‘You Kill Me With Silence’ Duran Duran single review by Maya Garcia
The intro kicks in, with electric clavichord, it reminds me a tad of Suede’s ‘Positivity,’ then as the beat kicks in, I hear traces of “Attitude.” As a Suede devotee, this sound thrills me. It's both new and familiar, and fortunately, they are also mutual fans. It’s one hell of a groove, but in a very atmospheric way, as always. I love the ‘scream’ effect as Simon sings “couldn’t be much worse in hell.” Those clever little sonic touches never fail to impress me, as a budding musician. The lyrics are deeply relatable too, and I LOVE the Bowie reference in the line, “to drive another lad insane” (hello!) “And something else, I like this bed of nails; that’s what I tell myself.” It's as if Simon Le Bon is inviting us into the room where this argument is taking place, "and another thing..."
Traces of ELO are heard in the chorus, with those dreamy synths, followed by big drum sounds. The most impressive part for me is that end piece, with groovy bass and synths that sound like fuzzy guitars.
The whole song is melancholic, moody and groove-tastic at the same time. It’s kind of a ‘slow jam,’ but the rhythm is pumping. It’s the lament of a ‘lad insane,’ driven mad by desire for the woman of his dreams, who won’t give him the time of day when he does something amiss.
Title Track Review - 'Paper Gods,' by Duran Duran. Review by Maya Garcia.
I can't quite explain HOW I called it, but I did. From the moment I heard the title, I guessed correctly that 'Paper Gods' would not be an ode to the almighty 'greenback,' but rather, a diatribe against the 'powers that be.' It may sound weird, but I had a dream two years ago (not long after Duran Duran started recording the album) where I heard a Duran Duran song that sounded eerily familiar to this song. How do I know it was a Duran Duran song that I heard in my dream? Simple- because NO other band sounds like Duran Duran- period. I know that sounds kooky but hey...that's how I roll. But enough about my 'psychic moments:' back to the new Duran Duran song, which is always a momentous occasion for any lifelong fan. But this song truly exceeded my expectations. First of all, the harmonic choir of voices at the beginning of the song gave me both chills and a strange feeling of deja vu, immediately. It brings to mind an old spiritual, like something you'd likely hear in a tiny little chapel out in the most remote part of the Deep South, circa 1850. Then the song truly kicks into high gear. The futuristic merges with the very old- (Nick Rhodes has discovered some snazzy new synth soundscapes, apparently), to set against the tight rhythm section and the gorgeous guitar. Then, Simon Le Bon fills in the sonic outline with his paintbrush, with the colors of an urban palette, set against the ills of society, taking things even further than he did on both "Other People's Lives," and "Networker Nation," off of their last album, "All You Need is Now." This is a full-on assault on everything that's gone wrong in the modern world, broken down in the most elegant and poignant way possible. Truly, these are some of the best lyrics Le Bon has ever written, and this statement comes from a Duran Duran lyrics aficionado. You can somehow feel the frustration and despair running through the words, yet the music is quite uplifting in a deeply reverential way. As is often the case with Duran Duran's best music, when it's on, it's ON! A certain magic overtakes both the band and the listener, and the two become one in a sort of cosmic dance. Yes, it's easy for a hardcore fan to wax lyrical about her favorite band, I get it. But trust me on this: even those who've sworn off Duran Duran since the 1980's, 90's, whatever, NEED to hear this song. This is a band with heart, soul and even a dash of well-hewn vitriol at times. They truly love music, and their eclectic tastes show on this latest offering especially, and it works beautifully. You'll thank me later, and I won't gloat when they suddenly become your favorite band too. I'll just say it in advance- you're welcome.
'Paper Gods,' the 14th album from Duran Duran, will be released September 11, 2015. Pre-order it now.
