Buddy Nelson – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Thu, 22 Jun 2017 12:35:11 +0000 en-US hourly 1 Lyndon Rivers: “I’m Ready” – Wicked, electric and exuberant! http://jamsphere.com/newreleases/lyndon-rivers-im-ready-wicked-electric-exuberant http://jamsphere.com/newreleases/lyndon-rivers-im-ready-wicked-electric-exuberant#respond Sat, 17 Jun 2017 08:49:30 +0000 http://jamsphere.com/?p=29075 If you want irresistible dance music for your friends and yourself to dance to all night…well think nowhere else but here my friends. Lyndon Rivers will instantly take you on a virtual rave at a posh venue that feels so real, right in the comfort of your home. During my first listen to his latest […]

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If you want irresistible dance music for your friends and yourself to dance to all night…well think nowhere else but here my friends. Lyndon Rivers will instantly take you on a virtual rave at a posh venue that feels so real, right in the comfort of your home. During my first listen to his latest single “I’m Ready”, I couldn’t stop myself from having flashbacks of clubs I’ve been to recently; full dance floors, beaming laser lights, people jumping, screaming, music coming at you from everywhere and of course that thumping bass that drives your soul and escorts you to the labyrinth of the track. All of that is found right here in “I’m Ready”.

Lyndon Rivers

Lyndon Rivers

What is exciting is that Lyndon Rivers is a mature electronic Songwriter / Producer and has been in the game for a while now. Born in Bristol, England, Lyndon made the move to Perth, Western Australia, in 1997, saying that it’s a great place to write songs.

He is not out to radically change anything nor is he trying too hard to reinvent the wheel. He has merely refined what he does as a true artist does. “I’m Ready” is slick, warm and encompassing – like being enveloped in large body pillows of sugar-sweet house.

The electronic landscape has been changing. Experimentation with dirty techy sounds, overly poppy ones, has plagued many recent releases, with some successfully and some horribly lame results.

Lyndon Rivers proves that you if you stick to the good old formula, and just twitch a few elements, you will deliver a solid recording, which will stand out in a horde of ‘reinvented-wheel’ electronic releases this year. Compared to those releases “I’m Ready” is nothing less than a space shuttle into dance-floor euphoria.

Wicked, electric and exuberant, this track is a sublime representation of a different facet of house music. It reminds me of the no-nonsense, thumping club tracks from the nineties whose popularity laid the foundation for the modern electronic dance music revolution.

And “I’m Ready” is the vocal and rhythmic spark that ignites Lyndon Rivers’ sound, moving it to the next level of dance-floor grooviness. The track releases that sense of momentum, of not being able to sit without moving. And though “I’m Ready” has plenty of effective momentum, it clearly brings our minds back to our bodies, and places our feet on the dance-floor.

OFFICIAL LINKS: REVERBNATION – FACEBOOK – TWITTER – ITUNES

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Karma Butler: “5517” – Redefining cool for a new generation http://jamsphere.com/reviews/karma-butler-5517-redefining-cool-new-generation http://jamsphere.com/reviews/karma-butler-5517-redefining-cool-new-generation#respond Tue, 13 Jun 2017 04:30:17 +0000 http://jamsphere.com/?p=29008 Karma Butler began singing in church as a young boy. He then broadened his singing talents in middle school and was able to fine tune his singing abilities during many live traveling performances, and daily vocal tutoring sessions while attending Virginia’s Governor’s School for the Arts.  Karma then traveled to Japan and performed to sold […]

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Karma Butler began singing in church as a young boy. He then broadened his singing talents in middle school and was able to fine tune his singing abilities during many live traveling performances, and daily vocal tutoring sessions while attending Virginia’s Governor’s School for the Arts.  Karma then traveled to Japan and performed to sold out arena’s in a two-week/four-city tour. In 1997 he began releasing tracks and soon he gained attention and was featured in USA Today, as well as getting interviewed on ABC. Karma released his first music video in 2010 and followed that up with another in 2011. Apart from his new EP release, Karma has also been booked to sing the national anthem at an NBA game.

Besides being a recording artist, Karma Butler is also a producer, dancer, actor, choreographer, model, and last but not least, an educator. We recently caught up with his 8 track recording entitled “5517”, available for download on all major digital stores. The first thing evident on the collection of tunes is that Karma both sings and raps. Redefining cool for a new generation, Karma Butler is a creative force, using music, fashion, and dance to express his distinctive style.

What shines is Karma’s ability to put a bowtie on pop through arrangements that grab your imagination and bore into your cerebellum. The grooves are euphorically head-nodding. This happens quickly with the driven EDM dance-floor gem “Back It up Swing It” (Lthrboots Club Mix), of which there is also a Drum and Bass mix version.

From what I can gather, Karma produced every single song. And every beat here slaps! “Twerk All Night and Day” is timeless while “Back It up Swing It” (E39 House Mix) is another dance-floor filler. Karma uses his smooth, but powerful voice and a really dope flow on some songs.

His lyrics are pretty clever and all the beats and hooks are super catchy. No doubt, “5517”by Karma Butler is an enjoyable album. There is an engaging assortment of electronic-driven songs that reinforce his creative ingenuity.

Karma created a lively experience that is not only centered on fun and dance, but serves up cuts that are relentlessly and definitively radio friendly – particularly the two final tracks “This Ain’t a Show” which leans toward being a more poppy soundscape and “Baby Let Me” (Slow Jam Mix) which is more or less what the title says, with its sultry sounds and elegant beat.

If you want to hear an artist at the height of his creativity, who’s all up in this place for a good time, then grab a hand and raise a glass, “5517” will keep you entertained throughout. The record makes excellent use of electronics and percussion, supporting Karma’s vocals.

And while Karma Butler mostly sings, there are also substantial rap components as well. The album remains consistent throughout and undoubtedly brings a breath of fresh air to the music industry today with its diverse beats and sounds. This terminally upbeat album highlights Karma’s strength: he makes really crisp, sonically pleasing songs that aim to lift your spirits in the moment.

Stream & Download Karma Butler’s Music:
Itunes: https://karmab.rocks/5517AM
Amazon: https://karmab.rocks/5517Amazon
Spotify: https://karmab.rocks/5517Spotify
Google Play: https://karmab.rocks/5517Google
iHeartRadio: https://karmab.rocks/OniHeartRadio
ReverbNation: https://karmab.rocks/5517ReverbNation

Connect with Karma Butler:
Website: http://KarmaButler.com
Clothing & Accessory Line: https://getgoodkarmastore.com
Instagram: https://www.instagram.com/thekarmabutler
Twitter: https://twitter.com/karmabutle
Facebook: https://karmab.rocks/KarmaButlerUSA-FB

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Alex Mischief: “Hydrogen” FT. Sean Price is impossible to ignore http://jamsphere.com/newreleases/alex-mischief-hydrogen-ft-sean-price-impossible-ignore http://jamsphere.com/newreleases/alex-mischief-hydrogen-ft-sean-price-impossible-ignore#respond Sun, 11 Jun 2017 23:40:53 +0000 http://jamsphere.com/?p=28976 What is absolutely impressive about Alex Mischief is his ability to craft unique, memorable characters with each consecutive release while still imbuing a sense of unity and dynamic interplay. Alex Mischief is the alter ego of Tyler Scope. Alex is a more of an immature, violent, rule breaking, slut obsessed, non pc, and abusive asshole […]

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What is absolutely impressive about Alex Mischief is his ability to craft unique, memorable characters with each consecutive release while still imbuing a sense of unity and dynamic interplay. Alex Mischief is the alter ego of Tyler Scope. Alex is a more of an immature, violent, rule breaking, slut obsessed, non pc, and abusive asshole version of Tyler Scope. And, in fact, there is a distinct relationship between both that makes Alex Mischief such a fascinating character. Alex keeps it gritty, while Tyler has also showcased his smoothed-out sophistication, exemplifying it with both his musical masterpieces and intelligent wordplay. The only sign of crossover aliases is right here on the single “Hydrogen FT. Sean Price”.

