Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Sun, 22 Oct 2017 20:15:05 +0000 en-US hourly 1 Tyler Brant is on a rare trajectory with his EP http://jamsphere.com/newreleases/tyler-brant-rare-trajectory-ep http://jamsphere.com/newreleases/tyler-brant-rare-trajectory-ep#respond Sun, 22 Oct 2017 10:17:37 +0000 http://jamsphere.com/?p=30540 Tyler Brant is an Oklahoma native with a strong influence from not only Country but many different genres and styles of music He worked in a factory until leaving his home town to serve his country.  It was during his military career that he picked up a guitar and found a calling. One year after […]

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Tyler Brant is an Oklahoma native with a strong influence from not only Country but many different genres and styles of music He worked in a factory until leaving his home town to serve his country.  It was during his military career that he picked up a guitar and found a calling. One year after beginning his singer-songwriter path that he was nominated for a Georgia music award for “Best Country Male Vocalist”. He later moved to Tennessee to continue his growing momentum, but eventually home came calling and Oklahoma couldn’t be resisted anymore.   Tyler also launched his inaugural international tour in 2015, traveling to Ireland.  After a blind audition on NBC’s “The Voice” this year, Tyler is gearing up for the release of his new album in early 2018.

Tyler Brant takes his resonant voice, acute storytelling and country’s traditional amiability, and mixes those with some sharp Top 40 radio instincts. The Oklahoma upstart pumps out singles that sound like they should be pop hits. If that sounds like the lead-in to some kind of pro-traditionalist dis, it’s not; Tyler is the kind of guy who could give country-pop a good name again.

Brant is on a rare trajectory in a genre that typically moves slow as molasses in generating new superstars. What his songs may tend to deliver in depth, they multiply in breadth, with each track occupying a slightly different sub-genre than the last, united in the breezy rocking consistency of their craft.

Want some anthemic adrenalin in your country diet? Try “Too In Love,” a pickup song that shows Nashville has never been immune to copping a little bit of a Pop-Rock feel. “Whatcha Know” brings the heartland rock influence that’s been country’s bread and butter for a while and mixes it with alternative flavors.

But if your nostalgia runs more toward conventional feel-good, uplifting influences, “Suns Comin Up” evokes everything you need to singalong and rejoice in its high energy overwash. Throughout Tyler Brant’s self-titled EP, the artist proves to be both a powerful storyteller and an artist willing to take risks as he continues to push genre boundaries. Tyler delivers undeniably catchy country, pop and rock blended tunes with infectious Top40 production. His bold and anthemic sound is further helped by pristine harmonies and massive chorus hooks.

All three of the above-mentioned songs maintain an arena-ready sound as the songs recall classic hits from prestigious Billboard extraction. Their rich production and sing-along choruses have all the makings of potential hits for the singer-songwriter. The result is that Tyler Brant has done all that can be asked from an artist when it comes to the creative and performance skills needed to make commercially successful records.

The measure of that success is ultimately determined by the marketing abilities of Brant’s chosen promotion crew. Once those abilities match the music Tyler has produced, he’ll without any doubt, be on the highest step of the ladder!

OFFICIAL LINKS: WEBSITE – FACEBOOK – ITUNES – GOOGLE PLAY – SPOTIFY – TWITTER –INSTAGRAM

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Weston Simonis to release “Yoga Pants” video on Thanksgiving from his award winning album http://jamsphere.com/news/weston-simonis-release-yoga-pants-video-thanksgiving-award-winning-album http://jamsphere.com/news/weston-simonis-release-yoga-pants-video-thanksgiving-award-winning-album#respond Fri, 20 Oct 2017 18:04:52 +0000 http://jamsphere.com/?p=30504 For those who’re still unfamiliar with Weston Simonis and his wide range of musical styles, this is a very special talent. A native of the Grande Ronde Valley, Weston is difficult to pin down to one or two genres. Some might say he’s all over the place. I say he has the special ability to […]

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For those who’re still unfamiliar with Weston Simonis and his wide range of musical styles, this is a very special talent. A native of the Grande Ronde Valley, Weston is difficult to pin down to one or two genres. Some might say he’s all over the place. I say he has the special ability to play Blues, Rock, Funk, Metal, Punk and any progressive thinking crossover music at will. Listening to his award winning album “Moments Of Intoxication” has reminded me that there was a time when you could hear all types of artists on the same radio station. Now it seems every station is so specific to a particular genre. Weston seems to break these musical label walls down and just play from the heart and soul. There is a full range of styles on this album that could cater to many different audiences.

In fact “Moments of Intoxication” won the Best Indie Alternative Rock album of 2016 at the International Publisher Awards. And has since garnered 20 licenses for Film & Radio distribution. Weston Simonis biggest triumph is in managing to splice his influences together in a cohesive and pleasing manner. His music feels like the work of a mature songwriter rather than the dull, token overblown guitar rockers that artists like himself may be unfairly pigeonholed with.

Weston is a reminder that rock still has a place in modern culture and, when done right, remains one of music’s most visceral forms. Music is not just his escapism from the world, it’s his savior. So it comes as no surprise that Weston Simonis was picked up by the independent label Canadian American Records.

Weston’s voice and guitar conveys a relentless quest to rise above a world of desperation and hopelessness. His music has a sense of – tell the truth, cleanse the soul, feel good, and keep on pushing. At the same time it’s clear that Simonis values tradition as well as he does modernity, and links between past and present in his music, it is also evident that his vision has expansive boundaries.

Hence he is able to pull out of the bag, a tongue in cheek track such as “Yoga Pants”, which takes a look at a guy alone in a yoga class, filled with women in skimpy yoga wear. The track is as rocking as it is hilarious lyrically.

It’s a guitar-driven exercise in heavy auto-tune atmospherics, accented by shimmering effects and loaded with overt metaphors. It’s the kind of song that you want to crank up to the limit while blasting down the road with the windows open.

The video of the track “Yoga Pants”– which promises to be a high powered raunchy affair – will official be released on Thanksgiving Day. It’s the thick blankets of distortion, shifting polyrhythmic pulses, stylistic fusions, and deep urban messages that lift Weston Simonis music beyond rock convention and outward toward a wide popular audience.

While enjoying the all awards and accolades Weston Simonis is also busy on a brand new project. In the meantime grab “Moments of Intoxication” which it is a damn good album and a ridiculously fun jam at times. Also get ready to view the “Yoga Pants” video when it drops on Thanksgiving 2017.

MORE ABOUT WESTON SIMONIS: A native of the Grande Ronde Valley, Weston Simonis has been on the local music scene for many years. Simonis has been the front-man for several bands over the years, including Drive By, Hopeless Endeavor and The October Sky. As front-man for the band Metal Under the Influence, Simonis and his band mates won the ‘Battle of the Bands’ contest then went on to participate in the Warp Tour, playing at both Boise State University and Eastern Oregon University.

After high school, Simonis went on to study at Full Sail University in Florida, known for being one of the best multimedia institutes in the nation. Working with music producer Michael (Wolf) Reaves (Metallica, Jay-Z and Justin Timberlake), Simonis gained the skills needed to open his own recording studio in La Grande.

OFFICIAL LINKS: WEBSITE – FACEBOOK – TWITTER – SOUNDCLOUD – REVERBNATION – ITUNES – AMAZON – GOOGLE PLAY

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Joey Britton: “Edmonton Sessions” – filled with warmth, comfort and poignancy http://jamsphere.com/reviews/joey-britton-edmonton-sessions-filled-warmth-comfort-poignancy http://jamsphere.com/reviews/joey-britton-edmonton-sessions-filled-warmth-comfort-poignancy#respond Wed, 18 Oct 2017 18:01:38 +0000 http://jamsphere.com/?p=30482 Joey Britton started his journey in music at an early age. He joined the band ISO and played lead guitar helping to launch the Torn and Tethered Album. After ISO, Joey decided to move to California to expand his skills in the music industry while writing, recording, and producing his own records.  “I try to […]

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Joey Britton started his journey in music at an early age. He joined the band ISO and played lead guitar helping to launch the Torn and Tethered Album. After ISO, Joey decided to move to California to expand his skills in the music industry while writing, recording, and producing his own records.  “I try to write songs that tell stories, relate to people, so that when you listen to them – you realize you’re not alone,” says Joey Britton. Exploring is an experience not easily replicated. Associated with it is equal parts thrill, anxiety, and apprehension. Exploring a new artist is no different. Who knows what you’re going to encounter? Is the experience going to be one you’d like to further, or are you going to cut it and run when you hear something that doesn’t click right the first time? I was never really sure what to think of Joey Britton, having never been exposed to his music before.

