Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Fri, 25 Sep 2020 21:45:06 +0000 en-US hourly 1 Ute – “Happiness Together” – a crystalline and emotive voice! http://jamsphere.com/newreleases/ute-happiness-together-a-crystalline-and-emotive-voice http://jamsphere.com/newreleases/ute-happiness-together-a-crystalline-and-emotive-voice#respond Fri, 25 Sep 2020 21:43:59 +0000 http://jamsphere.com/?p=42255 Ute is a singer, born in Germany, whose heart is in the USA, alongside a huge part of her fans. Ute’s best friend, Grammy winner Kurt Wipfli, is also her producer, and many of her songs are originally written and composed by him as well. Her latest single is, is the love ballad, “Happiness Together”. “It is about that once in a lifetime story when you realize that the person right next to you is the one who you want to spend the rest of your life with,” explains Ute. This is thoughtfully sung, beautiful music from a strong female singer.

“Happiness Together” showcases Ute’s penchant for propelling her crystalline and emotive voice to the surface of the songs, never allowing the accompanying soundscapes to overwhelm her vocals. The atmospheric, swirling strings and resonant piano form a solid and vibrant foundation for the song’s affable and compassionate melody.

The single also serves as a harbinger of Ute’s continued commitment to refining her singing and expanding her artistry. All of which are evident on “Happiness Together”. From the moment she arrived on the scene, Ute’s affection for smooth adult contemporary pop propelled her to immediate notoriety.

The song “Music Makes Me Fly”, released a year ago, is another testament of Ute’s commitment to her craft, as was her cover of “The Show Must Go On”, a year earlier, and many more. There is also great variety in the subject matter of the songs in her catalog, and in each of these Ute manages to perfectly capture her theme. Something she repeats with “Happiness Together”.

Ute’s voice itself also has the ability to change genre. In some songs she sounds positively modern classical, and then in others she is bluesy, or jazzy and then again pop. Somehow though, Ute and Kurt Wipfli manage to keep all her songs together. At no point does it sound like they are trying to change genres, they just do what they do, and it works seamlessly, sounding like Ute’s own personal style.

“Happiness Together” is a song that will never go out of style. Ute’s unique and astonishing voice has a richness and maturity like few others, and this, teamed with the meticulous songwriting by Kurt Wipfli, make for a truly beautiful pop flavored track that is perfect for any and every occasion. With this release, Ute certainly achieved her goal of creating a song that evokes in the listener, images of deep romance.

It’s impossible to deny that “Happiness Together” is a thoroughly polished production which certainly knows how to press the collective button of its target audience. Ute’s voice is dexterous. It drops and rises, bends the notes and adds nuances in all the right places. It was made for songs like this, and just seems to get better with each subsequent release.

Lookout for Ute’s upcoming song “Santa Is Knocking At My Door”, which will be released the second week of November, as well as her documentary “Ute – Music Makes Me Fly”, by Pulsar Records and Mutt Productions, which will be available on streaming services, like Amazon Video and Apple Movies, etc.


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Love Ghost – “Pillz (The Sky is Falling)” – revamp and consolidate their sound into something formidable! http://jamsphere.com/newreleases/love-ghost-pillz-the-sky-is-falling-revamp-and-consolidate-their-sound-into-something-formidable http://jamsphere.com/newreleases/love-ghost-pillz-the-sky-is-falling-revamp-and-consolidate-their-sound-into-something-formidable#respond Fri, 25 Sep 2020 11:21:49 +0000 http://jamsphere.com/?p=42243 It’s always great to see a band evolve and branch out in new directions. What is even better is to see them succeed at this difficult endeavor. With their latest single –  “Pillz (The Sky is Falling)”, we see L.A. based alternative rock band Love Ghost continue on the path of evolution into much more than a rock band . They incorporate trap beats, rock grit and rap verses, to really diversify their sound on this recording. It’s really impressive to hear this sonic distinctiveness which demonstrates this band’s talent, and their fingers on the beating pulse of modern trends. I really can’t think of any negatives on this track, which will be blaring it in my car for weeks to come.

Love Ghost have never had any trouble writing epic songs with profound narratives and massive hooks, but there’s a greater maturity about “Pillz (The Sky is Falling)”, as sonically they step outside of their comfort zone. “This song is about addiction, but more specifically how everything can look as if it is positive on the outside but in reality, it is not. It is really about perseverance and resilience when your life is falling apart,” explains the band.

“Pillz (The Sky is Falling)” displays Love Ghost’s ability to take the audience to peak excitement, then rein in back, only to unleash that ferocious sound once again. The energy of this track is phenomenal, and both the sung and rapped sections really stand out.

Musically, Love Ghost can’t seem to sit still, and they’re fortunate to have gotten so far on this creative restlessness. The way the band continue to build on past successes in the pursuit of more personally meaningful music should be celebrated and admired.

“Pillz (The Sky is Falling)” has all the urban edged emotions and outspoken honesty you’d expect from a lyrically inclined rap track, but it still packs all the punch you’d expect from a pure rock band. Vocally Finnegan Bell is on point from start to finish, while the rest of the band appears to be stronger than ever. All of which gives them the chance to revamp and consolidate their sound into something formidable.

This major pivot in direction works surprisingly in their favor, as Love Ghost will now appeal to a much wider audience, much in the same way Linkin Park did at the height of their popularity. In fact, Love Ghost has inherited that same “edgy verses, soaring choruses” formula that mesmerized both rap and rock fans, during the late nineties and early 2000’s. Finnegan’s rapping is evenly paced and natural sounding, while his gritty melodic singing style is very reminiscent of Chester Bennington in the best ways possible.

As usual the production on “Pillz (The Sky is Falling)” is flawless, as the track shuffles through subdued and downtrodden verses before explosively spiking the choruses with massive driving guitars.

Everything sounds extremely crisp, and even in the denser moments, every instrument is discernible without becoming a messy wall of noise. Other highlights include the ferocious guitar riffs and solo, as well the cinematic keys, and the hypnotic bass and drum rhythm.

I just can’t believe how quickly and seamlessly Love Ghost have found and honed their new identity. “Pillz (The Sky is Falling)” finds the band pulling an incredibly sharp left turn; tight, confident, and with no sign of fat or excess. It’s really a case of night-and-day, and an uncanny breakthrough for a band that was already formidable before this release came about.

On each subsequent release, Finnegan Bell (Guitar and Vocals), Ryan Stevens (Bass and Vocals), Samson Young (Drums and Background Vocals), Cory Batchler (Keyboards and Vocals), Daniel Alcala (Guitar and Background Vocals), seem to know exactly what goals they want to accomplish, and then proceed to pass it with flying colors!


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LU – Ride or Die” ft. Omari Night and DazeOnEast – infectiously captivating, and easy on the ear! http://jamsphere.com/reviews/lu-ride-or-die-ft-omari-night-and-dazeoneast-infectiously-captivating-and-easy-on-the-ear http://jamsphere.com/reviews/lu-ride-or-die-ft-omari-night-and-dazeoneast-infectiously-captivating-and-easy-on-the-ear#respond Thu, 24 Sep 2020 16:14:42 +0000 http://jamsphere.com/?p=42233 Signed to Big Top Entertainment L.L.C, along with the production team Cali 303, Luis Torres aka LU, is a Mexican singer-songwriter and engineer, born in the city of Guadalajara. He migrated with his parents at the age of one where his family settled in Colorado. Produced by Kxvi, LU’s debut single “Ride or Die”, also features R&B singers-songwriters, Omari Night and DazeOnEast. This is perfect melodic R&B/Pop record, as LU and his crew know melody, quickly laying down the narrative’s overriding tone: “Girl You Know that I am down for you, in the fire shooting rounds for you, ain’t no question I’m going to make you min, I’m your Ride or Die”.

