Quad – “Love” embellishes each track with his personal revelations

Based in the south of Chicago, Quad started making music when he was around 14 years old and started taking it artistically seriously two years later. He produces, records, mixes and masters, using only a Blue Yeti microphone and FL Studios. So far Quad has written over 300 songs and released 1 EP, 1 Album and 8 singles. Currently training as an audio engineer at SAE University in Chicago, Quad explained that his latest album “Love” describes his personal understanding of the sentiment. The album “Love” was written and recorded over the course of 2 months after Quad was electrocuted

Acemattz & Bipha shine on “Tshanana”

Watching Acemattz & Bipha perform in any of their videos is like watching friends realize they’re onto something big time. They are accomplished rappers individually, on their own terms, and as collaborators, as a unit, their styles gel perfectly. They’re not just comfortable performing together—they are feeding off of each other, refusing to be one-upped, beaming and grinning and head-bobbing as they take turns impressing one another. By the end of each of their performances, their formation into a real show-stopping combination seems inevitable. In the new wave rap scene, there is plenty of talent to go around, Acemattz &

FuzzKill – “The Get Better” reaches all the expected heights!

FuzzKill is a four-piece rock band that started in Boston, MA. Introduced to one another through musical theatre, the band’s sound is firmly rooted in early 2000’s pop-punk influences. They released their debut studio album, “Happen”, in early 2019, and their sophomore album, “The Get Better”, just dropped on September 19th 2020. We have all heard the biggest punk bands of the 90’s and early 00’s. Their music mainly consisted of driving drums, distorted pop-punk guitar work and a set of memorable lyrics to go with the angst-filled high energy vocals. Today punk bands are a rarity, and any good

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Dan Friese is an Oregon-based songwriter, performer and multi-instrumentalist. In April of 2020, he released his debut EP, ‘Happiness’, a collection of self-reflective psychedelic indie-folk tracks. His first full-length effort, ‘Jane Songs’, was released on September 18th, and is available on all major platforms, along with the singles “Streetlight” and “I Can’t Say”. There’s a lot to appreciate on the new album, and Dan’s voice is arguably the most attractive aspect. Moreover, his vocals are often enhanced by inspiring songwriting and raw emotion, not to mention a wealth of down to earth acoustic guitar strumming. Dan Friese has an organic,

INTERVIEW: C.E.N. – the voice of the people

Born in Oklahoma City, Oklahoma, and currently a resident of Dallas, Texas, C.E.N’s natural proficiency over poetry allowed him to produce meaningful and profound lyrics. Although he initially took the initiative to become a music artist for fame and fortune, he later realized that all he desires as a musician is to be respected and valued for the art he brings to the table. His music is deep lyrically and spiritually. Can you tell us a bit about where you come from and how you got started? C.E.N.: I was born in Oklahoma City, OK, and was raised in a

Hitrocker – “Project One” – breathtaking sound design!

Hitrocker is a German based producer who creates mainly within the EDM subgenres of House, Electro and Deep House. His first album, entitled “Project One” was released at the end of July, while “Project Two” is also out now. When I clicked on the playlist of “Project One”, I was met with song titles that were merely numbers – such as “Project 1.1” or “Project One.Four”. This falsely led me to expect generically themed instrumentals, simply meant to rock the dancefloor. Wrong. Well not totally. They do rock the dancefloor. But they also do a whole lot more. These are

Rashod Holmes Announces New Single ‘The One’

The soul singer relives how he met his wife and started his family on a tender new song. Rashod Holmes is known for bringing romance to life with his evocative voice, but he has never told as personal a story as the one he tells with his latest single. ‘The One’ is a true life love story that acknowledges the struggles and triumphs that go into building a long-lasting relationship. “I found the one for me” Rashod sings. “She is the girl of my dreams.” While Rashod is convinced that he has found the perfect partner, there is much more

Billy Ray Rock – “Get The Funk”- hitting up all the classic tenets of funk

Washington State Singer-Bassist, Billy Ray Rock, plays more than 10 instruments and produces and performs every instrument you hear in his music. From Rock to R&B and Dance, Billy delivers them all. His single “Get The Funk”, simply adds another delicious flavor to his sonic menu. His unearthly bass chops, resonant vocal wobble and inner funk DNA is scorching hot, while it straddles the genre’s trademark grooves. Blaring horns and slapping drums accompanies the party-styled adlibs, as the track treads its momentum. If you’re looking the glossy high-tech dance-club funk perpetuated by bands like Chromeo, then this is not the

