Hope arises from the strangest notions. A certain unannounced thought you get might bring you to hope when you least expect it. Also, creepy processed vocals can sometimes bring you hope, too!
The West Yorkshire duo ‘Experiment 637’ label themselves as an Indie/Folk/Electronic duo, and their latest offering ‘Plains’ belongs in the third category. Three minutes of spacious, expansive synths that act as the first single from their debut LP ‘Sleepwater’, set to be released in September.
A strange single, in all honesty. A quirky, confident, smooth-as-honey introduction to the group’s music. The airiness and the unmistakable major scale sound provide a very positive, almost syrupy sweet, taste. Broken by a certain chord that keeps the balance at bay, so that the sound doesn’t get unbearably iffy and upbeat. A composed piece that doesn’t feel skimmed over in a hurry in any segment. The voice is not particularly demanding of attention, but it does a great job of sitting well in the mix and not overcrowding it, with simple yet meaningful lyrics as an accompaniment.
Perhaps where the song excels the most is in the area of production. Dynamics and sonic choices are top-notch and are all well in place. The verses are thick with buzzing soaring synths to make the softer sections feel like the clouds are parting and the air is clear again.
It’s a strange brand of hope that Experiment 637 is trying to sell. You don’t have to get it right away, maybe we need to wait and check the whole album to get the full picture. But anyway, this short, intricate, and dreamy single won me over, and you should not miss it, either.
Tori Boltwood is a solo artist and vocalist based out of Fort Worth in the state of Texas. The year 2020 marked the beginning of her career as an independent musician. She devoted three years to her education, learning musical theatre as well as classical voice technique. She has been influenced by a wide variety of artists, including Elvis Presley and Cher. In May of this year, she released her empowering track titled “Wicked Woman,” which she also wrote and performed herself.
When a snappy baseball organ loops against the strong vocal harmonies, it turns into an epically immersive stripped-down track with hard-hitting percussion beats. Contrary to popular belief, the utilization of such intricate sounds does not detract from the melody’s exquisite simplicity. The song’s inspiring lyrics revolve around women’s inner strength and capabilities, which are expressed through delicate, nostalgic synthesizers and unique deep vocals.
Tori Boltwood proves once again that she is capable of maneuvering between downtempo and melancholy tunes like “Stay on the Moon,” and uplifting ones like “Wicked Women.” Her voice lends this song the extra oomph it requires to emphasize the overall message.
Coming from the Netherlands, a talented soft voice started his journey 10 years ago. “Cas Du Pree” released his album “Getting To Know Me” on the 13th of May, 2022. He made this album about his past life and childhood. It got the writer emotional while writing the lyrics and described his feelings throughout the music that was made on this album. Every song has its own story, as you can feel the story in the words and see it in the playing ofthe right notes for such songs, as some have some jazz in them or touches of rock.
As I mentioned earlier, each and every song has a story, as if it’s out of his diary that he has told about the hardships that he faced. It was co-written with “Arron Storey,” who assisted Cas in telling his story in the way we hear it.
The song that caught my attention is “Too Little I love you’s,” which shows how touching he sings during this song. He seems to be speaking about a close best friend, whom he might have lost. The lyrics got into me in some way, thinking of the similarities. Also, the choice of music is beautifully blended together with some sax playing, as it adds a unique texture to this piece.
“Kelly” is dedicated to his sister, whom he lost. The lyrics gave a good picture of how it was really hard for them to go through this kind of tragedy. It doesn’t feel like a mellow melody; however, the grief and achiness of the loss of a beloved person have been delivered down to the words.
While “Ocean of Memories” has summed up how he managed to get over every memory he had during his lifetime, “waves that washed me away, a long goodbye, I’m still trying to make sense, to understand”…Quoting from his song describing how sometimes his memories get him down and the need for a wall to lean on with all of his stories.
Cas is giving out his feelings and stories to lconnect with his fans. The album “Getting to Know Me” is so thoughtful, with many songs that have different stories, such as the singles I have mentioned, and also, “Differently,” “You beside me,” “A better me,” “Slow down boy,” “Will there be a stage.” Cas Du Pree is worth listening to with his soothing vocals.
