Friday, November 28, 2014
Xavier Scott presents the latest single, "Freaks Like Us" from his album My Perfect Imperfections
Long time saxophone player, Xavier Scott first picked up the saxophone at age 11 and has now been playing for 30 years. His technical prowess and creative agility are both apparent in his track "Freak Like Us." For the most part, he informed me that he likes to improvise, or in his own words, "I usually just record in one take and see what happens." This is an impressive and dangerous method of recording. It can surely go both ways between amazing improvisations that are captured in the moment or the treacherous pitfalls of aimless meandering. Xavier Scott does a great job of keeping things fresh and funky throughout his entire improvisations. On top of that, he takes the time to layer up his own horn arrangements as backing parts throughout the track. Large saxophone sections carry the progression through a turnaround and help to keep his improvisations moving forward. The execution of this track is fairly minimal consisting of a drum machine and layers of saxophone. I can appreciate the 808 beat that is the backbone of the track. It is reminiscent of a Marvin Gaye sound and keeps the overall feel of the track soulful and danceable while still being relatively down-tempo.
"Freaks Like Us" and My Perfect Imperfections are available online at most digital retailers including iTunes, Amazon, and CDBaby. Find out more about Xavier Scott on his facebook page at: https://www.facebook.com/xaysmusic
Friday, November 21, 2014
Michael Heisel aka The High Cell presents his latest release, The Devil on a Tricycle EP.
The High Cell is a very interesting project, mainly because it is the brainchild of one man, Michael Heisel, and for the most part, his new EP is entirely a product of his own execution. The Devil on a Tricycle EP also features a couple of guest musicians, Davy Knowles on guitar and Adam Berzowski on keys. The overall sound of the album is a blend of blues, rock, funk that sounds like it could have been born in an imaginary town halfway between Cleveland, Ohio and New Orleans, Lousiana. (That wouldn't put you too far from Memphis, Tennessee, which fits the bill pretty well, too.) The production value is so good that it speaks volumes about Heisel's multi-hat wearing prowess as he also was behind the recording of the EP.
The first song on the album, "Another Fine Mess," is one of the more "straight rock" songs on the EP. By that I mean the rest of the album has a lot of influences from blues and funk layered on solid rock foundations. This track fits pretty well into the classic rock genre. The main guitar lick is very reminiscent of Roy Orbison's "Pretty Woman" but the rest of the song sounds a bit more like modern southern rock from the likes of Gov't Mule. Heisel's vocal timbre is an excellent fit for this gritty, riff-dominant style of rock. There is a fantastic solo from Davy Knowles that really slants the song in the blues direction, but it still comes back home at the end. The main chorus is simple and effective and serves very well as a hook that will keep this song in your head for a while to come.
The title track, "Devil on a Tricycle," really got my head nodding. A laid back, in-the-cut beat worthy of The Meters kicks the song off into a classic blues progression. The bass line is thick and funky, driving the beat forward. The guitar is plucky and twangy at the same time making me feel like I'm in New Orleans. The imagery of the lyrics is pretty hilarious and plays into a great metaphor. The bell on the tricycle is the bane of the singer's existence. It's that one little thing that just drives you crazy and this track puts a name on it.
"Tread" is another track that brings in a guest musician with Adam Berzowski on organ duties. Berzowski rips up a lively solo early in the track which really raises the energy of the composition. The song is a slow, blues romp that sounds like it could have been written and/or performed by a psychedelic rock outfit of the seventies. We also get to hear Heisel's harmonica skills on "Tread" followed directly by a wailing guitar solo. The execution on this track is flawless, but it's not my favorite track on the EP just because it's a bit slow and starts to drag some with a play time of 4:29.
Moving into a more North Mississippi brand of the blues, "Small Town Bird" picks up the pace. The song sounds like something Luther Dickinson might write with a stomp worthy blues backbeat and heavy blues riffs driving the progression. The large layers of vocals create an excellent lead part for one of the most well composed songs on the album. The lyrics on "Small Town Bird" bring a very strong and catchy chorus. Heisel does a great job of taking a simple metaphor and turning it into a multi-layered narrative. He does this most effectively on "Small Town Bird" while perfectly pairing this narrative with roadhouse style of blues.
