Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Mon, 24 Apr 2017 10:39:57 +0000 en-US hourly 1 Callum Crighton: “The Rose” – an authentic whiff of what made 80’s Dream Pop! http://jamsphere.com/newreleases/callum-crighton-the-rose-an-authentic-whiff-of-what-made-80s-dream-pop http://jamsphere.com/newreleases/callum-crighton-the-rose-an-authentic-whiff-of-what-made-80s-dream-pop#respond Mon, 24 Apr 2017 10:38:47 +0000 http://jamsphere.com/?p=28432 Even while everything I know about my musical taste should violently reject the cheese-camp synth pop and adorable mainstream swoon songs of the 80’s, I’ve enjoyed that music ever since I was first tricked into listening to the smooth, velvety crooning of the Brit pop chart invasion during that period. I can’t really explain why […]

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Even while everything I know about my musical taste should violently reject the cheese-camp synth pop and adorable mainstream swoon songs of the 80’s, I’ve enjoyed that music ever since I was first tricked into listening to the smooth, velvety crooning of the Brit pop chart invasion during that period. I can’t really explain why I loved that music so much, I guess for the same reason people eat cheesecake: It’s loaded with sugar, almost unbearably sweet, and probably isn’t the healthiest for you, but goddamn if it doesn’t make you feel so good inside when you eat it up. So what happens when somebody new comes along and places a slice of that delicious homemade cheesecake – that you’ve missed for so long – on your platter?

Callum Crighton is a bright young artist from Liverpool, in the UK, ready to shine on the music radar with his dreamy, 80’s pop influenced single, “The Rose”. The song was written, performed and produced by Callum, while his first industry standard video, in support of the track, was directed by Spencer Cammayo.

The soulful English crooner, with the bouffant-styled platinum hairdo has all the makings – both in fashion and song – for bringing back an authentic whiff of what made 80’s Dream Pop so endearing to the world at large.

Callum Crighton has a big, powerful voice which he uses with skillful ease on a strong ear-catching melody.  It’s also impossible not to warm up to the synth-driven soundscape, which is fun, modern and surprisingly as smooth as the vocals it carries.

From its dance pop sensibilities to its introspective lyrics, “The Rose”, in fact, has that one trait running through its entirety- though upbeat, it is ‘smooth’, and designed to seduce the senses much like whipped cream does.

For those pop music fans a bit tried and tested by the over melodramatics of the Ed Sheeran’s or Sam Smith’s of this world, can find solace on the other side of the same coin, with the airy frothiness of Callum Crighton’s performance, at least in the voice and music, as the lyrics seem to want to dig a little deeper into the soul and conscious mind.

Now, whenever you need an 80’s-type jam, you don’t need to go back to your scratchy old vinyl records, you can just press play on your flashy digital player and get brand new, 21st Century, cutting edge dreamy-pop, care of Callum Crighton and “The Rose”.

OFFICIAL LINKS: INSTAGRAMTWITTERALL MUSIC STREAMS

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Lion Vega: “You Can Dance” – a testament to how he has grown into the complete producer http://jamsphere.com/newreleases/lion-vega-you-can-dance-a-testament-to-how-he-has-grown-into-the-complete-producer http://jamsphere.com/newreleases/lion-vega-you-can-dance-a-testament-to-how-he-has-grown-into-the-complete-producer#respond Wed, 19 Apr 2017 07:54:36 +0000 http://jamsphere.com/?p=28372 Lion Vega’s dream of making music stopped in 1998, with the advent of having a job, having a family, needing money, and no time left between any of these things. During the period leading up to 2006, Vega found a few moments to publish some tracks to MySpace, as well as have a vinyl recording […]

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Lion Vega’s dream of making music stopped in 1998, with the advent of having a job, having a family, needing money, and no time left between any of these things. During the period leading up to 2006, Vega found a few moments to publish some tracks to MySpace, as well as have a vinyl recording done. Then a few months ago, one of Lion Vega’s three sons asked to hear some of his tracks. The question of why he had stopped making music ignited the spark that was needed to get Vega’s creative flame burning again. The result is a stream of recordings and releases, culminating in his brand new EDM single “You Can Dance”.

Running through Lion Vega’s catalog it is clear that he is able to serve a perfect blend of old and new, demonstrating his forward-thinking approach and illustrious ability to remain relevant. His collection seems to consist of reworks of previously released tracks and a bevy of fresh new tunes.

These tracks range from underground to future synths to electro to progressive house. If anything, Vega’s catalog is a testament to how he has grown into the complete producer – he is creative and versatile, with an incredible talent for sound design and has ultimately set his own benchmark for his production standards with the release of “You Can Dance”.

It is seriously impressive to see someone finally realize their dreams while adapting to the ever-changing EDM scene after all these years. Overall, “You Can Dance” is full modern package of dance-floor fun, mixed with old school bass-driven funkiness, and it proves that a decade after his MySpace releases, Lion Vega still knows how to make relevant dance music.

You can’t fault him for staying true to what probably is his roots sound and becoming a true master at it, and at the same time exploring in new directions that reflect some of the emerging trends in EDM.

“You Can Dance” has a bit of that Daft Punk vocals and deep thumping bass sound that many find irresistible. Loaded with warm synths and twinkling pianos, the entire track is extremely pop-friendly, yet stays true to the roots of dance music with an inventive arrangement that spins timeless sound design in a new direction for Lion Vega.

 Complementing his bursting lyrics with an emotionally rich topline, Vega has crafted a delicious tune that’s leaves us gouged with modernity and the forgotten tones of the 80’s and 90’s.

Perhaps the most striking thing about “You Can Dance” is what it’s not trying to be. It’s not a high concept reinvention like what we’ve seen from Flume, nor is it attempting to destroy the charts like the intentions of Calvin Harris.

While success is definitely on the agenda, we can depend on Lion Vega to craft music as he envisions it, in the styles that he feels are appropriate, not according to what he thinks we’ll enjoy. As a result, “You Can Dance” is a tune that will please a wide array of fans, both old and new alike.

OFFICIAL LINKS: WEBSITESOUNDCLOUDYOUTUBEFACEBOOKTWITTER

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Mortinus – the new compositions makes for great textural expansion http://jamsphere.com/newreleases/mortinus-the-new-compositions-makes-for-great-textural-expansion http://jamsphere.com/newreleases/mortinus-the-new-compositions-makes-for-great-textural-expansion#respond Tue, 18 Apr 2017 00:23:49 +0000 http://jamsphere.com/?p=28365 What separates and differentiates Mortinus from his contemporaries is his ability to structure his ambient electronics in a way that is relatable and immediate, keeping his actual chord progressions astoundingly simple but embellishing each production with enough atmosphere and tiny details that each track feels like a personal epic, a custom-designed soundtrack scoring you and […]

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What separates and differentiates Mortinus from his contemporaries is his ability to structure his ambient electronics in a way that is relatable and immediate, keeping his actual chord progressions astoundingly simple but embellishing each production with enough atmosphere and tiny details that each track feels like a personal epic, a custom-designed soundtrack scoring you and your life. For a man who so commandingly has cornered his own space in the post-spectrum, his self-titled EP pushes Mortinus sound forward in a way that few could have anticipated: it’s more aggressive and yet more pop-friendly at the same time, showing off new angles of his sonic while clearly retaining that relatable open-air accessibility that will enrapture electronic instrumental fans.

As the slowly-warming tones of the opener “New One” wrap the listener in a sense of immediate familiarity, a skittery, fast-paced drum beat soon enters, and it’s clear that for all the goodwill Mortinus has developed since his debut recording dropped, he’s starting to set his sights beyond the restraints of his genre, recognizing that even in the indie-instrumental electronica circuit, there are still valleys that haven’t been explored, and he’s more than willing to spend some of his time to arrive at his new destination with his fans in tow.

After all, once “Belly Stars” kicks on, with its Eastern synthpop opening lick, it’s clear that what Mortinus is going for with this EP is something that he wouldn’t have been able to accomplish with his previous releases.