However once I pressed play, something about the heartland guitar playing and world percussion on the track “Forever Young” positively impacted me. And in the case of the entire album, “Edmonton Sessions”, any level of the slightest intrigue should be enough to start your journey in his realm of indie-folk.

The sounds and mood created with here can place you anywhere in the world, as if you are not only exploring the music, you’re exploring the world with him. And boy, is the payoff worth it. Joey is aided in the project by vocalists Ivan Garcia and Juleona Soto, who make sure that Joey Britton’s songs carry just the right amount of warmth, comfort and poignancy they deserve.

At times the songs are simple and stripped down to tracks like “Stay Here” and “One Night Stand”, while on others they are more fleshed out and layered, as on “Fly Away” and “Another Landfall”. “Edmonton Sessions” isn’t your typical listen, not by a long shot. There is so little that it can be compared with.

The fluorescent, acoustic-centric ambient atmospheres that are created within the core of these songs do not let up, as Joey Britton makes use of both electric and acoustic instruments to create the backbone of his indie folk sound.

Accompanied with this, is a variety of melodies to give him a sound so warm and gripping, that each song becomes so distinct and powerful that an album could be made of each one. Complemented by the heartfelt vocals and lyrics, it’s hard to bring yourself back to your environment after you’re done listening.

Another strong focus on this album is the stellar use of the drumming which is always subtle, yet powerful, precise and tasteful. However, what is so magnificently captivating about Joey Britton is the connection a listener feels with his music.

Listening to standout vibrant productions on tracks like “Saving Grace”, “Living Out My Dreams” and “Rainbow”, it’s clear that Joey and friends might as well be playing this album directly in your lounge. It’s hard to recall an album with sonics that speak as close to the heart as this does. As Joey Britton ponders the world, and the life and emotions it allows for, so too will the listener.

From the beautiful vocal work and lyrics, the smart percussion, and the atmospheric guitar work, this album commands your attention. So delve into it, hopefully you’ll be able to make your way out of it by the time “One Night Stand” fades out. If not, don’t worry, you’re really in a very good place to be.

OFFICIAL LINKS: WEBSITESOUNDCLOUDINSTAGRAMITUNES

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Chaz Hearne: “Rise of the Voluminous” points its creativity in quite a few different directions http://jamsphere.com/newreleases/chaz-hearne-rise-voluminous-points-creativity-quite-different-directions http://jamsphere.com/newreleases/chaz-hearne-rise-voluminous-points-creativity-quite-different-directions#respond Wed, 18 Oct 2017 09:53:48 +0000 http://jamsphere.com/?p=30464 The very first thing I learned while listening to the album “Rise of the Voluminous” by eclectic folk artist, Chaz Hearne, is that the defining question regarding any Hearne song is which Chaz Hearne he’ll be. Will it be the introspective, contemplative Hearne of slow-burning masterpieces like “Falling For Reason” and “Hount The Jab”? Or will […]

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The very first thing I learned while listening to the album “Rise of the Voluminous” by eclectic folk artist, Chaz Hearne, is that the defining question regarding any Hearne song is which Chaz Hearne he’ll be. Will it be the introspective, contemplative Hearne of slow-burning masterpieces like “Falling For Reason” and “Hount The Jab”? Or will the party-starter behind “Fun In ‘82” poke his head out, armed with flash phrases and funky beats? Or maybe he will just activate his progressive art-rock mode, as on “Voluminous Man” and “Spicy In The Dim Halls” – catchy, complex, yet ultimately armed with a sort of weightless. Of course he could just slip into the sprawling dreaminess of “51 With the Crusts Cut Off” (Feat. Carrie Allen), or the more stripped-down and folksy “Older”.

The truth is, the Rochester, New York based musician, Chaz Hearne, is no regular folk artist, in the classic sense of the title. His music is certainly rooted in folk elements, but Hearne points his creativity in quite a few different directions. Built around a collection of organic instrumentation, “Rise of the Voluminous” is a weird new classic, sneakily inventive and massively engaging.

Hearne is a master of infusing his signature essence into whatever styles he wants to play with at any given moment, and that remains true throughout the 8 tracks on this album. Though to be honest, with a gloriously distinctive high-pitched voice like his, it would be sufficient just to open his mouth and sing, for any song to have Hearne’s signature essence.

But as an artist, Chaz Hearne doesn’t just sing divinely, he plays his favorite instrument, the banjo, as well as the guitar, piano, violin and singing saw, when needed. Hearne’s artistic integrity and spirit are deep-seeded in this record. His melodies and music arrangements are a dream. They do all the things that you wanted them to do, but never expected a record like this would do.

With its wide-ranging sonic assemblages cut with oblique texts, “Rise of the Voluminous” is “a reflection on privilege,” explains the album’s liner notes, continuing: “While touring the lands, one of the Voluminous learns the complicated levels of inequality of which he had previously been ignorant as one of the elite. He discovers the history of his people; how they have kept themselves on top while turning the rest against each other. How their power created the Voluminous Man.”

The lyrics are interesting and evocative, the production strong and full. Musically “Rise of the Voluminous” sounds like folk writ large, with expansive and full instrumentation where decades ago there was only a voice accompanied by guitar. This is the evolution of folk into a progressive era, while still maintaining its roots.

It’s an all-embracing masterpiece that sweeps as it coaxes the mind into a perfect mix of uplift and rest. This music is not a quick fix to simply fill the empty void inside your head, although it could be if that’s what you ultimately desired — rather, toward the patient listeners, “Rise of the Voluminous” will resonate and reflect something intensely profound and uniquely affecting to each individual user.

OFFICIAL LINKS: WEBSITEFACEBOOKYOUTUBETWITTER

MUSIC STREAMS: WEBSITEBANDCAMPSPOTIFYSOUNDCLOUD

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The Innocent Bystanders: “Attractive Nuisance” – a record everyone should own! http://jamsphere.com/newreleases/innocent-bystanders-attractive-nuisance-record-everyone http://jamsphere.com/newreleases/innocent-bystanders-attractive-nuisance-record-everyone#respond Mon, 16 Oct 2017 21:39:39 +0000 http://jamsphere.com/?p=30444 Based in Kensington and Mission Hills, The Innocent Bystanders was founded by musicians who played regularly in various bands in high school and college, who got together to form a band to play fundraising events for a local law school. They perform a wide-range of rock and soul, focused on the music of the 1960s and […]

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Based in Kensington and Mission Hills, The Innocent Bystanders was founded by musicians who played regularly in various bands in high school and college, who got together to form a band to play fundraising events for a local law school. They perform a wide-range of rock and soul, focused on the music of the 1960s and 1970s. The band is made up of Steve Berenson (Drums), Steve Semeraro (Electric Guitar, Vocals), Kaimi Wenger (Keyboards, Vocals), Jessica LaFave (Saxophone), Ben Nieberg (Acoustic Guitar, Vocals) Kath Rogers (Vocals) and Donny Samporna (Bass guitar). Their “Attractive Nuisance” EP of original music was recorded at Singing Serpent Studios in Kensington and released in 2017.

Imagine an EP that manages to draw influences from records that came long before it, but manages to sound like nothing else yet recorded. Not because it’s reinvented the wheel, but because there are so many styles and nuances locked inside the music, you cannot for the life of you, fit the band into any single one.

It manages to detail emotions on the human spectrum in such a way that, even if you’ve never experienced it, you somehow manage to know what it feels like. An album that is so compelling, rich and challenging but still remains completely joyous, harmonious and free of any pretense. Believe it or not this EP actually exists, and it goes by the name of “Attractive Nuisance”.

