Mason Way - Social Media track review

Year : 2016
Genre : Hip hop
Label : Independent
Origin : United States
Where to check the song out: > - here - <

Relentless-, hilarious hip hop notability Mason Way is back with a flamboyant social criticism of social media. The artist in question certainly was a staple amidst these pages in the previous periods - use the TACSF function on the top of the page to look up his stuff -  and these days he started to develop a keen sensation towards massively ornamentic soundscapes, now spiced further up via quite relevant vocal - as in singing - components.

The rapping itself has tremendous amounts of charm, as the narrator inherently declares himself as an autonomous individual who allegedly is not affected by the casual-, virtually infinite turmoil pertinent to social media, whereas ironically occupies a position from which all the emotional content he feels towards a certain lady, ARE, in fact, the reflections and results of what he experiences amidst the boundaries of these social media interactions. One of my favorie bits is when he says: "these tactics won't work, bitch, I'm Mason Way." This is the ultimate declaration of independence, or, at least, a valiant attempt at it. Whether this irony is conscious or accidental, is up to the listener to decide, which immeditaley makes this track worthy of serious attention.

Check out the piece here.

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Cranky George - Misery Road track review

Year : 2016
Genre : Soft Folk Rock, Country
Label : Independent
Origin : United States
Where to check the song out: > - here - <

Misery Road is an entry from the upcoming longplay of LA based folk rock/country ensemble, Cranky George. This page has a lot of good info on the history of the group, while this review will concentrate on the single, as an indicator of what possibly you could expect from the foreseeable future, "debuting" on the 18th of November - simultaneously with the new Metallica double release. This spirit at dormant competition is something one must reckon with an intact poker face. Let's dive into the song!

Misery Road eloquently and inventively worships oldschool songcraft traditions with top tier production values, these latter meticulously balanced/arranged in at attempt to court said traditions with maximum-, though well orchestrated efficiency.

The self-reflective, ironically introverted, placid initial pacing conveys the classic country setting of parking at a fireplace in the company of a bourbon, a dead relative and a banjo - banjo not included, do you happen to have a lighter? -, yet, this trusty pulsation (pun intended) is armed with the intention to dress into moods and colors of hefty, brisk intensity.

At a given dramatic point in the song, by which you falsely think that everything has happened already, and grandpa is no risk to the society OR to your psyche as the top dog of this music-universe, the band commands the intensity up against the roof, as to let the soul reach beyond the skies, nevertheless remaining faithful to the bulk of the exhibited musical character. Clean, competent, all-voice-out lead singing is supported by a country ethos that reveals grace and elegance with sufficient power to display the heart of country classicism.

The result is an ironic, hilarious display of deliberately larger-than-life comic book country done in a truly badass, ballsy fashion. This feat could not have been pulled off without a decent frontman-, nor without sophisticated taste and competence on/at how exactly command the sounds to make them more intense, but keeping them from messing with the structure. The track is a truly pleasant experience to listen to, as it does not satisfy with merely existing, instead, it IS a successful musical metaphor FOR the flow of existence itself. An immediate recommendation for all music lovers, and don't forget, it is only a week's time until the LP debuts.

Step on the Misery Road here.

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REP - Street Walkers track review

Year : 2016
Genre : Hip Hop, Christian Hip Hop
Label : Independent
Origin : United States
Where to chech the song out: > -  here - <

REP is back not with a vengeance, but, with a fresh review request concentrating on another track of the Co-Laborations LP.

Street Walkers is an attentively sculpted, massively mid-tempo hip hop track, pinpointing lurking danger and ambiguous remnants of hopes at every corner. The central musical attraction of the song is a nice pairment of a highly retroid slot-machine riff, - the melody itself has a luciferian Last Ninja vibe - and this motive is quick to demand for itself gargantuan support by a duo of mobsters in the form of a powerful, sneaky bass, and a clever drum passage that admires the musculature of said bass, inventively pinpointing the key points in its relentless anatomy.

