JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Mon, 18 Feb 2019 01:48:40 +0000 en-US hourly 1 New Release from Terror Records, Inc – “It’s My Birthday” by Da General http://jamsphere.com/newreleases/new-release-from-terror-records-inc-its-my-birthday-by-da-general http://jamsphere.com/newreleases/new-release-from-terror-records-inc-its-my-birthday-by-da-general#respond Mon, 18 Feb 2019 01:48:40 +0000 http://jamsphere.com/?p=34445 Da General’s latest single – “It’s My Birthday” hit the stores, and YouTube, on January 23 and if you haven’t heard it yet – you are missing out! This club ready birthday anthem is the follow up to his singles “What If” and “Checklist” and is sure to have the ladies twerking, and the fellas […]

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Da General’s latest single – “It’s My Birthday” hit the stores, and YouTube, on January 23 and if you haven’t heard it yet – you are missing out!

This club ready birthday anthem is the follow up to his singles “What If” and “Checklist” and is sure to have the ladies twerking, and the fellas telling the dj to turn it up.

Follow him on FB: https://www.facebook.com/DaGeneral7414

Twitter: https://twitter.com/DaGeneral7414

Instagram: https://www.instagram.com/da_general7414/

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Sydney-Based DJ Vareso Releases “Learn To Love” EP http://jamsphere.com/newreleases/sydney-based-dj-vareso-releases-learn-to-love-ep http://jamsphere.com/newreleases/sydney-based-dj-vareso-releases-learn-to-love-ep#respond Sat, 16 Feb 2019 18:25:43 +0000 http://jamsphere.com/?p=34442 Vareso is a Sydney based DJ with a dream of sharing his love for electronic music from a very young age. Starting his career off in small night clubs around Sydney in 2012 Vareso has played all around the country supporting world class acts. With his release of his latest album “Learn To Love” it […]

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Vareso is a Sydney based DJ with a dream of sharing his love for electronic music from a very young age. Starting his career off in small night clubs around Sydney in 2012 Vareso has played all around the country supporting world class acts. With his release of his latest album “Learn To Love” it is now time to take it to the next level!

Follow Vareso:
Spotify: https://open.spotify.com/artist/4eDBQ5X2VYYYb1IlAaGT5l?si=f7fKYTz9RbKwfA6aJPi1kw
SoundCloud: https://soundcloud.com/varesoofficial
YouTube: https://www.youtube.com/channel/UCHUX1gcnnxQRUZCdHJlyyRA
Facebook: https://www.facebook.com/varesoofficial
Instagram: https://www.instagram.com/dj_vareso/?hl=en
Twitter: https://twitter.com/Varesoofficial
Snapchat: varesoofficial

Promoted via Club Restricted Promo
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Yung Wavii: “Come Over Feat. Tai Smoove” – A Natural Chemistry! http://jamsphere.com/reviews/yung-wavii-come-over-feat-tai-smoove-a-natural-chemistry http://jamsphere.com/reviews/yung-wavii-come-over-feat-tai-smoove-a-natural-chemistry#respond Fri, 15 Feb 2019 15:18:53 +0000 http://jamsphere.com/?p=34438 New York based Nocturnal Seven Entertainment has a rich history of working with an array of artists in the R&B, Hip Hop, Reggaeton, and Freestyle genres. Since the late 90s their work as an established management company has led to partnerships with big names in music including Supreme, a Producer from Wu Tang and Positive […]

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New York based Nocturnal Seven Entertainment has a rich history of working with an array of artists in the R&B, Hip Hop, Reggaeton, and Freestyle genres. Since the late 90s their work as an established management company has led to partnerships with big names in music including Supreme, a Producer from Wu Tang and Positive K, Grand Puba, Will Traxx, DJ Red Alert among many others. The company is proud to announce its new wave of talent, including thrilling new artist Yung Wavii. Wavii is a charismatic rapper whose lyrics get to the point quickly. He is a rapper that relies on determination and inspiration. To listen to him is to hear somebody who is trying to reach out to you. He’s talking to the listener more than the average emcee is. His desire is for us to follow to understand his story, and reflect on his message. Wavii’s best attribute is his voice. He has a twist in his voice that he uses to his advantage.

From the moment the single, “Come Over Feat. Tai Smoove” opens, a sense of epic importance resonates from the music. Yung Wavii’s delivery has never been frail, but the booming bark of his declarations feel more astounding on this project. The instrumental soulfully creeps along while the kick drum rattles anything not nailed down.

Tai Smooth brings in the traditional R&B chorus, before Wavii jumps on in. Their chemistry is natural and the deliveries are refined. The smooth record is more than just a gorgeous musical composition, it has a sensual romantic story behind it as well. Wavii’s rhymes are designed to string out little observations until they form a big idea.

“Come Over Feat. Tai Smoove” toes the line between classic and contemporary hip-hop, as Yung Wavii shows off his ability to make the sinful seem noble. The level of craftsmanship exhibited by Wavii is also astonishing.

The crystalline delivery, the professional wordplay, the polished vocabulary sprinkled with tasteful nuances; his bars on the track left such an impression on me I started the song over right after it ended. What makes the track such an outstanding project overall is how easily you personally connect with the story and the music.

Truth is, when “Come Over” opens with its beautiful melody, powered by the sultry vocals of Tai Smoove, you’ll already be hooked. And when the story starts to open with Yung Wavii’s narrative, a sense of tenacious command occurs which keeps you glued to the storyline.

As the moments build from verse to verse moving deeper into the story, you can see the growth in Wavii’s flow and delivery. He controls the vocal strength of his delivery, not losing focus and grabbing the listener’s attention bar-for-bar. “Come Over Feat. Tai Smoove” doesn’t contain a single dull moment and holds the listener accountable to embrace its sensuous moments.

This will without a doubt be bumping for some time to come, especially as a soundtrack for those late night bedroom jams.

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTERINSTAGRAMLINKEDINSOUNDCLOUD

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Tuscan Rockers THE BUGZ Set The City Of Pisa On Fire! http://jamsphere.com/news/tuscan-rockers-the-bugz-set-the-city-of-pisa-on-fire http://jamsphere.com/news/tuscan-rockers-the-bugz-set-the-city-of-pisa-on-fire#respond Thu, 14 Feb 2019 21:36:47 +0000 http://jamsphere.com/?p=34432 The Bugz are back. After four years of inactivity here is the event that everyone was waiting for. The Tuscan Rockers set fire to the show of the return of The Bugz. Is storming the Café Albatross concert hall. One hour of pure rock and roll and massive punk exalt the large audience. The Bugz […]

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The Bugz are back. After four years of inactivity here is the event that everyone was waiting for. The Tuscan Rockers set fire to the show of the return of The Bugz. Is storming the Café Albatross concert hall. One hour of pure rock and roll and massive punk exalt the large audience. The Bugz are in shape, they sound better than before.

They thumped strong without compromise. Everything is magical, fantastic, Rock and Roll. The public remains glued throughout the concert under the stage to praise their heroes. The Bugz confirm themselves as one of the best realities of Tuscan underground music.

Their energy and groove are a trademark that continues to make the difference. The concert location is also excellent. Café Albatross is confirmed as the best club to listen to quality live music in the city of Pisa.

OFFICIAL LINKS: SPOTIFYFACEBOOK

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Bizeeee: “Looking For It” – a dizzying sonic template! http://jamsphere.com/reviews/bizeeee-looking-for-it-a-dizzying-sonic-template http://jamsphere.com/reviews/bizeeee-looking-for-it-a-dizzying-sonic-template#respond Thu, 14 Feb 2019 12:51:46 +0000 http://jamsphere.com/?p=34426 What separates #Bizeeee aka #4ez from many of today’s rappers, is his indestructible delivery. Every verse no matter what he is rapping, he relentlessly pound his rhymes into your head mercilessly, with bone crushing stanzas and a ruthless attitude. Every word spoken shows an aggressive mood and seemingly cannot be stopped by anything. With this intensity also […]

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What separates #Bizeeee aka #4ez from many of today’s rappers, is his indestructible delivery. Every verse no matter what he is rapping, he relentlessly pound his rhymes into your head mercilessly, with bone crushing stanzas and a ruthless attitude. Every word spoken shows an aggressive mood and seemingly cannot be stopped by anything. With this intensity also comes a very dramatic and cinematic driven production. This intense style is especially shown 4ez’s latest single, “Looking For It”. This song is driven by a rhythmic drumbeat, hissing hi-hats, and harmonized by futuristic and spacey keys. This is a chance for 4ez to step back into the norm and turn up the volume on his aggressiveness.

On “Looking For It”, 4ez achieves the perfect blend of manic indecipherable rapping filled to brim with deep figurative language, a brilliantly-crafted story and an out-of-this-world scenario that extends from the deepest cracks of the human psyche. All of this is displayed over a consistently fiery beat.

The dizzying sonic template of gritty drum shots, and head-bobbing drum basslines, evoke the darkest images from the twisted corners of your mind. Every detail, significant or insignificant, is mentioned with neurotic accuracy all while being fueled by a ridiculously smooth and aggressive flow.

I wish I could cite those lyrics to illustrate the brilliance of story-telling involved but it would only be comprehensible if I posted the song in its entirety. Needless to say, 4ez delivers a mesmerizing barrage of adrenaline-soaked verses and battle-rhyme-styled aggression.

4ez’s relentless energy pushes him to pack as much imagery into his rhymes, but not overtly-saturating them, to the point that they become mindless battle-rap brags. At times it feels like #4ez can turn his schizoid rhymes to almost any topic, such is the breezy confidence with which he approaches this recording.

