Week 51 | Tobi’s New Independent Music Picks

A totally random, whatever came to mind first, selection of the latest additions to our New Independent Music Friday playlist

Music review written by Tobi Davis

Tobi's new music monster

Woodstock by Ninet TayebArtist: Ninet Tayeb
Track: “Woodstock” 
With pomp ‘n’ stomp and in glorious old time rock, Ninet Tayeb delivers a heady rendition of Joni Mitchell’s 1970 release “Woodstock”.

Toms land thick and earthy, barrelled and rich in dirt; the smash ‘n’ crash of cymbal and fizz rains down from the sky in percussive counterpoint; kick punches gloved, with texture and depth of tone; snare smacked with rasp and tipping-point. Electric six-strings rattle in awesomely rough riff, with crunch ‘n’ grind. The track lurching in pulsating swells and ecstatic runs, as bass drives form and motion from the back.

Tayeb’s voice soars, soulful and full-bodied with an attacking rasp ‘n’ edge; her performance nothing short of barn-storming; the somber, wistful lament of Mitchell’s original cast to the four winds; and yet, the striking spirituality and heartfelt aspiration of the 1970 release remains.

Very much an rendition for our noisy, social and streaming media times, Ninet Tayeb successfully delivers the meaning and message of Mitchell’s song, without compromise with great understanding and respect. Wonderously operatic and glorious psychedelic; put it on repeat and play it loud. Really loud. ‘We’ve got to get ourselves back to the garden’.

Facebook.com/ninetayebOfficial
Twitter: @ninettayeb
IG: n.tayeb

 

Forever Endevour by HarlanArtist: Harlan
Track: “Forever Endeavour” (Harlan LP)
Four-piece Indie-rock outfit Harlan releases a debut LP of home-brewed delights, shimmering gems; dreamy, introspective, and steeped in amp-warmed nostalgia.

Framed in an ever-shifting world of electric strings in chorus and reverb; founding member and namesake, Harlan Hutton’s voice forms the emotional and musical center of the 9 track album. Her words delivered as part stream of consciousness, part document; ideas and questions interchange; memories mingle with fantasies and forebodings; images from out and within. Hutton’s vocal presented in lingering ambient; supporting backing and double, resonating in odd detachment.

Instrumentation revolves about Hutton in a wondrously open arrangement; overlapping runs of guitar arpeggio and riff are delivered in expansive, musical stanzas; the bass playing and off the various guitar parts with great effect and compelling contrast; drums tipping and falling in lightly worked fill and beat, responding to the ebb ‘n’ flow of lyric and arrangement alike. The band playing the tempo as one; rallying and easing-off, in surges, slows, and stops.

An immensely enjoyable and engaging collection of songs from beginning to end, ‘Harlan’ makes for a disarmingly intoxicating listening experience. It sets about its work gently, drawing the ear and heart. Beautifully loose in its musical form and understated in its production, Hutton’s songwriting is allowed to breathe and move at its own pace. A quiet giant, ‘Harlan’ is an album you’ll revisit time and time again.

Facebook.com/hrln666
Twitter: @harhutton
IG: harhut

 

Fumes by TannersArtist: Tanners
Track: “Fumes”
Brash Magazine Artist of the Year 2018, the singular art-pop oddity Tanners makes a welcome return with her first release of 2019, the intoxicating neo-synthpop slow-burn masterpiece, “Fumes”.

Synthpads bleed in, melancholic and distant; electro-sonics burst blunt in percussive dabs. Linndrum-style beats snap and clasp, gated tight. The stereo field allowed to breathe open; arrangement crafted in instrumentation and space. Synths soar and resonate with compelling emotion, strikingly atypical for electronic music. The 3-minute 51-second track shifting in steady graceful stanzas.

Tanners works her voice deftly; allowing fragility and breathlessness to temper and texture her accomplished vocals. Verses stagger adrift and lost; choruses delivered in bittersweet surge and soaring rush. In an impressive demonstration of both taste and self-discipline, Tanners never outshines the quiet, understated production; letting the instrumentation stand equal to her voice.

