- 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, helping lead to placement in NME, Pitchfork, Indie Shuffle, and many more, including a nationally televised commercial with ESPN, spots on Spotify's official "New Music Friday" playlist, as part of the soundtrack for the 'Rocket League' video game, 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
Yearning track with an aesthetic that reminds me of The Stills -- sporadic bursts of guitar distortion sandwiched by suave vocals and a stellar hook in the "Stay alone / I made it on my own" bit. While not defying any sort of stylistic conventions, it's a nicely written and produced track, accompanied by an apt music video with a fantastic blast-off conclusion and relatively mysterious twist. The hook was enough to grab me, and though the track could have benefited by a bit more variation, I enjoyed it throughout. Since you mentioned seeking a manger and agent, feel free to let me know if you need a hand with PR as well. I've had great success with it in the past, helping earn artists spots in NME, Pitchfork, Indie Shuffle, Stereogum, in an ESPN commercial, on the soundtrack for the video game Rocket League, as the intro music for an original Netflix show, and more. I can send my rate and specific success stories upon request - feel free to reach out to me at firstname.lastname@example.org. Thanks for the submission! -Mike
The chorus rides on pulsating guitars and passionate, soaring vocals -- with the guitar-led bridge around the two-minute mark serving as a nice structural decision, contributing some variety on a track that generally plays it safe structurally otherwise. It's a well-produced, full-bodied sound that centers very much around the "open door" chorus. I do think this will appeal especially to the hard-rock scene and blogs of that nature, though it's overly on the "hard" rock side for Obscure Sound's primary tastes. Still, some fine work here that should find ample success if targeted aptly.
Buzzing bass and a lush synth pad kick things off, with a laid-back vocal delivery finding some nice rhythmic additions around the 30-second mark. The gradual expansion in melody merges together nocturnal elements of dubstep with more effervescent pop touching stones. "She be hoppin' borders" bit melds an infectious vocal delivery with the hypnotic beat that becomes ingrained in memory at this point. The repetitive structure doesn't wander too ambitiously in a melodic sense, though it results in a very melodic and atmospherically suave track that I'm really digging, headlined by the "she be hoppin' borders" hook. Very nice work! I look forward to posting on OS. Feel free to reach out to me at email@example.com if ever in need of help with PR -- I can provide my service's rates/success stories upon request. Thanks for submitting! -Mike
Whistles and swanky percussion make for a vibrant, exotic beat that meshes well with the plucky, playful vocals. This style is certainly more in the commercial pop realm than Obscure Sound's typical format, though there are a number of creative elements here that strike me -- especially the gradual expansion of strings around 01:20 that contribute to the crafting of a stellar hook. Overall delivery reminds me of TLC, though the symphonic elements and whistle-laden rhythms make for more variety than them. Hip-hop interlude at 02:40 a nice infectious touch that adds a dose of variety at the right time. This is a strong effort, for sure -- without any glaring faults or detractions that would prevent it from achieving commercial success. Feel free to reach out to me at firstname.lastname@example.org if ever in need of help with PR -- I can provide my service's rates/success stories upon request. Thanks for submitting! -Mike
A thickly reverberating rhythm section and airy vocals give this track a weightless, psych-friendly quality to kick things off -- drawing me in instantly. Various vocal layer additions around 00:50 make for an infectious result, with the loopy synth addition at 01:19 reminding me extremely fondly of Pulp, specifically the synth use in "Pink Glove" -- one of my favorite tracks. This 01:19 synth addition is a FANTASTIC production choice, resulting in a very memorable melodic moments. Sophisti-pop guitar stylings at verse around 01:48 is superb, as well. This is a very hook-y, remarkably successful track that hits my stylistic sweet spot. I'll definitely post this up on Obscure Sound in the near future. Also, feel free to reach out to me at email@example.com if ever in need of help with PR -- I can provide my service's rates/success stories upon request. Would love to work with you. Thanks for submitting! -Mike
Pulsating synths and a subtle underlying bass combine with heavenly, sonorous vocals to make for a track touting a blissfully ethereal soundscape. Blaring synths around 01:20 add a dose of energy, in a sophisti-pop vein -- a la Prefab Sprout, while the percussive kick-in around 01:37 helping initiate a series of expansive instrumental additions that recall Hot Chip's structural tendencies. As such, it's a great hybrid of more immediate synth-pop and the highly atmospheric vein, with the hook-y transition at 02:35 being a nice example of this. With an alluring stylistic aesthetic and bright, memorable melody, there's no evident faults here. I'm really digging it, and will post on Obscure Sound. Would love to work with you on PR for this as well. Feel free to reach out to me at firstname.lastname@example.org for rates/success stories regarding my PR servicing. Thanks for submitting this gem! -Mike
