Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Mon, 22 Oct 2018 12:49:21 +0000 en-US hourly 1 Shaun Jacobs: “Rollin’” – Commanded by soaring vocals and invigorated production! http://jamsphere.com/newreleases/shaun-jacobs-rollin-commanded-by-soaring-vocals-and-invigorated-production http://jamsphere.com/newreleases/shaun-jacobs-rollin-commanded-by-soaring-vocals-and-invigorated-production#respond Sat, 20 Oct 2018 12:19:37 +0000 http://jamsphere.com/?p=33399 started out playing drums at a very young age, but it was only when he turned 15 and his older brother thought it would be good for him to learn more than one instrument that his love for guitar, singing and songwriting was born. Growing up in a family where his dad was an opera […]

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started out playing drums at a very young age, but it was only when he turned 15 and his older brother thought it would be good for him to learn more than one instrument that his love for guitar, singing and songwriting was born. Growing up in a family where his dad was an opera singer and his brothers’ able musical craftsmen as well, Shaun soon started writing, recording and producing his own music.

It wasn’t long before the South African artist gained traction in his home country, winning the SAMA 2014 Adult Contemporary Album of the Year, as well as nominations for Best Producer and Best Mix Engineer. He now seemed ready to make the jump from the pond into the great big ocean. Hence the move from South Africa to Los Angeles.

And right off the cuff, Shaun is featured on the Gold and Platinum hit-maker, Bruno Martini’s single “YOUNGR”, released the 19th October and produced by Timbaland and Bruno Martini, who currently has close to 1 billion streams on Spotify.

To complete his initial international thrust Shaun Jacobs is releasing his latest single “Rollin’”, which will be available via Mulholland Records and all major digital download stores.

Shaun Jacobs’ rapid ascension from nobody to somebody means that every subsequent move he makes needs to be well thought out, and with “Rollin’” he meets all expectations. Opening like a cinematic scene-setter, it’s clear that the track is here to prove that Shaun has formulated a gritty chart-topping sound which draws from all his talents and charms and churns them into a track that’s both brooding and confident.

Shaun plays the tormented narrator throughout the verses, while the choruses have a soulful feeling which is impossible not to be swept up in. The emotion Shaun puts into his music also adds to the beauty of it. The track’s imagery is powerful and presents feelings of nostalgia to the listener.

Without a doubt, Shaun Jacobs has a built-in ability to transport you into whatever world he determines, as the song gives you the impression that it’s a life you’ve lived – a testament to his songwriting ability. With his new release, it’s obvious that Shaun is a man on a mission.

“Rollin’” sees the singer-songwriter, producer and multi-instrumentalist fuse nuanced flavors into his own brand of alternative rock — relying on infectious pop hooks and soulful vocals. The introspective lyricism provides an insight into the ponderings of those who believe in the light and goodness of the world but need to rediscover their guidance to escape the darkness.

This all adds up to a solid single that presents an immediate difference to what went before, even if it does not roam too far from the roots of Shaun’s past. The anthemic track presents a sense of urgency, combined with an animated build-up and release.

Commanded by soaring vocals and invigorated production, “Rollin’” is a thoroughly immersive ride that shows Shaun Jacobs has plenty of ideas brimming in his head for the future.

OFFICIAL LINKS: SPOTIFY – @jacobsriot

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The Gary Douglas Band: ‘Deep In The Water’ – the voice of reason http://jamsphere.com/reviews/the-gary-douglas-band-deep-in-the-water-the-voice-of-reason http://jamsphere.com/reviews/the-gary-douglas-band-deep-in-the-water-the-voice-of-reason#respond Thu, 11 Oct 2018 15:11:52 +0000 http://jamsphere.com/?p=33153 ‘Deep In The Water’ is the brand new album by trial lawyer Hall of Fame inducted attorney, singer-songwriter Gary Douglas. Growing up in Brooklyn and later, on Long Island, music has been Douglas’ muse, an outlet for his feelings and a desire he can’t shake, hence The Gary Douglas Band has become his creative vehicle. […]

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‘Deep In The Water’ is the brand new album by trial lawyer Hall of Fame inducted attorney, singer-songwriter Gary Douglas. Growing up in Brooklyn and later, on Long Island, music has been Douglas’ muse, an outlet for his feelings and a desire he can’t shake, hence The Gary Douglas Band has become his creative vehicle. The Heartland rocker meticulously crafts lyrics straight from his well-worn journal. The album’s sharp songwriting kicks off with the rollicking and hopeful “River Road”, and the tough but tender “Million Miles Away”. The latter is built on engaging wordplay that takes the listener through the ups and downs of working through the world. The zen-like wisdom transcends merely a song, and packs the message and philosophy that sometimes life is just simpler if you truly believe.

Sonically, the title track, “Deep In The Water” finds the quickest four-lane highway into the bloodstream. There are pulses through the rhythm section made especially for FM radio – a wall-of-sound drumming, deep and shapely bass lines, as well as Douglas’ emoting vocals.

The song reflects Douglas’ recent efforts on behalf of multiple plaintiffs battling DuPont for injuries sustained by the chemical giant’s illegal dumping of the dangerous chemical C8 into the Ohio River. Douglas won a series of record-shattering settlements in the multi-district litigation, earning more than $700 million in punitive damages. Distinctive and in the pocket this is an extremely captivating track, which could just be the best of the bunch.

“Oh My Oh My” is honed with a classic rock guitar snarl, and a speaker-rattling rhythm section with built in horns to match. In fact the horns ignite many a track, especially “Devil In Her Soul” which is laden with soulful harmonies, a swampy backbeat, and another hard look at society.

That The Gary Douglas Band take their song writing very seriously, without a hint of pretension, is evident on the slower, more profound Americana anthem, “Nothing Ever Goes As Planned”. Cultural, social and political undertones run subtly through the narrative here. There is a lot that working class America can relate to in these words.

In fact, each song, in some way paints a different picture of middle class American life, and some turn the mirror and lets us take a good hard look at ourselves. “Won’t Say No”, for example takes an eloquent and devastating look at the effects of the cheating game.

Gary Douglas’ lie-detecting soul and his fierce identification with the downtrodden – tracing a line from Guthrie to Springsteen – is regularly set to stun on this album. The scene is lit with energetic rock full of catchy brass on “Do You Wanna Go”. The heart of this songs is tied to Douglas’ soaring vocal, which gives the track a rootsy edge.

The music on this album shows a band unafraid to rock its ass off, or slide into a funky groove, as on “Losing You” one moment, and then turn topical and sensitive on “Say What You Want To Say”, on the strength of Gary Douglas’ empathy for real people, real problems and real stories.

So do yourself a favor, grab this album and wrap your head and heart around it. It works, believe me.  It’s nice that there is still a voice of reason standing up for the simple foundations of a decent society.

ALBUM NOTES: Produced and mixed by Niko Bolas (Neil Young, Warren Zevon) and co-produced by chart-topping songwriter / producer Darrell Brown (Keith  Urban,  Radney  Foster), DEEP  IN  THE  WATER sees the Brooklyn-born singer-songwriter backed by an all-star lineup of friends and fans that includes Southside Johnny and his Asbury Jukes keyboardist Jeff Kazee, The Mavericks’ Raul Malo and Paul Deakin, The Jayhawks’ Jennifer Gunderman, guitarist Josh Leo, saxophonist Nicholas Biello, and a host of Nashville’s finest session players.

OFFICIAL LINKS: WEBSITE – FACEBOOK – TWITTER – INSTAGRAMSPOTIFY

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Lord Conrad: “1 Minute” is captivating infectiousness from the jump! http://jamsphere.com/newreleases/lord-conrad-1-minute-is-captivating-infectiousness-from-the-jump http://jamsphere.com/newreleases/lord-conrad-1-minute-is-captivating-infectiousness-from-the-jump#respond Wed, 03 Oct 2018 23:20:31 +0000 http://jamsphere.com/?p=33291 Lord Conrad has been building his brand and building a formidable fan base ever since he impacted the music scene with his breakout single “Touch the Sky”, and its accompanying video, which starred iconic fashion model, actress, and famed celebrity Elisa Pepe Sciarria. The Italian DJ, music composer, songwriter, dancer, and model then followed up […]

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Lord Conrad has been building his brand and building a formidable fan base ever since he impacted the music scene with his breakout single “Touch the Sky”, and its accompanying video, which starred iconic fashion model, actress, and famed celebrity Elisa Pepe Sciarria. The Italian DJ, music composer, songwriter, dancer, and model then followed up that success with another pop-infused, and melodic electro banger entitled “Day After Day”, which showcased the artist’s deeply introspective side. Lord Conrad’s new release, “1 Minute” takes the listener on a journey through a conscious, impassioned labyrinth. Even before the music starts, the single cover illuminates the wistful quality of the work contained within. The poignancy is further confirmed by the lyric sheet: “So we meet once again / In the coldest day of November / Does your hair look shorter? / Do I look taller? / Am I stuttering? / You’ve got one minute to love / One minute to love me.”

Right from the opening bars the song beautifully transitions into a space where Lord Conrad delivers his songwriting trademark of sweeping vocals which is accentuated in the intense celestial-inspired electro landscape. The result is a track with an entrapping environment that’s both hauntingly ethereal and somatic.