Every bit the slow-burn modern classic, ‘Fumes’ is further testament to the great range and depth of Tanner’s creative talent. Ignored by Spotify in 2018, the great and mighty playlisting gods have finally caught up; ‘Fumes’ earning a well-deserved spot on their, ‘Pop Right Now’ playlist. With so much great music being made by the current generation of independents; in a sky filled with so many bright stars, Tanner’s star continues to shine amongst the brightest of them all.

Facebook.com/whoistanners
Twitter: @whoistanners
IG: whoistanners

 


Share your music via Thursday’s #Musichouruk 8 pm – 9 pm (UK Time) for considering on our New Music Monster Playlist and review as one of our New Music Picks!


About Tobi
Tobi is a mastering engineer and remixer via Tobisonics. As well as writing music reviews for Brash and running various Independent Music playlists, he also hosts Thursday’s #Musichouruk on Twitter.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 50 | Tobi’s New Independent Music Picks

A totally random, whatever came to mind first, selection of the latest additions to our New Independent Music Friday playlist

Music review written by Tobi Davis

 

For The Night by Owain FelsteadArtist: Owain Felstead
Track: “For the Night”
UK-Based Independent Artist and rising star Owain Felstead drops a soulful slice of tight pop ‘n’ rhyme on down ‘n’ dirty bass ‘n’ grind with his new single, “For the Night”.

Acoustic six strings creep in rusty, grubby tones of ember-ed lows and smoldering mids. Kick punching deep into the dirt with a rasping, nasty, gloriously bit-crushed snare shuddering the beat in thick, stunted rattles. Boxy clap cranks flat and suffocated dry down the left-hand side. Dub infused fill adding variation and burst to the beat in darkly delayed quickfire ricochet.

Felstead’s voice struts softly in the hushed lows of understated delivery through the verses; teasing and rising a touch in the pre-chorus, and swaggered, soaring, lush tones of wanton melody. The lyric growing in the listener’s ear; building a compelling familiarity.

With 2018 release, ‘Clover’ earning 1 million plays on Spotify, 17-year-old Felstead is a young Artist with a bright future; one that he is approaching at a gathering rate of knots. “For the Night” further cements his credibility as both accomplished songwriter and gifted vocalist, with the quality of production required to land punches in the big league of mainstream charts. One to keep an eye on.

Facebook.com/owainfelsteadMusic
Twitter: @owainfelstead
IG: owainfelsteadmusic

 

Party of One by HolanderArtist: Holander
Track: “Party of One”
LA-Based self-described ‘glitter grunge’ Artist Holander delivers an intoxicating dose of sardonic self-love, served up with inspired pop-sonics with her new single, “Party of One”.

Carefully crafted understated arcade-game beats dab blunt-tonal in a compelling series of loops; glitched and stuttered, in odd break and oblique burst; 808 kick lo-fi with depth and saturated texture. Snippet and shard of instrumentation drops in snatches of string and piano; bass shifting in low-key curves and turns of dense sound pressure.

Holander works the rhythm in engaging stanzas of percussive melody; her voice bitter-sweet with a singular blend of sarcasm without pretention; lyrics cast in a similar mold, succeeding to be both ego-centric and confrontational; yet, at the same time, inclusive with disarming honesty.

In the packed-to-bursting market of dance/EDM/electro-pop (delete as needed), where so many of her contemporaries of lost to the en-masse upload din of their collective unrelenting release-rate, Holander’s unique voice, lyric, and musical world, not only stand her apart; Holander stands out; original enough to earn the respect and credibility of a legitimate independent artist, with the song-craft and voice to appeal to the larger market.

Facebook.com/holandermusic
Twitter: @holandermusic
IG: holandermusic

 

Fear by SeakerArtist: Seaker
Track: “Fear”
Uk-Based Independent Artist Seaker crafts a sublime moment in time and music of haunting depth and heart-stopping beauty, with new single, “Fear”.

Dull tones and shadow hues linger and fall; brittle and distant piano keys submerged, almost forgotten in oblique cascade. Shards of resonance echo in the ambient; phantom sonics, shimmered ghost notes. The composition shifting in graceful expanses of quiet swell and hollow surge; only to dissipate, in shuddering absence; breathless and exhausted.

