SoundLooks http://soundlooks.com The Music Journal Thu, 26 Apr 2018 01:31:10 +0000 en-US hourly 1 Jason Miller: “Accel.” – an obvious amount of talent beneath a complex set of skills http://soundlooks.com/2018/04/jason-miller-accel-an-obvious-amount-of-talent-beneath-a-complex-set-of-skills/ http://soundlooks.com/2018/04/jason-miller-accel-an-obvious-amount-of-talent-beneath-a-complex-set-of-skills/#respond Thu, 26 Apr 2018 01:31:10 +0000 http://soundlooks.com/?p=8105 The album “Accel.” by Detroit artist Jason Miller is both melodically stunning and bass bumping goodness. From the space-age track “My City” and the growling “Radiant Signals” to the driving “Lustrous Flow”, I was already hypnotized by the unique sounds and infectious rhythms three songs deep. This 14 track album plays heavy on the emotions and really utilizes its sonic elements to build a strong connection with the listener. Miller frees the inhibitions of every sub-bass raver lounged in front of a pair of speakers. He is a gifted producer with an obvious amount of talent beneath a complex set of skills. He blends classic, soul, blues, jazz, R&B with commercial EDM, drum and bass, techno and even influences from Japan. “Accel.” emerges in the exhibition of Miller placing a strong focus upon each of these styles within the electronic stratosphere.

You don’t have to be a fan of electronic dance music to appreciate that this album is one of the finest of its genre. If you aren’t convinced, the best you can do is drop a few of these tracks onto your playlist and let the bass rule your workout. Jason Miller’s formula builds more layers, more levels of energy and gets higher and higher in pitch until the drop kicks in and it peaks and breaks into another interesting phase.

This makes sure you stay locked on while the Adrenalin pumps through your veins. This happens so beautifully on “Dawn Breaks” which is unhurried and atmospheric before the syncopated drums set in to set the tone and rhythm.

“Bass Quakes” moves in a similar way, between the liquid and dubstep extremes, and continues to layer every instrument perfectly. Guest vocals cement “I Remember Everything” as a standout. The drum beat, paired with a slow-moving synth line and a playful riff in the will make you want to move and not stop.

The track builds its layers up slowly, and with each addition becomes even more fun. When it reaches its peak it comes back with a sexy synth riff that works in time with the bass line. As the genres of electronic music continue to grow and evolve, trends will come, go, and be beaten to death. But what artists like Jason Miller do is bring back the integrity of electronic music.

“Nero Orchestra” has this apocalyptic, tense feel that builds drama and sets things up for the listener to expect grand things from the record. The track features some rumbling bass and frenzied electro rhythms under flamboyant orchestral movements.

“Flashing Hearts” adds a cool haunting element to the music, whilst the keys are strong in its wispy way, Miller conveys this sense of euphoric pleasure mixed with melancholy. Production wise the track features a bright blend of heavy hitting rhythms and razor sharp synth notes for a sound that is equally as dramatic as it is catchy.

Miller is great with the production on “Accellerando” in that the clapping beat, the keyboard breakdown and the shimmering video-game tone of the synth notes create an intensely playful essence to the song, making this a complete package that you can just lose yourself to.

On “Single Serving Savior”, Miller again provides us with a great sound for the song with his blend of thumping bass and 90’s styled synths, creating a funky moody that acts as the perfect dance floor companion. One of the very cool and unique things about this album is its ability to easily switch styles. Any good album tells a story, and that story shouldn’t just be confined to the same style.

The risk of putting something on your album that is completely different from your main sound is admirable, and in this case it pays off with tracks such as “Manuel Nightmare” and “Final Mix”. This isn’t an album set around mindless build-ups and drops; it’s so much more that what you would expect.

The two final songs, “Accel Saga” and “Shin Accel” further evidences how this album is full of catchy electronic-riffs, slow-builders and frantic highs; an all-engrossing set with each song carefully intertwined with the other, though totally different between them.

What Jason Miller accomplishes with “Accel.” is a reigning in and fine-tuning of what he began to develop previously. There is evidence of a stronger concentration on composition and arrangement than just delivering simply stunning sounds.

In short, this album is definitely worth listening to. The longer you listen to each song, the more you can take apart the layers, and see how much skill went into creating songs that work well on their own but manage to hold together an album with equal share.

OFFICIAL LINKS: FACEBOOKTWITTERBANDCAMPSPOTIFYITUNESGOOGLE PLAYDEEZERNAPSTER

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COPPAHEAD RELEASES “WORK” SINGLE DESPITE BATTLING AGAINST THE ODDS WITH TRAGIC SHOOTING http://soundlooks.com/2018/04/coppahead-releases-work-single-despite-battling-against-the-odds-with-tragic-shooting/ http://soundlooks.com/2018/04/coppahead-releases-work-single-despite-battling-against-the-odds-with-tragic-shooting/#respond Tue, 24 Apr 2018 12:10:15 +0000 http://soundlooks.com/?p=8102 This week brought news about North Carolina artist “Coppahead” working on more music, including his latest single “Work” https://www.youtube.com/watch?v=uRst0nA7AUg The video was actually filmed before the shooting incident.

