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:
Whilst it is pretty much impossible to find music which totally encapsulates America as an idea and an entity, by virtue of its size and diversity, cultural blends and creative explorations, there is some music which when heard makes you think of no other place. The bleak and emotive howls of early blues, wild eyed jazz ensembles, the heartland rock of the likes of Petty and Springsteen and the evocative roots sound which is at the heart of Jason Scotts music.
When I’m Good and Ready is like a snapshot into the American music psyche, mixing rootsy blues, country and old school rock and roll into the ultimate soundtrack for any film which wishes to pin point a sense of place in the space of eight bars. It feels as if the song could come from any time in the last 80 years and be playing in any bar, basement club, juke joint or truck stop you happen to stumble upon. But whilst the setting may be universal, few artists could get it this deliver something this deftly wrought, this effective, this seemingly effortless.
Manchester, UK based Duncan Reed is an alternative singer songwriter, dabbler in acoustic rock and an all-round master of melodic, effervescent resonance. His latest track Hard as Stone is one of the most melodic pieces of music that I’ve had the transcendental pleasure of listening to since I first discovered Glen Hansard.
Hard as Stone demands the illustration of his raw fingers floating over the strings of the guitar as the track spirals through the soul wrenching melody fuelled through deeply illustrative and abstract lyrics.
There’s a point in the track where his fingers delectably stumble over the strings, this was the moment that I fell in love with the pure cacophony of sound that was brought to life with just one man full of poetic synergy and his acoustic guitar. I love that there’s static toward the end of the track to entice you into the nostalgia you are treated to after a well-loved vinyl record has reached the end and you’re drenched in the white noise; the departure and the aftermath of experiencing something spectacular.
There’s a great power in his voice, although the vocals aren’t as strong as they are in his other tracks on his debut album Hypnotise; there’s a plethora of tracks that vary in the dalliance of amplification creating it a spectacularly immersive experience. You can definitely hear the Fleetwood Mac inspiration that invokes his pensive style lingering within some of the jingles of the track.
You can check out Hard as Stone, along with the other hits on his latest album on the Spotify link below!
Benjamin Marshall is a promising singer songwriter with some cool interesting ideas and a fresh sound that intelligently blends folk, pop and alternative into one distinguishable sound. His song “Our Own Key,” taken straight out of his new album “The Final Giraffe,” showcases his unique style and invites us all to sing along in a message of unity, truly using music as the best tool to bring people together. With bright guitar and organ sounds, a steady beat that carries you along and catchy melodies with lyrics we can relate to, this song definitely has a lot to offer.
Upon first listening to this song, especially as the bridge unfolds, it is very difficult not to imagine the music being played live in front of a crowd that is singing and clapping along joyfully. It is just one of those tracks that carries you along, no matter who or where you are. It has the power to unify people while also showcasing a great ability to craft a good immersive track. Apart from this, the performance quality in the recording also makes it even more obvious that this music should not only be played on the radio but also enjoyed live in concert with the Benjamin Marshall’s energy and that of the rest of the crowd.
DEA is a young singer songwriter with a very particular sound. With inspirations of R&B and Neo Soul in combination with descriptive thought-out lyrics and some hints of electronic sounds in the arrangement, “You” is a new track which can be potentially hypnotic to whoever listens to it. With natural sporadic guitar phrases that contour the structure, as well as a contrasting deep underlying pulse, this song features a delicate balance of high and low sonorities. It is also interesting to note how subtle the use of the trap style rhythm is. Used carefully to accentuate specific sections and sounding almost in the background, this gives the song indeed a hauntingly hypnotic quality.
Apart from an interesting instrumental arrangement this song definitely has more to offer. DEA’s vocal shines bright above the instrumentation and delivers vocal tone variations and fluctuations throughout the song, showcasing her R&B influences particularly in the chorus. With luscious harmonies and shapely melodies that glide between a variety of pitches and colours, this new voice has a lot to offer and the song “You” is definitely proving all this to be true.
Terry Logan is one of those artists who in just less than four minutes can give you a comprehensive argument, in the form of one graceful song, why music genres are such a waste of time. The song is based around straightforward folk-pop structures but is eminently soulful and wistfully optimistic, it is both chilled and restrained but filled with just enough groove and is infectiously danceable.