Seaker’s voice drifts infinite in somber melodic phrases; cast afar and timeless by reverb and filter effect; overlapping layer of harmony, double, and counterpoint evoking both mournfulness and hope. The soulful vocal arrangement set in delicate and deftly crafted contrast to the dislocated and disquietening instrumentation.

A singular musical experience for the listener, “Fear” is an independent release in the truest sense. While many independent artists are set to simply ‘pass through’ the Independent scene on, what they hope to be, their way to the mainstream, others embrace the creative freedom only afforded to that of an independent artist (and very much denied to mainstream artists). Seaker continues to compose musical inventions of extraordinary originality, imagination, and integrity; and in doing so, she is crafting a musical world that will mean so much to the select few disposed to truly love her work.

Facebook.com/seakermusic
Twitter: @seakermusic
IG: seakermusic

 


Share your music via Thursday’s #Musichouruk 8 pm – 9 pm (UK Time) for considering on our New Music Monster Playlist and review as one of our New Music Picks!


About Tobi
Tobi is a mastering engineer and remixer via Tobisonics. As well as writing music reviews for Brash and running various Independent Music playlists, he also hosts Thursday’s #Musichouruk on Twitter.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 49 | Tobi’s New Independent Music Picks

A totally random, whatever came to mind first, selection of the latest additions to our New Independent Music Friday playlist

Music review written by Tobi Davis

Tobi's new music monster

Skye Wallace Album Artist: Skye Wallace
Track: “Death of Me” (Skye Wallace LP)
Purveyor of awesome independent noise Skye Wallace delivers a wondrously unrefined album of sublime musical depth, raw unapologetic emotion, and inspired originality.

Painted in a gloriously noisy palette of incredible guitar grunt and tender-ugly overdrive, Skye Wallace’s self-titled ten-track release arrives in swells of storming six-string and pulsating, animalistic drum beat; Wallace’s voice triumphant and defiant as it soars in great rises of infectious sing-along melody. The opening track, “Death of Me” giving way to the stomp and strut of ‘There is a Wall’; drum, guitar, and bass smackdown as one, in a series of tight-heavy stabs. ‘Coal in Your Window’ stutters and twitches at an agitated speed in punk-rock time. Wallace shrieking and taunting in percussive shouts and lyrical salvos.

Embraced by the haunting rise and fall of string instrument, ‘Stand Back’ shifts in ambient and odd, wistful nostalgia; the track building in sudden surges of instrumentation and emotion. ‘Iced In’ slithers and slides in dissident orchestration panned wide left/right, contrasted by crisp rhythmic pattern and set. The pace turning up further with the smack and jump about of, ‘Always Sleep with a Knife’; Wallace successfully pairing sardonic lyric with catching indie-pop vocal hook. ‘Body Lights the Way’ grooves with dorky-funky riff, uber-cool bass, and cowbell.

As string and vocal harmony shimmer uneasily in the wide ambiant, hi-hat fizz, and guitar ‘n’ bass crank the tempo out. Morricone-inspired drum and twisted guitar solo add epic flavor on the lo-fi to, ‘Swing Batter’. The heartbreakingly beautiful, ‘Midnight’ breathes in wondrously understated guitar ‘junt’ and grind; electric-strings edging in and out of crunch with finesse and deft touch. Wallace’s vocal mournful and somber; rising up from the darkness, only to fall back to the shadows again.

Out of the noise floor and the distant din, the final track, ‘Suffering for You’ drags and grinds into the phantom center. Wallace’s voice at its most haunting, damaged, and engaging. The track grows in great depths of growling distortion and thunderous drums; delay and chorus echo left to right in disquietened dislocation. The track and album finally dying back into the infinite.

An astonishing achievement in songwriting, performance, and production, Skye Wallace’s self-titled album is, without doubt, the stand out independent release of the year so far. Noisy and glorious in its instrumentation and framed by tastefully judged and expertly executed, and knowingly understated, mix and master; the ten-track collection an undeniable testament to the great depth of quality, artistic integrity, and creative possibility of Independent music. Bold, uncompromising and quite simply awesome.

