Louis Siciliano

 

Rather than plying us with the typical flair that has become all too common among his scene and those attempting to penetrate it, Louis Siciliano is intent on giving us something a little more intimate in his new EP Ancient Cosmic Truth, and it all starts with his use of dueling melodic components, sax included, in “Bambara’s Symmetries.” Although it would have been simple to influence the rhythm with cadence, his beats ride the groove like an angelic entity atop a cloud, the instrumental center ascending towards the heavens rather casually rather than with any sort of force. This is most definitely a clandestine style of romantic songcraft, and it’s popping off in this EP like few critics could have predicted.   

 

The avant-garde and worldbeat influence in Ancient Cosmic Truth is undeniable, especially in “Translucent Dodecahedron” and the supple title track, but it never translates as coming from a place of arrogance. On the contrary, his style of delivery invites us closer to the melody, as if to ask us to dance beneath the spotlight instead of merely staring at it. There’s no arguing the presence Siciliano has in these tracks, and it’s too organic to be deemed anything other than spellbinding.  

 

SPOTIFY: https://open.spotify.com/track/5if9klKLUsNsqqpTVU4IRc

 

Balance is one of the key themes in Ancient Cosmic Truth, particularly in “The Secret of Mansa” and “Bambara’s Symmetries,” in which instrumentation is meant to weigh evenly rather than allowing specific elements to captivate us with surreal prowess exclusively. What grabbed me here, at least from a compositional perspective, was the unnecessary attention to intricacy Louis Siciliano pays even the bottom-end textures that support him in any given beat. He’s a natural at this medium, and if there were any critics unsure of making such a statement beforehand, they need to hear this record for themselves to understand just what a gem he is at this point in his career.   

 

While studio recordings can bring forth some of the most creative aspects of an artist’s profile, bringing in the right creative minds to collaborate and expound upon conceptualism is something quite different, and I think Siciliano thrives off of the setting he’s presenting his material in here. He’s not reticent about digging into a hook; instead, he’s chasing after the fever pitch like it owes him something, and providing us with the sort of structure-bound backdrop that tethers his sound to that of the many greats in jazz before him. 

 

There are no two ways about it - Ancient Cosmic Truth is a marvelously stunning introduction to the music of Louis Siciliano, and if you haven’t already given it a listen this winter, I highly recommend you do as much before February is over. His style is like a cool pair of shades here, and if cultivated with the mainstream in mind, I have a feeling he’s going to give us some of the more remarkable, beat-driven content to come out of the underground in a long time. Simply put, this is the jazz record you need to acquire this month.  

 

Joshua Beach

Elizabeth Sombart

Singing the Nocturnes is Elizabeth Sombart’s lustrous and inspired tribute to the powers of Polish pianist and composer Frederic Chopin. It also brings the 19^th century giant’s work to vivid life for modern audiences not as a relic from a bygone past but, instead, as a vigorous and relevant piece of music that reflects the human condition in 360 degree fashion. It’s a bold assertion, but it’s the sort of thing that artists such as this are known for.

Elizabeth Sombart’s classical training began early. She started playing piano before her teen years and advanced with breathtaking speed as her ascent through the classical music ranks snagged several awards along the way. She won an early first prize at the National Piano and Chamber Music Awards and went on to study with several renowned classical instructors before embarking in full on her own path.

It has been music, music, music. Singing the Nocturnes serves notice of Sombart being a full-fledged artist as she inhabits each of the 21 Chopin compositions included on this release, She moves from the major and minor key exploration, the mini-suites built within the larger work, and the nearly dizzying gamut of emotions rife throughout the work with confidence and, more importantly, emotion.

PANDORA: https://www.pandora.com/station/93286966694513342

These are inert and academic exercises for Sombart. They are alive, instead, with possibility and it is a fulsome credit to her genius as a musician that she imbues a sense of go-for-broke spontaneity in what are surely structured and well-established pieces. It isn’t every classical musician who can do that. There’s a sense of overall structure with the work to that makes it best to experience this album as a whole, in a single sitting.

It does allow for listeners to dive in and out, however, as they like. Sombart, however, hails from an earlier generation where works are best experienced as a coherent and unified whole. It’s unique to hear in Singing the Nocturnes that aforementioned spontaneity reflected in different ways. The verb ‘sing’ is a good choice for the album title as her playing in both the moodier and livelier pieces alike gives listeners a musical dialogue of a sort to follow. It’s a compelling conversation full of melodic highs and lows that never fails holding listener’s attention.

