Suave_UK "Dirty Shaniqua"

The long legacy of Michael Jackson stays with us - it's utterly amazing to me that just the flash of a glove or fedora hat makes me instantaneously think to myself "OK, here's a 'King of Pop' reference." Such an homage is paid in Suave UK's new song/music video: "Dirty Shaniqua." 

Many CMT readers will remember Suave UK from a previous post earlier in the year. Now he's back with a low-fi track bursting at the seems with ferocious bass drums, distorted guitar, and rapid-fire vocals. There's more than a little reggae inspiration in here with the way the vocals are somewhat melodic. Overall, the music video is quite sharp with bright-colored ladies, an MJ reference, and beautiful lighting. It will be interesting to see what happens in the future with Suave UK.

Meddafore "All Out Together"

 I remember an interview several years ago, Childish Gambino (Donald Glover) was talking about his "Freaks and Geeks" track. He said that a lot of the best Hip Hop had a strong element of comedy (I'm paraphrasing obviously). So, yeah, Meddafore's new track "All Out Together" brought a smile to my face more than a few times. One of the opening lines was "it's a known fact that crackers look better with cheese..." 

Lyrically, these guys have real talent, and thank God for that (I can't tell you how many radio hits are plagued by lazy lyrics) so it's good to hear some cats whose work ethic is self-evident. Another point of praise I can send to Meddafore is that I'm in LOVE with the industrial-style beat that accompanies their vocals. It almost reminds me of early NIN, but Hip-Hop, which is awesome. Overall, I have to give this song 5 stars; I love the style, it's original, and shows real craftsmanship. I imagine if you give it a listen, you'll feel the same way. 

Gnarly Karma "Rags to Riches"

How many times have we all dreamed about infinite resources? If you're anything like me, you've laid awake at night dreaming of ways to pamper yourself with all the things money can buy all the while engaging in philanthropic ventures. In Gnarly Karma's newest track "Rags to Riches" the band ponders some of the parameters surrounding wealth and personal accountability. 

The song itself has a very acoustic rock vibe - it has a slight character (and I mean this as a compliment) of contemporary worship music in that it forces an introspective heart/mind.  The opening line "when your rags turn to riches will your blood stay the same? With no sign of recovery, you've got no one else to blame" made my head nod in agreement. There is also this kick-ass accordion harmony in there that really makes the song in my opinion. Check out Gnarly Karma at their website here. 

Teddy Wender "Summer Shirt"

Summer ought to be a time for vacation, holidays, and enjoying life (that is, if we're tapping into that inner child who looked forward to summer break from school) Multitalented and all-around busy guy Teddy Wender (Singer/Songwriter/Composer/Producer) has released a fun and engaging music video/song "Summer Shirt."

There's a lot I really like about this tune, the groovy bassline that lays down a cool vibe from the get go, Wender's singing is the kind that invites us to have fun with him, I LOVE the video for the gifted chap dancing in the streets - plus, there's a killer synth solo smack in the middle of "Summer Shirt." It's unassuming, tasteful, and unpretentious - just a song about good times and enjoying life. 

Dom Cotton "Get Me Outta Here"

It would be factual to say that we live in troubled times; divided political factions, a global pandemic, and seemingly mass loss of purpose appear to haunt modern global society. Many of us fed up with modern difficulties are seeking some kind of escape. It's that energy that Dom Cotton (a rather handsome Australian singer/songwriter) is tapping into in his new song "Get Me Outta Here."

The music video opens with news clips of the aforementioned troubled times and our singer (and main actor) looking somewhat defeated at the television. The song then breaks into a fun poppy electronic jam with Cotton singing. The tune itself is rather danceable, an ideal track for remixes that would grace DJ nightclub sets. Overall, it's nice to see people embracing the idea that things will get better for us, even if we have to run to a beautiful beach to do it.  

Chris St. John "A Box for Jewels"

One thing that I have always admired in other songwriters, that I lack in my own songs, is the ability to spin a narrative - within me, there is a deep appreciation for the storytellers (the lyrics for my own songs tend to be more stream-of-consciousness). I was thinking about this while listening to Chris St. John's new track "A Box for Jewels;" I don't want to give any spoilers but suffice to say, the poetic experience beautifully matches the musical one. 

"A Box for Jewels" opens with a child's music-box-like into that then morphs into sophisticated guitar, bass, piano, and drum instrumentation. St. John's vocal melody is somewhat monotone in the verses allowing the lyrics to come through uncluttered. It's a love-song to be sure, but there is enough ambiguity to wonder exactly who is the object of such affection (i.e. God, Father, Lover?). Give it a listen, I promise it's edifying. 

