Okay(k)’s sound has always been one that’s content with just being superb. This song has the capability to graceful swirl and enthral its listeners into its immaculate soundscapes that—apart from the ethereal spaces it open up in the minds of listeners—don’t rely on doing much else than just simply being beautiful. It’s always been the appeal behind the artist’s style of music: washy guitar and synth textures that leave just enough space for Okay(k)’s soothing vocals to shine brightly.
The track featured a legion of moving instrumental parts, from densely layered vocal to pleasantly detuned guitar melodies, with no section of the song overstaying its welcome before transitioning into another dreamy movement.
From the start of the song, “We’re Empty When We Aren’t Full” displays a greater focus on percussion than before, featuring a prominent kit instead of the familiar synthetic drum machine sequencing. It seamlessly transitions into the intoxicating beat which teems with melancholia through its balladic unfolding hooks and techy tones.
This track brings the listener into an entrancing gothic void that cuts straight into the heart with the brooding vocals of the artist. The music demonstrates the experimenting with deviations to their pre-conceived sound, challenging listeners to enjoy the song from a wholly new perspective.
The song is a beautiful and well crafted masterpiece.
At first, when I first listened to the latest track by the East London based artist Kelz TBK I was conflicted, I was unsure how to transcribe the feeling that he’d orchestrated La La La with.
The tone is ubiquitously lachrymose, yet the vocal delivery is imploring, pounding and brashly, playfully endearing. I was torn. Yet one thing is for sure, this chilled, Trap, Melodic Rap mix is one of the greatest feats to come from the Trap genre in 2017. Kelz TBK is by no means a new contender to the scene, he’s infiltrated the London underground with his infectious sound, and I can only imagine that with his ability to create a sound that grips you like a vice will see him go far within the scene and join other iconic artists such as Migos, Diplo, and Major Lazer in no time on the podium sipping Hennessey. Even if the 420 persuasion is much more of Kelz TBK’s bag, La La La was engineered for smokers who love Trap, if that sounds like you, head on over to SoundCloud now where you can check out his latest track:
Jason Miyagi immediately stands out for the driven, gritty and saturated aesthetics of his production on X.
This song has a really powerful textural vibe, with a sensual and confident vibe that makes me think of artists such as Frank Ocean or James Blake, just to mention but a few. The lyrical flow is nearly whispered and very intimate, yet surprisingly, it really cuts through the mix with no effort. The song really comes to life with the amazing choruses, which are full of rich harmonies and amazing falsetto parts that add a lot to this particular composition.
The song is fairly short, clocking in at under the 2 minute mark, but it stands out as a remarkable example of Jason’s amazing creativity and unique approach.
Classic and timeless vibes shoot right through the heart of Christopher George’s music, it is soulful, sassy, chilled and full of emotion and mood. That’s a lot to fit into one song but it is because he has studied the classic sound of the soul greats, the R&B icons and even some of the ground breaking pop writers that he understands just what makes a future classic song.
And if that seems like an over sell, close your eyes, wind back the clock and pretend it is any other decade from the 60’s onwards and this song could fit comfortably within it. Not because it is dated but because it is woven from all the musical threads that never go out of fashion. Would you consider a vintage Rolls Royce out dated? No because it’s built of sleek lines and of a design that transcends fashion. The same is true of Christopher George’s music.
You can go beyond the usual labels when trying to describe Dan DiMonte’s music. Jazz, soul, pop all go some way to describe what he does but a better word is …smooth. Slip Away is smooth beyond measure, it is ultra cool and timelessly soulful but no other word in the dictionary sums it up better than smooth.
And whilst Dan DiMonteis also a nurse in the conventional sense in his non-musical moments he also seems to have found a way of tapping in to the healing properties of music, I can’t imagine a condition that wouldn’t be cured or at least eased by being subjected to these rich tones. These lazy soulful grooves and chilled jazz-funk vibes might be the break though that medicine has been looking for!
Mali is the alias of Maalavika Manoj, independent folk and country singer/songwriter.
Having recently shifted from Chennai to Bay city, Mali is currently collaborating with some of the independent scene’s biggest artists, all while trying to find her own sound and inspiration for her new material.
Mali has gone on to perform with some of the biggest artists from the independent scene in India, including Sapta, Dharavi Rocks, Tejas and has collaborated with Dualist Inquiry.
She has performed at the biggest venues across India and is now looking to put down her debut effort in Bombay this year.