21 tracks may seem like a lot, as well, but Sombart’s musical treatment of the Nocturnes makes it a surprisingly breezy experience. Her playing carries listeners away with an effortless lift and she weaves what can only be described as a dream-like suspension of disbelief that we are delighted to entertain. Her graceful and personable touch never deserts her during any of these pieces. It’s the latest creative high point in a career studded with one such moment after the next and her appetite for creating seems far from sated. Elizabeth Sombart’s Singing the Nocturnes is classical music of the highest order, passionate, and fully alive rather than some cliché. Listen today and you’ll hear magic in each of these pieces. 

Joshua Beach

Hughie Mac “Sings Some Great Songs” (Part 4)

Hughie Mac’s ongoing series chronicling the history of 20^th century American songwriting, Sings Some Great Songs, has hit its fourth volume with no signs of slowing down. Mac doesn’t limit his selections but, it must be said, has a definite preference for mid-20^th century pop, pre-rock and roll, such as theatrical show tunes and Sinatra, among others. Any collection where Ol’ Blue Eyes can co-exist alongside Jimmy Buffett is unusual fare and Hughie Mac’ Hughie Mac Sings Some Great Songs, Vol. 4 is familiar, yet indelible.

TWITTER: https://twitter.com/hughiemacmusic?lang=en

 

Much of this is attributable to Mac’s voice. He doesn’t have the typical pyrotechnic marvel, a voice capable of blowing listeners out of their seats with its power, but it grabs your attention. It’s apparent from the first. His interpretation of “Almost Like Being in Love” doesn’t grab you by your figurative lapels and dominate the space but, instead, Mac’s voice approximates that giddy sensation invoked by the song with a smile and a wink. The perfectly placed musical backing supports him well.

 

He excels just as much with more recent material. His version of “Changes in Latitudes” never allows itself to get too exuberant, but nonetheless modulates the song’s energy with a steady hand and satisfies those familiar and new to the track. “Two Pina Coladas” receives similar treatment. Mac captures the song’s boozy gregariousness without ever lapsing into parody and times his performance well against the arrangement. It finds its mark from its first note through the last.

 

The next three tracks are among the most well-known selections from the mid-20th century American songbook. “My Way”, the seminal Sinatra tune that likely closed every show for the better part of three decades, gets respectful but lively treatment from Mac. He isn’t content trying to ape the original, who could, but hews close enough to the classic version in both vocal and musical spirit that any Sinatra fan will approve. His phrasing is spot on throughout.

APPLE MUSIC: https://music.apple.com/us/album/sings-some-great-songs-pt-4/1489067898

 

Another aspect of Mac’s performance many will enjoy is his steadfast refusal to ham the material up. You hear this, particularly during songs such as “Come Fly with Me” which naturally lends itself to the singer making a great fuss over its lyrics, but Mac doesn’t go for that. He sings the song with zest and confidence, but he lets these great songs stand on their own. It creates an all the more pleasing contrast when set against this track’s horns.

 

We continue with the theme of flight. The classic “Fly Me to the Moon” gets played straight as well, incorporating excellent percussion, woodwind, and upright bass contributions. Mac’s level of comfort with this material is clear. It’s part of what makes hearing the Sings Some Great Songs series so enjoyable and, really, there’s no need for it to end here. Mac has a tight grip on picking the right material for his voice and he’s far from exhausted the possibilities of this concept. His latest entry, Hughie Mac Sings Some Great Songs, Vol. 4, is his best yet. 

 

Brent Musgrave

Voula

 

Layering tracks together in an epic mix isn’t a new idea in rock music, but when Vuola does it in his new record Alouv, it feels like a bit of a revolution inside of five unique songs. Alouv is complicated and eccentric at times, bringing together esoteric themes with broad rock conceptualism, like in the songs “Laugh Vivid Often Adore Unity” or the more brutish “Vapaa Uljas Onnen Lapsi Aaamun,” and without its intricately mixed sound, we wouldn’t be able to appreciate just how profound a quake Vuola can issue when he’s in top studio form. 

Everything begins and ends with the guitar parts in Alouv, and this is true of “Under Above Orion Venus Loves” as much as it is the more conventional “Astra Lucia Omnia Ultra Verum,” but I hesitate to call this a work of virtuosity. There aren't a lot of technical ecstasies to get lost in here, but at the same time, Vuola is using the tonality of the strings and the overdrive to create a backdrop that piano keys, winds, or any other instrumental componentry could have accounted for. In that sense, this is a guitar aficionado piece, but not one in love with its own shadow.

