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The Lowest Pair – Uncertain As It Is Uneven

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The Lowest Pair – Uncertain As It Is Uneven 

URL: http://thelowestpair.com/ 

Long after its commercial eclipse in the 1950’s, bluegrass music has continued to lurk along the margins of the nation’s musical life with a small, but deeply devoted, following that persists across multiple generations. Much has been written about the reasons behind the lasting appeal of Americana musical forms like the bluegrass, blues, country, and folk genres and we don’t need to rehash it here. Suffice it to say that The Lowest Pair, formed in 2013 by Kendl Winter and Palmer T. Lee, understand the spirit driving this kind of music to the marrow of their beings and their internalized understanding of it informs and richens their songwriting throughout the release. These are superb musicians and singers, talented arrangers, and even in a small but significant way, practitioners of musical poetry at a high level. The release of Uncertain as It is Uneven will likely push the duo even higher in terms of critical respect and popular acclaim. 

It begins gently with the tracks “The Company I Keep” and “Keeweenaw Flower”. The first is a gently unfolding song with a strong banjo presence but equally eloquent guitar work. The banjo and its six string counterpart weave effortlessly around each other and create a delicate, but strong mood that gives Winter an excellent foundation for her vocal. Lee offers muted vocal counterpoints that deepen the song’s emotional tenor. The second song is straight guitar throughout and has a slight jangle, at points, that gives it an added step. Palmer T. Lee’s dramatic reading is strengthened, and sweetened a little, but Winter’s contributions as a harmony vocalist. “Lonesome Sunrise” draws from a wealth of traditional imagery but, like the best material from this duo, they give it a highly individual twist with the specificity of their experiences and responses. The haunting beauty of their voices is, likewise, a vivid reminder of what makes them unique and those qualities are served well by this song and subject matter. 

“37 Tears” and “The Sky is Green” are more poetic musical turns from the duo, but their moods are studies in contrast. The first is a mournful, mid-tempo banjo shuffle about despair with a capital D, manifested in strong imagery centered on numbers, and Palmer T. Lee’s vocal handles potentially difficult material with great care. “The Sky Is Green” has a slight air of melancholy just below the surface, but it’s a much brighter journey overall that gains an added layer of light from Winter’s lovely vocal. “Mason’s Trowel” is another Lee lead vocal, but Winter’s harmonies are as crucial as ever to pulling the song off. The machine gun musicianship never misses its mark or loses any feel despite the uptempo pace and it’s a strong, even slightly intricate lyric. “Holy Buckets” has a nice, striding quality generated by the marriage of banjo and guitar – the recurring figure, electrified and sped up, would make a great country rock riff. The album’s final song closes the collection on an anxious, but forward looking note with “By Then Where Will That Be”. It’s an extended song that ends Uncertain As It Is Uneven with the substantive statement it deserves.  

I-TUNES: https://itunes.apple.com/us/album/uncertain-as-it-is-uneven/id1092915918 

9 out of 10 stars. 

Lance Wright

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Moon & Pollution – The Box Borealis

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Moon & Pollution – The Box Borealis  

URL: https://www.facebook.com/moonandpollution/ 

Most popular music strictly adheres to formula and listeners flock to hear the latest regurgitated variation on familiar themes. However, occasionally, devoted music fans are treated to the unexpected and it immediately garners respect. The debut release from Moon & Pollution, The Box Borealis, is a ten song collection that challenges listener’s long held conceptions on the art and construction of a pop song while making brave forays into territory not typically associated with pop structures. Moon & Pollution features producer and composer Graham O’Brien teaming with respected singer and lyricist Molly Dean for one of the most interesting experiments you’ll hear all year. Don’t let the word “experiments” throw you. The songs are completely accessible and never strain for effect. The ten songs on The Box Borealis are products of genuine and clear artistic vision. 

The title track opening the album is a dense soundscape reliant primarily on electronica for its instrumental melodies while Dean delivers a blinding vocal over the top Her vocal melody shows a wise willingness to keep close to the music’s spirit, but yet has enough of a different flavor that it creates a striking contrast. However, the production on the album’s earliest songs is, at times, a little too thick for its own good and whatever lyrical message Dean aims to deliver is lost or obscured. “Moving Scene” has an ominous air – the sort of music that seems to prelude full-on disaster. Dean’s vocal is given far clearer treatment here than on the album’s opener and the composition creates spaces where her emotive phrasing can take center stage. The mid-tempo pace has a relaxed attitude, but there’s deceptive energy behind the restless pattering. Moon & Pollution toss a little extra spice into the mix on “The Magnetic North” – listeners will quickly lock onto the track’s tasteful rolling patterns that sparkle brighter thanks to subtle embellishments and, of course, find favor with another considered, yet passionate Dean vocal.  