The solid production, vivid lyrics and excelling mood, makes “Looking For It” another great addition to the 4ez collection. If hip-hop can paradoxically be praised for anything, it would be its seemingly limitless potential for progression and reinvention, and there are still a handful of rappers who not only understand that, but also understand that it can certainly help shape the genre as well. #Bizeeee aka #4ez is one of those rappers.

MORE ABOUT: Born Bougain Littlejohn, in Blowing Rock, North Carolina, Bizeeee aka 4ez, was raised by a single mother in Central Virginia after his parents split. She was in and out of jobs, hustling to make ends meet, while Bizeeee left home early, turning to the crime-infested Virginia neighborhoods, which led to the usual downward spiral of courts, institutions and incarceration.

He started experimenting with rhymes at 12, and got published in local poetry books and magazines. However he didn’t start rapping until he was 22. Eventually he would find solace in creating art – writing, spray graffiti, photography, and of course music.

OFFICIAL LINKS: TWITTER – INSTAGRAM – FACEBOOK – GOOGLE – SOUNDCLOUD – ITUNES – SPOTIFY – STREAMS

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INTERVIEW: Rob Sky Brings His Kaleidoscope Pop http://jamsphere.com/twentyquestions/interview-rob-sky-brings-his-kaleidoscope-pop http://jamsphere.com/twentyquestions/interview-rob-sky-brings-his-kaleidoscope-pop#respond Wed, 13 Feb 2019 20:31:21 +0000 http://jamsphere.com/?p=34421 Rob Sky first appeared on the NYC music scene with his debut single, “Beautiful”, in 2007. His debut album, Right Now, was released in 2010 and followed with a tour in the UK. Rob has performed on stage with MJK, Blu Cantrell, and Monique. In 2017, he released TEN, an anniversary album that included previous […]

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Rob Sky first appeared on the NYC music scene with his debut single, “Beautiful”, in 2007. His debut album, Right Now, was released in 2010 and followed with a tour in the UK. Rob has performed on stage with MJK, Blu Cantrell, and Monique. In 2017, he released TEN, an anniversary album that included previous unreleased tracks from the recording sessions of his debut album. After an 8 year hiatus, he returned to the studio and began recording again, releasing a few singles before finally completing his latest album, “What’s Left of Me”. Rob is already back in the studio, working on the follow up.

  1. How long have you been in the music business and how did you get started in the first place?

Rob Sky: I’ve been singing forever. I was a musical theatre kid in middle school through college. So that’s where my love of singing comes from. My way of dealing with emotional experiences (good and bad) is just to write them down and get it out so it’s not bottled up inside anymore. I got signed to my label in 2006 and have been with them ever since.

  1. Who was the first album you remember buying or listening to?

Rob Sky: First album I ever bought was Paula Abdul, Forever Your Girl. I STILL have the cassette! She was also the first concert I ever went to!

  1. Which artists are you currently listening to, or would like to work with?

Rob Sky: I’m listening to H.E.R. a lot. I really hope she wins the Grammy for Best New Artist. And Teyana Taylor’s new album KTSE is on repeat!

  1. What do you feel are the key elements people should be getting out of your music?

Rob Sky: An emotional release. I want to help people through the breakup, or express their feelings of love, with my music.

  1. What do you think separates you from the crowd of artists emerging right now?

Rob Sky: My songs are deeply personal and relatable. A lot of music today is nonsensical. I like to tell a story with my songs.

  1. Do you currently have a preferred song in your catalog, and if so, why is it special to you?

Rob Sky:  Hmm. That would definitely be “I Fucking Hate You” off my latest album. I had just caught my ex cheating on me through Facebook. I was looking at tagged photos of a mutual friend’s party, and there in the background of one photo, they were making out with someone else. So I was on a breakup song binge, but nothing came close enough to how angry I was. Kelly Clarkson’s “Since U Been Gone” was on repeat, which inspired this song- you can definitely hear it in the opening guitar intro and the big anthem chorus.

  1. Are your lyrics predominantly based on real events and personal experiences, or are they drawn from your creative storytelling skills?

Rob Sky: Everything I write has happened HAHA. The good and the bad. I don’t know any other way to write.

  1. What would you consider a successful, proud or high point in your career so far?

Rob Sky: My latest album, “What’s Left of Me,” hit 10,000 streams in the first 8 hours of release. I woke up the next morning and I was pretty blown away. I never expected it to take off the way it did.

  1. What has been the most difficult thing you’ve had to endure in your music so far?

Rob Sky: Getting back into the groove of recording after such a long hiatus. It was definitely a process, but once I got back into the groove, it was easy.

Rob Sky

  1. What key ingredients do you always try and infuse into your songs, regardless of style or tempo?

Rob Sky:  Piano! I think every single track I’ve ever made has a piano on it.

  1. Do you produce the beats and write the lyrics on your songs or do you collaborate with outside sources in any of these endeavors?

Rob Sky: I write the majority of my lyrics on my own. Sometimes I’ll collab with another writer, but that’s rare. Beats on the other hand, I suck at HAHA. I’ll have an idea for a beat, then it’s just a matter of conveying that idea to the producer I’m working with.

  1. How did the performance with Blu Cantrell come about, and what did you take away from those experiences?

Rob Sky: Someone I was dating at the time worked for Billboard, and they were getting ready to open up a new club in South Beach. Blu Cantrell was headlining, and they wanted to give upcoming acts a chance to open for her. They submitted my name and after an audition, I was told I’d be opening for her. It was my first time in front of a live audience. I will never forget that night!

  1. Which aspect of the music making process excites you most and which aspect discourages you most?

Rob Sky: The most exciting thing is seeing people react to your music or DM you that a breakup song you wrote helped them through a rough time. The hardest part is definitely forming a cohesive body of work sometime. I can be so all over the place with ideas for an album, that culling them down to a single theme can be a pain in the ass.

  1. If you had the opportunity to change one thing about how the music business works right now, what would that be?

Rob Sky: Enough of these mumbling rappers. I really don’t understand that genre at all. I’ll take Eminem, Jay Z, or Drake over them ANY day.

  1. If someone has never heard your music, which keywords would you personally use to describe your overall sound and style?

Rob Sky: I have the perfect answer to this! HAHA. One recent review of the album described it as “kaleidoscopic pop.” And I thought that was the coolest thing ever. It perfectly described my style. It’s pure pop, but all these different layers and textures come into play depending on the song.

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

Rob Sky: 100% fundamental. There is no way around it. I love Spotify’s artist platform, because it gives you SO much insight into your audience.

  1. Could you tell us something about your latest release “What’s Left of Me” and your collaboration with Producer Michael Jay (Eminem, Celine Dion, Mandy Moore, Paula Abdul, Jane Zhang)?

Rob Sky: I know artists say this all the time, but this really is my most personal album to date. Every song comes from a specific experience in my life. Working with Michael Jay was a dream come true. He’s worked with so many iconic singers that it really was surreal.

  1. Do you prefer working and creating in a studio environment, or performing live in front of an audience?

Rob Sky: This is weird but I prefer the studio. The rush of performing live is great, but the studio is where the real magic happens.

  1. Do you have a specific musical milestone set for the near future, and what can fans expect from you in 2019?

Rob Sky: I’m already working on a follow up to this album. I originally wanted to make an album of covers, but as I recorded the sessions morphed into something else. So now that this album is out in the world, I’m revisiting the idea.

Discography: Beautiful (2007), Right Now (2010), Take What You Got (2015), TEN (2017), Already Home (2018), Cinderella (2018), Wait For You (2018), Strangers (2019), Ignore Me (2019), What’s Left of Me (2019).

OFFICIAL LINKS: WEBSITESPOTIFYAPPLE MUSICSOCIAL SITES

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Love Stallion: ‘Unforgettable Ride’ – a thunderous wall of sound! http://jamsphere.com/reviews/love-stallion-unforgettable-ride-a-thunderous-wall-of-sound http://jamsphere.com/reviews/love-stallion-unforgettable-ride-a-thunderous-wall-of-sound#respond Wed, 13 Feb 2019 14:01:32 +0000 http://jamsphere.com/?p=34415 In the seventies, British Glam rock (or Glitter rock in the USA), and subsequently Hair metal, added a splash of color and sparked a different kind of cultural evolution – thrilling music, the spectacle of identity, dressed up in spectacular costume, and a frizzle of provocative sexual tension. Unlike their predecessors, glam rockers, didn’t want […]

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In the seventies, British Glam rock (or Glitter rock in the USA), and subsequently Hair metal, added a splash of color and sparked a different kind of cultural evolution – thrilling music, the spectacle of identity, dressed up in spectacular costume, and a frizzle of provocative sexual tension. Unlike their predecessors, glam rockers, didn’t want to change the world; they wanted to escape it, creating an out-there performance-art theatricality. Glam rock’s brief imperial phase at the start of the 70s may have passed quickly, like all of the best popular music movements do, but those flamboyant rock funambulists had left an imprint on the imagination of future generations of musicians. Just ask current Glam rockers, Love Stallion.

Love Stallion began as an experiment; a spur of the moment co-write of the song “Big Rock Radio” by Aaron Hart & Crayton Huntly (aka Rob McLemore) outside a concert hall in the fall of 2013.  Inspired by the “big rock” sound of the 70s & 80s, the duo enlisted the help of industry pros Dr Scott Martin & Kate Emerich, “Aaron Hart w/ Crayton Huntly” played their first show May 1st, 2015 at The Walnut Room Denver.

