Sophia Maeda – “ASHITA” bursts with sound and energy!

Sophia Maeda was born in Takamatsu, Japan. The alternative pop-punk starlet has been doing music seriously since 2016. She has released the album “You Know Me Well” in 2017 and has followed up with a series of successful singles. She has won singing as well as song contests, and has performed on the Red Square in Moscow, at the festival in Gorky Park, as well as concerts in Depo, Live Stars, San Diego, Glastonbury and many more. This year Sophia has dropped 3 singles so far, including “ASHITA”. If you like Sophia Maeda then you should already have “ASHITA” on

Jona Da King – “Roots Of Love” EP – balancing rhymes, and soulful crooning|

Jona Da King is a hip-hop artist from Toronto, Ontario, based in Edmonton, Alberta. Jona is set to release his EP “Roots Of Love” which is scheduled to drop September 30th 2020. The artist has an eclectic musical palette which is colored by Hip-hop, R&B, Pop, as well as Jazz and Rock tones. We checked out his prime tracks in anticipation of the EP, and if the goal of this release is to make a breakout statement that Jona Da King is getting seriously started, he’s succeeded, delivering some of the smoothest, most mellifluous urban sounds we’ve heard in music

Berani – “Cut And Taste” strikes an incredible balance of disparate elements

Berani is an electronic beat maker with a diverse sound spectrum and a tendency to produce bouncing rhythms or spacious and relaxing aural experiences. In a short time span, this emerging artist out of Byron Bay in Australia, has discerning music fans and casual listeners paying attention. The sound design throughout his latest single “Cut And Taste” is what we’ve come to expect from this creative top tier producer: popping percussion, basslines that melt like butter and a healthy dose of twisted horns to make everything bump in a soul-like fashion. Sprinkled around the track are sonic effects that keep

EsZ – “Liquor & Emotions” – introspective and emotional

Hip-hop has been cranking out bangers and high energy anthems for decades, but the average genre historian is well aware that dark or emotional thoughts on a chill backdrop is not a foreign concept for the game. After all, profound moodiness feels rather natural for a culture that grew out of urban plight and the trauma of purposely disenfranchised people. It makes sense that at least some mellow tunes in the genre, reflect deep-thinking speculation, in what artist EsZ, describes as thoughts on “life, growth and fake friends” in his track “Liquor & Emotions”. The song is a drunk text

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

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 Spheres”, which included the “Rising Tide” EP songs re-recorded, as well as other original songs. The album was self-released in February 2019, and currently Purvis and Barber are writing new material for a follow-up album and planning show dates with a new lineup.

The album artwork

“Severe Spheres” is a tribute to what rock should have been today. From the classic sounds, to the gritty and raw sounds of early rock, this album represents what rock and roll should have been if the revolution in music of the early 90s hadn’t lost momentum in the millennium, allowing the expansion of corporate rock to take place.

We now live in an age where the rock music industry is often confused, or in some cases, totally killed off. “Severe Spheres” is an album that refuses those connotations entirely. It somehow grinds and shimmers at the same time; its curiosity doesn’t dissipate its fury, but rather feeds it.

Kingdom Atlas combine bluesy rock styles, bringing in classic and alternative sounds with progressive driving rhythms, and soaring high range vocals, to create gritty guitar based soundscapes. The general effect is some ripping rock combined with lucid moments of intense and beautiful melody, all of it well-blended and harmonically symmetric.

Bold and brash, Kingdom Atlas announces itself, with unmistakable bombast, like one of the potential rock band’s with the intrinsic qualities to save rock n’ roll from a premature death, while it lies motionless, in agony.

From the opening track, the album stands on a sound whose crystal-hard ferocity and melodic beauty precedes and then includes relentless verbal communication. The instrumental opener “Prelude” might trick you with its eloquent and elegant arrangement featuring a soulfully wailing lead guitar, but as soon as the riff-heavy, “The Rider” kicks in, the real tone of this album is unleashed.

There’s just so much cool, creative, heavy dynamic shifts stuffed into the four-and-a-half-minute. The rhythm section is stunning, as the twin guitars and Grant Purvis’ skyrocketing vocals.

I thoroughly enjoyed listening to “Hold You Tonight” at maximum volume, punishing my eardrums, in awe of the energy of this band. “Jenna” was just as impressive, shaping its lava flow guitars into radio-friendly structures without sacrificing its elemental power.

The band logo

“Sexified” confirms that the drumming is always propulsive, dropping in virtuoso fills, and harnessing the band’s idiosyncratic swing.  “Stronger Than Yesterday” proves that the arrangements, too, are diamond-sharp and expansive, as Purvis delivers the enigmatic lyrics with appropriate passion and nuance, thriving in the heat of the band’s power.

Right off the bat, “Let There Be Lightning” goes from lo-fi bluesy fuzz, into full screaming stereo brilliance, as Devin Ruiz’s wrecking-ball bass underscores the drive behind the track, leaving the ringing guitars in the spotlight.

“Spanish Lady” presents itself as the radio ready single to feed the media with its catchy guitar hooks and straight ahead melody. “Cold Sweat” again allows Aaron Coburn’s sturdy drumming to shine, as it does throughout this entire album. However this is primarily a guitar dominated album and the six stringed beasts rip the flesh off of these tracks in a number of devastating ways.

Warning on the Horizon” turns down the pace, but not the intensity, in a track that starts off clean, slow, and pristine, before exploding into unrestrained, intelligent, virtuoso rock.

“The Tide That Binds” closes the album down with a euphoric, ascending classic rock blast, furiously executed by Kingdom Atlas. Vintage Deep Purple influences infiltrate this track, embellished by sterling organ interludes and strident Ian Gillan-esque vocals. I have listened to it over and over again and never get tired of it.

Though the band has evolved from their classic rock status, and now encompass diverse styles, I personally feel that Kingdom Atlas is simply one of the greatest interpreters of classic rock I have heard in the last 10 to 15 years. Period.

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