"Rise," the final track on the EP, takes us back toward riff rock, but this track is much funkier than the likes of "Another Fine Mess." Putting the pentatonic scale to one it's best uses, "Rise" plays back and forth between a funky riff and vibing through a blues progression for dynamic play on a very familiar song structure. The short bridge with layers of harmonies singing "riiiiiiiise" is a nice breakdown to the composition, giving some breathing room to the overall flow of the song.
Overall, The Devil on a Tricycle EP is an excellent exploration of the different genres it champions. Michael Heisel gets numerous kudos for his ability to wear many hats for this "band," but it's even more impressive that he has delivered such a focused vision for The High Cell. Check out the album for yourself at Heisel's website for the project at http://www.thehighcell.com
The Devil on a Tricycle EP is available for purchase through iTunes, Amazon, and most major digital music retailers.
Sanghera presents the latest single "Hold On" from his album Story of Staying Home.
"Hold On" is a hip-hop track from California based artist Sanghera with a classic sound created by using soulful samples over a gangsta rap style beat. The sultry vocals of a female singer start the track out right, drawing the listener in over rhythm chords of a Rhodes keyboard. The instrumentation of keys, subtle electric guitar licks, and quiet yet large horn arrangements creates a beat that can't be denied. Sanghera's flows tell us the story of taking metaphorical holding pattern in the midst of a developing romance. The cadence of Sanghera's flows are solid and familiar, but his particular enunciations and accent are very unique which makes his vocal timbre sound very original. The beat breaks down at the end, giving a bit more breathing room for a second. It's a welcome contrast to the rest of the beat. I really enjoyed the musical and lyrical elements of "Hold On" giving us a taste of classic sound while also presenting a progressive and conscious style of lyricism.
You can check out "Hold On" and the rest of Sanghera's album The Story of Staying Home on his SoundCloud page at https://soundcloud.com/iamsanghera or in the embed below.
Producers and DJs, head's up! Here is a website we think you might like. Fromthewax.com encapsulates the best from the web from news, music reviews and releases, music videos and even the funny stuff like FAILS. The best thing about FromtheWax.com is that it is focused on the stuff DJs and producers want to know. Check it out for yourself at www.fromthewax.com
Person Natalie & David Lewis Luong present their latest album, Dreamy Lullaby
Dreamy Lullaby is a jazz album with a total of eight tracks, but I will just be touching on four songs from the album.
The title track "Dreamy Lullaby" is aptly named. It's smooth and slow and just very easy to listen to, but I wouldn't call this "smooth jazz" necessarily. Every instrument is real, no midi patches on the rhythm section. Person Natalie is a featured soloist on the saxophone. Her solo comes in the second half of the recording. Her improvisations are very clean, soulful and even a bit playful at times, dancing around the melody. It's a very enjoyable track and one that I would have no trouble dozing off to on a summer afternoon.
The album takes a bit of a shift with "Another Renaissance," while still staying in the slow and smooth category. The progression is a bit more oblique, adding in tasteful bits of unexpected chords. The saxophone solo toward the end is quite interesting as the band drops out for a few measures while the bass and sax dance around each other in a little breakdown.
"Twilight Horizon" stays in the same vein as Dreamy Lullaby with a slow moving progressions and very subtle players in the rhythm section. Every player is very precise but also soft and minimal in their delivery. Piano carries the main rhythmic duties backed by an upright bass and a electric guitar. I unfortunately have no notes about who is playing what instrument, and the information I could find only bills David Lewis Luong as a multi-instrumentalist, so I can't really tell you a lot about the soloists. The tone of the track is very smooth again, but not cheesy like so much of the music that can come from the smooth jazz genre.
A slight change in instrumentation spices things up on "Dusky Mirage." This song opts for a vibraphone feature within the arrangement. A piano is still in the mix to help hold down the rhythm section, but the addition of the vibes adds a nice extra layer to the line-up. This progression for "Dusky Mirage" is a bit spicier but still holds true to the overall vision of "smooth jazz" that holds the album together.
