“Ancient Cosmic Truth” by Jazz Pianist Louis Siciliano

“Ancient Cosmic Truth” by Jazz Pianist Louis Siciliano Jazz albums are just different. There are no pop frills to get in the way of a concept; it’s all meat and potatoes personality and virtuosity where we’re least expecting to find it, at least when it’s recorded the way that Louis Siciliano offers in his new EP Ancient Cosmic Truth this February. Rather than toying with the kind of synthetics that have become rather commonplace in the jazz scene over the past ten years especially, this epic performer defines what matters to him in Ancient Cosmic Truth, embracing the charismatic role of showrunner before an eager audience and giving us the sort of unique play that only comes with living in the moment. 

Siciliano isn’t the only artist in this genre that I would describe as being more than worth your time this winter, but at this time, his record outpaces anything I’ve listened to in jazz this year. No matter your aesthetical preferences, the songs that Siciliano selected for this EP are perfect for the range of this collective group of players, which includes the likes of Alex Acuna, Randy Brecker, Claudio Roman, and Umberto Muselli just to name a few. He knows how to control the tempo of a performance without any of the fluff that normally accompanies an epic performance, and if he’s this good in an intimate studio session, one has to wonder how amazing he would sound before a nightclub audience hungry for the kind of soulful melodies he’s serving up here. 

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

Structure is one of the most important elements of Siciliano’s modus operandi, and while he’s rejecting the notion of following a traditional model, he’s taking influence from the new jazz school and experimenting with the parameters of every harmony in this record. “Bambara’s Symmetries” and the title track had my attention from the moment I sat down with them for the first time forward, and not exclusively because of the lusty cosmetics that this player applies with subtle intricacies in the arrangements. He’s got the kind of ear for detail that I don’t hear or see enough of in music anymore, and in this record, he’s making it work to his advantage in a way that I want to see him exploit even more in the future. 

 If this is on par with what we should be expecting from the collective discography of Louis Siciliano in the years ahead, I have a strong gut feeling that his name is only going to get bigger in the right circles sooner than later. He and his cohorts aren’t fronting with a lot of synthesized majesty in this piece; he’s outright giving us the raw talent that he can produce whether in front of one person or a hundred, and this is why he’s gaining the kind of traction on both sides of the Atlantic that he is at the moment. I’m excited about his future, and anyone hurting for a bit of the free jazz a true audiophile lives for would do well to look him up right now. 

Scottie Carlito

Massapequa, New York

2/2023

“Heat the Silent” by Mumex Duo

“Heat the Silent” by Mumex Duo Details matter, no matter how small or seemingly insignificant, and if you needed a jazz duo to remind you as much this fall season, Mumex Duo is here to answer the call. In their new album, the illuminating Heat the Silent, Mumex Duo are putting intricacies into even the simplest of tracks, such as the heartfelt experimentations “Thelonious,” “Beyond the Eighth Door,” “Variations on Estate,” and “Heat the Silent,” in addition to three other songs of note, and while you could make a case that they’re taking things a little further than they have to in terms of meticulousness, that could be the best element of this record’s appeal. 

The structure of the music matches up with the depth of the melodicism excellently in songs like “When All the People Are Sleeping” and the somewhat elaborate “Beyond the Eighth Door,” and I would even say that had these artists not incorporated the delicate touch they do for the better part of this tracklist, the material wouldn’t sound as accessible as it does in this scenario. It’s clear that Mumex Duo takes harmonies a little more seriously than most, and despite their ultra-focused technique they never sound like they’re getting hung up on formula more than they are on a fluid song structure. Heat the Silent features plenty of provocative beats, particularly in moments like the title track, “Joe’s Island,” “Variations on Estate,” and the rollicking “Thelonious.” The grooves in these tracks are never implied but instead made from a collective force that doesn’t always include a heady presence of drums, which is telling of the physicality that Mumex Duo can muster up when they need to. 

The punch of the melodic play alone is enough to get us to where we need to be in any given instance here, so why dilute the finished product with a lot of excesses we don’t need? Beyond the instrumentation and the execution these guys are providing us in every performance included in this disc, the master mix is pretty well balanced and doesn’t Bogart the spotlight for any one specific element over another, which is always a positive in my book. There are occasions in which the lion’s share of the charisma is coming off of the chemistry as opposed to the glow of the play, but this doesn’t water down the narrative of any songs or the album as a complete piece at all - it does the complete opposite if you ask me. 

PANDORA: https://www.pandora.com/artist/louis-siciliano-and-mauro-salvatore/heat-the-silent/heat-the-silent-feat-mumex-duo/TRPxrc3p5rzczzV?corr=knowledge_panel&part=google 

 If you weren’t already a fan of Mumex Duo before sitting down to hear what they can do in this latest record, something tells me that the music of Heat the Silent will have you considering their skillset a lot more in the future. This is a good time to be into new jazz, and before I came across this act, I was starting to think hybrid players were the only ones taking up the aesthetical mantle. These two prove otherwise and offer as pure a listen in Heat the Silent as I could hope to get my hands on right now. 

Scottie Carlito

Massapequa, New York

11/2022

Hughie Mac’s Sings Some Great Songs Vol. 4

The sheer variety of pop songs Hughie Mac covers on his most recent release, Sings Some Great Songs Vol. 4, means there’s something for everyone amidst the album’s twenty-three(!) cuts. He touches on a virtual who’s-who of mid-20th century American music including performers as diverse as Garth Brooks, Nat King Cole, Glen Campbell, and Frank Sinatra, to name but a few. 

Legendary or relatively obscure, it doesn’t matter, Hughie Mac treats each of the album tracks as an investment of his time worth every second and his love of performing for any audience, listening to an album or live, comes through loud and clear on an assortment of the tracks. Opening with “Almost Like Being in Love” serves notice that Mac is intent on entertaining listeners. The track selection for this album culls from universally well-known and regarded material common on television and film, as well as radio and album. He achieves a level of intimacy during this and later songs that’s reminiscent of an old pal performing for you. 

