Lyndon Rivers: “Heart To Heart” – a mix of nostalgia and current innovation

The people who decide the sounds of the future are the producers and songwriters of the present. They blend familiar sounds and emotional beats with modern-day lyrics and studio advancements, often capturing the world’s imagination with a mix of nostalgia and current innovation — throwback pop no longer has to sound plainly retro; even the past can pick up future sheen. This is exactly what English-born and Australian based producer Lyndon Rivers is getting up to lately. His latest creative effort is the single, “Heart To Heart”. This reminded me of the some music from the 50s, whimsical, with great energy.

Digital Down: “Open Source Nervous System” – pulsing rhythms, mingling with the spiraling synths

Digital Down is located in central Arkansas and consists of sole member, Melville Bragg. Melville started his professional career in late 2015 with the release of the first EP entitled “Incunabula”. Melville has since placed 2nd in an international music contest hosted by software company Open Labs and sponsored by Linkin Park, as well as release his first full-length album, entitled “Open Source Nervous System”. At this point, many decades into its existence, it can be fairly expected that rock is not going to cough up a new paradigm anytime soon. The advent of digital sampling technology and electronic manipulation,

HALO: “Expressions” moves between various soundscapes which have distinctive influences

Darnelle Treadwell aka HALO, was born and raised in Gary, Indiana. He started singing in the church at the age of 4, by 13 he found that he wanted to pursue a professional career in singing but didn’t know how to go about it. He met an artist by the name of B.L.O.U.N.T. who introduced him to M80 a producer from the Midwest that owns an independent label called G.S.P. Music & Film. Halo signed to G.S.P. and has been working closely with M80 for the past 9 years. Their latest artistic collaboration has delivered the album “Expressions”. The recording

Detroit artist – The Infamous Crackhead

Born on the Eastside of Detroit, the youngest of six, The Infamous Crackhead was kept off the streets and into music which became his passion. He worked hard at his craft as a DJ, then a beat-maker, and improving his mic skills before creating The Law Breakers. A couple of months backed The Infamous Crackhead dropped the 14 track album, entitled “Mental”. Focused and furious this is an album that has moments of great energy, toughness, lyrical smartness and a great old school atmosphere. How long have you been in the music business and how did you get started in the first place?  The Infamous Crackhead: About

Adam Idris: “Count On Me” – rich with influences and thoughts

Formerly known as Adamjlss, Adam Idris is musician and composer based in the United Kingdom. Almost a freshman to the scene, Idris started recording and making music seriously in 2016. Entrenched in the urban genres and blending R&B, Pop and Dance elements, the artist has a host of singles in circulation, including “Count on me”, “I’m incarcerated” and Power hungry”. The songs are by turn oblique, smolderingly direct, forlorn, funny, sad and gorgeous: a vertiginous marvel of digital-age urban pop. On the lead single, “Count On Me” Adam wraps his voice in woozy emotion and pivots in the space of

John Grind: “Numb” – a track brimming with confidence and energy

John Grind is a hell of a songwriter with an undeniably cracking voice, brilliant lyrics, colossal tunes, grungy swagger and of course, as always, the right amount of light and shade in his songs. Through his life experiences riddled with pain, darkness, and self-destruction he has quickly moved towards being an adventurous and psychedelic musical maverick and author of timeless sounding pop-rock songs that effortlessly became part of our consciousness. Grind is a masterful song writer. Raw, brash and yet supremely polished – “Numb”, the single taken from his “Beauty Of Decay” EP, is an impressive track an ever-reliable artist.

TONI REDD releases “Take Me To Paradise” featuring the smooth sax of Walter Beasley

Atlanta, GA – The tantalizing talents of multi-faceted entertainer Toni Redd is in the music spotlight with the new release of her latest gem, Take Me To Paradise, a jazzy, soulful, up-tempo feel good song that features the smooth sounds of renowned saxophonist Walter Beasley. Its a brilliant collaboration that will be a signature standout from her forthcoming jazz project. Her soaring, feel-good vocals coexist harmoniously in the infectious tune. I recorded Take Me To Paradise because I love the song and I wanted to show my listening audience the jazzier side of me, just in case they forgot.  Jazz is

A Silver Lining: “Don’t Let me Down” – absolutely massive and immaculately performed

A Silver Lining is a five-member alternative rock band from Bay City, Michigan. Formed in 2017, the band is treading new ground with old influences, and re-discovering the sense of purpose and fun in rock music. Their single “Don’t Let me Down”, taken off their debut album “Paralyzed” is covered in a welcome confidence and swagger that has been disconcertingly absent from the genre for far too long. On this latest offering, we are presented with a concise magnum opus – prepared to weave and shapeshift, prepared to embrace the unknown with reckless abandon, utilizing crunching riffs, pounding percussion, soaring