BANDCAMP: https://vuola.bandcamp.com/track/laugh-vivid-often-adore-unity

I think Vuola is going deliberately soft on the mic when he is singing in songs like “Laugh Vivid Often Adore Unity” as a means of highlighting the harmony more than his own words, but this does not reduce the value of the verses in this record at all. I would actually say it makes us pay a little more attention to their subtext, their greater contribution to the bigger narrative in this record, and even what they lend to our singer when he’s tunefully finding his center amidst all of the destruction in Alouv.

While I thoroughly enjoyed this record from beginning to end, it did leave me with more questions than I’ve got answers relating to Vuola. There’s still so much he can do with this sound, so many different passageways in the walls of this tracklist that could be explored and exploited more than they were in this setting, and if I had my way, his next project would be one that essentially serves as a sequel to this debut. Alouv is full of mysteries, but the greatest one just might be how to get some of its most haunting moments out of your head when it’s over.

Joshua Beach

Elizabeth Sombart Releases Singing the Nocturnes

As we step into the cold, removed melody of “Nocturnes, Op. 9 No. 1 in B-Flat Minor” with only the piano play of one Elizabeth Sombart to guide us through this familiar excerpt from the Nocturnes, there’s a sense of angst hanging in the air that no amount of pristine play can dispel. Wandering through this six-and-a-half-minute opus, we soon find ourselves on the other side of the track in “Op. 9 No. 2 in E-Flat Major,” by no means evading the dark melancholy that has spilled over from the previous movement. It isn’t until we’re in the guts of the allegretto, “Op 9 No. 8 in B Major,” that we’re truly basking in a feeling of certainty, but I get the impression this was the concept Sombart was going for all along.  

INSTAGRAM: https://www.instagram.com/elizabeth_sombart/?hl=en 

The three parts of “Nocturnes, Op. 15;” “No. 1-4 in F Major,” “No. 2-5 in F-Sharp Major,” and the lento “No. 3-6 in G Minor,” comprise the most sophisticated sounds you’re to hear on Singing the Nocturnes, but the technical prowess that Elizabeth Sombart so eagerly dispenses in these tracks doesn’t remain isolated to “Op. 15.” On the contrary, it’s a mere sneak preview of the tension that will soon fill our speakers to the brim in “Nocturnes, Op. 27 No. 1-7 in C-Sharp Minor,” one of the most hauntingly raw performances I’ve ever heard this artist give inside of a recording studio. She’s really on her game here, and those who have been following her career are going to agree.  

“Nocturnes, Op. 32” is a four-part venture that contributes a bit of buoyancy than “Op. 48” and “Op. 55” just aren’t able to divvy out, and although it feels a little longer than it should comparative to the other movements in this record, it doesn’t drag on past the point of relevancy - nothing in Singing the Nocturnes does. Elizabeth Sombart has gone to such painstaking lengths of giving us the meatiest - and moodiest - that the Nocturnes have to offer here, and although there’s a case to be made that nothing is quite as cutting as what we hear in the latter half of “Nocturnes, Op. 62 No. 2-18,” I can’t imagine listening to fragments of this album rather than the entire piece as one cohesive work of art.  

PANDORA: https://www.pandora.com/station/play/miR517149 

Elizabeth Sombart wraps up Singing the Nocturnes with the likes of “Nocturnes, posth. No. 20 in C-Sharp Minor” and the posthumous follow up “No, 21 in C Minor,” but by now one is likely to be so bewitched by what they’ve just heard that listening to the record over again feels more appropriate than simply letting these tracks grind to a solid stop. As a lifelong classical lover, this is one of those LPs that’s particularly hard to set aside once given that all-important first spin, and relative to the other Chopin tributes I’ve heard in 2022 and 2021 the same, this stands out as a required listen, and perhaps the best we’ve heard from its creator in a while.  

Winston Hennessey III

"Rising Up” LP by Alex Lopez

“Light It Up” begins Alex Lopez and the Xpress’ new release Rising Up on just the right note. Lopez’s stock and trade, since his first studio recording in 2013, has always been the time-tested fusion of blues and rock motifs, but he never limits himself. Like previous recordings, Rising Up features some stylistic detours, but the release nevertheless centers itself around his guitar and, to a lesser extent, his singing. The highlights of the first song for me are the percussion and, of course, guitar, but Lopez isn’t a vocal slouch as well. 

