Week 70 | 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 reviews written by Tobi Davis

Artist: Camp Crush
Track: “Gymnasiums” (Feel Something EP)

New Wave Pop Duo Camp Crush delivers an intoxicating landscape of cinematic synths and epic vocals with new EP Feel Something and the new song, “Gymnasiums”.

Bit-crushed beats crackle, smack, and grind. Vocals drift ambient, distant, elusive and yet persistent. Synth-sonics toll, great electronic bells; the ambient thickening into fizzing rises of an amped fuse. Synthesizer riff chime in gloriously odd modulation and compelling melodic hook. Drums erupt in gated tight reverb, beating and pounding; machined-tribal, surging in pulse and shudder. A bass thickens and drives in a great shifting slab of monophonic low frequency.

The lead vocals stand tall and epic; a great theatrical performance in voice. The stage a multi-dimensional construct of electro-phonics; pad and lead, expansive and brassy. Lyrics projected as though spotlight lit; a world of music hewn from electrical current, exploding and cascading all around; a great globe set real in melody, word, rhythm, and harmony.

“Gymnasiums” is an intoxicating montage of compelling songwriting and vocals, framed by a vast territory of synth-sonics; romantic and awesomely cinematic. It not only draws you into its magical world; it lifts you up and propels you, outwards from this oft dreary life, and away into the heavens; to where the stars dwell. Camp Crush are not just musicians, they are magicians too.

Facebook.com/campcrushmusic
Twitter: @campcrushmusic
IG: campcrush
Artist: Aimée Steven
Track: “Better Off Dead”

Independent Artist Aimée Steven delivers a wondrously rowdy and willfully unrefined mess of raucous drum, blistering guitar saturation, and super cool vocal with new single, “Better Off Dead”.

Gruff and grinding electric six-string riff spanks and rusts, overdriven and gloriously rude; cymbals smash, metallic eruption. Kick landing big, bold, and boomy; the snare, in the room and deliciously distorted on the transient; bassline chugging and grooving in thick, heavy-set footsteps of deep, low-frequency SPL. Guitars rattle, spit and burst in fuzz, grunge, and gut.

Aimée Steven’s vocal strolls, nonchalant and smokey cool, through the great and glorious mess of distortion and noise. Her voice thickening around the lyrics, crafting weight and depth to the words; resulting in a physical listening experience.

“Better Off Dead” is an instantly and deliciously satisfying composition. The production feels grounded and bedded in; tones are fat and massive. The intentionally unrefined recording and processing of the instrumentation create the perfect contrast for Aimée Steven’s uber-cool vocal performance. A bluesy, smoldering, old school soul number delivered in great waves of distortion and fantastic noise. More, please!

Facebook.com/aimeestevenmusic
Twitter: @AimeeSteven
IG: aimeesteven
Artist: Sam Johnson
Track: “Lost in the Mail” (Eastcote EP)

Singer-Songwriter Sam Johnson crafts compelling drama and inspired musicality in great waves of instrumentation and soulful vocal with a new song and opening track, “Lost in the Mail”, from his debut EP, Eastcote.

Vocal harmonies land tall and theatrical left/right; six-string acoustic spank, Morricone cool; electric wail set distant and ambient; a great surge of instrumentation and wondrous noise. The 3-minute 38-second track breaking and rising in massive waves of sound and open spaces of percussive force and ambient depth. At the center of it all, a kick punches deep and thick with weight and gut; the bass line moving in tightly-controlled turns and runs, holding groove and line. Guitars electric and acoustic burst and pulse in incredible eruptions of percussive force, or rattle and gently spank in palm mute and riff. The production lurching and strutting like a mighty animal of melody and sound.

Sam Johnson’s vocals draw the ear into the depths of the great arena of noise, with soulful grace and well-judged pace, emphasize, and projection. Smart and accomplished producing and mix engineer craft space and breath for Johnson, among the mass of inspired instrumentation.

Impressive musicality and songcraft, framed by well-thought-out production/mix and master, stand, “Lost in the Mail” apart and above the great din of en masse upload. A composition of the highest quality, that both succeeds technically and creatively; successfully marrying the fundamentals with striking originality and imagination. Sam Johnson is very much an artist to watch.

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

---

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.

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

Week 68 | 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 reviews written by Tobi Davis

Artist: Cartalk
Track: “Wrestling”
In gloriously grungy tones, Cartalk delivers a quiet-riot and tour-de-force in compelling songcraft and inspired production with new single, “Wrestling”.

Electric six-strings rattle, grind, and rake; the stereo field opened up and the 3-minute 30-second track given depth, with competing movements of crunch-blunted tone, delivered in saturated-crafted contrasting timbre. The bass moving fast, with a sleight of hand, across the fretboard; perfectly punctuated dabs of low frequency, flavored with a delicious edge of distorted grit. Drums working a pittapatta of kick and snare; kick landing light, bouncing the track from beat to beat. Snare impacting into the skin, the stick turning and dipping on the wrist. The tip and tickle of the Hi-Hat adding count and pace; keeping the top of the groove, as the bass drives the bottom.

Vocals laze, talk, and shout their way through the verses; conversational and idle, yet building in weight, inference, and quiet intensity; shards of an image, an afterthought, and possibly trade-off in scattered aside; an understated soliloquy, meandering monologue.