It’s the first we have heard from the artist for quite some years years. Many people have been asking about the whereabouts of the GMF (Get Money First) music star Coppahead.  The harsh reality is that, Coppahead has had many complications from getting caught up in a street shooting back 2014. Since, the artist hasn’t been able to fully recover and has been left paralyzed.

In a recent interview, the rapper said: “The music gave me something to live again for I was down for three years before I decided to start back recording music I was scared that people didn’t wanna listen to me anymore”.

Now he is back working on new material, with an ever increased drive to shock the world, despite being wheelchair bound.

Growing up in rural North Carolina, all Coppahead knew was struggle, along with the love of his family. Constantly waking up and listening to the tunes of 2pac, blasting out his mothers boyfriends radio, introduced him to his love for music. Recalling songs like Brendas Got A Baby and Wonder Why They Call U Bytch, along with being inspired by a childhood friend, Coppahead began to grow his passion for making music.

So what is Coppahead rapping about? Real life experiences that stem from his own lifestyle to those of his friends. Being a music artist and former college student in the state of North Carolina, Coppahead is not begging for a record deal.  He defines success as being happy through following and completing goals. Within the next five years as an artist, those goals include being very successful and putting out hit records under his GMF label.

Just like many Black males in America, Coppahead is a product of his environment. An environment that taught him to survive and even try a different route: the school route.  After overcoming challenges and obstacles, Coppahead has been in the studio working hard to provide his true fans with life-inspiring and thought-provoking music. The fact that his music is not fabricated and consists of true stories, makes him unique from other artist in the industry, many of which rap about things they haven’t done.

Coppaheads music tells a story, most of what he has been through and without it, it would be a full time grind, providing by any means.  Possessing a large fan base in the state of North Carolina, Coppahead and GMF are known as trendsetters. Having one of the strongest movements in the streets, Get Money First plans to work on several big music projects including energy-driven live performances. Stay tuned to GMFmusic.net for the latest info on Coppahead.

About

Coppahead is an artist signed to the Get Money First label. Musicians under this label stem from New York and North Carolina, they all one general collective goal of earning money, providing for their families and making great music. These goals very similar to the likes of Coppahead’s idols and influences, including Tupac.

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Phoenix O’Neill: “Out Of The Ashes” remains accessible while never sacrificing its emotional heart http://soundlooks.com/2018/04/phoenix-oneill-out-of-the-ashes-remains-accessible-while-never-sacrificing-its-emotional-heart/ http://soundlooks.com/2018/04/phoenix-oneill-out-of-the-ashes-remains-accessible-while-never-sacrificing-its-emotional-heart/#respond Sat, 21 Apr 2018 16:46:14 +0000 http://soundlooks.com/?p=8098 Phoenix O’Neill grew up in Watford, North London and attended school in St. Albans. She was born into a musical household – her mother sang and played guitar, her dad was a drummer, and her step-father a singer-songwriter. Phoenix started writing stories and poems at age eight, songs at nine, and by thirteen, she had built a considerable portfolio. Her first live performance occurred when she was fourteen, at her mum’s friend’s wedding in France. Now at age twenty-three, Phoenix O’Neill has been giving heartfelt, memorable performances in and around the Hertfordshire area, and recently gained the attention of world famous producer James Sanger, best known for his work with Dido, Keane, Siobhan Donaghy, and Brian Eno.  James immediately paired up with Paul Inder-Kilmister (Lemmy from Motorhead’s son) to create Sangmister Music, where Phoenix worked with both luminaries on her debut EP in Joshua Tree, California. The EP, entitled “Out Of The Ashes” is set to officially release on April 30th, 2018.

Across the EP’s four tracks, the centerpiece of each song that sticks its finger right out of the speakers and into your face is Phoenix O’Neill’s vocals. Sure, there’s some pretty easy Birdy, Lorde and Amy Winehouse comparisons to be made to Phoenix’s sting-in-the-tail pipes, but really we should be paying closer attention to this woman’s own personal rasp, howl and under-breath murmur, emphasized through crystal-clear production, and we will discover a voice with confidence, sassiness and the utmost of class. All the while, the EP toes that fine and difficult musical line, remaining accessible while never sacrificing its emotional heart.