You may find yourself wishing for a little more grit in his voice, but he never fails hitting listeners square between the eyes with first rate phrasing. It’s an invigorating opening number and promises much from this collection.

INSTAGRAM: https://www.instagram.com/alexlopez_music/?hl=en

“Paradise” is a track I loved on the first listen. It’s very straightforward, you won’t hear any pretentiousness here or the other tracks for that matter, and the effortless way his vocals and, especially, his six string work commands your attention will likely have you listening to this track a few times before moving on to the remainder of the album. It introduces Hammond organ to the album’s sound and it’s an excellent addition, though you may find yourself hoping it will become a little less shrill as the song progresses. It counterpoints his guitar well, there’s several gripping exchanges, but it would have soared even higher with a meatier sound.

The best song on the album, for me, is the title track. Only one other song comes close. This is Lopez at his finest, resolute, unstoppable, and apparently capable of pulling riveting guitar playing out of some bottomless magic hat. The sheer variety of his creativity is impressive. It’s stamped, as well, with his personality and possesses unmistakable spirit. “Not This Time” is a contender for best song too. This pure blues tune begins like so many before it and even more to come, but Lopez has developed his own twist on these time-honored styles that sets it apart from other similar tracks. The relaxed, deliberate pace he takes on is, of course, perfectly suited for this performance.

HEAR NOW: https://alexlopez.hearnow.com/rising-up

“I’m Always Wrong” is clever in the way it contrasts the pessimistic lyrical content with the its irrepressible musical agility. The drumming and bass are stand outs here. Having said that, however, the change of pace Lopez’s jazz influenced guitar playing exerts over the album is a welcome respite from the opening four tracks. “Mountain Rain” is another break from the expected. He ventures into acoustic territory with this track producing something not far removed from his wheelhouse but, nonetheless, more folk than quasi-Albert King. His vocal sensitivity is notable as well. There’s a slight ballad-like feel to the final track “Smile” and I am gratified he chose to end the release with such a positive, life-affirming moment. Alex Lopez’s Rising Up is a worthy addition to his growing discography and opens the door to an even brighter future than he’s known so far. 

Joshua Beach

HEWAS

Hewas has had what some might consider to be a charmed start to his career. Being discovered by 98 Degrees in 2019, he subsequently hooked up with the producer, Blazar. Now he has released a song with Cannabis Connoisseur, Afroman. The secret to Hewas’ initial success, might just simply be his legitimate talent and quality of material.”Wholething,” though bound to be a bit polarizing, is another step in the right direction for Hewas.  

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

Though it wouldn’t sound completely out of place in another decade, there’s something quite modern about “Wholething.” Hewas brings a certain sensitivity, but also a developing masculinity. Vocally, he could be compared to Justin Timberlake, but his presence carries a bit more mystique. The song is a quick ride, and is over before you really feel fully satisfied. That’s not to say you won’t be left without a favorable impression, as musically speaking, it should appeal to a broad demographic. 

Having said that, “Wholething” is going to branded with either the dreaded or heralded, depending on who you ask, parental advisory label. Not always ideal for promotional purposes, in an age of streaming/downloading, the sardonic vulgarity might not be a factor, whatsoever. The song deals with themes of casual hookups, and the aftermath. More specifically, a man that wants to ward off his conquests intrusions, that far exceed the access he intended her to have. That doesn’t read back as having a great deal of taste, but the seasoning does a good job of compensating for it. 

In a bit of irony, Hewas’ vocal style seems more suited for tender and affectionate fare. He hardly sounds like the self-centered playboy, who narrates in “Wholething.” That’s not to say that Hewas’ performance lacks any sort of authenticity, as his voice glides, seductively. Hewas emits a boyish charm at times, with the faintest hint of vulnerability. His unique phrasing and subtle, yet quick shifts in tonality, will succeed in making a strong impression of his range. 

Generally speaking, there isn’t a great deal known about Hewas. It makes the collaboration between he and Afroman all the more remarkable. On paper, it would seem like a bit of a clash of styles, but it somehow manages to exceed expectations. Afroman, marks his territory at the 57 second mark, with an R Rated verse. I had to block you/out my life/cause you lost your mind/and inboxed my wife. 