Breaking down that distance, perceived or otherwise, between the artist and audience helps garner a wider base of fan support. His take on Garth Brooks’ “Two Pina Coladas” is recent enough for it to likely be one of the album’s popular numbers. It isn’t every singer of Mac’s type who would dare break from the pop leanings dominating much of this release to cover an artist often considered as country as they come. It won’t be the last time. 

He hits a travel theme for the back to back duo of “Come Fly with Me” and “Fly Me to the Moon”. Both are among the album’s best, but the latter will get more of your attention thanks to an especially zestful Mac vocal. Some of his selections come from musical theatre and “I Gotta Be Me” illustrates how Mac makes no distinctions about the source of his material – a good song is a good song. His warmth and even a playful edge emerge in his cover of the classic “The Glory of Love”. You can hear him smiling, it seems, as he glides through the song’s unforgettable vocal melody. It’s so simple, but he makes it so much fun. There are a few Sinatra songs on this release and scattered over the Sings Some Great Songs series and his rendition of Ol’ Blue Eyes’ “New York, New York” is among the best. 

He doesn’t ever attempt to outright mimic Frank but, instead, approximates Sinatra’s performance while bringing something of his own. His performance of “Don’t Get Around Much Anymore” closes the album on a big brassy note that says goodbye with a nod and wink rather than grandstanding despair. This performance puts a bold exclamation point on the near-epic collection. You might expect his energies to wane by this point, but Hughie Mac’s Sings Some Great Songs Vol. 4 is the work of a performing artist engaged at every turn with their material. It’s the sort of complete experience that encourages you to keep coming back for more.

Scottie Carlito

Corey Stapleton “Sea Change” LP

Corey Stapleton “Sea Change” LP In folk-pop, everything starts with a single vocal, and Corey Stapleton has one heck of a voice to unsheathe in the new album Sea Change. While Stapleton has some help from his band The Pretty Pirates, his performance sounds like that of a proper solo singer/songwriter in Sea Change, alluding to personal statements in his lyrics that don’t come as much from collaboration as they do profound introspection. In songs like “Western Son” or “As the Crow Flies,” he doesn’t show us the leader of the band, but a man on his own, searching for the same solace we all are. 

URL: https://coreystapleton.com/

There’s a buoyancy to the best harmonies in this LP, such as those in “Make This Work” and “My First Rodeo. Not.,” but it isn’t coming from a boost in the framework of the mix. Stapleton is pretty good at creating some buffering with the arrangements alone, which more or less removes the need for anything synthesized in the big picture. His voice sounds amazing with nothing more than the band behind him here, and I wouldn’t want him to cloud the narratives in Sea Change with a lot of overindulgences we’d likely just get caught up in. Sea Change never reduces itself to hook-centricity, and while “The Coin” flirts with pop themes that don’t fit the shape of the remaining songs in the tracklist, it’s still far from the stock content some of the other hybrid folk records I’ve heard this year have been featuring. 

There’s a little more time spent cultivating the tension in “Mosaic” and “The Pen” than necessary, but overall I think we get a good feel for the kind of melodic magic Stapleton can draw, even when he’s biting off a little more than he can chew from a compositional perspective. I love the meticulousness of the way this album was mastered, and although they didn’t need to be as heavy-handed with some of the piano and guitar parts as they were, the producers hit the nail on the head in keeping Stapleton’s rich lead vocal as the linchpin no matter which of these songs we’re listening to. He has his sharpest weapon out and ready to rock from the time we press the play button on the opening title track, and to his credit, he never has to put it away in the name of attracting a younger audience - honestly, the opposite is closer to the truth. 

APPLE MUSIC: https://music.apple.com/us/album/sea-change/1611360397 

Corey Stapleton plays like a man who has a lot to prove in Sea Change, but he’s sounding like a much more qualified singer/songwriter than a lot of his competitors in the international underground have been lately as a result of this potent effort. Sea Change is a decent-sized LP that shows us a lot of potential in Stapleton and, to a lesser extent, The Pretty Pirates, but if it’s really just laying out a prerequisite blueprint for this group’s next release, my gut says that the melodic efficiencies of this album are just a taste of what’s to come. 

Scottie Carlito

Rina Chanel’s “Sweetest of Melody”

I didn’t know music like Rina Chanel’s “Sweetest of Melody” is even possible these days. It sounds so quaint or out of time when compared to the bell and whistle laden bluster of modern pop. It isn’t hip-hop, pop country, or the few remaining bastions of big-time record sales Chanel’s music pushes. The Brooklyn native and Virginia Beach, Virginia-based singer/songwriter debuted in 2020 and has stayed busy despite a global pandemic slowing her forward momentum. A few months now in 2022 and Chanel has a string of popular singles to her credit, a growing reputation as one of the best up and coming singers in pop music today, and a new single hitting the streets. 

FACEBOOK: https://www.facebook.com/rinachanelmusic/ 

“Sweetest of Melody” comes from Chanel’s EP release Rina. I believe it is safe to say now and in eventual retrospect that this single is the new collection’s centerpiece performance. Chanel and her duet partner Senghor Robinson engage in an elegant yet emotive dance over the course of the song’s nearly four-minute duration. Both vocalists focus on playing off one another without even a hint of upstaging creeping into either performance and they share similar approaches. Note how they tailor their voices to suit the material rather than attempting to impose their will over the music. It's an intensely melodic song without ever seeming crass or too obvious. 

The interplay of two singers, piano, and horn forms the song’s topline attractions while the understated rhythm section provides its foundation. 2022 is unlikely to produce many songs as well-orchestrated without sounding bloodless. It has the right pulse, as well, thanks to how neatly the aforementioned piano reinforces the song’s percussive touch. The production could have added a little more authority, i.e. snap, but it doesn’t miss the mark entirely. As usual for a duet, the lyrics are written in a “dialogue”. Chanel and Robinson, however, avoid any staginess and lock into the song’s tasty groove. It relaxes them and helps shape their performances. Chanel has made her name as a first rate purveyor of modern R&B/soul, but she isn’t some sort of purist latching onto a recognizable style. Instead, “Sweetest of Melody” makes it clear she is at home with this musical vehicle rather than borrowing it. It comes across as natural as breathing. 

