Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Thu, 23 Mar 2017 01:55:54 +0000 en-US hourly 1 Momin Deen: “Sound Of Kites” – A Smooth, Velvety Voice and Classic Retro Style http://jamsphere.com/reviews/momin-deen-sound-of-kites-a-smooth-velvety-voice-and-classic-retro-style http://jamsphere.com/reviews/momin-deen-sound-of-kites-a-smooth-velvety-voice-and-classic-retro-style#respond Wed, 22 Mar 2017 14:39:11 +0000 http://jamsphere.com/?p=27834 Momin Deen’s genius is in his ability to capture the wailing pain and intensity that were so much a part of the birth of rock and roll. On track after track, he never fails to concoct convincing variations on his introspective rock persona. Sometimes he will add pop flavors at other times it will be […]

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Momin Deen’s genius is in his ability to capture the wailing pain and intensity that were so much a part of the birth of rock and roll. On track after track, he never fails to concoct convincing variations on his introspective rock persona. Sometimes he will add pop flavors at other times it will be folk or indie sounds. Listening to his latest single “Sound Of Kites”, you will be hooked by the purity of Deen’s voice, his range, and the feeling he conveys. Deen displays his mastery of a type of singing I thought had disappeared with Orbison, Elvis and Jerry Lee. It was a distinct style.

Momin Deen has a retro, sensitive “blue” rockabilly sound, to which it’s gently rolling rhythm and up-beat hooky melody is not immune. Momin Deen aka Muhaimin Che Din, is a singer-songwriter and a poet – based in between Perth and Kuala Lumpur – heavily influenced by the likes of Elvis Presley, Bob Dylan, Marc Bolan, and the Beatles.

We can thank Deen for loving a music that has become almost “uncool,” so much so that he has devoted a lot of time to it and written a great many songs that are very “cool” along the way. And we can thank him for taking a deliberate step away from the relative comfort of his own particular songwriting style and giving us a track devoted to exploring a song of the singer-songwriter nature.

Whether or not you like this particular genre, it is undeniable that Momin Deen is a very talented singer-songwriter with a good natured demeanor. His smooth, velvety voice and retro style is what makes his music worth listening to because there really are few artists doing what he does, and how he does it.

He has a warm organic sound coupled to a jangly electric guitar, which is so far removed from the cold computer-induced music we are accustomed to today. Even disregarding Deen’s mellifluous voice, when he lets fly with the music, you’ll still get goose bumps. If you listen to “Sound Of Kites” and don’t feel anything, you obviously have no soul.

Many artists of this generation have their voices and music filtered and computer generated, so it’s refreshing to hear an artist like Momin Deen turn out songs in a conventional bass, drums and guitar, live take situation. No doubt the studio ambience and recording “live” in real time makes all the difference.

His performances are so authentic it’s hard to believe he is not from another time period. Because of his musical and personal style, it would be easy to brand Deen as a nostalgia act, but he is far from that as he adds a modern twist into his retro influences. In fact the gifted Momin Deen does an amazing job of creating a sound so similar to several legendary singers and artists but still manages to make them his own.

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Lost Elysium: “Think Like the Enemy” – Tonally thrusting between the melodic and the crazed, it’s a highly dynamic track! http://jamsphere.com/reviews/lost-elysium-think-like-the-enemy-tonally-thrusting-between-the-melodic-and-the-crazed-its-a-highly-dynamic-track http://jamsphere.com/reviews/lost-elysium-think-like-the-enemy-tonally-thrusting-between-the-melodic-and-the-crazed-its-a-highly-dynamic-track#respond Tue, 21 Mar 2017 03:47:58 +0000 http://jamsphere.com/?p=27816 Lost Elysium is Ashley Elle (vox/synth), Brian Muller (guitar) Earl Lee (Bass) and Ricky Stage (drums). The Buffalo based hard rock band has shared stages with A-list artists such as Lacuna Coil, John 5 (Rob Zombie), Theory of a Deadman and Skillet. Produced by Mike Rogers, their brand new single, “Think Like the Enemy” was recorded […]

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Lost Elysium is Ashley Elle (vox/synth), Brian Muller (guitar) Earl Lee (Bass) and Ricky Stage (drums). The Buffalo based hard rock band has shared stages with A-list artists such as Lacuna Coil, John 5 (Rob Zombie), Theory of a Deadman and Skillet. Produced by Mike Rogers, their brand new single, “Think Like the Enemy” was recorded at the historic Dreamland Recording Studio in Woodstock, NY and is distributed by the Orchard (Sony and Generic Records).

“Think Like the Enemy” is not so much focused on a heavy riff, and it’s also not just focused on a lot of synth or Ashley Elle’s voice. It’s really just everything wrapped into one singular package to enjoy. They’re certainly heavy, the chord progressions can move in unexpected ways to give off more of the darkish vibe, and they’re pretty damn catchy as well.

The track opens proceedings in blistering style with a massive guitar riff and attacking vocals that seem to be trying to force your eyes out of their sockets. Ashley’s voice smoothes the path a little, but the unabated aggression rocks on solidly, and is wrought with emotion and melody.

The brilliant blend of vocal talent and precise instrumentation is chilling and clear, shifting into something raw and equally emotional on either end of the scale. The moody, turbulent nature of the track itself sets up what is to come with high expectations, and Lost Elysium do not disappoint.

“Think Like the Enemy” shifts up the band’s gears, with massive impact, urgency and determination. The focus is as always in the hard rock and metal theme, but the power behind the band and their work shines. There’s some brilliant riffing going on here, making it a true delight to immerse yourself in.

Tonally thrusting between the melodic and the crazed, it’s a highly dynamic track. There are also exceptional differences in the way the drums are approached at times, and the layers of production make it particularly joyous to listen to, rich and full.

Lost Elysium stands out amongst the wave of ‘female-fronted’ metal bands, such as Nightwish or Within Temptation. The first impression you get listening to “Think Like the Enemy” is that it is an extremely polished track, which should help the band with their way of being heavier than mainstream yet able to appeal to the wider masses.

There is plenty of hook filled riffs, a big melody and some electronic trickery that seem to blend seamlessly into the heavier parts of the track. Overall I believe “Think Like the Enemy” will find its audience and will change the trajectory of Lost Elysium’s career significantly.

OFFICIAL LINKS: WEBSITEITUNESYOUTUBE

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Boy in the Rain: “Wave” is a collection of original piano solos http://jamsphere.com/newreleases/boy-in-the-rain-wave-is-a-collection-of-original-piano-solos http://jamsphere.com/newreleases/boy-in-the-rain-wave-is-a-collection-of-original-piano-solos#respond Mon, 20 Mar 2017 14:11:59 +0000 http://jamsphere.com/?p=27799 Boy in the Rain is a composer and solo artist. His style draws heavily from classical and romantic periods, stemming from the traditional piano studies of his youth, but incorporates modern styles into a unique contemporary fashion.  His latest album, “Wave,” is a collection of original piano solos. The piano has a chief interest of […]

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Boy in the Rain is a composer and solo artist. His style draws heavily from classical and romantic periods, stemming from the traditional piano studies of his youth, but incorporates modern styles into a unique contemporary fashion.  His latest album, “Wave,” is a collection of original piano solos. The piano has a chief interest of exploration for many composers. Through the history of music we can even certify the following: static discoveries and dynamic ones. Bartok, for example, in many of his solo piano pieces is always certain when to use an incomplete chord, which register and which inversion to choose. Thus he made many static discoveries. He would play something like any major triad in the 4th octave, together with an additional third in the 2nd octave, producing a slight dissonance due to a clash of acoustic overtones.