Whether she’s leading the charge in toe-tapping numbers such as the twirling “Cruel” and ferociously groovy single “I Need You”; or soulfully, emotionally crooning through smooth, intensity-switching balladry like the gorgeous “Alien”, and the sprawling mood-inducing “I Feel It”, Phoenix is pulling vocal moves like a professional veteran.

The liquid pronunciations and seamless transitions between her empowered husk and her seductive purr are worth any price of purchase alone. Phoenix lets her ability to convey emotional depth do much of the talking on these tracks. Her innate vocal intuition is truly the star of the show, and should be something celebrated by more and more people.

To say that everything else is a bonus would be to undermine the music and production – something no reviewer should be caught doing, regardless. On “Out Of The Ashes”, the music is tight as ever, creating vivacious and well-structured backdrops to Phoenix’s voice; bold and adventurous in its ambitious genre-envelopment.

Various guises of pop and urban soul make up the musical centerpiece, but subtle elements of alternative rock and electronics push the cutting edges of this recording. It’s all delivered with real enthusiasm and the production makes it sound huge, and profoundly captivating.

Phoenix O’Neill is the complete package, a fantastically unique voice that demands attention with beautiful song composition and a glowing physical presence. Phoenix does such a good job of making every song infectious. Every cut comes across as though you somehow already know it and with which you want to sing along.

The very familiarity of her warm voice paradoxically is what makes her different. Her vocals are simply impeccable, with which Phoenix O’Neill gives exquisite, rare and soulful performances. “Out Of The Ashes” is stunningly haunting and graceful.

*** Phoenix was recently awarded the international showcase fund support from the PRS Foundation to help towards costs, allowing the band to be able to perform at MUSEXPO which they are very appreciative for. Phoenix O’Neill is supported by PRS Foundation international Showcase Fund, which is run by PRS Foundation in partnership with Department of International Trade (DIT), British Underground, Arts Council England, The Musicians’ Union (MU), PPL, Creative Satland, Wales Afts lnternational and Wales Afts lnternational in association with Pledge Music.***

OFFICIAL LINKS: WEBSITESOUNDCLOUDFACEBOOKSANGMISTER MUSICSHOWCASE MUSEEXPO

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Lewis Griffiths Founder of Griffiths Records talks business and more http://soundlooks.com/2018/04/lewis-griffiths-founder-of-griffiths-records-talks-business-and-more/ http://soundlooks.com/2018/04/lewis-griffiths-founder-of-griffiths-records-talks-business-and-more/#respond Fri, 20 Apr 2018 21:21:44 +0000 http://soundlooks.com/?p=8094 We meet with the Founder of Griffiths Records, Lewis Griffiths, who talks about their next release the unheard tracks by Dub master King Tubby, his entrepreneurial business savvy, music, clothing, and future releases, as well as the general running of the label.

  1. How long have you been in the music business and how did you get started in the first place?

We have a clothing company named Griffiths-Clothing which launched some 3 years back. For me/us clothing and music goes hand in hand, you dress to what music you listen to, it’s a street thing a working class thing to do. With an infinite love of music it was a natural progression to start-up a record label to coincide with the clobber. I also worked at Sanctuary Records who bought out the like of Decca, Trojan Records, Treasure Isle etc, all the music that I bang was in to. Working there for 12 years is now proving invaluable with everyone coming back into the fold. It’s almost like it was meant to be, everything for a reason as they say! Truly blessed.

  1. Who were your first and strongest musical influences that you can remember?

I would say as a kid a staple diet of Motown, Stax and any kind of soul in general was played by our mum at home. My old man would play anything from Ska, Blue Beat, Reggae, Stones, Small Faces and Blues. Most weekends where spent partying with my parents friends to proper music. Unbeknown as a child but the music becomes part of your make-up and identity when you grow up. It’s most certainly never left me.

Lewis Griffiths (left) with Wapping Wharf author John Hellier

  1. Which artists are you currently listening to?

Bizarrely or maybe not a lot of King Tubby. Haha.

  1. You are releasing King Tubby, ‘The Lost Dubs’ how did you come across those?

To be honest I would rather not say, purely for the fact there is a chance of getting our hands on some New Orleans Funk from the same source all of which is right up our street and fits in perfectly with what we do. We’ll take one step at a time.

  1. Is it only King Tubby that you have?

No, we have a number unheard tracks by Bob Marley, Jackie Mittoo, King Stitt, Augustus Pablo, as well as further King Tubby tracks, plus other artists. All of which needs going through with a fine tooth comb with the artists estates. I still have to pinch myself with what we have on our hands. From listening to all these artists from an early age to releasing them is madness in its finest form. Having a love of early Jamaican music I count ourselves very lucky indeed.

  1. When will the tracks be released?

We won’t be releasing any tracks until we are sure we can do them justice. The King Tubby first release is almost there. The tracks have all been mastered, ICRS codes are in place it is only a case of having them pressed and the sleeve notes added. There is no point in releasing for the sake of releasing to make a quick buck and then fuckin it all up. It’s disrespectful to the artist.