From the opening lines, LU shows vulnerability, passion and determination, excellently portraying his thoughts and emotions. LU’s soulful voice and its melancholy ache are fraught with longing, admiration and conviction, while his breezy, surprisingly smooth music provides a blend of bass-driven soul and a blissful trap beat, featuring skittering hi-hats.

For all that, you can hear the positivity, and optimism in his delivery, as he openly unfolds his thoughts and feelings for a lover. Through the music, LU walks the listener through his personal journey of desire, but it does this in a way that is shown through the luscious melody he uses. This makes his music infectiously captivating, and easy on the ear.

LU’s style, which consistently flows between urban pop and R&B, is one that people all over can easily identify with. LU has a very specific sound and mood to his music – a surreal and identifiable tone. His music is the type that anyone can hear and instantly relate to. The passionate desire he evokes throughout the whole song sounds genuine and heartfelt.

It’s nice to listen to a song that can really help you realize that you can open up and speak the truth about your positive feelings for someone else. In a time when negative bullying, dissing and criticism runs rife in public declarations, LU presents the flipside of that coin. Not only does LU do this tastefully, he does it in an undeniable fashion, regardless of what the response to his expressive affirmations may be.

It’s difficult not to like LU as a singer. He sings with a gentle care that suggests a thoughtful, profound personality, and his music serves to match that considerate attentiveness. The artist’s intentions make a track full of great hooks and grooves all the more pleasing, poignant or uplifting. Slick production and gorgeous harmonies do the rest, to make “Ride or Die” fit in perfectly with the track’s theme.

The track is full of soulful sultriness, and lyrics that make an impression, and just enough personal touches that we feel like we’re really getting to know LU.  There was a lot I liked about “Ride or Die” and appreciate about LU. For starters, I don’t think he will be able to record bad song. I don’t think his voice will allow for it. He’s simply too talented to make a track that isn’t listenable.

SOCIAL MEDIA: @luniverseofficial – @btellc – @cali303productions – @dazeoneast – @omarinight – @prodkxvi


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Gabe Lopez – “End Of The Lost Summer” – social-distancing and a year filled with lost opportunities http://jamsphere.com/newreleases/gabe-lopez-end-of-the-lost-summer-social-distancing-and-a-year-filled-with-lost-opportunities http://jamsphere.com/newreleases/gabe-lopez-end-of-the-lost-summer-social-distancing-and-a-year-filled-with-lost-opportunities#respond Thu, 24 Sep 2020 12:18:04 +0000 http://jamsphere.com/?p=42226 It is extremely rare to come across an artist like Gabe Lopez, who is poised, multi-talented, bold, self-confident yet humble – and surprisingly, one whose name you should already be very familiar with. The reasons are evident. Gabe Lopez is a Billboard Top 5 singer-songwriter and producer, who has produced and written recent music for Belinda Carlisle, New Kids On The Block, RuPaul’s Drag Race, Twice, Key and other multi-platinum artists. He has also produced and written for Joey McIntyre, Charice, James Brown, The Other Two on Comedy Central, SHINee, Tae Yang, VeriVery, DreamNote, Gayme Show, American Idol finalists and international RaggaHop star Ms. Triniti.

Signed to a music publishing deal with Rondor Music/Universal, Gabe Lopez released his new single “End Of The Lost Summer”, on September 10 and 11, 2020, across all major digital download stores and platforms.

His latest composition is about a social-distancing and a year filled with lost opportunities. “I was feeling low because the summer just quietly fell away,” says Lopez. “My favorite time is summer but this year there was no traveling, no vacations, no family BBQs, and no going out with friends on weekends. I just felt like this was a lost summer.”

With “End Of The Lost Summer”, Gabe Lopez has produced yet another track that provides a great listening experience from beginning to end. Certainly this single deserves top level recognition. His talent as a writer and vocalist is evident, as is his hand on the pulse of modern pop sounds. This is a remarkably well-crafted pop song that finds the singer flaunting his flamboyant, bittersweet vocals and thoughtful lyrics.

Opening up with an echoing, nostalgic-styled vocal intro, the “End Of The Lost Summer” transits on a smooth and jangly mid-tempo pop groove. Gabe Lopez’s malt and honey vocals sweep across the luscious soundscape like a fresh breeze on a hot day.

Behind him, staggered layers of lavish voices fill in the choral sections with almost ambrosial beauty. Though sad and melancholic in its narrative, the song is equally hopeful and uplifting in its sound.

The “End Of The Lost Summer” ends unexpectedly, on a lingering note that leaves the listener anticipating more – a clever songwriting flourish that makes the track resonate even more in our mindsets. Good things almost always result when an artist knows his strengths.

Gabe Lopez has certainly capitalized on his, as everything is so fully, completely, and perfectly in its right place within this single. Lopez takes a stand with his own voice, and keeps everyone connected with his latest single.

The “End Of The Lost Summer” presents another confident step forward for Gabe Lopez – one which could very well usher in a newer and even bigger phase of a career that is already substantial in its past artistic achievements. Gabe Lopez has an inborn knack for conveying emotion through the simplicity of music and words, showcasing just how talented the industry knows him to be.

For more information, or to connect with Gabe Lopez, visit www.gabelopez.com, www.facebook.com/gabelopezsongs, Twitter: @gabelopezsongs, Instagram: @gabelopez


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Downtown Mystic – ‘3-Way Heartbreak’ managed to endure the test of time! http://jamsphere.com/newreleases/downtown-mystic-3-way-heartbreak-managed-to-endure-the-test-of-time http://jamsphere.com/newreleases/downtown-mystic-3-way-heartbreak-managed-to-endure-the-test-of-time#respond Wed, 23 Sep 2020 16:33:11 +0000 http://jamsphere.com/?p=42214 One of the things Downtown Mystic notoriously excel at, is masking emotional lyrics with upbeat, driving-with-the-windows-rolled-down kind of melodies. Their double-side single, ‘3-Way Heartbreak’, which also includes the track ‘Same Old Lover’, recorded in 1983, has all that and more. While for most other contemporary bands, it’s hard to recapture the real magic of rock n’ roll, for Robert Allen and his crew, this comes easy. They grew up during rock’s golden era, hence Downtown Mystic’s music lives up to the genre’s legacy, rather than just riding on its coattails.

The ‘3-Way Heartbreak’ single, on the Sha-La Music, Inc. catalog, is being released in conjunction with the DownTown Mystic: Used Records History 1979-1985 album, which is scheduled for release on November 6. Both releases will be digitally distributed worldwide via The Orchard/Sony Music. DownTown Mystic has also sync-licensed their music on over 200 TV shows.

The  songs ‘3-Way Heartbreak’, which also includes the track ‘Same Old Lover’, show the band executing their 80’s rock sounds while adopting more upbeat tones and harmonies. Downtown Mystic has never been content to relegate rock n’ roll music to simply being a nostalgic listening experience.

Even though their songs may provide familiar feel-good soundtracks for middle-aged parents like me, Robert Allen aka Downtown Mystic isn’t yet ready to be deemed a mere oldies act.

‘3-Way Heartbreak’ and ‘Same Old Lover’ is as inspired and invigorated as anything they’ve recorded at any time. It may sound quaint for a band to be playing this sort of sincere power-pop/rock in the midst of all the soulless pop, rap, dance, trap and EDM that has sucked in everything else like quicksand, but Downtown Mystic has never given a shit about being trendy.

Even if its aesthetic is not especially trendy these days, ‘3-Way Heartbreak’, has somehow managed to endure the test of time, and it should have the same staying power well into the future.