After reviewing ‘Alluvial Fans’ and getting to know a bit about Mack Vickness Interconnected, we are beyond excited to speak to them and get to know more about them and how ‘Alluvial Fans’ came to be.
What was the inspiration behind ‘Alluvial Fans’?
And why did you choose this piece to be the prelude to releasing your album?
All of the pieces on In The Rain Shadow (with one exception) are inspired by having moved to the high desert in California’s Owen Valley late in 2020. We live right on the edge of the Eastern Sierra and look out on alluvial fans every day. The piece itself is a good example of the kind of musical interconnectedness I am hoping to achieve with this album. It draws on different elements including some world music traditions, classical composition and includes an improvised oboe solo in the middle of the piece that draws on jazz improvisation. I chose to release this piece first because it is exemplary of what this album will be and really shows off the incredible skill of the musicians I am working with here.
What message are you hoping will inspire people?
We desperately need more interconnectedness in today’s world. That is what this music, this group, is all about, bringing different musical cultures, eras and traditions together into what is hopefully a unified and accessible experience that helps bring people together in a way that only music can.
California’s Owens Valley and the element of nature seem to be your key inspiration for your upcoming new album ‘In The Rain Shadow’. Tell us more about why this place was your source of inspo specifically?
Are there any other elements, people, moments, or places… that shaped or may have inspired the creation of ‘In The Rain Shadow’?
The Owens Valley, the Eastern Sierra has long been a refuge for my wife and I. We spent years backpacking in the Eastern Sierra even before we had our two children and then brought them to this magical place as well. Having a home there now has been a life altering experience because we can witness the rhythm of the changes that happen in the environment day to day. It is simply a breathtaking place to live and it has had a tremendous impact on the kind of music I am writing now.
How did you come together as a group? Was it you, Mark, who knew everyone and connected them?
Yes, I’ve worked with all of these musicians going back years except for Matt Renzi who I was lucky to find in San Francisco. It’s a tremendous privilege and honor to work with these players and the parts are very much written for them. You can’t write a highly rhythmic funk violin part and expect a long beautifully crafted improvised violin solo from any professional violinist. You’ve gotta have Mads Tolling (or maybe one of a handful of other players who can pull that off).
To Mark: You started your musical career at age 6 with the piano. How did you get from there to where you are now?
How did you do it, or when did you know which direction you wanted to take?
I studied theory and composition beginning in high school, through a music major in college and then in graduate school at the California Institute of the Arts. From there to here was a winding road of many different groups, a couple of film scores and decades as the instrumental half of a guitar/vocal duo. After that, I began my solo instrumental projects with Places in 2017 followed by Interconnected in 2020 and now In The Rain Shadow with this group.
When you search for inspiration, where do you go?
Most of my pieces begin with extensive guitar improvisations but sometimes ideas just form in my head. I can’t tell you how many times I’ve been driving and had to pull off to grab my phone and sing a new idea into my phone.
Do you have any artists or bands that inspire you that you could share with us?
So many. JS Bach, Pat Metheney, Michael Hedges, Peter Gabriel, Paul Simon, Classic Rock, Prog Rock, Ravi Shankar, Zakir Hussein, Stevie Wonder. I could go on.
Do you have any upcoming or planned performances or gigs for the future?
We will be shooting live video of a bunch of music from In The Rain Shadow in September followed by the release of the album hopefully in November. We will then be looking to perform in support of the release assuming it’s safe to do so.
We thank you kindly for your time to do this interview, and we look forward to hearing more of your music.
Jordan Jones is a Canadian singer/songwriter from Edmonton, Alberta. Released in June of this year, “Flawless” is his third single following releases such as his debut single “Break My Heart” and “Stumble.”
At first hearing, the song reminded me of a Weeknd song, but one that was far more uplifting and positive. It’s a wonderful blend of RnB with heavy elements of non-mainstream Pop, which lends the track its identity. It’s the kind of track you play non-stop on a bright summer morning.