Doug Cash "Believe In The Love"

Doug Cash's take on acoustic folk virtuosity shines through in his newest track "Believe In the Love," with shimmering chords that have a bit of gypsy spirit behind them, I'm very enticed by his sound. At about the halfway point, simple percussion and backup vocals join the catchy melody but there is nothing to outshine the main focus, that being the guitar and Cash's singing. 

On one hand "Believe In the Love," is a rather simple song - it's a love song about faith and the commitment that faith demands... This is actually the greatest strength of this tune - but the simple message is married to lush and thick harmonies that make the track so lovely. I hope to hear more from Doug Cash in the future - he seems to have a rather thriving YouTube channel, so that would be a good place to start. 

Ratinoff "Take Me Away"

The California-based artist Ratinoff is out with a new song titled "Take Me Away," a fun driving college-rock-esque tune that reminds me a bit of Smiths, Interpol, or Audio Explorations. The song takes off from the get-go and goes full speed ahead for the duration (There is also quite an enjoyable music video, which you ought to watch below). 

I really like Ratinoff's voice - he's fantastically in tune and has a wonderful range - but more importantly than all of that is the fact that it's unique, not the garden variety rock singer at all (which is perhaps why I thought so quickly of Interpol). "Take Me Away" is another in the lineup of songs to go in your road trip playlist and maybe repeat a few dozen times during the journey. 

Sarantos "Eyebanging"

OK, not sure where to start with this one - the thing is, in the age of meme-humor, trolling, and internet jokes I just can't tell who's being serious these days. Sarantos is self-described as a "DIY international award-winning solo music artist, singer-songwriter, and proud nerd." The thing is, with his new song "eyebanging" I have no idea if this is a viral-video prank or inspired music from someone who might only appeal to more comedic tastes. Be the judge for yourself:

We've had really good jokester in the past... Ill Mitch comes to mind - but we've also had viral sensations that were more genuine (think of the Chinese singer "Wing" for instance). Sarantos's song has a fun disco-electro beat supporting his vocals and the music video did absolutely put a smile on my face but I'm afraid "eyebanging" left me more confused than anything else. 

Pamela Hopkins "Givin' A Damn (Don't Go With My Outfit)"

As someone who lives in a small town myself, I can say that the gossip-circles can be maddening. Perhaps it's just part-and-parcel to everyone knowing everyone else but there are more than just of few of us that would find great pleasure in giving the middle finger to our neighbors while going about our business. 

Arkansas-based singer/songwriter Pamela Hopkins seems to be dialing into our innermost desires on her new song "Givin' a Damn (Don't Go With My Outfit)," which is a two-fisted retribution of snotty individuals thinking there better than those on the outs of society. It's quite funky for a country song and Hopkins's voice is a beautiful balance of rock/blues/country that is as much soulful as it is sassy. 

Louise Cappi "Hope"

New Orleans-based singer/songwriter is out with a new track titled "Hope." From the opening groovy bassline, I was captivated... then, Ms. Cappi starts to sing - a deep soulful alto ruminating on the title of her track, stating "Hope is a song in the night." There is more than a little gospel attitude to the song - but there is so much that's cool going on here. I'm in love with the thick chords that chime in around the 1-minute mark, which Louise has no trouble navigating with her pitch-perfect vocals. 

"Hope" is uplifting, and were it not for the soul-quality of the track, I would say, was almost new-agey. For you listeners, the mood of the song might even be something akin to the sound of a nightclub, but Louise Cappi's message goes far beyond the smokey speakeasies of the past. It's a message that is much needed in today's political climate, and she's an artist that is equally necessary. 

Lady Redneck "I Dented Your Truck"

With a name like "Lady Redneck," I knew I HAD to give this artist a listen. Her real name is Stephanie Lee, hailing from Texas just reinforcing her country roots. The song is a cute but dirty-sounding blues grind. I have to say, that the innocent voice of Ms. Lee sounds tongue in cheek but at the same time rather naughty (it doesn't hurt that she's a rather lovely young woman). 

When I first looked at the name of the song, my first instinct was that this was going to be a revenge-on-boyfriend/husband-cheating-song, but it's not that at all. It's a comic but very feminine embrace of  how a woman can comfort her mate "I'll kiss you better...." "I dented your truck" is not a song that takes itself too seriously, at the same time though, there is such an alluring quality to Lady Redneck's performance, that it's hard to *only* laugh.  I really hope that this is a trend in modern country that continues

John McDonough "Planes Fly Too Low"

"Planes Fly Too Low" is a new song from John McDonough - a catchy upbeat acoustic jam with a chorus that would go perfectly on any road trip. The studio recording offers a lot of ear-candy between reverb-laden electric guitar, acoustic rhythm, and brush-style drums driving the tempo. What's very cool, is that McDonough offers an acoustic version which in no way suffers from the "lack" of instrumentation. 

