JamSphere http://jamsphere.com The Indie Music Magazine & Radio Network! Sat, 16 Jan 2021 22:57:14 +0000 en-US hourly 1 Sons of Silver is joining forces with Amazon Music for “Inauguration Reverberation” the band’s first show of 2021 http://jamsphere.com/news/sons-of-silver-is-joining-forces-with-amazon-music-for-inauguration-reverberation-the-bands-first-show-of-2021 http://jamsphere.com/news/sons-of-silver-is-joining-forces-with-amazon-music-for-inauguration-reverberation-the-bands-first-show-of-2021#respond Sat, 16 Jan 2021 22:57:14 +0000 http://jamsphere.com/?p=43885 Sons of Silver is joining forces with Amazon Music for “Inauguration Reverberation” the band’s first show of 2021, a 60-minute Live Stream and Q & A. Tune in to Amazon Music’s Twitch Channel on January 18 at 2pm pst, 4pm cst, 5pm est. Tune in here: https://amzn.to/37P9xo9.

“a melodic yet gritty noise renaissance, this is smart rock n’ roll and a collection of silvery anthems that further illustrate that if you listen, music can change the world”Subba-Cultcha.

Sons of Silver is frontman Peter Argyropoulos of Pete RG, original Pearl Jam drummer Dave Krusen, Candlebox bassist Adam Kury, former Skillet guitarist Kevin Haaland, and keyboardist and engineer Brina Kabler. The group’s collective songwriting style and artistic connection make them, and their debut EP Doomsday Noises a force to be reckoned with.

“burns with barely controlled intensity, the band may have laid down Doomsday Noises before the world truly went to hell in a handbasket, but there’s no question that theirs is the soundtrack to the current crisis and if you’re more inclined to defiance than despair, then it’s a record you’ll want to add to your collection”Sonic Abuse.

Backed by beyond solid musicianship Sons of Silver takes on issues of social division and reckoning with their insightful lyrical storytelling. The songs on Doomsday Noises are spin offs from jam sessions in 2019, they were recorded before the COVID-19 pandemic, before the most recent equality awakening and calls for justice, but you’d never know it based on the lyrics.

“We write and create our music, collectively. We celebrate collaboration. We’re careful to be inclusive and open to all thoughts and ideas. We embrace our differences. We respect and protect each other no matter how much we might disagree. We move forward together. We’ve learned that division is very destructive, and it begins when listening ends. So, we’re always listening,” shares frontman Argyropoulos.

Stream the EP here: https://lnk.to/DoomsdayNoises

“With a wealth of songwriting ideas comes a healthy input from all corners on the band’s visual aesthetic”American Songwriter.

The visually stirring videos from the EP have already collectively garnered over two million views and counting.

See them here: https://www.youtube.com/c/SonsOfSilver

Follow Sons of Silver at –

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D.Tech is spreading his passion far and wide for other music lovers to feel! http://jamsphere.com/news/d-tech-is-spreading-his-passion-far-and-wide-for-other-music-lovers-to-feel http://jamsphere.com/news/d-tech-is-spreading-his-passion-far-and-wide-for-other-music-lovers-to-feel#respond Sat, 16 Jan 2021 12:07:51 +0000 http://jamsphere.com/?p=43879 Some people have hesitation about going into the music industry, but this was never the case for D.Tech. The twenty-eight-year-old Miami native would begin with music production at the age of ten before learning music theory and the basics of composition while playing the clarinet and violin.


By his freshman year in high school, he picked up the piano and began to learn the art of songwriting. When he began attending college, he would become inspired by the likes of Lupe Fiasco, Wu-Tang Clan, Lil Wayne, and Timbaland, among others, and released his first original material to the world.

In 2019, D.Tech began reinventing his sound and released “Serenity,” introducing listeners to his vulnerable and sensual side. His production is a thing of beauty and he would begin performing live that year as well, spreading his passion far and wide for other music lovers to feel.

Currently, in the midst of developing his debut album, D.Tech always collaborates with like-minded artists who he feels possess the same fire for the rap game and the generational talent he has. To this day he still has never given up on his dream, and before his eyes, it is slowly becoming reality!

IG @dtechmiami
Facebook @dtechmiami
SoundCloud www.soundcloud.com/dtechmiami
Spotify D.Tech

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Josh Bounty is climbing the ranks with “Simp Season” http://jamsphere.com/newreleases/josh-bounty-is-climbing-the-ranks-with-simp-season http://jamsphere.com/newreleases/josh-bounty-is-climbing-the-ranks-with-simp-season#respond Fri, 15 Jan 2021 23:03:23 +0000 http://jamsphere.com/?p=43874 Climbing the ranks of being more than just another local artist or street act, Josh Bounty looks to penetrate through the music world as one of its most prolific acts yet. Looking to top the kind of material that would rival the topics of his counter parts.

Known more for his gritty yet wit-filled lyrics about experiences originating from the depths of the Southern portion of Hawthorne, CA, comes a smooth melodic R&B sound of his new single “Simp Season”. This may very well captivate the eyes and ears of a female audience alike.

Josh Bounty, is the next thing smoking out the west coast. He is an independent artist out the South Bay section of Los Angeles. Growing up for Josh wasn’t a cake walk, but he weathered the storm he had to face, and kept his head…and his aspirations higher. A rapper by craft, lately he has introduced the world to his R&B side.


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“Blue Light” by Phil Q. is a fusion of Neo Soul, Contemporary R&B, and Funk http://jamsphere.com/newreleases/blue-light-by-phil-q-is-a-fusion-of-neo-soul-contemporary-rb-and-funk http://jamsphere.com/newreleases/blue-light-by-phil-q-is-a-fusion-of-neo-soul-contemporary-rb-and-funk#respond Fri, 15 Jan 2021 21:47:12 +0000 http://jamsphere.com/?p=43869 “Blue Light” by Phil Q. is a fusion of Neo Soul, Contemporary R&B, and Funk; a smooth sound you and your special someone can get cozy to, especially during quarantine. This song is about how her blue light (phone) can distract her, and how you can be that distraction for her. You can be her Spotify, Instagram, and her number one fan; and show her that Tinder can’t replace intimacy…

Philip spent his whole life learning music without knowing it would lead him in this direction. Music is his escape, his passion and his form of expression, which he uses as inspiration for his R&B anthems.

Phil Q. is his stage handle born out of a love for different themes of R&B; ranging from 2000’s soul and jazz to electronic and alternative. He is also known for his versatility in performance. With any tool or instrument at his disposal, he can put on quite a show.

Starting at age 6, Phil Q. learned how to play piano, sing in choir, and eventually how to perform in front of large crowds before turning 10. Growing up, he loved all genres of music, but he gravitated more towards R&B, Hip Hop, Alternative and Funk.

At 16, he started playing many other instruments such as guitar, bass, ukulele and marimba. Any instrument he doesn’t yet play, he can learn. At the same time, he started producing and writing songs for fun. But it wasn’t until his early 20’s when he started honing his skills.

