ERIC SILVERMAN RELEASES NEW SONG AND VIDEO

ERIC SILVERMAN RELEASES NEW SONG AND VIDEO FOR “AS MY COUNTRY DRIFTED AWAY (I GOT STONED)” FROM HIS DEBUT SOLO EP ROOKIE OUT ON FEBURARY 28 “People talk, they should scream” – Eric Silverman exclaims on the song and video for as “As My Country Drifted Away (I Got Stoned)” from his sharply infectious debut solo EP Rookie out on February 28. See the video here-https://youtu.be/Q6mFxAA3B9g  When Silverman and Grammy-nominated producer Damien Lewis went into the studio they were looking to explore a feeling and sound for a later project but emerged a week later with a record that

Chords Of Eve – “Dear Engineer” exposes the listener to sounds that intrigue

Chords Of Eve is an American music project, created in 2019 and consisting of multi-instrumentalist Atlas Cage, featuring various female vocalists and the debut of vocalist Casey Ardmore. The band defines their music as pop, electronica, alternative and trip hop, and have described their sound as “futuristic psych pop”. “We want those who listen to our music to feel connected, even in times where they could feel the most isolated,” says the project leader. “We want people to feel as if someone understands them, that they have been seen.” Chords Of Eve’s resonating bass sinks repeatedly to thumping depths on

John Vento and The Nied’s Hotel Band certify exactly who they are!

A 2019 Billboard Magazine Emerging Artist John Vento is a successful Pittsburgh businessman and passionate singer-songwriter. He is also part of The Nied’s Hotel Band, originated in 2003 and voted Pittsburgh’s “Best Bar Band” in the 2016. The band gets its name as a tribute to Jim Nied, proprietor of the landmark Pittsburgh tavern “Nied’s Hotel”. What we enjoy here is the band’s latest album that’s well-crafted and structured to represent the feeling of real Americana driven rock n’ roll. Every song on here is great from first to last, in an even twelve count. I think The Nied’s Hotel

Savannah – “We Are Us” – is honest and raw at heart, ambitious in sound

Savannah Nider was born and raised in Pawnee City, Nebraska. She grew up passionate about family, sports, speech, and music. At 15, Savannah was given the opportunity to work alongside Geno LeSage, Steve Cox, and Kenny Royster who were involved in the careers of Grammy award-winning artists including Collin Raye and many others. After losing her grandmother to pancreatic cancer, completing college, and getting married, Savannah moved to Nashville to fulfill the promise of a music career. She met Joie Scott, a well-known songwriter in Nashville, who influenced Savannah’s songwriting ability and co-wrote her first song “Until Always,” which she performed

JunesFlow – “Challenge” produced by Mark Cooper, and new visual shot by Desmond Travis

Never-mind your car, or drinks at the bar, or how many chains you wear; to settle it once and for all, that’s the only reason we’re here. It’s a …CHALLENGE!” The album “Long Live Jit” is still in a league of its own as it continues to shine light on Detroit’s vast dance history, and its progression. “Challenge” is the joint from JunesFlow, produced by Mark Cooper, and new visual shot by Desmond Travis. Check for the video and witness what happens when the battle is “on sight”!  “To me, ‘Challenge’ is a song that’s strictly here to provoke

Jim Wyly Performs “Wildman of the Thicket” From The Album “The Artisan”

Jim Wyly at J P Hops House, Houston, Texas singing ‘Wildman Of The Thicket’. A Bigfoot Legend from Deep East Texas.  For years as a member of several bands including Movin Target and The Lunar Rollers, Jim Wyly has been widely regarded by his peers as a master of the songwriting craft. At the young age of 71, Wyly stepped away from the sound and life of being in a band and released his solo debut, “The Artisan”. A roots Americana and blues flavored recording, the album includes the track “Wildman of the Thicket”, a song about the Bigfoot

DaKing – “CryptoBoom” is a vibe from start to finish!

“CryptoBoom” is the second single by Moscow artist DaKing who is currently working on album which will feature previously unheard of 3D stereo effects. As can be gaged by the title, the song is inspired by escalation of cryptocurrencies. DaKing falls into the category of nu-wave rappers. You can hear a bit of his flow, hooks, and ad-lib driven rap style in the music of today’s newest up and comers. DaKing verses have a way of feeling like extended hooks. He loves to chant as his ad-libs swirl in the background. Sometimes he even delivers a rapid-fire flow. The project

Fifth – “Cost of Doin’ Business” – a depth you can feel in your chest

Fifth is an artist who has bars and knows how to spit lyrical content…better than most you will find nowadays. If you like artists with substance, then the Pittsburg, CA native is your man. Fifth, whose moniker is the suffix of his full name, has featured on the show “Leah Remini: Scientology and The Aftermath: The Jehovah’s Witnesses”. He is currently riding the wave of his latest single release – “Cost of Doin’ Business”. The whole track is well-produced and engineered. Everything from the instrumental to the vocals, are mastered properly and flow nicely. In addition to putting out a

Haze Daze – “Shadows” is rich and inviting!