And if that wasn’t enough her voice is a fantastic mix of vulnerability and warmth all of which makes to perfect vocal icing for such a luxurious musical cake. It comes as no surprise that after a busy year of gigs, festivals and recordings her current e.p. from which Believe It a Little comes was produced by someone whose roster also name checks the likes of Marina and The Diamonds, Alison Moyet and Scissor Sisters. The future is looking very bright for Terry Logan.
London based singer-songwriter, piano player and all round multi-talented performer has released her second album Everyday featuring “He”, an uplifting track representing a zealous confidence across all musical platforms, and fusing a classical element to the pop genre. Milena is an artist who takes her career seriously. Through every ounce of detail in writing her own songs, the sheer positivity in her performance and not to mention the amount of passion she expresses in her stride. Yet, what stands out in “He”, is the nonchalant attitude she depicts; Milena’s cheery attitude is an obvious natural element of her character, and is what gives her music personal style.
The subject of “He” is traditionally meagre, but the performance of Milena is what increases the song’s prolific competence. Milena passionately sings, “He gives me all that I need/Is it possible to fall in love with him”, it’s not so much the lyrics which draws us into the track, but the devotion Milena shares with music. As the track reaches its close, Milena puts the nail in the coffin with an unexpected solo on the piano, ending the song as it started, with pure elegancy.
Pablo Schmal does that most rare of things, he makes pop that sounds both grown up and wonderfully infectious at the same time. Throwaway pop is two a penny, it always has been, and that is pretty much the nature of the beast. But pop aimed at a more mature audience generally misses the point, taking itself too seriously and forgetting why it came into the room in the first place. Lovejar, however, is the best of both worlds.
It plays with the same dreamy vibes that Damien Rice made his hallmark but has a more confident delivery than his drifting soundscapes. It employs some wonderfully trippy electronica and chiming musical motifs that take this out of the realms of the usual singer-songwriter offering and pushes it towards a more mature and exploratory sound. The real charm is the songs ability to sonically twist and turn, play with dynamics and throw in a few musical curveballs but still stay focused and cohesive. A neat trick if you can do it, Pablo not only does so but also makes it sound effortless.
Folk has definitely shown itself to have a strong staying power, weaving in and out of alternative and pop eras alike. These days, it’s been commercialized to a degree many would never have expected. This said, there’s still heart left to follow in so many artists. For Now is a song that comes at a height of many similar contemporaries. Chris Ho doesn’t however walk in line with the rest waiting for his due. He strides confidently with a sense of class attached to his charmingly influenced roots.
With a beat that you can walk to and a melody that knows when to peak in and when to duck out, this song is certain to inspire adventurous days in the outdoors for young people yearning to enjoy any spare moment they can find. But Chris Ho doesn’t stop at a satisfyingly cute song. There’s energy put into the guitar and the intermittent touches of strings that dance on the outskirts of the song in a microcosm of how folk has always walked parallel to so many wonderful artists and songs. This is not a song to blend in with, For Now is a song to stand out with and truly let yourself move in a positive way.
Contrast would be the best word to describe singer-songwriter/producer Rushes. Growing up in a small rural town in Ireland isn’t something you normally associate with soulful cutting edge electronic sounds. The time had finally come for Rushes to fly the coop and explore his opportunities by moving to Dublin permanently to refine his craft and link up with innovators who understood his vision.
In 2017, Rushes joined creative collection Diffusion Lab, who has the likes of Soulé and Jafaris in their ranks to bring his diverse ideas alive. Rushes draws inspiration from artists like N.E.R.D, D’Angelo, Frank Ocean, Radiohead, Jai Paul, Kanye West, Marvin Gaye and Prince but never limits his sonic palette.
Rushes debut single “Wild High” droped on May 26th. An alluring blend of electro-RnB infused with smooth wavy vocals and perfectly polished production.
With “Wild High”, Rushes launches himself into the eye of the music industry with the intent of being heard. For visuals, he teamed up with Gorilla – Nathan Barlow, responsible for Soulé, Jafaris recent music videos.