Ravel, Ligeti, and many others, of course, were interested in dynamic means of expression. This is the same expression that interests me, for the simple reason that I don’t want to be challenged by piano music, but rather be emotionally soothed or stimulated by it. Hence when I came across Boy in the Rain’s dynamic playing on “Wave”, I was excited from the get go.

The album contains a real wealth of beautiful music – 15 tracks to be exact. The track titles range from specific imagery (“Scars”) to more amorphous concepts (“Plunge”), but they are all gems to listen to, even without the track titles as a reference.

The music is incredibly relaxing and does what great music is supposed to: transport the listener to another place. Whether you listen intently to the music, or as background for work or something, you cannot help but be moved.

Boy in the Rain does an excellent job on the piano. While none of the songs beg to be described as virtuoso showpieces – and I don’t even think that is part of Boy in the Rain’s intention – nevertheless they show he has a master’s touch at the keyboard; phrasings, dynamics, and ornaments are all so well done.

The essential nature of this fine assemblage of piano mastery makes this album a real treat for any world weary soul. Boy in the Rain is a clear and powerful voice amidst a sea of so-so, same pretension, masking as musical talent. The ambient nature of this man’s playing will fill your home with a harmonic richness that serves to pamper your soul with each listen.

He carves a soundtrack for lovers, for loneliness, and for living. His fleeting piano has that feeling we often associate with the sound; bittersweet, morosely fulfilled, with an undercurrent of swift, raw emotion –an easy way to the heart, but it’s an addicting sensation.

The great expression and emotion in his compositions is perfectly clear. From “If I Lived Again”, to “Song For Sarah” and “Flutter” it is hard not to be moved by Boy in the Rain’s dynamic playing. On this album he has pushed his sonic visions to the fore, as “Wave” is anything but incidental instrumental music.

OFFICIAL LINKS: FACEBOOKTUMBLRCDBABYSPOTIFYAPPLE MUSICGOOGLE PLAY

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MoJiles: “Spring Break Party” – an aggressive feel-good vibe that will have people grooving! http://jamsphere.com/newreleases/mojiles-spring-break-party-an-aggressive-feel-good-vibe-that-will-have-people-grooving http://jamsphere.com/newreleases/mojiles-spring-break-party-an-aggressive-feel-good-vibe-that-will-have-people-grooving#respond Sun, 19 Mar 2017 21:00:17 +0000 http://jamsphere.com/?p=27782 Florida’s MoJiles are a 4 piece band hails from the Gulf Coast yet features members from all over the world. Averaging over 150 shows a year for the last 8 years, MoJiles has become a dominating force in the Southeastern music scene. Bringing you an energetic mix of Top 40 Country Hits, 80’s Rock, 70’s […]

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Florida’s MoJiles are a 4 piece band hails from the Gulf Coast yet features members from all over the world. Averaging over 150 shows a year for the last 8 years, MoJiles has become a dominating force in the Southeastern music scene. Bringing you an energetic mix of Top 40 Country Hits, 80’s Rock, 70’s Classics and Top 40 Dance, MoJiles will keep you singing along and dancing all night long. I must be blunt, ladies and gentlemen. Country music is a shell of its former self – Repetitive narratives, monotonous instrumentation, or lack thereof and an all-out effort by some of the stale artists of the world to completely hijack the sensibility of mainstream radio.

Of the few solid country-rock acts standing strong, is the MoJiles, a group that pulls themselves up from the depths of scrutiny, any sort of comparison with the ‘bro’ country movement, and countless hurdles that usually make any group’s individual and collective aspirations seem unreachable.

MoJiles use this as fuel for sold-out shows, a devoted fan base and creating great music.  The new song “Spring Break Party” is a good measuring stick for the band, and feeds off an aggressive feel-good vibe that will have people the world over grooving to its anthemic chanting, uplifting chord progressions and soaring lead vocals.

The lyrical content is obviously lightweight and entertaining, but rest assured, listeners, you’re about to see MoJiles knock it right out of the park from here on out, succeeding in bridging the gap between a familiar Country sound, and the Pop-Dance sensibility they’re so brilliantly incorporating here.

The track will remind the listener that MoJiles can churn out up-tempo feel good country rockers that are likely to become fan favorites at their live shows, and are filled with tons of swagger, if you will. So, if you’re a country-rock listener, or even if you’re not, this track will appeal to you.

MoJiles rage like a thunderstorm, and are ready to take over the modern crossover country scene. Whether you’re okay with that or not, really doesn’t matter to them, as they’re heading for the “Spring Break Party” right now!

 MoJiles is :
Jon Kott ( Detroit, Michigan ) – Lead Vocals and Rhythm Guitar
Formerly of ROOSTER and UNCLE BOOBY
Marcus Trebotich ( Ocean Springs, Mississippi ) – Bass Guitar
Formerly of Together Tomorrow
Tim Stephens ( Cornwall, United Kingdom ) – Guitar and Vocals
Formerly of EMF ( #1 Billboard Smash Hit ‘Unbelievable’ )
Chris Winskey ( Pensacola, Florida ) – Drums and Vocals
Formerly of SCHOFIELD

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTER

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The Photoshoplifters: “Breakthrough” – has its rock foundation in well-displayed emotion! http://jamsphere.com/reviews/the-photoshoplifters-breakthrough-has-its-rock-foundation-in-well-displayed-emotion http://jamsphere.com/reviews/the-photoshoplifters-breakthrough-has-its-rock-foundation-in-well-displayed-emotion#respond Sun, 19 Mar 2017 18:24:48 +0000 http://jamsphere.com/?p=27775 Now for what makes the single “Breakthrough” from EP ‘Confessions of a Normal Life’ by 2-piece alternative rock band The Photoshoplifters great: The track rocks from start to end. Not only does it rock, but it flows with fluid instrumentation and powerful vocals. Justin Senger (Vocals/Guitar) and Maddie Murray (Drums/Programming) from Billings, Montana, shoot it […]

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Now for what makes the single “Breakthrough” from EP ‘Confessions of a Normal Life’ by 2-piece alternative rock band The Photoshoplifters great: The track rocks from start to end. Not only does it rock, but it flows with fluid instrumentation and powerful vocals. Justin Senger (Vocals/Guitar) and Maddie Murray (Drums/Programming) from Billings, Montana, shoot it straight from the soul.  It’s clear from the opening riffs, even if you have never heard this band before that one can count on The Photoshoplifters to deliver quality singles, and that is how “Breakthrough” starts off.

While the instrumentation is tight and crunchy, Senger’s vocal delivery is passionate and has its foundation in well-displayed emotion. It’s also why the chorus repetitions don’t wear thin. The simple soaring melody anchored by emotive vocals, angst-ridden lyrics and effective songwriting drives the song into a euphoric state.

While some bands have their weakest songs be the singles, The Photoshoplifters know how to write an ear-catching tune and make it one of the best tracks they can offer.

Maddie Murray’s intelligible drumming and Justin Senger’s incredible vocals fluctuate from impassioned, soft coos to fervent, rougher bellows characterize a winning formula that potential fans will grow to love.

