Jacob Aiden – JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Wed, 25 Apr 2018 18:37:26 +0000 en-US hourly 1 P.E.T.S: “Generations” – glimpses of brilliance and sparks of creativity http://jamsphere.com/newreleases/p-e-t-s-generations-glimpses-of-brilliance-and-sparks-of-creativity http://jamsphere.com/newreleases/p-e-t-s-generations-glimpses-of-brilliance-and-sparks-of-creativity#respond Wed, 25 Apr 2018 18:34:02 +0000 http://jamsphere.com/?p=32115 The song “Generations”, by P.E.T.S, is a kind of fight against the sepia-toned humdrum that pop music is currently dishing out. It thrums with vigor and eagerness, and is by turns tender, nostalgic, and fantastical, as it joyfully and rather cleverly references parental legacies without getting bogged down in the particulars. It’s nuanced and complex, […]

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The song “Generations”, by P.E.T.S, is a kind of fight against the sepia-toned humdrum that pop music is currently dishing out. It thrums with vigor and eagerness, and is by turns tender, nostalgic, and fantastical, as it joyfully and rather cleverly references parental legacies without getting bogged down in the particulars. It’s nuanced and complex, yet it feels easy, and its originality is an antidote to the kind of mainstream corporate swill that passes for indie pop these days. If it makes you ponder just a little bit, that’s cool too.

Because you should. Based in Richland WA, P.E.T.S was formed in 2007 by Tim Leingang. The music is performed by a collection of musicians who are friends and family. P.E.T.S has released two previous albums on Funkytonk Records, and have toured the west coast in support of their LP ‘Personal Electronic Transactor Sounds’.

Looking at the P.E.T.S musical catalog, it seems that Tim Leingang has built a fascinating and singular underground career as a half-in-the-bag philosopher, a master of off-kilter hooks badgering the universe for answers and a visionary with a social conscience.

The problem with most bands with brains (and P.E.T.S clearly has some smarts) is that when the lyrics get too heady the band comes off sounding musically forced and impersonal. P.E.T.S avoid all that and makes it all work without the feel of contrivance, because they are so unpretentious in their approach.

The band has constantly shifting musical motifs, as well as a sense of the unexpected, while their lyrics are oblique and of multiple interpretation. They offer glimpses of brilliance and sparks of creativity, out of what sounds like a kiddie’s musical ditty on “Generations”.

Below the surface of every harmonized word, every biffed guitar line, every Linndrum hit, and shimmering keyboard note, shines the intelligence of P.E.T.S, becoming increasingly more noticeable, and counteracting the initial impression of them as simply just a bunch of eclectic indie hipsters.

Listening to this eerily nice and hauntingly soothing number, you’ll at times wonder and ask yourself, “What does all this mean?” For the time being, just nod your head, tap your feet and be patient …your mind will eventually catch up sooner or later.

Clocking in at three minutes and forty seconds the song is over before you know it, kind of like a lullaby. For those who think mainstream pop is too predictable and indie pop too often lacks sufficient edge, P.E.T.S is a no-brainer.

Recorded, Mixed, and Mastered 2018 at Daveno Studio in Richland WA by Timothy Leingang. “Generations” was written by Timothy Leingang and performed and interpreted by PETS, who include Guitar and Linndrum: Timothy Leingang, Bass: Andy Evens, Rhodes: Patrick Mackey, Synthesizer: Drew Gale, Vocals: Arta Marie Powers, Katy Mills and Cameron Mills.

OFFICIAL LINKS: WEBSITEFACEBOOKBANDCAMPINSTAGRAM

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Exit 22 Music: “Before I Fall” – exquisitely crafted excellence! http://jamsphere.com/reviews/exit-22-music-before-i-fall-exquisitely-crafted-excellence http://jamsphere.com/reviews/exit-22-music-before-i-fall-exquisitely-crafted-excellence#respond Sun, 22 Apr 2018 10:40:24 +0000 http://jamsphere.com/?p=32094 Exit 22 Music make songs that could dominate the airwaves, yet you’ll be stunned by the depth, precision, and intensity of their music. I say ‘their’, because Exit 22 Music is a dynamic and charismatic music production company from NYC, led by founder and main composer Chris Calamera. With over 20 years of diverse musical […]

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Exit 22 Music make songs that could dominate the airwaves, yet you’ll be stunned by the depth, precision, and intensity of their music. I say ‘their’, because Exit 22 Music is a dynamic and charismatic music production company from NYC, led by founder and main composer Chris Calamera. With over 20 years of diverse musical experience, and a string of critically acclaimed singles such as “Break These Chains”, “Last Goodbye”, and “Double Life”, Calamera surrounds himself, from time to time, with a host of talented singers and collaborators to put out music that is catchy, melodic and powerful. With a goal to empower, educate and inspire audiences, Exit 22 Music craft songs that aspire to transcend genres.

Chris Calamera

How does someone like Chris Calamera, still so underrated, acquire so much musical ability to write, score, perform and produce music like this? I think probably through long hours working and experimenting, and a complete commitment to creating music. His music is complex, rich, textured, layered, and very original. Interesting evocative rhythms, arrangements, melodies, crystal clear vocals. It stays with you, pulls you in, and grows on you.

Calamera’s style is vaguely reminiscent of some of my favorite artists from previous magical musical eras, but he goes well beyond them into his own original territory. Hence it’s no wonder that the result on each Exit 22 Music release, is an astonishing work of exquisitely crafted excellence.

Exit 22 Music’s musical highs can make you breathless and fortunately they give you a chance to recover when the singer dips from her sky-high voice adventures. I love the variations in her voice and how she embraces contrast, in the modern production ensemble’s latest release “Before I Fall”.

This love anthem is intense in its variations as the lead voice weaves in and out of a maze of powerfully layered sounds driven by resonant guitars and shimmering keys. This music is very visual to me and seems filled with poetic meaning and expression.

“Before I Fall” really sounds like pop-rock musical art during some sections and then Exit 22 Music can hold back while the track can sound like a lullaby. Take this for a few spins and you will be high on its sheer beauty.

Chris Calamera and co-writer Tr1be seem to be drawing on ancient rhythms that echo in the background of the song like ghosts traversing landscapes filled with sweeping fields of flowers, as the lyrics ring out: “Through all the years, I’ll be right here / Falling faster, deep into ya / Calling out, I need your love / Will you meet me half way / Will you ever catch me / Before I fall.” The music just comes together in a perfect, gem-like way.

Vocals. Music. Lyrics. Production. All good pop songs do at least one of these things really well. Great pop songs are able to squeak by with at least two of these qualities. Selected desert-island pop songs pretty much need all four requirements to be firing on all cylinders.

I would argue that “Before I Fall” is certainly one of the latter. Exit 22 Music is a rare musical project with amazing talent. The music they come up with just delivers moments of awesomeness when you need it.

Please see the Exit 22 Music Facebook Fan page at www.Facebook.com/Exit22Music for the latest!

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

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Phoenix O’Neill: “Out Of The Ashes” is stunningly haunting and graceful http://jamsphere.com/newreleases/phoenix-oneill-out-of-the-ashes-is-stunningly-haunting-and-graceful http://jamsphere.com/newreleases/phoenix-oneill-out-of-the-ashes-is-stunningly-haunting-and-graceful#respond Sat, 21 Apr 2018 16:37:53 +0000 http://jamsphere.com/?p=32087 Phoenix O’Neill grew up in Watford, North London and attended school in St. Albans. She was born into a musical household – her mother sang and played guitar, her dad was a drummer, and her step-father a singer-songwriter. Phoenix started writing stories and poems at age eight, songs at nine, and by thirteen, she had […]

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Phoenix O’Neill grew up in Watford, North London and attended school in St. Albans. She was born into a musical household – her mother sang and played guitar, her dad was a drummer, and her step-father a singer-songwriter. Phoenix started writing stories and poems at age eight, songs at nine, and by thirteen, she had built a considerable portfolio. Her first live performance occurred when she was fourteen, at her mum’s friend’s wedding in France. Now at age twenty-three, Phoenix O’Neill has been giving heartfelt, memorable performances in and around the Hertfordshire area, and recently gained the attention of world famous producer James Sanger, best known for his work with Dido, Keane, Siobhan Donaghy, and Brian Eno.  James immediately paired up with Paul Inder-Kilmister (Lemmy from Motorhead’s son) to create Sangmister Music, where Phoenix worked with both luminaries on her debut EP in Joshua Tree, California. The EP, entitled “Out Of The Ashes” is set to officially release on April 30th, 2018.

Across the EP’s four tracks, the centerpiece of each song that sticks its finger right out of the speakers and into your face is Phoenix O’Neill’s vocals. Sure, there’s some pretty easy Birdy, Lorde and Amy Winehouse comparisons to be made to Phoenix’s sting-in-the-tail pipes, but really we should be paying closer attention to this woman’s own personal rasp, howl and under-breath murmur, emphasized through crystal-clear production, and we will discover a voice with confidence, sassiness and the utmost of class. All the while, the EP toes that fine and difficult musical line, remaining accessible while never sacrificing its emotional heart.