If you have a soft spot for melodic, harmony-filled rock n’ roll, your options are pretty limited nowadays, and if it wasn’t for artists like Robert Allen, those options would be close to zero. This time around Downtown Mystic showcase the use of analogue synths and drum machines – a staple of the 80’s era.

For Downtown Mystic to release a single this impressive in 2020 is sort of unbelievable, frankly. But Robert Allen did it. And he did it because he takes pride in what he does, and has done.

Digging in the crates he came up with ‘3-Way Heartbreak’ recorded in 1985, as well as the 1983 recording of Same Old Lover. Strangely enough, although this single release, is to set to anticipate and introduce, the upcoming, DownTown Mystic: Used Records History 1979-1980 album in November, which contains unreleased material tracing the project’s beginnings, ‘3-Way Heartbreak’ will not be on the album.

Familiar but fresh is the mantra here, as Robert Allen looks back at his past, in much the same way as everyone else does from time to time. The difference is, he has got plenty to show for it, in a career that spans almost a handful of decades.

DownTown Mystic: https://downtownmystic.net
FB: https://www.facebook.com/DTMystic
Twitter: https://twitter.com/dtmysticband
Used Records FB page: https://www.facebook.com/UsedRecords12420

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Sofi Maeda – “ASHITA” is is aiming squarely at world domination! http://jamsphere.com/newreleases/sofi-maeda-ashita-is-is-aiming-squarely-at-world-domination http://jamsphere.com/newreleases/sofi-maeda-ashita-is-is-aiming-squarely-at-world-domination#respond Wed, 23 Sep 2020 00:32:15 +0000 http://jamsphere.com/?p=42195 Sofi Maeda was born in Takamatsu, Japan. The alternative pop-punk starlet has been doing music seriously since 2016. She has released the album “You Know Me Well” in 2017 and has followed up with a series of successful singles. She has won singing as well as song contests, and has performed on the Red Square in Moscow, at the festival in Gorky Park, as well as concerts in Depo, Live Stars, San Diego, Glastonbury and many more. This year Sofi has dropped 3 singles so far, including “ASHITA”.

Sofi Maeda

If you like Sofi Maeda then you should already have “ASHITA” on your playlist. If on the other hand you have never heard of her, and like artists who come to the mic with their own creative style then I recommend you give this a listen, you may be pleasantly surprised. This is Sofi’s most exiting, tuneful, and interesting track yet. Hard, soft, fast, slow, aggressive, empowering – it’s superb from start to finish!

On “ASHITA”, Sofi Maeda affronts the theme of bullying, and in the superb high-quality video clip, which supports the song, she actually becomes a superhero, fighting those who perpetrate the horrible act of deliberately harming and humiliating others. Right from the outset, Sofi’s voice is as crisp, haunting, and moving as ever, as she weaves her vocal onslaught between the crunchy guitars and beating drums.

Sofi Maeda’s voice will command your attention with its bright resonance and mellifluous tones. The nuancing of her words will touch you and the chorus hook will have you singing along instantaneously, even though you don’t understand a single word of what she is singing. Of course, if you understand Japanese, then you’ll have an advantage over the rest of us.

Flyer Artwork

This track is genuinely captivating, and even if you don’t understand the narrative, Sofi’s raw talent doesn’t go unnoticed. There is a lot of character in her singing style, while the instrumental backdrop has a fresh and clean modern rock sound that is delivered with a raw and earthy feel. Powered by a driving beat, the arrangement builds to a powerful up tempo chorus that bursts with sound and energy.

Already making waves on her side of the planet, Sofi Maeda’s is aiming squarely at world domination with “ASHITA”, regardless of language barriers. If you don’t understand the storyline, watch the video directed by Boris Milovanov, you’ll be just as informed and entertained by the Stars Wars styled lightsaber fights.

The interesting thing about the song, is that Sofi’s father, Hideto Maeda, wrote the lyrics for it, while the eighteen year-old singer composed the music herself. It’s a track full of unique energy and meaning; distinctive in the sense that it’s rare for a track to exude such excitable rock guitar riffs, alongside so much pop friendliness.

The track efficiently condenses many of Sofi Maeda’s most exciting performance and compositional skills into its three minutes and two seconds. The vocals overrun with uplifting attitude sitting high in the mix, as the drivingly percussive arrangement loads itself with booming hooks that will grab both of your ears!

Instagram: https://www.instagram.com/sofi_maeda/
Facebook: https://www.facebook.com/singersofimaeda
VK: https://vk.com/sofimaeda
Website: https://sofimaeda.com
YouTube: https://www.youtube.com/sofimaeda
Apple Music  – Spotify

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Juliana B – “On Your Own” aims for your attention! http://jamsphere.com/reviews/juliana-b-on-your-own-aims-for-your-attention http://jamsphere.com/reviews/juliana-b-on-your-own-aims-for-your-attention#respond Tue, 22 Sep 2020 14:33:11 +0000 http://jamsphere.com/?p=42185 Juliana B is an American singer song writer from San Francisco featuring pop, dance and country genres. On her single, “On Your Own”, Juliana B’s sings with an appealing resonating power, throwing around attitude like as she breezes through the song stocked with surging percussion and rhythmic drive. Her brassy confidence and natural ability, immediately feels impressive. But what makes Juliana B unique, is that she takes her cues from many different styles.

The songstress swaggers her way around the muscular new wave rock of “On Your Own”, her voice cutting through a wall of synths and a steady, pulsing beat. Accompanied by a steady, relentless bassline you can’t help but move to. This track is ready for the dancefloor or a daily workout. The nostalgic sound of the song also adds to its allure.

Juliana B

Catchy and mainly compelling, Juliana B’s voice is what stitches “On Your Own” together. The sound of which is virtually floating in musical references from a myriad of eras. Juliana B sings her heart out, invoking a fire and spirit that many of her contemporaries can only achieve with the aid of Auto-tune.

In fact, Juliana B uses her tool to create something wonderful and magnificent. “On Your Own” is a track that is easily enjoyable throughout every second; it’s everything you want from a single.

However, if there’s one reason to listen to this track at all, it’s Juliana B’s voice. She takes control from the opening bars and asserts her vocal strength. Juliana B is able to maintain the song’s powerful momentum. Exhibiting a confident performance backed up by layered harmonies, she jams out with an expanding backtrack that grabs the listener and pulls them in.

Using an interestingly modernized version of a call back vocal style, Juliana B moves between moments of hard and soft timbres. The song is catchy and upbeat that one might find themselves singing the backup vocals and being but sucked in by the high-energy vibe. She writes without flinching, building lyrics and music with a strongly personal flavor.

Running through her catalog, much of Juliana B’s material bears the mark of established hit-makers but not at the expense of her own style. She owns her voice, her soul, and her mind, and turns them all into a force that commands her listeners. Sure, she’s aiming for your attention, but she has substantial things to say.

Juliana B has star quality, there cannot be any doubt about that after you give “On Your Own”, and the rest of her playlist a good and hard listen; there are so many sonically versatile qualities to the songstress, she can easily go between powerful grittiness, and a lulling croon. She seems capable of anything. I can’t wait to hear more from Juliana B.



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Matthew McCreight – “Comfort Colors” is a triumph, and a real step forward for the artist’s solo career! http://jamsphere.com/newreleases/matthew-mccreight-comfort-colors-is-a-triumph-and-a-real-step-forward-for-the-artists-solo-career http://jamsphere.com/newreleases/matthew-mccreight-comfort-colors-is-a-triumph-and-a-real-step-forward-for-the-artists-solo-career#respond Mon, 21 Sep 2020 23:36:41 +0000 http://jamsphere.com/?p=42175 Matthew McCreight is a 19 year old Indie/Alternative artist from Greenville, South Carolina. The bassist for Evan’s Dilemma, Mathew has been playing for about 5 years and has been in several local bands. On the 11th of September he released his solo EP “Comfort Colors”. The cover art for the EP, was created by Jordan McCreight, Matthew’s younger brother. This 6 track recording finds Matthew McCreight being both potent and introspective, yet expansive and flourishing. Opening with ‘Drifting Apart’, he lays the precedent for stadium sized tunes and emphatic lyrics, delivering a sound that is bursting at the seams with organic-styled instrumentation.

