- Founder/Editor of Obscure Sound; Music PR Professional
I am the founder and editor of Obscure Sound, a site that has been exposing quality independent music since 2006. It has been featured in the New York Times, Boston Globe, Toronto Star, The Guardian (UK), The Independent, The Observer (UK), Wired, BBC Radio 1, Stereogum, New York Magazine, and VH1’s Best Week Ever. Feel free to contact me in regard to music submissions for Obscure Sound and/or independent PR servicing, a comprehensive service I provide artists with. I have seen very positive results to date, earning artists spots in NME, Rolling Stone, Pitchfork, Indie Shuffle, and many more, including a nationally televised commercial with ESPN and several record label opportunities (with names like Burger Records and Rough Trade). I can provide rates and more success stories upon request ---> email@example.com
- artist management, music industry, pr, digital marketing, diy music promotion, consulting, music promotion, artist and creative talent relations, music marketing, social media, social media marketing, brand building, social media strategy, creative writing, emerging artists, music events, copywriting, music writing, music writing / blogging, promoting music, music journalism, music blogging, music reviews
- rap, hip-hop, jazz, funk, soul, indie rock, indie pop, hard rock, rock, folk, indie, singer/songwriter, electronica, edm, music, reggae, pop, r&b, garage, video games, gaming, dance, ambient, house, dubstep, indie folk, synthpop, shoegaze, electro pop, acoustic, chillwave, country, dark ambient, downbeat / electro-acoustic, grunge, film / video, comedy, uk garage, remixes, alt-country
Spastic guitar effects complemented by a suave bass trickle make for a fascinating intro that makes "Drive" immediately entrancing. The arrival of spoken-word vocals and trickling keys conjure up a darkly brooding narrative, something not too far out of Nick Cave's realm. Kuhl's voice is clear and intense, with the video's swapping between spoken lips and a very striking dance, with the actress' facial distortions being particularly apt in regard to the dark sprawl of "Drive". With a brooding backing build-up reminiscent of Nick Cave and an idiosyncratic penchant akin to Scott Walker's more recent works, "Drive" is an enjoyable piece of spoken-word music with plenty of innovation. Thanks for the submission! Look out for a post on Obscure Sound, and reach out to me at firstname.lastname@example.org if interested in rates/success stories regard my digital PR servicing. -Mike
"Trouble Is Real" is a wonderful track that reminds favorably of Dr. Dog, Wilco, Kurt Vile and a few other talented acts who incorporate the classic schematics of acts like The Band and Harry Nilsson into a contemporary indie-rock arsenal. The swooning guitar twangs, sound rhythm section, and central hook-filled chorus make for an excellent rockin' assortment that starts and finishes strong, elevated particularly by a chorus driven by the charismatic vocals and collaborative keys and guitar twangs. The bridge just past the two-minute provides for some excellent melodic variety as well, capped off by the deliciously repeating "the trouble is real" outro chorus and fading key tremolo. I LOVE this track, and will be posting on Obscure Sound this week. Please reach out to me at email@example.com if interested in my digital PR services -- I can send rates and success stories upon request. Thanks for the great submission! -Mike
"Never Needed Anything More" is delicate and ethereal from the get-go, with Stanley Michael's soft and wistful vocals being reminiscent of How to Dress Well's Tom Krell -- especially with the gorgeous backdrop containing patient rhythmic elements, trickling keys, and soft acoustical plucks. The softly contemplative pop of Swedish group jj also come to mind, favorably. There's plenty of innovation as well -- particularly how Stanley Michael's voice tread an enjoyable line between sophisticated pop and R&B, dripping with the reverbed melancholy of How to Dress Well but also the morning-after sexiness of The Weeknd, particularly in the darkly romantic instrumental accompaniments. Cool to see you went to Syracuse as well -- my in-laws live up there a few minutes from the city, so I'm up there a bit. Anyway, I'm really enjoying this track, and will be posting it on Obscure Sound this week. Feel free to reach out to me at firstname.lastname@example.org if interested in my digital PR services -- I can send rates and success stories upon request. Thanks for the quality submission! -Mike
From this submission, "Nuh Backchat Mama" is a short but sweet effort that merges Siaosi's smooth reggae-tinged vocals with the shimmering island-set production of Sadiki. This certainly has plenty of radio airplay potential written all over it -- it has an excellent polish in the production, and isn't short on hooks -- both of the vocal and instrumentation variety. I wish I could hear more of this track, as it's difficult to judge just 01:30, so feel free to submit the full version to email@example.com for consideration. I'm liking what I hear so far though!