The rest is completed with captivating guitar riffs and intriguing rhythms that set the mood. I listened to the rest of the “Confessions of a Normal Life” EP, and The Photoshoplifters display the same high level of artistry and quality that translates into powerful and engaging music.

There are a number of stellar songs that could have made the list of standout tracks, along with this single. This is an EP that could be listened to multiple times before the listener realizes it has looped back around.

Fans of Three Days Grace, Linkin Park, Red, Seether, Skillet, Trapt, Papa Roach, Disturbed and Breaking Benjamin can all appreciate this style of alternative rock, though none of those bands sound quite the same as The Photoshoplifters, for the simple reason that they infuse a heavy dose of punk angst and catchiness into their music.

This talented Montana rock group’s insatiable desire to elevate the quality of their music with constant tweaks and minor improvements can be heard on every track, no matter how raw or visceral, and will no doubt be chalked up to perfection as they move ahead with new releases. For now on “Breakthrough”, this band simply rocks…the music…the lyrics…the performance…the total package!

OFFICIAL LINKS: FACEBOOKINSTAGRAMSPOTIFYITUNESGOOGLE PLAYYOUTUBE

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Dustin Steen: “Baby Blues” – a refreshingly emotive performance http://jamsphere.com/reviews/dustin-steen-baby-blues-a-refreshingly-emotive-performance http://jamsphere.com/reviews/dustin-steen-baby-blues-a-refreshingly-emotive-performance#respond Fri, 17 Mar 2017 00:14:35 +0000 http://jamsphere.com/?p=27718 Music has been a part of Dustin Steen’s life ever since he was born. His parents were his first influence, and he remembers hearing the southern rock and country sounds from their band Buzzard Roost. Dustin quickly picked up playing the drums and singing by the age of seven. At the age of 12 he […]

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Music has been a part of Dustin Steen’s life ever since he was born. His parents were his first influence, and he remembers hearing the southern rock and country sounds from their band Buzzard Roost. Dustin quickly picked up playing the drums and singing by the age of seven. At the age of 12 he found himself singing in front of the congregation as his parents had switched from rock to gospel. Though the concept of God didn’t makes sense to Dustin at the time as he continued into a life of sin, turning toward alcoholism and losing his job along the way. He somehow found employment on a shrimp boat, and it was during his time offshore that he found solace in the bible. This led to Dusty pursuing music ministry in his parent’s church back home, and currently finds him working on his EP “Mixed Genre”.

In the meantime he has released the single, “Baby Blues” which tackles the hard realities of family, marriage and children when you’re too young an unprepared for such events. And what an astonishing piece of work it is.

Dustin Steen has a great resonating rock voice, which allows him to spread his wings and soar to every corner of the widest reaches of the capacious genre of classic rock. On this new track, acoustic guitars and percussion dominate the soundscape, and Dustin shows himself to be an unsung songwriting hero, able to spin a slow burning rock and roll classic.

“Baby Blues” is a song for the ages. With this definitive statement of ballad-writing skill and supremely classic rock vocals, Dustin delivers us a moving song that cements his reputation as a conscious, spiritual and deep-thinking artist. As the sun sets, light a candle and pour yourself a hot drink, and put this track through the stereo.

It will rightly carry you through into a higher truth of the most exquisite emotional and musical beauty. The production crew on “Baby Blues” deserves credit for crafting a sound that suits Dustin Steen’s style, clearing out all the furniture and giving his voice an open room in which to spread out.

Even better is the actual meat of the track, which features fewer production tricks than most and some of Dustin’s more confessional and revealing lyrics, while the imagery is brought to life by a refreshingly emotive performance.

This really should be the template for Sheen’s solo career, and hopefully will be trending that way.  “Baby Blues” stakes its claim in the rich soils of acoustic music’s middle ground, a place that values intimacy above innovation, and quiet truths above nonsensical screaming. And it’s all the better for it!

OFFICIAL LINKS: WEBSITESOUNDCLOUDFACEBOOKINSTAGRAM

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Joshua Francis: “Now The Time’s Come Around” portrays a world-weary, incredibly gifted musician http://jamsphere.com/news/joshua-francis-now-the-times-come-around-portrays-a-world-weary-incredibly-gifted-musician http://jamsphere.com/news/joshua-francis-now-the-times-come-around-portrays-a-world-weary-incredibly-gifted-musician#respond Thu, 16 Mar 2017 13:37:34 +0000 http://jamsphere.com/?p=27704 When he is not recording, Joshua Francis is touring the country, playing live at a variety of venues. He is a regular at Thorn Cross Prison, Warrington where he performs concerts for what he calls his “jailhouse flock”. Joshua has also played the KingsStock Christian music festival in 2015, while other important performances include the […]

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When he is not recording, Joshua Francis is touring the country, playing live at a variety of venues. He is a regular at Thorn Cross Prison, Warrington where he performs concerts for what he calls his “jailhouse flock”. Joshua has also played the KingsStock Christian music festival in 2015, while other important performances include the Strawberry Fair in 2016 and playing in front of Terry Waite C.B.E. for homeless charity Emmaus UK’s 25th anniversary in Cambridge. Joshua has also made several records for charity, including an EP for mental health charity ‘Rethink’.

Joshua Francis has received radio airplay all over the UK, North and South America, Canada, Australia and New Zealand. He is also a regular guest on HCR104fm radio based in Huntingdon and Flame Christian & Community Radio in Birkenhead. Currently working on his next album “Menorahs And Fedoras” which will be released in the summer, Joshua has dropped the single, “Now The Time’s Come Around”.

Listening through Joshua’s catalog it becomes clear that he has a deftness for articulating the plight of the downtrodden and misunderstood. An aptitude for stepping inside his fellow man’s shoes and feeling the wear on the sole, the caked dirt between the treads, and the permanent awkwardness of the fit.

This insight is obviously what keeps listeners riveted throughout his releases. On “Now The Time’s Come Around”, the travelling troubadour turns more inward and takes a look at his own shoes.

For Francis, that means personal sentiment – music that can be credited with being the commonest of human experiences, perhaps one of the few conditions that we all truly share – the love for someone else, whoever that may be. This isn’t merely ‘a’ human condition but rather the human condition.

Francis pours himself into country-folk’s tropes: pining for Samantha after he was ‘lost chasing women and wine’. Joshua Francis’ songwriting on “Now The Time’s Come Around” resonates best when he’s able to invest as intimately in his own story as he does when singing about others.

On top of a sprawling organic arrangement where he plays all the instruments, except violins by Anthony Nottingham, we hear a revelatory soul, and the steely reason of hard-earned wisdom all bundled into a single ragged voice. This song portrays a world-weary, incredibly gifted musician who really cares about what he does.

OFFICIAL LINKS: WEBSITETWITTERSOUNDCLOUDYOUTUBE

 

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Echo Twelve: “Daft Punk Sell Out” – a tribute or a condemnation? http://jamsphere.com/newreleases/echo-twelve-daft-punk-sell-out-a-tribute-or-a-condemnation http://jamsphere.com/newreleases/echo-twelve-daft-punk-sell-out-a-tribute-or-a-condemnation#respond Wed, 15 Mar 2017 12:40:09 +0000 http://jamsphere.com/?p=27681 You love Daft Punk. And you love French House. And you love 80s Pop and 70s Disco and 90s Dance even more. So when you listened to “Random Access Memories”, your first thought was this: Finally, they made songs that really took us back into time when music was different – when records couldn’t be […]

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You love Daft Punk. And you love French House. And you love 80s Pop and 70s Disco and 90s Dance even more. So when you listened to “Random Access Memories”, your first thought was this: Finally, they made songs that really took us back into time when music was different – when records couldn’t be leaked, or streamed. But in all this euphoria you didn’t notice that Daft Punk were already changing their sound by then, and heading straight towards mainstream mass appeal.

