Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Sat, 04 Jul 2020 13:16:17 +0000 en-US hourly 1 Sassy Vee – “In My Dreams” – a voice with sultry intensity! http://jamsphere.com/featuredartists/sassy-vee-in-my-dreams-a-voice-with-sultry-intensity http://jamsphere.com/featuredartists/sassy-vee-in-my-dreams-a-voice-with-sultry-intensity#respond Sat, 04 Jul 2020 13:12:35 +0000 http://jamsphere.com/?p=40778 Longing, hope, and a need to believe in reality, pour out of “In My Dreams”, the new singer by singer-songwriter Sassy Vee. It’s a clear, accomplished cry from the heart, exorcising its illusions by declaring them bluntly. “In my dreams we’re together. Holding hands and making plans forever. I wish it were true, but I cannot be with you. You have another.” The song introduces Sassy’s strengths: a voice with sultry intensity, songwriting that goes directly to the point and a production that is well aware of both EDM and Pop. The song’s arrangement is lucid and uncluttered, placing all the expressiveness of her voice at its center.

Sassy Vee could easily over-sing; she has delicacy, volume, tone, melisma and rhythmic nuance, whenever she needs them. But she inhabits her song, rather than overpowers it. Intertwining love, longing and music, as Sassy Vee does through “In My Dreams”, is a time-tested idea. But it’s also an abiding and deserving one, especially when it’s carried off with such unfailing grace.

The song begins with warm shimmering keys and subtle, alluring croons, before switching into a beautiful and perfect electronic, orchestral accompaniment, and a smooth beat. The song, as we will discover, is about simplicity, uncomplicated thumping percussion, a driving bassline, and Sassy’s superior voice sewing all of its parts together.

This airy upbeat production, allows you to appreciate Sassy Vee’s voice, as it melts inside your soul. The first taster of what her new musical journey offer us, enlists producer Panaoff, to bring the epic understated power and majesty of this track to full fruition.

Short and to the point, “In My Dreams” hammers its point home with lyrics like: “Never meant to have feelings for you, but I do. Didn’t think that this was possible. From a broken heart feelings could grow. Too bad it won’t turn to nothing true. Cause the love that I feel is only in my dreams.”

“In My Dreams” has a fantastic chill dance rhythm running its course that will make you tap, wind and unwind to it repeatedly. Sassy Vee is an exceptionally engaging performer, showing real involvement at every turn of the song. She unconsciously invites listeners to concentrate as hard as she does on the effortless sound emanating from her vocal cords.

Her palpable connection to, and understanding of this track, broadcasts her status as both songwriter and singer. Mixing charm with passion, Sassy cements her position on the modern music scene. The track also shows the scope of her versatility and is a good example of why she will manage to appeal to a broad audience.

“In My Dreams” marks a brand-new chapter for Sassy Vee, and with it a smooth, bold, confident and peerless new sound. The song is heartfelt, and easy to relate to and connect with all her powerful heartfelt lyrics. It’s an extraordinary EDM track, and emblematic of an artist emerging self-assured and powerful. Sassy Vee’s latest release is so strong that it creates anticipation to see where she will go next. Enjoy!



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Forest Robots – “After Geography” – perfectly balanced sound forms are nothing short of therapeutic http://jamsphere.com/newreleases/forest-robots-after-geography-perfectly-balanced-sound-forms-are-nothing-short-of-therapeutic http://jamsphere.com/newreleases/forest-robots-after-geography-perfectly-balanced-sound-forms-are-nothing-short-of-therapeutic#respond Mon, 22 Jun 2020 19:38:13 +0000 http://jamsphere.com/?p=40666 “After Geography” is the fourth Forest Robots full-length album following, 2018’s ‘Supermoon Moonlight Part I’ and ‘Timberline And Mountain Crest’, as well as 2019’s ‘Times When I Know You’ll Watch The Sky’. The album harks back on Fran’s past outdoor explorations. The California-based electronic composer, is a seasoned mountaineer with over 400 ascents and 6,000 miles of x-country river crossing, rock climbing, snow trudging, rock scrambling and bush whacking.

The album’s core theme centers on life altering situations while traversing in the mountains, when unexpected variables arise and regardless of your preparation, you have only your intuition to guide you. “The current world pandemic caused by COVID 19 and the social unrest and injustices taking place across the country (U.S.) have been reminding me of those moments lately,” says Fran. “I feel this current state of the world is very much on par with those life altering moments in the outdoors.”

Over the subsequent 10 tracks, which appear on the album, “After Geography”, it becomes abundantly clear that project leader, Fran Dominguez is still up to his old tricks, which is to say, making the obliquely strange, sound familiar, and making the deeply familiar, sound subliminal.

Minimal keyboard-induced ambient structures create a warm, sentimental glow which is simultaneously juxtaposed with the suspension and temporality conjured by the hypnotic swirling of restrained timbres and subtle melodies. The album unfolds with its ambiance and pace floating about in an extremely reflective state.

Forest Robots has crafted an emotionally-searching, calculated musical narrative, but what you see and experience is really out of his hands. Much depends on your own personal empathy and compassion.

This recording is consistently smooth, well-engineered, and flawlessly performed. Each note is given its own space and invites you to savor each individual tone. Hauntingly lovely, these compositions are just right for our troubled times. Forest Robots in a way seems to understand the importance of pushing not only his mind, but the minds of his listeners.

Forest Robots has struck gold with “After Geography”, and it’s perfectly balanced sound forms are nothing short of therapeutic. Stress, impatience, frustration, rage – all negative emotions – completely dissolve with even one uninterrupted session of this album, as Forest Robots stimulates you to ponder your life’s circumstances, while he chronicles the experiences of his voyages.

From “A Detailed Cartography” to “Awash In Granite Geometry”, and “Over The Drainage Divide” to “Night Sky Over The Face Of A Nearby Tarn”, these gently persuasive tracks will hold your attention and induce your mood.

Forest Robots’ excursions into the landscape on “After Geography” are beautiful and evocative. The sounds here, do not reach out to you, instead they draw you in towards them. Fran Dominguez not only creates a personal world of sound, but shows that he can conjure and also take willing participants through any sonic vista he imagines.

The music is as much about an inward journey of thought and discovery, as it is about an outward journey which may have been inspired by a certain type of environment, but applies to the world as a whole.

Whether approached as an active listening experience, or simply enjoyed for its utility as a chill album, “After Geography” satisfies on both levels. I could throw about song titles and dissect each track, but there are no words to describe the subtle moods and emotional depths of this work – you simply have to listen to it.

“After Geography” is a very diverse entity with regards to the Forest Robots catalog. With all the electronic bells and whistles temporarily laid to rest, this may just be Fran Dominguez’ in his finest hour.

“After Geography” is set for release in August 2020. Bandcamp Pre-Order Album Link: https://forestrobots.bandcamp.com/album/after-geography


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GONETCHA – “Instincts” – Too clever for the mainstream! http://jamsphere.com/newreleases/gonetcha-instincts-too-clever-for-the-mainstream http://jamsphere.com/newreleases/gonetcha-instincts-too-clever-for-the-mainstream#respond Mon, 22 Jun 2020 01:36:24 +0000 http://jamsphere.com/?p=40646 Too clever for the mainstream, GONETCHA released a string of acclaimed records, and covered a lot of artistic ground over their five albums – Métro de Pensées, Mission, Fickle Games, Pragmatic and their latest, “Instincts”. Re-listening to the band’s catalog, I’ve noticed how detailed and packed with ideas their albums are. Launched in Lyon, France, by a bass player, GONETCHA is an alternative rock project that started out in 2017. They are an intelligent group, brimming with good tunes and interesting ideas. Their bass-driven sound is a great window dressing for the group’s inherent hooks and melodies, and enhances the listening experience.

While these songs are dressed up in bass dominated production, deep-voiced vocals and loud guitars, they are often surprisingly catchy. Sounding most like a single is opener “Au Revoir les Enfants” with an insistent melody, slap-bass and banging drums, driven by gutsy guitars.

