Dustin Steen: “Mixed Genres” has a strong spiritual element

With an onslaught of pressure from modern record labels to produce high-selling records frequently and consistently, and the need to secure a loyal consumer base, an artist’s ability to experiment and evolve with his or her sound seems somewhat futile in the modern era. It seems that musicians throughout every genre are bound by the limitations of what sound will sell, often creating a disassociation between artistic freedom and production demands. With such high stakes, it takes immense talent and perhaps sheer disregard for self-preservation for an artist to experiment successfully with the many facets of the musical lexicon. Perhaps

Dakú Lights: “Illuminate” – a consistent palette of genre-melding pop offerings

London based alternative pop band, Dakú Lights, was formed in April 2016 by the three band members who are represented by their own distinct color to match their personality, with Bhavini being red, Haiiiro as pink-orange and Panda as purple. They have a unique blend of music which incorporates Pop, Kpop, EDM and Urban influences. Currently pursuing a record deal, the band is focused on producing high quality music and building their stage presence for international audiences. Dakú Lights recently released their 5-track EP, entitled “Illuminate”. The title takes a cue from the band’s name, as Dakú means ‘dark’ in

Henry Metal: “So It Hath Begun” will grab you by the balls with a cruel squirrel grip

Henry Metal might have a fine veil of satire embracing the project, but he makes just about the best tribute to the excess of the 80’s and 90’s hard rock and metal genres ever. He has just released his 9 track album, entitled “So It Hath Begun” which contains great songs, which are very easy to bang your head and sing along with. The tracks all have a grooving and slamming feel, plus cool shredding and solos. In fact Henry Metal sounds no different to any of those legendary rock and metal bands from the golden era. You either get

Aeronaut: “Skara” – excellent progressive buildups and rhythmic backflips

Aeronaut can be described as Progressive Rock, Post-Rock, Indie, or simply Alternative Rock, but that doesn’t really matter. All I know is that this project delivers very interesting, fresh, and well-rounded music. Aeronaut has a huge dynamic range, from extremely fast and heavy with smooth, powerful vocals to very relaxing and atmospheric. The music is very melodic, clear and well-produced, the song “Skara” flows and changes to new and exciting ideas. The guitars are very lush and full sounding, during both heavier and mellow parts, while the bass and drums thump and bang in all the right places. Aeronaut is

Eric Hausmann: “Soaked” manages to tap into a very specific emotional core

Eric Hausmann is a multi-instrumentalist and film composer. He has produced music for a number of Malaysian films, in addition to scoring for a variety of New York film productions. He performs live as a guitarist with Portland’s Tres Gone, and Malaysia’s Space Gambus Experiment. He is formerly a member of The Gone Orchestra and Brainwarmer. Hausmann recently released “Soaked” a seven track recording which is described as “A cross-section of Asian dub-fused rock n’ roll with deep India influences.” But it’s probably more than that, as I’m hearing post-rock, world fusion, and ambient rock influences injected into these tracks. Eric

MOOD: “The Wave” is in the right lane!

Hip-hop has changed – there’s no debating that – but change isn’t always indicative of something bad. That being said, it’s refreshing to hear more rapping, with the exception of one or two bridges, versus the continual rap/sing mix that’s permeated mainstream as of late. You’re allowed to appreciate more than one way of creating music and while a lot of rappers have the notion that they should be singing as well, there’s a place for it all, especially if you don’t have a decent singing voice. You obviously can’t disregard one lane of Hip-hop while claiming to be a

EsZ: “If You Didn’t Get This Message, Call Me” – an audacious creative effort

On his new album, “If You Didn’t Get This Message, Call Me”, EsZ aka Erron’s Attic comes out swinging from the first song, a great balance between classic Hip Hop and modern. As usual EsZ gets well thought out ideas through his songs in innovative ways; you definitely get the feeling he has the lyrical substance he wants to express. Although we’re in a dismal era of Rap currently, this could be one of those instant underground classics. EsZ catalog is filled with parables, fables, morals and lamentations, forms of storytelling that compress people and experiences into neat, digestible lessons.

