The Central Coast-based transient music collective Dattilo who are quite known for their knack for producing songs that have lots of metaphorical lyrics and cool poetical rhymes. Dattilo has just released their newest single Montreal – a bluesy, bossa nova story about a search for home and a celebration of the city itself. This is a song that exudes lots of chilled memory of nostalgia, the longing of home and everything beautiful therein that makes it a very special place to always visit.
Pioneered by the core lyricist, performer and a songwriter, Ellika. Dattilo is constantly discovering itself as it brings musicians together around Ellika’s central message to focus on the power of poetic messages whilst creating something bigger than itself.
Dattilo’s newest single, Montreal, was inspired by a visit to Ellika’s birth city upon finding that the visit didn’t fulfil her desire to feel at home. Although disappointed by the lack of familiarity experienced on the visit, Ellika wanted to write a piece to celebrate the city’s 375th birthday, and so Montreal was written.
Being in the same category of few musicians that practice “Nothing-Behind-The-Music” style is perhaps what added some pinch of flavour to their uniqueness. Just like Sia, Dattilo holds a no face fame principle so that listeners will identify Dattilo with ‘the word in their song’, and the uniquely written signature flare it has to bring.
The concept, the aesthetic, the lyrics, the sound are the features that will most definitely tickle your fancy in this song.
If you’re a poet at heart, a lover of beautiful stories and an all-genre-music enthusiast that’s got a good dose of keenness for musical spontaneity then you’ll definitely enjoy this song.
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Every once in awhile you find yourself coming across something special that is a masterfully crafted blend of vast variety of flavors; some flavors are instantly recognizable, while others are fresh and new. This sort of combination is exactly what we get with Sylva Faye’s latest release “Make You Rich”. With a special musical blend of genre influence including Folk, Soft Rock, Jazz, and Pop, there is certain to be something in the track to incline ears of all tastes.
The track begins with a beautifully fingerpicked acoustic guitar with a heavily reverberated electric guitar providing some deep ambience, and the busiest yet most subtle drumming keeping the time, ending with a nice thick and warm bass tone to fill out the sonic brew, and lead us into the first verse.
The verses simmer down a bit, offering Sylva Faye’s vocal delivery a true opportunity to shine. What a fantastic voice it is! Somewhere between the warmth of Adele, pop-oriented undertones of Lilly Allen, with a slight edge reminiscent of Stevie Nick is where you will find the voice of Sylva Faye. Once we reach the climactic chorus, Faye’s vocals show a sonic prowess that feels very powerful, yet somehow remains very subtle.
The entire song from top to bottom is laden with beautifully interwoven melodies with compliments of the guitars and sax, and some flute thrown in for good measure. Add in the amazing vocal harmonies during the hook, and you find yourself partaking in a masterfully crafted cup of sonic goodness that you simply do not want to see the bottom of. Much like a gourmet cup of java, once you have finished partaking this sonic brew, you will find yourself desirous of even more.
The Death Particle are a Classical music ensemble from Wales, UK, I was always stuck on the opinion that the Manic Street Preachers were the best band to come out of Wales, however now they may have to get behind this conceptually stunning collective of musicians who approach their music in an almost Lynchian fashion.
Their latest single Atoms is one of their more traditionally styled tracks, then there are tracks such as The Laughing Heart which flow with iridescent dramatism. The Laughing Heart is inspired by one of Charles Bukowski’s poems, it will be their last single before their much anticipated release of their debut album Atoms & Bone which is due to be released in early 2018, if that single is anything to go by, I can hardly wait.
Whichever track you go for, whether you’re a fan of Classical styling or not, you’re going to be blown away by their experimental sound in which they dabble in Jazz for a Neo-Jazz crossover to create one of the most stagnantly beautiful sounds I’ve ever had the pleasure of being introduced to.
Check out Atoms & other tracks by The Death Particle via Soundcloud using the link below:
Greg Crockett’s latest album, released earlier in 2017 is one of the most immersive sounds that we’ve been treated to this year. The stylish jazz styling is dynamic and captivating, it stands out as a beacon of hope to music amongst the genre conforming acts that clog up the soundwaves on whatever radio station you tune into. His whole album is awash with seductive sounds that have the ability to make you feel like you’re a thousand miles away from where you really are. In my eyes It’s a timeless sound that deserves more recognition and I’m delighted to be the one to attempt to captivate the rich stylings of Greg Crockett and his band.