Recording covers and mashups were how he started sharpening his skills as a producer and a singer. Eventually he began performing and showcasing his work, including his original songs, under the stage name Phil Q. This was when he realized his style and the scenario he wanted to paint for his audience: the date night scene in the Bay Area. The rest is yet to come…

Website: https://www.philqmusic.com/
Spotify: https://open.spotify.com/artist/2DrffWTBHYM8uuD0JjRRZB?si=oDIcjsUPRV6NkKYMhDq0Ww
iTunes: https://music.apple.com/us/artist/phil-q/1510237825
Youtube: https://www.youtube.com/channel/UCqFNumtrFxKzZWtReYlaLHg?view_as=subscriber
Soundcloud: https://soundcloud.com/user-678821913
Instagram: https://www.instagram.com/philip.quijano/
Facebook: https://www.facebook.com/PhilQOfficialMusic

“Blue Light” iTunes Link: https://music.apple.com/us/album/blue-light-single/1539422969

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Heavy AmericA – “Generation Lame” tackles the socio-political climate head on! http://jamsphere.com/newreleases/heavy-america-generation-lame-tackles-the-socio-political-climate-head-on http://jamsphere.com/newreleases/heavy-america-generation-lame-tackles-the-socio-political-climate-head-on#respond Fri, 15 Jan 2021 14:56:38 +0000 http://jamsphere.com/?p=43865 Formed in 2014 during a friends recording session, the power rock trio of Heavy AmericA, is made up of Michael T. Seguin (lead vocals, guitar), Budd Lapham (bass, vocals) and Dan Fried (drums, vocals). They released their self-titled debut EP in 2015, followed by two singles in 2016, “Up For Air” and “Full Load Amps”, which led the their full length album “Now” in 2017. The next two years saw the releases of “Easy Killer” and “Motor Honey (Peace)”, while the band continued to collect music awards, feature on radio stations, and successfully string together live shows. During the advent of the Covid-19 pandemic, Heavy AmericA released the single “If You Care” – a song about depression, isolation and not giving up hope, which garnered a number of streams on Spotify.

Now with shows on hold, Heavy AmericA still intend on making 2021 a busy year for the band. Working with renowned nation radio promoter Matthew Ulanoff (Mercury, Maverick, Isotopia Records/ Concord Music Group), they embarking on a national radio campaign, and have kicked off the new year with the release of the politically charged rocker “Generation Lame”. The mid-tempo pace of the track allows for it to naturally build momentum and intensity, and then break down before rebuilding again through the band’s strong songwriting.

“Generation Lame”, is a song driven by a riff that feels equally inspired by Jimi Hendrix as it is by Led Zeppelin. As a whole, each member of the band shines as an individual, and as a tight unit on this track, but it is worth pointing out that guitarist Michael T. Seguin’s lead riff and solo motifs are absolutely fantastic.

What must be said about Heavy AmericA, is that despite how sonically, and inspired they may be by legendary bands of the golden, classic and alternative rock eras, they truly flex their own songwriting and performance abilities across this track. But then that should come as no surprise, as the band has been turning out great original material for some time now.

“Generation Lame” stands as one of their most unique tracks and an example of their songwriting at its strongest – crunching riffs, a raw but sophisticated arrangement, a building progression, great breakdowns, and roaring vocals elevate this song above the rest. The conscious lyrics and potent messages do the rest to certify the song’s impacting excellence.

For all Heavy AmericA has accomplished since 2014, “Generation Lame” is perhaps the band’s greatest achievement. Not simply for its musical quality, but for the fact that this single arrives during one of the world’s most difficult times – politically, socially and salutary. None of which intimidate the band, who tackle the American socio-political climate head on.

Rarely will a rock band quite like Heavy AmericA arrive on the scene with a track like “Generation Lame”. They put their own fresh stamp on hard-edged classic rock, reminding us what the genre was actually intended to be. In our current era, there’s probably only a handful of bands, both able and willing to do that with passion.


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Atlanta-based Hip Hop and Rap artist Taz Forte has released the EP “Home Team” http://jamsphere.com/newreleases/atlanta-based-hip-hop-and-rap-artist-taz-forte-has-released-the-ep-home-team http://jamsphere.com/newreleases/atlanta-based-hip-hop-and-rap-artist-taz-forte-has-released-the-ep-home-team#respond Fri, 15 Jan 2021 00:19:20 +0000 http://jamsphere.com/?p=43861 Atlanta-based Hip Hop and Rap artist Taz Forte is expecting his EP, “Home Team” to be a chartbuster. On cloud nine after enjoying a series of big hits, Taz Forte is continuing the momentum with one victorious run after another, and “Home Team” isn’t the end.

“Home Team” consists of seven tracks and listeners can enjoy a selection of unique-quality tracks. The tracks offer many glimpses of his life and experiences. Whatever he is conveying through his music, he does so with style.

His addiction to originality and consistent improvisations deliver a style that is not easily duplicated. Modern Hip Hop production and Trap beats complement his lyrics well.

Connect with all Music Streams, Links & Social Media for Taz Forte HERE

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Upcoming Indie Instrumentalist Mr. Milk Releases Debut His Album ‘Emergence’ http://jamsphere.com/newreleases/upcoming-indie-instrumentalist-mr-milk-releases-debut-his-album-emergence http://jamsphere.com/newreleases/upcoming-indie-instrumentalist-mr-milk-releases-debut-his-album-emergence#respond Thu, 14 Jan 2021 22:22:58 +0000 http://jamsphere.com/?p=43857 Mr. Milk, a young music producer and multi-instrument musician from Las Vegas has just released his new 1st album Emergence. The unique instrumental album is being touted as a revolutionary new sound and fans open to creative modern music will find the tracks stimulating and invigorating. Emergence is a fine example of new-age contemporary music and reflects Mr. Milk’s superior grasp of music at such a young age.

Emergence is not your run of the mill instrumental and neither is it a rendition of regular melody. It is a bold and uplifting musical arrangement that displays the maturity of its composer and the creative grasp on his signature style of its creating. A perfect soundscape blending organic and electronic sounds, Emergence, a breakout album is both introspective and experimental in equal measure. Notable among the tracks on Emergence are Berfungle and Empty already chalking up the views on music platforms and social media.

Mr. Milk may be just 16 years old, but the young teen is a musical genius when it comes to blending and composing music. Listening to the tracks on Emergence like Berfungle is like being transported to some distant land with the soft mixture of harmonious instruments coming together in perfect melody.

However, this is not the first time Mr. Milk has created music that can be termed ASMR like, the artist’s earlier singles like Morphing Time, Airy and Bungoo have garnered thousands of views to prove how well received his music is.

Mr. Milk is an adept upcoming multi-instrument artist who burst onto the music scene this year. He has always been passionate about music since he started playing the standup double bass in his school orchestra at the age of 12.

Since then he has graduated to composing and can now create music and sonic soundscapes using a mixture of organic and electronic instruments including Ableton with PUSH2, and FL Studio, live electric/acoustic bass, guitars, keyboards, drums and synthesizers.

His mastery of music is unparalleled with the skillful utilization of Ableton and FL Studio to create his own unique sound. The 16-year-old Indie musician has five albums to his credit which display his credibility and experience as a musician to watch out for in the near future.