Those who prefer the duo a little dreamy and light-headed, like on the coda for “The Magnetic North”, will probably feel let down some by the turn Moon & Pollution take halfway through this release. “Darkroom Double” and later songs maintain the same blueprint in many ways, primarily thematically, but “Darkroom Double” has percussion pursuing much more commercial paths than earlier on the album and making it work. Versatility is key to Moon & Pollution’s success and they move from strength to strength nary breaking a sweat. “Solace Sandwich” puts a commercial aesthetic forward in a pronounced manner not heard elsewhere. It works. This is a song sinking its teeth into your memory only seconds in thanks to the catchy melodies and invigorating performances from everyone involved. 

“I Didn’t Look” employs some backwards drums as its rhythmic hook and a gradually evolving melody from the remaining instruments. The song “Alter Eagle” has received some attention nationally and represents the duo’s first big home run as a songwriting unit. It captures a near perfect balance between the personalities of its participants without ever pandering to anyone or anything. Moon & Pollution are certainly beholden to no one musically. They’ve tapped into a rich vein of songs and live chemistry on this debut and we can only hope to hear again from them soon.  

I-TUNES: https://itunes.apple.com/us/album/the-box-borealis/id1076811039 

8 out of 10 stars. 

Lance Wright

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Junk Parlor – Mick Jagger’s Heart

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Junk Parlor – Mick Jagger’s Heart

URL: http://www.junkparlor.com/

The Bay Area’s, “Junk Parlor” have released two albums since their recent incarnation. “Wild Tones” in 2013 and “Melusina” in 2015. “Mick Jagger’s Heart “ is their most recent single to be released. Given Junk Parlor’s quick turnaround of albums, you can expect a possible release late this year. “Melusina” saw Junk Parlor expand their Gypsy influences even further. As said in 2015 Junk Parlor intended “to venture further down the path of Eastern European, gypsy and vintage belly dance melodies along with our own brand of moody, haunting originals …”

It is common practice for artist to release a different brand of music in-between albums. Junk Parlor are experimenting with “Mick Jagger’s Heart”. The European Gypsy sound is almost unrecognisable. In replacement we have “acoustic rock” as quoted by the artists themselves. This downscale of sound is not pretentious nor is it a pompous attempt at growing up as artists. It is an example of musicians exercising their talents in a way they simply want to.

A very brief surf rock into into “Mick Jagger’s Heart” sets the tone for the song. The rhythm is gains momentum early and carries that throughout the song. The consistent rockabilly flow structures the song to position the paramount lyrics. The vocal melody is strong and expressive. The fun concept of the song is well executed by Junk Parlor. Catchy lyrics hit the high points at all the right times and keep your head nodding throughout the song.

For all its simplicities there is still variety within the music. The arrangement of simple chords and tones create a shapely body of music. With a small amount of ingredients, Junk Parlor create a rich and full sound for “Mick Jagger’s Heart”. It is strongly possible that Junk Parlor want to move on from their Gypsy heritage and instead hone their skills and making a simple production that is greater than the sum of its parts,

The bands own description to the song said “When the heart ache of Leonard Cohen decides to lament under the sun amidst the California surf! The moment of goodbye… the lingering sigh that begs to turn back time…. Doctor won’t you please….. tear it out.” And I’m sure you can guess who’s heart they want to be next to. The lyrics aren’t emotional, not are you going to reflect on them but that is not the point. The lyrics are just fun and fit together perfectly with the music.

Mick Jagger once sang “Let me in your arms, angel in my heart”. Is this why Junk Parlor want to be next to his heart? Has the heat of the Californian surf proven to be too much from them that they simply want to rest at peace. Perhaps the Junk Parlor got over the Bay Area scene and want to be laid to rest alongside Mick Jagger when he was at his most naked, vulnerable point.

TWITTER: https://twitter.com/JunkParlor

Review by Cameron Thomson

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Singer/Songwriter/Multi-Instrumentalist SEE Gears Up for Long Island & NYC Shows

Releasing “Ties” EP June 24th

June, 2016 (New York, NY) — Following the release of the first single from her highly anticipated debut EP “Ties” this past May, twenty-year old singer/songwriter and multi instrumentalist SEE is getting ready to take her unique blend of pop, alternative rock, and singer songwriter genres to a new level as she gets ready to perform on Wednesday, June 22nd at Looney Tunes in West Babylon, NY, 6:00PM and a THURSDAY RESIDENCY at NYC’s Legendary Arlene’s Grocery in July! “Ties” will be released on June 24th on Blue Élan Records, and was produced Brad Wood (Smashing Pumpkins, Liz Phair, Sunny Day Real Estate).