Facebook.com/skyewallacemusic
Twitter: @skyewallace
IG: skyewallacemusic

Week 48 |Tobi’s New Music Monster Picks

A totally random, whatever came to mind first, selection of the latest additions to our
New Music Monster

Music Reviews written by Tobi Davis

Tobi's new music monster

 

Molly More I love you but i don't like you Artist: Molly Moore
Track: “i love you but i don’t like you”
LA-Based singer-songwriter/producer Molly Moore crafts compelling contrast with graceful soul pop melodies set against gritty bass swell and dirty swagger, with new single, “i love you but i don’t like you”.

Driven from the low to the mid, the 2-minute 12-second track arrives in mournful electric key stab in reverse, flat-packed blunt ‘n’ hollow kick, and absent texture sampled-backward and ambient. Beats snip, stutter, and smatter; drum-machine toms delayed, looped, and distant; percussive elements land smacked, stubbornly unrefined; the sparse arrangement, unapologetic and unforgiving.

Moore’s voice walks the beat in deliberate, uncompromising strides; working the verses in teasing malice and willfully raw technique; the count exposed for the world to feel. Only to switch-up in the chorus, allowing herself to finesse her flow; shifting word around the click. Backing vocal processed to the point of abstraction, atonal and synth-timbre, add texture and inspired hook.

Both well-crafted pop song of crowd-pleasing build, melody, and hook; and, at the same time, brutal and stark in its production and presentation; ‘i love you but i don’t like you’ makes perfect musical sense in its apparent stylistic contradictions; and in doing so, aptly reflects and expresses through musical form, the paradoxical and yet all too painfully familiar truth of its subject matter.

Facebook.com/mollymooremusic
Twitter: @missmollymoore
IG: mollymoore

 

Headcase by Kyan Palmer and nicopop.Artist: Kyan Palmer + Nicopop + Johnny Mac
Track: “What U Like”
LA-Based Independent Artist Kyan Palmer, Producer Nicopop, and Johnny Mac deliver dance-pop grooves and soulful vocals for the heat and the dark of long summer nights, with new single, “What U Like”.

Cast in grid-tight time, a carefully worked array of percussive sample ‘n’ loop fire in a rich and compelling cascade of sonic tone ‘n’ texture, working width left to right across the stereo field, and depth with smart use of frequency, tone, and timbre to create a sense of shifting layer and ever-changing contrast. Kick punches deep and clean, while the snare lands bit-crushed smacked and saturated soft. Though Melodic, sonic-electro tones are delivered fiercely rhythmic; the entire production enticing you to move, the listening experience as physical as it is musical.

Vocals flow like liquid; shifting from richly natural and full in tone to cooly metallic and vocoder-ed; the texture of the voices in a perpetual state of flux, the FXs processing light on its feet and ever-creative. Words are delivered in a near perfect balance of the percussive and the melodic; phrasing changing up and back to down with compelling ease on the ear.

With production and performance acting as one, “What U Like” moves through its 2-minute 59-second runtime with a compelling effortlessness. Though aggressively market-competitive, the feel of the track is easy-going, laid-back, and understated throughout. Palmer, Mac, and Nicopop demonstrating pitch-perfect taste and considerable finesse in its creation. Having already attracted the attention of Apple Music’s premiere pop playlists, ‘What U Like’ looks set to be ‘what we like’ this summer. If you haven’t already, it’s time to update your summer playlists.

Facebook.com/kyanpalmer
Twitter: @kyanpalmer
IG: kyanpalmer

Facebook
Twitter: @iamnicopop
IG: iamnicopop

Twitter: @johnnymacboogie
IG: johnnymacboogie

 

Superchunk-Acoustic by Foolish Artist: Superchunk
Track: “Like a Fool” – 2019 Acoustic (Acoustic Foolish LP)
Stubbornly independent four-piece Superchunk revisit their 1993 release, ‘Foolish’ and opening track, “Like a Fool” in acoustic hues of rasping chords, percussive arpeggio, and dulcet string.

In absence of their trademark glorious DIY noise of overdrive, fuzz, and crunch, Superchunk’s fourth album breathes a new with an open, at times mournful, at times wistful, and ever-nostalgic musical texture; the re-imagined acoustic rendition allowing themes, feelings, and moods hitherto only hinted at through the frantic energy of distorted sonics to surface and resonate in the forgiving tonality of acoustic instruments.