With the addition of Aero X (aka Aero Marquez) joining on bass, the band became recognized for their high energy live performance, as well as flamboyant wardrobes of sequins, spandex and leather. Love Stallion’s ‘Unforgettable Ride’ album was produced by Steve Avedis (Tony Bennett,*NSYNC) at Colorado Sound Studios and was released on June 2nd 2018.

‘Unforgettable Ride’ is so full of great hooks, great riffs, great tunes, great melodies, it is absolutely a joy to listen to. While this album is chock full of rockers, not to be overlooked, is the gripping heart-felt ballad “Valentine”. These dudes have obviously studied their craft, spent the required time on their instruments and then some. Pop it in, turn it up, press to play, and enjoy. It’s really that simple.

Opening with “Slow Release”, which struts in on a chugging head-banging beat, Love Stallion unleash their rock prowess – from vocals to instrumentation. Confirming that they are no parody or caricature, but the real rocking thing for the new ages.

The cowbell drives the intro of “Ignite the Night” as Love Stallion pump up the volume and turn on the harmonic heat with driving basslines and strident vocals. This is the freshest, most original and most fun rock band in years if not decades. Great guitar work and a pounding rhythm section push “Big Rock Radio” to the fore, once again forging a powerful melody and huge harmonies.

“Lazy Summer Dream” brings a moment of respite, before the song explodes into a thunderous wall of sound, and then goes full circle again. The riff heavy “Hide Me Away” is a perfect showcase for the intense, high register vocals and tuneful lead guitar solo.

“Tinker Toys” shows off plenty of chunky riffs, repeatable lyrics and choruses hewn from the very bedrock of the Earth’s largest mountains, before introducing the mid-tempo ballad, “Valentine”.

Slyly, Love Stallion leave the best for last, so you go away from the album infused with blood-pumping Adrenalin. “High Time” and “Trans Am” deliver high energy rock of a classic caliber, overflowing with all the goodies necessary to give any rock n’ roll fan a back-to-back sensation of explosive eargasms.

OFFICIAL LINKS: WEBSITEFACEBOOKTWITTERYOUTUBE

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INTERVIEW: Katie Garibaldi has proven to be an artist with staying power http://jamsphere.com/twentyquestions/interview-katie-garibaldi-has-proven-to-be-an-artist-with-staying-power http://jamsphere.com/twentyquestions/interview-katie-garibaldi-has-proven-to-be-an-artist-with-staying-power#comments Tue, 12 Feb 2019 17:56:27 +0000 http://jamsphere.com/?p=34413 This gives her a dreamy and soulful musical sound drenched in sparkling memorable melodies. The prolific songwriter hailing from San Francisco, CA, continues to stretch the boundaries of any genre walls with her releases. Garibaldi has won an impressive 50 awards for her hit music video “Delightful,” standout song off her EP release Rooted Clarity, […]

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This gives her a dreamy and soulful musical sound drenched in sparkling memorable melodies. The prolific songwriter hailing from San Francisco, CA, continues to stretch the boundaries of any genre walls with her releases. Garibaldi has won an impressive 50 awards for her hit music video “Delightful,” standout song off her EP release Rooted Clarity, and currently her videos “Unhappy Holiday” and “Star in the East” (a claymation take on the biblical Magi traveling to visit Jesus after his birth) are screening at film festivals internationally. An endorsed artist of Breedlove Guitars and a creative who has continued to release a consistent stream of original new content fueled by positive messages, the ever-evolving Katie Garibaldi has proven to be an artist with staying power.

  1. How long have you been performing and recording, and when did you first realize that’s what you wanted to do?

Katie Garibaldi: I started performing and recording when I was in high school, so I’ve been doing it for roughly 18 years. But I started songwriting before that, around 11 years old. I fell in love with writing songs and it was really natural for me once I picked up the guitar. Performing outside of my bedroom and recording the songs, took a little more time for me to work up the nerve to do. But once I did, I was spellbound by all aspects of music and being an artist.

  1. If someone has never heard your music, which keywords would you personally use to describe your overall sound and style?

Katie Garibaldi: One keyword would be Rootsy because the organic resonance of an acoustic guitar is so key to my sound. I also love incorporating other stringed instruments in my recordings. And I have a storytelling style to my songwriting, which is reflective of country and folk roots. Another keyword is Soulful since I tend to sing behind the beat to drive the soulfulness of the song, sometimes stepping into gospel territory (especially for my more spiritual-themed songs).

  1. If any, who were your first musical influences, and which current artists do you listen to or respect for their artistic endeavors?

Katie Garibaldi: I listened to a lot of old-school pop and rock when I was young because that’s what my parents had on in the house, artists like the Beatles, the Beach Boys, and Elvis. Before I learned the guitar, I loved listening to country singers and also pop singers like Mariah Carey. When I learned guitar, I discovered Jewel and also learned a lot of traditional folk songs. I think those influences blended into my taste of soulful syncopation, love of ballads, and honesty in storytelling through the art of the song. A current artist I’m listening to a lot right now is Christian artist Lauren Daigle. I love how she breaks genre boundaries.

  1. Do you remember the first piece of musical equipment that you actually purchased? And which is the one piece of hardware or software you’re still looking to add to your setup now?

Katie Garibaldi: My parents bought me my first guitar when I was a kid, so maybe my first purchase was a guitar capo. I remember I brought a Jewel song in to my guitar teacher (which I often did for him to teach me in the place of the lesson’s homework I was supposed to do!) and I was so frustrated because I told him, “I know Jewel is playing these chord shapes but it doesn’t sound right when I do it. I found the shapes but the guitar must be tuned differently.” He told me the chord shapes were indeed correct, but it wasn’t the tuning; she was using a capo. Everything changed for me as a songwriter at that point. Long live the capo! For more equipment based gear, my biggest first purchase that made a difference for my sound was the Fishman Artist Loudbox, which I love and still use. Currently, I would actually really like to learn how to use a simple recording setup to make rough demos, such as GarageBand. I normally just record my solo performance of a song on a voice recorder to send to studio musicians, writing out what I want. But I would love to be able to learn a software program to actually have something tangible to show musicians to better help me communicate my sonic vision.

  1. Where do you do most of your recording and production work? And do you outsource any or all of these processes?

Katie Garibaldi: I generally spend a good amount of time doing pre-production before I even go into the studio. That way, I know the vision for each song—what instruments I want on it, what sounds on other records reflect what I want, what the overall goal is for the vibe. I have recorded in several different studios in both the San Francisco Bay Area (where I’m based) and in Nashville (where I visit a lot). I definitely let the engineer do his or her job for the technical side of things, but I have grown to love producing more and more.

  1. Studio work and music creation, or performing and interacting with a live audience, which do you prefer?

Katie Garibaldi: If you had asked me this any time before a couple years ago, I wouldn’t hesitate and I’d say live audience, hands down. Now, I’ve become less intimidated by the studio setting and actually quite enjoy it. My confidence has come from experience and I’ve learned that the tribe you have in the studio creates the vibe, which will directly affect the product you produce. So I’m more careful about who I invite into that personal space now. Performing with a live audience is incomparable, but when the formula is right in the studio, it can be an equally transcending experience.

  1. Which one of your latest original songs gets your emotion and adrenalin pumping the most? Does it have a back story?

Katie Garibaldi: The first song that comes to mind is my song “Wonderful Mother Mary,” which is off my latest album Home Sweet Christmas and I just released a music video for. The back story is I actually had a dream where the Virgin Mary appeared with her hands raised up in praise. It affected me so much because I felt like she was reminding me of my ability to have faith. The song came to me shortly after that dream. “Wonderful Mother Mary” is about her journey of faith and the importance to keep on keeping on, no matter what. At my album release show, I cried in the middle of singing it because I was overwhelmed with emotion. It’s still a difficult one to sing live without getting emotional. I hope people can be inspired by the message because I know it’s important.

  1. Is there a particular song in your catalog on which you feel you’ve delivered your most perfect performance, technically and emotionally? And is there maybe one song that you keep thinking you should have done differently in some way?

Katie Garibaldi: Nothing is ever perfect, yet everything is perfect. Meaning, everything is the way it is meant to turn out because a song is a snapshot of that particular moment and what I was going through, so how can it ever be wrong? And how can it ever be perfect? A song is like a moment in life to me, so there are things you look back on in your life and start to think, ‘That wasn’t the best. I wish I did that differently.’ But then upon reflection you might think, ‘No that made me who I am, so I’m actually proud of that and wouldn’t change it for the world.’ I would say one of my most recent songs I’m particularly proud of for both the emotional and technical performance is “Safe and Warm (Lullaby for Jesus).” For as long as I can remember I wanted to write and record a true gospel-drenched song with a choir. I knew this was the song to record in that style, but it’s also very true to my roots production wise. Sometimes it’s hard for me to capture the emotion of a song on “tape,” but I really think “Safe and Warm” was successful in doing that.

  1. Could you describe your creative process? What do you usually start with – lyrics or music – and how do you go about shaping these ideas into a song?

Katie Garibaldi: I play by no rules when it comes to songwriting. A song can come about in any old way. However, I used to be much more prone to playing guitar first and coming up with chords and the music part first and then letting the music dictate the lyrics, which I still do a lot. But for my last album, Home Sweet Christmas, I often came up with the lyrics and melody first and then would have to find the chords on the guitar to match what was in my head. Either way, I try not to force the creation and let it come when I’m inspired. The key is to jump on that inspiration when it hits. If I wait, it will be too late and the idea will be gone. So that means pulling over in the car, running out of the shower, and telling someone to “hold on” in the middle of a conversation so I can go record something on my phone so I won’t forget (all things which I have done!).