For fans of early Daft Pun,k who love dance music, house, and techno, “Daft Punk Sell Out” is not a Pop-EDM track. Heck it’s not even a Daft Punk track! It’s the house music that we know Daft Punk made back in the day, with filtered sampled loops, drum machine-programmed beats, and electronic harsh noise.

It’s plenty of that and it is composed by producer Echo Twelve, who sort of traces a timeline of Daft Punk’s soundgoing from their 1997 debut album “Homework” and moving all the way through to the planetary smash pop single “Get Lucky” .

You can fist-pump to this music; you can go nuts to it, but when you listen to “Daft Punk Sell Out” for the first time, go into it with a different state of mind than the new pseudo “House Music” styles currently riding the pop radio charts.  I invite you instead to hop into your DeLorean and take a plunge back to the nineties, when dance music was quite different…and so were Daft Punk!

For the most part, “Daft Punk Sell Out” is what Daft Punk would have produced 20 years ago. This is a tribute to those who grew up to those nineties sounds, though the track doesn’t hesitate to take a tongue in cheek look at “Get Lucky” towards the song’s closing bars.

If you buy this album with the intent of listening to something similar to what Daft Punk released during their “Discovery” and “Homework” years you will be extremely pleased.

Echo Twelve proves on “Daft Punk Sell Out” that there is almost no comparison between then and now for Thomas Bangalter and Guy-Manuel de Homem-Christo. However, whether this track is a tribute or a condemnation of Daft Punk’s chameleonic climb to success, I’ll leave for you to decide.

OFFICIAL LINKS: SOUNDCLOUDTWITTER

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Farah: “You Ain’t Ready” gives you sexiness, sultriness, confidence, love, and so much more! http://jamsphere.com/newreleases/farah-you-aint-ready-gives-you-sexiness-sultriness-confidence-love-and-so-much-more http://jamsphere.com/newreleases/farah-you-aint-ready-gives-you-sexiness-sultriness-confidence-love-and-so-much-more#comments Sun, 12 Mar 2017 16:21:04 +0000 http://jamsphere.com/?p=27621 Farah was born in Riverside, CA. and began singing at the tender age of 6. “I enjoyed performing so much, I’d love to put shows on for my grandma and she’d watch me for hours,” says Farah, who began performing for family reunions and building her confidence. As she grew up she began recording, cultivating […]

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Farah was born in Riverside, CA. and began singing at the tender age of 6. “I enjoyed performing so much, I’d love to put shows on for my grandma and she’d watch me for hours,” says Farah, who began performing for family reunions and building her confidence. As she grew up she began recording, cultivating her sound and discovering producers. Soon she developed a fan base online, and taking it to YouTube which garnered her over 600,000 views on one cover video alone. At 17, Farah dropped her project ‘Neoteric’, which did fairly, but she felt she wanted to develop a little more than she had.

FARAH

FARAH

Now, at 23, she has dropped her single “You Ain’t Ready” while she works to finish her upcoming EP to be titled “XELF”. Farah straddles the fence between what is young and current, while trying to keep old school fans happy and an eye on the future of R&B.

The track boasts some incredible production but the most standout instrument on here is Farah’s vocals.  She borrows from past eras vocally and musically and combines them together to form something that sounds uniquely fresh, classic, and futuristic simultaneously!

From a classic, banging vibe to a progressive Hip-hop edge with all the emotional depth necessary Farah is able to take her listeners on a cosmic journey with her multi-dimensional voice in any situation.

Farah gives you sexiness, sultriness, confidence, love, and so much more. All the while she doesn’t overwhelm or force her hand. And that makes her sound so genuine, real, and relatable. She clearly wants to bring real R&B back.

“You Ain’t Ready” is a mature reflection on love, in that the song draws clear distinctions between want and need and the agony that comes from making the right choices at the right time. In the land of the love song, this is practically contemplation-level depth. Its message is a warning flare for players and a rallying cry for women dissed, bothered, and bewildered to stay in control.

What I’ve learnt from “You Ain’t Ready” is that Farah is one independent woman who isn’t afraid to say what’s on her mind. She comes across as direct and raw, but at the same time innocently sweet. This laid back mellow ode sees Farah take on a relaxed Aaliyah-esque tone; ditching any vocal acrobatics in exchange for a clean, subtle vocal arrangement. And it works a whole lot better for her.

OFFICIAL LINKS: WEBSITESOUNDCLOUDYOUTUBE

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BeatKnoxxx: “4AM” album set for a 3-24-2017 release http://jamsphere.com/newreleases/beatknoxxx-4am-album-set-for-a-3-24-2017-release http://jamsphere.com/newreleases/beatknoxxx-4am-album-set-for-a-3-24-2017-release#respond Sun, 12 Mar 2017 05:56:26 +0000 http://jamsphere.com/?p=27601 I would make the argument that, like with so much electronic music, the US charts barely reflect the world-spanning scope of the genre and its artists. And one of the biggest cases of that is BeatKnoxxx a music producer and artist from Southern California who smashed onto the scene with ‘3AM’ in 2015. But even […]

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I would make the argument that, like with so much electronic music, the US charts barely reflect the world-spanning scope of the genre and its artists. And one of the biggest cases of that is BeatKnoxxx a music producer and artist from Southern California who smashed onto the scene with ‘3AM’ in 2015. But even though the United States and other mainstream charts may forget that underground talents like his exist in bundles, the rest of the world hasn’t. Obviously there is something to this guy that will grab many people’s attention, and his 17 track album “4AM” set for a 3-24-2017 release has an impressive array of vocal talent, plus an even vaster gamut of electronic musical styles, which BeatKnoxxx infuses with all sorts of samples, sounds and effects.

“4AM” by BeatKnoxxx is a prime example of a record that’s functionally critic-proof, especially for me. I’m used to lyrical analysis or assessing themes, or at the very least deconstructing the dramatic impact of a record, but here?

The entire purpose of “4AM” seems to be all-encompassing, where it becomes more about the music and even more about the atmosphere. As such, this disc is very cinematic, in sound and in big production style. You’ll find tracks that are rapped, others that are sung, and still others that are pure instrumentals.

There are simple original productions as well as challenging remixes. By the time you get to track 7 called “Acid”, you realize that this stuff is not on mainstream circuits for the simple fact that it contains too much content for ‘instant-gratification-and-throwaway’ pop material.

Having said that, this stuff is very accessible, lusciously produced, and with plenty of catchy elements in each song. But discovering this album in front of you is more or less like going to McDonalds and ordering a hamburger and fries, and then being presented with a delicious gourmet 6-course meal prepared by a world class chef.

It looks heavenly, and you know it’s going to taste even better, but it’s so much more than you were expecting and just how are you going to eat it now without a knife and fork, and in front of all these people? So your only option is to sit back, relax and take in each platter slowly and carefully until you manage to devour everything.  That’s more or less how you need to go about getting through this magnum opus by BeatKnoxxx.