“A l’Agonie” rides a funky psychedelic groove, while ‘Visions’ is driving, direct and memorable. “J’ai dit Non” is another bass fest with a fantastic rhythm, vocal hook and chord progression.

“Momentum” is exactly what the title describes, as the track launches forward from the get-go and never lets up as pulsating basslines crisscross the rhythm. Choosing a favorite song out of the bunch is a difficult task; as they’re all quite excellent in their own right.

“Bonne Ecole” comes out of the blocks with a marching beat and angular guitars with the usual thumping bassline not far behind. “Secrets d’Histoire” ushers in an infectious slapped bass that stands among the band’s catchiest and crunchiest. The fuzzy earworm riff blazes through the speakers as the vocals unleash a layered chant.

That said, GONETCHA has a talent for crafting hooky, anthemic alt-rock songs when it so pleases them, and which they do ever so nicely on the hip-swaying grooves of “Go Home” and “Encore Ouvertes”. Essentially GONETCHA is underground music’s best kept secret – an indie band that the casual music listener might not even know exists.

Stylistically, they really carve out their own path. GONETCHA possess that uncanny talent of effortlessly spawning some of the most tantalizing bass-driven beats out there. All the songs feed off of the band’s most fundamental aspects, such as the chanting vocals, the wailing guitars, and a very original approach to music.

A prime example is the cleverly ambiguous rocker “Ease The Pain”, which combines GONETCHA’s quirky energy, underscored by an equally catchy melody, and shards of jagged guitar. It’s hard not to be swept away by the song’s seductive beat. GONETCHA definitely show that they have immense talent that cannot be boxed in.

On every passing track, it never feels like the band doesn’t have a new trick hidden up their sleeves. Songs like “On Holidays” and “La Lumière” demonstrates some of the most astute songwriting and unadulterated musical dexterity.

All-round GONETCHA take an eclectic left-field sound and makes it completely infectious and enjoyable. Not many artists can do that. “Instincts” is a remarkable release, showing a solid group with their ideas fully formed, and a bunch of really great songs. To put it mildly, this is a big album for alternative indie rock.


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Eric Bettens – “Horizon” – a unique voyage of sound and art http://jamsphere.com/newreleases/eric-bettens-horizon-a-unique-voyage-of-sound-and-art http://jamsphere.com/newreleases/eric-bettens-horizon-a-unique-voyage-of-sound-and-art#respond Sun, 21 Jun 2020 19:23:51 +0000 http://jamsphere.com/?p=40641 “Horizon” the new concept album by award-winning Belgian artist, Eric Bettens, sounds like a product of its time, but its synthetic analog sounds and ambitious arrangements remain unique. The synths are gleaming and futuristic, yet come from the past when legendary instruments like the Minimoog, ARP2600, and the moog modular systems ruled the roost. Bettens has also integrated modern day plugins to forge an ambitious hybrid sound meant to take as on a sonic journey from earth to the most distant object ever created by man. In this case, Voyager 1, which in 2012 had become the first man-made object to enter interstellar space, traveling further than anyone, or anything, in history. In 2019 it was joined by Voyager 2 which had also reached a region of outer space beyond the influence of the Solar System.

The album “Horizon” which has a playing time of just over 53 minutes, consists of 12 tracks meant to be listened to as one whole piece of music. In fact Eric Bettens has also released “Horizon Continues Play”, which is a one track version of the entire album.

The recording feels like the sequencers and synths are moving through dimensions and galaxies, growing and receding, fast then slow, twisting and turning as the melodies and rhythms crisscross over each other’s paths.

This is the sound of electronic music changing in real time, capable of having its own emotional and intellectual qualities. It denotes what will surely become a landmark album for synthesizer music this year. “Horizon” is not just a collection of old school beeps and whirrs, or new electronic bells and whistles. Rather it’s a unique voyage of sound and art.

The sounds within this album not only reflect what electronic artists are capable of producing today, but also the foundations of electronic music which started out in the 70’s and grew through the 80’s and 90’s, before becoming what it is today. Much like a cinematic soundtrack, “Horizon” offers a sweeping but refined experience listening – a cerebral journey through sounds, moods and worlds.

Eric Bettens falls on the line between dedicated craftsman and creative genius. Unlike the vast majority of his contemporaries, his technical prowess and musical knowledge, is able to match both his ambitions and his dreams. All of which are fulfilled on “Horizon”. This being his fifth album, since dropping his debut “Discovery” in 2006, Bettens’ experience and musical chemistry is now able to translate his ideas into sound with far more poise and control.

The flow between each passage is spectacular, having a seamless transition, while the arrangements in “Horizon” truly show how much Eric Bettens has developed his craft. The builds, the breakdowns and the climaxes come with spine-tingling orchestrated brilliance.

It is very difficult not to be drawn into the music; to imagine the scene Eric Bettens intended to create. What Bettens does, is absorb the listener into the music, and drive home the emotion of the experience. To call any of these compositions anything short of stunning would be a fallacy.

The theme of the album is clearly defined from the opening track “Horizon Pt.1: Leaving”, right until it arrives at “Horizon Pt.11 Voyager”, and before closing with “Too Far to Talk” – Radio Edit. If you permit yourself to be immersed into the music, and allow yourself to float away into Eric Bettens’ world, then “Horizons” is quite simply one of the most spell-binding electronic albums of 2020.

MORE ABOUT: Eric Bettens is a Belgian artist, passionate about this music which has shaped his life from a very young age. Today, in addition to write soundtracks for films and the composition of instrumental and orchestral works, he combines electronic and acoustic instruments with sounds captured in nature to compose eclectic and original works which have won him numerous prestigious awards. Often asked to perform large “light and sound” concerts Eric Bettens mixes various disciplines and techniques with his music (videos, pyrotechnics, lasers, lights, and etc.) in order to offer his audience a varied and quality visual.


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Lorenzo Armando Aldo Bazzoni – “Such A Glorious Day” – paints landscapes with sound http://jamsphere.com/videos/lorenzo-armando-aldo-bazzoni-such-a-glorious-day-paints-landscapes-with-sound http://jamsphere.com/videos/lorenzo-armando-aldo-bazzoni-such-a-glorious-day-paints-landscapes-with-sound#respond Fri, 19 Jun 2020 11:41:19 +0000 http://jamsphere.com/?p=40607 New and older listeners to music of the Italian prog-rock, cinematic and symphonic-styled composer, Lorenzo Armando Aldo Bazzoni will experience a journey that will keep keep entertained and the senses well stimulated from the start to the end of his new high energy project, “Such A Glorious Day”. This work is a great addition to the vast musical and artistic world of Bazzoni and he has shown he still has plenty of energy and enthusiasm to give something new, and share it with fans. This time around, the composer wants to draw attention to the personal dramas many people lives, and hopes to bring some relief and distraction from those afflictions with “Such A Glorious Day”.

As usual Lorenzo Armando Aldo Bazzoni paints landscapes with sound, but it is more than that. This is music that demands and gets the listener’s attention. One must simply lose themselves in this sound. He uses the synthesizer, loops, midi and electronics in such a way that the music is beautiful and sometimes disturbing. He successfully creates mood and emotion with technology that was often thought of as cold.

“Such A Glorious Day” is gripping, epic and complex. Moreover, what it really is, is very well crafted. By that I mean the elements that exist are all intertwined in a way that makes the whole greater than the sum of its parts.

You could take any of the specific instrument sounds alone and they would be very interesting, but Bazzoni’s genius is blending these into a kind of symphony that carries you through the entire song, listening out for changes in tone or shifts in mood. You can hear each instrument at the same time as you appreciate the whole.

Bazzoni lets the bold musical brush strokes of synths, sequencers and driving percussive tics, provide the momentum in a glorious symphonic prog-rock arrangement. There’s emotion and passion and a really strong, vivacious composition pushing the theme of “Such A Glorious Day”.

The shifting of the harmonic progressions from one section to the next perfectly conveys the sense of things changing and evolving. With the world in such turmoil, how wonderful to find an antidote as effective as this track.