The rapping is good, too, as REP knows that it is best if he is "just" a REPorter, staying away from the framing of brisk morality. Instead, he is revealing percepts and reocurring thoughts/tendencies that are amidst the pertinent components of the observed daily life of a prostitute, as you do not have to be one to know one - the lyrics reflect the position of a man who feels empathy for the prostitute, yet is in the process of seeking to decide whether the woman would prefer to be "saved" from this lifestyle at all.

What I like about this track, is how the mood of the music reflects this timeless concealed dilemma, conveying the percept that everything you think about the situation, might be utterly wrong - nevertheless both the music and the prostitute invites you to come and find out.

Check out the song here.

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REP - Escape Room track review

Year : 2016
Genre : Hip Hop, Christian Hip Hop, Soul
Label : Independent
Origin : United States
Where to check the song out: > - here - <

Escape Room is an entry found on the latest longplay delivered by Virginia-based hip hop artist REP. Your host is not at all reluctant to express a clear and unconditional devotion towards Jesus, and Escape Room is one of those songs that emerge successful at painting elegant allegories about the state a soul MIGHT find itself in, if subjected to existence without a palpable pointer to grasp unto. The Escape Room, of course, is your body, in this metaphor. But let's not spoil the challenge and the fun of finding the key to it.

The music is quite interesting, and here is why: the bulk of the piece is an almost fragile-, though well researched sonic environment, composed mainly of bass lines that paint out the harmonic domain with inventive strokes of sounds flirting with the timing, and REP seems and sounds to be almost conscious to refrain from the utilization of such casual super-orhodoxies like a snare drum, hi-hats, or a crash cymbal. The song simply evades these elements, and, hilariously, you spend the whole time listening if they will ever show up - and there is no void to be felt upon realizing that they were NOT invited this time.

The song manages to capture a floaty feeling, and finds efficient methods at maximizing its potential with a strictly limited set of instruments and sounds utilized. The piece is a collab, by the way, and the talented singer Mikaela Juday brings you clear, soulful lead singing that is precise and brisk: there is zero trace of autotune.The chorus is awesome in character, and Mikaela knows this, too - but the music fails to realize in the background that SOME elements are yet to be brought to the table to court the lead singer as she declares the main gravitational pull of the entry. Mikaela bursts into full bloom mode in the chorus, but the music fails to recognize it. A pity.

Luckily, REP steps in to deliver a decent block of well-tempoed rapping without offending anyone. A talented artist with true musical vision, and a particularly strong sense of how to validate limitation in the context of diversity of sound. Sometimes less is more. And sometimes it is not.

Check out the song here:
REP - Escape Room

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Phantom Pop - BETA review

Year : 2016
Genre : Massively Instrumental Jazz/Funk Fusion
Origin : United States
Official site : > - here - <

The music contained on the latest-to-date Phantom Pop full length does not bow down to the curteous routine of assuaging your everyday/average funk/jazz craving along tropes you are embarrassed to pretend you know nothing about - instead, the release delivers the funk/jazz fusion goods with such an undeniably intoxicating command of the notoriously whimsical genre, that you won't likely be given any room to be cynical in towards the stimuli upon a submissive listen, nor when you execute max-level inspection paua' towards this supersexy, all-muscle effort.

The album is massive both in its scope and in its hyper-optimized ambition - the latter being an inescapable result - almost a happy accident - of the unconditional love towards the genre which is simultaneously worshipped and insatiably exploited by the ensemble throughout this exquisite audio adventure. Read on to know more, because the cat knows where you live.

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AL-X - Fearless track review

Year : 2016
Genre : Dance Pop
Origin : United States
Official site: > here <

LA based AL-X is an upcoming dance composer/producer with a keen interest in delivering massively melodic dance music along exigent pop sensibilities, purposefully revealing the most flirtatious traditions of the style.

With rhetorics clearly rooted in the school of thought that regards easily approachable, elegantly simplistic progressions much more paramount than experimentive tendencies, the single "Fearless" could be a picture perfect statement of top-form Madonna, as the somber, contemplative moods inherent to said artist, are displayed abundantly in this 3 minute affair.