This remix of "Blow" uses an impressive array of heavy bass and infectious vocal effects to make for one of the most entertaining pop remixes I've heard recently. The halted vocal effect in the chorus is a particularly inventive effect that works well, progressively aided by an ominous synth-bass and twinkling synths (during moments like 02:05) that enjoyably repeats throughout. The Daft Punk-esque instrumental interlude around 02:20 is a nice addition as well, assimilating well with the more swanky vocal delivery during this section. I could really see this blasting throughout clubs; I'd imagine you'll do very well in pitching this to dance blogs. Nice work! -Mike
With spurts of brass adorning Anna-Maria Nemetz's passionate vocals, B.O.X.E.R.'s "Issue No5" is an immediately striking track that serves as one of the strongest electro-pop tracks I've heard in recent memory. I'm loving the dark-pop production and how it meshes with the various brass accompaniments, which are delivered suavely in the James Bond sense -- with a hint of brooding darkness over self-assured confidence. Nemetz's ability to swap between menacing wit in the verses to the more higher-pitched melodic ear candy during the chorus is impressive, as is the synth-driven bridge around 02:30 that moves into an infectious kick drum-addled build-up over halted vocal samples, before going back to the graceful "this is why I like you" chorus. This is a brilliant track; I'll be posting it on Obscure Sound in the very near future. If interested in my digital PR services, please reach out to firstname.lastname@example.org -- I can send rates and success stories upon request. Thanks for the fantastic submission! -Mike
The lush and inviting beginnings of "Hangover Me", with its summer-y acoustical strums and gentle percussive shuffles, leads nicely into the enjoyably contrasting vocals of Brendan O’Connell's raspy Nick Cave-esque delivery and Rumer's angelically sweet croon. I'm particularly fond of the "stay with me baby" hook around the two-minute mark; it's an expert piece of songwriting that's certainly melodic ear candy. The bar-set music video provides an apt visual for the song's pleasant theme -- which seems to be the importance of quality company. With polished production and clean hooks, "Hangover Me" sounds ripe for radio airplay. Nice work! -Mike
Thunderous percussion and a lively, squealing guitar lead ushers in the explosive "Warrior", an impressive attitude-forward rock track that touts a style appreciative of blues and classic rock. The mechanical percussion and bluesy howl is certainly reminiscent of The White Stripes, and in doing so treads a fantastic line between radio-friendly ear candy and nostalgic-friendly innovation. The "baby baby" interlude around 01:53 is a particularly great hook, establishing the track's melodic mid-section in quality form. The track's conclusion, with the howling vocals reverberating over the hypnotic guitar/vocal effect, caps this excellent effort off in energetic style. Fantastic track! I would recommend visiting http://hypem.com and searching for blogs who posted material from Jack White, The White Stripes, The Black Keys, The Dead Weather, The Kills, Black Rebel Motorcycle Club, etc. Send them an email with a Soundcloud link to the track along with a bio and press shot; this track is high-quality and shouldn't have any trouble achieving some press in the blogosphere.
This is a fine effort with an innovative sound from the intro, particularly in regard to the excellent guitar effects and correspondence between the muted plucks and lush drifting melody leaning into the well-polished full instrumentation around 00:40 in. The "broken glass, twisted steel" enhancement around 02:40 - with the distorted effects in the background and fierce vocals - is a particularly effective piece of songwriting, as is the fantastic guitar solo just after the three-minute mark. The track is a fantastic hybrid of radio-friendly contemporary alternative, with the infectious lead delivery, and nostalgic classic-rock, with the soaring guitar solos and general soundscape. Excellent work here. Look out for a post on OS. Thanks for the submission -Mike
"Floating in Milk" is a beautiful piece of music that's initially led by a droplet-like assortment of plucked acoustics. This gentle lead finds itself gracefully accompanied by Salwa Azar's delicate vocals and a fragile piano line. The "autumn leaves fall off the trees onto the ground below me" line combined with this instrumentation provides a stunning visual that's aptly accompanied by the melody, which is minimal but resoundingly stirring -- like a gently breezy autumn day. The halted acoustic effect around 02:20 is a spine-tingling hook, in particular, that vibes well with the hypnotic allure of the lead acoustic melody. I'll be posting this on OS in the near future for sure. Thanks for the submission -Mike
Magic Giant's joyful, polished, and organic sound is on full display throughout "Let It Burn", a melodically anthemic track that stands among the folk-pop genre's giants in terms of radio potential. The stomping effect of the chorus, with the playful harmonica and jubilant acoustical strums, make for a great melodic core over the half-spoken half-crooning vocals. The conventional structure is welcome, as the chorus is lively enough to bear worth repeating several times with an enjoyable element of predictability. The slight slow-down around 03:10 mixes things up a bit for a majestic conclusion, fading out as the chorus' instrumentation remains in lively form, like a never-ending part. This is a really great track -- not surprised it has been featured in several media outlets. I'd suggest contacting blogs on Hype Machine who have posted DMB, Mumford and Sons, Passion Pit, and The Lumineers -- "Let It Burn" should be received very well.
