Mike Mineo

Mike Mineo


Feedback Ratingstar star star star star (4.9 / 5)


Mike Mineo

Title
Founder/Editor of Obscure Sound; Music PR Professional
Bio
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, helping lead to placement 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 ---> mike@obscuresound.com
Website
Expertise
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
Interests
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
Location
NYC

Send to Mike Mineo

help

Recent Feedback

Maxx Stofman submitted media.

On My Mind by Ripe (Ellie Goulding cover)

Mike Mineo

Soulful vocals, crisp guitars, and sporadic bursts of brass make for a very fresh-sounding take on this track. The hook-y transition at 00:40 works well, building into the brass-friendly primary hook around 00:50. Really loving the lively feel of the brass here, combined with the fervent vocal presence. The "why I got you on my mind?" repetition, followed by the bridge at 02:20, offers a nice juxtaposition between pulsating rock and more lush build-ups. Guitar solo at 02:45 plays nicely, as well. "Got you on my mind" vocal repetition works again structurally to close this up with an assortment of brass and guitars. Nice interpretation. Even though Obscure Sound doesn't really feature cover songs, I will be keeping an eye on this act for sure. No faults in production or delivery to my ears. Keep up the great work!

Guy Powis submitted media.

Lifted by Donny Hills x Circa

Mike Mineo

Highly atmospheric and rhythmically infectious. Touts nocturnal vibes reminiscent of Burial, with the ghostly choir-like vocal playing beautifully among the submerged-sounding synths, ranging from the rising synth pad around the two-minute mark to the click-clacky hip-hop-laden rhythmic spurts around ten seconds thereafter. Structurally repetitive enough to lend a hypnotic quality, though not overly predictable as to make it dull -- making "Lifted" an impressive effort with a soundscape that will entertain any fan of electronica associated with grime and dubstep. Nice work! I look forward to posting this on Obscure Sound in the near future. Also, if in need of help promoting your work, feel free to reach out to me at mike@obscuresound.com if interested in rates/success stories regarding my PR services. Either way, thanks for the submission -Mike

Aisha Saleem submitted media.

Dead Tech by YFee

Mike Mineo

Warbled synths and phone-convo-esque vocal sample lends an intriguing introduction to "Dead Tech". Vocal production, specifically the echo at 00:41, adds a great psychedelic element that plays aptly alongside the hypnotic synth instrumentation, complemented nicely by multiple vocal layers. The "find me" vocal pitch manipulation at 01:51 another very cool moment; I'm loving the trippy vocal production throughout this. Slight synth arpeggio just past the two-minute mark also plays well. Wisely, the track takes a structural turn just prior to the three-minute mark, with added swagger to the vocal delivery -- as it assumes a more seductive hip-hop feel. It adds an extra oomph of variation that tops off a unique and engaging track. Very nice work -- I'd be happy to post this on Obscure Sound and provide PR servicing. Feel free to reach out to me at mike@obscuresound.com to learn more about this. Thanks for the submission! -Mike

Rebecca Schiffman submitted media.

Nico by Rebecca Schiffman

Mike Mineo

Excellent work here. The shuffling percussion, gentle piano, and hazy organ comprise a very engaging arsenal, in addition to the very endearing vocals, quaint and never overpowering but thoroughly engaging just the same. The "and dream" bit at 01:50 - accompanied with the added layer of backing vocal grandiosity - is a very well-executed hook, as is the "Nico" repetition around 02:10. The feel and structure reminds me of a female version of Jens Lekman -- extremely high praise. Highly enjoyable track that I I look forward to posting on Obscure Sound in the very near future. Also, if in need of help promoting your work, feel free to reach out to me at mike@obscuresound.com if interested in rates/success stories regarding my PR services. Either way, thanks so much for the excellent submission! -Mike

Elizabeth Fagan submitted media.

Flower (Official Video) by Lili St Anne

Mike Mineo

Soulfully enticing vocals and a gentle guitar progression kicks the track off in accessible form. Vocal fluttering during this section makes for a nice melodic touch, with the "until he dies" complemented by the tugging strings around 01:18 serving as great natural melodic development. "hey-hey-hey" pop at 02:12 a nice infectious addition, as well, with the ensuing "will you be my flower?" hook working nicely. The video - showing signs of friendship and natural earth imagery - is aptly done. Track is overall nice ear candy, without any faults in the melodic development or production. Nice work! Will post on Obscure Sound in the near future, and feel free to contact me at mike@obscuresound.com if in need of help promoting this. I can provide success stories and rates for my digital PR services upon request. Thanks, -Mike

Katelin Christenson submitted media.

Mike Mineo

Guitar twangs and organ work plays well in building up toward the central hook, the "play until your fingers bleed" shuffle at 01:04 -- inspirational and easily relatable in theme, with a thematically straightforward video. "There's nothing in this world you need except music, love, and ecstasy" is carried well with the added snarl in the vocal performance. I do believe the track would benefit from a more active percussive presence during the verses, which despite the touches of strings, organ, and guitar sound barren at points. The fuller-bodied sound emerges at 02:52, though prior to that takes some time to get the engine revving. It's a thematically simple and straightforward track, though one with emotional sincerity and no obvious faults in the melody or production process. Although not breaking down enough stylistic barriers for inclusion on Obscure Sound, this is a well-done track that should resonate nicely with more stylistically accessible publications.

submitted media.