There’s a little bit more propulsion to the proceedings, his basslines firing more rapidly and his usually-warm synths now dipped in a cool silicone bath, forcing Mortinus to blend in the pulsing heart that’s driven his best work with a sleekness that Orbit only started to hint at.

And even with that in mind, he still fights hard to achieve that deep emotional resonance that his songs are capable of conjuring, even in the midst of all the new challenges Mortinus has given himself.

“February to March” is the kind of fidgety, rumbling bass number that fans may have been pining for: a more deliberate kind of song that shows restraint, using its minimalist tones to lull the listener into a state of ease before eventually shuttling into an intense emotional bass-driven sequence and then falling back into a string-induced lull, only to repeat the intensity ad go back again. More or less like a see-saw ride, or a changing season.

To casual fans, the changes between Orbit and the new EP may hardly be detectable, but the confidence to which Mortinus attacks the new compositions makes for great textural expansion, turning up the intensity but still remaining relaxing and relatable in new and exciting ways.

This EP is represents a short, sweet, and concise recording, which feels lived-in and considered, inspiring his fans while making everyone wonder where this newfound confidence is going to propel Mortinus to next.

OFFICIAL LINKS: WEBSITEFACEBOOK – TWITTER – SOUNDCLOUD – AMAZON – SPOTIFY – ITUNESTIDALGOOGLE PLAY

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Donald Wiles: “UoSOnSO” is magnificent and unforgettable! http://jamsphere.com/reviews/donald-wiles-uosonso-is-magnificent-and-unforgettable http://jamsphere.com/reviews/donald-wiles-uosonso-is-magnificent-and-unforgettable#respond Mon, 17 Apr 2017 14:50:14 +0000 http://jamsphere.com/?p=28351 Maybe it’s the crystal-clear keyboard sound Donald Wiles has on the Hammond B3 Organ and Baby Grand Piano, or maybe it’s the spread-wide approach he and Dennis Wiles takes to the accompaniment, or maybe it’s just all the compacted wisdom and joy written into the arrangement of “UoSOnSO”, but something about this jazz and blues […]

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Maybe it’s the crystal-clear keyboard sound Donald Wiles has on the Hammond B3 Organ and Baby Grand Piano, or maybe it’s the spread-wide approach he and Dennis Wiles takes to the accompaniment, or maybe it’s just all the compacted wisdom and joy written into the arrangement of “UoSOnSO”, but something about this jazz and blues single is magnificent and unforgettable. This is Donald Wiles at his best, uniquely funky with the most amazing keyboard solos and keyboards in general. Talk about feel. His feel is about unbelievable phrasing and choice of notes (we should not speak of speed, it’s a bad word, but he can fly too!).

Donald Wiles

This stylish track boasts a polished sound, horns and all, that skillfully blends Wiles’ richly-layered keyboards with the intricacies of a first-rate rhythm section that doesn’t get in the way of Wiles’ playing. Donald Wiles creates music that is heady yet soulful and sophisticated yet accessible.

Unlike many musicians surrounded by racks of keyboards, Wise focuses less on flash, pyrotechnics, and displays of virtuosity than colorful soundscapes that can mesmerize the listener. Wiles delivers that unique ability of his to induce auditory euphoria by crafting catchy, optimistic, organ or piano-driven tunes with an unmistakable easygoing style.

The record industry is in a state of flux, and the powers that once might have signed and pressured artists – even one as talented and respected as Donald Wiles – to stick to the beaten path don’t have the same level of power or attraction, which has given artists like Wiles the artistic autonomy to move in his own direction.

Donald uses that autonomy to create music that sounds like it could have been made in 70’s yet feels more cutting edge than nearly any other smooth or contemporary jazz cut out there.

“UoSOnSO” will definitely be a step up for those fed a steady diet of elevator music instrumental remakes of pseudo jazz classics that comprise too much of the contemporary jazz play lists these days. Thankfully, more and more of talented artists have decided to become more adventurous.

Maybe start their own record labels or production studios, or sign to serious independent labels and try and give us the real thing as it is supposed to be played. In this sense Donald Wiles knows his way around the business and around the keyboards, and has demonstrated a keen gift for concocting catchy melodies and smooth grooves, and above all doing things his way.

Back in the day, after attending The Columbia School of Broadcasting, Donald Wiles showed his skills by accompanying artists such as Albertina Walker, James Cleveland, Little Richard, and Vicki Winan on keyboards.

Today, Wiles shows no signs of pulling in the reigns, and is on the roster at the Wood ‘n’ Nickle Productions & Publishing Company, a Record Label operating in Chicago dedicated to producing ‘Music For The Mature Listener’. Here he has been releasing his ultimate musical gems, which now includes the single, “UoSOnSO”.

OFFICIAL LINKS: WNPPC – TWITTER – FACEBOOK

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Low Saturation: “Dust” – well-crafted and sublime artistry http://jamsphere.com/newreleases/low-saturation-dust-well-crafted-and-sublime-artistry http://jamsphere.com/newreleases/low-saturation-dust-well-crafted-and-sublime-artistry#respond Mon, 17 Apr 2017 12:57:58 +0000 http://jamsphere.com/?p=28346 Low Saturation is an electronic alternative rock band from St. Petersburg, Russia. The band consists of Dmitry Promohov (Composer, Lyrics) and Sergei Ustinov (Vocals). The project has recently released its double sided single entitled “Dust” which is backed by the instrumental “Gray Shaded Days”. Low Saturation is a complex but not too complicated group, who […]

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Low Saturation is an electronic alternative rock band from St. Petersburg, Russia. The band consists of Dmitry Promohov (Composer, Lyrics) and Sergei Ustinov (Vocals). The project has recently released its double sided single entitled “Dust” which is backed by the instrumental “Gray Shaded Days”. Low Saturation is a complex but not too complicated group, who make superb music. Their songs are filled with well-crafted and sublime artistry that is never pretentiousness.

Low Saturation’s alternative-rock is more than just loud noises and forging emotional bonds as quickly and cheap as possible. The single “Dust” proves that Dmitry Promohov understands how to build up a song, to create a shared sense of vulnerability and wind it up slowly with a spiraling lead synth that sparkles as it ascends together with Sergei Ustinov’s vocal mantras.

There are moments on the track where the shine is as powerful and bright as the underlying substance. And all the while Low Saturation keeps grounded by focusing on the lyrics, which offer both depth and meaning.

For all its initial bombast, the band never forgoes subtlety and value by delivering a comically over-sized metal march with guitars swinging like battle axes, and a farcical load of synthesized testosterone, like many of their alternative counterparts.

Instead Low Saturation is bold and adventurous, without sounding experimental and by the same measure reaches absolute peaks in their musical execution. While my exposure to Low Saturation is only a few days old, they have quickly climbed to towards the top of my list of favorite artists.

“Dust” is a solid mid-tempo track, with a great arrangement and impressive chord progressions, garnered with surreal synths and strings. The gorgeously deep and resonating vocals fit the soundscape like a comfortable pair of shoes.

The result is a musically strikingly track that invokes many emotional responses and that fans will be able to understand in its entirety. And though the song has a good commercial rock sensibility, it doesn’t attempt to sellout to the cause. Technically the recordings is fantastic, the audio quality incredible, and the engineering is equally good.

The ‘B-side’ track “Gray Shaded Days” is a melodic and atmospheric instrumental driven by a slow and thick rolling bassline, carefully chosen twinkling piano notes, and a soaring guitar melody.  Low Saturation obviously set a high goal for themselves musically with the release of “Dust” and have successfully risen to the challenge!