Five years into his craft, the self-taught, play-by-ear composer makes the kind of electronic music which is very unique and special, lending itself well to soundtrack scores. Reflecting the drama in human life, the aura around the track’s pace is exciting, reinforcing Lorenzo Armando Aldo Bazzoni’s natural ability to create soulful and emotional music that people can relate to.

Connect with Lorenzo Armando Aldo Bazzoni on FACEBOOK and YOUTUBE

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DON DADA & SALEZ – “FACETIME” – another forward thinking project! http://jamsphere.com/featuredartists/don-dada-salez-facetime-another-forward-thinking-project http://jamsphere.com/featuredartists/don-dada-salez-facetime-another-forward-thinking-project#respond Thu, 18 Jun 2020 23:01:39 +0000 http://jamsphere.com/?p=40593 Canadian music producer DON DADA and recording artist SALEZ, collaborate on a single featured on the upcoming DON DADA album named DROPGODS 3. DON DADA is arguably one of the most interesting producers in the current underground music industry, and his bare-knuckled recurring looped beat, on “FACETIME” is a perfect match for SALEZ’s raw and gritty, sing-song rap style, which makes for a memorable project. The track is an impressive platform demonstrating the creative dexterity of both the artist and the producer, as well as their respective arts.

DON DADA – known for tailoring his beat production to the artists requests, making him arguably one of the most unique producers around – has recently been flexing his production nous, rolling out beat after beat, each totally unique and different to what’s come before, as he works toward his upcoming album.

The chemistry between DON DADA and SALEZ is akin to all the other excellent production collabs he has done thus far. In the sense that the understanding of what is needed from each other is what elevates DON DADA’s music to a level that’s different to many other rap partnerships.

The repetitive stringed motif and hypnotic tempo – which seems to be SALEZ’s natural habitat, and in which he shines – marries up with the rappers sharp one-liners and cutting remarks to explode with that unspoken understanding of how lyrics sync with an eclectic beat.

This is another forward thinking project, not afraid to dabble with creativity but also showcasing both SALEZ’s lyrical ability and DON DADA’s creative dexterity, both artists’ visions. It’s as if they created a glitch in the hip-hop matrix, and one that would be welcome again soon.

All too often, collaborations between singular rappers and producers can end up feeling slightly underwhelming. They frequently end up feeling like two separate entities merely working on the same project, without any true collaboration or interplay. That doesn’t seem to be the feeling here at all.

As a producer, DON DADA is obviously no stranger to this kind of collaboration, and it shows. Some truly inspired production flourishes such as the seamless combination of backing vocal clips into SALEZ’s bars really accentuate the brilliance of some the wordplay, and the beat as a whole matches the rapper’s energy perfectly.

DON DADA displays a professional level of restraint, not allowing any messy sonic elements to disturb the clarity the track would lack otherwise.

Producers all too often overwhelm the track, or fade into the background, but this couldn’t be less true here. The project coalesces the personalities of both rapper and producer, making it truly distinct. If anything, “FACETIME” leaves the listener wanting more.

DON DADA has already exhibited the capacity to create a truly great project. His seemingly endless potential has been shown to be even deeper than we ever thought. Should DON DADA ever create an all-time classic production within the next few years, I would not be surprised.




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Will Diehl – “Days of Summer” – a moving narrative on the human condition http://jamsphere.com/newreleases/will-diehl-days-of-summer-a-moving-narrative-on-the-human-condition http://jamsphere.com/newreleases/will-diehl-days-of-summer-a-moving-narrative-on-the-human-condition#respond Wed, 17 Jun 2020 12:51:03 +0000 http://jamsphere.com/?p=40569 Will Diehl is, quite simply, an excellent songwriter. His ability to write poignant, thoughtful songs is second to none in my book. How the humble man from Manassas, VA, can keep cranking out such good stuff is beyond me, but I’ll take it for sure. Diehl is a prolific writer of songs, spanning various genres. Two songs from his “I am Free” album were awarded Billboard songwriting awards, and he opened up with his former band, for artists such as Todd Rundgren. Diehl has released over 20 albums, as well as multiple EP’s and singles, which are available on his website and on all major music platforms such as iTunes, Spotify, and Amazon. Currently working on his second album release of 2020, Will Diehl has released the single “Days of Summer”.

The world has been through a number of changes, especially in the last few months, and Will Diehl is at his best when he’s trying to see the light through the darkness here. This song could allude to many of our own personal afflictions, but also comes across as a realistic account of the effects of the lockdown.

At the same time, “Days of Summer” also aspires to hearten and galvanize our thoughts about the future: “Inside dreaming of the days of summer. What has passed is past and passed too soon. Inside dreaming of the days of summer. The looking glass, the future’s cast. And waiting in this room. Inside dreaming of the days of summer. May those days return to your life soon. Inside dreaming of the days of summer. May the light chase shadows from your room.”

“Days of Summer” is a song full of imagery and a great deal of human emotion. It is an honest account of one man’s inner thoughts and his hope for the future. Will Diehl’s music is what you can do when you simply let your wisdom and feelings inform and inspire the music, rather than just use the music as a cheap commercial tool.

I’ve listened with interest to many of Diehl’s previous releases, all of which have moments of outstanding beauty, but “Days of Summer” represents the full flowering of his musical endowment.

Diehl’s skill as an arranger can be fully appreciated on the track which incorporates diverse organic instrumentation, on an ethereal and resonating sonic palette. The instrumentation is truly beautiful, and unlike what you’re being offered by the radio today.

Diehl’s ability to pen soul-stirring ballads is in full effect on this haunting tune, which also pulls off the amazing feat of inserting luscious female harmonies. Not to mention the emotion-inducing strings.

Diehl’s almost conversational and reflective style leads to beautiful expression. You’ll feel like a listener being drawn into a conversation between his emotional and intellectual consciousness. Diehl uses “Days of Summer” as a context for his songwriting, challenging himself to find ways of melding the circumstances of our time, into a moving narrative on the human condition.

This song perfectly captures something almost elusive at most times – it feels isolated and exquisitely beautiful at the same time. So far, each of Will Diehl’s releases have represented a progression, a next step in the full realization of his talent. It’s a daunting thought that his next release could be even better than this one.


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Mc Jack Smith – “Electric Shock” ft. Sevda B is capable of raising the energy levels of any dance floor! http://jamsphere.com/newreleases/mc-jack-smith-electric-shock-ft-sevda-b-is-capable-of-raising-the-energy-levels-of-any-dance-floor http://jamsphere.com/newreleases/mc-jack-smith-electric-shock-ft-sevda-b-is-capable-of-raising-the-energy-levels-of-any-dance-floor#respond Mon, 15 Jun 2020 04:07:32 +0000 http://jamsphere.com/?p=40535 Corsini Christian AKA Mc Jack Smith is an Italian DJ and producer who has been performing his one of a kind mix of disco, house, and electro pop across his home country for over 20 years. He started his career performing at the discos of the Tuscan Emilian Apennines in the late 90s, playing for diverse crowds and developing a mastery of different styles. As his career grew, Mc Jack Smith became more and more interested in producing and engineering, which currently takes up most of his time.

A quick run through his catalog makes it obvious that Mc Jack Smith has always tried to push the boundaries of the genre by combining different musical elements and genres to create something magical. His tracks always have a story to tell.

Animated by the thought of combining music and a story-line, his latest single “Electric Shock” ft. Sevda B is truly an exceptional one that captivates the listener immediately. Kicking off with a strong beat and a scintillating melody, the track encapsulates the bass-driven vibes and charms you, leaving a tingling sensation making you want to know what happens next.

“Electric Shock” is powerful, has warm, all-embracing synths and features the sultry and soul-searching vocals of Sevda B. It is a hard-hitting track with dark and vicious bassline, perfectly capturing the edgy tension the story wishes to achieve. The track aims to re code how EDM can deliver a story.

