People that are into J. R. R. Tolkien literature and fantasy games, people that are in love with the sound of the flute or actively seeking inner peace by wandering around in the woods and the meadows, this is your jam.
Bethany Eve comes from Wiltshire of South West England. She is a singer-songwriter and flutist. Primarily she is human being that has been blessed with a voice for which the best position that I can think of, would be the head singer in the angelic choir.
She recently released an EP comprised of three songs called “Silver”.”Silver” is also the opening track. The song just opens with Bethany unwinding her ethereal voice. This is more than singing; this is a mesmerizing, hypnotic broadcast of tenderness. The sound of the flute is the chariot of her vocal calling. To where she is off, I do not know; it might be the council of fairies or something far beyond this pedestrian world.
This is truly enchanting. It is recommended to play this after dark or even better, out in the countryside.
Glaswegian musician KBone pairs up with singer Aika Zabala on the aural treat that is ‘Crashing Into You’. Complete with lyrics penned by songwriter Douglas Beardmore, this track is as impressive as it is innovative.
The song begins with a 60s-esque riff, that is slowly joined by a primal beat and a sweet, melodic vocal – courtesy of Zabala. Her voice is reminiscent of Grimes or Katy B and she sings a story well known by all. Addicting, insatiable lust. The lyrics happen to be the first that songwriter, Beardmore, has sold and from the biting poetry contained in the subject matter of the song, it most definitely will be the first of many lyric sheets sold by him.
The chorus crashes in, larger than life. Its metallic instrumental undertones contrast with the gentle timbre that Zabala creates. Then we flow back to the verses. The subtle yet striking tinkles of percussion here add to the psychedelic essence of ‘Crashing Into You’. Although essentially a pop track, it’s the small nuances of genre like these, combined with the day-glow design on the track’s artwork, that suggest KBone has some 60s influences that are filtering through into the track.
I hope that this is not the last collaboration that Zabala and KBone undertake.
It’s such a shame that songs like this one don’t make it on the Billboard top charts. It’s not about the artistry (which by the way is outstanding) but more about the vibe.
MAKUTA is a four-piece power pop/rock group from Brooklyn, NYC. The song is called “Running”. When I pressed play the first seconds reminded me of acts like Eden; this first impression dissolved quickly as the song entered its power-pop phase. There is this chorus being repeated so much throughout the song, which lands tiny kisses on your forehead. Each time I heard the singer say “I keep running, and running and running faster / running, and running and running to disaster” I almost felt like I was receiving actual tender smooches. The drumming gets more intense in the last minute of the song, building up the crescendo.
This is what I personally call a “California Slackness” song, the vibe that is a bit tad dramatic but so optimistic at the same time.
Up and coming Folk singer-songwriter Syne released their latest single “Forget the Borderlines” on August 23rd. While many artists seem to forget that their talent can do much more than create pretty melodies in exchange for some accolades and fame, Syne proved with their latest single that music can share with us soul-widening perspectives.
With so much misinformed hate and prejudice in the world, tracks such as Forget the Borderlines aren’t just a nice accordant aural treat – they’re essential. While you may become painfully aware of just how hostile the world can be as you listen to the track, Forget the Borderlines is still a track which reminds you that you’re not alone in your compassion.
I’ll make no bones about saying that Syne didn’t manage to steal a few tears from me before the single had even reached the chorus. You can watch the deeply sobering official music video for yourselves by heading over to YouTube now.
Well, Phil Specs certainly didn’t hold back in pouring his pensively romantic emotion into his latest single One Last Kiss which was released May 2nd, 2018. I won’t even attempt to fit Phil Specs sound into a genre, the singer songwriter has created one of the most unique soundscapes I’ve heard this year and I wouldn’t change a thing about his sultry vocal tones, raw lyrics and arresting instrumental composition of sound. With perceptible musical influences including Hip Hop, Pop & Rock in One Last Kiss Alone it’s clear that Phil Specs has a naturally astounding command of sound. His sonorous baritone vocals had pretty much the same effect that washes over me when I’m listening to Bob Dylan, Leonard Cohen and Tom Waits, yet there’s no disputing that Phil Specs has a truly one of a kind vocal style.
You can check out the official video to Phil Specs latest single One Last Kiss on YouTube now, or head on over to Spotify where you can stick his dulcet tones on your playlists.
