Free From Gravity: “Step Into The Sunlight” – a unique and definitive identity

I’m not sure about how much a mature, well-oiled and well-travelled band can improve or grow artistically and technically, but this is exactly what UK band, Free From Gravity, have achieved on the brand new album “Step Into The Sunlight”. With this album, the band still uses catchy music and ear worm melodies, only this time to deliver more complex and profound ideas. Led by founder and front man Vince Barnes, and completed by Philip Estell (Drummer), Urszula Filipowicz (Keyboards/Backing Vocals), Roger Cooper (Lead Guitar) and Andy Stratford (Bass Guitar), the band has a knack for combining dark lyrics and light melodies, while the soundscapes move between dreamy pop

Close up with Rocker Rick Shaffer

Prolific recording rock artist, Rick Shaffer, is a founding member of the Philadelphia band, The Reds©, whose first self-titled album on A&M records, was produced by David Kershenbaum. It highlighted a blend of Rick Shaffer’s guitar and Bruce Cohen’s keyboards. The album was supported with live appearances with The Police, Joe Jackson, Blondie, The Ramones, The Psychedelic Furs, and Public Image. Shaffer has also done plenty of studio work and features on the Marianne Faithfull album (Island); Hilly Kristal’s, “Mad Mordechai” (Stereo Society); Peter Murphy’s, “Holy Smoke” (Beggars Banquet/BMG); and Marc Almond’s, “Fantastic Star” (Some Bizarre/Mercury); as well as writing, producing and

All Atomic: “Destinate To Radiate” harnesses its wild dynamics gloriously

Bristol, England’s All Atomic brings a variety of styles to his new EP – his second release for Pink Dolphin Music. “Destinate To Radiate” covers all varieties of electro music and shows a progression from his label debut earlier in 2017 “???? (Track With No Name)”. Everything is extremely well produced and fits together like pieces in a puzzle. It’s also incredibly diverse, but not all over the place. Songs jump from standard electronic tunes to blaring club bangers and glassy-eyed soundtrack-styled compositions at the drop of a hat. It sounds exactly like a collaboration effort by diverse producers…except it’s

Henry Metal: “Metal O’Clock” – an absolutely brilliant hard rock recording

Henry Metal debuted in late March of 2017 with the release of 2 singles which was then followed by the albums; “So It Hath Begun”,   “Wizard Vs Demon” and  “The Maestro Abides”. “Metal O’Clock” is Henry’s fourth collective offering is again an extremely engaging, epic and anthemic recording which never loses its caustic tongue-in- cheek, confrontational edge as it  investigates government ineptitude, consumerism, drug abuse and cosmetic surgery, as well as and pays homage to the Swedish Viking gods Odin and Freyja. Henry Metal is, to put it simply, stunning. His singing is melodic, yet has just enough grit and low

The Bach and Beethoven Ensemble’s CHICAGO STORIES Project – October 14/15

The Bach and Beethoven Ensemble’s CHICAGO STORIES Project brings the city to life on a personal level through new music written by Chicagoans, with and about Chicagoans and Chicago communities. Through Chicago Stories, the audience learns about the Alvarez Brothers and their renaissance efforts to revive the Pilsen Latin jazz scene. They are then taken on a journey through the harrowing escape of members of the Assyrian immigrant community, who finally found refuge in the neighborhoods of Rogers Park and Lincolnwood. Finally, they scale the wall along with a group of minority women in executive leadership roles who crushed their

Vizualye: “Hunger Games” ft J Schick – delivering wordplay lined with context

Vizualye, born Rajaee Grey presides over his tunes with an old world grace and steely strength that feels oddly calming in these uniquely turbulent times. Given how unorthodox 2017 has been and how much more unorthodox things are going to get, we need someone who has been fighting for a while to tell us the importance of continuing to fight. The rapper knows his duty to educate and inspire the public, and “Hunger Games” feat J Schick is one of his best records since his debut release. The record is produced by Taye Legend, and is steeped in a muscular, economical

Boostman Family: “I’ll Be There For You” – tricks pulled from the very catchy electro-pop toolbox

The electro/pop band Boostman Family, founded in 2012, is composed of different artists from the same family, of which Amy and David are the visible part. David Boostman sings, plays keyboards and drums, as well as being the band’s producer. David has been an arranger for big names in France and has composed movie soundtracks played in European theaters and on TV shows. He speaks fluently English, French and German. Daughter, Amy Boostman, sings, plays the guitar, and also shares in writing some of the band’s music and lyrics. Uncle Jo Flash comes from the European underground electro scene and