Middle Man by Strange Her

Mike Mineo

Reminds me of '90s alt-rock heyday -- melodic yet angsty vocals ride nicely alongside scraggly guitars and a thunderous rhythm section, which ascends into distortion-friendly grungey bliss just prior to the one-minute mark. Thereafter, the track picks it up very nicely -- with a slight lack of tonal variation being compensated for by the brisk guitar/rhythmic work and emotive vocal passion. Guitar gliding 01:50 onward has a nice Foo Fighters feel to it, with the track generally finding a very accessible balance between more accessible alternative and distortion-friendly fervor. It's a hybrid of stylistic ingenuity with the more accessible. It's a good fit for Obscure Sound, and I'll post it in the near future. Nice work on this.  Also feel free to contact me at mike@obscuresound.com if in need of help promoting this. I can provide success stories and rates for my digital PR services upon request. Thanks, -Mike

Matt Davidson submitted media.

Type A by Future/Creature

Mike Mineo

Blaring synths and glowing acoustics accompaniment fervent vocals to give this a nice intro for the first 01:05, with the emerging synths thereafter providing a medieval-like feel that reminds me of Spencer Krug's songwriting. Blast of distortion at 01:24 followed by uptick in vocal presence breathes some life into the pleasant preceding soundscape. Your vocals, tonally, remind me of Suede's Brett Anderson - a good thing. Structurally on the predictable side once the mid-point hits, as what's following is mostly a reprisal, though the concluding more quaint minute does well with showcasing the more elegant minimalist elements of the beginning. Very nicely done. I look forward to posting this on Obscure Sound in the near future. Also, if in need of help promoting your work, feel free to reach out to me at mike@obscuresound.com if interested in rates/success stories regarding my PR services. Either way, thanks for the submission! -Mike

BLOW_FLYY .. submitted media.

FOR THE LOVE.. by BLOW_FLYY

Mike Mineo

Lush and patient beat, with Christmas-y twinkles and old-school percussive rhythms allowing the vocal delivery to shine through. The panting of sorts in the background adds a form of intensity, and the cool vocal additive at 01:15 adds a nice psychedelic quality. This is trippy and loaded with atmosphere, and makes me want to dig more into the project -- which I will. Not enough substance throughout the 01:48 for me to truly get a great grasp, as there's a good amount of structural repetitiveness, though I look forward to hearing lengthier and more substantive submissions from this act in the future.

Michelle Soto submitted media.

Tether by Blushing

Mike Mineo

Very nice structural shift here. Begins with a gauzy form of serene shoegaze-y bliss, with the effervescent burst of energy around 01:15 into the more rock-centric hook being wonderfully executed and providing a sense of stylistic diversity - between atmospheric '80s rock and more modern forms of contagious rock - that reminds me strongly and favorably of Frankie Rose and TOPS. The "can we escape together" hook is EXCELLENT! Digging that hook on its own, though it's especially effective when surrounded by the shoegaze-y verses and the blissfully crunchy guitar emphasis at 02:30. The drugged-out bridge at 02:52 is wonderfully done as well -- major TOPS vibes there. This track is excellent from start to finish, and I'm looking forward to posting it on Obscure Sound in the very near future. Great work! Also, feel free to contact me at mike@obscuresound.com if in need of help promoting this or any other future releases. I can provide success stories and rates for my digital PR services upon request. -Mike

Timothy Duryea submitted media.

Cracks in Pavement by Impulse Control

Mike Mineo

A very brisk rhythm section serves as a nice accompaniment to equally excited vocals, with that enthusiasm emphasized by pitch variation and the tidy accompaniment of fuzzy guitars just past the one-minute mark. The ensuing hook, crunchy and distorted in blissful form, reminds of Arctic Monkeys -- while the quick shift to more angular art-rock in the subsequent verses provides for some nice structural variation, with the vocal pitch variation/enthusiasm and playful rhythm section reminding me fondly of Primus. While the transition from chorus to verse is slightly jarring, it comes together in the end for an enjoyable and tidily infectious track. I'll look to post this on Obscure Sound in the future, for sure. Also, feel free to contact me at mike@obscuresound.com if in need of help promoting this or any other future releases. I can provide success stories and rates for my digital PR services upon request. -Mike

walter napier submitted media.

Promise by Specks Gomez

Mike Mineo

Stylistic success, for sure. Warbled beginnings are uplifted infectiously by the percussive push at 00:18, the sonorous vocals and squiggly synths projecting an otherworldly yet serene feel that reminds me of Todd Rundgren's A Wizard, a True Star -- of course, with a sleek more contemporary pop charm, yet atmospherically spacey and playful synth-pop/rock interplay nonetheless. Crystally synth droplets at 02:10 combining with swelling backing synth pad shows some wonderfully majestic production work, the clap-laden percussion 20 seconds later helping further uplift this great hook. It's a well-maneuvered melodic moment that helps cap the following final minute off nicely, with the fading guitar work providing a caressing conclusion. Nice work and captured atmosphere. I'll look to post on OS in the near future. Also feel free to reach out to me at mike@obscuresound.com if ever in need of a hand with PR. I can send my rate and success stories upon request. Either way, thanks for the submission! -Mike

Cole Connor submitted media.