Email: mr.milkmusic@gmail.com
SOUNDCLOUD – https://soundcloud.com/noah-mills-146874390/morphing-time
INSTAGRAM – https://www.instagram.com/mr.milkmusic/
FACEBOOK – https://www.facebook.com/profile.php?id=100009235235318
TWITTER – https://twitter.com/MrMilk48562458
YOUTUBE – https://www.youtube.com/channel/UCHQGWUixS9P9uFnbW8oRBUQ


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CELLUS.PAPI – “Figuring Less” is ready to explode onto the scene! http://jamsphere.com/newreleases/cellus-papi-figuring-less-is-ready-to-explode-onto-the-scene http://jamsphere.com/newreleases/cellus-papi-figuring-less-is-ready-to-explode-onto-the-scene#respond Thu, 14 Jan 2021 02:22:26 +0000 http://jamsphere.com/?p=43852 Marcellus Major, artistically known as CELLUS.PAPI is an indie artist and CEO of his own label known as Strictly Business Entertainment, where he manages artists worldwide. Out of North Carolina CELLUS.PAPI is creating a buzz with his latest single, “Figuring Less”. As addictive as the substances that he rhymes about, CELLUS.PAPI’s self-effacing raps worm their way into your brain and refuse to leave.

His level of creative ownership, ensures he can control his own narrative and widen his imagination to even greater heights that aren’t caught up in anybody else’s shadow. CELLUS.PAPI knows how to make you both smile and ponder. And right now that feels especially important. A quick run through his catalog and it becomes clear that his vocals are delivered with such variety and charisma that it’s hard not to get lost in his songs.

CELLUS.PAPI’s expansive and exuberant stories draws you right into his world and this, combined with his versatile, head-nodding production, suggests we’re dealing with a real talent who will only keep growing as an artist. On “Figuring Less” there’s an insightfulness to his lyrics, and the way his unorthodox flow intricately builds only to later unravel, shows CELLUS.PAPI is just as happy exploring life’s dead ends, as he is in finding answers.

CELLUS.PAPI takes the druggy swirl of new wave and SoundCloud rap, but adds far more color. He’s an inward-looking poet, capable of transporting you somewhere otherworldly. Any artist capable of binding all these very different elements together in a way that isn’t jarring, is the kind of performer you shouldn’t underestimate.

CELLUS.PAPI weaves in and out of the beat, using a flurry of descriptive words that will bring a smile to your face. He possesses a down-to-earth humility that makes his hard-nosed storytelling raps feel like they’re always coming from a place of truth over fiction. As the beat flickers in, on “Figuring Less”, CELLUS.PAPI becomes more invested in his storytelling, and it truly feels like you’re talking one-on-one with a friend.

You don’t need to read interviews to get acquainted with the CELLUS.PAPI. He puts it all in his music. With a natural knack for a shuffling flow that separates him from most peers, he makes songs that paint the picture of his experiences and habitat, plenty of which can be heard on “Figuring Less”.

Whether he’s floating over beats anchored by sluggish keys, skittering hi-hats, or plunging 808s, CELLUS.PAPI arms himself a stash of flows and witty bars that show he has the makings of a modern rap craftsman.

CELLUS.PAPI skillfully bounces between the evolving scenes of trap and rap, and like any player who can play multiple sides of the floor, he’s warning his peers to step their game up. And while his songs are endlessly catchy, there’s also sneaky depth and nuance to his songwriting. It won’t be long until fans catch on to his movement, as CELLUS.PAPI works on making his mark in the industry. He’s found comfort in his own lane, and is ready to explode onto the scene.

Contact: Strictlybusiness@celluspapi.com / Sbemanagement@celluspapi.com

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Apricity teams up with acclaimed producer Thomas McKay on the single “All My Lies” http://jamsphere.com/newreleases/apricity-teams-up-with-acclaimed-producer-thomas-mckay-on-the-single-all-my-lies http://jamsphere.com/newreleases/apricity-teams-up-with-acclaimed-producer-thomas-mckay-on-the-single-all-my-lies#respond Wed, 13 Jan 2021 23:57:43 +0000 http://jamsphere.com/?p=43845 Fueled by the creative inspiration of female vocalists such as Garbage’s Shirley Mason, Alanis Morrissette, and Blondie’s Debbie Harry, the debut single from Puslinch, Ontario’s Apricity dispenses equal amounts attitude and melody.

Taking her moniker from the Latin word meaning “basking in the warmth of the sun,” “All My Lies” marks the culmination of a passion that has followed the recording artist all her life.

Teaming up with acclaimed producer Thomas McKay, Apricity was initially drawn to the Evanescence-inspired dark tones that permeate the track’s lyrics and music and says McKay was the perfect foil for helping ensure the song was a stylistic good fit.

“I want to sing songs that move me; I wouldn’t want to have my name on something I didn’t feel, and this song resonated with me on multiple levels,” she says.

Once in the studio, Apricity recalls being slightly taken back with how the producer pushed her to strive for a consistent level of excellence. Driven by the song’s infectious and anthemic chorus, Apricity’s powerful vocals reflect McKay’s drive for perfection in the studio.

“Thomas was tough but in the nicest of ways. He was constantly pushing me to be better, and honestly, that’s exactly what I wanted to get out of this experience”.

Born in Scotland, Apricity immigrated to Canada as a child, but not before being bitten by the entertainment bug. In her formative years, the singer was a pageant show participant, auditioned for Britain’s icon TV show Top of the Pops, and also appeared on kids’ programs like Fun Factory before eventually comfortably settling into the world of musical theatre.

“It was being involved in different facets of entertainment that put me on the path to who I am today,” Apricity says. “Seeing people willing to invest their time and energy into me was inspirational. And now, I’m investing in myself. It’s been a tremendous amount of work but I’ve loved every minute of it.”

The accompanying music video for “All My Lies” was filmed at Milton’s Country Heritage Park, a location that recreates rural life in 19th century Ontario. Scenes for the video were filmed at The Lucas Family Homestead, a reportedly haunted building constructed in the 1830s, while other scenes were shot at The Mayne Corners United Church, which was built in the 1870s.

“Between the setting, the costumes, the amazing talent, and the fact that we were filming in a legitimately haunted building, it all tied together to create something incredibly spooky and beautiful at the same time,” Apricity says.

Now, on the cusp of what could be a big turning point in the singer’s life, she is nothing but grateful for the good fortune that has come her way so far.


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Alternative Rock Newcomers Tomorrow’s Fate Present their Debut Single ‘Son Come Home’ – A Fateful Journey http://jamsphere.com/news/alternative-rock-newcomers-tomorrows-fate-present-their-debut-single-son-come-home-a-fateful-journey http://jamsphere.com/news/alternative-rock-newcomers-tomorrows-fate-present-their-debut-single-son-come-home-a-fateful-journey#respond Wed, 13 Jan 2021 22:26:26 +0000 http://jamsphere.com/?p=43840 The question for the meaning of life has fascinated almost everyone at one point or the other. Many people think about it daily and still no one seems to have found a satisfactory answer. This exact phenomenon is the topic of ‘Son Come Home’, the debut single of the Austrian alternative rock newcomers Tomorrow’s Fate. Using metaphors, ‘Son Come Home’ tells the story of a lonely cowboy who tries to escape his fate. That is until he realizes that life is only a journey and death the ultimate home coming.

