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

Razakel: “Pariah” – deconstructs and reconstructs an alternative vision

Horrorcore rap was initially thought of as a turn-of-the-millennium misstep by hip hop heads. As hip-hop entered its golden age throughout the early and mid-’90s, horrorcore got better and more specific. Yet horrorcore rap continued to be thought of as a turn-of-the-millennium misstep by many hip hop heads. But rap and horror kept merging and reassembling throughout the years in a way that illuminated both. No doubt, the subgenre is worth taking seriously in the context of hip-hop, in the same way as horror films are taken in the context of film-making in general. The feeling is that the latest craze of SoundCloud and mumble rap will inevitably die, while the long-lasting specter of horrorcore will lurk around long afterward. Now when you look up horrorcore rap in general, you’ll always come up with the legendary Insane Clown Posse or its ex-members. If you do that same search for female horrorcore rappers, one name keeps coming up there too – it’s Razakel.

Hailing from San Antonio, Texas, Razakel has been delivering her own original take on the horrorcore cult since 2006. Although men still constitute and control the vast majority of the industry, women rappers are emerging as a force, and in the front-line, we’ll find Razakel.

It’s been an uphill battle, directly challenging a male dominated genre, in an even harder core sub-genre. But she is not giving up the fight, and recently dropped the video single “Pariah”, which comes straight off her album “Gores Truly: Extendo”.

Razakel shows that she is determined to move out of the shadows of male dominance, and secondly that she is redefining the female perspective by chiseling away at the condescending stereotypes the genre (and society) has created for female artists. And that’s not all.

If you look at the song title “Pariah”, which generally alludes to a person being rejected or avoided by their community for some specific reason. You understand that Razakel’s battle is also on a higher, social and cultural level. She’s really much more than the sum of her artistic parts let on.

“You wanna label me a Pariah. Is that what I’m supposed to be? I’m not a role model, no messiah. So please don’t follow me,” is how Razakel launches her verbal strike on “Pariah”. Her tone is confident, nuanced, and questioning in the verses, while the choruses are tenacious and melodic, showing that the lady can sing too.

And sing she does, because she tinges her music with fair amount of pop elements. In fact she calls it Horror-Pop. The beat rumbles and bangs while the overall atmosphere is dark and ominous, fitting the indignant and recriminating narrative perfectly.

Razakel’s uses her performance as a platform to refute, deconstruct, and reconstruct an alternative vision of her identity. “Pariah” then, in such, becomes a way to unpack self-empowerment and also empower others who may feel marginalized, at the same time.

The power of these lyrics serve as a boost to one’s self esteem against all the odds society inevitably stacks against anyone who dares to be different, or is in a discriminated or minority group. Listening to “Pariah”, you get the feeling that Razakel is not just a great artist, but a great human being as well. The whole experience, is incredibly satisfying and should hold us down until Razakel gets around to releasing her next project.

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