The acoustic version, slightly slower, offers the listener a more raw experience. It seems like McCounough is very used to performing for a crowd as he is quite comfortable in front of the camera. Like his other tracks, "Planes Fly Too Low" thrives on its elegant simplicity, which is what I've come to appreciate from this artist. 

Heistheartist "Childish"

Many CMT readers will remember Christian RnB singer/songwriter Heistheartist from his single "If I Were a Virgin Again" which we happily reviewed on this blog. Now, he's back with the new single "Childish." A quirky, modern take on the genre. In many ways, this is an instrumental with interspersed vocal slices that emerge in and out of the track. 

The beat is uptempo and very pleasing - there is a hint of ambient sound in the form of chord-pads lining the background. An electric guitar plucks in its high register while sharp percussion move to the foreground. All the time, there are chantings carrying the tune forward. This is a tricky one for me, and it may be a sign of my age - but, when the lyrics are so obscured by FX and volume, it's hard to form an emotional connection with the sentiment of the track. Don't get me wrong, the song is 100% enjoyable, just maybe a little too modern for me. 

Dom Colizzi "Demons"

When we think about it, art has always been a way to reflect on important issues of the day; when I was introduced to today's artist Dom Colizzi, mostly known for his short film "Somebody's Hero" - an intimate look at how bullying affected his young life, I was very excited. Not only does Colizzi show a rawness in this work that comes through on every other project, he also displays how overcoming can be a reservoir of strength. 

Of course, we're here to talk about his new song "Demons" - it's a lovely exploration of heartache over lost love. His voice is a perfect modern RnB fit for the beat and low-end bass. What I love about this track is matched energy between the singing and the instrumental track; Colizzi's control over his upper register is beyond admirable. I imagine this is quite sympathetic music for many as we all wrestle with "Deamons" of some kind or another... It's good that we have artists who can assist us in recognizing that. 

Davy Williamson "Same Place"

Writing for this blog is a pretty great gig - I get to sit back and people send me some of the most interesting and energetic new artists. Davy Williamson is a singer/songwriter with expert writing chops somewhat reminiscent of heavier rock and layered instrumental parts somewhat like early Cure tracks.

His new song "Same Place" is a powerful two-fisted deep-dive into an emotional landscape most people flee from (hence the name). The production value is first-rate; balance between vocal and guitar/drums couldn't be better for this genre... speaking of drums, they are bold and powerful in this song, showing a great deal of virtuosity, but never eclipsing what is important - namely the vocal line. Williamson, for his part, shows high-level technical proficiency as a singer, which is matched by his emotional output. A real stand-out track, to be sure!

Bill Abernathy "A Thousand Wild Horses"

Regular CMT readers should recognize the name, Bill Abernathy. His country/folk style is one that is infinitely engaging, and his newest release "A Thousand Wild Horses" doesn't disappoint. Like his other tunes reviewed on this blog, the poetic refrain endures as a compositional tool which you can read along from the video below.

On this track, there is a gentleness and vulnerability to Abernathy's voice that comes across as rather courageous. Of course, we expect the lyrics to carry the tune and as mentioned earlier, they deliver, but we shouldn't lose sight of the lovely instrumentation of acoustic guitars and sparse drums all a wonderful bed for the singing to lay upon. What more can I say? There is a reason why we keep coming back to this guy.

Barista "Sweet"

Barista is out with a sizeable new project titled "Open Sesame" - an ambitious collection of songs spanning several umbrella titles such as "Her Dress," "Press Rewind," and "As Is" (all complete with very engaging and eye-catching artwork).  One of the standout tracks from the "Press Rewind (Volume 2)" lineup is the track "Sweet," a medium tempo ballad-esque romp through rock and acoustic guitars.

It's a familiar lamentations song that harkens backs to some of Sting's middle period mixed with a little bit of John Mellencamp. Perhaps what's most satisfying about "Sweet" is the timbre of Barista's voice is gruff in a way not too macho, but still retaining some of that gypsy sound that seems to follow him through much of his music. The instrumentation is also a real treat as it sounds like top-notch musicians are featured throughout his project. 

Suave_UK "Free Spirit"

 For most of my readers, you know that I was a teenager in the 1990's - during that time some of the most innovative artists in the realm of RnB and Hip Hop were coming out of the UK (artists like Portishead, Tricky, and Massive Attack expanded and brought new life into the genre sorely lacking in the dominant US-based artists). Since then I've enjoyed how styles become mixed with native talent from that beautiful Island.

