“HAZEY (The EP)” finds a way to highlight every element of its artistry

Hazey aka Yung Doowee is a 19 year old producer and artist from Dallas, Texas. He moved to Portland 2 years ago and has devoted himself to his music. His latest EP release is the 10 track self-titled “HAZEY (The EP)”. Hazey oscillates between extremes of exhilarating and surreal, through the album, both musically and lyrically. There’s plenty of wheedled and growled phraseology, as well as temperate and tuneful melodic singing, too. Hazey, makes the eccentricities of “HAZEY (The EP)” sound like embryonic visions of a future, calculating take on trap music. The results are something to behold. In its

Flexico Deeskie: ‘Leanin’’ falls within trap’s ever-expanding parameters

Flexico Deeskie comes out of Dallas, TX, to where he moved from Kansas City, MO, in 2005. Fresh on the grid, he became an active artist in July of this year, and has been steadily dropping singles to build his catalog and fan base. Flexico’s emphasis on a positive attitude and grinding, pops up regularly as does his commitment and dedication to his craft. These trademarks of his personality and style, are of course very much evident in the single project, ‘Leanin’’. Trap music’s roots date back quite a few years, and it’s been a presence in rap’s mainstream in

“Trump in the Trunk” attacks political, social and cultural issues

From Backwards is a master at creating high quality music with low quality satire. The only thing more surprising than how well those two aspects mesh, is how well he performs them on stage. His genius, however, lies within the fact that while he will laugh at (not with) almost everything he does, his audience will nod and move in sheer appreciation that someone is able to articulate the frustrations they otherwise are unable to deal with. From Backwards is the much needed fifth of whisky to last year’s presidential debates. Hip-hop and politics have been together for a long

Alien Skin: ‘1980 REDUX’ takes synth-pop to a different set of limits

There aren’t many synth-pop bands that I deem buyable today. I could probably count them all on my left hand. And if I only included the bands that actually played authentic 80’s analogue-driven synth-pop, I’d probably be left counting my stiff middle finger.  Sure digital and sampling can mimic just about any sound today…if you know what to mimic of course! Our current generation of electronic heroes can knock up the most devastating beats, create massive drops, and stirring buildups, so synth-pop might seem like the simplest form of electronica to them. Technically that is. Because musically we’re talking two

C-Los N.S: “Ye-Tape” features a wide range of thought-provoking lyrics

Songwriter and Rap Artist C-Los N.S (Carlos Ruelas) was born in Santa Rosa, California (East L.A.), and raised in Racine, Wisconsin. He recently released his mixtape, entitled “Ye-Tape”. After listening to it three times, I must say that this album is a mature product. C-Los N.S sounds like he has graduated from the rap game. He has an intelligent narrative that goes along with the music, while the experience is filled with more emotionally charged singles rather than club bangers. The production created is haunting with each song bringing about a different mood but it fits the messages masterfully. Beginning

Third Realm: “The Suffering Angel” – a bold and compelling addition to the group’s growing legacy

Recently signed to Distortion Productions, Third Realm is the eclectic dark electronic project founded in 2000 by Nathan Reiner of Buffalo, New York. The danceable darkwave band with powerful industrial tones, is known for their shadowy, sexed-up blend of synth rock and intense vocals. On their brand new album, “The Suffering Angel”, the collective spends half the time perfecting their gritty, driven sound and the other half eclipsing all expectations of their efforts. The result is an intense listen with tremendous highs, and outstanding performances by members, Nathan Reiner (Lead Vocals/Music Production/Songwriter), Arrow Fitzgibbon (Guitar/Keyboards/Backing Vocals/Sampler), Melanie Beitel (Keyboards/Backing Vocals)

Nika Starr: “Connection” – succinct, sassy, and sincere

Nika Starr, female Soul/RnB singer from Toronto, is currently working with her mentor DT the Artist for Artist Development from the ‘Ground Up Program’. Her latest single is “Connection” which was produced by ClevaMix Records with an instrumental from ShamGodBeats. Being a woman in a male-dominated music industry, means they always want to back you into a corner and force you to wear a label. Unfortunately, that means you either fall into one of two categories: sexy or cute, and maybe lust or love. Now more than ever people need to be reminded that women can be in more than