This track primarily explores the idea of slowing down and living in the moment. It deploys a laid-back, slow-tempo arrangement that features elements of a
vintage synth, perfectly matching its motif. The soft vocals being the primary focus of the arrangement tie all the components together, creating a lovely harmony of sounds. Jordan’s lead vocals immediately bring the song’s positivism to the forefront, with the minimalistic percussion and synth harmonizing wonderfully and complimenting the lead melody.
Performed and produced by the duo consisting of California-based Pop/RnB artist Skeleton Ocean and Australia-based producer LxndxnAve, “Bedrooms” is Skeleton Ocean’s second EP set to be released on June 24th of this year.
Exploring this album is a little bit like opening a personal journal; the context of each page is obscure, yet it still has a great deal of insight. There is never just one tale contained therein; there is a substantial variability. “Contemplative elegance” is the one phrase that comes to mind while attempting to convey the essence of Skeleton Ocean.
On this album, Skeleton Ocean delivers narratives that are usually introspective and thoughtful, and they do so deftly by combining elements of Indie, Bedroom-Pop, Hip-Hop, and R&B. The first track, “Problems,” as the title implies, discusses challenges that emerge between romantic partners. The arrangement is beautifully simple, with thoughtful lyrics and resonant vocal harmonies. In contrast, “sleep pill” features a catchy chorus and captivating hook while keeping the minimalistic motif, despite the absence of the preceding track’s frequent harmonized vocals. Lyrically, it addresses weighty topics like depression and isolation, juxtaposed by nearly lighthearted rhythms.
Introspective and retro-tinged, “Ride Away” has a snappy 80s beat and engaging lyrics. A weekend-esque song with a focus on vocals and harmony. “No Time” and “A Different Side of Me” feel like listening to a part of a dialogue between a couple discussing regret, moving forward, and hope. A resolution to a disagreement between two people. “Forgiveness” maintains the simple theme. It reflects on the past, but it doesn’t dwell there; instead, it gracefully moves forward. Throughout the whole album, Skeleton Ocean’s expressive voice glides with equal grace amid strong R&B sounds.
This fancy new EP from Mr. Grant Borland, entitled “Fragments,” is more than just the ravings of a composer and his piano alone. I mean, the album is solely piano with some minor programming and effects on the recording here and there.
The album feels very sincere in its emotional delivery, even in the complicated compositional parts. There are not many of those here anyway, as there’s a good balance between what’s simple and what’s multi-layered. Let’s dig deep and see what “Fragments” has to offer.
The first track, which is the title track, begins with a pumping and relatively fast tempo that charges us with energy and sets the mood for what’s about to come.
The second track, “Unfold,” feels like a touching and sad pop song. At a certain point, it makes you feel like you’re listening to a harp. The melody has a slow build-up followed by a decrescendo in the ending, and that’s it.
The third track, “Moss,” has a more clear climax near its end and has a more percussive approach in general.
The fourth track, “Heirloom,” feels so thought-provoking because the music moves in many directions at once. We can hear clear programmed percussion for the first time since the start of the EP. The midsection to the end keeps stripping down elements, and then I was delighted by some low notes that sounded like an upright bass, and then it keeps losing more of its elements until there’s only silence. The most beautiful track so far.
The fifth and final track, “Father,” is a very complicated and technical piece that you need multiple listens to understand. A lot is going on, and it gave me goosebumps and a multitude of different feelings. It evokes more than one feeling at once and changes into a more uplifting mood in its second half, a sombre outro that feels like the right closure to a stretched-out emotional journey Mr. Borland walked us through.
Overall, this EP feels like a grandiose composition that’s suitable for a complete orchestra, but it’s only pianos and that might draw away some people. But if you listen closely, you will hear the amazing emotional depth and musical mastery, and the album will grow as you listen to it more often.