There are plenty of jangling guitar strums, slamming drums and warm washes of piano and synths, to support Matthew McCreight’s soaring vocal, which has a stunning range, and lots of power. Right from the start, these elements create the groundwork for an uplifting listening experience which is about to unfold on the record.

The one thing which this EP can claim as its defining feature is massive choruses. Nowhere is this more apparent than on ‘Drifting Apart’, harmonies and falsetto tones sweeping across the soundscape. ‘Cold’ is a slinkier affair during the verses, matching the epic chorus style with a sultrier vocal from Matthew. The atmospheric piano of the opening bars builds to a declarative beat, while pursuing a pop-rock edge.

Matthew McCreight’s songs are huge and heartrending at the same time. A perfect example of this is, “Don’t Give Up”. He voice is poignantly nuanced and emotional during the verses, before exploding into the heavens during the massive chorus. The track is weighty, but with deft, and nimble touches, which showcases Matthew’s elevated songwriting skills. He clearly feels confident within his musical identity.

“Fragile” is a slow burner with genuine emotional fire, and is probably Matthew McCreight’s most impressive vocal performance on the entire EP. As the track unfolds, you can tell it is going to be something special. Matthew’s voice draws you in, begging you to not only listen to the music, but pay attention to the lyrics from the outset.

Matthew’s ability to wrap words around a beat that leaves you helpless but to fall for his charm and swagger is a defining element of his skills. “My Arms” is another slinky, seductive ballad with ringing guitars, a steady slow-beating drum, and Matthew’s incredibly endearing voice, weaving the song’s narrative, in the most mesmerizing way possible.

“I’d Do Anything” sweeps in on a resonant piano and impassioned strings. Slow beating drums lead into a steady rush to the heart as Matthew belts out sentimental tones. His yearning vocal towards the song’s peak give it a sense of urgency that endows it with an almost cinematic quality.

You can sense how much work and love has gone into this record, the deeper you delve into it. Matthew McCreight has really thrown himself in headfirst and it comes out in the music. Artistically “Comfort Colors” is a triumph, and a real step forward for the artist’s solo career.

Connect with Matthew McCreight on Instagram.

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Berani – “Cut And Taste” shows vision and masterful production in the studio http://jamsphere.com/newreleases/berani-cut-and-taste-shows-vision-and-masterful-production-in-the-studio http://jamsphere.com/newreleases/berani-cut-and-taste-shows-vision-and-masterful-production-in-the-studio#respond Sun, 20 Sep 2020 21:42:30 +0000 http://jamsphere.com/?p=42148 Berani is an electronic beat maker with a diverse sound spectrum and a tendency to produce bouncing rhythms or spacious and relaxing aural experiences. In a short time span, this emerging artist out of Byron Bay in Australia, has discerning music fans and casual listeners paying attention. The sound design throughout his latest single “Cut And Taste” is what we’ve come to expect from this creative top tier producer: popping percussion, basslines that melt like butter and a healthy dose of twisted horns to make everything bump in a soul-like fashion.

Sprinkled around the track are sonic effects that keep the record flowing in characterful fashion, whether it be the futuristic vocals adlibs or skittering hi-hats vibes. Berani has struck such an incredible balance of the disparate elements in this eclectic futuristic-retro arrangement that his production talents shine through in an increasingly impressive fashion.

In truth, Berani expands on the sonic palate of his previous releases, and with “Cut And Taste” has crafted a genre-transcending track that will please both hardcore fans and newbies to his music. He simply continues to grow his ever-widening circle of sound, infusing both restrained energy and intimacy into his material.

The boom and the clap. Simple and effective. Here’s a beat that could easily accommodate either a rapper or a singer, but is able to thrive and flourish as an instrumental. It is no exaggeration to say that Berani is helping shape electronic music in the 2020. The Australian’s ability to craft genre-bending and eclectic electronic music is extremely relevant and infectious.

From time to time, delivering a little bit of Hip-hop, Soul, R&B, Chill, Downtempo, and even Pop, Berani has created a space where he refuses to be labeled, and at the same time avoids the one-size-fits-all tag. He unapologetically paves his own path forward with each new track, showing vision and masterful production in the studio.

Ultimately, on “Cut And Taste” he skillfully threads together disparate genres and instrumentation in under three minutes, to deliver a holistic rendering of electronic music in the 21st century. Everything blends in his world, and every Berani recording makes a case for itself immediately you listen to it, and this track is no different. He still favors the kind of seamless songwriting that sculptures a track far beyond the sum of its parts.

While producing a plethora of different vibes and styles throughout his catalog, which displays his masterful production, the DNA found at the common core of Berani’s projects is always present. “Cut And Taste” has found its rightful place as a standout track, within that catalog, and is an extremely enjoyable listen!

OFFICIAL LINKS: WEBSITESPOTIFYAPPLE MUSIC Instagram: @beranidotco – Twitter: @beranidotco – Facebook: @BeraniMusic


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EsZ – “Liquor & Emotions” – a top tier wordsmith and storyteller http://jamsphere.com/reviews/esz-liquor-emotions-a-top-tier-wordsmith-and-storyteller http://jamsphere.com/reviews/esz-liquor-emotions-a-top-tier-wordsmith-and-storyteller#respond Sun, 20 Sep 2020 14:14:46 +0000 http://jamsphere.com/?p=42139 Hip-hop has been cranking out bangers and high energy anthems for decades, but the average genre historian is well aware that dark or emotional thoughts on a chill backdrop is not a foreign concept for the game. After all, profound moodiness feels rather natural for a culture that grew out of urban plight and the trauma of purposely disenfranchised people. It makes sense that at least some mellow tunes in the genre, reflect deep-thinking speculation, in what artist EsZ, describes as thoughts on “life, growth and fake friends” in his track “Liquor & Emotions”. The song is a drunk text moment to an ex-lover and soon to be ex-friend-zoner, giving the rapper yet another opportunity to wax lyrical with his poetic anecdotes, and smooth conversational flow.

“I been sipping so pardon me. Liquor & Emotions blend together call it harmony. Think I sent a message that I know I shouldn’t probably. When I get this open no controlling where it’s bout to lead,” starts EsZ, laying down the gauntlet in support of his subsequent discourse.  EsZ’s distinctly nuanced delivery comes with a meditative quality, so he rarely has trouble selling the pondered intent at the core of his songs.

The result is a wrenching set of bars that mixes bitterness with self-awareness. “Funny how some time apart could help you see the distance. New day, same mission, gotta hustle so my kid won’t have to deal with it.” EsZ compels with the detailed perspective of his personal vision that runs alongside an undercurrent of disappointment and hopelessness.

However, it’s the lingering effect with which he ends the song that sting the most: “Been drinking to remember, drinking to forget. But the feelings taking over, as if they never left. Been keeping my composure (then I) sent a text…” It’s in that precise moment that he realizes – for good or bad – he has taken a weight off his chest.

So while pop music is getting faster and happier, Rap and Hip-hop has become more introspective and emotional, as artists such as EsZ captivates listeners with smooth and mellow productions, thought-provoking lyrics and easy on the ear flows.

EsZ’s ability to tackle complex and difficult subject matter, is ingenuously showcased in each of his releases. In “Liquor & Emotions”, he uses a ‘drunk text moment’, as a perfect vehicle to communicate true sentiments.

