000s, hip-hop has lacked vocal visionaries who are able to balance radio-ready sensibilities with artistic integrity and foresight. The past few years have been a bit of a dark age for the genre, with major record executives and radio pushing flaccid pop rap, encouraging stagnation rather than progress. Fortunately a new generation […]

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Since the early 2000s, hip-hop has lacked vocal visionaries who are able to balance radio-ready sensibilities with artistic integrity and foresight. The past few years have been a bit of a dark age for the genre, with major record executives and radio pushing flaccid pop rap, encouraging stagnation rather than progress. Fortunately a new generation of rappers and producers have emerged, flaunting their talents while undermining the current climate by striving for more than just Top40 hits. THE GIFT’sRhythm & Writtens” manages to directly address much of the aforementioned issues while placing the artist in a position to be a catalyst of the new movement and the return of the jazzy soulful sound to rap.

William ‘THE GIFT’ Lepale Hails from Dawson/Otara, New Zealand and has branched off the roots of artists such as Ermehn, Mr Sicc, The Movement, Sid Diamond, Groovehouse and Colourway music.  In his own lane for the NZ music scene ‘THE GIFT’ or ‘TG’ brings a fusion of R&B, Soul and Rap to the table.

TG has performed all across New Zealand with artists such as Savage, Dei Hamo, Devolo, Feelstyle, Spawnbreezie and more, and has also toured Australia. THE GIFT has released the single, “Ol’ School Lovin” taken from the “Rhythm & Writtens” mixtape.

The production on “Ol’ School Lovin” tends toward the nostalgic and seductive, while the lyrics promote an elevated level of sensitive sharpness that still resides within the predetermined confines of hip-hop. THE GIFT presents himself more as a poet than a rapper, as synths drift by and a bass drum pulsates.

The sound is smooth and soulful with a heartfelt R&B hook contrasting THE GIFT’s bittersweet lyrics. In a time of shallow pop-rap, THE GIFT has accomplished what his peers hardly ever achieve — or attempt: crafting a sonically-rich, thematically-sound, and thoroughly enjoyable recording that doesn’t pander to trends.

Above all, “Ol’ School Lovin” – as well as the entire mixtape, to be true – illuminates THE GIFT as a rare breed of rap artist: one who carefully composes every aspect of his sound; one who looks to explore concepts in a time of land-lock; one poised to change conventionality.

William ‘THE GIFT’ Lepale is impressively doing all the above while staying true to his roots and maintaining his composure and humility. “Ol’ School Lovin” features elegant music fit for a forward-thinking mind. THE GIFT has taken everything he has ever done well, and ascended those qualities to the highest level.

OFFICIAL LINKS: FACEBOOKINSTAGRAMSOUNDCLOUDAUDIOMACK

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SammiZ: “The Next Whisky Bar” ft. Princess Tyger and Mr. Polo lures the listener in http://jamsphere.com/newreleases/sammiz-next-whisky-bar-ft-princess-tyger-mr-polo-lures-listener http://jamsphere.com/newreleases/sammiz-next-whisky-bar-ft-princess-tyger-mr-polo-lures-listener#respond Thu, 26 Oct 2017 13:07:12 +0000 http://jamsphere.com/?p=30580 SammiZ is an alternative rocker at heart who is currently spreading her wings into the urban and dance genres. Her latest foray into the edgy crossover craft is the single “The Next Whisky Bar” ft. Princess Tyger and Mr. Polo, from the Album “The Other Side of the Coin”. SammiZ has come back from some […]

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SammiZ is an alternative rocker at heart who is currently spreading her wings into the urban and dance genres. Her latest foray into the edgy crossover craft is the single “The Next Whisky Bar” ft. Princess Tyger and Mr. Polo, from the Album “The Other Side of the Coin”. SammiZ has come back from some tough moments in her life – First a difficult fight with illness that almost took her life, she spent 4 years in hospital and in a nursing home. And now with her home and business being damaged in two cat. 5 hurricanes in St. Croix USVI she is working on rebuilding to return there. Currently in the States to regroup and record some more, she has gone on record stating: “I want to bring awareness to the islands suffering, all of the USVI and Puerto Rico.”

The expansive soundscape of “The Next Whisky Bar” ft. Princess Tyger and Mr. Polo, lures the listener into a complex weave of sounds and influences, fusing dance, pop and rock elements with a stylistically varied bevy of vocals and rap. SammiZ’s music is becoming distinctively recognizable with snappy melodies, yearning lyrics and a distinctive urban electro-rock style.

Each track she fires up, reveals a new side of the multi-talented songstress. While taking the listener on an eclectic ride into her private universe, SammiZ’s warm voice lights the sky and shows exactly why the world should be getting ready for her.