Whether she’s leading the charge in toe-tapping numbers such as the twirling “Cruel” and ferociously groovy single “I Need You”; or soulfully, emotionally crooning through smooth, intensity-switching balladry like the gorgeous “Alien”, and the sprawling mood-inducing “I Feel It”, Phoenix is pulling vocal moves like a professional veteran.

The liquid pronunciations and seamless transitions between her empowered husk and her seductive purr are worth any price of purchase alone. Phoenix lets her ability to convey emotional depth do much of the talking on these tracks. Her innate vocal intuition is truly the star of the show, and should be something celebrated by more and more people.

To say that everything else is a bonus would be to undermine the music and production – something no reviewer should be caught doing, regardless. On “Out Of The Ashes”, the music is tight as ever, creating vivacious and well-structured backdrops to Phoenix’s voice; bold and adventurous in its ambitious genre-envelopment.

Various guises of pop and urban soul make up the musical centerpiece, but subtle elements of alternative rock and electronics push the cutting edges of this recording. It’s all delivered with real enthusiasm and the production makes it sound huge, and profoundly captivating.

Phoenix O’Neill is the complete package, a fantastically unique voice that demands attention with beautiful song composition and a glowing physical presence. Phoenix does such a good job of making every song infectious. Every cut comes across as though you somehow already know it and with which you want to sing along.

The very familiarity of her warm voice paradoxically is what makes her different. Her vocals are simply impeccable, with which Phoenix O’Neill gives exquisite, rare and soulful performances. “Out Of The Ashes” is stunningly haunting and graceful.

*** Phoenix was recently awarded the international showcase fund support from the PRS Foundation to help towards costs, allowing the band to be able to perform at MUSEXPO which they are very appreciative for. Phoenix O’Neill is supported by PRS Foundation international Showcase Fund, which is run by PRS Foundation in partnership with Department of International Trade (DIT), British Underground, Arts Council England, The Musicians’ Union (MU), PPL, Creative Satland, Wales Afts lnternational and Wales Afts lnternational in association with Pledge Music.***

OFFICIAL LINKS: WEBSITESOUNDCLOUDFACEBOOKSANGMISTER MUSICSHOWCASE MUSEEXPO

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G.H. Hat: “Sukiyaki (feat. Alina Renae)” keeps the listener in house heaven! http://jamsphere.com/newreleases/g-h-hat-sukiyaki-feat-alina-renae-keeps-the-listener-in-house-heaven http://jamsphere.com/newreleases/g-h-hat-sukiyaki-feat-alina-renae-keeps-the-listener-in-house-heaven#respond Thu, 19 Apr 2018 20:04:43 +0000 http://jamsphere.com/?p=32063 Seldom does chance have it that an electronic music producer is as simultaneously celebrated by both seasoned and novice fans of the genre as G.H. Hat is. The relative newcomer boasted 290 Classical track releases prior to officially starting his EDM career with two Triphop songs which saw him rack up Soundcloud Top 50 Charting, […]

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Seldom does chance have it that an electronic music producer is as simultaneously celebrated by both seasoned and novice fans of the genre as G.H. Hat is. The relative newcomer boasted 290 Classical track releases prior to officially starting his EDM career with two Triphop songs which saw him rack up Soundcloud Top 50 Charting, and continuing with many placements on Official Spotify playlists. In 2017, G.H. Hat achieved national Billboard success with “I Got a Problem (I Wonder…) [feat. Mickey Shiloh]. And 2018 has continued to rake in more success with the producer dominating many Spotify playlists and being picked up by radio stations, cable and TV video channels in 45 countries.

This is a period during which G.H. Hat’s creative process has evolved into one of the most highly regarded sounds on the market, and with the release of his brand new 3-song EP, “Sukiyaki (feat. Alina Renae)”, it’s no exaggeration to suggest that this time in music seems to belong to him.

As if the music itself weren’t layered enough, G.H. Hat chose the most enigmatic ways imaginable to build up to the track’s sonic spectrum. The EP features the original version of the song, followed by the ‘Not so Chill Version’ and finally a stunning, and unusual Instrumental Version’, featuring a fiery electric guitar as lead instrument.

This is not the type of sound you would normally associate with EDM, but G.H. Hat once again shows his courage to break down the barriers on this track. His unwavering dedication to his sound and his utter disregard for any current genre limitations will no doubt earn him unanimous respect during the following years.

My guess is that years from now when the world looks back on this era in music, it’s likely that they won’t remember many famous more EDM artists as strongly as they’ll remember G.H. Hat.

The way he utilizes the benefits of modern production software puts his skill on par with that of a classical composer (which of course he is!). Seeing him at a career high, his fans can only hope that he’ll be able to keep the momentum moving forward and continue to put out the caliber of music that serves to define a generation.

However anyone who knows G.H. Hat.’s music, understands that the man is an overachiever. It’s this perspective where you can really appreciate “Sukiyaki (feat. Alina Renae)” for the technical and composition marvel that it is.

The song keeps the listener in house heaven until the graceful fade out into the following tune. Epic, swelling pianos and chilling, stratospheric synths developing alongside the wide, perfectly layered melody that encompass the traditional  G.H. Hat formula honestly sound cleaner and crispier than ever here. Simply put, there’s house music…and then there’s G.H. Hat.

The flawless atmospheric build into the main hook is in the masterclass level of production expertise that G.H. Hat brings, to make every single note of every sound, an emotional connection that mixes with the music to create something truly extraordinary. This is G.H. Hat at his very best, which is something that all electronic fans should experience.

The cherry on top is the melodic resonance that Alina Renae’s vocals brings to the track. The song’s featured songstress, has had numerous tracks chart on Beatport, including breaking into the Top 10 four different times in three different categories and has been in regular rotation on MTV, Fuse, Sirius XM, Vevo, and more. With several songs having over millions of views on Youtube and plays on Spotify, Alina continues to gain strong media attention from all over the world, making her a perfect match for G.H. Hat.

OFFICIAL LINKS & SOCIAL MEDIA:

Website: http://ghhat.com
Spotify: https://open.spotify.com/artist/4JVfdkh46RFrpEl45u8D9A
Soundcloud: https://soundcloud.com/ghhat
YouTube: https://www.youtube.com/c/GHHatMusic
Twitter: https://twitter.com/G_H_Hat
Facebook: https://www.facebook.com/ghhatmusic/
Instagram: https://www.instagram.com/mrghhat/
Bandpage: http://Bandpage.com/ghhat
Reverbnation: https://www.reverbnation.com/ghhat
Google: https://plus.google.com/+GHHatMusic
Pinterest: https://www.pinterest.com/mrghhat/
Tublr: https://www.tumblr.com/blog/mrghhat
N1M: https://www.numberonemusic.com/ghhat
Bandcamp: https://ghhat.bandcamp.com/
Songkick: https://www.songkick.com/artists/8942719-gh-hat
SonicBids: https://www.sonicbids.com/find-musicians/gh-hat-los-angeles-songwriter/
Itunes: https://itunes.apple.com/us/artist/g-h-hat/id1084900204
Shazam: https://shz.am/a202633555#gh-hat
Amazon: http://bit.ly/ghhatamazon

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Chris Morrissey: “Laughing and Laughing” – From absolutely gorgeous to achingly beautiful http://jamsphere.com/reviews/chris-morrissey-laughing-and-laughing-from-absolutely-gorgeous-to-achingly-beautiful http://jamsphere.com/reviews/chris-morrissey-laughing-and-laughing-from-absolutely-gorgeous-to-achingly-beautiful#respond Thu, 19 Apr 2018 11:33:26 +0000 http://jamsphere.com/?p=32057 You can’t say that New York based Chris Morrissey doesn’t have an impressive musical pedigree. He was music director and bass player for Sara Bareilles from 2013-2015 and played on the Grammy Nominated “The Blessed Unrest”. Most recently he was the music director and bass player for Trixie Whitley, touring the US and Europe and […]

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You can’t say that New York based Chris Morrissey doesn’t have an impressive musical pedigree. He was music director and bass player for Sara Bareilles from 2013-2015 and played on the Grammy Nominated “The Blessed Unrest”. Most recently he was the music director and bass player for Trixie Whitley, touring the US and Europe and playing on her live record “Sway”. Morrissey’s drummer Josh Dion, is also in Paris Monster and Esperanza Spaulding’s band, while his guitar player, Grey McMurray also plays with Beth Orton. Bass player and vocalist Chris Morrissey has recently released his labor of love, recorded in NYC at Grand Street Studios – the nine track album, “Laughing and Laughing” (2018).

Atmospheric, ethereal, sensory, umbrageous, progressive, these are all words that come to mind listening to this output of music from Chris Morrissey. When he sings, his words are more like another instrument emitting a tone of emotion rather than just a message.