But surely that’s a bit of a sweeping statement for a record with 4 simple tracks of music? Well I guess it could be, but after a few listens to “Attractive Nuisance” it’s incredibly hard not fall for it. This is a record everyone should own; it is fun and melodic, inventive, groovy, and gives you that good audio buzz you just don’t get in modern recordings anymore.

That’s because everything about it is just amazing. Its warm, organic production, affecting lyrics and the way it manages to take you on a roller coaster of emotion and excitement whilst always remaining musically focused throughout. The Innocent Bystanders just bang out, great song after great song, doing absolutely no wrong at all.

Be prepared to fall in love with rock and roll, and rhythm and soul, all over again during this EP. Starting with “Gotta Get Outta Here”, to “Highways”, and “Emerald Eyes” onto “Working Man’s Daughter”, The Innocent Bystanders infuse these songs with vibrant rhythms, resonating horns, stirring harmonies and tons of positive vibes that penetrate the speakers all throughout.

“Attractive Nuisance”, despite its short run time, accomplishes a great deal. It’s the crucial axis and it’s a wholesome alternative for those that dislike the notoriously long run-time of albums, and gives fans a kick in double-quick time; it makes an easily digestible starting point for newcomers to the band, and will have them hungering for more.

OFFICIAL LINKS: WEBSITE – FACEBOOKYOUTUBEINSTAGRAM

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Christopher Rapkin: “Focus In” has a powerful raw vibe! http://jamsphere.com/newreleases/christopher-rapkin-focus-powerful-raw-vibe http://jamsphere.com/newreleases/christopher-rapkin-focus-powerful-raw-vibe#respond Mon, 16 Oct 2017 13:41:53 +0000 http://jamsphere.com/?p=30432 Composer, arranger, producer, multi-instrumentalist and singer. Christopher Rapkin is many things, including founding member of Digital Composers Guild, and a music industry consultant. During September Rapkin released his 10 track heavy guitar album, entitled “Focus In”. Listening to Rapkin on this album it also becomes clear that he could be known as a great guitar […]

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Composer, arranger, producer, multi-instrumentalist and singer. Christopher Rapkin is many things, including founding member of Digital Composers Guild, and a music industry consultant. During September Rapkin released his 10 track heavy guitar album, entitled “Focus In”. Listening to Rapkin on this album it also becomes clear that he could be known as a great guitar virtuoso and a perfectionist. Christopher is the guitarist who sings and he does it quite well, in my opinion even better than Steve Vai. Also he is a good composer, all of his albums are full of songs of different styles. So he’s the man whose albums are full of songs of different tones and textures. As for his guitar playing, he is unlike Joe Satriani or Steve Vai, in that is less frenetic technically, and more concentrated on thick and heavy rhythm structures, at least on “Focus In”.

Christopher Rapkin does not chase the shredding ghost, searching rather for the melody in his solos. He has a powerful raw vibe in his style, which he sometimes polishes up with astute studio production and tasteful playing, or he may just leave it at that if he chooses. He also makes his music interesting by deciding to sing over it. Let’s face it, instrumental guitar music can sometimes be boring over many subsequent tracks. So you’ll find Rapkin throwing his Bob Seeger- styled vocal cords into the mix, on tracks like “Go To Hell Adele”, “Just Beginning”, and “Take You Away”.

You have the ultimate, overdriven, down and dirty rock n’ roll guitar songs in, “Dirty Smile”, “Monstre”, “Sustain” and “Mad Summer”. But almost every track has a hook or guitar riff that immediately grabs your attention. You’re guaranteed to find something interesting or suited to your tastes on this album.

You get a couple of excellent ballads, as well as some bluesy riffs, and an acoustic guitar dominated track with a hip-hop beat, moreover Christopher Rapkin is an expert at combining multiple styles into just one song. And as mentioned previously, he doesn’t just play guitar solos like other shredders; he writes actually songs and selects his note choices wisely.

Artists who show more style over substance (Steve Vai) to those who play the same notes over and over again (Yngwie Malmsteen) are a completely different kettle of fish compared to Rapkin, so don’t get these mixed up. What I really liked about the album is that it is very easy to listen to.

Rapkin’s guitar playing is just perfect, very little pyrotechnics, plenty of visceral power. It’s obviously a personal point of view, as I know many of you like the pyrotechnical stuff – I do too, but not an entire album’s worth…(get it Yngwie?)

Overall “Focus In” is a fine and extremely likeable addition to the Christopher Rapkin catalogue, which manages to avoid the all too common guitarist’s pitfall of sounding like they’re trying too hard too impress. I’m sure Rapkin and his fans are clearly aware that he has nothing to prove and this album sounds like a passionate artist having a good time with his favorite guitars – a combination of several Gibson Les Paul’s, a Fender Custom Shop Strat, and a 1966 Fender Jazzmaster – Lovely stuff!

OFFICIAL LINKS: WEBSITESOUNDCLOUDYOUTUBE

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Jordan Everist: “Vacancy” is rich in instrumental gold infused with fragments of sparkling vocal gems http://jamsphere.com/reviews/jordan-everist-vacancy-rich-instrumental-gold-infused-fragments-sparkling-vocal-gems http://jamsphere.com/reviews/jordan-everist-vacancy-rich-instrumental-gold-infused-fragments-sparkling-vocal-gems#respond Sun, 15 Oct 2017 13:56:12 +0000 http://jamsphere.com/?p=30411 Jordan Everist is a creative from Portland, Oregon. His love of music began when he was 4, but really took off in his high school years. Since then he has been producing music professionally for short films, cartoons, and musicians. He also has had a series of personal projects, where he’s been able to express […]

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Jordan Everist is a creative from Portland, Oregon. His love of music began when he was 4, but really took off in his high school years. Since then he has been producing music professionally for short films, cartoons, and musicians. He also has had a series of personal projects, where he’s been able to express himself and develop his own voice. Besides music, Jordan has an interest in all things creative, which he shows through his other ventures, writing and animating cartoons, and developing video games.

Odds are if you’re reading this review, you’ve heard of Everist’s music before. If you haven’t, it’s your lucky day: you’ve just struck a hidden gold mine of music that will catch you off guard. The best part? Jordan Everist’s new album, “Vacancy”, is rich in instrumental gold infused with fragments of sparkling vocal gems.

So why do I know you’ll like this album? This isn’t an album where you skip some songs and repeat others unequally: you’ll love every track to the point where you will end up adding the whole album to your favorite playlist.

It’s the perfect soundtrack for driving, playing games, relaxing, or anything you can really think of doing while listening to music. Everist covers a whole lot of musical ground from vastly supersonic soundscapes covered with synthesized bliss and a hip-hop instrumental paradise, to incorporating organic and sample-filled chilled vibrations that take soulful turns towards low-key pop and ambient flavorings. You can’t help but ecstatically smile, as you listen to this multi-genre potpourri. Go ahead, you’ll see what I mean.

I’m trying not to reveal too much, because I don’t want to spoil your first undisturbed listen of this album, but just know this: Jordan Everist lands on the planet of chill and bliss and excitement that many other instrumental artists aspire to even find, and this record is your first-class ticket there.

Part of the excitement and interest is that there is always a hint of experimentation, or boundary pushing, present in each and every track. So even the most fleshed out tune sounds like its work-in-progress, ready to take yet another left turn. The other surprise is, of course, the fact that no two songs sound the same.

The dreaminess from the electronic sounds is matched with beautiful use of the sparse vocals and samples. I love this combo as it adds more groove and soul than some of the more ‘pure’ electronic music, which can also be colder and more austere.

The final fraction of “Indecisive” forges stunningly emotional vocals, while “Switching Lanes”, pretty much maintains a soulful groove throughout.  However, it’s “Let Go” that is the first real standout with its ethereal vocals and magnetic head-nodding beat. And it gets even more soulful on “What We Do”, where the vocals fade tantalizingly in and out of the audio spectrum.

Beautiful, tranquil, and yet often pulsating, Jordan Everist’s reverberating sound elements intertwine with each other like paint being mixed on a palette until you can’t quite tell what color it is you are looking at.

This happens on another set of standouts like “Tired”, “The Ghost” and the title track, “Vacancy” – These tracks have a wonderful warmth about them with genuine emotion, and a positive energy that abounds. Electronic albums can sometimes sound sterile and emotionless, but that is not the case here by any means. Grab a cup of green tea and put this on and your mood will change.