The Official Lyric Video ‘Son Come Home’ by Tomorrow’s Fate

The musical journey of Tomorrow’s Fate began in 2016 when they formed under the name No Tomorrow. With them from the start were André ‘‘Andi‘‘ Reiter (guitar and singer), Manuel ‘‘Stixx‘‘ Wallis (drums) and Benjamin ‘‘Benji‘‘ Künstner (guitar and singer). Their public debut followed in the same year as the musical entertainment at a company party.

Another performance at the “Linglstraßenfest“ in Madstein and a gig in front of an energetic audience at the “Sommernachtsfest” at the Trabochersee in 2017 strengthened the band’s spirit. Manuel “Mani” Rojak completed the band as their second guitarist in 2018 and it was renamed Tomorrow’s Fate.

Since then, Tomorrow’s Fate have performed their own songs, being strongly influenced by Nirvana, the Foo Fighters and Alter Bridge. Covering other people’s works became less and less important in their set list.

After a successful concert in SZENE Wien, which was held in front of a broad audience in 2020, they were approached by producer Nino Markgraf. He offered the young band the opportunity to produce their own record, which was then recorded at the Abnormal Audio Studios in spring of 2020.

Markgraf forwarded the record to the German label NRT-Records, which signed the band in the summer of 2020. Famous for their melodious song writing, Tomorrow’s Fate are going to release their debut single ‘Son Come Home’ as well as an artistic music video through NRT-Records on 15th January 2021.

Friends of alternative rock will get an impressive first taste of the musical workings of Tomorrow’s Fate.


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Gear – “Crash and Burn” – Rock & Roll pushed through an indie filter http://jamsphere.com/news/gear-crash-and-burn-rock-roll-pushed-through-an-indie-filter http://jamsphere.com/news/gear-crash-and-burn-rock-roll-pushed-through-an-indie-filter#respond Wed, 13 Jan 2021 18:18:09 +0000 http://jamsphere.com/?p=43835 The modern musical world is a fast-moving place. A place of exploration, of innovation, of invention. It’s a place where genres are fused into new forms, new sonic territories sought, zeitgeists are surfed and the ever-changing fads and fashions adhered to. But sometimes it all gets a bit exhausting. Sometimes it seems to be trying too hard to find the new source of cool. Sometimes you just need some old-school rock & roll in your life. And when that happens then Gear is definitely a band you can trust to sort you out.

It comes as no surprise that Gear first saw the light of day back in the 90s, you can hear it in their music. A hint of Brit-pop energy, some low slung Datsuns-esque swagger, a whiff of Jet’s groove. The artwork and even the band’s name referencing those times. This is rock & roll pushed through an indie filter. And the “& roll” bit is an important distinction.

Rock is more often than not a po-faced, overly-earnest, boorish drone…add the &roll and it becomes something else, something that swings, struts, swaggers and grinds, something sultry, and attitude infused, a low-slung, foot on the monitor, salvo of loose and louche sonic grooviness. And Crash and Burn is all of that and more.

And after 20 years away from the music scene, university, jobs, families, and all the other trappings of domesticity having taken precedence, as they must do for most of us, Gear is back to pick up where they left off.

Only this time they have something else to add into the mix. Age. And that isn’t something which should be scoffed at, many bands do their best work when they return to the fray older and wiser. Crash and Burn is the sound of their younger impetuous selves being guided by their more worldly, wider heads.

As a song, it’s an easy win. It wanders sure-footed between indie cool and rock traditions, fat riffs, backbeats with the right amount of swing and shuffle, bass lines that neatly anchor the two together, a vocal delivery with just the right balance of accessibility and aloofness. It is hard to see anything that they have missed out and the fact that the band didn’t make their mark in the nation’s consciousness sometime around 1997 is music’s loss.

But better late than never and at least their reemergence now means that they have less competition for this sort of sound, most indie bands seeming either to be doing strange folk experiments or otherwise having gone full identikit, black leather jacket, alt-rock on us. Maybe their timing is actually perfect.

I suspect Gear is as likely to appeal to just as many young indie kids as they are to aging Oasis fans. Only time will tell…but I bet you any money that I’m right. Trust me, I’m a journo! – Dave Franklin


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Beats by the Bay Presents the Official Video for “Girl Dad” http://jamsphere.com/videos/beats-by-the-bay-presents-the-official-video-for-girl-dad http://jamsphere.com/videos/beats-by-the-bay-presents-the-official-video-for-girl-dad#respond Wed, 13 Jan 2021 16:57:51 +0000 http://jamsphere.com/?p=43832 Beats by the Bay presents the official video for “Girl Dad”, a positive song for fathers with daughters. Produced by McLaren, the track features Kontac, Mistah Fab, Pizzo Sadat X, Hitta Slim, Erase-E, and Lucii Dream. It is available on all streaming services.

Connect with Kontac on Twitter and Instagram @kontac21

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VIDEO: BAM! – “Next Level” http://jamsphere.com/videos/video-bam-next-level http://jamsphere.com/videos/video-bam-next-level#respond Wed, 13 Jan 2021 02:18:50 +0000 http://jamsphere.com/?p=43827 BAM! is an epic Hip Hop Duo from Seattle WA. Members Switchblade James and Bryn Styne fuse elements of rock, hip hop and trailer music together into a powerful statement while tackling the controversial subjects of our times.

Check out their profound existentialist contemplations in the single “Next Level”!

All music is available for licensing contact BAM! at info@bamworld.net for info.

Find out more about BAM! on their website: http://www.bamworld.net

Check out their YouTube Channel: https://www.youtube.com/channel/UCHyhtaw1i9fZosvXjIcLJyw

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VIDEO: BAM! – “Kill Zone” http://jamsphere.com/videos/video-bam-kill-zone http://jamsphere.com/videos/video-bam-kill-zone#respond Wed, 13 Jan 2021 02:13:53 +0000 http://jamsphere.com/?p=43822 BAM! is an epic Hip Hop Duo from Seattle WA. Members Switchblade James and Bryn Styne fuse elements of rock, hip hop and trailer music together into a powerful statement while tackling the controversial subjects of our times.

Check out the video of their hard-hitting fighter-themed thriller – “Kill Zone”!

All music is available for licensing contact BAM! at info@bamworld.net for info.

Find out more about BAM! on their website: http://www.bamworld.net

Check out their YouTube Channel: https://www.youtube.com/channel/UCHyhtaw1i9fZosvXjIcLJyw

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Ronaldo Ca$h – “Freestyle” – a thoughtful and impacting presence http://jamsphere.com/reviews/ronaldo-cah-freestyle-a-thoughtful-and-impacting-presence http://jamsphere.com/reviews/ronaldo-cah-freestyle-a-thoughtful-and-impacting-presence#respond Tue, 12 Jan 2021 15:18:01 +0000 http://jamsphere.com/?p=43818 New York-born Ronaldo Ca$h is a rapper, singer, and songwriter. Owner of the Ca$h Crew MGT brand and label, the Newburgh underground artist has been gaining a significant following, as well as stirring up interest from mainstream players. Ca$h, who grew up on  Tupac and 50 cent, as well as the R&B hits, has already released a number of successful singles, while hinting towards the release of his debut EP “Humble Enough To Grow”,  scheduled to drop in 2021. Despite being independent, the artist is in constant pursuit of innovative ways to elevate his talent and brand.

