Phoenix O’Neill: “Out Of The Ashes” remains accessible while never sacrificing its emotional heart

Phoenix O’Neill grew up in Watford, North London and attended school in St. Albans. She was born into a musical household – her mother sang and played guitar, her dad was a drummer, and her step-father a singer-songwriter. Phoenix started writing stories and poems at age eight, songs at nine, and by thirteen, she had built a considerable portfolio. Her first live performance occurred when she was fourteen, at her mum’s friend’s wedding in France. Now at age twenty-three, Phoenix O’Neill has been giving heartfelt, memorable performances in and around the Hertfordshire area, and recently gained the attention of world

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G.H. Hat: “Sukiyaki (feat. Alina Renae)” – an unwavering dedication to his sound

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Dig The Reggae Meditations: Jahmings Maccow – ‘Trod It Through’

LETMEGOO Records proudly presents a brand new cut from the ubiquitous Anguillian-come-New York resident Rastafarian Jahmings Maccow. How to describe this latest output from a man with thirty years of recording experience behind him? A deep and uplifting reggae soul cut would be a start. ‘Trod it Through’ first came about during solitary sessions at Manhattan’s Rocket Studios, circa mid-to-late 80s. Throughout the following thirty years, the song found itself evolving through several bands and incarnations to finally see the light of day in all of its sagacious energy, here on LETMEGOO Records. Maccow stands like a mound, unassailable, waxing

ESP EVOLUTION New Music to Inspire The World – ‘WISHING ON A FALLING STAR’

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NuJ4X: “Dab (On Dem Haterz)” – glistening and eminently marketable

Waverly, Tennessee’s masked EDM DJ / Producer, NuJ4X, has set his sights on making a splash with his debut single, “Dab (On Dem Haterz)”. The journey for NuJ4X started when he asked his 13 year old son what he wanted to become. On replying, “a DJ”, NuJ4X wanted to show interest in his child’s choice and strengthen their bond, hence he started playing around with music…and liked it. After countless weeks, days and hours learn how to craft instrumentals, NuJ4X began to find his rhythm. Upon doing so, he created the instrumental beat for “Dab (On Dem Haterz)” and decided

Aryeh Leib Hurwitz is a Brooklyn-based singer and cantor whose brilliant voice has been featured all over the world!

Aryeh Leib Hurwitz is a Brooklyn-based singer and cantor whose brilliant voice has been featured all over the world. His repertoire consists of many different melodic genres and songs in a variety of languages, including Opera, Broadway and Modern Jewish music. Aryeh released his debut single “SHEYIBONE” on SEFIROT RECORDS on February 26th, which was followed by the live music video for this song. “SHEYIBONE” is a very unique combination of Chazanut and Jazz, which makes for a perfect rendition of this classical Jewish song. It features a truly all-star team working on it: performed by the Eyal Vilner Big

Bizz The Prince Releases “Against The Grain” EP Produced by 4th Disciple On Pre-Order Now!

New York, New York – Back To The Basics best describes the new release from producer and sonic design legend 4th Disciple. 4th collaborated with New Jersey lyricist Bizz The Prince to release the EP Against The Grain which was initially going to be titled Back To Basics. The recording process was delayed as Bizz was working on several street releases with Jersey artist Louie Ave. as 4ths production complimented various releases such as Method Mans Meth Lab, Peedi Crakk Good Life, Sean Price Imperious Rex and various other releases. In late 2017, Bizz and 4th Disciple partnered back up and went

Guitarist Ron Wright Releases Smooth Jazz Guitar Instrumental “Happy Land”

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Black Malachite: “Nightfall” – a captivating series of musical sketches

The decision by any musical project to go without a vocalist will lead to either disaster or a determination to avoid redundancy. Add to that the fact that most bands live and die by the growth and maturity of their music. While niche music is a bit safer from this sort of unspoken principle, stagnation is still just one recycled hook away. With an instrumental band, that challenge becomes even more dubious. The onus for success in these situations lies solely in their music’s ability to provide an engaging, emotional narrative without the safety net of a vocalist’s easily delivered charisma.

Standouts group like Russian Circles, Mogwai, Godspeed You! Black Emperor, and others have made their mark by challenging themselves to continually progress, discovering every possible space in which their music can thrive. But of the many underground instrumental acts that have managed this task, Black Malachite are perhaps the most impressive.

A current of vitality and renewal lights up the project’s latest up, “Nightfall”. Here, finally, is the next phase for Black Malachite. The album is thrillingly unpredictable yet familiar in its finest moments. The foregone-conclusion crescendos of sound have been replaced with luscious peaks and serene valleys. Their fundamental sense of grandeur hasn’t totally disappeared, but it has given way for increased elemental texture and serene warmth.

“Nightfall”, is more cohesive and focused than, for example, their self-titled release dropped at the beginning of the year, which stylistically darted in more diverse directions. Though this album also delves in the ‘opposites-attract-theory’ of acoustic and electronic elements playing against each other, the distinction of the differences is less marked and more fluid.

“Nightfall” proves that Black Malachite has a slightly different outlook when it comes to instrumental music. Instead of having the usual sprawling arrangements, and elongated moments lasting an eternity that most instrumental bands are addicted to, Black Malachite takes a different route.

For this Southern Californian solo artist, who has released three EPs, and four albums, it’s a matter of collapsing those expansive sonic narratives that are inside his head, into an equally captivating series of musical sketches – 12 to be exact, each lasting between 3 to 5 minutes – and each with its own story that is still fully capable of conjuring wonder and amazement.

Resonating guitars, rich pianos and dark ambience all reside together in songs that stretch from fully fleshed-out cuts like “NightFall” and “Daybreak” to the stripped down piano arrangements of “No Longer A Weapon” and “Eon”. In between, the songs mark a promising path for Black Malachite, most notably the guitar driven standouts “Just One More…” and “In Parting, We Trust”, which are my favorites.

All in all Black Malachite retains his vitality in strong melody and careful melodramatic disposition, added to meticulous layering and guitar lines that go straight for the heart on a couple of songs. This record captures a passionate artist finding bountiful new land to explore.

There’s plenty of dynamic songwriting, which is more than enough for a rewarding listening experience. Folks who are already fans of this project are likely to be very happy with yet another solid effort, while newcomers will have a twinkle in their eyes, for finding something truly interesting to listen to.

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