Liam Merrigan: “Broke Beyond Tomorrow” – a high sense of life and perception

Liam Merrigan is 29 year old singer-songwriter from Kintbury Berkshire UK. The 10 track album of original songs, “Broke Beyond Tomorrow” deals with Liam life experiences – either lived first hand or witnessed. I enjoyed the intimate nature of the recording, which sounds as if Merrigan was playing a beat old guitar on a stool 10 feet in front of you. Totally stripped down, this album demonstrates the great craft of the songs, as well as Liam’s expressive voice, and of course his acoustic guitar. Liam is the English equivalent of rejuvenated Neil Young in his observational skills. Liam Merrigan puzzles

Etop: “Masterworks” is ground-breaking and innovative

Etop is not your typical electronic artist. If someone says to you that Etop plays electronic music do not go thinking that he plays heavy beats and dance songs. Well he does, but not quite the way you’re thinking. Etop is everywhere. He can go to a bubblegum electronic pop tune, to a groovy dance song, all the way over to a depressing ballad. And then he can do something better than just about anyone else…go back in time. No, this is not another installment of Return To The Future. He really goes back to the past, and out of

Andre Gimaranz: ‘Supermoon’ – a rare jewel!

After 15 years as a session musician, Brazilian guitarist, singer and songwriter, Andre Gimaranz’s first solo album, ‘Handmade’, was released in 2015 gaining instant attention from the industry and fans alike, resulting in Gimaranz being considered one of the best new live acts in Brazil. In 2015 and 2016, Andre was a nominee in the categories ‘Song of the Year’ and ‘Artist of the Year’ at the IMEA Awards. He recently dropped the highly acclaimed single, ‘State of Rage and Fear’, and has now followed that up with his brand new full-length album, entitled ‘Supermoon’. Every once in a while, after making

Inactive Spaz: “Bread” an anarchic creative!

Inactive Spaz’s style is minimalist in every way – minimal allegorical lyrics, minimal production, minimal photos, and minimal graphics. But in a way, less is much better. Inactive Spaz is probably one of the better discoveries of 2017. It’s difficult to describe how the music and words fit so well. Let’s be honest; for most of his songs, it’s really impossible to tell exactly what’s going on. They sound more like improvisational free-styling rather than thought-out, written down pieces.

Nevertheless, primitive, raw feelings are conveyed, and although at times somber and at times melancholy, it all sounds and feels so good. To be honest, “Bread”, is a little easier to understand: “I know a girl that gives me everything I need. I know a girl that keeps me feeling warm indeed…,” frankly doesn’t need too much explanation, even if you only have a tiny imagination.

This music is perfect for a road trip, perfect for playing in the background during a tedious task, perfect for sitting and listening to start-to-finish. It works indoors or out, and makes me want to see Inactive Spaz in concert. Practically, listening to the raw production, this sounds as ‘live’ as it gets!

In music, we have our virtuosos, and geniuses who are technically superior. Then we have the people who write visceral, from the heart music, without all the bells and whistles, and yet which we long to listen to, like Inactive Spaz.

These are the people who don’t give two hoots about the technicalities or the production values. They have a story, a message, and they need to connect to an audience, as quickly and as directly as possible. If they have an idea or an emotion to communicate, they hook up the microphone, plug in the jack and start hitting the chords.

For all his technical skills, Prince was one of those people. He spent more time recording songs than sleeping, eating and partying. The result is that 80 percent of his releases suck of anonymity, while a good 20 percent is pure genius.

That 20 percent contains more brilliance than most artists will achieve in twenty lifetimes lived in a row. Prince once said that he recorded and released everything and then let the people decide which the songs they liked best. This never endeared him much to the record companies who prefer controlling and inducing tastes to their benefit.

Which brings us back to Inactive Spaz, another one of those anarchic creatives who record companies despise – he’s too spontaneous and too uncontrollable, which I suspect is just the way he likes things to be. If he was in music for commercial ends, Inactive Spaz would not be releasing songs like “Bread”, with just an acoustic guitar and a vocal track.

“Bread” is one of those songs that have some sort of spark, a creative stamp, that when you listen to it, you can tell something wonderful just happened in your presence. It’s like a one-off experience unto its own. Whether its genius or madness is for you to decide!

OFFICIAL LINKS: SOUNDCLOUD – FACEBOOK – YOUTUBE

About The Author

Reply