It's in that spirit that I would like to introduce you to Suave_UK, an artist that is intensely original. His track "Free Spirit," which has a little more than a bit of mumble-rap appeal, is a feast for those seeking a calm/chillout vibe. The looping chants, in the beginning, seem to hint towards something eastern but cascades into the beat once Suave starts doing his thing. Overall "Free Spirit" leans more towards soundscape than a song - but is nonetheless satisfying. 

Artist Review: SnapDibz

I remember being about 10 or 11 years old the first time I gave Beastie Boys a chance - there was such a wonderful authenticity to their sound, like they were nerdy kids, but that's what made them beautiful... It's that same authenticity that comes through in today's new artist "SnapDibz" - a hip hop/rap/pop artist with a thriving YT channel and Spotify lineup. 

The first track I put on was the newest on their YouTube titled "Masterplan" (the song was released in 2020 but the lyric video is new) - the opening hymn-like piano chords convey instant power, SnapDibz comes in with declamatory vocals cutting right through the beat. The production value here for a hip-hop track is stellar - it seems that he dispenses with static drum loops and rather treats the rhythm section the way a live band would, with fills, space, and breakdowns. 

For my second listening, I went to the most recent song: "Backwards in My Head (feat Rey Khan)" and like "Masterplan" the vocals come through like a hot knife. Rey Khan, for their part, delivers catchy stream-of-consciousness style sung hooks. Of course, SnapDibz does an equally stellar job. The beat for "Backwards" is sad, sympathetic, and very sentimental... in my opinion, the song is too short for such a lovely track, but I suppose being left wanting more is the mark of a good artist. 

There's a slight Lin-Manuel Miranda-like tone to his timbre and flow, which is something I quite enjoy, but don't go thinking these are tracks for Broadway fans - although musical theater fans might enjoy SnapDibz as much as anyone else... This is introspective hip-hop, and it deserves to be heard. 

Dixon Rose "To the Moon and Back"

As a music critic, it's easy to fall into the pattern of viewing all music through the lens of genre; this can be especially useful for writing about indie artists, or artists without widespread followers (for instance, if you like X, you'll love this group). But one of the pitfalls of viewing music this way is that we're often thinking about instrumental style more than we are about lyrics. A better approach is almost certainly to consider lyrical style in addition to instrumentation, but space does not always allow for such a process.

Enter Dixon Rose's newest release "To the Moon and Back." On its surface, it's at times metal, rock, and even some punk-sprinklings from time to time, but the lyrics take on a sweet, and at times, almost religious nature. The instrumental tracks are expertly played and the album has a polish that would rival the best of radio-ready-music. Rose's voice is very pleasing in that he's got a great range for those high-notes, wonderful tone, yet still raw enough to be accessible. 

"To the Moon and Back" opens with "Do You Care?" a gritty guitar-driven high-energy track conveying a deep loneliness (refraining on lyrics like "do you know how you make me feel?" and "why do they think it's OK?" Couple that with some low-frequency screaming and it's a great way to start an album - the listening experience propels us into the rest of the record.

Track #2 is "Forever You" beginning with languid/slow electric strums. Unlike "Do you Care?" this one maintains a ballad character.  The lyrics "You are the one who makes it right," lets us know that this is a love song - but like the spiritual poetry of the ancient middle east, we're left to wonder as to who the "you" is. Verse two features a lovely female singer (wish I knew who she was) which adds to the flavor of the track in great ways. 

On to track #3, adding to the religious language "Forsaken," as the others so far, begins with a very enticing guitar intro. The vocals on this are very simple (in a positive way) and seem to rest on Dixon's greatest singing-assets, a pure tenor with beautiful intonation in the upper register. I really enjoy the balancing act of intensity in "Forsaken," between screams and a blazing guitar solo. 

"One More Chance" is next in the lineup. The interplay between the bass and guitars is very satisfying for this one. Rose's voice is not nearly as affected in "One More Chance" as they are in the others so far, and that lends a particular honesty to the sound. On one hand, there's a grunginess to the sound, on the other, it's got a very orchestral quality with a modulation to a major soundscape in the chorus (it kind of reminds me of the Japanese rock band Mr. Children a la their "Bolero" album). 

Track #5 is "Wonder," which continues the ballad feel, but stripped down even more, from "One More Chance." This is a heartfelt song, the kind of tune that emerges from deep pain. "you leave me speechless and I can't take this..." comes right before the chorus. There's a simplicity to this track that provides a resting point for the listener; again, it's a stop along the journey that is the album "To the Moon and Back..." 