Perfect for a lush summer day, "Universe + Me" blends caressing vocals, swelling synth pads, and aquatic leads - like the perky lead-in around 01:00 that flows into the vibrant reflection 20 seconds later. The "hello beautiful" interlude just past the two-minute mark provides a great build-up to the aquatic core at 02:21. The "universe and me" vocal repetition provides for an aptly hypnotic effect, especially with the stunning use of woodwinds around the 3-minute mark. The track is full of fantastic production choices, with a sound that reminds me favorably of Balearic beat groups like Air France. Look out for a post on OS, and thanks for the submission. -Mike
"Forget About Tomorrow" begins with a great intro, turning a melodically creative series of vocal coo's into an accessible chugging rock melody in the first 30 seconds alone. It hooks listeners in right away and doesn't let go. The first hook, around 0:50, is a fluttering piece of alt-rock magic reminiscent of Wilco. Shortly afterward, the transition to the chorus - just past the one-minute mark - is a surprising and initially questionable stylistic transition from the previous verses, but the percussive enhancement about 15-20 seconds in helps integrate the two sections in wonderfully cohesive form. When the first verse reprises after that chorus, it's audibly apparent how well the track flows despite its initially unpredictable structural maneuvering. Excellent and creative work! I'm really digging this. I'll be posting it up on Obscure Sound sometime next week. Reach out to me at email@example.com if you're ever interested in my digital PR servicing. I can send more details (rates/success stories) upon request. Thanks for the submission! -Mike
"Time to Ascend" is an immediately striking track; the operatic vocals, cinematic percussion, and trickling key melody make for a very memorable first impression. A soaring bird is a visually apt choice for the initial build-up, as well. The loose, somewhat jazzy percussion in the next section combines well with the trickling keys and brass-like sounds around the two-minute mark, where Mr Fogg's vocals show a wonderfully exuberant quality -- especially when aided by the accompaniment of the blaring horn around 02:30. I'm reminded of the twinkling chamber-pop of Field Music, as well as the soaring nature-minded expansion of Animal Collective. This is a nicely colorful music video and a very well-polished and stimulating track. Great work! Look for a post on Obscure Sound in the near future. -Mike
"Nobody Loves a Tortured Soul" draws me in immediately -- with a playful Brian Wilson-esque keyboard melody and serene hook-minded vocals. The gradual expansion into a brass-tinged piece of brilliant chamber-pop is welcome and expertly executed, reminding me very fondly of the instrumentally eclectic work of The Divine Comedy's Neil Hannon. Honestly, this is one of the most impressive tracks I've been submitted on Fluence. The soaring assortment of keys, brass, and sweeping vocals make for an ambitious piece of ear candy that touts the chamber-pop polish of Field Music, inclined lyrical focus of Stephin Merritt, and orchestral-pop captivation of Neil Hannon. I'll be posting this on OS for sure. Also reach out to me at firstname.lastname@example.org if interested in my digital PR servicing. I can provide success stories and rates upon request. Thanks for the submission! -Mike
Great to hear from you guys again -- I posted your material on Obscure Sound back in 2012. Really cool to hear your stylistic growth. "Time Travel" is a phenomenal track that reminds me of hook-y sophisti-pop in its assortment of concise art-rock guitars, brass bursts, and caressing multi-layered male/female vocals. The chorus is clear and radiant, the brass bridge around 02:30 a wonderful addition that reminds me fondly of Destroyer's Kaputt album. The finale of sorts that starts around 03:10 is full of stomping infectiousness; the culmination of more active percussion, added guitar lines, and more free-flowing brass in this section produces pure melodic bliss. Awesome work! I'll post this track on OS next week. Reach out to me at email@example.com if you're ever interested in my digital PR services. I can send more details (rates/success stories) upon request. Thanks again for the submission -- sounding better than ever. -Mike