Engulfing and entrancing, Chris goes from minimal instrumentation to using a whole host of instrumental layers – hence it should not be surprising that the soundscape is ultimately lush, expansive and diverse. On first listening, I was already tempted to say this is easily the best piece of work to come out this year by anyone. Period. But I’ve managed to contain myself…for now.

A sublime smorgasbord of instrumentation and voice, music can’t always be this good because we would have nothing by which to benchmark its ingenuity. Right from the opening, “The Inventor”, this album is simply breathtaking in its composition and emotive power. It is all at once ominous, precious, theatrical and densely intricate.

It traverses all the boulevards and alleys of sound, both barren and confluent. Haunting in both breadth and scope, it delivers the listener inexorably through its passageways but with a willingness that far exceeds its length. Chris Morrissey’s sonic itinerary covers all of the logistics, and you need only adjust the volume.

Morrissey really allows his band to shine through on “I Know You” in a way that’s rarely seen on solo albums. Of course, he is the center of the show, with his resonant voice and his dark lyrics. But, listening to his band mates cook on drums and guitar, is a real pleasure.  I haven’t been very impressed with much of what we call popular music in the new millennium.

Most of it sounds, overproduced, emotionally barren, broken in some fundamental way and, because of all that, rather pointless. When the needle drops on the poignant tracks “Peppermint Tea” and “White Sand”, you realize that Chris Morrissey is such an amazing remedy to that feeling.

Morrissey has a tremendously gifted ear for harmonic structure, and that gift is put to excellent use on this music. At the same time his approach to songwriting is open and abstract, as often he will take the songs on unusual excursions during their playing time.

From absolutely gorgeous and achingly beautiful harmonies and melodies, to dark and heavy sounds –  sometimes in the same songs, such as “Baby Blue” or “Guardian” –  to just plain amazing, and on and on. Chris Morrissey really puts so much care and effort into every aspect of this album and it really, really shows. From a half whispered vocal to a mighty soaring chord progression, “Laughing and Laughing” is a tour de force!

This will blow you away as it did me. Expect the unexpected, sit back, close your eyes and enjoy the ride. Chris Morrissey will be performing: Sunday, May 6th 2018 at 9pm at Rockwood Music Hall Stage 1.

OFFICIAL LINKS: WEBSITETWITTERSPOTIFY

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Odd-Arne Jacobsen og Tore-Morten Andreassen: “Yang” (A tribute to Larry Coryell and Alphonse Mouzon) http://jamsphere.com/reviews/odd-arne-jacobsen-og-tore-morten-andreassen-yang-a-tribute-to-larry-coryell-and-alphonse-mouzon http://jamsphere.com/reviews/odd-arne-jacobsen-og-tore-morten-andreassen-yang-a-tribute-to-larry-coryell-and-alphonse-mouzon#respond Sun, 15 Apr 2018 07:38:11 +0000 http://jamsphere.com/?p=32034 Odd-Arne Jacobsen is a Norwegian jazz and contemporary musician who has performed his music in countries across the globe. Jacobsen is the only Norwegian guitarist to have had a solo concert at the Carnegie Hall performing own material. In 2017 he released his critically acclaimed solo album “While I was Crossing The Bridge”. Tore-Morten Andreassen […]

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Odd-Arne Jacobsen is a Norwegian jazz and contemporary musician who has performed his music in countries across the globe. Jacobsen is the only Norwegian guitarist to have had a solo concert at the Carnegie Hall performing own material. In 2017 he released his critically acclaimed solo album “While I was Crossing The Bridge”. Tore-Morten Andreassen Figenschow is a Norwegian guitarist, composer, instrumental and theory teacher, as well as a lecturer in electric guitar at the music conservatory of the University of Tromsø. TMA also plays guitar and mellotron in the Neograss pro group band. Together these two extraordinary musicians have recorded a 5 track tribute to the legendary jazz duo Larry Coryell & Alphonse Mouzon, entitled – “Yang” (A tribute to Larry Coryell and Alphonse Mouzon).

Larry Coryell was a modern jazz visionary. If we could only reference his output from roughly 1966 through 1980, he would retain a rapturous legacy among jazz fans, not to mention an entire generation of guitarists who followed in his footsteps, inspired as much by his fearless example and bold new electric guitar tonality.

Larry’s mid-60s emergence heralded a bold, new borderless conception of modern jazz in its traditional and free form manifestations, and an all-encompassing post-modernist vision of jazz guitar, clearly rooted in both Odd-Arne Jacobsen og Tore-Morten Andreassen.

As Larry evolved a fresh perspective on the tone of the modern electric guitar, while extrapolating new hybrids of jazz, blues and rock, he always seemed to possess the kind of rhythmic propulsion and fire that inspired drummers to engage him on a cathartic level.

Hence the dynamic interplay between Larry and the fantastic drummer, the electrifying Alphonse Mouzon, whose super-charged polyrhythmic funk galvanized Larry’s playing–a creative bond which the two friends revisited periodically over the decades, culminating in a reunion band and a 2017 album release, so sadly marred by the recent passing of both the drummer and the guitarist.

It is with that legacy in mind that Odd-Arne Jacobsen og Tore-Morten Andreassen bring us their mano-a-mano and tete-a-tete six-string firestorms on “Yang” (A tribute to Larry Coryell and Alphonse Mouzon).  The players’ lines and riffs are supercharged by raw, distortion-inflected blues tones, conferring a relentless feeling of inevitability to the musical pieces, culminating in a fierce emotional catharsis.

The songs feature revered solos, and masterpieces of rhythmic engagement in which Odd-Arne Jacobsen og Tore-Morten Andreassen build bar after bar of tension over rollicking tempos, feeding each other some of the smartest chords imaginable, and in such allowing themselves to achieve an emotional resonance that will enrapture listeners.

With a lyrical approach to single-line playing and a painterly way with chord voicings, Odd-Arne Jacobsen og Tore-Morten Andreassen fearlessly fire their way through the tracks: “Robert de Visee Part 1 and 2”, “If”, “The Funky Shuffle” and the titular piece “Yang”. A collection of thought-provoking and exciting form of Jazz-Fusion that often defies categorization. A sublime energy is maintained by the backing band throughout and the payoff is supremely satisfying.

The highlight, of course, is the blitzkrieg of notes being pummeled out of Odd-Arne Jacobsen og Tore-Morten Andreassen’s guitars, intermingled with tempo changes and improvisations; but the dynamics and interaction feature not just beautifully intricate rhythmic work, but ingenious melodic and harmonic scales befitting musicians of the highest technical accomplishment. Elaborate and gritty sounding, this is a turbo-charged and awesome set of performances!

OFFICIAL LINKS: SPOTIFYYOUTUBE

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Happy Curmudgeons: “Meant 2 Be” is a wonderfully complete, meaty listen! http://jamsphere.com/reviews/happy-curmudgeons-meant-2-be-is-a-wonderfully-complete-meaty-listen http://jamsphere.com/reviews/happy-curmudgeons-meant-2-be-is-a-wonderfully-complete-meaty-listen#respond Sun, 15 Apr 2018 06:17:20 +0000 http://jamsphere.com/?p=32030 From the artwork to its threadbare closing track, “Meant 2 Be” is a wonderfully complete, meaty listen. It is also absolutely brimming with killer hooks and guitar riffs. Amid the raft of diverse rock and blues driven material here, are spirited acoustic dominated alt-folk standouts like, ‘3rd Coast’, ‘You Gotta Move On’, ‘Seasons’ and ‘Scatter […]

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From the artwork to its threadbare closing track, “Meant 2 Be” is a wonderfully complete, meaty listen. It is also absolutely brimming with killer hooks and guitar riffs. Amid the raft of diverse rock and blues driven material here, are spirited acoustic dominated alt-folk standouts like, ‘3rd Coast’, ‘You Gotta Move On’, ‘Seasons’ and ‘Scatter Brain’, all of which go a long way towards illustrating what an accomplished songwriter Dave Hamilton can be. Replete with melodies and choruses to die for, they all hang together on a backdrop of both life’s joyful and troubled trivialities, and its circumstantiality, which permeates the album. Dave is of course part of the bigger picture, which is his project, Happy Curmudgeons – a group of studio musicians organized by himself. Hamilton wrote or co-wrote all 11 tracks on this, their first release.

The album itself remains a fascinating listen. In short, these songs are everything that most bands this eclectic and wide-ranging are aiming for – and missing. As a young kid, The Beatles introduced me to the beauty and endless creative possibilities of popular music, and that ‘genre’ was only dirty five letter word.

The Happy Curmudgeons only enforce my initial vision, as they dive into a number of styles and moods with equal dexterity and nonchalance. Done by any other kind of band, “Meant 2 Be” would sound like disjointed, incoherent and aimless collection of songs.