OFFICIAL LINKS: SPOTIFYITUNESFACEBOOK

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David Vaters: “A Voice In The Wilderness Volume 2” – the vivid gift and joy of believing! http://jamsphere.com/newreleases/david-vaters-voice-wilderness-volume-2-vivid-gift-joy-believing http://jamsphere.com/newreleases/david-vaters-voice-wilderness-volume-2-vivid-gift-joy-believing#respond Sat, 14 Oct 2017 14:47:22 +0000 http://jamsphere.com/?p=30402 “A Voice In The Wilderness Volume 2” finds David Vaters in top form. This is a beautiful complex album that highlights the full brilliance of David’s genius, as well as the serenity and wisdom of a long, full life. Those of you who have listened to the previous, ambitious and critically acclaimed project, “A Voice […]

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“A Voice In The Wilderness Volume 2” finds David Vaters in top form. This is a beautiful complex album that highlights the full brilliance of David’s genius, as well as the serenity and wisdom of a long, full life. Those of you who have listened to the previous, ambitious and critically acclaimed project, “A Voice In The Wilderness Volume 1 ”, showcasing a cast of a-league musicians, will know exactly what to expect. As this offers more of the same emotional experiences savored on that recording. Once again David enlightens us with his lyrical wisdom, as he warns about our cultural and spiritual shortcomings and our insatiable desire to reap personal fulfillment from worldly possessions.  What David Vaters has given us here is a ten-song cycle that eloquently elaborates the daily vicissitudes of a man passionately uncovering the truths inside his soul.

The record is as much a view of both the beautiful and ugly corners of contemporary society, as it is an interior monologue on the power of faith. With unabashed, yet understated tenderness, there is none of the cloying quality in David’s voice and phrasing that somewhat mars your regular rock star’s performances. Vater’s sings from the heart at all times, without cunningly searching for the all-enticing hook.

The magnetizing power of his songs lie in the engaging melodies, the lavish production and the visceral approach he has to his storytelling vocal deliveries. More than simply singing a song David seems to be baring his soul. Hence the listener remains captivated all throughout the album.

“A Voice In The Wilderness Volume 2” is rock, it’s Americana, it’s thoughtful, gracious, beautiful, uplifting, and most of all it is David Vaters at his best. Here he opens up his heart for the most personal and most emotional release thus far. The electric, acoustic and organic composition of the songs are wonderfully orchestrated narratives mixed with hope and praise as Vaters chronicles the vivid gift and joy of believing.

He has created an album with vertically-focused worship songs. The record hits the ground running with “Castles In The Sand”, a mid-tempo song with a simple melody that you will find yourself quickly singing along to. On the heels of this anthem you will run into a tune written with the thought of avoiding resentment called “Forgive”. Starting off intimately with a piano and vocal lead-in, it falls into a beautiful groove as it hits the first chorus.

The first real universal standout arrives with “Godly Man”, a very worshipful song that contain powerful declarations to God, it employs a large and lavish rock arrangement. From here on out the album rises to amazing heights both musically and spiritually, as David’s relationship with God becomes more intense throughout the narratives.

“Brothers Of Mine” has a pretty deep meaning. It seems the song is telling the listener that the light shines brightest in the darkest places and times. One thing that I like about David Vaters for sure is the way he writes his songs, which make the listener imagine the situation and feel the meaning of every word in the track.

For arrangement, musicality and lyricism, moments of excellence can be savored on “Talking To God”, “Like I’ve Been Born Again” and “Service Of The King”, the best three back-to-back songs I have heard on any album during the last year or two. Regardless of genre.

It’s really hard to believe that “A Voice In The Wilderness Volume 2”, is only David Vaters’ second solo album. All things taken into consideration, it actually sounds like his twentieth. It does of course help that he had a roster of well-known players in the studio.

Including Grammy and Dove award winner Tom Hemby on guitars and mandolin, John Hammond and Brian Fullen on drums and percussion and Jeff Cox and Gary Lunn on Bass, Johnathan Brown on Keyboards, Susie Vaters and K.J. Raney on Background Vocals, and David Vest on background vocals, keyboards and orchestration, while David himself handles the Acoustic Guitar and of course the Vocals. All the songs were written by David Vaters, except “Castles in the Sand”, which was written in collaboration with Ward Pike.

OFFICIAL LINKS: WEBSITE – AMAZON – GOOGLE PLAY – ITUNES – SPOTIFY – TWITTER – REVERBNATION – STORE

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JIBE: “Epic Tales of Human Nature” – Incandescent and emotional http://jamsphere.com/newreleases/jibe-epic-tales-human-nature-incandescent-emotional http://jamsphere.com/newreleases/jibe-epic-tales-human-nature-incandescent-emotional#respond Fri, 13 Oct 2017 13:31:54 +0000 http://jamsphere.com/?p=30387 The 1994 assembled Dallas TX alt-rock band, JIBE, featuring vocalist Joe Grah, guitarist Toby Bittenbender, Corey Tatro on bass, and drummer Todd Harwell, is back after an eleven year hiatus with a brand new, full-length concept album, entitled “Epic Tales of Human Nature”. Produced by JIBE and Matt Noveskey (Blue October), and mixed by Grammy […]

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The 1994 assembled Dallas TX alt-rock band, JIBE, featuring vocalist Joe Grah, guitarist Toby Bittenbender, Corey Tatro on bass, and drummer Todd Harwell, is back after an eleven year hiatus with a brand new, full-length concept album, entitled “Epic Tales of Human Nature”. Produced by JIBE and Matt Noveskey (Blue October), and mixed by Grammy award-winning producer/engineer, Toby Wright (Metallica, Alice In Chains, Korn), the recording was completed at Orb Recording studios in Austin, TX. Wow! Once every year or two, I pick up an album that is so good it dominates my music preference for weeks or even months on end because it’s so good, so captivating, and nearly every song is a gem. “Epic Tales of Human Nature” is one of those albums.

Thirteen tracks deep, this album is a thoughtfully underscored and in-your-face social commentary set to hard rocking riffs that takes no prisoners. Kicking off with “Children of the Sun” starts off the album in a decidedly anthemic and melodic way with grungy guitar riffs followed by the rush of soaring choruses.

“Broken City” is a bold statement that JIBE is back with cutting guitars, as well as accompanying booming drums and bass that demands attention from the first fist-pumping beat and riff. Moving on to “The Human Condition”. We hear a head-bobbing piece of intricate rhythm and rhyme that tells the listener to “save the human race, before it’s too late.”

Keeping with the seeing past the end of your nose theme is “Release” – a biting track that takes the listener by the neck and shows them how the world keeps spinning badly, “as change is what we need.” Joe Grah’s satin-and-gravel blended voice, cuts into “Girl On The Hill”, just leaving enough room for Toby Bittenbender’s screaming guitar to exercise its potency, before the band falls into a brief piano-driven slumber on “A Shadow In The Garden”.

“Change” proceeds to lift the intensity with an upbeat radio-ready rock tune. “We’ve Only Just Begun”, is the type of track you purchase an album like this for – changing moods, soft and loud tones, adrenalin-pumping choruses, a motherlode of guitar riffs and inebriating vocals.

By the time we hit the rumble of “Don’t Give It All Away”, it is clear that JIBE has come back in a huge way. Their no holds barred, kick-ass rock, shakes the very foundations of the genre, saying it’s not over yet…not by a long shot.

The band is just as impressive when they take their feet off the pedal, as they do on the acoustic driven melody of “Waiting”. The track offers you just enough breathing space, before its back to the rock drawing board for “The Best I Ever Had”, another vehicle designed for Grah to show off his vocal cords, alongside Bittenbender’s fiery electric six-string. “Sanctuary” provides yet another quiet interlude, before “Bravery” delivers a multilayered backdrop of rich sounds and harmonies to close the album in luxurious style.

As a whole, JIBE’s album, “Epic Tales of Human Nature”, is intensely immersing. With the combination of the dramatic instrumentals and enthralling vocals, the recording can almost be considered cathartic given the themes it covers. I would rate this album, as a triumphant return for the band. Incandescent and emotional, this recording will launch JIBE back onto the scene without skipping a beat.