It is a highly ambitious project which is a far cry from regular dance tracks. Mc Jack Smith has taken a leap of faith and he has had a perfect landing with “Electric Shock” ft. Sevda B. The track has been impeccably conceptualized and executed with absolute perfection. It gives the listener an out of the world sonic experience and an insistent dance-floor groove.

“Electric Shock” ft. Sevda B is highly emotive and perfectly anchors to the mood Mc Jack Smith tries to create. Enjoying dance music is the most basic aspect of human nature. You either like a particular grouping of notes and rhythms, or you don’t. It’s that simple. Lately I’ve discovered that such a simple task is left behind when you become involved in the intricacies and multi-layered sounds of Mc Jack Smith.

“Electric Shock” ft. Sevda B is certainly far better than what I had expected and certainly far more interesting than anything I could have hoped for. Above all, it made me pay attention. As such, I found myself intrigued with almost every sound that I heard.

The unadulterated pleasure of enjoying EDM music in an effort to experience new sounds is an art that has been lost for some time now, with so many clones doing the rounds. Thanks to Mc Jack Smith I’ve rediscovered that pleasure again. Mc Jack Smith’s evolution as a producer has been evident and fluid, with each passing release serving as a landmark in his journey.

The meticulousness weaved into the drums, bass and chord progressions is immediately apparent on “Electric Shock”, making the tune supremely enjoyable and easily one of Mc Jack Smith’s strongest offerings, while its uplifting undertones are capable of raising the energy levels of any dance floor.

“Electric Shock” ft. Sevda B serves as yet another enlightening portal into the seasoned producer’s psyche; a true labor of love that showcases his willingness to constantly progress and innovate.


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Kory Brown – “Vengeance” – an invigorated and explosive effort! http://jamsphere.com/newreleases/kory-brown-vengeance-an-invigorated-and-explosive-effort http://jamsphere.com/newreleases/kory-brown-vengeance-an-invigorated-and-explosive-effort#respond Sat, 13 Jun 2020 16:54:24 +0000 http://jamsphere.com/?p=40521 Kory Brown is an American singer and guitarist from San Antonio, Texas. He started music as a drummer in his late teens and into his 20’s. After a run with a couple of bands he walked away from music until 2011 when he picked up a guitar and started writing his own unique blend of hard hitting 80’s, 90’s and 2000’s rock and roll. Kory Brown was awarded best new artist in 2013 for the local San Antonio Music Awards and has released two full length albums, Who I Am (2016) and When the Love Falls (2017) along with numerous singles since 2013. He is currently working on a third album called “Split Personality” (2020) and is set to release his 4th single from the album, “Lost Cause” on June 12, 2020.

Photos courtesy of Parker Brown

Now living in Las Vegas, Nevada, Kory has been featured on local radio, behind the music podcasts, performed at Hard Rock and continues to grow his musical acumen. In anticipation of his brand new single “Lost Cause”, we caught up with his last release “Vengeance”.

The more familiar one gets with his work, the more one realizes that Kory has seemingly endless energy with which to pour himself into being one of underground rock music’s most talented independent artists. I get the feeling that there is really nothing that Kory Brown can’t do.

Kory is an undeniable guitar virtuoso, and his gritty, soaring vocals proudly display his singing chops. For any other artist, being at the forefront of the independent rock world as both a guitar shredder and a vocalist would be more than enough. Kory, however, has also managed to develop impressive songwriting and arranging skills.

On a purely technical level, “Vengeance” might be his best-produced release to date. While his earlier tracks sound great, the production value on this single seems to have upped the ante quite a bit. The tones are crisp and clear, yet still display the warmth we can fairly demand from a great rock n’ roll record.

The drum tones are clean – no excessive reverb, putting them center of the track without being too over-bearing. The bass tones are as groovy and warm as we might want them to be. The guitars, of course, showcase Kory Brown’s unique ability to create a sonic heaviness while using minimal distortion – something many other artists attempt and fail to do.

The song itself is a wonderful blend of rock aggression and metal noisiness, with all-embracing electric guitar ardor and killer vocals. The result is a new level of artistic maturity from an already well-established independent music artist.

The bottom line should be obvious by now: I am totally enchanted by “Vengeance”. It is an invigorated and explosive effort by a fantastic instrumentalist and singer. Kory Brown can really play the hell out of his instrument. He dips into the legendary eras of rock, and finds room for some of the tastiest, most powerful guitar playing he’s ever recorded.

It’s the highlight of a record, which shows Kory’s range as a composer, producer, singer, and above all, guitarist. Kory Brown just keeps on getting better and better, which means we already know what top tier levels to expect on the single “Lost Cause”, and the upcoming album, “Split Personality”.


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W.B. and The Geezers – “Bits and Pieces” is the exact shot of country-infused goodness that fans need right now http://jamsphere.com/newreleases/w-b-and-the-geezers-bits-and-pieces-is-the-exact-shot-of-country-infused-goodness-that-fans-need-right-now http://jamsphere.com/newreleases/w-b-and-the-geezers-bits-and-pieces-is-the-exact-shot-of-country-infused-goodness-that-fans-need-right-now#respond Sat, 13 Jun 2020 03:55:39 +0000 http://jamsphere.com/?p=40504 After hearing W.B. and The Geezers for the first time in 2015, I’m glad Nashville hasn’t found them yet. These fellas make real country music, and not that canned stuff the radio sells you. W.B. and The Geezers is comprised of two Navarre area musicians – William Lake and Bill Crouch. Their past works have included songs about senior dating, the laughable and ridiculous ED commercials, but that’s just on the surface. They have always explored the deeper themes involved with the experience of getting older, and they invite you to listen and embrace it as well. Their latest, and third album, “Bits and Pieces”, is described as “Country/Americana with a touch of Wild Grass”. So if you’re tired of trying to dodge all the noise on the radio today that’s coming out of Nashville, and long for the old days of real country writing, singing and instrumentals, then W.B. and The Geezers and this album specifically is a must have.

The recording kicks off with a hip-swaying groove called “Dixie (Remix)”. But that’s just a prelude to the real stuff that gets going with the fiddle and banjo-filled anthem, “Road to Nowhere”.  If you wear bedazzled jeans and foreign made boots to your weekly line dancing class, then stick to your corporate cowboy crooners. If it’s the authentic thing you want, then turn up the resonant sound of the title track, “Bits and Pieces”, with its thoughtful narrative and easygoing melody.

There isn’t a subject that country music hasn’t featured before. However, there is a quality to W.B. and The Geezers song writing that takes the listener to a level that is rarely heard in Country anymore.

Possessing a rich country baritone, W.B. and The Geezers take us across a witty storyline with “Don’t Tell Me You Love”, which teaches us to accept people for what they are, before they switch to “Weekend Angel (Remix)” that takes a sensible look at the lives of truckers.

An album of this consistent quality doesn’t merit a selection of stand-outs but we must highlight the impeccable vocals and melody on the ballad “Tell Me Lie”. “Barney Fife of the TSA” is a tongue in cheek look at the certified body searchers of transport security, and it will certainly put a smile on your face. Up next is the slow-burn strum of “When The Bottle Call’s Your Name”, which is pretty self-descriptive and a common affliction.

It remains to be seen if the world of country music embraces W.B. and The Geezers with quite the same vigor as is reserved for their radio-ready peers. However, these guys have literally worked their butts off to present their brand of music, and there is no better testimony to this than on “Spirit of the Rockies” and “Father Time”, where W.B. and The Geezers lay all their artistic wares out on the table.

All-round, “Bits and Pieces” is an honest and introspective set of songs that establishes W.B. and The Geezers as artists who aren’t afraid to evaluate who we are, and how and why we are, what we are.

They possess a sense, not only of self, but of the world around them and aren’t afraid to let us in with songs that are forthright, meaningful, and some of the finest of the year. Their music and narratives prick just the right nerves. W.B. and The Geezers is the exact shot of country-infused goodness that real country fans need right now.