APPLE MUSIC: https://music.apple.com/us/album/sweetest-of-melody-feat-senghor-robinson/1588654754?i=1588654755 

She inhabits each line with an unmistakable presence. There’s a light touch of sexiness in her breathy inflections, deceptive power in the way she lands on certain lines, and a nuanced flair for the dramatic in the way she wraps important lines. Listen to the choices she makes along the way, what she emphasizes, what she downplays. Rina Chanel is the proverbial complete package and linking her up with talented vocalist Senghor Robinson affords us an opportunity to hear her gifts in a different light. Chanel has more to show us. She has all the makings of a lifer, a performing artist intent on leaving her mark with audiences on her own terms. “Sweetest of Melody” covers countless miles moving in that direction. 

Scottie Carlito

HEWAS (feat. AFROMAN Release "WHOLEthing" (SINGLE)

Boston’s Hewas, has collaborated on a new single with the high and mighty, Afroman, called “Wholething.” Hewas’s previous single, “Lemon'' went viral on Tik Tok, with 300 million views, so this is something of an anticipated follow up. Hewas, has an incredibly diverse ethnic makeup, consisting of Dutch, Spanish, and South African, just to name a few. He grew up, listening to Stevie Wonder and Michael Jackson, both of whom have had a substantial influence on his vocal style. Hewas has achieved that rare soulfulness in his voice, most typically associated with Motown greats. 

FACEBOOK: https://www.facebook.com/iamHEwas/ 

“Wholething” is something of a novelty piece. It isn’t likely to be the touchstone of an artist’s career, but it can be a quantifying addition. Things get started with a tropical style keyboard riff, and some console seasoning. The track has something of a swing to it, and a sardonic swagger, that is especially prevalent during Afroman’s part. Hewas shows his love for Michael Jackson, by singing in a tightly controlled falsetto. His vocal abilities are in top form, here, as harmonizes with Afroman and himself. It might be somewhat understated, just how signature Afroman’s sound is. The moment you hear the faintest na na na’s, in the mix, you would know who it is, even if he weren’t already credited. He’s the lovable emperor of indolence, with a touch of raunch, here. Afroman’s cameo is brief, but due to the content, is likely to be the most memorable. He dives deep, and completely embraces the rather dubious character of the song. The synergy, and intermingling that Afroman and Hewas have is exceptional, for two people who likely met on the day of recording. There’s certainly the “boys will be boys” aspect to “Wholething.”

That expression; or more accurately, that concept, is no longer considered as innocuous as it once was, though. One might argue that releasing a song that might be considered misogynistic in 2020/2021, is a risk not worth taking. Others would say that “Wholething” will fly under the radar of most potential scrutiny. It’s entirely conjecture at this point, because as to where Afroman has his fanbase, Hewas is still developing his. What is certain is that “Wholething” is a well written and slickly produced pop/hip hop hybrid style track. The performances are strong, and Hewas shows off his vocal chops. It leaves you wanting more too. I was genuinely surprised at how quickly the song passed by, looking forward to at least one more chorus. This is equally as likely to be intentional or accidental, but it doesn’t make it any less effective. 

SOUNDCLOUD: https://soundcloud.com/iamhewas/whole-thing-44k-24b-hdk-mstr-2 

“Wholething” is fun and simple. It does have the potential to raise the discussion in regards to “toxic masculinity” and how the entire premise of that term is firmly rooted in subjectivity. Afroman’s character in the song is a married man, who is addressing the boundaries of an intimate relationship with a woman, who is certainly not his wife. Yet, while some might be quick to condemn him for this, we also emphasize acceptance for alternative lifestyles, such as polyamory. The takeaway from a song like “Wholething” is that it can still exist in a time of great sensitivity, and moral debate, opening the door to discussion, for everything. 

Scottie Carlito

Broken Past release “Some Gave All”

Broken Past may play much different music, but they are looking to join the same roster of high quality popular music talent emerging from New Jersey since the mid-20 th century. Their metal and hard rock chops are second to none, the result of innate skill and touring as much as possible since their 2015 formation. Their single “Some Gave All” from the EP Time for Change shows how far the four piece band has traveled since first hitting the scene and hints at even greater glories to come. It has an undeniable message, not a typical one however, and lead vocalist Frank Acee communicates his heartache and appreciation for the sacrifices of those who served the United States in a way you cannot ignore. His voice matches up nicely with the instruments and arrangement alike and he has the rare skill for singers in this style to deliver a credible vocal in more than just a single range.

URL: https://www.brokenpastnj.com/ 

They pluck their sound from a basketful of varied influences. Broken Past cite Bret Michaels, AC/DC, Overkill, and Black Sabbath, along with some other incongruous matches, as their musical touchstones and the impressive thing is you can, indeed, hear touches reminiscent of those artists. It is further impressive those influences are detectable without compromising the unique nature of Broken Past’s feel for the style. They are not imitators; they play, write, and perform with their own twist on time-tested styles. It makes the listening experience all the more enjoyable. 

They opt for a more extended approach regarding song length. There’s a hint, just a sliver, of progressive metal running through this track. You can hear it in the band’s willingness to tackle potentially thorny tempo changes and their ability to demonstrate their playing gifts without ever sounding ostentatious. The track boasts commercial edges, but its near six and a half minute duration precludes it finding much favor on radio due without a judicious editing job.  

APPLE MUSIC: https://itunes.apple.com/us/artist/broken-past/1246590299?ign-gact=3&ls=1 

 I love the way this band understands the value of light and shadow in their music. The alternating sections of this track fit in lockstep with one another and Broken Past moves in and out of the transitions without straying off path. Guitarist Wayne White leads the way to these ears as he moves between outright juggernaut riffing and artful atmospherics with equal skill. It’s a fantastic all-around performance from a band nowhere near the peak of their powers. Adding a great video just rounds things off. The music video revolves around three central motifs – funeral clips full of aging veterans honoring their dead comrades, folding flags, war footage from over the last century, and footage of the band playing the song for viewers. It is, in some respects, a classic music video, but the addition of the war footage makes it stand out more than it otherwise might. 