“1 Minute” renders itself a manifesto for coaxing a relationship to reconnect. A melodic urgency fills the track, allowing the vocals to shine through. The luring lyrics and tempo make this an infectiously pleasurable song to look forward to at a live performance or at the club.

As the music twists and turns on top of its driving beat, Lord Conrad’s composition allows the barbed, peppery vocals to create an intentionally free-spirited aural mosaic. The track transcends traditional musical definitions with the singer’s tone of voice and delivery.

Perusing the sometimes compelling qualities of love, the track’s philosophy enacts an intriguing perspective on current societal norms and relationships, and sums it up in one line – “You’ve got one minute to love.” However, Lord Conrad’s track stands out in particular for the singer’s vocal range and Lord Conrad’s shrewd musical ear. His abilities to tip the scales with the lyrical verses, ultimately leaving no emotional stone unturned.

When Lord Conrad drops a track, you know it is fire and this track is captivating infectiousness from the jump. Lord Conrad, or the persona portrayed in his songs, shows great exuberance in love and the pursuit of love. “1 Minute” has a heart-tugging rawness that extends to the abandon of the falsetto vocals in the soaring choruses.  This is Lord Conrad perhaps at his most open and sincere and it pays off splendidly.

Not everybody may be on board with Lord Conrad’s electro-pop agenda, but if that’s your listening lane, it’s difficult to dislike or disrespect this man’s charisma and artistry. Lord Conrad’s exceptional ability to encapsulate experiences with strong emotions is highlighted in “1 Minute”.

This is a well-thought-out track that will definitely satiate Lord Conrad’s core fans and appeal to music fans looking for something authentic in today’s saccharin-coated market. It refreshingly captures where Lord Conrad is right now: reflective and challenging himself.

OFFICIAL LINKS:

Official Website: http://www.lordconrad.com/
YouTube Channel: http://www.youtube.com/channel/UC6UfXd-b2VsIg8UUd3YFJMw
Personal Facebook: https://www.facebook.com/Conrad.Lord1
Facebook FanPage: http://www.facebook.com/lordconradnasdaqgod
Instagram: http://www.instagram.com/lordconraditaly/
Into Japan Top Music: http://topmusic.jp/product_info2.php?products_id=1617&mihon=1#
News: http://www.lordconrad.com/news

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Andreas Pareli: “By The Spell” – A Divine Selection Of Tunes http://jamsphere.com/reviews/andreas-pareli-by-the-spell-a-divine-selection-of-tunes http://jamsphere.com/reviews/andreas-pareli-by-the-spell-a-divine-selection-of-tunes#respond Tue, 02 Oct 2018 21:47:06 +0000 http://jamsphere.com/?p=33278 Andreas Pareli was born in Haugesund, Norway and now resides in Bergen. A composer and singer, who plays the piano and guitar, Pareli  works within a variety of genres ranging from Latin Pop to Reggaeton, Salsa, Bachata, EDM and Tropical House to mention a few. He has a home studio where he makes his music, […]

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Andreas Pareli was born in Haugesund, Norway and now resides in Bergen. A composer and singer, who plays the piano and guitar, Pareli  works within a variety of genres ranging from Latin Pop to Reggaeton, Salsa, Bachata, EDM and Tropical House to mention a few. He has a home studio where he makes his music, while the production is done in two studios in Bergen – TomTom Studio and Draum Studio. Pareli uses Sage Audio for mastering, which is located in Nashville, USA, just a few blocks down the road from RCA Studio B where Elvis Presley made some of his most famous recordings. His latest release is the 8 track album entitled “By The Spell” which contains some of his most popular singles.

This divine selection of tunes offer beautiful melodies delivered with glorious phrasing and tone which all Andreas Pareli fans would expect. Each track gives ample proof that Pareli is a master singer-songwriter who can dissect any genre and get to the bare bones of what a song needs to be captivating.

Andreas Pareli somehow represents a time gone by. A classier time. A time when the singer-songwriter commanded his recordings, after spending years honing his performance skills. It’s the kind of high-class, smooth pop with broad appeal. Something you once expect from the suave superstar Bryan Ferry when he was in his heyday.

There are no jagged corners here, and many will forge memories of lust and intoxication listening to these sensual beats. “By The Spell” is fabulous at what it does; no one can deny its marketability and the almost universal adoration it will garner from top class clubs and radios alike.

This tendency towards crossover electronic and pop, is balanced by many Latin flourishes, which can be savored right from the opening, and title track, “By The Spell”. Generally, Pareli’s’ vocal delivery is smooth, but here his seductive silkiness in such abundance.

Boasting a catchy Latin shuffle that firmly lodges the hook in the listener’s memory, “Come Drive With Me” is an appropriate second track to the opener. The throbbing beat and Pareli’s flawless vocal flow drives “Hesitate No More” in an uncomplicated and rhythmic expression of genuine romantic emotion. And if you’re ready for the dance floor, then the EDM foundation of “Let’s Go For A Ride” bounces along at a steady and jubilant pace.

“Higher” is a real highlight, as its production shows Andreas Pareli at his most vulnerable and would be great to dance cheek to cheek at a tropical club. Andreas Pareli’s fusion of Latin romance and electro dance is a pretty potent force on this album.

And I’ll admit, I’m sold into it: the production has flavor, Pareli’s sincerity and passion is cleverly weaved into the metaphoric lyrics, and the man has some real charisma. Moreover when switches his voice into a whispering falsetto, as on “I Long For You”, he’ll definitely be melting many hearts. But that’s not the highest point on the album yet. That spot belongs to “Crystal Of Ice”.

This has to be Pareli’s best musical arrangement, vocal performance, and song production, to date. Not to mention the accompanying music clip which perfectly supports the song’s narrative and is well shot too, in a vivid setting. The singer’s voice enchants the very words that he brings to fullness. You’ll find yourself lost in fantasy; filled with energy and tranquility at the same time.

Andreas Pareli is a seductive and alluring singer, and he shows it off one more time, on the album’s upbeat closing track, “Battleground Soldier”. “By The Spell” is a great album to play on a road trip or after a long, stressful day when you need to relax. Pareli doesn’t just have a captivating voice but he knows how to make his music impact because of the rhythms, the production, the lyrics and his all-round cool-as-ice style.

OFFICIAL LINKS: WEBSITEINSTAGRAMFACEBOOKYOUTUBESPOTIFY

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Snir Yamin: “Down The Line” – literate, melodic, alternative rock! http://jamsphere.com/newreleases/snir-yamin-down-the-line-literate-melodic-alternative-rock http://jamsphere.com/newreleases/snir-yamin-down-the-line-literate-melodic-alternative-rock#respond Mon, 01 Oct 2018 10:42:58 +0000 http://jamsphere.com/?p=33271 Hailing from Israel, Snir Yamin is a singer and songwriter with a personal and eclectic approach to his music. His songs bridge the gaps between the intimacy of folk, the appeal of pop and the energy of rock. Snir started his music career in 2006, after losing his father in a car accident. Between the […]

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Hailing from Israel, Snir Yamin is a singer and songwriter with a personal and eclectic approach to his music. His songs bridge the gaps between the intimacy of folk, the appeal of pop and the energy of rock. Snir started his music career in 2006, after losing his father in a car accident. Between the years of 2009-2015, Snir performed across Israel, Europe and North America. In 2013 his debut EP, entitled “Urban Stories”, sold over then 50,000 digital copies via Amazon and iTunes. Now he is back with a brand new single, “Down The Line”, released just a few days ago. By nature of its construction this latest song set up a real challenge for Yamin as he decides how to continue building his aesthetic.

The track’s layered production quality and alternative rock elements feel like the kind of thing that can’t be repeated without feeling old-hat really quickly. Instead Snir Yamin’s will to write a pure, simple, and strong song, showcases his ability to bolster his core songwriting techniques with any amount of instrumentation.

Throughout the record, you can hear the heart of the song clearly, while the elevated production and musical arrangement massively enhances what already stands as a compelling track without all the embellishments. “Down The Line” shows that Snir Yamin can pull off bombastic and high-energy choruses, as well as ultra-distilled, minimally arranged verses.

Now, as is the case with many artists I love, Yamin contentedly writes the music he wants to write, and more than happily thrives off of a devoted fan base. He largely discards the austere, melodramatic singer-songwriter shtick in favor of a lush, cinematic canvas upon which he reliably spins his literate, melodic, alternative rock.

But regardless of his sonic choices, it’s Yamin’s dense narratives of the human heart which captivate. The emotion that he can evoke is enrapturing. Painted by an enveloping sound, his perceptive words speak boundless personal prophecies driven to a euphoric state: “Rooftop views and glory / Fake smiles keep me going down the line, down the line / So-called friends keep watching me / They want me to lose my sanity down the line, down the line.”

Snir Yamin is a modern-day poet. His lyrics are thoughtful and the music is beautifully entangling, while the track has a thematic strength that’s rare these days. Yamin’s immaculate conception of songwriting understands just how to set a perfect tonality and depth for the story-line. He also has an exceptional gift for coming up with catchy melody that doesn’t leave your head for days. On “Down The Line”, Yamin creates a landscape of powerful storytelling and moving sentiments.