This is a perfect hip-hop opus, magnifying Alex Mischief’s fanatical rhyming expertise, which by the way has nothing to do with the stereotyped rhyming and flow your ears are accustomed to. He does something completely different in a conversational tone that is addicting.

Astonishingly, every project Tyler Scope (or should that be Alex Mischief?), undertakes is exceptional. Despite his prolificacy, this artist unquestionably regards quality over quantity, and you need not look any further than the music for proof.

With some strong projects under his belt as Tyler Scope, including “Extreme Individualism” and “The Freethought Poet” and now “Hydrogen FT. Sean Price”, as Alex Mischief, it’s hard to imagine what will come next.

Although I noticed a Aesop Rock feature in his catalog. But one thing is for sure; whatever the future holds for Alex Mischief (or should that be Tyler Scope?), you can bet that you’ll be seeing a lot of him, in one form or another.

In the meantime his dry and deadpan performance on “Hydrogen” perfectly matches that of what used to be Sean Price’s Hennessy-stained growl. They sound like the Yin and Yang of rap in action.

Alex Mischief does everything right in his own warped world on “Hydrogen FT. Sean Price” – from the production choice, the excellent lyrical wordplay he manages to untangle all over the twisted and somewhat deliberately low-key style, to the clear passionate research he undertakes in choosing his features.

In this case the deceased Sean Price. In short, When Alex Mischief does what he does, he’s impossible to ignore. He’s interesting, he’s impressive, and he’s damn entertaining.

OFFICIAL LINKS: SOUNDCLOUD – DATPIFF – BANDCAMP – TUMBLR – YOUTUBE –FACEBOOK – TWITTER

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JusRell: “Seven Seas” prod. by ChetaMeister – a smooth lyrical menace http://jamsphere.com/newreleases/jusrell-seven-seas-prod-chetameister-smooth-lyrical-menace http://jamsphere.com/newreleases/jusrell-seven-seas-prod-chetameister-smooth-lyrical-menace#respond Fri, 09 Jun 2017 19:42:22 +0000 http://jamsphere.com/?p=28940 Memphis artist JusRell has just released the R&B/Soul single entitled “Seven Seas” produced by ChetaMeister. The song is a simple and delightfully restrained mid-tempo chill ballad. Devoid of the treacly sentimentality, cloying vocals and tired platitudes we’ve come to expect of such numbers, the track excels by being plain and direct. Uncluttered by the theatre […]

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Memphis artist JusRell has just released the R&B/Soul single entitled “Seven Seas” produced by ChetaMeister. The song is a simple and delightfully restrained mid-tempo chill ballad. Devoid of the treacly sentimentality, cloying vocals and tired platitudes we’ve come to expect of such numbers, the track excels by being plain and direct. Uncluttered by the theatre and noise of overwrought lyrics, extravagant singing and dramatic beats, the song is an understated showcase of minimalistic R&B – a perfect illustration of JusRell’s appeal as an artist.

None of this understated brilliance is of course guaranteed to bring JusRell’s visibility to the level of R&B guys like, say, like The Weeknd, Maxwell or D’Angelo. But massive popularity, however, does not even seem to be JusRell’s goal.

If it was, he would be crooning…or screaming another type of song. Whether by intent or casual circumstance, every moment and every lyrical picture painted feels distant and unattainable to the listener. If that feeling is indeed premeditated, it is even more impressive.

The one thing that separates JusRell’s from any other crooner out right now is how easy he makes it all seem. He doesn’t use an incredible range or vocal acrobatics like of some of his contemporaries, but he’s a smooth menace: the song hovers around the same pleasant octave range, and in that range he’s in his zone killing it.

That zone is a space that he can occupy successfully, subtly intertwining the melody and the beat with extreme finesse. Every note is comfortably at home with the next and it exudes a certain confidence that only comes with innate confidence.

JusRell comes across as sensitive in the manipulation of his musical material. The finest moments on “Seven Seas” are the moments when the artist’s personality shines the brightest and the song gets conversational. JusRell has a great knack for providing context without straying from the central plot. The greatest example is how he lyrically weaves, commands and compliments in-between his personal perspective on love.

ChetaMeister’s production is filled with spaced-out pianos and synths that frame JusRell vocals perfectly. The production coincides with the vibe of the lyrical content, providing the appropriate atmosphere on the record. Altogether, it creates a complete sonic package to put you in smooth feel-good groove.

Whether or not this newfound talent can become a household name remains to be seen, but operating under the vast umbrella of the R&B/Soul genre with a unique style of your own, is a damn good place to start. Releasing a stellar single on top of that is icing on the cake.

OFFICIAL LINKS: SOUNDCLOUDTWITTER

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Steady Work: “Identity Theft” – a powerful songwriter and an even better storyteller http://jamsphere.com/reviews/steady-work-identity-theft-a-powerful-songwriter-and-an-even-better-storyteller http://jamsphere.com/reviews/steady-work-identity-theft-a-powerful-songwriter-and-an-even-better-storyteller#respond Tue, 06 Jun 2017 07:29:49 +0000 http://jamsphere.com/?p=28888 Dallas Schwake aka Steady Work, is an independent music artist based out of Colorado Springs, CO. Originally a Mississippi Native, Dallas moved to Colorado in 2012 where he attended the United States Air Force Academy. Instead of continuing a career in the military, Dallas – a multi-instrumentalist – voluntarily left the service towards the end […]

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Dallas Schwake aka Steady Work, is an independent music artist based out of Colorado Springs, CO. Originally a Mississippi Native, Dallas moved to Colorado in 2012 where he attended the United States Air Force Academy. Instead of continuing a career in the military, Dallas – a multi-instrumentalist – voluntarily left the service towards the end of 2013. For the past few years, he has worked in several different industries and positions while simultaneously honing his music abilities in order to support his dream, his wife, and his son. This month sees the release of Steady Work’s debut album entitled, “Identity Theft”.

Previous attempts to blend hip-hop, country, rock and blues have ranged from good, to amusing, to corny, and just downright embarrassing – and I won’t mention names, but now someone has finally done it right. There’s nothing gimmicky about Steady Work’s debut album; he’s blending genres not to be cute but to serve the fistful of terrific songs he’s written.

Steady Work also defies the biggest taboo in rap by dropping the macho pose to acknowledge any personal errors, issues or weaknesses. He gets away with it because he never whines and always accepts his share of the blame. He is also not afraid to share his religious beliefs and the strength of his faith and how this helps him overcome any difficulties.

In today’s many well-defined fields of music, only seldom someone comes around to create something that can claim to put a new style breaking twist on things. And that’s not even discovering new areas, but just managing to stray away from the same old ones.

With “Identity Theft”, Steady Work creates an effort like that, as he combines Americana and Rock with a Hip hop point of view, touching the preaching and introspective, to provoke the listener with glimpses into situations that people usually hide behind blinds.

One hell of a lyricist, an incredible singer and a rapper to boot, Steady Work is a powerful songwriter and an even better storyteller, one capable of evoking an emotional response at each and every turn. This is a real life record, one that reflects the trials and tribulations we all may face along the pathway of our lives. Plain and simple, the lyrics, the words, and the thoughts heard throughout these tracks, are relatable.