Only to break-open in the choruses, a voice on-the-run in stacked double-track upon double-track; rushing and rising in glorious and untidy, indie-singalong-hook. Guitars surge and shift into supersonic, great velocities of distortion cast left/right. The production accelerating and breaking as one; wondrous dynamic movements en masse. Cymbal shimmer and smash cascading across the width of the track; snare landing in rapid-fire smacks of rasping, exploding noise.

Though presented in the homebrewed tones of slackerdom, lo-fi, and hazy, dazy, garage rock, ‘Wrestling’ is, in fact, a deceptively well-crafted production; the composition moving from movement to movement with accomplished finesse and compelling contrast. The instrumentation employed demonstrates a keen sense of musicality in its choice of complementing and competing tone and timbre. The unassuming arrangement creating great depth, shifting layer and width with great, and quiet, success.

The history of rock ‘n’ roll has known more than a few ‘larger than life’ bands who went about their music-making with great and glorious pride, pomp and circumstance. And although the legendary status of the likes of Led Zeppelin, Queen, and Pink Floyd are well-deserved; far fewer, truly great bands, went about their work quietly, in compelling diligence and inspired service to their craft and their audience. And it is in this less celebrated, but every bit as impressive, regard that Cartalk begins to stand compared to, and are evocative of, the likes of Tom Petty and the Heartbreakers. For they too were deceptively accomplished in their production, understated in their presentation, standout in their songwriting, and out and out rock ‘n’ rollers.

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

 

Artist: Mayfly
Track: “Selfish Girl”
22-year-old producer Mayfly makes a welcome return with an inspired dose of sizzling synthpop sonics and driving electronic bass, new single “Selfish Girl”.

Rising out of the silence, a pulsating, modulating sequencer shimmers from note to note of low mid spl. Kick punches deep and deadened, smacking low frequency and a touch of sub down the center of the 3-minute 28-second track. Snare arrives in stabs of smack and rasp; dry implosions of midrange impact. A second sequencer fizzes and shifts down the gut of the track, providing movement and pace.

Mayfly’s voice travels in breathless rushes of a graceful whisper, placed ethereally and afloat above the center of the mix. Lines are repeated as though loop or percussive sample; building in emphasis through the act of repetition; their inspired melody compelling contrasted by the repetitive presentation.

Throughout Mayfly’s vocal plays off against the instrumentation, drifting into the distance as the arrangement swells and surges. Synth leads meander, almost absent-minded, in the background. The production creating a constantly evolving and contrasting stereo field, as the orchestration grows in complexity, layer, and depth.

Mayfly’s output is protracted at best, with only two singles in the space of a year, but each is an exquisite act of composition. The young producer demonstrating a keen ear for detail and a seemingly intuitive sense of how to build complementing elements and layers. “Selfish Girl” represents further evidence of the striking talent of Mayfly. We can but hope that we need not wait another year for her third single.

Facebook.com/officialmayfly
Twitter: @Officialmayfly
IG: officialmayfly

 

Artist: Costi
Track: “Escape from Mars”
London-based rapper and singer-songwriter Costi drops a sublime slice of graceful jazz joints, vocal, wit, and flow with new single, “Escape from Mars”.

Vinyl crackles left/right, snippets of stereo, lo-fi ear candy on the down-low. Piano keys tumble, climb and fall in loop; set back and roomy, gramophone timbre; jazzy with understated opulence. A bassline begins to groove; shifting movements of low-frequency grind, pushing and pulling the track; laid backswing. Beats snap and punch; snare crushed rattle, drum-machine sneezed; stuttered shards. Kick dabbing deep, dull, and flat; popped on top, creating a presence in the mix.

Costi walks his words at a stroll, allowing the beat to breathe; working in loosely syncopated stanzas of conversational thought, observation, and reflection; lyrics rich in wit and insight, compelling undersold.

Unassuming and quietly engaging, “Escape from Mars” is delivered with accomplished and tastefully judged musicality; word and instrument working in effective tandem. The intuitively pitched production, an object lesson is knowing how much is enough. A demonstration of artistic integrity and the great potential of its creator.

Facebook.com/costithe
Twitter: @therealcosti
IG: realcosti

---

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.

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

Week 67 | 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 reviews written by Tobi Davis

Artist: USE ft. T.O.L.D
Track: “Something in the Way” (Grungewave)
Self-described ‘Grungewave’ Artists USE featuring T.OL.D. deconstruct Nirvana’s 1991 release, ‘Something in the Way’ and cast it a staggering stripped-down reimagining of vast, unforgiving sonic landscape, haunted by electro-vocal, phantom and elemental.

‘Underneath the bridge, the tarp has sprung a leak,’ phonetics devolved utter constant and guttered vowel; rung flat and electro-atonal, vocoder ghosts; a phantom zone modulates distant, low bass drone and ambient; rising darkness, dank and unforgivable. Whispers shimmer in drift and delay; slivers of reverb, ethereal and unearthly.

“Something in the Way”; kick impacts deep and sunken, low frequency stained dirty; gated snare smacks tourniquet tight, accompanying its funeral drum. Ambiance rises, gaseous and fused with electric charge; static movement, unnatural. Odd synth-sonics pulse and modulate in great mortal breathes of fizzing saturation. Piano keys brighten in brittle desperation and lamentation, only to die back into the nothing.

