IVRY is a Brooklyn, NY based Pop singer, song writer and producer, he’s thrown all of his deft talents together to create a sound with sharp hooks drawing to you into the beat. With a backbeat as infectious as Michael Jackson’s Thriller and just as retro the cross generational beat Is simply incorporating all of the best elements that pop has sampled since the 1970’s all the way up to the boy band sound that clogs up the radio waves today.
I adore the originality of the track, it’s evident that it’s not mass produced, polished to please the masses. Hands Off is a demonstration of pop music at its finest, with a beautiful raw element towards it. Right from the moment the beat kicks in, to the moment it fades out is absolutely flawless.
Hands Off is a track that invites R&B, soul, rock and synth into the mix. It takes a talented producer to create a sound today that sounds like it should have accompanied your favourite 80’s film. IVRY’s vocal range deserves a special mention, it’s fuelled by the magnetism of the singer as he skirts around the concepts of unrequited love.
Don’t Miss out on the infectious beat, check IVRY’s new track out on Soundcloud now
Duality feels like the sort of song that people say, “they don’t make them like that anymore.” Not that it feels retro or stylistically outdated, it is just something in its make up, its integrity, its perfect generic splicing which marks it out as a sound apart from the main pack of the modern musical race. There is an inherent soulfulness and rhythmic groove, it is driven when it needs to make a point, soothing when it wants to seduce. It also works in, if not the dark corners of pop, then certainly amongst the shadowed and exploratory fringes.
And pop it is, but as far from the usual chart fare as you are likely to find. Yet when you hold up the pop yardstick to Duality it ticks all the right boxes. Accessible, clever, memorable, dynamic, emotive (bordering on brooding) and showing more of the rock and blues roots, to which all modern pop owes its living, than most cares to expose. Maybe this isn’t a reflection of what pop used to be but a template for its possible future. The fact that Lily Oakes has a scant on-line presence normally only reserved for winners of The Voice, only adds to the mystery.
A dynamic collaboration, Corey Zaks teams up with The Nik Naks for his fun and quirky first album, featuring “Float Away”. Corey Zaks and The Nik Naks make a naturally felicitous team, creating a light-hearted track which portrays a silly and friendly quality. Harbouring an indie-pop feel, they integrate a retro style funk and soul essence into the mix.
Using a combination of instrumentals, Corey Zaks creates a refreshing and gratifying sound, completely engaging his listeners. “Float Away” focuses on the highs over the lows, drawing attention to the effect Summer has on people, using this to describe a euphoric feeling. The use of string instrumentals accompanied with an idiosyncratic sounding bass demonstrates his nonchalant nature. As the tune progresses, each of the instrumentals play a part which evolves. The synthesizer plays with a futuristic sound, an enthralling addition to the melody that holds a nostalgic persona. “Float Away” opens a door into an untroubled world, presenting life in a joyous vision where the melody is as jaunty as the lyrics.
Under the title of Invisible Dears, Thomas Baud mixes a strange and heady brew. It is part post-folk, part neo-psychedelic, part retro and nostalgic, part futuristic and forward looking, part dream like and part driving and anyone who can do all of that in just one song is someone who you really need to get to know better. If Syd Barrett’s story had been a less tragic one and he had carried on making music, this is the sort of sound I imagine he would have gathered around him.
But whereas Barrett would have arrived at his musical destination through a series of random accidents or via belligerent non-conformity, Baud’s approach seems much more deliberate, intricately planned, deftly crafted and purposeful. Barrett would have sprung his version on you as a joke, which only he was on the inside of, Baud, delivers his with not only fine precision but also a knowing wink. If one song can cover so much ground imagine how great a full Invisible Dears album is going to be.
Lovin’ is nothing less than the sound of soul music moving with the times. Free Soul Effect, a duo from Indiana, are all about deconstructing the genre and rebuilding it from the ground up using electro beats, R’n’B groove, pop brassiness and they even find space to thread some rap through the centre. What they never lose sight of though is the inherent passion and euphoria upon which the genre has always relied.
Free Soul Effect sit a crossroads, one where a road which joins retro-soul with the future of EDM crosses one that connects R’n’B grooves with the commercial potential of the pop market. It is here that they currently build their tantalising sounds but from such a location they could head out in any new direction that they chose. Or just stay here and through a party on their own terms.
If some would make the distinction between rock’n’roll a being a retro, back beat driven guitar jive and rock as being the evolution of stolen blues riffs which became the core of a whole new world of music, The High Gallery may just be one of the missing links between the two definitions.
This San Diego outfit manage to blend whole chapters from the musical record, from the aforementioned jive beat to the 50’s surf guitar twang but they also reference melancholic 60’s pop and early 70’s psych. Throw in some brass for drama, bluesy slide guitar breaks, swelling Hammond washes and pulsing bass lines not to mention a vocal which would stand out in any era and you have less of a band and more of a music rollercoaster ride through the sonic history of the western hemisphere.