Currently making waves, is his single “Freestyle” – a slow-burning melodic banger, draped in a soulful production, and awash with intricate wordplay. Ronaldo Ca$h has become an increasingly versatile rapper, one who can navigate lush, lively backdrops with the same ease he populates futuristic grooves or smooth chilled beats. With the gloss of the former and the warm of the latter, and it should be no surprise that he handles it all like a pro.

Ronaldo Ca$h

Ronaldo Ca$h is the star of his own show and he handles the spotlight well. The more you listen to him rap, the more he sounds like nobody else around, and this short-but-sweet single project is a reminder that nothing else hits quite right when you’re craving this slow-burn sound. You might not have heard of Ronaldo Ca$h before, but remember the name, because very you soon will be hearing it often.

Garnering critical acclaim and building a fan-base, it’s surprising this man is not getting the props he deserves faster than he already is. It would take a certain amount of stupidity not to notice that Ca$h has an impressive flow. “Freestyle” has lavish, soulful, almost cinematic instrumentation, as Ronaldo Ca$h switches between an insistent, breathless flow, and a more dreamlike spoken-word interludes. There’s a real passion in the way he delivers the song.

Amongst other personal experience anecdotes, Ronaldo Ca$h elaborates on how difficult it gets when people expect you to perform and succeed, in life and in music, when all the odds are stacked against you, in every way.

When you spend time listening to the story this song tells, the sense that all efforts to make changes and restore some self-awareness logic into your grind starts to make a lot more sense. And with that realization, comes a much deeper appreciation of the “Freestyle”.

Ronaldo Ca$h is an emcee with serious chops, not just a potent and subtly charismatic rapper. On “Freestyle”, he proves himself as both a thoughtful and impacting presence who is able to push forward his game plan with poise and consideration.

You’ll find some of the most well-considered bars and verses you’ll hear in 2021, in this track, and the production does a fantastic job matching it, to create ridiculously smooth, and powerful vibes.

Ronaldo Ca$h is a very likeable guy, as a rapper and as a presence behind the microphone. His voice has the collected heft of a man who could unleash all hell if he wanted to, but at the same time it’s soothing and melodic, making him a potent presence.


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INTERVIEW with Iowegian Recording Artist and Leader of the John-Paul Jones Group http://jamsphere.com/twentyquestions/interview-with-iowegian-recording-artist-and-leader-of-the-john-paul-jones-group http://jamsphere.com/twentyquestions/interview-with-iowegian-recording-artist-and-leader-of-the-john-paul-jones-group#respond Tue, 12 Jan 2021 02:01:36 +0000 http://jamsphere.com/?p=43811 John-Paul “Jp” Jones is a native Iowegian, heavy blues recording artist and is the leader of the John-Paul Jones Group. The Artist is Member of the American Federation of Musicians, Black Rock Coalition, International Blues Foundation, International Singer-Songwriters Association, American Society of Composers, Authors and Publishers. Under John-Paul “Jp” Jones’ leadership, the John-Paul Jones Group has steadily established itself as one of Iowa’s most popular heavy blues acts. Formed over twenty years ago from the leftover materials of progressive rock band Jp’s Eternia, the band is rapidly gaining regional and national recognition. It boasts excellent musicianship, powerful stage presence, and a remarkable stage show with audience interaction/participation integrated throughout each live performance. A new collection of songs written by bandleader John-Paul “Jp” Jones entitled ‘Broke In Bridge City’ is set for digital and physical release on February 5, 2021. Recorded at CopperTop Studio Hut, the album offers a fresh look at life in Southeastern Iowa as told in story form from the perspective of a Black American.

  1. Can you tell us a little bit about where you come from and how you got started making music?

Prof. Jp:  I hail from the Southeastern part of Iowa call the lake Rathbun area.  My family and I identify as Black Iowegians because we are 9 generations and counting native Iowa residents. I am part of the 6th, our original patriarch was an escaped slave and Civil War (US 165th colored regiment) Veteran Curry Oscar Bunk Reed of Appanoose County Area. Like most kids I got my start singing in the living room. I picked up the trumpet at age 10 and switched over to keyboards about age 12 or 13. I discovered the guitar about age 14 and I haven’t looked back since. I would say that the influence of in-home music of immediate family and out of home music of school mates probably shaped my musical tastes the most in the beginning.

  1. On your latest album, apart from the lead vocals, you also take care of the guitar and bass work. Have you had formal training or are you self-taught?

Prof. Jp:  On trumpet I had formal training which is how I learned to read music going about theory and harmony.  As far as guitar and bass are concerned the closest thing that I have ever gotten to formal lessons was Doug Marks correspondence course called metal method.  And getting my hands on every guitar bass magazine I could.  I would love to say that I’m self-taught because I’ve never really had a formal lesson on guitar bass or keyboards. I however have taken college classes on improvised education in Harmony Theory and Orchestration as time over the years allowed for it.  I’m a lifelong learner so I have no problem learning from a book which is how we did it in the days when I first started.  I can’t imagine how having to YouTube as a beginner must be a wonderful tool.

  1. Who were your first and strongest musical influences that you can remember, and which contemporaries do you consider as vital to your craft?

Prof. Jp:  Well I have to say first my cousin and my uncle were my first two musical influences that sparked it.  My cousin Gary played guitar before I did by at least a decade so when we go to visit his house I would see his magazines laying around that kind of put the spark.  And then my cousin Ernie Peniston, he was a singer and he traveled singing all over the world. A lot was also spark even though I didn’t want to be a singer. My Uncle Frank who lived out of state was a guitar player and he was also an inspiration.  Now for me it starts with Chuck Berry and it ends with myself, as far as influences go on the guitar I have a lot of influences for different reasons but Chuck is where it probably started for me. To be honest with you, contemporary artists I don’t listen to very many of them. I can tell you what’s in my CD changer right now, and yes I still use CDs. Kevin Burt, Christone Ingram, Anita White, The Boys, Avey-Grouws Band.  I’m a big supporter of Iowa musicians and artists as well as black artists especially. But I would be remiss not to mention those artists that helped shape my style.  Chuck Berry, Bo Diddley, Howling Wolf, Willie Dixon, Big Mama & John Lee Hooker… but also when I discovered guitar it altered my path… Jimi was the first Les Paul, Robin Trower, Billy Gibbons, Jon Butcher, Greg Howe, Rory Gallagher, Tony MacAlpine, Al Dimeola. I can find influence in any style and inspiration from any human being.  Currently I would say that Roy Weissman, Frank Zappa, George Clinton, Berry Gordy, James Brown, Zakk Wylde and Steve Vai have best shaped how I modeled my music business.  Mainly I have taken books out of their personal accounts on how to run a band and operate an entertainment business.  And I created my own.

  1. What do you feel are the key elements in your music that should resonate with listeners?

Prof. Jp:  Number one I feel I’m a very normal human being with a very unique and extraordinary background due to my geographical location and ethnicity. Those two elements I believe allows me to write songs that can relate to anyone.  If you are a fan of great guitar coupled to great rhythm plus a cool story line then I believe my songs will resonate with anyone.  If you like guitars they are there.  If awesome drums are your thing it’s there.  If you like direct and cool bass lines here they are. If you like vocals that are not screamed at you, but have that element of innocence and direct real quality like a Phil Lynott, Jimi Hendrix, or Big Mama, they are there.  There is something for everyone, regardless of age, ethnicity or gender.  But it still maintains the Heavy Blues integrity throughout.

