JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Sat, 27 May 2017 12:47:58 +0000 en-US hourly 1 Isaac Diskin’s multifaceted musical style shines in this album http://jamsphere.com/newreleases/isaac-diskins-multifaceted-musical-style-shines-in-this-album http://jamsphere.com/newreleases/isaac-diskins-multifaceted-musical-style-shines-in-this-album#respond Sat, 27 May 2017 12:46:55 +0000 http://jamsphere.com/?p=28823 Isaac Diskin is an 18 year old multi-instrumentalist from Cincinnati Ohio who writes and producers all his own music. Each selection on Diskin’s self-titled debut album is steeped in a kind of 1970s mystique – this atmosphere is all encompassing from start to finish. The record does the time warp and brushes against your ear […]

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Isaac Diskin is an 18 year old multi-instrumentalist from Cincinnati Ohio who writes and producers all his own music. Each selection on Diskin’s self-titled debut album is steeped in a kind of 1970s mystique – this atmosphere is all encompassing from start to finish. The record does the time warp and brushes against your ear with a nostalgic bliss. Some songs are downright raw and lazy and won’t be pushed or forced to a faster pace or conclusion, which is absolutely brilliant, considering the modern day muck, racing to climb up the music charts.

Isaac Diskin is entirely comfortable in this effort which was entirely done in his bedroom. Confidence reigns supreme in his vocals and the instrumentation, and you can tell Diskin’s creatively in control. It’s a worthy effort, it’s groovy, but one which which you may not love to death on the first listen. However it will eventually, and almost certainly, set your heart on fire after multiple listens.

The album grew on me slowly because there is no sense of urgency in any of these selections. Each musical moment pauses, examines itself and reflects. Even in its most energetic or intense moments, there is a sense of ‘cool’ pervading the pieces. It’s the kind of soundtrack you play when you want to get lost in your own mind…and that of the narrator. Much like the legendary seventies albums did.

Right from the start, this album will slowly grab the listener and suck him or her into each of its musical stories. The production and recording quality courtesy of Isaac Diskin is robust and hits to the core with plenty of organic sounds like jangling acoustic guitars, and real drums, played on several tracks by Owen Berg.

Sometimes these instruments, along with the keyboards, are in your face, but incredibly warm and rich, reminding me of the well recorded classic rock records, from the 60’s & 70’s, all the while capturing a totally modern American Rock singer/songwriter.

I love the keyboards tastefully flowing through so many tracks, especially on “Nothing Seems The Same” and “Interlude Pt.1”, as well as Diskins’ guitar playing rips on “Number Four” and “Interlude Pt.2”, or both on “Silent Room”. There is an incredible depth to the songs here, with so many of Isaac Diskin influences coming to the fore.

This is really good stuff and although I can’t quite put my finger on one single thing that more than anything else attracts me to it – I liked the guitar playing, the keyboards, and the percussion, just as much as I enjoyed the melodies and the vocals. One thing is certain, Diskin certainly has a unique way of creating his own musical pallet.

His multifaceted musical style really shines in this album and doesn’t seem to range too far out in any one direction. To sum it up in 5 words: “A great way to start!” To stretch it out a bit, I’d just say that it’s really refreshing to find a young artist who thinks about conveying something real through his lyrics and music, rather than just finding neat, rhyming hooks that can be Auto-tuned to make the playlist. I had never even heard of this guy until three days ago, so I’ve probably said too much already!

OFFICIAL LINKS: BANDCAMPSOUNDCLOUDTWITTERFACEBOOKINSTAGRAM

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Valerie Warntz: “I Don’t Love You Anymore” – deeply revealing storytelling http://jamsphere.com/reviews/valerie-warntz-i-dont-love-you-anymore-deeply-revealing-storytelling http://jamsphere.com/reviews/valerie-warntz-i-dont-love-you-anymore-deeply-revealing-storytelling#respond Fri, 26 May 2017 14:08:48 +0000 http://jamsphere.com/?p=28818 Valerie Warntz is a 19-year-old singer-songwriter who has been musically inclined since childhood. She decided to be a musician at 9-years-old enrolling into The Sviridov’s School of Arts where studied guitar and piano. During her educational years, she won various awards and at the age of sixteen she wrote her first song “I Don’t Love […]

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Valerie Warntz is a 19-year-old singer-songwriter who has been musically inclined since childhood. She decided to be a musician at 9-years-old enrolling into The Sviridov’s School of Arts where studied guitar and piano. During her educational years, she won various awards and at the age of sixteen she wrote her first song “I Don’t Love You Anymore”, which she has now released as a single and music video. The song is also on her debut album “Revelation”.

Valerie Warntz

Valerie Warntz

The track is intentionally as heartfelt as it is pensive. Lyrically, Valerie doesn’t leave anything hanging; the song sort of has its completion, so it’s not ambiguous as most things that pass off as indie these days. The instrumentation perfectly complements this clarity. Like the beautiful string section; a sort of avant-garde unbashedness, with which there’s just so much strings and just so much piano that it leaves you craving more.

With a voice like honey, Valerie Warntz will manage to carry you away into a world much like a twisted Wonderland. She captures the cold and slightly broken feeling that dwells after losing love, using her vocal tone and timbre to penetrate your heart.

The emotional developments serve as consistent fuel for “I Don’t Love You Anymore’s” resonant, emotional fire, adding up to a song that represents a dynamic snapshot of the singer-songwriter in steady command of her craft while still occasionally giving way to passages of thin-skinned, deeply revealing storytelling.

Valerie’s vocals fortify the music’s backbone like calcium, and if ever this track lacked anything in production embellishment – which it doesn’t – it would make up for, in heart alone. And while the song is an elegant fusion of glittery piano tones and crackling percussion with the explicitly heartfelt chimes of Valerie Warntz’s serene, evocative delivery, the lyrics communicate a doleful experience.

The songwriting and arranging process is surprisingly well-executed considering this was her very first song – and the smooth, propulsive beat puts everything into a clear perspective: the delicate melody sounds intensely poignant; the confessional lyrics sound confident and true.

The song is full of both innocent sweetness and a knowing sadness, as it nags at your conscience and your ears – a paean to the disappointment and disillusion caused by human nature – something that Valerie Warntz is pretty skilled at picking apart and filtering into structured and inspired song-craft.

The melodic combination she presents with “I Don’t Love You Anymore” provides a presence so strong that it feels as if you have a cherished friend in the room playing some wonderful music just for you. Add to this a masterly arrangement that lightly and elegantly blends little touches of electric guitar effects, strings, percussion and a voice which delivers music of astonishing charm, beauty and depth.

OFFICIAL LINKS: WEBSITEYOUTUBEFACEBOOKINSTAGRAM TWITTERSOUNDCLOUDSPOTIFYITUNESGOOGLE PLAY

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Michael A. Galianos: “My Heart Is Breaking” (Featuring Dan Exactly) http://jamsphere.com/news/michael-galianos-heart-breaking-featuring-dan-exactly http://jamsphere.com/news/michael-galianos-heart-breaking-featuring-dan-exactly#respond Thu, 25 May 2017 19:30:58 +0000 http://jamsphere.com/?p=28814 Michael A. Galianos has just released the single “My Heart Is Breaking” (Featuring Dan Exactly) with words and music by Michael A. Galianos and Dan Exactly. Michael A. Galianos is a singer/songwriter from Bergenfield, NJ. He has recorded one EP and two albums since 1997, beginning with the EP “Feel”, under the moniker of M.A.G. (Mad […]

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Michael A. Galianos has just released the single “My Heart Is Breaking” (Featuring Dan Exactly) with words and music by Michael A. Galianos and Dan Exactly.

Michael A. Galianos is a singer/songwriter from Bergenfield, NJ. He has recorded one EP and two albums since 1997, beginning with the EP “Feel”, under the moniker of M.A.G. (Mad Ass Greecians).

In 2006, he released his first full length, “Cerebral Snapshots”. In 2011, he released his second album, “Beautiful Discovery”.

His sound is melodious pop/rock, along the vein of The Beatles, The Beach Boys and Big Star, with the occasional delve into the experimental.

Over 745 stations around the US began playing tracks off of “Beautiful Discovery” in 2011, giving Galianos his first glimpse of national coverage.