Smooth vocals and a bouncy piano-laden melody help guide a pleasant track, with faultless production and an all-around appealing vibe. The lighting in the video is apt, as this touts a sorta sundown/sunrise feel with the lush vocal styling and hypnotic song structure. "I don't wanna go to work today / Baby, tell me it's a holiday" speaks to a common yearning, the lyrical theme centering around the 9-to-5 worker being a fine and poignant one. The melodic variation here is very minimal, so emphasis on the lyrics are notable. Although there wasn't enough melodic expansion for me to truly get hooked, I'm really digging the overall aesthetic of smooth vocals and glistening piano stylings. No evident faults that I can hear -- should have plenty of promotional potential. Feel free to reach out to me at email@example.com if ever in need of help with PR -- I can provide my service's rates/success stories upon request. Thanks for submitting! -Mike
Funk keys and scraggly guitars give way to an immediate vocal presence, certainly reminiscent in tone and delivery to Beastie Boys -- and fondly so. Halt at 00:42 makes for a nice rhythmic effect when the instruments kick in again. Distorted "what you say" around 01:04 services as a fun, rockin' hook that departs in style from the verse -- shows nice stylistic variety, which is often what I look for in a style like this. Piano-laden solo in the bridge leading back to a verse - now complemented with an organ, as well - are also great production choices. With a great hook in the rockin' "what you say" bit, and fun fast-paced verses, "Unkle Furious" is a track that pushes for replays due to its addictive nature. Nice work! Feel free to reach out to me at firstname.lastname@example.org if in need of help with PR -- I can send my rate and success stories upon request. Thanks for submitting! -Mike
Verse from intro to 01:04 is punchy and effective, with buzzing bass and clanging keys accompanying the brisk vocal delivery. "Don't stand alone" hook thereafter assumes a bit of a reggaeton feel, with not much variation in the melody but with the vocal production ascending in emotion and intensity for an infectious result. Return of reggaeton-like delivery around the two-minute mark is also effective. Structural variation in general is very minimal throughout, though the predictability plays well for a hypnotic feel and is appropriate for the radio-friendly eclectic pop hybrid. Vocal delivery is smooth and production is faultless, and although it isn't as stylistically idiosyncratic as some other material I post, it has a nice infectious quality throughout that plays well in the background or at the forefront. Nice work -- feel free to reach out me at email@example.com if interested in details/success stories regarding my PR servicing. Would love to work with you. Thanks for submitting! -Mike
Gauzy layers of guitar in the beginning concoct a soundscape with a shoegaze-y pull, while the introduction of angular guitars and intense vocals thereafter shows a crossing of prog-rock, emo, and alternative. The brisk percussion and vocal variation in the first minute alone shows an impressive theatrical presence not afraid of variation. Too many tracks nowadays suffer from a lack of structural ambition, so happy to see points like 01:25 where a twangy guitar interlude leads into a patiently introduced chorus, which glistens with infectiousness. The vocals retain an emotive edge without sounding overly whiny. "He's riding on the clouds / Tell me you can see Him," is a soaring, anthemic chorus that works nicely in the midst of this style. Ending minute, with the anthemic vocals and percussive pitter-patter, caps things off in solid form. Nice work -- I look forward to posting on OS sometime in the future. If in need of it, feel free to reach out to me at firstname.lastname@example.org if interested in success stories/rates regarding my PR servicing - I can send upon request. Thanks for the submission! -Mike
Haunting vocal choir effect, drip-drop percussion, and a spacey otherworldly vibe kicks this track off immediately in captivating form. Vocal emergence around 00:37 shows a funk-tinged, infectious edge. Late-night sax converges beautifully around 01:20, helping guide a swelling gargled bass and suavely incorporated brass again at 01:55, guiding into the key-laden smoothness that ensues. Repetition of the funk-ified vocals works even better the second time, with the brass assuming a more prominent presence. Good production choice to phase out the percussion toward the end, with the glistening chimes and soft keys contributing again to that otherworldly, spacey atmosphere this track so beautifully conveys. Wonderful track that's an atmospheric trip - excellent work. I'll be posting on Obscure Sound in the near future for sure. If in need of PR help, feel free to reach out to me at email@example.com if interested in success stories and rates. Thanks for the submission! -Mike
Chiming bells and minimalist percussion make an enticing beginning that allows the vocals to shine, which alternate between raw authenticity and backing autotune-accompanied melodic whimsy. The bouncy synth/key additions around 01:13 is nice and timely -- just as the structure was veering into predictable territory, you managed to infuse some interesting melodic additions over the "why they always talking about me" vocal call-and-response interplay. "Pillow talkin'" verse picks up the tempo a bit, affirming that this is an effort with an adventurous structural charm. Too many hip-hop/R&B-laden tracks these days are way too stale structurally. This follows the Frank Ocean school of keeping structures interesting, even if takes away some radio airplay appeal. The beat here is minimalist, though subtle changes and vocal production effects - with the hook especially at 02:45 coming back around for a nice effect - help guide toward a successful effort. Nice work! Will look into posting on Obscure Sound in the near future. Also feel free to reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR servicing. Thanks for the submission, Effbfabz!