Mike Mineo

Moody synth stabs precede infectious hip-hop percussion and an intense vocal delivery, which is smartly accompanied by pitch-fluctuating backing vocals that add an additional infectious edge. This track has a great stylistic arsenal from the get-go, showcasing a snappy vocal delivery that reminds me of a more emotionally serious Das Racist. The warbled synth and backing vocal effects lead the beat's power, though the vocal delivery is the true star -- rhythmically faultless and full of authentic emotion. Could perhaps use some more structural variation, but I'm really digging this as a whole. Great work! I'll look to posting this on Obscure Sound in the near future. Also feel free to email me at mike@obscuresound.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks for the submission! -Mike

Matthew Squires submitted media.

Shape Of Your Heart by Matthew Squires

Mike Mineo

Very soundly produced vein of power-pop here that has a New Pornographers-like looseness. The instrumentation - the twangy guitar and playful rhythm section - is swirling and powerful, while the personable nonchalant vocals provide a nice touch -- especially through various structural idiosyncrasies, like the pause at the one-minute mark and things scaling back around 01:20 into more contemplative psych-leaning territory -- this section reminds me fondly of Modest Mouse, and I'm really digging it! I enjoy the swirling effect around 01:45, with the lyrical repetition "I will never abandon you" hitting an emotional chord successfully. Fantastic melodic navigation around 02:18 -- the track's finest hook, though there are many. This is an excellently done track full of structural adventure and melodic charm. I'll post this on Obscure Sound in the very near future. Also feel free to email me at mike@obscuresound.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks for the great submission! -Mike

Frank Fusco submitted media.

Waiting On You by Vinyl Spectrum

Mike Mineo

Soaring male lead and melodic female backing provides charisma and energy from the get-go, showcasing a warm and rootsy sound that doesn't break down any stylistic barriers but is comfortably successful, the vocal and stylistic approach reminding me somewhat of a more soul-tinged Blind Melon. The "I'm waiting on you" hook, with the call-and-response vocal bit, plays nicely as the central melodic emphasis. The transition at 01:30, with the bouncier section, works well for distinguished variation, preventing things from getting overly same-y -- which is good, since the structure is fairly predictable. This is a solid track through-and-through, conventional to a point but comfortably so. I'll look to posting this on Obscure Sound in the near future. Also feel free to email me at mike@obscuresound.com if ever in need of a hand with PR -- I can send my rates and success stories upon request. Thanks for the track submission! -Mike

Jasper X submitted media.

Whirl Music by Jasper X

Mike Mineo

Immediately introduced vocals and stirring acoustical trickling gives this track life from the first second, the minimalist arsenal serving well in introducing the warm and narrative-driven vocal presence. The churning around 00:36 adds a nice subtle rhythmic element, the backing bass-like murmur adding depth to the sound. Acoustical fluttering re-emerges as the focus at 00:53, with the "running in your head for all to see" hook reaching especially epic heights at 01:43, when a twangy guitar reminiscent of Kurt Vile comes into play. I'm really loving this part - 01:43 until the conclusion - as it successfully integrates instrumental expansion after a successful minimalist introduction. Structurally and melodically well-done, for sure. I'll be posting this on Obscure Sound in the near future. Also feel free to email me at mike@obscuresound.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks again for the submission! -Mike

Marius Maeland submitted media.

Eternity by Mendou

Mike Mineo

Haunting acoustics and enthralling vocals help set a gripping scene, with the melodic transition of sorts at the one-minute mark leading cohesively into the spacious percussive introduction around 01:10, when the vocals assume an excellent melodic presence with ample tonal variation reminiscent of Radiohead's Thom Yorke or Muse's Matt Bellamy. Re-introduction of initial verse at the two-minute mark plays nicely in the song structure, predictable but also reassuring, especially when the melodic hook re-emerges at 02:31. I love the darkness and melodic energy of the hook that ensures, both when it appears at the track's mid-section and again as it serves as a wholly effective bookend. Excellent work here! I'll post on Obscure Sound in the near future. Also, feel free to reach out to me at mike@obscuresound.com if ever in need of help with PR -- I can provide my rate and success stories upon request. Either way, thanks for the submission :) -Mike

submitted media.

Castles by Hailey, It Happens

Mike Mineo

Lush pulsating synths and a warm vocal melody kicks things off in very accessible form, with slight trickling percussion serving as a nice accompaniment. Synth arpeggio emergence at 00:51 plays nicely and cohesively, showing a gently developing soundscape that maintains its initial composure but it uplifted by various melodic arp segments and caressing vocal cues. The "we were young then" hook at the two-minute mark provides a nice touch of synth-tinged nostalgia that plays well into the atmosphere. This is a concisely effective effort that shows this act's atmospheric potential well. Nice work! Will look into posting on OS in the near future. Also feel free to send me an email at mike@obscuresound.com if ever in need of help with PR -- I can provide my rate and success stories upon request. Either way, thanks for the submission! -Mike

submitted media.

(Not So) Sensible (Drunk) by The Drivers

Mike Mineo

Fast-moving guitars and suave vocals make for a sound that resembles a more dexterous version of The Strokes. Uptick in vocal and guitar intensity right around the one-minute mark makes for some nice tonal variety, as does the emphasis on electric guitar and bass around 01:18 onward until the vocal re-emergence at 01:28. The suave vocal approach, reminiscent in a way to Tom Verlaine and Talking Heads, works throughout. Percussive emphasis is very minimal, though it works for this style. While there isn't a major hook grabbing me by the throat, the subtle variation at each chorus does enough to maintain captivation throughout. I'll aim to post this on Obscure Sound in the near future -- no faults on the stylistic or songwriting end. Also feel free to reach out to me at mike@obscuresound.com if in need of help with PR -- I can provide rates and success stories upon request. Thanks for submitting! -Mike

SiD King submitted media.

