HEWAS

The multicultural and multifaceted Tik Tok sensation, Hewas, has released a new track, the improperly compounded, “Wholething.” It’s a collaboration with the Father of Flower, himself, Afroman, and the alliterative error may not be the only improper aspect of this song. But more on that, later. As aforementioned, Hewas made a splash on Tik Tok with “Lemon” released in 2020, by garnering an absurdly impressive 3 million views. It’s said that platforms, such as Tik Tok, and youtube are now the paths to musical notoriety, and Hewas’ burgeoning popularity seems to support this theory.  

TWITTER: https://twitter.com/iamhewas 

“Wholething” comes at you like a gust of cannabis scented fragrance. It’s low key, catchy, and makes you want to dance in place. It’s a programmed synth riff, that has the slightest hint of familiarity, yet uncommon, at the same time. Hewas kicks off the track, with a delicate falsetto, that is rare, even amongst singers with a high octave. His lines subtly begin to merge with Afroman’s, whose uncanny style takes the track to the next level of anticipation.  

Hewas describes the whole thing, as something of a dual meaning. As in, don’t ruin the whole thing, or conversely, turn this fling into a WHOLE thing. It’s the cliched concept of wanting to have your cake and eat it too. In the wake of the me too era and people still debating what constitutes toxic sexuality, this was something of a bold direction for Hewas to take. He and Afroman seem nonplussed at offending anyone, and instead focus on delivering a quality piece of music.  

I find you attractive/sexually active/hold me down/but don’t hold me captive. The latter two lines sum up the crux of “Wholething.” I think that there is still a generalized perception of men in particular, who avoid commitment at all cost. Hewas and Afroman play off this stigma, spinning it into a sort of parody. As with most great parodies though, there are more serious, social and psychological themes to explore, and questions being raised, below the surface. 

Of course, in spite of the moral aspects of “Wholething,” it makes a great party song. It’s the kind of song I can imagine throngs of clubbers invading the dancefloor to, gyrating with drink in hand, reciting every word. Sometimes it’s the most forward and candid subject matter that people identify most with. “Wholething” verbalizes the things we may think, but wouldn’t dare say. It may stop just short of being liberating, but just informal enough, to let your hair down. 

AMAZON: https://www.amazon.com/Wholething-Explicit-HEwas-Afroman/dp/B08P6C8RH4

“Wholething” is a few things, but the biggest thing is Hewas, himself. This will just be another guest feature for Afroman, for which he has and will likely continue to do many. After showing a great deal of versatility, it will be intriguing to hear where Hewas goes from here. Ideally, he will take on material that will expand his reach, by continuing to cross genres and capitalize on his soft charisma. Hewas might just be best served by taking a figurative step back in time, so in the near future, we’ll be saying He IS a star on the rise.

Martha Crabtree posted by Mindy McCall

Paul Mark and the Van Dorens return with Gravity

Paul Mark and the Van Dorens return with Gravity, on their 11th and most astonishing release. But if an introduction is in order, they can all be found and purchased at the band’s website and shows. This is a great group led by a truly gifted singer/songwriter and all-around musician that captivated me from the first listen of the latest record. Gravity is an awesome album from head to toes, and the overall concept of it makes for a timely release that keeps up to the moment in its own peculiar ways. If it was not recorded that way on purpose, then it even makes Paul Mark shine all-the more. Kicking off with the fun lovingly told story of “Gravity Is Failing” which does well in describing what this whole stack of songs are about. You never lose the thread once you hear it and there’s no losing the plot anywhere along the line once the way he sings grabs your attention and doesn’t let go for the entire ride. 

“Forever” follows with a piano ballad to contrast the first number and establish a more serious musical pattern which is then contrasted to more of a combo between the first two with “I Spin When You Grin” containing both elements. Up to this point is has mostly been Paul Mark showcasing himself, but “The Next Fight” starts to show more band participation with some strings starting to show up on another ballad, this one a lot more brooding. The song plays like a warning to keep things from escalating when they get heated, and the next number “Coronation” is an instrumental with a chamber feel to it backed by sirens in the atmosphere. 