  1. How many unheard tracks do you have?

If we release say four albums per year, we have more than enough to release for the next 5 years.

  1. Is there a website for any information on the releases?

Yes, it is at www.griffiths-records.com

  1. Do you currently have a preferred song in your catalogue, and why is it special to you?

Terry Shaughnessy’s ‘Volcano’. We released Terry’s LP ‘Songs From Another Life’. The first track off the album for release was ‘Volcano’. It went on to chart in the top 10 of iTunes, top 60 of the national charts, #1 in the industry recognised Hype Charts above no other than Damon Albarn who was in at #2, charted in Germany, Italy, France, Japan etc. A lot of hard graft went into the release by ourselves, Terry and his switched on manager Chris. It was satisfying to see the final results.

  1. Do you work with regular producers or studios?

No, we work with whoever fits the bill at any given time. I think too much of the same can cause yourself to become stagnant. It is and always will be about pushing the boundaries whoever we work with. Where are also happy to be led by the artist to a certain degree. At the end of the day we are not the ones with our name on the album, it’s all about the artist and moving forward. Saying that if it sounds shit, we won’t be part of it

  1. What key ingredients do you always try and infuse into your artists.

None at all. I wouldn’t have anyone telling me how we should run the business side, so we are in no position to be telling artists what to do. At the end of the day you treat people how you want to be treated yourself. If you are being fucked, everyone ends up getting fucked. Simple!

  1. What has been the most difficult thing you’ve had to endure in your life or music so far?

In life? Nothing at all. I feel completely blessed with what I have as well as the good people that surround us. We are all of a similar mind set. At the end of the day if those we work with didn’t believe in us we would be in the position we are in now, it is down to them. No matter what life situation I have been in (some have been extremely shit when I was younger. A wrong’n by my own standards and all brought on by my own accord) there is someone out there in a far worse situation than me. That is the long and short of it, someone out there is suffering a lot worse than any situation I have been in, I have no reason to complain whatsoever, never will. On a music vibe, I suppose it was trying to convince others what you have to offer as a label is mustard. Then you get to stage where you think, no actually, fuck them, it’s only there opinion at the end of the day and it counts for nothing. Maybe it is me but I don’t think we are liked much to be honest, I prefer that in a way. There seems to be a mentality, especially in the UK where people like to see you fail, I really don’t understand it? Then you get to the stage we are getting to and all of a sudden, they all know you and want to be your best mate. It’s all too fuckin late when that happens as far as I am concerned. We will always do what suits us and those around us, we won’t follow any rules and up until now that mentality has served us well.

King Tubby – The Lost Dubs art work

  1. What would you consider a high point in your career so far?

None, there never will be. I am not hung up on accolades; we are just doing what we do. If we get plaudits, nice, we’ll take those as a compliment. However that does not mean we will rest on our laurels.

  1. How would you define ‘success’? Do you feel you have already reached it in some way? If not what do you feel you would still have to achieve to consider yourself successful?

The only way we would have been successful or not is how we are remembered. We are not driven by coin or having the biggest house or keeping up with the Jones’. It’s all about leaving a body of work behind which is cemented in history and that will be our legacy. If we are successful we will be spoken about in years to come, if not, we failed.

  1. Which aspect of being an independent label and the music making process end excites you most and which aspect discourages you most?

What excites us? I couldn’t think of one aspect of doing anything at all if it does not excite you. It’s the same as a relationship, if you no longer feel anything for a person it has to end. It is the same as doing what we do, whilst it still fuels the fire it can never be boring, every day is blessed and exciting. Life is for living, its short, don’t go through life with what ifs. On the discouraging front, there is nothing, I can’t think of a single reason where anyone’s opinion or a kick in the teeth has questioned what we do. At the end of the day there will always be knock backs in every walk of life, of course there will, it’s the way you deal with them that matters.

  1. What does music do for you?

It’s escapism. I rarely watch tele, music is played 24/7. Like a piss head escapes from reality with booze, I’ll get mine through music. It can change my mood, subdue the pressures in life, or take me off to another dimension.

  1. Where do you see yourself in 10 years?

I’ll be travelling coast to coast watching sunrise and sunsets, living off the fat of the land out of the back of a van. 110% that’s what I’ll be doing regardless of what happens, albeit I’m sure I’ll be still grafting in some way, shape or form. At the moment we are treading on the coat tails of everyone who has got complacent and fallen out of reality. They can either accept we are gunning for them or move to the side before they’re steam rolled over. That’s not arrogance talking; it’s a matter of fact and confidence. With fact and confidence combined it creates a beautiful thing. We are different to anything currently out there. We say what we’re going to do and follow it through, 99% of the time. We have parted ways with bands and projects in the past. Would I say that was any fault of our own, no I wouldn’t. We’ll back whoever we are working with but once were crossed it’s done. When it’s spent, it’s spent, there no point in going back. 10 years from now we will be a force to be reckoned with.

