Pizza Rolls and Coca Cola is a jam from White Prospect, a 17 year old hip hop artist from Indiana. Not only is the cover epic, (actually featuring a pic of Totino’s Pizza Rolls!) but this dude has actual skills. He displays a distinct delivery style, impeccable timing and a solid flow. His freshly pubescent voice conceals what otherwise is a very mature hip hop release. Seriously, though. This track is pimp tight. It also has a groovy, early 90s aesthetic beat and all around old school vibe. This kid’s releases are probably going to get even better as time goes on if he sticks with it and doesn’t burn out too quickly.
Light Me Up is the latest single from Enzo, a self-taught musician based in Boston, MA. It’s an ethereal, electronic dancepop jam. Brimming with energy, Light Me Up remains musically lustrous and illuminating throughout. The listener can visualize the EDM lightshow which would accompany this song in a live setting. The chillwave backbeat provides a great atmospheric framework. Enzo’s vocals are soft-spoken and upbeat, a great fit for the tone of the music. He also sings rather well and is not afraid to show a little emotion in the lyrics. Overall this is an uplifting genre which captures the positive spirit of EDM.
Don’t Know Don’t Care is a crafty new single from Los Angeles based musical artist, Charly (ft. The Characters.) It’s a poignant indie blues jam that teases, dazzles and finally rocks when the chorus really kicks in. The song straddles the line between blues/lounge and alternative. Charly’s emotive and charismatic vocals drive the song. I can’t stress enough what a dynamic vocal performance this is . The lyrics touch upon themes of openness, acceptance (“don’t know, don’t care if you’re a boy or a girl,”) and the search for reassurance and greater fulfillment. The song stands on its own, but I recommend watching the official music video, which is one of the best produced infie music vids I’ve seen over the last year.
“Bearzerk” is a Los Angeles based artist management / music company. They also operate their own record label. They tend to focus on EDM, House, Hip Hop, Techno, Trap, R&B and Dancehall genres of music. Bearzerk has also been known to be involved with events and afterparties, usually featuring well known DJs and hip hop artists. Though the entertainment company is headquartered in LA, Bearzerk also operates in Australia, New Zealand, Canada and The Caribbean. Recently they promoted a one-off show in New Zealand featuring R&B icon, Nelly. I don’t know much else about this company, but I have to admit they have a cool logo. They seem to be at the forefront and cutting edge of 21st century musical promotion.
666 is an EP from Paris based hip hop artist, Sauveur Eloheem. True to the album’s title, the songs have a spooky and darkly ambiant synth vibe (one of the tracks is even called Halloween.) Many of the lyrics appear to be in French, but the music could be appreciated by anyone regardless of language. Eloheem’s voice is deep and his delivery is authotitative and commanding. He displays a charismatic vocal presence througout the EP. A good way to describe this album is that it’s creepy in a good way. Eloheem has put together a cohesive and avant garde release. My favorite track on 666 is Serpent à Sonnette, as the song’s hauntingly magnetic intro pulls the listener in and sets the tone for the music ahead. It’s worth noting that all of the songs on 666 have captivating intros. I recommend you check out Sauveur Eloheem’s other releases if you get the opportunity.
Double life liver Louie Lahana is a schoolteacher during the day and describes himself as a “musician after midnight.” His music is a rather unique combination of acoustic alternative and hip hop. I’ve heard other artists classify their music in this way, and usually it just turns out to be someone rapping loudly over rock music, basically like “rapcore.” However, in Lahana’s case his music really does sound like alternative music. A big part of this is his vocal delivery, which sounds more like John McCrea of Cake or Bright Eyees than Ghostface Killah or even Fred Durst. In other words, this is the good stuff.
One of Lahana’s latest singles, Taxi, reassures the listener almost immediately with its earthy and vibrant accoustic guitar tone, rhythmically performed and pleasant to the ear. Lahana’s comfortable singing voice and dynamic delivery elevate these recordings beyond the realm of mere spoken word slam poetry. It kind of reminds me of some of Lou Reed’s post Velvet Underground material like Walk on the Wild Side. The backing / harmony vocals contributed by Tehillah Henry manage to take the song even further. The lengthy and comprehensive lyrics in Taxi supposedly tell a tale of “nostalgia and trauma in a cab on the way to work” (hey who can’t relate to that?) The song ultimately tells us much more though, as we realize that Louie Lahana isn’t just a school teacher who tinkers with music on the side. He’s someone who releases top tier, chartworthy indie songs, and who just so happens to also be a teacher.
Musical artist, producer, performer and composer Howard Herrick has just released a self titled solo album. He’s no stranger to releasing music though, boasting a lengthy and impressive resume, which includes writing / producing scores for film and theater productions. He also was a member of the New Jersey rock band, “Minister Hill.” One of Herricks more well known credits involves composing music for Shaquille O’Neal’s video game, Shaq-Fu: A Legend Reborn.