This leads into one of the more comical moments on “Con Man VIP” where he carries on about the game and how it is currently being played in Washington by describing what is not the most conventional politics. “Friend Gone Astray” comes in at just the right time with one of the better songs on offer, as it really can’t be flawed. And for more of the songwriting fun you get “You Can Take It With You,” as he brings more humor into the consistent bunch of songs. The album also switches up quite often and gets back to the narrative feel it started out with on “OTB” with more of a spoken word ballad that is rather nice as well. Said changes come on even stronger with a fantastic cover of “Heart Full Of Soul” by the Yardbirds, and what a compliment it pays to the original with an amazing semi acoustic version that just works in every way. 

But that’s not all, there’s also the very Randy Newman meets Tom Waits sounding “Waiting Round For You” that hits home as one of the longer and better tracks. “December At The P.O.” closes with a winter post office homage to top everything off with another great number to write home about on a highly recommended new release. 

 Rachel Townsend

Interview - Alonzo

Hello Alonzo! Thank you for taking time to chat with us today. How are you doing? What has this time of social distancing been like for you? 

Hey! It’s my pleasure. I’m doing great. I’ve literally just been taking this whole thing 1 day at a time while still trying to be as productive as I possibly can. I’ve kind of gone through phases. First couple of weeks I was really excited to get some rest. Now, I’m just doing what I can to not feel lazy and like my life is passing me by. I work out from home every day, I’m teaching myself how to play piano and having fun making Tik Tok videos haha. 

Has this time given you more time to focus on music or do you find it more difficult? 

Well luckily, I had just officially finished recording my Album the week all of this started. The last 2 weeks of March I went back and forth with my producer Eric Zayne and my mixing engineer Rom Zareski. All vocals had been recorded, so at this point we were able to do all of the mixing and mastering communicating via email and phone. I’d say the biggest thing I miss right now is the stage. I really can’t wait to start performing again. 

We saw you partnered up with the UnLonely project to curate your own playlist. Tell us more about that. 

Ahhh yes! UnLonely project is a project launched by the Arts and Healing Foundation. It focuses on spreading awareness about how important it is to not be lonely and the effects that loneliness can have on our mental and physical health. They asked me to create a playlist on Spotify about “Connection”. I wanted to focus on one of the most important connections (the connection we have with ourselves). I really love how the playlist turned out feel free to check out more info here! https://artandhealing.org/unlonely-playlist-alonzo/ 

What music are you listening to the most right now? Any particular artist? 

This is probably gonna sound so narcissistic haha but I must be truthful. I’ve been listening to my own unreleased Album nonstop. Not because I love the music but really because I’m always walking around my living room imagining that I’m performing it and of course being super critical of myself trying to imagine if people are gonna like it or not.

Tell us your favorite quarantine snack? 

My favorite quarantine snack has been donuts (don’t tell nobody but GAWD) 

Anything else you would like to share with our readers? 

Yes! Please follow me on Instagram @StoryOfAlonzo and subscribe to my mailing list at this link https://linktr.ee/StoryOfAlonzo

Thank you for your time!

Thank you! These questions were awesome! 

For Press Inquiries:  bsquaredmgmt@gmail.com

End of Interview

Interview: Joey Stuckey

Hey Joey! Thank you for chatting with us today! We have tried to keep up with you on IG but you have been a busy man! What has been your favorite place you have performed in 2020 so far?

Thanks for having me! I can’t just pick one LOL. I would have to say that we had such a blast performing at the world famous Whisky A Go Go to a packed crowd on January 3rd of 2020. I also had such a wonderful time performing solo guitar and vocals at the LA Braille institute and meeting so many amazing blind folks!

We saw that you had mentioned that you are expanding your recording studio – super exciting! Any new music plans coming from your amazing new space?

Oh yes, I have a lot of things in the works and we are going to be doing some amazing master classes and recording sessions as part of our grand opening so stay tuned for details. You can follow our progress starting in march on www.shadowsoundstudio.com. 

We love that you are not only an amazing musician but also share your talents with many others! You teach a class at Mercer University right? Can you share with us how that came to be?

I am a Mercer Alumni and feel very honored to teach for my alma mater since 2010. It is important to me to provide a wonderful experience like the one I had when I was a student! I am professor of music technology for Mercer University and also for Middle Georgia State University in addition to being an official mentor for the RRF school. My work in the community to educate and strengthen our musical infrastructure in Macon, along with me being the official music ambassador as appointed by the mayor and city council in 2006, added to the tools at my disposal to make sure that I could provide our town and students with a firm path for success in the music industry. 