This is a lush and melodically inviting effort, with effervescent synths and water-bound atmospherics that remind me of the best to come out of seapunk-laden electronica. The ethereal interlude from 01:00 to 01:37 is a nice refresher before the polished vocals re-emerge, fittingly over a caressing synth pad fully representative of summer lushness. The infectious build-up around 02:15 - with the synth arpeggios and anthemic lead - is a particularly excellent hook, one ripe for radio airplay and summer parties. Great work! Look out for a post on OS in the near future. -Mike
"She" reminds me favorably of late '90s-early '00s college-rock in its amiable jangle and easy-to-please hooks, with a playful chorus led by sprightly guitars and bustling percussion. I love the guitar-led interlude around the two-minute mark, as it navigates away from the fun yet predictable early structure into one of more unpredictable intensity, also displayed in the interesting build-in toward the familiar chorus around 02:30. This is a very well put-together track that is able to concisely strut the group's strengths. Look out for a post on Obscure Sound in the near future, and reach out to firstname.lastname@example.org if interested in details/success stories regarding my PR servicing. -Mike
This is a very impressive effort that features excellent vocals and top-notch production, with an excellent introductory build-up that extends from the percussive lead-in around 00:50 to the infectious eruption of prickly club synths and escalating rhythms around 01:25. Not only is this track ripe for remixing and radio airplay, but it is able to masterfully tread between vocal-driven pop and synth-driven club/dance. I really enjoy how the track embraces both elements. The little guitar effect around the second go-around around the two-minute mark, in addition to the effervescent synth effects thereafter, injects a beautiful twinkle that certainly makes all 03:29 of this track very enjoyable. Look out for a post on Obscure Sound in the near future, and reach out to email@example.com if interested in details/success stories regarding my PR servicing. -Mike
"12345678910" is a suavely melodic track that features bluesy vocals, a mellow bass line, and organ-y synths. It's impressively more electronic-leaning than the art-folk of previous efforts like "I Went Down the Road Today", allowing invigorating life and atmosphere to flow through the track. I'm really digging this particular stylistic direction; stylistic choices like the 1-2-3-4... hi-fi counting chorus of sorts around 01:20 is remarkably well done, making for a great hook. Your stylistic reach continues to impress me for sure. Great work! Look for a post up on OS sometime this week.
Loving the sound immediately on "Colonies", as soulful vocals reminiscent of Cass McCombs intertwine with a ghostly assortment of booming bass, a ghostly synth pad, and clacking minimalist percussion; it creates an immediately engaging appeal that is dripping with quality atmospherics. The colorfully unpredictable video adds nicely to this allure. The percussive additions around 02:25 signal an oncoming transition, and what occurs - the beautiful effervescent sun-lit guitars - is fantastic. Now I'm hearing hints of both Animal Collective and Radiohead, oddly enough. Suffice to say, this is a particularly brilliant moment on an altogether brilliant track. Certainly one of the most engaging submissions I've come across lately -- thanks for that! Look out for a post next week on Obscure Sound, and feel free to reach out to me at firstname.lastname@example.org for details (rate/success stories) on my digital PR servicing. Have a great weekend -Mike
Bright acoustics and gentle radio-friendly vocals make "Hotel" an immediately accessible track ripe for radio airplay. The effervescent chorus, with the choral-like vocal exuberance and joyous handclapping, is a pleasant hook that is enough to carry the predictable structure. The interlude just past the two-minute mark mixes things up nicely, bringing it all together for the expansive final chorus. A pleasant track that should please both fans of upbeat dance-pop and anthemic folk-rock.