“Identity Theft” is an under-the-radar record that you’re much better off experiencing rather than simply reading about. No matter from which end of the album you start the change in style and feel from track to track is radical. From the lush Americana, acoustic-driven track “So Much More”, to the deep, dark and edgy bass booming rap-rock of “Dazed For Daze”, and the throbbing percussive hip-hop themed verses of “Hold The Line”, Steady Work lays his full throttle powerful gravelly vocals out for all to hear.

His singing soars and emotes with the same visceral energy he rhymes through the rap verses. There is hardly a notable difference between his ability to execute one or the other form of perpetuating his storytelling lyrics.

When it comes to forging sonic gems containing strong melodies, smooth rapping and powerful singing, the album standouts for me, besides the aforementioned tracks, have to be: “Identity Theft”, “Never Had Much”, “Full Spectrum” and “To You”, with a toss up for the absolute album diamond, between “Hold The Line” and “Dazed For Daze” – easily among the best songs of any genre I have heard all year so far.

These days, with so much bad music constantly being shoved in our face, it’s suffocating. Steady Work brings a breath of fresh air with “Identity Theft”. It’s one of those albums you can actually listen to all the way through…without even worrying about genres, they’re all inside here!

OFFICIAL LINKS: WEBSITEREVERBNATIONSOUNDCLOUD

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Fr33-Dom: “Too Young” a song that is literally hypnotizing http://jamsphere.com/reviews/fr33-dom-too-young-a-song-that-is-literally-hypnotizing http://jamsphere.com/reviews/fr33-dom-too-young-a-song-that-is-literally-hypnotizing#respond Mon, 05 Jun 2017 10:19:16 +0000 http://jamsphere.com/?p=28873 Fr33-Dom is a composer turned rapper turned singer. 26 years old from Indianapolis, IN, but lives in San Diego. This dude does not get the recognition he deserves, but he has definitely been putting his fair share of work in. If you run through his catalog, you’ll notice that he is all about finding harmony […]

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Fr33-Dom is a composer turned rapper turned singer. 26 years old from Indianapolis, IN, but lives in San Diego. This dude does not get the recognition he deserves, but he has definitely been putting his fair share of work in. If you run through his catalog, you’ll notice that he is all about finding harmony in a disparate amount of styles and centering himself right into the music. His single project “Too Young” helps translate all of that energy into something extraordinary.

The track is the perfect way to start the audience getting to know this artist. It’s a track that helps warm us up for a new sound that we are about to experience. It’s indescribable. There has hardly been an underground rapper who has mixed so many different catchy mainstream styles together to create something of this captivating magnitude.

Sure, it could be argued that many have mixed genres in the past done in the past, and that nothing is new under the sun. But few in the independent labyrinth have tackled a mix of pop, EDM and Rap in this manner.

The closest you’ll come to a mainstream mix that is so alluring is to look back to when the Black-Eyed Peas were busting up the charts all over the world. But they were a major label band with a major budget too match.

Modern Rap tends to be inclined towards dark and edgy musical themes with often violent and vulgar lyricism, but Fr33-Dom turns this scheme on its head. His sound on “Too Young” is light and bouncy, running through a romantic lyrical theme. This track would feel as much at home on the Top40 charts as it would in the club.

“Too Young” is the type of song that is literally hypnotizing. I’m telling you this is not the typical rap project. You are in for a treat. I admire that this guy isn’t afraid to sing on his songs, rock out, rap and do whatever he feels like doing.

This is as solid a single as an artist of Fr33-Dom’s status and talent could hope for, as he’s a tough act to categorize. He can spit rhymes with the best of his contemporaries, but he’s also got quite the voice to buoy his rap talent, something that not a lot of rappers come by so organically.

Fr33-Dom’s songs blurs genre boundaries between soul, pop, dance, rock, and hip hop and pushes listeners out of their comfort zones. There are few musical lines Fr33-Dom’s has yet to cross.

Through the rise of social networking and micro-blogging, the target market of pop/hip hop consumers have reportedly grown short on attention and the variety offered by Fr33-Dom’s will probably allow for him to keep people coming back for more and you better believe that element is never executed better than on “Too Young”.

OFFICIAL LINKS: SOUNDCLOUDFACEBOOKINSTAGRAM

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J-Luck: “Money, Money, Money” – day-to-day grind of street life http://jamsphere.com/reviews/j-luck-money-money-money-day-to-day-grind-of-street-life http://jamsphere.com/reviews/j-luck-money-money-money-day-to-day-grind-of-street-life#respond Thu, 01 Jun 2017 10:49:26 +0000 http://jamsphere.com/?p=28858 Joe Moore aka J-Luck is originaly from Houston Texas but now resides in Klamath Falls, Oregon . J-Luck is an independent hip hop artist and engineer who has been recording music for over a decade. He uses his craft to narrate his life experiences and his point of view. Signed to Above Reality Records, J-Luck has […]

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Joe Moore aka J-Luck is originaly from Houston Texas but now resides in Klamath Falls, Oregon . J-Luck is an independent hip hop artist and engineer who has been recording music for over a decade. He uses his craft to narrate his life experiences and his point of view. Signed to Above Reality Records, J-Luck has released 5 albums and a few months back dropped his latest single, entitled “Money, Money, Money” (Produced By Ceasar Beats).

Just as every fire needs heat, fuel, and an oxidizing agent to ignite, every motivational speaker needs a social or economic crisis to inspire and uplift. J-Luck is a rhyme dealer pushing equal parts production heat, lyrical fuel, and an oxygen consuming flow.

The street motivator hardly shies from the task at hand, and thus “Money, Money, Money” hits those reeling from their state of discontent like a ton of bricks, or better yet, a thousand gallons of free gasoline. He comes to our current malaise to remind us of the importance of making money in this society.

J-Luck’s lyrics are a dynamic and entertaining celebration of the hardscrabble entrepreneurship and day-to-day grind of street life, and they are backed by the triumphant, synth-bass-and-clap production techniques that were once the hallmark of the rap renaissance.

Here his approach is amplified by significant doses of repeated anxiety: “Money, Money, Money, I need that…Money, Money, Money, I want that… Money, Money, Money, hit that… Money, Money, Money.” The track is full of moments of determined uplift in the face of a struggling economy and a declining music industry. J-Luck could well be trying to motivate himself as much as he is motivating us: “Time is money I charge a fee. Dollar signs is all I see…”

His illuminations peer directly at his grind and the need to get the cash rolling in. The track’s money-oriented think verses are marvelous concoctions of swagger and street storytelling, all the while forging the kind of hood-repping rap that brought a large part the genre to its popular high-point.

In essence “Money, Money, Money” (Produced By Ceasar Beats) is a highly charged banger where there’s a unique pleasure in hearing a rapper deliver It’s the kind of track that makes you stop what you’re doing and just pay attention to the story that’s being told.

Being an underground rapper, the world as a whole might not be paying attention to J-Luck just yet, but he’s getting his point across to a dedicated fan base that appreciates him probably more than a mainstream audience ever will.