OFFICIAL LINKS: WEBSITEFACEBOOKINSTAGRAMTWITTERYOUTUBE

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Back To Eden: “Twin Flame” a classic heavy metal blueprint! http://jamsphere.com/newreleases/back-eden-twin-flame-classic-heavy-metal-blueprint http://jamsphere.com/newreleases/back-eden-twin-flame-classic-heavy-metal-blueprint#respond Mon, 09 Oct 2017 01:52:14 +0000 http://jamsphere.com/?p=30351 In collaboration with vocalist Aliz Kasim, plus special guest musicians from all over the world Back To Eden is the heavy metal project of guitarist, bassist and songwriter Edan Hoy from Melbourne, Australia. Joining Back to Eden on their latest single “Twin Flame”, is special guest guitar virtuoso Dhalif Ali. This is the third and […]

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In collaboration with vocalist Aliz Kasim, plus special guest musicians from all over the world Back To Eden is the heavy metal project of guitarist, bassist and songwriter Edan Hoy from Melbourne, Australia. Joining Back to Eden on their latest single “Twin Flame”, is special guest guitar virtuoso Dhalif Ali. This is the third and final single taken from their upcoming Debut EP. Expected release date of the EP will be early 2018. The track is the potential this project has always shown, fully unleashed: it’s a heavy metal blueprint taken from the late seventies and early eighties and brought into the 21st century.

Edan Hoy

Edan Hoy

Through the course of “Twin Flame”, it can be duly noted that every musician, playing or singing on this recording, is on top form. Treating the listener to a thoroughly headbangable set of riffs as well as a meticulously superb guitar solo, the bass is highly audible in the mix and hugs the guitars well to provide a thick low end, occasionally branching out with small yet noticeable sections of its own.

Vocalist Aliz Kasim proves to be another very strong element, with his verse and chorus melodies being some of the strongest and catchiest currently at hand in the genre. He has a tremendous vocal range that can reach the highest of highs.

Many bands have tried to accomplish this kind of sound and style, in the modern day hard rock and metal scenario, but few have succeeded. A larger part of what makes this music what it is, is not simply the chunky riffs, rumbling bass lines or pounding drums, but the attitude, and at times restraint, that holds the authentic classic metal sound together.

So many bands try to take it to excess, with everything designed to be in-your-face, and shock your senses. Most of these bands could stand to improve by taking out a few of the riffs, reducing the ridiculous amount of soloing and try to break out of the excessively corny rhythmic changes. And if they still don’t understand it, maybe a listen to Back To Eden’s latest single could be helpful.

Aliz Kasim

Aliz Kasim

The riffs here on “Twin Flame” are able to shift tempo without it seeming like the music is inherently losing its intensity or form, and the solos are painfully sharp, again, not sacrificing their edge to seem overly technical.

It seems ridiculous to praise even the tone, but it pulls that vibe of the record forwards from a simplistic one to a more advanced, complex sound. Being hit by this and the powerful bass and drums, creates the guarantee that even the most aggrieved of metal listeners will find something to enjoy on this song.

With a steady crescendo and a clear presence of lusciously layered guitars, and neat little lead lines sitting over the top of chugged rhythms, and a thudding bass in the background, this song epitomizes everything that is good about classic metal.

Back To Eden don’t throw you any curveballs, and they really don’t have to. Let’s be honest, melodic or classic metal aren’t genres that’s actually thriving as a whole nowadays, but these guys nail all the parameters of the style well enough, to sound like modern-day genre forerunners.

A well-deserved pat on the back for Edan Hoy and Back To Eden is due it seems, as I can find no flaws here. Everything is more than solid…and just as I remembered it in the golden era of metal!

Name your price and Buy/Download Back to Eden Music at CDBABY (Price Range: Free- $0.99)

OFFICIAL LINKS: FACEBOOKINSTAGRAMREVERBNATION

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Natt Moore: “Drive”- a knack for creating vivid imagery is in full force here http://jamsphere.com/newreleases/natt-moore-drive-knack-creating-vivid-imagery-full-force http://jamsphere.com/newreleases/natt-moore-drive-knack-creating-vivid-imagery-full-force#respond Sun, 08 Oct 2017 23:54:37 +0000 http://jamsphere.com/?p=30347 Contempstrumental Records’ electronica, experimental, and ambient, composer and producer based in United Kingdom, Natt Moore, has dropped his latest ambient track, “Drive”. It seems that the term “ambient” covers a lot of ground. There are the artists whose work tends to be more “musical” if you will, and those that create a “sonic landscape”. Moore […]

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Contempstrumental Records’ electronica, experimental, and ambient, composer and producer based in United Kingdom, Natt Moore, has dropped his latest ambient track, “Drive”. It seems that the term “ambient” covers a lot of ground. There are the artists whose work tends to be more “musical” if you will, and those that create a “sonic landscape”. Moore manages to straddle and blend both, in his compositions. What’s on this track has the power to transform the consciousness, the very cells of the listener, while at the same time – centers the heart and soul. In an absolutely remarkable and unique manner. Where other composers fail at bridging the gap between “music” and “sound”, Natt Moore succeeds.

“Drive” is equally good listening to it as “sound”, as it is listening to it as “music,” and that’s a very difficult thing to accomplish in ambient. The track is an easily digestible piece and is extremely comforting for the listener. The low bass tone assorted with that air-like electronic arrangement give the listener enough room to settle in.

Yet at the same time the track is not static as it moves between varied rhythms and intensities. The movement between each sequence is palpable enough to seriously raise your ear instincts and at the same time allows it to be a smooth ambient listen.

An ambient track that grabs your attention is indeed a paradox, and “Drive” does not fade into the background. Most ambient compositions create a mood and settle on it. By contrast, “Drive” ping-pongs from one emotional pole to another.

It kicks off menacingly, with the eerie bass synths leading into a driving rhythm and then falling into a luscious lullaby before rebuilding its rhythm – a representation of the song’s changing texture. Brian Eno once stated that ambient music must be as “ignorable as it is interesting.”

“Drive” is not ignorable. You’d be hard-pressed to find an ambient piece this interesting. Much of this owes to Natt Moore’s melodic gift; he relies as much on drones to evoke beauty as he does chord progressions and even simple synth riffs.

Natt Moore’s knack for creating vivid imagery through instrumental music is in full force here, with a solid set of headphones the listener will be able to pick up on the subtle touches that really make “Drive” a special listening experience. As far as ambient singles go “Drive” is one of the more interesting listens that the genre has to offer currently. If you’re simply looking for background music, this is not your track.

OFFICIAL LINKS: FACEBOOK – ITUNES – SPOTIFYGOOGLE PLAYAMAZONHMVDIGITAL

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Russell Lee: “Meant To Be” – deftly-written in the classic storyteller sense http://jamsphere.com/newreleases/russell-lee-meant-deftly-written-classic-storyteller-sense http://jamsphere.com/newreleases/russell-lee-meant-deftly-written-classic-storyteller-sense#respond Sun, 08 Oct 2017 22:12:45 +0000 http://jamsphere.com/?p=30341 Canadian Country-Rock recording artist, Russell Lee, has been on a run this year. He has performed a full set-list at the world-renowned Dauphin, Manitoba CountryFest. The music video for his previous single “Picture” reached over 500,000 views on YouTube, and to top it all, Russell has been nominated for six awards at the Manitoba Country […]

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Canadian Country-Rock recording artist, Russell Lee, has been on a run this year. He has performed a full set-list at the world-renowned Dauphin, Manitoba CountryFest. The music video for his previous single “Picture” reached over 500,000 views on YouTube, and to top it all, Russell has been nominated for six awards at the Manitoba Country Music Awards (Male Artist Of The Year, Song Of The Year, Emerging Artist Award, Music Video Of The Year, Single Of The Year and Fan’s Choice). Relentlessly though, Russell Lee continues his ongoing momentum without resting on his laurels. And as such, has released the first single, “Meant To Be”, from his upcoming album.

It becomes clear from the opening bars of “Meant To Be”  that the name Russell Lee belongs smack dab in the mix when you’re speculating on who is the best and the brightest in the current crop of insurgent country songwriters and performers.

