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Friday, February 27, 2015

A & L - Onto the Next Heart review

Track reviewed:
Onto the Next Heart

Release date:

Group Responsible:
A & L

URL to check the track out at:

This review starts out with the official press release of the reviewed track. So be prepared, as consensus reality - which is courted by subjectivity - might even be better-, OR slightly/moderately/vastly altered compared to what the press release states. 

With the overwhelming positive response from their debut release, A&L is back with a new tune. Onto the Next Heart is an upbeat, pop/rock song with catchy hooks and killer guitar riffs and an in-your-face vocal that you will find yourself singing along with. With a vocal style that sounds like The Pretty Reckless meets P!nk, Lana delivers a vocal performance that demands your attention.

A&L is a new act made up of two seasoned industry professionals: Anthony Casuccio and Lana Marie. Anthony is a 20 year music veteran whose production work has been nominated for three Grammy awards, been featured in major music publications and topped the music charts. Lana is an award winning vocalist who has been a long-time force on the WNY music scene and voice to many jingles on radio and television.

Here is my personal review of the track:

The song sounds to me as an authentically collaborative-, yet (in this case: optimally) submissive declaration fueled by an unrelenting urge to find common ground between two traditional fields of popular rhetorics. The harmonic/melodic structure is both pop top to bottom, yet polite to the point from which on you start to have religious visions of Karate Kid and Tony Mon.TAna, and, if this combination does not excite you, then I do not know what to tell you. Experts claim that if you remember the '80s, you weren't even there, anyway.

Among the most relevant optimum traits of the track, the fact how little - if any - it concerns itself with its hyper-polite nature, - it is a bombastic love song from the '80s, at heart  - is truly remarkable. And here is why: though the delivery has both precise songcraft and competent harmonic mastery to support its skillfully constrained musical fascinations, the fact that you are able to hear a '80s disco song orchestrated to-, AND resonated by a present day studio environment, is a doubtless relevant experience that manages to coat itself into a timeless variant of mere charm. I love how the song DARES to be a '80s tribute song without even considering the alleged obligation to feel embarrassed in the process, instead, showcasing its love for the rendered styles with crisp, muscular production values.

The most important thing I'm picking up on this dancefloor-flanker romance-provocer Pia Zadora exclamation mark, is this: the people who were involved in the creation of the track, were having fun all the way throughout its inception and realization, while the form of the song itself is highly/naturally indicative of this mere agenda, of "just let's have fun", and I find nothing wrong with this stance. If you give AT LEAST THIS to me, then you can't commit sins against music that I could not forget with ease tomorrow. All in all, a competent song that manages to find an implausible-, yet OH!, so logical common ground between stone-traditional popism and pink spandex glam metal amourism. And, if you don't like it, then you should seriously admit that your main problem with it is that the things described in the track are happening to someone else, and not to you.

URL to check the track out at:

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Friday, February 20, 2015

Dataphiles - Steampunk CybercrunkEP review

Year : 2015
Genre : electronica, very cyberpunk
Origin : United Kingdom
Official site: http://www.dataphilesmusic.com

Cyberpunk is not dead, it's just in the process of becoming your reality. Your iPhone approves, and it takes you with itself tonight, as this device will likely be the thing that you will be the most immersed in, as it will always give you what you want it to give you in the given moment, but the same could be said of mere technology, which is "just data", and so are you. Mystical design.

The cyberpunk style that was highly popular throughout the '80s and the '90s, - started as a mini-revolution among bored sci-fi authors - had to arrive to a temporary halt and subsequent,- although restrained hiatus when the then-current technological limitations have reached their maximum capacity in the context of interactive stimulus immersion - "yes, but will I be TRULY there?" (Define YOUR(s) "truly".)

But such boundaries can no longer claim legitimacy to their own once-necessary existence, as computational power is widely becoming almost as accessible as gasoline scented air, in order to calculate and render anything that the imagination is able to conjure. Oldflash: in this day and age, humans are super-reliant on technology - wish you had a dollar every time you've read this? - that which pretty much equates with the primary means to access and consume the exact type of streamlined information that you are looking for, driven by your preferences. A YouTube user has no more pronounced nor more valid relevant existence to you then the seconds you are watching her/him for, and this inherent-, almost romantic level of arrogance is every user's right to exercise. Cyberpunk primarily is a mindset, a school of thought, composed of iconographic inner images and m(o)ods, and the musical testaments seeking to represent these aesthetic sentimens have been around the very moment those bored sci-fi authors have arrived to the experimental conclusion that opposing and fearing technology and its machines are not necessarily the optimum stance. Do NOT oppose technology and machines: integrate them instead. This, I feel, is the exact idea behind the new Dataphiles EP, called Steampunk Cybercrunk. Had you not integrate it, you would not have the chance to assess your experience of it. Read on to know more about the release.

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Sunday, February 1, 2015

AlogiA - Elegia Balcanica review

Year : 2015
Genre : Progressive Metal with various key tastes
Origin : Serbia

The moment one hears their latest release kick off from the speakers, one instinctly knows that Serbia's AlogiA enjoys and exercises an excellent command over an abundant amount of especially richly textured metalmongery.

The album features and maintains a relentless urge to offer constant variation on soberly controlled harmonic structures, taking you on thorough and exciting strolls of various sub-genres of metal, smelted into muscular compositions that exhibit clear character and identity.

Sometimes less is more, and it especially is true when the music is of such varied and optimally dense character as you will be subjected to on this release. The band has chosen to display all its key fascinations with metal via a hefty, "no time to waste" attitude. One has the fine feeling of being over soundscapes that would have been suitable to make multiple songs of, yet the band still is willing to refrain from orbiting around an idea for too long, and instead they spoil you with harmonic/melodic intricacy that ofentimes borders on the robust verges and timeless charisma of technical death metal. This is especially true in the context of the instrumental opening track.

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