Tuesday, July 31, 2018

Lauria – Losing Me



Lauria – Losing Me


Lauria, aka Florie-Laure Zadigue DubĂ©, brings her new single to the world with a bold and vibrant debut that cuts through the noise of the day with a vibe that changes everything from moods to minds once you hear it. “Losing Me” is a hit song by a hit artist in the making, as it comes before what should be a string of others to go with it at the rate it hits the senses. Not that Laurie is trying to come on too strong, but it does its own magic either way, as she eases her way into a music career after playing in a band with her cousin and being around her producer-  uncle a lot, who now manages her. 

It really plays like a great little earworm that her vocals top off and make an anticipating ballad that consistently builds as it goes and simply does the business by the time it’s over. The vocals soar and spar back and forth together with a sultry, very relaxing result. It comes with lyrics that the title sums up and further elaborates with the cause and effects of losing the love that deserves better care. Lauria’s voice is something to behold as she pleads for the cause and helps make the song, as that what her vocals alone can do. Simply amazing to say the least. 

The Pop structure she weaves is really-just the outlining genre in which she has no qualms about being listed, but Lauria aims beyond classification and doesn’t bottle herself into any. This is a slow song with a slow groove and the music setting complements her vocals without dominating the arrangement, placing her more along the lines of R&B and even hip hop that is sung without rapping. If she can be all three, then that is what she is. But I can also imagine her singing jazz as well because her voice suits just about any type of music and she makes no secret of that, so it’s no accident. 

For a break-up song played like a love song it has the best of both worlds and the singer with just the right shops for it, and the songwriting is excellent so it’s easy to assume there’s more on the horizon from Laurie, with only one single so far to sense that. You can tell there’s a lot more in her, but you have-to start somewhere and this is a monster start. Put five to ten more of these down and Laurie won’t be looking back, she’s a force to reckon with. 

It’s not very often that you come across such impacting debut single releases anymore, but Laurie has-the ability to blend in with the times without losing old fashioned values. And coming from Montreal it’s an exotic sound that isn’t often heard everywhere, which she classifies as an artist too. That’s some of the difference between Lauria and some other singers of the day with less eloquence, and eloquence is a good way to describe both her vocals and the music on “Losing Me.” Don’t miss this killer new cut by an extraordinary artist that sings with the passion of the best around.



David Ricks 

Tuesday, July 17, 2018

Edenn “Thinking”



Edenn “Thinking”


So many songs, so little time. So many decisions on what to add to your playlist, or dance to a on Saturday night. What are you thinking? Well, doubters beware, Edenn is ready to pounce with the super chill, but contagious pop – dance track “Thinking.” This song at just over three minutes’ holds your attention from the get go and keeps you moving.

Born in Togo but now calling Europe home, Edenn’s background is in journalism and screenwriting. While you won’t find much storytelling in the lyrics of “Thinking,” per se, you do find a delightful and celebratory music beats and rhythm. The song has a fresh, island-like feel. No, not like reggae or even dub music, but rather a breezy pop-dance meets R&B vibe. “Thinking” fuses all the modern tricks in dance music (the beat is infectious) with the simplicity of pop song lyrics.
“Thinking” rises to the occasion and has subtle Afro-pop flavorings.

Fans of Sia will definitely dig “Thinking.” While Edenn’s voice is not as unique as Sia’s delivery, his presence is head turning. There’s a sweetness and almost innocence in his voice. His vibe is so welcoming and joyful. Still, there’s a sexual tension that as a listener you’re left wondering, and trying to complete the puzzle pieces, if he’s thinking about a girl, an affair he’s having, or just being a cool guy and thanking his support system. His press materials state he’s so moved by his fans and supporters that he wanted to write “Thinking.”

Shhh,  I think “Thinking” is about a torrid love affair.

“Thinking” leaves you with an experience. It’s not about the lyrics necessarily, but getting lost in the entire track. You are instantly immersed into another sensory artistic world. That island feel becomes such a clear indication of the enjoyment. You feel a part of a dance party at midnight; you feel a part of the intimate moments on the beach.

Overall, Edenn’s debut track “Thinking” is a clear hit. Right out of the gate, he got me dancing and loving the beat. I wish there were more depth to the lyrics, but it didn’t distract me from still repeatedly listening. With so many similar electronic pop songs sounding the same, Edenn sticks out the crowd just enough to be noticed. I fear he will be plagued by his voice not having the falsetto wave like Jason Derulo or the smoothness of Ne-Yo, but Edenn stays in his lane and does what does. And he does it very well. He charms without being too insecure, and is very relatable.