  1. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style?

Prof. Jp: Yes it was…I don’t know if you remember Columbia House but why I started playing I started ordering from them. I lived in a part of Iowa so it wasn’t like you had a record store, we had a small department store that had records.  I first started trying to emulate Miles Davis Dizzy Gillespie Chuck Mangione and Louis Armstrong on trumpet that actually was probably the first of my real training that taught me to play by ear and I emulated those guys as best I could. Well I moved on to guitar the way I learned was through like I said before Doug Marks Metal Method, which had this one tape called riffs.  He did not tell you where the riffs came from… you just learned them without knowing their origin… Then as I was learning songs and playing in bands.  I could better learn them.  Please understand these lessons were basically a booklet and a cassette tape. That was it. The reason why I feel I developed a very original style of playing has everything to do with the trumpet lines and an inability to take formal guitar lessons so everything that I learned I learn basically by ear and mapping it out myself, and you can never get accurate with that so you develop a Style by poorly imitating your influences.  Early on Jeff Beck, Al DiMeola, Ritchie Blackmore, Jimmy Page, George Benson, Jimi Hendrix I tried to tackle… well because I did not know any better. I have never been able to truly discipline myself to want to play note-for-note on anything even to this day. I look at songs as rhythm, harmony and melody.  And even if it’s a cover I take a jazz approach to the arrangement of every song meaning. You can mess with it as long as you keep the major themes recognizable if you so choose.

  1. Do you ever consider writing a song with current musical trends, formulas or listener satisfaction in mind, or do you always focus on your own personal vision and presuppose that it will be appreciated by a specific audience?

Prof. Jp:  I could never follow trends, as my songs come from a place of being biographical or autobiographical.  I write from my own observation and experience. As you know this forms your own perspective.  My songs are a reflection of my perspective on life.  I release them with the same intention that Zappa said.  “I make music to those who consume it”.  I’m never worried about those who will not consume it nor like it. It’s definitely WYSIWYG with me. Take it or leave it, my music is me.

  1. Could you describe your creative processes? How do you most often start, and go about shaping ideas into a completed musical piece?

Prof. Jp:   Sure I could try. I don’t really feel I’ve got a formula, maybe a process. My ideas generally always start with a bass riff. 100% of the songs on “Broke In Bridge City” a bass riff starts the creative process.  I might come up with the bass riff on an acoustic guitar but the bass riff is always where I start.  Because we are a three piece band the bass is the driving force AND the glue for our live performance. So I write for myself, but I arrange and record for reproduction on the stage.

          Do you usually start with a rhythm, a narrative in your head, or a melody?

Prof. Jp:  I continually record melody and riff ideas onto my phone. I will mimic anything locally guitar bass drums and keep note of it along the way as well as lyrics and song themes.

  1. Could you describe how the album ‘Broke In Bridge City’ came into being initially?

Prof. Jp:  Actually the title track I wrote in 2018. It’s been a part of the set list since then.  Mainly all the songs came together during the Covid-19 pandemic.  With all of our shows and 2020 being postponed, rescheduled or canceled.   I had some unexpected time on my hands so I decided to write new songs and record an album.  Concept is about our journey through life and about being in a good place, but during a bad time.

     9. How would you describe the overall sound of the album to any potential new fans?

Prof. Jp: Authentic Heavy Blues

  1. Did you use any particular effects, instrumentation, and/or recording techniques on ‘Broke In Bridge City’ to create your raw vintage blues-rock sound?

Prof. Jp: Glad you asked. Actually what we did was marry old school mixing techniques from the 40s, 50s and 60s with new technology which included digital boards from Midas Behringer, and guitars, bass and drums were tracked initially on my digital workstation which is Mixcraft Pro 9 through a Behringer X32 board. Stems were sent overseas to Chris, who worked through his board and Pro Tools. The new drums were then flown back to me via the cloud and I re-recorded all my parts through my gear. Angeliki mixed all the Reaper and The Box at her Studio. The key to the sound is to ignore everything we learned about recording post 1988.  If you want a vintage sound you need to use vintage recording techniques, not just go buy some old amps and use the modern techniques. Also, as the producer I put a self-imposed limitation on recording and mixing. No Auto-Tune, no electronically fixing vocals, no time alignment of drums. If something didn’t sound right we did it over. This is what happened in the 1940s and 50s. We limited the tracks in a way that made us use the digital audio workstation like it was a 24-track tape or two 24 track tapes synched together. I believe that’s what gave us the sound that I heard in my head.

  1. Does the John-Paul Jones Group work with an established set of collaborators, or do you switch crew according to the project at hand?

Prof. Jp: Live, it can be a revolving door, but currently the live band consists of David Bruce on drums and Steven Patterson on bass guitar. I prefer to use Iowa musicians and crew for all live concert productions. Mainly due to logistics and because I support my own.  John-Paul Jones Group operates with a “revolving door” instead of a “broken bridge” policy.  You’re welcome to leave, pursue other things and come back if there’s a slot open and we are in need of your services and talents. All concerts are recorded with the live band of the season, for future potential video or audio release. For this recording project I stepped out of my box and hired remote mix engineer Angeliki Mourgella and remote session drummer Chris Barber. Angeliki who is originally from Greece actually mixed the album in London. Chris re-recorded my rough drum tracks in a studio in Sheffield UK.

  1. Are there any interesting behind the scenes anecdotes from the recording sessions for ‘Broke In Bridge City’ that you can share with us?

Prof. Jp:  One of the most interesting things in my opinion about recording this record was using two different people in a collaborative effort and then trying to describe how I need things to sound. The time shift difference was always strange Angeliki would work at a time when I was asleep so I would wake up early to catch her next version what about 5:30 in the morning. One time we had a song mix that Angeliki sent back to me and it sounded horrible, drums all over the place, it just did not sound like the track that I uploaded to her.Took me awhile to figure it out and what it ended up being was there was a ghost backing track that was mislabeled which was a rough mix from before and somehow it was labeled as a drum track and she mixed it in there thinking it was supposed to be there. It made me laugh because it also made me to start to pay a little closer attention to my stem titles haha.  She said it sounded different but thought it was how I wanted it which is the true talent of an engineer to allow the producer to send the tracks and just make whatever you’ve sent sound good. I recorded all of my tracks in isolation so it wasn’t really a whole lot of what I call publically interesting things going on.

One thing that I did do, but I recommend to anyone who’s a singer working in isolation. I brought in an extremely talented vocal coach when I was having trouble. Her name is Tina Hasse Findlay. I’ve worked with her before. She is very good at Project based coaching when I couldn’t nail the song. Tina would drive down from Des Moines and we would spend an hour going over it. Then I would record it and usually it was done. I recommend that process to anyone trying to record something in isolation. Bring someone in that you can trust, with ears to hear what you’re trying to do, and the knowledge to help you get there. I think we did that on two songs.