I can't quite explain HOW I called it, but I did. From the moment I heard the title, I guessed correctly that 'Paper Gods' would not be an ode to the almighty 'greenback,' but rather, a diatribe against the 'powers that be.' It may sound weird, but I had a dream two years ago (not long after Duran Duran started recording the album) where I heard a Duran Duran song that sounded eerily familiar to this song. How do I know it was a Duran Duran song that I heard in my dream? Simple- because NO other band sounds like Duran Duran- period. I know that sounds kooky but hey...that's how I roll. But enough about my 'psychic moments:' back to the new Duran Duran song, which is always a momentous occasion for any lifelong fan. But this song truly exceeded my expectations. First of all, the harmonic choir of voices at the beginning of the song gave me both chills and a strange feeling of deja vu, immediately. It brings to mind an old spiritual, like something you'd likely hear in a tiny little chapel out in the most remote part of the Deep South, circa 1850. Then the song truly kicks into high gear. The futuristic merges with the very old- (Nick Rhodes has discovered some snazzy new synth soundscapes, apparently), to set against the tight rhythm section and the gorgeous guitar. Then, Simon Le Bon fills in the sonic outline with his paintbrush, with the colors of an urban palette, set against the ills of society, taking things even further than he did on both "Other People's Lives," and "Networker Nation," off of their last album, "All You Need is Now." This is a full-on assault on everything that's gone wrong in the modern world, broken down in the most elegant and poignant way possible. Truly, these are some of the best lyrics Le Bon has ever written, and this statement comes from a Duran Duran lyrics aficionado. You can somehow feel the frustration and despair running through the words, yet the music is quite uplifting in a deeply reverential way. As is often the case with Duran Duran's best music, when it's on, it's ON! A certain magic overtakes both the band and the listener, and the two become one in a sort of cosmic dance. Yes, it's easy for a hardcore fan to wax lyrical about her favorite band, I get it. But trust me on this: even those who've sworn off Duran Duran since the 1980's, 90's, whatever, NEED to hear this song. This is a band with heart, soul and even a dash of well-hewn vitriol at times. They truly love music, and their eclectic tastes show on this latest offering especially, and it works beautifully. You'll thank me later, and I won't gloat when they suddenly become your favorite band too. I'll just say it in advance- you're welcome.
'Paper Gods,' the 14th album from Duran Duran, will be released September 11, 2015. Pre-order it now.
‘Modern Love’ by Perry Blake and Electro Sensitive Behaviour- 2015
I have a great love for the music of Perry Blake- I’ve been a fan for a number of years now. A friend of mine turned me on to his music back in the 90’s, and I was drawn to his unique voice and his blend of folk, goth and dreamy pop. Think violins, think Tindersticks, and you’re somewhere near his vibe. Or what WAS his vibe. It seems Mr. Blake has taken QUITE a turn in direction in recent years, as evidenced by his latest musical offering, “Modern Love,” which sounds more like he’s been dabbling at the keyboards lately than the darkened, abandoned church, lit only by atmospheric candles, of yore.
It’s interesting. There’s a sort of electric harpsichord for example on ‘Seven Years,’ which lends itself well to Blake’s naturally deep, melancholic-tinged vocal stylings. But then, our friends at Electro Sensitive Behaviour do the unthinkable- and actually DIGITIZE his voice! Eek! But it sounds good, and works for the track at hand. The title track has a sort of 80’s feel to it, which is not surprising, since the title is no doubt a nod to the famous Bowie track by the same name. The biggest surprise on the album is ‘Michael Caine,’ (no relation to the track by Madness). The electro violins and ‘early Pulp- reminiscent’, beatbox rhythm section, works stunningly well with Perry Blake’s vocals. I never realized this before, but Blake’s voice at times sounds a bit like Neil Hannon (of Divine Comedy). This is not a bad thing at all- it just never registered until hearing it up against an electronic backdrop.
It may not be earth-shattering for fans of electronic music, but for this fan of Perry Blake’s music, it was quite a shock, and a not entirely unpleasant surprise. Imagine if Nick Drake had gotten hold of an Andromeda. Oh, the humanity!
Listen to 'Modern Love' on Bandcamp:
_https://electrosensitivebehaviouresbfeatperryblake.bandcamp.com/releases
I have a great love for the music of Perry Blake- I’ve been a fan for a number of years now. A friend of mine turned me on to his music back in the 90’s, and I was drawn to his unique voice and his blend of folk, goth and dreamy pop. Think violins, think Tindersticks, and you’re somewhere near his vibe. Or what WAS his vibe. It seems Mr. Blake has taken QUITE a turn in direction in recent years, as evidenced by his latest musical offering, “Modern Love,” which sounds more like he’s been dabbling at the keyboards lately than the darkened, abandoned church, lit only by atmospheric candles, of yore.