OFFICIAL LINKS: GOOGLE PLAYITUNESFACEBOOKSOUNDCLOUD

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G.H. Hat: “Piano Jam ( An Ode To Kygo)” – From EDM to Piano Pieces! http://jamsphere.com/reviews/g-h-hat-piano-jam-an-ode-to-kygo-from-edm-to-piano-pieces http://jamsphere.com/reviews/g-h-hat-piano-jam-an-ode-to-kygo-from-edm-to-piano-pieces#respond Sun, 16 Apr 2017 12:40:06 +0000 http://jamsphere.com/?p=28338 Like any genre of music, it truly takes an intelligent mind to utilize a tool or instrument and string together notes into beats. Despite the trend of artists hiring ghost producers to create their work, many of the catchiest and recognizable tracks with generic drops has been made from scratch into something compelling. Although genres […]

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Like any genre of music, it truly takes an intelligent mind to utilize a tool or instrument and string together notes into beats. Despite the trend of artists hiring ghost producers to create their work, many of the catchiest and recognizable tracks with generic drops has been made from scratch into something compelling. Although genres like classical music and blues may appeal more to those classically-trained than those who prefer more modernized instruments, the dynamic between composer and performer is the still same.

Granted, EDM often isn’t as intricately created as classical, but there are still quite a number of musicians that you know and love that started their craft the exact same way as any composer or pianist would: practice, practice, practice.

The composition of good electronic dance music needs talent, and many DJs and producers today have studied music in college in addition to being classically trained. From those that were born into musical families to the self-taught, EDM has a long list of classically-trained producers and DJs.

Now G.H. Hat is a multi-genre composer and remixer. Remixing works from classical, pop, rock and electronic genres, composing mainly in EDM genres. Contrary to what I believed, he is not classically trained. But before you fret, take note, G.H. Hat has undergone vocal and notation training.

Hence he understands the music he is composing or remixing, unlike many of his counterparts. Not that it’s obligatory to have studied or undergone any training to make music today, but from my personal point of view it definitely helps and will give producers an edge in their compositions.

A while back G.H. Hat released the track “Piano Jam ( An Ode To Kygo)”, which has been on the Discovery Weekly playlist on Spotify every week since September. “We had to do a late night run to KFC recording this song, explains G.H. Hat, and the title sort of inspired a pun on the word ‘Kygo’ (See urban dictionary).”

Contrary to what I was expecting, the track actually is a ‘piano jam’, where G.H. Hat ably demonstrates his keyboard playing skills, again separating himself from his colleagues and even many of his peers.  In fact “Piano Jam ( An Ode To Kygo)”, is a stripped down, solo piano piece which moves from dramatic chords to playful notes.

EDM has the unfortunate honor of being incredibly popular and completely disrespected outside of its genre, but it is artists like G.H. Hat who lend credibility to the genre. When a beat is well-composed, the world moves with it. Whether its creator presses play or actually plays a musical instrument couldn’t matter less to the EDM masses. Luckily G.H. Hat can straddle both worlds!

OFFICIAL LINKS:

Website: http://ghhat.com 
Spotify: https://open.spotify.com/artist/4JVfdkh46RFrpEl45u8D9A
Soundcloud: https://soundcloud.com/ghhat
YouTube: https://www.youtube.com/channel/UCWaysfrb3DJxT03Aay0fxhw
Twitter: https://twitter.com/G_H_Hat
Facebook: https://www.facebook.com/ghhatmusic/
Instagram: https://www.instagram.com/mrghhat/
Bandpage: http://Bandpage.com/ghhat
Reverbnation: https://www.reverbnation.com/ghhat
Google: https://plus.google.com/u/0/110789508673988248885
Pinterest: https://www.pinterest.com/mrghhat/
Tublr: https://www.tumblr.com/blog/mrghhat
N1M: https://www.numberonemusic.com/ghhat

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“In Case You Forgot” wastes no time in reaffirming what The Forgotten 45’s do! http://jamsphere.com/newreleases/in-case-you-forgot-wastes-no-time-in-reaffirming-what-the-forgotten-45s-do http://jamsphere.com/newreleases/in-case-you-forgot-wastes-no-time-in-reaffirming-what-the-forgotten-45s-do#respond Sat, 15 Apr 2017 17:27:15 +0000 http://jamsphere.com/?p=28317 All The Forgotten 45’s songs exist on a continuum between two poles: snappy, melodic-inflected pop tunes and vast, mind-altering classic rock soundscapes. “In Case You Forgot”, the band’s sophomore album, wastes no time in reaffirming what The Forgotten 45’s do. The 4-minute “Fly on the Wall” spends its first third establishing a swiftly shuffling rhythm and dense […]

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All The Forgotten 45’s songs exist on a continuum between two poles: snappy, melodic-inflected pop tunes and vast, mind-altering classic rock soundscapes. “In Case You Forgot”, the band’s sophomore album, wastes no time in reaffirming what The Forgotten 45’s do. The 4-minute “Fly on the Wall” spends its first third establishing a swiftly shuffling rhythm and dense layers of distorted guitars—some tightly riffing, some spitting out abstract patterns—over which Nolan McSheridan voice creates its own winding melody, like a conversation that keeps shifting focus. Once the core concept is in place, it’s time to play. McSheridan’s lyrics meander through the jangling guitars, while the different instruments get noisier, jostling for position as the song powers up and grooves to the finish.

This is classic The Forgotten 45’s: a track that takes its time, goes through changes, and rewards those who love layers of harmony and crunchy competitive strumming. If there’s a model for “In Case You Forgot”, it’s “Otherside”, a dynamic anthem with a few uplifting choruses that leaves plenty of space for McSheridan and his comrades to shine, especially Michael Rossi whose overdriven funky guitar riffs are as endearing as they are grooving.

By the time you hit the play button on “Runaway”, it’s already become clear that “In Case You Forgot” can essentially be summed up in one word: epic. Saying that, doing so would be a great disservice to just how impressive this album is. Each song is a masterful and winding journey through melody and rhythm. The album pivots effortlessly between the subdued and the powerful, often building to an incredible climax.

Lyrically, The Forgotten 45’s are honest and vulnerable while the lead vocal nestles itself comfortably between strumming guitars and warm harmonies that hark back to the sixties. The beauty of “In Case You Forgot” is that The Forgotten 45’s manage to attack their subjects with a level of craft and subtlety that allows them to be affecting without ever appearing sanctimonious.

Every track on this album is expertly structured, never becoming repetitive or over-staying its welcome. This formula creates the potential for the songs to evolve naturally into something sprawling and magnificent – which is what happens with standouts like “Make You Mind”, “Ms. Kuhle”, “By The Way”, “Today” and What I Need.

On “Otherside” and “Runaway”, The Forgotten 45’s continue to employ that winning combination of ingenuous lyrics, adding wailing guitars that amplify the song-craft to immense heights. Every track has its own story and setting, just as fascinating and engrossing as the last, making the album an extremely pleasurable and often jaw-dropping experience.

The Forgotten 45’s are an indie power pop group based in Olympia, WA, consisting of Nolan McSheridan (Vocals), Michael Rossi (Guitar, Vocal Harmonies), Cosmo (Bass) and David Gies (Drums). They guide you effortlessly through what can be considered a master class in grand melodic indie rock.

OFFICIAL LINKS: WEBSITE – SOUNDCLOUD – BANDCAMP – FACEBOOK – TWITTER –YOUTUBE – ITUNES

 

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Sondado: “The Desert Colony” – a futuristically themed concept EP http://jamsphere.com/reviews/sondado-the-desert-colony-a-futuristically-themed-concept-ep http://jamsphere.com/reviews/sondado-the-desert-colony-a-futuristically-themed-concept-ep#respond Sat, 15 Apr 2017 11:59:17 +0000 http://jamsphere.com/?p=28313 Prepare yourself for a journey. “The Desert Colony” EP takes you high, low, underground and soaring through the clouds. At every turn, there is a new an intriguing soundscape to propel you into a Drum n Bass nirvana…and more. Sondado is creative and competent musically, while thematically they tell stories…epic ones! Just read the introduction […]

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Prepare yourself for a journey. “The Desert Colony” EP takes you high, low, underground and soaring through the clouds. At every turn, there is a new an intriguing soundscape to propel you into a Drum n Bass nirvana…and more. Sondado is creative and competent musically, while thematically they tell stories…epic ones! Just read the introduction to their latest 4 track recording: “In the future crowded metropolis, the streets are shaded with skyscrapers and dirty, armed forces patrolling the streets. Neon ads are vibrating everywhere. Most of the people are working in factories and treated as slaves. There is a rumor among the citizens that far away from the controlled secure zone, beyond the global military control, decades ago; scientists with engineers established a colony in the desert using advanced technology. The colony is prosperous, using advanced, sustainable technologies and produces its own water/food. Rumor about this colony keeps the spirit alive…”

Frank Zappa once said, writing about music is like dancing about architecture, and it is with recordings like “The Desert Colony” that you continue to understand why. This is music you don’t describe, but simply listen to.