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Kev Scott – “Exhausted Fantasies” – resonating instrumentation and stunning harmonies http://jamsphere.com/newreleases/kev-scott-exhausted-fantasies-resonating-instrumentation-and-stunning-harmonies http://jamsphere.com/newreleases/kev-scott-exhausted-fantasies-resonating-instrumentation-and-stunning-harmonies#respond Sat, 13 Jun 2020 01:56:39 +0000 http://jamsphere.com/?p=40499 UK artist Kev Scott returns with a fourth studio album, “Exhausted Fantasies” (2020). Kev is joined by recording band The Cherished Times, formed by a regular number of musicians and singers who have performed with him. The long term collaborators include, Chris Holland (bass, string arrangements and production), and Steve Pellatt (drums), who along with Kev Scott (vocals, guitars and piano) form the backbone of the band. Quite frankly, a sign of a true artist is when one album transcends the previous one, and that is the case here. Kev Scott’s previous albums are all outstanding, but this…..this one is beyond excellent. The set explodes with force, packing a wallop in the early tracks and remaining strong throughout the set.

Photos courtesy of Samantha Scott

Led by the musically charismatic and literate Kev Scott, The Cherished Times develop a winning blend of alternative folk-rock arrangements and instantly catchy choruses, invoking the spirit of many of America’s musical greats. Scott is a songwriter capable of real, revelatory emotional depth, without the usual melodrama.

From the opening track, “Carry You”, you’ll find all of the required elements of a prototypical Kev Scott song here: an organic arrangement, affecting lyrics, and a singular vocal performance from Scott that harnesses only the best parts of his heartfelt delivery.

Scott’s voice aside, the album’s flair for kickass arrangements is helped along in equal part by the production work and the band’s all-round gritty performances. All of which can be savored on the guitar-driven “I Guess I’m Longin”.  In the scenes The Cherished Times conjure, melancholy is never too far away, as Kev Scott grapples with woes both private and interpersonal.

 Scott uses the record’s most powerful moments as a showcase for his honest, hard-earned confessionalism on songs like “Each One Has A Story”, and the brilliantly arranged “Love Let Me Know” which features stunning layers of backing vocals and harmonies.

“Mama Built A Wall” fuses a lyrically rich mid-tempo ballad with long forgotten sonic treasures that can only be found in resonating organic instrumentation. Most of the tracks on this album contain strong vocal harmonies and memorable melodies, making for a solid collection of songs which should assure that this is Kev Scott’s most accessible album ever.

The Album Cover

“Jesus In The Window” builds into a very pleasant and powerfully melodic listen with stream-of-consciousness lyrics which are at once intense yet relaxed and features some more great harmonies.

The introspective “Dear Mr Nixon” with its slowly strummed, twangy guitars and banjos, blend with some great keyboards to complete an astutely attentive song. Simple and complex at the same time, “A Lifetime Or More” uses its incessant bluesy pulse as a concrete path for Kev Scott and his expressive vocal meanderings. Whatever descriptors you use to define its sound, it has a timeless groove.

“Lovers and Fighters” comes with plenty of earthy grit and splashes of distortion and feedback to color the deeper negotiations of Scott’s narrative.  “Absolute Wonder” illustrates the power of Kev Scott’s voice when it escapes the introversion of its lower range and pushes upward to an emotional heave.

“Exhausted Fantasies” is an album that employs remarkable arrangements – both instrumental and vocal, while managing to focus with laser-like precision on our most raw emotions. Kev Scott is a talent with a rare blend of poet and musician. He clearly tapped deep into his abundant singer-songwriting talent to deliver these songs. Combined with The Cherished Times, the result is a chemistry immediately evident.


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LÖVE – “Feel Good Girl of the Summer / I am Love” has the rock n’ roll goods, and shares them abundantly with fans! http://jamsphere.com/newreleases/love-feel-good-girl-of-the-summer-i-am-love-has-the-rock-n-roll-goods-and-shares-them-abundantly-with-fans http://jamsphere.com/newreleases/love-feel-good-girl-of-the-summer-i-am-love-has-the-rock-n-roll-goods-and-shares-them-abundantly-with-fans#respond Fri, 12 Jun 2020 03:13:37 +0000 http://jamsphere.com/?p=40478 In 2012, after a tumultuous time with several major label acts, the Los Angeles/Philadelphia based Australian virtuoso and multi-Instrumentalist, LÖVE aka Jimi James Papworth, finally let his fiercely independent nature take the better of him, as he picked up his bags and headed back to his roots in his hometown of Newcastle, Australia. It can be said with absolute certainty that LÖVE, who played every instrument on the critically acclaimed cult album “Loveula”, has paid his dues in life, and is ready to reap the benefits thereof. Signed as a junior to become a professional goalkeeper, a devastating knee injury on the day of his 18th Birthday party ruined those dreams.

LÖVE’s endeavors allowed him to gather a horde of luminary fans, which included Dave Grohl of the Foo Fighters, Nikki Minaj, The Used, Good Charlotte, Jay Z and Derek Truks. But just when it seemed like his career was heading down the right track, a bureaucratic error saw LÖVE deported from the USA, sidelining for almost three years, and sending him into a deep depression. That occurred after he had already hit rock bottom when his ‘perfect’ marriage ended, apparently due to his wife’s mid-life crisis.

If it’s true that you can’t keep a good man down, then LÖVE may just be a living example of that, because he is back up on his feet, and firing on all cylinders.  “Loveleula” is re-released July 28th, following the Double A-Side single “Feel Good Girl of the Summer / I am Love”. “It’s fucking the best to be back doing me 24/7 – old enough to know better… but young enough to do it again!” says LÖVE.

People who say good music is not being made or “Rock is dead” do not look past what the mainstream pushes, or have never heard LÖVE. These songs prove beyond doubt that his skills and creativity have done nothing but grow with the passing of time.

“Feel Good Girl of the Summer” opens the double-sided gambit with LÖVE’s fingers dancing over the fretboard to carve out the killer riffs, before his passionate voice kicks the song into gear. It’s a rocker that well represents the side of LÖVE’ that is perhaps most accessible to any rock crowd.

Coming right out of the gate with a total face melting vocal, this track has all the rocking vibes with an impressive kickass production to match. There’s enough tension, groove and passion here to power a small city. LÖVE’ clearly has the rock n’ roll goods, and he shares them abundantly with fans.

“I am Love” showcases another side of LÖVE, as he wraps his mellifluous voice with a rasp, around an acoustic driven backdrop. Despite the different more luscious formula, this track continues to deliver quality in spades. “I am Love” is an excellent mid-tempo ballad with reflective, introspective lyrics.

LÖVE mixes soulful sounds and raw emotions into the song, which does shine more of a spotlight on LÖVE’s voice and songwriting abilities. These kinds of songs are when the Australian artist sets himself apart from the crowd.

LÖVE aka Jimi James Papworth is one of those musical dudes that everyone who listens to rock music should know about.  This guy can flat out sing and play, and he is one creative MoFo as well. He should be a household name. He plays a mean-ass guitar, he has amazing vocal chops and he has that damn cool rock n’ roll look, swagger and vibe about him.

Yes, everyone should know him… but due to a series of circumstances, they still don’t. LÖVE is the total package, and with the release of these latest songs, now’s your last chance to get to know him…before the whole world does!



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Avichai Levy – “Flowing” – The composition, performance, and recording are all exquisite http://jamsphere.com/newreleases/avichai-levy-flowing-the-composition-performance-and-recording-are-all-exquisite http://jamsphere.com/newreleases/avichai-levy-flowing-the-composition-performance-and-recording-are-all-exquisite#respond Thu, 11 Jun 2020 21:24:15 +0000 http://jamsphere.com/?p=40466 The contemporary classical composition “Flowing”, for piano, strings and oboe, by Avichai Levy, who plays all instruments, radiates with his poetic skills. When we come across recorded music we would want to hear many times, we realize it results from a combination of composition, musicianship, the instruments played and the recording art. Once in a while, we come upon such a musical recording that is both, unpretentious, yet enchanting, with a focused message and theme. “Flowing”, is such a piece of music. Simple and mellifluous in its composition, mightily impacting in its execution. The track is beautifully recorded, dynamically expressive and presented with a rich range of timbres.