If you are a fan of Snir Yamin previous releases then you will love this new track. It stands with the very best work he has done. If you’re new to the Yamin experience, then this is a place as good as any other to start appreciating his craft. Nowadays we are void of music with substance. Listen to the lyrics here, the intensity of his voice, and the dynamics of the music. Grab “Down The Line” now, play it twice, and you’re done, hooked!

OFFICIAL LINKS: WEBSITETWITTERINSTAGRAMFACEBOOK

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Krysle Lip: “King Of Dreams” – a moment-embodying audiovisual statement! http://jamsphere.com/reviews/krysle-lip-king-of-dreams-a-moment-embodying-audiovisual-statement http://jamsphere.com/reviews/krysle-lip-king-of-dreams-a-moment-embodying-audiovisual-statement#respond Sun, 30 Sep 2018 17:04:49 +0000 http://jamsphere.com/?p=33258 Krysle Lip is a talented artist with unique visions and a passion for music and visual art. He has lived in multiple places all over the world, including the United States, Europe, northern Africa, and Canada. He pulls inspiration from David Bowie and Bjork as well as traditional Bedouin music. Krysle Lip’s passion for music […]

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Krysle Lip is a talented artist with unique visions and a passion for music and visual art. He has lived in multiple places all over the world, including the United States, Europe, northern Africa, and Canada. He pulls inspiration from David Bowie and Bjork as well as traditional Bedouin music. Krysle Lip’s passion for music has led him, at just 25 years old, to become the owner of a permanent light and sound show in a historical room inside the wax museum, “GREVIN.” The room was built in 1900 for the universal exhibition “Palais des Mirages” and was known to be Michael Jackson’s favorite room in Paris. On his single, “King Of Dreams”, Krysle Lip’s distinctive baritone takes center stage, set against a backdrop of slow, brooding and mesmerizing instrumentation that’s embellished with hints of baroque pop and darkwave.

Krysle Lip sounds emotionally powerful and drives the track forward over a cinematic sounding landscape. The track is an example of the sweeping atmosphere that the artist is adept at creating, the power comes from the space between the notes.

This piece of work is about the combined feelings and mood Krysle’s voice creates. It should be listened to late at night, in the dark and alone, and is a worthy reminder of why Krysle’s atmospheric soul searching music will work so well in film and television scores.

Backed by the assistance of Grammy Award-winning engineers Darrell Thorp and Florian Lagatta, Krysle Lip explores the undermining and sometimes lacerating loneliness beneath extravagant and luxurious facades.

This is a track of feeling and passion, and undoubted class. Not surprisingly, the first taste of the song in its perilous opening bars is perhaps the best way to draw in an audience, and if they’re prepared for an intensely affecting experience then they’re in for a treat.

The ambient sound which rises to near meteoric proportions is perfect for Krysle Lip’s downtrodden voice. The musical blend plucks away at anyone’s inner self and everyone that enjoys music for the ‘feel’ is going to be impressed. Emotions are gnawed at, swallowed and regurgitated.

The building in power and momentum, the song skillfully avoids the temptation to move too up-tempo and remains an almost heart stopping piece of music with a steady beat. This track is seminal because it is groundbreaking, terribly beautiful and completely influential.

Crafting saddening melancholy into beauty, and vice versa, seems to be Krysle Lip’s specific talent on “King Of Dreams”. It’s a harrowing experience right from the beginning, and intensely revelatory. Documenting the delusions and depressions of illusory grandeur and dark unquenchable lust.

It also hints toward the narcissistic use of power over everything in life before realizing the damage of this abuse.  What may be overlooked here is that Krysle Lip is really pushing the boundaries, as he creates sounds and imagery with poignancy and meaning behind it. Provoking powerful emotional associations from his audience.

“King Of Dreams” is absolutely remarkable, and a fully considered, far-reaching, moment-embodying audiovisual statement, from an artist with extensive charisma and theatrical flair.

OFFICIAL LINKS: WEBSITEINSTAGRAMFACEBOOKSOUNDCLOUDYOUTUBE

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Grim Singmuf: “Who am I?” – You can feel it in your skin and in your bones http://jamsphere.com/reviews/grim-singmuf-who-am-i-you-can-feel-it-in-your-skin-and-in-your-bones http://jamsphere.com/reviews/grim-singmuf-who-am-i-you-can-feel-it-in-your-skin-and-in-your-bones#respond Sun, 30 Sep 2018 13:33:19 +0000 http://jamsphere.com/?p=33253 Grim Singmuf, the artist raised in Fairmount Projects in Woonsocket, R.I. now residing in Mount Shasta, CA, is also part of a collective called Cesspool Asylum, for which he is a producer as well as recording artist. “Who am I?” is his first EP with this collective. This album was written and produced by Grim […]

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Grim Singmuf, the artist raised in Fairmount Projects in Woonsocket, R.I. now residing in Mount Shasta, CA, is also part of a collective called Cesspool Asylum, for which he is a producer as well as recording artist. “Who am I?” is his first EP with this collective. This album was written and produced by Grim Singmuf in Mount Shasta California’s Cesspool Asylum. It features Canna CDK of Earworm ENT. on 2 tracks – “PNEB” & “Not Like You”. These 2 tracks were released as singles each with 3 completely different remixes. Also appearing on these tracks is Mystah Spaulding the founder of Cesspool Asylum artist collective.

“Who am I?” is a particularly cohesive album helped in large part by the exceptional building on the foundation of the hardcore lyrics and versatile delivery. The Cesspool Asylum sound is large and infectious with eye-popping tracks with help from collaborators like the Collie Reeka on “Old Souls”, Canna CDK & Mystah Spaulding on “PNEB” and “Not Like You”.

The EP feels uniquely raw; you can feel it in your skin and in your bones. Even for those new to Cesspool Asylum, the album will have the power to recharge your love for underground, coast to coast hip-hop. Unlike many collectives, this group does not struggle to keep themselves relevant, and it shows here on their latest testament to their incredible dedication to the craft.

Their combined love of weed, free thinking, bass bumping, and being hip-hop junkies comes through these psychedelically induced tracks. Grim Singmuf brings depth and lyrical abilities to the formula of the collective. Therefore this EP has lots of flavor throughout. Grim and Cesspool Asylum crew remind us that music has an obligation to talk about the times we live in.

Musicians are our modern-day scribes, our poets, detailing the world as they see it for future generations to come to understand their ancestors. This album challenges us to think about where we are, and what we are leaving behind. And if this is any indication, we are indeed in need of change in a bad way.

If a preliminary listen to tracks like, “Just Like You”, “Count Your Blessings” and the title track, “Who Am I”, may lead you to believe Cesspool Asylum are your freedom-chasing, anti-mainstream musicians who perform to their own tunes, and shirk the endless shackles of the industry to follow their own destiny. You may just be right.

This free-spirited attitude is confirmed on “IDKWYBT” and “I Do This All The Time”. And then fully explained on the interview with Jer from Sleeping Bag Studios in Canada, which was set to instrumentation produced by Grim Singmuf.

The album has a raw, slightly unhinged feel to it. Some artists attempt to fuse musical styles together, and fail miserably. It quickly becomes apparent that Grim Singmuf is versatile, able to flow from one sound to another seamlessly and perfectly. His style of hip-hop and rap has no boundaries.

And this, more than anything else, is what Grim brings to Cesspool Asylum. “Who am I?” is what happens when you give a mic and production duties to a poet with a universal vision and a sweeping talent.

OFFICIAL LINKS: WEBSITEBANDCAMPINSTAGRAMTWITTER

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Rose Coyote: “Clever Girl” reveals its uncanny ability to get under the listener’s skin http://jamsphere.com/reviews/rose-coyote-clever-girl-reveals-its-uncanny-ability-to-get-under-the-listeners-skin http://jamsphere.com/reviews/rose-coyote-clever-girl-reveals-its-uncanny-ability-to-get-under-the-listeners-skin#respond Sun, 30 Sep 2018 00:01:13 +0000 http://jamsphere.com/?p=33244 Rose Coyote is a bass driven semi-electronic project made up Lydia Rose (Vocals) and Dave Hagan (Beats, Vocals, Engineering). “Clever Girl” is their 4th album in a year, and their first original recording. It is one of those few albums that is almost genre-less, so thematically and musically universal that it would be impossible to […]

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Rose Coyote is a bass driven semi-electronic project made up Lydia Rose (Vocals) and Dave Hagan (Beats, Vocals, Engineering). “Clever Girl” is their 4th album in a year, and their first original recording. It is one of those few albums that is almost genre-less, so thematically and musically universal that it would be impossible to pin a certain time and place on it. The duo’s post-punk quasi-space-pop and indie experimental sound, is quite unlike any other. This awesome record transcends the boundaries imposed by genres to generate something unique and utterly engrossing. There are firm melodies and stabs at structured songs, but each is interspersed with transistor-radio-styled vocals, slow-burning instrumental meltdowns, and bass-bumping claustrophobic production. The wry and explicit lyricism that punctuates “Clever Girl” appear as slight, ghostly whispers in between flashes of improvisatory genius and squeezed-out bursts of combustible energy. You can feel these intricate parts, like small grams of magnetic dust moving toward each other.