OFFICIAL LINKS: Keep It Real Inc.Above Reality RecordsFacebookTwitter

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Roisin Gordon: “Isn’t It A Shame” Set To Release Worldwide on 20th of June 2017 http://jamsphere.com/newreleases/roisin-gordon-isnt-it-a-shame-set-to-release-worldwide-on-20th-of-june-2017 http://jamsphere.com/newreleases/roisin-gordon-isnt-it-a-shame-set-to-release-worldwide-on-20th-of-june-2017#respond Sun, 28 May 2017 21:55:52 +0000 http://jamsphere.com/?p=28840 If you’re lucky, at some point in life you will encounter an artist who radiates, an almost inexplicable warmth, like there’s a tiny star glowing inside of them. The artist brightens whatever space their music enters. They immediately impact others, be that through recorded music or during live performances. For those struggling to associate an […]

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If you’re lucky, at some point in life you will encounter an artist who radiates, an almost inexplicable warmth, like there’s a tiny star glowing inside of them. The artist brightens whatever space their music enters. They immediately impact others, be that through recorded music or during live performances. For those struggling to associate an encounter on par with this experience, all they need to do is turn to Roisin Gordon. Ever since she began writing and performing music in her early teens, Roisin has been preparing herself for the live venues and crowds she has entertained in Asia, Australia, the United Kingdom and of course her hometown in Ireland.

Roisin Gordon

Roisin Gordon

Until a few days ago, I had never heard of Roisin Gordon, and then her single debut single, “Isn’t It A Shame” – set to release worldwide via all major music platforms and digital download stores on the June 20th 2017 – made its way to my desktop.

The first thing that struck me about Roisin in general is that she seems not to be infected by the cynicism so prevalent in our culture. Her music has layers of depth, in the simplest of arrangements which is both surprising and interesting…and then there is her voice.

Roisin Gordon manages to have more fascinating nuances in her vocal cords than many other young female singers I know. And it is not simply the virtuosity that is usually displayed by many R&B or Soul singers who seem never to be content just to sing a line but must run it through a series of scales just to impress us with their vocal pyrotechnics. What Roisin does is magical. Her voice and phrasing are luscious, fresh and extremely ear-friendly.

“Isn’t It A Shame” gives you the sense that you’re hearing the track being recorded in real-time — a simplicity that is sure to make for a powerful live performance when she decides to include the song into her shows – however there are certain luxuries that can only be captured in the studio.  The track is at its most captivating when it looks inward, in a no-frills depiction of Roisin Gordon at her rawest. It is here that her personality and compassion comes through strongly.

It’s not that this song is particularly edgy or progressive – an acoustic guitar, her gorgeous voice, the picturesque storytelling, and some other subtle instrumental embellishments is all she brings in her musical toolkit on “Isn’t It A Shame”.

But they certify Roisin Gordon’s confidence in her own abilities as a musician, singer and songwriter – A calculatedly simplistic take, that files the appeal of her music down to its most basic essence. In fact, it’s the pure artistry and simplicity of her music that radiates the warmth and honesty missing in so much of today’s music.

The flavor of Roisin’s music on her debut single isn’t the sort that sets off fireworks and sees you raving and dancing around the room. “Isn’t It A Shame”  is the sort of track that is periodically hailed as being the real deal — no studio tricks, little musical polish, and a reliance on good songwriting, singing, and a melody, rather than hooks – In other words, pure music!

OFFICIAL LINKS: FACEBOOKRED MATCH MUSIC

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Dezzyano: “Hello World: The Renaissance” jumps right out of the speakers and grabs you by the throat! http://jamsphere.com/reviews/dezzyano-hello-world-the-renaissance-jumps-right-out-of-the-speakers-and-grabs-you-by-the-throat http://jamsphere.com/reviews/dezzyano-hello-world-the-renaissance-jumps-right-out-of-the-speakers-and-grabs-you-by-the-throat#respond Mon, 22 May 2017 10:53:19 +0000 http://jamsphere.com/?p=28764 Now I’ll be honest, before this album was released, I didn’t know much about Dezzyano, the rapper raised 5 mins from Atlanta on Six Flags Dr. I decided to give it a go. And I became a very unlikely Dezzyano fan. The 16 track album, “Hello World: The Renaissance” starts off strong with ‘Anita Baker’. […]

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Now I’ll be honest, before this album was released, I didn’t know much about Dezzyano, the rapper raised 5 mins from Atlanta on Six Flags Dr. I decided to give it a go. And I became a very unlikely Dezzyano fan. The 16 track album, “Hello World: The Renaissance” starts off strong with ‘Anita Baker’. It has an extremely catchy refrain built on a bass and horn driven soul soundscape. This sets the tone for the album, which sees Dezzyano finding different ways of telling his story with catchy hooks and intense verses. From a critical standpoint, this album has some epic beats provided by Cappavelli1, however, Dezzyano definitely makes this project what it is.

There are plenty of gems on this album, particularly near the beginning and end; everything stays consistently tight all the way through. We learn all the way through “Hello World: The Renaissance”   that Dezzyano is a stand-up guy, doesn’t take crap and can steal your girl. He is able to draw a common thread between a variety of tracks with a cohesive feel and tone throughout the album.

But this recording makes another thing clear – Dezzyano is capable of the fortunate trend of pleasing everyone at once, and as a result, songs like “Grammys”, “Webbie” and the impressive “Feather” jump right out of the speakers and grab you by the throat.

But his thing is full of standouts, from “Runner”, “Express Mail” and “Trap Nigga” to “Feel It”, showing that Dezzyano is at his best when he is less reflective, fiery, brazen and loaded with bars that are unrestrained and gutsy.

He exudes confidence with every single breath he breaths into the microphone, swinging comfortably from every snare hit to bass thump. Even the couple of tracks that you might not consider standouts sound strong, due to Dezzyano’s super confidence.

He serves beats like “OTW” and “Duece” with pure swag and rhythmic ability. He doesn’t even need to rhyme about anything important or relevant; he’s got enough punchlines and self-confidence to cover that up.

Dezzyano manages to spend the entire record outshining every single beat, making every soundscape his own. Overall, it sounds like a triumph. What is most important to note is that Dezzyano would not be content to become the underground king of the south, as he has already made the declaration of wanting to strive to be the best rapper alive.

This is a tall order coming from an artist most people haven’t even heard of yet. Dezzyano’s sense of ambition pushes him to change up his themes, update his beats and extend his style, from track to track, far enough to keep his listeners interested, making the fluidity of the album an even more impressive feat.

On “Hello World: The Renaissance”, Dezzyano’s flow is in top form, he oozes charisma, and all of the songs on this album are enjoyable, regardless of which your favorites may be. These songs are all highlights because it feels like Dezzyano’s actually means what he’s rapping, rather than just trying to put out what he thinks people want to hear.

This album showcases the fact that Dezzyano represents an excellent blend of lyrical talent and catchy pop sensibility.

OFFICIAL LINKS: SOUNDCLOUDSPINRILLA  – TWITTERINSTAGRAM

 

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Jannie Dee Drops the Official Video for “I’m Ready” featuring FRANCOIS http://jamsphere.com/videos/jannie-dee-drops-the-official-video-for-im-ready-featuring-francois http://jamsphere.com/videos/jannie-dee-drops-the-official-video-for-im-ready-featuring-francois#respond Sun, 21 May 2017 10:12:44 +0000 http://jamsphere.com/?p=28756 From beginning to end, Australian singer-songwriter Jannie Dee packs her latest R&B and Pop blended single, “I’m Ready” featuring FRANCOIS, with sophistication, sex appeal and soul. When it comes to one of the voices in the Down Under underground R&B music that is a force to be reckoned with, Dee is undoubtedly on that list as her […]

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From beginning to end, Australian singer-songwriter Jannie Dee packs her latest R&B and Pop blended single, “I’m Ready” featuring FRANCOIS, with sophistication, sex appeal and soul. When it comes to one of the voices in the Down Under underground R&B music that is a force to be reckoned with, Dee is undoubtedly on that list as her new release is further proof of just that. The track which is from Jannie Dee latest EP of the same name is certainly a song that you will want on your bedroom playlist.