Never risking maximum efficiency with taking detours that are simply not worth winking towards in this genre, the track knows what it wants to do, and pulls it off eloquently. The melodic arch in the verse is sufficiently indicative that you are about to witness a woman's soul burts into a sonic declaration of - well - b(l)oom (and definitely not doom) - soon, while the chorus backs these promises up with a skillfully researched route taken along the full surface of the suggested structure, now revealed with optimum power.

Doubtless a well sculpted melodic dance track, with a rather abrupt, but logical end to it - so it is not hard to find the will to revisit the piece: a safe recommendation for any and all fans of the style.

Buy link: https://itun.es/us/fQvZeb
Genre:pop/electro/dance 

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Red is the New Black track review

Year : 2016
Genre : Psychedelic Rock with a Doom tint
Origin : United States

"Red is the New Black" is a particularly strong, invasive psychedelic track with a definitive doom tint to it. A somber, massive declaration that has come to me through a review order placed with no additional information attached. "Red is the New Black", and that is that, no band name, no nothing, review it please.

The music itself is situated at the middle of an optimum intersection where the timeless rules - hah - of psychedelia and current production standards meet. The hefty, supra-old school intro guitar jumps you from the speakers like Magilla Gorilla on an otherwisely desolated island, and the ensuing sonic anatomy quickly reveals a type of devotion rendered directly unto the monolithic altars of ironically sly and sinister moods and sentiments, revolving primarily around money. Oh well, money does not make you happy, but it won't make you unhappy, either.

The track bravely explores brisk avenues along bluesy building blocks, while its constant focus/intention remains to ritually kamikaze into the bowels of good old fashioned blight, a dark, dangerous and deliberately heartless territory, which is revealed with picture perfect accuracy through exquisite chord choices and tempo alterations. During these segments, the incomprehensibly uplifting-, nihillistic indifference of Dark Souls - yes, the video game - emerges, symbolic of the somber-, yet imperturbably unfuckwithable attitude that lurks beneath the music as a fueling force.

One can tell that a whole lot of love has been given during the making of this track, as the whole structure is an excellently varied expression of a well-placed curiosity cultivated towards the most delicious components of its very own anatomy. The song eloquently showcases the timeless nature of doom-tinted psychedelia, and you want it.

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Astronauts of Antiquity - Future Back track review

Year : 2016
Genre : Dance / Melodic Pop
Origin : United States
Official site: > - here - <

"Future Back" is a fresh single by upcoming dance/melodic pop wizards "Astronauts of Antiquity". Composed by three key individuals, the ensemble's premiere focus is to sculpt out intoxicating, yet easily approachable soundbeds, flattered even further by a brand of lead vocals that are openly playful and tender, yet pack a punch friendly enough as to prevent the end result from falling to the other side of the horse in the expression process.

The song chooses to unfold rather super-efficiently, revealing a pleasant disco-pulsation with a whole lot of spots to park inventive-, yet not too obtruse ornaments in. The main attraction emerges as the optimum combo formed out of the imaginatively sentimentalist lyrics, supported by a type of vocal delivery that opens up quite comfortable interpretational fields to regard said/sung sentiments with both musical gratitude, and a poker face kept intact. Lead singer India does not mind releasing the timeless inner child, and the result is quite interesting, because his rigor at staying in tune is super-relentless, and even the relatively rampant pitch correction does a superb service to the track. Yes, such precedent is possible.

The music - minus vocals - is good in its own right, too, as it does not commit the mistake of reeking rigid remnants of over-production, managing to greet receptors as something that feels almost casual, while maintaining an almost exploitatve urge to progress invasively within the boundaries of the selected framework. The single is a definite success as a stimulator of interest in the trio's full lenght delivery, due to be unleashed on consensus in October.

Check the song out here.

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Jim Levatte - This Ain't My Day track review

Year : 2016
Genre : Country with a Redneck Rampage tint
Origin : United States

On the surface, Jim Levatte's single "Ain't My Day" is the picture perfect representation of the most prominent redneck ballads, yet, your host is both reckless and inventive enough as to spill nitro instead of family friendly orange juice on the well behaved parade. Levatte prefers well placed, elegant irony over sunset-supported hay-sentimentalism, and challenges the redneck ethos, as opposed of being a mere-, helpless, submissive participant and observer to it.