Some Gave All” is a heated and intense musical tribute to the fallen who fought for our beliefs and throbs with meaning. If this single is your introduction to Broken Past, you couldn’t meet them in a better way.

Scottie Carlito

Paul Mark & The Van Dorens test "Gravity"

NYC-based Paul Mark & The Van Dorens test the Gravity of the situation on this great new LP, with songs about everything from thoughts of the day to thoughts of yesterday. Gravity is an album that floats any boat down the stream of the unknown while it takes the scenic route to get there and has tons of fun on the way, along with some heartfelt sentiments. These musicians are not only good but they’re as fun as they are serious, especially the featured man up front, Paul Mark himself. And not being familiar with him, the great thing is he has a vast back catalog to delve into from here. 

URL: https://paulmarkthevandorens.bandcamp.com/ 

 Gravity runs prolific, and it runs in a succession of songs that fit the title which is about losing ground and going with the rocky flow. The artist reminds me of various songwriters of the past who mixed a bit of comedy with a serious songwriting approach, not unlike Warren Zevon and others. “Gravity Is Failing” begins the album with some tongue in check lyrics that challenge feeling well grounded. It’s very cool and contains some excellent violin. This might be the best track on the LP, but that can also vary the more I hear it. The lovely piano playing of Paul Mark dominates most of the songs and comes on heavy as “Forever” takes you away and it’s only “I Spin When You Grin” that can change the mood. And change the mood it does, and if I had to call a second favorite track it would be this one, as it goes very well with the opener. And that means all-the more to come must be worth sticking around for, so I did and “The Next Fight” is what I got. 

Another marvelous song with everything that’s good about this band. “Coronation” stands out to be a token instrumental and a very commanding studio performance by all. Hat’s off to another top shelf effort serving as a highlight in the Gravity of the situation. “Con Man VIP” is next and could get some attention or not for the subject matter but either way it’s out forever and will be heard. But the mood changes all the way up on “Friend Gone Astray” but you can add it to the amount of world class ballads on the album and they’re all really soulful and gritty to the max. 

I-TUNES: https://music.apple.com/us/artist/paul-mark-the-van-dorens/66520692 

“You Can Take It With You” is where more comedy come into the lyrical picture but it’s all very lighthearted where needed and more heavy handed in the right places. The point is there either way you slice it. “OTB” is the track I listen to the least, so far, and it still has something I am sure that will ultimately click. But things pick back up with a respectable cover of the classic Yardbirds song “Heart Full Of Soul” which is faithful to the original but not without the stamp of Paul Mark as it leads out the last couple of song on what is a brilliant 2020 release. 

 Scottie Carlito

Dizzy Box Nine’s Faster Than Anticipation LP

If you’ve ever wondered what happens when fiery guitar licks, wild pop hooks, smooth vocal harmonies and radio-friendly rhythms get thrown into a post-millennium blender, getting ahold of Dizzy Box Nine’s Faster Than Anticipation LP should be a top priority this summer. Outfitted with fourteen party-starting tracks, including the feel-good “Friday Night,” “If This Is Real,” the distortion-packed diary entry “Near You” and single-caliber “This Is All For You,” Faster Than Anticipation never gives us a chance to catch our breath – it just keeps rocking harder and harder as we go. Valuing melody as much as they do the virtuosity of speed and efficiency, Dizzy Box Nine give us an album that is everything Pop Fantasy was and more in this latest release, and for those of us who were swept away by that LP’s sizzling tracklist, this couldn’t be hitting record store shelves at a better time this July. Rockers needn’t look any further for a cathartic good time than this album’s content, and something tells me that I’m not going to be the only critic remarking as much this season. 

DIZZY BOX NINE: http://www.dizzyboxnine.com/ 

There definitely a raw, punkish element to “Phone Bill,” “The Sun Came Out The Other Day,” “Little By Little” and “If This Is Real,” but there’s nothing in Faster Than Anticipation that I would say qualifies as being particularly abrasive or inaccessible to the casual rock fan. The framework behind the majority of the music here is steeped in pure pop aesthetics, with songs like “Near You,” “OK, OK,” “It’ll Be OK,” “Let’s Go Skating” and “Friday Night” exhibiting as much of The Beatles as they do Blink-182, but it’s worth pointing out that they share little – if anything at all – of their faceting with contemporary radio pop. Personally, I’d really like to hear all of the aforementioned songs in a live setting, if for no other reason than to hear how Dizzy Box Nine would broach performing them outside of the studio environment. The compositional integrity behind Faster Than Anticipation’s best moments is more than flexible enough to support multiple medleys and extended jams, and that much is obvious even to the most novice of critical ears. 

SPOTIFY: https://open.spotify.com/album/1y0VlVfHurUbi0raelmAEL?autoplay=true 

I fell in love with Pop Fantasy the first time I listened to it, and I will say that Faster Than Anticipation doesn’t disappoint as its sequel by any means. One of the reasons why I have a lot of respect for this group is because of their ability to evolve their sound without abandoning any of the core aesthetics that gave them an edge over the competition to start with. They’re still the same band they were when they recorded their debut, but they’re refining the skillset they began with exponentially through consistent creative chemistry (which I don’t see going anywhere anytime soon). They say it’s a rough time to be a rock n’ roll group right now, but from the looks of how Dizzy Box Nine feel about life, they aren’t experiencing any of the stresses their closest rivals have been.

 Scottie Carlito

Makes My Blood Dance’s “Power of the Lightside”

Heavy as they come but not devoid of a signature melodic charm that is pretty difficult to work into something as metallically menacing, the fretwork in Makes My Blood Dance’s “Power of the Lightside” is, as one would imagine, the main draw in this flamboyant new hard rock tune. In the video for “Power of the Lightside” or in the song by itself, the guitars don’t glide - they crash into one another, demanding a response from anyone who happens to be within reach of the angst-ridden harmonies. Rock isn’t dead in 2020, and if someone told you it was, they clearly weren’t listening to Make My Blood Dance. 