After teaching herself the drums, guitar, bass, piano, and more, SEE began writing original songs at the age of 15 and eventually became the primary songwriter and drummer for an alternative indie rock band based in Long Island. At the age of 18, she began to sing and perform as a solo artist and decided to forgo college in order to pursue a music career full time.

“I’d decided I wasn’t going to go to college; I wanted to do music full time. My parents were definitely freaked out, but at the same time they were really supportive,” she explains. “One night, I gave them a big presentation outlining the paths of a bunch of successful musicians and once they had seen that, they were on board. I just showed them that I really felt confident that I could make it. I didn’t believe in having a Plan-B.”

With undeniable talent, drive, originality, and ambition, SEE is well on the road of achieving her goal of being one of the most influential artists of her generation.

Ties Track Listing:

1. Green Line Killer

2. Closed Eyes Open

3. Blue Await

4. Potions

5. She Cries

 

The official music video for “Potions” was released on May 24th. WATCH HERE

Catch this rising star on Wednesday, June 22nd, 6PM at Looney Tunes- 31 Brookvale Ave. West Babylon, NY 11704 for a FREE concert and AUTOGRAPH SIGNING and Thursdays this July at legendary Arlene’s Grocery, 95 Stanton St. in the Lower East Side of Manhattan and get ready for the release of Ties on June 24th!

Learn more about SEE at: www.eyespysee.com

Follow SEE:

www.facebook.com/eyespysee

www.instagram.com/eyespysee/

https://twitter.com/eyespysee

www.youtube.com/user/eyespysee

Press Contact:

Natalie Schaffer | Big Picture Media

40 W. 29th Street, Suite 401 | New York, NY 10001

Office: 212-675-3103 | Cell: 661-233-6479

natalie@bigpicturemediaonline.com

Rick Eberle | Rick Eberle Public Relations

Rick@RickEberle.com

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GAMBILLION

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Media Type: Digital

GTIN: 096962299057

Description:
GAMBILLION’S NEW HIT SINGLE “BITCH IM A DEVIL” FROM HIS UPCOMING NEW ALBUM “LIFE IS JUST A GAMBLE”

Link: https://discussions.apple.com/community/itunes/itunes_store

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Eleanor Tallie – No Turning Back

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Eleanor Tallie – No Turning Back

URL: http://eleanortallie.jimdo.com/

Israeli-born and now United States resident Eleanor Tallie’s debut release, an EP entitled No Turning Back, features much more than a powerhouse singer with a killer backing band. The EP’s six songs are well written from top to bottom – while No Turning Back falls firmly in a traditional camp, the changes are often unexpected and delivered with clean, unadorned production stressing their melodic virtues. The lyrical content avoids anything resembling pretension and, instead, delivers its messages with specificity, open-ended generalities, moments of pure poetry, and an understated sense of humor. This debut is the product of a life well lived and it’s artistic commitment to rendering these tracks as honestly as possible so that listeners across a wide range might be better able to relate to and enjoy the material.

“Hell or Heaven” opens No Turning Back on an inflamed, passionate note. It’s the EP’s predominant mood. Tallie is a vocalist who grabs each song and either shakes it free of its compositional structure, making it sound like a spontaneous expression of her heart, or else caresses its potential out one syllable at a time. In the case of the opener, it’s the former. This track plays like a barely restrained, emphatic utterance from the bottom of her heart, but Tallie smoothly navigates through the changes without ever losing any of its meaning. The EP’s second track “I Tried” dials down the sonic intensity and provides listeners with, perhaps, No Turning Back’s most commercial effort. The catchy main figure is difficult, if not impossible, to forget after hearing it a few times and Tallie’s voice wraps itself around the instrumentation in a highly seductive way. Guest star singer Lil Riah makes the second of two appearances on the EP with the next outing, “Sunlight”. There’s a little more poetry in these lyrics than earlier or later songs and Tallie, undoubtedly recognizing this, coaxes one of her finest vocals on the release.

“My Present” is one of No Looking Back’s cleverer bits of songwriting and, while it doesn’t rely on the same memorable hook powering “I Tried”, there’s obvious commercial potential here. The song has some of the aforementioned underlying humor marking a few of the EP’s songs, but Tallie is cunning enough to let listeners discover their own chuckles from the depicted experience rather than making a coarse, crass play for laughs. “Gotta Be Happy” is the best example of the positive lyrical message of strength and survival that Tallie attempts conveying in all of her songs, but the real highlight here is the splendid and multi-faceted instrumental performances that make this No Turning Back’s best effort.