The production choices reign in a safe spot between shotgun-grade southern rock and retirement-home pleasantries, making the track a candidate for an immediate revisit upon completion. Read on to know more.

Do you know the Guns 'N Roses song "Breakdown"? Anatomically, Jim Levatte's effort shows a greal deal of similarities with said declaration, particularly in the context of the harmonic structures and the evoked emotions. This track is more exploitative though, - which now is a compliment - as it exhibits an almost undeniable urge to deliver a status report AND call it a day ASAP, a decision that serves the longevity of the track even as a first time encounter.

Country is a great-, but uncompromisingly pretentious genre at its heart, and this pretentiousness is the sole reason that the style also reigns as a timeless one. Because pretentiousness rarely goes out of fashion. < -  Pro Tip! You are simply not supposed to say and do SOME things in country, because folks surely will give you a slanted look, and/or a good old fashion beating for bonus good measure.

Levatte knows all the tropes of the genre, thereby the reason he embarks on a journey to see the depth of the curvey mirror the redneck ethos is STILL willing to scrutinize itself in: a brave and a hilarious agenda. Had he come out with a full length fueled by the same intention, he easily could be to country what Steel Panther is to hair metal. As such, based on this track alone, Jim Levatte definitely has found a legitimate type of rhetorics to resonate through, and one remains curious to see if the artist will have enough content under his belt to fill a full length declaration with.

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Heavy Star - Electric Overdrive review

Year : 2016
Genre : Heavy Metal with a Rock & Roll tint
Origin : Italy

Italy's Heavy Star brings a super-traditional method to the metal, through which a deep appreciation of the most classical and well-founded genre-tropes are observable.

Times are not seldom when the disc evokes feelings and sentiments reminiscent to those meticulously established by the original glam metal era of the '90s, only-, and THIS is a BIGASS only: there is a more eloquent definition of BALLS on display, and this consideration, luckily, is of key importance - both in the context of intensity and compositional techniques. As such, a good amount of the content will revolve around the longing for the quintessential woman. Which is perfectly valid, as there is not much else worth longing for while occupying a male body or two, anyway.

The songfract is everything in this style, and this time, it is channeled according to the strict-, yet imaginatively interpreted-, ingrained rules of the game. The band does not seek to re-invent the steel, as they are perfectly aware that it is working trustily, and they came merely to wield it. With a soberly paced flow optimized for 8 hefty declarations of elegantly concealed romance, Heavy Star is truly having a blast showcasing mature variations on this hilariously sexist - therefore fun - brand of metal, administering it with apt skills showcased in their collective acumen. Read on to know more.
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ARJUN - Gravity review

Year : 2016
Genre : Fusion Jazz
Label : Pheromone Records
Origin : United States
Official site: >here<

Arjun's latest full length release marks the completion of a massively improvisative fusion jazz trilogy that has started out with their 2013 outing "Space".

The ensemble has garnered considerable attention with their particular brand of polite harmonies and easily comprehensible rhythms, toppled by massively improvisative leads. The disc is a well balanced, introverted guided tour on sonic vistas that do not attempt to challenge the set of basic rules that will warrant a type of inevitable insant jazz fusion: the one which is immediately ready both to be played and to be listened to, once certain conditions are fulfilled.

As such, the music is joyful, riskless, and optimally naive in the sense that it does not attempt to demand the next to last trick of rampant musical imagination, instead, the album remains a stable, enjoyable guided tour on top of harmonies that reign relentlessly satisfied with their doubtless impressive anatomies, especially as they are courted with soloistic approaches that are equally quick to reveal the mechanics of thought and skills that summon them . Read on to know more.

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Charles Wright - Something to Make You Feel Good review

Year : 2016
Genre : Soul, R & B with a Funk flavor
Label : Miles High Productions
Origin : United States
Official site: >here<

R & B veteran Charles Wright invites you to an exquisite listening session characterized by undeniable authenticity and a lifetime of bluesfunk experience.