Dreamy Lullaby is a very beautiful and relaxing instrumental jazz album. You can pick up the album for yourself on iTunes or find out more on Person Natalie's website: http://www.personnataliemusic.com/
Wednesday, November 19, 2014
Hey Music Lovers,
Here's a new site I was turned on to recently that may be a big help to your career. You've got great music, but we all need to focus on both the creative and the business side of our careers in order to be successful. Tax Twerk offers five free slots each month for a one on one Discovery Session for upcoming artists who need a business plan. You will come away from the session with a step by step business plan created by one of their professionals. This is a great resource for music producers and music business owners. Check out more at @TaxTwerk on twitter and at their website: http://TaxTwerk.com
Tuesday, November 18, 2014
Shid Latta presents his latest single, "High"
Shid Latta's "High" is a multi-layerd production, drawing on Hippie Sabotage's remix of "Habits (Stay High)" by Tove Lo for the main meat and potatoes of the beat on this track. Tove Lo's original track is a poignant reflection on "habits" or drug and alcohol abuse rather, as a way to deal with emotional stress. The music video is fantastic as well. Hippie Sabotage, the latest Pandora Radio darling (if you listen to Pandora for anything except metal), has created an excellent reinterpretation of Tove Lo's track with a down-tempo, chill wave, even trap-esque spin for his remix. Shid Latta takes all this wonderfulness and uses it as his backing band for "High." Shid Latta takes the same themes of Tove Lo's track and delivers it in his own flows. It's a much more aggressive approach than either Tove Lo's or Hippie Sabotage's interpretation of this theme, but it works because it's different and genuine to who Shid Latta is as an artist.
Listen to the track below or on Shid Latta's SoundCloud at https://soundcloud.com/shidlatta666-1/high-feat-tove-lo-prod-by
Mic-Chek presents his latest single "Can't Get Enough" featuring Rey Fonder.
Hip-hop producer and lyricist Mic-Chek out of Colorado did well to team up with Rey Fonder from Miami, FL for "Can't Get Enough." This track is an exciting fusion of hip-hop and modern soul and R&B. Rey Fonder's vocals on the chorus create a club-ready hook for this track elevating it to a catchy and pop-worthy composition. The beat is tight and down-tempo with a nice balance of rap verses and soulful choruses. As a young producer, Mic-Chek clearly has lots of potential to capitalize on as he continues to grow and develop his musical style. His taste in collaborations are clearly on point.
Check out more tracks for Mic-Chek on his SoundCloud at https://soundcloud.com/mic-chek and listen to the single yourself below.
Sertari presents her latest single "Teardrops"
"Teardrops" is an upbeat and danceable take on a very sentimental subject. The lyrics focus on a story of loss and the challenge of dealing with loss, but the music is very hopeful and uplifting. A solid four-on-the-floor drum beats keeps this tune in the pop realm. In fact, if it weren't for the somewhat saddening subject matter of the lyrics, I could see the song being bumped in the club. Supple piano arpeggios carry the main melodic content of the song's instrumentation with compliments from a full rock outfit. The guitar wails in and out with a nice overdriven lick here and there. The drums are big and full with prominent rolls through the verse and a nice down-tempo breakdown through the chorus. Soaring vocals from Sertari are the main feature of the song. She carries the songs well through the verses with a solo vocal track, but then we get gigantic layer vocal arrangements later as the song progresses into the choruses. Overall, the production value of the song is unquestionably well done. The narrative is beautiful and encouraging to anyone who knows what it's like to deal with the loss of a loved one.
Check out Sertari's music video for "Teardrops" below. Find out more about Sertari on her official website: www.sertari.com or on Facebook at www.facebook.com/sertari
"Teardrops" is available on iTunes and all other major digital music retailers.