Mike Mineo

hi Sid -- really great, infectious track here. Effervescent synth stabs and a fluid hip-hop delivery are adorned by a funk-laden electronic presence initially, leading nicely into dance-savvy vocals around the one-minute mark that tout some Michael Jackson appeal. That aforementioned comparison is present again in the electric chour saround 01:20, when the flickering synth arpeggios dance around infectiously. GREAT hook! The lyrics - centering on a toxic relationship and the feelings of revenge subsequent to it - are relatable, and I'm digging the contrast between that and the more upbeat, infectious dance-laden sound. The verses are great, though the chorus certainly steals the show. I'm loving this track, and will post it on Obscure Sound for sure in the near future. I think it would be a fantastic fit for my PR services as well, especially with the track's release date on the near horizon -- so feel free to send me an email at mike@obscuresound.com if you'd like to chat further about that. Thanks for the great submission Sid! -Mike

Matt Sacha submitted media.

Intro by White Shade

Mike Mineo

Hazy guitars and a languid bass combine with enjoyably creaky vocals to provide a worn-and-weary feeling to "Intro" from the get-go, a trait similarly possessed by early '90s alt-rock acts like Pavement. The guitar tones remind me of them specifically in the first few verses, and that's a job well done. Uptick in intensity for guitars and bass around 01:30 works well, with the shift to more angular guitar lines around 01:46 serving as my favorite section. I dig the wordless direction for the hook, letting the guitars shine. There's certainly room for melodic growth, though from what I'm hearing now this act has ample potential on the melodic and musicianship ends. Some Mac DeMarco vibes as well - nice. I'll aim to post this on Obscure Sound in the near future. Also, if you ever need help with PR for this track or others, feel free to send me an email at mike@obscuresound.com -- I can share my rates and success stories upon request. Thanks again for the great submission! -Mike

submitted media.

Forget It's Good by Dama Scout

Mike Mineo

"Forget It's Good" begins engagingly, with a mellow guitar and serene vocals comprising the initial arsenal before comforting bass and percussion kicks in around 00:35, helping exude a crisp indie-rock feel that reminds of Metric/Emily Haines. Slight uptick in intensity around the one-minute mark gives way to the distortion-heavy hook around 01:05 -- this particular approach reminding fondly of Sleater-Kinney and their tendency to alternate between distorted gauzy hooks and very sweetly pleasant verses. Speaking of that, the verse subsequent to the first chorus floats wonderfully on a shoegaze-y psych-friendly cloud. A bit of Tame Impala in the rhythm section there, before it transitions back into the original intro feels around the two-minute mark. Overall, I love how this track navigates between moments of distortion-heavy intensity and gorgeous trickling shoegaze-y psych-rock; structurally it's brilliantly done, and the melodies are captivating to me. Excellent work -- will certainly post on Obscure Sound in the near future.  Also, if you ever need help with PR for this track or others, feel free to send me an email at mike@obscuresound.com -- I can share my rates and success stories for my servicing upon request. Thanks again for the great submission! -Mike

Shaylee Simeone submitted media.

Oh, Let Go by Shaylee Simeone

Mike Mineo

Echo-ey guitars and swelling percussion combine with hushed vocals for an enticing beginning, with the transition to a soaring pop-acquired sound around 00:35 working nicely. The track shows itself here as a summer-y, uplifting pop anthem -- impressive for any pop artist, and especially a debut. Transitioning into the verse, intermittent guitar twangs combine with the aforementioned swelling percussion for an aptly aquatic feel, leading predictably back into the chorus. Although the structure here is predictable, the track sits firmly in the fairly conventional pop territory, so it's fine. The exultation during the chorus lends a more pop-centric indie sound as well, though generally it plays very stylistically safe for site tastes personally. Still, the production is faultless, the vocals have plenty of enthusiasm, and the hook is easy to digest and enjoyable -- so this stands as a successful effort with ample radio-friendly appeal. Thanks for the submission! -Mike

Karl Behrens submitted media.

Monuments by Karl E. Behr

Mike Mineo

The sullen acoustical melody and woodwind-like clanking works well in conjunction, with that clanking adding an exotic percussive element that reminds me of Sun City Girls. The vocals are understated and opt for atmospheric emotion over variation, which plays well in this track specifically. The lack of structural variation makes for a very hypnotic quality, again reminding me of Sun City Girls' general get-glued-to-your-subconscious approach, which this track succeeds similarly in. In a track about loss, the hypnotic and sullen feel works very well, as do the ghostly backing vocals and lyrics like "lie your soul and spirit, I spoke to your monument / too bad you'll never hear it." Nice effort -- will aim to post this up on OS. Also, if you ever need help with PR for this track or others, feel free to send me an email at mike@obscuresound.com -- I can share my rates and success stories for my servicing upon request. Thanks again for the submission, -Mike

Vijay Jayant submitted media.