APPLE MUSIC: https://music.apple.com/uy/artist/afroman/id88434

“Wholething” seems to achieve what it sets out to. It furthers the momentum of Hewas, and makes good use of its famous guest star. I’m not so sure it’s going to be the breakout single for Hewas. That might have already occurred with “Lemon,” with this serving as a novel and solid follow up. Hewas is cruising at a comfortable speed at the moment, and this song certainly won’t ruin the whole thing.

Mark Ryan, posted by Joshua Beach

Gravity by Paul Mark and the Van Dorens

Gravity by Paul Mark and the Van Dorens is a strong collection of songs that pay attention to the songwriting just for the sake of song to deliver such a thing of wonder. This is a brilliant album, the 11^th release which happened to be in-the midst of the Covid-19 crisis. The album was produced by Paul Mark and mastered by Bruce Barielle, New Orleans LA. Arranged, recorded and mixed by P. Mark in NYC, with Christian Howes, Eli Bishop, Greg Byer on strings Tess Primack, Connie Laws on background vocals P. Mark - Vocals, piano, bass, guitar, organ, xylophone, drums, accordion.

PAUL MARK: https://paulmarkthevandorens.bandcamp.com/album/gravity

The songs on Gravity tend to speak for themselves, including the Yardbirds cover toward the end of the disc, and it stands up to former releases dating all the way back to the Go Big OR Go Home CD. The disc kicks off with what might as well be the title track, “Gravity Is Failing,” and it sets the tone with a narrative approach in the lyrics. But there’s a lot of things to be said about the musical arrangement as well, as it plays like a variety of everything from ragtime piano to folk music. This is a very swash buckling sort of song with an esoteric feel that combines piano and violin. 

“Forever” is the next track and once it starts you know this is a concept album with some storyline holding it together, almost as if it were written with current affairs in mind but I also sense that is a coinciding thing that Paul Mark is not alone in doing. This is a fantastic ballad, and although I have not delved much into his back catalog, I have heard enough to call this on par with what his fans expect him to deliver on. 

“I Spin When You Grin” is a more enthusiastic song with a lot of Leon Russell flair to it, in fact I am most reminded of him and Doctor John on this album, and they’re two artists anyone wouldn’t mind being compared to. In fact, it’s hard to know what is-a cover and what isn’t when something sounds very familiar like this but leave it to Paul Mark because he’s a great songwriter. And this is just as evident on every self- penned track as it continues with “The Next Fight,” which is a bit slower but just as entertaining as anything on this fine album.

AMAZON: https://www.amazon.com/Gravity-Paul-Mark-Van-Dorens/dp/B086V4TDVN

By this time you’re drawn into what’s going on and the rest is gravy, starting with the very Baroque sounding “Coronation” instrumental to set up the next track “Con Man VIP” which clearly references the political climate of late. The organ work throughout this album is a highlight and no exception to this track. But the next track is a more sobering piece with a very soothing on outcome, “Friend Gone Astray” and it is another excellently played and sung tune. Also, worth noting are “You Can’t Take It With You” and a respectable version of the classic “Heart Full Of Soul” by the aforementioned Yardbirds. 

Joshua Beach

308 Ghost Train

Soft but strong enough to draw together a harmony seemingly out of thin air, the keys that we find in the new single “Bleed Over Me” from 308 Ghost Train are pivotal to the creation of a mood in this latest release from the rising rock group. 308 Ghost Train put a lot of stock into the power of melodic ribbonry here, but while “Bleed Over Me” is perhaps their most pop-friendly effort to see widespread release thus far, it’s hardly a step away from the rock n’ roll lexicon that they’ve been building their name within lately. In this single, we’re introduced to a band that doesn’t care much what you think about retro pop/rock magic - they’re playing to the fundamentals of this genre (and sounding pretty incredible in doing so).  

SOUND-CLOUD: https://soundcloud.com/user-153508539

The melodies here are supremely rich from an instrumental standpoint, but nothing feels particularly overdone at all - on the contrary, I would even say that this is a rather lean and mean composition when taking into account its being stylized as a power ballad. 308 Ghost Train are careful to stay away from the overindulgences that have brought down many of their contemporaries, and influences for that matter, in “Bleed Over Me,” but at the same time they aren’t shy about putting as much oomph into the mechanics of their performance as can be mustered from within the four walls of a recording studio. They’ve got a good handle on their depth for a group that is as fresh on the scene as they are, and I doubt I’m going to be the only critic that notes as much this summer. 