The EP finishes with “A Real Man”. This is a biting bolt of blues full of chaos barely held down, but it’s an artful illusion. These are musicians with considerable skill, so it isn’t much to ask that they create a musical world that seems teetering on the edge of anger, yet never quite allowing it to run off the rails. Some blues, funk and soul lay their effects on listeners with a huge paint brush. One of Tallie’s chief strengths is the things she accomplishes through implication. No Looking Back is artful, emboldened, and full of heart.

TWITTER: https://twitter.com/intent/follow?source=followbutton&variant=1.0&screen_name=eleanortallie

9 out of 10 stars.

William Elgin

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Introducing Mimi Music – Unlock the Power of Music Based on Your Personal Earprint on Any Headphones

Mimi Hearing Technologies, innovator of smartphone-based tools that enhance the audio experience, today unveiled Mimi Music, a new app that uses patent-pending technology and a medically-certified hearing test to create a personalized “earprint” to craft the perfect sound for your ears. Mimi’s earprint technology syncs with your favorite music apps – Spotify, SoundCloud and iTunes – and increases clarity, richness and quality of sound in less than two minutes without having to crank up the volume. Six hundred million people suffer from some degree hearing loss including one in five teens.

In addition to unparalleled sound for your music, Mimi Music also delivers “live-hearing enhancement” to help those with hearing loss by amplifying voices and atmospheric sounds. Best of all, Mimi Music works with any set of headphones or earbuds, so there’s no need to purchase new and expensive accessories.

“Mimi Music represents a significant milestone for hearing technology as the only app optimized for different human ears, no matter what earbuds they use,” said Mimi Hearing Technologies co-founder and CEO Philipp Skribanowitz. “Mimi Music will not only help those with hearing loss to enjoy the sounds of life, but will also help all audiophiles achieve the highest quality audio experience.”

Mimi Music delivers an immersive listening experience at low volumes, minimizing damage to hearing and an important part of mitigating hearing loss. Mimi tests 250, 500, 1000, 2000, 4000 and 8000 kHz – the frequencies most indicative of hearing ability – and follows the recommended procedure by the American Speech-Language-Hearing Association and the British Society of Audiology. Music lovers can enjoy their personal sound with Mimi Music in three easy steps:

1.     Create: Create your personal earprint in under two minutes by taking the Mimi Music Hearing Quiz.

2.     Play: Play music from your Spotify, SoundCloud or iTunes app personalized for your hearing.

3.     Finetune: Finetune your music with the Mimification Slider to your personal preferences and environment.

Mimi Music’s patent-pending hearing enhancement technology is based on 12 years of audio research and development in partnership with internationally renowned audiology and phoniatric experts and the University of Berlin, Charité. Mimi uses digital signal processing called “mimification” to enhance the audio experience for the listener based on data from all of the places where Mimi’s technology is deployed.

Mimi Music is available to download for free on the Apple App Store. Mimi Music will be available for Android in beta later this summer.

About Mimi Hearing Technologies

Named MIDEM’s best startup for 2016, Mimi Hearing Technologies builds smartphone-based tools for people to hear better. Mimi’s patent-pending technology creates your personal “earprint” that seamlessly integrates with your favorite music source to create sound perfectly tailored for you. Headquartered in Berlin, Mimi’s team of scientists, audio engineers, psychoacoustic experts and designers are dedicated to delivering the best listening experiences for every stage of life. The company’s latest product, Mimi Music, is available to download for free in the Apple App Store. Mimi Hearing Technologies is funded by Atlantic Labs, Gotham Gal Ventures, Horizons Ventures and global technology and science luminaries throughout Silicon Valley, Europe and Hong Kong. For more information, visit https://mimi.io and follow @mimihearing on Facebook and Twitter.

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Editor’s Note:

CE Mark Approval

Mimi Hearing Technologies was awarded CE Mark Medical Product Risk Class I according to Annex VII of the directive 93/42/EEC in March 2016 for its Mimi Hearing Test and Mimi Music. For more information visit: https://mimi.io/medical-certification/

For the original version on PRWeb visit:

http://www.prweb.com/releases/2016MimiMusic/06/prweb13490400.htm

 

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Off the Grid Club to bring energy to Africa & music to London

Faithless percussionist Sudha Kheterpal & EnergyNet kick off with June gig at the Africa Energy Forum

Sudha Kheterpal, the British-Indian musician and percussionist in Faithless, is supporting the launch of the Off the Grid Club. The idea for the club has been developed and nurtured by EnergyNet, the pioneering energy-focused organizer of forums and collaborations designed to facilitate investment in Africa’s power and industrial sectors.