OFFICIAL LINKS: WEBSITE

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Dustin Steen: “Mixed Genres” – a profound personality with a caring heart and a thinking mind http://jamsphere.com/newreleases/dustin-steen-mixed-genres-profound-personality-caring-heart-thinking-mind http://jamsphere.com/newreleases/dustin-steen-mixed-genres-profound-personality-caring-heart-thinking-mind#respond Thu, 25 May 2017 15:42:39 +0000 http://jamsphere.com/?p=28808 With an onslaught of pressure from modern record labels to produce high-selling records frequently and consistently, and the need to secure a loyal consumer base, an artist’s ability to experiment and evolve with his or her sound seems somewhat futile in the modern era. It seems that musicians throughout every genre are bound by the […]

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With an onslaught of pressure from modern record labels to produce high-selling records frequently and consistently, and the need to secure a loyal consumer base, an artist’s ability to experiment and evolve with his or her sound seems somewhat futile in the modern era. It seems that musicians throughout every genre are bound by the limitations of what sound will sell, often creating a disassociation between artistic freedom and production demands. With such high stakes, it takes immense talent and perhaps sheer disregard for self-preservation for an artist to experiment successfully with the many facets of the musical lexicon.

Perhaps this understanding of the limitations surrounding artists in the music industry highlight the significance of an incredible and diverse body of work crafted by singer-songwriter Dustin Steen, on the 5 track EP, “Mixed Genres”.

“Mixed Genres”Dustin Steen’s latest solo release, can be labeled a healing EP. If we know a tiny little bit about Dustin’s personal thoughts and life, it’s because of the songs he has written. But what moves and impresses me about this particular EP is that it serves as a guide on how to grow, to forgive, and to improve, without consciously attempting to do so.

I’ve always told anyone who will listen, that “introspective” music can play a pivotal role in healing, in identifying and fixing your faults. Because the despair, the struggle and the experiences coming from the other end — those are words of incredible strength. You can use them to your benefit. That’s the way I choose to look at it. And “Mixed Genres” brings many introspective and heartfelt stories that will strengthen your soul.

If after listening to the EP’s acoustic rock opener, “This Sinner” you think that Dustin Steen is the latest manifestation of melodramatic pop-rock music, you’re perhaps right, but you’re also immensely wrong. To attribute one sound or dimension to Steen does a disservice to the man’s talent as a student of his art, a believer in his faith, and a narrator of his life.

Dustin Steen is a profound personality with a caring heart and a thinking mind, able to tackle his themes head on as he does on “Sleeping With One Eye Open”, and more importantly on the powerful, “Baby Blues” which looks at the realities of family, marriage and children when you’re too young and unprepared for its harsher eventualities.

“Under-Construction” sees Dustin gather all his rapping abilities, which he brings to the table with equal force and grace – whether singing or rapping Steen sounds in his comfort zone. The song has a strong spiritual element as Dustin questions a moment in life when we’re caught between accepting our faith and enjoying our vices.

“No Music On” is the classic heartfelt love song with soaring vocals built on a pure Americana soundscape. It reverts to the intimacy seen on the best of Steen’s songs, mastering the art of space, and calculated guitar work, as the song can breathes and echoes the love in Dustin Steen’s lyrics.

All throughout the EP, Dustin Steen succeeds, in conveying his subject matter genuinely and meticulously, evoking an empathetic response. “Mixed Genres” succeeds as an EP, and affirms the talent of Steen as a songwriter and musician.

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

OFFICIAL LINKS: WEBSITE – SOUNDCLOUD – FACEBOOK – INSTAGRAM SPOTIFY

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Hefe Heetroc: “The Shadow Cabal of the 8 Oligarchs” is a writhing package of alternative rap http://jamsphere.com/reviews/hefe-heetroc-the-shadow-cabal-of-the-8-oligarchs-is-a-writhing-package-of-alternative-rap http://jamsphere.com/reviews/hefe-heetroc-the-shadow-cabal-of-the-8-oligarchs-is-a-writhing-package-of-alternative-rap#respond Thu, 25 May 2017 12:22:42 +0000 http://jamsphere.com/?p=28804 Eclectic ‘Ghost rap’ artist from Rochester, NY, Hefe Heetroc aka Wez Nilez has just dropped his 12 track album entitled “The Shadow Cabal of the 8 Oligarchs”. As we’ve seen on some of the recent hip-hop outings in the last 2-3 years, it’s easier than ever for artists to get lost in the weight of their own work. […]

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Eclectic ‘Ghost rap’ artist from Rochester, NY, Hefe Heetroc aka Wez Nilez has just dropped his 12 track album entitled “The Shadow Cabal of the 8 Oligarchs”. As we’ve seen on some of the recent hip-hop outings in the last 2-3 years, it’s easier than ever for artists to get lost in the weight of their own work. The production walks over them and their guest artists rap louder than most – and, in the end, it becomes hard to distinguish if the artist at the helm is the master of his own work, or a curator of everybody else’s. Well, there’s no debating that on “The Shadow Cabal of the 8 Oligarchs”.

Hefe Heetroc thrives atop the scatterbrain production of each track, finding new ways to piece his flow together in the strangest of ways. Arguably the least-accessible songs, at times can hardly even be labeled simply as rap. Instead, raucous drums, squelching synths, and growling basses stumble their way into oblivion as Hefe Heetroc unhinges his flow into stutters, twists and bends.  No production gets in his way, as its all part of the colorful creative puzzle, while features don’t exist at all. They probably wouldn’t be able to stick to Heetroc’s hectic lyrical script anyway.

“The Shadow Cabal of the 8 Oligarchs” is a weird, writhing package of alternative rap and it’s probably going to be the best album this genre has to offer this year. Sure it’s not for everybody, but then Hefe Heetroc is the Frank Zappa of rap. He is not looking for everyone’s approval, but rather in being the best that he can be with his craft.

Hence there are no compromises in the music as Heetroc focuses on his creativeness at the expense of catchy clichés. Not that this music is not ear-warming. There are plenty tracks that will attract your attention, some by the strength of their titles alone, like “Who The Fuck Is High As Me?”, “Manifest all the Minerals”, “We Move When We Rap Do Not Worry” or “Take That Toke That”.

Every song is hugely diverse from the next, whilst still maintaining a flawless cohesion. Whatever song comes next just makes sense somehow. Don’t ask me how, I can’t explain that. It just happens. From “Don’t Count on Me” and “Dirty Mind” to “Addiction Tonight”, you will be glued to the speakers, attempting to decipher the lyrics and navigate the sonic minefields Heetroc sets. It’s inevitable that with so much attention being given, the listener ends up feeling some sort of attachment to the sonic art at hand.

The music is beautifully chaotic in places, and sounds strangely relevant when it seems it shouldn’t. But the key to the whole package working, I believe, is that Hefe Heetroc seems so cocksure all the way through the album’s twelve-track runtime and his oblique and dynamic flow reflects just how confident he is in his mic skills and the production that supports it. The result is that Hefe Heetroc aka Wez Nilez is such an interesting artist because he fully believes in what he’s doing.

OFFICIAL LINKS: SPOTIFYYOUTUBESOUNDCLOUDBANDCAMPINSTAGRAMTWITTERAUDIOMACK

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UNA: “Alone” – passion and inspiration that reflect the artist’s talent http://jamsphere.com/newreleases/una-alone-passion-and-inspiration-that-reflect-the-artists-talent http://jamsphere.com/newreleases/una-alone-passion-and-inspiration-that-reflect-the-artists-talent#respond Thu, 25 May 2017 10:54:30 +0000 http://jamsphere.com/?p=28800 Growing up between Germany and Croatia UNA has been influenced by various artist, ranging from classical, like Erik Satie, Chopin and Debussy to pop, like Britney Spears, Justin Timberlake, Aaliyah, No Doubt, Madonna, Toni Braxton etc. A classically trained piano player she decided to move to popular music such as jazz, rock and pop. UNA […]

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Growing up between Germany and Croatia UNA has been influenced by various artist, ranging from classical, like Erik Satie, Chopin and Debussy to pop, like Britney Spears, Justin Timberlake, Aaliyah, No Doubt, Madonna, Toni Braxton etc. A classically trained piano player she decided to move to popular music such as jazz, rock and pop. UNA describes her music style as “experimental” or “electro-pop”. Apart from her hobbies, like painting, drawing, dancing and photography, she also has a Bachelor’s degree in Business Administration as well as a successful international modeling career.

UNA

UNA

Clearly focused and work-driven, UNA co-produced her latest song, “Alone”, with producer Sinima and even completed a DIY music video. The track, with a mix of EDM, pop, and alternative influences holds passion and inspiration that reflect UNA’s talent.

There’s a dark vibe to this track which gives you feeling that the “Alone” is not somewhere that you want to end up. It’s the perfect introduction to UNA’s vocal and production talents. She’s heading straight for the stars and she’s not looking back!

A lot of musicians take years and several albums exploring different sounds until they find the right one for them, UNA already seems to know her niche. Producing a near flawless record for her first single is an incredibly rare achievement. Yet, the blonde-haired singer seems to have achieved it so effortlessly.

