I could describe Jerry Gari’s latest debut track I Pray Alone as a sensational R&B Soul track, but that’s not even close to hitting the mark of Jerry Gari’s genre-warping rhythms. It’s simple, it’s understated and its absolute perfection. In fact, I haven’t heard a track which incorporates so many immersive elements since discovering Paul Banks (Interpol) and Wu Tang Clan Rapper RZA’s collaboration.
With I Pray Alone, Michigan based producer Jerry Gari has raised his game to the next level, whilst his other Electronica tracks are highly resonant, he’s found his signature style with the urban licks of this track. His less than conventional lyrical style grips you like a vice as you revel in the peculiarity that’s riddled in the tracks mix. The solid yet almost down-tempo track is the perfect platform for Jerry Gari to lay down his soul drenched vocals. Before I listened to I Pray Alone I had no idea of the synergy that could be created through an infusion of R&B Soul with Synth addled Electronica. But one things for sure, no one could do it sweeter than Jerry Gari
DeJay Williams’ latest R&B & Soul track ‘Money’, can only be described as being catapulted back and forth between iconic nostalgia and contemporary pioneering sound. At points you’re taken right back to Hip Hop roots as the song progresses into a track as infectious as N.W.A’s Straight out of Compton, other’s, you’re drenched in the same infectious Funk as previously offered by Wild Cherry with Play That Funky Music. Whilst this eclectic mix of sounds may not be everyone’s cup of tea, you can’t dispute the fact that it’s a fresh new flavour and the mind behind the track is a great contemporary contender in the scene. Featured in the track are the sensational vocals from Funk Soul singers Trameka Hawkins and Mellokie who perfectly round off this track.
The Oklahoma based singer song writer and producer dropped Money as his debut track on February 6th 2018, whilst it’s not typical of his earlier releases, I’d say that this collaboration was enough to put the independent artist on the map.
You can check out DeJay Williams’ Soulful new mix Money on Soundcloud using the link below:
705 is the latest musical venture of a delectably talented underground London based World music artist. It’s almost impossible to deconstruct this track with it’s eclectic base of influences.
The sound behind Put It on Me is packed with pounding momentum as it transgresses through it’s range of styles, encapsulating you in it’s feverish beat which is loosely defined by the Hip Hop, Reggae & R&B genre, influenced by artists such as Tupac, 50 Cent and Michael Jackson amongst 70’s reggae artists to create a playful euphoric sound.
The enigmatic artist has kept on the London underground with his music where he shares his upbeat energy with the crowd curtesy of his afrobeat’s styling which defines his lyrical flow that complements a perfectly rounded beat that rings with synergetic momentum.
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)
Fam released his debut EP mid-November, dubbing himself as a R&B hopeful. Whilst there’s undoubtedly some talent underneath the surface of his tracks, they could do with some fine tuning. Tracks such as ‘Friends Don’t Leave Friends’, have all the key elements that you’d expect from a R&B and Soul track, but they appear in a sporadic fashion. The upbeat tempo rattles throughout the track with scarce melody. The layering of the vocals is just a little too much to fathom for it to be a truly enjoyable track. The back beat is relatively tinny, which is a shame for the Atlanta based singer songwriter.
His vocal ability offers promise, alongside the dubious electronic effects. With a higher production quality, I have no doubt that Fam could rise up in the R&B ranks to become a star, once he’s truly mastered the woozy lullaby sound that he’s aiming for. His sound is heavily influenced by a mix of nostalgia and euphoria, yet it’s lacking the sincerity that you’d hope for in a track.
I hope to hear more from Fam in the near future once he’s fine tuned his style.
Check out the new EP on the SoundCloud link below:
Although The Custom Shop is equally at home blasting out blues, rocking the R&B or soulfully and skilfully navigating Motown tinted waters, Ballads of Yore finds them at their most understated, most chilled and considered. The chorus might be built on bigger dynamics and a fuller band sound but the charm of the song comes in its mellower moments, when pianos skitter and chime and distant saxophones add wonderful musical detail around the edge of the song.
But as finely wrought as the song is it is nothing without the killer vocal to really carry the sonic ball over the musical line and Molly Orlando hits it just right, a masterful mix of subtlety and power, gentle balladry to powerful deliveries. Ballads of Yore is one of those timeless songs, part country, part blues, part rock all mixed in and underplayed to perfection, heavily nostalgic but never cliched, emotive, sensitive and soulful. They don’t make them like that any more!
Has R&B ever sounded this smooth? Probably not but the combination of Shakeel and Nef The Pharaoh certainly creates something a bit special as smooth rhythms, mellow vibes and late night grooves weave together into a sound which both ambient and exciting, understated and intoxicating. It echoes with 90’s tonal qualities and 21st century production but is very much a product of the modern R&B genre, looking forward whilst fully understanding the musical traditions it is a continuation of.
It is easy to try to point at a musical connection between Shakeel and the likes of R Kelly, there is definitely a tip of the hat passing from the newcomer to the old hand but unlike the obvious sleaze that drips from Kelly’s songs, Shakeel manages to navigate similar territory but do so using tease and suggestion rather than out and out crudeness. R&B has long been a genre where you get to say things which might seem out of place in normal conversation, but the art is the language you use and where some people in the same field sound lewd and suggestive, Shakeel instead is all about the tease and the knowing wink.
Taking a thoughtful and reflective journey through loss and longing, Second Guess has created a down tempo yet dynamic R&B track. Sonically fitting more into the après-club, chill out vibe rather than the energetic dance floor groove, but lyrically it is addictive in its universal message of how hard it is to fill that ex-lover shaped hole in the heart.
Built of hypnotic beats and shimmering guitar chords it is the lyrical message and the rich vocal textures that define the song more than anything else. It shows that often all you need to do is to frame an idea with the bare minimum of musical trappings and understated instrumentation for it to fly most successfully. It also proves that often the most heartfelt and honest ideas deliver the most soulful and relatable results.
Self taught, multi-instrumentalist Mizrahi is nothing less than a sonic dream weaver. Quite a bold statement but spend any amount of time in songs such as Soulversation and you are quickly transported to a place were velvet neo-soul vibes, dreamy post-folk and meandering, hazy progressive rock coalesce into the perfect balance of drifting psychedelia laced soundscapes and thoughtful, philosophical lyricism.
Soulversation is at once loose and yet wonderfully sophisticated, a balance that works so well because of the tasteful musical choices that Mizrahi makes. Even though there is a lot happening musically throughout the track, it is the perfect layering of these myriad musical textures, the fact that everything has room to feature and blossom but never steps on the other instruments toes, shows that his musical instinct is second to none.
The PRVLG, twin brothers Christian and Christopher Underwood, gloriously use synthesizers to produce retro soul music, putting the funk back into pop music. Musically accomplished, the dynamic duo creates a sound that is a blast from the past, producing tunes that you can easily groove to. Predominantly derived from soul, “What You’re Missing” bellows the sound of love, reminding us of the groovy 60’s in today’s modern 21st Century. The PRVLG takes inspiration from this era and transform modern day music whilst preserving the authenticity of love.
The whole of “What You’re Missing” feels like a seduction, where inviting guitar begins the melody with an appealing persona, followed by an alluring introduction from the synthesizer, and once the charming vocals commence, so does the fascination. There is a close connection between the Underwood brothers, which is demonstrated in their performance. The ability to convey an emotional attachment is established in “What You’re Missing” and is what is so promising about the track. There is no hesitation throughout the lyrics, and continuously The PRVLG carry across what they want their music to represent, and that is constant love, whether it be sexual, romantic or unconditional.