Instead Dave Hamilton and his crew of players and singers turn out a colorful patchwork of retro-tinged sounds that enchant and ignite the soul. From the singalong happiness of “Bar Hoppin’” to the blues-rock groove of “Soulsville”, and then onto sweetly harmonized folk fairyland of the title track “Meant 2 Be” and “3rd Coast”, before swooping into the overdriven, psychedelic guitar-crunch of “Carnal Boogie”.

The Happy Curmudgeons then roll out the classic rock harmonies and riding on the highway rhythms on “Burn Sugar Burn”, before once more slipping into the softer and melodic “Idle Time”.

“You Gotta Move On” proves that the Happy Curmudgeons still have some songwriting gas left in the tank, this far down the album, while “Butterfly” certifies that their overdriven guitar rock motifs haven’t floundered after 9 tracks. But at the end of the day great music is all about melody and emotion, and on “Seasons” and “Scatter Brain”, Happy Curmudgeons and Dave Hamilton offer an abundance of both.

To be fair though, every song on this album as important and irreplaceable as the last one, and with time, you will sing to each and every one of them with all the joy of your heart. Don’t let the fact that they’re a new band on their first album, fool you, this sounds nothing like the current music. And that statement should say a whole lot!

The album “Meant 2 Be” was produced by Nate Harasim and Mark Byerly. The Happy Curmudgeons are: Dave Hamilton (Vocals, Acoustic & Electric Guitars) Jeff Warner (Vocals, Acoustic & Electric Guitars and Mandolin) Amy Dixon-Lavery (Vocals) Jay “Tumbleweed” Burrs (Harmonica).

Also appearing on Meant 2 Be: Takashi Iio (Bass), Keith Leonard (Bass), Shawn Ramsey (Bass), Dylan Hornsby (Bass), Rick Beamon (Drums) Nate Harasim (Keyboards and Piano – courtesy of Yamaha), Jeff Taboloff (Sax) and Marlow Ray Morgan (Vocals on Burn Sugar Burn).

OFFICIAL LINKS: FACEBOOKBANDCAMPSPOTIFY

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Orhan Demir Trio: “Originals” – outstanding playing skills! http://jamsphere.com/reviews/orhan-demir-trio-originals-outstanding-playing-skills http://jamsphere.com/reviews/orhan-demir-trio-originals-outstanding-playing-skills#respond Sat, 14 Apr 2018 18:16:35 +0000 http://jamsphere.com/?p=32026 Orhan Demir is a Canadian jazz guitarist who has released several albums. His first release in 1986 “The way I see you”, followed by the second in 1987 “North West”, and the third in 1988 “Windmill”. In 1989 Demir dropped the solo acoustic album “Sultan of Strings”, followed by “Hot Cargo” in 1991, “Originals” in […]

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Orhan Demir is a Canadian jazz guitarist who has released several albums. His first release in 1986 “The way I see you”, followed by the second in 1987 “North West”, and the third in 1988 “Windmill”. In 1989 Demir dropped the solo acoustic album “Sultan of Strings”, followed by “Hot Cargo” in 1991, “Originals” in 1997 and “Guitar Plus” in 1999. All of his albums have received great reviews from Jazz Times, Down Beat, Guitar World, Cadence, Options, Coda, and others. The Orhan Demir Trio is currently a featured music group on the Push Power Promo music network, and is promoting his album “Originals”, which features a collection of acoustic and electric-guitar driven tracks, recorded during different time periods in his career. Born in Turkey, this Canadian guitarist leads his valiant trio through a set of 14 originals which feature blazing jazz guitar motifs.

Orhan Demir treats his guitar like a blank canvas, with no limit to what he can create. While maintaining a technical prowess in the traditional sense, he isn’t afraid to experiment with the sounds the guitar is able to create. The musicianship on this album is all round superb.

The trio seem comfortable with each other, and all three add their own unique styling to the fray. It’s a jazz album that remains approachable to many a listener. Fans of a blend between early John McLaughlin and Wes Montgomery styles would find an interest in this album, though this tends to stay in more accessible time signatures.

One of the things that always bugged me in most jazz music, is while improvisation is embedded in jazz, solos often wonder so far astray from the main theme it can sometimes be hard to recognize it as a song.

Thankfully a lot of jazz has evolved into music that is more focused between the interplay of the entire band rather than just the individual prowess of the musicians, and “Originals” is an excellent example of this. It obviously, predominantly showcases Demir’s outstanding playing skills, but never abandons the importance the song or the other players.

Right from the opening track, “As Time Goes On”, Orhan Demir’s soloing on this record overall is truly superb. On the first track Demir also allows a lot of room for the bass of Neil Swainson and the drums of Barry Elmes to interact, while still showcasing extremely busy guitar playing.

Both Demir and bassist Swainson are nothing less than fantastic on “The Way I See You” and “In Favor”, as they cross swords here. In fact all throughout the album, underpinning, embellishing and occasionally driving the thoughtful yet always powerful playing of Orhan Demir is a subtle, most musically-inclined rhythm section.

They pull off small miracles of delicacy and touch throughout, as they stay in contact with where the genius playing of Demir, moves from bar to bar. Demir is a busy yet thoughtful player, his solos impeccably tasteful but surprisingly robust. On “Satellite service” he is in overdrive mode with fast and furious solos, and continues impeccably on other standouts like, “Unicorn”, “Sultans Of Strings”, “Painting on Silk” and “Windmill”, where he is at times stunning.

Orhan Demir should touch music aficionados from all generations. His guitar portrays a subtle exuberance that most musicians envy. Inspired, artistic, and soulful, Demir is timeless. His music exudes class, elegance and assurance – a flawless recording from a master of the jazz guitar craft, at the top of his game.

OFFICIAL LINKS: MUSICPUSH POWER PROMO

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Michael Kang: “Hello Winter, Goodbye Winter” bestows a transcendental listening experience http://jamsphere.com/newreleases/michael-kang-hello-winter-goodbye-winter-bestows-a-transcendental-listening-experience http://jamsphere.com/newreleases/michael-kang-hello-winter-goodbye-winter-bestows-a-transcendental-listening-experience#respond Fri, 13 Apr 2018 19:19:48 +0000 http://jamsphere.com/?p=32022 Michael Kang is a recording artist and composer from the landscapes of Seoul in South Korea. Fresh on his musical journey, the Progressive Pop performer started out in 2018 by dropping his debut EP “Hello Winter, Goodbye Winter”. Melodically powerful, this recording is a good and quick play through with just 3 tracks. Just put […]

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Michael Kang is a recording artist and composer from the landscapes of Seoul in South Korea. Fresh on his musical journey, the Progressive Pop performer started out in 2018 by dropping his debut EP “Hello Winter, Goodbye Winter”. Melodically powerful, this recording is a good and quick play through with just 3 tracks. Just put it on and listen. Kang is a promising artist. He has a wonderful ear for melody and composition, as well as creativity and capacity. The opening track, “A Winter Ballad”, is evocative, and that is something you do not often see in pop music these days. It’s such a great, comforting, mellow and thoroughly lovable listen. Showcasing shimmering keys and harmonic voicings the music dances gently to the steady beat of the snare drum.

Some recordings just feel so good, so cool, you can’t help but feel good while listening to them, and this is one of those. Michael Kang is such an unpretentiousness artist that his purity of soul and intention shines through the compositions on “Hello Winter, Goodbye Winter”, especially on the opening song, which for me is the EP’s centerpiece.

“A Kind of Dance Song” is driven by a dominating piano motif and thick bassline, while version 2 of the song, which makes up the third track, adds more sonics and effects to the bouncy formula.

This is the kind of music that’s hard to put into words because it makes you feel in abstractions. Instrumental music vibes that command your entire presence and attention. With these meticulously curated concise pieces, Kang bestows a transcendental listening experience that sifts through astral planes from start to finish.

The foreground of Michael Kang’s songs contrast a dominating mellowness behind a subtly rising storm of ascending energy. There is no rush. No invasive dissonance. Just the savory melody that is made by keyboards casting delight into your ears.

Which is of course unusual for a composer and performer who has a predilection for the guitar. The instrument is nowhere to found on “Hello Winter, Goodbye Winter”, but Kang has promised that his future releases will definitely showcase this noble instrument.

Michael Kang’s music on this EP, creates a relaxed environment. Spacious, airy arrangements for intimate admiration. As usual with instrumental music one cannot put words to the Michael Kang experience because it is largely indescribable. The only way to truly understand it is to experience it.

Michael Kang is a work of serious merit from a newcomer both comfortable within his self-defined musical boundaries and eager to push against them in all possible directions as he moves forward. His ear for that intangible sonic space between steady chill and forward pop progression is also perceivable in his work.

Chalked up to a simple but deftly crafted, purposeful ambiance – “Hello Winter, Goodbye Winter” is a tranquil tapestry that serves as a 3-track starter pack, into the musical world of Michael Kang.