  1. What were your main compositional, performance and production challenges in the beginning of your career and how have they changed or evolved over time

Katie Garibaldi: Compositionally, when I was a young kid my songs tended to be very long, like between 5 and 8 minutes sometimes. Over time, they’ve gotten more compact and easier for the listener to digest. But I have the occasional 5-minute song still and it doesn’t bother me. Performance and production wise, I’d say the biggest challenge for me at the beginning of my career was feeling comfortable in a studio setting in order to perform at my best and produce a high quality recording. I’ve definitely evolved since my first few albums, but still feel like I’m finding my voice in the studio production wise, which I think comes from experience.

  1. What are some of the most important tools or elements you use in creating your distinctive sound?

Katie Garibaldi: The guitar I’m playing now is a custom-made Breedlove guitar. I was able to tell the company what I wanted in terms of specs, like the types of wood, the neck measurement, and the pickup. I’ve had my custom for over four years now and I think it’s really become a signature tool for my sound. My capo is also my best friend because I like playing high and singing low, or playing low and singing high. It adds a cool balance to my guitar-vocal performance. I use and love the G7th Capos.

  1. How essential do you think video is in relation to your music? Do you have a video you would suggest fans see, to get a better understanding of your craft?

Katie Garibaldi: Video has become really important to my artistry ever since I released my music video “Delightful,” which I filmed in Nashville. The director was able to tell a completely new story to the song using visuals, but still reflected the spirit of what the song was about. It opened my eyes to the creative freedom music videos can give you and how they add fresh life to a song. I’ve since gotten really involved with the film side of creation and was able to add production ideas to my video “Safe and Warm (Lullaby for Jesus).” Both videos are available to watch on my YouTube page at youtube.com/katiegaribaldi.

  1. What’s your view on the role and function of music as political, social and/or spiritual vehicles – and do you try and include any of these thematics in your work, or are you purely interested in music as an expression of artistry and entertainment?

Katie Garibaldi: Music is an extremely powerful tool for self-expression so I think it’s important for an artist to be true to their authentic subjects of interest that they want to covey through music. For me personally, my music tends to have a lot of spiritual undertones or even more obviously spiritual sometimes. I never really intend for a song to be about something when I get inspired to write, but I follow the muse where it takes me. If I end up speaking about God in the song then I just let it flow and try to allow the message to come through. I believe there’s always a spiritual element to my songwriting because I let the creativity come from somewhere beyond the walls of just little old me.

  1. With more and more musicians creating and releasing music on their own, what are your feelings on how the music business works right now with all the digital platforms and streaming services? Do you have particular ‘likes’ and ‘don’t likes’ on the subject?

Katie Garibaldi: I think it’s a great time to be an artist because you can indeed create and release your own music on your own terms. It’s a wonderful time to be a creative. Having said that, the value of music is not so great. In other words, the general public is not seeing the worth in paying a fair price for music. They are not paying the artist and songwriter their dues for giving them a life with music in it, and part of that is because streaming is so relevant today and the royalties are not appropriate for a songwriter to make a return on their investment to make the music.

  1. What would you consider a successful, proud or high point in your endeavors so far?

Katie Garibaldi: I have loved Christmas music ever since I was a young kid, and I always wanted to release my own Christmas album. It was a dream of mine, but I didn’t want to just record a bunch of classics, I wanted it to be my own stamp on my favorite holiday. I finally received the inspiration to write my own Christmas songs and that’s what my album Home Sweet Christmas is. The album has 11 original songs and I also did my take of “Silent Night.” I’m really proud of that album because I feel almost like it was a lifetime in the making and now it’s finally something I can hold and share.

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

Katie Garibaldi: Yes, I think the Internet and social media are definitely fundamental to today’s independent artist’s career. You have to be findable online, or else people will not know what’s going on with you. And videos are an essential piece of the puzzle that make up an artist’s online presence. It can be overwhelming to keep up with everything, but I think the important thing to keep in mind is to just be authentic to what’s right for you. If you’re not careful, you can get sucked into the comparison game and become more interested in what other people are doing as opposed to what your path is. My personal relationship with it all has been a love-hate deal for a while. But recently I have become more conscious of my time spent on social media and have limited it a great deal, sticking to what I want to share and not allowing it steal too much of my time other than the task at hand.

  1. What is the best piece of advice regarding the music business that you actually followed so far, and what is the advice you didn’t follow, but now know for sure that you should have?

Katie Garibaldi: The best piece of advice probably sounds cliché, but that’s because it’s true: be true to yourself. I have always honored that advice and I think it’s really helped me accomplish a lot in my career. As far as advice I didn’t follow, I suppose the importance of releasing singles is probably something I ignored for a while because I’m such an ‘album girl.’ I like the package deal of the album’s journey. But in today’s world of streaming and short attention spans, I do see the value of releasing singles to lead up to an album release. It’s a process that gains momentum for your project and captures more people’s awareness for your new music.

  1. Reaching audiences usually involves exploiting media opportunities, and possibly working with a PR company. What’s your perspective on the promotion opportunities available to indie artists today? Are there any specific improvements you’d like to see?

Katie Garibaldi: There are so many great opportunities for indie artists today regarding press and radio, especially due to the power of social media and being able to reach out to people like publicists and bloggers for media coverage. There are plenty of potential circumstances where an indie artist’s song can be placed right next to a major label artist’s song on Spotify, or an indie album review printed right next to a commercial artist’s album review, or a lesser known music video screened at a film festival right before a big artist’s video. The door is wide open for possibilities to be seen and heard. I would like to see more PR companies cater specifically to an individual artist’s needs instead of lumping them in with other clients because each project is different and should be promoted differently in turn.

  1. Do you have a specific musical vision hidden somewhere in your closet, or in your mind, that you’d like to see realized some time in the future?

Katie Garibaldi: Oh yes, so many. I would like to do a full album with only string instruments. I want to do a full-length original gospel-roots album. I’d also like to experiment with sounds outside of my comfort zone to create a sonic landscape that is unlike anything I’ve done before.

  1. Could you tell us something about your latest release, and where fans can find it?

Katie Garibaldi: Home Sweet Christmas is my latest album release, and that’s my original holiday and faith-inspired album. That’s available everywhere online and on my website katiegaribaldi.com. I express a lot of spirituality on this album and I think even though a lot of the songs are based around Christmas, it’s an album that can be enjoyed throughout the year. Also, my new music videos are “Safe and Warm (Lullaby for Jesus)” and “Wonderful Mother Mary,” which can be watched at youtube.com/katiegaribaldi.

OFFICIAL LINKS: WEBSITESFACEBOOKTWITTERYOUTUBEINSTAGRAM

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Lachlan Grant Splendor: “Fathers Second Son” thrives in his sheer musicality http://jamsphere.com/reviews/lachlan-grant-splendor-fathers-second-son-thrives-in-his-sheer-musicality http://jamsphere.com/reviews/lachlan-grant-splendor-fathers-second-son-thrives-in-his-sheer-musicality#respond Tue, 12 Feb 2019 15:44:43 +0000 http://jamsphere.com/?p=34409 New Zealand born singer-songwriter Lachlan Grant Splendor is a talented musician and a strong songwriter. His songs create an atmosphere that is unique without seeming contrived or pretentious. I can understand why Lachlan has yet to break big internationally because his talents don’t fall easily inside the defined boxes the music industry marketing machines like. […]

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New Zealand born singer-songwriter Lachlan Grant Splendor is a talented musician and a strong songwriter. His songs create an atmosphere that is unique without seeming contrived or pretentious. I can understand why Lachlan has yet to break big internationally because his talents don’t fall easily inside the defined boxes the music industry marketing machines like. He is a bit eclectic like Dave Matthews in that sense, though there are obviously meaningful artistic differences between the two. From the outset his latest single, “Fathers Second Son”, taking off the album “The Choice Is Yours”, sets a rhetorical tone for a reflective song that contemplates the difficulties of finding the real you within yourself – the search for alliance in family and friends, the confusion and distractions of maturing, the restless spirit breaking free, and the disquieting sense of maybe falling short.

Along the way, Lachlan Grant Splendor externalizes a kind of inner madness while his imagery remains suitably poetic.  It’s not simply the exorcism that Lachlan puts himself through, but rather the feeling that he will come out of the process stronger.

Running just over three minutes, the song’s raging, and harmonically-driven guitar picking, acts as a catharsis to the lyrical laceration of the verses. Lachlan never loses his sense of melody, and this track thrives in his sheer musicality, be it agile finger-picking, hammering striking harmonics, or delighting in rich and dark melody. It’s hardly an easy ride, but it’s eventually a satisfying one.

Lachlan’s strident and tension-filled guitar plucking imbues the song with the sense of a forthcoming crescendo, in an attempt to build towards a euphoric feeling of acceptance and understanding. Every note trickles off Lachlan’s’ fingertips from his acoustic guitar, each drum beat is like a heavy boot landing on a dirt-covered rock, kicking dust up into the simmering heat.

The complexities and nuances confronted on “Fathers Second Son” are all too relatable, which places it starkly at the forefront of Lachlan Grant Splendor’s lyrical accomplishments as well.

As the music world seems to indulge itself more and more in the new rift of sounds developing through electronics, folk stands as a resilient genre, stubbornly un-willing to be pulled from its deep roots.