With a new recording under her belt, Jannie Dee is quite feeling herself because she rightfully titled the track, “I’m Ready” and indeed she is. The album opens with the thought that Jannie wants the world to know that her lover has delivered the goods and has satisfied her in every way imaginable, and that she is ready to do the same – “We both know where we’re gonna be tonight, because I’m ready, you’re ready, we’re ready, come on…”

the single cover

The single cover

Jannie Dee takes us back to her roots of the old school R&B sound which she mixes with a synth infested urban pop twist. Speaking to the cyclic nature of love and lust, the arrangements on much of the record cleverly suggest retro flavors while using modern production and sound.

It possesses a swelling synth string section held up by a popping electric bass, and the percussion track and lead vocal style are just contemporary enough to dodge a total retro feel.

When rapper FRANCOIS, jumps onto the track with some smooth bars, he gives the song a strong edgy urban taste. The song’s hook catches you, through both repetition and beauty, as well as melodic invention, and by the time the rap starts you’re right in the groove. The market needs more soul music that pulsates with real feeling.

“I’m Ready” featuring FRANCOIS provides a lasting treat for Jannie Dee fans and reinforces her rep as one of Down Under’s essential independent R&B performers. That enviable sexy atmosphere, galvanizing grasp of melody and engaging approach to the genre all add up to one truth: Jannie Dee, who was born in the Philippines and migrated to Australia in 1992, is becoming notorious in her own right, and yes, she’s ready indeed!

OFFICIAL LINKS: INSTAGRAMFACEBOOKTWITTER

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“I’m Crazy” – Sirpit & Bullzeye Beats Ft. Charlene (Prod by Bullzeye Beats) – cross-genre pollination http://jamsphere.com/newreleases/im-crazy-sirpit-bullzeye-beats-ft-charlene-prod-bullzeye-beats-cross-genre-pollination http://jamsphere.com/newreleases/im-crazy-sirpit-bullzeye-beats-ft-charlene-prod-bullzeye-beats-cross-genre-pollination#respond Sun, 14 May 2017 23:27:38 +0000 http://jamsphere.com/?p=28693 Australian-based artist Sirpit has dropped another club banger via Taff Dawgz Entertainment. This time Bullzeye Beats and Charlene on the track entitled, “I’m Crazy”. The blurring of lines between the rap and dance music universe is nothing new. Many of hip-hop’s earliest songs drew their inspiration from the rhythmic thump of dance music, flipping samples from songs […]

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Australian-based artist Sirpit has dropped another club banger via Taff Dawgz Entertainment. This time Bullzeye Beats and Charlene on the track entitled, “I’m Crazy”. The blurring of lines between the rap and dance music universe is nothing new. Many of hip-hop’s earliest songs drew their inspiration from the rhythmic thump of dance music, flipping samples from songs that had the specific goal of getting a crowd moving. So it’s no surprise that the latest modern mutation of dance music—often collected under the ambiguous and argument-starting term “EDM”—has crossed over and even been absorbed into hip-hop. This type of cross-genre pollination is essential to hip-hop…and it’s essential to this track.

The best electronic dance music shares many of the same qualities as the best hip-hop: an emphasis on rhythm, a commitment to intensity and a powerful physicality. It’s really no surprise that artists like Sirpit has wanted to work wanted to work with EDM soundscapes such as “I’m Crazy”.

Sirpit’s crossover into electronic music shows not only his potential as a rapper, but it also shows the potential of EDM producers to work with such unique artists. Sirpit navigates the beat like he was born listening to it.

His on-edge flow nimbly flips through flows to stay ahead of the swift percussion. But beyond just being a great rapper and an evocative writer, he’s someone who thoroughly deconstructs some of rap’s most hardened tropes.

Beat-wise, “I’m Crazy” makes case for Bullzeye Beats as one of the most underrated producers in the game. Part of this has to do with the fact that it’s hard to imagine anyone but Sirpit tackling this type of beat with the same success.

Throughout the track Bullzeye Beats grabs upon a small handful of sounds that seizes attention, and surround them with just enough elements to make the track feel full but not too many as to clutter. As such, this beat really bangs with enough percussive corners and pockets that Sirpit is more than good enough to fill with his wild assortment of flows. The rest is left up to Charlene, who adds the melody and catchy vocal hook to complete the winning formula.

It’s no surprise that Sirpit sound and influences have evolved and his willingness to cross musical genres will clearly work to his commercial advantage. He still maintains the grit and raw excitement from his previous tracks, and his knack for choosing the right beats and picking the right collaborators generally works just as well.

As much a hip-hop track as it is a party anthem, “l’m Crazy” – Sirpit & Bullzeye Beats Ft. Charlene (Prod by Bullzeye Beats) is an enjoyable listen, and one which has a cool urban ambience to it.

OFFICIAL LINKS: TAFF DAWGZ ENT – SOUNDCLOUD – MASSIVE SIRPIT – FACEBOOK – YOUTUBE – ITUNES

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King Tut & HU$$: “Like A King” – the ‘new wave’ of rap music http://jamsphere.com/newreleases/king-tut-hu-like-a-king-the-new-wave-of-rap-music http://jamsphere.com/newreleases/king-tut-hu-like-a-king-the-new-wave-of-rap-music#respond Fri, 12 May 2017 23:57:30 +0000 http://jamsphere.com/?p=28661 It’s hard to think of a hip-hop track with more heart, one with a narrative more thoroughly interwoven with the love of the grind and big dreams, than “Like A King”, the track by King Tut & HU$$, the restless experimenter of from Dallas, TX. Producer HU$$ is not unfamiliar with R&B, Jazz, and southern […]

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It’s hard to think of a hip-hop track with more heart, one with a narrative more thoroughly interwoven with the love of the grind and big dreams, than “Like A King”, the track by King Tut & HU$$, the restless experimenter of from Dallas, TX. Producer HU$$ is not unfamiliar with R&B, Jazz, and southern vibes, combined with a unique mixture of Dance, Trap and Hip Hop drums and the occasional Soul sample to form his signature sound.

 “Like A King” is a steady, buoyant track, moving at a hypnotizing pace and with a slightly eastern texture. But uniting it all is an almost pervasive feeling of warmth, a sense that its creator comes from a world where he’s surrounded by positive energy and a fair amount of confidence.

What prompts this heartfelt track from being maudlin in any way, is how grounded the emotion is — and also the rapping, which is kinetic and steadfast. King Tut is consistently inventive, pugnacious with syllables and prone to stick to a deep captivating flow.

Surprisingly there is no spitfire flow or earworm hooks, yet a few conscientious emcees might learn a thing in two from King Tut & HU$$ when it comes to making poignant songs whose sonic qualities are as good as their messages.

King Tut introduces himself as a sensitive man reflecting on his aspirations and creating a positive future for himself. He attacks the beat effortlessly as his flow swerves over the booming bass HU$$ has built this production on, while he lyrically celebrates his inclinations.

There is no overwrought attempt at a radio record. Nor is this is an obligatory song “for the chicks”, or a manufactured hit for “the clubs,” or whatever that even means these days. Those are the type of songs that often suck the narrative arc out of a project.

“Like A King” is an underground rap track for listeners reared on melodic trap variations like 21 Savage and Metro Boomin. It’s super low-key, resonating with a haunting beat by HU$$ and tale-telling rhymes by King Tut.