Off the Grid Club provides a networking platform for technology providers and financiers working in Africa’s off-grid energy space and launches in festival style on the 23rd June with a gig celebrating African music at the Africa Energy Forum in London.

The Off the Grid Club gig will bring together a diverse range of artists including Fuse ODG, the MOBO Award winning British-Ghanaian rapper; Imaani, the silky voice behind the iconic band, Incognito; Afriquoi, the five piece outfit fusing African melodies and rhythms with house, funky, garage and dubstep; and DJ Rita Ray, the club and radio DJ who helped to rejuvenate London’s world music scene with the Mambo Inn.

“We have to draw attention to the energy and power needs of people throughout rural Africa, who have no electricity to rely on, which is why we are kicking off the Off the Grid Club with this event” said Sudha Kheterpal, organiser of the Off the Grid Club Gig. She has toured the world with Faithless and other huge acts, such as the Spice Girls and Dido, and understands the value of music in unifying people as well as the energy needed for performances. It was this understanding that inspired her to start the Shake Your Power initiative to bring clean energy and education through the power of music.

Off The Grid Club
EnergyNet is launching the Off the Grid Club with the support founding members Shake Your Power, PowerTurtle and Solektra International.

The aim of the club is to foster relationships between off-the-grid technology providers, micro-financiers and regional leaders in order to build momentum for the development of off-the-grid power solutions and energy access in Africa.

Two thirds of African residents have no access to electricity and so suffer restricted access to education and healthcare. The Off the Grid Club’s aim is to help Africa meet its target in the international drive for universal access to energy by 2030. The ‘off-the-grid’ focus will provide a viable way to access energy in rural locations by taking advantage of falling energy prices, lower set-up costs and improved battery technology. With market-ready products that can deliver access to energy, communities can establish infrastructure they can build upon to stimulate economic growth going forward.

Further information about the Off the Grid Club is available at http://www.energynet.co.uk/content/grid-club

More information & video link here: https://www.youtube.com/watch?v=4BrSaiTSJDM&feature=youtu.be

Simon Gosling – Managing Director, ENERGEYNET
Simon’s role is to lead the team and to develop EnergyNet’s global business portfolio, with a specific focus on government and private investment in Africa’s power and industrial infrastructure sectors. Simon is responsible for the company’s focus on growing economies where energy access is a critical barrier to political and social stability which directly impedes growth.

Over the last four years he has led the creation of a number of important initiatives and investments including; the ‘EnergyNet Student Engagement Initiative’ which has supported 53 African students over the last two years (of those students, 18 are now on management training contracts with some of the world’s leading solution providers); ‘The Arts Energy Partnership’ which promotes artists and musicians and works with them to express how access to energy impacts their work and creations; ‘The Not Just Talking Fund for Energy Access’, a not-for-profit investment vehicle that has financed and facilitated knowledge partnerships for ‘Off the Grid’ energy projects – the first investment was into the South Africa ‘Solar Turtle’ which is a micro-utility providing electricity to the ‘Pheasant Folly Primary School’ in Johannesburg and its 1,500 school children, as well as 300 homes in the community of Palm Ridge.

EnergyNet has received a number of awards including in 2014, when on the advice of Rt Hon David Cameron, EnergyNet were awarded the Queens Awards Enterprise: International Trade by H.M. Queen Elizabeth ii at a ceremony at Buckingham Palace.

Sudha Kheterpal – Founder, SHAKE YOUR POWER
Energy entrepreneur Sudha is also behind Spark, a shaker percussionist instrument that can be played during the day and will convert energy into power at night; power to provide light or the ability to charge a phone in parts of Africa with no electricity, for example. “My goal is to spread the word about how energy can be delivered cleanly, sustainably and economically through the use of technology solutions and by working together with EnergyNet and organising this gig, I believe this is the most powerful way to start that process,” she said.

Sudha Kheterpal and Simon Gosling are available for interview.

Press tickets to the gig are available on request. For both please contact: Zaboura Communications Telephone: +44 (0) 2035 880804 offthegridclub@zaboura.com

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Spend Summer Nights Enjoying A New Genre of Music Every Week At The Point in El Segundo, California

The Point’s open-aired plaza will be filled with the tunes of a different genre of music every Wednesday throughout July & August, celebrating sacred summer nights in style.

What: As the sun begins to set on the day, head to The Point every Wednesday from 6PM to 8PM throughout July & August to ring in summer nights. Spread out a blanket, snuggle up and rock out to a different genre of music every week! From R&B to Smooth Jazz, the South Bay’s Living Room is sure to become a part of your weekly summer routine!