With the right marketing and promotion, “Alone” is bound to become one of those iconic singles that everyone with relationship problems listens to. It’s just so damn relatable. Even if you’re not in a turmoiled relationship, I can guarantee that the melancholy beat – which changes into a growling dubstep soundscape – prepared with emotional lyrics, will take you back to a time you were left ‘alone’.

Lyrically UNA is very straightforward and honest which always makes for a refreshing narrative. I actually favor the very direct lyrical structure as it gives the theme of the song its teeth. She is scathing and unapologetic in her lyrics and her voice elevates her music.

“Alone” is the direct result of a woman empowered by her talent and will. UNA’s lyrics are relatable, without being monotonously cliché. Her sound fits in perfectly with the millennial driven audience she is singing to. Overall this is an addictive and unforgettable experience.

I consider the sound of the track to be gritty and raw, but also powerfully daring as it breaks the genre barrier with UNA’s unapologetic vocal delivery sounding immensely personal and candid while dripping with emotion.

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTERINSTAGRAMYOUTUBESOUNDCLOUDITUNES

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Henry Metal: “So It Hath Begun” – bang your head and sing along! http://jamsphere.com/newreleases/henry-metal-so-it-hath-begun-bang-your-head-and-sing-along http://jamsphere.com/newreleases/henry-metal-so-it-hath-begun-bang-your-head-and-sing-along#respond Wed, 24 May 2017 18:10:31 +0000 http://jamsphere.com/?p=28795 Henry Metal might have a fine veil of satire embracing the project, but he makes just about the best tribute to the excess of the 80’s and 90’s hard rock and metal genres ever. He has just released his 9 track album, entitled “So It Hath Begun” which contains great songs, which are very easy […]

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Henry Metal might have a fine veil of satire embracing the project, but he makes just about the best tribute to the excess of the 80’s and 90’s hard rock and metal genres ever. He has just released his 9 track album, entitled “So It Hath Begun” which contains great songs, which are very easy to bang your head and sing along with. The tracks all have a grooving and slamming feel, plus cool shredding and solos. In fact Henry Metal sounds no different to any of those legendary rock and metal bands from the golden era.

You either get Henry Metal’s style of wit or love him or you’re quick to dismiss him as a fad, and you loathe him. Either way, the only way to describe this guy is as one of the hottest hard rock and metal projects in the world right now, and music fans everywhere who were eagerly awaiting the release of his brand new album – “So It Hath Begun”, are not going to be disappointed.

The first track “You Ain’t Seen Nothing Yet”, comes to life with wailing guitars and nasty riffs, and Henry Metal’s high pitched screams and then dives into the by now well-known tongue-in-cheek single “Wrist Is Pissed”.

Wit aside though, it’s tracks like the brilliant “Butthead Maven” that remind us under all the innuendo, which in itself is some pretty amazing song-writing, is an artist that really knows how to rock, and at the end of the day, that’s what you really want from a project like this.

Henry’s Saga has the Thin Lizzy guitar sound in the opening bars. I could hear traces of Snowy White, Gary Moore and even John Sykes’ influences. “God You’re So Hot” is heavily laced with Henry Metal’s down-and-dirty sexual innuendos that usually serves this genre so well.

The track also features a blistering guitar solo. Right on the back of this, comes “Workin’ for the Man”, a track so lyrically clever and musically catchy, it will grab you by the balls with a cruel squirrel grip. The same could be said for Terrible Driver” which seems to have some hidden anger under the apparent funny lyrics, though.

Take a deeper listen to Squeeze You”, and there is certainly some aggression bubbling away just under the surface. Boss of Me” also features that same anger. It’s a song that anyone who has ever grown tired of being taken advantage of can certainly relate to. For the most part, though this is an album that sees Henry Metal do what he does best and that is make you smile and think deeply while you are listening to some great rock music.

You might argue a million things are wrong with Henry Metal – the easily offended I imagine, steam at the very thought of such an artist, but the interesting group are those fans that actually love this type of late eighties Sleaze Rock and metal. Musically I’ll stick a neck out and say that “So It Hath Begun” is by far the genre’s musical highpoint in recent years.

Damn, there is not even a genre like this anymore. Close your ears to the lyrics and this album seriously rocks like anything did in the 80’s and 90’s. It’s well-written, beautifully played and might be designed to offend with its foray of questionable words here and there, but hum any of these songs you fuckers, and I bet you won’t be able to stop!

OFFICIAL LINKS: BANDCAMPWEBSITE – TWITTER – INSTAGRAM – YOUTUBEFACEBOOKSOUNDCLOUD

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Aeronaut: “Skara” – is a glorious progressive effort http://jamsphere.com/reviews/aeronaut-skara-is-a-glorious-progressive-effort http://jamsphere.com/reviews/aeronaut-skara-is-a-glorious-progressive-effort#respond Tue, 23 May 2017 23:32:09 +0000 http://jamsphere.com/?p=28790 Aeronaut can be described as Progressive Rock, Post-Rock, Indie, or simply Alternative Rock, but that doesn’t really matter. All I know is that this project delivers very interesting, fresh, and well-rounded music. Aeronaut has a huge dynamic range, from extremely fast and heavy with smooth, powerful vocals to very relaxing and atmospheric. The music is […]

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Aeronaut can be described as Progressive Rock, Post-Rock, Indie, or simply Alternative Rock, but that doesn’t really matter. All I know is that this project delivers very interesting, fresh, and well-rounded music. Aeronaut has a huge dynamic range, from extremely fast and heavy with smooth, powerful vocals to very relaxing and atmospheric. The music is very melodic, clear and well-produced, the song “Skara” flows and changes to new and exciting ideas. The guitars are very lush and full sounding, during both heavier and mellow parts, while the bass and drums thump and bang in all the right places.

Aeronaut is the progressive rock project of songwriter and producer Ricky Patel, started in 2015 to accommodate the upcoming release of the full LP ‘Netherspheres’, set for a 2017 release. Apart from the album, Ricky has put together a live band to perform who have already played a number of gigs including Westenhanger Castle in support of Lemar and Beverley Knight. Ricky currently works alongside Big Jam Studios and DeeVu Records, collaborating with a number of promising artists on the songwriting, recording and production of their music.

Aeronaut may be slightly more slightly more mainstream and catchy sounding than the average progressive rock band; however I don’t see that as a bad thing whatsoever. Ricky is still quite adventurous and artistic in his writing style.

Songs like “Skara” for example, would be extremely radio-friendly and accessible to almost any music fan regardless of its technicalities and arranging intricacies. The song contains a few excellent progressive buildups and rhythmic backflips, and in places really rocks hard.

The guitars sound dense and tight, and the drums sound strong and powerful, while the bass is punchy and moody.

A versatile vocalist who goes from whispers to screams, Ricky carves out a song that ranges from progressively epic instrumentation to complex time-signature. Whether Aeronaut use intricate bass and clean guitar lines or pounding, distorted chords, this track remains excellent.

The lyrics are a point where I’m not really in the know, until get hold of a lyric sheet that is. They definitely have a feeling like they want to tell you something, but I just can’t say what it is. I have some assumptions, but I won’t share them – I guess it’s up to every listener to interpret them on his own. But one thing is certain, they are wonderfully written and they genuinely mirror the tone the song conveys.

All in all, “Skara” is a glorious effort, from what sounds like an extremely competent and focused artist. This though, is music that begs for an album to support it, at which point we’ll know exactly where Ricky Patel and his Aeronaut project will be leading us.

OFFICIAL LINKS: FACEBOOKBANDCAMP

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Eric Hausmann: “Soaked” – Capable of widescreen, ethereal beauty http://jamsphere.com/newreleases/eric-hausmann-soaked-capable-of-widescreen-ethereal-beauty http://jamsphere.com/newreleases/eric-hausmann-soaked-capable-of-widescreen-ethereal-beauty#respond Tue, 23 May 2017 21:59:01 +0000 http://jamsphere.com/?p=28785 Eric Hausmann is a multi-instrumentalist and film composer. He has produced music for a number of Malaysian films, in addition to scoring for a variety of New York film productions. He performs live as a guitarist with Portland’s Tres Gone, and Malaysia’s Space Gambus Experiment. He is formerly a member of The Gone Orchestra and […]

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Eric Hausmann is a multi-instrumentalist and film composer. He has produced music for a number of Malaysian films, in addition to scoring for a variety of New York film productions. He performs live as a guitarist with Portland’s Tres Gone, and Malaysia’s Space Gambus Experiment. He is formerly a member of The Gone Orchestra and Brainwarmer. Hausmann recently released “Soaked” a seven track recording which is described as “A cross-section of Asian dub-fused rock n’ roll with deep India influences.” But it’s probably more than that, as I’m hearing post-rock, world fusion, and ambient rock influences injected into these tracks.