Both faithful rendition and inspired reworking; “Something in the Way” delivers a singular listening experience unlike any other; though evocative of seminal works, such as Pink Floyd’s ‘The Wall’, The Smith’s ‘Last Night I Dreamt that Somebody Loved Me’, and Nine Inch Nail’s ‘Something I Can Never Have’, USE have crafted a production of standout originality; a staggering statement of artistic intent, uninhibited and uncompromising; raw, difficult and quite simply beautiful.

Facebook.com/untitledsocialexperiment
Twitter: @USEBOT001
IG: untitledsocialexperiment

Facebook.com/itistold
Twitter: @theworldistold
IG: theworldistold

 

Artist: Girl Wilde
Track: “BATSHIT” (Probably Crying EP)
LA-based Independent Artist Girl Wilde delivers a noisy slice of alt-punk-rock and aggro-pop with new song “BATSHIT” and new EP Probably Crying.

Synth-sonics pulse blunt and saturated tonal, fused-funk and oddity; a kick dabs flat, deep space vacuum implosion; the snare dry, crisp and willfully unrefined. The bass shifts in protracted drives and turns, form and force from the back of the mix. Sound FXs burst in compression compacted close-quartered noise; from spot, sound to scream. The chorus erupting in grinding, six-string drive and fuzz. Layers of distortion, contrasted by flavor, tone, and timbre, create depth, width, and excitement.

Girl Wilde delivers her words, understated and talk-sung through the verses; overlapping stanzas of vendetta unrealized and wrongs deserving of violent righting; a smoldering epicenter of pending natural disaster. The fuse lit, Girl Wilde’s vocal explodes in the choruses, rushing and burning through the lines; lyrics contorted to frustrated shrieks, energy unhinged.

Hardwired aggravated, hewn from noise; a perfect pop animal for kids to trash their rooms too, “BATSHIT” is an alt-rock aggro-anthem for the downtrodden, disrespected, and denied. A 2-minute 52-second scream-fest. Destruction, given form. Jump up and down until the world shakes. Don’t take it. Don’t accept it. Just go BATSHIT.

Facebook.com/GirlWilde
Twitter: @ImGirlWilde
IG: girlwilde

 

Artist: Starcrawler
Track: “You Dig Yours” (Devour You)
LA-based 21st Century Rock ‘n’ Roll animals Starcrawler drop a deliciously debauched dose of distortion, drums, and detonations with the new song, “You Dig Yours” and new LP Devour You.

Noise. Thunderous, pulsating, noise; delicious detonations of drums and distortion, the track arriving with massive pride, pomp, and circumstance of glorious rock ‘n’ roll. “You Dig Yours” whispers lead singer Arrow de Wilde; right in your ear. Bassline running in staggered dabs of low frequency; the kick, a tightly coiled punch; snare hitting with rattle and smack, rattlesnake sucker-punch. Hi-Hat rasping in fizzing metallic implosion and cough. Electric six-string wails in the delayed right to left, sonic howl, with grunting, crunchy riff and grind playing off and against the bassline.

De Wilde’s voice struts and snarls, with gut deep resonance, rusty, soulful edge, and breathy, absent sustain. Words stand tall and defiant at the center of the mix, refusing to be rushed by great, storming mass of rock energy. Confrontational in delivery and offensive in the phrase; each line landing with an implicit and uber-cool ‘f**k you’ attached.

In an age where so many rock ‘n’ roll wannabes have EDM-ed their compositions in the hope of attracting a wider audience and remaining relevant, Starcrawler is a refreshingly unapologetic dose of bluesy swagger and dirty rock. Their sound stinks of 12 bar fret walks, overdriven tubes, and turning it all the way to eleven. Starcrawler is a gloriously noisy and very boozy night at the opera. Turn it up loud. And then turn it even louder.

Facebook.com/starcrawlertheband
Twitter: @thestarcrawler
IG: starcrawler

---

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.

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

Week 63 | 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 reviews written by Tobi Davis

Artist: Alex Mcartor
Track: “Loving is the Way”
Texas-born singer-songwriter Alex Mcartor makes a welcome return with an inspired blend of soulful instrumentation and synthpop sonics to delight and enthrall the listener, with new single, “Loving is the Way”.

Mcartor’s voice strikes up, soulful and compelling with rasping edge and warmth; her words strung melodic in long, towering, stanzas of rich low and resonating mids. ‘Loving is the way to touch you, feeling just to be in your heart’, the words delivered mantra-like, staggering and massive. Electric keys push outwards in graceful undertones and modulated overtones. A beat cranks, bit-crushed and sat deep into the center of the mix; quietly keeping the count.

Synth pads fizz and pulse, as the track begins to build. Electric arpeggio rattle and flex left/right; the production breathing width and depth into the stereo field, as the kick drives down the middle in rapid dabs of low frequency. Mcartor’s voice begins to shift, delivering words in quickening twists and turns. A snare smacks hard, flat-packed; reverb gated short, the beat-design evolving in gathering complexity.

Synthpop sonics erupt in shards of shimmering chimes, while electro-bass rumbles in metronic shudders and waves. Electric six-strings wail and contort in ambient and delay. Hi hat snaps and cymbal bursts, pop and sneeze across the width of the arrangement, adding fizz, height and energy. The 4-minute 5-second composition pushing onwards and upwards in a perfect judged blend of instrumentation, while drawing upon an inspired and eclectic range of genres.