So let’s start off with instrumentation and production, and the key thing to note is that there is everything to like about BeatKnoxxx’s formula. He’s got a taste for strong melodies that do stick in your head being driven by instrumentation, singing or rapping, and when his mix can build some swell off the gentle ebbing bass, there’s real groove to match the more textured percussion.

And to his credit, after several listens to this record, you can identify a plenty of personality in BeatKnoxxx’s compositions: staccato, bouncy progressions that tend to play off different cadences on the same note before shifting. And yet the key word here is formula – but not in the sense that everything is the same.

No, on the contrary, formula here means that BeatKnoxxx’s musical formula is scrupulous, if you look at just the instrumentals, you’ll notice that even the smallest of details are capable of seriously distinguishing these songs.

Once you add all those production subtleties to all the different voices and musical styles presented here, you’ll realize what an immense project “4AM” is. It is almost impossible to choose standout songs, because notwithstanding the wealth of material here, there is no filler. So the standouts depend largely on your personal tastes in music.

I fell directly for the slower soulful songs like “Memories Ago”, “No Tears”, “Acid” and “Running” and “Aysias Interlude”. Hardly before have I been so enchanted by the vocoder effect, the dark subdued moods, and the emphatic lead vocals accompanied by low synth chords and far-away sounding drums, as can be heard on this album.

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

 

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Z Quest: “Among the Human Race” – one tightly knit bundle of musical freedom and epic sound http://jamsphere.com/newreleases/z-quest-among-human-race-one-tightly-knit-bundle-musical-freedom-epic-sound http://jamsphere.com/newreleases/z-quest-among-human-race-one-tightly-knit-bundle-musical-freedom-epic-sound#respond Sat, 11 Mar 2017 03:49:27 +0000 http://jamsphere.com/?p=27579 If Pink Floyd was just starting out as an electronic band right now, they would probably be doing the type of conscientious elaborate arrangements done by Z Quest. And at the same time, if you put together the technical brilliance and creative genius of The Muse with the lyrical narratives of Radiohead, it would probably […]

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If Pink Floyd was just starting out as an electronic band right now, they would probably be doing the type of conscientious elaborate arrangements done by Z Quest. And at the same time, if you put together the technical brilliance and creative genius of The Muse with the lyrical narratives of Radiohead, it would probably sound like Z Quest too. Now obviously I would not be as daringly presumptuous to claim that Z Quest has already reached all those levels, but boy are they on the right road to getting there. Z Quest is an Indie Electro-Rock duo consisting of Adir Benezra and Galor Taite – both are multi-instrumentalists, music producers and vocalists from Israel.

I first impacted their music during January when we reviewed their single “Haven”, and was left with an impressive listening experience. Now the duo is back with yet another single entitled “Among the Human Race” – (Live from the “Barzelim” session).

Everything about Z Quest is on a completely different level to anyone currently claiming to be best band of the week. The only hyperbole here is the music. The track bursts and resonates across riveting time-signatures and flamboyant synth arrangements. It isn’t just the masterful musical ability on show, or even the quality of their songs, it’s their instinctive ambition. This track is Z Quest coming of age. It’s absolutely wonderful.

It’s impossible not to be impressed by the assurance with which Z Quest create and perform. That sure-footedness is all over “Among the Human Race”. Like Coldplay on A Rush of Blood to the Head, Z Quest sound like a band who are at the top of their game.

Their confidence carries you through every verse, bridge and chorus. A typically warped, war-torn bassline, colliding with that ever blissful pop sensibility that Z Quest exude, its superficial beauty is wrapped around truly sublime playing, while the drum programming is every bit as good as the guitar and bass.

I’m hard pressed to think of a track that embodies electronic based rock music of the 2000s better than “Among the Human Race”. A genre-defining track, it’s an experimental-yet-accessible record that will age exceedingly well thanks to its complex instrumentation and versatility.

Z Quest has no doubt done a superb job of modeling their sound to lead the ever-changing progressive alt-rock musical landscape of the present, and “Among the Human Race” will no doubt continue to remain a fan favorite years after its initial release.

I think it represents the conglomeration of everything Z Quest been attempting up to this point rolled into one tightly knit bundle of musical freedom and epic sound. The track has gut-wrenching power, as well as, an elegantly heart-stopping melody.

OFFICIAL LINKS: WEBSITE – FACEBOOK – SOUNDCLOUD – YOUTUBE

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Lyndon Rivers: “Bring It To Me” Ft Rachel Clark – where will he go next? http://jamsphere.com/newreleases/lyndon-rivers-bring-ft-rachel-clark-will-go-next http://jamsphere.com/newreleases/lyndon-rivers-bring-ft-rachel-clark-will-go-next#respond Sat, 11 Mar 2017 00:53:04 +0000 http://jamsphere.com/?p=27574 Perth based English Songwriter-Producer Lyndon Rivers has been rising sharply through the ranks, to be one of the most formidable producers and performers in the underground Dance scene. With his new single “Bring It To Me” Ft Rachel Clark [From the UK], Rivers draws the listener into a world of pure and unparalleled Tribal House […]

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Perth based English Songwriter-Producer Lyndon Rivers has been rising sharply through the ranks, to be one of the most formidable producers and performers in the underground Dance scene. With his new single “Bring It To Me” Ft Rachel Clark [From the UK], Rivers draws the listener into a world of pure and unparalleled Tribal House fun. This track entirely produced by Lyndon Rivers, is unrelenting in its quest for cheery, good mood commercial dance music. His eccentric taste and non-conformist and multifaceted approach to production is what helps set him apart as he mixes the old school with the new.

In this this case Rachel Clark’s vocal chants are pretty much old school disco-funk, while underneath it , Rivers has constructed a type of modern and minimum Tribal House soundscape that leans heavily on percussion and bass. His try-anything, be-everywhere ubiquity continues to reflect itself in an endlessly growing list of vocal collaborators, last in chronological order being Clark.

Personally, I’m not convinced that her phrasing style is the perfect fit for this type of song, considering all the different voices Rivers has squeezed into his tracks over the years, but Clark has a powerful set of pipes and does give a different perspective to River’s perpetual steamrolling beat, and maybe that’s exactly what he wanted.

Lyndon Rivers is nothing if not a master of restraint; he knows exactly the right ways to bring genres together in a format that appeal to nearly anyone who hears his music. He puts a bubbling beat here, a spastic rhythm there, and a soaring chorus everywhere so that anyone and everyone can be motivated to move.

It’s a solid, well put together track, and definitely the sort of artist statement you would expect of somebody as eclectic as Rivers. It’s got his trademark sounds without slipping too far one way or another and breathes new life into genres which are frankly in dire need of a pick-me-up.

Color bursts from the edges of the track, carrying less interest in subtlety but more in dynamic range. The production pops like a seismic charge: It goes deep to the edge of explosion.

I first heard of Lyndon Rivers, maybe 2 years ago with his song “Gotta Feeling” ft. Nika Nova, which was a very catchy electro tune. Since then, he’s produced several huge anthems, which has now led to “Bring It To Me” Ft Rachel Clark – A song that not only drags you along for the ride, but coaxes you into the spirit of wondering where he is going next.