On the surface, the productin ethos of the effort openly and optimally embraces the best traditions of the Motown-school of music, yet the shape of the stimuli is uncompromising "sweet" blues at heart, spiced up by a moody breeze of excellent funk flavors. The disc is not here to bring you down, it is something to make you feel good.

With the efficient help of this inventive agenda, the full length finds itself in the highly beneficial position of harvesting AND exploiting the hidden irony in blues: with song titles like "Looking for an Ugly Woman", and "I got feelings, too" - I don't know if I ever heard badasser and more ironic titles for blues tracks, to be honest - you instinctly know that you are into something special, and Wright won't disappoint in delivering the goodies throughout the spin. Read on to know more.

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Angie and the Deserters - Country Radio track review

Year : 2016
Genre : Southern Rock
Origin : United States
Official site: >-here-<

Based on their single "Country Radio", Angie and the Deserters will bring you a full fledged southern rock release coated in the OH!, so sweet stench of gasoline, reeking the persistent mood of a trusty crowbar parking in a crocodile. The song bombards you with clear guitars that find tremendous joy rocking out on military-grade steroids, while the anatomy of the song emits tremendous charm as it finds inventive methods to accentuate its most prominent attributes.

Crude-, yet undeniable elegance also is a premiere component of this style, and frontlady Angie has all the traits and capacities in her acumen to deliver the message with flawless female road "paua", doing so without having to resort to limb marketing: her delivery is both gritty and, yes, you have guessed it right: impertinently sensual, yet, the promise of impending doom always lingers in her voice, as it should be Law in this style.

Fortunately the musical backdrop is exigent and well sculpted enough as to never mistake the classic southern tropes as the main avenue to explore during this stable statement, quite the contrary: although this single is a 101% ZZ Topesque guitar sizzler toppled by an amazon, the composition itself is strong enough as to warrant revisitations. This is the background music for immediate visions of an unfaithful guy being chased through the desert by a furious lady mounting a bike, armed either with a shotgun or a smile, so what's not to like?

Check out the song here.

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Srdjan Brankovic - Expedition Delta review

Year : 2016
Genre : Melodic Metal
Label : Perris Records
Origin : Serbia

Srdjan Brankovic is a renowned brand of the Serbian metal militia, and rightfully so: with its latest to date outing, the ensemble showcases apt readiness to channel energies from an intersection situated at the most prominent segments of massively romantic melodic metal and Iron Maiden-esque power metal affections.

The lead singer has a doubtless tremendous voice hyper-optimized to this type of silence massacre, packing an unusual amount of power even in the higher registers, on which he skims around with effortless grace and action-packed elegance.

The songcraft is pretty much everything in this genre, and the compositions have nothing to hide-, nor to modestly conceal: a clear understanding of melodic metal tropes are observable on a constant basis, paired up with the group's optimally enthusiastic drive to sculpt out unusually diverse and dynamic structures. This readiness is the premiere reason that the album is not "just" a melodic metal release, but a top tier one at that.

Normally, an everyday average band would write like 4 songs from these extremely well detailed sonic landscapes that are offered as a single galaxy per single effort herein. As a musician and critic, I only believe in clear, hefty intentions and hard work when it comes to music, and it is nice to see these sentiments being reflected in a delivery fueled by the exact same creative credo. Read on to know more.

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Sharon Knight - Portals review

Year : 2016
Genre : Massively Fantasy-Driven Soft Rock
Label : Independent
Origin : United States
Where to check it out: >here<

Buy it now

Festival Favorites Sharon Knight and Winter are internationally touring musicians in the mythic-Celtic vein. Their penchant for combining fierce and gutsy bravado with ethereal beauty, a hearty dose of fantastical lyrics, and an obvious love of storytelling has inspired their own style, “Neofolk Romantique”. This often sound less Celtic and more “Folktales that ran away with the Faeries at the turn of the century and took cover in an old trunk bound for the circus, which was then commandeered by pirates.” This suits them fine.

Portals is a mature, undeniable, artistically ripe release that channels the charms of massively fantasy-driven escapism/romanticism with genuine creative grace, originality and musical aptness amidts its premiere acumen. The intention to deliver top tier songcraft, remains an unrelenting staple throughout this intoxicatingly ornamented sonic journey, and this is the central reason that the disc worsk so well. Read on to know more.