  1. What are your thoughts on streaming services like Soundcloud, Spotify, iTunes, and the rest of them? Do you think they’re giving artists a fair shot, or do you see a grain of exploitation at work?

I don’t think an artist is getting a fair crack of the whip with any of those. You ask any independent artist who has put blood, sweat and tears in to an LP which costs in the region of £30k to produce why they think getting 99c per track sold on iTunes in return is cool. It is farcical in my eyes, all that needs to change, I don’t know how but it does. The above have had the monopoly on it all for far too long.

  1. What makes you tick

Mouths to feed, bills to pay, people to look after, proving the doubters wrong. Much the same as anyone.

  1. What’s next on your upcoming agenda?

We have a new clothing range to release, 5 more books, 2 films and a rake of music to get on with. Believe in it, believe in yourself, work hard and it is a given it will happen.

Links – www.griffiths-records.com

Tubby YouTube – https://www.youtube.com/watch?v=oAdzSwDos4w

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G.H. Hat: “Sukiyaki (feat. Alina Renae)” – an unwavering dedication to his sound http://soundlooks.com/2018/04/g-h-hat-sukiyaki-feat-alina-renae-an-unwavering-dedication-to-his-sound/ http://soundlooks.com/2018/04/g-h-hat-sukiyaki-feat-alina-renae-an-unwavering-dedication-to-his-sound/#respond Thu, 19 Apr 2018 20:12:44 +0000 http://soundlooks.com/?p=8091 Seldom does chance have it that an electronic music producer is as simultaneously celebrated by both seasoned and novice fans of the genre as G.H. Hat is. The relative newcomer boasted 290 Classical track releases prior to officially starting his EDM career with two Triphop songs which saw him rack up Soundcloud Top 50 Charting, and continuing with many placements on Official Spotify playlists. In 2017, G.H. Hat achieved national Billboard success with “I Got a Problem (I Wonder…) [feat. Mickey Shiloh]. And 2018 has continued to rake in more success with the producer dominating many Spotify playlists and being picked up by radio stations, cable and TV video channels in 45 countries.

This is a period during which G.H. Hat’s creative process has evolved into one of the most highly regarded sounds on the market, and with the release of his brand new 3-song EP, “Sukiyaki (feat. Alina Renae)”, it’s no exaggeration to suggest that this time in music seems to belong to him.

As if the music itself weren’t layered enough, G.H. Hat chose the most enigmatic ways imaginable to build up to the track’s sonic spectrum. The EP features the original version of the song, followed by the ‘Not so Chill Version’ and finally a stunning, and unusual Instrumental Version’, featuring a fiery electric guitar as lead instrument.

This is not the type of sound you would normally associate with EDM, but G.H. Hat once again shows his courage to break down the barriers on this track. His unwavering dedication to his sound and his utter disregard for any current genre limitations will no doubt earn him unanimous respect during the following years.

My guess is that years from now when the world looks back on this era in music, it’s likely that they won’t remember many famous more EDM artists as strongly as they’ll remember G.H. Hat.

The way he utilizes the benefits of modern production software puts his skill on par with that of a classical composer (which of course he is!). Seeing him at a career high, his fans can only hope that he’ll be able to keep the momentum moving forward and continue to put out the caliber of music that serves to define a generation.

However anyone who knows G.H. Hat.’s music, understands that the man is an overachiever. It’s this perspective where you can really appreciate “Sukiyaki (feat. Alina Renae)” for the technical and composition marvel that it is.

The song keeps the listener in house heaven until the graceful fade out into the following tune. Epic, swelling pianos and chilling, stratospheric synths developing alongside the wide, perfectly layered melody that encompass the traditional  G.H. Hat formula honestly sound cleaner and crispier than ever here. Simply put, there’s house music…and then there’s G.H. Hat.

The flawless atmospheric build into the main hook is in the masterclass level of production expertise that G.H. Hat brings, to make every single note of every sound, an emotional connection that mixes with the music to create something truly extraordinary. This is G.H. Hat at his very best, which is something that all electronic fans should experience.

The cherry on top is the melodic resonance that Alina Renae’s vocals brings to the track. The song’s featured songstress, has had numerous tracks chart on Beatport, including breaking into the Top 10 four different times in three different categories and has been in regular rotation on MTV, Fuse, Sirius XM, Vevo, and more. With several songs having over millions of views on Youtube and plays on Spotify, Alina continues to gain strong media attention from all over the world, making her a perfect match for G.H. Hat.