Limbs by Dust Breaks

Mike Mineo

Great lead-in here -- distant gothic-funk beat builds into swelling percussion, with an anthemic guitar/synth arp sound exuding a funk appeal within the first 30 seconds. Guitar and bass mimicking the same melody just before the one-minute mark works well to bring back the initial verse, as it does again when this section arrives again around 01:16 and is successfully enhanced by more whooshing percussion at 01:23. Percussive break at 01:36 shows an interesting transition, one that works well melodically despite the halted instrumental usage here. Synth arp/guitar culmination at 02:09 provides for my favorite hook of the track -- nicely done. Soaring guitar addition at 02:50 serves as my favorite arsenal addition in general, breathing life into the constructed soundscape and carrying the next two minutes as the entire arsenal finishes nicely. Lively and engaging effort, for sure. Will post on OS sometime in the near future. Also feel free to let me know if you're ever interested in help with digital PR -- I can provide my rates/success stories upon request. Feel free to send an email to mike@obscuresound.com if interested. Regardless, thanks for submitting and please keep me posted on future material. -Mike

Adam Kahn submitted media.

Reawakening by The Foxfires

Mike Mineo

Warm guitar jangles and a very steady rhythm section help comprise an inviting beginning to "Reawakening", with the vocal emergence around 00:48 sounding crisp and airy -- nicely done. With the intro down pat, the track navigates nicely in power-pop/alt-rock form to the fun guitar-based bridge just past the one-minute mark. The verses comfortably returns, with the "you forget what you get when you get what you get" hook playing nicely prior to the tropical-like guitar licks around 02:30. I'm enjoying that central hook, as well as the guitar adornments and phaser-friendly production that follows it. This is a very tightly constructed indie-rock effort that reminds me a bit of The Hold Steady. Jam-friendly conclusion adds nicely to it all as well and shows the band's high level of musicianship well. Very nice work! Will post on OS in the near future. Feel free to let me know if you're ever interested in help with digital PR -- I can provide my rates/success stories upon request. Feel free to send an email to mike@obscuresound.com if interested. Regardless, thanks for submitting and please keep me posted on future material. Have a great weekend! -Mike

Daniel Belgrad submitted media.

Bybird by Section

Mike Mineo

Acoustic strums and playful synth keys establish a very inviting beginning, with the vocals around 00:52 coming in cohesively. The vocal tone reminds me of Michael Stipe's, which considering the restrained and melodically developmental vibe plays well. Subtle melodic variation - the "try so hard" repetition around 01:50 - is effective. The lack of variation in the melody at this point results in a hypnotic quality, though a worldless bridge to mix things up probably wouldn't be the worst thing here. Still, really digging this track's hypnotic allure. I will be posting both this and "Transport" on Obscure Sound sometime in the next week. Also let me know if you're ever interested in PR for these tracks -- I can provide my rates/success stories upon request. Feel free to send an email to mike@obscuresound.com if interested. Regardless, thanks for submitting and please keep me posted on future material :) -Mike

David Rosen submitted media.

Butterfly (Music Video) by David Rosen

Mike Mineo

Ghostly and ominous beginnings cast a cinematic quality on the track, especially combined with the running-motion in the video. Some guitar strums around 00:40 add an elegant quality that's reinforced even more by the spacey synth arps that emerge at 01:16, which are excellently incorporated and give off some very cool 'Stranger Things' vibes. The arp combines well with the ominous synth pad backings, with climatic percussion of sorts signaling in just prior to the two-minute mark. This has a very nicely atmospheric quality and would work wonderfully in cinema, especially in films by the likes of Darren Aronofsky or Nicolas Winding Refn. Thanks for submitting -- will aim to post it on OS in the near future. Also, if you ever need help with PR for this track or others, feel free to send me an email at mike@obscuresound.com -- I can share my rates and success stories upon request. Thanks again for the great submission. -Mike

Terry Ngala submitted media.

Mike Mineo

Playful percussion and a sonorous synth serve as a nice complement to a suave vocal delivery, the "___, girl" initial approach weaving well into the uptick in tempo that arrives with the additional blooping synths. Effervescent hook around 00:52 is wonderfully done -- I was waiting for a hook at that point, and it arrived just in time. The verses are pretty to-the-point, though I do dig the linguistic transition around 01:30 -- and then into that killer chorus. Some great variety here. This is a very fresh-sounding effort that's easy to get into. As you mention, it's a very appetizing hybrid of lush hip-hop and Afro-beat. Style is getting some nice airplay now, so there's ripe PR potential here. Reach out to me at mike@obscuresound.com if you ever need a hand with that. I'm looking forward to posting this track on Obscure Sound in the near future -- dazzling hook drives it. Great work! -Mike

Liam Mullany submitted media.

Logans Runners by Logans Runners

Mike Mineo

Mysterious and enigmatic sound here -- string-laden emotion reminds me fondly of Owen Pallett/Final Fantasy, though with a more folk-driven exposition. Vocals are down-to-earth in their personable approach, though also have a grandiosity in moments like the "dying alone" lyrical bit and then halted bit just past the one-minute mark. String emphasis around 01:38 provides for some excellent atmosphere -- akin to The Decembrists and Marissa Nadler in the haunting string-folk approach. The wordless vocal whimpers around the three-minute mark provide a chilling dose of variety, leading well into the song's second half. Really enjoying the close-knit outdoor setting for this track's video as well -- fits it well. Somber and understated lead just prior to the four-minute mark suggests expansion to come, which does - at 04:24, when the strings combine with the emotional vocals for the imminent culmination. This track is a journey of a listen, though in a good way, and one that introduces listeners to the group's epic songwriting arsenal well. While not always easily digestible, this is a great showing of quality songwriting and musicianship. Will be aiming to post on Obscure Sound in the near future. Also feel free to reach out to me at mike@obscuresound.com if in need of help with PR; I can provide my rate and success stories upon request. Thanks for the submission! -Mike

MiD submitted media.