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Jack of None - Who's Listening to Van Gogh's Ear? review

Year : 2016
Genre : Experimental Poet Rock
Label: Independent
Origin : United States
Official site: > - here - <

Jack of None's full length debut LP comes to you as a massively abstract - is that an oxymoron? - auditory journey that inhales clear creative intents-, and exhales the well-tamed assumption of poetic justice in the most literal contexts possible.

As the respective ethos of the spoken/written word is of key importance for the central vocalist, - as she is a poet, first and foremost - the music chooses to deliberately bend to the will of these spoken messages: it willfully accepts the role of ornamenitc sonic tapestry.

The music is well sculpted, nevertheless, albeit polite. Never seeking to taunt the words, yet the valiant quality of a smartly varied dynamic range is cleary observable: something that is a rarity in today's production standars, where volume and loudness are assumed to be kings. Read on to know more.

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Blue Moon Harem - My Front Door track review

The song under scrutiny is quick to showcase a set of tasteful musical influences that are pulled and brought together to form a truly cohesive-, top tier rock song with no sub-optimal assets to conceal. The singing and the mastering are both supra-ballsy and consequently immaculate, the guitars are warm, yet they come to your house with bad enough intentions to make it impossible to not give a damn about their inventive machinactions. An immediately discernible structure is observable, that which is being led and skillfully courted through a series of logical-, and pleasant climatic/narrative conlcusions with due heft and rigor maintaned throughout the anatomic segments of the entire build. A fascination cultivated towards the most morose musical tints of "pure" rock is relentlessly kept around as the narrative opens up about the key - pun intended - aspects of the imminent romantic relationship the song itself is centered around. The best moments of Stone Sour comes through with irrefutable convince power. The inherent soul-story that is being told through glanced emotions, peaking sensations and expressed intentions pertinent to the desiring of intimacy, are very easy to relate to, inviting the attentive listener to soak some ears into the stimulus on yet another immediate occasion. The shapes of intensity with which the material communicates, is of exceptionally high quality and versatility herein, as the band not only manages to respect and honor the fields of rock, but they pretty much demand the holy whole and THEN some more of it. The piece boils with undeniable/insatiable power when successfully reaching its targeted peak values, and the excellent lead singer truly deserves credit for not being crushed under the mere sonic weight, instead, he emerges on top, "merely" riding the elegantly raging audio mass. In case your conjecture needs further reinforcement, then let me assure you that this is a band you want to keep some eyes and ears on, and one can only hope that they have plans to deliver a full fledged output composed of various tracks.


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Phil Void - Delusions of the pampered review

Year : 2008
Genre : Massively Experimental Post-Punk
Label : Independent
Origin : United States
Official site: > - here - <

Phil Void's 2008 full feature effort "Delusions of the pampered" is an uncompromising act of pre-meditated "mRRda" committed against the casual concept of silence. The premiere name of the central game is a massively irresistible urge to deliver variety both in the context of intensity and musical rhetorics.

The album is not reluctant to showcase a wide spectrum of genres to be visited, and finds an abundant amount of playtime to be spent by the act of performing said visitations with various key strategies stored in the whimsical mind.

The mere potentiality of playfulness is invited, welcomed- and even praised throughout the record, regardless of the inevitable consequence of how the spin absorbs the inescapable lack a cohesive-, abundant flow to it, as result of the conscious decision of not wanting to have to tolerate a label that it could be shackled with. The album is not even secretive about this: its cover is not just a hint, but rather a declaration: abandon all expetations you who listen in here. Splice yourself in/out/off, and read on to know more.

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Mericana - Whatever's Left sessions EP review

Year : 2009 - 2015
Genre : Alternative Rock with a Grunge tint
Label : Independent
Origin : United States
Official site : > -  here - <

The Whatever's Left Sessions is a hard alternative-rock EP influenced by bands such as Queens of the Stone Age, Soundgarden & Muse. It was arranged & recorded in multiple studios between 2009 and 2015 in Edmonton, AB.