OFFICIAL LINKS: WEBSITEBANDCAMP

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Rayne Michael: “Lil’ Boy” Remix Ft. Mizanari – a pedestal of technical production, songwriting and soulful expression http://jamsphere.com/reviews/rayne-michael-lil-boy-remix-ft-mizanari-a-pedestal-of-technical-production-songwriting-and-soulful-expression http://jamsphere.com/reviews/rayne-michael-lil-boy-remix-ft-mizanari-a-pedestal-of-technical-production-songwriting-and-soulful-expression#respond Thu, 12 Apr 2018 21:52:28 +0000 http://jamsphere.com/?p=32005 Rayne Michael, has crafted some sort of exacting equation to creating catchy songs through a melding of choruses, melodies and heartfelt. Typically, if an artist sets out to create an album that consists almost entirely of songs that can live as singles in multiple genres…things don’t go so well. But, by some equation, with Rayne’s […]

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Rayne Michael, has crafted some sort of exacting equation to creating catchy songs through a melding of choruses, melodies and heartfelt. Typically, if an artist sets out to create an album that consists almost entirely of songs that can live as singles in multiple genres…things don’t go so well. But, by some equation, with Rayne’s album, “Dare To Dream”, he took a shot at putting his project in the aforementioned situation and struck gold, literally. It is the moments of touching reality on the album that truly showed all that Rayne Michael is capable of as a musician.

He isn’t the kind of artist that relies on the main hook in the chorus to carry the weight of the track, no Rayne seems to inject countless melodic elements into his songs. Not to say that the choruses are weak, because they could easily stand on their own, but his multi-dynamic approach to his music makes for a profound and exciting listen.

Rayne’s beats provide the ideal amount of space for him to play with different melodic patterns and vocal ranges. One song can contain multiple instances where the flow and cadence are greatly altered, yet the beat remains the same, providing for one hell of an entertaining listen. All that and more can be found on his latest single, “Lil’ Boy” Remix Ft. Mizanari, which is a reworked track from the album, “Dare To Dream”.

“To say the song was written during the darkest period of my life would be a bit of an understatement,” explains Rayne. “In 2008, in a pit of depression and loneliness, shortly after I wrote this song, I attempted to commit suicide. I think it’s important to tell people that, because I look back on where I was 10 years ago, versus now, and am so grateful to be thriving and living life.”

Rayne met Mizanari via a music sharing website, the respect was reciprocal and the two got to work on the single engineered by Mottini Wilson, where Mizinari wrote and rapped a verse, giving the track an extra edginess. The production on “Lil’ Boy” Remix Ft. Mizanari is very impressive, the beat on this thing is atmospheric and layered subtly.

Rayne Michael performs the song around pretty simple keyboard progression, but it’s the layering that gives the song an intense sound out of sparse instrumentation. The beat never overwhelms the main focus: Rayne’s vocals, they merely provide the atmosphere and the rhythm and they do it very well. The transitions from verse to chorus on this record are on another level and would make any producer envious.

The high quality production, the seamless transitions, and Rayne Michael’s ability to litter the track with countless vocal hooks, melodies and counter-melodies make for a highly engaging listen. It is a defining moment for the integration of rap, R&B and pop – a pedestal of technical production, songwriting and soulful expression.

MUSIC STREAMS: ITUNES – AMAZON – GOOGLE – SPOTIFY

CHECKOUT THE OFFICIAL RAYNE MICHAEL WEBSITE – http://raynemichael.com

LIKE ON FACEBOOK – http://facebook.com/raynemichaelmusic
http://facebook.com/themizanarikae

FOLLOW ON INSTAGRAM – http://instagram.com/therealraynemichael
http://instagram.com/the_mizanari_kae

FOLLOW ON TWITTER – http://twitter.com/raynemichael
http://twitter.com/mizanari_kae

FOLLOW ON SOUNDCLOUD – http://soundcloud.com/raynemichaelmusic
http://soundcloud.com/mizanari_kae

 

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Legendary Zeroes: “The Clubotomy” – precision engineered for club and radio play http://jamsphere.com/reviews/legendary-zeroes-the-clubotomy-precision-engineered-for-club-and-radio-play http://jamsphere.com/reviews/legendary-zeroes-the-clubotomy-precision-engineered-for-club-and-radio-play#respond Mon, 09 Apr 2018 16:35:21 +0000 http://jamsphere.com/?p=31976 Underground’s reigning peddlers of electro-hiphop, out of Nashville TN, Legendary Zeroes, are actually starting to sound stylishly avant-garde on their brand new EP “The Clubotomy”. Project leader Ellen Tift, together with Carter Harrell, and Marty Lamain, mix up dance and urban beats, slick harmonies, wonky synth hooks, soaring melodies, and funky bass into one of […]

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Underground’s reigning peddlers of electro-hiphop, out of Nashville TN, Legendary Zeroes, are actually starting to sound stylishly avant-garde on their brand new EP “The Clubotomy”. Project leader Ellen Tift, together with Carter Harrell, and Marty Lamain, mix up dance and urban beats, slick harmonies, wonky synth hooks, soaring melodies, and funky bass into one of the year’s wildest sonic stews. Cloying anthems persist, as heady fun pop and fist-pumping sonic monsters give us a glimpse of what the Top 40 could sound like in the not-too-distant future. Every single one of these 6 tracks is precision engineered for club and radio play, and vessels for the sake of having a real good time – preferably on the dance floor. The beats are tight, the mood is right, and you’ll shake your ass well into the night with this collection of songs. Best of all, you’ll still be able to respect yourself in the morning. Unlike many other dance tunes you have spent the night with!

This EP is totally fun, reminding me of the outrageously wild and playful music of the B-52s from the 1980s, the last generation of talented music makers who pushed the music scene with fun and humor. “The Clubotomy” further intensifies Legendary Zeroes’ passion for making music together, for connecting with their audience throughout the most fundamental ways: making people have a good time. I just have to say that Ellen Tift is one of the most solidifying elements of this project.

She has an unusually amazing voice, because of her stratospheric timbre but at no time does she attempt to overpower the group, nor does she try and steal the show. She is but a lead instrument, well played and placed within the sound spectrum. I am highly impressed by how all the elements gel together here.

From the addictive, radio-friendly opener of “Make It Rain” [ft. Kayla Fisher, David Davis], to the funky tongue-in-cheek “Instafamous”, this EP is both inventive, and hard-hitting, and downright infectious.

Though I have previously heard Legendary Zeroes, this recording surprised me on a number of levels and in so many ways. The songs, so well crafted, intense, and fun, each seem like a brilliantly conducted experiment in incorporating dozens of styles and sounds into one, jammed-packed EP.

The luscious and rhythmically attractive “Cha-Ching” [ft. DJ Hustle, Katy Carmichael], switches between tongue twisting raps and richly melodic choruses. While a song like “Too Busy Winning” [ft. J.Bone] cannot be categorized. It cannot be classified. But it can be listened to by just about anyone.

“Summer Sensation” [ft. Kayla Fisher] is a foot-tapping, finger-snapping, beyond amazing, magical musical adventure that will make you feel all gooey and warm inside. Legendary Zeroes are phenomenal entertainers, with real rapping and singing abilities to go along with their great songwriting and production qualities.

Much of which they show off on the show stopping closer, “Can’t Stop Us” [ft. Kelsie Watts, J.Bone]. With this EP Legendary Zeroes prove that Hip-hop is not just confined to the streets, nor is dance music imprisoned inside the clubs – there is a middle ground where you can make wild, beautiful music, meant to uplift every square inch of the soul, without any references to drugs, drinking or sex!

OFFICIAL LINKS: FABULATION RECORDSFACEBOOKTWITTERSPOTIFY

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Beedabee: “Cupid’s Broken Arrow” – real and gripping to hear vocally! http://jamsphere.com/newreleases/beedabee-cupids-broken-arrow-real-and-gripping-to-hear-vocally http://jamsphere.com/newreleases/beedabee-cupids-broken-arrow-real-and-gripping-to-hear-vocally#respond Sun, 08 Apr 2018 19:29:40 +0000 http://jamsphere.com/?p=31964 Wow! Where do I even begin? I’ve listened to a lot of singers in my lifetime, and few have captured my attention on first listen like Beedabee. He has truly consumed my attention with his debut EP “Cupid’s Broken Arrow”.  Beedabee is a pop/R&B artist and actor from Akron, OH. From a young age, he […]

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Wow! Where do I even begin? I’ve listened to a lot of singers in my lifetime, and few have captured my attention on first listen like Beedabee. He has truly consumed my attention with his debut EP “Cupid’s Broken Arrow”.  Beedabee is a pop/R&B artist and actor from Akron, OH. From a young age, he has been able to combine his love for music and his love of performing by starring in school musicals and singing with his family. Unlocking the vault on the new album, you’re instantly immersed inside an atmosphere that breaks with romantic vibes and expressed outtakes of sensual partnership. Intensity flourishes on and off in the glowing, futuristic compositions, creating this vibrance where the bond between both artist and music feels natural and real, not forced. In its most sensual form, the tracks brim with late night calm, and sparkling keyboard lines that move to the creamy, emotive vocals that are installed from Beedabee – it truly fixates how tight and close the music and the voice become across the 8 tracks.