MORE ON MAKES MY BLOOD DANCE: http://makesmyblooddance.com/ 

The vocals here are really sharp from start to finish, and through their defined presence in the mix I think they give the lyrics they convey a little more heart than what would have already been present in “Power of the Lightside.” There aren’t a lot of hard rock or metal groups known for their powerful lead singers anymore, but in more ways than one, this is part of the reason why Makes My Blood Dance are such a standout. They’re melodic enough to be called a retro act, but their music is hardly the product of icon-worship alone. There’s definitely a pretty strong stadium rock influence that’s easy for even the most novice of critics to pick up on in “Power of the Lightside,” but all of the indulgence that this invites into the music is rather refreshing beside the minimalist trends of the American rock underground at the moment. Lately it’s felt as though no one had the desire, nor the mere courage, to commit something as large and in charge as this song to master tape, but with the arrival of Makes My Blood Dance in the spotlight, maybe some of their contemporaries will feel inspired to take the leap into positive aural excess. 

The video for “Power of the Lightside” is a simple one, dissing conceptualism in favor of sticking with something that exudes raw power and reestablishes what we already could have guessed about these guys - they’re party animals with a penchant for introspection and surreal artistry if given enough time and space for it to develop. This is a group that is in love with the rockstar persona in the best possible way, and if that leads them into more creative writing sessions together, I for one encourage the idea of staying with this present trajectory. Makes My Blood Dance are rockers in an age of electronic harmonies and forced synthetic grooves, and for some of us, they’re exactly what the doctor ordered this summer. Rock n’ roll has been suffering, along with its most loyal fans, for well over a decade and a half now, but instead of picking up another pseudo-Queens of the Stone Age album or something dreadful bearing the Imagine Dragons moniker, I would instead recommend trying out what this group is cutting from deep within the annals of the American indie underground. 

Scottie Carlito

Reverse Mechanic releases new single “Head in the Clouds”

Outfitted with a rollicking guitar melody and a spitfire set of rhymes from Reverse Mechanic himself, the new single “Head in the Clouds” might not be an easy track to classify, but that’s exactly what makes it such a hot listen. Reverse Mechanic combines Say Anything-style pop-rock with a loose, unflinching hip-hop attack that is on-point from beginning to end here. His delivery is quite fiery, but make no mistake about it; this is a show of melodic strength more than it is anything else. “Head in the Clouds” is as cerebral as its title would imply, yet more centered than anything its creators has produced before.

WEBSITE: https://reversemechanic.com/ 

 The vocal is the main star of the show whether we’re listening to the song on its own or watching the music video. While Reverse Mechanic varies his speed, customizes his flow and maximizes his showmanship in a couple of key junctures here, one thing he never does is invite overindulgence into this mix. He appears to have no interest in riding a fat beat into the horizon here; there is no monstrous bass breakdown, nor any looping sample for him to straddle. He’s thinking like a composer in “Head in the Clouds,” and not like some random rapper off the internet.

I hadn’t heard very much of Reverse Mechanic’s music before getting ahold of “Head in the Clouds” just this past week, but I can tell you now that I’m definitely going to be listening for more in the future. He’s got a lot of confidence in himself here, and whether that swagger is sourced from within or from the instrumental prowess he affords this track and its video, it’s something I’m dying to hear more of. Reverse Mechanic isn’t looking to reinvent rap in “Head in the Clouds,” but he’s definitely making his own mark on the genre regardless.

Scottie Carlito

Jefferson Thomas releases “Greyhound Bus” Single-Video

A vocal harmony as potent as a roaring Midwestern wind. Rollicking acoustic guitars that meet their perfect match in an electrified lead. A swinging beat that rocks with as much passion as any of Jefferson Thomas’ verses ever could. Wearing his heart on his sleeve like few others in his genre are able or willing to, Thomas offers up one of the brightest jams of spring 2020 thus far in “Greyhound Bus.” Whether enjoyed in its music video form or in its original incarnation on the recently released Sixteen Sundays LP, “Greyhound Bus” is one song you definitely want to stop and spend some time with this May. 

WEBSITE: https://www.jeffersonthomas.com/ 

The compositional framework here is very rock-centric, but I will say that the pastoral sensibilities make it just as accessible to country fans as well. There’s a blend of themes and aesthetical components in this track that would seemingly be straight out of the 80’s heartland rock playbook, but I wouldn’t deem “Greyhound Bus” a throwback to the old school. This feels more like a celebration of influences than it does the watering-down of a familiar sound, and for what I look for in Thomas’ style of music, his is a tough brand to beat.

I was admittedly impressed with what I heard in Jefferson Thomas’ debut album Play Hurt back in 2017, but his most recent work shows a tremendous amount of growth I wasn’t anticipating I’d find so early on in his career. There’s not a doubt in my mind that he’s cultivating his craft at the right pace in 2020, and with a little more exposure on the college radio front, his momentum is going to increase a lot sooner than later. Indie rock fans everywhere should take notice – this is an artist you need to have on your radar. 

Scottie Carlito

“Midnight Cowboy” by Antherius

In his surreal adaptation of the iconic “Midnight Cowboy,” Antherius combines atmospheric melodies with profoundly crisp beats for what could be one of the smarter new indie videos of the season. Originally recorded a few years ago, Antherius’ “Midnight Cowboy” finds a second wind this spring courtesy of a COVID-19-inspired music video lamenting the ambience of a now-deserted New York City. Sonically one of the more provocative numbers I’ve heard in this artist’s discography, it’s easily among the more intriguing listens I would recommend to fans of instrumental music in 2020 without question. 

WEBSITE: http://www.antherius.com/ 

The music video for “Midnight Cowboy” stimulates all of our senses at once whilst paying tribute to the cosmopolitan lights of New York City, but its true centerpiece is its soundtrack. Strangely elegant and yet cutting and evocatively stoic in a couple of its most exciting moments, the rhythm of the song is defined by a synthetic harmony as grand as the Long Island Sound. While there’s a lot more indulgence in this variation on the composition than some mainstream fans might be prepared for, it’s completely necessary to maximizing the catharsis of the harmony here. Antherius is a very methodical player, and if that wasn’t clear before, it should be when other critics get ahold of this latest document. 