The first thing you notice about Russell’s music is that familiar “somewhat country, somewhat rock” sound indicative of his crossover capabilities. The arrangements are sensible, with a batch of electric guitars comprising the foundation, though not being afraid to mix in some keyboards and other country elements.

Russell’s voice is twangy, but not too overstated. You do get the feeling he wants you to know he’s country, but he’s not trying to prove to you how country he is as some who make the genre’s circuit in their perfect Wrangler shirts and jeans do; he’s a lot more laid back than that.

But this is country music, both honoring and indicative, while sweetening the sound enough to appeal to a wider ear. To be perfectly honest, the music set to Russell Lee’s songs is not what wants to separate him from the herd.

As he doesn’t take any wild chances on left-field sounds and prefers to roughly stick to the genre’s already large boundaries. It’s really the straight off the cuff songwriting that makes Russell Lee contrast from the crowd in both modern country and beyond.

“Meant To Be” is deftly-written in the classic storyteller sense about “the destiny of love through the good, the bad, and the ugly.” Russell Lee, very much the mature artist, knows exactly how to balance his songwriting between being sensible and being substantive.

Playing the lines between the two, means he really appeals in large part to either. I really like the track because the lyrics in the song are so simple and true. For me words mean something, and this song speaks truths.

But it does so without overelaborate poetry. Sometimes you just need a song that talks straight – from, and to, the heart – and this one does. In a world of Luke Bryans and Jason Aldeans, I can tell you that Russell Lee is really a breath of fresh air!

Social: Website – Facebook –  Soundcloud – Instagram –  Twitter

To contact or book Russell Lee for a show, please email:  Russell@russelllee.ca

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The Links: “Imperial” – there’s beauty in brevity! http://jamsphere.com/newreleases/links-imperial-theres-beauty-brevity http://jamsphere.com/newreleases/links-imperial-theres-beauty-brevity#respond Sun, 08 Oct 2017 12:35:21 +0000 http://jamsphere.com/?p=30332 The Links formed in 2011 by Jordan Marola and a group of high school friends in Lafayette, LA. After a handful of shows, this lineup disbanded and the group was reformed with different members in 2013, and went through several changes during the ensuing years. To date the band have released 2 albums as well […]

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The Links formed in 2011 by Jordan Marola and a group of high school friends in Lafayette, LA. After a handful of shows, this lineup disbanded and the group was reformed with different members in 2013, and went through several changes during the ensuing years. To date the band have released 2 albums as well as a handful of EP’s and “in-studio” live releases, the newest of these releases being the “Imperial” EP, which has been described as “a more stripped-down and organic sounding release in comparison to the last few from the band.”

On The Links new studio EP, there is a revitalized style that takes a little time to tune into, but once the acoustic and electric wavelengths are established, it’s solidly business as usual. “Imperial” is a bit like stepping into a fairground. The voices and music swirl in an intoxicating manner.

For all its apparent stripped down exterior there is still a flamboyance, where every note is there – and specifically not there – for a reason and the overall kaleidoscope is clearly very closely designed.

It’s hard to tell how autobiographical these songs are, as they could also be based on ideas rather than specifics. But the way Jordan Marola and the rest of band interpret them, sounds genuinely personal. Marola’s voice and turns of phrase full of paradox make this an intricate, yet simple listen.

It should go down as one of their most memorable when they hang up their instruments. The songs herein are melodic and specific. Not all expert songwriters could achieve this kind of sonic quality and lyrical detail, and get both so right.

The classic indie tropes with which The Links embellish these songs, and the filtering subtlety of their instrumentation, allows through the fundamental, emotional substantiality. These are songs that simply stick. Right from the opening title track, “Imperial”, the EP succeeds, not thanks to any eccentricities, but because of its song craft, which is direct and resonating. It’s a humble, hype-less gem that initially will probably go unnoticed by everyone bar a few indie kids file-sharing, and word-of-mouth mumblings.

“We’re Not The Same” proves they are as capable of lush, sepia-singed autumn elegies as they are brash, barbed romps. In this song, Jordan Marola marries an unravelling melody and a storybook-simple arrangement with his own lyrical curiosities.

The Links understand there’s beauty in brevity; in performing songs at their most concise, stripped-down and powerful. Leaving not one chord wasted, songs like this grab you by sleeve, grin and dance you into submission before crashing to a breathless finish. Without a doubt “We’re Not The Same” is the best track in the pack.

The band do have one eccentricity included in this recording, and it’s the P.P. House mix of the title track, “Imperial”. But it’s in no way loud and obnoxious –on the contrary, it only has the beat beefed up, while retaining all of its melody and flow. “Aura”, brings a slow burning, acoustic-dominated ballad, where Marola forges all of his vocal emotion before the tracks surrenders itself to the sound of keys and strings.

“Imperial” is an EP of lilting, literate, buoyant and brilliant indie music with melodies so memorable they may as well be burned into your brain; that goes closer than many in understanding how even the most simplistic music can incite such a powerful, devotional effect.

OFFICIAL LINKS: WEBSITEFACEBOOKITUNESSPOTIFYYOUTUBE

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Songwriter KennyWrite makes it happen with determination, focus and self-discipline http://jamsphere.com/newreleases/songwriter-kennywrite-makes-happen-determination-focus-self-discipline http://jamsphere.com/newreleases/songwriter-kennywrite-makes-happen-determination-focus-self-discipline#respond Fri, 06 Oct 2017 14:46:47 +0000 http://jamsphere.com/?p=30321 With the dream of aspiring to the successes achieved by her idol Diane Warren, songwriter KennyWrite relentlessly applies her craft on a daily basis. Her songs are masterworks of contemporary song writing craft that any would-be writer would do well to dissect and analyze. Choruses full of hooks, verses jammed with catchy melodies, all seamlessly […]

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With the dream of aspiring to the successes achieved by her idol Diane Warren, songwriter KennyWrite relentlessly applies her craft on a daily basis. Her songs are masterworks of contemporary song writing craft that any would-be writer would do well to dissect and analyze. Choruses full of hooks, verses jammed with catchy melodies, all seamlessly held together by lyrics that are universal enough for most listeners to identify with, without feeling that they’ve heard it all before. She pens across a breadth of styles with such ease and confidence, as her songs transcend genre and translate into many different music forms.

KennyWrite

KennyWrite

Everyone has the same 24 hours in a day so how come some are able to turn out so many hit songs on a regular basis while other writers can’t? One reason, it seems, is that some writers may have the talent to write hit songs, but they lack the determination, focus and self-discipline to make it happen.

John Legend, for example, believes success as a songwriter is as much about working hard as it is talent. “There’s this mistaken belief that everything is about talent,” he once told Q magazine, “but talent has to be cultivated and developed. If it’s not nurtured, pushed and challenged it’s not going to happen.”

KennyWrite’s favorite songwriting icon, Diane Warren, one of the most successful female songwriters of all time, says she spent 20 years writing six days a week, 10-12 hours a day, before she felt she could finally take the occasional weekend off. As Burt Bacharach once remarked: “Music breeds its own inspiration. You can only do it by doing it. You may not feel like it, but you push yourself.” PJ Harvey takes a similar view: “If you want to be good at anything, you have to work hard at it. It doesn’t just fall from the sky. I work every day at trying to improve my writing, and I really enjoy it.”

Of course, no two creative people are the same in the way they find their inspiration or produce their artistic output. But I’m sure KennyWrite falls into this group of thought, considering her ever-growing catalog of songs and the passionate parameters she infuses into them.

Not least on “Legends of Tonight”, a track performed by TeDee. Steeped in an elegant, swaying, almost dancehall rhythm, KennyWrite delivers a song built on crisp, earworm simplicity. The melodic tune is as airy and effervescent, as it is rhythmic and catchy.

You can’t predict a smash hit, but there are certain things that make a song ready for the whole world. There are a few secret lyrical, musical and conceptual ingredients that almost always go into worldwide chart-toppers, and KennyWrite knows how to apply them.

She has a title – “Legends of Tonight” – that burrows its way into the listener’s ear. The chorus melody features simple notes, repeated, which means you’d have a pretty easy time remembering the song. The track is completely relatable too – anyone could sing it and feel the exact emotions described in the narration.