Given Herrick’s eclectic range of talents and influemces, I really wasn’t sure what to expect stylewise from his latest album. There is in fact, plenty of variety. It opens with the light synth pop jam, Hold My Hand. The next track is an emotional, piano driven, adult conteporary song, Show Me That One Again. Then the album really lets loose with the ethereal rock opera number Go and Hear. This versatility continues right on down the list. However, the songs are all thematically consistent and feel like compatiblie ingredients in a cohesive concoction. I should mention that Howard Herrick sings on these tracks, and he is quite a capable vocalist. This style of music is very difficult to sing well. I certainly couldn’t do it. It’s impressive the way Herrick fully belts out these emotional lyrics, and his voice more than gets the job done. My favorite track on the album is probabaly New Heart, which has a brooding synth backing and features alternative-like vocals.
Visions is a new single from hip hop artist, fadetheblackk. Featuring a jazzy, piano driven backdrop, this soulful jam is colorfully upbeat and peppy. Fadetheblackk doesn’t merely spit rhymes, there is a melodic musicality to his delivery. He also keeps the posturing and attitude to a minimum, coming across instead as humble and open. Lyrically, the song combines bittersweet ruminations on life with a motivational spirit. Production quality is good. Unlike so many contemporary hip hop tracks, this one doesn’t utilize any obnoxious vocal processing effects. Visions is a lively and uplifiting springtime pop song. Definitely worth a listen.
One thing that distiguishes Keys and Vices from typical indie rock bands is the quality of the singing. Most indie groups tend to substitute creativity and artful authenticity for whatever they may be lacking in technical ability. It’s a tradeoff a certain type of listener accepts. However, in the case of Sacramento based outfit, Keys and Vice, Jennifer Valdez (the group’s frontperson,) has a better voice and is more talented than most millionaire pop stars, many of whom are known only for the their vocals (and sometimes looks.) In fact, I would go out on a limb and say that the vocals on Keys and Vices’ new album Chronic Nostalgia are among best of any I’ve ever reviewed in any genre.
One might find it surprising that Jennifer (measuring in at a height of 5’0) is inspired by the “Rocky” movies. I would have guessed that for today’s young people, the Rocky franchise might be deemed too “problematic” and socially dated to appreciate. These kids are all right I guess. Like Rocky, Jennifer perceives herself as an underdog, and her performance in Chronic Nostalgia demonstrates that, if not the ‘eye of the tiger,’ she has the heart of a champion.
Lending to the band’s vaguely 60’s, moddish aesthetic (at least in the cover art,) part of me assumed the first track Out of My Head would be a cover of the classic Little Anthony & The Imperials’ classic, Going Out Of My Head. But no, I was wrong. This is a completely original song, yet with equally moving, dynamic “energy.” The retro-styled, innocently charming backing music on this track is my favorite on this entire album. It immediately fashions a context for the listener to immerse him or herself in the nostalgic ambiance of these recordings. This song also introduces us to Jennifer’s voice, at which point we’ve offialy made up the mind the album is good. Talk about a first impression! I should also give credit to to bass player Kevin McCarty and Kris Ayala on drums, both of whom solidly wield their skills to roundoff the sound.
There’s plenty of musical variety in Chronic Nostalgia. The instrumental backing music is distinct in every track (piano driven, guitar driven, synth driven etc.) Some tracks are danceably upbeat and groovin’ while others like Box of Keys and Ghost Love are touchingly haunting. All are consistently and passionately performed though, in a manner which convincingly conveys the genuine emotions behind the words.
In a way, listening to an album this good is kind of depressing, knowing that the artist may never receive the recognition that is afforded to so many less-deserving artists so easily. Nevertheless, even if they never manage to get a shot at the title, Keys and Vices have proven themselves worthy with this flawless, indie mini-masterpiece.
Grindin’ is a new single from Lawless Blaze, a hip hop artist from South Louisville, KY. This jam has a low-key and delightfully eerie musical intro, consisting of xylophone styled electric piano melody. It builds tension for the song nicely for the first 30 seconds of the song. The backing music also reminds me of the sort of thing you’d hear in old school Wu-Tang or The Pharcyde classics.
When things finally kick in, Lawless Blaze’s vocals take things into high gear. His delivery often alternates between quick and slow, maintaining a good sense of timing relative to the minimalist back beat. He rhymes mostly in the style of what could be described as a “fast talkin hustler.” Some of the quick-witted lines he rattles off whizz by you so fast you wonder if just bought a car from this guy without knowing it.
The lyrics here are rich with substantive content, much more than the average mainstream rap or pop song. There are some memorable catch phrases and choice lines like pistachios… I’m goin nuts! Most of the song though is inspirational, as the artist charismatically muses about getting things done and working hard. It’s all about struggling and saving to achieve your dreams. “Grindin” is really the right word to describe the daily grind people have to go through to better themselves and often just to survive. It’s a great term to illustrate that nothing comes all that easily or smoothly. You’ve just gotta go out and keep a laser like focus on getting that money.
Lawless Blaze manages to incorporate a genuinely positive and future oriented message without it coming off as cheesy or patronizing. It also must be said that Lawless is actually a very skilled rapper, with a natural flow that is always on point. Nowadays anybody with a computer can record and release a rap song, and it’s tough for artists to stand out among so much competition, but I’m telling you this guy has done his homework and can deliver with the best of them.
Grindin’ is available on Spotify. Feel free to check it out and listen for yourself.