Gwen Waggoner approved by Mindy McCall

Monday, June 11, 2018

Cathy Hutch releases LP



Cathy Hutch releases LP


Saint John, New Brunswick, Canada is home to singer and songwriter Cathy Hutch. In addition to volunteering her musical talents for autism fundraisers and her community, Hutch has found the time to release her second album, Free Wheelin.'

The 11-song album is foot tapping and soul-searching journey ready for summer listening and perfect for country-blues-rock playlists.

The title track gets you behind the wheel and ready to roll down the road or along the coast on your motorcycle. Hutch’s band is equally deserving of accolades. This tune could fit nicely into an Americana-roots rock genre. The guitar riffs, as well as the piano and percussions on all of the tracks are flawless and tight. Free Wheelin’ gets two thumbs up for setting the mood for a nice, easy going summer.

It’s interesting that Hutch makes you feel like you’re moving and there’s a sense of nature and certainly the human spirit in her songs, but it’s really an album that is best-experienced sitting down and not being distracted. You fall into her vocal spell.  She will color your day with grace, light and rapture.

Songs like “Know It All” and “Sweet Dave” are amplified, and Hutch seems to dig deeper into her vocal arsenal for edgier deliveries. Her originality is refreshing and she’s not trying to be anything she’s not. While some might compare Hutch to the legendary Tanya Tucker, Pat Benatar, or even Melissa Etheridge, Cathy Hutch stands her ground in an already entertaining splendor. She’s genuine and passionate. Most of all, her caring smile comes through in all the tracks.

At first listen I didn’t think “Carry You Along” would be my favorite track. It’s very wholesome and almost children’s programming or Christian rock. It’s an upbeat song, and like the final track “Lullaby” her passion for the human spirit shines through. “Lullaby” is certainly timely and reminds us that we have to get together. In a motherly way, she sings to us as if we were sing out loud an evening prayer. Both of these songs stuck with me throughout my day and her voice seemed to remind me to keep my head up and move forward.

Hutch serenades the listener with her angelic voice in “Good Friends Like You” and again in “Reflections.” While some listeners might find it hokey or even silly to fall into these feel-goodery songs, Hutch reminds the listener that she can keep her listeners moving and listening with her quick upbeat tracks like “Sweet Dave.” She’s a true artist. Her vulnerable voice channels the idea of personal growth and taking personal inventory of a who’s who in your life. “Good Friends Like You” might appeal to mostly females, but it’s still an open diary. Props to Cathy for sharing her words and her voice.


Colin Steele

Conor Gains - Compass



Conor Gains - Compass


A musician’s life is only driven by two things and two things alone. One: the need for food and water to sustain survival. Two: the need to express, and express, and express more, as freely as the universe allows. Like a river crashing between the rocks and slowly but surely breaking them down to dust, Conor Gains’ debut record Compass will rock your world with its giant guitars and finely textured percussion, horn and key arrangements, but it’s the long term effect of its inspired lyrics that will impact you at the highest threshold.

Conor Gains is a pretty easy going guy. Even if you don’t pick that up from his very happy go lucky style of play, he’ll be the first one to tell you that he doesn’t sweat the small stuff. In the past few years he’s been developing the material for what has ultimately become Compass, weeding out anything that he didn’t deem to be up to his high standard of music output. According to Gains, he wrote approximately a hundred different sonnets, ballads and poems that he ironed out over and over before finely deciding on the ten tracks featured on his debut album. Chalk it up to perfectionism or simply fate, but the results are well worth the wait that industry peers and critics alike have been waiting for.

Even for the most intellectually-resistant, casual music fan, Compass offers a buffet of qualities to be appreciated and enjoyed by everyone from kids to seniors. There are a lot of jazz workings in the structure and plenty of psychedelic noodling to keep things interesting, but it’s probably the world music influences that stand out through the funk and blues more than anything else. There’s a well-traveled smokiness to Conor’s voice that is as sexy as it is as mysterious, and it makes for an exciting layer in addition to the many other cultural accents on this album. The diversity of sounds, tones and themes in Compass might strike some as a little cocky for a rookie release, but Gains is not your typical up and coming singer/songwriter. The cohesiveness of the songs remains without fracture despite vaulting from danceable (“Dance Like It’s Your Birthday” and fresh single “I Know”), to the reflective (“Miracles” and “I’ve Been Looking for Your Heart”) and willfully abstract (“In My Head”). Compass is as nimble as a four song extended play but with the IMAX sized vision of a double full-length record.