Monday, November 17, 2014
Ercy Mirage presents his remix of Ánders - "I Wish"
This remix is a chill and danceable take on Ánders "I Wish." The original track is very minimal with some airy delayed electric guitar, a spacey keyboard track, minimal bass and drums and a flawless vocal. The vocal becomes the star in Ercy Mirage's remix. Keeping the chill and emotion feel of the original, the Ercy Mirage mix is still soulful, relaxing and deep but with more of a backbone. A solid four-on-the-floor drumbeat keeps the track moving, whereas Ánders original track ebbs and flows. The structure of the remix emulates the original with a breakdown toward the end, but the rhythmic elements keep the tempo going even on the outro. The only thing that I could complain about is that the chorus line "I wish you were mine" feels a bit over sampled. Overall, this remix gives the original a run for its money. The two tracks would fit in totally different head spaces: the original, more introspective and thoughtful, the remix, more extroverted and upbeat. Either way, when a remix is able to capture the original soul of a song and channel it in a way that is just as good as or possibly even better than the original, then you have a real successful re-imagining.
Check out Ercy Mirage's Soundcloud page for more of his music here: https://soundcloud.com/ercymirage
Friday, November 14, 2014
Ed Roman presents his latest single "Comin' My Way" off his new album Letters from High Altitudes
I can't decide if "Comin' My Way" is rock, country, folk, or americana, but in the end, it really doesn't matter because it's just good music. This song is a brilliant exercise in songwriting which takes a simple phrase, commonly known, and mixes it with a simple melody to become something much bigger than the sum of its parts. "Comin' My Way" has a slowly building arrangement that begins with just Roman's vocals and acoustic guitar. A bass drum and a huge clap join in with a soft harmonium or accordion and an arpeggiated mandolin filling in the rhythm section. The song fits in well with a genre I like to call "hipster folk" with the likes of Mumford and Suns and Edward Sharpe. But the song is a lot less pretentious and/or manufactured-sounding that either of those groups. This song feels real. I could see myself and friends singing it around a campfire.
This is just one of thirteen new tracks on Ed Roman's newest album Letters from High Altitudes. The styles on the album range widely, which is even more impressive when you consider that Roman plays about 90% of the instrumentation on the recordings. The single "Comin' My Way" along with the rest of Ed Roman's newest album is available on iTunes, Amazon, and his own website at http://edroman.net
DaVinchee X presents his latest album Paranoia of Success
It's not often that an album comes to my inbox and I can genuinely say that I love it, but Paranoia of Success is an exception to that rule. I love this album. It's just the right amount of silly and serious with a majority of the album written about smoking weed, drinking, and getting high in various ways. The beats and lyrics are very reminiscent of the songs from a little group I grew up listening to known as Three Six Mafia, except these beats are updated for the year 2014. Plus Paranoia of Success has a much higher production value than what I was bumping back in 1998.
I don't know that many hip-hop artists who take themselves seriously would want to be compared to Three Six Mafia, but the similarities here are too numerous to gloss over. The lyrics focus strongly on getting high and the beats consist of 808s and demonic sounding choruses and violins with bells ringing in background that could be tolling the coming of the apocalypse. Growing up in Memphis, TN, I have listened to every single piece of music that Three Six and their various side projects have put out. I thoroughly enjoy hip-hop that can create that sense of ridiculousness while still sounding dope enough to ride around bumping. DaVinchee X achieves this balance quite well.
The first track on the album "Summertime 89" does not sound like Three Six Mafia. In fact, the beat is truly original and the opening verses make me feel like I'm listening to a updated version of Snoop Dogg's "Lodi Dodi." I love the glitchy organ sounds that lead the track. It feels like I'm listening to a rap song set inside of a video game. The song is very catchy with affected vocal sound creating the lead melody over the chorus. This one is definitely a hod-nodder, like most of the album, and a great choice for the opening track.
"Treetop" is a classic homage song to our favorite smokable green. The chorus is simple and repetitive but effective. "Weed got me sitting at a Treetop height, a Treetop height," etc. etc. Da Vinchee X names off nearly every strain of marijuana in the verses. The beat is fairly minimal with 808 beats again and little plinky sounds like Super Mario picking up coins that carry the only melodic part of the music. It's a simple song, but for any fan of hip-hop and weed, this track will check all the boxes on your list.
The third track on the album, "Freemind," is a pretty psychedelic trip through a myriad of drug induced musings. This track sounds more like modern hip hop with stuttered arpeggios running through the breakdowns. The beat stays in the down-tempo realm and feels really chill. It's a good listen but not the strongest track on the album.