Each of EsZ’s single releases, reveal why he can be regarded as a top tier wordsmith and storyteller. He delivers narratives with deep personal meaning which most people can both, easily empathize with, and relate to.

“Liquor & Emotions” fits perfectly onto that list. EsZ is making great music, music that will sound cool anywhere you play it.  EsZ is out here telling hard personal truths, and he’s telling them in ways that will move people.


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Quad – “Love” is a patient, introspective record in sound and concept http://jamsphere.com/reviews/quad-love-is-a-patient-introspective-record-in-sound-and-concept http://jamsphere.com/reviews/quad-love-is-a-patient-introspective-record-in-sound-and-concept#respond Sun, 20 Sep 2020 02:01:50 +0000 http://jamsphere.com/?p=42133 Based in the south of Chicago, Quad started making music when he was around 14 years old and started taking it artistically seriously two years later. He produces, records, mixes and masters, using only a Blue Yeti microphone and FL Studios. So far Quad has written over 300 songs and released 1 EP, 1 Album and 8 singles. Currently training as an audio engineer at SAE University in Chicago, Quad explained that his latest album “Love” describes his personal understanding of the sentiment.

The album “Love” was written and recorded over the course of 2 months after Quad was electrocuted on Christmas Eve in 2019, nearly losing his life. He says that it was that event which made him realize he could not leave this earth without attempting to at least translate his thoughts and ideas to whoever would care to listen.

Throughout the album, Quad reflects on his life, behavior and feelings while leaving the listener with somber, sometimes bittersweet, but yet reassuring messages. In fact the atmosphere of the album can be described as both chill and blunt, yet comforting. The melodies and rhythms are slow and smooth, allowing the listener to relax and almost fall into Quad’s narratives.

“Love”, as a whole, drifts by at a leisurely pace – it is a patient, introspective record in sound and concept. Gentle synth-laden arrangements surfaces all over, as Quad’s steady, well-paced conversational delivery embellishes each track with his personal revelations. It’s in Quad’s melodious baritone flow that “Love” is most effective – a simple, stately, poetic personal account.

 The album begins with the often used “Intro”, and within the first minute we’re oscillating in Quad’s world. Next we get swept away by the warm shimmering keys, and the artist’s restrained, but resonant vocal tones on “Jump”. On the title track, “Love”, we tumble further down into deep emotional vibes, and gorgeous sonics.

Momentum and motif are generated by cascading keys and slapping drums on “Hope (Interlude), which is followed by eloquent songwriting, and the nuanced vocal performance. All of which continue on “Down/Overloaded”. The result is one of the most rewarding listens on the album. “One Left” is ushered in by chiming guitars and keys, a broiling bassline and a thudding kick drum. Only someone obsessed with the craft could create such a refined track.

This album captures Quad at a creative apex where he’s acutely aware of where he’s been and where he wants to go. On “Sunshine”, his polished verses evolve to be more associative and melodically ambling. The song once again displays how talented and diverse he can be as a musician and writer. While sonically, it showcases all the understated versatility has been developing over his recordings.

Throughout “Love”, Quad flows over smooth, somber, and groovy beats, letting the instrumentation breathe and tell his story alongside his words. It is without a doubt his most carefully crafted work to date. Quad is also busy working at Eniyon Studios currently, where he will complete his first studio album, to be entitled “Domesticated Paradise”.



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FuzzKill – “The Get Better” – a wall of supersonic exposition without distraction! http://jamsphere.com/newreleases/fuzzkill-the-get-better-a-wall-of-supersonic-exposition-without-distraction http://jamsphere.com/newreleases/fuzzkill-the-get-better-a-wall-of-supersonic-exposition-without-distraction#respond Sat, 19 Sep 2020 12:19:39 +0000 http://jamsphere.com/?p=42111 FuzzKill is a four-piece rock band that started in Boston, MA. Introduced to one another through musical theatre, the band’s sound is firmly rooted in early 2000’s pop-punk influences. They released their debut studio album, “Happen”, in early 2019, and their sophomore album, “The Get Better”, just dropped on September 19th 2020. We have all heard the biggest punk bands of the 90’s and early 00’s. Their music mainly consisted of driving drums, distorted pop-punk guitar work and a set of memorable lyrics to go with the angst-filled high energy vocals. Today punk bands are a rarity, and any good ones usually stay locked and undiscovered in the underground. Until FuzzKill arrived on the scene with their sophomore album, that is.

From the outset Fuzzkill has inadvertently set themselves up for some lofty expectations that many punk fans have been wishing the genre would achieve once again. So with their newest album, aptly titled, “The Get Better”, these new tracks find the group reaching all the expected heights, they or any fan of pop-punk have previously set. Track after track, FuzzKill achieves the 2000’s pop-punk sound, updated into the here and now, in a wall of supersonic exposition without distraction.

The thunderous drums become the full beating heart of the music. Crisp and crunchy driving guitars are expertly placed, throbbing basslines ignite the rhythms, and throaty, soaring vocals are boosted by washes of mellifluous harmonies.

You actually feel the vibrant atmosphere and urgent attitude of the music. It soon becomes clear that members, Jake Smerechniak, Jordan Potash, Jude Torres, and Trey Lundquist, are taking you to new heights, rather than just floating around on the sidelines, waiting to be heard.

This superb feeling is set ablaze from the opening track, “Stupid Fucking Summer”, which comes right after the playful “Intro”. Aside from the explosive forward motion of the percussive momentum, the genius of the music, is in its ability to captivate all of your senses and stimulate your emotion. FuzzKill throw thick layers of melody and harmony into their cauldron of pulsating rhythms that will leave you breathless.

The ferocious upbeat instrumentation continues on the bone-crushing “Iced Tea” and dynamic stop-start arrangement of “Save The Date”. This is uplifting, euphoria-inducing sonics designed for the bold-hearted. The lead singer’s genre-advance in pure vocal ability, truly shines throughout here.

“Intimate Affair” even brings groove into the punk-pop equation, and it’s a marvelous thing. FuzzKill get out the acoustic guitar, and turn on the emotional floodgates on the poignant “Melodrama”. It’s easy to get caught in the web of downtempo vibes here.

“Wolfman” ups the ante with a punchy singalong anthem at its core, before the crushing guitars of “Everything is Better (September)” re-adjusts the template with another towering performance by the band. The lead vocals here, are truly astounding, showing range and power. The narrative in “Society,” places itself within a lofty context, while the song also hosts a marvelous, head-rush of a chorus that sticks in your head for days at a time.

Honestly, if all of pop-punk sounded like FuzzKill do on “On Your Own”, the genre would still be thriving in the mainstream charts today. However, having said that, I like FuzzKill best, when they flaunt their abrasive alternative rock tendencies, as on the fully powered, riff-laden “Taking Damage”.  Few bands can bridge alternative rock and pop-punk, with such a level of conviction, style, and overall coherence.

Moving forward FuzzKill continue switching their template with absolute mastery. On “Sun/Down” they’re in full, high-speed punk mode. Then “The Break”, featuring John Tyler Kent, sees them brandishing those blistering guitars and another killer melody, supported by excellent drumming and a fiery lead solo.

“The Feel Alright” offers the album’s most eloquent moments in a power ballad which thrives on a mesmerizing lead vocal, and minimal instrumentation. In the end, FuzzKill and “The Get Better”, exceeds all the hype, I or anyone else could possibly deliver, within a collection of fourteen songs that stand amongst the decade’s strongest pop-punk records I have come across – indie or major label!