OFFICIAL LINKS & SOCIAL MEDIA:

Website: http://ghhat.com
Spotify: https://open.spotify.com/artist/4JVfdkh46RFrpEl45u8D9A
Soundcloud: https://soundcloud.com/ghhat
YouTube: https://www.youtube.com/c/GHHatMusic
Twitter: https://twitter.com/G_H_Hat
Facebook: https://www.facebook.com/ghhatmusic/
Instagram: https://www.instagram.com/mrghhat/
Bandpage: http://Bandpage.com/ghhat
Reverbnation: https://www.reverbnation.com/ghhat
Google: https://plus.google.com/+GHHatMusic
Pinterest: https://www.pinterest.com/mrghhat/
Tublr: https://www.tumblr.com/blog/mrghhat
N1M: https://www.numberonemusic.com/ghhat
Bandcamp: https://ghhat.bandcamp.com/
Songkick: https://www.songkick.com/artists/8942719-gh-hat
SonicBids: https://www.sonicbids.com/find-musicians/gh-hat-los-angeles-songwriter/
Itunes: https://itunes.apple.com/us/artist/g-h-hat/id1084900204
Shazam: https://shz.am/a202633555#gh-hat
Amazon: http://bit.ly/ghhatamazon

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The Husk platform provides an effective advertising platform for musicians on Spotify, Soundcloud, and YouTube http://soundlooks.com/2018/04/the-husk-platform-provides-an-effective-advertising-platform-for-musicians-on-spotify-soundcloud-and-youtube/ http://soundlooks.com/2018/04/the-husk-platform-provides-an-effective-advertising-platform-for-musicians-on-spotify-soundcloud-and-youtube/#respond Thu, 19 Apr 2018 01:04:45 +0000 http://soundlooks.com/?p=8088 The Husk is one of the fastest, most effective and direct advertising platform for musicians on Spotify, Soundcloud, and YouTube. It’s a one of its kind platform that provides innovative tools for artists, blogs, curators, labels and other music personnel to grow and promote their work. What makes it different from other music promotion platforms is that it is simple, comparatively cheaper and drives guaranteed traffic directly to the user’s Spotify, Soundcloud or YouTube account.

The Husk is the brainchild of ‘The Drunken Coconut’, a Canada based music marketing and consulting company owned by Ariel Carter & Ryan Thompson. They both started the company in 2016 following their passion for music and to provide a variety of services for artists, labels, agencies, and others in the music industry. To take further their experience in PR campaigns, Press kits, social media marketing, Advertising, Blog Coverage, Distribution and more, they developed the world’s highest monetized platform in the music industry called The Husk. Inspired by the response received for this platform, they created another platform called ‘Grow With Us’, the first and only direct advertising tool for Spotify, SoundCloud, and YouTube that guarantees results.

Ariel and Ryan have worked with hundreds of artists of all genres across the world and hold immense experience and insight into the marketing aspects of the music world. The platform that they have created can bring thousands of listeners per month to the user’s channel or playlist. The users don’t require any knowledge or experience in advertising and they can simply sign up to get their campaign running in a few minutes. They also have the freedom to choose their budget and the amount they’re willing to pay per conversion.

Unlike the other music promotion platforms, Grow With Us promises guaranteed results for the money the customer will be spending. They are charged per new follower they gain. To sign up, the user can choose which account or playlist they want to grow and mention how much they are willing to spend for it. After which they can start garnering active and verified followers to their account and playlist. More information about the services can be found at thehusk.ca.

Contact Details

Company: The Husk

Website: The Husk

Country: USA

Email: support@thehusk.ca

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Dig The Reggae Meditations: Jahmings Maccow – ‘Trod It Through’ http://soundlooks.com/2018/04/dig-the-reggae-meditations-jahmings-maccow-trod-it-through/ http://soundlooks.com/2018/04/dig-the-reggae-meditations-jahmings-maccow-trod-it-through/#respond Mon, 16 Apr 2018 12:47:51 +0000 http://soundlooks.com/?p=8085 LETMEGOO Records proudly presents a brand new cut from the ubiquitous Anguillian-come-New York resident Rastafarian Jahmings Maccow. How to describe this latest output from a man with thirty years of recording experience behind him?

A deep and uplifting reggae soul cut would be a start. ‘Trod it Through’ first came about during solitary sessions at Manhattan’s Rocket Studios, circa mid-to-late 80s. Throughout the following thirty years, the song found itself evolving through several bands and incarnations to finally see the light of day in all of its sagacious energy, here on LETMEGOO Records.