This is the ‘new wave’ of rap music, where there are meant to be no lies in the lyrics, the settings that are described should sound like recollections, like reliving the moments that have happened or things that the narrator is prepared to do. ‘Authentic’ is the word that has been used most when this sub-genre is mentioned.

“Like A King” carries many of these traits, and for all intents and purposes this may be King Tut & HU$$’ answer, to Chicago’s drill music. And it’s really good.

Contact: RealHussMusic@gmail.com for inquiries and collaborations

OFFICIAL LINKS: SOUNDCLOUDYOUTUBETWITTERINSTAGRAM

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Aprilann: “Crown and the Girls” (Remix) – as anthemic as it is empowering! http://jamsphere.com/newreleases/aprilann-crown-girls-remix-anthemic-empowering http://jamsphere.com/newreleases/aprilann-crown-girls-remix-anthemic-empowering#respond Tue, 09 May 2017 16:36:34 +0000 http://jamsphere.com/?p=28619 Born and raised in Florida, Manhattan resident, Aprilann has several songs on iTunes and her latest self-written release Crown and the Girls, produced by acclaimed New York producer Artie Skye of Skyelabs, was released earlier this year. It tells the ageless story of heartbreak and the difficulty of letting go. She recently completed the remix for ‘Crown and the […]

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Born and raised in Florida, Manhattan resident, Aprilann has several songs on iTunes and her latest self-written release Crown and the Girls, produced by acclaimed New York producer Artie Skye of Skyelabs, was released earlier this year. It tells the ageless story of heartbreak and the difficulty of letting go. She recently completed the remix for Crown and the Girls’, along with a performance lyric video.  Aprilann is currently in the studio working on her debut EP set for release later this year.

In the music industry, there’s a difference between hype and excitement. Hype is guaranteed by the press but without excitement, all of that publicity might as well be for nothing. For pop songstress, Aprilann, the excitement has always been there since the release of the original version of Crown and the Girls’ last year.

From rolled down car windows on city streets to backyard BBQs to department stores to bowling alleys, the remixed version of Crown and the Girls’ might as well be awarded Song of 2017 as there will be no escaping it – not that we’d want to – clearly paving the way for Aprilann’s upcoming debut EP to shine, and with a record like this, the future seems bright for the singer.

There’s no shortage of impeccably-crafted synth-pop hooks with a hint of sass and ambition thrown into this track, and fans of the original ballad version of Crown and the Girls’ fans will be rolling down windows of their own, reciting every word within no time. The track comes barreling in with a strong punch – anthemic as it is empowering.

Producers PGee and Mystro have done an excellent job of just stepping up the tempo, and injecting the song with edgy energy, but avoiding to refurbish the lead vocal track in any way with the usual outrageous, over the top EDM effects. This leaves the track’s lyrical poignancy totally intact and Aprilann’s voice to carry the song with class and dignity, redefining the term ‘girl power’.

The distinctive and certainly unique element on the original version that struck out to me from the beginning was Aprilann’s hearty, emotional vocals. It’s heavily boosted with her grace and flair that blends well within the track. It represented a highly motivational anthem about challenging relationship tribulations on your doorstep.

Now PGee and Mystro remix the track a step forward in the right direction, maturing up musically whilst still maintaining the darkish ambience in the foreground. It fits perfectly with Aprilann’s style and mood encased inside Crown and the Girls’; a mixture of awe, heartache, and everything in between. It takes the song full circle.

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKSOUNDCLOUDITUNES

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Jack Soundfield: “Shine” moods, textures, and rhythms, that lend well to repeated listening http://jamsphere.com/news/jack-soundfield-shine-moods-textures-and-rhythms-that-lend-well-to-repeated-listening http://jamsphere.com/news/jack-soundfield-shine-moods-textures-and-rhythms-that-lend-well-to-repeated-listening#respond Wed, 26 Apr 2017 16:31:48 +0000 http://jamsphere.com/?p=28451 By profession Jack Soundfield is an engineer who has travelled around the world. He has lived in Canada, Germany and Switzerland. Besides uncovering the secrets of the globe Jack has a passion for music and experimenting with instruments and sounds.  “Before publishing a song, it is mine alone,” says Soundfield. “After publishing it, anyone can […]

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By profession Jack Soundfield is an engineer who has travelled around the world. He has lived in Canada, Germany and Switzerland. Besides uncovering the secrets of the globe Jack has a passion for music and experimenting with instruments and sounds.  “Before publishing a song, it is mine alone,” says Soundfield. “After publishing it, anyone can listen to it and decide whether to identify with it, or love it, or both.” Jack, who has been composing music since 2009, recently released his debut album, entitled “Shine”. “I have to admit,” explained Soundfield, “that my girlfriend – a solfège teacher of the Kodály method – sometimes did intervene and had her influence on the music.”

In writing about ambient music, Douglas Rushkoff notes that ‘ambient’ music isn’t a set of particular sounds one listens to but a space in which one breathes. Rushkoff was referring specifically to ambient visionary Brian Eno but it can easily apply to Jack Soundfield and “Shine”. Though to be fair, Soundfield’s instrumental music is more pop orientated and brighter sounding, the fact remain that it creates ‘’a space in which to breathe’’.

Whereas classic ambient has layers and washes of sound and music that can be focused on or ignored, lazily mind-surfed or instead analyzed, Soundfield’s soundscapes have defined melody in the forefront which of course becomes hard to ignore.

Never just a trite sound collage – a problem which plagues so many in this genre – “Shine” has moods, textures, and rhythms, that lend well to repeated listening. You can dig deep or soar to the shore with this collective work.

The other interesting thing is that Jack Soundfield uses a series of what can be called classic ‘old school’, almost MIDI-like sounds, as opposed to the high-flying electronic mimicry of Digital Audio. This is true of both the keyboard sounds and the percussion.

There are lots of harpsichord and string instrumentation which gives the pieces a classic feel. Sometimes they are even cinematic, as is the case with “Freedom Ride” and the title track “Shine”. So, this music is perfect for so many things. Night driving, working, sleeping, hanging out, studying, reading – the minimalism and yet fullness of these tunes is irresistible.

You can find and share Jack Soundfield’s music on Spotify or you can also stream and purchase it on Google Play.

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JaVez: “When I Was Uptown” shows the many sides of this unique artist http://jamsphere.com/newreleases/javez-when-i-was-uptown-shows-the-many-sides-of-this-unique-artist http://jamsphere.com/newreleases/javez-when-i-was-uptown-shows-the-many-sides-of-this-unique-artist#respond Wed, 26 Apr 2017 01:22:02 +0000 http://jamsphere.com/?p=28444 JaVez is a 23 year old Maryland recording artist who sings, raps, produces, and mixes his own music. The self-taught Baltimore area artist has a penchant for Kanye West, Usher, Jay Z, J. Cole, Kendrick Lamar, and Chris Brown. He also grew up listening to singers like Brian McKnight and R. Kelly. JaVez plans to […]

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JaVez is a 23 year old Maryland recording artist who sings, raps, produces, and mixes his own music. The self-taught Baltimore area artist has a penchant for Kanye West, Usher, Jay Z, J. Cole, Kendrick Lamar, and Chris Brown. He also grew up listening to singers like Brian McKnight and R. Kelly. JaVez plans to one day be a successful CEO of a record label and iconic recording artist. JaVez is the true definition of an artist, he isn’t afraid to be himself and put himself out there. The lyrics alone prove that. Add in some fantastic production and the combination is deadly. Each song offers a compelling narrative that brings structure and cohesion to the recording.