Though the year has been filled with strife in ways that most of us wouldn’t have fathomed back in 2019, Antherius nevertheless delivers an ambient gem in “Midnight Cowboy” seemingly perfect for the times we’re living in. You don’t need an extensive background with experimental artistry to find something to love about this track and its postmodern music video, but if you’ve got a taste for the surreal, it’s a tough release to top right now. Whether isolated or in the company of friends and family, “Midnight Cowboy” has the sonic capacity to whisk away your worries on the spot this May. 

Scottie Carlito

Interview with Alanzo

Hey Alonzo! So excited to be chatting with you! Can you tell us a little something about yourself?

Hey! Excited to chat with you as well. Thank you for having me. A little about myself? Hmmm. I’d say I’m just a small-town boy with big dreams and a lot of talent. I come from humble beginnings and I’ve overcome many obstacles however I’ve never stopped chasing my dream. Now I pride myself in inspiring others to fight for their own. 

What inspired you to pursue music? 

 Music has really always been a part of my life. I’d say my biggest inspiration was Michael Jackson and through him discovering the power that music can have. This power inspires me because I know the good that can be done through it. A good that will last far beyond my life. Music is power because music is universal and music is forever. How would you describe your musical style? I’d say I’m a fusion of genres. A little Rock, A lot of soul, and a touch of pop. Rock Pop Soul is what we call it. 

What artists do you look up to right now? 

Beyoncé & Fantasia are my top 2 at the moment. Both at 2 different levels of success but they both possess that power that I speak of. 

What would you say is your most braggable moment? 

Definitely being the first lead singer approved by the Prince Estate to sing on the 4 U Prince Tour

What has been the greatest lesson you have learned from a mistake? 

My greatest lesson has been not to act out of emotion. Impulsive decision making is dangerous. I now consciously try to work hard not to make permanent decisions from temporary emotions. 

Why do you think social media is so important for artists today?

It’s important because it gives us access to people and our fans without anyone’s permission. It’s the one tool that artist have to become successful on their own. FREE Exposure. 

How has this whole music career experience been? 

My career has been a journey for sure. I’ve had ups and downs. I’ve toured, I’ve been told no, I’ve lost major opportunities when it wasn’t my fault but I have ALWAYS kept fighting and I refuse to give up. I truly can’t see myself doing anything else. Its definitely been the most exciting part of my life. I never know what’s going to happen or what the future brings but it gives me something to work hard for and something to believe in. A life with a reason to wake up is a life worth living. My dream to have a successful music career is the driving force of my life. 

Do you have any advice for aspiring music artists? 

Even when you’re taking baby steps you are still moving forward. DO IT even when you’re afraid. This is a business. If you want to be successful in this business STUDY the business and study your craft. There’s underlining science to people’s success. 

Thank you for your time! 

Thank you! I do not take these opportunities for granted. Sending everyone love and limitless positivity during this trying time. Please follow me on Instagram @StoryOfAlonzo Press: bsquaredmgmt@gmail.com

End of Interview

Andy Michaels Releases Memorable Single

Surrounded by a vibrant melding of string play organized into a perfect harmony, we find the lead vocal of Andy Michaels ready to seduce anyone it comes into contact with in “Darling It Hurts,” his latest single from the album Incendiary Heart. Like its parent album, “Darling It Hurts” is a product of surrealism without question, but at the same time, it also provides us ample evidence of the complex compositional wit that Andy Michaels possesses when he’s in the studio. 

 This Perth, Australia-based powerhouse has been creating a lot of buzz across the Pacific in the last year, and if you want to know why, I would probably point you to the video for this track before anything else. Despite its grandest feature being the potently emotional soundtrack, the video for this song provokes a reaction made all the more intense by the intimate visual landscape it presents us with (which, I might add, is perfectly synched with the lyrical narrative of this composition). Michaels may not have set out to craft his best song yet when he recorded this single, but nevertheless, I think that’s exactly what he’s done here. 

URL: https://andymichaelsmusic.com/ 

The equalization of both vocals in this track is very streamlined, but I don’t think I would describe it as being pop-influenced outside of its polished cosmetic front. The instrumental side of “Darling It Hurts” is debatably just as smooth, apart from the raised textures on the rustic string parts shaping the rhythm of the song from the background, but whether it’s the content of the verses or the substance of the harmony that Michaels is leading here, there’s something about the lyrics in this single that feels just a bit more captivating than anything else in the track does. 

I love the way that the strings were arranged as to reduce the tension created by the duet’s melodic ascent, and to some extent, I think that the relationship between these two elements in “Darling It Hurts” actually tells us a vivid story all by itself. There’s no hiding how much talent this Aussie is working with in this track, and in my opinion, its seamless construction alone makes Incendiary Heart worth picking up this spring. 

APPLE MUSIC: https://music.apple.com/us/album/incendiary-heart/1467149967 

If you haven’t seen the music video for “Darling It Hurts” or browsed through the tracklist of the album it was cut from, now is the time to get yourself introduced to the latest works of Andy Michaels, who by all accounts is taking the underground world by storm this year. Michaels is facing some of the toughest competition that we’ve seen among indie artists in well over a generation, but if he keeps the attitude that he’s brought to this most recent release, I think he’s going to see his momentum continue to grow both at home and abroad over the course of 2020. 

 As I previously noted, I believe this to be his best work yet, and according to the critical consensus I’m hearing on the international circuit, I’m far from alone. 

Scottie Carlito

Interview: Joey Stuckey

Hello Joey! Thank you for your time! We would love for you to share with readers who may not know a little about your story of where you started and where you are now. 

Thanks for having me! I started my musical journey when I was around 17 years old with guitar lessons and haven’t looked back. I got started in what I would call the recording sciences when I was around 13 years old and started getting paid to record people and work in sound by the time I was 15 years old. Music has always been an important part of the Stuckey household with both my parents being music fans, but I never really considered having a career in music as a child as I was focused on survival as I am a brain tumor survivor.

