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Salt Lake City electronic artist TRILIIIGY transmits our minds into an exhilarating vortex with Harpy

Brooding in with much vehemence and certain authority, TRILIIIGY slices open the creaking door with an ominously dynamic impact which will surely open many minds up again on Harpy.

TRILIIIGY (formerly Z3LDA) is a Salt Lake City, Utah-based electronic artist, computer programmer and music producer who sends shivers down many shaking spines.

Using Ableton Live as a DAW and mostly working with Splice samples alongside an MPC.” ~ TRILIIIGY

Heavy in nature and a warm embrace into our awaiting earlobes, TRILIIIGY has dropped a rather thrilling experience to soak all worries deep into the swimming pool of possibilities.

Harpy from Utah-born electronic artist and music producer TRILIIIGY is a quality listen which shall swap many moods around with a superb performance. Lathered with a truly intense track which will thunder through with much force, this is a rather incredible single to sizzle all doubters away into a faraway memory.

See this moody gem on YouTube. See more on IG.

Reviewed by Llewelyn Screen

Sirreal Feat. Revron – RAZE THAT ROOF: Riotously Adrenalized Hip-Hop

For his latest drop, the multi-award-winning Canadian hip hop luminary and mental health advocate Sirreal collaborated with Revron to create the volume-cranking bass-heavy drop RAZE THAT ROOF. Whether he’s bringing the party atmosphere to the stage or your speakers, his socially conscious and clever material is one surefire way to raise the adrenalin. It isn’t every day you get hyped by sheer talent alone.

With the sharp and witty lyricism stoking the fire, the track is almost enough to start a zombie apocalypse by raising the dead, let alone the roof. His cheeky, high-energy vocal delivery puts plenty of stake to his claim that there’s no roof that will be intact when he steps to the mic under it. After claiming pretty much every accolade there is for a Rapper in Canada, it is only a matter of time before he deservedly goes international.

The 4K official music video for RAZE THAT ROOF is now available to stream on YouTube.

Review by Amelia Vandergast

The Sun Hit an 80s New Wave Atmosphere in Sabet and Doherty’s Single, At the Brink of Dawn

Docking their boat at the harbour of 80s new wave atmosphere, the soundtrackers, professional songwriters and producers, Sabet and Doherty, orchestrated a sonic depiction of when the sun hits in their single, At the Brink of Dawn, taken from their sophomore EP, The Secret.

Starting with cavernously choral angular guitar work in the same vein as Slowdive, the instrumental aural escapade builds into a feat of full-bodied beguile through the percussive fills brought by Doherty, best known for his work with Ben Folds and They Might Be Giants.

The oceanically cathartic testament to the collaborative chemistry that spills between the two artists is a unique invitation to slip array from the fray of typically structured music and become part of the flotsam while you trust in the expert orchestrators, who drift you into one of the sweetest 80s rock crescendos towards the outro.

At the Brink of Dawn is now available to stream on YouTube.

Review by Amelia Vandergast

Pat & Mac drop the skin-munching soundtrack for zombies on Flesheater

With a sizzlingly intriguing track that might cause slow hearts to quicken like at the end of the first episode of The Walking Dead Season 1, Pat & Mac shows us what inventiveness looks and sounds like on the incredible visuals for the blood-guzzling new track called Flesheater.

Formed by Pat Durkin, Pat & Mac is a Philadelphia, Pennsylvania-based indie rock act that makes an experimental blend of riveting music to interweb inside.

Pat produces all of the music completely DIY, with an influence from horror movie and video game soundtracks as well as classic rock, synth pop, and heavy metal.” ~ Pat & Mac

In the second collaboration with animator and director Sean Bayles and taken from Impost3r Syndrom3, Pat & Mac shall lead us away from the darkness and into a thoughtfully fascinating light. Each second is a well-executed endeavour which is masterfully done with originally at its core.

Flesheater from Philadelphia, Pennsylvania-based indie rock act Pat & Mac is a truly unforgettable song to get energised about and shall enter our lives when the nibble is on. If you’re a fan of ravenous zombies and a memorable beat to forget previous worries with, this is a perfect tonic when the munchies set in late at night.

Hear this fine new single on YouTube. View more on the IG.