The 3-minute 37-second track moves in graceful, understated sways and overlapping musical layers of quietly contrasting guitar technique and tone. Drums pad and patter; kick soft-landing in bursts of low frequency; snare cracks from a drumstick, almost dropped; ghost note and accent crafting a fluid shimmer of percussive flow. Bass counts in dabs, forceful but weighted with care; the track given additional width and depth by a string arrangement that is oddly both embracing and disquietening; a familiar ill-at-ease.

McCaughan’s vocals less hurried and charged, with bittersweet hush and worldworn soulfulness; his voice cracking slightly at the edges, tinged with fragility and a raw honesty so characterised by the band’s entire body of work.

So few bands age well; clinging to the myth of rockstar well past its sell-by date; perhaps locked into a tired act of theatre, pedaled by major labels too lazy to deviate from the familiar formula. And it is perhaps in this regard, and because of their fierce and stubborn devotion to the spirit and method of independent music, that Superchunk find themselves free to re-invent, to grow, to age and, in doing so, continue their ongoing conversation with their fans; that raw, unpretentious, and honest conversation of glorious noise that we, their fans, have so valued for so many years.

Facebook.com/mergerecords
Twitter: @superchunk
IG: macsuperchunk


Share your music via Thursday’s #Musichouruk 8 pm – 9 pm (UK Time) for considering on our New Music Monster Playlist and review as one of our New Music Picks!


About Tobi
Tobi is a mastering engineer and remixer via Tobisonics. As well as writing music reviews for Brash and running various Independent Music playlists, he also hosts Thursday’s #Musichouruk on Twitter.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 47 |Tobi’s New Music Monster Picks

A totally random, whatever came to mind first, selection of the latest additions to our
New Music Monster

Music Reviews written by Tobi Davis

Tobi's new music monster

I dont give a damn album by ORKID - BRASH! Magazine BlogArtist: ORKID
Track: “Melodrama” (I Don’t Give a Damn LP)
Rising star of the Swedish Independent scene ORKID drops a dazzling dose of smart Electro Pop with her new song, “Melodrama”.

Arriving in glorious lo-fi fanfare of Hip-Hop and B-Movie sample ‘n’ loop, the 3-minute 56-second track drives from the get-go with a dirty bass drone and the gliding hum of sonically blunt synth-oddity. Beats skip and snip, dry and funky; shifting through the groove in snapping rapid-fire. Brassy hook shunts and stabs; an intoxicating blend of leftfield instrumentation blends and hangs together, almost in spite of itself. Each musical element seemingly chosen for their perfect wrongness.

ORKID works the beats tight with her words. Her voice rising sweetly with soulful depth and compelling warmth. Both gracefully melodic and fiercely percussive, ORKID’s phrasing and lyric compelling, odd, and rich in imagination. Additional harmony adds color and contrast; enhancing the emotional and performance dynamic.

Successfully combining influences from Hip-Hop, Pop, Electro, RnB, Soul, “Melodrama” is an impressively crafted alt-pop composition. Well-judged and tastefully understated production add quality and further integrity. First-rate Indie-pop! Listen to ORKID’s new album, ‘I Don’t Give a Damn’ on all major streaming platforms right now.

Facebook.com/itsorkiid
Twitter: @MatildaMeliin
IG: itsorkid

 

in plain sight by honeybloodArtist: Honeyblood
Track: “Gibberish” (In Plain Site)
Glasgow based Alt-Rock awesome noisemakers Honeyblood deliver a storming dose of jump up ‘n’ down distortion with new song, “Gibberish”.

Introduced in stubbornly unrefined/under-produced home-brewed trash and low mid smudge, the track rips open at 20 odd seconds with grasping, rasping guitars, howling gang vocal, and straight up in the gut live drums; snare smacking blunt and flat; the kick a tightly coiled fist of low weight and punch; hi-hat sizzle and cymbal fizz. Guitars soar in saturation and reverb; crash and crunch in dirty fuzz; drive with torque, distortion-fueled hyper-drone; animalistic and futuristic.

