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Daniel Walzer – Space Thing: A Cosmic Journey Through Jazz Fusion

Tripglitch by Daniel Walzer

Daniel Walzer’s single, ‘Space Thing’, from his LP ‘Tripglitch’, is an innovatively entrancing blend of jazz, electronica, and progressive rock elements and a shining example of Walzer’s prowess as a composer and multi-instrumentalist. His ability to compose avant-garde soundscapes deeply rooted in musical tradition is evident in the synthesis of spacey tones and mind-altering melodies.

The prog-rock guitars add a unique dynamic, intertwining seamlessly with the more traditional jazz and classical elements. This fusion creates a soundscape that is vibrant and upbeat yet laced with subtle hints of dystopia. Even amidst the more energetic progressions, Space Thing evokes a sense of quiescence and solace while sharing a few tendencies with the ‘War of the Worlds’ OST.

The production of ‘Space Thing’ is gentle yet potent, allowing each instrument to shine without overpowering the others. This balance is a hallmark of Walzer’s work, reflecting his deep understanding of and respect for each genre he incorporates into his music.

‘Tripglitch’, and particularly ‘Space Thing’, is a reflection of Walzer’s journey through various musical landscapes, from jazz fusion to new age and ambient pop. His ability to blend these styles while maintaining a cohesive sound is nothing short of remarkable.

Space Thing is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

London’s most enchanting jazz siren, Camille Rose, soulfully reimagined the 50s classic ‘So This is Love’ for her latest release

Camille Rose, the South-East London songstress, has elegantly redefined the 1950s classic ‘So This is Love’, known from Disney’s Cinderella. This loungey, bright, and warm rendition is a testament to her ability to enchant; even if she sang acapella, the release would want for nothing with her soulful harmonies reaching the epitome of class as they hit the high notes.

Her approach to breathing new life into the release is a delicate balance, maintaining the gravitas of the original while infusing it with a contemporary zeal in opportune moments. Resulting in a rendition that respects its roots yet feels fresh and relevant.

The transformation of this well-known melody into a 21st-century jazz piece is nothing short of remarkable. With a brass section, backbeats, and basslines, Camille creates a texture-rich track that grooves effortlessly. Her velvet-smooth vocals, reminiscent of and influenced by Amy Winehouse are delivered with a playful spontaneity that mirrors the song’s narrative excitement.

Starting with just vocals and bass, the track explores a dynamic range, culminating in a rich backing by a 7-piece live band. This arrangement not only showcases Camille’s vocal prowess but also her deep understanding and love for jazz-infused soul music.

‘So This is Love’ is available now, preceding Camille Rose’s second EP ‘Be Alright’, set for release in April 2024; stream the single on Spotify.

Review by Amelia Vandergast

Maryama teased her listeners through the time signatures in her jazz fusion reimagining of Britney Spears’ Toxic

Though covers often pale in comparison to their originals, Maryama’s rendition of Britney Spears’ Toxic stands as a seductive exception. This renaissance of a pop classic, draped in the finery of loungey jazz fusion, is fittingly intoxicating.

Maryam Mirbagheri, known artistically as Maryama, infused her multicultural musical prowess into this track, creating a soundscape that’s as rich in texture as it is in history. Her Iranian-American heritage, coupled with a profound grounding in jazz, soul, Persian, and classical music, sets the stage for a rendition of Toxic that’s almost inconceivably intimate.

The track begins with a seductive ease with complex time signatures weaving a hypnotic tapestry that’s both intricate and inviting. It’s a bold move, transforming a well-known pop anthem into something that feels more at home in a smoky jazz club than on a dance floor, but Maryama executes it with nothing short of remarkable finesse.

Her rich, airy, and velvety vocals glide over the music to breathe new life into the lyrics while the song retains its catchy core, despite the adornments of decadent instrumentals. For those who have yet to experience her music, this track is the perfect gateway into the lush, diverse world of Maryama.

Stream Toxic on Soundcloud. 

Review by Amelia Vandergast

Joseph Batrouney gently deconstructed the monocultural mould with his jazz fusion score, At Hand

For his latest seminal piece, Joseph Batrouney collaborated with Niran Dasika, Flora Carbo, and Jacques Emery to orchestrate a beguiling instrumental serenade, which sees jazzy smoke signals billow through the progressions in the sublime score, At Hand.