Specializing in commercial and advert songs, as well jingles, film and TV music – with a simple pop song such as “Legends of Tonight”, KennyWrite proves she knows her way around her craft – from song structure to melody, harmony and lyrics.

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKINSTAGRAMYOUTUBE

ONLINE STORES: ITUNESGOOGLE PLAYSPOTIFYAMAZON

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Andrew Farstar: “I Will Always Love You” – delightfully sophisticated! http://jamsphere.com/reviews/andrew-farstar-will-always-love-delightfully-sophisticated http://jamsphere.com/reviews/andrew-farstar-will-always-love-delightfully-sophisticated#respond Thu, 05 Oct 2017 11:33:41 +0000 http://jamsphere.com/?p=30310 Andrew Farstar (formerly Andrew V John) is a singer and songwriter from Australia. A former church musician, whose music has received rave reviews form magazines and blogs worldwide, Farstar’s music videos have also amassed tons of views on YouTube as well as receiving airplay on radio stations in Europe and North America. As a legally […]

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Andrew Farstar (formerly Andrew V John) is a singer and songwriter from Australia. A former church musician, whose music has received rave reviews form magazines and blogs worldwide, Farstar’s music videos have also amassed tons of views on YouTube as well as receiving airplay on radio stations in Europe and North America. As a legally blind person, who plays the keyboards by ear, Farster released 3 Ep’s and 2 singles during 2016, and has recently dropped his self-titled album, “Andrew Farstar (Special Edition)”. Farstar’s music crosses various genres, but his general style sticks between the adult orientated, contemporary Pop boundaries, to which he sometimes adds, re-imagined classic music arrangements.

I have just taken a listen to the single, “I Will Always Love You”, taken from the aforementioned self-titled album, and I can’t say that I’ve ever before heard anything as casual, engaging and relaxing in the indie underground. Andrew Farstar is a wonderful wordsmith and delivers his music with unfailing grace and style at all times.

His sensitivity, care, and love of the music is easily evident and hugely enjoyable. One can’t help but sit back and ease into the melody. This particular song brings a sense of peace to everyone who enjoys music and enjoys chilling. This is simply perfect for a warm, breezy summer’s day lying in your hammock drinking tea, and reminiscing about the one you love.

Farstar is an incredibly talented lyricist — clever, eloquent, delightfully sophisticated, and frequently profoundly insightful. He could write down the phone book and make it sound interesting and charming. The musical arrangements on the album are sweetly pleasant and make for easy listening.

“I Will Always Love You” reeks of a Brazilian influence not unlike the bossa nova infused Carlos Jobim compositions – musically unique, original and richly rhythmic and melodic – and lyrically a feast of emotion, with touches of joy and pure humanity.

“I Will Always Love You” stands proudly among all of the songs on the album – it is wonderful to appreciate its subtleties and nuances more and more on repeated playing. This is the kind of music that makes one unwind, as the blood pressure comes down, the shoulders relax, and the stress melts away with each note.

Andrew Farstar displays his talent as a master storyteller with his music, transporting the listener to faraway places with his silky smooth voice and luscious musical arrangements, which are a pure pleasure to the ear (and the soul).

OFFICIAL LINKS: WEBSITEYOUTUBETWITTERCDBABY

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Michael M Jeni: “One Night” is infused with a subtle dancehall rhythm http://jamsphere.com/newreleases/michael-m-jeni-one-night-infused-subtle-dancehall-rhythm http://jamsphere.com/newreleases/michael-m-jeni-one-night-infused-subtle-dancehall-rhythm#respond Wed, 04 Oct 2017 13:37:06 +0000 http://jamsphere.com/?p=30301 Michael M Jeni is a 23 Year old R&B artist and producer from Iowa featured on iTunes, Spotify, VEVO, Beats Music, Apple Music and more. Electronic-dance music, or EDM, has a powerful position in the pop firmament right now. International stars and producers are dominating clubs and music festivals with their intense, pumping beats. So […]

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Michael M Jeni is a 23 Year old R&B artist and producer from Iowa featured on iTunes, Spotify, VEVO, Beats Music, Apple Music and more. Electronic-dance music, or EDM, has a powerful position in the pop firmament right now. International stars and producers are dominating clubs and music festivals with their intense, pumping beats. So what if you scaled down that sound to a laid-back, audience-friendly version of electronic-dance music and then blended it with smooth and sensual R&B? The result is “One Night”, the brand new track by Michael M Jeni, which was written, engineered and mixed by the man himself. While the beat was produced by BeatsBySv.

The electro beat of “One Night”, is infused with a subtle dancehall rhythm which supports the airy velvet and satin vocals. Listening to this Michael M Jeni track is like escaping to an island getaway for roughly three minutes, as he summons the taste of Pina Coladas, the sight of skimpy clothing and late-night walks along the beach under a full moon.

Chilling vocals remain a large part of Michael’s ingredient for hit-making, and he lays it on lusciously here, touching the listener with sensual tones and a range that can  devastate.

“One Night” is meticulously structured – and that’s its beauty. It unfurls slowly and unpredictably, constantly changing mood and enticing the listener’s ear. The track is musically understated and loaded with patented Michael M Jeni sensuality, creating a song that’s both a feel-good jam and a perfect mood-setter.

Michael glides through the gentle arrangement stating: “I’m trying to get to know ya, so I can get closer,” as you groove to the song’s bouncy keys. The track also finds strength in the selected instrumentation and pacing. The production’s rich yet sparse feel and smooth grooves tell a story that matches the actual lyrics.

Michael M Jeni’s steadily growing catalog is filled with highly regarded tracks, and “One Night” ranks near the top of that already impressive list. His hallmark is his willingness to innovate, without making pretentious, over the top tracks.

It feels deeply inspiring too, especially amidst a period when much of R&B music has regressed from organic emotionality, transitioning into an absent-minded abyss, filled with sterile messages and repetitive beats that populate the marketplace.

“One Night” finds the deeply affectionate young crooner embracing and exploring the pleasures and ebbs of intimacy, with a certain emotional resonance that feels both familiar and revelatory.

OFFICIAL LINKS: SPOTIFYSOUNDCLOUDITUNESTIDAL

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Drinking With Clowns has the atmosphere of a circle rather than a linear hierarchy http://jamsphere.com/reviews/drinking-clowns-atmosphere-circle-rather-linear-hierarchy http://jamsphere.com/reviews/drinking-clowns-atmosphere-circle-rather-linear-hierarchy#respond Sun, 01 Oct 2017 13:25:31 +0000 http://jamsphere.com/?p=30265 Drinking With Clowns is project is led by Baldo Bobadilla (singer/songwriter/producer from Paraguay) and Kristias Trujillo (Drummer/Composer from Mexico), who over the years have been joined by many talented musicians from the South America and the United States and have made amazing contributions to the project, such as the collective’s third member, Alejandro Jimenez (Colombia […]

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Drinking With Clowns is project is led by Baldo Bobadilla (singer/songwriter/producer from Paraguay) and Kristias Trujillo (Drummer/Composer from Mexico), who over the years have been joined by many talented musicians from the South America and the United States and have made amazing contributions to the project, such as the collective’s third member, Alejandro Jimenez (Colombia – Percussion). The idea of spreading positive harmony and love throughout the world is not only limited to the band’s music, as Bobadilla is also the Executive Director of Future Kind – an organization dedicated to bringing educational opportunities to those least fortunate among us, for which the band is an active donor and contributor.

Drinking With Clowns, who have shared the stage with many international artists as well as played at prestigious venues, has so far released four albums, ‘Mind Your Head’ (2007), ‘My New Head’ (2010), ‘El Vuelo’ (2012), and the latest self-titled album ‘Drinking With Clowns’ (2017).

The tracks on this album have a feeling of freedom about them, of the flexible variety and facility, as if each one on its own could easily play on for hours without running out of rhythm and euphony. Their music seems primed to accommodate almost anything, looking back to their heritage, or forward to the latest trends.

The tracks begin as defined arrangements but always sound as if they are ready to accept improvisations and have been tightened through the process of performance into blocks of music that can be savored both melodically and rhythmically.