Stina Tweeddale spits, shouts, snarls, and sings in a series of taunting phrases, rants, and harmony infused chants. Perfectly imperfect indie-rock-pop vocal anti-hooks for the disillusioned and disbelieving to drink, dance, and shout along to. The 2-minute 31-second track burning through its runtime in anger, frustration, and awesome noise.

“Gibberish” is the fourth track on Honeyblood’s new 11-track LP. Available via all major streaming media platforms right now.

Facebook.com/yumhoneyblood
Twitter: @yumhoneyblood
IG: yumhoneyblood

 

Charlotte OCArtist: Charlotte OC
Track: “Better Off on My Own”
UK-Based Alternative Pop Artist Charlotte OC delivers a stand-out track of graceful melancholy and compelling musicality, with new single, “Better Off on My Own”.

Piano notes drop sparse and somber and an engagingly simple set of musical phrases. Charlotte O’Conner’s voice world-weary and soul worn. Her own phrasing matching the simplicity of the piano keys; the two musical voices paired in an oblique dance. The 3-minute 32-second track builds in understated layers; drums land present and driving, but never over-reaching; the bass running a series of tight low-frequency dabs down the center of the mix; piano climbing with organ and backing vocals.

O’Conner’s vocal builds with the track; well-judged instrumentation, arrangement, and production crafting a natural context for both her voice and word. Her lyrical style conversational and familiar; invoking thought, reflection, image, and suggestion in gently sing-along line and melody.

O’Conner’s work carries a depth of integrity both surprising and impressive for a young artist; her writing and production evocative of the grand old storytellers like Bruce Springsteen and iconic artists like Tina Turner. Strikingly accomplished and very much ready for radio, “Better Off on My Own” provides clear demonstration that Charlotte OC has the potential to appeal to mainstream and independent audiences alike. Very much an Artist with the talent to climb to the very top. And very much the kind of Artist we want to see at the very top.

Facebook.com/CharlotteOCOfficial
Twitter: @charlotteoc
IG: charlotteocofficial


Share your music via Thursday’s #Musichouruk 8 pm – 9 pm (UK Time) for considering on our New Music Monster Playlist and review as one of our New Music Picks!


About Tobi
Tobi is a mastering engineer and remixer via Tobisonics. As well as writing music reviews for Brash and running various Independent Music playlists, he also hosts Thursday’s #Musichouruk on Twitter.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 46 |Tobi’s New Music Monster Picks

A totally random, whatever came to mind first, selection of the latest additions to our
New Music Monster

Music Reviews written by Tobi Davis

Tobi's new music monster

 

There Is A Wall Art by Skye Wallace

Artist: Skye Wallace
Track: “There is a Wall”
With guitar grunt and low down swagger, stand out Independent Artist Skye Wallace delivers audacious noise in smoldered malice with new single, “There is a Wall”.

Electric guitars have to sound a little wrong to sound right. In tightly fused fuzz and tone-blunted overdrive, the guitars of Skye Wallace’s latest release stab, punch, and sucka in percussive bolts of perfectly pitched imperfection. The drums land pocket tight; snare alligator-snapping at the heel of the deadened kick; cymbal, crash, and ride wash in fizzy rafts of glorious ear candy. The 2-minute 28-second track shifting in an ever-building series of well-worked lurches; giving way to great drives of shrieking six-string riff.

Skye Wallace breathes and chews her words in part performance/part mantra; her vocal both intimate and engaging, threatening but compelling. Verses arrive brooding in the grungy mids amongst the grunt of guitars; smart use of harmonies lift, widen, and swell the vocal presence during the choruses. Skye Wallace playing on and off the beat, switching seamlessly from syllable tight on the count to syncopated ‘push & pull’ melodic phrases.

In following up the haunting and noisy slow burn folk-rock, ‘Suffering for you’, Skye Wallace not only continues to craft inspiring and bold musical statements but also demonstrates the great potential of her creative range. Animalistic and unrefined, yet self-disciplined and unrelenting, “There is a Wall” represents a compelling artistic counterpoint to the expansive expressionism of ‘Suffering for You’; both audacious in intent and unapologetic in action.

Facebook.com/skyewallacemusic
Twitter: @skyewallace
IG: skyewallacemusic

I'd be lying by emma elisabethArtist: Emma Elisabeth
Track: “I’d Be Lying”
Swedish-born Berlin-based singer-songwriter and producer Emma Elisabeth crafts a sublime blend of graceful instrumentation and inspired vocal harmony, with new single, “I’d Be Lying”.