At Hand stands as a beacon of his unique musical vision, seamlessly blending influences from Middle Eastern, jazz, and flamenco traditions. Batrouney, with his profound understanding of musical fusionism, presents a track that is as organic and fluid as a meandering river, gently challenging and deconstructing the monocultural mould. The track moves with a natural grace, each note and rhythm flowing into the next, creating a harmonious and captivating auditory experience.

Batrouney’s musical skills, honed under the tutelage of luminaries like Tony Moreno, Nate Smith, and Israel ‘Piraña’ Suarez, and through his studies at prestigious institutions like Monash University and New York University, shine brilliantly in this release. His ability to infuse his music with a rich tapestry of rhythmic textures and motions is evident in every beat.

The artist’s noteworthy performances, including appearances alongside the Melbourne Chamber Orchestra and tours with Arte Kanela Flamenco, have undoubtedly contributed to his deep understanding of rhythm and melody. This understanding is palpable in At Hand, where every chord and rhythm seems to tell a story, inviting listeners into Joseph’s world of rhythmic exploration and cultural fusion.

At Hand was officially released on the 20th of November ahead of the EP of the same name, which subsequently reached the airwaves on December 8th. Stream the EP on Spotify.

Review by Amelia Vandergast

Visit ‘Valencia’ Via the Neo-Jazz Pop Grooves in George Bone’s Evocative Masterpiece of a Solo Release

George Bone stripped everything back but the soul in his latest single, Valencia, which encompasses the 00s indie pop aesthetic while pushing it forward with the ardency in the wistful yearning, the colour in the neo-jazz pop grooves, and the instrumental sparsity which ensures every instrumental works with a singular agenda to amplify the disarming effect of the emotionally raw ballad.

Valencia is the first single released by the Essex-based evocateur after stepping off his tour with The Voice UK 2019 winner Molly Hocking. If Bruno Major and Conor Albert heavily feature on your playlists, you’ll easily find space for George Bone’s sonic signature, which scribes itself through emotionally provoking lyricism and easy-listening melodies.

George Bone Said:

“Eponymously named after the city it takes inspiration from, Valencia transports listeners on a Mediterranean journey of both loving and longing. It encapsulates the joys of travelling with ‘The One’ – summoning wonder, happiness, and the connections you feel rarely in a lifetime – and yet the wishful thinking of those who know that ‘drinking wine and [hearing] the breaking of the tide’ is only a feeling experienced in imagination. The song represents a bond in a relationship, where memories – both good and bad – are intertwined; where hopes and dreams are dashed and made; and where love is lost and found.”

Valencia will hit the airwaves on November 24; stream it on SoundCloud.

Review by Amelia Vandergast

Omni Optometrist prescribed the antidote to sonic monotony with his jazzy prog-rock track, ‘Converging Forces’

Omni Optometrist’s (AKA Mitch Protheroe) jazzy synth-driven prog-rock-driven soundscapes won’t be everyone’s cup of tea, but if you’re looking for the antidote to sonic monotony, look no further than his latest Avant Garde orchestration, Converging Forces.

Between the frenetic time signatures which the scintillating symphonic tones weave through, there’s just enough room for star-roving constellations of trip-hop to add to the superlative almost dystopic in nature instrumental score, which adds a touch of interstellar ambience to the release.

Along with Omni Optometrist, Mitch Protheroe’s creativity has known many guises; he started composing under the name Of Keys and Cages in 2008, since then, he has released several jazz fusion records and has only become more ambitious with each subsequent release. After honing his production skills, he’s reworking his old demos and slowly but surely started introducing them to the airwaves from his studio in Florida. If Converging Forces set the standard, we can’t wait to hear what follows.

Converging Forces is now available to stream on Spotify.

Review by Amelia Vandergast

It’s all bells and no whistles in Roman Gastelum’s ingenuitive hip-hop track, Pavlov’s Dogs

After a bell ring in the intro to pay a conceptual nod to the iconic conditioning experiment, Roman Gastelum moves straight in with an amalgam of funk grooves, jazzy timbres, and hip-hop beats in his standout single, Pavlov’s Dogs taken from his debut LP, EQlibrium.