"Anomalies" projects a dark yet oddly comforting sound that sits in the realm of spacey industrial electronica, driven by a lowly brooding pulsating bass that swells around sporadic synth twinkles and subdued percussion. The track's first real melodic shift, the twinkling additions around 02:10, introduce some great production effects -- particularly the key stuttering that takes place throughout the next minute. This leads successfully into an interlude reminiscent of Boards of Canada with its elegant barrenness, with the percussion-less feel being a nice fit for the icy keys. When the interesting production effects set in, the track carries off beautifully into the sunset with this aforementioned winter-set melody. Really impressive work -- thanks for the submission. Quite atmospheric and gripping. Look out for a post in the near future on Obscure Sound, and feel free to reach out to me at email@example.com for details (rate/success stories) on my digital PR servicing. Have a great weekend! -Mike
"Farewell to Arms / Let Me Start Again" is a darkly atmospheric post-punk gem that leads with nonchalantly brooding vocals, a pulsing bass line, and shimmering guitars. I'm particularly fond of the "just look around" bridge that evolves into the sparser bass-led moments around 01:55, nicely reminiscent of The Chameleons UK. All in all, the sound reminds me of a cross between The Chameleons UK, Joy Division, and The Cure -- I would prioritize outreach to blogs who have posted artists in that vein with relative frequency. I also love the synth/moog incorporation around 03:15 alongside the clashing percussion; it makes for a very excitable rush of energy. Really nice work -- look for a post on Obscure Sound in the near future, and shoot me an email at firstname.lastname@example.org if interested in details (rates/success stories) regarding my PR servicing. -Mike
"French New Year" is a crisp and soulful rocker, fit for fans of anthemic rock singer/songwriters like Brandon Flowers, Bruce Springsteen, and Matthew Good. The exhilarating "hey!" chants in the background - combined with David Ullman's enthusiastic lead - aligns with crunchy guitar riffs and playful production to result in a fun and anthemic effort that shows off Ullman's infectious qualities as a songwriter. I would recommend typing similar-to artists like the ones I named and others into http://hypem.com/ to find blogs that post your style often. Then, gather up their contact info in a spreadsheet and send out pitches emphasizing this single. Hypem is great because it includes blogs for all styles, and is a great database for finding people who will like the track and spread the word.
"Take It All" begins with a lushly aquatic electro-pop lead-in that creates immediate captivation. Matt McClure's emotive vocals combine with the trickling xylophone-like effects for melodic ear candy; the serene instrumental interlude around the one-minute mark is also a pleasant unexpected surprise, as I was expecting a large vocal chorus -- but this direction works better. The second bridge, around 01:40, is a welcome reprise of this phenomenal moment, with the outro providing more beautiful spaciousness and ambiance. I get a slight East Asian feel in the melody, with the vocals presenting a neon-tinged version of electro-pop. Overall, this is a fantastic track! No criticisms on my end at all -- great work. Look for a feature on Obscure Sound in the very near future, and reach out to me at email@example.com if interested in details (rates/success stories) regarding my PR servicing. Thanks for the fantastic submission! -Mike
"I'm Gonna Change One Day" is a hook-y piece of psych-pop with a slightly dark industrial feel that clashes enjoyably with a reggae-like backing guitar shuffle. The hook, with its effervescent keys and lush shuffle, repeats enjoyably from 01:00 to 01:33, and then leads into a nice vocal production effect shortly thereafter, providing just enough of a melodic variation to this hypnotic success. I'm really enjoying this! It's concise but stylistically inventive and well-produced; nice work. Look for a feature on Obscure Sound in the very near future, and reach out to me at firstname.lastname@example.org if interested in details (rates/success stories) regarding my PR servicing. Thanks for the great submission! -Mike
"P.S. 118" is an exciting track that reminds me favorably of several artists; the vocals pack a soulfully suave quality akin to Jack White, with the excellent production fitting that mold as well. The playful crunchy guitar riffs and "oooh-ooh-ooh-ooh" vocal backing provide a nice melodic cushion for the fantastic guitar solo just before the two-minute mark, where a captivating bass takes the lead over icy keys before the guitar is re-introduced. This particular part reminds me wonderfully of good ol' rock 'n' roll, which I don't hear enough of lately. This is a fantastic track! Reminds me of Foxygen, but better. Look for a feature on Obscure Sound in the very near future, and reach out to me at email@example.com if interested in details (rates/success stories) regarding my PR servicing. Thanks for the great submission! -Mike
I'm looking forward to hearing your material! Would love to have a private link sent to firstname.lastname@example.org and will absolutely consider it for posting. The music I can hear from this Kickstarter video sounds very atmospheric and colorful, which makes me excited for what the material sound like. After I take a listen, we could also talk about potential PR servicing options -- my rates are affordable and I can provide several success stories. Thanks for the submission and best of luck! Looking forward to listening. -Mike
"Absences" is a stellar track from Ninth Floor Mannequin that features crisp guitars and a bustling post-punk bass line beautifully complementing the hazy vocals throughout. I'm particularly fond of the bridge around the two-minute mark, where a spacey synth backing combines with slick guitar lines -- nicely reminiscent of a lusher Muse. The hypnotic structure is a nice fit for this style in particular, both in regard to the post-punk/pop infectiousness and personal lyrics. The fact that the performance, recording, mixing, and mastering all comes via one person makes it even more impressive. Thanks a ton for the submission -- I'll be posting it on OS in the near future. Feel free to reach out to me at email@example.com if interested in details regarding my digital PR servicing. -Mike
Thanks for the submission, and congrats on its viral success so far. Fun and heart-lifting concept, for sure. The theme of universal unity is always welcome, and I imagine this doing particularly well on viral social networks. Although not quite a fit for Obscure Sound, as the site sticks to single tracks over specific causes or news events, I'll try and re-tweet and mention this on my social media at some point.