What has been the biggest surprise so far about making music in your career? Have you had an unexpected or welcome challenge to it all?

I guess the biggest surprise is that, for some people, the music isn’t enough. It always has been for me. I don’t care about the “rock and roll” lifestyle, I just want to work hard and do good work and maybe change a life or two for the better.

 I reject the idea that being an artist is synonymous with being poor, while realizing that having a major hit like an Adele or Taylor Swift is very unlikely. Still, you can make good money and be successful if you work hard. I am amazed, though I shouldn’t be, that so many people have unreasonable expectations. They want the fame and what comes with it but don’t want to do the work. I care about the craft first and making sure I can provide for my family, after that it’s all gravy LOL. 

Can you share some advice for any artists that is wanting to break into performing and writing music? Maybe something you had wish you had known getting started.

Be obsessed with whatever you want to succeed with in life. Trust yourself but be willing to take advice from a few trusted allies and know that not everyone is going to like what you are doing or even understand it, but that doesn’t matter; if you like it, others will as well and while you might not sell out 80,000 seat arenas, you can do well and be true to who you are!

Anything else you would like to share?

Please visit www.joeystuckey.com and go to our fan zone. We have a lot of free music and ways for you to keep up with all in the Joeyverse!

Now where can we find you on social media and catch you live?

YouTube  https://www.youtube.com/user/SenateRecords

Twitter https://twitter.com/Jstuckeymusic

IG https://www.instagram.com/jstuckeymusic/

FB https://www.facebook.com/JoeyStuckeyMusic/ 

Booking:  bsquaredmgmt.com

Press:  Bsquaredmgmt@gmail.com

End of Interview

AV Super Sunshine releases “Are You Happy?”

AV Super Sunshine are, above all else, songwriters. “Are You Happy?” is the latest entry in their growing catalog and drawn from their album Candyland Vol. 1 and they lay out the song in such a way that discerning listeners will be able to tell, from the first, that if you took away the effects and post-production manipulations of the song’s radio and club mix, what remains is a durable and sparkling example of popular songcraft at its finest. Though I believe the band pays deference and respect to past influences, AV Super Sunshine is a band of the present as well and their appeal can cut across genre and age lines with little effort. “Are You Happy?” is one of the best singles from anyone I have heard in 2019 and serves notice that this unique and uber talented band has yet to reach the peak of their powers.

URL: https://www.avsupersunshine.com/

I am taken with the way the vocals and music weave around each other without ever sacrificing any element of the musical arrangement or singing. A crucial decision they make ensures it will come across for listeners – the tandem of the lead vocalist and secondary singer Philomena bring a combination of emotion and attitude to the radio mix that is sure to capture any listener’s attention. The effect dampens only a little with the song’s chorus – the sound of the two singers is a little too diffuse for my taste, but they nevertheless convey the lyrics with a real sense of stakes that makes you sit up and pay attention.

The lyrics help in this regard. I like the question burning in the heart of this song title and they face it in the writing without any sense of cliché and a genuine wonderment about what their own answers, or others answer, might be. There’s no overwriting weighing down the song with too much verbiage – instead, the same keen sense of what the song needs musically reaches into the verbal realm as well.

REVERBNATION: https://www.reverbnation.com/AVSuperSunshine/song/29656735-apple-dance-remix

The drumming and synthesizer work in the song are its defining musical elements. The drumming is obviously live rather than the result of a computer or drum machine laying down a rhythm for the song and the melody really comes alive with warmth and vitality thanks to the synthesizer playing. AV Super Sunshine are not content with just pursuing those ends, however, and adorn the song with other instruments that complete the song in a memorable way.

The club and rock mixes of the track are effective as well, though in different fashions naturally. The club mix is a much longer take on the track’s potential and will play well in the environment it is clearly aimed for while the rock mix will appeal to a wide swath of new and old fans alike. AV Super Sunshine’s “Are You Happy?” has many faces, as these mixes show, and I can say without reservation I found each of them compelling in their own way. I can’t wait to hear more from this great band.

Zachary Rush

Where We Begin by Fenix & SM1LO

Music is a far more complicated medium than any other in the art world, and among all of the most popular music genres in the 21st century, there’s no debating whether or not electronica is the most sophisticated and multifaceted. Newbies to the electronica experience that are interested in getting a sampler of everything that the style can do should make a point to check out Where We Begin, the collaborative album from Fenix & SM1LO released this past June on the Say Wow Records imprint which features none other than Llexa on lead vocals. 