Folk flourishes in its ability to strip away everything but vocals and chords – it relies heavily upon the strength of a voice, lyrics and passionate expression. It’s no surprise then to find Lachlan Grant Splendor here channeling his sound board and placing its strength in the ideas and conventions of the genre’s roots.

“Fathers Second Son” is the sound of Lachlan Grant Splendor doubling down on the ambiance and the emotion, creating a collage of moments both fleeting and everlasting while choosing the art of the craft over the simplest path to accolades. It may take more time to appreciate, but it’s a masterclass of songwriting and performance.

OFFICIAL LINKS: WEBSITEFACEBOOK

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Heather Whitney: “Moving On” – Adept songwriting and an open heart http://jamsphere.com/reviews/heather-whitney-moving-on-adept-songwriting-and-an-open-heart http://jamsphere.com/reviews/heather-whitney-moving-on-adept-songwriting-and-an-open-heart#respond Tue, 12 Feb 2019 13:35:15 +0000 http://jamsphere.com/?p=34403 The pain of a broken heart has long existed at the root of country music. And while love and loss has found its way into all genres of popular music, it’s presence within country has somewhat lessened I recent times, in favor of a particular lifestyle aesthetic. Packaged and presented to consumers as the commodity […]

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The pain of a broken heart has long existed at the root of country music. And while love and loss has found its way into all genres of popular music, it’s presence within country has somewhat lessened I recent times, in favor of a particular lifestyle aesthetic. Packaged and presented to consumers as the commodity it now is, modern country music has lost much of the soul it once possessed. However there are still artists willing to carry the torch, creating relatable, emotionally resonant songs ring true with the listener. Full of heartbreak and hope in seemingly equal measure, the album by Southeast Texas singer-songwriter Heather Whitney shows an artist coming full circle, having worked her way through the emotional tumult and come out the other side with a wealth of quality material.

This album is everything she has lived through, felt, and overcame, while in the studio. “Just because you’re working towards your dreams, doesn’t mean that the world stops spinning, and hardships won’t find you,” says Heather. “What gave me strength to complete my album, was knowing that I was not alone, and that someone else out there would hear these songs, relate to them, and possibly gain some healing like I did. We have to stick together.”

Emotions run deep on Heather Whitney’s 9 track album, “Moving On”. The album showcases the singer’s adept songwriting as she opens her heart to listeners throughout the length and breadth of the recording. While some will always try to read between the lines, there really is no need to, Heather pretty much wears her heart on her sleeve.

It is an album from a woman who admits her faults, shows her strengths, details heartbreaks, and shares any happiness along the way. The lyrics are thoughtful, deep and sensitive, resulting in Whitney coming across as a wonderful storyteller, in the mold of the great singer-songwriters of the country and Americana genres.

While the introspective and sometimes melancholic themes are plenty, Heather Whitney doesn’t lose her fiery musical persona within the confines of this recording. Songs like “By by Bayou”, “Little Bit Crazy”, “Moving on Song”, and “Shut up and Dance” ensure there are intense and energizing moments. But this ardent intensity is highlighted anywhere you place the needle on this recording.

All the while, she is figuring out life through each mistake how the rest of us do. Lucky for us, she’s able to write it all down and teach us some lessons within her songs. The first one comes on “Aint’ Gunna Take It”, telling us that there comes a time when you need to bail out of an impaired relationship.

Heartbreak is a theme throughout much of the album, but it’s not cry in your beer country songs relying on overwrought heartbreak clichés. Instead, it’s a woman looking inside herself and recognizing that sometimes she finds herself in deep doubt, like on “Where The Truth Lies”.

At other times she admits she drinks too much and promises more, on “What the Whiskey Said”. And all the while she learns her lessons with each wrong turn. On the slow burning ballad, “When You Learn to be Lonely”, Heather delivers her most stunning vocal performance yet, while the overriding quality of her songwriting remains impressively, consistently high.

There’s a no-frills, unfettered quality to “Man in Blue”, a heartfelt ode to our uniformed law keepers and the burdens their families need to bear on a daily basis, which Heather conveys in a personal and devastatingly effective way.

It’s just one of many small, nuanced moments that makes the album, “Moving On”, feel unflinchingly honest, emotionally resonant and deeply personal. It’s an album I absolutely recommend, one of the best we’ve seen come out of the genre in a long time.

OFFICIAL LINKS: WEBSITEFACEBOOKINSTAGRAMSPOTIFY

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Quintin Tarintinto: “No Self Pity” – sheer mind-blowing from front to back http://jamsphere.com/reviews/quintin-tarintinto-no-self-pity-sheer-mind-blowing-from-front-to-back http://jamsphere.com/reviews/quintin-tarintinto-no-self-pity-sheer-mind-blowing-from-front-to-back#respond Tue, 12 Feb 2019 04:48:58 +0000 http://jamsphere.com/?p=34396 Tallahassee, Florida rapper, Quintin Tarintinto has his 2019 fifteen track project, “No Self Pity”, out right now. This is the record many of Tarintinto’s contemporaries would love to make, but they don’t have a sufficient enough state of consciousness to draw inspiration from, or truly focus the menagerie of their minds upon. It’s the most topically […]

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Tallahassee, Florida rapper, Quintin Tarintinto has his 2019 fifteen track project, “No Self Pity”, out right now. This is the record many of Tarintinto’s contemporaries would love to make, but they don’t have a sufficient enough state of consciousness to draw inspiration from, or truly focus the menagerie of their minds upon. It’s the most topically cohesive, palatable and headily conscious Tarintinto ever been for an entire set of songs. His universal vision makes it all work together in perfect, coalescing, high-tech harmony.

A less knowledgeable Quintin Tarintinto might have asked compelling questions and never get to present the answers projected on this EP, while the wizened mind on display here compresses his trains of thought into mind bogglingly dense articulation, more verbose than anything you’d ever find in passing conversations.

Fans who appreciate the artist for his unique perspective will love this culmination of all his stylistic facets, and those who simply enjoy a combination of intellectual discourse and unapologetic, raw lyricism in their hip-hop will find what they’ve been missing here on “No Self Pity”.

The songs are sheer mind-blowing from front to back. It is clear right off the bat that Quintin Tarintinto possesses a near unmatched lyrical talent, that many underground artists can only drool over. The rhymes are as tight as they come, Quintin’s nasal style flow is both unique and untouched, and the lyrics are utterly savage.

This is how rap songs should be written. Some albums move people in ways unheard of before, at least in their lively hood. These albums remain in listeners’ hearts, and keep them company whenever needed. For me, one of the albums with that kind of potential, could so easily be “No Self Pity”.

The minute “Po’ Hustlin” kicks in, you know that Quintin Tarintinto has received beats that are lethal enough to match his lyrics. An epic orchestral entry, precedes the element of surprise meant to evoke a feeling from outside the box upon his listeners.

It is with a twinkling piano driven atmosphere and complex lyrical bars that this project solidifies itself as an absolutely worthwhile listen. “Ground Zero” extends the formula. This is surely a rapper’s rap record, Tarintinto goes off on the mic possessed with a masterclass in lyricism; the guy employs internal, multi-syllabic, and straight up complex, entertaining rhymes.

“Cold 4/20” is layered in smooth jazz vibes, splashed with pure adrenaline word acrobatics, and sprinkled with wit. “Out Of My Way” deals out a healthy helping of melody in the chorus hook, as Tarintinto rolls out his singing voice. “Lit” follows suit, as Quintin comes back with another hypnotic chorus and bubbling bassline.

A blend of modern style and groovy vintage aesthetics, “I Decided” keeps the momentum of the EP running smoothly. For that same reason “Wake Up” is a total standout, and one of my favorites. Quintin’s lyrics can be in your face and sometimes even leaving you wondering. Either way, it always works with the storyline and the beat.

Quintin Tarintinto is an artist in every sense of the word. He is able to paint pictures of his life that is difficult to get anywhere else. And tracks like “Vibrations” and “Attitude Adjustment” serve to confirm this. The lyrics and soulful beat on the latter track is enough to give you the chills. Only someone obsessed with the craft could create such a refined track as the EP closer “No Self Pity”. And only someone so confident would be so open about his experiences.

“No Self Pity” is an album that works best whilst listened to with the bass propped up, and headphones on, so that all of the layered instrumental goodness of each song can be truly credited for.

OFFICIAL LINKS: INSTAGRAMTWITTERFACEBOOKYOUTUBESPOTIFY

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3Mind Blight: “Make This Right” – One listen and you can’t help but be hooked http://jamsphere.com/newreleases/3mind-blight-make-this-right-one-listen-and-you-cant-help-but-be-hooked http://jamsphere.com/newreleases/3mind-blight-make-this-right-one-listen-and-you-cant-help-but-be-hooked#respond Tue, 12 Feb 2019 01:32:56 +0000 http://jamsphere.com/?p=34389 Let’s begin with the fact that 3Mind Blight doesn’t make music for the fans or the label. In the era of rappers who are doing it for the gram, 3Mind Blight is all about the art of self-expression: he isn’t rich, he isn’t cocky, and he respects those who came before him. His style is […]

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Let’s begin with the fact that 3Mind Blight doesn’t make music for the fans or the label. In the era of rappers who are doing it for the gram, 3Mind Blight is all about the art of self-expression: he isn’t rich, he isn’t cocky, and he respects those who came before him. His style is not rap focusing on bling or hedonism, instead he observes and tries to teach us everyday lessons about ourselves, but his focus is also knowing he is better now than he once was and only plans to get better, something that should be recognized as wisdom.

