NazB: “When We Were Young” boasts an impeccable flow

As a child growing up in Nigeria, NazB was surrounded by the music of his native West African homeland. With members of his immediate and extended family playing instruments and singing, music was a part of his upbringing. His persistence and perseverance eventually gained him the nickname Nazodobas, which eventually evolved into NazB and became his rapper alias. Now based in Zurich, Switzerland, NazB has been performing, recording and releasing hit songs, almost at will, since his debut album “Money In Da Game”, dropped in 2006. His brand of music blends hard-hitting urban beats, funky bass driven rhythms, and African

Croatia’s Sudar Percussion Ensemble is and Award-Winning Group

The Sudar Percussion Ensemble is a successful, award-winning group from Croatia that consists of very talented Croatian percussionists. They have completed a very high number of performances, tours and projects in Croatia and abroad since 2010.Their distinguishing characteristic is the original interpretations of famous works by classical and popular music composers, as well as their innovative and humorous ensemble members who have incredible musicality and technical skills. Throughout the years they have performed many remarkable concerts and appeared at important festivals. The Sudar Percussion Ensemble have also performed alongside world-renowned artists, as well as some of the biggest names in

RAVENSCROFT- “STAND UP” Video is the sound of a band inspired

Ralph Buso (Vocals), Brett Gorke (Guitars), Devin Baker (Bass), Pat Magrath (Drums), collectively known as RAVENSCROFT, are working on their most unique, creative, exploratory, and bone-crushing recording they have ever produced. It’s a progressive work of metal and rock art, delving deep into the nature of their craft. This six song EP “Rebel” will be released on March 25th 2018.  And there will be a release party held at The Slidebar in Fullerton California with Killset. The soaring melodies, the intense guitar solos, the deeply profound lyrics all take part in painting the picture that the band’s works regularly deliver.

Exit 22 Music: “Last Goodbye” – one of the finest musical acts in the pop-rock underground

It seems almost impossible that an artist that has been around this long – 20 years in Chris Calamera’s case, can keep making records that stand up among the best that he has ever done. Let’s be clear: “Last Goodbye” is a great song. It’s poppy, with a big melody and an insistent rock rhythm, and it’s catchy as hell. Sounds like authentic Exit 22 Music to me. This is pure Calamera from his pop-rock songwriting style standpoint, and pure Exit 22 Music, considering the breathtaking vocals and high production-value quotient. The perfect, power-pop formula. Exit 22 Music has been keeping

Lake of the Lion embodies embody emotive sounds and textures

Lake of the Lion is the brand name and moniker for Luxembourg music composer and producer, Daniel Kohnen, who is steadily building up his catalog and increasing his fan-base with regular new releases. In recent years, ambient instrumental and soundtrack scores have been following a certain trend. Composers seem to have this motif of creating overblown pieces with harsh lead instruments blasting out from the blue and background strings creating suspense with their melodies. Sure it was fun for a while, but within that little span of time listeners were just begging for it to stop because composers had this

Natalie Jean and Levi Moore: “The Letting Go” speaks the language of the ordinary person

A good duet, in our modern age, is a rare thing. There are plenty of features, guest verses and co-writes, and the cameo drop-in is a dime a dozen. The number of genuine duets, where vocalists share verses and tell a story together in the space of a song, is very small. If your optimism fails you, as you wonder whether there are enough great acts to keep hit radio stocked with worthy pop music duets, it’s reassuring to find that Natalie Jean and Levi Moore have a first-rate single to carry us through the next few months, all by itself. The

MAKI: ‘Waking Up With The World On Fire’ – truly majestic — grandiose, slowly unfolding, and extremely cinematic

The world is a fragmented place, with fear and hate giving rise to isolationist movements around the globe and huge portions of the population turning inward rather than outward towards each other. As such waves of bigotry spread like wildfire, the music scene becomes extremely important, not just because it means more great music, but because it connects us all together on a wavelength that hits the human heart, soul and mind even harder, faster and deeper than anger can. A creative constant in the field of communicative contemporary Instrumental music, is MAKI who focuses his ample talents on a

3 Phase – ready for genre domination!

The names Chirag Shah, Prasham Deliwala and Melvin Saldana may in themselves not ring a familiar bell in your ear right now. Probably, neither will the moniker ‘3 Phase’, nor their 6 track self-titled EP. It’s logical, it’s the law of the industry’s hype machine – cast a light on the big label clones, and leave the independent creatives in the shadows. Luckily the internet has a different set of rules.  On hearing the 3 Phase EP, the lofty ambition, the focus and dedication of this creative collective of producers, songwriters and vocal talent, makes sense – its six tracks