OFFICIAL LINKS: REVERBNATION – FACEBOOK – TWITTER – ITUNES

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Apoxia: “Falling Fast” – dynamic musical arrangements! http://jamsphere.com/newreleases/apoxia-falling-fast-dynamic-musical-arrangements http://jamsphere.com/newreleases/apoxia-falling-fast-dynamic-musical-arrangements#respond Thu, 09 Mar 2017 23:20:44 +0000 http://jamsphere.com/?p=27558 From a very young age Zach aka Apoxia, has been obsessed with music. From his first (plastic) saxophone (when he was 2) to his first guitar and keyboard Zach has been creating music his whole life. He first learned to DJ in High School. It wasn’t until he was 18 that he discovered the joys […]

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From a very young age Zach aka Apoxia, has been obsessed with music. From his first (plastic) saxophone (when he was 2) to his first guitar and keyboard Zach has been creating music his whole life. He first learned to DJ in High School. It wasn’t until he was 18 that he discovered the joys of creating Electronic Music. It felt natural, especially with his background in music theory and piano. Over the years Zach has toyed around with several different monikers one of the more familiar being Barbarossa, which lasted through most of college until he changed it to Apoxia which is the name he goes by today.  Apoxia dabbles in various styles and has released his first 3 albums featuring styles such Trap, Future Bass, House and Electro. During January he released his fourth album entitled “Falling Fast”.

I doubt Apoxia has ever been interested in pandering to the mainstream channels of EDM music. At least this sentiment holds true on his latest release “Falling Fast”. This 8 track studio album is replete with unexpected sounds, rhythms and textures, and much more. On this recording Apoxia creates sonic soundscapes built of ethereal, almost cinematic electronic sounds and complex, epic instrumental edits.

That being said, Apoxia refuses to fade into the background as atmospheric o elevator instrumental music and refutes any single categorization under modern EDM. His sound is simply too unique to be lumped into a nondescript genre, though he can be accosted alongside Future Bass and Dubstep influences.

Apoxia is essentially creating a new genre, a kind of experimental atmospheric Future Bass on acid. With heart stopping drops and mesmerizing buildups and interludes, “Falling Fast” will have your brain waves grooving in new and melodic ways. This latest album is the exclamation point on Apoxia’s style, a glimmering and otherworldly sound that captures deep human emotions within robotically generated sounds.

The album deserves a complete play from beginning to end, as each track offers some new wrinkle or texture to Apoxia’s already tantalizing sound. For an appetizer, check out the track “True Villian”. This is a more classically Dubstep-styled song, with soaring synths that give way to powerful bass drops, complemented by hypnotic string arrangements.

“Every Day” follows a similar energetic blueprint but is completely different sounding. My favorite songs, however, are the slower, richer and warmer ones, such as the title track “Falling Fast”, “What a Mess”, “Time Dilation” and “You”. I’ve been bumping these tracks ever since I first heard this album.

I really can’t say enough about this latest Apoxia production. Check out the dynamic musical arrangements on harder-hitting upbeat tracks such as “The James” and “Missing Summer”. EDM fans will love his unique and almost experimental approach and eagerly and insatiably comb through every Apoxia track ever recorded, according to me.  With “Falling Fast”, Apoxia proves not only his mastery of music, but of sound itself.

OFFICIAL LINKS: WEBSITEFACEBOOKINSTAGRAMSOUNDCLOUDSPOTIFYITUNES

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Ezra James: “Think Of Me (feat. KD)” sounds natural and easy http://jamsphere.com/reviews/ezra-james-think-of-me-feat-kd-sounds-natural-and-easy http://jamsphere.com/reviews/ezra-james-think-of-me-feat-kd-sounds-natural-and-easy#respond Wed, 08 Mar 2017 22:19:44 +0000 http://jamsphere.com/?p=27534 The plush, lightly intoxicating production on “Think Of Me (feat. KD)” by talented Australian singer, songwriter, and producer – as well as MMA fighter – Ezra James, buffers the song’s more intimate moments, as Ezra’s precocious vocals take flight on the verses and choruses rather than drowning in it. “Think Of Me (feat. KD)” unfolds […]

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The plush, lightly intoxicating production on “Think Of Me (feat. KD)” by talented Australian singer, songwriter, and producer – as well as MMA fighter – Ezra James, buffers the song’s more intimate moments, as Ezra’s precocious vocals take flight on the verses and choruses rather than drowning in it. “Think Of Me (feat. KD)” unfolds in an ethereal cloud of synth and voices streaming like angelic choirs before swinging into a verse buoyed by its own euphoria. Ezra’s the rare vocalist who makes you feel what he’s singing about, even when his lyrics are transparent. When he wants to sound deadly serious, he’s on the verge of tears; when he’s happy, he’s practically smiling as he sings.

“Think Of Me (feat. KD)” has elements of tasteful R&B that the Top40 Charts and Grammy’s love, but it cuts through its own slick stateliness with raw emotion reined in by an ever-present sense of professionalism.

When Ezra James isn’t accompanied by glossy synths, the music is all about intimacy. With a simple rasp, strum, and finger snap beat, the track emerges unscathed from its candidly mainstream performance.

“Think Of Me (feat. KD)” sounds natural and easy, an artist set free to do what he wants and proving himself every bit the unique voice the hype sets him out to be. It’s respectful of tradition, quietly ambitious, and deeply personal, a wonderfully considered song.

It’s one of the smoothest love songs of the year, a track where ecstatic infatuation is hemmed in by Ezra’s understated vocal dexterity. He rockets off into falsetto for irresistible moments, and into spirals of elegant, vocal gymnastics around the song’s chorus. It’s deceptively simple, a nugget of concentrated sensual sunshine.

Ezra James is an artist in the best sense of the word as he stretches his vocal cords throughout the song. What you will find here is a slow burning groove that sometimes is reminiscent of Marvin Gaye and Prince in their more mellow moments.

He explores the subjects of love, intimacy and relationships. He’s similar to Frank Ocean in the sense that he also uses metaphorical and detailed lyrics in his songs.  Ezra brings a new and personalized zest to his music.

Even though the world is already awash with priapic R&B lover-boys, it is in this incarnation that Ezra James is at his most fascinating. His lyrics are simultaneously empathetic and wry, capable of twisting fairly clichéd sexy love ideas into new shapes and emotions.

“Think Of Me (feat. KD)” mints what will obviously become a signature musical style; moreover, it’s a signature musical style that doesn’t sound much like anyone else. It’s indicative of an artist who has absolute confidence in the strength of his songs and voice, and doesn’t feel the need to hide them behind any degree of excessive pop cloning.

OFFICIAL LINKS: INSTAGRAMFACEBOOKYOUTUBESOUNDCLOUDITUNES

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Nigma: “Moonlit Halos” – The raps are at a peak here http://jamsphere.com/newreleases/nigma-moonlit-halos-the-raps-are-at-a-peak-here http://jamsphere.com/newreleases/nigma-moonlit-halos-the-raps-are-at-a-peak-here#respond Wed, 08 Mar 2017 15:20:28 +0000 http://jamsphere.com/?p=27529 Nigma is a 20 year old rapper who has a penchant for spitting over intricately styled beats and has found recent strides in cinematic sounds, creating an essence of alternative Hip-Hop. He was born and raised in Rockland County, NY and currently lives in NYC. Fresh off the rack comes Nigma’s 7-track EP in all […]

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Nigma is a 20 year old rapper who has a penchant for spitting over intricately styled beats and has found recent strides in cinematic sounds, creating an essence of alternative Hip-Hop. He was born and raised in Rockland County, NY and currently lives in NYC. Fresh off the rack comes Nigma’s 7-track EP in all its leftfield glory, entitled “Moonlit Halos”. When you look at the rap landscape, there’s no-one quite like Nigma – past or present – whether it’s his personality, his lyrics or even his music productions.