Maccow stands like a mound, unassailable, waxing truths as his band spins dreamlike reggae textures that whirl and curl like rising smoke. He is unafraid to challenge that which you might be inclined to ignore, to tell you that “innocent blood will have to shed” while an angelic chorus of backing singers respond “we’ve got to trod it / trod it through”. Love, life, loss and togetherness are on Maccow’s mind, beautifully executed and brought to life in a swooning reggae rock ballad

The poet’s touch is evident in the couplets that anchor in the verses, imparted with a delicacy that reveals Maccow’s lifelong dedication to the artistic path: “See love coming down the street / see love, no shoes on its feet”. Thick-skinned wisdom also springs to mind, and a desire to do justice to the large concepts that Maccow takes in his stride, both musically and philosophically.

Over his distinguished career, Maccow has cultivated somewhat of a reputation as a reggae renaissance man. Here is an artist that has been responsible for some of the deepest reggae and roots rock coming out of the East Coast; the ex-Catch-A-Fire and Enforcers man has been out as a solo artist since the late 90s, captivating audiences across the city with his soulful brand of guitar-based reggae songwriting. Reggae aficionados will be delighted to finally get a chance to hear ‘Trod it Through’, the song that has skirted the edges of Maccow’s career for three decades, shaping – and being shaped by – his vast oeuvre spanning roots, reggae and rock music.

You can already picture the blue waters of the Caribbean as the slow tide laps your feet; this is Jahmings Maccow at the top of his game.

‘Trod It Through’ is released on iTunes. In the meantime, check out Jahmings on Facebook and Twitter, or over at his website.

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ESP EVOLUTION New Music to Inspire The World – ‘WISHING ON A FALLING STAR’ http://soundlooks.com/2018/04/esp-evolution-new-music-to-inspire-the-world-wishing-on-a-falling-star/ http://soundlooks.com/2018/04/esp-evolution-new-music-to-inspire-the-world-wishing-on-a-falling-star/#respond Mon, 16 Apr 2018 09:09:56 +0000 http://soundlooks.com/?p=8082 ESP EVOLUTION is sending the world a message of hope, freedom and unity in their song ‘WISHING ON A FALLING STAR’. This duo consisting of music producer and guitarist Overdose and singer and songwriter The Lady Capri, are heating the airways with this urban, rhythmic and catchy song.

Together the two have created a track that will definitely catch your ears, make you move and inspire you to keep pushing and make your dreams come true.

“Our song ‘WISHING ON A FALLING STAR’ is an anthem of hope and freedom. No one, no matter who you are should let anyone tell you how to live your life. We all came here with our own mission, our own unique gifts and it’s our duty to bless this world with those gifts.” – Overdose & The Lady Capri

Stay tuned for more from ESP Evolution, coming soon! “WISHING ON A FALLING STAR”

The Artist: Overdose and The Lady Capri, have come together with the sole mission of saving the world from the monotony of manufactured sound! ESP EVOLUTION creates music that will evolve your musical taste buds and make you groove outside the box. Overdose, who has produced for artists such as Tank, Aaliyah, E40, and Fat Joe among others, formed ESP EVOLUTION with The Lady Capri in 2010. Overdose and The Lady Capri now create music together with the sole mission of uniting people through music. Inspired by the phrase the “Mitakuye Oyasin”, which is sacred among the Native American Lakota people and translates to “we are all related”, ESP EVOLUTION brings an eclectic hit filled infusion of pop, rock, hip hop, r&b and some reggae to the world.

ESP Evolution has had the pleasure of playing many of LA’s top venues like Whisky a Go Go, House of Blues Sunset, House of Blues Anaheim, Molly Malone’s and a host of others. Website / Facebook / Twitter / Instagram / SoundCloud For All US Media Inquiries: Lana Moore / possiblesideeffectsrecords@gmail.com / (310) 363 – 5459

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NuJ4X: “Dab (On Dem Haterz)” – glistening and eminently marketable http://soundlooks.com/2018/04/nuj4x-dab-on-dem-haterz-glistening-and-eminently-marketable/ http://soundlooks.com/2018/04/nuj4x-dab-on-dem-haterz-glistening-and-eminently-marketable/#respond Fri, 13 Apr 2018 14:36:39 +0000 http://soundlooks.com/?p=8079 Waverly, Tennessee’s masked EDM DJ / Producer, NuJ4X, has set his sights on making a splash with his debut single, “Dab (On Dem Haterz)”. The journey for NuJ4X started when he asked his 13 year old son what he wanted to become. On replying, “a DJ”, NuJ4X wanted to show interest in his child’s choice and strengthen their bond, hence he started playing around with music…and liked it. After countless weeks, days and hours learn how to craft instrumentals, NuJ4X began to find his rhythm. Upon doing so, he created the instrumental beat for “Dab (On Dem Haterz)” and decided he really liked it. Offhand he jotted down the lyrics to what would become his debut single. He decided that he liked it so much, that he needed to release it to the masses. After time spent brainstorming, the moniker “NuJ4X” was created, along with the mask, dreads, and an all new brand.