Sy: “Get Out Of My Dreams” – grab this R&B and Soul extravaganza

The singer, songwriter and author, Sy, releases a brand new single produced by Rueben Wood. The track “Get Out Of My Dreams” is the first single release written by the artist in 2018, since writing two self-help books, “A Swan Among Ducks” and “Saying Yes to (No): Learning the Power of (No) before the end of 2017. This track soulfully captures the spirit and feel of the emotional journey of grown womanhood. It is juicy, dynamic, soulful, gorgeous, and it is nourishment for the soul…and mind, as it examines the intricacies of a relationship built on want and lust. As

IJK: “Johnny & June” – sounds invigorated!

Alternative rock artist Imad Jack Karam, known by his initials and stage name IJK, is a Dubai-based, Lebanese singer-songwriter, who has released critically acclaimed songs and recorded with internationally known music producers in prestigious London studios. Both his singles “Space Odyssey” and “Dancing Shadows” garnered a positive reception from fans and critics alike. IJK has a style that can move between edgy modern-day alt-rock and sixties rock n’ roll crooning.  He recently published his latest single and supporting, fully animated video, for the song “Johnny & June”. So, how does this new offering cope? Very well, in truth. “Johnny &

Illuid Haller: “Magic Theatre” shows a unique flexibility and verve

Illuid Haller aka GwangHyeon shows a unique flexibility and verve, a glowing life that drips, melts, and molds around the original sounds to be found on the album, “Magic Theatre”. He never competes with his contemporaries for attention, but it is always clear that he absolutely could, no matter their standing or legacy. And yet, it seems, as if he had popped up out of nowhere. It’s particularly difficult to imagine Illuid Haller sitting in his basement or bedroom when listening to this recording. Whether working in strands of hip-hop, psychedelic ambient, acid jazz, or whatever might come to his mind, there’s something inherently glowing about his beats. All those genres are jammed together into a single album; he finds joy and fun in them all, so why bother trying to deny any of it?

Throughout these different styles, Illuid Haller’s beaming musical smile acts as a unified presence of his visual approach to music. One moment he’ll work out some jazz fusion as on the title track, “Magic Theatre” with its schizophrenic sax, and then he’ll produce a hip-hop groove for “Under The Water, or an acid jazz soundscape on “Play Bill” and neither suffers in comparison.

Listening to the album, there’s no one genre in which you’ll come away feeling that it’s the one he should be working in, forsaking all others. It helps that he makes all of his tracks sound good, regardless of style, because of his reliance on imagery in sound. Each instrumental tells a story.

Illuid Haller has never sounded as powerful as on the stark and busy piano arrangements of “The Moon”, and “I Love You”, while the over-driven “I Love You Too”, hits one of his better, more eclectic creative flows. The stunning track finds Illuid bouncing through a dirty, crunchy guitar sound, and a jittery bass jam. “Fraud/The Beat” swipes into an experimental-infused bounce without a moment’s notice, while “Adjective” adds a breathy female vocal to the proceedings.

The bigger theme, of course, is that Illuid Haller is much more than just some run-of-the-mill electronic producer. He’s got soul and tons of creativity, and he knows how to use it in a way that doesn’t seem overbearing, yet it is completely left-field, filled with disparate voice samples and diverse rhythms and sounds.

No matter how hard producers may try, there’s something that will always feel completely inhuman about electronically induced music. It’s in the details, which is to say that they’re all perfect. The computer-aided genre is practically a glass-half-full demonstration of science versus human art. What happens when you create art using the meticulously fine-tuned exactness of science? Electronic music, apparently.

Effectively, the concept of creating something real has been usurped by the concept of creating something perfect in the electronic field. However this theory does not hold true for Illuid Haller who tries to buck the trend by striving towards realness as opposed to perfection.

This, in a nutshell, is what makes the South Korean-born producer such an interesting case study: He manipulates electronic music to a place where it seems handmade. It helps that he has been playing jazz piano for about seven years. And nowhere is it clearer than on fleshed-out, organic sounding tracks like “Queen Majesty” and “Night and Day”.

I could go on about the effortless likability of “Magic Theatre”, but the most critical takeaway is how nuanced every single track is, on behalf of Illuid Haller’s unparalleled attention to the manipulation of detail. He capitalizes on what other artists consider superfluous, and he does it with a finesse that seems completely natural. As the pomp of big-blasting EDM subsides, there’s never been a better time to be an innovative talent with an ear for exciting music. Illuid Haller aka GwangHyeon is that talent.

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