A totally random, whatever came to mind first, selection of the latest additions to our
New Music Monster
Music Reviews written by Tobi Davis
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.
Artist: 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.
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.
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 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!
About The Monster Thread
The #MonsterThread is a community of Independent Musicians, Bands and Artists supporting each other in making and sharing Indie Music.