That flowing chemistry on every track is so real and gripping to hear vocally. Apart from “Lifeline” produced by De’La and “Unrequited Love” produced by akronyx, the remaining six tracks are produced by Loudestro, all of who do an amazing job of creating soundscapes that are atmospherically captivating.

While at the same time being spacious enough to leave center stage to the stunning and emotionally beguiling vocal escapades of Beedabee. The mural plastered upon Beedabee’s canvas is a grandiose, elegant kaleidoscope focused into lust, pleasure, and the search for deep love. The beaming hues encased in its vibrancy makes for a graceful and profound piece of work.

What’s beautiful about an album like “Cupid’s Broken Arrow” is that there’s not much distance between the artist and the listener. Beedabee has opted to lay his cards on the table whether he’s accepted for that or not, offering intricate details and sharp vignettes regarding his life, personality and desires.

And oftentimes he advises listeners to do the same, if they’re to find true happiness. On “Talk” he lays down the gauntlet “You always end up jumping to conclusions. So wrapped up in your fucked up delusions,” and then advises “Stop tip-toeing around it. All we got to do is talk about it. That’s the only way we’re gonna resolve it.”

“Lifeline” is exactly what the title alludes to, and what Beedabee is searching for, to turn his life around in a moment of emotional difficulty.  But for all the talk of honesty and evident passion, it’s not like this EP can only be appreciated on a surface level, especially from the standpoint of the compositions.

The curtain between the artist and his art may only be a thin veil here, as the twists and turns provided by the lyrics show that the record’s exterior is only a single flame of the huge fire burning beneath its grooves. So as soon as “Wanted” kicks in, you know that when Beedabee drops the line: “I wanna feel wanted…” he means every single word.

“Unrequited Love” combines euphoric balladry with lyrics and vocals that present emotional conflict and aching. His voice, while displaying the widest range, is so warm and inviting that you feel like you’re in the same room as Beedabee as he sings.

All throughout, he never loses his ability to sell his tunes on pure emotion and investment. Just listen to his effortless crooning on “Chase”, a song which establishes him as someone who can transcend the boundaries of genre, on his voice alone. The EP closes down on “Outro”, a spoken word life lesson from Beedabee, and a personal “Thank You”, from the artist himself.

“Cupid’s Broken Arrow” feels like a celebration of love and heartbreak itself, not shying away from the dark twists and painful revelations while being sure to place some focus on the euphoric moments of passion. I urge you to take part in this fine-tuned, beautifully-crafted piece of music and its stunning emotional dynamics, which will keep you listening until the final bar. Beedabee, has a talent that’s undeniable!

OFFICIAL LINKS: INSTAGRAMTWITTERMUSIC STREAMS

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J-Hamz ft. Jesse Peters: “Keep On Lovin’ Remixes” – something fresh, exciting and new http://jamsphere.com/reviews/j-hamz-ft-jesse-peters-keep-on-lovin-remixes-something-fresh-exciting-and-new http://jamsphere.com/reviews/j-hamz-ft-jesse-peters-keep-on-lovin-remixes-something-fresh-exciting-and-new#respond Sat, 07 Apr 2018 22:15:02 +0000 http://jamsphere.com/?p=31955 Classically trained pianist, medical doctor and electronic music producer, J-Hamz brings us his 7th release which showcases the winners of his third remix contest with Digital Empire Records, for his original track, “Keep On Lovin’”, featuring lyrics and vocals by Jesse Peters. This release, which follows the success of his recent “I Stack Up Remixes” […]

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Classically trained pianist, medical doctor and electronic music producer, J-Hamz brings us his 7th release which showcases the winners of his third remix contest with Digital Empire Records, for his original track, “Keep On Lovin’”, featuring lyrics and vocals by Jesse Peters. This release, which follows the success of his recent “I Stack Up Remixes” EP, is a truly international collaborative effort, featuring remixes by producers in Canada, the United States, Germany, Japan, and Russia. The EP has also been selected as a Beatport Staff Pick in the Electro House genre. Some songs are perfect just the way they are, but that doesn’t stop other producers from adding their own twist to the mix. And when producers are invited to enter a remix contest things can really heat up creatively speaking.

On the other hand if you’re a listener who needs to focus, get pumped up, or wind down, with your favorite song, the right remix playlist at the right time has the ability to transform your song, and day, from dull to dope. In addition, quality songs like “Keep On Lovin’” also have the power to help you connect with the moment, and give you all the feels. So if you’re looking for the perfect remixes to carry you from the morning commute to happy hour, check out this awesome 5 track remix playlist of the J-Hamz song.

A wonderful aspect of EDM culture is that the internet has played a major role in the popularity, discovery, and global recognition of new artists and producers. A prime example of which is one of my favorite new EDM artists, J-Hamz, who has seen his star rising during the last couple of years.

Whether he is on collaborative efforts with the likes of Jaculator or running his remix contests, J-Hamz stays innovative and authentic. He fully represents the new way by which producers are making steady headway in the underground industry, not through a record company or marketing team, but through the internet and continuously staying busy and relevant.

There’s no question about it: Remixes have launched electronic music to unprecedented levels of popularity on a global level, with their ability to penetrate diverse genres and subgenres. The key of course is having remixes that seriously count for something.

And here the winners of the “Keep On Lovin’” contest, infuse the original track with diverse flavors and aesthetics which give each cut its own life. First place winner Frowny-Biscuit brings a solid, warm sound that radiates purity while maintaining a straightforward melody.

Chackk’s remix counterpoints its opening bars with a vigorous beat incorporating a mean synth line and a cutting edge drop with a profoundly imaginative twist on the vocals. The route from Jesse’s soulful vocals to Korxi’s acoustic guitar driven remix is infested with busy percussion as well as crackling keys and growling basses.

Yackto’s remix balances on a bouncy bass, shimmering keys and delightful chipmunk harmonies. Re_flected sets the pace, by detonating the sonic bomb and the getting party moving with some truly gut-busting synth and bass elements.

It’s always exciting to hear music at the point of transition when a track transforms itself into something fresh, exciting and new. The original J-Hamz version of “Keep On Lovin’” ft. Jesse Peters forged a bounding momentum that is molded inwards, with all of the music’s energy piling into a focused core of energy that pulses elemental at the track’s musical center and its vocal melody. This 5 track remix set now unfolds the music’s energy outwards towards diverse sounding edges, each possessed of evocative charges and electronic crackles to rival that of the original.

OFFICIAL J-HAMZ LINKS: WEBSITESOUNDCLOUDFACEBOOKINSTAGRAMTWITTERYOUTUBE

PREVIEW/BUY/STREAM www.j-hamz.lnk.to/KOLrmx

Apple Music www.bit.ly/appleKOLrmx

iTunes www.bit.ly/itunesKOLrmx

Spotify www.bit.ly/spotifyKOLrmx

Soundcloud www.bit.ly/soundcKOLrmx

Beatport www.bit.ly/beatportKOLrmx

YouTube www.bit.ly/youtubeKOLrmx

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Eye’z: “…Still a Rainbow”conveys a sense of confidence http://jamsphere.com/reviews/eyez-still-a-rainbowconveys-a-sense-of-confidence http://jamsphere.com/reviews/eyez-still-a-rainbowconveys-a-sense-of-confidence#respond Thu, 05 Apr 2018 20:32:14 +0000 http://jamsphere.com/?p=31949 Pop singer, pianist and actress, Eye’z began her musical journey at the tender age of 4. Motivated to attain success, she refined her skills by studying music, piano and acting at fine art schools across the San Francisco bay area. She went on to release a number of tracks including, “Go for it” and “Levitating” […]

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Pop singer, pianist and actress, Eye’z began her musical journey at the tender age of 4. Motivated to attain success, she refined her skills by studying music, piano and acting at fine art schools across the San Francisco bay area. She went on to release a number of tracks including, “Go for it” and “Levitating” (remix) which was featured on Bogo Boy Records compilation and “Dedicated” on Vol. XI. Her diverse artistry of staying true to her roots and embracing the modernity of music landed her a record deal with Bentley Records. Her latest single “…Still a Rainbow”, contains all the elements that made Eye’z’s previous offerings such pleasant surprises: Grounded yet intelligent lyrics, an innate musical sensibility as comfortable with torchy sounds as with blazing R&B and Pop anthems, and honest-to-God vocal chops.

She’s more than adept at the soul singer’s stock-in-trade, the romantic ballad, but she can also deliver a rousing up-tempo throw-down with plenty of bump-ability. She always seems to grow as an artist, and her music, while always changing and improving, has a consistent core that makes it identifiable as hers.