The brain tumor took my sight, sense of smell and also left me with a host of other health challenges, like no adrenal function. Despite these challenges I have been able to do all the things I have wanted to do with my life and career. I realized at an early age that music was a beautiful force for positive change and that I would tell my story of overcoming adversity through that vehicle! Over the years, I have done many exciting things and you ain’t seen nothing yet!

 We just finished a great show at the famous Whisky A Go Go and played some great GRAMMY parties in LA and I am about to expand my studio space by around 9,000 square feet. 

For someone just getting into the music business – what is your best one line advice?

Don’t give up. Trust yourself, but be willing to entertain other people’s ideas and opinions. Work hard. In your opinion do you feel like an aspiring musician needs to be in LA to “make it”? You don’t have to live there, but you do need to visit LOL. Of course where you should be depends upon a number of factors including where your fans, or potential fans, are and other things you will need to make your music/brand work. But you will have to go to LA and NYC and Nashville at some point!

Okay so your live show looks like such a good time from the snippets we have seen on IG – tell us what we can expect when we come out to see you. It is about 30% comedy and 70% music—and all heart! We promise to make you think but also to make you groove, and we most certainly will entertain! We love meeting new people and love shaking hands and kissing babies, so come out to a show and we’ll be glad to meet you and spend some time with you! 

Do you have a song that you play every time you do a live show no matter what, if so why that song? 

 We most always do “Take A Walk In The Shadows” which was one of the first songs I ever wrote. It is a great opener with high energy. We also almost always play another original called “Truth Is A Misty Mountain” because it is a band and fan favorite. And we mostly close with the Allman Brothers’ “Whippin’ Post” for the same reason—and our version is cookin’! 

If you could be remembered by only one song, which one are you picking? 

Oh man I don’t know. My answer will most likely change depending upon the mood I am in LOL, but I think my song “Aint It Good To Be In Love”, co-written by my dear friend Charlie Hoskyns, is a good one that folks really have responded to. It is also dear to me because Charlie passed away in 2017 and I like to think I am keeping his musical legacy alive! Tell us where we can catch more of you online and listed to your music! 

URL: https://www.joeystuckey.com 

YOU TUBE: https://www.youtube.com/user/SenateRecordsTwitter https://twitter.com/Jstuckeymusic 

End of Interview

The Inoculated Canaries plow into their new single “Donna”

A flurry of drums comes barreling out of the speakers with a violent thrust as The Inoculated Canaries plow into their new single “Donna,” and though the chaotic percussion envelops the initial foray into the song in unapologetic discordance, it isn’t powerful enough to stop a blunt instrumental melody from making its way to the forefront of the mix inside of the first few bars. It becomes quite obvious within only moments of making contact with “Donna” that The Inoculated Canaries mean serious business with their latest release, which caps off a very productive year for the critically acclaimed alternative rock group. Though they’ve been incorporating a lot of pop influences into their sound as of late, this track reestablishes the band as a rock-focused unit able to construct simple verses and calculated hooks without creating a jagged finish for audiences to look past, which is something that many of their competitors in the American underground have failed to accomplish in their most recent studio recordings. 

FACEBOOK: https://www.facebook.com/theinoculatedcanaries 

I really like that the vocal is just as prominent in the master mix here as any of the instrumental elements are, because were it not given as much of a boost in the big picture as its afforded in “Donna,” I don’t know that we would be able to acknowledge (much less enjoy) its emotional depth as much as we can in this version of the song. Production tricks and studio schemes aren’t a crucial component of The Inoculated Canaries’ sound, but I would be lying if I said that they weren’t refining their studio presence in this track. They’re using every inch of sonic space in the mix to yield a tense atmosphere eventually broken up by the vocal’s cutting verses, and instead of making one part of the harmony the center of the song’s climax, it feels as though we’re listening to one epic release staggered out across four minutes of play. Is it a little unconventional? Of course – but this could be the reason why their compositional approach comes across as being the unique gem that it undisputedly is in this single. 

WATCH THE VIDEO: https://www.youtube.com/watch?v=nSa2zq_Tdvk 

The Inoculated Canaries’ “Donna” finishes us off in a fading haze of harmony and havoc-wreaking percussion that has now become familiar to us thanks to the track’s chest-pounding beat, and much like “Sneakers” and “Who are you?,” it leaves behind an enormous melodic void just begging for us to keep the spirit and play the song all over again. While I won’t say that this is the most grown-up that The Inoculated Canaries have ever sounded, they’ve made a ferocious rock n’ roll juggernaut in this single that should be regarded as a beast of listen this December nevertheless. “Donna” is a rhythmic track with a creative music video worthy of the moniker that it wears, and though I’m fairly certain it won’t be the last song this group releases to the praise of critics and fans alike, it marks a step towards their sleekest sound yet, and perhaps one that will bring them the fame and fortune they’ve been working so hard for.

Scottie Carlito

Jay Elle releases 5 song "Ease Up" EP

“My eyes were bigger than my heart / She knew that right from the start” sings a pained Jay Elle in his song “Sickly Sweet,” from the new record Ease Up, and though his words are dripping with discordant emotion, his focus is unmistakably strong and centered. As endearing as it is insightful, Elle’s Ease Up EP and its six songs – “Sickly Sweet” included” – are a collective statement piece conceived with the purpose of relaxing us while also provoking deeper thought about the world, and as anyone who knows this man’s work is already well aware, it’s as slick a sonic collection as you’ll get your hands on right now. 

URL: https://jayelle2222.com/ 

Though it can be said for “Sickly Sweet,” not all of the songs on Ease Up are constructed around Elle’s lyrical wit and wisdom exclusively; actually, “By the Blade,” the title track and “Take a Holiday” are very guitar-oriented, and “Never Dreamed (I Could Be the One)” is, essentially, a synth pop song adapted for the needs of a folk-rock singer/songwriter. There’s a lot of layers to this record, and even though it contains but six compositions, it has the robust feel of a full-length album and then some. The master mix here does a lot to help define the mood in the music, but I wouldn’t say that it’s a required element in any given Jay Elle performance. Contrarily, soundboard wizard Brent Kolatalo is bringing all of the color in his vocal to the surface rather than inserting new, artificial textures in spots where Elle might have had shortcomings in the past. 