The glistening and eminently marketable “Dab (On Dem Haterz)”, is a pleasant and inoffensive affair – unlike its general genre traits – with great hooks and definitely a professional slickness. From the first few seconds of the track it’s abundantly clear that NuJ4X is aiming for a very specific kind of starry-eyed, mid-tempo electronica with a wide appeal.

Influences and intent aside, he does bring to his work an appealingly uplifting production style. It gives the track a unified groove that nicely complements the studio vocals he’s recruited for the project, which acquit themselves well.

Indeed, it’s hard not to get swept up in the stylish hooks or the shimmering bounce of “Dab (On Dem Haterz)” both of which make a compelling case for NuJ4X’s pop sensibilities. When he nails it, he nails it. NuJ4X is a talented producer who certainly knows how to achieve his vision. Moreover, the track’s overriding simplicity is the main component of its charm.

Instead of diving head first into over-the-top drops or adding too much to the production, the vocals shine and the nuances of the song’s moving atmospheric elements get their time in the spotlight too. If the goal is to make people want to dance and send them a positive message as well, then “Dab (On Dem Haterz)” succeeds in doing both.

Fusing together lush electronics, cutting edge production elements, some rap, and melodic pop sections, into what will probably become his own unique signature EDM sound, NuJ4X is serving a vivacious beat that’s combined with a real taste for creativity. This is one of those songs that remind you how powerful you can make simple melodies by nailing the delivery and soundscape.

NuJ4X knows how to take the listener out of the room they are in and into his musical domain where he shares his feel-good vibes. And quite honestly, we’re more than ready for this experience. One minute you’re feeling content and calm, the next you have energy surging through you.

Sometimes you can come across a musician whose music surprises you. NuJ4X is one of those musicians. As he works to perfect his craft NuJ4X has been recording future singles, like “Confessions of a Pop Star” which was written for, and about Lady Gaga, “Bad Boy” which is a testament to no matter how bad the boys are, the women still desire them, and finally “Big Beats” which is NuJ4X’s ode to music.

These will lead up to his debut album which will be titled “DJ for teh Lulz”. The title is derived from NuJ4X poking fun at himself for trying to break all of the rules in the EDM genre and subvert the methods everyone else is using. Never taking himself too seriously NuJ4X has arrived at this point as a testament to his love for his son, but he’s staying for power of the joy that music brings to all of our lives.

OFFICIAL LINKS: WEBSITESOUNDCLOUDINSTAGRAMFACEBOOKTWITTERBANDCAMPITUNESAPPLE MUSICSPOTIFY

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Aryeh Leib Hurwitz is a Brooklyn-based singer and cantor whose brilliant voice has been featured all over the world! http://soundlooks.com/2018/04/aryeh-leib-hurwitz-is-a-brooklyn-based-singer-and-cantor-whose-brilliant-voice-has-been-featured-all-over-the-world/ http://soundlooks.com/2018/04/aryeh-leib-hurwitz-is-a-brooklyn-based-singer-and-cantor-whose-brilliant-voice-has-been-featured-all-over-the-world/#respond Fri, 13 Apr 2018 00:30:40 +0000 http://soundlooks.com/?p=8073 Aryeh Leib Hurwitz is a Brooklyn-based singer and cantor whose brilliant voice has been featured all over the world. His repertoire consists of many different melodic genres and songs in a variety of languages, including Opera, Broadway and Modern Jewish music.

Aryeh released his debut single “SHEYIBONE” on SEFIROT RECORDS on February 26th, which was followed by the live music video for this song.

“SHEYIBONE” is a very unique combination of Chazanut and Jazz, which makes for a perfect rendition of this classical Jewish song. It features a truly all-star team working on it: performed by the Eyal Vilner Big Band, conducted by Meir Briskman, sung by one prolific Chazzan and Singer ARYEH LEIB HURWITZ, mixed and mastered by Grammy Winning Producer Brian Forbes.

The single has already gotten terrific feedback from both the American and Israeli Jewish music communities, as well as from outside of Jewish society in Germany, France, Italy, Canada, USA and UK. “Jewish Frank Sinatra meets Pavarotti meets Rosenblatt!” – that’s how it’s been called by press and music critics!

Official Website:
www.aryehurwitz.com

Social:
Instagram
https://www.instagram.com/aryehlh/
Facebook
https://www.facebook.com/aryehleib.hurwitz
The single is available on:
SoundCloud:
https://soundcloud.com/user-57048189/sheyibone
Spotify:
https://open.spotify.com/album/4rIPvoJjg2wX6HArB2OrfZ
iTunes:
https://itunes.apple.com/us/album/sheyibone-single/1353246594

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