Hailing from Tulsa Oklahoma, 3Mind Blight had humble beginnings in the late 90’s, with Boom Bap Rap and the Grunge Rock scene. After leading several bands and many production teams, what started as a hobby has led to a full time music career in production, instrumentation, and artistry, mixing rock, rap and instrumentals.

3Mind Blight has recently dropped his 2019 single, “Make This Right”. The artist may not say it himself, but he is one of the best when it comes to painting a picture, especially a bleak and realistic one – his voice is heavy an ominous when he drops the lines: “So many times that we tried to make this right; make this right. Too many people in the world, all they do is fight; always fight.”

His delivery is very impressive, but he doesn’t go for spitting too fast, as he wants you to feel the strength of every word. He transcribes his emotions into the music perfectly, whether it be depressed anger, disillusionment, or something quite different, 3Mind Blight’s vocals are great.

He adds a ton of details into the track, building on the techniques he learned in the past and even adding new ones. This higher quality of musicianship is all over the record, and while it’s nothing that 3Mind Blight hasn’t done before, he just does it better here than he has in a while.

Streamlining his sound allows 3Mind Blight to focus on setting a meditative mood for the record that continues throughout the runtime. The strings quiver and weep, while the bassline grumbles deeply under the weight of the shuffling hi-hats and snare. He doesn’t need much more except the tone of his voice to round off the emotional impact of the song.

3Mind Blight’s lyrics, as one may be able to tell are far from mainstream. There isn’t talk about hoes and hustling, but then again he isn’t exactly mainstream. “Too many people hatin’, too many people stealin’. Too many people play with Satan with the sense of killin’. Too many heroes run away and then become the villains.”

His lyrics are heartfelt, scrutinizing and angry. One listen and you can’t help but be hooked by the sincerity and passion contained herein. 3Mind Blight poured all his realism and sincerity into this song, creating a beast of tune. In every sense!

OFFICIAL LINKS: WEBSITE – MUSIC STREAMS – FACEBOOK – TWITTER

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Flo: “Mix in a Water” – a multifaceted sonic landscape that warrants close listening http://jamsphere.com/newreleases/flo-mix-in-a-water-a-multifaceted-sonic-landscape-that-warrants-close-listening http://jamsphere.com/newreleases/flo-mix-in-a-water-a-multifaceted-sonic-landscape-that-warrants-close-listening#respond Mon, 11 Feb 2019 23:41:10 +0000 http://jamsphere.com/?p=34384 James Florio aka Flo, is a Toronto, Canada based producer, songwriter, and multi-instrumentalist. His signature style combines diverse musical elements and genres together to create an immersive listening experience. The rich mixture of delicate sounds, booming basslines and silky, chopped vocals will keep listeners coming back for more. His latest single is “Mix in a […]

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James Florio aka Flo, is a Toronto, Canada based producer, songwriter, and multi-instrumentalist. His signature style combines diverse musical elements and genres together to create an immersive listening experience. The rich mixture of delicate sounds, booming basslines and silky, chopped vocals will keep listeners coming back for more. His latest single is “Mix in a Water”. Is there any way to describe the music of Flo other than stylistically shimmering, and rhythmically hypnotic? Not really: write down those words and free-associate as much as possible with eclectic and luscious, and chances are you’ll have written Flo’s press blurb.

The Flo sound is one of silky sunsets, shuffling hipsters and swinging groove. It’s also irresistibly good, which might explain why Flo has no need to mess with the formula that will most likely win him some serious accolades in the near future.

Savvy enough to give his fans exactly the tones they’ve been hoping for, Flo blends vintage organic sounds against a welter of modern electronic elements, all of it crisp and gorgeous. At the same time he is clever enough to add spice where it’s needed, edging his smooth and dynamic beats away from New Age or simply ambient, and into something more engaging.

Taking listeners on an expansive and otherworldly journey, sound-tracked by an eclectic amalgam of what appears to be analog sounds, electronic synths and live instrumentation. It’s a progression that feels natural, organic, allowing listeners to see not just the evolution of the music, but of Flo as an artist.

Flo finds a niche wedge between warm, smooth and sometimes intentionally jagged arrangements, together with the electronic sophistication of Northern European composers. In this sweet spot, he treads a fine line between soothing chill music and multifaceted sonic landscapes that warrant close listening.

He is primarily driven by rhythm, texture and mood, rather than by melody. On this release his mindset surfaces in the darting layered horns and smooth vocal adlibs that form the melodic core of the track. The stop-start rhythm is no afterthought, as it serves as a platform to push the melodies around the sharp angled corners.

Flo is undeniably indulgent at all the right times, and fans who found themselves captivated by his ability to craft soundscapes to revel in, on his previous work, will find that same creative spark here. “Mix in a Water” reveals that Flo pushes no specific boxed-in agendas with his music.

He creates it to be adaptable, and while it undeniably comes from a particular time, place, and experience, it’s penned to work ubiquitously and spins on its own axis. It’s the telling of a new musical narrative in his book of songs, and it’s an excellent addition to his building catalog, which continues to producing a dynamic and energizing soundscapes.

 OFFICIAL LINKS: SPOTIFY  – FACEBOOK

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Capo 2G: “Pullup” ft. KirkoBanz – the dominant aesthetic of swaggering underground rap http://jamsphere.com/reviews/capo-2g-pullup-ft-kirkobanz-the-dominant-aesthetic-of-swaggering-underground-rap http://jamsphere.com/reviews/capo-2g-pullup-ft-kirkobanz-the-dominant-aesthetic-of-swaggering-underground-rap#respond Mon, 11 Feb 2019 20:37:38 +0000 http://jamsphere.com/?p=34379 Capo 2G is a Hip Hop artist currently based in Las Vegas, Nevada. Originally from Lagos, Nigeria, his unique, island fused sound which he defines as AfroHipHop is one of the many factors giving rise to his growing fan base. Capo 2G’s close relationship with A-listers such as Rae Sremmurd gives him the opportunity to […]

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Capo 2G is a Hip Hop artist currently based in Las Vegas, Nevada. Originally from Lagos, Nigeria, his unique, island fused sound which he defines as AfroHipHop is one of the many factors giving rise to his growing fan base. Capo 2G’s close relationship with A-listers such as Rae Sremmurd gives him the opportunity to learn from the front lines as he prepares himself to step into the spotlight. He begins his first solo tour in Trinidad, Colorado on February 21st. This isn’t exactly a startling revelation, but hip-hop has always been rife with emcees who style themselves as unrepentant hedonists, recounting in vivid detail, escapades filled with pussy, money, drugs, alcohol or fame. And while for most rappers, this kind of bacchanalia equates to a background chattering constant, Nigerian-born Capo 2G could be considered the professor emeritus of underground hip-hop debauchery on his latest track.

The production on his track “Pullup” ft. KirkoBanz, contributes greatly to defining the dominant aesthetic of swaggering underground rap, creating a syrupy, stomping beat full of skittering hi-hats and swirling keyboards while pairing them with larger than life lyrics detailing gleeful expanses of hedonistic indulgence.

It is a pretty stunning marriage of modern Hot 100 music and the slow-motion churning of Afro-Pop’s sticky beats. The trance-like synths and low rumbling bass lines seem to swell on the same frequency of Capo 2G cadence, forming a tidal wave of aural sensation that rivals his peers.

Its relentlessness makes this into a repetitive listen, because Capo 2G is a surprisingly dynamic artist. He’s constantly performing little musical tricks that keeps you engaged. The beat slows down from an energetic bounce to a sledgehammer-like thump and back, and Capo 2G switches his rhyme cadence to take advantage of the extra spaces he can find in between.

This track is most definitely about the music as much as it is about the lyrics. Capo 2G is a crafty rapper with lots of charisma. He explore his topics in an interesting and technically proficient way. It is a hypnotically repetitious motif whose contagious melody burrows into your cranium while cushioning the bark of its vocalists.

The track captures Capo 2G in his own splendor, while juxtaposing his ability to navigate between the clubs and the streets. If “Pullup” gains some traction on the radio, it will be fascinating to examine the different generations of fans Capo 2G will manage to reach.

For those fans who have admired Capo 2G from any past efforts, or those who have just discovered him, “Pullup” ft. KirkoBangs happily delivers exactly what it promises: a daylong, pussy-soaked pill-popping party that doesn’t seem to end.

OFFICIAL LINKS: SOUNDCLOUDYOUTUBEINSTAGRAMFACEBOOK

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J.R.Clark: “Zenith Spokes” – a remarkably captivating rapper! http://jamsphere.com/newreleases/j-r-clark-zenith-spokes-a-remarkably-captivating-rapper http://jamsphere.com/newreleases/j-r-clark-zenith-spokes-a-remarkably-captivating-rapper#respond Mon, 11 Feb 2019 19:04:38 +0000 http://jamsphere.com/?p=34374 J.R.Clark is a hip-hop artist based in Virginia Beach, VA. He started his career behind the mixing board as a studio engineer. In 2014 started releasing his own music and building a following in the underground hip-hop scene. Inspired by artists like Curren$y, Stalley, Big K.R.I.T, J.Cole, Rick Ross, Schoolboy Q, and Chance the Rapper, […]

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J.R.Clark is a hip-hop artist based in Virginia Beach, VA. He started his career behind the mixing board as a studio engineer. In 2014 started releasing his own music and building a following in the underground hip-hop scene. Inspired by artists like Curren$y, Stalley, Big K.R.I.T, J.Cole, Rick Ross, Schoolboy Q, and Chance the Rapper, J.R.Clark’s latest project, an EP titled “Sunset Symphony”. If, after listening this recording, you’re under the impression that J.R.Clark is preparing to take over the world, you’re neither alone nor unjustified. For decades hip-hop has seen myriads of artists fleetingly captivate the attention of listeners with promises of masterworks, only to fade quickly when their output proves to be, at best, mediocre.