Where We Begin is one song sliced fourteen different ways, six of them being one hundred percent instrumentals. The instrumental “Dub” mixes are generally unnecessary for the average fan’s needs, but for music enthusiasts like me, they’re the bread and butter of a weekend spent taking over every club in the downtown core. There’s no vocal to get in the way of our appreciating the differences between house, club and pop versions of “Where We Begin,” and in some situations, the music is more communicative without the addition of lyrics. “Fenix House Radio Dub Mix” and “Club Radio Dub Mix” are two of the best in this category, but they’re far from the only winners here.

YOU TUBE PREVIEW: https://www.youtube.com/watch?v=0NxgYA27bn8

Vocalist Llexa gives some clarity to the emotional subtext in the manipulated melodies we hear in “SM1LO Remix” and “Kali Remix,’ and in the album-opener comes close to going over the top but stops just short of drifting too far from the main hook’s harmony. Some of the alignments are off (namely in the house mixes that she’s featured in), but regardless of how her amazing skills are utilized, they’re an ever-present element that keeps things on a mainstream path instead of a jagged, avant-garde one.

I need just a little more energy out of the “Kali Remix” for it to be the best edit here, but the structure of this mix is nevertheless one of the strongest that Where We Begin features. Does it borrow its piano part from the mid-2000s? Yes, but that rigid riffing that follows it beside Llexa’s singing isn’t similar to anything on the FM dial this July; in all actuality, it has the most futuristic vibe of any element here. Electronica geeks will squabble about the minute differences between these mixes, but all in all, there’s nothing in Where We Begin that misses the mark, especially if you’re a newcomer to this sound.

SPOTIFY: https://open.spotify.com/album/6TRif4TasUGGhqaqVfyO6F

Fenix & SM1LO’s collaborative project and the fourteen songs it has produced make for a tough record for any journalist to review. It poses as many questions about the players that go unsolved as it does provide an answer to listeners in need of some swinging grooves this summer, but I’ve got a feeling that this could be only one installment in a series of releases from this duo. They haven’t said as much, but if they’re keeping up with the critical reception that Where We Begin has had, they would be crazy to miss out on the lucrative opportunity to make more music like this. This is a club-goer’s paradise, and a great way to get acquainted with contemporary EDM.

Anthony Carlisle 

Integriti Reeves releases new Single/Album

The faint strumming of an acoustic guitar greets us with open arms as we wander the lush sonic landscape of “Eu Vim Da Bahia,” the new single from up and coming jazz singer Integriti Reeves. Her gorgeous Latin vocal is met with a decadently melodic backdrop in this spellbinding debut, but the excesses of a mainstream jazz sound are mostly absent from this tightly arranged composition. Reeves is an angelic force to be reckoned with here, dishing out robust harmonies alongside a minimalist beat that is as stirring as any of her words are, and thanks to its erudite master mix, there isn’t a single detail in the massively textured “Eu Vim Da Bahia” that goes without a personal touch from behind the soundboard. The grooves are glowing, the strings are as dreamy as a summer’s setting sun, and the voice of our star player is a velvety slice of vocal virtuosity unlike any other that I have had the pleasure of sampling this year.

Reeves is full of energy, has a spunky demeanor and bubbly tone in her execution, but her style of attack is much more conservative than that of her peers. She isn’t afraid to share the spotlight with this excellent instrumental track in the background, and her elegant distribution of the vocal melody is wholeheartedly avant-garde, at least in comparison to what I’ve been spinning lately. There’s a couple of instances where she comes close to overtaking the percussive strut with the colorful cadence of her verses, but instead of assaulting the chorus with unnecessary gusto, she recoils, and lets the guitars work their magic for us. Her unselfishness in the studio makes her quite a rare find nowadays; where so many of the modern jazz players that I’ve been following recently have embraced cruder indulgences of the old school, Reeves is doing the exact opposite, and appealing to a post-genre generation of jazz enthusiasts who appreciate postmodernity as much as she does. There’s plenty of room for growth, but there’s not a doubt in my mind that with a push in the right direction, Integriti Reeves could be a phenomenally popular artist in and out of the jazz world.