Twangy electric and swaying acoustics contribute to a warm, comforting sound to kick things off. Although not breaking down stylistic barriers or treading too far into unpredictable territory, the tempered vocals and catchy twang make for an immediately digestible aesthetic and one that's considerably accessible. Guitar work is impressive and quaint, with the "what you're doing right here" hook providing a soaring and pleasant melody, in addition to the energetic organ-laden bridge around the two-minute mark -- personally, my favorite moment, and one that reminds fondly of vintage power-poppers like Teenage Fanclub. Very nice songwriting here, Mark. It provides a familiar stylistic formula, but one with precision in regard to production and melodic cohesion. I look forward to posting this up on OS. Also, feel free to reach out to me at email@example.com if ever in need of help with PR -- I can provide my service's rates/success stories upon request. Thanks for submitting! -Mike
Haunting classical-minded familiarity kicks this off, with The Beatles' "Because" having that melodic genius quality that will bring anyone in. Gradual percussive introduction around 00:55 begins to show where this is going, with emotive vocal turns in the next minute, with the forceful hip-hop delivery arising around 01:42. It's certainly intense and aims to be building somewhere, which arrives at the two-minute mark when the central hook of "Because" becomes evident with a symphonic glow. This plays like a mixtape and does well in showcasing the vocal approach of the act, though it's difficult for me to get a firm grasp on the creative capacity. The beat itself has some nice percussive additions, though over-emphasis on the "Because" beat does get on the repetitive side, though the phase-friendly psych elements emerging around 03:07 do show a shift in the proper direction. Also concerned that you may get some flak for Beatles copyright if you intend on releasing this. Act has potential, though would like to hear something less reliant on an extremely familiar melody as the backbone.
Inviting and nostalgic guitar jangle provides an exotic beginning, drawing the listener in with mystical-sounding vocals. Wonderful vocal performance throughout -- highly riveting and engaging. The "Everyone came to dance" hooks finds a nice melodic transition, subtle in arrangement but monumental in setting the stage for future transitions. The electric guitar quivering at 01:56 adds another great effect -- adding a chilling feeling to the mystical soundscape. The pitter-patter percussion is minimally invasive, allowing the vocals and guitar jangle to comprise the arsenal's majority. Re-emergence of hook at 02:55 is welcome. The "ceremony" conclusion - with the creaking backing vocal addition - caps things off well -- reminds me of Kate Bush, quite fondly. Really nice work here! Will look into posting on Obscure Sound in the near future. Also, if in need of help with PR, feel free to reach out to me at firstname.lastname@example.org for rates/success stories regarding my PR servicing. Thanks for the great submission! -Mike
Although I primarily feature and review studio recordings, this one does excellent in showcasing the live enthusiasm and melodic charm of The Pulltops -- no doubt you put on a great show. The beginning guitar tones remind me of early Smashing Pumpkins -- very early (late '80s demos). I mean that quite fondly. Nonchalant vocals chug along melodically, with bridge at 01:14 serving as a nice lead-in to the uptick in emotion around 01:27 that serves as the core hook. The angular guitar work and chugging rhythms make for a sound that, while not defying any stylistic norms, is certainly captivating and fluidly melodic. Vocal intensity and touch of reverb in the production lends a nice dose of '80s rock nostalgia. Lusher bridge around 02:50 adds a nice amount of variation to return back to the central hook, with the track simultaneously sounding nostalgic and forward-thinking. This is a solidly constructed and thoroughly engaging effort with a good deal of infectious appeal. Nice work! Will post on Obscure Sound in the near future. Also let me know if you ever need a hand with PR -- I can provide my rates and success stories upon request, if you reach out to email@example.com. Either way, thanks for the solid submission! -Mike
Beautiful atmosphere here -- murky and nocturnal, with alternating bass-y presence and subdued vocal delivery helping lead a gripping aesthetic. Subtle variation makes for a hypnotic feel, with comforting and warm bass line meshing well with the lush vocals. Interlude around 01:47 allows for synth pad spaciousness to make the subsequent vocal-laden reprisal quite effective, with the percussive re-introduction at 02:20 inducing a spine-tingling sensation -- the subtle key twinkles around 02:40 provide a similar effect. There are a number of wise production choices like these that lend to a fantastic atmosphere, and one that showcases a very promising artist. Looking forward to posting this up on Obscure Sound. Also, feel free to reach out to me at firstname.lastname@example.org if ever in need of help with PR -- I can provide my service's rates/success stories upon request. Thanks for submitting! -Mike