Comfy by MIDMAC

Mike Mineo

Track isn't loading unfortunately -- please re-submit or send via email to mike@obscuresound.com

Chastity Ashley submitted media.

Satellite (Acoustic) by Beauty In The Breakdown

Mike Mineo

Decision to introduce vocals and strumming acoustics immediately sometimes doesn't work, but it does so here -- as the melody is instantly infectious and the vocals airy and sonorous. The "everytime I close my eyes" shift suggests the expansion to a grander hook, additionally driven by the fluttering acoustic approach 10-15 seconds thereafter. Subtle backing symphonic is a nice touch here, though I do think some pulsating percussion would hammer home the hook here. I recognize this is an acoustic version, and it plays very nicely, though I imagine the "satellite" hook would differentiate from the similarly-sounding chorus more with a more distinguished percussive addition. Infectious verses though -- actually reminds me of The Cars in its power-pop approach. Bridge around the three-minute mark provides some nice melodic variation as well. Nice work there. I'm really enjoying this effort, and although I'd like to see more variation between verse and chorus, that's more due to the acoustic aim here. Adding some percussion to the hook would breathe some life here, though I do dig the overall result, even if acoustic music isn't my site's primary emphasis. Nice work and thanks for the submission. -Mike

Human in Bloom submitted media.

Mike Mineo

Creaking guitars and subdued vocals give this track a mysteriously inviting feel, with the warm synth warble around 00:37 showing a nice developmental prowess. Transition to hook around 00:50 is preceded nicely by the barren and semi-creepy acoustic twang, which is a great production choice for going into the confidently suave chorus, where crunchy guitars and emotive vocals collide nicely. Reverting back to the verses, I'm really digging the sporadic bass bursts that give way to snarling guitar twangs. Getting some nice Radiohead vibes here and throughout, even as the vocals are friendlier to the common audience, and the hook veers more toward Queens of the Stone Age territory. Obviously both these comparisons are favorable :D Very nice work here. Will aim to get this up on Obscure Sound in the near future. Thanks for the submission! No faults being heard on my end. Feel free to reach me at mike@obscuresound.com if you'd like to chat more regarding my PR services; I can provide rates and success stories upon request. -Mike

Patrice Fernbacker submitted media.

I'm Sorry by Sabrina

Mike Mineo

Theatrical and yearning vocals are aligned well with the delicate piano arrangement, showing a minimalist yet effective introduction. Strings and the "wish I could see you again" yearning prior to the "I'm so sorry" hook works well, as does the aforementioned hooks. Typically Obscure Sound covers more left-field material in terms of style, though I do think that "I'm Sorry" shows great work in the pop genre. The vocals, caressing piano, and string flourishes comprise a very effective arsenal, and Sabrina's vocals are faultless. I see this as having ample radio success -- it's substantially better than a lot of what I hear there nowadays, and there's broad appeal here -- although firmly in the pop genre, there's also a saccharine country tinge. The melodic bridge around 02:35 also works very well. In all, with the production and vocals both being solid, I'm not hearing any faults or points for criticism. Although the style gravitates toward the conventional for site tastes, I'm really enjoying this, and it shouldn't have an issue attracting the attention of pop music sites/blogs/radio. Thanks for the submission! -Mike

Katie Schottland submitted media.

Cage by STILLS

Mike Mineo

"Cage" works off an inviting initial arsenal, with warm duet vocals, welcoming guitar twangs, and a fluid rhythm section. Lyrics like "birds all sing in the garden where you lie" help guide toward a carefree and breezy soundscape, with the gentle transition to the next section around 01:03 being accommodating of that direction. The "this passing light" pause works very well, production-wise, in leading to the melodic and harmonious wordless vocal backing around 01:27. Structure thereafter is mostly repeating of the first two minutes, though it's warm and inviting enough to warrant the repeat. This is a very pleasing and accessible indie-rock effort with a high level of satisfaction for the listener. Will aim to get this up on Obscure Sound in the near future. If ever in need of PR help for this track or others, feel free to reach me at mike@obscuresound.com -- I can provide rates/success stories on my digital PR servicing upon request. Thanks for the great submission! -Mike

Sam Rustin submitted media.

Mike Mineo

A deep bass, enthralling vocals, and an echo-ey dark synth presence provides an enticing intro to "You and I", with the effervescent key additions just before the 30-second mark serving as a great build-in aid to the infectious build-up from 00:30 to the one-minute mark, where successful theatrical vocals combine with hand-snapping for great effect. The "never meant to love you" hook just prior to the two-minute mark, with the building-up crunchy distorted guitar, creates a nicely devastating moment that reminds me very favorably of Placebo/Brian Molko's dark alt-pop brilliance. This sound has a more modern, sleek electro-pop edge, though the guitar additions - and especially the solo that begins around 02:40 - makes for a unique sound that makes me excited for this project. Really great track! Will post on Obscure Sound in the future, for sure. If in need of promotional help for this or any other tracks, feel free to reach out to me at mike@obscuresound.com; I can send rates/success stories for my digital PR servicing upon request. Thanks for the submission! -Mike

Karl Behrens submitted media.

