We’ve got another dynamite track here, all prepared and pimped to leave you levitating in its awesomeness.
An Australian born singer-songwriter BRIDGE has recently released her newest single ‘Charlie’, an alternative pop track, featuring elements of driving drum beats, haunting harmonies, and an endearing lyrical charm.
BRIDGE’s new song will definitely sweep you off your feet just immediately you get to hear that sweet sensational vocal of hers – – a vocal which can literally lit up the sky and paint it with stars.
I wasn’t so sure of what to expect when I first laid my hands on this song. I sailed away with that uncommon trait of several forms of connoted indifference; this was literally smooched up all over my face, but all that reclusiveness disappeared when I hit the ‘Press Play’ button.
BRIDGE originally wrote the song ‘Charlie’ with just a guitar, on a rainy day in a small German town. However, from the outset, her end vision was to have a much bigger sound – with driving drum beats, intricate harmonies and interesting synth sounds – much like her musical influences of James Taylor, Tom Odell and young Australian talent Meg Mac.
You’ll definitely be awestruck by this meticulously glittering gem of a song.
An alternative pop song just couldn’t have been pitched any more better than this.. The singer has this awakening peace that revolves around her aura. Great vocals, great musical beat, well detailed clear message and of course an matched bliss which emanates from the violin strings. BRIDGE offers a catalogue of songs that present a delicate balance between relatable lyricism and electronic samples, with striking harmonies throughout.
This is undoubtedly a music that deserves a fine spot in you music library. Get on to know more about this incredible music and the resonating soothing voice behind the song by hitting the link below to listen to this amazing piece from BRIDGE.
Instead of reaching for meaningless industry jargon, labels such as alt-folk, anti-folk or the strangest of them all post-folk, Early Grave and Logan Noah Brookes in general could be better described as “what folk did next.” For folk is certainly what is being channelled here but it does so using an indie, psychedelic and even a slight pop conduit and it seems unaware of time or fashion and works at its own pace. There is something remarkably unshowy, something intrinsically clever and something cleverly poetic rooted in the DNA of the song as it gently blends these disparate musical building blocks and sonic ideas.
But the real charm of the record is the unpolished nature of the music itself. It seems to rattle as much as it chimes, clatter as much as it shimmers and it is this beauty of it…musically honest, lyrically ambiguous, frayed around the edges and in a world where the term DIY seems to be an industry catch all for cottage industry artists, this sits to the left of even that concept.
Zazuka almost made it impossible for me to put into words just how stunning her latest track ‘Turn Everything’ is. Maybe I’m a little biased as I absolutely melt at the sound of a violin, but the fact that she threw a double bass in there too almost killed me. Her stunning ethereal sound is one of the most beautiful compositions that I’ve had the pleasure of listening to. With the mix of genres that she’s thrown into the mix I can guarantee you won’t find another artist that has orchestrated a sound that comes close to this sensational track.
Her lyrics prove that she’s not a force to be reckoned with, they pertain a slight reminiscent to one of my all time favourite vocalists Amanda Palmer (Dresden Dolls), she’s also poured the same eccentric vibes into her cacophony of organic sounds.
Check out the track via YouTube using the link below:
With a voice that would give Michael Bublé a run for his money, I have no doubt that Alec Wigdahl’s latest album ‘On My Mind’ will make him a household name in no time. He’s a man that seems to have it all, soul shattering vocals, infinite prowess over the guitar that allows him to create such succinct melodies and evocatively engineered lyrics.
The singer took inspiration from his Acoustic Pop album from artists such as Ed Sheeran, and John Mayer, yet, I don’t mind putting it out there that the first track ‘Let Me Love You’ is infinitely more impressive than anything Sheeran has ever put out. Alec has that irresistible twee indie charm that flows through his lyrics and makes you fall a little bit in love with him and his harmonious abilities to create the perfect mellow sounds to kick back to.
Check out Alec’s debut track on SoundCloud using the link below:
Sasha Ka released her debut Pop hit Cinderella on 01 Feb 2018, the London, UK based singer songwriter’s sound is rooted in melodic minimal sounds against her hauntingly soulful lyrics that illustrate the disparities and strength that are found in the 21st century. There’s no better time to check out Sasha’s music just as she’s promised more UK tour dates. After listening to her debut, she can definitely count on me to be at the front.