Moving gently in open musical stanzas of rich guitar tone, the 3-minute 14-second track drives in melancholic tones; six-strings are warm in low mids with texture on the string and pick, shimmering in well-worked reverb. Bass and drum land tight, shifting in grooves. The bass, quietly ever-present and forceful in weight. The drums dry, compact and giving width to the guitars and harmonies.

Emma Elisabeth’s vocals stand tall and draw your ear with sweetly crafted melody and hook. An inspired use of harmony providing additional width and depth to the vocals; enhancing and reflecting the emotional resonance of the lyrics.

Drawing immediate and favorable comparison to the music of bands like Fleetwood Mac, Emma Elisabeth’s latest release conjures impressions of the open road, of infinite highways, hazy sunshine rides, and midnight drives lost in idle pursuit of the vanishing point.

Facebook.com/emmaelisabethmusic
Twitter: @EmmaElisabethMu
IG: emmaelisabethmusic

walk like nothing by the land belowArtist: The Land Below
Track: “Walk Like Nothing”
Swedish Independent Artist Erik Lindestad aka The Land Below delivers a synthpop infused dose of expansive electronic soundscape and pulsating drum machine beat with new single, “Walk Like Nothing”.

Deftly timbered synth sonics resonate in percussive arpeggio, shifting lead, and ambient pad; timing, tone, and stereo placement crafting contrast and candy for the ear. Guitars add earthy grit and dense dirt, bedding the track in. A tight to the line bass synth dabs smart brushstrokes of low frequency down the middle. Kick snap-punches; Snare dry and dusty, smacking and holding the center point.

Erik Lindestad’s vocals arrive in a whispered rush; light tone and darkened word. The opposing forces of content and delivery making for an intriguing, enigmatic listening experience that draws and engages the ear.

Inspired choice of instrumentation and smartly worked arrangement creates a richly musical composition, with percussive and melodic element playing off and enhancing each other. Tightly produced and light on it’s the feet, darkness is, nevertheless, ever-present throughout, “Walk Like Nothing”. The production reflecting the paradoxical vocal line; light tone and darkened word.

Facebook.com/thelandbelowmusic
Twitter: @thelandbelow
IG: thelandbelow


Share your music via Thursday’s #Musichouruk 8 pm – 9 pm (UK Time) for considering on our New Music Monster Playlist and review as one of our New Music Picks!


About Tobi
Tobi is a mastering engineer and remixer via Tobisonics. As well as writing music reviews for Brash and running various Independent Music playlists, he also hosts Thursday’s #Musichouruk on Twitter.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 45 |Tobi’s New Music Monster Picks

A totally random, whatever came to mind first, selection of the latest additions to our
New Music Monster

Music Reviews written by Tobi Davis

Tobi's new music monster

Bloody Motherfucking Asshole by Your SmithArtist: Your Smith
Track: “Bloody Mother F*cking A**hole”
Independent Artist Your Smith delivers a compelling uncomplicated rendition of Martha Wainwright’s, “Bloody Mother F*cking A**hole” .

Performed on acoustic guitar with accompanying piano, the instrumentation of Your Smith’s latest release is not dissimilar from that of the 2005 original. And whereas many Artists may have been tempted to add, Your Smith has in fact taken away; Wainwright’s original consisting of a bass guitar too. Despite the apparent similarities, Your Smith’s 2019 release has a rawer, more soulful and straightforward feel. The acoustic is heavier, fuller in tone with a rasping, metallic edge that punctuates the rhythm of the track with almost tangible texture and taste. The piano deeper, more solid and with a weight that punches into the mix and adds to the percussive energy of acoustic.

There is a disquieten oddness to Wainwright’s wistful yet embittered performance; an overt complexity of emotion, as she works through a strikingly contrasted array of delivery, tone, and timbre. Unlike the willfully disjointed original, Your Smith’s vocal builds in engaging surges, the talented vocalist singing within herself for much of the song; preferring to allow the emotion to well up from beneath, only allowing herself to demonstrate the impressive quality her voice at the very final moments of the track.