“Loving is the Way” further cements Alex Mcartor’s reputation as an Independent Artist of striking creative integrity and originality, capable of delivering songcraft and production of the highest order; made all the more impressive, given her young age. And, in turn, further demonstrates that Alex Mcartor has every chance of becoming a highly successful Artist with little or no apparent limit to the heights she might reach musically and artistically.

Facebook.com/alexmcartormusic
Twitter: @alexmcartor
IG: alexmcartor_

 

Artist: Pip Blom
Track: “Freckles”
Hard touring Independent Artist Pip Blom delivers a noisy dose of lo-fi indie-rock goodness with new single “Freckles”.

Overdriven six-string bark down the center, in dry percussive stabs and bolts. Hi-Hat rasp ticks in shifting snippets of metallic fizz and chink, while kick lands deep with a touch of hollow; the snare, a sneezed smack of super-short rattle and mid-frequency impact. A second driving guitar joins, distorted blunt and fuzzy. The bass moving in jinks and jags, deep and at the back of the track.

Pip Blom’s vocals arrive in lo-fi telephone tones, prickly and rusted; the filter effect setting them off mic and a touch distanced. Blom’s voice idles and meanders through hazy image and trail of thought in compelling understated, lazy stanzas. Willfully off-set backing vocal adds weight to the chorus, as cymbals splash and shimmer around electric rocketship, saturation, burst, explosion, and grind.

“Freckles” moves through its 3-minute 2-second run time with engaging simplicity and disarmingly straight-forward approach to songcraft and production. Everything is done extremely well and with deliberate intent. There is an impressive economy and sense of creative-discipline in the methodology of the instrumentation and arrangement. Each element serves a clear purpose, without the inclusion of anything frivolous or superfluous. The result is an immensely enjoyable and effortless listening experience. The music of Pip Blom stands as an undeniable testament that lo-fi and noisy can also be carefully crafted and adapt in its execution.

Pip Blom are playing live across Europe and the UK throughout September, October and into November.

Facebook.com/pipblommusic
Twitter: @pipblom
IG: pipblom

 

Artist: Li’l Andy
Track: “Out on the Old Highway”
Montreal-based singer-songwriter Li’l Andy crafts a landscape of forgotten lives and broken dreams in musical tones forlorn, wistful, and poetic with new single, “Out on the Old Highway”.

Slide guitar haunts from out the vista haze, slinking and shimmering like quicksilver rattlesnakes. Six-strings grind, arpeggio, metallic and heavy; rusted tones, creaking and cracking under the weight of flesh white finger ends. A bass guitar moves dimly in the distance, shadowing the guitar in low-frequency drones and drags. A kick drum lands seldom and deep, punctuating the track like a stopped clock.

Li’l Andy’s voice stalks in vast, tired, syllables; great casts of low mid resonance, set in occasional contrast, by lifts of light phonetics allowed to drift without direction or intention. Images flow in vivid phrase and graceful passage; depicting scenes of the destitute and the downtrodden, the maligned and the conveniently forgotten.

Moving in protracted, yet graceful shudders and shakes, the 4-minute 37-second track grows quietly in instrumentation; a lone fiddle, strung out somber and beautiful; a single bowed serenade to the cast-aside, and in turn, a sad echo of Li’l Andy’s own lament. The country singer-songwriter crafting a constant, if allusive, an undercurrent of myth most ancient and born of the land into the, otherwise, stark and grounded lyric.

Despite its sobering subject matter, Li’l Andy manages to inbune “Out on the Old Highway” with a lingering sense of wonder at the persistence of hope and the great human capacity for perseverance. An inspired and accomplished act of songcraft and production. Music-making of the highest quality.

Facebook
Twitter: @thisislilandy
IG: thisislilandy

---

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.

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

Week 62 | 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 reviews written by Tobi Davis

Artist: Katie Kittermaster
Track: “Sunday Afternoon”
Singer-Songwriter Katie Kittermaster delivers a quietly compelling slice of upbeat Indie-pop with new single, “Sunday Afternoon”.

Acoustic tones tumble in protracted rake, before opening up into percussive rattle and shake; a kick lands deep and bedded in, and the track builds with a low-frequency push and shaker rasp. Acoustic six-strings playing off each other left/right, the steady rhythmic build broken-up for a 4 count of bars; arpeggio and backing vocals held in amber. Piano keys add depth and weight during the choruses, as strings gently widened the track.

Kittermaster’s vocal walks the beat loosely, allowing the melody to drift; the 18-year-old Artist demonstrating impressive craft and maturity in what is a disarmingly talkative, understated, and well-judged performance.

The accomplished and tastefully ‘hands-off’ production, mix, and master reflects, supports, and enhances Kittermaster’s vocal delivery. The 3-minute 51-second track an object lesson for aspiring Artists in knowing when enough is just enough; a quiet gracefulness and warmth of spirit running throughout.

Artists are oft tempted to the cynical and downbeat as it lends itself more easily to earning the attentions of plaudits and the impression of integrity; but in a world that, of late, feels as though as it is darkening with each passing day, it is of the utmost importance that Artists and Entertainers deliver work of optimism and hope; there is, quite simply, no greater imperative; and it is, in this regard, that Katie Kittermaster has excelled. “Sunday Afternoon” is a quiet triumph; a beacon of light, shining bright against the rising dark.