TWITTER: https://twitter.com/308ghosttrain?lang=en

These string parts have a great tonality to their harmonies that really balances out the vocal parts wonderfully. Had each of the different components in “Bleed Over Me” not been given as much of the spotlight as they ultimately were afforded in this instance, I can’t be sure whether or not the single would feel as chill-inducing as it does - even after numerous listens. There’s still a lot that we need to discover within the artistry of 308 Ghost Train, but if there’s anything we can collectively take away from this most recent dispatch, it’s that they’re all about the details (no matter how seemingly small or insignificant).  

APPLE MUSIC: https://itunes.apple.com/us/artist/308-ghost-train/1464782600?ign-gact=3&ls=1

If this is just a preview of what 308 Ghost Train are going to be bringing to the table on a regular basis in 2020 and beyond, then you can absolutely count me in for more of their work in the future. They’ve got a unique sound that is reminiscent of some serious heavyweights in the history of classic rock, but while the comparisons to the old guard will be inevitable, there’s nothing archaic about the way they’re doing business in “Bleed Over Me.” This is a modern, very mature look for their brand, and if it’s any sort of representation of who they are at their most emotional, it won’t be the last heavy-rocking ballad they deliver to critical acclaim.  

Joshua Beach

“Habibi” by Ilyah

Chic and cosmopolitan in the surreal “The Only One,” cutting and full of a brooding emotionality in “Miscommunication,” it’s impossible to ignore the warm vocal of Ilyah no matter which of his songs is playing. In the last couple of years, this pop singer/songwriter has been steadily gaining steam in the international underground on the strength of his vocal prowess, and having been introduced to his music a little while ago, I can understand why he’s getting another wave of buzz this spring. On the heels of his latest release, the single/video combo “Habibi,” Ilyah has been attracting some renewed interest from the indie press, and based on the growth he’s displayed over the course of the last few years, he’s more than worthy of the hype for sure.  

While Ilyah’s music videos have always been sparkling with polish, his most recent visual dispatch in “Habibi” is perhaps his slickest piece of material to see widespread release thus far. Where “Girls Like You” and “Miscommunication” sampled from the same indulgent influences that this release does, there’s more of an attention to the relationship between shots and songcraft here than I was initially expecting to find. He’s got so much he’s trying to get off of his chest via the harmonies in the master mix, but beside them, we’ve got a smorgasbord of stimulating frames that keep our attention glued to the screen as much as it is the speakers. It’s very well-rounded material, and a great look for its creator.   

INSTAGRAM: https://www.instagram.com/ilyahofficial/?hl=en

I absolutely love the use of melodic contrast in the tracks “The Only One,” “Girls Like You” and this latest cut “Habibi.” Borrowing some elements from avant-gardism but avoiding the pitfalls that come with sounding overly experimental, Ilyah strike an interesting balance between alternative aesthetics and pop simplicity (which is no easy feat for any artist to tackle). He’s got quite the gift for amalgamating texture and tonality together, and if there were any critics not lauding his skillset in this department prior to now, I think they will be in the next year. 2020 is already off to a tremendous start for this player, and with a little more airplay on the college radio format through the summer, he’ll be ready to enter the autumn season as one of the underground’s premier voices.   

You don’t have to be a pop fanatic to dig the direction that Ilyah is taking his music in at the moment, but for those of us who carefully follow the genre’s every movement, this is definitely an artist that you need to be paying special attention to moving forward. Ilyah doesn’t have a particularly theatrical presence in his studio recordings – he’s raw, real and, frankly, never hesitant about putting his emotions out there through both his melodic attack and the words it’s designed to convey unto us. He’s come a long way in an incredibly short amount of time, and if he keeps his nose to the grindstone through 2020, he’ll see even more success in this decade than he did the latter half of the last.   

Joshua Beach 

“Head in the Clouds” by Reverse Mechanic

In his new single, “Head in the Clouds,” the musician known simply as Reverse Mechanic explores string-born harmonies with more of a rambunctious moxie than he’s ever displayed in-studio before. Whether we’re listening to the song by itself or taking in its fun-loving music video, its core hip-hop aesthetic comes to us flanked with a pop/rock melodicism that I can’t recall hearing in the genre before. It would be untrue to suggest that other rappers haven’t tried to fuse elements of rock or pop into their work prior to now, but among those who have experienced any degree of success, Reverse Mechanic’s effort is definitely among the more interesting.