It’s interesting. There’s a sort of electric harpsichord for example on ‘Seven Years,’ which lends itself well to Blake’s naturally deep, melancholic-tinged vocal stylings. But then, our friends at Electro Sensitive Behaviour do the unthinkable- and actually DIGITIZE his voice! Eek! But it sounds good, and works for the track at hand. The title track has a sort of 80’s feel to it, which is not surprising, since the title is no doubt a nod to the famous Bowie track by the same name. The biggest surprise on the album is ‘Michael Caine,’ (no relation to the track by Madness). The electro violins and ‘early Pulp- reminiscent’, beatbox rhythm section, works stunningly well with Perry Blake’s vocals. I never realized this before, but Blake’s voice at times sounds a bit like Neil Hannon (of Divine Comedy). This is not a bad thing at all- it just never registered until hearing it up against an electronic backdrop.
It may not be earth-shattering for fans of electronic music, but for this fan of Perry Blake’s music, it was quite a shock, and a not entirely unpleasant surprise. Imagine if Nick Drake had gotten hold of an Andromeda. Oh, the humanity!
Listen to 'Modern Love' on Bandcamp:
_https://electrosensitivebehaviouresbfeatperryblake.bandcamp.com/releases
Clouds as Skin: “Glass Eyelids” (the Gossamer Sessions).
“Glass Eyelids” has an aching tenderness, combined with a truly otherworldly quality, in the midst of simple beauty.
Vocals start off sounding like a lament from beyond the grave, only a mic and an electric piano. This is truly haunting stuff, and not to be missed. “Wish You Could See” has a folksier vibe, again, just a guitar, with that haunting voice.
A mention should also be given to Clouds as Skin as being one of the best artist monikers I’ve run across in a long time, after The Wax Girl. The music is very impressive and left this reviewer wanting more.
Clouds as Skin’s Vimeo page:
https://vimeo.com/127089867
The Wax Girl “Between Screens.”
“Between Screens” from Toronto’s The Wax Girl is angelic, dreamy ambient music, with just a hint of some industrial sounds.
From the very first track, ‘Rift,’ you are transported to a snowy landscape. The mountains of Russia beckon somewhere off in the distance.
‘Conflict’ is like the factory scene in ‘Metropolis,’ meets a city scene in ‘Blade Runner.’ The chains and rotors of heavy machinery can be heard against the backdrop of twinkly synths and waves of sound.
The rest of the album is pure reverie. Again, not to be missed.
For more, go to their Bandcamp page:
https://thewaxgirl.bandcamp.com/
Fifi Rong, “Next Pursuit.”
Out of London, England, Fifi Rong is the next big thing. Trust me on this. Impressive vocals, catchy pop music, and stunning visuals all merge in her video for “Next Pursuit.” I’m noticing a trend, with double exposure film, and I like it! Her look also reminds me of a cross between a Japanese geisha and Siouxsie Sioux, and I have to say, it’s beautiful!
SoundCloud
https://soundcloud.com/fifirong
Website:
http://fifirong.com/
“Glass Eyelids” has an aching tenderness, combined with a truly otherworldly quality, in the midst of simple beauty.
Vocals start off sounding like a lament from beyond the grave, only a mic and an electric piano. This is truly haunting stuff, and not to be missed. “Wish You Could See” has a folksier vibe, again, just a guitar, with that haunting voice.
A mention should also be given to Clouds as Skin as being one of the best artist monikers I’ve run across in a long time, after The Wax Girl. The music is very impressive and left this reviewer wanting more.
Clouds as Skin’s Vimeo page:
https://vimeo.com/127089867
The Wax Girl “Between Screens.”
“Between Screens” from Toronto’s The Wax Girl is angelic, dreamy ambient music, with just a hint of some industrial sounds.
From the very first track, ‘Rift,’ you are transported to a snowy landscape. The mountains of Russia beckon somewhere off in the distance.
‘Conflict’ is like the factory scene in ‘Metropolis,’ meets a city scene in ‘Blade Runner.’ The chains and rotors of heavy machinery can be heard against the backdrop of twinkly synths and waves of sound.
The rest of the album is pure reverie. Again, not to be missed.
For more, go to their Bandcamp page:
https://thewaxgirl.bandcamp.com/
Fifi Rong, “Next Pursuit.”