Vincent Krennerich – “Verlassene Stadt” – plenty of delicate aural color

Vincent Krennerich is a composer, songwriter and pianist from Germany. The artist, who has featured on our pages before, has released his double-side single, entitled, “Verlassene Stadt”, which translated, would mean ‘abandoned city’. The second track, contained in this set, is called “Morgengrauen”, which in English, would mean ‘dawn’. However if you heard these compositions, there would be no need to translate them, as Krennerich’s music describes itself rather poignantly. Though stripped back and basic solo piano, the key to the success of both these recordings, is the propensity Vincent Krennerich has in composing subtly fine melodies. Both tracks have

Hybrid Blues fuses stellar musicianship, heartfelt songwriting and soul-stirring vocals

Out of Aotearoa (New Zealand), Hybrid Blues are a 4-piece band, made up of Mike Everard (guitars, vocals), Adam Pendred (bass), Mark Schaumann (drums) and award winning front-man, singer-songwriter Roy Hudson. The band signed to SGNB Records USA, has just released its self-titled blues-based album. No two songs on “Hybrid Blues” sound the same. The record not only showcases Roy’s abilities as a singer and a songwriter, but also highlights the wide range of influences that have impacted on his music. The album takes you in so many different dynamic directions that it can feel a little dizzying, while the

Interview: DOMINO GREY – The Intellectual Electronic Music Artist!

Electronic Music producer, Domino Grey from New York, has influences that range from HipHop to Deep House. He is part of a group that releases instrumental music under the name Fallout Shelter and producing records as Drew Spence and Dynamics Plus. Recently in an exclusive interview, Domino confirmed that his  prowess and skills are not only confined to keyboards and mixing desks. The man (and artist) comes across as a rational and intelligent being, who completely understands his art and the sacrifices necessary to move within, and more importantly around and outside of its boundaries successfully.

1. How long have you been doing what you’re doing and how did you get started in the first place?

Domino Grey: It’s been a few years now doing electronic music after many years doing Hip Hop and Rap. I think there’s some kind of artistic debt in trying to give the same kinds of experiences with my music that I had, when I was younger. I want to recreate what I felt then for someone else.

2. Who were the first influences on your sound and who do you consider the most influential electronic music producer in your genre today?

Domino Grey: Influential for today, I would say Deadmou5 and for dub enthusiasts, Skrillex -more so, for what they have accomplished, than their musical sensibilities overall. I think many artists see them as the end goal for their musical aspirations. It’s a little funny when the kids only look at their last two years in the big spotlight and think that’s all there is to it. So easy. Those are developed artists with long histories and are not overnight success stories. I tend to be inspired by ideas and not sounds or production techniques.

3. Do you remember the first piece of software or equipment that you actually purchased, for your productions, with your own money?

Domino Grey: First, I’m not so sure of, but most significant would be the Ensoniq ASR0-10 sampling keyboard. I bought it brand new from Sam Ash for over 2 grand, at a time when you didn’t know who else was using it besides yourself. There wasn’t a fantasy in my head like if I get this, I’ll be just like so and so. It was all about what it could do for me. When I forked over the money I thought “Okay, now you’d better be serious about this.”

4. Do you consider your compositions, ‘dance music’ or ‘listening music’?

Domino Grey: I slide around. Some tracks are squarely dance-able, some head nodders and others are just background music for your daily doings. I like to start from a fresh angle and see what I stumble across and then push harder in that direction.

5. Do use loops, construct samples and beats from other sources, or do you strictly play and compose from scratch?

Domino Grey: Depends on the zone I’m in. I started out sampling from vinyl, so the availability and scope of sample libraries is still a little staggering to me. An open break was such a great find, now you spend less than the cost of an evening out and get a thousand elements at your disposal. I’m a keyboard and synth guy, but basically I play every instrument pretty crappy. Even so I throw a bit of my live playing in the mix. I usually have a big concept in mind and then begin with noodling around on a piano and programming a synth.

6. What do you think is the prime, key ingredient in a catchy electro track? Beat, Melody, Breakdown, Bass-line or maybe something else?

Domino Grey: I’d say sound design. We can still run over a 4/4 beat and it’s not like the electro aspect is about new chord progressions. Breakdowns run across all the sub-genres of dance, so I’d say it’s a particular sonic sensibility that rules that arena. Same with Dubstep; It’s not really the modern Dubstep till the processing and sample manipulation occurs. I’m speaking beyond the wub wub baseline.

7. Do you enjoy doing collaborations, if so, with which artists would you like to collaborate in future?

Domino Grey:  For the love and legacy, I’d say Crystal Waters. I would love to rock with Lady Miss Kier [Deee-Lite]. For total freshness, I’d go with Gaga and Rihanna.

8. Which of your compositions is your personal all-time favorite, and which one is the absolute crowd favorite?

Domino Grey: Oh tough one. Minimal vocal would be “We Can Go Dancing” that one always works and “Let My Spirit Run Free” is a monster. Favorite? Maybe “Primal Themes and the Beating of Wings” That set off the whole Butterfly Affect series visual, so that’s a pretty important record to me.