Those artists poised to don the crown and galvanize hip-hop make us hold our collective breaths. J.R.Clark emerges through a suffocating billow of mumble rap convincing us that forward is the only existing direction for hip-hop. The single “Zenith Spokes” introduces newcomers to just about all of J.R.Clark trademarks: the bark, the hustle, the money, the vision, and, most importantly, the incredible ear for beats.

Although the resonant, fluttering piano and opalescent orchestral augmentation initially seem more attuned to levity, J.R.Clark’s penchant for addictive hooks and his exhaustive thesaurus of flows awaken the verve hidden within the musky hollows of the beat, sketching a menacing mission statement.

And while J.R.Clark is a more than competent lyrical rapper, he doubles up that skill factor with his commanding presence and varied flow. “Zenith Spokes” finds the rapper at a lyrical apex as he entwines introspection and storytelling to spit some of his tightest verses.

He sounds a remarkably captivating rapper, tumbling between words with a bluster unmatched by your regular trap goons. His flow is urgent whilst lyrical, ensuring some meaning is attached to his quotables.  The track employs a mix of dark, introspective rhymes with some confrontational ignorance, laid over flawless production. As a bar-for-bar emcee, J.R.Clark has no problem flexing his lyrical abilities with an urgent delivery.

The music on the record is well done, and will easily contribute to J.R.Clark’s prospective transformation from one of hip hop’s distinctive up-and-comers into a formidable mass-audience competitor.

Capable of balancing and articulating his conceptual goals, he will no doubt receive credit for “Zenith Spokes” punch and polish, however the real rumble is provided by J.R.Clark’s keen eye for detail and his knack for turning his observations into distinctive verses.

Beneath any gangsta rubric writ large, you’ll hear superb tales about the hard knocks, the hedonistic luxuries, and the never-ending street hustle. Furthermore, he has a deceptive amount of lyrical skill and an abundance of charisma. All of this comes through on Zenith Spokes”.

Although, this would only be half the story because J.R.Clark’s comes in with a fantastically menacing swagger on this track and paints the picture of a man that you definitely don’t want to mess with. Lookout for the new EP coming from J.R.Clark in 2019 – “Antique Summer” which features notable collaborations including Fendi P from Jetlife Records and more underground artists.

OFFICIAL LINKS: SPOTIFYITUNESINSTAGRAMYOUTUBE

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Natalie Jean: “What Would You Do For Love?” – a powerful sense of social awareness! http://jamsphere.com/reviews/natalie-jean-what-would-you-do-for-love-a-powerful-sense-of-social-awareness http://jamsphere.com/reviews/natalie-jean-what-would-you-do-for-love-a-powerful-sense-of-social-awareness#respond Mon, 11 Feb 2019 13:53:50 +0000 http://jamsphere.com/?p=34370 Admittedly I have been waiting years now for Natalie Jean to surpass her previous levels of excellence; she had arrived quietly with not much fanfare, and she steadily declared her arrival with a number of albums, singles and collaborative efforts. Needless to say I was impressed. Yet, while I immediately acclaimed and understood that Ms. […]

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Admittedly I have been waiting years now for Natalie Jean to surpass her previous levels of excellence; she had arrived quietly with not much fanfare, and she steadily declared her arrival with a number of albums, singles and collaborative efforts. Needless to say I was impressed. Yet, while I immediately acclaimed and understood that Ms. Jean was indeed extremely talented, she had, as far as I was personally (and secretly) concerned, yet to produce anything indicating she was even close to showcasing what I suspected to be her fully unrealized potential—that is of course until I listened to “What Would You Do For Love?”

I had been relaxing, the day I heard the song for the first time on my reviewing playlist. I was literally daydreaming, until gradually lulled from the void by what I couldn’t see, but could only hear: the rhythm was steady and uncompromising, the melody relentless as the voice singing easily pulled me from my semi-torpor. Once acknowledging that it was Natalie Jean who had pulled me, I actually smiled, for I am always greatly pleased when an artist finally becomes what I feel he or she was meant to be.

My smile broadened as I listened to Natalie deliver a show-stopping exhibition worthy of both her hard work and her immense talent, which, I know, could’ve only happened when it did – right now. By this I mean, the years leading up to this track  which were spent honing, maturing, developing, and becoming….THIS Natalie Jean!

“What Would You Do For Love?” is as close to perfection as it gets – not a note is wasted, not a verse senseless, overlong or discordant; each bar is crafted, skillfully put together by an artist and production crew, who know something about their work, which, regrettably, seems to be rare these days.

The lyrics are meaningful, poignant, and urgent; the songs displays a powerful sense of social awareness as Natalie Jean understands that emotion, without subsequent action, is as tenuous as vapor.

The song places an exclamation mark on various pages of her bravado displayed in the past, and is further indication that Natalie proudly distinguishes herself from too many other female R&B/Pop singers, who prefer to say not much of anything worth hearing, who choose to spew stupidity and expletives while using their forum to degrade themselves and other women.

Lastly, what impressed me most about Natalie’s latest work, is that it is clearly driven by passion and awareness. From its searching overture, “What would you do for love”, one hears Natalie’s heart and soul, beating in the voice and in the melody; one certainly hears her in the track’s refusal to accept classification—it is as much an R&B song as it is a soul song, as much a pop song as it is a rock song. It is a universal song.

Natalie fuses elements of each into a magnificent example of what incredible things can occur when an artist permits themselves the time to hone, develop and mature, to ultimately become who they are…and what they were always meant to be!

MORE ABOUT: Singer, songwriter and performer, Natalie Jean is an award winning songstress and voting Member in the Recording Academy (GRAMMYS), who has already totaled 70 nominations for various musical awards, was also the Gold Medal Winner in the 2017 Global Music Awards for Female Pop Vocalist. She has performed at many venues in the MD/DC area, while making an impact in LA, New York, Nashville, and North Carolina.

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

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Interview with Texas artist YBL Richy http://jamsphere.com/news/interview-with-texas-artist-ybl-richy http://jamsphere.com/news/interview-with-texas-artist-ybl-richy#respond Mon, 11 Feb 2019 11:28:37 +0000 http://jamsphere.com/?p=34363 YBL Richy (Richard Carrington) was born May 22, 1998 in Coldspring, Tx. He started making music when he was 18, after he and his friends moved to Austin, Tx, where he currently resides. YBL Richy came on the rap scene with a different alias (Once Playboy Richy) which he changed when he created a group […]

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YBL Richy (Richard Carrington) was born May 22, 1998 in Coldspring, Tx. He started making music when he was 18, after he and his friends moved to Austin, Tx, where he currently resides. YBL Richy came on the rap scene with a different alias (Once Playboy Richy) which he changed when he created a group with his childhood friends which was YBL. The other members of his group is YBL Antboi, YBL Kel and YBL Rodd. YBL Richy has stated his music influences are Kendrick Lamar, Tory Lanez, Drake and Rich Homie Quan. He started making a name for himself with his debut single Sleep On U, (feat. Tory Lanez). Although YBL Richy is an Underground rapper, he has the talent to reach Mainstream success. As for the future, his upcoming Debut Album “Finally Made It” is slated to drop early 2019.

  1. How long have you been performing and recording, and when did you first realize that’s what you wanted to do?

YBL Richy: I started rapping around 14 but didn’t take it serious until 18 when I moved to Austin, and I just fell in love with making music.

  1. Who were your first and strongest musical influences that you can remember?

YBL Richy: Rich Homie Quan, Tory Lanez most definitely I like how they both are very diverse with their music and the messages behind their songs.

  1. If any, which current artists do you listen to and respect for their artistic endeavors?

YBL Richy: Tory Lanez and Drake, Also Kendrick he’s the goat.

  1. What do you feel are the key elements people should be getting out of your music?

YBL Richy: My Story, My Pain, and Also the come up. Rags to Riches hahaha

  1. What do you think separates you from the crowd of young artists emerging right now?

YBL Richy: Most new artist are mumble rappers or just turnup music but my music has meaning, like i can drop a club song or a street song, and even sometime drop a RnB song, I’m very diverse.

  1. When writing a new song, where do you usually start with the lyrics or the beat?

YBL Richy: Both. Sometimes I could randomly think of some bars or a couple lines and write it down, and later find the beat to fit or i sometime just Freestyle to a beat I like.

  1. Do you produce your beats and write all the lyrics on your songs or do you collaborate with outside sources in any of these cases?

YBL Richy: I write all my songs, but i work with producers.

  1. What would you consider a successful, proud or high point in your career so far?

YBL Richy: Reaching 200k Spotify streams on one of my songs.

  1. What has been the most difficult thing you’ve had to endure in your life or music so far?

YBL Richy: Losing family and friends has been the most difficult but i use that pain and hurt to make songs.

  1. Do you prefer working and creating in a studio environment, or performing live in front of an audience?

YBL Richy: I like the studio environment, just chilling laid back writing bangers.

  1. What’s your view on the role and function of music as political and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of artistry and entertainment?