Reviewed by Llewelyn Screen

Freak of the Sea provided the ultimate fix of pacifistic solace in his alt-indie anti-gun anthem, The Bullet

It is a disillusioning and confusing era for pacifists to be enveloped in; substantial consolation ebbed and flowed from the Avant-Garde-tinged indie single, The Bullet, from Freak of the Sea (Christopher Jacques).

The anti-gun anthem, which lyrically revolves around the resonant reprise of “I’d rather take a bullet than shoot a gun”, is, unfortunately, a necessity given how we’re numbed to the horrors of gun violence through over-exposure to massacre.

While the guitar melodies run in a crystal-clear vein, dark and torrid effects disrupt the quiescence to a disarmingly conceptual effect. If you could imagine what it would sound like if Modest Mouse drifted into the waters of post-punk, you will get an idea of what the Portland, Oregon-based artist triumphantly achieved with The Bullet.

When Jacques isn’t crafting aural comfort, he runs the Dandy Warhols’ recording studio, The Odditorium. He’s worked with everyone from The Shins to The Dandy Warhols to Slash to Cowboy Junkies and countless other icons of alt music. Yet, notably, his associations are one of the least impressive facets about him.

The Bullet will officially release on January 26th; hear it on YouTube. The new EP, Out to Pasture, which The Bullet was taken from, will drop on February 10th.

Review by Amelia Vandergast

Mike Marnelakis laid bitter-sweet affection intimately bare in his pop hit, I Can’t

Greek singer-songwriter, Mike Marnelakis, released the most superlatively bitter-sweet love song with his latest pop hit, I Can’t – definitively proving that the line of light and dark appears within us all, every emotion, and every phenomenon.

Starting with an acoustically strummed and stripped-back intro, the prelude and first verse laid affection down with intimately bare candour. His loaded with emotion vocals harmonically drift into the chorally polished tones, allowing you to drink in every ounce of apathy that inspired the carresively pensive single.

After the proclamation that there is no truth without pain, the progressively seamless single builds into an 80s jangle pop hit that will swell the hearts of The 1975 fans.

I Can’t is now available to stream on YouTube.

Review by Amelia Vandergast

NY’s JShell teamed up with rock royalty for his post-punk spliced hit, Haunted

To kick off 2023, rock-inclined NY multi-instrumentalist, JShell, will be releasing 15 music videos in 30 days from his hotly anticipated audio and visual album, IN MY HEAD, featuring members of rock royalty, including Steve Hackett (Genesis) and Katie Jacoby (The Who).

We were lucky enough to get a sneak preview of Haunted, featuring Karen Abrams, Fernando Chirinos, and Sofie Jane. The single starts with a dramatically suspenseful horror score before giving way to the gravelly post-punk basslines and vocals that flow in the same biting vein of PIL and Magazine to bring in a nuclear explosion of rock.

The female vocals bring a shot to the heart of Joan Jett glamour before the maniacal riffs extend the progressive nature of the hit that throws curveball after curveball. It’s not rock n roll as you have known it before, but anyone with an affinity for experimental rock will want to get acquainted with this riotous feat of ingenuity.

The official video for Haunted will premiere on January 25th. Catch it on YouTube.

Review by Amelia Vandergast

Fresh Sounds from IsraelBeats

It’s not often I get to write about the people behind the scenes, crafting the beautiful beats that singers use for their canvas in making their masterpieces. I suppose it is somewhat sad that we, as audience and appreciators don’t spend more time acknowledging the contributions of these folks. We’re looking at “IsraelBeats” today – a collective of Israeli producers selling their instrumentals to artist around the

world. Their catalog boasts well over 800 professionally produced beats and rhythms – I haven’t heard one that I considered substandard.

One example from the beat-line-up is “Sting,” an up-tempo hip-hop track full of synth squeels, low end bass and a pulsating rhythm that would sound absolutely native in a Miami club. It features delayed xylophone samples, whistling sine-waves and relentless dance-drums, definitely party music here.

I had a bit to look over their website and they sport a very easy to navigate layout. There, one could select the genre and overall style of what you’re looking for. One wonderful thing worth mentioning: I was surprised to see they were giving away 20 royalty free beats (with email signup) which is a rather generous offer. It’s rather heartening that professionals of this caliber are willing to throw young upstarts some help in getting themselves established (or simply having some tracks to practice with). So, I say good on you IsraelBeats.

