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

Dan Friese – ‘Jane Songs’ is something to be treasured!

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

Collaborateurs: “Marshall Sessions” – a rebirth for real music?

I’m in love with this album. “Marshall Sessions” (as in Marshall, NC) is filled with beautiful melodic themes, sweeping lush choruses, and one of the smartest rhythm sections I’ve ever heard in a little while. The Collaborateurs make music that is evocative of the psychedelic sounds of the mid-1960s rock-and-roll era right up until the indie rock and pop scene of today, and everything in-between. And that’s about the closest you can come to describing the all-embracing styles catered to across the 17 tracks available on this album. When I started listening to this album, I did a double take.

The sound is a total anachronism compared to today’s mainstream music. The music is challenging, melodic, trippy, funky, and even jazzy at times. The sound is complex and savvy—very pleasant and exciting to listen to if you crave a creative sound similar to what was coming out during the various golden eras of rock. “Marshall Sessions” will go into heavy rotation in my home musical library. It really is a treasure.

The album cover

The album cover

The Collaborateurs – Curtis Hubbard, Glenn Hubbard, Roger Brandon, and Jeremy Cayton all have successful day jobs, but they also have extensive backgrounds in music, long lists of albums to their credit, and thousands of live performances under their collective belts. They say they’re not in music for money or fame, but they continue writing songs and recording because they love it.

The weird thing is, the music keeps getting better as we get farther removed from our professional gigging years, and I don’t think that’s an accident,” Glenn Hubbard said. “Once we stopped thinking of music as ‘work,’ we discovered that it’s supposed to be art – and then we got inspired.”

And inspired they are, as these wonderful melodies cruise through your mind and leave you wanting more. If you want a sound ready to spur on a rebirth to real music like the revolution of the 60’s did, this may be it. And you’ll get the vibe of what I’m saying the minute you crank up “Dirty Job”. This sounds like the great psychedelic music era with its glorious harmonies, beautiful song structure, and a fantastic drummer.

Hubbard and Brandon’s ear for infectious melodies vaguely recalls early Lennon and McCartney, and it is evident in many tracks here. Musically, the spaces between riffs are taken advantage of as well, with layered keyboard atmospherics and intertwining instrumentals and harmonies filling those gaps, and when combined with the myriad of musical styles and influences contained within, results in one of the most ambitious, absorbing, and at times, even blissful albums I’ve heard in recent memory.

Savor it on the fully fleshed out “Why Would Anybody”, horns and all, or the Alan Parsons-type melodic rocker “Sun_Culpit”, and even the insanely catchy chord progression and vocals of “Opponents”.

While most albums released are front-loaded with the best tracks, this album hits its groove from both ends of the stick. The first half is dedicated to up-tempo, rhythm driven numbers, while the second half is concentrated on slower, more thoughtful compositions. Here you’ll run into outstanding slow-burners like “Breeze”, the eclectic “Moonlight in Vermont”, “Take The Pain Away” and the marvelous “No Tomorrow”.

But from end to end, “Marshall Sessions” is one of the most original, progressive, and just-plain-mind-blowing albums, blazing its own trail while using past influences as its launching pad. “Marshall Sessions” is also a masterpiece of obsessive arrangement and production, with melodies snaking around melodies, Harmonies weaving in and around the main hook to the point that it’s nearly impossible to absorb it all on the first, or even second or third listen.

These songs, in my book definitely require headphones for maximum effect. “Marshall Sessions” is about as close to flawless as there is in indie, alternative, and modern pop-rock today.

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