Conor Gains isn’t just dropping new music on the charts for sport; he’s engineering a new style of relaxed, free jazz that welcomes the spirit of experimental indie rock with open arms. The combination is nothing to take lightly – we’re looking at the next phase of alternative music packaged into a single record here, folks. Who knows why it took so long for the scenes to find each other, but now that it’s capturing the attention of audiences from one side of the Atlantic to the other, Gains can rightfully take his place as the king of post-millennium swing.


Trace Whittaker

Wednesday, May 16, 2018

Patiently Awaiting the Meteorite – Electrified



Patiently Awaiting the Meteorite – Electrified


This is a single with a near anthemic quality, but Patiently Awaiting the Meteorite never chooses to go all the way in that direction. “Electrified” is the first single release from their soon to be released debut studio album Canyon Diablo and, if we should consider it representative of the future release in anyway, Patiently Awaiting the Meteorite are poised to jolt an increasingly moribund scene with a song mixing traditional merits of rock/popular song craft with polished and thoroughly modern production. The sonic architecture is helmed by renowned production team the Grand Brothers and the project, as a whole, represents their second collaboration with the song’s vocalist Dee. Dee has release two solo albums, the second produced by the aforementioned brothers, and enjoys a vast YouTube following as well as landing his song “Miles and Miles (Living on the Edge)” with a Super Bowl Ford automotive commercial. The sort of exposure that brings is inestimable.

There’s some female backing vocals scatting along with the arrangement and a smidgen of post production effects applied to the lead vocal, but Dee’s voice and performing presence is definitely enough to sustain the song alone. He handles the verses and refrains alike with equal confidence, but yet seems to have an unerring sense of what the music and lyrics alike require from his talents. The message behind the song is, essentially, a simple one, but that doesn’t stop Dee from delivering it with every ounce of the oomph “Electrified” deserves. Despite the song title, however, Dee notably never goes overboard with his delivery and his voice crackles with just enough emotion to make this a compelling ride for listeners. He latches onto the wide swing achieved by the song’s rhythm section and really makes it come particularly alive during the song’s refrain urging listeners to keep moving on.

There’s plenty of electronic pyrotechnics flashing across the surface of the song’s rhythm section, but the basis of everything for this track is the meaty bottom end attack that gives both Dee and the backing vocalists such a rich foundation to work on top of. As mentioned earlier, the song achieves a real swing and swagger without ever over-exaggerating its qualities and the Grand Brothers’ production keeps everything vivid, but balanced. It’s a tightrope act they pull off with exceptional skill. They have strong instincts, as well, for how the song should be structured and the composition never runs on too long with needless instrumental touches or too much lyrical content. Everything is cut to a focused edge that never relents for the entirety of the song. Patiently Awaiting the Meteorite’s “Electrified” is one of the most impressive singles from 2018, any genre, and definitely makes a case for Canyon Diablo potentially ending up on a lot of year’s best lists when December rolls around. It’s that good and promises more even better to come.


David Beals

Sunday, March 18, 2018

Monsieur Job - Chow Chow eyyy Pow Pow


Monsieur Job - Chow Chow eyyy Pow Pow


Monsieur Jobs’ single “Chow Chow eyyy Pow Pow” is a powerful release from a quartet joined by guest singer Martin Cintron of the band No Mercy. This release from Basswalk Latino is the end result of a project initially conceived by label head Jose Fernando Holguin and brought to reality by the songwriting talents of Stan Kolev and Toby Holguin, but Kolev and Holguin are not alone.  

The experience and skill Leo Jaramillo and Charlie Illera bring to the recording is unquestionably crucial and their combined studio and live pedigree fuses to form one of the more fiery outings in modern pop and EDM I’ve heard in quite some time. This doesn’t settle merely for pandering to listeners with perfunctory beats and shopworn rhythms. Instead, Monsieur Jobs’ “Chow Chow eyyy Pow Pow” rings out with inspired energy and creativity to burn.    
 