Endearing vocals and a gentle acoustic strum kicks things off amiably, with a gentle electric guitar twang easing in to show expansion. The gentle backing crooning adds to the ethereal beginnings well, with the "battle cry" hook at 00:46 serving as an effective contrast. This song avoids the tendency of others in this genre to not separate enough between verse and chorus; "Battle Cry" successfully wades between rainy-day and more upbeat, confident chorus to represent triumphant overcoming well. The alignment between melodic structure and lyrical theme is very nicely done - great job! I'm enjoying this track quite a bit. I'll look into posting on Obscure Sound in the near future. Also, feel free to send me an email at email@example.com if you're ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
A galloping bass and western-y guitar twangs kick this off well, with the sound of panting enhancing a frenetic feeling that meshes well with the yearning-for-cash lyrical beginnings. Aesthetic reminds me favorably of the group Man Man, narrative-friendly lyrical content with ample charisma accompanied by a fervent musical accompaniment. Blast of distortion and punk-laden energy around 01:20 adds a nice mix of variation, keeping things quite interesting. Surf-y guitar solo at 01:35 also works nicely. This is a short one at 02:29, but makes great use of its time -- ample variation and energy in addition to prevalent hooks makes "16:12" a winner. I'll be posting this on Obscure Sound in the near future. Also, feel free to send me an email at firstname.lastname@example.org if you're ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
Chorus here soars and plays beautifully -- the "you and I, we should have tried / it's too late, too late / I guess this is goodbye" moment, in particular, works wonderfully off the guitar twangs and keyboard flourishes. This is easy listening, with a sharp vocal presence that reminds me of favorably of Emily Haines. While not breaking down any stylistic barriers, "Seasons Change" is melodic ear-candy with ample radio-friendly charm -- very nice work. I'll be posting on Obscure Sound in the near future. Also, feel free to send me an email at email@example.com if you're ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
Vocals have a punchy charisma to them reminiscent of The Pixies' Frank Black -- very nice. The "I know that you would like to tell me" hook around 00:40 shows the vocal flexibility very well -- loving that pitch fluctuation, reminiscent of Television's Tom Verlaine in that sense (anytime a vocalist can be compared to both Black and Verlane, that's damn good haha). Warm guitar distortion and steady rhythms provide a basic yet aptly enforcing accompaniment, the vocals having a punk-laden edge that combined with melodic charm makes for a great alt-rock presence. Two-minute-mark bridge provides just the right dose of punch-y variation, as well -- giving the vocals a chance to once again impress with ascending emotion. Very nice work here from start to finish. I'll be posting "Forever Poser" on Obscure Sound in the near future, for sure. Also, feel free to send me an email at firstname.lastname@example.org if ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
Ominous piano melody and vocal side-panning make for an ominous beginning, leading into a very ferocious vocal delivery that captures angst and inner demons well. The initial violent lyrical content makes this very niche-specific, and overly aggressive for my site's tone personally, though with the horror-movie beat and charismatic beat it can attract followers of acts like Odd Future, which is the comparison I'd advise to start with for PR efforts. Interesting track, for sure - keep up the good work!
Smooth keys and guitar twangs help complement a charismatic vocal lead. Great synth effects at 00:48 provide a fun, bouncy feel. Apt cover picture of the lemonade, as this track does tout a blue-skied sunny day with the key/guitar-twang feel. The track uses vocal repetition - like "love is in the air tonight" and "memory laced thinkin' bout you" - as an infectious asset, bringing the vocals to the center and then submerging it to provide an effective contrasting effect. While it does lack structural variation, it lends a nice hypnotic quality that flows well. I enjoy the lyrics' positive vibes and the smooth production, though do wish the central hook had more variation and departure from the verse.
