XGod is an emerging Electronica artist from Australia. He’s just released his debut single Mine, which is pumped full of futuristic sound it will make you feel like you’re in the 5th Element.
The intro kicks off to a good start with the synthesised analogue sound that gives you promise that you’re about to be induced into an eclectic sound that can transcend you from a static reality.
Yet, the lyrics provide to be the downfall of the latest track the vocals added distinct insult to injury. There’s no natural hint of lyrical flow to the vocals, they don’t even sound human, so it’s impossible to extract any passion or any other emotion from the track. You’re just stuck listening to someone proclaim in a robotic manor that they’re “going to set this bitch alight”.
I have no doubt that Mine could have been a stand out track without the excessive vocal mixing and mastering by A. Wright. I have no doubt in my mind that this track would have gone down a treat if it didn’t sound like it was orchestrated by an Artificial Intelligence robot.
Through the impossibly competitive music scene of Portland, Oregon emerges Salvatore Manalo with his debut track Rain.
It’s a mixed bag of genres, but when you get to the bridge, putting a label on his majestic sound quickly floats to the back of your mind as you find yourself fully attuned to his sound. With riffs more fitting in Rock tracks this R&B Funk Pop enigma allows the track to flow with sweet unpredictability.
The entire ensemble is flawless, from the vocals to the instrumentals, the lyrics to the Jazz vibes that taint the track with poignantly upbeat symphonies. I’m really not sure how Manalo remains on the underground with such an array of talent. There’s a true narrative to his emotions which he explores through his command of rhythm.
Sadly, Rain falls under the category of the type of track that you’re likely to hear whilst dining at an upmarket restaurant or wandering round the supermarket. It’s not a sound that you’d hear in trendy cocktail bars or being spoken about fondly by teenagers. Never the less, if you’re looking for a sound to dispel the winter blues look no further! (Despite what your friends may think)
Whilst there is undeniable talent on display by SB Quan in his debut track, it’s painfully evident, that he’s just assimilated the generic styling of Rap & Hip Hop. There’s a dramatic lack in personality, the lyrics skip from abject angst to blazing hate. Which is always a sound that’s in demand, but when do Hip Hop fans get to demand more of their artists.
The repetitive elements in the track make it clear that the vocals are just filling the sound without really contributing to anything. Music should always be plagued by it’s essence, and not just the use of regurgitated lines because they wrap rhythmically around the back beat.
It’s not that this track is without it’s merit. The beat is steady enough to support the flow of nonlinear lyrics providing some intriguing elements in dynamic complexity throughout the duration of this mid-tempo track, that’s hyped up just enough to hit the psyche.
I look forward to hearing new releases from SB Quan, once he’s found his own voice, he’ll be unstoppable.
Check out the debut hit No More L’s on the Spotify link Below:
Cagework was born as the musical project of Samuel Bedford after being conceived in the cello rock aficionado’s bedroom. His humbly dramatic sound is reverberating through the streets of South East London as underground revellers are all too eager to drink in the eclectic sound which he creates. Working through his back catalogue was an audiophiles treat, yet nothing stood out more than Mould.
Cagework’s debut track is a quaint, resonant mix, with a Shoegaze Indie styling, that sounds as though it were born through the 90’s penchant for reverberated guitars and stifled vocals. Mould is an atmospherically haunting mix, dubbed with some silliness that will quite literally take your breath away.
Coming across an artist that doesn’t take itself too seriously is a pretty hard accomplishment to achieve these days. Yet the London based Singer Songwriter seems to master the ability with ubiquitous ease tackling a Sonic Youth style silliness in some of his tracks. Other tracks flow with a prominent cello domination to give his sound a more orchestral and harrowing sound.
Check out Mould, along with Cagework’s other tracks by using the BandCamp link below:
To say that George Wilkinson is a pianist that plays for a Pop generation would be a pretty fair assessment. His Dramatic ballads don’t quite go down with the sophistication of painists such as Sigur Ros or Nils Frahm yet there’s something charismatic about the innocence of his sound none the less.
The British multi-talented musician possesses a varied vocal range, which in some parts reminded me of the harmonies in a Take That song with a playful contemporary twist, but there is so much to George Wilkinson’s sound than the vocals. So, if his vocals don’t win you over, there’s always his delectable original musical arrangements to faun over. The piano solos sing with so much complexity that I wished that it was an overall instrumental track. The essence of the pounding dramatism of the keys were stolen away by Wilkinson in his best attempt of hitting the high notes.