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Dan Friese – ‘Jane Songs’ – inspiring songwriting and raw emotion http://jamsphere.com/newreleases/dan-friese-jane-songs-inspiring-songwriting-and-raw-emotion http://jamsphere.com/newreleases/dan-friese-jane-songs-inspiring-songwriting-and-raw-emotion#respond Sat, 19 Sep 2020 03:42:23 +0000 http://jamsphere.com/?p=42106 Dan Friese is an Oregon-based songwriter, performer and multi-instrumentalist. In April of 2020, he released his debut EP, ‘Happiness’, a collection of self-reflective psychedelic indie-folk tracks. His first full-length effort, ‘Jane Songs’, was released on September 18th, and is available on all major platforms, along with the singles “Streetlight” and “I Can’t Say”. There’s a lot to appreciate on the new album, and Dan’s voice is arguably the most attractive aspect. Moreover, his vocals are often enhanced by inspiring songwriting and raw emotion, not to mention a wealth of down to earth acoustic guitar strumming.

Dan Friese has an organic, easy-going and laid back approach to music and to his delivery. His take on alt-country, folk and other indie flavored Americana motifs, allow his music to breathe and grow around him. The notion of space and time is brought to bear because Dan never rushes too far ahead of the music. It’s always there, alongside his narratives, which more often than not are dark and afflicted, allowing ephemeral rays of light to transpire sporadically.

Dan Friese is a talented singer, guitarist, and songwriter. The latter is perhaps his most impacting talent. Few smart, insightful, and tuneful singer-songwriters in the league of Elliot Smith, Jackson Brown, Warren Zevon, John Prine, Bob Dylan, Jeff and Tim Buckley, etc., are writing music to day. So when you come across music by a singer-songwriter like Dan Friese, it is something to be treasured.

Dan’s music is untainted by pretention, overwhelming ambition, or any unnecessary embellishments which may distract from the core of his songs. From the moment he opens the album with strumming guitars and the harmonica on “Start Breathing In”, you are drawn into his world of introspection and revelation, as he sings: “Some hardened hearts. They can’t be saved. Don’t waste your life Livin’ in pain, You are no martyr. You’re just afraid,”

More often than not, Dan’s music is not cluttered with instrumentation. Primarily acoustic, his vision is carried by a sparse but intelligent carpet of sound, driven by his informed guitar playing. “I Can’t Say” rides on an insistent acoustic guitar rhythm and a banging mid-tempo drumbeat.

“Life’s much harder than it is in your mind”, he sings on “I Thought I Knew”, bringing down the tone and tempo to a deep-thinking slow burn. It pairs perfectly with the romantic balladry of “Streetlight” which is very good piece of writing, sounding like a song that has been around for decades.

“Inner Child” showcases another throbbing drum beat and an up-tempo groove, before Dan Friese transports us onto the beautiful echo of “Open” with its jangly angular guitars. Even with a minimal lyric sheet, the song and the performance show a good deal of depth, with Dan proving he is a whole lot more than just a regular folk singer. “The Beginning” comes as a surprise, as I wasn’t expecting a piano-driven instrumental, supported by a keen guitar melody.

There really are no skippable songs on ‘Jane Songs’, except ones you may like better than others, in this case, “The Call” belongs to the latter. Echoey and visceral, guitar and voice blend in what sounds like a live take that will resonate with the listener, as Dan sings: “Everyone seems brighter. But I’m just getting dull. Tie this noose up tighter. Til I fall.”

The picked guitars and poignant percussion on “Stop Bringing Everybody Down”, introduces yet another stellar track, adorned with poetic lyrics and Dan’s deep-set voice.

“This life is perfect. Then it’s hell. How I’ll feel tomorrow. I can’t tell,” are the opening lines to the final track, which may just be the best of the bunch, depending on your taste. Smooth and laidback, yet rich and evocative, this song packs a strong emotional punch, as does much of the album. Dan Friese may not be the name on everyone’s lips right now, but with a few moves in the right direction, he might soon be.


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Hitrocker – “Project One” is full of driving EDM rhythms and powerful vocalists http://jamsphere.com/reviews/hitrocker-project-one-is-full-of-driving-edm-rhythms-and-powerful-vocalists http://jamsphere.com/reviews/hitrocker-project-one-is-full-of-driving-edm-rhythms-and-powerful-vocalists#respond Fri, 18 Sep 2020 14:31:54 +0000 http://jamsphere.com/?p=42090 Hitrocker is a German based producer who creates mainly within the EDM subgenres of House, Electro and Deep House. His first album, entitled “Project One” was released at the end of July, while “Project Two” is also out now. When I clicked on the playlist of “Project One”, I was met with song titles that were merely numbers – such as “Project 1.1” or “Project One.Four”. This falsely led me to expect generically themed instrumentals, simply meant to rock the dancefloor. Wrong. Well not totally. They do rock the dancefloor. But they also do a whole lot more. These are actually fully themed songs. Some of them with amazing melodies and vocals, to match the tight rhythms and stellar production quality of the beats.

For me personally, Hitrocker’s biggest attraction is the vast array of feelings his music trigger in me, whether related to real events or hypothetical ones. Over the course of the 9 tracks on “Project One”, my inventory of emotional interpretations grew more expansive and intense with every play. Right from the opening track, Hitrocker takes on a musical journey far beyond our expectations.

One minute Hitrocker is capable of weaving delicious melodic arrangements, sung by some of the most gorgeous female voices you have heard, and the next minute, he can carve out a four-to-the-floor instrumental banger that will drive you crazy on the dancefloor.

There are even excellent male lead vocals in his songs. Whatever mood you’re in, Hitrocker’s music fits the occasion. Overall, Hitrocker did an amazing job with this album that is full of driving EDM rhythms and powerful vocalists.

The album “Project One” kicks off with the beautiful melodic drive of “Project 1.1”, featuring a stunning female vocal and growling synths. “Project 1.2” offers plenty for your ears to discover, with breathtaking sound design, wondrous atmospherics, and another sultry vocal performance.

“Project One.Four” presents a vibrant bassline, melodic chords, and euphoric vocals, all spiced up by a catchy chorus. Three tracks in and Hitrocker has made no missteps, each song delivering top tier producing skills.

“Project One.Five” comes out of the blocks with a thumping kick drum and sizzling hi-hat before exploding into bass driven instrumental euphoria. “Project One.Six” once again shows of Hitrocker’s keen ear for fantastic female singers and melodic hooks.

All of which makes his vocal tracks ready for any mainstream Pop chart. “Project One.Seven” introduces to a male singer with a magnificent range, juxtaposed against an energetic and dynamic rhythm.

 “Project One.Eight” again demonstrates Hitrocker’s fetish for booming basslines that rumble and roll alongside energetic percussion. “Project One.Nine” is a powerful collaboration built around an ascending keyboard progression, rip-roaring drum loops, and ethereal vocals. Hitrocker’s addiction for blending melodic themes with dynamically creative foundations shine throughout the entire listen, and even more so “Project One.Ten”.

It takes a special record to be fully engaging. And it takes more than just talent to make inspired music in an EDM world full of noise. Hitrocker’s “Project One” album is a 9 track statement of inspired finesse and transcendence to the realm of dance music. Every track is beautifully produced, casting melodic vibes that can make your mood, no matter what emotional state you’re in.


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See Your Shadow Songwriting – There is something so majestic about the voices and the music http://jamsphere.com/newreleases/see-your-shadow-songwriting-there-is-something-so-majestic-about-the-voices-and-the-music http://jamsphere.com/newreleases/see-your-shadow-songwriting-there-is-something-so-majestic-about-the-voices-and-the-music#respond Tue, 15 Sep 2020 23:58:25 +0000 http://jamsphere.com/?p=42045 See Your Shadow Songwriting is a musical creation entity currently based out of Phoenix, Arizona. Run by Michael Coleman, aka The Metropolitan Cowboy, See Your Shadow is a collaborative network of talented vocalists and musicians. Coleman, the artistic director of See Your Shadow Songwriting, writes and produces all the songs created and released by See Your Shadow Songwriting.