Eric Hausmann crafts some of the grooviest, gorgeously lush instrumental tracks out there. Capable of widescreen, ethereal beauty one moment and skull rattling bass heaviness the next, Hausmann manages to tap into a very specific emotional core that doesn’t rely solely on loud/soft dynamics to elicit responses in the listener.

Rather there’s a general sense of expectation throughout, knowing that at any time gorgeous, ephemeral moments could erupt in a spasm of seizure-inducing rhythms. Throughout, you’re essentially left waiting for the next massive surge in intensity and, when it comes, it functions as a welcome relief that borders on the euphoric, having been finally afforded the release the listener craves with being taken to the next sonic level.

Opening track “Sub Con Pulse” features a quick but gradual build that abruptly devolves into oppressively heavy, though no less majestic, bass and pummeling percussion. This is the kind of magisterial immensity that begs to be labeled as cinematic, causing all senses to tremble and one’s vision to blur as the sounds reverberate within one’s head, causing massive vibrations to emanate throughout the whole of the body. The bass alone is enough to rupture any number of speakers and eardrums and can be felt throughout the whole of one’s body with a startling clarity.

Rather than losing anything in the transition from slumbering to full-on roar, the individual elements, of the fully awake and blissful reggae slumber on “We Are On Our Way To Dub”, are heightened and snapped fully into focus, immediately and often rudely thrust out of the gauzy haze of sleep by chiming guitars and adlib vocal interludes.

The individual elements on “Bhangropolis” are broken down into a handful of distinct Eastern and Western sounding instruments that all begin with a smoldering melancholy but within mere minutes, erupts into massive walls of joyous percussion and sitar melody.

Never becoming formulaic, Eric Hausmann’s approach on standout songs such as “Ayam Dub”, “Want To Dub Right Now” and “Darker Travels”, show this project to be rare purveyors of a certain sort of sonic uniqueness within this type of instrumental idiom that leaves the listener wondering just where the song structure and instrumentation itself will be headed next. The only certainty is plenty of dub effects and echoes.

Essentially, Eric Hausmann creates some of the coolest, most beautiful instrumental post-rock out there, crafting massively orchestral orientated pieces out of minimalist organic sounding elements, forgoing the slow gradual builds in favor of drastic dynamic shifts. This only serves to heighten the visceral impact music like this can have on the listener.

Forgoing the genre’s tendency toward the easy emotional sell, however, Hausmann manages to create a sound wholly his own while still operating fully within the basic frameworks of the post-rock, ambient, world music and instrumental rock genres.

All the necessary sonic touchstones are there only slightly skewed to create something wholly new and different. Within a bunch of genres in which most bands become interchangeable, Eric Hausmann once again manages to set himself completely apart.

SUB CON PULSE from Eric Hausmann on Vimeo.

OFFICIAL LINKS: FACEBOOKTWITTERBANDCAMP

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MOOD: “The Wave” is one impressive juggling act! http://jamsphere.com/newreleases/mood-the-wave-is-one-impressive-juggling-act http://jamsphere.com/newreleases/mood-the-wave-is-one-impressive-juggling-act#respond Tue, 23 May 2017 14:46:18 +0000 http://jamsphere.com/?p=28781 Hip-hop has changed – there’s no debating that – but change isn’t always indicative of something bad. That being said, it’s refreshing to hear more rapping, with the exception of one or two bridges, versus the continual rap/sing mix that’s permeated mainstream as of late. You’re allowed to appreciate more than one way of creating […]

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Hip-hop has changed – there’s no debating that – but change isn’t always indicative of something bad. That being said, it’s refreshing to hear more rapping, with the exception of one or two bridges, versus the continual rap/sing mix that’s permeated mainstream as of late. You’re allowed to appreciate more than one way of creating music and while a lot of rappers have the notion that they should be singing as well, there’s a place for it all, especially if you don’t have a decent singing voice.

You obviously can’t disregard one lane of Hip-hop while claiming to be a fan of the genre as a whole. In this sense MOOD is in the right lane, as his rapping is energetic, and on point, while his singing too, is on key, subtle and delivered in small doses just to keep the track interesting.

There’s no question that the content MOOD has put out with his latest single “The Wave”, is on par with other artists of the same ability. It’s unclear why some of those artists appear to get lucky with their ascent to success with one hit, no visual content, and no clear plan of how to sustain that success while others can consistently release well done (and much needed) music without much fanfare. I suppose it’s just trial and error until you break through and with the state of Hip-hop as is, “The Wave” will deservedly propel MOOD into that conversation.

MOOD is an American rapper and singer based in Los Angeles, and “The Wave” is fresh track only released this month. The track elicits feelings of bliss that can only come from an artist able to deliver emotion through rhyme. Here MOOD reps himself, his grind, his crew, and his city.

It’s a delicate line to tread without annoying somebody, but he navigates being too raunchy, too cocky and too sensitive with relative ease. He manages to balance the underground sound, with the sound of the street and mix it with a more mainstream pop sensibility without sacrificing his vision or sound. It is one impressive juggling act.

The production is powerful, but not overwhelming and it’s crafted around MOOD‘s voice, leaving him plenty of room to flaunt his rhymes and verses – “So I’m shooting like The Ball Brothers, cocky like LeVar. And the people that I came with, I’m about to take them far. Put my city on the globe, come down for the cause. Show me your dream girl; I’ll pick out her flaws.”

While there’s no denying his skill on the mic, MOOD’S rapping style is a little unorthodox in my opinion, but that’s what makes him more interesting than most. Overall, MOOD has quite the interesting personality. He will open your eyes, and make you smile with his humorous wit.

OFFICIAL LINKS: SOUNDCLOUD

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EsZ: “If You Didn’t Get This Message, Call Me” – an engrossing listen http://jamsphere.com/newreleases/esz-if-you-didnt-get-this-message-call-me-an-engrossing-listen http://jamsphere.com/newreleases/esz-if-you-didnt-get-this-message-call-me-an-engrossing-listen#respond Tue, 23 May 2017 01:26:27 +0000 http://jamsphere.com/?p=28774 On his new album, “If You Didn’t Get This Message, Call Me”, EsZ aka Erron’s Attic comes out swinging from the first song, a great balance between classic Hip Hop and modern. As usual EsZ gets well thought out ideas through his songs in innovative ways; you definitely get the feeling he has the lyrical […]

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On his new album, “If You Didn’t Get This Message, Call Me”, EsZ aka Erron’s Attic comes out swinging from the first song, a great balance between classic Hip Hop and modern. As usual EsZ gets well thought out ideas through his songs in innovative ways; you definitely get the feeling he has the lyrical substance he wants to express. Although we’re in a dismal era of Rap currently, this could be one of those instant underground classics. EsZ catalog is filled with parables, fables, morals and lamentations, forms of storytelling that compress people and experiences into neat, digestible lessons. On this latest recording, these experiences and people— EsZ included—are permitted their flaws, lusting, loathing and partying and all the other things humans do.

What we have here are 6 songs that stand alone as distinct tracks in and of themselves and that are far plainer and more pared-down in their execution. Some tracks have a distinctly downbeat feel, elsewhere though we see the rapper get fired up by righteous ire, his flow noticeably and deliberately picking up the pace to match the lyrical intensity. And it’s this pacing, flow and lyricism that makes “If You Didn’t Get This Message, Call Me”, such an engrossing listen.

Where previously, some of EsZ’s more experimental and florid elements – dazzling as they were – and overarching themes were the focus of attention, here we simply have the rapper, talking at us, singing at us, rapping at us: his voice now gentle, now turbo-animated, his words sometimes oblique but always on point.

If you know the artist from previous releases, then it’s what you might have expected or even have been hoping for from EsZ. This is an artist in his absolute prime: artistically, lyrically and musically.

EsZ is an avant-garde adventurer who also can pen a catchy hook to order. To be honest, “If You Didn’t Get This Message, Call Me” is everything you’d want from an album – an audacious creative effort that speaks to a large audience, while successfully capturing the spirit of the times and his personal being.

From track one – “Woke Up, Hands High”EsZ presents himself somewhere between a wizened philosopher and an ordinary observer, without too much overthinking and over-explaining, as he jumps directly into the intricacies of relationships and casual affairs – on an emotional, psychological and carnal level.

One of the record’s unexpected highlights comes from “Saucy”. It’s one of the warmest tracks on the album and the rapper’s gorgeous bars become humorously care-free.  “Going Under” digs a little deeper into the lover’s psyche with lines such as: “It started off as kisses on the park bench, from spending nights, to talks about sharing apartments. Thought we found love, now I don’t know where our hearts went. Everything was bright in the beginning, now it’s darkened.”