JaVez has a very rare songwriting gift; he has the power to captivate audiences everywhere with just one song. After that, you’re hooked for life. “When I Was Uptown” shows the many sides of this unique artist. The opening track “Show You” helps set the bar to a new high, and as everything else unfolds, you can’t help but smile.

This EP is everything that you can expect from an alternative crossover R&B and Hip-hop artist, and is one of the most ingeniously crafted records of the genre I have heard this year. Everyone should at least listen to this once, you won’t see it coming!

There is more than just beauty behind the madness; there is a voice that totally rocks your world, whether in normal tones or insanely high falsetto, JaVez’s voice remains crystal clear. Every generation has its eclectic set of voices and his, is part of this generation’s eclectic set.

If you are not into alternative R&B, tracks like “Won’t Let You Down” and “Rep It” is a great time for you to get into it. The soundscapes are minimal but sonically cutting edge sharp, allowing the vocals all the needed space to breath, grow and seduce.

JaVez’s also finds a sweet spot for his own stripped down and emotional version of Tamia’s “Stuck With Me”. Listening to something like this is the ultimate form of escapism that so many of us flock to music for.

If you’re in the mood for something different, then “When I Was Uptown” is the EP for you. This is clearly not a recording made for the catchy hooks; instead, it focuses on the musical embodiment of JaVez’s themes.

It’s almost as if the music came as a consequence of the lyrics, even though it likely worked the other way around. If there is any connective tissue bounding this EP together it’s the idea that JaVez doesn’t have to fundamentally change who he is in order to become a potential star.

A couple of tweaks here and there, without losing the rawness, would be all this needs, as “When I Was Uptown”,  already sounds like a completely brilliant beginning to what promises to be a long and bright career.

OFFICIAL LINKS: SOUNDCLOUDFACEBOOKTWITTERSNAPCHAT

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ReachingNova: “IT’S ABOUT TIME” unravels strands of his pedigree! http://jamsphere.com/reviews/reachingnova-time-unravels-strands-pedigree http://jamsphere.com/reviews/reachingnova-time-unravels-strands-pedigree#comments Sat, 22 Apr 2017 09:50:36 +0000 http://jamsphere.com/?p=28404 The Bronx, NYC creative, ReachingNova is without a doubt one of the smartest, all-round great underground rappers on the block right now. His album “IT’S ABOUT TIME”, features powerful themes and gives amazing personal perspectives on some deep rooted issues and aspirations which inevitably reflect everything happening around ReachingNova, but could so easily apply to any […]

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The Bronx, NYC creative, ReachingNova is without a doubt one of the smartest, all-round great underground rappers on the block right now. His album “IT’S ABOUT TIME”, features powerful themes and gives amazing personal perspectives on some deep rooted issues and aspirations which inevitably reflect everything happening around ReachingNova, but could so easily apply to any ambitious human being on a serious daily grind, no matter what walk of life they’re in. Each track is superbly produced, and none feel like they don’t belong on this collection. What seperates ReachingNova from his contemporaries is that he’s found way to excel at his rap aspirations while subverting it.  He has found a way to reconcile the inherent vices of the game with the salving possibilities of art.

ReachingNova channels rap’s energy to deliver uplifting and revealing messages while smuggling complexity and entertainment into the verses. There are some strong hooks here, but not the repetitive pop kind you’re used to, plenty of head-nodding beats, and most importantly, ReachingNova rapping with an ear for little turns of phrase and of melody that will stick in the brain.

ReachingNova

ReachingNova

He has a sense for musical adventure: Tempos make surprising shifts, backward sounding loops intrude in, for instance on “No Explanations” and “Pacify” – the production allover, does a lot of the work of conveying the album’s approach to ReachingNova’s storytelling. Listening along as he lobs syllables as quickly as the ear can catch them is a joy, and the creative storytelling carried out in these shifting flows feels satisfying and complete.

From the moment the album opens with “An Evening In Tampa Bay”, it becomes a widescreen masterpiece of rap, full of expansive beats, intense rhymes, and peerless storytelling about ReachingNova’s daily destiny. “World So Empty” ft. Dave East is a precious story, the stuff rocks, and it’s delivered with such precision, vivid detail, and masterful pacing that it can’t possibly be true.

But it’s a tale too powerful not to believe in – just like its narrator. ReachingNova proves he’s a master storyteller, but he always seems to be saving his best plot twist for the next song, waiting until he is ready to pull it off. And on both “Make It Happen” and “Something Timeless” – one of the catchiest tracks on the entire album – he pulls it off big time.

Storytelling seems to be ReachingNova greatest skill (without disregarding his production skills), and primary mission – to articulate the intimate specifics of daily grinding from your surroundings. The raps put forth on tracks like “I Remember”, “No Explanations” and “Beach Waves” bobs, winds and pulls mercilessly like a computerized sewing machine.

ReachingNova is cracking open his genes all over this thing with vigor, unraveling strands of his pedigree on each and every track. “IT’S ABOUT TIME” is as bold and as hard and as hopeful as it is bursting with bristling energy. It’s as introspective as it is inciting. It’s as cohesive as it is dense. It’s a volatile and revelatory chapter in a legacy that’s following ReachingNova as he moves his career ahead towards the main spotlight.

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKINSTAGRAMSOUNDCLOUDYOUTUBE

STREAMING / DOWNLOAD: SPOTIFYTIDALITUNES

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Ron Hamrick: “Musings” expresses his thoughts and feelings from everyday life http://jamsphere.com/newreleases/ron-hamrick-musings-expresses-his-thoughts-and-feelings-from-everyday-life http://jamsphere.com/newreleases/ron-hamrick-musings-expresses-his-thoughts-and-feelings-from-everyday-life#respond Wed, 19 Apr 2017 16:21:28 +0000 http://jamsphere.com/?p=28376 Ron Hamrick’s music career started in Michigan at 5 years old when his aunt introduced him to the guitar. At 8, he began taking piano and organ lessons learning classical pieces, and he fell in love with keyboards. His music career now spans decades with thousands of performances at venues across the U.S. and even in the U.K. Ron […]

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Ron Hamrick’s music career started in Michigan at 5 years old when his aunt introduced him to the guitar. At 8, he began taking piano and organ lessons learning classical pieces, and he fell in love with keyboards. His music career now spans decades with thousands of performances at venues across the U.S. and even in the U.K. Ron was inducted into the Michigan Rock and Roll Legends Hall of Fame in 2011 as a member of the popular band The Sixth Generation which reached number 2 on the Billboard Charts and was considered for a Grammy Nomination. Ron has been a part of the band since 1966. In addition to being a member of The Sixth Generation, Ron, who is an accomplished singer, songwriter and multi-instrumentalist, is also a fully-fledged solo artist. He recently released his album, entitled “Musings”, which expresses his thoughts and feelings from everyday life.

Ron Hamrick

Ron Hamrick

If you ever had a penchant for James Taylor, Simon and Garfunkel, or The Beach Boys either together as a group or as individual artists, then this album is too good to either pass up and/or not have in your collection.

In a world where people nowadays are busy shouting at each other with that ‘I am going to be in your face attitude’, it is nice to be reminded that there are still artists who make sense without being loud and obscene, because music is after all an art that touches the soul and hearts of those who lend an ear to them.

This is music you can not only understand, but enjoy, as it transports you back to a time where love, harmony and peace were the rule of the day, rather than the hate and obscenities which are more in fashion today.

Ron Hamrick is at his best when he allows himself to commit to his reedy, high-pitched tones on “Fly Like an Eagle”, “I’m Livin’ Life”, “I Ain’t Seen No Rain” and “You Make Me Who I Am”.