I would love to hear what Wilkinson is capable of through some raw acoustic sessions where it’s clear that he’s not creating music for the masses but instead truly expressing his own evocative train of emotion rather than just assimilating every other contemporary ballad singer as they fight for number one at Christmas.
Check out Wilkinson’s debut track on the Soundcloud link below:
Jo Nava is a charismatic female rapper who has been passionate about music ever since she was only 6 years old. At the tender age of 12, she started rapping, and never stop growing her talent and expending her skills.
Today, Jo Nava set out to create a unique, personable blend o sound that feels contemporary and direct, yet timeless and organic. As opposed to using ready-made beats and pre-packaged background tracks, she actually creates beats and melodies with real instruments, adding more character to her songs.
Recently, Jo Nava released an exciting brand new release titled “Mind F**k”, which is a conceptual E.P that will take listeners hand in hand towards a fascinating journey through the depths of the human mind, where every track is related to a different emotion.
This EP features 4 songs, with inspirational lyrics and an organic production that highlights Jo’s natural skills and character.
Indie as a genre has been pretty well defined for a while now. Having evolved from its original musically political meaning within the music industry to become a genre label in its own right, it generally indicates pop aware melody and musical adroitness, that fine line between commerciality and underground cool, between accessibility and integrity. But what does the indie band of 2017 do to stand out from the pack?
One answer is to do what The White Lakes have done. Forget warping the genre or kicking down generic barricades, and cross-pollinating your sound with the tricks and trappings from elsewhere to gene-splice indie into some sort of modern musical Frankenstein’s monster isn’t the answer either. It isn’t about subverting expectations, it is about feeding them. It is about doing what the rest of the pack do but just doing it so much better. Underline – so much better. The result of such an attitude can be found on Live Wyre. It isn’t so much contemporary indie looking for a new direction or a change of musical trappings, it is instead the sound of indie just done a lot better than 99% of the competition. Why doesn’t every band realise that it is that simple?
Just how do you get ahead of the competition in the mainstream electro, dance, pop market? That’s the trick isn’t it? Pitch a sound and a style that is too radical, too out there and whilst you will pick up a few new fans from the fringes and underground scenes, you risk loosing the main target audience. Create a sound which is too similar to the centre of the fashion curve and you risk being lost in the noise of the competition, or worse brandished a copycat act trading on a sound already associate with more established artists.
That’s the clever thing about Edgar Crespo, he understands the balance between the tried and test and new, between the comfort zone and the exploratory high and Let’s Go is proof of that fact. Smooth and soulful, built on R&B grooves and hypnotic rhythms it also moves the genre forward brilliantly. It will resonate with the early hours club dance floor set as much as the after party chill out, it is music for the late night drive and perfect for setting a chilled vibe around the house. It ticks boxes in any number of genres from dance to pop to modern soul to R&B, very soon this song is going to be everywhere.
Even before you read anything about the wonderfully titled Vlad In Tears you could have a decent stab at the fact that they hail from Europe, German even and you might even be confident enough to suggest Berlin. And you would be right. There is something in their sound which seems to scream “Old World” and those dark corners which sit perpetually across some of its oldest cities.
If the bands name seem to suggest something aimed at the black clad, wannabe pagans who still have visions of relocating to Sunnydale and hanging around with Buffy and the gang, I am most happy to report that Vlad In Tears rise far above such first impressions. Give the music a spin and you find yourself in a dark and emotive alt-rock soundscape. Even the term gothic, as a genre at least, is slightly amiss here, for it neither fits in with the old-school post-punk movement or the metal sub-genre it has since become. If it is gothic at all it is more in the literary sense, painting dark mystique, broken romanticism and haunted emotions across its musical canvas.
They may be new kids on the Philadelphia rock block but Cologne have really arrived with a fully formed sound. One part stadium rock, one part indie cool and one part pop accessibility, it is hard to see who they wouldn’t appeal too. Musically it gives them great scope to build sonic architecture in the space around them but also play with subtle musical dynamics, deliver songs dripping with euphoria but also commercial accessibility.
And it is this fantastic generic balancing act which sets them apart from the pack As popists and rockists wage pointless pitched battle, Cologne clearly adhere to the cult of the song, preferring to take the role of tunesmiths who exalt composition over flash and muscle. If this song is the perfect rallying point for those who have long understood that this middle way has always sported brilliant acts – pop acts muscled up by a dash of rock, rock acts whose bluster is tempered by indie details and indie acts happy to explore pop immediacy – then the fact that hey have an e.p. called New World available is just the icing on the cake.