The grooviest track on the album has to be “We Danced For, Dazed All Summer”, with its sharp lyrics and exotic summer rhythm. “To Live The Good Life” fuses together EsZ’s incredible rise and fall delivery with lines like “…ask me who I’m fucking and I’ll say I’m fucking tired.” He closes shop with “Touching Base/Your Colors”“…just show me your colors and maybe together we could paint us a picture.”  

If the chief criterion for entry into the hip-hop canon were a high ratio of instantly memorable one-liners, then EsZ aka Erron’s Attic’s album “If You Didn’t Get This Message, Call Me”, would be locked onto the topmost tier. The strong production flourishes and impressionistic melodies on this recording are distilled to an ear-wormy directness primed for your preferred set of speakers.

OFFICIAL LINKS: WEBSITE – SPOTIFY – SOUNDCLOUD – TWITTER – INSTAGRAM – YOUTUBE

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Luna 13 – Black Metal distilled to its grimmest, darkest purity! http://jamsphere.com/reviews/luna-13-black-metal-distilled-to-its-grimmest-darkest-purity http://jamsphere.com/reviews/luna-13-black-metal-distilled-to-its-grimmest-darkest-purity#respond Mon, 22 May 2017 21:22:45 +0000 http://jamsphere.com/?p=28769 The award winning Los Angeles band Luna 13 is forging a new genre of music they call Black Metal/Bass Music. Their brutal yet groove based electro-metal incorporates elements of electronica, death metal, and industrial rock – all done with electronics, which means no string instruments. Music maker Dr. Luna, creates a metal sound with synthesizers […]

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The award winning Los Angeles band Luna 13 is forging a new genre of music they call Black Metal/Bass Music. Their brutal yet groove based electro-metal incorporates elements of electronica, death metal, and industrial rock – all done with electronics, which means no string instruments. Music maker Dr. Luna, creates a metal sound with synthesizers and by wrapping heavy distortion around sub-bass. Luna 13 who has been performing live for a few years now, opening for death metal/industrial and electronica projects alike, came into its own when Lilith Bathory joined in 2015. Since, Lilith, the band’s front woman, has been booking modeling jobs and acting services and has been a local sensation (cameras follow her around).

Together, Luna 13 has also been picking up endorsements from clothing companies and playing larger Venues like “Dark Circus” and festivals like “Detonation: 3 END OF DAYS Festival.” They have been booked in a scene in the movie “Devil’s Domain” ft. Michael Madsen INFO’ and are also on the soundtrack, which includes artists like Iggy Pop, DMX, Onyx and 3Teeth.

Luna 13 is now busy preparing the release of their brand new album, entitled “LILIT”, which releases worldwide on 7-7-17 via Cleopatra Records.

We intercepted a few tracks from the upcoming album recently, and this is Black Metal distilled to its grimmest, darkest purity, aptly called Black Metal/Bass Music by the band. The synth guitars meld together in a slowly shifting black harmonic wall. The riffs are repetitive and mesmerizing.

The drums have been stripped down to their machine gun basics, and act as the solid foundation for the gut-ripping synths. They blast like a constant wind in the midst of a cold winter night. The vocals are placed perfectly within the music and are ethereal to savage.

The vocal interludes are darkly poetic and evocative, capturing an essence of horror that few other bands ever achieve. This is dark, evil music; to call it grim doesn’t begin to describe the sound Luna 13 achieved on tracks like “Welcome to Hell” and “Upside Down”.

This is the sound of breaking ice, crunching stones and ferocious anger; an innovative recording from one of the true innovators in black metal. These songs sound like some of Luna 13’s best and the quintessence of the underground black metal sound. Listen to these songs through headphones at night, and they will send chills down your spine.

There is a certain stylistic coherence to the musical intrepidity of Dr. Luna and Lilith Bathory that naturally varies in quality from one album to the next; it always seems more like they are applying modern black metal conventions to a foundation of industrial and death metal genre trends than the other way around.

This allows a much greater degree of flexibility and adventurousness than the contrary would, but it also means more taxing demands and experimentation from its creators. Tracks such as “Witch Bitch 666” and specifically “Widowmaker” stands as a mighty reminder that Luna 13 are still at the top of the extreme underground metal horde, and maybe they will be for all of time.

OFFICIAL LINKS: WEBSITE – FACEBOOK – TWITTER – YOUTUBE

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Dezzyano: “Hello World: The Renaissance” jumps right out of the speakers and grabs you by the throat! http://jamsphere.com/reviews/dezzyano-hello-world-the-renaissance-jumps-right-out-of-the-speakers-and-grabs-you-by-the-throat http://jamsphere.com/reviews/dezzyano-hello-world-the-renaissance-jumps-right-out-of-the-speakers-and-grabs-you-by-the-throat#respond Mon, 22 May 2017 10:53:19 +0000 http://jamsphere.com/?p=28764 Now I’ll be honest, before this album was released, I didn’t know much about Dezzyano, the rapper raised 5 mins from Atlanta on Six Flags Dr. I decided to give it a go. And I became a very unlikely Dezzyano fan. The 16 track album, “Hello World: The Renaissance” starts off strong with ‘Anita Baker’. […]

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Now I’ll be honest, before this album was released, I didn’t know much about Dezzyano, the rapper raised 5 mins from Atlanta on Six Flags Dr. I decided to give it a go. And I became a very unlikely Dezzyano fan. The 16 track album, “Hello World: The Renaissance” starts off strong with ‘Anita Baker’. It has an extremely catchy refrain built on a bass and horn driven soul soundscape. This sets the tone for the album, which sees Dezzyano finding different ways of telling his story with catchy hooks and intense verses. From a critical standpoint, this album has some epic beats provided by Cappavelli1, however, Dezzyano definitely makes this project what it is.

There are plenty of gems on this album, particularly near the beginning and end; everything stays consistently tight all the way through. We learn all the way through “Hello World: The Renaissance”   that Dezzyano is a stand-up guy, doesn’t take crap and can steal your girl. He is able to draw a common thread between a variety of tracks with a cohesive feel and tone throughout the album.

But this recording makes another thing clear – Dezzyano is capable of the fortunate trend of pleasing everyone at once, and as a result, songs like “Grammys”, “Webbie” and the impressive “Feather” jump right out of the speakers and grab you by the throat.

But his thing is full of standouts, from “Runner”, “Express Mail” and “Trap Nigga” to “Feel It”, showing that Dezzyano is at his best when he is less reflective, fiery, brazen and loaded with bars that are unrestrained and gutsy.

He exudes confidence with every single breath he breaths into the microphone, swinging comfortably from every snare hit to bass thump. Even the couple of tracks that you might not consider standouts sound strong, due to Dezzyano’s super confidence.

He serves beats like “OTW” and “Duece” with pure swag and rhythmic ability. He doesn’t even need to rhyme about anything important or relevant; he’s got enough punchlines and self-confidence to cover that up.

Dezzyano manages to spend the entire record outshining every single beat, making every soundscape his own. Overall, it sounds like a triumph. What is most important to note is that Dezzyano would not be content to become the underground king of the south, as he has already made the declaration of wanting to strive to be the best rapper alive.

This is a tall order coming from an artist most people haven’t even heard of yet. Dezzyano’s sense of ambition pushes him to change up his themes, update his beats and extend his style, from track to track, far enough to keep his listeners interested, making the fluidity of the album an even more impressive feat.

On “Hello World: The Renaissance”, Dezzyano’s flow is in top form, he oozes charisma, and all of the songs on this album are enjoyable, regardless of which your favorites may be. These songs are all highlights because it feels like Dezzyano’s actually means what he’s rapping, rather than just trying to put out what he thinks people want to hear.

This album showcases the fact that Dezzyano represents an excellent blend of lyrical talent and catchy pop sensibility.

OFFICIAL LINKS: SOUNDCLOUDSPINRILLA  – TWITTERINSTAGRAM

 

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Sick.Life: “Dreamers” – a perfect match between raw lyrical muscle and dynamic production http://jamsphere.com/newreleases/sick-life-dreamers-a-perfect-match-between-raw-lyrical-muscle-and-dynamic-production http://jamsphere.com/newreleases/sick-life-dreamers-a-perfect-match-between-raw-lyrical-muscle-and-dynamic-production#respond Mon, 22 May 2017 01:11:50 +0000 http://jamsphere.com/?p=28760 Sick.Life a collective of artists and an independent music label based in El Paso, Texas. A couple of months back they released their critically acclaimed album, entitled “Contagion”. Now off that album comes the single “Dreamers” produced by NZO, and featuring Josh Brown on the chorus and bridge, while the verses are handled in order […]

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Sick.Life a collective of artists and an independent music label based in El Paso, Texas. A couple of months back they released their critically acclaimed album, entitled “Contagion”. Now off that album comes the single “Dreamers” produced by NZO, and featuring Josh Brown on the chorus and bridge, while the verses are handled in order of appearance, by Sonny Weston, Lavoe, C.Notes and E$ BFNE. For hip-hop fans growing up in the 21st century, the Sick.Life collective is simply a perfect match between raw lyrical muscle and dynamic production.