In addition to the music, The Point’s merchants and restaurants are sure to make those summer nights that much more memorable. Curb your hunger with a delicious meal or happy hour at one of The Point’s esteemed restaurants, including True Food Kitchen, Hopdoddy Burger Bar, North Italia, Mendocino Farms, Superba Food + Bread and ShopHouse.

ShopHouse will be offering vouchers for free bowls every Wednesday night for the first 50 guests to arrive! Enjoy happy hour at Superba Food + Bread with extended hours every Wednesday from 4:00PM to 8:00PM, choosing from wines by the glass, beers on tap and kegged cocktails starting at $6, plus various food options at a discounted price. Occupy your time prior to the music by entertaining your inner fashionista at Kendra Scott, who will be having a flash sale every Wednesday, offering 15% off a variety of styles, with something different being highlighted each week. And satisfy your sweet tooth at Smitten Ice Cream or Sugarfina to grab some made-to-order ice cream or gourmet high-end sweets to enjoy before, after or during the show!

Check out the set list below:

JULY

6 – J.R. LEWIS

Easy Listening Pop and Standards

13 – SOUND/FX with Vocalist on Sax LISA RITNER

Easy Listening with Pizzaz

20 – CROWN STRING TRIO

Classical, Light Jazz, Pop

27 – GUITAR ROMANTICA DUO

Latin for Lovers

AUGUST

3 – STEEL PARADE DUO

Calypso, Reggae & Pop

10 – LATIN VIBES with CRAIG FUNDIGA

On Vibraphone

17 – GOLD RUSH COUNTRY

Contemporary Country

24 – MARIEVE HERINGTON COMBO

Sultry Jazz and R&B

31 – SALSA ALLSTARS TRIO

Salsa, Tango & Pop

Choose your favorite or dare to indulge in them all, either way choose to cherish those sacred summer nights at The Point!

When: Every Wednesday in July & August, from 6:00PM to 8:00PM

Where: The Point, 850 S. Sepulveda Blvd, El Segundo CA 90245

Media Contact: Kyrstin Riley of Melrose PR, kyrstin(at)melrosepr(dot)com, 310-260-7901

For the original version on PRWeb visit:

http://www.prweb.com/releases/2016/06/prweb13491752.htm

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John Keenan’s New Album, “The Illusion of Logic” is making a buzz

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John Keenan’s New Album, “The Illusion of Logic” is making a buzz
FOR IMMEDIATE RELEASE

(June 10, 2016)- “The Illusion of Logic”, John Keenan’s new creation will hit the market in June. The album is an independent production done by John Keenan himself after the success of his previous albums. John has loaded the album with many beautiful songs like “Never Been Bought” “Refined the Focus” “Where I Wanna Be” and “My Expectations”. There are more melodious songs to win the hearts. As per the recent disclosure of the official reports regarding John’s new album, the new album of the independent hip hop star will bring a unique freshness in the hip-hop industry to break the conventional image of opulence and debauchery. In line with the reports shared by John Keenan the illusion of logic will deliver a totally new taste of hip hop music to the hip hop lovers. He shares his motive behind the creation of his new album and mentions that it is targeted to touch millions of souls through the amazing tracks of The Illusion of Logic.

According to John, the whole album photography is done by Janelle Etzel, videography by Alex “Doenut” Bleecker, marketing by Brandon Mills of Crew Marketing and Promotion, mastering by Kevin McNoldy and LeRoy Phillipson. The john keenan new album is professionally accomplished and a classy look has been provided to all the video songs. The new john keenan hip hop album can be affordably purchased from the online music stores or local music shops.

About John Keenan
John Keenan is an independent hip hop artist. He started an independent record label with Mark Keenan in 1999. John has so far independently produced many successful albums and singles initiating from “Mind of a Mad Man” to “The Illusion of Logic” – which is going to be released in June.

For more information about, please visit http://www.johnkeenanonline.com/

Media Contact
John Keenan
Email: contact@johnkeenanonline.com

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Summary:
John Keenan, an independent hip hop artist is launching his new hip hop album – The Illusion of Logic in June.
http://www.johnkeenanonline.com

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The Pink Diamond Revue 12” single

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The Pink Diamond Revue 12” single
THE PINK DIAMOND REVUE are a live band fronted by ACID DOL a model from another dimension, combining beats from today with riffs, samples and vocal harmonies from 50’s and 60’s
They have a 12’’ single released on 24th July 2016
https://www.facebook.com/thepinkdiamondrevue

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Sasha’s Bloc – Runaway Blues

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Sasha’s Bloc – Runaway Blues 