The sounds are mostly lushly produced, together with a vast array of light orchestral resources and the latest tricks in sound technology, the goal being to achieve a rich, smooth and organic sound. These qualities are best appreciated on “Nothing Like A Rainy Day”, “Old Photographs” and “Ride Towards The Misty Dawn”.

The production accentuates the virtues of the melodies, and their capacity to evoke an almost inspirational purity. Hamrick employs a uniform an approach to the wide a range of material, as he clearly wants to make everything pretty to the ear, and he invariably succeeds, yet in doing so he never obscures the character of the material.

Ron Hamrick’s “Musings” is based on soft, delicate textures and the mood is relaxed and gossamer. The singer’s voice is naturally pliant and supple, while the keyboard is his best instrument. Hamrick’s phrasing is clean and distinct, allowing the full explosion of his lyrics to blast into your mind.

Beautiful strings play on several of the tunes, while the right instruments are always matched with the right songs on this album. There is no “weak” moment on this recording, and you will hear Ron Hamrick emote and communicate at every level.

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKITUNESAMAZON

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Merv Pinny: “OB (can you hear the children cry)” – an antiwar song http://jamsphere.com/newreleases/merv-pinny-ob-can-you-hear-the-children-cry-an-antiwar-song http://jamsphere.com/newreleases/merv-pinny-ob-can-you-hear-the-children-cry-an-antiwar-song#respond Sun, 16 Apr 2017 13:54:42 +0000 http://jamsphere.com/?p=28340 New Zealand rock composer and singer, Merv Pinny, has been playing music since he was 10. At 15 he left school to work on a farm during the day, and to play music at night. This led to him achieving a Top 20 single, plus nominations for ‘Best Country Rock Album’ at the New Zealand […]

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New Zealand rock composer and singer, Merv Pinny, has been playing music since he was 10. At 15 he left school to work on a farm during the day, and to play music at night. This led to him achieving a Top 20 single, plus nominations for ‘Best Country Rock Album’ at the New Zealand Music Awards and ‘Best Vocals’ at the Waikato Rock Awards, and a win at the Waikato Rock Awards, where his single “Destiny” was named ‘Best Rock Single of the Year’. Merv’s latest project takes his musical talent and uses it to address timely world issues, such as the effects of war, terrorism and refugee immigration on children.

“OB (can you hear the children cry)” is Merv Pinny’s latest single. Proceeds due to him from this release, will all go to selected charities dealing with children in crises. The song, which he wrote, performed and co-produced under his own label MMusic had its genesis in the international news reports of conflicts throughout the Middle East, and particularly those in Syria and Iran. Pinny said a number of the images on television shocked him to the extent that he had to give voice to his own feelings as both a father and as a human being.

As with all protest songs good words and fine sentiments are not enough. The music must move us, which is what “OB (can you hear the children cry)” with its overdriven riffs and insistent beat. It’s a song that doesn’t confine itself to commenting on or bemoaning the ills of the world, but seeks in some small way to change things.

It does this by calling directly for something to happen, by informing us, by appealing to our hearts and our emotions, and by challenging commonly held ideas – “I don’t want to be last man to speak / I don’t want to be last man to die / You get in your planes / Go zoom zoom zoom / You get in your tanks / go boom boom boom / Alacaboom  Alacabang / Is that your plan.”

The song, which Merv wrote, performed and co-produced under his own label MMusic had its genesis in the international news reports of conflicts throughout the Middle East, and particularly those in Syria and Iran. So Merv decided to shock us, unsettle us, inspire us, make us angry, and even make us sad, which he achieves via the supporting video clip of the song which can be found on YouTube.

Antiwar music is not technically a genre, but pretty much any song from an artist or band where they express sentiment against nations warring with one another. The concept of antiwar music probably has its genesis in the 1960s, as rock and folk groups were decidedly against the Vietnam War and the involvement of the United States of America in the civil war of that Southeast Asia nation.

Antiwar songs of that day became part of the ‘greatest music ever made’ during the time of classic rock that wound up getting heavy repetition and airplay on radio stations still on the air. Most rock artists today seem to have almost forgotten the tasks their music needs to address besides all the regular tropes. Thank heavens artist like Merv Pinny still exist. Its artists like him that keeps the art of rocking noble!

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Moe: “Cloud Surf” – The perfect lyrical balance of humor and seriousness http://jamsphere.com/newreleases/moe-cloud-surf-the-perfect-lyrical-balance-of-humor-and-seriousness http://jamsphere.com/newreleases/moe-cloud-surf-the-perfect-lyrical-balance-of-humor-and-seriousness#respond Sat, 15 Apr 2017 00:30:16 +0000 http://jamsphere.com/?p=28302 Born in Stockton, and growing up in the south, up and coming rapper Moe, is hitting the Bay Area, and with him comes the baggage of his life experiences that start as a youngster in the occupied territory of Palestine. Where he lived in a rough area, and even had an assault rifle pointed at […]

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Born in Stockton, and growing up in the south, up and coming rapper Moe, is hitting the Bay Area, and with him comes the baggage of his life experiences that start as a youngster in the occupied territory of Palestine. Where he lived in a rough area, and even had an assault rifle pointed at him by a solider when he was only three. His mother, a cancer survivor, and his father, whose hardships were surreal making it in America, taught him to never let where you are, affect where you are going to be. These experiences and lessons have given Moe a more cultured, bright, outlook on life, which can be heard on his 5 track EP “Cloud Surf”.

Throughout the EP, Moe’s flow is a giddy, stream-of-consciousness spill of internal rhymes, sing-song melodies as playful as jump-rope chants and unpredictable imagery. The production too, on this album is dazzlingly impeccable, as Moe pulls it off, and manages to assemble astounding production into one piece of discography, care of –  Origami Beats (Anymore/ Cloud Surf/ Addictive Personality) and Cash Money AP (New Wave/ Set The Mood). The variety of beats is refreshing, while every beat on this EP is perfectly executed and fits Moe’s flow and vocals perfectly.

Unlike some of his overworked Southern counterparts, Moe is far from lazy and unenergetic on the mic, or maybe slurring his words with a heavy undecipherable mumble. Moe combines a good sense of humor with great writing and the product is the fantastic lyrics he spits. And Moe is also to switch it up from time to time.

The perfect lyrical balance of humor and seriousness that can be found on “Cloud Surf” is a rejuvenating trait that many albums cannot claim. Moe often uses the element of surprise to evoke a feeling from outside the box upon his listeners. It is with atmosphere and lyrics that this project solidifies itself as a worthwhile listen, and pleasant surprise.

Lyrically, Moe always has something interesting to say, using unique rhyming techniques to get his point across. There are three songs that are loosely tied together spread over the course of the EP, “New Wave (ft. itsPHIL)”, “Anymore”, and “Set The Mood”, all of which make strong points for Moe’s ability to deliver rhymes in extremely diverse styles.

So if you’ve been looking for some hip-hop that may get you interested in the genre again, or even if you like hip-hop and are looking for something new to cherish, check this EP out. And if you can’t find yourself believing in the power of hip-hop again after listening to it, I can safely say it’s time for you to give up hope that you ever will.

The story here isn’t of the usual hard gangster lifestyle, although you’ll find some weed floating all over the place in “Cloud Surf” and even a little story about a ‘hoe’ in “Addictive Personality”, but it’s a totally different and more clever take on the subject than you’re used to hearing.

When you first jump into the EP, you should notice that Moe sounds like his own person and isn’t stuck on the hype train by attempting to imitate any peers or fellow rappers.

OFFICIAL LINKS: WEBSITETWITTERINSTAGRAM

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