Out of London, England, Fifi Rong is the next big thing. Trust me on this. Impressive vocals, catchy pop music, and stunning visuals all merge in her video for “Next Pursuit.” I’m noticing a trend, with double exposure film, and I like it! Her look also reminds me of a cross between a Japanese geisha and Siouxsie Sioux, and I have to say, it’s beautiful!
SoundCloud
https://soundcloud.com/fifirong
Website:
http://fifirong.com/
'Vert' is anything but 'green.' It's pure, otherworldly goodness. Shadowy Lines review, by Maya Garcia
I’ll be the first to admit, I don’t know a great deal about either ambient music or skateboarding. But I do love music, and I know when I hear something special, something different from what I’m used to, or what has made an impact on me. Like a good film or a good book, it can sometimes move, challenge or inspire me, and I will think about it for days, months, or even years afterwards. The latest album from Shadowy Lines might just fit into that category.
The new album ‘Vert’ by Shadowy Lines, an ambient music project by Nathan Stack, is envisioned as a soundtrack for skateboarders, according to the official press release. 'Vert' hits you with an onslaught of feedback from the very first notes of ‘720,’ the opening track. It’s brief, but it tells you the story of a dystopian scene that’s about to unfold before your very eyes. You’d half-expect to see that alien ship you swear you can hear off in the distance by the end of the track.
In ‘Airwalk’ you feel like you’re already in space, floating inside a giant snow globe on the surface of the moon. It’s both magical and slightly dark as well. There’s something slightly sinister behind those twinkly stars, but you don’t care, because you’re too busy floating through space in a giant snow globe. Perhaps it’s the ever-present awareness of the danger that will ensue once you hit the ground again. But maybe a little bit of danger is what makes life worth living.
‘Madonna’ is anything but a nod to the pop princess; it’s church music for the space age. It starts out with an expansive organ sound, followed by a chorus of bells and a kickass, quirky space orchestra. Like ‘2001’ meets ‘the Man Who Fell to Earth’ in a giant cathedral, if you can imagine how that’d sound. There’s even a vaguely choric effect. You may need to light a few candles whilst listening to this one.
‘Stalefish’ is Air meshed with ‘lightsaber’ sound effects, electric piano and…I don’t even know what else. It’s the music you’d be listening to in the Star Wars’ jazz bar, having a drink after you've pulled Excalibur from the stone.
‘Mute 540’ is a dark, moody and gothic orchestra, pulled through a tunnel, and it’s amazing, pure and simple.
‘Rocket Air’ is the most challenging song on the album to describe. The sound is akin to how a chainsaw thrown through space, floating at zero gravity, switched on, would sound. It’s that soundscape, recording whilst the organ from the ‘Phantom of the Opera’ plays a reel in the background, and a Druid’s chorus sings along.
‘Japan Air’ is much more Zen (pun intended) in the beginning, until that ‘tunnel of voices’ hits you, from a passing helicopter, followed by a wistfully-beautiful symphony.
‘Judo Air’ is like the soundtrack to a 1930’s futuristic film noir; it sounds both old school horror film and space age, but how space age sounded in times of yore (think ‘Metropolis’).
‘Just Your Basic Backside Air, I Guess’ is like plunging into the big blue ocean and kicking your legs out for a while, weaving in and out of currents. You can almost hear the whale song as you’re swimming below the surface.
‘900’ is the most rock n’ roll sounding piece of ambient music I think I've ever heard. It’s pure feedback, set against eerie-sounding synths. Suddenly, you’re taken into a zero gravity chamber, and it’s all fun and floaty feelings again. No moon boots here though, space cowboy!
In summary, this album is even more enjoyable than 2014’s “You Can’t Count on Anyone to Remember. I won’t bore you with the typical comparisons to Eno, Radiohead (‘Kid A’ era,) blah, blah, blah, because, this album is unlike anything I've heard to date. Just go and listen to the album, loudly, with headphones on. You can say, “I heard that groovy sound before space age chainsaw buzz ran through a pipe organ became wildly popular and on every new album known to man."
I’ll be the first to admit, I don’t know a great deal about either ambient music or skateboarding. But I do love music, and I know when I hear something special, something different from what I’m used to, or what has made an impact on me. Like a good film or a good book, it can sometimes move, challenge or inspire me, and I will think about it for days, months, or even years afterwards. The latest album from Shadowy Lines might just fit into that category.
