Franco Esteve: “The Hunt” – a backdrop to life itself

Three years in the making, the loosely tied together, classical crossover, concept album, “The Hunt”, represents a masterwork for Puerto Rican multi-disciplinary artist, Franco Esteve. The award-winning filmmaker and music composer, once again forges his intense-storytelling, and vivid imagery-driven compositional skills. Esteve’s music not only engages the ears but also intrigues the mind and feeds the soul. “With The Hunt, I wanted to do something different, expressing through classical, orchestral music, the images and feelings one gets from life itself,” explains Franco Esteve, continuing: “Whether it’s the drive of ‘The Hunt’, the insomnia of ‘The Wait’, or the sadness of

Plastic DJ: “Giving Up” – Truly euphoric, refreshing and atmospheric!

The album “Giving Up” by Barcelona-based producer and singer Plastic DJ, is the very best that the blended genres of Deep House, Downtempo and Electro have to offer. The thing that sets Plastic DJ so far above his contemporaries is that he’s genuinely talented as a musical composer, and stunningly enchanting as a singer. The music is of a baroque complexity, and here’s no overpowering bass or wailing synths. It’s like listening to a dream. You’ll play this in your car when you want to relax, at home when you’re at the beach or sitting on the porch, or as

One Step From Everywhere: “Somewhere in Between” – an insistent rhythmic thrust, adorned with fiery guitar work, and soaring vocals

One Step From Everywhere is a Seattle based band that does not limit themselves to genre or style. Primarily a rock band, with a passion for playing live, they are not afraid to add shades of any style that may strike a chord within them.  Their album, “Somewhere In Between”, is a full and complete artistic statement that can function equally well as an introduction to and summation of the varied strengths of this band. The production and engineering also aids immeasurably in this regard. The sumptuous mixes place the listener deep within the instrumental interplay of a band whose

Kingdom Atlas: “Severe Spheres” – ripping rock combined with lucid moments of intense and beautiful melody

Kingdom Atlas is a Georgia-based hard rock band that was originally launched as Rising Tide in 2013by, Grant Purvis with friends Nick Blake and Adam Chiarella while studying music with them at Georgia Southern University. The lineup of Purvis (vocals, guitars) and Blake (guitars, keyboards), along with Devin Ruiz (bass), Aaron Coburn (drums) and Cody Barber who replaced Chiarella as lead guitarist in 2015, was stable until the groups disbanded in 2017 due to schedule conflicts and some members graduating. In 2018, Purvis, Blake, Coburn, and Barber reformed with the new name Kingdom Atlas to record their debut album “Severe

Tiaday Ball drops two new singles – “Current” and “Good To You”

Tiaday Ball has released two follow up singles to her first release “Favors”. The songs “Current” and “Good To You”, are both now available anywhere you get digital music from. Tiaday stated: “R&B has been the foundation of my life in music since I can remember. Gospel, soul and R&B were always playing in the house or being sung by my father who was also a singer and he loved Stevie Wonder, Otis Redding, Donny Hathaway, etc. One of the first songs I ever learned how to REALLY train singing along to was “A Song For You” by Donny Hathaway.

DAV!D&CLARA: “Repair” – rugged and intense!

The man and machine duo of DAV!D (David Castillo) and his computer CLARA, better known as DAV!D&CLARA, are back with a new single in 2019, called “Repair”. The track is taken from the upcoming album, “CONFESSIONS OF THE MACHINE” to be released early 2020. Much of this latest single displays a minimalist, almost survivalist element, as if every movement, gesture, and note is conserved and used for maximum effect. DAV!D’s songwriting principle seems to be “less is more”, a sentiment CLARA seems to adhere to perfectly. Together they have an artistic sensibility that’s far from common. The song is based

Catch up with Boston based group Urban Lights Band

Boston, MA based Urban Lights Band is an eclectic group of musicians and artists who harness the power of all styles of music to create unforgettable experiences. They are seasoned professionals committed to providing quality musical showcases that bring various audiences together. Their global mission is simple; aspire to inspire! If you are in the Boston area you can find them at:  May 25th 2019 – Darryl’s Corner Bar & Kitchen- Boston, MA June 20th, 2019 – The Milky Way – Jamaica Plain June 21st 2019 -The Middle East Night Club (Corner Room) – Cambridge, MA Hook up with Urban

Royal: “Letter To Cecil” narrates his hardships, his grind and his contributions

Royal is a hip hop artist who currently resides in Hockessin, Delaware. He understands the importance of giving back and he performs at dozens of middle schools and high schools. In the past, he has donated the proceeds from concerts and albums entirely to the community, spreading his generosity to the surrounding neighborhoods. Royal has performed alongside artists such as Waka Flocka, Meek Mill, Yo Gotti, YG, and Tory Lanez. His latest project is the single, “Letter To Cecil”. Here Royal seems to be hungrier than ever and is out to remind hip-hop of the abilities that should eventually bring