Dandelion by Karl E. Behr

Mike Mineo

Personable and fun approach to kick things off, with the up-front vocal production providing a serene sense of complacency that works well with the hazy-summer-day vibes I'm getting from this track. I want to play this song on a blue-skied day while lying in a hammock. The punchy halt just past the one-minute mark serves nicely for some infectious variation, as does the playful wordless vocal approach that occurs on occasion. "Dandelion" also touts a lovable minimalism reminiscent of Magnetic Fields or, more recently, Frankie Cosmos. Nice touch with the whistling past the two-minute mark, which plays well off the whoop-like vocal quirk. Nice lo-fi tune that shows a project brimming with potential. Digging it. Feel free to send an email to mike@obscuresound.com if you'd ever like a hand with PR for this track or any others -- I can provide my rates/success stories upon request. Thanks for submitting! -Mike

Ken Rose submitted media.

Oasis (First/Last) by Michael Rose

Mike Mineo

Gentle acoustics and sonorous vocals provide "Oasis (First/Last)" a nice and accessible opening, with the "we are the first / we are the last" slight variation setting up nicely for the introduction of percussion just prior to the one-minute mark. The gentle keys also play a nice role. The "sun is blinding" bit is apt -- as the instrumentation resembles shimmering sunshine, in a way that reminds me fondly of Collective Soul's more sun-tinged tracks. This track does have a nicely nostalgic late '90s/early '00s stylistic edge to it; I enjoy it. The sparse bridge around the two-minute mark provides just enough variation to keep things mellow, while the subsequent guitar solo at 02:25 is crisp and audibly welcome. This track chugs along very nicely, not breaking down any stylistic barriers but certainly succeeding in a lush melodic array of amiable pop/rock, with an easily digestible hook and no issues on the production front. Will aim to get it on OS within the next month. Also feel free to reach out to me at mike@obscuresound.com if in need of help with PR; I can provide my success stories and rates upon request. Regardless, thanks for the enjoyable submission! -Mike

Jules Shapiro submitted media.

Sinner by Firebug

Mike Mineo

Bluesy howl of guitars set this one up nicely, with the chugging rhythm guitars, twangy lead, and sultry vocals comprising a very appealing arsenal. As your description states, this shows a return-to-roots take on vintage rock 'n' roll that's often absent from today's rock scene. The uptick in vocal emotion and clanging guitars around 01:20 presents the first hook, a spine-tingling accomplishment that - while not blowing me over with innovation - is soundly accomplished. The New Orleans roots seems to have nicely contributed to the bluesy tinges, with the rising and rousing organs working well as a subtle maneuver. Really digging the percussion during the bridge at points like 02:38, and the "I'm free" vocal repetition afterward followed by the commendable guitar solo just prior to the three-minute mark. Repetition on the structural end results in a hypnotic state of energy that's fitting for this bluesy and vintage take. Very nice work! I will get around to posting this on Obscure Sound in the next month for sure. Also feel free to reach out to me at mike@obscuresound.com if in need of help with PR; I can provide success stories and rates upon request. Regardless, thanks for the great submission! -Mike

John Wollaber submitted media.

Tender Madness by 07 Jenny Besetzt

Mike Mineo

Loving this track! Great intro -- getting those Wild Nothing vibes with the shimmering guitars. Also some Kate Bush with those quick-moving synths. The vocal approach - with a nice dose of reverb and anthemic allure reminiscent of Deacon Blue. As you probably guessed by now, I'm really loving these '80s rock/post-punk vibes. Very stirring final minute as well -- nice escalating vocals over the effervescent synths and shimmering guitars. I plan on posting this on Obscure Sound in the near future -- August queue is backlogged and I'll be out of the country for a few weeks, but I'll post it up sometime in mid-September. Feel free to send a follow-up to mike@obscuresound.com around that time as well -- really nice work on this; no faults that I hear. Definitely interested in posting this and helping out with its promotion. -Mike

Josh McClung submitted media.

Mike Mineo

Twangy guitars and heavy bass make the intro for "U.N.I." very enticing. Guitars scale back as vocals enter, the clicking percussion and ruminating bass doing all that's needed to gently introduce the vocal presence. Bass-y additions around 01:03 provide a great lead-in to the subsequent shimmering guitars, aided by the infectious "you and I" vocal backdrop. "You and I" wisely shows itself with more clarity around the two-minute mark, setting up nicely for a nicely composed final minute or so, filled with ambient guitar twangs reminiscent of The War on Drugs/Kurt Vile. Ending is enjoyably repeating in a hypnotic sense. Really digging this track - nice work. Will get around to posting this on Obscure Sound sometime in the next 30 days. Thanks for the submission! -Mike

Jason Cardinal submitted media.