Mericana's Whatever's Left Sessions is a brief-, yet extremely eventful and precise stylistic exercise into the more morose and outright agry intersections amended by both the grunge and alternative rock genres. This smartly paced EP gives you no less and no more than four full musculature tracks to soak some souls into the massively guitar driven melodies that are complimented by larger than life clean singing.

The insatiable urge to deliver as soon as possible, is ever-present and relentless on the disc: no time is given to shoegaze tendencies. The patterns introduced on the disc are composed of extremely clear musical thoughts that are sculpted out with pretty much scientific attention devoted to maintain the clarity of harmony, which is a key asset of the whole experience. The band oftentimes summons the vibes of an unusually angry Pearl Jam, as result of a keen willingness to seek out and present  the hilariously reocurring feeling of an inevitable-, yet strangely uplifting sense of doom. Read on to know more.

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Danzig - Mother cover

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Fly me to the moon cover

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Pia Dean - Gone feat Scarlet Cox (EDM Remix) review

The EDM Remix of Pia Dean's "Gone", featuring Scarlet Cox, is a beefy, well sculpted dance statement of the morose-, contemplative character. One of those songs that openly aim to get you through an ex (or two), only, not metaphorically.

The smartly sculpted intro generates sufficient amount of excitement as to be able to introduce the main theme with efficient elegance. The pulsation is stable, and not in any particular hurry to deviate from the gravitational pull of the central groove and the base harmonies. The visited sonic domains are doubtless familiar, yet reign timeless with their charms, and are both quick and gentle in their willingness to showcase their full value anatomy.

The sample selection reflects a deep-, well-founded appreciation for the ear-candies of the '90s, - which many hold as a mythic time for dance music - while the cherry on top, fortunately, is Scarlet Cox's first-class singing, as the performer in question exhibits a superb command of her pipes as they are about to reflect on a relationship in which damage was both absorbed and administered. If it never hurts, then you either have no ego, or, your ex is doing it wrong.

A safe recommendation if you are looking for music that seeks to put you into the popularly acceptable chill mood, yet it doubtless stimulates receptors with eloquent singing.

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White Wedding cover

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Herman Martinez - Solopsi Radio review

Year : 2015
Genre : Post Rock with Massively Dark Psychedelia and Sludge/Doom affections
Label : Independent
Origin : United States
Official site: > - here - <

Herman Martinez's Solopsi Radio is the doubtless undeniable result of a creative process that has spawned throughout 18 months, all aimed at the production of a bulk of material that convey the hallmarks of Martinez's musical vision along the combined criterias of precision and authenticity.

Solopsi Radio is a super-thorough medley of sonic stares into the nietzsche-ian abyss, as carefully arranged auditory discord-, and the constant challenge declared towards the riskless conventions of harmony and emotional comfort, are all on relentless and resourceful display herein.

Seldom are the times when the cover of an album AND the sounds arranged into said spin are in a perfect symbiosis of reiforcement with each other, and such is the case herein. Once you witness a deliberately AND convincingly sociopathic facial expression on an album cover, you are free to assume that you are either in for a treat you won't likely want to forget OR remember. The album cover photo is an irrefutable invitation: "Come find out, if you think you have balls."

Luckily enough, Martinez's music is both rich and meticulously sculpted enough to convince one on spot that the facial expression on the cover is not "just" an efficient method of invitation, but, in fact, you will get exactly what is promised, only more of it AND more colorful of it than you have hoped for.

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Underlined Passages - The Fantastic Quest review

Year : 2015
Genre : Soft Rock with a superb harmony fetisch
Label : Mint 400 Records
Origin : United States
Official site: > -  here - <

Baltimore based Underlined Passages is a group composed of individuals willing and able to render their respective creative potentials to that of premiere Underlined Passages frontman and mastermind Michael Nestor.

Nestor been instinctively studying and mastering the mere ethos of harmony the very day Stephen Hawking started to invent time itself, and this very notion is not one to take lightly, nor with any promise of a grain of salt. This spin is action-packed with an extremely keen sense of chordal passages that reflect not only excessive competence-levels at coming up with interesting harmonies, but, even better: the whole album is a luscious love letter to intricatly sculpted chordal domains, while the sung melodies on top are mere compliments rendered to them.