URL: http://sashasbloc.com/ 

Few modern musical acts can boast the melodic fluency and firepower of Sasha’s Bloc, regardless of genre. Alexander Gershman’s talents as a bassist, songwriter, and bandleader anchor a larger assemblage of virtuoso musicians and singers while longtime vocal group legends Take 6 lend their stirring voices to their latest release, “Runaway Blues”. One of their key members, Alvin Chea, takes the lead vocal helm here with spectacular results. Rarely are listeners ever treated to such a sympathetic merger of singer, playing, and song. Chea’s voice is mixed well against the musical backing and the multi-part harmonies reinforcing the main vocal are ideally employed and hit every musical mark. “Runaway Blues” heralds the opening of what will surely be another wildly successful creative run for a band that’s scored big since their 2013 founding.  

The band has a tight grip on invoking the big band era without ever parroting it. This isn’t some simple minded recreation of a bygone era, but instead a finely textured and highly stylized interpretation of a classic American musical style. “Runaway Blues” moves with grace, sure-footed musicality, and harbors surprising depths of artistry. It sports a lyric that plumbs deep with a superb characterization of someone who has spent too much of their life trying to evade themselves and other difficult truths. Chea gives a mournful interpretation of the lyrical content without ever lapsing into overwrought histrionics and the music responds appropriately at key points to help further develop the drama. 

The drumming bears notice. The understated rhythm section work is led by percussionist Kevin Winard. Winard never overplays and his tasteful touch belies his ability to push the tempo in creative ways without ever calling attention to himself. He’s typical of the band’s players in that he possesses a wide-ranging pedigree that brings a wealth of experience to the band’s music. Andy Langham’s piano playing encompasses many styles on “Runaway Blues”. He veers from lyrical gospel lines in the song’s initial moments into much bluesier lines later that occasionally verge on outright boogie piano. These are players capable of bringing the earthy and refined in equal measure and are part of what makes Sasha’s Bloc so exceptional. 

Alexander Gershman’s songwriting and stalwart leadership has brought this band far, but clearly the critical component in their historical success and the merits of “Runaway Blues” is his finely attuned ear for surrounding himself with the best musicians available. The arrangement, likewise, offers evidence for his unerring talents for using them in the right places. The tracks steadily mounts from the outset and, while one will never mistake it for a pop song, generates a little of sparks before winding down. 

Ensembles like Sasha’s Bloc are more important than ever. In an increasingly homogenized musical world, the efforts of Take 6, Gershman, and their fellow players are an all-important defense against corporate imposed mediocrity and historical apathy. It’s the very definition of a band fighting the good fight and having one hell of a fun time doing it. Anyone who hears it will experience that same smile on their face. 

JAMSPHERE: http://jamsphere.com/newreleases/sashas-bloc-runaway-blues-featuring-take6-another-timeless-piece-of-musical-art 

Michael Saulman

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The Pink Diamond Revue

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The Pink Diamond Revue
THE PINK DIAMOND REVUE are a live band fronted by ACID DOL a model from another dimension, combining beats from today with riffs, samples and vocal harmonies from 50’s and 60’s
They have a 12’’ single released on 24th July 2016
https://www.facebook.com/thepinkdiamondrevue

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The Lowest Pair – Fern Girl and Ice Man

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The Lowest Pair – Fern Girl and Ice Man 

URL: http://thelowestpair.com/ 

For genuine music devotees and obsessives, it’s heartening to know younger writers and performers like The Lowest Pair are picking up the mantle of seemingly moribund forms and attempting to carry them into the future. Playing bluegrass or any traditional American music in 2016 practically defines the term “labor of love”. This EDM world fixated on rap music and increasingly melodically dumbed down pop doesn’t have much patience with narratives, complex characterizations, introspective dialogues, and so forth. It is music intended to capture a moment and then be disposed of because it holds no last melodic or artistic value. The Lowest Pair, particularly on this release Fern Girl and Ice Man, prove that they are working in a radically different realm. The album’s eleven songs have individual melodic strengths that play fully developed and reside in the brain after the song is over. These are sturdy compositions delivered by performers with wide vocal and musical command over the genre. It’s one of the year’s most enthralling recording experiences. 

The album opens with Kendl Winter and Palmer T. Lee’s voices harmonizing beautifully during the opening strains of “The River Will”. Banjo and guitar soon join in, but the song’s musical focus supports the vocal and lyrical content for much of the song. The duo conjures up immense storytelling possibilities from the sketchiest of details – the cheap motels, the images of travel, they all add up to a renegade’s take on hard living. Winter and Lee conspire to deliver the content with just the right amount of gravitas. Winter and Lee spend much of “Tagged Ear” singing together to memorable effect. These are singers intimate enough with each other’s artistry that they give truth to the hoary cliché of telepathy between performers. Each of their voices picks up where the other leaves off, but they also memorably come together for moments of real beauty. “Stranger” is a much darker tune in some respects, but it develops along the same sort of track as the preceding song. Bluesy harmonica carries listeners into the song and, while it takes a much slower tempo than many of the album’s songs, it retains the same direct approach of other efforts.  