Chic, classy and truly one of a kind in every way that really matters, “Eu Vim Da Bahia” is one of my new favorite singles of the summer. Integriti Reeves is still earning her stripes in the underground, but with a voice like hers (and a strong talent for arranging to match), it’s hard for me to imagine her brand remaining under the radar of mainstream audiences for very long. She’s got the sort of skills that you just can’t teach, no matter how disciplined the student might be. Her gifts are natural, uncompromisingly expressive, and exploited quite well in this awesome track. If you haven’t already taken the time out to do so, I highly recommend giving her new EP, tilted Stairway to the Stars, a listen the next time that you’re in the market for new and intriguing Latin jazz. If you’re a connoisseur of the genre, it’s an acquisition you won’t soon regret.

Stephen Dejong 

The Respectables - The Power of Rock ‘N’ Roll

FACEBOOK: https://www.facebook.com/Les.Respectables1/

Swinging with as much firepower as a vintage American muscle car, The Respectables get right into the groove of “That Girl” and impress upon anyone listening just how committed to the classic rock model they truly are. The subtly country “Wheel in My Hand” tosses some southern twang into its melting pot of melodies, and much like “18 Wheeler,” doesn’t stop sizzling no matter what volume we’re listening to it at. These three songs and eight others comprise the blistering new album The Power of Rock ‘N’ Roll, The Respectables’ first in ten years, and while they’re not glistening in pop polish, they’re definitely the smoothest work of the group so far.

If “That Girl” has the swing, “Give Some” has the missing sway, and uses it as a foundation for its brutally physical riffing. “Mardi Gras,” one of the more exotic tracks on the LP, bridges the first half of the record into the second without skipping a beat, and though it’s not as tenacious as the title track, it isn’t lacking in lyrical substance at all. The Power of Rock ‘N’ Roll is constructed with very diverse material, but it never feels like a haphazard mixtape.

“Highway 20” is a smart exhibition of the band’s terrific harmonizing as a group, and with “The Shotgun Seat,” makes for the most rhythmically intoxicating song on the album. “As Good as Love Gets” is, regrettably, sort of predictable percussively, but right next to it in “Oasis,” the jaded tone of the drums gets replaced with a surreal spaciness that lends to the introspective nature of the lyrics. “Limousine” is a little too stripped down for my taste, but it doesn’t feel out of place in this record at all. The Respectables had a decade to put this LP together, and you can tell that they spent plenty of time making sure that it was everything that it could be from both a musical and a production standpoint.

The Power of Rock ‘N’ Roll isn’t the only juggernaut in their discography, but I do think that it’s the most fluid and consistent release that The Respectables have chosen to share with us since forming so many years ago. The basslines are beefy, the guitars are crunchy where it counts, and as the music hypnotizes us with its seamless mix, the poetic narratives in the lyrics remind us of who these guys really are, underneath the hard-rocking persona that they’ve fashioned for themselves. To put it quite simply, The Power of Rock ‘N’ Roll is an identity record for this band, and it’s a worthwhile listen for curious indie fans looking for something fresh.

I-TUNES: https://itunes.apple.com/ca/album/the-power-of-rock-n-roll/1436860174

Lucas Kilpatrick

Victor Pedro releases new Single

INSTAGRAM: https://www.instagram.com/victorpedroofficial/

Victor Pedro’s “Call Me I Need Ya” opens in a very stylish manner and has female backing vocalists nailing down the song title for listeners before Pedro’s voice enters the song. Pedro wisely never overburdens the song with an assortment of musical bells and whistles but, instead, centers his musical efforts on creating an uncluttered musical experience built around insistent electronic percussion and additional understated synthesizer flourishes flashing intermittently throughout the entirety of the tune. Many listeners, especially those who aren’t converts to electronic instruments, decry what they often label the sterile and impersonal nature of such sounds, but such criticism cannot be leveled against this song and its arrangement. The percussion and synthesizer emits genuine warmth throughout the song dovetailing into Pedro’s own intimate vocal.

Pedro’s singing is the heart of the song. Much like the focus we hear from the song’s music, Pedro never overplays his hand as a vocalist and concentrates on delivering emotive and well phrased lines while devoting much of his attention, as well, towards weaving his voice around the musical accompaniment. Unity is one of the overall strengths of this track. Each element feeds into another rather than creating tension and the inclusion of the earlier mentioned backing vocals complements him as well. There is no glaring chorus, per se, but Pedro has a canny skill for manipulating the lyrics in such a way there is a natural rising and falling in the vocal every bit as satisfying. He, likewise, fills the vocal with a tangible longing surging through each line with an amount of feeling we expect from much older and more experienced performers. To hear it from Pedro testifies to the vast talent he brings to bear on each new release.