Facebook.com/kkittermaster
Twitter: @kkittermaster
IG: katiekittermaster

 

Artist: Subculture + Rachel Chinouriri
Track: “The River Bend”
Subculture and Rachel Chinouriri come together to craft a bluesy ambient of soulful voice and scattered Acid-Jazz instrument with new single, “The River Bend”.

Bass stalks with deep dab, yet light on its feet. Brushwork shuffles with snare rattle and bleed; percussion landing metallic and blunt in stereo-cascade. Sample rasps in dry coughs and deadened sneeze. Ambient shifts with tonal impressions, too distant for definition; brass bursts in long, shrieked-sustain and shimmering delay. The space of the track fluid and in perpetual flux. Sonics erupt hectic in a well-worked mess of frequencies, random with clear intention.

Chinouriri’s vocals rise glorious from the ambiance; nonchalant and uttered in the swallow and close mouth, words drop like liquid gold; tone, understated, rich and thick with soul. A tour-de-force in voice, delivery, and performance; Chinouriri drawing the ear into the midst of the great undulating swell and surge of accomplished instrumentation.

Evocative of the uber-cool acid-jazz movie soundtracks of Dirty Harry, Bullet, and The French Connection, “The River Bend” is an inspired contemporary brew and exploration in rhythm, melody, and harmony; a living, breathing critique and conversation upon the subject of music and its artistic form; one that opens up the possibilities of creation and liberates the listener from the tired, the generic, and the cynical; a composition that dares you to be different.

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

Facebook.com/rachelchinouririmusic
Twitter: @rachelchinourir
IG: rachelchinouriri
Artist: Milly
Track: “Crazy Horse”
LA-based Independent Outfit Milly drop a glorious dose of laid-back lo-fi and garagey goodness with new single, “Crazy Horse”.

Thrift Shop beats drop blunt and off-tonal, willfully awkward and intentionally warped; alternating off-balance and sat in odd, indifferent distance by quizzical and curious use of reverb. Six-strings delivered in tremolo and chorus, counting strings and rasping rakes, rattling off-set and played-off against each other; left to right, the stereo-field opened up, messing/smart. Bass drones heavy and deep, grinding the track forward in swells of low frequency.

Vocals land lazy and laid-back; teased by saturation and oft scattered by delay, in short, idle stanzas of gloriously lackluster melody and compelling understated lyric. Seemingly haphazard backing vocals, discarded distant and off-center, provide additional width and depth.

Deceptively effective and well-worked in its production, the 3-minute 14-second track peppered with undersold sonic delights, reverses, and keys, crafting shifting layer and contrasting texture into the composition. “Crazy Horse” slow-burns to a triumphant and chaotic crescendo of awesomely distorted guitar noise and dirty swell, as though the noise-floor itself is rising up to bring the song to a cacophonous and glorious end.

Proper independent, alternative music.

Twitter: @millymusicgroup
IG: millyleband

---

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 60 | 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 reviews written by Tobi Davis

Artist: Sea Girls
Track: “Violet”
Rapidly rising stars of the UK Indie-scene Sea Girls deliver an anthemic crowdpleaser of barnstorming indie-pop-rock, with their new single, “Violet”.

Synthpop-sonics fizz and pulsate, ambients modulate in resonating loops; a rising sun, a distant star, stuck in amber; a percussive pitter-patter creates the sense of impending movement in contrast; kick and snare snap into life with tight punch on point and rasping smack; a series of electric guitar flicks lift on the left, while the bass rises up the neck and out of the soundscape. The chorus erupts in cymbal shimmer and six-string drives.

Having walked the beat in well-judged understated and compact phrases during the verse, the vocals soar in the chorus; euphoric sing-along melodies, lyrical rocket ships taking us to the heavens. Backing vocals add depth and width, while smartly encouraging the crowd to sing-along even harder.

The instrumentation swirls, swoops, and surges around the lead vocal line; great highspeed expanses of noise and energy. The track shifting like a rollercoaster, running the rails at a lean; diving into sonic space, only to hurtle upwards at near-breakneck velocity. Bass and drums working hard and tight at the heart of the arrangement, smacking and slapping the song into a great gallop of momentum. Synths pushing waves of harmony across the width and body of the track; crafting depth in layers, while the guitars rattle, fuse, and blaze in high-octane charged hyper-saturation; adding sudden bolts, rhythmic lines, and fizzing cascades of six-string infused excitement.

A barnstorming, upbeat, rabble-rouser, “Violet” will set live shows alight across the UK and beyond. Smart production and accomplished songcraft, framed by a highly competitive radio-ready mix and master, the 3-minute 29-second track built to conquer playlist and radio alike. Fiercely creative throughout, “Violet” provides the listener with an ever-evolving series of well-worked delights for the ear. But more than all that, so much more than that, it provides the listener with escape, with aspiration, and most importantly of all, hope. A song to beat back the rainy days, the daily commute, the bills, the grind; a song to set the world alight, to blaze and to burn; a song to make dreams come true; a rocket ship straight to the stars.