Shashika Mooruth: “Jogan”- Indian traditional influence on her music style

Jogan is an album of folk songs in the Hindi language that enthralls the listener with an uplifting experience. Shashika Mooruth is an independent artiste from South Africa. Her lineage extends to her forefathers from India hence the dynamic Indian traditional influence on her music style. Under the auspices of her music label, Urja Music, she displays her holistic musical artistry at every level of production. Her voice, however, is her main instrument. In Jogan, she has rendered her voice to compositions based on styles that are popular in North India, particularly the state of Uttar Pradesh, which praise Krishna

Jessie Wagner: “I Want To Dream” – Few can soulfully croon a love song as convincingly

Jessie Wagner returns, and boy do you need this track in your collection. “I Want To Dream” is the kind of quality R&B that brings a tear to the eye. Composed by P.M.B, the strong, emotional lyrical content of this song is a giveaway that Jessie, or perhaps her some of friends have been through a fair amount of dubious moments with the men in their lives. This is more than evident on this smoldering vocal interpretation. The jaw-dropping classy piano lead, the lyrical content, the production, and sheer power of the vocals, would suggest that “I Want To Dream”

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 the crate drags a ton of retro flavors and grooves. Often Etop returns to the kitsch 70’s and infuses it with the most exotic tones and melancholy moods. But here he does more…

On his latest album, “Masterworks”, Etop slides back a decade from his usual itinerary and takes us through some vintage rock and blues, as well as rhythm and soul textures, ranging from the 60’ through to the 80’s. Although he does this, the album flows together very well and even though there are a lot of different styles and moods here, Etop still keeps this album accessible. He throws in so many different grooves, moods, and rhythms so that no two songs sound the same.

Masterworks” is unlike any other electronic album out there, Etop is constantly keeping things fun, interesting, and above all, authentic. There are two main influences that this album has, there are the softer, beautiful melancholy tracks, and the more rhythmically driven tracks. Of course there’s also the added fascination of tracks such as “Manami In Twilight” ft. Juri ify Love and “Tomoko and the Star Dust” which seem to have decided bent towards Japanese J-pop anime music. And then there’s the reggae influenced “Control Tower” to throw a spanner in the works. Etop also explains that the album’s opening track, “Blue Collar”, is intended to pay homage to vintage blues-rock artists, such as Booker T and Canned Heat. And it does so in splendid style.

Booker T was totally groundbreaking in his time. His band comprised of two black members and two white members, and that was long before Martin Luther King, Jr. lead the March on Washington. In his music you can hear those amazing rhythms that black drummer Al Jackson and white bassist Lewie Steinberg concoct together. Then Booker T. on keys, and lead guitarist Steve Cropper, played off of each other in the most amazing ways. Etop recreates that same vibe and style on this track with aplomb.

From start to finish, on this album, we receive an intense ride full of groove ridden beats, warm old school keys, the occasional vocal interlude, and a wash of soulful guitars. “Orangutan” acts as a slow burning showpiece that successfully blends the blues and that somber mood which is so hard to create electronically. You couldn’t really ask for a more beautiful song on this record. Until you come to “The Guggenheim Job” of course, which is another exercise in beauty and restraint.

One of my favorite songs on this album has to be “Live Love Repeat”. It’s no secret that Etop is a real guru when it comes to the slower tunes, and here he infuses this track with emotionally stirring layers of beautiful horns, reeds, piano and guitar. It’s definitely a contender, alongside the bluesy electric-guitar driven “M.I.T. Instrumental” and the organically atmospheric “Orangutan” as the most outstanding track on the album.

Etop has gone out of his way to make an electronic album that is ground-breaking and innovative with “Masterworks”, and at the same time he has pieced together a record that boasts 13 stunning, inspiring and emotive tracks that sit confidently within the genre’s expansive repertoire, but spills over its boundaries too. His skills lend well to any style but he is especially proficient on slower emotional grooves, and those skills play a prominent role within the soulful and engaging framework of “Masterworks”.

MORE ABOUT: Etop’s family immigrated to the United States during 1986, from South America and West Africa, settling in Brooklyn. Etop would find joy and entertainment in hearing songs on records during his youth. Later on in life, Etop received an associate degree in architecture, while studying at New York City’s Technical College. This allowed Etop to receive his Bachelor of Arts in architecture at the Pratt Institute of Arts and Design. Even though Etop was on the path to architectural design, music production has always been his calling.

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