Their studio chemistry is off the charts, but there’s no examples that I could point to in this tracklist where Elle sounds overly-aided or effectively propped-up by his highly respected mixer, whose credits prior to Ease Up include work with heavyweights Lady Gaga and Ariana Grande. “Needs Fixing” is easily one of the most efficiently produced songs that I’ve listened to in the folk genre all year, and in my opinion, it more than justifies getting a copy of Ease Up all by itself. It’s the perfect segue from the country rhythm of “Take a Holiday” into the adult alternative swing of “By the Blade,” but even if it had been pushed up to the start of the record, it would still be one of the most jarringly-arranged and melodically rousing compositions that Elle has attached his moniker to here or on any other recording he’s cut thus far. 

SOUNDCLOUD: https://soundcloud.com/user-359573517 

Folk-rock fans aren’t likely to find another extended play out at the moment that is quite like Jay Elle’s Ease Up, and for better or worse, its experimental faceting and multi-interpretive narratives make it one of the more unique records out this season. I can only speak for myself, but I was utterly swept away by the first half of this EP and immersed in the emotional core of the second when I sat down with it this week, and judging from the response that all six of its tracks have been getting lately, I’m definitely not the only critic with these strong sentiments. 

 Scottie Carlito

Terry Robb releases new Single

The finesse and soul of Terry Robb’s “How a Free Man Feels” is apparent from the first. He doesn’t make any hamfisted efforts to ground his latest single, taken from the new album Confessin’ My Dues, in melodramatic production trickery but, instead, opts for a polished and professional tone that never sacrifices authenticity. It’s a solo performance featuring nothing more than Robb’s voice, lyrics, and his distinctive fingerpicking guitar style – but it doesn’t need any more than that. Robb, with these spartan elements, accomplishes more than many full bands working a similar style even approach. It’s the latest pinnacle in a four decade long musical career that has seen Robb perform and tour with some of the biggest marquee names in the music world and illustrates how passion and talent can deepen rather than fade with the passage of time. 

 URL: https://www.terryrobb.com/ 

His voice isn’t the gravel-laden blues yowl of Delta originators or their electrified Chicago offspring, but it is more than well equipped to demand your attention. He has a low-key soulfulness to his singing that helps listeners suspend disbelief and brings them into his world with ease. I like his phrasing a great deal – he makes the climatic line of the traditional three line blues verses mean a great deal without overemphasizing their primacy in the composition and the feeling he puts into his vocal makes the track all the more satisfying for listeners. The writing never overreaches. The song is written from a first person perspective, as most great blues songs are, and Robb creates a convincing voice for the listener without relying on a host of well worn tropes to win the audience’s confidence. 

There is no wasted motion – Robb never uses two or three words when one will do and the same focus defining the song’s music extends to this area of composition as well. Robb’s acoustic guitar playing is the critical piece of the puzzle and drives the song forward. He sets a mid-tempo pace with his fretwork and finger picking that fixes its attention on musicality rather than drawing from a bag of tricks in lieu of genuine substance. He shifts from one passage to the next with the surefooted skill of a long serving musician and, yet, the song has the spontaneity of a first take. It sounds like Robb walked into a recording studio with his guitar, sat down, told the producer to start recording, and cut this song in a single take. 

The video reinforces that impression. It consists of nothing more than Robb positioned in front of an old fashioned looking microphone and the assorted close ups of his face tossed in for good measure underlines how much he gives of himself to the performance. There are no arresting visuals thrown in to spice up the clip – it has the same focus he brings to the song and makes the listening experience even more rewarding. Terry Robb has scored again with this single and it promises that his latest album release Confessin’ My Dues will find its place among the finest recordings of his musical career. 

 Scottie Carlito

“Goodie Two Shoes” is a hot new single from Sayed Sabrina

Goodie Two Shoes” is a hot new single getting attention for its video, from Sayed Sabrina’s album release, Thou Art That, with Bobby Watson (Rufus, Michael Jackson), Sarah Morrow (Dr. John, Ray Charles), Gary Herbig (Elvis, Tower of Power), Carlos De La Paz (Cid, Mandrels) and others. These fantastic players and a voice most can only dream of having, all makes for a winning combo for all lovers of the Blues, Funk, Soul, Jazz and Rock music. That’s a lot to pack into one single, but it’s all to be both heard and seen for the better of what’s out there in the Blues community. 

URL: https://www.sayedsabrina.com/ 

 The Blues is not exactly all-of what Sayed Sabrina is about, as she goes back to the early L.A. Punk scene and can go anywhere her voice takes here. “Goodie Two Shoes” comes recommended as the play on words and positive message that it is. You can stay in your negative world or you can go out and change your look and change your life in the process and Sabrina’s pushing that dual message and not letting go. It works wonders in every way, once you have heard the song and start getting into the studio performance in the video. Considering herself less of a Blues artist per say, she is self-described as a singer that looks to feel the music, and that gets away from the title of Blues artist by way of feel, but still using inflections of traditional blues in a more modern way. 

This is tricky but nevertheless important to get the right message across, meaning business here but also take the time to treat yourself and you won’t be disappointed all the time. That’s only some of what this song means to me, others may vary but it’s in there no matter how you slice it. Not being sure of which players in her band play on which tracks, I can’t credit exactly who’s playing on “Goodie Two Shoes,” but if you watch the video and know their faces, you get a candid view of them jamming around and it doesn’t seem to matter, at the end of the day it is the work of Sayed Sabrina that put this on the map, so she deserves title but she only works with killer players. They’re in position to make it all magical thanks to her. 

If you look around you’ll find some more great songs by Sayed Sabrina to seal the deal for “Goodie Two Shoes” but in an industry that reminds you that you’re only as good as your last record, be sure and get the best of both her worlds and pick up this new single, you’ll dig it if new music matters to you or not. It has all the classic and modern appeal it takes to get in front of the masses where it belongs. And the video is getting a lot of views so don’t hesitate to invest the time, it’s a blend of seriousness and playfulness that doesn’t disappoint on any level. 

Scottie Carlito