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

Artist: Ay Wing + Chuuwee + Shuko
Track: “Orange Dreamer”
Triple-threat Independent Artist Ay Wing, rhyme-sayer Chuuwee, and producer/composer Shuko team-up to drop an easy late-summer groove of lyrical flow, electro-beats, and inspired melodic and instrumental hook, with new single, “Orange Dreamer”.

Electro-sonics burst protracted in modulated strobes of funky warble and grungy wah, bass works the groove in low dabs of tightly controlled weight and force; kick ducks in blunted mid and transient-designed sub, perfectly understated, tasty; snare arrives in ultra-dry snaps, short and rasping. The instrumentation shuffles and slides in percussive shimmers and sidesteps, playing off, through, and around the sonic space.

Ay Wing’s voice dances in breathy breezes of compelling light melody; a vocal display of northern lights made phonic. In striking and engaging contrast, Chuuwee stalks the beat in effortless strides, turning the rhythm on a dime; fusing word and percussive form as one. The track swaying from one lyrical style to another, creating an intoxicating blend of structures and tones.

Intelligently worked production keeps the 3-minute 13-second song moving forward with well-judged use of evolving arrangement and ear candy; never once stumbling, nor overstepping; moving in an open, organic fashion, more akin to jazz improvisation than modern studio construction. A glorious, easy, breezy, late summer groove of inspired musicality and lyrical integrity. Roll the windows down low, and let ‘Orange Dreamer’ flow; a soundtrack to having no place to go, and loving getting nowhere slow.

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

Facebook.com/ChuuweeNCR
Twitter: @chuuw33
IG: chuuw33

Facebook.com/shukoshuko
Twitter: @shukoshuko
IG: shuko_music
Artist: Charlee Remitz
Track: “Portland”
Self-produced Independent Artist Charlee Remitz crafts a gently compelling slice of acoustic indie-dream-pop rich in late-summer nostalgia, perfect for hazy, lazy road trip mixtapes, with new single, “Portland”.

Six-string arpeggio drops acoustic tones in bright, warm cascades; Remitz voice arrives almost immediately in hushed, rushes of well-crafted percussive stanzas. Lyrical snapshots of hazy, dazy moments of friendship and adventure; a kick lands deep and bedded into the ground, hi-hat snipping and fizzing to the right. Synth-sonics sound brassy and beautiful in a quite simply inspired choice of instrumentation. Guitar arpeggio playing off each other, left to right, in an understated and graceful duet evocative of intuitive mutual understanding.

A sense of kinship runs throughout the 3-minute 51-second track; a musical scrapbook of memories and moments, both painful and precious. A quietly compelling testament to the great and endearing value of true friendship, of the unbreakable bond between two broken souls.

The song littered with reference, personal and specific; in-jokes and asides known only to those special two. And yet, in great demonstration of the accomplished songwriting, and despite its overtly personal nature, “Portland” resonates with a universal appeal. Remitz managing with impressive success to translate the singular and unique into a group experience.

A perfect indie-pop gem, a late-summer mixtape for late-summer road trips; for laughing on the run, and chasing the setting sun, a glorious tribute to the unspoken and inseparable ties that bind a pair of survivors, who have survived together, because of each other; in the face of it all, in the face of the callous and the malicious, the casually sadistic and the cruelly indifferent, the users and the abusers, the pimps, the pushers, and the players; a friendship born infinite in spite of the inequitable, and in celebration of love.

Facebook.com/CharleeRemitz
Twitter: @charleeremitz
IG: charleeremitz

---

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 55 | 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 reviews written by Tobi Davis

Artist: Alex McArtor
Track: “Where Did My Love Go”
Sixteen-year-old singer-songwriter Alex McArtor delivers a sublime slice of percussive groove and uber-cool cinema moods with her new release, “Where Did My Love Go”.

From the distant mono of the lo-fi radio, six-string flex and hand drum patter fade into stereo; tremolo rakes shimmer, Tarantino infused cool. Electric keys add groove and soul. Instrumentation drifts, glimmers in the cinema dark; ambient in reverb and delay, between us and the vista-haze. Brass swells in rusty moods, Peckinpah west, and ‘old Mexico’.

McArtor’s voice floats like cigarette smoke in the dead of a film noir night; soulful and deep with glorious low mid-tones. Words bleed effortlessly from French to English, to Spanish, to English again. McArtor’s vocal stalks Travolta walks through verses; ghosted by harmonies, diffused like heat-haze. And in the chorus, rises up like city lights from asphalt pitch and interstate; a midnight run in resonate melody.

Effortlessly cool and sublimely musical, “Where Did My Love Go” is just one of many cinema-infused gems waiting to be discovered on Alex McArtor’s new EP, Spoken Word. Fiercely creative and strikingly original, McArtor’s debut is a bold testament to the inspired talent and limitless potential of the sixteen-year-old singer-songwriter.

“Where Did My Love Go” and Spoken Word are available now on all major streaming platforms.

Facebook.com/alexmcartormusic
Twitter: @alexmcartor
IG: alexmcartor_

 

Artist: Abbie Ozard
Track: “Heartbreak Radio”
Manchester-based Independent Artist Abbie Ozard drops a 3-minute dose of dreamy indie-pop with new single, “Heartbreak Radio”.