‘The World We Live In’ EP by ‘Redford’ is Out Now on Glasstone Records

Simon Ratcliffe (BASEMENT JAXX): “Redford have a unique fresh and lush sound with strong heartfelt songs, gorgeous melodies – not to mention superb musicianship.” Mastered by Greg Brooker (Dejstil feat Peter Hook – Joy Division / New Order, You Love Her Coz She’s Dead, Micky Diana) Polish indie-rockers Redford have announced their arrival with a brand new single, cinematic video clip and a new Ep on Glasstone Records. The new Ep The World We Live In is on streaming platforms now, and you can watch the video for the single To The Morning below on YouTube.  With a brand

Iskar D’Abrel: “Ruins of You” – a compelling musical depth

Perhaps Iskar D’Abrel’s only misfortune is releasing his music at the wrong time.  Had he dropped the track “Ruins of You” in the 70’s, 80’s or even early nineties, he surely would have been recognized universally along with other greats of those eras.  It was a time where artists were not defined by a specific genre and allowed to approach different styles of music with a creative freedom almost totally lost today. Iskar is a master of song construction.  No song in his catalog is just a repeat of parts.  Each song is its own story; each follows its own

Keys And Vices: “Chronic Nostalgia” can rock the socks off of any audience!

Keys And Vices are something of a Trojan horse. Hidden within the confines of a band with a cryptic name and fronted by a deceptively talented lady is a power-trio that can rock the socks off of any audience and probably any band they share a bill with. Stacked with massive riffs and sweet hooks, their “Chronic Nostalgia” is a monumental step in their recording career. With beefy production that highlights the tight dynamic between front-lady Jennifer Valdez (Vocals, Guitar, Piano, Lyrics), bassist Kevin McCarty and drummer Kris Ayala, the band’s first full-length offering packs enough punch to dominate modern rock, alternative, indie, or whatever radio, while still sounding as if it could have fit right at home somewhere alongside the legendary alternative rock bands from the 90’s.

No doubt, the all-encompassing aesthetic is intentional, and the band pulls it off with flying colors. Valdez’s vocals can be hushed yet powerful, or soaring above the wall of sound created by their beefy cuts.  Relentlessly energetic through and through, “Chronic Nostalgia” offers a few reprieves in the form of slower-simmering rhythms.

Through it all, the band keeps the energy going, and never is there a moment or a second of sound wasted. Like the band’s three members playing together, the 10 tracks all lock into each other perfectly. Who says the album format has to die when band’s like Keys And Vices can produce them so effortlessly?

If you like guitars that are still loud and proud, driven home by a relentless rhythm section and a powerfully nuanced vocalist, Keys And Vices will likely become a mainstay in your own rotation. This is the type of album that deserves a few listens. At first it will sound good, by the second listen you’ll start loving it.

On the third play through you’ll be left breathless as each little gem undercovers itself almost totally. The dynamism is what’s really key to keeping this set engaging. The songs dart in unexpected directions in their minute revolutions from verse to chorus.

“Out of My Head” opens with a jangly guitar figure under-girding Valdez’s hazy, vocals before concentrating into increasingly harsher riffs, propelled by Ayala’s galloping drum beat. Keys And Vices pack a lot of movement into three to four minutes, but the compositions never feel cluttered or jarring.

“Running Away” showcases the incredible range Valdez’s vocals, while her guitar growls to the sound of McCarty’s deep bass and the thumping rhythm of the drums. This is a grinding and at times shimmering alt-rock story. “Like an Anchor” is not the jarring, straight to the face, guitar pounce, but a more mature, coil and choose when to strike delivery.

“Twila” is a mid-tempo piano-driven soundscape which serves as an appetizer, and lead-in, to the most epic, towering track on the album – “How Do I”, which to me is the absolute centerpiece of this recording. In Jennifer Valdez you have a frontwoman who is as cocksure as she is enigmatic.

She possesses a talent that outshines the mere craftsmanship of her peers, and she lays it all down on this salaciously bombastic grinder, together with Kris Ayala’s strident drums and the subtle brilliance of Kevin McCarty’s bass playing. Herein lay the difference between Keys And Vices and so many of their contemporaries. There is no posturing, no attempt to look cool for the sake of it. It’s all about the music.

Amidst the majority of the edgy sounds that cover the record, the band slows it down with “Box of Keys”, and then light up the synths on “Count Back”, before cutting right back to the bare-knuckled piano and vocals on “Ghost Love”.

If nothing else, these final three songs presents what a lot of bands of this generation are lacking—a strong lead figure and dynamic performer. You won’t want to miss a single minute of Jennifer Valdez’ mind-blowing performances on “Chronic Nostalgia”.

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