I listened to the track last night with the intention of writing a review on here today, and the depth of my indulgence put the track on continuous play. Most label collectives focus on showcasing the diversity and talent of the roster, and this is the case with rapping on “Dreamers”.

Though everyone is working towards the same theme, each rapper has his own transcendent flow. So while NZO showcases a brilliant minimal production, the rapping crew of Sick.Life does a remarkable job of making the track crackle and pop.

There is so much spirit in this track, Sick.Life conveys emotion so well in their music. Perhaps it is the rare mix of sounds and voices interacting unexpectedly between the elegant, thought provoking poetic verses. They connect on levels with the audience that goes far beyond the specifics of an upbringing. They breakdown their storytelling with genuineness and skill that is rare in the genre.

Having a handful of extremely talented rappers, each with their own unique vocal style and lyrical perspective definitely helps keep the music fresh with a wide variety of vocal stylings throughout the song. They wear their regional culture on their sleeve with pride, but it never gets tedious and is actually refreshing compared to the tired musings of LA, Houston, Detroit and New York that seem to dominate most rappers vocabulary.

Sick.Life’s lyrics prove to be increasingly substantial. There’s definitely more than gangsta posturing here and the combination of the streetwise and philosophical is more often the rule, not the exception. In a lot of ways, Sick.Life’s is the perfect balance – daring enough to bring in new crowds, and conscious enough to appeal to what most mainstream listeners assume hip-hop is.

For those who appreciate a little artistic license in subject matter, the rapping is formidable from all the emcees. The rhymes are never forced, the rhythms sync effortlessly with the crisp production, never lagging behind the beat, and Josh Brown,  Sonny Weston, Lavoe, C.Notes and E$ BFNE don’t merely trade verses, they share them.

They operate in total synergy, a perfect team, and their abilities never flag, from the beginning of the record to the end. Subscribe on YouTube at SickLifeVEVO. Find Sick.Life on all Streaming Services & iTunes. Download the Sick.Life App in the iTunes App Store & Google Play Store.

OFFICIAL LINKS: WEBSITEALBUMFACEBOOKINSTAGRAMTWITTER – Contact Email: Contact@Sick.Life

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Jannie Dee Drops the Official Video for “I’m Ready” featuring FRANCOIS http://jamsphere.com/videos/jannie-dee-drops-the-official-video-for-im-ready-featuring-francois http://jamsphere.com/videos/jannie-dee-drops-the-official-video-for-im-ready-featuring-francois#respond Sun, 21 May 2017 10:12:44 +0000 http://jamsphere.com/?p=28756 From beginning to end, Australian singer-songwriter Jannie Dee packs her latest R&B and Pop blended single, “I’m Ready” featuring FRANCOIS, with sophistication, sex appeal and soul. When it comes to one of the voices in the Down Under underground R&B music that is a force to be reckoned with, Dee is undoubtedly on that list as her […]

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From beginning to end, Australian singer-songwriter Jannie Dee packs her latest R&B and Pop blended single, “I’m Ready” featuring FRANCOIS, with sophistication, sex appeal and soul. When it comes to one of the voices in the Down Under underground R&B music that is a force to be reckoned with, Dee is undoubtedly on that list as her new release is further proof of just that. The track which is from Jannie Dee latest EP of the same name is certainly a song that you will want on your bedroom playlist.

With a new recording under her belt, Jannie Dee is quite feeling herself because she rightfully titled the track, “I’m Ready” and indeed she is. The album opens with the thought that Jannie wants the world to know that her lover has delivered the goods and has satisfied her in every way imaginable, and that she is ready to do the same – “We both know where we’re gonna be tonight, because I’m ready, you’re ready, we’re ready, come on…”

the single cover

The single cover

Jannie Dee takes us back to her roots of the old school R&B sound which she mixes with a synth infested urban pop twist. Speaking to the cyclic nature of love and lust, the arrangements on much of the record cleverly suggest retro flavors while using modern production and sound.

It possesses a swelling synth string section held up by a popping electric bass, and the percussion track and lead vocal style are just contemporary enough to dodge a total retro feel.

When rapper FRANCOIS, jumps onto the track with some smooth bars, he gives the song a strong edgy urban taste. The song’s hook catches you, through both repetition and beauty, as well as melodic invention, and by the time the rap starts you’re right in the groove. The market needs more soul music that pulsates with real feeling.

“I’m Ready” featuring FRANCOIS provides a lasting treat for Jannie Dee fans and reinforces her rep as one of Down Under’s essential independent R&B performers. That enviable sexy atmosphere, galvanizing grasp of melody and engaging approach to the genre all add up to one truth: Jannie Dee, who was born in the Philippines and migrated to Australia in 1992, is becoming notorious in her own right, and yes, she’s ready indeed!

OFFICIAL LINKS: INSTAGRAMFACEBOOKTWITTER

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Interview: Nordic Daughter – more than just a musical project http://jamsphere.com/twentyquestions/interview-nordic-daughter-more-than-just-a-musical-project http://jamsphere.com/twentyquestions/interview-nordic-daughter-more-than-just-a-musical-project#respond Sat, 20 May 2017 14:54:37 +0000 http://jamsphere.com/?p=28751 The husband and wife team Jason and Melissa Lycan make up Nordic Daughter which they consider more than just a musical project, but rather an experience in variety, acceptance, love and logic. The concepts behind the music are meant to build a sense of intimacy with the audience that can only be described as genuine […]

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The husband and wife team Jason and Melissa Lycan make up Nordic Daughter which they consider more than just a musical project, but rather an experience in variety, acceptance, love and logic. The concepts behind the music are meant to build a sense of intimacy with the audience that can only be described as genuine and authentic. The vocal stylings of Melissa Lycan are unique yet classic and the songs she delivers are heart felt and blended.  The project began in 2013 after years of working in the music business the members chose to write the first versions of the songs ready to be produced in the studio. Nordic Daughter will soon be releasing their first EP “Voices of our Past”.

  1. Who is Nordic Daughter and when did the project first start?

Nordic Daughter:  I have always identified with those words; even my LinkedIn and MySpace accounts were labeled this way for the last 12 years.  It’s a part of my identity as a woman of primarily Northern European decent.  Jason Lycan my husband and I have been playing separately for years and began getting serious about writing in 2013.  We have written two albums worth of music so far and look forward to more inspired stories as we record the music and tour the world.

  1. If you were to explain the band’s sound to someone who has never heard Nordic Daughter, which keywords would you use?

Nordic Daughter:  I would like to call it an Alternative folk rock similar to Tori Amos or Sarah McLachlan with very real haunted messages in the beautiful melodies and at the same time the vocals drive hard.

  1. What do you feel essentially separates Nordic Daughter from the thousands of artists trying to make an impact in the internet era?

Nordic Daughter:  Well Jason and I don’t have a love for fame or fortune but we do have a message that must be spread throughout the world, LOVE.  Despite the harsh world around us our integrity and kindness can change a stranger’s life.  We like to think of ourselves as an activist band.  Our first song we released is in fact about how we are abused by the world and in turn we deflect those negative emotions onto others.  The lyric video is out now but the official video contains a PSA about domestic violence and bullying.  I think our constant involvement with non-profit work will set us apart, because we are driven by action not money.  We are happy to play for free for any non-profit organization that aligns with our socially and environmentally progressive yet fiscally conservative beliefs.

  1. Do you, in fact, consider Internet and all the social media as fundamental in building a brand in music today, and what is your personal relationship with the new technology at hand?

Nordic Daughter:  The internet is as fundamental for artists today as a record deal was in the 70’s and 80’s.  It is the key for selling out a 500 person venue in 20 markets.  Every artist needs merchandising, payment processing, online distribution, publishing and rights administration and social media platforms to promote it on.   I received my Bachelors in Music Business from Full Sail University in 2012 and have worked with several artists to grow their fan base since then.  However, there is something to be said for the on the ground promotions and connection with fans.  It is critical to get offline and into your fans faces!  I have an innate understanding of the business having toured with artists like LaRissa Vienna and the Strange and A Memory Down as a tour manager and the importance of the flyer exchange from one hand to another should never be over looked.   These are the key people that will actually show up.