Served up with gloriously saturated guitar riff, playing off and with each other left to right; ‘Heartbreak Radio’ arrives at engaging pace on a series of rapid-fire bassline dabs, with nimble kick punch and sweetly crisp smack of snare, tripping and skipping the track along. Six-strings burst, pulse, and drive in an ever-evolving salvo of crunch, fuzz, and overdrive.

Ozard’s voice drifts with lingering reverb, dreamy and absent-minded; sat above the instrumentation, gently compelling the ear with quietly graceful melody and understated lyric. The talent songwriter leaving space for the track to breathe musically; her words delivered in protracted stanzas.

Though musically accomplished and demonstrating great skill in songcraft and production, “Heartbreak Radio” is wondrous in its lack of pretension. Put simply, it is, just a damn good song.

“Heartbreak Radio” is available now via all major streaming platforms.

Facebook.com/abbieozardmusic
Twitter: @abbieOzard
IG: abbieozard

 

Artist: Gould ft. Eleni Drake
Track: “Melpomene”
On the lo-fi and the acoustic groove, Independent Artist Gould and singer-songwriter Eleni Drake deliver an easy beat and soulful vocal for the summer daze and the heat haze, with new single, “Melpomene”.

Adrift in darkened reverb and blunted late relections, acoustic chords resonate distant and rusty in percussive pulls, protracted. A voice ambles and floats, lost in moment and mood; part ambient, part ethereal. ‘Melpomene’ shimmers into fidelity, acoustic six-strings shifting left; delayed, thrown right in touches and accent. Bit-crushed beat coughs and dabs low frequency in shuddered movements.

Drake’s voice flows in surges, slow-motioned and soulful; words rich in absent imagery and idle idea, are swallowed conversational, half-lost to breaths, and allowed to rise, whistful. Additional voices glimmer and hallow in the distant stereo; vocal textures, phantom and fleeting; barely realized and outside of time.

Disarmingly understated and singularly poetic, “Melpomene” is an absent soundtrack for the long, lingering heat of summer’s deep nights. A lo-fi lament, a modern-day odyssey in oddity.

“Melpomene” is available now on all major streaming platforms.

Twitter: @beatsbygould
IG: beatsbygould
IG: elenidrake

---

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 52 | 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 reviews written by Tobi Davis

---

Artist: Lauren Ruth Ward + Desi Valentine
Track: “Same Soul”
Lauren Ruth Ward and Desi Valentine deliver an exuberant dose of soul, stomp, and swagger with new single, “Same Soul”.

With bass walking tight from the back and guitar double adding texture and edge, ‘Same Soul’ struts from out of your speakers. Stick and snare working the pocket precise; kick applied in swift dabs of low punch. The track shifts and shimmies with fierce percussive energy; clap and stomp crunch ‘n’ smack, adding crisp width and depth through impact. Fizzing electric six-string riffs pounce in funky rhythmic stabs and stanzas; grinding overdrive added in dashes.

Lauren Ruth Ward and Desi Valentine rock and work of each other; bouncing back and forth in glorious, soulful counterpoint; and doubling in rich soaring melody. Each stalking the beat with accomplished finesse; lyrics delivered in sweetly timed phrase, reply, and harmony.

Drawing upon a wealth of musical heritage, “Same Soul” foundations are grounded deep with well-judged instrumentation delivered by a striking quality of musicianship; from which it rises to compelling heights of an inspired and original listening experience. Both old school and contemporary; a stand out composition, enthralling, entertaining, and engaging.

“Same Soul” is available on all major streaming platforms.

Facebook.com/laurenruthwardmusic
Twitter: @laurenruthward
IG: laurenruthward

Facebook.com/desivalentinemusic
Twitter: @desivalentine
IG: desivalentine

 

Artist: Sara Phillips
Track: “Mine”
With disarming grace and honesty, independent artist Sara Phillips delivers a stand-out track of singular beauty and inspired originality, new single “Mine”.

‘When we’re sitting in your car, talking about our favorite records, I think I could die tonight, just fine.’ Sara Phillip’s debut release of 2019 opens with a vocal synth-infused alt-pop hook of sublime musicality; compelling and instantly engaging, somber and romantic; an odd, conflicted mismatch of idealism and fatalism, realized in a paradoxical, yet perfectly formed harmony.

The 2-minute 27-second track shifts through contrasting stanzas of idea and structure; at times adrift and dislocated in six-string arpeggio, delayed and ambient; then bass grinding deep and resonant, with stuttered beat, glitched and dry; building and yearning towards honesty, elusive and mired in self-deception, destruction, and doubt.

Sara Phillips’ understated singing style, conversational and straight forward, adds a great and quiet weight of integrity; unassuming and uncomplicated. Words flow in a series of snapshots, never-forgotten shards of confessions and denials exchanged over years, in the act of falling apart and coming back together again.

Framed by deftly crafted production and perfectly judged arrangement, Sara Phillips and longtime collaborators Mike Daley and Mitchell Owens, have created a standout and stand-alone piece of modern pop. Strikingly original, disarmingly honest and quietly graceful, ‘Mine’ resonates with an unassuming vulnerability, an indefinable and elusive oddness; all of which, results in a track of compelling and inspired beauty.

“Mine” is available on all major streaming media platforms.