The project’s Single, “I Will Tell Jesus You Said Hello” reached #1 on the iTunes Country Songs chart in South Africa, while receiving national and international airplay and charting.

The follow-up track, “My Worth”, was also overseen by Coleman, who exclaimed: “At first, I was going to sit down and write some lyrics to the piece and then after listening to it over and over, I thought the piece just stood so strong on its own as an instrumental.”

If you love powerful, hard-hitting mid-tempo ballads, “I Will Tell Jesus You Said Hello” will be right up your alley. The emotion in the vocals on this track is breathtaking. The See Your Shadow project really know how to bring believable feelings to their music and they sing as if they mean every word. There is something so majestic about the voices and the music that make you feel like few other contemporary country artists can make you feel.

The song is perfect in its simplicity and the heartfelt honesty really hits you in the solar plexus. It’s a sad tale with an inspirational message at its core – a heartbreaking but gorgeous song that listeners should take their time with and cherish. “I Will Tell Jesus You Said Hello” plumbs the depths of emotion, while also tackling the topic of spiritualism and human vulnerability. It’s a fabulous track that would also be great for country radio.

Part of what makes See Your Shadow so enjoyable is that no matter how high the project seems to aim, it always strives to stay connected to its re-branded country roots. That grounding has served the project well all over their catalog.

Upbeat and instrumental, “My Worth” is a totally different track to the previous one, yet in all the dynamic bombast of crunchy guitars and banging drums, it never loses its subtle country twang.

“My Worth” gets your feet stomping with wicked electric riffs, as swirling guitars surround the swell and surge of the beat. It’s packed full of energy and groove. The core of Michael Coleman’s craft is the fearless way he creates: composing songs that are achingly personal but still resonate with everyone who hears them. In this case, regardless of whether they’re instrumental or not.

The result is beautifully polished pieces of work with moments of great depth and meaning.  See Your Shadow songs shows a huge amount of thought put into the crafting of each project, both as a musical journey and lyrical story for the listener.


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Hybrid Blues – A slice of organic blues that mesmerizes! http://jamsphere.com/newreleases/hybrid-blues-a-slice-of-organic-blues-that-mesmerizes http://jamsphere.com/newreleases/hybrid-blues-a-slice-of-organic-blues-that-mesmerizes#respond Tue, 15 Sep 2020 21:19:42 +0000 http://jamsphere.com/?p=42041 Out of Aotearoa (New Zealand), Hybrid Blues are a 4-piece band, made up of Mike Everard (guitars, vocals), Adam Pendred (bass), Mark Schaumann (drums) and award winning front-man, singer-songwriter Roy Hudson. The band signed to SGNB Records USA, has just released its self-titled blues-based album. No two songs on “Hybrid Blues” sound the same. The record not only showcases Roy’s abilities as a singer and a songwriter, but also highlights the wide range of influences that have impacted on his music. The album takes you in so many different dynamic directions that it can feel a little dizzying, while the musicianship on show here is quite remarkable, and there’s not a bad song among the 11 on offer.

From the aching groove of “Adios” through to atmospheric piano driven “Sunshine”, Roy Hudson and the rest of Hybrid Blues give fans an insight into every corner of their talent, and it’s pretty breath-taking.

In a time when listeners are keen to pigeon-hole artists into one particular box, Hybrid Blues is doing what they want, it’s a pretty bold step but one that ultimately pays off. The eleven-song set is an exploration of a number of flavors including Country-soul, Southern rock, Americana, and of course, the blues.

The album feels so authentic, packs in so many layers and gives you so many feels, that you can’t help but lose yourself in the gorgeous melodies that run throughout. This is slice of organic blues that mesmerizes courtesy of enchanting sonic beauty, radiant nostalgic warmth and timeless sentiments.

“Ain’t Got Time” races out of the blocks with rolling basslines, screaming guitars and soaring vocals. The group continues to boast a ballsy sound, where devil-may-care eclecticism meets solid jamming, on the riff-fueled “Devil Within”.

On “English Lady”, Hybrid Blues slow the pace down to soulful introspection, allowing Mike Everard’s guitar to ache and squeal with passion. Roy Hudson’s voice is commanding and powerful but at the same time restrained for dramatic effect.

“Forsaken” grooves on a funky mid-tempo rhythm, while the backing vocals add a luscious layer to the cheeky, punctuated arrangement.  Blessed with genuine conviction, Roy’s delivery allows “Go With The Flow’s” heart-on-sleeve lyrics and melody, to cast a beguiling spell on the listener.

Moving forward, each song is perfectly sculpted, with every note graciously enhancing the infectious earnestness that bubbles from their emotional core. Whether sentimentally painting with the acoustic guitar and piano on “Leaving On A Train”, dispensing the electric blues-drenched urgency of “Little Boat” or striking contagiously overdriven chord changes during “Lonely Man”, each instrumental color is an organic and seamless extension of Hybrid Blues’ impacting storytelling.

Timekeeper Mark Schaumann perfectly drives the momentum of “Rich On Love”, building a solid foundation for the rhythm section, in support of the resonating female lead vocal manipulating the melody. “Sunshine” uses a similar formula, except here the vocals are shared in an uplifting summery duet, as the track emits a revelatory energy.

Magnificent songwriting aside, the caliber of the band’s musicians is notable. With the steadiness of bassist Adam Pendred and drummer Mark Schaumann, the entire band blazes. The instruments create a fortified interplay that often adds impeccable flourish without extravagance.

With the widespread prevalence of electronic trickery in music these days, finding pure, raw talent is a rarity. Hybrid Blues fuses stellar musicianship, heartfelt songwriting and soul-stirring vocals, to create an electrifying album. Hybrid Blues don’t need to strive for authenticity, it’s busting out of every note they play and every word they sing.


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Marshall Artz Productionz – “Go Missing” ft. SeanQ – rich and blissful vocal tones! http://jamsphere.com/newreleases/marshall-artz-productionz-go-missing-ft-seanq-rich-and-blissful-vocal-tones http://jamsphere.com/newreleases/marshall-artz-productionz-go-missing-ft-seanq-rich-and-blissful-vocal-tones#respond Tue, 15 Sep 2020 17:06:09 +0000 http://jamsphere.com/?p=42035 Released Aug 28th, “Go Missing” Prod. by Marshall Artz Productionz, is the producer’s 3rd single release since June. The track will be featured on his upcoming 2021, self-titled LP “Marshall Artz Experiment”. The song features singer-songwriter SeanQ, from Dallas, Texas. The producer’s blend of R&B-inspired neo-soul and smooth chill sounds becomes its own entity within the hip-hop and urban music world. Marshall Artz Productionz work should gain high appraisal through its colorful and subtly amped vibes that play to any genre lover’s ears alike. After listening to this track, I expect that the outpouring of demand for more of the producer’s entrancing and vivid production will be growing more intense as time has gone by.

From the get-go, there’s no disguising that you’ve entered the world of a thoughtful and creative producer. Whether it’s through meticulously looped keyboard chords and spacey filtering that slips into commanding drum claps, or the poignantly succinct bass lines that pour emotion into the sultriness, Marshall Artz Productionz’s ability to draw the listener into his grooves are unparalleled.

His skills are also highlighted in his ability to create a complimentary soundscape for a superbly gifted singer-songwriter like SeanQ, who has a unique voice that most producers fail to elevate. Such is SeanQ’s voice that the rich and blissful vocal tones, as well as the sentiment of the track can lift its listener from even the most impassive states.

In truth, Marshall Artz Productionz understands the needs and strengths of his songs. A key component within this understanding, is Marshall Artz Productionz’s attention to vibe, rhythm and sound. Thus speaking to both the body and the mind.