9. Which ingredient do you think is most essential in making your sound the way it is?

Domino Grey: My ear. I listen back and I don’t hear anything ultra-complicated, but somehow there’s a common sound that rings throughout all my music. It’s as simple as my judgment about what sounds good. I’ve said that music is nothing more than a particular sound placed when. The choices an artist makes about those aspects define who they are.

10. When composing a track how do you normally work? Do you start with the drums and build from that?

Domino Grey: Not always, but I try to get something groovy going pretty quick. I consider that the foundation. If a track doesn’t work stripped down to its bare elements, I know there isn’t enough junk in the world to throw on top of it – to make something worth listening to.

11. Do you mainly use analogue or digital sound sources? Which is your preferred choice?

Domino Grey: I like analogue or virtual analogue sounds with digital processing. I even see my tendency to use samples from analogue or traditional instruments. But I love the options afforded by software. I only really shy away from sounds and music created from maths alone.

12. What aspect of the music producing process discourages you most and what part excites you the most?

Domino Grey:  Most exciting is the moment I realize something I’m working on is useable. There’s a silly joy when it makes it to a record someday status. Most troublesome is balancing the mix to be suitable for all systems. It’s still a mastering limitation to hit that perfect middle so that my music sounds good in every environment.

13. Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors when recording and mixing?

Domino Grey: I like using nice near-field studio monitors during the creative process so I can hear all the details and then I switch to an array or expected listening devices, like headphones, car stereos, and budget computer speakers to make sure the mix translates well.

14. How important do you think it is to have your music mastered commercially?  Do you master yourself, and if so which tools would you recommend?

Domino Grey: Depends on your destination. If you make headphone-angled music, then you have some freedom, but if your record is expected to land in a rotation or mix, then you need to fall in line. It’s a must. Find somebody that does the mastering well, it’s worth it. The tools take second place to how well you understand the process and how tuned your ears are. I’ve used a bunch of different systems and I find iZotope’s Ozone to be the most comfortable. It’s a learning process and also a study in self-discipline. It’s the line between what you like and making a record that’s so neutral, the listener gets to decide what they like best because every aspect is allowed to shine.

15. At this time in your career, which is the one factor you desire most (increased music distribution, better quality production, more media exposure, more live appearances etc…)?

Domino Grey:  Exposure, both media and larger venues. I expect to keep improving sonically and artistically and discovering new avenues for distro, but really it’s the gatekeepers and tastemakers that add the salt to the Saltine.

16. In your opinion what are the biggest barriers that electronic music artists and producers have to face today, to achieve any commercial success?

Domino Grey:  It’s the fact that our music is geared towards venues and volume. You don’t really go out and buy a single dance record; you go out and pursue an experience. You go clubbing, you jam a playlist. Our music isn’t topping the charts for sales, but the interest is massive. That explains the disparity. It’s not enough to create music anymore, you must physically go out there and DJ-producer-artist-hybrid yourself into a live show. It requires a lot of help to break through.

17. Are you totally self-financed, or do you have sponsors and benefactors who help promote your career?

Domino Grey:  It’s just me and my industry connects. My AVXP label is for my own vanity. It’s the umbrella for the insanity of my own music. I would love a larger support system, but I’ve never been about waiting for a ride when I can start walking there myself.

18. Is having Platinum sales or winning a Grammy important to you? Where would you like to see your career within 5 years?

Domino Grey: Sales would be huge. Man, listen; when somebody buys my record now, it’s a big deal because I know how readily everything is for free and in abundance across the net. That’s a huge, huge statement to me- every time someone shells out for my music. I tend to think of awards as rewards, mostly for those same record sales so it’s almost expected when you tap those levels.

19. If you had to choose only one media method between Radio, TV, The Press or the Internet, to diffuse your music promotion. Which would it be and why?

Domino Grey: It’s a weird time because each medium seems to feed off the other. TV reports what’s huge on the internet and the internet press loves to offer its opinion on TV and film. Radio seems more focused on talking about the personalities behind the music than playing a wider selection of the music that’s available. I think if you can be the main topic on one, the rest will follow.

20. If you were not a music artist and producer, what would you be doing today?

Domino Grey: This question is like seeing me leaving the coat check and asking what I’d be doing if I didn’t get past the doorman. Honestly, I’d be a guy still waiting on line outside. Right now, I’m trying to get to the dance floor. And after I dance a bit, I’m giving the DJ my request and hopefully I’ll get to sit in VIP, but for now, I’m glad they let me in and I’m just here and looking to move my feet. I think if there was ever another choice for me I would have taken it and been the guy that turned around and went home when I saw how crowded the club is and how long the line was. We’re done? Okay, thank you for this interview. I appreciate your space.

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