He’s revels in contradiction; who defies all traditional hip-hop expectations. Hyper-active, yet somber, he draws inspiration from a wide range of influences. Most importantly, he seems to want to make music that lasts, concerned that audiences nowadays simply want party anthems.

Unafraid to sit down and really focus, creativity over ambition seems to be Nigma’s motto. Sure, he’s capable of making those party anthems, but they’re party anthems loaded with so much more than just tales of drinking, smoking, blowjobs and pills.

Compared to the many trap records these days that try to be weird but end up sounding pretty uniform and boring, “Moonlit Halos” brisk insularity — 7 tracks, with only one going over the four-minute mark and another over the five-minute mark — feels not only genuinely diverse, but pretty eclectic too, and eclectic-ness isn’t something we get much of, even in experimental hip-hop.

The raps are at a peak here, but it’s the beats on the album that you also consistently sink your ears into, and maybe with the exception of “Light (HTML)”, which I didn’t particularly like, there aren’t any weak cuts here.

Right from the start, on “Shadow Intro”, you’ll know that Nigma’s going to be taking you into some really cavernous and disturbed sonic territory: The effect of all those contrasts ends up creepy because though the mood is uniformly anxious, it seems like it’s just going to keep flowing over you like molasses.

He doesn’t have to follow any of the rules that major label artists are forced to treat as law. He is lawless, erratic, and full of surprises. That’s what makes this release so exciting, I don’t think anyone truly knows what to expect, and even the wildest imagination will likely appear humdrum in comparison.

The most disappointing decision that Nigma could ever make with his music would be to normalize himself. As long as he’s embracing the strange, embodying himself, he will always be more interesting than most.

“Moonlit Halos” remains coherent and cohesive because Nigma maintains the same atmosphere and tone throughout. And although doing so makes this EP much more fulfilling as a whole, it also doesn’t place tighter restrictions on each individual track, allowing songs like “The Darkness” and “EYE AM” to work brilliantly within the confines of this record.

The Rockland County native not only elevates his lyricism, but also compliments said lyricism with atmospheric production and distinct flows that accentuate everything he’s saying. In fact, Nigma has the cheat code for infinite flows, either riding with or fighting against his beats.

ESSENTIAL TRACKS: “Fences / The Gate”, “All This Love” and “Lazarus Outro”

OFFICIAL LINKS: SOUNDCLOUDFACEBOOKINSTAGRAMTWITTER

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The Waft: “Indeed” – biting force and personal introspection! http://jamsphere.com/newreleases/the-waft-indeed-biting-force-and-personal-introspection http://jamsphere.com/newreleases/the-waft-indeed-biting-force-and-personal-introspection#respond Wed, 08 Mar 2017 13:02:22 +0000 http://jamsphere.com/?p=27525 The Waft is a one-man-masquerading-as-a-band indie rock project out of Kent, England. The one man is actually an impatient 20-something multi-instrumentalist who came off the dance scene with no contacts in live music whatsoever. Not bad credentials for somebody who is promising to release a new track on the 21st of each month. Whether he’ll […]

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The Waft is a one-man-masquerading-as-a-band indie rock project out of Kent, England. The one man is actually an impatient 20-something multi-instrumentalist who came off the dance scene with no contacts in live music whatsoever. Not bad credentials for somebody who is promising to release a new track on the 21st of each month. Whether he’ll make that deadline all by himself, each month, I’m not sure. The fact that he has kicked off the series with a crackerjack single, entitled “Indeed”, is a bloody sure fact already!

While his peers continue to belt out pop-punk and alternative fluff, The Waft has evolved into somewhat of an oddity. There is tons of emotion, energizing rock guitar, indie sensibilities, and subtle but masterful songwriting at play here.The Waft will hook you as soon as you hear “Indeed”.

This track will hit you in the gut and instantly hook me. His sound is completely his own and sounds unique to this band. He sings in a way that can be angry, alluring, and awe inspiring all at once. The vocals sound both extremely visceral and alluring while still containing biting force and personal introspection.

A beautiful breed of melody and gut-busting dissonance, you’d be hard pressed to find many fans of indie rock who won’t have some love for this recording. That’s partly because this record is great, sure that’s one boring reason, but it’s also because this record is one of a handful that can help shape the notion of what Brit indie rock can potentially still mean in 2017.

Not that there isn’t plenty of underground music in Britain — hardcore punk, high-art, avant-garde, quirky rock, DIY, weirdo electronic scenes. But the notion that all those social discontents might be in the same boat – a new Alternative Nation just beginning to converge—hasn’t yet been fully articulated. The Waft senses that convergence in the making.

What’s really alarming is the energy of it all. This single’s default setting is the place most rock bands try to work up to around the third chorus—with guitar players veering off into neck-strangling improvisations, singers dropping off the melody and into impassioned shouts. “Indeed”starts there and just stays there.

The guitars might spend a few bars wandering off and into sideways tangles, choking out the end of the verses, and then come back together and spend a few bars pinning down the riff again. That means The Waft keeps returning to the same refrain, each time grunting it more insistently and powerfully than the last. Brilliant! How long can he keep this up? Let’s check come the next 21st!

OFFICIAL LINKS: STREAMFACEBOOKTWITTERINSTAGRAM

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Jay Ax: “Who Ax You” is a potential genre classic! http://jamsphere.com/newreleases/jay-ax-who-ax-you-a-potential-genre-classic http://jamsphere.com/newreleases/jay-ax-who-ax-you-a-potential-genre-classic#respond Tue, 07 Mar 2017 12:43:37 +0000 http://jamsphere.com/?p=27503 Jay Ax, who is originally from Brooklyn, currently resides in Staten Island. This magnetic emcee that exudes confidence and charisma has been on tour and opened up for T-Pain, Wyclef Jean, Khia, Keith Murray, Jae Millz and others. Moreover, Jay Ax was also an Underground Music Awards nominee in the Best Male Rapper category. Jay […]

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Jay Ax, who is originally from Brooklyn, currently resides in Staten Island. This magnetic emcee that exudes confidence and charisma has been on tour and opened up for T-Pain, Wyclef Jean, Khia, Keith Murray, Jae Millz and others. Moreover, Jay Ax was also an Underground Music Awards nominee in the Best Male Rapper category. Jay recently unleashed his 12 track, “Who Ax You” album unto the world. What makes “Who Ax You” a potential genre classic is not catchy hooks and beats that make your head bop. And heaven knows there are plenty of these spread across the recording too.

No sir, this album is a potential classic because of its complexity. It represents underground rap at its finest, detailing the complex dilemmas of the common man – a street hustler, a lover, a father, a brother, a son, a teacher – whatever you are, you’re inside the music that Jay Ax puts down on paper.

JayAx is so immersed in all aspects of life in this album; enough to write about its gritty details and experiences, but able to step back and analyze the broader consequences of our actions on our communities, families, friends and lovers. He may not even say any this stuff directly but it comes shining through the lyrics in the songs.

On the surface many of these tracks may sound like head-nodding bangers on the surface but Jay Ax has metaphors that take a few seconds for him to spit and which can spark conversations that last for hours upon closer examination, and these metaphors are often flying by so quickly that it’s easy to miss one while thinking about the last one.

If you love to just vibe and groove to hip hop “Who Ax You” has got you covered, but if dig to analyze lyrics, this album will bring you many hours of enjoyment too.