Official Website: https://reversemechanic.com/

The concept behind this track comes almost entirely from the idea of preserving the melodic relationship between vocal and verse. Whether he’s rapping or harmonizing with the guitar parts here, Reverse Mechanic sounds very relaxed and unflustered, doing everything in his power to maintain a fluidity in the hook that wouldn’t be possible with a more rigid performance. Even the verses he spits out with a furious intensity later on tin the song have a tonal warmth I haven’t come across in a long time, let alone in material out of the American hip-hop underground.

I really love the guitar element to “Head in the Clouds,” and I think that, in more ways than just the obvious, it accents the beat here better than anything else would have. There isn’t any sort of bassline indulgence for us to sift through in this song; in fact, I actually think it’s a little thin on the low-end of the spectrum. That said, there hasn’t been a single quite this crisp to bear a hip-hop categorization label in all of 2020, and that alone makes it a rather interesting listen for those of us who follow the scene.

Reverse Mechanic was smart to go with a streamlined mix over anything super bombastic here for a couple of reasons. First off, it helps for us to retain focus on his vocal virtuosity, which is on display from beginning to end in “Head in the Clouds” for all to hear and appreciate. Second of all, by avoiding the surreal glow that so many of his peers have been trying to capture in their own work lately, he not only distinguishes himself as an anti-establishment rebel, but more importantly, as a player who wants to make his own brand of musicality in 2020.

If this is on par with what Reverse Mechanic is going to be doing throughout the next chapter of his career, I doubt “Head in the Clouds” will be the last time he winds up in the headlines with his work. There is certainly a lot to get excited about in modern hip-hop; the genre has reached an apex of sorts that is resulting in a diversification unlike anything many critics would have predicted just a decade earlier. Artists like Reverse Mechanic are ushering in this next era marvelously and, mostly, because of the indie ethos they adhere to so well.

Joshua Beach

“Greyhound Bus” by Jefferson Thomas

For the last few years, singer/songwriter Jefferson Thomas has been building up quite the following on the underground side of his scene. In his new single, “Greyhound Bus,” and its eclectic music video, Thomas swings for the fence with a robustly rhythmic rock tune and ends up scoring as big as he could have hoped to. “Greyhound Bus” has all the makings of a classic heartland rock song, but its contemporary edge and lack of political lyricism give it a unique quality few tracks of its kind possess. This is a good time to be following indie music, and right now, this is one of the month’s best new releases. 

Official Website: https://www.jeffersonthomas.com/

I really love the clean-cut stylization of the master mix here. Both the music video and the single feature a lot of instrumental detail that feels textured and highly contributive to the overall narrative in the lyrics. There’s never an instance where it’s difficult for us to discern one element from another, and for the most part, Thomas’ vocal harmonies dominate every angle in the arrangement. He’s got such a charming energy about him in “Greyhound Bus,” and between his words of wisdom and the melodies that accompany his every utterance, he’s sounding like a seasoned pro at this medium. 

Part of me does wonder if “Greyhound Bus” would sound ever better in a live setting than it does in this studio recording. There’s a jam energy to Jefferson Thomas’ recently released material that sounds inspired by freeform sessions spent alone with his own thoughts, and on stage, I think we could potentially get just as powerful a performance from him. He has all the cards on the table with us in this single, and whether meaning to or not, I do believe he has raised the bar for both his own future output and that of his scene in general.

 

You don’t have to be a big heartland rock fan to appreciate what Jefferson Thomas is piling on our plates in “Greyhound Bus,” but those who are will probably regard this as one of the sweetest new songs of 2020. With the immense division the nightly news discusses on a daily basis, it’s always nice to find some untainted Americana that reminds all of us of what really matters most in the American identity. This is a fantastic new single and music video, and more than enough to bring me back to Thomas’ work in the future.

Joshua Beach

“Antherius" releases "Midnight Cowboy"

Living amidst a pandemic hasn’t been easy on any of us, but for cities like New York, the cultural difference is indescribable to say the least. The once bustling metropolis has been reduced to ghost town-status in the last few months, and in the music video for Antherius’ cover of “Midnight Cowboy,” we see just how barren its streets have become. A reminder of the city’s persevering identity transformed into a blushing ambient soundtrack, Antherius’ “Midnight Cowboy” is a commentarial look at the state of society as we see it today, and moreover, the optimistic future still sitting on the horizon ahead.   