What really makes Sasha’s track Cinderella shine above the rest is the sweet, Funk Soul infused sound that seeps through the acoustic guitar. The off-beat really brings this track alive as the music resonates against her sweet and sonorous voice that carries so lightly it’s impossible not to get caught up in the chilled out, uplifting vibe of her track which she independently wrote, arranged and co-produced. There are so many influences and elements within this contemporary track, from Folk to R&B, Easy Listening to Soul, it’s a universal sound that’s all too easy to fall in love with.
You can check out Sasha Ka’s debut single on SoundCloud using the link below:
Claudio Parrone Jr’s latest EP Sights Unseen was released in 2017 by the Indie Pop artist who poured his soul into the 5 compellingly romantic tracks. I’m not usually a fan of Indie Pop vocals, however Claudio’s voice is so resonantly immersive, it’s impossible not to get drawn in by his vocal ability.
A favourite of mine has to be ‘Gray’ with it’s Jazz infused beats and rounded by the instrumental fury that flows through the track with stylish rhythm and blinding melodies. Gray is an instant classic for me, I didn’t hesitate to add to my melodic playlist. His genre bounding sound excited me at every turn as I listened in awe as the polished beats hit me, pacifying me through the nostalgic romanticism of the sound.
It was Claudio’s aim to redefine Pop music, it’s safe to say he’s blown it out of the park with Sights Unseen, I’m stoked to hear his debut album which will be released later in 2018.
If you’re looking for an EP to mellow out with, check out Sights Unseen on Spotify using the link below.
It isn’t often that you find the commercial and the classical, the high brow and the accessible all encased in one song, but that is exactly what Yazzy does on Heal Me. There is something of the orchestral in the arrangements, something of the musical theatre in the vocal but essentially it is a pop ballad and so equally at home in the traditional concert hall setting as it would be in the charts. Normally such meetings of worlds feel contrived, as if pop is trying too hard or that the classical world is selling out or dumbing down, thankfully none of that is found here, Heal Me is just a natural bridge between the two worlds.
This North Devon singer-songwriter trades in understated majesty and timeless classical echoes but the clever thing is that it is so rich with melody and emotion that it will still be a sure fire hit with the pop pickers. Not every chart song has to be some obvious, Day-Glo dance floor tear up, every now and again you want something that is just more…well classy. And when that time comes we have Yazzy to look to.
Cinnamon Gill is a wonderfully strange odyssey, a marriage of long forgotten folk music and Tom Waits-esque non-conformity, one which skirts mainstream tastes and follows its own convictions. Plaintive piano provides the platform for the song, gently skittering along and giving the beguiling vocals something to lean on. The result is a charming if slightly off kilter meandering number, one that is hard to pin down generically and all the better for the fact.
Music for which labels are easily found is probably bringing little new to the game, the fact that Cinnamon Gill seems to exist in its own warped, fairly tale world is testament to its originality. The fact that a brief run through Michael’s other musical offerings shows you that it is not the strangest song he has to offer makes you fall in love with his charming and whimsical musical world all the more.
To say that George Wilkinson is a pianist that plays for a Pop generation would be a pretty fair assessment. His Dramatic ballads don’t quite go down with the sophistication of painists such as Sigur Ros or Nils Frahm yet there’s something charismatic about the innocence of his sound none the less.
The British multi-talented musician possesses a varied vocal range, which in some parts reminded me of the harmonies in a Take That song with a playful contemporary twist, but there is so much to George Wilkinson’s sound than the vocals. So, if his vocals don’t win you over, there’s always his delectable original musical arrangements to faun over. The piano solos sing with so much complexity that I wished that it was an overall instrumental track. The essence of the pounding dramatism of the keys were stolen away by Wilkinson in his best attempt of hitting the high notes.
I would love to hear what Wilkinson is capable of through some raw acoustic sessions where it’s clear that he’s not creating music for the masses but instead truly expressing his own evocative train of emotion rather than just assimilating every other contemporary ballad singer as they fight for number one at Christmas.
Check out Wilkinson’s debut track on the Soundcloud link below:
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.