Both a loving and respectful homage and, at the same time, very much a stand-alone rendition with unique qualities in its own right, Your Smith’s take on ‘Bloody Mother Fucking Asshole’ is a deceptive simple cover song; crafted with sincerity and insight, framed by tastefully understated and well-judged production. At the heart of which, Your Smith’s unassuming and unguarded emotional performance echos that of the original. The undeniable and disarming force of honesty.

Facebook.com/yoursmithforever
Twitter: @yoursmith
IG: yoursmith

Sugar Mama COLORS by Dua SalehArtist: Dua Saleh
Track: “Sugar Mama – A COLORS SHOW”
Minneapolis-based Independent Artist and Producer Dua Saleh delivers a smart dose of de-constructed percussion and fierce word, with new single, “Sugar Mama – A COLORS SHOW”.

The opening track of her 2019 EP, Nur and tracked for Artist platform ‘COLORS’, ‘Sugar Mama’ is anchored throughout by a metronome-like wood-block; 808 kick and bass stab double landing on and about the 4-count ‘click-track style’ willfully unrefined beat. Short snatches of strings snap percussive left to right across the stereo field. Bass and synth riff arriving in deftly syncopated timings, the compelling odd and quietly cool ‘n’ low-fi instrumentation dancing around the unrelenting wood-block in a gleeful and stubborn refusal to conform and yet, never compromising a beat.

Saleh sneers, snarls, and slings an ever-shifting series of smartly structured soliloquy; taunting and teasing the listener with imaginatively crafted image and surprising contrast of idea and language. Intelligently and unapologetically provocative in tone and meaning, Saleh’s words capture the ear throughout. Saleh working the beats with accomplished finesse and a striking musicality to her performance.

A track a singular identity; both challenging and engaging in equal measure. They are few Artists who possess the required skill, talent, and judgment necessary to say something via their music; in a way in which, people are compelled to listen and able to understand; fewer still, are the number who actually have something to say. Dua Saleh is one of these rare Artists.

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Twitter: @doitlikedua
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Hold On (Wild Culture Remix) by Caezar + Wild CultureArtist: CAEZAR + Wild Culture
Track: “Hold On” (Wild Culture Remix)

UK-based Indie-pop three-piece CAEZAR and Austrian producers Wild Culture deliver a storming slice of dance-pop with new single, “Hold On” (Wild Culture Remix).

Arriving in quickly shifting dabs of understated synth-sonic, the 3-minute 4-second track grooves with quiet menace; bass tones grinding in background, bit-crushed beats drawing ever closer; a rising shimmer of cinematic strings and beats erupt; snare lands smashed, obnoxious and awesome; vocal hook filtered like liquid.

The track moves between beautifully understated passage and great explosions of sound and emotion. Vocal performance and lyric working in tandem with instrumentation and production; smart use of sonic space employed to ensure definition and depth within the arrangement. A high level of creativity is present throughout; individual musical elements are tastefully tweaked, teased, and textured by inspired use of distortion, filter, and modulation; restrained use of reverb and delay add size, width, depth while respecting the clarity and fidelity of the overall production.

An impressively accomplished production from start to finish; drawing upon the worlds of pop, dance, and film soundtrack, “Hold On” (Wild Culture Remix) succeeds in both delivering a sonic and emotional experience to the listener. Further proof that the much-maligned art of remixing is very much a serious art form in its own right and has deserves far greater critical attention and respect.

Facebook.com/hailcaezar
Twitter: @hailcaezar1
IG: hailcaezar

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Twitter: @wild_culture_at
IG: wildculture.official


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About Tobi Davis (BRASH! Magazine/Blog Writer)
​Good producing is like good plumbing. If you do your job right, no one notices. Mix, Remix + Master. Run @monsterthread w/ Singer Songwriter Jon Magnusson. Host Thursday’s @musichouruk. Music Reviews for BRASH! Magazine. Promote. Occasional Lyricist. Love my beagle Enzo + fav bands Little Empire and Moxi.
Check out Tobi Sonics – Mixes + Remixes!

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The #MonsterThread is a community of Independent Musicians, Bands and Artists supporting each other in making and sharing Indie Music.

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