Which songs should you be listening to? That’s a personal choice, but my ear buds started trembling from the third track onwards. Meaning I was addictively drawn into “Mind Race”, “211”, “New York Gritty” ft. Uncle Murda and Yasmin Soul, “Californian Love Story” ft. Kymberli Lauren, “Elevate” ft. Brodie Jaymz, “Robocopkiller” and “Held My Hand” ft. Kymberli Lauren. But to be honest the beat is perfect for the lyrics and Jay Ax drops bombs on just about every track.

“Who Ax You” has a combination of great production and great lyrics, unlike most of today’s albums or mixtapes which often has one or the other. This one is so good in both departments that there’s not much to say except that it is straight fire.

This is probably going to be one of those albums that never gets old and can survive the test of time. “Who Ax You” is how an album should be done to introduce an artist to any new audience and the industry alike. If this is not a wake-up call, then tell me what is!

OFFICIAL LINKS: WEBSITESPOTIFYYOUTUBE

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A New Way to Live Forever: “Monument” – blending arena-ready swagger and groove! http://jamsphere.com/newreleases/a-new-way-to-live-forever-monument-blending-arena-ready-swagger-and-groove http://jamsphere.com/newreleases/a-new-way-to-live-forever-monument-blending-arena-ready-swagger-and-groove#respond Mon, 06 Mar 2017 22:12:12 +0000 http://jamsphere.com/?p=27484 Fort Lauderdale’s A New Way to Live Forever is an alternative indie-rock band led by dynamic front man Russ Rogers (Vocals/Rhythm Guitar) with Phil Tucciarone (Drums), Steve Velez (Bass), Stephen Rose (Guitar) and Daniel Dyer (Guitar). Their latest EP release “Monument” which has had unanimous critical acclaim is available at iTunes now. ANWTLF has also […]

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Fort Lauderdale’s A New Way to Live Forever is an alternative indie-rock band led by dynamic front man Russ Rogers (Vocals/Rhythm Guitar) with Phil Tucciarone (Drums), Steve Velez (Bass), Stephen Rose (Guitar) and Daniel Dyer (Guitar). Their latest EP release “Monument” which has had unanimous critical acclaim is available at iTunes now. ANWTLF has also dropped the new single ‘Fall Or Follow’ and lyric video for ‘Valley Metro!’.

The EP is a striking example of what the band has to offer. “Monument” is somewhat unexpected, pretty different and much more textured and nuanced than we usually hear in this genre. The lead single ‘Fall Or Follow’ sets the tone lyrically and sonically, and is, well, monumental in its overall approach.

It shows the group working in unison, bringing together their clever lyrics, big hooks and soaring melodies and harmonies. But there is plenty diversity in the sound beyond that, the whole set is full of dynamic color.

ANWTLF excel at blending arena-ready swagger and groove with an impressive and sparkling triple-threat-layer of heavy rock guitars, which not far from the surface maintains a set of pop and urban-flavored sonics, ready to deliver alternatives soundscapes such “I Saw Stars”, on which we also find Producer Peter Klett playing guitar,  and “Leave It All Behind”.

It is also spacey, with truly epic pianos and sing-along choruses on “Dream Away”. It all adds up to that unexpected sound I mentioned in the beginning.

ANWTLF is going into uncharted territories, mixing pop, soul-infused vocals and heavy rock music with a modern swing, a music style that suits them very well. At the same time A New Way to Live Forever is able to deliver high energy rock anthems, vibrant with banging beats, while grooving with effortless ease along traces of grunge-like guitar work.

“Monument” really has a contemporary rock-soul style to it. It is intense and very melodic.  It rolls on all cylinders, combining memorable ballads and fast-tempo rockers without sacrificing EP unity or flow.

All in all, A New Way to Live Forever delivers an honest recording that reflects their musical image, full of cool and addictive sounds that work very well together. The EP showcases a maturity of songwriting and a very interesting future for ANWTLF.

Many if not all of the songs on “Monument” seem to take their core inspiration from genres outside of hard rock which leaves us with some of the most intriguing and diverse songs to come out of this genre in a long time. This is an excellent EP that really plays to ANWTLF’s strengths.

The entire recording is catchy with enough variety and quality to keep listeners coming back for more each time.  They are playing venues and sharing stages as well as supporting Trapt in a showcase at The Whisky in LA on 4/28, but surely it won’t be long before A New Way to Live Forever are headlining their own major shows around the globe. (Top Photo credit: Alex Solca)

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTERINSTAGRAM

STREAMS / BUY: ITUNESAMAZONSPOTIFYPHYSICAL CD

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LREDS “A Brand New Life” ft. Rafaela Koseva – a crystalline modern sheen http://jamsphere.com/newreleases/lreds-a-brand-new-life-ft-rafaela-koseva-a-crystalline-modern-sheen http://jamsphere.com/newreleases/lreds-a-brand-new-life-ft-rafaela-koseva-a-crystalline-modern-sheen#respond Mon, 06 Mar 2017 08:05:33 +0000 http://jamsphere.com/?p=27477 Italian based EDM producer and pianist, LREDS continues his collaboration with Rafaela Koseva on his brand new single “A Brand New Life”. LREDS launches an all-out electro-house assault in the floor filling euphoric stomp of “A Brand New Life”. The record successfully marries the heavy techno beat with a strong hip-electro edge. On the track the bassline […]

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Italian based EDM producer and pianist, LREDS continues his collaboration with Rafaela Koseva on his brand new single “A Brand New Life”. LREDS launches an all-out electro-house assault in the floor filling euphoric stomp of “A Brand New Life”. The record successfully marries the heavy techno beat with a strong hip-electro edge. On the track the bassline broods, throbs and roars behind a melodic vocal track lyrically and aurally ploughing the same ground.

LREDS fires up a beastly synth-fuelled monster, a storming dancefloor smash. His skill as producer turns what could have been an average release into an uplifting and self-consciously slick record. The many LREDS releases have hinted at a possible electronic dance album, this is perhaps one step closer, while he’s still dance-floor minded enough to keep those hands waving. Rafaela Koseva does a great job of keeping the melodics interesting and being able to draw listeners in wit her soaring vocals.

“A Brand New Life” draws together various strands of LREDS production personalities, casting a crystalline modern sheen over a thickened kick drum and twisting bass line. Yet the track’s genuinely compelling moments are scattered out over spotless plains of breakdown functionality, mechanically loopy acid, and towering-but-harmless walls of precise EDM sound design that sounds both vintage and futuristic.

There’s a purism question, obviously. How far did LREDS immerse his innate ability as an arranger, DJ, and producer in the synth acid bath to create this track? The world has changed, music has changed, but LREDS remains the same, excellence realized in a sort of techno form.

LREDS “A Brand New Life” project indisputably delivers on his reputation as a master of innovative techno, and you will find yourself putting this track on repeat. Please bear in mind this is not like much techno you hear out there currently, so do not expect a stale mechanical banger or a underground distorted tech house tune.  This is LREDS expressing himself as he hears the music in his head, and he arguably does a great job at that.

The quality of production on this track is second to none. LREDS is a maestro, and I am not quite sure if too many have come close to what he has delivered here with “A Brand New Life”, a track that bristles with energy and life!

OFFICIAL LINKS: SPOTIFY – ITUNES  – SOUNDCLOUD – TWITTER

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