The EP opener and title track, “The Desert Colony” takes the wheel with fury. This one is a hardcore kick of energetic drum & bass in its prime. It gives the EP an early boost of underground beats in a bass heavy yet subtly pop inspired delivery.

But this collection of songs has it all, and it plays big—swinging wide for the fences. The second track, “New Horizons” is a luscious cinematic arrangement filled with epic string and resonating reed instruments.

“Mission: Suburb” is a bouncy and banging track which starts off with spacey keyboards, before breaking into fiery rap verses and percussive pandemonium. Sondado is a very cool band, and when you listen to the music you can’t help but be impressed with the songs themselves.

The EP closer “You Are Free” is a fantastic electro-ambient instrumental, filled with a thumping bass line and a host of samples and sounds. It’s a track that everyone who likes instrumental music could appreciate. The song gives you the measure of the structure of Sondado’s music arrangements, which could hold up across any instrument, and that’s really impressive.

A considerable amount of thought clearly went into “The Desert Colony” when they made it – the tracks sound intelligent and well structured. Though only 4 songs long, this is an exciting, intuitive and inspiring recording.

The layers of sounds, coupled with the surreal, futuristic themes will keep you glued to the speakers, at least until “You Are Free”, the best track Sondado have ever done, in my opinion, comes up! Sondado is currently made up of Tamas1 (composer/producer/mix) and Tamas2 (guitar) supported by session vocalists.

OFFICIAL LINKS: WEBSITE – BANDCAMP – SPOTIFY – FACEBOOK

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Inactive Spaz: “Bread” sounds as ‘live’ as it gets! http://jamsphere.com/reviews/inactive-spaz-bread-sounds-as-live-as-it-gets http://jamsphere.com/reviews/inactive-spaz-bread-sounds-as-live-as-it-gets#respond Fri, 14 Apr 2017 15:16:49 +0000 http://jamsphere.com/?p=28298 Inactive Spaz’s style is minimalist in every way – minimal allegorical lyrics, minimal production, minimal photos, and minimal graphics. But in a way, less is much better. Inactive Spaz is probably one of the better discoveries of 2017. It’s difficult to describe how the music and words fit so well. Let’s be honest; for most […]

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Inactive Spaz’s style is minimalist in every way – minimal allegorical lyrics, minimal production, minimal photos, and minimal graphics. But in a way, less is much better. Inactive Spaz is probably one of the better discoveries of 2017. It’s difficult to describe how the music and words fit so well. Let’s be honest; for most of his songs, it’s really impossible to tell exactly what’s going on. They sound more like improvisational free-styling rather than thought-out, written down pieces.

Nevertheless, primitive, raw feelings are conveyed, and although at times somber and at times melancholy, it all sounds and feels so good. To be honest, “Bread”, is a little easier to understand: “I know a girl that gives me everything I need. I know a girl that keeps me feeling warm indeed…,” frankly doesn’t need too much explanation, even if you only have a tiny imagination.

This music is perfect for a road trip, perfect for playing in the background during a tedious task, perfect for sitting and listening to start-to-finish. It works indoors or out, and makes me want to see Inactive Spaz in concert. Practically, listening to the raw production, this sounds as ‘live’ as it gets!

In music, we have our virtuosos, and geniuses who are technically superior. Then we have the people who write visceral, from the heart music, without all the bells and whistles, and yet which we long to listen to, like Inactive Spaz.

These are the people who don’t give two hoots about the technicalities or the production values. They have a story, a message, and they need to connect to an audience, as quickly and as directly as possible. If they have an idea or an emotion to communicate, they hook up the microphone, plug in the jack and start hitting the chords.

For all his technical skills, Prince was one of those people. He spent more time recording songs than sleeping, eating and partying. The result is that 80 percent of his releases suck of anonymity, while a good 20 percent is pure genius.

That 20 percent contains more brilliance than most artists will achieve in twenty lifetimes lived in a row. Prince once said that he recorded and released everything and then let the people decide which the songs they liked best. This never endeared him much to the record companies who prefer controlling and inducing tastes to their benefit.

Which brings us back to Inactive Spaz, another one of those anarchic creatives who record companies despise – he’s too spontaneous and too uncontrollable, which I suspect is just the way he likes things to be. If he was in music for commercial ends, Inactive Spaz would not be releasing songs like “Bread”, with just an acoustic guitar and a vocal track.

“Bread” is one of those songs that have some sort of spark, a creative stamp, that when you listen to it, you can tell something wonderful just happened in your presence. It’s like a one-off experience unto its own. Whether its genius or madness is for you to decide!

OFFICIAL LINKS: SOUNDCLOUD – FACEBOOK – YOUTUBE

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Hans Glader: “The Story of Life” develops into different musical directions http://jamsphere.com/reviews/hans-glader-the-story-of-life-develops-into-different-musical-directions http://jamsphere.com/reviews/hans-glader-the-story-of-life-develops-into-different-musical-directions#respond Fri, 14 Apr 2017 02:47:27 +0000 http://jamsphere.com/?p=28293 “The Story of Life” is a dynamic collection of songs, fed with a multitude of different sounds and moods. Theoretically the album is infused with Hip-hop, RnB, Soul, Funk and Electronic influences. Technically, and practically, at its core, this is a more than flamboyant elaboration of contemporary jazz and fusion rhythms, textures and tones. This […]

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“The Story of Life” is a dynamic collection of songs, fed with a multitude of different sounds and moods. Theoretically the album is infused with Hip-hop, RnB, Soul, Funk and Electronic influences. Technically, and practically, at its core, this is a more than flamboyant elaboration of contemporary jazz and fusion rhythms, textures and tones. This may well and truly be Hans Glader’s way of drawing the musically ignorant like ourselves into listening to, and appreciating, one of the world’s major forms of creative musical expression. Simply labeling this album under the genres of Hip-hop, RnB, Soul, Funk or Electronic, sounds like a pure heresy to me. Yes, it incorporates all of those styles in varying doses, but it has so much more at its core.

Drummer Hans Glader – a senior at Tamalpais High School in Mill Valley California – who will be attending Loyola University New Orleans next fall, covering music industry studies, popular music, and musical performance – also picked up the piano and started to produce and make his own music over the last year or so.

Glader who has a deep love for collaboration put together the eleven tracks on “The Story of Life” with the emphasis on that collaborative spirit. And right from track one, “Back To Nola (feat. Joe Di Fiore & Adam Law)” the jazz fusion tendencies spring to the fore, in the ever evolving arrangement and organic instrumentation including the saxophone which is prominent throughout the entire album.

“Feel No Ways (feat. Joe Di Fiore)” switches to an easy-listening and laid-back orchestration and vocal. Shades of RnB lengthen over the eclectic slow burner, “Between The Sheets (feat. Grace Bell)”, which also features a warm and sultry organ driving the soundscape.

“Don’t Bother (feat. Martin Peru & Adam Law)” is an absolute album highlight with its mesmerizing edgy urban backdrop, and captivating lead vocal. The tight and funky “Clean Slate (feat. Joe Di Fiore & Matt Giella)” has some wonderful chord progressions and a rollercoaster arrangement that will keep you thoroughly engaged from beginning to end.

“Midnight Romance (feat. Martin Peru & Joe Di Fiore)” is a smooth and sensual ballad which highlights some delicious string arrangements and a spine tingling electric piano, also found on “Ultralight Beam”.