The new album ‘Vert’ by Shadowy Lines, an ambient music project by Nathan Stack, is envisioned as a soundtrack for skateboarders, according to the official press release. 'Vert' hits you with an onslaught of feedback from the very first notes of ‘720,’ the opening track. It’s brief, but it tells you the story of a dystopian scene that’s about to unfold before your very eyes. You’d half-expect to see that alien ship you swear you can hear off in the distance by the end of the track.
In ‘Airwalk’ you feel like you’re already in space, floating inside a giant snow globe on the surface of the moon. It’s both magical and slightly dark as well. There’s something slightly sinister behind those twinkly stars, but you don’t care, because you’re too busy floating through space in a giant snow globe. Perhaps it’s the ever-present awareness of the danger that will ensue once you hit the ground again. But maybe a little bit of danger is what makes life worth living.
‘Madonna’ is anything but a nod to the pop princess; it’s church music for the space age. It starts out with an expansive organ sound, followed by a chorus of bells and a kickass, quirky space orchestra. Like ‘2001’ meets ‘the Man Who Fell to Earth’ in a giant cathedral, if you can imagine how that’d sound. There’s even a vaguely choric effect. You may need to light a few candles whilst listening to this one.
‘Stalefish’ is Air meshed with ‘lightsaber’ sound effects, electric piano and…I don’t even know what else. It’s the music you’d be listening to in the Star Wars’ jazz bar, having a drink after you've pulled Excalibur from the stone.
‘Mute 540’ is a dark, moody and gothic orchestra, pulled through a tunnel, and it’s amazing, pure and simple.
‘Rocket Air’ is the most challenging song on the album to describe. The sound is akin to how a chainsaw thrown through space, floating at zero gravity, switched on, would sound. It’s that soundscape, recording whilst the organ from the ‘Phantom of the Opera’ plays a reel in the background, and a Druid’s chorus sings along.
‘Japan Air’ is much more Zen (pun intended) in the beginning, until that ‘tunnel of voices’ hits you, from a passing helicopter, followed by a wistfully-beautiful symphony.
‘Judo Air’ is like the soundtrack to a 1930’s futuristic film noir; it sounds both old school horror film and space age, but how space age sounded in times of yore (think ‘Metropolis’).
‘Just Your Basic Backside Air, I Guess’ is like plunging into the big blue ocean and kicking your legs out for a while, weaving in and out of currents. You can almost hear the whale song as you’re swimming below the surface.
‘900’ is the most rock n’ roll sounding piece of ambient music I think I've ever heard. It’s pure feedback, set against eerie-sounding synths. Suddenly, you’re taken into a zero gravity chamber, and it’s all fun and floaty feelings again. No moon boots here though, space cowboy!
In summary, this album is even more enjoyable than 2014’s “You Can’t Count on Anyone to Remember. I won’t bore you with the typical comparisons to Eno, Radiohead (‘Kid A’ era,) blah, blah, blah, because, this album is unlike anything I've heard to date. Just go and listen to the album, loudly, with headphones on. You can say, “I heard that groovy sound before space age chainsaw buzz ran through a pipe organ became wildly popular and on every new album known to man."
Singles: Eureka! Strange and Primitive beauty. Review by Maya Garcia
'Eureka' is the debut single from Toronto-based Strange and Primitive. What can I say? I was instantly blown away.
It isn't the first time I've heard falsetto singing, or fuzzy guitars, groove-laden back-beats, but it's put together beautifully nevertheless, and it's a sound that's currently missing from the music scene, much to its detriment.
The video is also impossibly cute; an animated, claymation production, featuring a love/hate story between a spaceman and a robot. There's a certain childlike wonder to both the song and the video, something else that there's just not enough of in the world, as far as I'm concerned. So far, so good. I'm looking forward to seeing and hearing more from these guys!
I'm not going to dissect this one any further, just enjoy it, and check out the video while you're at it:
Eureka:
https://www.youtube.com/watch?v=3unSNu3cvSA&feature=youtu.be
And check out Strange and Primitive’s site for more music:
http://www.strangeandprimitive.com/
'Eureka' is the debut single from Toronto-based Strange and Primitive. What can I say? I was instantly blown away.
It isn't the first time I've heard falsetto singing, or fuzzy guitars, groove-laden back-beats, but it's put together beautifully nevertheless, and it's a sound that's currently missing from the music scene, much to its detriment.