Tonality is the primary channel of communication in any instrumental ambient track, but that’s all the truer in this single. The synth play melds into the distorted guitar parts, reverberating percussive grooves and understated bassline beautifully. Though he’s not singing, Antherius is articulating a story through little more than texture and musical presence, which, as any critic will tell you, is no easy feat for even the most talented of players to pull off. The production quality here is top notch, but even with its stylish polishing, “Midnight Cowboy” glows with a cerebral tension you don’t find very often on the FM dial.   

Official Website: https://www.antherius.com/

The synthesizers in this song are some of the smoothest I’ve had the pleasure of listening to in 2020. There are no examples of tininess nor hollow melodic faceting here that I can point to as shortcomings, and better yet, the synths never sound particularly artificial in the grander scheme of things. Much like the lights that dot the numerous skyscrapers high above the Hudson, they feel like the perfect adornment to the foundation of harmonies here, which is a lot more than I can say for some of the other synthetically-stylized instrumentals I’ve heard recently.  

Although I would probably describe “Midnight Cowboy” as being an ambient single in spirit, there’s an underlying jazz sensibility to Antherius’ delivery here that can’t be discounted. Unlike other adaptations of this legendary track, there’s a diversity to the framework of this particular recording that sets it apart right out of the gate. Whether intending to or not, he’s put a unique stamp on a piece of musical history that feels strangely appropriate this May, 2020 (with the ultimate irony being that this was first recorded about three years ago as a standalone single).  

 

If you’re looking for something totally different than what the status quo in pop calls for this season, Antherius’ “Midnight Cowboy” is a great addition to your favorite ambient playlist. Its music video is a stellar optical view into the uncomfortably silent street activity of New York City these days, but more than that, it offers us a one of a kind insight into the artistic soul of its creator. Antherius is a deep-thinking musician, and though he didn’t write “Midnight Cowboy” himself, he makes this song sound and feel like something as original and unrecycled as anything topping the Billboard charts in the past couple of months. 

Joshua Beach

Andy Michaels releases “Darling it Hurts” (single)

Two people stand atop a mountain, their hands joining as they look upon the peaks and valleys set out before them. We suddenly cut to another scene, this one set at a dinner table, as the pair exchange vacant stares and sip from large wine glasses. The scene shifts again to an open-air venue, but much of the same sentiments from the previous sit-down have carried over to this one. Andy Michaels is crooning in the background, his voice accompanied by a beautiful string melody, as tears are shed and headaches find little comfort on screen in this video for the all-new single “Darling It Hurts,” and though we are not in the physical presence of its two characters, their emotion is tangible to us nevertheless. 

URL: https://andymichaelsmusic.com/

“Darling It Hurts” boasts one of the more spellbinding videos I’ve seen from an independent artist this March, but its real allure is the music it delivers to us, packaged in a light pop polish but left relatively unchanged from the form we find it in on the critically-acclaimed Incendiary Heart, Michaels’ latest album. The first half of the song is dominated by Andy Michaels and the strings that shelter every emotional statement he makes, but as we get deeper into the track, another voice decides to join him in what will become, at least in my opinion, one of the best duets you’re going to hear this spring. Their connection is as intimate as the players on screen, and they convey the mood of the unraveling imagery perfectly. 

I wouldn’t change a thing about the production style Michaels decided to go with in the video for “Darling It Hurts,” and frankly, the same goes for Incendiary Hearts as well. All of his music is defined by its intricate detail, but in this latest release, I get the feeling that he wanted the simplicity of his songwriting to steal the show away from any of the minute elements that make-up the melody here. He’s got a lot of talent, and given how short his time in the spotlight has been, he’s truly come a long way (especially when comparing his development with that of his mainstream competitors) both in the studio and as a composer. 

APPLE MUSIC: https://music.apple.com/us/artist/andy-michaels/315637461

Though it’s marred in melancholy and occasionally difficult for the recently brokenhearted to digest, pop and adult contemporary fans would be crazy to pass up the new music video for Andy Michaels’ amazing “Darling It Hurts” single. Melodically, I’m not sure if he’s ever sounded quite as on-point as he does in this latest release, and if there’s any chance he makes it over to the States to carry out a proper tour in support of Incendiary Heart’s release, I definitely plan on being there to see what he can do in person. Michaels seems determined to climb through the underground ranks this year, and as far as I’m concerned, he’s earned a place on my personal ‘Artists You Have to Hear to Believe’ list without any need for reanalysis. 

Joshua Beach