NYC-based music producer Eon Crown drops explosively dynamic visuals for Get it

Slashing car tires and provoking sensitive alarms to go off unexpectedly, Eon Crown releases the kind of song which can flip moods over like a tasty burger on his hot new single to slide with called Get it.

Eon Crown is a New York, USA-based music producer/artist who fuses hip-hop into his wild beats which are made with so much sizzle and a rapid-fire verve to get enthusiastic about.

Featuring rather exceptionally crisp and imaginative dance moves to shake up the sleepy world, Eon Crown pulsates like a flashy thunderstorm and shall blow away all the haters. Goodness me this is a superior track. There is nothing too hardcore here either. This is a proper single made with supreme skill and easy-to-see desire. Just the way we like it. Oh yes, the visuals might stimulate creaky bones to get up on the dance floor again. Life is too short to sit down all the time right?

Get it from the excellent NYC hip-hop music producer/artist Eon Crown is a real-life heart beater to soothe all worries away like eating ice cream on a hot day. It’s tasty and all worries seem to go away.

Soaring high like Superman and brushing all the cobwebs away like a bonafide boss, there is vibrant electricity here which might shock many back into place like a chiropractor on a mission to crack the planet back into place.

See this epic video on YouTube. View more on IG.

Reviewed by Llewelyn Screen

Interview: Nick Cody tells us more about All Is Fine Til The World Goes Pop (feat. Towse)

https://www.youtube.com/@GreenEyedRecords

With classic stories for days and so much vivid details, Nick Cody is at his hugely authentic best with the massively revealing interview all about busking back in the 70s, making more music and All Is Fine Til The World Goes Pop (feat. Towse).

Hello Nick. Thank you for your time. How have you been coping with all the madness in the world and where can we find you sitting as we speak?

Nick Cody: The last two years have been somewhat surreal, a bit like waking up in a sci-fi movie. I literally buried myself away in my home studio and started writing new songs. There’s nothing like a global pandemic to spark some inspiration. All my plans for travel and live work, vanished overnight, and to my total surprise and amazement, I wrote 44 new songs, 13 of which appeared on the “All is fine ‘til the world goes pop” featuring Towse. I was planning to be back in Japan, on holiday in New York, as well as on trips to India, all of which vanished! I’m now firmly rooted in West Yorkshire with my wife and two very demanding felines!

What was it like to be busking in Guildford City back in the 70s?

Nick Cody: This was such a different era and in some ways a classic period for music. The only way you could listen to albums was in record stores or on the radio. Guilford underpass was a great place to play acoustic tracks with my battered Kay guitar. I was playing mostly Crosby, Stills, Nash and Young covers and of course, everyone had Neil’s Harvest and After the Goldrush albums as well as CSNY’s 4 Way Street. You could buy an album for two pounds fifteen pence and we treasured such purchases. I could earn up to five pounds an hour on a good day and a lot of that income funded my vinyl collection!

Please tell us about your new release called All Is Fine ‘Til The World Goes Pop (feat. Towse).

Nick Cody: I wanted to create an album along the lines of my favourite album of all time, Bob Dylan’s “Blood on the Tracks” which had great lyrics and melodies. I met Towse aka Grace Fellows online when she posted a sublime video of one of her original songs “When I Drive” on one of my music platforms and I was blown away by the quality of the song and the performance. I contacted her on e-mail and asked if she would be happy to collaborate on some songs. I’ve historically written songs with duos in mind and her voice reminded me of one of my favourite artists -Mary Margaret O’Hara- who released one great album “Miss America” and then vanished from the music scene!

What was planned initially as an EP grew and grew, so we ended up with enough material for two albums, the first being “All is Fine ‘til the world goes pop” which is quite stripped back and introspective and a second album with my band “The Heartache” called “Got a head full of music and a heart full of pain” which is rockier. The album is receiving great feedback and radio play to date and we’ll be showcasing some of this material on September 23rd at the 5 TH Music for the Head and Heart music evening in Leeds. These Head and Heart events are for listening audiences and to date, we have sold out every showcase, as the emphasis is on the very best music. The album title “All is fine ‘til the world goes pop” has a double meaning. On the one hand, it talks about the massive global changes that affected us all in recent years with covid 19, as well as talking about expectations of artists ‘in the music industry.”