Facebook.com/saraphillipsmusic
Twitter: @sara_jphillips
IG: itssaraphillips

 

Artist: Rasied on TV + Ben O’Neil
Track: “Soul on Fire” 
LA-based alt-rock three-piece Raised on TV drop an high octane slice of 80s infused guitar riff ‘n’ grind and soaring indie-rock vocals on a rapid-fire punch ‘n’ drive beat, with new single, “Soul on Fire”.

Electric six-string riffs cascade down upon the track in firey flanger modulations, kick drum pulse bedding in deep and full; toms reverberate left/right, snare landing in tight, dry, smacks. The bass shifts and grooves low in the mix, present and tight; the slight menace of saturation, growling as it works the frets. Guitars skim in palm muted percussive stutters, shimmer in chorus liquid, and shriek ‘n’ wail deep and distant in glorious reverb.

The vocals are delivered at pace, rushing and hustling the track onwards. Playing with and against the instrumentation through verse to pre-chorus; only to lift and open up, huge and aspirational in the chorus. Lyrics delivered in fast phrases, jabbing and stabbing with force and finesse.

Raised on TV continue to impress as a legitimate independent outfit who know how to build and execute a great song. “Soul on Fire” carries great groove and mood; an indie road trip waiting to happen, a license yet to be synced; a yet to be realized hit, coiled and ready to go viral. Like so many talented bands fighting for attention in the mass upload world of streaming media, Raised on TV need a little of the noise, the spotlight, to rise above the din.

Why not help them out? “Soul on Fire” is available on all major streaming platforms.

Facebook.com/raisedontv
Twitter: @raisedontv
IG: raisedontvband

---

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 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 reviews written by Tobi Davis

Artist: 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

 

Artist: 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

 

Artist: 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 41 |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

Artist: Caracol + TWIGG
Track: “Classic Movie”
Bilingual Indie Electropop artist Caracol and Toronto-based producer TWIGG deliver a quietly cool dose of stylish beat and dance-sonic on the down low, with new single, “Classic Movie”.

Framed effortless within well-judged use of sonic space, an inspired array of percussive element pops and bubbles across a smartly arranged stereo-field. A beautifully understated synth bass pulsates at the heart of the 3-minute 8-second track, serving as both grind and anchor. Tight bit beats punch tasty on the count; hi-hat snips and sizzles. Caracol’s vocals impressively worked in short, rhythmic phrases; her voice pleasing both melodic and percussive demands. Creative and perfectly placed vocal FX, pitch shift, saturation, delay add compelling depth and ever-engaging, ever-shifting ear candy.

Pitched perfectly for bar ‘n’ club, beach parties and late night grooves in the dark of the summer heat, “Classic Movie” should appeal to DJ and playlist curator alike. A work of quality throughout, from songwriting to production. Break out your summer playlists, it’s time to update them with your first new track of 2019!

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

 

Artist: Demi Mitchell
Track: “Rapid”
Australian-based singer-songwriter Demi Mitchell delivers a darkly graceful moment of compelling melancholy and honest soul, with new single, “Rapid”.

Shifting in understated sways and absent swagger, Demi Mitchell’s first release of 2019 glistens in the shadows. Drums pad soft and crack with hollow break; bass walking lonely at the back. Guitars shimmer in tremolo, saturation, delay, and reverb. The sonic palette an inspired blend of dirt and shine. Mitchell’s voice is youthful, yet world-weary. Lyrics arrive like a highway unfolding at night. Hushed tones and stories of lessons learned hard Tales of the lost, broken or simply maligned.

Poetic and problematic. Odd, yet beautiful. Independent music is dysfunctional music for dysfunctional people. “Rapid” is a soundtrack for the outcast, the ignored, the dislocated and displaced. Trapped in the prisons of their own lives, they will hear this song and know they are not alone. It will resonate with them. Everything Independent music should be.

Facebook.com/demimitchellmusic
Twitter: @demimitchell_
IG: demimitchellmusic

 

Artist: Rachel K Collier
Track: “Dinosaur”
Electronic producer and performer Rachel K Collier drops an eclectic slice of driving beat, pop-perfect vocal hook, and awesome sonic oddity, with new single, “Dinosaur”.

Trumpeting its arrival with prehistoric phonics more akin to Jurrasic Park than dance-pop, Rachel K Collier’s latest release is every bit as much a performance piece, as it is a musical composition. A strikingly bold artist statement, clear creative intention informs every aspect of the production. Kick, snare, and tom land like heavy footfall; vocal FX echo and resonate in massive, operatic space. Synth leads feel willfully unrefined, basic and ancient. Collier’s vocals soar and track fast across the vast compositional landscape. Her voice delivering a rapid series of pulsating percussive phrases; further enhanced by imaginative and tasteful use of stutter, glitch, pitch and distortion FX.

An immensely physical experience, “Dinosaur” dares you not to move as it lurches and swaggers to the rhythm. A testament to the great value of a single artistic vision. Fiercely creative and perpetually innovating throughout, Rachael K Collier is daring to imagine the sound of the future.

Facebook.com/RachelKCollierOfficial
IG: rachelkcollier

 

---

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!

You can now submit / recommend new releases for our New Music Monster, every Friday via our new Reddit!

---

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!

Showreel
Facebook.com/TobiProducer
Twitter: @producedbytobi
Instagram: ProducedbyTobi

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

Facebook.com/TheMonsterThread
Twitter: @MonsterThread