From a technical standpoint, the appeal is immediately recognizable. The various studio wizardries that Hagan employ here – ranging from an abundance of metallic keys, deep basslines and subtle electronic music influences, to a multitude of beats and other cutting and pasting of effects – makes it rather difficult at first to really pinpoint any one significant essence of Rose Coyote’s music. They simply have too many.

This duo slowly reveals its uncanny ability to get under the listener’s skin with each consecutive listen. Appropriately, the album can be set stuck in an infinite loop through the tracks that bookend it.

The hypnotic repetition these tracks possess really lets you submerge yourself into the band’s dark, spacey universe that’s bound to hold you captivated, if you’re willing to let it. Together with the mysterious and at times downright spine-tingling background instrumentation, the ideas Rose Coyote spout make Rose and Hagan’s state of mind almost tangible.

This makes listening to “Clever Girl” a mentally demanding, but ultimately very rewarding experience. Rose Coyote prove themselves to be rather essential listening for lovers of music that trades the unexpected paths for adventures in unexplored areas of sound.

Although each piece on this album sounds spontaneous, it’s the kind of work developed when a musical partnership becomes so synchronized with each other that they do not even need the familiarity of melody or time signature to have a sense for how the piece should sound as a whole.

Right from the opening track, “My Story”, the mood, the softly sung lyrical embellishments, the respective verses and choruses, as well as the course through the subdued melodies, turns into a catalyst of emotional sustain-release. “1/2lb Nugg”, promises something grittier, more propulsive bubbling just under the surface.

But things get groovier as the album progresses. “A California Song” which features a perfect combination of vocals between the singers, delivers an intense ride where “Rose Coyote” leans into the sheer rhythmic force of their music. “Badass Id Trip” shows an affinity for quaint sounds melding into one perfect, precise piece of music, within a distillation of futuristic experimentation and stoner purity.

The more haunting and intriguing songs, form me, come at the end of the recording, with “Split Personality” and “Drop The Bomb”. A total of six minutes of comforting wall-of-sound basslines which the vocals follow into a confident, haze-drenched wallop of a bliss.

Rose Coyote exhibit boldness in the construction and execution of their music, in a short, precise album which is equal parts inventive and masterful. It’s interesting, it certainly creates a mood, and the vocals float over the top in a way that’s hypnotically soothing. Rose Coyote tell peculiar stories and paint quaint moods. They remind you of something you’ve never heard before. Now go and figure that one out!

OFFICIAL LINKS: WEBSITESOUNDCLOUDBANDCAMPFACEBOOK

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DAV!D&CLARA: “Body Works” – a swirling sieve of synth-textured atmospherics http://jamsphere.com/reviews/davdclara-body-works-a-swirling-sieve-of-synth-textured-atmospherics http://jamsphere.com/reviews/davdclara-body-works-a-swirling-sieve-of-synth-textured-atmospherics#respond Sat, 29 Sep 2018 13:01:54 +0000 http://jamsphere.com/?p=33236 With such a wealth of personal experience to draw from,  DAV!D (David Castillo) and his trustworthy computer CLARA will never be short of lyrical inspiration for his songs, the beating heart of both of them having already been through more than you or I could expect to reasonably encounter in a lifetime. Melody, song structure and a […]

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With such a wealth of personal experience to draw from,  DAV!D (David Castillo) and his trustworthy computer CLARA will never be short of lyrical inspiration for his songs, the beating heart of both of them having already been through more than you or I could expect to reasonably encounter in a lifetime. Melody, song structure and a pop sensibility. The latter is something the new album “Body Works” never approaches – intentionally. Yet the signs are that DAV!D, plugging himself in to more obviously gritty electronic production this time has found an intense mode of expression that suits him extremely well. Confessional or redemptive lyrics feature strongly once again, prompting thoughts of DAV!D&CLARA’s finest songs. The project’s primal cry here opens a few emotional and sensual doors – the dark, metallic texture closer to Nine Inch Nails than ever before, but with a Darkwave and EDM twist.

The trimmings may be darkly laced, but when the crunchiness of the sounds threaten to envelop, the lyrical content overwhelms with the flipside. In pop terms, the songs are a shade too complex – but this means the subtly applied electronic cuttings have more time to work their magic, as they often do, in and around the vocals.

Brooding, slowly treading basslines patrol the lower reaches, while the lusciously lusty melodies stick firmly after a few listens. DAV!D&CLARA, it seems, are progressing into a well-rounded, mature songwriting team who play to all their strengths, and in particular the imposing voice, and its ability to move from a confidential whisper to a rabble rousing bellow.

These songs show DAV!D&CLARA in a newly redemptive prime, and will satisfy both short and long term devotees. One of the challenges for any singer is learning how to write songs that fit his or her talents. It may seem obvious, but you’d be surprised how many otherwise good singers forget this simple fact, not that I’m naming any names.

“Body Works” is filled with songs that take advantage of DAV!D’s voice which is melancholy, languorous, slightly disaffected with a core of honest sentiment. If there’s a reason why DAV!D is probably an archetypal synth-type vocalist, it’s showcased on this album. He sounds as goth-rock, new-romantic and industrial as deeply as anyone else I can think of.

DAV!D’s voice is able to undress the listener with its sultry vocal stroking, while CLARA has smooth, clean, fluid lines that are stacked by rumbling buzz-saw stylistics. Together the two, synergize an opiate state and Arcadian conditioning that preens of resonating, visceral and sensuous ambient flourishes.

From the moment the album opens with “Do it like you mean it”, and then moves through standouts like “Blood Moon “X62”, “Sunset Eyes” and “Luxe Life”, you realize that DAV!D&CLARA’s songs are less artsy and more emo-throttled than many of their genre contemporaries.

The industrial tendencies in the synth patterns for the tracks on this album create moving pictures anchored by heavily chained beats with sumptuous emo-driven sonic furls. This is immediately evident in another cluster of standouts:  “Shooting Star”, “Soaked”, “Golden and Delicious” and “Bodywork”.

The lyrics supply carnal answers as the music produces a swirling sieve of synth-textured atmospherics around DAV!D’s breathy vocal rises and falls. The electro streaks turn hard and biting, impressing a Goth rock chill through the wavy melodic tissues. DAV!D&CLARA fuses a number of elements into the music while being steadfast to the inflaming synth chimes.

“Body Works” certainly presents a fully grown and matured DAV!D&CLARA – musically, lyrically, and vocally. The feeling that he lives inside these songs is vivid: both epic and minimalist, the album solidifies his writing abilities while his unshakable baritone reasserts his performing credentials.

Get DAV!D&CLARA’s new album “BODYWORK”.
Bandcamp: http://tinyurl.com/p3ls2cu
iTunes: http://tinyurl.com/q5muhky
Spotify: http://tinyurl.com/pk8gaxa
Amazon: http://tinyurl.com/osxgoys

SUBSCRIBE to DAV!D&CLARA: 
Website: http://www.davidandclara.com
Twitter: http://twitter.com/davidandclara
Facebook: http://facebook.com/davidandclara
YouTube: http://www.youtube.com/thedavidandclara
Spotify: http://tinyurl.com/pk8gaxa

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SNY: “I Might” bubbles with the most infectious joy! http://jamsphere.com/reviews/sny-i-might-bubbles-with-the-most-infectious-joy http://jamsphere.com/reviews/sny-i-might-bubbles-with-the-most-infectious-joy#respond Fri, 28 Sep 2018 13:41:33 +0000 http://jamsphere.com/?p=33227 ‘SNY’ or ‘Sonny’ is a recording artist hailing from the golden beaches of the Gold Coast Australia, he has been breaking down barriers from a young age. His debut album “The Distance Between Dreams” debuted at #67 on the Australian iTunes Album Charts and hit #7 on the Australian Hip-Hop/Rap Charts. He now comes flying […]

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‘SNY’ or ‘Sonny’ is a recording artist hailing from the golden beaches of the Gold Coast Australia, he has been breaking down barriers from a young age. His debut album “The Distance Between Dreams” debuted at #67 on the Australian iTunes Album Charts and hit #7 on the Australian Hip-Hop/Rap Charts. He now comes flying out of the box with his latest single and supporting visual, entitled, “I Might”. An intense rapper, SNY’s delivery is fueled by reckless abandon, an impatient thirst for adrenaline and a flagrant disregard for authority. In keeping with his reputation for creating emotive, exhilaratingly fierce intro tracks, on “I Might” he flows passionately over a grandiose orchestral-styled beat, and there’s a couple of lines in particular which sticks out the most, giving us a clue to SNY’s mindset: “Got my wings out now, and I’m flying right now, and I’m high right now. I’m just doing what I want, walking how I want, talking how I want.”

SNY is an incredible rapper, and he’s got enough energy to potentially shake up the game. The excellent production serves as fuel for the fire, and the result is a banger of a track, hands down.  Malicious production, hard-hitting rhymes, and a killer vibe make “I Might” a can’t-miss.

It exemplifies a winning mentality, in all its glory. Though SNY is emotional and energetic, there’s a relaxed vibe about his delivery that actually puts more weight on what he’s rapping.  It’s the song that bubbles with the most infectious joy. It makes you relate to the Australian rapper’s grind and want to share in any success he achieves.