Crisp-clean production and a predictably fun structure help guide "Shooting Star", which introduces a fantastic chorus around 01:20 that touts The Separators' overall sound and potential -- with a stylistic arsenal that reminds me of Franz Ferdinand, The Hold Steady, and Arctic Monkeys. The verses play it rather safe both instrumentally and emotively, but it's a rather successful maneuver in getting the chorus to sound especially effervescent. Fun track! Thanks for the submission. If you're looking for help with blog outreach, feel free to reach out to me at firstname.lastname@example.org if interested in details regarding my digital PR servicing. -Mike
It's difficult for me to review/critique a teaser since I prefer full tracks, but I'll say this: the snippets presented here make me certainly really want to hear more! You seem to capture a great balance between alternative, psych-pop, and even folk/county -- I'm hearing hints of My Morning Jacket, Drive-By Truckers, Springsteen, and many classic-rock staples. Can you send me a Soundcloud or Bandcamp link to the album at email@example.com? Would love to post a favorite track or two on Obscure Sound and take a listen to this album in full. Also let me know if you're interested in my digital PR servicing, which can aid significantly in blogger outreach. Thanks again. -Mike
The seagulls and ominous Twin Peaks-esque synth pad during the intro casts a mysterious feel over the track, just before the introduction of a playful synth lead and reflective bass lead listeners in a extremely colorful electro-pop journey. This reminds me a lot of Unicorn Kid and seapunk-associated music, which is a niche I'd suggest you exploring for your PR. With crisp-clean production and a colorfully charismatic and melodic lead, "Ecsta Sea" sounds illuminated and alive throughout. The fall-back and fade-in around 02:20 is a great way to lead into the exciting conclusion, too -- this track is both ripe for remixing and dancefloors. I look forward to posting it on Obscure Sound in the near future. Also feel free to reach out to me at firstname.lastname@example.org if interested in details regarding my digital PR servicing. Thanks for the submission! -Mike
Immediately "Talisman" soothes listeners with a wave of warm guitar gauze. Combined with the near-cooing of the vocals' fragile touch, the gorgeously mysterious atmosphere is quickly and effectively concocted. I'm loving the guitar transitions from 00:50 to 01:10 -- and particularly the twangs at 01:00 and 01:10. Comparisons to My Bloody Valentine and Slowdive are enjoyably evident. The dream-pop/shoegaze/alt-rock fusion is masterfully captured here, resulting in a track that really makes me look forward to what else Starar has in store. I'll absolutely be posting this on Obscure Sound in the near future. Reach out to me at email@example.com if interested in details (success stories, rates) on my digital PR servicing. Great work, a thanks for the submission! -Mike
"My Girlfriend's Laptop" is a stylish and colorful electro-pop/hip-hop hybrid that reminds me of Das Racist in its effective utilization of the two, from the hypnotically infectious synth-infused beat to the deadpan humor and dry lyrical wit. Evan Tyler's style is even more idiosyncratic, in an enjoyable sense -- from the personal confident-assuring monologue around 01:30 that expertly transitions into a technically precise hip-hop delivery, to the "purple clouds and Carrie Bradshaw" gets-stuck-in-your-head line that pops up throughout. This is an extremely inventive success that I enjoyed throughout -- really fun to listen to, with some very impressive production idiosyncrasies -- great humorous closing vocal sample, too. I'll be posting this on Obscure Sound sometime soon, for sure. Reach out to me at firstname.lastname@example.org if interested in details (success stories, rates) regarding my digital PR servicing. Thanks for the submission! -Mike
Maria Sweet produces a fleeting and cleanly crisp rock sound with some seriously impressive vocals, evident within the first minute of this track. The raspy exhilaration around the 30-second mark impressively transitions to a wonderfully effervescent surf-pop-laden melodic twist that just screams "awesome hook." As such, "With Time" enjoyably swaps between fleeting rock, melodic power-pop, and atmospheric call-and-response surf-pop. All of those hit my personal sweet spots -- so I fully plan on replaying this track quite a bit. I'm LOVING it. The hook around the two-minute mark is flawlessly crafted. I have no criticisms whatsoever -- this track has success written all over it. I'll absolutely be posting this on Obscure Sound in the very near future. Reach out to me at email@example.com if interested in details (success stories, rates) regarding my digital PR servicing. I'd love to work with you. Thanks for the submission! -Mike