The resultant mixture is a highly optimal configuration of music, that works pretty much perfectly, and especially so if your ears still remember how to hear. If you ever wondered about this question, then the answer probably is "sorry: no, but do come again!", but, this is the perfect album to make sure. Read on to know more.

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Nick Driver - Baby Come Back To Me track review

Year : 2016
Genre : Acoustic Original, Folk
Label : Independent
Origin : United States
Where to check the song out: > - here - <

Throughout his massively acoustic romantic statement called "Baby Come Back To Me", North Carolina-based Nick Driver is riding on beefy-, well sculpted acoustics that seek to summon the optimally stone-traditional charms and affections timelessly contained in-and-through acoustic silence molestation.

The reason Nick Driver's overall output works quite well, is none other than a solid and competent command and understanding of his vocal capabilities, a creative asset he uses to deliver soulful renditions of casual romantic sit reps that are quite easy to relate to, provided you have a heart that is showing any willigness to beat yet.

Playful and cautiously introverted, Driver's creative rhetorics is fueled more of an urge to approach relationhips on an intellectual and emotional basis, yet he does not refrain to offer a mere glimpse or two - and never more - towards the tactile. This willingness is always enough to keep you on your toes, and it similarly is sufficient to render a sense of safety. You just know that this isn't going to be sexist. Driver consciously stays away from Justin Bieber's territory, on which sensuality becomes a larger than life comic book parody of its own ethos -  but this is the reason Bieber works, regardless of the flame he receives in the process. Nick Driver's musical vision, as a massively acoustic artist, is both mature and competent, and it is best to let the body of work sing/speak for itself. If you consider yourself an aficionado of said genre, then this is a performer you want to devote your attention to.

Check out Nick Driver at his Official BandCamp here.

GyZ at Bandcamp.

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Bruce Cohen - Blue Stomp track review

Year : 2015
Genre : EDM/Trance
Label : Tarock Music
Origin : United States
Official site: > - here - <

Bruce Cohen's track "Blue Stomp" is a polite, solid take on retro sci-fi vibes arranged unto safe patterns of resilient trance fascinations. The name of the game is chill, and no black holes worth inspecting are imminent this time, Miss Hawking.

Movement is sanely sacrificed for the establishment of mood. A well sculpted-, yet deliberately isolated sonic structure greets your senses both in the form of the intro-, and, in the form of the outro. You are not organic, not machine, but something happened, in between. Optimal effect! A cool experiment on display, that has nothing to do with the subject matter other than the act of courting it from both ways. Then the track is quick to reveal its character as being assembled from individually thought out parts, and surprises of baffling chacater are deliberately absent from the mix.

The organic musical backdrop itself is bare-to-the-bone enough to summon the classic tint of video game culture as it was raging through the early '80s and '90s. Did you ever type "Final Signal" and "Moody Breeze" yet into YouTube? Those were and still are fun themes, filled with a playfully soul-crushing sense of isolation and irrefutable doom, (trapped in open space comes to mind) moods akin to the one featured in Blue Stomp - read on to know more about it.

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Wave of Silence - Whirl in the Wind track review

Year : 2016
Genre : Instrumental, Experimental, Massive Ambient, Psychedelic
Origin : United States
Official site : > - here - <

With its track titled "Whirl in the Wind", Walnut Creek based Wave of Silence builds heavily on the concept of massively sound-abundant instrumentalization, arranged into placid sonic forms that are both easy and rewarding to intimately inspect.

Relentlessly introspective while sporting a psychedelic modal tint, the piece seeks out and finds a virtually infinite number of subsequent auditory precedents to entertain the ears and soul with. These optimums are quick to fervently and intoxicatingly ensue as result of the "mere"-, yet quite significant decision to trade the ridigity of structure in, in exchange for a thorough stroll into free form auditory volumetrics that openly and effortlessly thrive to grasp the Original Idea: the Original Idea that even preceded the idea of structure, as a medium to carry the promise of capacity and meaning. Read on to know more.

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