"Once Upon a Life" is the 6th song in the album - it opens with soft piano and pure-sounding female vocals supported by Dixon - strings make an entrance which creates a very nice diversion for the listener. It's very cool to hear this in the middle of an otherwise pure-rock album (see my comments about "genre" above). A soaring guitar solo, which seems to carry just as much pain as the two singers is featured between verses. I don't want to harp on this too much, but I'm in love with the lyrical vagueness of these tracks, like, are the singers singing to an earthly love, or singing to God?

Next up is "Perfect," and we're back to featuring male vocals - and makes use of industrial-style electronic drums with processed singing. It's a beautiful track that would almost come across as poppy except for the use of virtuosic guitar playing far in the background. Rose seems to have a gift for instrumental arrangement that goes beyond the rhythm section and the vocals being more chant-like creates for a peaceful mood that hasn't been present on the rest of the album. 

Track #8 is "Sorry," and we're back to high-intensity rock/metal but in ballad form. "I said everything I never thought I would" is a lyric line that most of us can relate to, and reemphasizes the title of the song. "Sorry," has an unbelievably catch-chord progression and the drum fills alone keeps the energy moving forward. 

The last song on "To the Moon and Back" is "Been Long." It's nice to know that Dixon Rose's literary style includes symmetry - as it's a great mirror, or another side of the coin of the opening track "Do You Care?" The lyrics for "Been Long," like the others on the album conveys a lot of regret. Perhaps, more than on any other song, we get a clear view of Rose's talent for vocal melody - catchiness coupled with unexpected changes and notes that seemingly would have been impossible to sing. 

Overall "To the Moon and Back" is the kind of work that comes from a place of deep introspection; and like that kind of soul-searching, it's not always comfortable, but always worthwhile. Anyone interested can find Dixon Rose at his FB page here, and listen to the album on Spotify here. 

Ja Dee "Tears of Agression"

"Tears of Aggression" is a new track from the Boston-based rapper Ja Dee. The subtle piano introduction hints at something nostalgic and sad - with soft vocals samples soaring over the track, it's instantaneously catchy. The lyrics are truly confessional and from the heart, Ja Dee seems more than capable of introspection and the kind of self-story that we can all identify with. For fans of Baba or  Drunken Immortals, this track is a must-listen. The song ends with a spoken work mini-call to arms about correct living and self-examination which I found very uplifting. You can hear the track below.

jaedee82 · Tears of Aggression (TEST MIX).mp3

STBtheDon "Sobriety Check"

It's heartening that with the advent of sophisticated hardware/software, coupled with a growing sophistication of audiences, that we can regard indie hip-hop artists for the artists that they are. STBtheDon shows off his mixing ability with pitched-up vocals and hard-hitting 808 bass lines in the new project, the "Sobriety Check mixtape." The sample track features a laid-back rhythm that is as enticing as it is creative with a soundscape that seems, at times, almost otherworldly. The vocals are smooth and confident with a very intelligent flow. You can hear "Sobriety Check" below

STBtheDon · Sobriety Check

Artist Interview: "Christ0pher"

For today's interview, we've got musician/songwriter Christ0pher - let's get into it. 

MW: Thank you so much for being here

C: De Nada. Thanks for having me.

MW: So, can you update us on your current projects?

C: We just released my single “Message In A Bottle” earlier in June.  It’s from a project I recorded in 2016 I’m thinking about releasing this year. REAL IS BETTER THAN PERFECT. I’m sitting on a couple projects right now.

MW: Where did the inspiration come from?

C: It’s just a look into my life prior to my first project: AA2580. What my life was like around 2016.

MW: Any hurdles in the production?

C: Alex the GOAT with that. 

MW: What or who would you say is your biggest influence?

C: It changes. Whatever I’m passionate about at the time. I’m on an authenticity kick right now.

MW: How did you form your work-ethic to be so successful?

C: Repetition. I got to witness my pops first-hand. He made sure I understood not to give up even when the odds are against me since I was little.

MW: What would be your dream collaboration?

C: I really like doing things in-house. It’s gotta be organic if it happens outside of that. Since I’m dreaming, I wish I could’ve worked with Mac Miller before he passed. RIP.

MW: Is there something about you that would surprise people?

C: You’d have to ask people.

MW: Is there anything else on the horizon for you?

C: Well yea, but it’s a surprise.

MW: Where can people find more about you or your art?

C: @wwdids is my handle for everything. That or search Christ0pher with a zero not the letter “O” on YouTube.