The song perfectly depicts a world of elements that are constantly moving, changing, expanding, and evolving, yet Avichai Levy’s left hand plays a constant ostinato motif on the piano, purposely meant to describe something that remains constant, reliable, recognizable and essential. It anchors the piece as the rest of the instrumentation develop and flourish.

The composition, performance, and recording are all exquisite. The simplicity of this original is sublime. My only fear is that I will listen too much, too quickly, and reduce my marginal enjoyment. In a world hardly short of modern classical and piano-driven recordings, this does feel genuinely revelatory. How has Avichai Levy found such a fresh and serene approach to the genre?

For one, Levy’s music is not based on complex musical structures, and relies on melodic color that is dosed with the correct proportions. Though his fingering, rhythm, phrasing, and articulation are invaluable, it’s in the feel and mood of the music, where Levy captivates the casual listener.

The architecture of “Flowing”, which is less than four minutes in duration, feels aerated and accessible, more akin to a pop or world music instrumental. Much of the nuanced music shimmers and glints, as new shapes appear, and others poignantly disintegrate, all with the perceptible ostinato persistently ticking like a heartbeat.

Ultimately what sets Avichai Levy apart from many pianists is not only his formidable technique, but his artistry and vision to create a journey. Levy has a sound all of his own, bringing a refreshing clarity to the mellifluous sounds of his own musical impressionism.

Avichai Levy brings transparency of sound and pristine clarity to the right-hand, while notes are voiced with such musicality, as phrases extend with elegance and beauty. The juxtaposition of this, with his repeating left hand, uncovers two contrasting musical worlds which feel seamless.

The precision of articulation is impressive, progressions are tightly executed, while there is freedom and spirit that brings this music to life. It inspire the imagination with a divergence of texture, color and mood. Avichai Levy relishes within the character of the music, bringing both sentimentality and spontaneity.

If like me, you are coming to Avichai Levy for the first time, this musical piece will undoubtedly delight, as everything flows effortlessly.



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Dr Mikey – “I’m Karibbean” – one of the premier underground artists in his field! http://jamsphere.com/reviews/dr-mikey-im-karibbean-one-of-the-premier-underground-artists-in-his-field http://jamsphere.com/reviews/dr-mikey-im-karibbean-one-of-the-premier-underground-artists-in-his-field#respond Wed, 10 Jun 2020 11:43:37 +0000 http://jamsphere.com/?p=40442 Born in a ghetto north of Paris Dr Mikey represents French culture, especially in the suburbs. His mother is from Guadeloupe and his father is from Guyana. At 14, a serious accident made him unable to walk. Fighting to rehabilitate his two broken hips, he moved from Paris to the jungle of St. Laurent du Maroni, with his father. There he found his love for music. Dr Mikey then decided to become a rapper and singer, who would erase the borders of genre and language, challenging the continental barriers with his music. At 18 he formed the reggae group Damaniak in Guyana before returning to France in 1997 and launching Instint 2 Scarla in which he was the rapper and lead singer.

It wasn’t long after, that Dr Mikey understood a solo career better reflected his personal and artistic aspirations. In 2000, he met his manager Sonia Kinany who took him to the United States. Without speaking or understanding a word of English Dr Mikey joined forces with a young promoter which led to many performing opportunities around Los Angeles.

A meeting with the rapper from Louisiana, La Balle, in 2001, led to them forming True 2 Life Players. Dr Mikey also got to work at the Cow Palace in San Francisco alongside artists like Juvenile, Trick Daddy, E-40 and Blu Cantrell.

Between 2002 and 2004, he toured California with Bone Thugs & Harmony, The Mothugs Family, and Won-G. In 2007 he traveled between Europe, the United States, the West Indies and Guyana, and also got to perform with Capleton, Sean Paul, M. Vegas, Buju Banton, and Spragga Benz.

From 2008 to 2018, Dr Mikey’s journey has been filled with appearances on various projects, live performances, the creation of the Musical Gift Records Label & the MGR Mouvement, radio hosting, and the release of singles and a mixtape. After a long and distinguished career, 2020 finally sees Dr Mikey release his long-awaited album “I’m Karibbean”, featuring 14 tracks and one hour of music including both English and French language songs.

Right from the smooth opening track “Beautiful”, it becomes clear that Dr Mikey continues to hone his talents with an adept display of mellifluous singing and rapping, as he croons his way across a soundscape drenched soulful horns. “My Little Island” remains reflective and soulful, while the reggae rhythms start to emerge with a stronger essence.

The deeply resonant, “I Keep Wondering” moves between the melodic croon and the abrasive bite of Dr Mikey’s flow. He is one of a very select few that is equally accomplished at both. The singer’s smooth-flowing delivery rides the riddim precisely on the big sunny, romantic tune of Paradise Island.

Dr Mikey is in splendid form on the upbeat French language track “Ce Week-End”, before turning up the heat on the hip-swaying rhythm of “Ne Pars Pas”, where his soaring vocals take center stage, alongside the catchy ear-warming melody.

“Money Pull Up” featuring Skunky Trigga and Juice Xplosion Paris is a total dance-floor banger, with an urgent delivery and a dynamic production. The track shows that the collaborating collective are a wicked combination indeed. The music on this album is tight and the selection fits just right. Dr Mikey epitomizes what it means to be a reggae and dancehall flavored songwriter, with accessible, yet multi-layered rhythms, lyrics and messages.

“Shake Your Pum Pum” will keep body firmly planted on the dance floor, as will the intensely percussive title track, “I’m Karibbean” featuring Ghetto Intello. Dr Mikey’s voice is crisp and expressive with the drum and bass section again playing a prominent part in the bubbling riddim.

At this section of the album there is no respite, as the beats come hard and fast. “Tonight It’s Going Down” presents yet another spark that sets the record ablaze with its rapid-fire beat and vocals, forcing even the most reserved to move their dancing feet. “Fuego” keeps the record ignited with its effervescent flow and infectious beat. There’s passion in the vocals that is well-suited for the pace of the riddim.

“Expatrie” featuring KS Pon Di Mike and Pokalypse is another highly melodic, French language track which brings a moment of truce from the incandescent dancefloor rhythms. “Obsession” is dominated by an infectious rhythmic swing and earworm vocals from Dr Mikey. The album closes on a passionate and romantic note, with Dr Mikey teaming up with Gail Lleyton on “Zouk Love”.

With “I’m Karibbean”, Dr Mikey has produced a quality record. His skill and talent speaks for itself, as he firmly establishes himself as one of the premier underground artists in his field. It is most certainly an album that you can press play and enjoy from beginning to end. Moreover, you will find yourself replaying it a few times in row. Beautiful music, beautiful lyrics, beautifully delivered.



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Tapedeck 45 – “Songs For the Socially Distanced” delivers the sort of organic-styled warmth you didn’t think existed in music anymore http://jamsphere.com/newreleases/tapedeck-45-songs-for-the-socially-distanced-delivers-the-sort-of-organic-styled-warmth-you-didnt-think-existed-in-music-anymore http://jamsphere.com/newreleases/tapedeck-45-songs-for-the-socially-distanced-delivers-the-sort-of-organic-styled-warmth-you-didnt-think-existed-in-music-anymore#respond Sat, 06 Jun 2020 21:51:41 +0000 http://jamsphere.com/?p=40381 Tapedeck 45 are an Indie Rock band from Dundee and Perth. After years of changes the band has recently settled as a 5 piece. This year they had a UK summer tour in the planning stages and the release of their long awaited debut EP. However with the world in lockdown and the summer tour postponed the band decided to delay the release of the EP until this could be toured and promoted at shows and events. In the meantime Tapedeck 45 challenged themselves to write, record and release and EP about the lockdown with the minimum resources at their disposal. The result is the 3 track recording, aptly titled “Songs For the Socially Distanced”.