Recorded, Mixed and Mastered by Dan Malsch at Soundmine Recording Studios, “The Next Whisky Bar” ft. Princess Tyger and Mr. Polo, sounds extremely clean and lacks the quirky nature and almost childish production of some crossover works currently on the charts, and sounds exceptional.

The sound is crisp, thumping and the transitions between verses and choruses are very smooth. SammiZ projects much of her innovative musical life force into this recording, as she did on her previous single, only this new track came out a whole lot better.

The overall effect is of SammiZ taking different approaches within the song — some of them flirtatious and coy, some of them all-out bombastic. Her persona fluctuates between level-headed pragmatist and playfully risqué, and all the time SammiZ herself is the driving force behind this song, as she never gets lost in the shuffle between the beat, the rapping and the whining guitars.

Ultimately, chunks of “The Next Whisky Bar” ft. Princess Tyger and Mr. Polo cement SammiZ’s place in our current pop crossover realms, and she could very well score a few major hits in the near future if she keeps her momentum going forward and stays on track.

OFFICIAL LINKS: WEBSITE – FACEBOOK – ITUNES REVERBNATION – YOUTUBE

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AKASH: “Rooftop Vibes” creates a truly immersive sensation http://jamsphere.com/reviews/akash-rooftop-vibes-creates-truly-immersive-sensation http://jamsphere.com/reviews/akash-rooftop-vibes-creates-truly-immersive-sensation#respond Sat, 21 Oct 2017 16:04:32 +0000 http://jamsphere.com/?p=30515 AKASH is an 18-year-old Indian Hip-Hop/Pop artist from New Jersey who a couple of months back rolled out his 10 track album “Rooftop Vibes”. AKASH penned all the tracks and called in a crew of talented producers including Davincii, DopeBoyzMuzic, and ANS who also contributed his vocals on several of the songs. The entire album […]

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AKASH is an 18-year-old Indian Hip-Hop/Pop artist from New Jersey who a couple of months back rolled out his 10 track album “Rooftop Vibes”. AKASH penned all the tracks and called in a crew of talented producers including Davincii, DopeBoyzMuzic, and ANS who also contributed his vocals on several of the songs. The entire album was mixed, mastered and engineered by ANS of ANSstudios in New Jersey. “I’m excited for this album because it’s a reflection of not just my life now, but the life I’m striving for,” explained AKASH. “It’s a diary of the various aspects of life that I want to share with the world.”  Just how important is substance to music? How important is originality and performing skill? Listening to a lot of music, one develops a set of criteria by which they judge it, like looking for depth of emotion, or creative soundscapes. There exists music which combines the effectiveness of this criteria, managing to be strong and entertaining, fulfilling all of it. AKASH is an artist that makes that type of music.

The album mixes luxurious, futuristic beats with a blend of auto-tuned rapping and singing to surprisingly entertaining effect. The beats are enjoyable and distinctive, generally very innovative, and AKASH’s lyricism and rapping abilities are top notch. Furthermore, he dedicates enough to his sound, and has a strong melodicism that makes sure there are no issues.

One of AKASH’s main strengths here, apart from his own technical and creative skill is his ability to wrangle numerous different producers into one coherent sound. His style is essentially a raided-up version of thumping pop menace, filtered through hip-hop and trap maximalism.

The beats take what should be a refined, subtle sound and turns it up to 11, through a decent pair of headphones, “Rooftop Vibes” world envelops you, and creates a truly immersive sensation. The production conjures up an imposing sonic architecture for AKASH to hang his stories on.

Those stories are where the album into its second layer. It really has to be said that AKASH is as good a rapper as he is a singer. His words rhyme appropriately, and there are some hooky pronunciations hidden in there, while the lines always have something say. Furthermore, AKASH’s vocal delivery is so on point that it’s near-impossible to not find any humanity in it.

Over and above the beats, melodies and vocal performances, there’s an intangible something about “Rooftop Vibes” that makes it extremely engaging. AKASH has embraced his style, and his go-for-broke energy and catchiness actually makes this a pretty damn great rap and pop album.

It’s the kind of music that is all about mood, and atmosphere, and once you get hooked onto the feeling it evokes, “Rooftop Vibes” is well worth the time. Essential tracks include: “Do The Time”, “Sacrifice”, “Text Me”, “Ride My Wave”, “Distance”, “Visions” and “Chance”.

 The structure of “Rooftop Vibes” is proof that AKASH is fully aware of how to play to his strengths. Fueled by his consistently infectious delivery, hypnotizing production and show-stopping verses, AKASH is able to entice the senses on just about any level by delivering an immediately gratifying project.

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTER

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