YBL Richy: I think music should have a hand in politics and society. I love being a voice for some people and in my music talking about issues like, poverty, racism, and police brutality.

  1. Which aspect of being an independent artist and music label excites you most and which aspect discourages you most?

YBL Richy: I love being independent all the royalties come to me, but if the right deal was brought to me i would consider signing

  1. Reaching audiences usually involves exploiting media opportunities, and possibly working with a PR company. What’s your perspective on the promotion opportunities available to indie artists today? Are there any specific improvements you’d like to see?

YBL Richy:

  1. Are you satisfied about the way the music business works in today’s digital age, or is there something you would change?

YBL Richy: Nahh I definitely like the digital age, it’s better for streams and money.

  1. If someone has never heard your music, which keywords would you personally use to describe your overall sound and style?

YBL Richy: Legendary.

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

YBL Richy: Yes social media is the key to being successful in music nowadays. I use all social media to build my brand.

  1. Could you tell us something about your debut album “Finally Made It”? Does it have a specific backstory and message?

YBL Richy: I named it “Finally Made It “because where I’m at in life and my career, I feel like I really finally made it, thru all the obstacles and problems I made it thru. And also because I been teasing a project for like 9 months so I’m finally dropping it

  1. What is your relationship with visual media? Do you think videos are important for your music? Do you have a video you would recommend fans checkout so they can get in touch with what you’re doing?

YBL Richy: Videos are very important to your music career, however it’s hard to find a good videographer, but I recently found one so I’m gonna have some videos coming soon.

  1. What is the best piece of advice regarding the music business that you actually followed so far, and what is the advice you didn’t follow, but now know for sure that you should have?

YBL Richy:  Promotion is the best advice I have received. And something I learned from was help only people that help you. Like i used to help promote people that i thought were friends but were really in disguise.

  1. Do you have a specific musical vision hidden somewhere in your closet, or mind, that you would like to see happen one day?

YBL Richy: Be The Greatest Ever…….. To late I Already Am.

Find out more, and follow YBL Richy on Instagram @yblrichy and Twitter @yblrichy

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The Limiters: “Somewhere In Between” – thick rhythms and flowing melodies http://jamsphere.com/newreleases/the-limiters-somewhere-in-between-thick-rhythms-and-flowing-melodies http://jamsphere.com/newreleases/the-limiters-somewhere-in-between-thick-rhythms-and-flowing-melodies#respond Sun, 10 Feb 2019 18:15:55 +0000 http://jamsphere.com/?p=34355 Lesley Warendorff (Guitars, Vocals), Benjamin Lampe (Drums) and Josine van der Splinter (Bass) make up the Netherlands-based rock band, The Limiters. The collective has just released its 5 track debut EP, “Somewhere In Between”. There are so many things right with this album and its production that I don’t know where to start. First off, […]

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Lesley Warendorff (Guitars, Vocals), Benjamin Lampe (Drums) and Josine van der Splinter (Bass) make up the Netherlands-based rock band, The Limiters. The collective has just released its 5 track debut EP, “Somewhere In Between”. There are so many things right with this album and its production that I don’t know where to start. First off, I think that the lead vocalist for the band, Warendorff, has such an incredible tone that catches your attention from the start and never lets it wander. Next, the band itself puts forth some instrumentals that are great all on their own. Together their exciting and addicting mix of grunge and alternative rock flavors, keep your ears glued from start to finish. Like so few other band’s, The Limiters have managed to create an album that is not only thematically cohesive, but listenable beginning to end. One of those rare ‘almost perfect’ recordings.

It’s improbable you’ll easily get tired of listening to “Somewhere In Between” because it pairs dark, deeply felt emotion with serious musicianship. Not one note is a throwaway. Everything is precise, especially Lesley Warendorff voice. Listen closely and you will find that the singer’s insights and observations are perceptive and deeply felt. I listened to it often because it speaks to me. Warendorff’s voice together with the music engages me deeply on all emotional, spiritual, intellectual, and musical levels. It will without a doubt, pretty much do the same with you.

The Limiters put their steel-capped boots on and slowly grind you into the dust with ‘Short Term Memory’, a sinister and grungy industrial groove. The trio just sound extremely good when they’re reveling in their strengths as performers, drilling home riffs, basslines and drumbeats with power-tool precision and conveying supreme heaviness with the most casual of gestures. It hardly gets better than this mesmerizing slow burner, which forges brooding complexity, while glistening with the loose sinew of its organic instrumentation.

The taut, sweaty sheen of the title song “Somewhere in Between” races ahead without a stutter, showcasing scorching riffs and an adrenalin-pumping rhythm section, made up of swaggering bass lines, the hip-grip madness of over-driven guitar noise and the full-on hustle of clattering percussion. A two-and-a-half-minute aural epic of pounding guitar brutality interspersed with intense laser-sharp stun-gun vocals. The song gathers the best elements from the blistering gumbo of The Limiters performance armaments.

A moment of poignant introspection comes in the form of “Wrote You a Song”, the second single lifted off the EP. Whereas the other tracks let their high energy and heavy, fuzzed out musical chemistry assault the ears of the listener from the get go, this song instead lures the listener in with a carefully constructed atmosphere of jangling guitars, moodily simmering basslines, thudding drums, and a stunningly affecting lead vocal from Warendorff. Best of all, it still remains a gritty recording that puts the guitars squarely in the sound spectrum.

The abundance of different guitar tones on the EP is one of its best features, which allows the band much more versatility. The textured, guitar sounds that make up so much of the record also perfectly compliment Lesley Warendorff’s voice, allowing him to build up plenty of layered washes of melody before bursting into trademark driving rock choruses. “Revenge” is one of the songs that perfectly encapsulates the aforementioned formula – an energetic garage paced groove bound to churning guitars and a swirling vocal delivery.

By the time you arrive at the EP closer, “I Should Have Known”, you realize that besides the thick rhythms and flowing melodies, The Limiters are able to play so convincingly and with so much flamboyance that their passionate playing adds weight to every track. It makes every hook, every thump of the bass, every blistering solo and drumbeat that much more authentic. The band’s performances across this EP reaches pulverizing intensities with a sense of experimental variety and polished eclecticism. This puts them way ahead of many of their contemporaries.

OFFICIAL LINKS: FACEBOOKINSTAGRAMTWITTERSPOTIFYYOUTUBE

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Jevil Project: “Shade” – a thick, studied heaviness! http://jamsphere.com/reviews/jevil-project-shade-a-thick-studied-heaviness http://jamsphere.com/reviews/jevil-project-shade-a-thick-studied-heaviness#respond Sun, 10 Feb 2019 13:32:32 +0000 http://jamsphere.com/?p=34349 The Jevil Project is a France-based instrumental metal act, who does not perform live, but prefers to create music meant to be listened to. Jevil Project is proficient at marrying sludge metal riffery with dirtier post-rock guitar melodies. Trudging, down-tuned riffs drive each song, while subtle melodic movements develop on top. This pattern works to […]

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The Jevil Project is a France-based instrumental metal act, who does not perform live, but prefers to create music meant to be listened to. Jevil Project is proficient at marrying sludge metal riffery with dirtier post-rock guitar melodies. Trudging, down-tuned riffs drive each song, while subtle melodic movements develop on top. This pattern works to fantastic effect the on 4 track EP – “Shade”. There are tons of incredibly inspiring moments on this album. There are also plenty of riffs that will make your head bang uncontrollably. Moreover there seems to be sense of adventure on the recording, and with each subsequent listen, this thing wins me over a little bit more.

Opener “Orque” explodes thunderously through the EP’s first minutes, a thick, studied heaviness that leads into tightly pirouetting guitar lines. Passages unfold naturally, both melodic and racy, in a signature loud-to-louder twang. The rhythm section finds its stride, building purposefully to bruising crescendos.

“Hurricane” starts with a drum roll intro, and from there, it breaks into a prototypical Jevil Project stomp. This song moves, and you can’t help coming along for the ride. If I were asked to deliver one small snippet of dense, heavy music, this would be my clear cut choice.

Generally more complex than the other songs on this recording, there’s something irresistible about “Papyrus”. It’s a fantastic song that definitely would sound great live. It also contains the thrashiest riffs on the album, supported by a bottom-heavy strut alternating with overwhelming doom.

It channels a rich stoner-metal groove, one of the thickest Jevil Project has yet locked into. Positive artistic aggression that is fully composed, showing a clear will to expand in complexity and ambition. This is the type of sound that keeps you interested. It’s great because it grabs you and demands that you listen to it actively.

That complexity and ambition arrives with “Enigm”. Here Jevil Project leads his guitar-work outside of his comfort zone. With well-defined shredding and solo work. There is one riff that really stands out in this song. It goes from the skull crushing low end chords to a high melody very quickly and sounds great.

The bone-crushing depth of some of the riffs is perfectly contrasted by the clear lead guitar lines. Not having vocals is probably a strength of this project. Simple ideas can be flourished into behemoths, as shown by this release

One thing you quickly realize is that this EP actually had thought put into it. It is not just a jumble of songs that don’t have to fit because of the lack of lyrical content. If anything, these songs are closer to one long suite with clear themes that are repeated throughout.

Surprisingly, for instrumental music, the songs are quite short, delivering small pieces of metal bliss, rather overlong egocentrically inclined excursions. Clocking in at just under 10 minutes, four crushing suites deliver what is to flourish into a ravaging and personalized signature of the instrumental post-metal genre.

OFFICIAL LINKS: ITUNESSPOTIFYAMAZONDEEZERFACEBOOK

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