The lyrics give him a launching pad for such excellence. There isn’t a hint of overwriting present in this track; instead, it goes right to the heart of the subject without ever entertaining any sideshows. The same emotional intensity fueling the musicality of this song is present in the lyrics as well, but there’s confidence as well coming through in every line. Victor Pedro’s words are convincing at every turn. Even a single listen to this track will make even the most casual listeners believe he, indeed, does need to hear from the subject of this song and he pulls it off with bracing effectiveness. Much of that effectiveness can be attributed to the fact, like it is musically, there isn’t a single wasted word to be heard in this song.

Victor Pedro’s journey from youthful musical passion to becoming a complete professional has proven to be an invigorating ride, but even one hearing of “Call Me I Need Ya” should likewise prove this journey is far from over. He possesses the necessary talent to be a musical force for years to come and we have likely only begun to scratch the surface of his considerable talents. This is a dyed in the wool R&B single with all the necessary attributes to make it a classic of the form.

TIDAL: https://tidal.com/browse/track/106270859

Trace Whittaker

The Merrymaker’s Orchestrina - Little King and the Salamander

INSTAGRAM: https://www.instagram.com/themerrymakersorchestrina/

If “Hey Everybody” doesn’t draw you into this album and bring a smile to your face, check your pulse. Some might dismiss this track as a throwaway, but that’s a superficial knee-jerk take on an obvious album opener brimming over with an affirmative spirit and inspired guitar playing. Bandleader and songwriter Ryan Shivdasani has a clear penchant for utilizing studio effects to enhance the atmospherics of the band’s recordings, but strip away the artifice from tunes like “Hey Everybody” and you still have musical gems capable of entertaining listeners in studio and live settings alike.

“The Merrymaker’s Orchestrina” is one of the more idiosyncratic musical and lyrical offerings included on Little King and the Salamander, no small accomplishment, but it isn’t so precious and far removed from the common listener’s experience that they will reject the tune. It has an unusual jazz influenced flair, but Shivdasani and his collaborators never overplay their hand in this regard and mix it with pop structures in a compelling way. The chorus is strong and has an abbreviated cascading effect that will stick with you after a single listen. There’s a strong cinematic texture defining the mid-tempo “White Light and Lullabies”, another song shaped in a big way by Shivdasani’s judicious use of effects, and he delivers one of the album’s best vocals with this track. The melancholy of his voice is well suited to the dark lyrics, but it isn’t a track wallowing in despair. The songwriting on this release is far too canny to ever be so crude.

“Particle Craze” is one of the cornerstone tracks on the band’s previous release Act 3 and included here in demo form. The Act 3 version has some musical elements absent from this earlier take on the track, but it is fully satisfying in this form as well and connects with listeners early. The unique lyrical imagery is something shared by all Merrymaker’s Orchestrina tracks and it testifies about the extent of Shivdasani’s songwriting skills that he can take unusual language and use it to fuel new takes on well-tested subjects for songs. “Together” has a rough and ready alternative rock take on another traditional songwriting subject, longing for a significant other, and the uptempo pace gains even more momentum thanks to the song’s uncluttered instrumental makeup.

The oddest points in the release come with the tracks “Jeepers Creepers” and “Definitely Not My Underwear”. The former track is sort of coffeehouse poetry gone mad with an unpredictable jazz infused backing capable of taking turns wherever it likes yet never losing the listener. It is quite unlike anything else included on Little King and the Salamander. The latter cut is a blast of psychedeliczed acid rock in the vein of early Pink Floyd or Hawkwind, but Shivdasani’s humor has a quality all its own that helps keep this distanced from imitation. The Merrymaker’s Orchestrina’s Little King and the Salamander includes fourteen songs spanning a wide array of musical styles and never fails to hold listener’s attention.