  1. From internet technology to studio technology. What is your relationship with all the studio software and computer-generated music at hand?

Nordic Daughter:  I have recorded commercials at KBPI, I have used Garage Band, Logic, Ableton Live for tracking but the studio prefers ProTools.  I find that because ProTools is digital now, the difference is in the mix and master.  Eventually I do believe only the best studios will remain and it will be because they have stellar promotions to get their artists placed.

  1. In today’s music world filled with samples, beats, loops and all the manipulating software, do you think it is still necessary for kids to learn to play an instrument, and understand the theory of music?

Nordic Daughter:  Yes, I learned to play Piano when I was 7 years old and still do most of my writing on my midi keyboard.  The bonus of learning an instrument is you are not required to license the loop or the beat.  I can write in any instrument from my midi keyboard thanks to technology being able to change the sound to a violin or a cello.  I get the benefits of the technology with none of the legal requirements to share my writing credit.  Theory can be great for learning to play other people’s music but can get in the way of true creative content if structure is too much the focus.

  1. Tell us something about your songwriting processes. Do you lock yourself up in a room and ‘work at it’ or do songs arrive in your head while you’re busy doing something else?

Nordic Daughter: Ha, Ha, Songs have been in my head my whole life.  I think and speak in melodies! Oftentimes people think I am crazy because I am always humming a tune that is running through my head.  I pick up frequencies too, but don’t tell the government! Ha Ha.  When Jason and I write together he will work on a guitar riff for a few days then bring it to me.  We usually work out a little vocal melody over the course of a few moments and then I typically record it so I can go back and write lyrics that fit the timing.  Now, when I write on my own I have started following the same structure but I have been a poet for decades and the lyrics are sometimes hard to put away.

  1. Could you tell us something about the writing, recording and production of your debut single “Fly Away”?

Nordic Daughter:  We wrote this song during a period of separation right around our fourth year of marriage.  We had been in such a dark place in our relationship, both of us blaming the other, stuck in the vicious cycle of frustration with each other.   It was so bad that we had begun to get physical, only to choose to separate before we hurt each other beyond repair.  When we did our own personal reflection the song came out of our reconciliation.  So it’s one of the most transformational songs we have written.  We recorded the song at a studio in Boulder called KMG Life.  It took us two sessions because I acquired a nasty cold before the first session and had to go back in to record.  The second time we chose to bring Ahrue Luster of Illustrious Productions in as a producer.  Ahrue is traditionally a hard rock producer as he is the Guitar Player for Il Nino and formerly Machine Head in the 90’s.  We sat on the song for over a year before we went back into the studio with it and 4 other songs.  He has been a blessing and made the experience very easy.  I found myself taking direction easily and let go of the reigns when it came to the final mixes.  I think Ahrue did a great job on the final song.

  1. Here’s a curved ball question that just came to mind: Both of you have been playing music for many years now, and Nordic Daughter has been going since 2013, if I’m not mistaken. How come the debut single only arrives in 2017?

Nordic Daughter:  I’d say my own doubt had a lot to do with it but I also decided to get my Masters degree during that time and it took more of me than I had anticipated as it usually does.  After I received my Masters we decided it was time to really go for it.

  1. Getting back to the question of being in music for a lifetime. What more than anything else drives you to stay in this sometimes fickle business day after day?

Nordic Daughter:  Without sounding cliché in a practically atheist world, it is the only time when I feel connected with the universe.  I can’t really explain it except to say it is transcendental.  We don’t need much, so making even a modest living is a bonus to the already incredible job.

  1. What aspect of being an independent artist and its processes excites you most, and which discourages you most?

Nordic Daughter:  It is a ton of work to be an independent artist and you must always be moving.  I also love the idea of being able to choose my own tour routes and run my own analytics.  So freedom is the most enticing, the workload is the biggest discouragement.  However with time we can hire someone else to help.

  1. If you could change one thing about how the music industry works, what would that be?

Nordic Daughter:  Good God there are so many!  Just one… I would create an application that takes the guess work out of tracking all revenue streams in one location with complete analytics.  Kobalt on Crack!

  1. How involved are you in managing any of the aspects regarding your musical career (recording, producing, marketing, promotion and touring etc.). Do you outsource any processes or does Nordic Daughter take care of everything?

Nordic Daughter:  We handle everything in house in terms of branding and design but we do pay professionals directly for support with backlinks and connecting with different publications.  We would not be opposed to picking up a solid booking agent for touring in the USA, Canada and Europe as this is a fulltime job and best left to pros so I can market.  I love marketing and have been doing so for 15 years.  Nordic Daughter outsources production to Ahrue and has been scouted by a few other producers for future albums.  Merchandise, we make in house, along with all the songs!  My 16 year old recently co-wrote a song with us along with Grant of Talon Guitar Picks, it is so pop!  https://youtu.be/2U6UTS6N7CM

  1. What is the best piece of advice in this business you received and actually followed? And is there any piece of advice you were given but didn’t follow, and now know for sure that you should have?

Nordic Daughter:  Best piece of advice was to make connections and foster them.  Best advice I received and initially disregarded was insurance.  GET renters insurance for your gear.  Watched one of my bands get robbed while on tour in Dallas and they had recently put off getting insurance.  Get insurance!  It’s a small price to pay for replacement of your life.

  1. At this point, as independent artists, is there any aspect or element you consider exclusive to Major label artists that you desire and feel will undeniably benefit your future?

Nordic Daughter:  I feel that some really good tour dates are only available to signed artists because of the PR that goes along with them.  Performing with larger artists as an independent would be a first and of course it would benefit my career to be tour support on an artist like Lourde’s tour.

  1. Live performances or studio work, which do you feel is your natural habitat?

Nordic Daughter: I enjoy both but I am a natural live, the studio is like a big hollow space with very little energy to feed off of for the performance.  And I really psych myself out with the headphone Monitor, I hold back.

  1. The new technology has completely changed the way the music business works. Do you still purchase physical CD’s and vinyl’s or is it all about downloading digitally for you too? And do you remember the last single, EP or album you actually purchased?

Nordic Daughter:  I don’t buy vinyl anymore but my dad’s collection is immense.  I pick up CD’s mostly to support touring bands on the road.  It allows me to share their music, pass it on and helps them get from point A to point B.  Streaming on Spotify, YouTube or Apple Music are my preferred consumption.  I purchased Chauncey Crandall’s last Album when he was in Colorado.

  1. Could you tell us something more about your “fully Choreographed show”?

Nordic Daughter:  We have an 8×8 backdrop great for festivals and large stages.  3×4 front scrim stage left, with LED lighted cherry trees stage right.  We are adding a low lying fog machine that mimics dry ice next week and have been working on lighting design with a local LD.  It’s a story that takes people on a journey through some deep emotions.

  1. You’re also getting ready to release your upcoming EP “Voices of our Past” soon, and I was just wondering how Nordic Daughter interprets any possible commercial success: is it an option, an opportunity or a necessity?

Nordic Daughter:  The EP is the Launchpad for touring.  Success to us is breaking even on the first tour.  Our purpose is helping others look inside themselves and recognize that healing begins internally not externally.  So many people define success my how many people bought this or that, for us how many people heard it and were moved by it would be a stat worth tracking.  How many times did people play the music?  It depends on whether their souls aligned with it!

  1. How challenging (or easy) is it, balancing a romantic and working relationship, from the bedroom to the dining room and then studio room?

Nordic Daughter:  Hold on let me duck that’s a loaded question.  I don’t know that there is really a division between the dining room and the studio.  Our family is very active so one can blend into the other very easily.  The breaks come when Jason is practicing with his other band Something for Tomorrow, two nights a week and I with the cover band.  We get to perform separately and then come back together with extra creative energy.

OFFICIAL LINKS: WEBSITEFACEBOOKREVERBNATIONSOUNDCLOUD 

 

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Cassie Holt and The Lost Souls: “Curvy Girl” – some soulful thunder http://jamsphere.com/reviews/cassie-holt-lost-souls-curvy-girl-soulful-thunder http://jamsphere.com/reviews/cassie-holt-lost-souls-curvy-girl-soulful-thunder#respond Sat, 20 May 2017 13:26:45 +0000 http://jamsphere.com/?p=28747 These days, it seems anyone can make an R&B record. However, recording a soul track takes that special intangible element that not all have. Cassie of Cassie Holt and The Lost Souls, offers cadences that move in an affable manner as she declares her sense of self-worth on her latest single release, “Curvy Girl” which […]

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These days, it seems anyone can make an R&B record. However, recording a soul track takes that special intangible element that not all have. Cassie of Cassie Holt and The Lost Souls, offers cadences that move in an affable manner as she declares her sense of self-worth on her latest single release, “Curvy Girl” which tackles the theme of body positivity. She never rushes the pace. She intones in different ways to let the song build in complexity. Think of it as the aural equivalent of a Lego set. One can use the simple bricks in different styles and colors to make something that stands out as special. And singer-songwriter Holt’s voice, always her greatest asset, is in fine form here. She never sounds like she has to reach for a note, which can be deceptive. Just try singing along and you will see how big a range she has.