As its title would suggest, "Ghost" is a haunting yet beautiful ballad from rising artist Madelyniris. The simply adorned but wholly effective chorus - "you're a ghost to me" - is immediately captivating, carrying the listener to the percussive introduction around 01:10 and to the track's impressive heights thereafter. The addition of an crawling electric guitar for the second chorus is a nice addition, minimal enough to leave the emphasis on Madelyniris' sweeping vocals but impactful enough to avoid repetition; the same applies to the strings in the subsequent bridge/chorus. This is a pleasant track that's certainly ear candy -- nice work! Look for a post on Obscure Sound in the near future. Thanks for the submission! -Mike
With its creaky acoustics, solemn piano, and sliding twangs, Patrick Joseph casts a wonderfully mysterious melancholic feel throughout the captivating "Setting Sun". I really love the trickle of piano just past the one-minute mark combined with the caressing backing vocal touch (the atmosphere reminds me of Radiohead's more gentler yet powerfully atmospheric efforts). I'm not sure what the instrument/sample is -- sounds like a sliding guitar sampled, or perhaps a voice altered. Either way, it's an absolutely gorgeous complement to the delicate yet powerful accomplishment that is "Setting Sun". Fantastic work! I'll be posting this in the near future on Obscure Sound, for sure. Reach out to me at firstname.lastname@example.org if interested in details (success stories, rates) on my digital PR servicing. Great work, a thanks for the submission! -Mike
"Shadows on the Ceiling" is an interesting track that immediately creates a pulsating atmosphere with its forceful percussion, haunting electro vocal choir, and warbly synth/guitar incorporation. The percussion-less interlude around 01:25 ushers in a fragile yet effective piano trickle, a haunting element that lends nicely to the video's visuals of a young girl attempting to escape an unpleasant dream. The guitar solo around 02:41 does the same, injecting further life into the dark yet mysteriously intoxicating atmosphere the arrangement puts forth. This was an enjoyable track with an interesting video accompaniment. No criticisms on my end. Thanks for the submission! -Mike
"Intercept Linear 7" is an electronic epic that combines hypnotic atmospheric development with a colorful variety of glitch-pop and industrial-fused heavy drones. The vocals are distant in the production, similar to the works of A Perfect Circle and Nine Inch Nails and aptly so, considering this track's stylistic direction. Tracks in the avant-garde electronica vein can easily veer off course due to sheer complexity and scope, but "Intercept Linear 7" starts fresh and maintains this level of innovation throughout. The drums really start to shine around the 02:20 mark, when their vibrancy and complexity aligns beautifully with the synth warbles and flutters. The ominous backing vocals during this section are also phenomenally done. The vocals, although lyrically incomprehensible, act as a hypnotic instrument on their own throughout -- casting a caressing power upon the invigorating instrumentation. "Intercept Linear 7" shows Prisms & Portals as a band supremely capable of crafting electronic epics that fuse together a variety of lovable influences, from Tool to Aphex Twin. Fans of those groups and beyond will surely appreciate this. I'm really digging your sound, and will post this on Obscure Sound in the near future. Thanks for the submission! -Mike
"Young Oblivion" presents a spacey and infectious vein of electro-pop reminiscent of the mysteriously effervescent anthems of M83 and Memory Tapes. I can certainly hear some MGMT as well in the shimmering hook around 01:15, a wonderfully executed section that also reminds me of Swedish pop music in its sugary-sweet transition from darker corners. This hook's second iteration, around 02:18, injects a bouncy synth chord into the fold -- which combined with the various vocal additions (the various vocal pitches are a fantastic touch) makes for a wonderful moment. The lyrics conjuring visions of dancing until sunrise are apt and wonderful, too. The unexpected but wholly effective transition to more guitar-based swelling just past the three-minute mark is nicely exemplary of Memoryy's eclectic stylistic reach, which makes me really look forward to what else Shaun has in store. Really fantastic work!! I'll absolutely be posting this on Obscure Sound in the very near future. Reach out to me at email@example.com if interested in details (success stories, rates) regarding my digital PR servicing. I'd love to work with you. Thanks for the submission! -Mike
"You Got It Bad" is a lushly infectious effort with some notably unique production elements, like the fingersnap-like percussive component. Chamberlain's voice is technically flawless and is fantastic at making the transition from suave verse to effervescent chorus -- illustrated wonderfully around the 01:35 mark. At two minutes, this is a concisely contagious success with no criticisms on my end. It has plenty of potential for radio airplay. Look out for a post on Obscure Sound in the near future. Thanks for the submission! -Mike