Luna 13 – the solid foundation for gut-ripping synths

The award winning Los Angeles band Luna 13 is forging a new genre of music they call Black Metal/Bass Music. Their brutal yet groove based electro-metal incorporates elements of electronica, death metal, and industrial rock – all done with electronics, which means no string instruments. Music maker Dr. Luna, creates a metal sound with synthesizers and by wrapping heavy distortion around sub-bass. Luna 13 who has been performing live for a few years now, opening for death metal/industrial and electronica projects alike, came into its own when Lilith Bathory joined in 2015. Since, Lilith, the band’s front woman, has been booking modeling jobs

Dezzyano: “Hello World: The Renaissance” – a cohesive feel and tone throughout the album

Now I’ll be honest, before this album was released, I didn’t know much about Dezzyano, the rapper raised 5 mins from Atlanta on Six Flags Dr. I decided to give it a go. And I became a very unlikely Dezzyano fan. The 16 track album, “Hello World: The Renaissance” starts off strong with ‘Anita Baker’. It has an extremely catchy refrain built on a bass and horn driven soul soundscape. This sets the tone for the album, which sees Dezzyano finding different ways of telling his story with catchy hooks and intense verses. From a critical standpoint, this album has

Sick.Life: “Dreamers” – showcasing the diversity and talent of the roster

Sick.Life a collective of artists and an independent music label based in El Paso, Texas. A couple of months back they released their critically acclaimed album, entitled “Contagion”. Now off that album comes the single “Dreamers” produced by NZO, and featuring Josh Brown on the chorus and bridge, while the verses are handled in order of appearance, by Sonny Weston, Lavoe, C.Notes and E$ BFNE. For hip-hop fans growing up in the 21st century, the Sick.Life collective is simply a perfect match between raw lyrical muscle and dynamic production. I listened to the track last night with the intention of

BangBizzy: “Grim Reaper” is recognizably luscious

One of BangBizzy’s greatest characteristics is his ability to turn complex rhymes into dot-to-dot simple phrases that appear to come on slow but, listening back, strike with polysyllabic smoothness. It’s his diction, maybe – he spills dizzying imagery like a man possessed on his latest single, “Grim Reaper” but every word is clear and correct, his accent pointing every plosive.

John (Bang Bizzy) Bone has moved on to more intimate but direct subject matter, on the track produced by deemaxproductionz, often switching between a confrontational and a confessional tone in the process.  Make no mistake, he’s got bars and it appears that his intent is clear with this track. He is having fun, but he is still trying to go deep lyrically.

Running through his catalog of tracks, I can hear that BangBizzy is always playing the same game in his rapping, offering believable narratives (or, sometimes, narratives so unbelievably real they scan as supposedly “gritty” realism) that could easily be mere riffs on listener expectations.

No matter how verbose he gets he constantly offers to let us in and then plays us the fools for thinking we could ever get to the “real” BangBizzy“Grim Reaper” feels more than any of his earlier work like wandering through a fun-house full of mirrors while BangBizzy’s voice echoes on the sound system. The production suits his game perfectly.

Just like BangBizzy’s vocals, it’s recognizably luscious, but tightened to a bare minimum: with squeaky synths and a bass heavy vacuum that discloses what’s necessary for the track to function perfectly, evoking atmosphere and communicating content, and always keeping the spotlight firmly on the mark where BangBizzy is standing in the mix – and that’s right in the forefront. It’s an off-kilter aesthetic that works to a tee.

The beat clatters and clangs intelligibly but never settles on the groove, sounding like it’s either about to become a typical rap song or like it used to be one that has since exploded into a million pieces, as Bangbizzy delivers his wit that hits like a whip, and rhymes spit like a shuriken.

“Grim Reaper” is a work that positions BangBizzy as a hyper-current presence in the hip hop landscape, acutely aware of how to manipulate fresh sounds and traditional expectations for his own inscrutable ends. It’s a breath of fresh air for anyone who is flat out sick of where mainstream Hip-Hop is going, and more importantly, a sign what I hope are things to come.

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