“We Come Around (feat. Cbeggs, Joe Di Fiore & Matt Giella)”, together with “Outro (feat. Matt Giella)”, are the quintessential hip-hop tracks on the album. While the most impressive vocal track in the bunch for me probably is “Live Like This (feat. Salem Davern & Matt Giella)”.

It becomes apparent as the album moves through each track that Hans Glader and the particular group of musicians that he brought together on the various tracks have a special sound.  You can appreciate whatever the chemistry or magic is between them on each cut and have a great time on the journey together as they develop their music into different directions.

The whole album is littered with sparkling keyboards, surefooted drum rhythms and smooth soulful vocals, giving it an extremely frothy, bouncy atmosphere. “The Story of Life” offers a vast palette of different sounds and instruments in a very accessible manner, making it a remarkably creative and interesting album. Probably unlike anything else on the market right now.


OFFICIAL LINKS: WEBSITEINSTAGRAMFACEBOOKSOUNDCLOUDITUNESSPOTIFY

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Award-winning Songwriter Jamie Parsons on a roll with “Last Call” http://jamsphere.com/reviews/award-winning-songwriter-jamie-parsons-roll-last-call http://jamsphere.com/reviews/award-winning-songwriter-jamie-parsons-roll-last-call#respond Thu, 13 Apr 2017 12:54:40 +0000 http://jamsphere.com/?p=28276 Jamie Parsons is a Roanoke, VA native, a musician and songwriter. He was a Semi-Finalist Winner in the 2015 UK Songwriting Contest for “Last Call”,  Winner of the 2014 Billboard Starmaker Award for “Last Call”, and moreover, 3 Time Winner in the Billboard World Song Contest for the songs “Get Right”, “We’re Done”, “How It Used To Be”. […]

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Jamie Parsons is a Roanoke, VA native, a musician and songwriter. He was a Semi-Finalist Winner in the 2015 UK Songwriting Contest for “Last Call”,  Winner of the 2014 Billboard Starmaker Award for “Last Call”, and moreover, 3 Time Winner in the Billboard World Song Contest for the songs “Get Right”, “We’re Done”, “How It Used To Be”. Jamie is studied at the Appalachian State University, and is trained in piano performance, theory and composition.  He was the Unanimous 1st Place Winner of the Appalachian State University Concerto Aria Competition (’79-’80), and was also the 1st Place Winner of the Radford University Concerto Competition (1983).

Jamie enjoys writing in different genres, including, Blues, Country, Contemporary Christian, Gospel, Rock, Pop and Inspirational. Throughout my over 25 years as a professional in the music business, I’ve noticed there isn’t always a large difference in talent level among creative people.

Why, then do some songwriters, like Jamie Parsons  seem to have an overabundance of music awards, diverse artists singing his songs, and people wanting to hear his music, while others struggle to get their first song heard? The answer is there is a certain amount difference in skill most writers process. And that extra percentage makes a major difference. Skilled songwriters like Jamie share some common mental habits which you can pick up in his songs. Not least the multi-award winner “Last Call”.

We all know how easily the words and melodies flow when we’ve been inspired by a life event. But songwriters need to know that songs are like a conversation with the listener. If the writer is feeling the impact of the song but the audience is not then it’s not an effective song.

Listen to “Last Call”. Jamie drags you into an everyday experience that most of us know and can relate to. Through the words and music Jamie allows the singer Luc Doppler, to have a conversation with us. How can we ignore that last drink or the urge to pick up that gorgeous girl: “It all comes down to who’ll be the one that leaves on your arm to continue the fun. You don’t have to go home, but you can’t stay here. So close the deal or cry in your beer, because if you hurry you can have another round. Well its last call, drink them all down!”

“Last Call” is a fairly simple and straightforward honkytonk beat and melody – it’s a drinking song, with no complex rhythms or cryptic lyrics. Yet the thing is so damn catchy and relatable, it’s really hard not to get caught up in its forward momentum and fun Saturday night theme.

Anybody could write this type tune of with the right mindset. But the key to convincingly successful songs – whether or not you want to become an amazing songwriter or build a lucrative career – is that songwriting firstly is a passion, then maybe a job. Ask Jamie.

A quick run through Jamie Parsons’ catalog will teach you another thing – write as honestly as you can.  Chances are, if you’ve gone through something, your listener has too, and they will hear that honesty as it applies to them and (hopefully) connect with it. And I’m particularly thinking of the heartfelt ballad “I Don’t Need This Hurt Anymore”, sung by Leijiah Cooper or the soulful “We’re Done” interpreted by the husky voice of Richie Marso.

Jamie Parsons is clearly a songwriter for all seasons. He writes a wide variety of songs. He doesn’t have just one “thing” that he does. He has lots of pitches that would suit lots of different types of singers. This gives him the edge over many of his colleagues.

Songs should catch our ears in order to register in our consciousness.  It can do so in any way – a riff, a lyric, a melody, a rhythm or an atmosphere. But once it registers in our consciousness, to be special, it must earn its right to stay there. It must say and be something. That’s what Jamie Parsons’ songs achieve.

OFFICIAL LINKS: REVERNBNATIONBANDCAMPYOUTUBEVIDEO LICENSINGFACEBOOKITUNESSONGTRADR

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Inactive Spaz: “Who’s Knockin?” – atmospheric and spontaneous sounding http://jamsphere.com/reviews/inactive-spaz-whos-knockin-atmospheric-and-spontaneous-sounding http://jamsphere.com/reviews/inactive-spaz-whos-knockin-atmospheric-and-spontaneous-sounding#respond Wed, 12 Apr 2017 15:18:36 +0000 http://jamsphere.com/?p=28263 “Who’s Knockin?” is an intimate, stripped-down song that highlights Inactive Spaz’s instantly recognizable voice, incisive songwriting, and rustic acoustic guitar work. Inactive Spaz is a one man project that weaves its way through blues, rock and folk soundscapes. No matter which style or instrumentation is used, Inactive Spaz has one common denominator – a deep gravelly […]

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“Who’s Knockin?” is an intimate, stripped-down song that highlights Inactive Spaz’s instantly recognizable voice, incisive songwriting, and rustic acoustic guitar work. Inactive Spaz is a one man project that weaves its way through blues, rock and folk soundscapes. No matter which style or instrumentation is used, Inactive Spaz has one common denominator – a deep gravelly and world-weary voice that carries each song to it’s visceral and emotional conclusion.

Everything that was good about the early singer-songwriter era is here: great vocals, poignant lyrics, and odd melodies that grow on you because they are attractive without being too commercial. The overall aura of the voice and music has a kind a Van Morrison and Tom Waits quality to it, only a whole lot rawer.

“Who’s Knockin?” is a musically pared down affair. The arrangement is sparse. It has acoustic guitar strumming and a voice dominating the texture. There are no drums; there are no hard rocking frills, but the track does not suffer in their absence.

Instead, we hear Inactive Spaz’s indomitable, whiskey-stained voice growling and twirling with unbridled energy. The record is atmospheric and spontaneous sounding, while the production feels live and not ornate as modern recorded music can be.

Inactive Spaz sounds like his delivering a stream of consciousness straight from his mindset with no pre-written script to hold his thoughts back. And as with all great music there is a certain amount of angst present in the vocals and lyricism.

He writes for his own voice, an instrument with a unique wryness and a resonating range, which means his melodies are immediate, to the core, as if he’s making them up on the spot. More crucially, his songs are crammed with stray details and wonderfully skewed insights.

“Who’s Knockin?” is as sparse lyrically as it is musically, following the ‘no-fat-only-lean-meat’ theory. The result is that the mood and atmosphere of the song is mainly implied by the affecting vocals and then supported by the strumming acoustic guitar.

Inactive Spaz sets a high standard for himself in the writing and performing of his songs, while he leaves the recordings to be rudimentary and raw, as if you were attending a live show.  It is a musical experience that is compelling, moving, and nutritious, almost primordial and a much needed anomaly in these times of gloss and hype.