Gentle guitars, longing piano, and weeping strings make for an emotional beginning, one that does well in captivating the listener. The tone - a bit hopeful, a bit horror movie-esque - reminds me favorably of the act World's End Girlfriend (definitely reach out to any sites that featured them). Vocal entry at 01:52 has a tortured feeling that reminds me of Suede's Brett Anderson a bit. The "I will take you far away" hook at 01:35 comes at a nice time, and touts a great soaring ability. It's a nice departure from the track's initial darkness, showcasing a nice soaring effervescence. This is an enjoyable piece of songwriting in how it traverses between dark and light. A bit Bowie-esque on that front! Nice work here. I'd love to post on Obscure Sound upon release, and help out with PR. If interested, feel free to reach out to me at email@example.com for my PR service's rates/success stories. Thanks for the excellent submission! -Mike
Brooding industrial-rock feeling projected in the beginning, with rising guitar distortion and a powerful vocal presence. Spacey synth effects and guitar bursts just past the one-minute mark - as well as the "in the sky" vocal repetition - makes for a really cool otherworldly feel, with an elongated brooding. Main section chugs along nicely just prior to the two-minute mark, with relatable lyrical sentiments like "Be yourself and you will thrive." It touts a nice inspirational message. String interlude and evolving synth arp at 02:17 is nicely structured, with everything culminating nicely during the final minute. Nice work! Will look into posting on Obscure Sound in the near future. Feel free to reach out to me at firstname.lastname@example.org for rates/success stories regarding my PR servicing, if in need of it. Thanks for the submission! -Mike
Sonorous guitar fuzz at beginning develops nicely into more serene strums around the thirty-second mark, leading nicely into vocals that show a brutal honesty with the opening words "I'm not an honest person" -- with a charismatic tone with ample melodic variation. It makes the first minute immediately engaging, very important for this genre. Great hook around 01:17 where the guitars shift melody and the vocals assume a more romantic longing - "I will always love you more." Really awesome vocal performance in this section, in particular. The remainder is equally engaging, finishing at the perfect length. Very nice work here! I'll post this up on Obscure Sound in the near future. Also, feel free to reach out to me at email@example.com for rates/success stories regarding my PR servicing, if in need of it. Thanks for the submission! -Mike
Nice track! I'll post the following to OS alongside the video in the near future -- Gentle acoustics and a playful keys accompaniment help complement Orouni's engaging vocals on this excellent live session shot of "The Lives of Elevators", a new effort off the group's upcoming album. Also evidenced on the previously featured "The Peanut Specialist", Orouni's vocals have a soaring and personal quality to them reminiscent, at least to me, of Belle & Sebastian's Stuart Murdoch, as well as Neil Hannon, similarly capable of constructing hook-y pop songs that don't need shouting or much in terms of volume alternation to stand out. "The Lives of Elevators" is followed by the superb, brass-laden "The Devil and the Monk Seal", off their 2014 LP Grand Tour.
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!
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 firstname.lastname@example.org if interested in rates/success stories regarding my PR services. Either way, thanks for the submission -Mike
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 email@example.com to learn more about this. Thanks for the submission! -Mike
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 firstname.lastname@example.org if interested in rates/success stories regarding my PR services. Either way, thanks so much for the excellent submission! -Mike
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 email@example.com if in need of help promoting this. I can provide success stories and rates for my digital PR services upon request. Thanks, -Mike
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.
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 firstname.lastname@example.org if in need of help promoting this. I can provide success stories and rates for my digital PR services upon request. Thanks, -Mike
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 email@example.com if interested in rates/success stories regarding my PR services. Either way, thanks for the submission! -Mike
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.
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 firstname.lastname@example.org 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
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 email@example.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
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 firstname.lastname@example.org 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
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 email@example.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks for the submission! -Mike
The pulsing percussion and synth wables reminds me - in terms of atmosphere - of Swedish group The Knife, though the vocals pack an anthemic presence more in the vein of Depeche Mode. It makes for an interesting rock/electronic sound, complemented well by the ghostly synth pads during the hook first introduced around the one-minute mark. Cool serene synth arps around the 01:30 mark as well. It shows enough diversity, tonally and structurally, to hook me throughout and keep things interesting. The track is a nice hybrid of Depeche Mode-like synth moodiness and Muse-like anthemic appeal. Good stuff -- I'll look to posting on Obscure Sound in the near future. Also feel free to reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR services. Thanks for the submission! -Mike
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 email@example.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
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 firstname.lastname@example.org 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
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 email@example.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
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 firstname.lastname@example.org 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
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 email@example.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