Cassie Holt

Cassie Holt

Cassie Holt and The Lost Souls have the goods to make a strong statement. Something they have always done in the past, by treating issues like domestic violence and alcoholism. On “Curvy Girl”,  Cassie Holt holds it all together with confident, measured vocals and jumps right into the musical fray the producer her backing band, The Lost Souls,  has set up for her, singing her own lyrics like she truly means it.

The track has the sound of an artist who is ready to go places, not of one coming from somewhere or standing still. And that’s a good sound to hear in the hands of one so obviously gifted in music and song.

Perhaps the best thing about this latest track, is that nothing is radically different from what came before, but what is different is just enough to crack open the door sufficiently enough to catch a glimpse of an artist truly ready to go down a road that doesn’t stop with the next round of bubble headed pop stars or self-proclaimed R&B diva’s.

Cassie’s heart-squeezing, steel-cutting vocals, command attention whether they are set against a smooth stripped backdrop or some soulful thunder, deliver by The Lost Souls.

Cassie Holt sounds fully in charge, engaged, and most of all like the sexy curvy woman she is, rather than the skinny vocal stylist that body-bashing friends, fashion magazines, and TV commercials unrealistically portray how women (and to a lesser extent, men) should be.

Holt has the spirit, soul, and true grit of an artist (and a fully grown woman) able to lead rather than follow. And if “Curvy Girl” and her soulful, impeccable vocal work is any indication of what is still to come from Cassie Holt and The Lost Souls, it’s a lead I’ll be happy to follow for many years to come.

OFFICIAL LINKS: WEBSITETWITTERINSTAGRAM

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Bloomer: “Good Morning, It’s Breakfast Time” – creative indie rock at its finest http://jamsphere.com/reviews/bloomer-good-morning-breakfast-time-creative-indie-rock-finest http://jamsphere.com/reviews/bloomer-good-morning-breakfast-time-creative-indie-rock-finest#respond Fri, 19 May 2017 17:53:57 +0000 http://jamsphere.com/?p=28741 Bloomer is a rock band from Baltimore, MD created by musical partners Luke Boardman and Matt Zorzi. The band’s sound emerges from a mix of 70’s & 90’s Rock, Soul and American Roots Music. “Good Morning, It’s Breakfast Time” is contemporary indie rock at its finest. The music is sprawling and psychedelic. The mood can […]

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Bloomer is a rock band from Baltimore, MD created by musical partners Luke Boardman and Matt Zorzi. The band’s sound emerges from a mix of 70’s & 90’s Rock, Soul and American Roots Music. “Good Morning, It’s Breakfast Time” is contemporary indie rock at its finest. The music is sprawling and psychedelic. The mood can range from rocking to mellow. Bloomer is a band that has great song writing abilities and expressive improvisational abilities. Depending on the given song, the band moves effortlessly between straight rock and psychedelic infused jam-band grooves. This 4 track EP showcases both the band’s alt-rock sound and their improvisational excursions. However, they never confuse improvisation with musical masturbation.

“Good Morning, It’s Breakfast Time” is wonderfully accessible thanks to its relatable sense of communal fun, as well as the band’s own self-awareness. It is clear from the opening track, “Don’t Wait for Lightning” that the band is genuinely enjoying themselves as they create a sense of togetherness. Among tones that reflect sunlight as brightly as you might expect directly after a storm, the EP journeys confidently through melodic ideas as each band member is allowed to shine.

Together, they create a landscape in which the world is washed away by sunlight as well as a varied downpour of musical ideas filled with a lot of different melodies, musical subtleties, and sounds. The second three minutes of the EP comes in the form of “Distracter”, which gets keeps set going on a smooth note, with its laid-back rhythms, motifs, and refrains; one minute it is eerie and almost retro, the next minute laden with rejuvenating guitar and bass lines. The song rides a lush moderate, comfortable beat and melody backed by rich harmonies.

I’d say that “Next Time” is the best song on the EP, and a great overall Bloomer song. It is extremely catchy and great instrumentally, and lyrically. The guitar playing and the drumming are done extraordinarily well. The vocals and harmonies also shine brighter here than anywhere else on this recording.

To put it bluntly, this is a song I can’t get enough of, and will listen to endlessly. Some may compare Bloomer to the legendary Grateful Dead. Though they do not particularly sound like The Dead, they do combine some of the same elements. And all of them are evident on this song.

“Coral” brings all the jam-band qualities of Bloomer to the table. This instrumental is unlike any song on this album, but it’s still great. It’s opening guitar-driven bars seem to be influenced by African rhythms before the track switches into an almost 70’s rock fusion flavor.

This is a live track so it allows itself to meander through various stylistic colors. It’s is a maze of intricate guitar arpeggios and gorgeous piano-tinged high-energy instrumental passages that will no doubt soar in amphitheaters.

Outside of this ambitious closing piece, “Good Morning, It’s Breakfast Time” is relatively less musically adventurous, and the simpler song-craft used on the other tracks seems purposeful, in the way it provides a clearer glimpse inside the heads of its writers and performers.

In the sense that too many flurries of notes, hypnotic grooves and exploratory improvisations can often mask deeper meaning for the average listener. This group-think ethos avoids the title of ‘weird’ and embraces the one of ‘eclectic’, which artistically has significantly more attractive connotations, perfectly suited to what Bloomer has to offer musically.

OFFICIAL LINKS: WEBSITEFACEBOOKINSTAGRAMSOUNDCLOUDYOUTUBEBANDCAMP

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Roger Cole: “Final Curtain” – crafting music way beyond the masses http://jamsphere.com/newreleases/roger-cole-final-curtain-crafting-music-way-beyond-the-masses http://jamsphere.com/newreleases/roger-cole-final-curtain-crafting-music-way-beyond-the-masses#respond Fri, 19 May 2017 13:54:25 +0000 http://jamsphere.com/?p=28735 Roger Cole is anything but predictable. Other than the fact that excellence flows in abundance from his river of musical and artistic expression, his music (usually together with his partner in crime Paul Barrere) is always engaging on an emotional level. Here on his solo effort, the single, “Final Curtain”, Cole is not content to […]

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Roger Cole is anything but predictable. Other than the fact that excellence flows in abundance from his river of musical and artistic expression, his music (usually together with his partner in crime Paul Barrere) is always engaging on an emotional level. Here on his solo effort, the single, “Final Curtain”, Cole is not content to repeat himself, nor is he afraid to confront difficult subjects or at least ideas that many artists don’t frequent.

This time around there is this ongoing tug-of-war between moving on and living in the past. The time when someone needs to say no, and the other won’t let go.  Lyrically the last few releases from Roger and Paul have been brilliant, cutting and insightful. This one by Roger Cole is no exception in that regard.

Just listen to the wit and wisdom in the words: “The look that you see in my eyes / Someone you don’t recognize, a stranger / The sarcasm within the smiles / Has worn thin from endless miles / There’s anger.” In part the song directly points to the obsession of the fakers living within a false reality instead of accepting what’s really right there in front of them and ceasing to pretend.  And not surprisingly for those familiar with Roger Cole, he delivers this stuff with his usual emotive smoothness.

Musically this track represents yet another progression for Roger, who again plays all the instruments – except the drums which has been handled by Joe Travers – as well as produced, engineered and mastered it.

The grittiness is there, the guitars and bass take a lead role and there is strong taste of progressive rock influences here, which may be the way it differs the most from some of the previous works. I think it is fair to say that as you listen to this Roger’s voice comes to the forefront of the musical landscape.

And while this isn’t as acrobatic as some prog-rock stuff, from an instrumental standpoint, the drums, bass and guitars are essential in driving the music and keeping it at boiling point.

In the end I think fans will find much to chew on here – Roger Cole is crafting music way beyond the masses. This is wonderful sonic art. Roger, on his own, or as the duo Roger Cole and Paul Barrere, remains one of the most consistent, insightful and emotive independent rock acts on this planet. After spinning this single a couple of handfuls of times, it just keeps getting better and better!

OFFICIAL LINKS: BETTER DAZE MUSIC – ITUNES – AMAZON – FACEBOOK – TWITTER –SOUNDCLOUD – YOUTUBE

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