Listening through his catalog you can hear how SNY applies his melodic bark to a wide, kinetic range of beats, and his verses on “I Might” indicate that he’s never had so much at stake on a personal level. There’s more urgency in both his bravado and his reflection.

Thanks to that bravado, this single can be described in one word: exciting. But while much of this track’s strength comes from SNY’s impenetrable flow and the grandiose instrumental, it’s not like he doesn’t have things to say. His language tends to be direct, and there’s wisdom in his grit.

Sometimes SNY backs away from street rap stylings in favor of euphoric pop, like on “Drip Walk”, “Livin” or “Moncler”. Those songs, however, don’t disrupt his style at all; in fact, SNY sounds really comfortable on them. There are plenty of people who’d argue that SNY should be bigger than he currently is. Then again, he has been working hard towards earning a spotlight for himself.

In the rap game artists have to scratch and fight for the respect of the public. And respect isn’t some tangible commodity you can grab up and hoard. Building a formidable profile is precarious business, but “I Might” establishes SNY as an artist with the ambition to go big and the finesse to stick his landing.

OFFICIAL LINKS: WEBSITEINSTAGRAMTWITTERSPOTIFYSOUNDCLOUDYOUTUBE

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Jupiter Gray: “Flowasis” – a breath of fresh air for the urban genres http://jamsphere.com/reviews/jupiter-gray-flowasis-a-breath-of-fresh-air-for-the-urban-genres http://jamsphere.com/reviews/jupiter-gray-flowasis-a-breath-of-fresh-air-for-the-urban-genres#respond Wed, 26 Sep 2018 23:37:20 +0000 http://jamsphere.com/?p=33223 “Flowasis” marks Ohio rapper, Jupiter Gray’s first project since coming out as a transgender woman. Gray has been exposed to a large quantity of influence and culture from a young age. Born to parents with strong musical abilities, it seemed only natural that Jupiter would find herself in the music industry. If there is any […]

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“Flowasis” marks Ohio rapper, Jupiter Gray’s first project since coming out as a transgender woman. Gray has been exposed to a large quantity of influence and culture from a young age. Born to parents with strong musical abilities, it seemed only natural that Jupiter would find herself in the music industry. If there is any justice in this cruel and unfair world, Jupiter Gray will soon become one a universally respected artist. Her versatility is unparalleled in today’s underground Hip-Hop/R&B scene. Jupiter exudes copious amounts of charisma on every track included here. This lady has a rare ability to blend genres in a uniquely approachable manner. The grooves come at you from multiple angles.

Mainstream modern Hip-hop and R&B music is beginning to become a stale and bland genre. Though occasionally fans get albums from outstanding artists who break away from the generic style, many urban artists today rely a little too much on clichéd sounds. However, “Flowasis” is the kick in the ass the genre needs.

It is an ambitious record with a new and original sound of its own that takes influence from Hip-hop, R&B, Pop and Electronic. The EP starts off extremely strong with songs like “I AM a Woman” and “W.T.F (Welcome To Flowasis)” which show off Jupiter’s incredible singing and rapping skills, as well as the recording’s catchy flow and instrumentation.

This first section of the recording is where Jupiter Gray strongly asserts the status of her sexuality in no uncertain terms. It is a section of the EP that is particularly emotional and engaging, and closes out with the dramatic, cinematic-styled synths of “Queen Pinnin”.

Artistically though, a huge part of what makes “Flowasis” truly unforgettable is the second half of the EP, which almost feels like a completely different musical experience. Since it focuses more on fleshed out alternative arrangements, and the recording begins to center itself around a more daringly bold musical statement, which is something we don’t get enough of in many EP’s or albums today.

“High Note (Ft. Kidd Misfit)” rides in on a joyous harmonic sample that drives the momentum of the track, allowing Jupiter to lay down a spectacular rap flow where she shows of the confidence in her talent as well as her sensuality.

“Trouble In Paradise (Ft. Terrance Damien)” is a track full of powerful vocals from Jupiter herself, who’s voice is impactful and incredibly expressive, in any range she chooses. This is a track that simultaneously shoves its message right in your face, whilst providing subtleties that makes it well worth returning to for multiple listens.

The production on this EP is just as striking as the vocal work. The keyboard motifs are particularly haunting, and the backing vocals round out the sound effectively, but what really makes the production on “Flowasis” special, is the way that the hip-hop beats and electronic ideas are so seamlessly integrated.

The EP closes down with a beautifully poignant love ballad entitled “Runaway”. This is a powerful and honest song and is absolutely worth lots of your time.

“Flowasis” has quickly shown itself to be a breath of fresh air for the urban genres. It also puts Jupiter Gray in the spotlight, and marks the beginning of a promising career for her. If we get more interesting and thoughtful records like this from Jupiter, she will no doubt have the potential to become a decade-defining artist in the future. In more ways than one!

OFFICIAL LINKS: SOUNDCLOUDITUNESTIDALTWITTERINSTAGRAM

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J-Hamz ft. Jesse Peters: “Keep On Lovin’ Official Remixes” – tracks to wildly bang off the rails to! http://jamsphere.com/newreleases/j-hamz-ft-jesse-peters-keep-on-lovin-official-remixes-tracks-to-wildly-bang-off-the-rails-to http://jamsphere.com/newreleases/j-hamz-ft-jesse-peters-keep-on-lovin-official-remixes-tracks-to-wildly-bang-off-the-rails-to#respond Fri, 21 Sep 2018 18:15:58 +0000 http://jamsphere.com/?p=33197 Electronic music producer and classically trained pianist J-Hamz has accumulated a series of accolades which include Beatport Staff Picks and Top 10s, FM radio play across Canada and the USA, and nominee for Electronic Recording of the Year 2017 at the Edmonton Music Awards. He has had his songs remixed by producers in Canada, the […]

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Electronic music producer and classically trained pianist J-Hamz has accumulated a series of accolades which include Beatport Staff Picks and Top 10s, FM radio play across Canada and the USA, and nominee for Electronic Recording of the Year 2017 at the Edmonton Music Awards. He has had his songs remixed by producers in Canada, the United States, Germany, Japan, and Russia, including “Keep On Lovin’” – featuring lyrics and vocals by Jesse Peters – in a remix contest with Digital Empire Records. Now the hard working producer has just dropped his 8th release – “Keep On Lovin’ Official Remixes” featuring Jesse Peters, with remixes by Xandie and Ready Or Not.

While it’s impressive to take an average song and remix it into something strong, there’s even more merit in taking a great song and making it both different and equally good – it’s more challenging for the artist and it’s more exciting for listeners. It’s with that basic idea in mind that that these remixes come alive on “Keep On Lovin’ Official Remixes”.

At the same time we have to bear in mind that it is hard to create a perfect remix, there’s a lot to think about. It has to be similar enough to recognize the track, without sounding identical. Yet it has to be unique without sounding like a completely new song.

The remixer has to infuse enough of his own style into the remix that the whole exercise is worthwhile. It has to give the listener something new and different, something the audience didn’t hear on, or imagine about the original. And of course, it has to sound good enough that people will actually listen or dance to it.

To all intents and purposes, Xandie and Ready Or Not have succeeded in crafting their own personalized remixes of “Keep On Lovin’” by J-Hamz. Jesse Peters’ soulfully immaculate vocals mixed with a set of highly recognizable synth hooks and thumping basslines made J-Hamz’s original future house composition a truly one of a kind track.

Ready Or Not leads his remix in on a march of percussion before washing it down with a wave of warm keys to introduce Jesse Peters’ vocals. What follows next is an explosion of growling basslines, buzzing synths and an abrasive attack of electronic effects.

At the same time Ready Or Not manages to keep the main melody running in the forefront so that the track does not lose the infusion of J-Hamz’s identifiable roots. The incredible production quality and full-on sonic-assault take, on the traditional future-house styled arrangement, breathes new life into the song.

Xandie steps up to the plate with a smooth groove and audio euphoria imprinted onto his template. He starts with the former and then works his way through to the latter, before repeating the process, until he melts your ears into some form of liquid ice.

Xandie’s remix goes in search of sophisticated profundity with a low end kick drum, reverberating vocals, airy keyboards that swirl and shimmer, and enough white noise to form an aura of dreamlike haze. It’s spellbinding enough to lock onto the dance-floor or entrance your senses through a pair of headphones.

So while J-Hamz’s original version of “Keep On Lovin’ ft. Jesse Peters kicks some serious ass on its own, the explosive power of Xandie and Ready Or Not’s electronic craftsmanship on the  “Keep On Lovin’ Official Remixes”, offers two EDM tracks to wildly bang off the rails to!