"Stars" opens with an intro that could be repurposed for the opening of "America's Most Wanted." Spooky synths laced over a sparse and heavy beat create a smoked out, locced out atmosphere for another track that centers mostly around getting high. "Atlas" takes us back to the demonic realm with a dark beat that easily could be on a Three Six album. With a ego-centric chorus touting DaVinchee X as the hardest, this is another formulaic gangster rap sounding track.
"Faces of Pleasure" breaks the mold on this album, offering up a beat that sounds like it could have been produced by Washed Out. A spacey, dreamstep beat backs the verses sounding off about love and sex and, naturally, getting high. I love the sound of this beat, but I fucking hate the sounds of sex laid over the intro and intermittently brought back throughout the track. I understand why the sounds are on the track. It makes sense with the narrative of the song, but I rarely, if ever, have the desire to hear people fucking. To take those sounds and make them a feature of this track just kills it for me. I can't listen to that shit, but that's just me.
We get a more soulful sound led by piano and guitar with nice rock and roll backbeat on "The Want of Will." Violin samples lace the breakdowns in between verses for a nice melodic addition to the overall sound. This track is a bit of a mess with lots of affected vocals and numerous reversed pieces of music popping in and out throughout the track. I listened to numerous times, but mainly just felt like glossing over it in the end. It's not bad, but just not as strong as the rest of the album in my opinion.
"9Figure Android" helps put the album back on track with a more focused, down-tempo sound. The narrative of the lyrics feel a lot bigger than most of the album musing about our place in the world with verses like "I'm gone change the world, or the world's gone change me." The next track, "Addicted 2 Stona," is a perfectly spacey trip through a hypothetical search for some drugs. The only percussion is just a bass drum and a clave. It's wonderfully minimal with a very sparse beat layered over with huge pad synths.
The album is nearly at it's end with "BNT." This track is a nice change to the pacing of the album with a strangely syncopated beat. The melodic elements feature a harp back by opera singers, creepy violins, and a flute. It's a peculiar blend of instrumentation, but it works. If I understand correctly, BNT stands for Bitches n' Tools. And it's my best guess that the lyrics on this track are waxing about the nature of basic bitches and tools, being dudes or people in general who have garbage personalities.
"Eternal Happiness" raps up the album clocking in at over 6 minutes. We return to the 808 drum machine on this track with strangely processed samples composing the majority of music. Yes, there are lots of lyrics about smoking weed. The track actually takes a more upbeat direction after about 4 minutes, and it probably could have benefitting by hitting this change sooner or implementing the same idea earlier in the track. This track does a good job of capping off the album and keeping things consistent, even if it is a bit overwrought.
Overall, I love this album. It's not perfect and it's not particularly deep, but it's great music to chill too and I will have to listen many more times before I've fully absorbed all the lyrics. DaVinchee X's Paranoia of Success will stay in rotation on my list for a while to come.
Tuesday, November 11, 2014
Chasing Jonah present the latest single, "It Wouldn't Be Right" from their debut album, Prelude.
It should be noted that Chasing Jonah were able to release this album after successfully funding a whopper of a Kickstarter, finishing with a total of $15,000 in funds. The band has clearly found a fan base that is willing to support their particular brand of indie/alternative rock.
"It Wouldn't Be Right" starts off with a sound that falls easily into the indie/alternative rock genre with delayed guitar reminiscent of the guitar tone on any Coldplay song. Ambient swells fill the space behind the guitar to create a soothing intro for a song with a bit more "umph" than the opening might let on. The main verse/chorus structure on the song is carried by a solid rock backbeat with acoustic guitar and Ashley Dudukovich's supple and agile vocals leading the composition. The lyrics tell the tale of a complicated love story. The subject of the song has clearly done everything to stay in this relationship to utter disappointment. Yet, she opts to take the high road, singly "I'd like to hurt you, but it wouldn't be right." The composition lends itself well to a story of convoluted romance with a blend of melancholy and hope in the musical aesthetic.