OFFICIAL LINKS: SOUNDCLOUDFACEBOOKYOUTUBE

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Josh Pfeiffer: “Life” is soul-food for the music lover http://jamsphere.com/reviews/josh-pfeiffer-life-is-soul-food-for-the-music-lover http://jamsphere.com/reviews/josh-pfeiffer-life-is-soul-food-for-the-music-lover#comments Tue, 11 Apr 2017 15:16:56 +0000 http://jamsphere.com/?p=28249 Josh Pfeiffer has worked with legendary producer Joe Chiccarelli (U2, Jason Mraz), as well as an A-list of musicians, including Gigi Gonaway (Mariah Carey), Mic Gillette (Tower of Power), Stu Hamm (Joe Satriani), Marvin McFadden (Huey Lewis), and Paul Hass (Prince, Lifehouse), many of whom are featured in his live shows. Compared to artists like Michael […]

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Josh Pfeiffer has worked with legendary producer Joe Chiccarelli (U2, Jason Mraz), as well as an A-list of musicians, including Gigi Gonaway (Mariah Carey), Mic Gillette (Tower of Power), Stu Hamm (Joe Satriani), Marvin McFadden (Huey Lewis), and Paul Hass (Prince, Lifehouse), many of whom are featured in his live shows. Compared to artists like Michael Buble’ and Matt Goss, his original compositions “Life” and “Beautiful Girl” have boosted the music sales of the Josh Pfeiffer’s debut CD “American Crooner Act:1”, now distributed in 25 countries worldwide. Josh is currently in the recording studio working on a new EP, “One More Time”, due out in 2017.

There is Michael Bublé, there is Harry Connick Jr, all straight straight-talking, good-looking, smartly dressed pop-jazz crooners refashioning old classic for young people. There is Josh Pfeiffer, not less talented than the two, and much like Bublè, with a penchant for using successful standards as leverage to do more of his own material, which in both cases reveals themselves to be good artistic choices.

Connick stuck more to the standards and has almost gotten lost along the way. Bublè’s originals has brought him even more respect, and an even bigger audience. Josh has surpassed Connick in his artistic progression, and is catching up to Bublè’s neat marketing strategy, with his original single, “Life”.

“Life” is the pop antidote to the screaming and yelling that passes for music on radio stations these days. A lovely acoustic guitar and electric piano driven ballad, “Life” is soul-food for the music lover, both lyrically and musically. Josh Pfeiffer’s voice is deep, warm and tender, without any of the ‘Broadway Show’ vocal clichés you’d come to expect from one who sings the American standards.

And if you listen to the entire album from which the single is taken – You will discover the undeniable fact about Josh Pfeiffer’s artistry; it’s that he has an uncanny ability to perfectly match whatever genre of music he’s tackling vocally.

From his smooth jazzier numbers, to the American songbook standards, and the more contemporary takes on his originals, he manages to shift his voice in a way that makes it palatable and fitting, consistently and without fail. This is back and forth trait showcases his full variety and talents.

From the first moment, “American Crooner Act:1” shows off the scope it’s trying to achieve. Opening on the classic “Feeling Good”, or moving through historic earworms such as “Fever”, “My Funny Valentine” and “The Way You Look Tonight”, and then onto the original tracks that showcases his pop-ready vocals, his ability to meld to each track is on full show here from the first moment, and his original material especially shines in terms of the entire collection.

And though the entire album is a great showcase for his vocal talents, its Josh Pfeiffer’s increased interest in songwriting that has paid off and suggests that there’s going to be a lot more great music to come.

OFFICIAL LINKS: ITUNESWEBSITEFACEBOOKTWITTERINSTAGRAMSPOTIFY

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The Gibb Collective: “Please Don’t Turn Off The Lights” – a family legacy! http://jamsphere.com/newreleases/the-gibb-collective-please-dont-turn-off-the-lights-a-family-legacy http://jamsphere.com/newreleases/the-gibb-collective-please-dont-turn-off-the-lights-a-family-legacy#respond Sun, 09 Apr 2017 15:52:39 +0000 http://jamsphere.com/?p=28216 The Gibb Collective is a musical tribute, and a family legacy.  On the input of Maurice’s daughter, Samantha, the children of Andy, Barry, Robin and Maurice Gibb have found a new way to honor their fathers through breathing new life into the more than memorable Bee Gee classics of the 60’s and 70’s. And what […]

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The Gibb Collective is a musical tribute, and a family legacy.  On the input of Maurice’s daughter, Samantha, the children of Andy, Barry, Robin and Maurice Gibb have found a new way to honor their fathers through breathing new life into the more than memorable Bee Gee classics of the 60’s and 70’s. And what better title for the 10-track album, than “Please Don’t Turn Off The Lights”. Even though, to be fair to their fathers, ‘turning the lights off’ of the Bee Gees is an impossible task, considering the indelible mark they have left in the history popular music.

The Gibb Collective was founded in 2016 by Maurice’s daughter, Samantha, and quickly blossomed from a single – “New York Mining Disaster 1941” recorded by Samantha – into their first full album. The album is a collection of covers infused with new life and recorded by the children and the younger sister of all four Gibb brothers, and will aptly be released on April 14th, during the 50th Anniversary of the Bee Gees.

The Bee Gees have been such an awesome musical force for so many years, singing, songwriting, arranging and producing some of the most influential and important songs of the 20th century. It’s even more impressive when you realize that they were writing and performing songs as a band since their teens.

Their songwriting was strong and their 3 part harmonies really come through on an array of wonderful songs. They were also great storytellers and their songs seemed to be used as a platform to tell the various experiences and tales that they had conceived in their minds.

The hallmark of the Bee Gees on their early albums is their incredible creativity in making memorable melodies, sung in perfect harmonies. I think only a few other groups were able to write so many tunes that you can preserve in your head at first listening.

The Gibb Collective takes that solid basis and elaborates their own personal interpretations of the songs on this album. Some tracks stick closely to the original arrangements, while others take a sharp left turn into diverse orchestrations.

None however, lose the original, intrinsic musical field of reference, of its original version. The sound is extremely pure and deep and you can admire the outstanding orchestral arrangements executed in each reworked song version. I was amazed at how wonderful this album is to listen to all the way through.

To me one of the real underrated Bee Gee jewels of this album is “I Can’t See Nobody”. This was the B-side of “New York Mining Disaster 1941” back in the 60’s, and is genuinely beautiful in its own right. I always believed it could have been a monster hit in its day.

Hearing it redone now by Berry Gibb Rhoades hasn’t changed my mind. The classics obviously need no introduction and the re-workings are brilliantly done: “New York Mining Disaster 1941” by Samantha Gibb and “I Started A Joke” by Robin John Gibb, are interpretations of the highest caliber.

Peta Gibbs luscious version of “Fool For A Night” was another pleasant surprise, as was the electro-pop version of “Angel of Mercy” by Samantha & Adam Gibb. But without a doubt my absolute favorite track on the album has to be “Please Don’t Turn Off The Lights”, sung by the entire collective, and which I think captures the Bee Gees’ spirit of musical intent- the melody, the harmony and ultimately, the unity.

For updates follow The Gibb Collective on Facebook and Twitter (@GibbCollective).

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Calle Ameln: “Moving On” due for release on the 21st of April http://jamsphere.com/newreleases/calle-ameln-moving-on-due-for-release-on-the-21st-of-april http://jamsphere.com/newreleases/calle-ameln-moving-on-due-for-release-on-the-21st-of-april#respond Sun, 09 Apr 2017 11:34:38 +0000 http://jamsphere.com/?p=28211 You have to give credit to Calle Ameln. He has got a canny awareness of what it takes to make a great sounding record in any musical style. Calle who has always blended modern roots music with a hint of blues, folk, country, and rock, into his releases has recently expanding his horizons and musical palette, […]

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You have to give credit to Calle Ameln. He has got a canny awareness of what it takes to make a great sounding record in any musical style. Calle who has always blended modern roots music with a hint of blues, folk, country, and rock, into his releases has recently expanding his horizons and musical palette, draw from many more influences.  Whatever the motives, there is no doubt that on his latest, still to be released single, “Moving On” he has tapped into yet another source of sure-fire high rotation, radio-ready sounding music again.