OFFICIAL J-HAMZ LINKS: WEBSITE – SOUNDCLOUD – FACEBOOK – INSTAGRAM – TWITTER– YOUTUBE

PREVIEW / BUY / STREAM LINKS: www.j-hamz.lnk.to/KOLofrx

Apple Music: www.bit.ly/appleKOLofrx

iTunes: www.bit.ly/itunesKOLofrx

Spotify: www.bit.ly/spotifyKOLofrx

Beatport: www.bit.ly/btptKOLofrx

Soundcloud: www.bit.ly/soundcKOLofrx

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Love Ghost: “Scarlet Letter” – a potent artistic and social statement http://jamsphere.com/reviews/love-ghost-scarlet-letter-a-potent-artistic-and-social-statement http://jamsphere.com/reviews/love-ghost-scarlet-letter-a-potent-artistic-and-social-statement#respond Thu, 13 Sep 2018 13:40:01 +0000 http://jamsphere.com/?p=33097 The scarlet letter is meant to be a symbol of shame, a stigma someone bears for a misdeed he or she has committed. The term often refers to public shame forced upon a person as a means of ostracizing him or her. Those branded with a scarlet letter feel the punitive vengeance of an unforgiving […]

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The scarlet letter is meant to be a symbol of shame, a stigma someone bears for a misdeed he or she has committed. The term often refers to public shame forced upon a person as a means of ostracizing him or her. Those branded with a scarlet letter feel the punitive vengeance of an unforgiving society. Instead it becomes a powerful symbol of identity, in the latest video of the song, “Scarlet Letter”, taken off the album “Lobotomy” by the Los Angeles alternative rock band, Love Ghost. The video tells the story of the band’s violist, Mya Greene and her misdiagnosis with Autism when she was a child. The song helps to point out the danger and ultimate meaninglessness of society’s system of judgment and punishment in some most cases. The almost 7 minute long video, plays out like a short story and is impactful in its message. Hence it is no surprise that the visual has scooped up a number of awards.

Ellie Siler who plays the part of the narrative’s protagonist, is simply stunning in her role, constantly capturing the viewers’ attention with her communicative body language and distinctive physical attributes. Directed by Michael V Greene, with Photography by Nic Capelle, the video captures the essence of an at once compelling and distressful storyline conveyed by Mya Greene.

You can tell that a lot of thought and care went into putting the right visuals and sound. The work was certainly done by collective artistry and not a bunch of opportunists. And in terms of cultural relevance, this track seems to signal the outfit’s apex so far.

What sets “Scarlet Letter” apart from the rest of Love Ghost’s catalog is the way in which the song so succinctly realizes its overarching theme while managing to still remain an accessible listening experience for many.  There are arguably heavier songs and catchier ones in the band’s collection of tracks, but it’s hard to find a more potent artistic and social statement than that of “Scarlet Letter”.

The track opens with the eloquently jarring lines: “In a chamber the stigma glowed / A warm December day it was bestowed / The scarlet letter for all to know / How the shame could grow” – quickly laying down the narrative’s afflicting outline.

“Scarlet Letter” is more than just another music video or song, able to be thought of as something that an artist turned up to record, took to the producer to mix, and then released. It’s a statement.

It’s hard to really think of a more fitting opening for the recording than the sound of a steady beating drum and a wavering viola playing as a backdrop to Finn Bell’s poignantly rasping voice. There’s something viscerally fascinating about this song as it takes the listener on a journey through a merciless persecution, with all the metaphors for a cruel society present in its story.

The track as a whole is imbued with such a sense of otherworldly stupor and menace that at times it seems as if Finn Bell (Vocals, keys, guitar), Mya Greene (Viola), Ryan Stevens (Bass) and Samson Young (Drums), are close to a grand implosion – such is the power of the taught emotions running through their performances.

The imagery created, the way that the music backs it up: it’s impressively impactful, and that’s the only way to describe it. But, more importantly, it’s real. I think everyone can identify with “Scarlet Letter” on some level. While young in age (two of them are juniors in high school), these musicians have developed a mature grunge- tinged alternative rock sound.

Love Ghost released their first full-length album “Lobotomy” on June 17th. The album was produced by Eric Lilivois and was recorded at London Bridge Studios in Seattle & NRG Studios in Los Angeles.

OFFICIAL LINKS: WEBSITEINSTAGRAMYOUTUBETWITTERFACEBOOKSOUNDCLOUDSPOTIFY

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Vessel Decimal – “CONVERSION: Level One” – a truly triumphant album! http://jamsphere.com/reviews/vessel-decimal-conversion-level-one-a-truly-triumphant-album http://jamsphere.com/reviews/vessel-decimal-conversion-level-one-a-truly-triumphant-album#respond Tue, 11 Sep 2018 18:35:10 +0000 http://jamsphere.com/?p=33089 The appeal of Vessel Decimal – a band founded in Cleveland, Ohio in 2007 – lies in the sheer strength of the songwriting. Moreover there are powerful riffs, and you’ll get lost in the grooves, absorbing the punishing crush of the bottom end, but also reflecting on the narrative elements found on the brand new […]

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The appeal of Vessel Decimal – a band founded in Cleveland, Ohio in 2007 – lies in the sheer strength of the songwriting. Moreover there are powerful riffs, and you’ll get lost in the grooves, absorbing the punishing crush of the bottom end, but also reflecting on the narrative elements found on the brand new album, “CONVERSION: Level One”. Vessel Decimal are all about the balance found in the music, and the spiraling riffs that define their sound demonstrate that time and time again. It’s nice though that the band takes the time to back off, to allow you to revel in the lyricism they have created and also to realize that there are a ton of different directions that a band like this can go. It’s important to have a sense of purpose in music and this record is a perfect example as to why. Vessel Decimal never try to be more than what they are, but what they are is truly triumphant. Everything is perfectly calibrated, set up in such a way that we can see every moving part and fall in love with the band no matter where we are in the record.

“CONVERSION: Level One” is a record that opens up like a wound, as it grows and splits, unfurling into an ever grander inquisition of modern existentialism. It pushes and pulls against itself creating pockets of darkness that the sparse trappings of melody fall helplessly into.

This is thrilling stuff – a vivisection of twenty-first century living. Musically linked, as it is, the flow from track to track is part of what makes the album such an immersive listen, a perfectly executed recreation of their crushing and sensory-overwhelming performances that’s been expertly captured on record.

The entire album at times feels like a warning from the future that spontaneously combusts into life. You can attempt to dig out any hidden meaning in the song titles, but it’s easier than ever to make your own interpretation of the tones, textures and emotions that are being communicated.

Though at the end of the day, Vessel Decimal has kindly supplied lyric sheets to make sure you grasp each meaning and message correctly. Ultimately, the album is a masterpiece in the art of emotional communication through musicianship and lyrical narration – as it seeks to be a true reflection of the human experience.

Right off the bat, Vessel Decimal move into the thick of things quickly with “I Turn”: “What’s the opposite of substance? Tell me why it’s so popular. I rack my brains and never find an answer. And I stretch and I strain. And I try to relate. Would someone please explain to me, why this trend carries so much weight?”

But the band really moves into overdrive on the slamming “In The Beginning”, as they look at generational transformation: “The stereotypes of suburban life. The neckties and the 9 to 5. He pays the bills, she cooks and cleans. She’s at the market, he’s at the factory,” and then they switch into: “But their children interrupted these patterns as a form of submissive automated government slavery.”

There’s one moment on the album which genuinely sends chills down the spine, and it’s the opening explosion of “Idiot Anthem”: “Tonight is all about forgetting what life’s all about. And getting all our bodies up and moving right out of the door. We’re saying ‘yes’ and ‘give me more’. We’re leaving rich and returning poor.”

No doubt, “CONVERSION: Level One” is a fist in the air statement for a much needed revolution in thinking, a renaissance which Vessel Decimal seem increasingly keen to usher in with their own particular brand of cybernetic, digitally enhanced, progressive metal music.

Elsewhere across these 14 tracks, Vessel Decimal blaze their own trail, with shock-wave rhythms, sludgy riffs, and pulsing bass-work. There are honest to God incredible riffs and lyrics here that feel like they’re extending what the band are capable of, almost adding a new depth to their dynamic ability.

The hit extremely hard on “Get To The Climax”, mixing melodic and harsh vocals, in an anthem that starts out with the statement: “Fabricating new territory of cravings. Building new desires from algorithms.” “The Light Web” examines the power of communication and the manipulation of the media, while the upbeat, “The Stupid Songs” takes a closer look at our hedonistic tendencies.

The instrumental “Grasp” is certainly cause for deep reflection, while the soaring drive of “The Storefronts” navigates its narration through the threats of consumerism. This is one of the album’s standout tracks.

But the best is still to come with “Burst”, “Things “Will Never Be The Same” and the epic fifteen minute track, “The New Trail”, which finds the band firmly in an expansive post-metal/post-progressive-rock landscape.  Here the band breathe new life into an often dull and played-out set of genres with dazzling results.

There is definitely a sense of purpose that guided Vessel Decimal, to create a collection of songs which carry a more determined sense of identity and meaning. The band have always been phenomenally talented, and their ability to write truly incredible songs has been consistent.

Whatever factors determined the significant tweaks that makes “CONVERSION: Level One” such an excellent album are surely to be repeated again, as Vessel Decimal have created their best work yet, and they feel more focused and driven than ever before.