Eye’z is a diverse and well versed artist whose music is richly textured with a soulful sensibility. “…Still a Rainbow” is the embodiment of her silky smooth vibe; a thought-provoking testament to her songwriting abilities and as a commercial package it forges a certain positive transgression into the realm of something new in pop.

The track rides her trademark pianos motifs which dash and dive between jangling guitar lines and some funky percussion. From the way that Eye’z delivers the lyrics to the way the synth and beat overlay with the snappy snare and hi-hat on the chorus, there is something just a little glitzy and ShowTime sounding about this track.

The way that Eye’z coolly executes her vocals is great match for the energetic but subtle melody, and the rich backup harmonies. Her voice is powerful but unforced, as she rings out strong against the beat-work.  It conveys a sense of confidence in the story-line she’s laying out for the listener as well, making you really tune in to what she is saying.

The writing conveys a status of maturity but with the youthful exuberance of someone who knows what the road ahead contains and is ready to face it all with ferocity and grace. There is enough variety of sound to keep you invested and listening as Eye’z’s soulful voice shines through alongside the production. The perfect mix of her signature piano-driven style as well a touch of modern pop panache and poise, “…Still a Rainbow” represents another step ahead for the songstress.

OFFICIAL LINKS:  WEBSITEREVERBNATIONTWITTERYOUTUBEINSTAGRAM

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Charlie Terenzio: “Propaganda Smoothie” is full of potent moments http://jamsphere.com/newreleases/charlie-terenzio-propaganda-smoothie-is-full-of-potent-moments http://jamsphere.com/newreleases/charlie-terenzio-propaganda-smoothie-is-full-of-potent-moments#respond Thu, 05 Apr 2018 11:20:55 +0000 http://jamsphere.com/?p=31933 There’s a fair point to be made about instrumental artists that wear out their welcome after spending bars and bars of musical time building into what amounts to an epic wheeze. Artists who do it successfully tend to deliver artistic compositions rather than songs, forcing listeners to gaze down the barrel of redundancy for the […]

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There’s a fair point to be made about instrumental artists that wear out their welcome after spending bars and bars of musical time building into what amounts to an epic wheeze. Artists who do it successfully tend to deliver artistic compositions rather than songs, forcing listeners to gaze down the barrel of redundancy for the better part of the time listening. Artists who choose to engage their listeners directly sans vocalist should, by virtue of that choice, be that much more cognizant of just where the hell the music is going and how they plan on taking it there. On his latest release, Metro-Boston area composer and instrumentalist, Charlie Terenzio manages what many often think is impossible for an instrumental project: to be all things to all people and successfully communicate a veritable slew of emotions and moods without a shred of vocal or lyric, and doing it in the shortest time possible.

Charlie Terenzio

The flow from bar to bar is part of what makes the single “Propaganda Smoothie” such an immersive listen, a perfectly executed creation of Charlie’s crushing and sensory-overwhelming performances, completed in under three minutes.

Yes, that may sound impossible for an epic rock instrumental, but it is exactly what Charlie Terenzio achieves on this single. The track is full of potent moments, showcasing the power of Charlie’s production, from his home studio, using Apple Pro Logic to grow the sound and reminding us exactly why he is perfectly competent at what he does.

You get the driven grooves, absorbing the punishing crush of the bottom end. You get the spiraling crunch of the guitar riffs, but also the reflecting sounds of the more introverted elements found in the keyboards. Terenzio is all about the balance found in his music, and which he has demonstrated that time and time again in the past.

As with any instrumental music, the appeal lies in the sheer strength of the songwriting. Charlie Terenzio never tries to be more than he is, but what he is, is truly triumphant on “Propaganda Smoothie”. Everything is perfectly calibrated, set up as such that we can see every moving part and fall in love with the music instantly because of its straightforwardness.

The avoiding of over-complexity in his instrumental music, is rather indicative of the greatness of Terenzio’s compositions. The fact that the song stays under the 3-minute mark, makes sure it feels more powerful, punchier, and more dynamic than many of those overdrawn rock symphonies that are dealt out by his peers.

There seems to also be a sense of purpose infused into the melody of this track, and probably explains why the song carries such a determined sense of identity and pace. It starts, it says what it wants to say, and it finishes, – leaving little time for error or pretentiousness.

Charlie Terenzio has created his best work yet, and he seems more focused and driven than ever before. “Propaganda Smoothie” definitively sounds like a Charlie Terenzio track, but every piece of the puzzle that makes up his sound has been strengthened here.

OFFICIAL LINKS: SOUNDCLOUD

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Andy Gruhin: “Vibes” draws out the harmonic potential of his music http://jamsphere.com/reviews/andy-gruhin-vibes-draws-out-the-harmonic-potential-of-his-music http://jamsphere.com/reviews/andy-gruhin-vibes-draws-out-the-harmonic-potential-of-his-music#respond Mon, 02 Apr 2018 14:51:13 +0000 http://jamsphere.com/?p=31922 Washington D.C.’s Andy Gruhin first gained national exposure as a pop-punk singer songwriter in 2013 with his debut solo EP “Cobwebs” which was co-produced by Taylor Larson and Spencer Sotelo. He attracted top tier accompaniment in the form of Travis Orbin, Elliot Coleman of “Good Tiger”, and AJ Perdomo of “The Dangerous Summer.” Andy went […]

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Washington D.C.’s Andy Gruhin first gained national exposure as a pop-punk singer songwriter in 2013 with his debut solo EP “Cobwebs” which was co-produced by Taylor Larson and Spencer Sotelo. He attracted top tier accompaniment in the form of Travis Orbin, Elliot Coleman of “Good Tiger”, and AJ Perdomo of “The Dangerous Summer.” Andy went on to create a project named Fight Night which later led to further collaborations, but eventually he returned to his solo work and songwriting.

Andy Gruhin

Andy Gruhin

His most recent album release being “Painting With Scissors” which was inspired by the Henri Matisse cutout, “Icarus”. This work of art belonged to Matisse’s bedridden invalid period. He started doing paper cutouts which he promptly called ‘painting with scissors’. Andy Gruhin’s alt-punk sound is littered with electro and pop elements which meld into a melodic, and acoustic- guitar driven set of tunes.

Andy Gruhin uses an incredible amount of description in his songs, so much so sometimes that you think you are listening to an amazing piece of poetry instead of just a song. Andy is the real deal; he is genuine, a very talented songwriter and lyricist and he captures the passion he has in life in every single song he writes.

Emotional, lyrical music, is how Andy showcases himself as a storyteller, with his commanding voice searing over his acoustic guitar and his accompanying band. An astounding blend of topics all covered with excellent care for the craft, appears on the album. Andy has a good voice, but what’s most notable about it is its raw emotion, which fits his bluntly honest lyrics.

The single “Vibes”, taken from the album “Painting With Scissors” clearly showcases Andy Gruhin capabilities as a musician, singer and songwriter. The recording is recommended listening for anyone new to his music, it really draws out the harmonic potential of his music, and the slower tempo allows his singing to be more expressive.

“Painting With Scissors” album artwork

The passion and fervor which so many people will love about Andy really come out in this track. What’s amazing about Andy Gruhin is his ability to write songs like “Vibes”.  He doesn’t worry about whether he should be writing a hit song or not, he just takes a real slice of life and writes from the heart.

His writing is direct, it’s meaningful and it’s wonderful: “We don’t have no time for fake friends. We don’t have no time at all. Because we got no worries, we’re just trying to get high. No need to judge us, just a couple of kids who’ve been trying to get by. We’re one and the same…”

“Vibes” lyrically captures the punk rock ethos of Andy Gruhin, whilst musically portraying the diversity and authenticity of his sound. His unique approach blends wit and emotion.

His voice is expressive, soaring sweetly towards the rafters for song highs and occasionally dropping to a confessional whisper for the heartfelt lines. Every new harmony, paired-back arrangement, and unexpected chord change is a testament to Andy’s talent, growth and dedication to moving forward.

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTER

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RaR: “Worried About You” ft. J.Burney – artistic wares and personal chemistry http://jamsphere.com/newreleases/rar-worried-about-you-ft-j-burney-artistic-wares-and-personal-chemistry http://jamsphere.com/newreleases/rar-worried-about-you-ft-j-burney-artistic-wares-and-personal-chemistry#respond Fri, 30 Mar 2018 19:18:14 +0000 http://jamsphere.com/?p=31900 In 2017, two close friends Rich and Raymo chose to bring their talents together and form the EDM group RaR. Rich from Sydney, Australia, has been packing dance floors everywhere, From Splendour In The Grass to Greenwood in London, while Raymo has been about as far from music as a person can be, until recently, […]

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In 2017, two close friends Rich and Raymo chose to bring their talents together and form the EDM group RaR. Rich from Sydney, Australia, has been packing dance floors everywhere, From Splendour In The Grass to Greenwood in London, while Raymo has been about as far from music as a person can be, until recently, when he decided it was time to make his passion for music into a full-time pursuit. The two put their artistic wares and personal chemistry together to create their debut, entitled “Darkness”. Recently RaR dropped their latest offering “Worried About You” ft. J.Burney, certifying they would receive the deserved industry attention.