Calle Ameln

Calle Ameln

In doing so, whilst transcending most of the usual range of roots music’s lyrical and stylistic touchstones, he has managed to still stay firmly planted in the signature sounds found throughout the rest of his releases. In further experimenting with mixing in modern pop elements, into his country/rock roots, Calle has called upon a broad range of his musical talents to once again assist him this time around – his knack for a catchy melody, the skill for putting together a melancholy, yet uplifting chord progression and lyrical theme, plus his deep-rooted emotional voice.

The single which is due for release on the 21st of April, results in a lushly produced song that hints at boundary pushing, and which will almost definitely arouse the listener’s interest. Calle’s evolving new sound, will no doubt capture the hearts of those open-mouthed, wide-eyed, swaying fans who love a great melody and relatable lyrics over a warm musical arrangement.

As usual, “Moving On” is another heartfelt song and it re-establishes Calle Ameln’s blueprint for writing emotional music. Something he has always strived to do through most of his songs.

The clever meshing of universal themes like love and loss is the key to his songs being irresistible to any set of ears, regardless of genre preferences on behalf of the individual listener. It reminds us all that when songs have a high level of sincere emotional input the stylistic purity or genre hybridization, takes a back seat in the listening process.

To sum up, “Moving On” will inevitably garner Calle Ameln a truckload of new fans and followers because, when it is playing, it simply sounds great. People may hum and tap their feet to the tune or sadly reminisce on better days gone by of a broken relationship.

However, when you attune yourself to actually listening to the lyrics, you will understand that the narrator has gotten over his dilemma and is “Moving On”“I said I want to miss you but I don’t. You want me to kiss you but I won’t…” sounds pretty clear to me!

OFFICIAL LINKS: WEBSITEAPPLESPOTIFYTWITTERINSTAGRAMSOUNDCLOUDFACEBOOKYOUTUBE

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Anomalous Leaf: “Ellipsis” – searching for new paths to achieve original goals http://jamsphere.com/newreleases/anomalous-leaf-ellipsis-searching-for-new-paths-to-achieve-original-goals http://jamsphere.com/newreleases/anomalous-leaf-ellipsis-searching-for-new-paths-to-achieve-original-goals#respond Fri, 07 Apr 2017 17:25:57 +0000 http://jamsphere.com/?p=28193 Irfan Azam, alias Anomalous Leaf, is the kind of artist that you think about in terms of scale. There is the sheer size of his songs –  the “Sojourner” mini-suite has a fifteen minute playing time – but also the size of the music’s scope and ambition on his latest album “Ellipsis”. The album gives […]

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Irfan Azam, alias Anomalous Leaf, is the kind of artist that you think about in terms of scale. There is the sheer size of his songs –  the “Sojourner” mini-suite has a fifteen minute playing time – but also the size of the music’s scope and ambition on his latest album “Ellipsis”. The album gives you a sense of a landscape, but instead of just marching towards a vast horizon of sprawling sounds, it feels like the instrumentals are burrowing through layers of soil to discover the core of the earth, and the meaning of life itself.

The crescendos and climaxes of ambient rock are present, but just as often you will find yourself contemplating somber wisps of sound that ebb and flow between melody and dissonance. What may start like a whisper will grow and resonate as you dig your ears into it. The experience is not unlike taking a pause on a mountain hike and realizing just how many sounds there are in what seems like silence. You get the sense that Anomalous Leaf is searching for new paths to achieve his original goals.

For the most part, the songs feel segmented and self-contained, standalone compositions instead of pieces of an overall fabric. They return time again to distorted guitars that sometimes feel like echoes in a cave, other times like a crumbling landslide, while the drums and percussion are generally crystalline and precise. There’s a similar sense of longing and a beautiful darkness at work here, too. It feels like exploring in the dark and coming upon cluster of diamonds that help light your way.

The music has plenty of momentum without being ‘driving’ in the usual sense of the word—it can be meditative and meandering, and sometimes, as on “Phaedrus”, transitions in aqueous slow motion with sounds that sparkle like fizzing water. There are also upbeat moments, like “Ring Road” which at first feels amorphous and ambient before suddenly catching fire. When it does finally open up, the effect is stunning.

In an album full of eclectic stylistic ambition, perhaps no track encompasses the entire experience better than ‘“Sojourner”. The song, which is divided into 7 parts, feels like a breath of new life, shimmering with gorgeous piano notes and jangling guitar passages while pirouetting in a light, spacey atmosphere that is immersive but not oppressive.

It’s difficult when listening to “Ellipsis” not to think of images that could go with these songs. Instead of making instrumental music for silly moments in sports events, Anomalous Leaf delivers soundscapes you’ll remember a decade later, because you have locked the music onto an image in your mind, stumbling first kisses while waking from a comforting dream, that sad moment when you first hear a friend has died, or maybe walks alone at night, watching the constellations and pondering the meaning of it all. These songs feel personal no matter how you interpret them. They tug at important moments and allude to others.

“Ellipsis” is a quietly masterful and emotionally rich work. It contains a potpourri of  sounds that ultimately will accompany you while watching from a distance, but paying more attention to the person next to you, than those dark clouds rising overhead.

This is the eighth album released by North Carolina-based musical studio artist Irfan Azam, alias Anomalous Leaf, and also features the now deceased Matt Oberst, who, in his heart-wrenching last studio performance (recorded in the late of March 2016), lent his beautifully dissonant guitar phrasings to Sojourner (parts V-VII) and a dash of finesse on an early version of Ring Road (catch the bonus track). Matt passed away soon after the time of these recordings.


Website:
http://music.anomalousleaf.com

Social Media:
https://www.facebook.com/anomalousleaf/
https://twitter.com/anomalousleaf
https://www.instagram.com/anomalousleaf/

Stores:
iTunes: http://itun.es/i67p6WY
Google Play: http://bit.ly/2nThLSp
Amazon: https://www.amazon.com/Anomalous-Leaf/e/B009IZ3AKU/

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Discrete: “Livin’ at Manboo” – feeds the inner spiritual and emotional vibes http://jamsphere.com/newreleases/discrete-livin-at-manboo-feeds-the-inner-spiritual-and-emotional-vibes http://jamsphere.com/newreleases/discrete-livin-at-manboo-feeds-the-inner-spiritual-and-emotional-vibes#respond Fri, 07 Apr 2017 11:36:43 +0000 http://jamsphere.com/?p=28183 The Stockholm based electronic artist August “Discrete” Ramberg says he grew up knowing that he would be a creator. Being inspired by both new and old electronic music he started writing and producing his own music at fourteen, and at twenty he felt that it was time to launch his solo career with the name […]

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The Stockholm based electronic artist August “Discrete” Ramberg says he grew up knowing that he would be a creator. Being inspired by both new and old electronic music he started writing and producing his own music at fourteen, and at twenty he felt that it was time to launch his solo career with the name and brand Discrete. The inspiration for his track “Livin’ at Manboo”, is taken from a short documentary “Lost in Manboo”.

It’s about people living in cybercafés – a four-square-meter box with a screen and computer – in Tokyo, Japan. To recreate the same feeling Discrete has translated some of the interview quotes into English and embellished them with simil-vocoder effects.

August “Discrete” Ramberg is much more than your average electronic artist, simply looking to feed his listeners’ inner party animal vibes – he’s looking to feed them inner spiritual and emotional vibes. Discrete obviously considers the relationship between his music and his audience a personal interchange of feelings and thoughts, and holds himself to higher standards than most when it comes to user experience.

“Livin’ at Manboo” is the result of quality time spent plugged into social media and the internet. The focus here is on both, the journey outward – discovering new experiences, and the journey inward – examining and elaborating those experiences, within his own personal mindset. Each passing musical bar gives listeners the opportunity to sink deeper into each precious moment of Discrete’s elaboration of the Manboo theme.