The video is also impossibly cute; an animated, claymation production, featuring a love/hate story between a spaceman and a robot. There's a certain childlike wonder to both the song and the video, something else that there's just not enough of in the world, as far as I'm concerned. So far, so good. I'm looking forward to seeing and hearing more from these guys!
I'm not going to dissect this one any further, just enjoy it, and check out the video while you're at it:
Eureka:
https://www.youtube.com/watch?v=3unSNu3cvSA&feature=youtu.be
And check out Strange and Primitive’s site for more music:
http://www.strangeandprimitive.com/
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Wonderbitch ‘Loves You’: Do you love them back? By Maya Garcia
Well…I like Wonderbitch. And liking is the first stage of the relationship, isn't it? I hear definite strains of Pink Floyd, with a strong groove-based backing. There’s also an undercurrent of funk (‘Trophy’ especially has a Roxy music-style groove that almost morphs into early Pulp, Ala ‘Babies’). It's early 70’s psychedelic-infused rock/pop, with a dash of ELO. Dreamy notes are akin to ‘Lamb Lies Down’-era Genesis, especially on ‘Rain’. It’s not earth-shatteringly-new, but it is pleasant listening, nevertheless. And the message throughout the lyrics is a good one; unconditional love, post-materialism. Rock on! It’s music to listen to on your commute, when you need something to chill out to, tap along to. It’s not the kind of music that’s going to send you off into too much of a reverie, so that you spin your vehicle out on the highway or miss your bus stop. My verdict: Wonderbitch is worth checking out!
Wonderbitch music:
http://www.wonderbitch.com/
Well…I like Wonderbitch. And liking is the first stage of the relationship, isn't it? I hear definite strains of Pink Floyd, with a strong groove-based backing. There’s also an undercurrent of funk (‘Trophy’ especially has a Roxy music-style groove that almost morphs into early Pulp, Ala ‘Babies’). It's early 70’s psychedelic-infused rock/pop, with a dash of ELO. Dreamy notes are akin to ‘Lamb Lies Down’-era Genesis, especially on ‘Rain’. It’s not earth-shatteringly-new, but it is pleasant listening, nevertheless. And the message throughout the lyrics is a good one; unconditional love, post-materialism. Rock on! It’s music to listen to on your commute, when you need something to chill out to, tap along to. It’s not the kind of music that’s going to send you off into too much of a reverie, so that you spin your vehicle out on the highway or miss your bus stop. My verdict: Wonderbitch is worth checking out!
Wonderbitch music:
http://www.wonderbitch.com/
Reviews: Don't Count on Me, by the Controversy. By Maya Garcia
The Controversy have been following me for awhile now on Twitter. I like the Eurthymics-inspired, androgynous aesthetics of their cover photo. But what finally got my attention was taking a moment to listen to their music. It's dreamy, techno-laced synthpop, with exquisite vocals. I'm hearing elements of Kraftwerk (not surprisingly,) but with a 'real surreal feel' that's intriguing. Echoing, melodic vocals, on tracks such as 'Fly,' with almost industrial-sounding grooves keep the listener interested. 'Luna' is a more dreamlike song, that sounds a little like the inside of a music box, with beautiful, Spanish lyrics. As the Controversy are a Los Angeles-based band, it's hardly surprising that there's a Latino influence in the music. It blends an even more melodic appeal to the synth-driven pop, inflected with Spanish guitars. Apparently, one-half of the duo are from Spain as well, so it all comes full-circle, and it shows in the music. There's a Danish influence too, and presences of bands such as Mew can be heard reflected in songs such as 'Thirty Horses Gently Weep.' Side note: I'll do a feature on Danish bands shortly, there's quite a music scene going on in Denmark!
But getting back to the Controversy, check them out- It's good stuff!
The Controversy's album, "Don't Count on Me" is on both Bandcamp and Soundcloud:
http://thecontroversyband.bandcamp.com
https://soundcloud.com/thecontroversy
One to Watch: Reviews- Hein Cooper EP by Maya Garcia
Quite by accident (or maybe fate) I discovered Hein Cooper's music, via the fabulous Indiependent music blog, and on a whim decided to check out his EP 'The Art of Escape.' Wow! The most eloquent word I can come up with right now. First of all, what a voice! My ears are still ringing from both the sheer power and alternating sweetness of his lilting vocal range. Second, while the EP starts out with fairly straightforward folk music, there's elements of dreamy pop, electronic and even a touch of ambient sounds laced throughout. I hear bits of trip-hop ('The Real'), r n' b grooves (the Tora remix of 'The Art of Escape) and jazz. It's labeled as 'indie, but it's oh so much more!