Each song retains a well-structured Latin flavor, with democratic anticipation of the next instrument, of the next musician who might come in at the moment of their cue. The music of Drinking With Clowns has the atmosphere of a circle rather than a linear hierarchy, the sound of artists looking outwards, at the other musicians, and at the audience, rather than downwards at their shoes or inwards at their miseries and doubts.

This is music for exteriors, for expansion, for diffusion, for bringing joy to the world. But always horizontally, side by side with the listener, and not vertically, looking down at the audience. The pace is set by the groove of the drums and percussion, but there are smooth swaying guitars, rich funky bass lines and vocals in both Spanish and English.

The groove running throughout the album, is sexy without being sexual, it celebrates open-limbed movement rather than flirtatiousness or grinding or anything wet or heavy. This is music for the masses music which shuns exclusivity. Drinking With Clowns are about inclusion, participation, cooperation and sharing, and it comes shining through in their music.

Rhythmically mesmerizing and melodically captivating, Drinking With Clowns can go from the insistent slow burn of “Liberaté” to the rhythmic delights of “Tropical”, and then onto the upbeat funk of “I Wanna” and “Out Of Control” before sliding towards the banging alternative sound of “Time To Go”.

Their varied influences, soaked in with their roots sound,  seems to be the perfect combo for the band’s wide range of talents showcasing their natural groove, eclectic flourishes and cultural flavor; if you want a feel for this group here is your starting point. Drinking With Clowns has put together a solid studio recording to chill out, get down, drive around, or simply listen to!

OFFICIAL LINKS: WEBSITEFACEBOOKINSTAGRAM

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Meet the R&B innovator Evan Ebanks! http://jamsphere.com/newreleases/meet-rb-innovator-evan-ebanks http://jamsphere.com/newreleases/meet-rb-innovator-evan-ebanks#respond Sat, 30 Sep 2017 22:48:08 +0000 http://jamsphere.com/?p=30256 Born in Ontario, Canada but raised in South Florida the emerging singer and songwriter, Evan Ebanks, is set to release his self-titled album debut on October 17, 2017, a 10-track melodically-infused introductory collection that will be on pre-order from October 11th. Evan, who has shown an interest in music since the age of 8, began […]

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Born in Ontario, Canada but raised in South Florida the emerging singer and songwriter, Evan Ebanks, is set to release his self-titled album debut on October 17, 2017, a 10-track melodically-infused introductory collection that will be on pre-order from October 11th. Evan, who has shown an interest in music since the age of 8, began to seriously cultivate his vocal talent in the church choir and local performances throughout the Miami area. He recalls one of the most memorable experiences as an artist being invited to perform on a television show and having the opportunity to meet Stevie Wonder in person. Evan has performed popular nightlife venues such as Blue Martini, Oceans Ten in South Beach, The Cleavlander in South Beach and The Hard Rock Casino.

Much like archaeology, or global exploration, much of the world has already being discovered – leaving little to the imagination. This can often lend to fans of music, being forced to embrace clichés and what is familiar, as well as allowing artists to cling to what is safe.

In theory, at least, recognizing the landscape of modern music should also mean that innovation and adventure in a music genre is appreciated to an extent that it has never been before. If the latter is true, meet the innovator Evan Ebanks.

When not exploring the depth or height of his own voice, Ebanks can be heard exploring the borders of his genre. Flitting effortlessly between played down electronica, soul elements, the vibrancy of a pop blend and all the while never stepping wholly outside the genre of R&B, Evan parades both his voice and masterfully etched lyrics through the tracks on this album – dodging potential booby traps of ambition outweighing ability.

On his new album Evan Ebanks shows that he does have solid songwriting, singing, and studio chops. This record reveals a felicity with language, a charismatic manner of singing, and a deep understanding of what makes a song work well beyond his years. Each track works on several layers. One can listen to it, make love to it, or just move to the beat.

Undoubtedly, it is Ebanks’ lyricism that really allows him to stand out here. There is such a mystic, otherworldly element to the lyrics that it’s almost impossible not to be captured by them.  It’s so distinctly clear from listening to his poetic verses that Evan Ebanks is no ordinary artist.

This level of lyrical mysticism should be difficult, if not nigh on impossible, to maintain for the entirety of an album by any artist. Evidently, no rules or expectations of limitations exist for Ebanks, as he goes from standouts like “Antisocial” to “Sign”, and “All To Myself” to “Soulmate” ft Laura Vivas, and “Seed To Rose” to “Sorry”.

This album is 10 tracks long, with consistency that makes it border on infuriating. After all, what is the most impressive element here? The words, the imagery, the message, the voice, the beats? Ebanks falls into a rare class of artist where there is such a level of depth to his lyricism that it’s a daunting task to even tackle it.

It’s rare for an artist to aptly blend both adventurous music and audacious lyrics at the same time. The Weeknd, Maxwell and Frank Ocean have done it at some time in R&B, of course, and in a distinctly accessible way, but it remains rare. Now on his official debut, Evan Ebanks too, has crafted a profoundly adventurous and unique R&B album. A rare thing indeed!

OFFICIAL LINKS: WEBSITESOUNDCLOUDINSTAGRAMTWITTERFACEBOOK

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Mark Senger: “Believe” is easily a standout song! http://jamsphere.com/reviews/mark-senger-believe-easily-standout-song http://jamsphere.com/reviews/mark-senger-believe-easily-standout-song#respond Fri, 29 Sep 2017 16:39:40 +0000 http://jamsphere.com/?p=30248 Growing up in a home where he was inspired by his father, an accomplished jazz guitarist, Mark Senger began teaching himself to play guitar at 7 years old. His early musical influences were Eddie Van Halen, Steve Vai, Joe Satriani, Jeff Beck, and U2. In his late teens, Mark became a songwriter and the guitarist […]

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Growing up in a home where he was inspired by his father, an accomplished jazz guitarist, Mark Senger began teaching himself to play guitar at 7 years old. His early musical influences were Eddie Van Halen, Steve Vai, Joe Satriani, Jeff Beck, and U2. In his late teens, Mark became a songwriter and the guitarist for The Generics, a group that played venues throughout the southeast for 6 years. Now, Mark’s credits include songwriter, musician, and music producer at Senger Music Productions, as well as recording engineer at Senger Studios in Atlanta, GA.

Believe” is easily a standout song, opening with an orchestral flow, and wonderfully juxtaposing a very Americana main riff with a power-pop/rock chorus.  It is a song that should deservedly reach a larger audience.  Blending the Americana flavoring explored here with solid pop-rock song-writing delivers an exciting record, as Senger takes the listener through a particularly hard relationship with a strong, slow-burning melody as he pours out his soul. On this track, Senger definitely is letting his music and lyrics become the therapist he seems to crave.

In terms of music, the singer-songwriter period was unique with its impassioned outbreak of energy and creativity, and the subsequent reinterpretation of the established canons. However through the ensuing years until today, the imaginative guitars lost ground to the laser beams of dazzling synths.

The fancy smattering of percussion was replaced with the steady pace of tick-tack beats. The melodies became simpler, and songs shorter, more accessible and blatantly aimed at wider audiences. This resulted in typicality, repeatability and simplification accompanied with deficiency of fresh ideas.

Mark Senger takes us back to the singer-songwriter era, but not in terms of stripped down sounds, rather in his ability to construct a song – the building chord progressions, the storytelling verses and soaring choruses, the powerful melody and the lush harmony – as he breaks the usual pop barriers with a 7 minute-long song.

Produced with a clear and palpable professional approach, proving the rise of Senger as a musician, the single clearly aims at the mainstream but without its gimmicks and decisions, and all the other clichés of pop’s current period.  As a result we get a very solid recording, which will catch the listener’s ear almost immediately.

The song refers to an apparent problem in the relationship, which hit a wall, however the music and vocals are such that one cannot help but believe the man who hasn’t surrendered to despair. Though staying within the genre boundaries, “Believe” is diverse, melodic and well-polished, with heart and passion put into it.

OFFICIAL LINKS: WEBSITESOUNDCLOUDREVERBNATIONFACEBOOKINSTAGRAMTWITTERSPOTIFYITUNES

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