As can be expected, the music reflects the living conditions of a Manboo, and hence the perceived emotional and mental state of its inhabitant. Somber, melancholic and claustrophobic musical nuances ensue, blending into a style that mixes trap, breakbeat, ambient and downtempo flavors.

As the arrangement moves forward, the musical impetus of the song becomes more intense, confined, oppressive and afflicting, with the final spoken words at the closing of the song being rather revelatory of this specific living condition.

“Livin’ at Manboo” is music that really needs no explanation once you press play. It just opens a detailed imaginary world created in one’s mind, of places, things and people that actually exist in reality, so you can contemplate its detail and intentions… and sail away into the depths of the mind of August “Discrete” Ramberg.

OFFICIAL LINKS: SPOTIFYSOUNDCLOUDFACEBOOKTWITTERINSTAGRAMYOUTUBE

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Dj Débias: “Tonight” exhibits pure beauty and reverence for life and love http://jamsphere.com/newreleases/dj-debias-tonight-exhibits-pure-beauty-and-reverence-for-life-and-love http://jamsphere.com/newreleases/dj-debias-tonight-exhibits-pure-beauty-and-reverence-for-life-and-love#respond Thu, 06 Apr 2017 12:28:26 +0000 http://jamsphere.com/?p=28172 DJ, Lyricist and Producer, Dj Débias began composing and producing tracks and mixtapes since the age of 13. He is one third of the group 1200 Percynt. A Trio of 3 DJ’s that held sets over nightlife in Corvallis Oregon, during his enrollment, at Oregon State University. Additional members of 1200 Percynt include The Juggernaut […]

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DJ, Lyricist and Producer, Dj Débias began composing and producing tracks and mixtapes since the age of 13. He is one third of the group 1200 Percynt. A Trio of 3 DJ’s that held sets over nightlife in Corvallis Oregon, during his enrollment, at Oregon State University. Additional members of 1200 Percynt include The Juggernaut and Diss One. It wasn’t till 2007 that Dj Débias published his first instrumental album “The Conduit” – a journey of past experiences concerning life’s trials and tribulations. He followed that up with a second album “Domestic Squabbles” a year later. Throughout this period, the NY born, Queens native, sought an outlet to express his negative experiences in a positive light through creating music.

Freshly out of the oven comes “Tonight”, the first single off Dj Débias’ upcoming project “3VEN”. Seriously, one of the first things that struck me upon listening to this new track – from the instrumental to the lyrics – is that Dj Débias exhibits such pure beauty and reverence for life and love.

In this case, physical love, as Débias goes about describing some sultry and sensual scenes. I know a track is good when I can’t stop hitting the replay button. This is the case with “Tonight”, where the artist raps, sing-songs, and is having pretty much the time of his life – “Savage pinups, silk smooth legs, fingers tracing the contour of nectar, hidden between your legs. My tongue’s searching for the honey you may leave me, with the small reminders of the love we made…” Does it get any better than that my dear brethren?

It’s like Dj Débias is telling a story with this song and you feel almost like you’re right there with him, along for the ride. Taking it all in and enjoying all that he has to offer. Now in this case, that’s literally a damn near orgasmic experience.

If you are hungry for good music, I mean real feel-good hip-hop music, then this is what you need. And even though it discusses the hacked up theme of women and making love, this tune is lyrical, melodic, tasteful, beautiful, and fresh sounding. Oftentimes lyrics can be explicit in rap songs, without necessarily being derogative or offensive to anyone.

The key is in how the artist interprets those words, the tone and texture of his voice and the music sustaining it. Dj Débias gets it all right on “Tonight” – first and foremost, because his rhymes are not derogative or offensive, on the contrary they’re almost an ode to the captivating power a women may have over a man.

And secondly, his voice and flow is as smooth as silk, eliminating any presumed or expected hostilities. All the narrator wants is some emotional reassurance and physical comforting, and in return he’s prepared to make his girl fly- “Tonight let me ease your mind, tell me it’s mine, it’s time…”

OFFICIAL LINKS: FACEBOOKYOUTUBENOISETRADETWITTERINSTAGRAMREVERBNATION

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Joshua Lane: “Woke & Rambling” – deep and creative! http://jamsphere.com/newreleases/joshua-lane-woke-rambling-deep-creative http://jamsphere.com/newreleases/joshua-lane-woke-rambling-deep-creative#respond Mon, 03 Apr 2017 02:19:31 +0000 http://jamsphere.com/?p=28101 Joshua Lane is a 22 year old artist out of Fort Wayne, Indiana. Lane is a man on a mission, as he explains: “I’m focusing on making my own kind of music in hip hop that has consistent, in depth knowledge about what’s going in my life as well as everyone else’s reality as well. […]

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Joshua Lane is a 22 year old artist out of Fort Wayne, Indiana. Lane is a man on a mission, as he explains: “I’m focusing on making my own kind of music in hip hop that has consistent, in depth knowledge about what’s going in my life as well as everyone else’s reality as well. I moved to D.C. to promote and network for the past 8 months. I want to use my platform to give back to ones in need and help our communities out so there’s less hostility and more love in the world.” To put on a Joshua Lane record is to commit to a certain amount of intense collective energy. Anything much more than that—left-field lyricism, hooks that sink their claws into you, a collection of beats that cohere into some loose future-is-now synthesis of hip-hop—is a bonus, if an expected one.

“Woke & Rambling” takes everything that is great about hip-hop and makes a shining example of it. The beats are tight and fresh; the lyrics, as expected, are deep and creative, and just off kilter enough to give it that alternative signature. It also takes everything that is less than desirable about hip hop and manages to make these topics and conventions exciting, too.

Different genres affect me in various ways. A solid Metal album can make me feel like I should be a Viking, a great Indie Rock album can make me want to bob my head to the self-produced goodness, and a gorgeous Post-Rock album can conjure up images of incredible landscapes. Hip-Hop is simply refreshing. A

great Hip-Hop album is like drinking a perfectly-cooled glass of water after a day of being thirsty. “Woke & Rambling” is that glass of water.

Apart from blowing everybody for being innovative, mind-blowing, and just goddamn refreshing, the jazz and soul influences in the production come out at the right times. The lyrics are introspective and intelligent, but not too much to digest such that it’s only an album for specific moods.

It’s got a strong underground feel without seeming like some crappy mixtape slapped together with equipment from the 70’s. This album goes great as something to listen to in those moments of introspection. The songs can be listened to as standalone tracks, but the overall feel of the album from beginning to end is just as good.

On “Woke & Rambling”, Joshua Lane has created undoubtedly an immediately catchy work, with some memorable choruses and insightful wordplay that is easily a career high for this artist. Joshua Lane redefines himself as a very certain type of artist. For the most part, his lyrics, ideas, and themes feel very insider and close to his heart, which is what makes him standout.

What does Joshua Lane hope to accomplish with “Woke & Rambling”? This isn’t a rhetorical question or an attempt to chide: I’d like, sincerely, to know what it is he was seeking when he began cobbling this album together and how that goal might have changed in the recording process.

To the average Joe, the closest one comes to being as cool as a Hip-Hop artist is by turning up the beats, cranking the windows way down in a pumped up car, while rolling down Main St. The new album, by Joshua Lane is not only deserving of cruising glory – but should be high on the list of any Hip-Hop connoisseur.

From track one, “Dear Hiphop” and other outstanding tracks such as “Relapse”, “Journal”, “Rambling”, “One World” and “Are We Alive”  effectively create a complex, layered symphony of sounds, melodies and dynamics which leaves the listener in a pure state of Hip-Hop satisfaction.

Joshua Lane exhibits an astounding sense of timing, never allowing the listener to grow tired or disinterested, but rather continually chasing the next high until the song reaches its conclusion.

OFFICIAL LINKS: WEBSITEFACEBOOKINSTAGRAM

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