CD BABY: https://store.cdbaby.com/cd/themerrymakersorchestrina3

Carrie Logan

Ajay Mathur releases new Single

“It’s a song about making a decision on a relationship fallen apart. It’s about getting smart about your own life,” said Switzerland singer-songwriter, Ajay Mathur, in his official biography for his newest release, “Start Living Again.” The song and its accompany video are just a small example of the globe’s independent musicians making their mark in a big way. Mathur, who took home the top album prize at 2018’s Germany’s Rock & Pop Awards for his album, Little Boat, channels all what is best about indie music and all that inspired it along the way: solid songwriting.

BANDCAMP: https://ajaymathur.bandcamp.com/track/start-living-again

“Start Living Again” is track number three from Little Boat and comes in at just under three-and-half-minutes. The mood is light. Not fun, or clap along worthy, but very earth tones and sun-like. I heard very strong influences of 60s pyschedelic guitars and percussion smatterings. Interestingly enough, Mathur was born and raised in India. He gravitates more towards acoustic and electronic guitar riffs in “Start Living Again” and relies heavily on a repeated chorus. While listening to the chorus, my mind wandered off into far spaces – and even recalled Grizzly Bear’s “Two Weeks.” Mathur’s lyrical contact sways way more into the pop rock world than a prose or gloomy-indie rock. With words like “They were only ‘things’ that we aspired not love for someone. Everything I was holding onto fed my fear,” he simplifies decision making in a relationship. And he seems to do with an inspirational confidence. It’s as though he himself as already been through the fray and he can attest to getting out alive on the other side. As mentioned before, his own vision of the song is about making better decisions.

Mathur’s decision to make this song pop rock is a wise one. Supposing this was more of a piano-based track, I don’t think it would have had the same reaction. I enjoyed the guitar work on many levels, and the harmonies the riffs created were very tight. The tempo is perfect, and it sets the mood for a strong start to a morning run, or even just a ride in the car to work. It’s probably not a slow dance song. But whatever floats your boat.

Mathur once again collaborated with video creator, Ciro Ayala, for the “Start Living Again” visual representation. The two previously worked together on “My Wallet Is a House of Cards” (also from Little Boat). Ayala’s canvas is one of computerized graphics and visually stunning, rich colors (especially the fire scene). He even gives a 60s filter look to Mathur’s facial profile. I can concur with Mathur that Ayala captures the essence of first tearing down one’s house before the rebuilding can start. Before we become anew, we must sometimes look in the mirror and discover the true source of pain.

DEEZER: https://www.deezer.com/en/track/446707572?autoplay=true

“Start Living Again” doesn’t take long to get the emotional reactors charged. I still think Mathur’s lovely voice makes it hard to be angry or hurt while listening to the song. I do think it makes you reflective. It makes you feel less alone.

Andrew Brody

Brooke Moriber’s new album Cry Like a Girl

Galloping grooves join forces with a homespun harmony in an effort to sweep all of our cares away with the wind in “Time Takes It’s Time,” one of eleven tracks to be found on Brooke Moriber’s new album Cry Like a Girl, but this isn’t the only instance in the record where catharsis will reign supreme. From the pendulous piano play in “The Last Goodbye” (the album’s first single and music video) to the magnetizing melodies of “Behind the Scenes,” Moriber will stop at nothing in her mission to make us experience her artistry like we never have before, and for the most part, she hits it out of the park in Cry Like a Girl. It’s a little bit country and a whole lot of adult contemporary pop, and it’s a listen that fans of both genres might want to take a look at this spring.

Countrified grooves give “The Devil I Know” and the title track more of an edge than what we hear in the somber “Shattered Glass” and “It Doesn’t Hurt,” and despite the diversity in this collection of ballads and boisterous anthems, Cry Like a Girl enjoys a really fluid tracklist that feels rather progressive when compared to similarly stylized records out this April. “Here and Gone,” “99 Days of Rain” and “Steal the Thunder” are designed using completely different styles of attack, but they’re ultimately cut from the same meticulously crafted sonic cloth as “Long Long Time,” “The Last Goodbye” and “Time Takes It’s Time” are.

GOOGLE PLAY: https://play.google.com/music/preview/Tlcevminld52ses4g6wfhqvgaei?play=1&u=0

“It Doesn’t Hurt” and “Steal the Thunder” feel a bit stock when juxtaposed with the more calculated “The Last Goodbye” and formidable “Shattered Glass,” but I don’t know that I would go as far as to call either of the songs “filler” per-say. There’s a couple of aesthetical growing pains present in Cry Like a Girl, but by and large they’re limited to the cosmetic side of the songwriting (something that could be easily remedied in future works). I think that Moriber has got more charm as a singer when she’s flirting with Americana-tinged folk-rock in tracks like “The Devil I Know” and “Here and Gone” than she does anything else, and with a voice like hers, there’s never any need for external bells and whistles to enter the mix.