Self-awareness is key, and Haze Daze getting in touch with that allows him to separate himself from the pack, reaching territory where only a handful others reside. But of course his latest track, “Shadows” is also the embodiment of the current culture. The song is the unification of the SoundCloud elite sound and the figures who came directly before, it’s an embracement of that short but rich history. Knowing your strengths or limitations is a skill that few have. Haze Daze on “Shadows”, is not only able to avoid any potential limits, but also accentuate his strengths. The track is

Menes Rebazzar Kedar – “Quantum Helix: Fractal Galaxy” – A voyage into the development of ideas and emotions!

The New York-based artist Menes Rebazzar Kedar fuses a potpourri of musical flavors on his new album “Quantum Helix: Fractal Galaxy”. From hip-hop to blues, rock, soul and electronic stylings, the artist crafts 9 eclectic tracks that defy strict categorization. The music on this album isn’t just a critic or fan pleaser but it’s clear that what Kedar wanted most was to make a recording that actually carries some vestige of meaningful depth. A truly excellent work sounds like putting a stethoscope up to the heart and mind of its creator. The album is very ambitious, and provides one of

J-Carter: “Take Hip-Hop Back” – genuinely in it for the art and the craft

J-Carter is an independent artist with big dreams. Any artist who releases an album with 38 tracks cannot be thought of, as anything less than ambitious. “This time around the people will have no choice but to hear me,” says the New Jersey rapper himself. It’s also hard to deny liking his moments of lyrical and sonic intimacy on his third album release, aptly titled, “Take Hip-Hop Back”.  More to the point than just likability is the trove of wonderful sounds and smooth flows on this recording. It’s one that that makes the rapper worthy of not just admiration but respect and consideration as a serious contender for rap accolades in front of and behind the microphone. A mixtape, this is not. This is a full-fledged statement.

Beyond just being loved and respected, though, J-Carter is the rare rapper who seems like he’s genuinely in it for the art and the craft, and not necessarily fame or money. The rapper’s almost conceptual leanings and semi-cinematic introductions, shows that he knows that behind his music is something bigger than hip hop. This is a collection of songs that range from somber to energetic. By proving to have an eclectic ear for tones and textures, he asserts himself as a serious performer who’s taken his praise for his previous album with the utmost seriousness.

In listening to tracks like “Fake Cats Fall Back”, “Go Hard At Em”, “Im On That Final” you get the sense that he’s actually expressing himself as opposed to merely regurgitating tired metaphors and clichéd premises. Good hip-hop needs self-analysis.

The garish self-aggrandizing that plagues most radio rap leaves little room for those willing to put themselves, their faith, and their lives under a microscope, which is what makes emcees like J-Carter so intriguing. He shares a conscious and spiritual sense of authorship, where he is willing to wear his heart on his sleeve. His passion is palpable on tracks like “Look What You Done”, “Nothing But The Best” and “Only God Can Love U”.

Over and above the lyrics, J-Carter’s flow, or the multiple guest appearances that add tons of spice to the proceedings, the thing that also does it for me in this album is the consistently catchy, soulful beats. And I’m talking about tracks like “Hoping For Better Dayz”, “It Keeps Raining” and “The One For Me”, but there are countless others with outstanding production.

J-Carter knows how to produce an album, he proves that here; but the beats aren’t the only thing that make this album great. J-Carter is a talented lyricist with an impressive flow, and most importantly he has a unique style. J-Carter is, in many ways, a humble rapper. And that’s an exclusive luxury in modern day hip-hop.

Unlike most rappers, he gives off an innocent vibe. Even in songs where he’s talking about banging bitches like “Stop The Flow”, he says it in a way that doesn’t make him sound like a complete tool.

Throughout this recording, it’s clear that J-Carter has created an album that strategically balances the complexity of 90s hip-hop while simultaneously adding the fun and simplicity of early 00s bangers. The title track, “Take Hip-Hop Back”, is a perfect example of J-Carter taking us back in time, with a slick jam he has created with a reminiscing 90s flow.

J-Carter is on a mission to grab the rap game from this strange period of ambient and electronic experimentation and pull it back to the glory era of the early 00s. Listen as he rolls out “Stop Comparing Me”, “The Society’s Dying” and “We Gotta Change It”. The album is true and real. And that is why I’m calling it a classic.

“Take Hip-Hop Back” is a soundly executed, enjoyable album. Pulling off 38 tracks and keeping the album intriguing from front to back can be an arduous task.  The New Jersey rapper passes with flying colors, dropping some marvelous songs along the way.

The insight, the contrasts, and the thoughtfulness is awesome, all the way through. Despite this album’s length it never drags, feeling like an epic coming-of-age blockbuster. It’s huge, ambitious, and easily one of the best rap albums of this proportion. Pick up this album and immerse yourself not only in its impressive breadth, but also its almost unparalleled depth.

Lookout for the official release around about April 19!

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