Tapedeck 45 is an easy band and to fall in love with. Thick haunting atmospheres, lots of guitars – acoustic and electric, intense melodies, beautiful vocals and thoughtful lyrics. Though it may be difficult to adequately describe the sound that the band creates, as expansive would be an understatement, and an overstatement simultaneously.

There’s so much going on, but not in an overwhelming sense. They can go from the bare yet textured acoustics of the “Reclaim Me” intro, to the dense alt-rock built on thickets of crunchy guitar riffs on “All You Gotta Do”. Or they can straddle somewhere in-between with the jangly up-tempo hybrid “Home”.

Tapedeck 45 deliver the sort of organic-styled warmth you didn’t think existed in music anymore, but somehow, through the magic of production and the work of a band that knows exactly what sound they want, there it is.

Tapedeck 45 is one of those rare collectives that can simply transport you from the confines of your listening space, to a remote locale, with grandiose arrangements and rich echoey harmonies. The percussion thumps and smacks, but never bangs, the guitars can be as gentle as they are ferocious. One moment you’ll be caught up in a sweet croon, and the next an explosion of sound that will jostle you.

From the moment “Home” begins to narrate the gravity of the lockdown, forging contrasting choruses to illustrate how the situation was affecting people differently, sonic textures become aplenty on this record. All of this together, presents listeners with a triad of songs that are bursting with sound, yet economical in their instrumental distribution.

“Reclaim Me”, a song about staying strong and trying to maintain normality, in a period which is anything but normal, is regarded by the band as the essential core of this project. It also showcases the band’s ability to craft catchy Indie-Pop gems dominated by organic-styled instrumentation.

I’m seriously attracted to “All You Gotta Do”, with its urgent forward progression and hard-edged guitar riffs. “The track addresses the issue that most musicians will face when locked up,” says Tapedeck 45, “becoming an alcoholic.” The beauty here, in this track, and the others, is to be found in the moment. Every meticulously planned-out second plays its part in establishing a cohesive, emotional whole.

The crux of the power in these songs comes from the interplay between the bands Alt-pop instincts and their Indie-rock intentions. “Songs For the Socially Distanced” is mellifluous and immediate, with bright grizzled edges and engagingly captivating hooks, but it’s also a sonic collage of diametrical puzzle pieces, which craftily complete the whole harmoniously.


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BRANDISNT – “Existential” carves out poignantly captivating tracks http://jamsphere.com/newreleases/brandisnt-existential-carves-out-poignantly-captivating-tracks http://jamsphere.com/newreleases/brandisnt-existential-carves-out-poignantly-captivating-tracks#respond Fri, 05 Jun 2020 14:50:58 +0000 http://jamsphere.com/?p=40362 Brandon Tyler Whittington, better known by his stage name BRANDISNT, is an American songwriter. Brandon started off creating comical rap songs under the alias Lil Brass and uploaded his songs to the site SoundCloud in 2018. Now Brandon has started to make an approach into singing, melodic rapping, and full track production instead of just rapping. BRANDISNT is the embodiment of all thoughts, emotions, and stereotypes that have their own voice and metaphorical being. More technically speaking, it isn’t Brandon, and that’s where the name BRANDISNT was born.

“Existential”, the Ambient and Electronic EP by BRANDISNT is set to release on June 28, 2020, and adds yet another twist to the artist’s musically aesthetic. The Ep contains 5 songs, none which overrun 3 minutes of playing time, but give plenty of insight into BRANDISNT’s creativity.

Before artists like BRANDISNT, the only sort of ambient music largely recognized by the general public, was the sort of reflective, extremely somber compositional ambient music. But these new wave of creatives have taken the serenity and cerebral atmospherics of Ambient, and coupled them with synth pads, strings, keyboards, sampling and mid-tempo beats, to create a dreamier and progressively freewheeling sound.

BRANDISNT takes this technique, as well as an emphasis on beat-oriented sounds, and reverb, bass and percussion, and forges several tracks that retain the textured, placid tones of ambient, with the post-rave rhythmic aesthetic of Electronica.

These are then coupled with floatable tones and ethereal melodies to carve out poignantly captivating tracks such as “Electric Love”, which features a hazily effected vocal, and the title track, “Existential”, showcasing a swirl of warm, all-embracing pads. They bring with them, soothingly cinematic synth arrangements that are a fair indication of the sort of widescape sound that you can expect from this stunningly atmospheric EP.

As the title suggests, “Fast” is more urgent in its approach, but without losing its understated appeal. It opens with a wonderfully synth line that seems to twist and fold in on itself, and builds in the rest of the instrumentation in carefully crafted steps, adding bass and beats.

Care has been taken to give ample space to each sound on “A Weird Feeling / Nostalgia”, and thoughtfully stretched out intelligently over the three minutes that this track runs to. And such is the beautifully devised arrangement, that by the time the tune is over, you feel as if you have been relaxing and listening to it for hours.

This latter track is in turns, sophisticated, sprawling and hypnotic, working equally as well, whether you’re chilling out, or merely need some music to lose yourself into. Along with the “Electric Love” and “Existential” it manages to feel like a surreal dream-like track, encapsulating rhythmically and conceptually, the best attributes this genre-blend has to offer.

In general, this EP delivers tightly crafted melodies, and creative motifs, working in perfect unison with the mood-inducing aesthetic. Most underground electronic music composers fail miserably when they try to create works like “Existential”, BRANDISNT has managed to go beyond my expectations.


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FromKing – “Let’s Restart (Italian National Anthem)” injects optimism into phase 3 of the pandemic! http://jamsphere.com/newreleases/fromking-lets-restart-italian-national-anthem-injects-optimism-into-phase-3-of-the-pandemic http://jamsphere.com/newreleases/fromking-lets-restart-italian-national-anthem-injects-optimism-into-phase-3-of-the-pandemic#respond Fri, 05 Jun 2020 11:52:46 +0000 http://jamsphere.com/?p=40357 In the wake of the various phases of the coronavirus pandemic, with social distancing requirements and ever-changing safety restrictions, many owners of dance clubs are waiting with bated breath. Even when the coronavirus lockdown eases completely, it’s likely that dance clubs and music festivals will be among the last businesses to recover: who can imagine packing onto a crowded, sweaty dance floor before a vaccine is operational? Some people are hopeful that when restrictions are totally lifted, people starved of social interaction and music will return to dance floors. In the meantime Italian music producer FromKing has been injecting his optimism into a brand new original remix of the Italian national anthem, which he entitled “Let’s Restart (Italian National Anthem)”.

“I did this dance piece, to transmit a strong charge in this moment of uncertainty and to give renewed energy, which acts as a flywheel for everyone,” stated FromKing. The Italian DJ/Producer started out playing in the most prestigious underground clubs in the early nineties while constantly developing and channeling his creativity towards various media outlets, such as special events, TV commercials, and product launches of international importance. After years of travelling around the world and gaining experience FromKing started working on ethnic music and traditional folk sounds which he would rework into his own house and progressive house blends.

The Covif-19 virus however, convinced him stop work on these project, and concentrate on reworking, what is locally known as, “Canto degli Italiani” (or Inno di Mameli) – the national anthem of the Italian Republic, adopted since the 12th of October 1946.

Since its creation, the original song became a symbol of the Risorgimento – a historic period in Italy – which translated into English, means “resurgence”. Carefully considered, this word almost perfectly describes our current situation, and our need to “resurge”, especially in Italy which has been devastated by the pandemic.

This is exactly the mood and atmosphere FromKing strives to capture in “Let’s Restart (Italian National Anthem)”, as he builds the renowned melody on a thumping EDM backdrop, using breakdowns, drops and buildups to execute his uplifting and inspiring musical narrative.

In that sense FromKing’s arrangement perfectly captures the powerful nuances of the verse which recites: “Raccolgaci un’unica bandiera, una speme: di fonderci insieme, già l’ora suonò.” Which in English, reads: “Let’s be united by one flag, one hope to be united, already the hour has struck.”