Often the reality of being a professional artist is a mile apart from what is taught in music colleges or suggested on social media. A keen eye will notice the album is peppered with such references including the following, but the message is one of hope Hold fast to your instinct, stick with what’s real, The world is still waiting, for all you’ll reveal… (Thinking in circles) This world can’t wait, For you to play your part, Perfectly in place, Now go make a start…(She’s Tough Enough).

Your music has so much soul and genuineness. What is your vision for your project?

Nick Cody: This project is about creating original music that connects with people at a human level, especially in these tougher times. I had one hilarious comment from a music magazine that suggested that “The Leonard Cohen vibe maybe too bleak for some!”, while admitting that the album was “well crafted with fine musicianship and blended vocals.”
Others really seemed to better appreciate the real essence of this specific project and the comments below to date certainly reflected that view – “Towse (Grace Fellows) and Nick Cody make a special sound together. Two artists from different backgrounds who have found each other through the joy of music and songwriting.” Lendmeyourears “UK singer-songwriter Nick Cody is set to unleash his forthcoming album, “All is Fine Until the World Goes Pop”; the plaintive piano mockery of the state of our being at this crushing crux of humanity” Protest Musica All is fine ‘til the world goes pop’ is a magical piece, and the album cuts across folk to rock to Americana. The 13 tracks album, serves nothing else but classic music that takes you to another dimension, a world where nothing else matters.

Do you have any wild gig/festival stories that you’re allowed to share?

Nick Cody: One of the most surreal experiences of playing at a festival was playing The Lagoa Guitar Festival in Portugal. This was very early in my career of playing live and this was literally only the third gig I had ever played, so it was a total baptism of fire. I look back at some of the footage and I was playing everything 20% faster than it should be, so we were heading into “Ramones territory!” I remember stepping onto the stage and thinking “Well I’m in it now, so let’s go!” That said we were wonderfully received by the sold-out audience and as my producer would say “One live gig is worth eight rehearsals” I also met the brilliant Laurent Zeller who was headlining as the leader of his gypsy jazz ensemble “Les Kostards” playing amazing violin. We became friends and he plays on the new album. This May my acoustic ensemble is supporting Martin Simpson for the Music for Head and Heart 4 th showcase in Leeds.

If you could meet/play live with any band/solo musician in the world, who would it be and why?

Nick Cody: Two of my favourite artists are Nick Cave and Tom Waits. With Tom, I’d just be happy to be on stage even if it just meant shaking a tambourine. With Nick, I’d love to be a “Bad Seed” for a day and play “Red Right Hand” and “Stagger Lee”. Both artists have a very specific vision for their creative art. My good friend and world-class journalist “Sylvie Simmons” comments that such artists were “the awkward bastards” who refused to bend to the music industry’s commercial considerations, and the
world is better for such artists. Both Nick and Tom have always been mavericks, ahead of the curve creating inspiring, provocative and magical music. At times I’ve thought “What on earth is this?” before realising the brilliance of such creative talents.

Last, what do you hope changes in the music industry for underground artists to truly prosper?

Nick Cody: I set up Green Eyed Records to assist artists and to bring great music to a wider audience. The central theme of GER is “creativity through collaboration” and I am convinced that this is the best way forward for the health and development of great music. I discussed this in an interview with Jim Glennie founder member of James, who celebrate their 40 th anniversary, this year having sold 30m albums to date. The consensus is that a new way forward is needed, and the tide is already moving in that direction, with questions about streaming and how that affects artist income. The technology for recording and sharing music is extraordinary, but as my producer would say “Nick, it’s all about the songs.”

I’m unconvinced that having nine writers work on a single track on the insistence of a record company makes for great content. The responsibility for the future of music is as much with the buying public as the artists. Go see artists play live, buy their music from platforms like Bandcamp rather than stream it for free.

Otherwise, as Joni Mitchell once said, “Don’t it always seem to go, you don’t know what you’ve got ‘til its gone.’ I’m lucky to have some amazing artists as friends including Jon Gomm and Martin Simpson among others. I have massive respect for anyone striving to make a living from music. As the old musician joke goes “Want to make a million in music? Start off with two million…”

Hear more on YouTube.

Interview by Llewelyn Screen