      13. What were the main compositional, performance, recording, and production challenges you came across on the album?

Prof. Jp: The toughest challenge was being patient. I’m learning to come up with a process allowing a collaborator time to do their thing. Most of the time they completed their task a bit sooner than was expected, whereas I always felt a little under the gun to make sure they were given their proper stuff within a quick time period.

  1. Is there a particular song on ‘Broke In Bridge City’, on which you feel you delivered your most perfect performance, technically and emotionally, and which came out even better than you initially expected?

Prof. Jp:   Oh I don’t think there’s such a thing as a perfect performance technically or emotional just some will move you better than others, and on some days you play a little better than others. I really think that Blue Ruin right now comes close and equally Blood Sugar Blues, because those two songs were written during a pandemic they are a reflection, one about friends lost, the other about my everyday battle with Type II diabetes.

  1. On the other hand, which song on the album would you consider the most personal and dear to you, lyrically?

Prof. Jp:  That has to be Youth Is Wasted On The Young, which is about some tragic losses that have happened in my life. The song is 25 years old. I wrote it 25 years ago, and it is so relevant and potent today in reflection of what’s going on in the world with the young people off today. Things are different but they haven’t changed.

  1. Apart from the aforementioned songs, in your opinion, what would you consider particular highlights for fans to watch out for on the album?

Prof. Jp:  You know each of the songs on this album have something for everyone. I believe that of all the songs on this album, each one will reach someone. So I’m telling you that you have something on this album no matter who you are, where you come from, how much money is in your pocket. The music’s not going to care and you will find something that will resonate with you.

  1. In retrospect, would you affirm that ‘Broke In Bridge City’ completely reflects your initial artistic vision for the album, and that its final production came out exactly as you intended?

Prof. Jp:   Yep that’s exactly the way that I intended to be. This stuff’s not slopped together, it’s got intention and purpose. That purpose is to tell my story and express my observations/experiences from my own personal and unique perspective.

  1. Besides being an expression of technical artistry, personal narrative and pure entertainment, what’s your view on the role and function of music as a political, cultural, spiritual, and/or social vehicle?

Prof. Jp: Recorded music is a snapshot of observational history. The minute you record something do you have put your thoughts emotions feelings on display for the whole world to see.  The importance of that is it’s just another wonderful way to connect with other human beings. Songs don’t have to be overtly anything political, emotional or anything like that to trigger someone’s emotional or intellectual response, just something that’s within them. You could deliver direct or indirect messages that inspire others to do or to think. That’s the beauty of music.

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

Prof. Jp: First and foremost raising three wonderful children to adulthood, while pursuing my dreams as a single father. Then it’s completing this album. I am proud of these songs because we captured everything I have tried to accomplish from both a technical and an artistic perspective.

  1. What do you find most rewarding about what you do?

Prof. Jp: I’m best at expressing myself with a guitar and lyrics. What makes it so rewarding for me?  Most of the time and conversation my feelings cannot be let loose 100%, but with a guitar in my hand that changes and that’s the most rewarding thing, to be truly free and emotionally open, through playing.

  1. Do you have a specific vision or goal set in your mind that you would like to achieve in 2021?

Prof. Jp: Yes! I want to go out and present these songs live, to the world. I also want to continue with my efforts to support veterans service clubs through our Patriot’s Picnic Concert Series, and also to collaborate with my brothers from Iowa, Ernie Peniston and Kevin Burt, with a concert series that we are working on called the Iowa Soul Brothers Revue which will feature 3 of Iowa’s most Authentic Black Blues Artists on one stage. These are three uniquely different styles of blues, but still authentically part of Black American Blues Culture. I also may release a concert DVD of performances from 2018 and/or 2019. Only time will tell.

     22. Is there anything else you would like to share with our readers and listeners?

Prof. Jp: Yes I would.  I believe in education obviously…For this release I have pledged $0.50 of every album shipped to go towards a cause near and dear to my heart, which is a the REC-TERET Library Fund, which will provide books for students of the IHCC-Electrical & Renewable Energy Technology Program here in my community. This program changes lives and 85% of the students are considered low income. I am trying to raise an additional $30,000 for this fund which will supply books for 10 students annually. So purchasing this album also will help a person in need succeed in life. The gift of education has a return that is invaluable.

  1. Where can someone go to follow-up with John-Paul Jones Group or get the “Broke In Bridge City” album? And what formats will it be available on?

Prof. Jp: You can visit our website and subscribe to our newsletter to keep up with us.  https://www.johnpauljonesgroup.com/news.html. You can pre-order the album in LP or CD format. The best place to get it from the Blue Nexus Music Store online at https://bluenexusmusic.limitedrun.com. If you want to see the band live or connect via Instagram or YouTube. search johnpauljonesgrouptv. On YouTube on your Roku John-Paul Jones Group TV in your search bar. The album is set to release February 5th, 2021 on Eugene’s Trick Bag Records to all major online retailers.  If you get the digital version you automatically get the CD for shipping cost only.  Pre-Orders are being taken now. You can also listen to the music exclusively on the Jango Radio Network at https://www.jango.com  which is the one of the best internet radio services worldwide.

I want to thank you Rick and everyone at JAMSPHERE MAGAZINE for taking the time to talk to me.  It’s been a blast.



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OHENE – “456” – spell-binding, illuminating and totally honest! http://jamsphere.com/newreleases/ohene-456-spell-binding-illuminating-and-totally-honest http://jamsphere.com/newreleases/ohene-456-spell-binding-illuminating-and-totally-honest#respond Mon, 11 Jan 2021 17:32:43 +0000 http://jamsphere.com/?p=43802 We are currently living in an era of uncertainty, and the future is in question. Some of the trivial things in life don’t seem as important as they did not so long ago, and we continue to place further space between each other in an already socially distant culture. For some reason, music has always been a catalyst in bringing people back together, and that statement still holds true today. On the 25th of January, American born actor and musician, Ohene Cornelius, simply known as OHENE, will release his brand new single, “456” – produced by Japanese creative Sigi – across all major music platforms. And once again we’ll all have that common stimulant of hearing great music.

For those still unaware of this versatile talent, OHENE has been seen on the big screen (Kick Ass, Zenith), on the small screen (Blindspot, Person of Interest), on the internet (blackandsexytv), and important music venues/festivals (SXSW, Santos, A3C).

Recently he has been working on musical philanthropic efforts and collaborating with numerous indie and mainstream artists, starting the comedy showcase “Smokes and Jokes Comedy”, being a father, and maintaining his own lifestyle and clothing brand, called Harlem River Yacht Club.

Freshly off his critically acclaimed concept album, “Revolutionary Ratchet”, OHENE is set to release “456” – as we mentioned previously – on January 25th, which occurs a day after the first event of 2021, for Harlem River Yacht Club. “This is one of the first songs I’ve written and recorded since deciding to challenge myself to not physically write or type my bars,” explained OHENE. “It took me 20 mins to figure out the hook, and 2 weeks to record,” he continued. “A track meant for hustlers, it’s a song about focus and the come up while still finding love,” concluded the artist.