From the heart of the crisis comes the idea; creativity comes out; then greatness and beauty. Let us stand in front of him with admiration and appreciation. This is the least we can describe the song “You’ve Got a Friend,” released by the UK/US label Birdland Records, funded by producer Nick Heath and performed by Cha’Rel.
“You’ve Got a Friend” of 5 tracks recorded-all from “Tapestry”-is released this year, inspired by an idea that came to producer Heath when he happened to see a BBC concert from 1971 featuring Carole King. As she sings, “So Far Away,” she recalls how the pandemic forcibly separated so many of us from our loved ones and friends. To come up with an idea that we can describe with the sentence “Why do we not emulate such greatness?”
When “You’ve Got a Friend” comes to your mind, you won’t fail to imagine a scene that has not many protagonists. Cha’Rel sits on a chair in front of the piano, and Eric Moon plays it, but you’ll inevitably feel lonely, because of the piano solo. With sad voice keys, though, this feeling will soon dissipate when the words that have succeeded in expelling the cold flow with warmth and fear with reassurance, and hesitation with confidence and loyalty.
“When you’re down and troubled … and you need some loving care … and nothing, nothing going right… close your eyes and think of me … and soon I will be there.” A strong message to everyone written in words loaded with a lot of positivity, and realistic human paradoxes, to stand by each other in the most difficult moments and the darkest circumstances, and always remember that we have friends. If you’ve had a bad experience during the pandemic, you’re sure to love having “You’ve Got a Friend” on your playlist.
Never forgetting his heavy country music roots, Steve Pointmeier released his latest single “Rowdy On” in collaboration with Bart McKay (production), Chad Melchert (drums), Murray Pulver (lead guitar), John Baron (bass), and Jennee Fleenor (fiddle) creating an enjoyable groovy bright tune.
Its hard-rocking start gets you right into the mood to move around with “Rowdy On” groovy melodies and Steve Pointmeier’s invitation to do your best but give yourself a break don’t forget to “Rowdy On”. Steve Pointmeier is bringing rock n roll’s elements with country’s fluid melodies, where fiddle and piano meet bluesy guitar licks in perfect harmony, creating a colorful tune. “Rowdy On” has an unstoppable groove and a full of life dynamics through its enjoyable structure as it keeps on building progressions lead by Steve Pointmeier’s catchy vocal melodies.
“Rowdy On” is an energetic and engaging tune that’ll definitely put any place it’ll be played live on fire, has catchy phrases and melodies that’ll easily stick with you. It shows Steve Pointmeier’s good knowledge of his influences and clear vision about what he wants to do with them. Cheers!
With an EP and a number of successful singles and collaborations up his sleeve, Brooklyn-based singer/songwriter Elijah Mann returns with his new single “Dust Storm Darlin’”. It’s Mann’s fourth collaboration with renowned producer Adam Tilzer, an emotional ballad about the grief and goodbyes-as he described it- influenced by the story of The Mars Opportunity Rover and Mann saying goodbye to his grandmother.
The first thing that hit me once “Dust Storm Darlin’” started is how clear and haunting Elijah Mann’s voice was! On the 2nd listen I was impressed by the production and arrangements, there are a number of instruments introduced in “Dust Storm Darling” each one in its perfect place all serving the song’s progression and beautiful flow. It starts with an acoustic guitar arpeggio that sets its dreamy mood; slowly electric guitar followed by the cello slips in smoothly preparing for a beautifully orchestrated chorus. With beautiful vocal harmonies and heavy chords, the sound gets bigger and more intense as we flow through the 2nd verse and chorus until we reach a bluesy guitar solo followed by some epic heavy cellos before smoothly turning back into the soothing mood “Dust Storm Darlin’” started with. All that I’ve been mentioning is led by Elijah Mann’s fluid vocal melody and emotionally expressive voice that he uses perfectly to serve the mood and music.
“Dust Storm Darlin” is a beautiful ballad, it has a dynamic structure that’ll keep you hooked from the beginning till its end. Elijah Mann’s vocals will make you listen well to each word he is saying. Would like to check out some of his upbeat stuff to see how he’s handling those. Cheers!