“Spring Cleaning” is one of Winter’s best vocals outings and she does a particularly excellent job making each of these lived-in lines fraught with emotional meaning. There’s a great deal of specificity you discover in The Lowest Pair’s songs and, occasionally, some of it might potentially strike listeners as obscure or, at least, open to multiple interpretations. Winter’s phrasing and dramatic reading of the material never attempts to make up your mind for you, but she certainly offers up her take on the song’s significance to her. The album’s penultimate song, “Waiting for the Taker”, makes use of the banjo and scattered bass notes to give the track a bit of added rhythmic push, but this has a surprisingly ancient aura. There’s a mysterious beauty permeating Winter’s vocal and strongly melodic banjo line achieves a hypnotic quality soon after the soon begins. It’s the album’s longest song and, arguably, its finest achievement, perhaps more for its open-ended meaning than anything else. The Lowest Pair ends the album with “How Can I Roll?” and they couldn’t have chosen better.  

It’s a thoughtful and painfully sensitive finale. Lee makes vocal contributions, but they merely aim to accentuate another deeply moving Winter vocal. She truly inhabits every line of the song. It’s a final illustration of this review’s opening point – these are songwriters and performers pouring everything of themselves into bringing these songs to life. Fern Girl and Ice man ends with Winter announcing she has no intention of ever going down again and it isn’t difficult to believe her.  

I-TUNES: https://itunes.apple.com/us/album/fern-girl-and-ice-man/id1092915527 

9 out of 10 stars. 

Montey Zike

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Un5gettable – “Sorry” single review

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Un5gettable – “Sorry” single review 

URL: http://www.un5gettable.com/ 

Five piece singing groups, particularly consisting of thirty something community theater vets, don’t come with the promise of lighting the musical world on fire. Un5gettable’s aims are much smaller in scale. No one should confuse this for bubblegum gimmick music. Despite their comic intentions, it’s clear very quickly that Un5gettableare more than capable musicians and singers. Moreover, they have an obviously clear-eyed vision for how to present the band sonically. The production on their newest song “Sorry” does a fantastic job of making the song a breezy, amiable experience without sacrificing its dramatic effect on listeners. Their skills as arrangers stand out thanks to the song’s relaxed pace and light-handed touch. Each succeeding passage locks snugly into its preceding one and the track’s fluidity is a big part of its success.  

The song’s musical skeleton is stripped back and muscular. The piano and guitar used keep the proceedings honed to a fine point, but it’s apparent with just a single listen to this song that Un5gettable isn’t a band in the business of filler. It’s rather remarkable and a testament to how far the DIY age of making music has come that Un5gettable are able to present such a fully integrated sonic piece without the benefit of major label backing. Twenty years ago or more and this single would have likely not seen the light of day. Home recording technology was in its infancy and the major labels still served as gatekeepers for the industry. We are fortunate. Modern times allow us to hear this wonderfully silly, yet oddly understated and stylish song.  

They should an admirably light touch with the material. It could go all out slapstick and Un5gettable could attempt lathering the track up with gag lines galore, but there’s a surprising amount of lyrical detail and gleeful embrace of clichéd comedic elements. The fact that they still draw a laugh shows how well songwriter Joe Cameron uses them in this context. The band’s vocal performance does an exceptional job of embodying the comedy through tone and phrasing. It never strains for effect. 

Naturally, the band’s talents for vocal harmonies distinguish them most of all. The band strikes a seamless unity with their approach and not a grain of any voice hits in a dissonant or displeasing way. It’s always welcome to find vocalists talented enough to incorporate lively phrasing into technically solid structures and the singers in Un5gettable do it exceptionally well. The lyrics are a great aid for them – like anyone who understands the structure of a good joke, Un5gettable refrains from getting too wordy and presents situations directly to the listener. 

This is an entertaining song on every level from beginning to end. “Sorry” isn’t a life changing musical event or some stirring affirmation – it’s just a little song about the ups and downs that can sometimes come with not paying attention to who you’re kissing. Many listeners are certain to be paying attention to Un5gettable in the future and this song would serve as an excellent introduction. 

YOU TUBE: https://www.youtube.com/watch?v=vx-r52LqO9c 

Joshua Stryde

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