Hearing Theresa May’s voice introducing Alec Sala’s latest track which was dropped in February 2018 sent chills down my spine, the orchestral sound that followed was enough to leave me paralysed for the entire 2:43 duration. With his new track, Alec Sala provided the perfect mix of political satire with sensational sound. The first time I checked out this track I was overwhelmed with the clever narrative that Sala used as the foundation of his sound. I don’t think I’ve ever felt so many emotions checking out a track. It’s a mixed bag of angst, dread and awe at the rhythmic ability behind Sala’s experimental sound which he describes as ‘Kitchen-cupboard Folk’. His succinct vocals reverberate over a track soaked in impending doom which captured the disparity of what it is to suffer under the Tories wrath.
With his latest single Politician Alec Sala brings political music into a new age, outshining some of my favourite musicians such as Billy Bragg who don’t even come close to orchestrating music as stunning as this track.
If you’d like to share in the political angst you can check out Politician on YouTube:
If Damien Rice had grown up in the deep south instead of Eastern Ireland he may very well have written this song. Underwater is imbued with the same use of space, sweeping grace and atmosphere that Rice fills his songs with and the fact that Brian Mackey delivers a song which already sounds like it is from the closing credits of an underground film which has blown up massively with mainstream audiences says a lot about his abilities.
It is a song which feels as weightless in its musicality as it is heavy in its heart-aching sentiment, just the sound of a man with his piano writing a soundtrack to his memories yet somehow sitting in the space between musical expression and private rumination, exposing regrets without relinquishing them. It is this balance between the public song and the private thought that makes this emotional exorcism even more intense for being so tentative. Music can be many things but it is at its most potent when it is honest, reflective and intensely beautiful.
J.J. Leone delivers a captivating track with “Four Five Minutes”. The first thing I noticed when listening to this track is a great deal of Phil Collins and Genesis influence in the music and vocals. Don’t be mistaken, Leone is no cheap knockoff tribute act, but rather the kind of artist who takes the influence of others and creates his own unique sound from that foundation.
Kicking off with a memorable drum pattern that sets the tone for the rest of the song, “Four Five Minutes” features a great build featuring keyboards and guitar part that sounds very much like Mike Rutherford. Leone’s vocals are very warm and mellow, and tops off this track to make for a very easy and enjoyable listen.
“Four Five Minutes” combines a vast array of musicality, blending the smooth and mellow vibe of R&B, a soulful vocal delivery, and an incredibly tasteful and somewhat unexpected guitar solo to help bring the song to a close. The guitar solo often seems to be a lost art in contemporary music, so it is very refreshing to hear very David Gilmour-esque over bends and licks. I was really digging the song throughout, but when I heard this guitar solo come in, that’s what sets this track over the top for me. This reviewer rates “Four Five Minutes” 5.0 / 5.0 for excellent instrumentation, excellent vocals, excellent arrangement, and of course that guitar solo!
It’s clear that when Joey Sherman creates music the rulebook is no where in sight, even when you’re two minutes into the orchestral track which is Indian Summer, you have no idea what you’re listening to. Is it prog rock? Post rock? Orchestral Blues? There’s not a box big enough to put this sound within, it’s boundless, progressive, almost 7 minutes of pure, sultry cacophonies over the occasional transcendent guitar solo. The poetic singer, song writer and producer dropped his debut track New Years Eve which he douses in his pioneering sound.
When most musicians claim to be influenced by everything, it’s normally a vain attempt to seem more open and cultural, yet with Joey Sherman, you can hear his influence ring through his music, it’s sweetly reminiscent of everything from a Ramin Djawadi composition, to a Red Hot Chilli Peppers track. The production for such an underground track, is so polished, yet intricately grunge its paradoxical. However you define the sound, it’s definitely not something you want to miss out on.
Check out Indian Summer on YouTube using the link below:
Anyone who has live duets with Toni Braxton and Patti Labelle on their CV is someone who has clearly paid their musical dues and as the slick and soulful strains of Gone emanate from the speaker you know that you are listening to something a bit special. Yet despite being able to name drop those and many other top industry names D. Ward isn’t content to sit on his laurels and live off of past glories and this track, and the forthcoming album Journeys are proof of his this.
Soulful pop and groove-laden R&B lay down a platform for his amazing voice as he tells a tale of lost love, a reflective and wistful memory filled with a heavy heart and boundless emotion. Sometimes there is something to be said for an act which pulls familiar musical heartstrings, sometimes you might prefer the sound of an artist working at the modern edge of the genre in question. With D. Ward you get the perfect blend of both.