You can listen to Prelude in it's entirety on Chasing Jonah's Soundcloud, which is embedded below. Also you can find more about the band at their website: ChasingJonah.com.
Sunday, November 9, 2014
Hip-hop artist, Viktor Rasiia presents his latest EP The Legend of Natty Bohnz.
The Legend of Natty Bohnz is a captivating EP with a hip-hop sound that harkens back to the 90's with excellent samples in the beats and a lyrical prowess from Viktor Rasiia that never lets up. The EP is a bit of a concept album based around the story of a fictional emcee, Natty Bohz, from days past when "rappers had to rely on their abilities to rap." The intro (produced by Rheezo) is very well executed and really sets the tone for the rest of the EP. I was immediately drawn in by the well written dialogue of what is presumably a teacher informing her students about the legend of Natty Bohnz. This intro is better than nearly any skit I have ever heard on a hip-hop album. The voice actors and the script are excellent. The intro sets the bar pretty high, getting your expectations up for some, well, legendary hip-hop to come. While I fully enjoy 85% of the tracks on this album (more on that later), I feel that the track order garbles the overall message and meaning behind the Legend of Natty Bohnz.
To elaborate, first we hear the "teacher" laud praise on Natty Bohnz and the kids getting upset about rappers obsessions with cars and money, but then we are launched into "Trapped." This is easily my least favorite song on the EP for a couple of reasons. While I don't think this is necessarily a bad track, it just shouldn't be the first full length song we hear on the EP. It's a bit difficult to take the soulful sound of the intro (which is present throughout the rest of the album) and transition into a minimalist, nearly satanic track about "the trap." The chorus is not necessarily very creative and carries a mildly oppressive message. With the repetitive refrain "trapped in the trap," the song touts that Natty Bohnz is going to "take us back to real rap" but for the most part, he just rips on what other emcees are doing poorly. I was not impressed by this song, but if perhaps it had come later on the EP, or at the end, it wouldn't have felt like such a harsh transition.
With that being said, I can tell you the rest of the EP is exactly what I was hoping for: soulful, down-tempo beats with heavy lyrical content, these tracks are worthy of being called "real rap" or as I might called it classic hip-hop. "Oh My" produced by DTZ the Composer, really sets off the danceable vibe on the track and really gives us the feel of what Natty Bohnz is about "a mixture of new and old" in the best possible way. "Get Right" produced by Nascent continues the excellent choice of samples and laid back, in the cut beats. "A Ghetto Tale" produced by LeuNatic is a seriously tale of as you could imagine, life in the ghetto. The beat once again has a down-tempo, soulful feel with soft string arrangements over subtle drums rolls. It fits the overall sound of the EP together quite well. Another track produced by LeuNatic, "Oh No" solidifies the old-school sound that this EP champions. With the exception of "Trapped" the EP could almost be an homage to 90's hip-hop and classic soul music. Viktor Rasiia as a lyricist has nearly endless endurance in his flows. You can tell that each track is a fully fleshed out composition in that there are hardly any moments where Viktor's verse let up. The combo of Viktor's raps and his producers' taste results in a very successful EP. This one is definitely worth more than a few rotations on your jam box.
Check out Viktor Rasiia on his website at: http://www.rasiia.com and on Soundcloud at: https://soundcloud.com/viktor-rasiia
Friday, November 7, 2014
Tasmanian metal rockers Zeolite present their debut single, "Earthmover."
After about a year of playing together and creating recordings out of their own home studios, Zeolite has recorded their first official single with mixing help by Alex Preito of Albatross Audio. They are currently recording their second single, "Astringent" with Dave Venter of Fat Lip studios.
"Earthmover" is a blend of many sub-genres stemming from metal. The band says they hope the listener will draw their own interpretation of their sound and won't try to pigeon hole their sound into any one genre or sub-genre. But they also cite the core elements of their music as progressive metal, melodic death metal and tech metal. You can definitely hear the "tech" elements as the song opens with a gritty downtempo drum machine beat. The intro feels like something that could have been on the soundtrack of The Matrix with EQ sweeps moving the frequency of the drum beat back and forth across the spectrum. Support from atmospheric synths add to the sci-fi feel of the intro until the band comes in full force with shredding guitars and pounding, extremely fast drum beats. Double bass drum pedal is a common tool for metal bands and I'd be very surprised if we aren't hearing one on the drumming by James Howard. Perhaps he just has feet worthy of The Flash, but either way, the drums on this track are not playing around. Very technical and fast, the band truly embodies the feeling that the lyrics express:
"Pent up, neanderthalic actions, furthering nothing.