The majority of his sound is instrumental, yet when his band is so captivating and immersive it’s easy to forgive him for his sporadic offerings of vocals. The band create a percussion soaked experience for fans to get lost within. The discords are simply unlike anything I’ve ever heard before.
Head on over to Spotify where you can hear his latest 2017 album in full to get lost in the rich array of sound that the 11 tracks offer you.
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.
The fresh new sound comes from three ridiculously talented instrumental musicians from Austin, Texas. These unsigned artists bring together a delectable mix of instrumental soul & jazz through their arrangement of keyboards, bass and drums. They don’t care to be placed within the confines of a genre, instead they expand their music across every orifice of music until they found their blissful sound which lingers most prominently around the Contemporary Jazz arena. They created more than just lounge music, with a sound that you can forget you’re listening to, BINU offers a touch of dramatism within the sound to make it compelling as any orchestral cacophony.
With Ziggurat, between the three artists, they constructed a mind-blowing piece of music that shines a light in the disparity of contemporary music with one of the most symphonic sounds I’ve ever had the pleasure of listening to. As the music strips away toward the end of the duration of the track, you’re left revelling on an empyreal high, and the silence that concludes the track is deafening.
Check out their latest tracks on the Bandcamp link below, now available for both streaming and download:
Tiana Major9 is a driven and dedicated artist with a passion for exciting crossover music that blurs the lines between genres as diverse as blues, jazz, and soul, among others.
Recently, Tiana wrapped up a brand new single release titled “Levee.” The track beings with a stunning, mellow combination of piano chords and vocals. The first thing that stands out is the singer’s incredible vocal performance. Tiana has some great dynamics, as she can seamlessly swing from low to high, from soft to quiet in order to create an exciting and direct sonic feature. The song feels very introspective in the beginning, but it actually comes to life with a burst of energy, with a nice rhythm section that complements Tiana’s vocals really well. I am particularly in awe of the production of this track. The song sounds remarkably modern, yet warm and relatable, almost like listening to one of those amazing jazz records that people still love for their organic vibes.
The House of Bethel is the latest venture of three brothers from South Carolina who have been heavily influenced by their fathers music to pick up their own instruments and make stunning sounds of their own. The angelically archaic sound stems from their exponential mastery of the drums, trumpet and piano. Between them they create an altogether alluring Jazz lounge sound.
Their style is percussion soaked and simply symphonically indulgent and heavily influenced by Snarky Puppy, Ben Tankard, Robert Glasper and Chris Botti all of which are masters when it comes to creating an ultimately modern jazz infusion.
The New Boss is an instrumentalist peace, but there’s no need for lyrics to distract you from the enigmatic sound that these three musicians create. I could quite happily listen to an entire album of their work and immerse myself further into the transient melodies, quiescent breakdowns and slick styling.
If you like your music to fade away the pressures and monotony of daily life, check out the stunning official music video where you can see their deft skills in action.
Ryan Sutherland seems to have the ability to take familiar building blocks, folk, rock, jazz and blues and use them to build interesting new musical creations which are at once familiar yet totally unique. The Trap has a very folk feel to it, one that is a mercurial blend of the contemporary and the timeless, but there is something in the delivery which also nods to the jazz fraternity whilst winking to the rock brigade, is soaked in blues emotions and yet brims with enough melody and accessibility to even keep fans of more commercial endeavours happy.
Taken from last years The Rats In The Walls, it is a brilliant calling card for Sutherland’s ability to work across a wide range of genres but create a sound that is not only quintessentially his but remains cohesive across a full album of music. Nothing much is new under the sun, it is all about using what already exists and just fashioning it to your own musical vision, something that this New York troubadour does so seemingly effortlessly.
Rig Veda is a talented artist with a forward-thinking approach to electronic music. His sound is lush, atmospheric and dense, focusing on creating stunning melodic patterns and sophisticated rhythmic layers. Rig Veda’s recent release is an EP titled “Hymn In The Cut”. The project actually features five original compositions, which highlight the artist’s diverse approach, stretching out towards different creative direction. The sound of these tracks make me think of artists as diverse as Flying Lotus or Jon Hopkins, just to mention a few.
The mellow, haunting atmospheres of these songs certainly make for a fully immersive listening experience, taking the audience through a sonic journey, where many unexpected elements collide tastefully and beautifully. From swirly synth arpeggios to pad drones and cool drum samples, the songs on “Hymn In The Cut” are all about creating deep and far-reaching sonic ambiance to get lost in! The stunning cover artwork of the EP is an example of classy, tasteful visual minimalism,and it certainly fits well within this particular musical context.