OFFICIAL LINKS: WEBSITEFACEBOOKSPOTIFYITUNES

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Better Royals – Their blend of sweet and spicy sound, is totally alluring! http://jamsphere.com/reviews/better-royals-their-blend-of-sweet-and-spicy-sound-is-totally-alluring http://jamsphere.com/reviews/better-royals-their-blend-of-sweet-and-spicy-sound-is-totally-alluring#respond Tue, 11 Sep 2018 12:23:54 +0000 http://jamsphere.com/?p=33083 Better Royals unites pop singer Jenny B (seen on Broadway and Discovery Kids-TV), hit hip-hop artist Klokwize (‘A Little Respect’ with Suga Free), and the crew’s longtime live percussionist Rich Stone (heard with Polar Planet, Mission Transmission, Klokwize & more) for a festive Hip-Hop, House and EDM project designed for dance floors and drop tops. […]

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Better Royals unites pop singer Jenny B (seen on Broadway and Discovery Kids-TV), hit hip-hop artist Klokwize (‘A Little Respect’ with Suga Free), and the crew’s longtime live percussionist Rich Stone (heard with Polar Planet, Mission Transmission, Klokwize & more) for a festive Hip-Hop, House and EDM project designed for dance floors and drop tops. The collective’s self-titled debut EP features production from Grammy-nominated Bruno Mars producer ‘Uncle’ Dave Foreman, as well as legendary rapper Rakim’s son Tahmell Beats, Ant Quint, Miles Elliot, and Chris Azure. The 6 track “Better Royals” EP is unlike the gluey, glazy bedroom recordings that define the current electronic landscape, it takes pride in polishing its songs to a mirror shine.

Take the opening track “Midnight” a three and a half minute rhythm and groove kaleidoscope in which, amid an utterly exhilarating vocal scuttle, Better Royals deliver their welcoming lyric, “Come on and ride with me, ride with me. Come on and fly with me, fly with me.”

The song feels unmistakably crafted, sewn together in a studio and designed from the ground up to deliver the most stimulating listening experience possible. “Dance Floor” sounds like it was buzzed in from a cooler era, completely and happily influenced by the golden years of dance music development.

Better Royals infuse “Dance Floor” with smooth vocal harmonies and an urban rap edge. This blend of sweet and spicy sound, is totally alluring. By the time you hit play on the airy and expansive “How Many Times”, it’s clear that Jenny B has a voice that’s really hard to ignore.

It’s as modern as its nostalgic, and both penetrating and soothing at the same time. She is the perfect foil to Klokwize’s gruff n’ groovy flow. Although he is also very capable of throwing in his melodic crooning.

Which brings us to the lovelorn mid-tempo track, “Over + Under”, where the two singers just meld together so beautifully. Aligned with the hypnotizing beat laid down by Rich Stone, the vocals are what truly makes this track worth listening to.

When “Good Time” kicks in, it confirms that Better Royals has perfected the ability to make feel good hits with a cutting edge. They’re fun and easy to listen or to dance to, which proves they’ve nailed their niche. Their impressive telescoping of old influences and current backdrops is perfectly displayed here again.

A funky jangling guitar riff, a deep rolling bassline and party driving percussion, is a formula that Better Royals are able to execute with absolute ease. “Runaway” provides another sure sign that the trio are living in the moment just like their audiences, as they blend mellow lounge groove with street-wise hip-hop elements.

Undoubtedly fashionable, it’s impossible to deny that “Better Royals” is a tight, unified and filler-free recording. It also makes palpable the pop songsmith components in these electro-dance foundations. Energetic and groove-happy in most parts, with just enough soulful elements to create a record of brilliant diversity. This is definitely one of the best dance records to be released over the past year.

OFFICIAL LINKS: SPOTIFYAPPLE MUSICFACEBOOKTWITTERINSTAGRAM

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Tamara Radjenovic – flawless in vocal quality and presence! http://jamsphere.com/reviews/tamara-radjenovic-flawless-in-vocal-quality-and-presence http://jamsphere.com/reviews/tamara-radjenovic-flawless-in-vocal-quality-and-presence#respond Sun, 09 Sep 2018 13:42:28 +0000 http://jamsphere.com/?p=33075 La Boheme is one of the most beautiful opera’s concerning love, death and pure sadness. It is one of those operas where one audience members are in tears in the first bar or so, that is if they know how the opera ends. And the gorgeous score by Puccini is to thank for that. The […]

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La Boheme is one of the most beautiful opera’s concerning love, death and pure sadness. It is one of those operas where one audience members are in tears in the first bar or so, that is if they know how the opera ends. And the gorgeous score by Puccini is to thank for that. The finale to act 3 and Mimi’s death are two of the most heart-rending scenes in the whole of opera history. In my opinion, few people can sing or play Mimi and Rodolfo better than Mirella Freni and Luciano Pavarotti. The two are incomparable. They are simply the quintessential example of operatic excellence. Recently I had the pleasure of listening to the young Tamara Radjenovic sing “Mi chiamano Mimi” from La Boheme. She was flawless in vocal quality and presence. Hardly has a soprano – outside of Freni to my mind – captured the essence or soul of Mimi as beautifully and gracefully as the young Montenegrin opera singer.

A truly signature role, Mimi is performed by Radjenovic, with a voice that carries drama as well as innocence, the perfect blend for the perfect Mimi. It reminds one what opera is all about – passion and beautiful singing. Of course another thing Tamara shares with Mirella is her physical beauty.

It’s not a defining quality in the operatic arts, but it’s definitely an unusual one that smashes the clearly sexist, and moreover outmoded thinking, in a genre where we’re used to hearing about the stereotyped ‘fat lady’ singing. The days of having large girths or imposing statures is casually giving way to singing divas who could easily compete with sexy Top 40 pop stars of our time.

More importantly though, Tamara Radjenovic has a clarity of tone that is beautiful to hear, while she blends and balances her timbre perfectly. She is at once urgent, compelling and, above all, believable, as her voice soars along the top of her range. She articulates her notes so naturally that one can only applaud her exceptional authority and insight.

And at her age that is an extraordinarily precocious quality. All-round Tamara is a resourceful singer – one of formidable expressive power and scrupulous musicianship. The depth of feeling she puts into her performances cannot leave an audience unmoved.

Tamara Radjenovic and Friends, will be at the Carnegie Hall on Saturday, September 22, 2018 at 8 PM. They will be performing works by Bellini, Donizetti, Puccini, Verdi, Delibes, Guastavino, Obradors, Lara, Sorozabal, Gounod, Penella and Donaudy.  I doubt this is something you would want to miss!

MORE ABOUT: Twenty-three year-old soprano, Tamara Radjenovic is a rising opera singer with origin from Montenegro. Playing the piano from the age of 6, Tamara has always been musically inclined. She recently graduated from the Royal College of Music, in London Voice Performance and was awarded a scholarship to complete her Master’s degree at the same college. Tamara has performed in different international and national projects, festivals, and master classes, as well as competitions in Montenegro, Serbia, Slovenia, Austria, England, Germany, Italy, Spain, and Mauritius. Tamara cooperates with the diva Montserrat Caballe and performed twice in her gala concerts in Spain. Her operatic debut was last summer at the Mediterranean opera festival in Sicily, where performed Mimi in La Boheme. She will make her debut in the United States at the Carnegie Hall in New York during September.

OFFICIAL LINKS: WEBSITEINSTAGRAMTWITTERFACEBOOKYOUTUBE

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KBong: “Easy To Love You” keeps every promise made with its resonant title! http://jamsphere.com/reviews/kbong-easy-to-love-you-keeps-every-promise-made-with-its-resonant-title http://jamsphere.com/reviews/kbong-easy-to-love-you-keeps-every-promise-made-with-its-resonant-title#respond Sat, 08 Sep 2018 11:41:35 +0000 http://jamsphere.com/?p=33060 Kevin Bong aka “KBong” is a Hawaiian born and San Diego native. The multi-instrumental artist who is well-known for his ‘key’ role in Stick Figure. Touring with the group since 2012 KBong has solidified his status as one of the top keyboards players in the current reggae scene. KBong’s debut solo studio album “Hopes and […]

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Kevin Bong aka “KBong” is a Hawaiian born and San Diego native. The multi-instrumental artist who is well-known for his ‘key’ role in Stick Figure. Touring with the group since 2012 KBong has solidified his status as one of the top keyboards players in the current reggae scene. KBong’s debut solo studio album “Hopes and Dreams” dropped in 2014. The artist has shared the stage with bands such as Stick Figure, Passafire, Tribal Seeds, The Steppas, HIRIE, Ezzrah, Mike Pinto, John Brown’s Body, New Kingston, Micah Brown, HI Roots and more. On August 24 2018 the artist released his second studio album “Easy To Love You”, produced by Johnny Cosmic, who also featured on the recording alongside Scott Woodruff (Stick Figure), The Movement, and Raging Fyah. This is beautifully arranged reggae album with some outstanding tracks that takes the essence of reggae and provides a modern Cali sensibility without losing the soul of its core sound.

This is music to dream, music to let your thoughts run free, and even music to dance to, if you want. Somehow, KBong succeeded in making every song come alive with an individual characteristic that goes beyond the stylistic variety of the release, almost personifying each piece.

The opening and title track, “Easy To Love You” (feat. The Movement), sets the pace for what is to follow: a vocally mature KBong delivers uplifting feel-good lyrics spread onto an instrumental carpet of rich bass, resonant keys and crisp drums. Skillfully backed by the band, KBong invites us into his very melodic vision of Reggae.

On a bright and joyful rhythm, “Good Lovin” brings yet another positive groove infused with swaying horns. With a catchy melody, well-arranged harmonies lyrics and an endearing swag, KBong presents himself as an international sounding artist to be reckoned with, on “Middle Of The Ocean” (feat. Stick Figure).