Love this immediately. The clashing of darkly industrial instrumentation and ghostly synths, along with the hauntingly reverbed vocals, is right up my alley. The repeating vocal melody being eventually accompanied by trickling synth arpeggios and subtle electronic additions make "Know You Know Me" a fantastically hypnotic melodic crawl. I'm loving a bunch of production choices, from the whooshing percussion that emerges around 02:10 to the barren post-punk reverberations around 03:30. I'm really enjoying this, and will post it on my site very shortly. Look out for a post on Obscure Sound in the near future, and reach out to me at firstname.lastname@example.org if interested in details regarding my PR servicing (rates, success stories). Thanks for the submission! -Mike
The deep and emotive beat of "Bella" helps craft a constantly entrancing crawl through moving hip-hop/R&B with a striking dubstep influence. I'm loving several aspects of production, from the melodic autochord vocals around 01:30 to the standout minimalist fire from 02:30 -> 02:50; Chevelle's delivery is thoroughly impressive on a consistent basis throughout. The little lush bridge around 03:15 sets up nicely for an awesome finale where Chevelle takes on an otherworldly sci-fi electro feel reminiscent of Shabazz Palaces, which is very complementary. Really digging this track a lot -- no criticisms on my end. Look out for a post on Obscure Sound in the near future, and reach out to me at email@example.com if interested in details regarding my PR servicing (rates, success stories). Thanks for the submission! -Mike
Lumi's remix of Carly Rae Jepsen's "I Really Like You" does what a remix should -- it makes the original track even better, while showing off the idiosyncratic production chops of the remixer. Adding a shimmering and effervescent coat to the already-upbeat track, Lumi's textural and melodic additions highlight the greatest hooks within "I Really Like You". I imagine this track would be very successful on Hype Machine's remixes charts, which can lead to tens of thousands of plays. Let me know if you need help with that; reach out to firstname.lastname@example.org if interested in details regarding my PR servicing (rates, success stories). Also, look out for a post on Obscure Sound in the near future. Thanks for the submission! -Mike
In the track's first few moments alone, Matthew Squire's natural abilities as a storyteller are apparent; his visions of the New Orleans streets are vibrant and crisp-clear. With his melodically creaky vocals resonating over a single reverberating acoustic melody to start out, the addition of a trumpet around 01:30 over the ambient sounds of a crowd continue to set the ambiance beautifully -- similarly to the emotion and scene-setting capabilities of Sufjan Stevens. An uptick in vocal emotion occurs during this point in apt form, the structural navigation remaining quaint yet emotionally developing. This is a success for sure that reminds me of both Deer Tick and Sufjan -- very nice work! Look out for a post on Obscure Sound in the near future, and reach out to me at email@example.com if interested in details regarding my PR servicing (rates, success stories). Thanks for the submission! -Mike
"Five Little Things" is a solid electro-pop track that reminds me of the genre's glory days. A gently caressing synth pad gives way to a lively arpeggio, which is aptly accompanied by charismatic vocals. The stylistic hybrid immediately brings to mind acts like Erasure and Pet Shop Boys, though with an additional modernistic edge particularly present in the loopy synth sounds around 01:30 that remind of more contemporary dance acts like Hot Chip. The hypnotic vocal repetition around 02:25 is a nice production maneuver that is one of several pleasant surprises throughout; I like the synth interlude at 03:06 quite a lot as well. Great work. I'd recommend browsing blogs with the electro-pop label on Hype Machine and submit this personally to them; I'd expect it to be very nicely received. This a fun effort, for sure. Look for a post on Obscure Sound in the near future, and reach out to me at firstname.lastname@example.org if interested in details regarding my PR servicing.
"Harmonic" immediately draws me in with ferocious guitar chunks that remind me fondly of '90s alt-rock heyday. The vocal's entry - coinciding with a melodic guitar trickle and bustling rhythm section - is neatly led into. The vocals, with their alt-rock/emotive approach, combined with the wonderfully infectious guitar-led alt-rock/power-pop sound remind me of Gerard Way's approach on his recent album, Hesitant Alien. Essentially, this is an impressive take on alt-rock infectiousness, with an enjoyable tinge of prog-rock in the fastidious guitar incorporation and its warm rhythmic role in the anthemic chorus. I'm really digging the sound! Look for a post on Obscure Sound in the near future, and reach out to me at email@example.com if interested in details regarding my PR servicing.