All of OHENE’s supporters, including myself, understand the cerebral nature of his creativity. A quick listen to his previous releases, will document his overall musical ingenuity, his singular focused vision, and his unrelenting passion to connect and impart the messages contained within his narratives. On “456”, the Harlem, New York musician, and singer-songwriter, not only maintains all of those prerogatives, he unequivocally reinforces them.

Physical attraction is both a gift and a curse, depending on how you play the game. As with many things in life, one must learn to navigate across the good with the bad, and not let any outside forces affect your judgement and vision.

Cold as ice, OHENE dominates his game of love in “456”, while also unfolding the aspirations of his grind. “We done took trips. I’m the man and shit. Now U come around all demanding shit. Girl I’m taking off on the landing strip,” he rhymes, over an insistently funky beat.

OHENE taps into his prowess as both a rapper and a singer, as he also lays down the sticky mellifluous hook: “Roll that dice like 4 5 6. Do it on the corner for love.” Some aspects of the narrative are brutally honest, and are tempered by ones of aspiration and inspiration.

This is what keeps the track spell-binding, illuminating and totally honest. Beyond the awe of it all, “456” truly showcases OHENE’s talents as a writer, rapper, and singer.



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$kirmish, Alixn & Zxkker breathe life into the intensely beguiling “Waifu” http://jamsphere.com/reviews/kirmish-alixn-zxkker-breathe-life-into-the-intensely-beguiling-waifu http://jamsphere.com/reviews/kirmish-alixn-zxkker-breathe-life-into-the-intensely-beguiling-waifu#respond Mon, 11 Jan 2021 02:44:14 +0000 http://jamsphere.com/?p=43795 Rap and Hip-hop has become pop music’s alchemy. Any style is fair game to be blended, morphed, mixed, and rolled back out with newfound urgency and impact. One style that has been steadily undergoing this process is punk music, and one of its up and coming protagonists, $kirmish has put together diverse amalgams of punk, electronic and trap that is nothing short of hypnotic. However his music is in constant evolution. $kirmish has been inspired by such artists as the Sex Pistols, Black Veil Brides, Lil Peep and Eminem. From his combined influences, he says that he is motivated into making something new that is “exhilarating, heartbreaking, shocking, excitable and everything between.”


In December of 2020 he decided to erase his past music identity and sound, and branch away into new avenues where he could focus on the things he really wanted to do, and spread the messages he truly holds dear. $kirmish is also part of Revolution Underground – a UK based underground music community that strives to connect talented musicians and other musical based talents from across the country.

In fact, it seems that via Revolution Underground, $kirmish has linked up with Alixn & Zxkker to release the single “Waifu”. This collaborative trio boasts their diverse musical ranges, delivering a track that is as catchy as it is captivating.

If you like soulful, stretched-out singing, skittering trap hi-hats, and a thick rumbling low-end, you’ll dig this track. The sound is intimate and introspective, refining the subtleties of a style that pulls from so many different sources.

$kirmish along with his crew, demonstrate a chameleon-like talent for creating everything from the most infectious beat to the gentlest verses. He defines the modern position of urban-based music, which is unafraid to wear its heart on its sleeve.


It’s a futuristic fantasy song, with its plucked guitars, stacked vocal exchanges, and explicit sentimental and sexual references. $kirmish not only has a knack for storytelling, but a talent for transmuting private emotions into vivid, visceral life settings.

“Waifu” draws the listener’s attention every which way, as $kirmish, Alixn & Zxkker unpack their verses.  They all clearly have a vision and an ambition – both within their own work in the song, and in the scope of the project as a whole. They breathe life into an intensely beguiling and unique track that shows off their skills and collaboration in an effortless way.

“Waifu” is not particularly long, on the contrary it’s actually quite concise, lasting just 2 and forty-two seconds, so it wastes almost no time saying what it really wants to say. The infectious beat and lyrics make it an easy listen and provide a smooth transition between the artists, as they switch duties. This slow-building track shows off the incredible easy-going talents of $kirmish and his posse, as they sing about their “wife for life”, and connect with fans on a new level.

Where $kirmish will go from here sonically, is anybody’s guess, as he says he has big plans for 2021 and beyond. For now I thinks fans can be more than happy to savor the hazy soulful urban flavor of “Waifu”.


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Sayii January – “Cries, Under The Summertime Sun” – a distinctive and ambitious sound! http://jamsphere.com/newreleases/sayii-january-cries-under-the-summertime-sun-a-distinctive-and-ambitious-sound http://jamsphere.com/newreleases/sayii-january-cries-under-the-summertime-sun-a-distinctive-and-ambitious-sound#respond Mon, 11 Jan 2021 00:21:57 +0000 http://jamsphere.com/?p=43790 Sayii January is an upcoming rapper from Atlanta, signed to Miscellaneous Muzik out of Chicago. Sayii releases his 3rd studio album, entitled “Cries, Under The Summertime Sun” which contains 22 tracks. We got a sneak preview to a handful of tracks, and came to the conclusion that Sayii January is a conceptual mastermind. The rapper shows a flair for entrenching himself in his themes and crafting his songs in a way that immerses the listener into his headspace. Each track carries with it a different sound and message, but a common lyrical and storytelling prowess that will surely break him out of a crowded Atlanta rap scene.

Most notably, the tracks ebb and flow like the narratives themselves, pairing Sayii January’s soulful tones with his liquid flows, leaving the listener refreshed and longing for more. The beats are smooth and immersive, creating chilled soundscapes filled with ambient-like and downtempo grooves. The production on each track creates an atmospheric vibe with a solid rhythmic backbone.

Laser-sharp metaphors and profound messages aside, Sayii January sounds most in his element when he’s able to showcase his top-tier penmanship. The wordsmith leaves no verse unconquered, weaving in and out of flows effortlessly and delivering tales that will keep listeners captivated. Sayii is a musical chameleon, allowing the production speak for itself before using his vocal versatility to blend his verses and hooks seamlessly.

On the aphotic “White BMW”, Sayii January’s voice is urgent and compelling, as he rides against a clamorous keyboard and a throbbing beat. The menacing keys and cracking percussion create a dynamic street banger. On “Sunfall” Sayii switches the template with a vintage piano and a murky drumbeat underscoring his vocal nuances and storytelling poetry. Heavy intricate bars are mixed with melodic motifs in a song that demands attention.

By the time I press play on Karley Wilburn (Under The Streetlight)”, it’s clear that Sayii January is in a lane all of his own. He lets his thoughts and emotions take control of the track, as he ventures between resonating spoken word and melodic phrases. Every line is well placed and natural, flowing into each other. He seems to be creating what inspires him from within, while doing so effortlessly.

“Champions Don’t Quit” brings a soulful sound and an uplifting groove, wrapped in a mesmerizing melodic backdrop. One of the best things about this album is the fact that Sayii January is not chasing somebody else’s sound template, his creating his own. This is evident on nearly every track, and even more so on “Devour Part.1”, where he employs some creatively nimble rhyming, on top of a brooding beat.

It’s hard to find an album that’s creative, cohesive and perfectly thought out, while also having immediacy and tons of replay value. Somehow Sayii January has succeeded in achieving just that, with “Cries, Under The Summertime Sun”. Listening to this album, you are witnessing an artist coming into his own. Here Sayii January brings a whole new artistic strata to the game, putting together a distinctive and ambitious sound.


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