Sunerian: “I’m Not Worried” – genuine emotion, and positive energy abounds here

Singapore- based EDM Producer Sunerian, who has a preference for Tropical House and Chill Music, has released his 3 track EP entitled “I’m Not Worried”. Sunerian’s EP doesn’t fit the old overnight success adage, which is all for the better—he prefers his bright, electronic melodies drenched in sunlight. Brimming with sun-kissed flavors, the recording hinges on spring-break nostalgia for glistening bronze skin, sand snug between the toes, and young love and lust. It is the perfect September soundtrack for those clinging to the final scraps of summertime. When done right, an artist can invoke nostalgia without losing their purpose or

Emilio Crixell & Border Soul: “Music People” – exploring all of the possibilities within musical hypnotism

There is an essence of allure that exudes from the content of “Music People”, the new 11 track album by Emilio Crixell & Border Soul. The music is jubilant, with a mesmerizing melody that entices the listener into a sensation of musical ecstasy. We open with “A Face in the Crowd” featuring soulful songstress Leeann Atherton, immediately it induces a entrancing atmosphere to set the mood, a seductive horn blowing ambience decorated in a sensual percussive mysticism. And just as the music has us succumbing to its will, when we give up all restrain and let our senses sink deeper

Nina Kotova: “TCHAIKOVSKY” – outstanding technical detail

Born in Russia, Nina Kotova belongs to the third generation of a family of musicians—most notably her father, the renowned virtuoso double-bass player Ivan Ivanovich Kotov. At the age of seven, she was accepted into an adult cello class at the Moscow Conservatory. At fifteen, she won First Prize at the Prague International Competition. And at nineteen, having graduated from the Moscow Conservatory, she left her homeland to continue her studies in Germany and the United States, where she now resides. Kotova has been the subject of numerous features in Time, Newsweek, Vogue, Elle, the Wall Street Journal, and The

Jason Miller: “Poundtown” – every single note has a purpose

“Poundtown” is a beautifully composed album that probably marks a defining moment in Jason Miller’s career. He has a sound that has developed far beyond the type of music that is simply suitable for a DJ set. There is much more to this than a simple selection of tracks; there is an undeniable feeling of intent, an intangible sense that Jason has poured himself into every production on the album. With each successive listen it becomes more apparent; every single note has a purpose, every snare hit and synth line was methodically placed and cleverly produced. Miller’s attention to detail is stunningly thorough, every single beat has been toiled over, and re-worked, until what is left is nothing short of perfection.  At first it was hard to define, but then I realized that “Poundtown” has one thing that so many of today’s dance music productions do not — it has a soul.

Many producers have released albums that are nothing more than neatly packaged vehicles to redistribute cloned ideas, but Jason Miller has successfully done what few before him even bother to accomplish. He has crossed over, transcending what it means to be pigeonholed into EDM by developing into a full-fledged artist.

He has asserted himself as more than just another producer in a sea of sonic drivel, and by doing so, has created an album for the latest wave of dance music fans- those with thinking caps and heartstrings.

Setting the tone for the album, “Fly Away”, opens delicately as the sinewy vocals float amidst dreamy piano rolls and the repetitive ticking of the hi-hats. From the moment that the snares kick in it becomes readily apparent that “Poundtown” is not your average electronic music album.

“Candy” is the perfect example of Miller’s development as an artist. Robust and refreshing, the production here is impeccable — pumping pad sections accompany echoing voice flairs, and gritty bass lines. Jason steps out of his comfort zone with an eclectic instrumental on “Hips Of Babylon”, to make sure your attention span isn’t waning, before slipping back into the melodically comforting dance-floor teaser, “Around You”.

Jason Miller has created a narrative rather than a haphazard collection of forgettable tracks. Each composition on “Poundtown” acts as a piece to a much larger puzzle, telling a sonically diverse story that showcases the vast breadth of his musical talents, as he moves from dubstep to house, and future bass soundscapes. So you will bump into tracks as diverse as “Doin It Critical”, “Pistol Nebula” and “Stacks”.

This wide crossover base is a risk seldom taken by producers in our current homogeneous-fueled age of electronic music, the artistically creative album has been vastly overlooked, replaced instead by the easily marketable pop dance singles and radio-friendly remixes.

None of which you’ll find on the second half of this album, where Miller pushes his imagination into electronica’s more exotic realms, leaving the first part of “Poundtown” to hook your attention with the catchier mainstream stuff. To that end, “Poundtown” is a smartly constructed album, the opening tracks lure you into the funfair while the latter part of the album drags you onto the infinite roller-coaster rides!

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