Maybe it's time, to find another way to validate your existence.
Neanderthalic actions, furthering nothing.
Maybe it's time to find another way to validate your existence.
"Is it so hard to just let it go?
These fragile egos, replusing [sic] correction.
"Well maybe it's time to swallow your pride.
"Unable to articulate your thoughts.
Your fists still sting from making your point.
Left with feelings of regret.
"Where did your empathy go?"
That last lyric seems to encapsulate the entire emotional content of Zeolite's message here. Anger is an emotion that when best used motivates us to do something, to make a difference in our lives. Vocalist Fraser Mainwaring carries this feeling from the lyric content into the sonic realm. Raging thrash-worthy vocals emote the frustration and pain from a lack of empathy. And who can't relate to that. It's all too common in our modern society to cross paths with people that have zero empathy with each other. This social disease, if you will, has resulted in some rather tragic incidents all over the world and Zeolite seems to channel the collective outrage that the societies of our world should feel after so much strife and violence.
The music elements of this song don't vary wildly in dynamics after the intro ends. We are hit with a wall of sounds consisting of big drum rolls, chugging guitar rhythm sections and vocals that would leave me pouring honey on my vocal chords for days. Clocking in at over 5 minutes, it's surprising that the overall compositions actually doesn't feel tired by the end. The band does an excellent job of vibing off each other and keeping the performance alive and breathing together like one musical organism.
With only one official release for Zeolite, there is much to look forward to from this Tasmanian outfit. You can pick up their music online at their band camp site here: www.zeolite.bandcamp.com
And also look for them on Facebook at www.facebook.com/zeoliteofficial
Thursday, November 6, 2014
Producers and musicians listen up! All of you using old school music stores, stop living like it’s the year 2000. There is a new system in town and its changing the face of selling music online. If you haven’t seen what Soundgine has to offer then you are severely missing out. Let me cut to the chase, Soudgine players convert more sales and has more features than any other player.
Sexy As Hell
The player itself looks stunning and has an open layout for easy purchasing and a dual checkout system that gives your customers a choice at checkout to pay via Paypal or Credit Card. The internet is a funny thing, if you don’t capture your customers attention quickly then it’s end game for you. When I first saw Soundgine’s “Engine” demo, I was blown away, why haven’t I seen this before?
Selling music online is not easy so you need all the best tools available and the Soundgine service is no exception. First off the players (All five of them) are gorgeous to look at, but they are also customizable. Next, they offer your own website called VUE which is truly the best music layout I have ever seen. You can transfer your domain to it and ditch your hosting fees since Soundgine offers free hosting. VUE is fully responsive and looks awesome on desktops, mobile phones and tablet devices.
Musicians that want a fantastic out of the box solution, get with Soundgine.
Who Can Use Soundgine?
Anybody that has music to sell can use this system. The player has the ability to sell singles, albums and beats. If you enable all features then your earning potential triples. Honestly, if you are a producer and you are not using Soundgine then you are just giving yourself less opportunity to sell your music. They take 0% commission and everything is unlimited. Get paid instantly.
Bottom Line...More Sales
Truthfully, it’s about getting more sales as a producer and this is where this service excels. How so? The player design is set up where a customer can choose to buy a track right from the first screen without drilling down levels. I have compared Soundgine with other players like Myflashstore and Beatstars and Soundgine won every time. My suspect the reason why it converts better is that the flash player automatically converts to mobile when mobile is detected. Also, the ability to have customers buy with a credit card instead of Paypal really gave a noticeable. Take a serious look at this service and it’s features, it won’t take long to realize your earning potential with this service. Align yourself with the best and best of success to you!
Sell Music Online with Soundgine