Certifying himself as a serious contender in contemporary sounds, the warm, nestling and finely textured audio of “Go Missing”, makes for a tantalizing listen. The track is a creative and diverse groove that can make for a great listen in almost any context with its combination of smooth accessibility and soulful vocals.

Marshall Artz Productionz’s has used the magic of electronic sounds to make “Go Missing”, an eclectic effort that easily blends elements of Hip-hop, R&B, Soul, Pop, and even Chill, among a plethora of other influences. The result is an artful and warm track that can exist equally as late-night club music and good sounds to vibe to in the background at home.

At the surface level, “Go Missing” is accessible enough that casual music listeners can easily be drawn into its captivating elements. It’s really smooth and straight-forward for the most part. At the same time, it is complex and creative enough for a lot of music nerds who can easily find something to take away from it technically.

“Go Missing” is incredibly hypnotic, with crystal-clear production and a ton of background elements adding multiple layers of complexity to the track. None of which are invasive enough to dissuade casual listeners while they savor the addicting vocal and melody. It’s really brilliant, to be honest.

“Go Missing” Prod. by Marshall Artz Productionz, and featuring SeanQ, is catchy and interesting enough, to warrant a ton of playbacks, and if you’re anything like me when you hear it, you’ll find yourself going back to this song over and over again. Be sure to give this a spin if you’re in the mood for good vibes in just about any context.



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Evie Calabasas – “STARGIRL” explodes into unexpected beauty http://jamsphere.com/newreleases/evie-calabasas-stargirl-explodes-into-unexpected-beauty http://jamsphere.com/newreleases/evie-calabasas-stargirl-explodes-into-unexpected-beauty#respond Tue, 15 Sep 2020 13:30:49 +0000 http://jamsphere.com/?p=42025 Evie Calabasas is a 20 year-old singer and songwriter. She started playing guitar at the age of 6 and started singing at 15 years old. After attempting to be part of band on numerous occasions, Evie finally opted for a solo career. Her first solo project, the 3 track EP “STARGIRL”, has its title inspired by the first song she ever played live.  It is a tempered and exceptional record. It shakes, rattles and rolls with minimal, almost absent percussion, a dominantly strummed acoustic guitar and occasional keyboard interludes. Above all, is Evie Calabasas’ voice, which delivers an untethered, sweetly melancholic, raw, and liberating listen, as she sings about dealing with feelings, growing older, friendship and love.

Evie Calabasas dives head-first into the exploration of her own supremely unique, sophisticated capabilities in sound on “STARGIRL”. Choosing restraint above bombast, and nuance above magnificence. The result is a sound and style that gently weaves its way through the ears, hearts, and minds of listeners, clinging to her eloquence and gorgeously essential arrangements. All of which exult her vocal presence, lyrics and storytelling.

Right from the opening track, “Red Dress”, her acoustic- driven grace demands your full attention. You’ll quickly notice her knack for endearing melodies and ear-catching hooks, as she fabricates an earthy rhythm, paired with meticulously vocal runs. A composition built on the rudiments of organic instrumentation, which somehow explodes into unexpected beauty.

With its in-depth mood, and easy-going time signature, “Can We Talk?” will entrance you with each passing bar, as you hang on every heartfelt word. Evie Calabasas’ songwriting prowess is front and center throughout this song, and with her compositional sketch firmly drawn, Evie further embellishes her narrative and accents the details, with her performance skills.

The refinements are always subtle – she never raises her voice to a scream or overwhelms with her music. The result elevates Evie’s singing performances, solidifying them, and never overshadowing them.

Considering her young age, there’s a maturity and honesty at work in the arrangements on the EP that reward the listener. Evie owns and examines her emotional dilemmas with pure candor. She’s doing things on her own accord and embracing them. Evie presents her emotions and life’s complexities in a way that offers access and empathy. This is so mesmerizingly evident on “I Miss You (But I Don’t)”.

Evie Calabasas’ voice is one of the most unique and versatile out there, ranging from a delicate whisper to a high flying croon when appropriate. It begs the attention of the listener throughout the EP. Evie’s music thrives on the intimacy she fosters with the listener.

Every choice she makes is designed to draw the audience into her world, to make them understand things her way for the length of time they’re listening to her music. And that not only enhances the power of all the songs on “STARGIRL”, but it also creates a whole, greater than the sum of its already considerable parts.

Evie Calabasas’ passionate sound, is blended with her strong, sensitive vocals and one soul-baring song after another. She is one of those rare young voices who is instantly recognizable and endlessly listenable.



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Lisa Bett – pulsing synths, rolling bass-lines and smacking beats! http://jamsphere.com/newreleases/lisa-bett-pulsing-synths-rolling-bass-lines-and-smacking-beats http://jamsphere.com/newreleases/lisa-bett-pulsing-synths-rolling-bass-lines-and-smacking-beats#respond Tue, 15 Sep 2020 11:45:04 +0000 http://jamsphere.com/?p=42020 Lisa Bett is an indie-pop, synth-pop, dance-pop singer from California, USA. Lisa is currently garnering enthusiasm with her latest singles, “You’re The One” and “Keep It Simple”. These songs are very listenable synth-driven marvels which incorporate a myriad genre-bending ideas, without sounding pretentious or even slightly overwhelming. At once earnest and playful, conceptually nostalgic and melodically flexible, it’s a prime example of how the pure mind of an artistic newcomer can lead to a tasteful shift for an entire genre, Lisa Bett brings synth pop grooves back into mainstream focus.

Lisa Bett obviously isn’t the first artist to delve into creating slick and funky synth-driven soundscapes with their music. Others have all done it before with varying degrees of success. However, even a casual listen reveals that Lisa possess an uncanny skill for creating well-crafted slices of catchy electronic pop.

Lisa is as concerned with form and function, as she is with style and substance. Her sounds are crisp and clean, as well as crafted and balanced, to impact both dancefloors and headsets.

“You’re The One” quickly establishes Lisa Bett’s modus operandi as finely woven layers of synth and echoed vocals float above programming so crisp and clean you could eat off it.

​The pulsing synths are set to a rolling bass-line and smacking beat. Waves of shimmering keys, all buffed to a warm shiny finish, wash over the song without ever burying its infectious melody, and Lisa’s sultry vocalizations.

Lisa Bett’s voice is given the same thoughtful treatments as the music, adding a wistfulness that blends in quite perfectly with the song’s warm analog-type sound. Her vocal nuances deftly wind their way between the beat and atmosphere on “You’re The One”, leaving you captivated.

“Keep It Simple” opens with a jangly guitar intro, before the effervescent keys enter into play mode. This is the type of funky, hi-tech dance-pop soundscape, you would expect from Daft Punk. The lovely cascade of strummed, electric guitar sounds, gracefully intertwine themselves with the constantly shifting ambience, throughout the song.

​The upbeat song provides yet another example of Lisa Bett’s skill at using her vocals in her music, as her wistful voice tempers the flashy, driving rhythm, with humanly warmth. “Let’s keep it simple. Let’s take it slow. We have the freedom. Not losing control,” sings Lisa. Her mellifluous voice gently cutting through the mix and coming directly to the fore.

The song has a propulsive feel, which is never rushed. This 3-minute wonder is just gorgeous to listen to, with rolling synths, spiky guitars, and a beat that makes you feel like it’s time to hit the dancefloor. Just an awesome track, and one which I could play over and over again, in fact, I do.

It’s hard to choose a favorite track, between “You’re The One” and “Keep It Simple”. But if you’re partial to brilliant sounding tracks, both fit that description nicely. Taking her inspiration from a wide array of electronic, dance and pop sounds, which look both backward and forward, Lisa Bett has crafted her own magnetic, indie synth-pop template.


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