Mike Mineo

"Five Stars" begins nicely with rousing keys and Jason Cardinal's rousing vocal presence, which has a melodic grasp reminiscent of Elton John but a semi-raspy vocal delivery that reminds me of Paul Weller's enthusiasm. Two awesome vocal comparisons for sure, and complemented nicely by the occasional backing female vocals. Even with a conventional structure, "Five Stars" features a rollicking verse with quality vocals, infectious piano, and slight slabs of organ. Male-female vocal duet in the bridge around 01:30 is very well-executed, driving into the second showing of the chorus. Really digging this! Style isn't new by any means, but within this realm it's excellent -- very hook-y and soulful. The Style Council is a stylistic comparison that you should be proud of, while Joe Cocker comes to mind as another vocal comparison. Will aim to get this up on Obscure Sound within the next month - highly enjoyable track. Feel free to send an email at mike@obscuresound.com if you need a hand with PR for this track or others. Either way, thanks for the submission. Great work! -Mike

Carisa Bianca Mellado submitted media.

Human Things by Carisa Bianca Mellado

Mike Mineo

Immediately captivating sound that reminds me of Kate Bush, who herself has a wide stylistic range, but outputs a very worldly sound. The sitar-like drone and gentle strings (?) in the backing during the intro, combined with the soaring vocals, make digging into this one quite easy. Effervescent lift-up around 01:31 serves as a very nice hook. The track possesses a very mystical feel, which aligns wonderfully with the description you provided of the Sirian Dolphin Princess narrative. The rest of the track flows beautifully in hypnotic bliss. I'll post this in the future on Obscure Sound for sure. Also feel free to reach out to me via mike@obscuresound.com if interested in help with PR for this track; I can provide rates and success stories for my PR services upon request. Thanks for the excellent submission! -Mike

Michael Gross submitted media.

Keep Yourself Awake by The Statuettes

Mike Mineo

Infectious intro that chugs along nicely, with the proper addition of the twangy guitar line around 00:30 that helps set up well for the bridge at 00:48, following nicely into some excellent melodic maneuvers, like the cohesive transition back to the initial intro around 01:18. "You've been waiting for the longest time" bridge/chorus a nice moment that reminds me of Weezer, circa their Green Album -- this one has similarly concise vocals and crunchy yet melodically warm guitar rhythms. Distortion-friendly interlude around 02:31 a great choice to keep the structure from being overly conventional. This is a very fun rocker/power-popper that I'm really enjoying. I'll post this in the near future on Obscure Sound, for sure. Also feel free to reach out to me via mike@obscuresound.com if interested in help with PR for this track; I can provide rates and success stories for my PR services upon request. Thanks for the great submission! -Mike

Paul Trygstad submitted media.

Radio Edit by CTRL + ALT + DEL (Removed)

Mike Mineo

Gentle keys and whisper-y vocals give this one an introducing beginning, warbly and nostalgic in tone. String introduction thereafter aligns with a nice vocal melodic shift, reminding of the melancholic pull of acts like Red House Painters and American Music Club. Slight addition of a percussive element allows the keys to flow freely during the "how does it feel..." sections. Really nice arsenal between the vocals - which possess a likable raspiness reminiscent of Psychedelic Furs' - and the warbly keys/strings, to result in an engaging sound that shows a hint of sadness but also optimism in the string line. Successfully captures intentional distance and nonchalant. I'll post this in the future on Obscure Sound for sure. Also feel free to reach out to me via mike@obscuresound.com if interested in help with PR for this track; I can provide rates and success stories for my PR services upon request. Thanks for the submission! -Mike

Mario Jackson submitted media.

Hut Freestyle by Kray The a Entertainmener

Mike Mineo

Good vocal production -- has a touch of cohesiveness with the aid of effects, but it's not overly consumed by it, unlike a lot of material today. Beat is straightforward yet effervescent and consuming, with structural variations like the vocal melody change around 01:20 -- leading to the percussive drop at 01:31 -- serving as a commendable hook. Instrumental emphasis thereafter provides a nice relief, though the instrumental section of the beat goes on for awhile, so I'm wondering if you were considering adding some vocals here? Beat is good enough to shine on own, but may want to cut it down a bit if no new vocals are added to second half. Still a nice effort though. Thanks for submitting!

Milo Starr Johnson submitted media.

Family Album by Milo Starr Johnson

Mike Mineo

Stylistic approach - playful and narrative lyrics alongside brisk piano-led pop progressions - reminds me of Squeeze, and fondly so. "Oooh ahh" vocal additives just past the one-minute mark allow the subsequent melodic shifts to prepare for the listeners' ears, with the "family at war' bit reminding me of Peter Gabriel's themes. Great use of backing vocals throughout, with some really great piano flourishes as well just past 01:50. Would love to see more of this ambitious, stylistically inventive piano work. This track is enjoyably understated from a stylistic point, but certainly shows an artist I'd love to listen more of. I'll look to post on OS in the future. If you need any help with promotion, feel free to send an email to mike@obscuresound.com -- I can provide rates and success stories regarding my PR service upon request. Thanks for the submission! -Mike

Christian Lindal submitted media.

Up All Night by DYSON

Mike Mineo

While stylistically overly radio-centric for Obscure Sound, "Up All Night" is a riveting electro-pop stunner with faultless production that blends anthemic vocals with interesting electronic work. Nice halted effect around the one-minute mark to lead into the first structural verse, with the vocals showing off plenty of variation into the arp-laden bridge and explosive chorus. The "will be up all night" hook is a good one -- with a nice synth melody flourish at its tail-end, which also plays well during the submerged audio effect around the two-minute mark. Very nice work here, though I'd recommend pitching to more pop-centric blogs.