Few tracks in this style will sound as complete as this. Newcomers to the genre will find their preconceptions smashed and longtime devotees of the style will be thrilled to hear an outfit that challenges formulas while still hitting all of the fundamental marks. Citron’s vocals are a perfect fit for the radio edit and the variety of ways Kolev and Holguin’s songwriting presents him for listeners is one of the critical reasons this single proves to be such a success. The length is perfect for the performance and well balanced between Citron’s singing and the music. It is true, however, that the arrangement is primarily focused around the drumming, but Monsieur Job possess a wide vision for what percussion means in their music and it becomes the lead instrument, in some ways, providing the foundation upon which everything else exists.  

It’s a powerful reminder of what re-envisioning a style, even a little, can accomplish for an act rambunctious and ambitious enough to pull that off. Stan Kolev’s accompanying remix of the tune is a radical reinvention of the song that, nevertheless, maintains a clear connection to the aforementioned version.  

Kolev recasts “Chow Chow eyyy Pow Pow” as a much harder, ferociously inclined EDM take on the song with the vocals laid scattershot over the track in a way that transforms Citron’s singing into another powerful instrument for the unit. There’s much less outright musicality here than what we hear in the radio edit, but that doesn’t make it lesser. Instead, “Chow Chow eyyy Pow Pow” packs quite a wallop in both forms, albeit manifested in distinctly different ways. Monsieur Job certainly has unusual origins and a different background than most projects in this vein, but that individualistic lineage produces something unique in a genre where uniformity is too often rewarded. Both versions of “Chow Chow eyyy Pow Pow” are sure to entertain audiences and linger in the memory long after the final notes conclude.  
 

Larry Robertson

Monday, February 5, 2018

Universal Dice - birth, love, hate, death


Universal Dice - birth, love, hate, death


birth, love, hate, death from Universal Dice marks the band’s fourth studio release and definitely their highest reaching effort yet. Lead singer and chief songwriter Gerry Dantone has aspirations going far beyond your typical retro minded rock release. Dantone certainly draws from a recognizable array of influences to make this release fly, longtime rock fans will surely be comforted by his mastery of the style, but the sixteen songs on Universal Dice’s fourth album are definitely modern confections with vibrant and warm sound that doesn’t recall times of yore. There’s a great mix of songwriting and instrumental prowess making this release go and it reaches some truly impressive high points along the way.  

Gerry Dantone’s vocals are traditionally beautiful or musical, but he has an astonishingly engaging emotive sound that’s turned to excellent use on a number of cuts. birth, love, hate, death might initially seem overlong at sixteen songs, but it never really flags and keeps you listening throughout.  
It starts off with a pleasing amount of energy and urgency. “Welcome to the World” brings listeners right into Universal Dice’s imaginative world on the steady shoulders of breezy, confident drumming and well aimed guitars. There’s a much more emotive side brought out with the album’s first ballad styled number, “I Wish I Could Tell You This”, thanks to the lead guitar and a patient, slowly unfolding musical arrangement that nevertheless makes no added demands on listener’s patience. “Your Son” shows off another appealing side of the band’s musical personality with its mix of acoustic and electrified instruments in such a way that they make use of great dynamics and create significant “drama”.  

Dantone’s vocals are strong on every cut and he shows a penchant early on for varying his delivery as the song demands while still promoting himself with a recognizable style. He never feels like the focus, but he’s likewise never far from the heart of each song. That changes some on tunes like “The Prophet” where instrumental excellence is much more pronounced. The drumming on birth, love, hate, death is uniformly awesome, but “The Prophet” is one of those high points on the album where it really stands out from the pack. “Danielle” and the later “I Know What I’m Doin’” is a case study in contrast.  The former tune is an effervescent musical ride, relaxing yet containing some serious undercurrent, while “I Know What I’m Doin’” communicates low key menace in a way nothing else on birth, love, hate, death matches. “I’m No Good for You” is another especially hard hitting rock number, but Universal Dice leavens its effects some with acoustic guitar. The final two tracks “One Day at a Time” and “Forever” ends the album on an acoustic, salutatory note without ever slipping into hamminess and pretension.

This is one of the more impressive, clearly thought out releases from 2017 and it’s difficult to imagine much in this new year vying for the same mantle in the same style.  
 

Daniel Boyer