Much like Goffredo Mameli’s lyrics, “Let’s Restart (Italian National Anthem)” by FromKing wants to unite people, but instead of doing so on the battlefield, this up-tempo and danceable version aspires to unite people on the dancefloor, as it ignites the summer nights across the nation, and possibly across the globe.

It is also an invitation for everyone to resume their normal lifestyles, to restore their hope and faith in the future; and also to explore and enjoy the wonders of Italy as the country renews its welcome to visitors again.

Discos, nightclubs and dance halls in Italy could reopen no earlier than spring 2021. This is the hypothesis envisaged so far by the Government, a prospect that, for this type of activity, could mean risking never to reopen.

“Let’s Restart (Italian National Anthem)” by FromKing, has all the ingredients to become a catchy dancefloor standard for the summer of 2020, and more importantly, its title has a powerful message for all concerned. Let’s Restart!


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Franco Esteve – “Contagion” – The Covid-19 pandemic is poignantly and veraciously reflected http://jamsphere.com/newreleases/franco-esteve-contagion-the-covid-19-pandemic-is-poignantly-and-veraciously-reflected http://jamsphere.com/newreleases/franco-esteve-contagion-the-covid-19-pandemic-is-poignantly-and-veraciously-reflected#respond Wed, 03 Jun 2020 11:11:24 +0000 http://jamsphere.com/?p=40308 The EP “Contagion” by the Puerto Rican born and Spanish based composer, Franco Esteve, is described as a soundtrack to everything experienced throughout the Covid-19 pandemic –before, during, and beyond. It’s a musical story and journey written through the coronavirus quarantine and reflects Esteve’s feelings and state of mind through it. The modern classical composer, who lost people close to him during the quarantine in Spain, explains this as a most trying time for him:  “As I was working on a soundtrack and the news began to be consumed by what was first an epidemic and then a pandemic, it became difficult to continue working on the project, as a piece of music kept interrupting my workflow, making it difficult for me to write what I wanted to write. That piece of music ended up as the title track, “Contagion”. As illness, fear, a mysterious virus, a contagion took over the planet, it was that expression, that story that emerged.”

The result of Franco Esteve’s deep introspection and state of being during these trying times is poignantly and veraciously reflected in the 5 tracks which make up the EP “Contagion”.

Notwithstanding the fact that this work comes from a dark, disturbed and frustrating place, it has an astonishing, subtle, hypnotic beauty that remains revelatory after countless listens. Its deceptive simplicity constantly reveals new touches, and carries the enraptured listener to some transcendent place.

The word “listener” falls woefully short of Franco Esteve’s music though.  Right from the opening title track, “Contagion” – which builds from simple, sadly twinkling notes on a piano – it is understood that this is music not simply listened to, but experienced at a very deep subconscious level.

It is like a nebula of pure white light steadily piercing its way through a thick mist of heavy, darkened clouds. And when I stop to contemplate the virtuosity of the composer, I’m astonished all over again.

“The Spread” becomes even more affecting emotionally as Esteve garnishes the arrangement with sentient strings and suspenseful brass. During his career, Esteve has produced and directed commercials and music videos, and is best known for his work with a series of short films called The Doll Chronicles.

He also composed the music for the series, for which he received many accolades. It thus becomes clear why the music on this recording is so engaging, in an almost cinematic way. Franco Esteve is after all, telling us a most dramatic story through these instrumentals.

“Patient Zero” continues to chronicle the events with the percussion adding more speculation and raptness to the auditory experience. As could be expected, the most disturbing and vexing piece comes in the form of the agitated “Infection”.

“Death Is Not The End”, though inhabited by resonating melancholic cellos, propounds faint spirals of possible hope, completing a compelling, compassionate, and powerful work of astonishing emotional mastery. This music will demand your attention and lull you into profound philosophical thought at the same time.

Like any great musical work “Contagion” offers an encompassing, synthesized representation of looking at, responding to, and understanding the world and the human psyche through a trying experience or period of time, and any listener fortunate enough to have their synapses firing along the same lines is apt to experience a truly involving and powerful response.

It’s really a glorious thing that music can do this, and Franco Esteve’s stunning achievement with “Contagion” was to accomplish this through his own personal musical vocabulary, which he brought to fully realized maturity here, unfolding layers of emoting sound and inherent meaning.


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Max Mazzim – “Stranger” ft. Boogiie Byrd – one of R&B’s most dependable names! http://jamsphere.com/reviews/max-mazzim-stranger-ft-boogiie-byrd-one-of-rbs-most-dependable-names http://jamsphere.com/reviews/max-mazzim-stranger-ft-boogiie-byrd-one-of-rbs-most-dependable-names#respond Mon, 01 Jun 2020 23:59:20 +0000 http://jamsphere.com/?p=40283 Nothing excels better than excellence. Max Mazzim is a U.S.A based songwriter, actress, and R&B/Pop singer who has managed to defy all odds, reaching a pinnacle of success, while making her mark both on and off the stage in the music and movie industry worldwide.  The multi-nominated and three-time award winner for Best Music Video in the Pop / R&B genre, was discovered and signed in 2008 by George Hookz the CEO of the Str8team Entertainment Record label then based in Germany.

Max Mazzim has never looked back since. The now doctor by day, musician by night, who was raised in a Christian home in Cameroon, West Africa, has blossomed into a passionate R&B artist blending her Afrocentric roots into her international aesthetic.

Max Mazzim’s hit single “Out Ya Body”, formerly “Birthday Love”, featured Reggae Legend Beenie Man, Kirko Bangz and YK Supe. The song gained global attention, especially in France, Russia, Germany, and Cameroon, where she has held major sold out concerts. Her debut album “Un-Veiled”, featured USA Rap Star Mike Jones.

In 2017, Max Mazzim performed in front of two and half million spectators at the 70th anniversary of Brooklyn’s Historic Labor Day Festival. The list of Mazzim’s achievements is almost endless, and also includes ongoing projects, like her Skin Line product SkinGlow by Max & Co Cosmetique, and her originally designed jewelry and clothing line, MaxWoh & Co.

Now in 2020 she takes yet another step forward in an already rewarding career, with the release of her highly anticipated single, “Stranger” featuring Murder Inc/300 Ent artist Boogiie Byrd. The song depicts a woman who finds herself suddenly in love with a stranger, and what unfolds next is portrayed, within the lyrical content.

While fans have been patiently awaiting this release, Max Mazzim has been using her time wisely, quietly becoming one of R&B’s most dependable names. “Stranger” is the type of track where Mazzim shines. She navigates thumping percussion as she leaps the hurdles in her love life. It’s easily one of the standouts in her catalog.

“Stranger” ft. Boogiie Byrd, is sophisticated urban with the sensual style of R&B comfort. Magical. The lightly airy and fuzzy sound melds with Boogiie Byrd’s smooth falsetto creating a seductively mysterious mood, as Max Mazzim slides in on a sultry but determined note: “I just need your lovin’. I just need you baby. Let’s get back to Venus, lovers can’t be strangers.”

So what makes “Stranger” special? The answer is simple. A good melody. Melodies are so important on this type of song because it creates the music’s flow and vibe. It allows Max and Boogii to create an atmosphere that complements the story-line.

Max Mazzim effortlessly exudes sex appeal which is at the forefront of the track. “Stranger” was clearly intended to showcase Mazzim abilities as a fully developed artist, which it does admirably.

Her vocal performance on this track definitely supersedes her last musical offering, and isn’t even overshadowed by memorable lyrics or the first-rate production. Set against the backdrop of summery R&B and hazy contemporary hip-hop soul, Max Mazzim occupies a unique stylistic space.

Moreover, there’s an emotional maturity that’s palpable across this track, as Max Mazzim puts our emotional sensibilities into perspective: romance, like human life, is transient and ephemeral, it needs to be constantly fed to survive and thrive. This is incisive songwriting – all whilst retaining pop-inspired sensibilities. It is this sensibility that underpins the success of “Stranger” ft. Boogiie Byrd.



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