The video for 'The Art of Escape' is also super-cool: the entire video is edited and shot using a photography style that I'm personally quite partial to, the double-exposure technique.
I went from being a complete neophyte to Hein Cooper's music to damn near starting a fan club in his honor (Midwestern American syndicate if you please) in the space of only 24 hours. So thank you, Indiependent, for introducing me to this exceptional talent, and I can't wait to hear the upcoming album!
Check Out Hein Cooper's EP on Soundcloud:
https://soundcloud.com/heincoopermusic
http://www.heincooper.com
Quite by accident (or maybe fate) I discovered Hein Cooper's music, via the fabulous Indiependent music blog, and on a whim decided to check out his EP 'The Art of Escape.' Wow! The most eloquent word I can come up with right now. First of all, what a voice! My ears are still ringing from both the sheer power and alternating sweetness of his lilting vocal range. Second, while the EP starts out with fairly straightforward folk music, there's elements of dreamy pop, electronic and even a touch of ambient sounds laced throughout. I hear bits of trip-hop ('The Real'), r n' b grooves (the Tora remix of 'The Art of Escape) and jazz. It's labeled as 'indie, but it's oh so much more!
The video for 'The Art of Escape' is also super-cool: the entire video is edited and shot using a photography style that I'm personally quite partial to, the double-exposure technique.
I went from being a complete neophyte to Hein Cooper's music to damn near starting a fan club in his honor (Midwestern American syndicate if you please) in the space of only 24 hours. So thank you, Indiependent, for introducing me to this exceptional talent, and I can't wait to hear the upcoming album!
Check Out Hein Cooper's EP on Soundcloud:
https://soundcloud.com/heincoopermusic
http://www.heincooper.com
Featured Video: 'Weatherman,' by Dead Sara.
Cause and Effect: How Lyrics and/or a Video Can Draw In a Consumer: Aldrey and The Unlikely Candidates - by Maya Garcia
So the fun part of this 'job' is discovering new talent based off of recommendations. Thanks to the worldwide Twitter community, I've made some fun discoveries recently. First is the Latin pop singer called Aldrey. I'll be the first to admit, I know very little about Latino music, much to my chagrin (don't let my name fool you!) However, I was introduced to a very cute pop singer called Aldrey, thanks to a savvy Twitter follower, and I watched his video for "Causo Y Effecto" ("Cause and Effect," for our English-speaking viewers.) Honestly, though the music is catchy, and the video is cute enough to grab one's attention, the cleverness of the lyrics would've been completely lost on me if there wasn't the handy use of English subtitles. The lyrics are what drew me in. They're surprisingly profound, and in alignment with my own views about life, fate and how the universe works in often mysterious ways. It also reminded me of another favorite song and video, "Do You Believe in Shame?" By my favorite band, Duran Duran. Aldrey uses dominoes as a metaphor for the "Causo Y Effecto" of events, similarly to how Duran Duran used them, back in the late 80's. In other words, one thing leads to another (Yes, that was a deliberate reference to the Fixx). So thank you, @emmapombolupe2, for finding my blog out there on the Tiwitterverse, and recommending Aldrey. My life is just a little bit richer for seeing that video!
Here is the video for Aldrey's 'Causo Y Effecto:'
_http://youtu.be/8VOPDXyVyXk
And in another Twitter-related twist of fate, a band called The Unlikely Candidates introduced me to their music via adding Niche to their list of 'favorite' tweets. I was impressed with the video and song 'Howl,' which tells the story through words and pictures (hello, right up my alley) of a would-be cowboy. This cowboy starts off looking like the star of a Top 40 country music video, and somehow ends up riding a plastic horse at a supermarket. The video appeals to me greatly, with its childlike sense of wonder about life, and love. I like artists who don't take themselves too seriously, and the video gets points from me for its simplicity and sense of fun. The song's pretty catchy too, and I like the slide guitars. Check out 'Howl' right here:
https://m.youtube.com/watch?v=-fT_DqiJxkM