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

Union Five has a groove-centric sound

Rhythm is as important as melody throughout the amalgamation of tracks on the self-titled album by Union Five. This is evidenced by the alternating emphasis on one aspect or the other – and often the fusion of the two elements, which enlivens the musicians as they play. In turn, this spontaneity commands attention because surprises abound within each track. At a given juncture the band may slow the growing momentum of the music, giving itself and the listener time to ponder what has preceded, in preparation for what is to follow. But this moment is often fleeting, as temperate paces set by the drums and bass overlay thick currents of keyboards, which for all intents and purposes allow the guitars and horns to conjure up sonic whirlwinds, as Union Five ascend to a higher and more intense level of musicianship. Newcomers to the band will find a talented group of musicians who mask the advanced nature of their compositions in the ease with which they execute them.

Union Five draws from contemporary and traditional music across genres, including jazz, funk, fusion, and rhythm & blues, in such a way its respective batteries of instruments, and the mix of textures these afford on any given track, morph into a real-time modern-day musical encyclopedia of the ages.

These jazz funkers have restlessly experimented and modelled their sound to release an album which is a good summation of what they’re capable of doing. And the recording doesn’t wait long to get into a groove either, doing so via the gritty bounce of the electric piano dancing in sync with the stately rhythm section on the opener, “Upside Down”.

“Bobby G-ish” blasts out of the gate with an equal mixture of panache and high energy before sliding into a liquid groove led by a swirling organ. The mood switches as often as the chord progressions do as the band move towards incorporate some elastic solo improvisations.

The tightest and punchiest two minutes and forty seconds arrive on the ass-kicking start-stop rhythms of “525”, where the band create jumped-up jazz over a razor-sharp rhythm section. Fusion lovers will truly dig the explosiveness of this arrangement. It’s one of my favorite tracks on the album, pity Union Five didn’t double the playing time on this one.

“Hoser” scrupulously picks the melodic foundation upon which the horns and keyboards rest as the track progresses. Meanwhile, the piano tone thickens as a means of embellishment, while the bass digs ever deeper into the rhythm. When the Alto Sax sets in, you know this is Union Five at its atmospheric best: retaining the mid-tempo beat as it slowly swings throughout. The band has the kind of groove-centric sound that goes over quite well with traditionalists as well as a young, hip crowd. Moreover these guys can play their asses off, which is exactly what they do on “Murf”.

 “The Blind Kind” and “HHA” are like funky cinematic expressions. Every guitar lick, high hat crash, tickle of the ivories and bass thump, evokes wonderful imagery in your head as the band performs with gusto and bombastic abandon. Thick bass lines build the core element of these tunes.

Great keyboards and funky guitars are also part of the formula, while mystical melodies, moving solos, excellent drum play and moments that makes your hair stand on end do the rest. Union Five take their levels of sophisticated textural layering and sheer groove prowess to new levels here. Hardly have I heard an album finish stronger.

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