With the single and LP title, we probably don’t need to tell you that the LA-based bassist, vocalist, lyricist, and composer is an intellectual cut above the rest. In fact, if there were any more genius touches to this release, Roman Gastelum’s door would be blown off its hinges after an army of sapiophiles came knocking. But it is far from just pretentious art over substance.

The sublime sonic atmosphere conjured around the bruisingly clever bars by the artist who received his Bachelor of Arts in Music Performance from the Musicians Institute in LA ensured that even on the 100th listen, you’ll take something new from Pavlov’s Dogs. As the cherry on the urban alchemist cake, the spacey sci-fi surrealism towards the outro is a lesson in experimental scintillation.

Pavlov’s Dogs is now available to stream on Spotify with the rest of the EQlibrium LP which dropped on September 29.

Review by Amelia Vandergast

Jisu Jung took her journey of self-discovery in the neo-classic jazz release, Who Am I

After honing her talents in some of the most prestigious music institutions including Dresden College of Music, Berklee College of Music in Boston, and the Manhattan School of Music, the pianist and composer, Jisu Jung’s technical skills transcended into an ability to forge evocative connections with her innovative compositions.

Her latest classical jazz piece, Who Am I, welcomes you into her expressive world, where cello strings visualise the darkness we all need to negate on the path of self-discovery and the piano keys embellish the score with flourishing syncopation to mimic the freedom of personal growth.

As the momentum builds towards the mid-way point in the instrumental release, euphoric zeal starts to underpin the orchestration, marking a radical shift from the ornate air in the prelude to the virtuosic control of chaotic time signatures. Even though the energy doesn’t sustain towards the outro, the innate liberation in the progression lingers before the abrupt silence allows you to take a breath that isn’t influenced by the momentum within the classical Tour De Force.

Who Am I was officially released on September 22; stream it on YouTube.

Review by Amelia Vandergast

Stix Bones is back on the skins in his funked-up jazz fusion, LEAP

Following the phenomenal success of his hip-hop-influenced LP and a string of critically acclaimed singles, Brooklyn’s most prodigal jazz son, Stix Bones, is back on the skins once more with his seminal release, LEAP, featuring Bob Beamon.

With flavours of North African Funk in the culturally layered rhythmics of the instrumental track and sparks of Latino flair within the keys, vibrancy radiates from the exuberantly sophisticated core of LEAP. While the syncopated percussive fills and seductive bassline growls set up the grooves, the horn section shimmers the soundscape with an unfaltering sense of expressive euphoria that will heighten any mood.

With his previous releases, including his debut LP, Groove Like This, Stix Bones featured on 40 radio stations across the globe and became no stranger to the jazz charts. He’s equally as accoladed in the live circuit; when he’s not opening for the likes of Chaka Khan, Charlie Wilson, and Babyface, he’s helping world-renowned artists complete their albums and playing with the likes of Soulfege. It’s only a matter of time before he becomes a permanent fixture in the Jazz Hall of Fame.

Stream LEAP, which was officially released on September 22, on Spotify.

Review by Amelia Vandergast

Get into the ‘East Coast Groove’ with Martin Packwood’s jazz-rock soundtrack

East Coast Groove by Martin Packwood

After an installation of tropic percussion and equally as exotic reverb, Martin Packwood’s single, East Coast Groove, gives way to a guitar-driven jazz-rock instrumental soundscape, which amalgamates era-spanning guitar styles from across the globe and unravels as an inexplicably unique tapestry that breaks through the monocultural mould, note by note.

The Birmingham, UK-hailing guitarist has long held a passion for instrumental composition, inspired by a diverse array of riff legends, from Santana to Clapton. By picking up his Strat and finding a refreshing way to pay ode to their styles, Packwood orchestrated a hit of pure rhythmic soul.

If you’re looking to get into the world of groove or you have long been acquainted, you will experience East Coast Groove as four minutes of progressively elevated guitar-driven euphoria.

East Coast Groove was officially released on September 22; stream and purchase the single via Bandcamp.

Review by Amelia Vandergast