Emotional and deep, this song will give you chills if not strike a chord in your heart. I’d be lying if this song did not invoke some feeling when I heard it. It has a strong meaning, an intense beat that goes from chill to mid-tempo and back in a second and a beautiful voice to seal it all together. It feels so spiritual and somehow out of this world.

The music is full of maturity, it is rich, powerful, smart, catchy, explorative, intense, and very direct in targeting a particular feel. “Worried About You” ft. J.Burney, as a whole, has a melancholy yet positive feel to it. RaR uses nuanced instruments and effects, and haunting vocals to make a flowing, beautiful, complex, and encompassing work of EDM art.

Emotional, deep, beautiful – this definitely isn’t your run-of-the-mill top 40 dance track, but that’s why it’s so very worth your time. RaR prove their prowess at making you feel real feelings and hold your attention for the duration of the song.

With keen ears for detail, it’s no surprise that RaR is currently out-performing most of their peers in a side-by-side comparison of the depth and breadth of melody construction and track composition. “Worried About You” ft. J.Burney, this is one of those songs that you shouldn’t listen to until you have time to click on and listen completely uninterrupted right until the end.

It will immerse you in an all embracing emotional status that you won’t want to walk away from anytime soon. RaR have an ingenious way of making you feel feelings, and this particular song will always pull at your heart strings, no matter how many times you listen to it.

The standard four-on-the-floor beat, predictable big build-ups, and massive bass drops heard in every EDM single nowadays are nowhere to be found on this here. Instead, we are given ultra-lush synths, a delicate beat and a melody to sit back and listen to, as an experience. “Worried About You” ft. J.Burney leaves the audience with a vague sense of having undergone a journey filled with wonder.

OFFICIAL LINKS: INSTAGRAMFACEBOOKITUNES

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“Satisfied” EP: What Ashley J delivers in ability, she doubles up in adding feeling http://jamsphere.com/reviews/satisfied-ep-what-ashley-j-delivers-in-ability-she-doubles-up-in-adding-feeling http://jamsphere.com/reviews/satisfied-ep-what-ashley-j-delivers-in-ability-she-doubles-up-in-adding-feeling#respond Fri, 30 Mar 2018 17:52:26 +0000 http://jamsphere.com/?p=31895 It’s finally here, the international debut EP we have been waiting for from Ashley J. The three-time Billboard charting sensation is ready to become a global obsession with many amazing international hits under her belt. Finally, all those singles have come together, on one EP. “Satisfied” is the title of the recording, and it perfectly […]

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It’s finally here, the international debut EP we have been waiting for from Ashley J. The three-time Billboard charting sensation is ready to become a global obsession with many amazing international hits under her belt. Finally, all those singles have come together, on one EP. “Satisfied” is the title of the recording, and it perfectly describes our feelings towards it. The EP features five tracks self-penned by the emergent Ashley J, in collaboration with many established producers, including Lucas & Adrian Rezza, Jamie Sellers, and Warwick Matthews, as well as multi-platinum, Grammy and Emmy-winning Narada Michael Walden. The opening track “Trapped” which enjoyed four consecutive weeks at #1 on the European Independent Music Chart, is a great introducing track for both the artist and the EP.

It showcases Ashley J vocals perfectly, all the while giving us a great pop track that we can play on repeat and never get tired of. She’s soulful throughout and that’s what we needed from this track that lyrically speaks of being head over heels captivated by someone with no means of breaking free.

This launches into her brilliantly catchy solo single “Unbreakable”, which takes different view of relationships. And the need to pick yourself up after heartbreak and carry on regardless. It will always be a grower of a song, one of those you’re singing along to without even realizing; one of those that stays in your head all day long.

The song hones in on her vocals well, and what Ashley J delivers in ability, she always doubles up in adding feeling into the song. Pop music is her forte, and Ashley J wastes no time in dishing out some delicious tracks here. Her storytelling is personal and layered, and she is not shy about it. She captures it in her heart and spins hits from it.

“Satisfied” is loaded with fire and spice, and scores another win for her. This is another one of those songs that keeps you chained to the replay button. This is how you do a pop song. Everything about it. The perfect balance of electronic and pop in the production, the irresistible chorus and the pre-chorus that leads to it.

This is what will continue to keep Ashley J in the spotlight. On “Like You Used To”, Ashley J achieves pop excellence once again, and there’s no denying that in any circumstances. The brilliant build-up right from the first verse, to the brass loops in the background to the easily memorable chorus, to the drop that takes the song straight to banger level.

The production on “When I Come Home To You” is yet again amazing, it sounds incredibly watery and smooth but sharp at the same time. We should also take the time and appreciate the pipes that Ashley J possesses and notably shows off here.

This has a flaw free melody all along, building up into a massive chorus that makes the track very emotional and deep. I personally love this song, truly a gem. All-round, this EP demonstrates that Ashley J has star quality in bucket loads. Her performances show this off and it will be a matter of time before she receives the accolades that will do her talent justice.

For More Information Please Visit: www.ashleyj.net

Follow Ashley J: Facebook | Twitter | Instagram | YouTube | Soundcloud

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Fox & Coyote: “Scattered Shadows on a Double Bed” – a panoply of sounds http://jamsphere.com/newreleases/fox-coyote-scattered-shadows-on-a-double-bed-a-panoply-of-sounds http://jamsphere.com/newreleases/fox-coyote-scattered-shadows-on-a-double-bed-a-panoply-of-sounds#respond Fri, 30 Mar 2018 10:26:15 +0000 http://jamsphere.com/?p=31888 In classic alt-folk and indie-rock style, Fox & Coyote weave intricate stories with alternately haunting and catchy melodies. The songwriting is excellent. But what sets this latest album apart for me is the band’s forward thinking, their ability to keep the listener glued to their seat all throughout the length of the recording. The mix […]

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In classic alt-folk and indie-rock style, Fox & Coyote weave intricate stories with alternately haunting and catchy melodies. The songwriting is excellent. But what sets this latest album apart for me is the band’s forward thinking, their ability to keep the listener glued to their seat all throughout the length of the recording. The mix of organic sonics is also very, very good. Fox & Coyote are one of the more interesting band’s to come along in the last few years. Their lyrics and arrangements of complex simplicity and evocative images driven by thrilling musicality never fail to disappoint. “Scattered Shadows on a Double Bed” is the band’s third album, and the level of musical maturity shows. It has all of the normal earmarks of a great album, from the instrumental quality and literate manner of lyric writing, to the emotional vocals. The quintet is made up of Ryan Evans (lead vocals, guitar), Jonathan Harms (lead vocals, banjo, keys), Katherine Canon (cello, vocals), Grant Gordon (upright bass, electric bass), and Kenny Befus (drums).

Right from the opening sprawling track “(Don’t Tell Me) There’s Nothing In My Head”, you can somehow sense the band’s sheer excitement at producing such a panoply of sounds. From here onward the album swings back and forth like a pendulum between the band’s core proficiency (cerebral, tuneful songs) and it’s farther ranging interests.

Best of all is the band’s ability to shift tone and texture on a whim. In an album mostly comprised of diversely dramatic gems, its articulate sprawl anchors the record magnificently, pulling the whole project magnetically together. You can find all of those chameleonic qualities in “Blue Marble”, which changes skin color on numerous occasions during its six minute pus duration.

Resonating strings, jangly acoustic guitars, fiery banjo riffs, swift percussive interludes, embrace a contemporary and full sonic palate, which seamlessly fits into Fox & Coyote’s double-stitched classic songwriting. Again, what is different here is the enthusiasm and the energy behind the project – the band sound engaged and excited.

These elements come shining through on the poignant “White Spider” and “Everything‘s Just Fine”, as well as the up-tempo “May 18”, which presents a tremendous galloping swirl of sound. Fox & Coyote are at their best when they write disarming, thematically ambitious songs while maintaining a thick fatalistic streak. Something which happens often on “Scattered Shadows on a Double Bed”.

Moving ahead, we continue to encounter rich stories full of complex characters, and no shortage of emotion, as Fox & Coyote prove to be daring and adventurous, constantly exploring whatever form they can use to express their musical ideas with. This is particularly true on the stirring “Deal” and “A Million Filaments”, before the band switch to a more straightforward mainstream approach on “Any Light”.

There is something poignant, powerful, and fabled about “Gibeon” which will captivate your senses, while Fox & Coyote’s notion of romanticism and mysticism is fully explored on “Love Is”. Hearing “Bed” stomp, prance, and leap in melodic bliss, is like watching paint balls hitting a wall and spreading into colorfulness.  “Scattered Shadows on a Double Bed” sounds like a collection of songs from a band at the peak of their powers having their cake and eating it too.

OFFICIAL LINKS: WEBSITEFACEBOOK

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