On “Heavy As Gold”, KBong’s bright strumming is matched by the luscious strings and singing that whispers, proclaims, imparts, trills and inspires. These are songs that elicit a deep emotional response and make you feel alive.

It is all about expanding a feeling and sending it out to the world. And few songs do it explicitly better on this album than “Music and the Message”, as KBong sings: “Music in the message, the message in the music. And the message is love.” In the slower and romantically calming, “Long Distance Lover”, KBong’s voice seems to gracefully absorb and echo his emotive ode.

While I had been smitten by the beat alone on “Need A Ride”, there is indeed a whole galaxy of words to dive into, and the way KBong’s voice plays, constructs, deconstructs the lyrics is pure art. Not to mention the sumptuous trumpet solo.

The same can be said about “Travelin On” as well. There is such a deep, intricate relation between the core reggae beat and the way the KBong wraps his voice around and through it, that every note seems to condition the words riding them and vice versa.

Embedded into the ethereal keyboard work and vocal harmonies of “Open My Eyes” is a synthesis of these arts that sets a high standard in terms of quality and innovation. “Lovelight” drips emotion and taps into that nostalgic edge that my brain seems to thrive on.

With “One More Song” (feat. Johnny Cosmic) and “Awake” (feat. Raging Fyah) – two of the album’s standout songs – KBong has managed to weave lush and hypnotic threads together, creating a fabric of message and sound anybody can relate to.

KBong has delivered an album that is worthy of the title he has chosen for it. “Easy To Love You” keeps every promise made with its resonant title. A title that enriches this year and every year to come with joy, melody and message. Open your hearts and ears to the stories KBong has to tell.

OFFICIAL LINKS: WEBSITEINSTAGRAMFACEBOOKSOUNDCLOUDYOUTUBE

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Camila Paiva is such a special kind of artist! http://jamsphere.com/newreleases/camila-paiva-is-such-a-special-kind-of-artist http://jamsphere.com/newreleases/camila-paiva-is-such-a-special-kind-of-artist#respond Wed, 05 Sep 2018 12:23:42 +0000 http://jamsphere.com/?p=33025 Camila Paiva was born in Brazil and as a toddler moved to Boston, Ma, where she grew up and spent most of her life, as well as where she got her start in the music scene. She remembers singing her own versions of American songs through a Barbie Karaoke microphone at the age of 5 […]

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Camila Paiva was born in Brazil and as a toddler moved to Boston, Ma, where she grew up and spent most of her life, as well as where she got her start in the music scene. She remembers singing her own versions of American songs through a Barbie Karaoke microphone at the age of 5 and knocking people out with her performances at family cookouts. By the age of 8 Camila took an interest to writing poems and eventually started turning her poems into songs. “I was quiet about it for a long time, I was always nervous about how people might react,” she says. “I’d never taken classes, but in private I learned to play the keyboard by watching YouTube videos.”

She was introduced to producer Mike Cip, who became a friend and mentor, and it was there at Split2nd Entertainment Studio that she began her journey into becoming a seasoned musician. Mike allowed Camila her access to his studio which ultimately gave her the experience needed to learn the basics of producing and engineering.

At that same studio she would meet Justin Mercurio, a Boston bred producer/artist who also became a long time mentor, and eventually her boyfriend. “There was a point where I felt like I had finally found my identity as a musician and that I had gotten all that Boston had to offer me as a musician,” says Camila. “Justin felt the same, so we packed our things and drove to Cali the next week.”

Now with Justin taking on the role of producer, Camila Paiva’s career was ready to move to the next level, as she became even more comfortable creating in a studio environment. Listening to her latest single releases – “Crazy” and “No Comparison”, I think it’s fair to say that Camila is such a special kind of artist.

There’s something admirable about truly stepping out on your own, as your own person, and pursuing your dreams, able to stand without the crutch of a major label. With Camila’s excellent releases, her breathy vocals and sprite-like magnetism she seems ready to gain a considerable following, and creating a demand that will grow exponentially over the next few years.

She has a depth to her music that seems so rare nowadays – of connecting with her audience in such a genuine way. The sound of her vocals and the production is laser sharp focused, yet very dreamy and soulful. It’s a whimsical sonic status that few artists know how to execute in a way that comforts yet makes people sit up and listen carefully.

The electro spaced-out “Crazy” features syncopated, but scattered bass lines and drums with the rhythm maintaining an understated measure. The track becomes an immediate indicator that Camila Paiva intends to center the track on her emotion and romantic narrative, and not any other way.

Her voice is the leader in this particular, very personal introspective heart-beating dance. Slow-rolling and ethereal, the production contains subtle nuances, which accentuate the brilliant lightness of her voice. Camila’s vocals are intriguingly attractive, as she puts the onus of the progression of her relationship on the object of her desires.

The song style choices for these new releases are indeed demanding for Camila Paiva. Her voice prances across the compositions with a high level of confidence and a great deal of control. It seems that Camila has really tuned into her strengths as a singer, and has personalized songs like “No Comparison” to comply with them.

Comfortable with describing relationship intricacies, the word play is masterful in this song. Camila’s verses have great depth, and overall concepts that evoke an urge for deeper understanding and meaning about life and love. This makes it easy for fans to feel a connection with her as an artist.

“No Comparison” definitely has the potential to be every women’s private, personal anthem. Camila’s voice croons through this track flawlessly, as she claims that there is no comparison to her love. Overall, these new songs confirm that Camila Paiva is indeed traveling on the right road in her career.

Her vocals fuse perfectly with the production as if she is floating across the beats, creating this lovely luminous aura. She has begun her path to success and soon she will, with all probability, be crossing the line into stardom. She is definitely on my music crush list.

OFFICIAL LINKS: WEBSITESPOTIFYYOUTUBEINSTAGRAMFACEBOOK

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Asher Laub reworks Bruno Mars’ “Finesse” to instrumental perfection http://jamsphere.com/newreleases/asher-laub-reworks-bruno-mars-finesse-to-instrumental-perfection http://jamsphere.com/newreleases/asher-laub-reworks-bruno-mars-finesse-to-instrumental-perfection#respond Sat, 01 Sep 2018 21:44:33 +0000 http://jamsphere.com/?p=33014 Asher Laub began classical violin training at the tender age of 2 and had already performed with the Buffalo Philharmonic by age 13. Known for breakdancing across stages with his LED electric violin, in addition to performing as a DJ violinist, Asher’s expertise in trans-genre improvisation has led him to a career as a soloist […]

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Asher Laub began classical violin training at the tender age of 2 and had already performed with the Buffalo Philharmonic by age 13. Known for breakdancing across stages with his LED electric violin, in addition to performing as a DJ violinist, Asher’s expertise in trans-genre improvisation has led him to a career as a soloist in demand, performing at venues such as Madison Square Garden, Hammerstein Hall, Lincoln Center and across four continents. Asher has been featured on PBS, and has made headlines on CNN, WABC, and NBC as well as many other major news sources. He is also noted for his technical prowess as an audio editing and mixing guru to countless clubs and stages across the country. The eclectic artist has recently produced and is set to release – on the 4th of September – his violin cover of “Finesse”, originally performed by Bruno Mars and Cardi B.

“Finesse” featuring Cardi B is a remixed version of the song which features as the fourth-single from Bruno Mars’ third studio album, 24k Magic. Originally it was not one of the songs off the record which stood out. However, with the remix featuring Cardi B, it most certainly became one of the most distinctive singles on the charts.

Two hip-hop and R&B icons, a 90s sounds and bold lyrics could only mean one thing. A mega-hit. Now mix those flavors with a precocious talent who plays the violin and you’ve got something brand new, and a more than exceptionally distinctive track on your platter, to say the least.

The confident intro already has the listener hooked, as soon as Asher Laub delivers his flawless melodic lines. The instrumental of the track screams 90’s style beat, with the constant drum line along with the nostalgic funky bassline being extremely prominent throughout the whole song.

The dance beat contrasts beautifully with Asher’s swaggering and melodic playing giving the track a monstrously fresh vibe that Asher knows how to pull off incredibly well. This young man is just getting started and I’m enjoying the ride. He’s brave enough to accomplish much in diversified fields, which is testified by this work.

Pushing the boundaries of what people assume a violin can do in popular music, Asher Laub has an amazing ability to make his electric fiddle not only sing, but rap, dance, and twerk. Like every great musician he effortlessly elicits emotions from his listeners that they didn’t even know they were able to feel for a piece of instrumental music of this nature.

In a world of instant gratification, Asher is able to make songs you at once enjoy but can also ponder over in order to think about what you’ve just heard. What many people are just starting to understand right now, is that the resonating sound of the violin just happens to be a superb instrument for the modern pop, rock and R&B sound.

The dynamics this instrument has in the hands of the right person will bring out the best in your turntable and speakers. For modern audiences, the electric violin as played by Asher Laub is a wondrous thing to behold. Don’t cower in the corner, stand out in the crowd, and be brave enough to purchase this fine reworking of a certified hit all ready to be rediscovered again.

OFFICIAL LINKS: WEBSITEYOUTUBEINSTAGRAMFACEBOOKTWITTERSOUNDCLOUDPATREONBANDCAMP

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