Fans of country, folk, pop and roots music should check out what Brooke Moriber is up to in the studio right now the next time that they’re in the market for hot new records, as Cry Like a Girl introduces us to her sound in a full-color, high definition setting that her caliber of content is definitely deserving of. She’s got a limitless ambition that is on full display in this LP, and despite a few hiccups, these eleven songs hold their own with most anything else I’ve heard out of Nashville in the last few months of 2019. Only time will tell, but if she keeps on this same creative trajectory that she’s been on for the last year, it won’t be long before Moriber shares a full-length follow-up to this fascinating first album.

Mindy McCall

Francine Honey releases her junior album to date

Ontario’s Francine Honey has released a new album, her third, entitled To Be Continued and the eleven songs are among the best yet she’s committed to a recording. The album hangs together in a way few extended releases down in the modern era and she clearly placed much thought into the track listing; the dramatic flow of the album makes a lot of sense and peaks at just the right points. The songs rely on traditional instruments rather than stirring the pot with exotic sounds, but the arrangements are uniformly intelligent and reach emotional heights without ever straining to make an impact.

URL: https://francinehoney.com/

“Snowflakes on My Eyelashes” has light reverb on its electric guitar work that contrasts well against the slowly evolving violin. Another part of the song that will stand out here and elsewhere throughout To Be Continued… is its drumming; there isn’t a single wasted beat throughout the song and even the climatic moments refrain from rushing the tempo unnecessarily. “Stay” is one of the album’s most straight ahead love songs and has a mix of soulful wailing guitar and longing well in tune for an album full of first rate material. The slight barroom tint from the track’s piano never goes too far; another defining musical characteristic of the release is how well Honey uses piano on many tracks.

The title song is another example of the piano being turned to good use. It never exerts an omnipresent sound in the mix but, instead, helps accentuate the lyric’s dramatic qualities. Honey digs deep into the words, a look back on youth from the vantage point of many years later, and they avoid any sentimentality that might otherwise drag the tune down. She shows her penchant for sharp characterizations with the track “Honey” and the sultry physicality of the arrangement helps give further life to the track. Honey’s vocal is among the album’s best and she has obvious fun drawing a picture for listeners.

YOU TUBE CHANNEL: https://www.youtube.com/user/FrancineLeclair

“Shacked-Up Sweetie” is a glorious blast of honky tonk with gritty snap in the guitar work and an appealing bluesy yet commercial sound. Some singers in this style might overdo the vocal for a song like this, believing the audience expects a female singer to belt this type of track out in dramatic fashion, but Honey’s vocal hangs back and focuses on getting the lyric over with listeners while also blending well with the band. The video released with this song, a single release as well, complements the track very nicely without ever trying to obscure its impact. It’s filmed with great professionalism and excellent composition; moreover, it never relies too much on the histrionics common to songs and videos of this type.

One of my favorite moments arrives with the song “Space”. It’s another of the beautifully rendered musical landscapes included on To Be Continued… but, likewise, shows how Honey’s songwriting often reaches far beyond the self-imposed limits of much in modern songwriting. It’s another song about relationships, in this case the aftermath of one, but has an unique point of view in the way it details the narrator’s need for time to heal and reconsider things. The acoustic guitar and piano driven duet of “Marilyn” musically sustains a well written tribute to the affect a long dead movie star exerted over a young girl and woman. The dialogue between those aforementioned instruments is well represented in the mix and Honey’s voice underlines the ghostly quality of the song. It’s one of the most memorable entries on an album that seems destined to stand the test of time; Francine Honey’s To Be Considered… definitely deserves consideration as a fully realized work illustrating her growing maturity as an artist and entertainer.

SPOTIFY: https://open.spotify.com/artist/2CdnJgAGtOZFxJWg1q6npz?si=x4OQ0clkSnaIbnxgNUuV8w2CdnJgAGtOZFxJWg1q6npz?si=x4OQ0clkSnaIbnxgNUuV8w

Drew Blackwell