- Founder/Editor of Obscure Sound; Music PR Professional
I am the founder and editor of Obscure Sound, a site that has been exposing quality independent music since 2006. It has been featured in the New York Times, Boston Globe, Toronto Star, The Guardian (UK), The Independent, The Observer (UK), Wired, BBC Radio 1, Stereogum, New York Magazine, and VH1’s Best Week Ever. Feel free to contact me in regard to music submissions for Obscure Sound and/or independent PR servicing, a comprehensive service I provide artists with. I have seen very positive results to date, earning artists spots in NME, Rolling Stone, Pitchfork, Indie Shuffle, and many more, including a nationally televised commercial with ESPN and several record label opportunities (with names like Burger Records and Rough Trade). I can provide rates and more success stories upon request ---> email@example.com
- artist management, music industry, pr, digital marketing, diy music promotion, consulting, music promotion, artist and creative talent relations, music marketing, social media, social media marketing, brand building, social media strategy, creative writing, emerging artists, music events, copywriting, music writing, music writing / blogging, promoting music, music journalism, music blogging, music reviews
- rap, hip-hop, jazz, funk, soul, indie rock, indie pop, hard rock, rock, folk, indie, singer/songwriter, electronica, edm, music, reggae, pop, r&b, garage, video games, gaming, dance, ambient, house, dubstep, indie folk, synthpop, shoegaze, electro pop, acoustic, chillwave, country, dark ambient, downbeat / electro-acoustic, grunge, film / video, comedy, uk garage, remixes, alt-country
"Abigail" begins lushly and infectiously, with a serene voice accompanying gentle key trickles and jangly guitar reverberations. The guitar segment around 00:50 is a nicely angular bridge to the ensuing verse, which rues intelligently on procrastination. The piano-laden bridge around 01:40 is excellently maneuvered as well. The vocal uptick in the "don't let life be drowned" line in the chorus adds nicely to a very solid hook, reminding me fondly of the group Ghosty. The crunchier guitar tones toward the track's conclusions show a more rock-oriented edge that's nicely fitting as a finale, capped off by the melodic guitar crawl in the final half-minute. Fantastic work. Look out for a post on Obscure Sound in the very near future. Also, reach out to me at firstname.lastname@example.org if interested in details (rates/success stories) regarding my digital PR servicing. Either way, thanks for the submission. -Mike
"Shotgun Shells" is a crisply melodic effort that builds toward a massive chorus with perky percussion and enthusiastic vocals, which are swiftly accompanied by a very slick series of instrumentation around 01:40 that incorporates both playful synths and rock-laden guitar distortion. The vocals remain playful and anthemic throughout, the tone very ideal for radio play. The "you had it all, and then took the fall" chorus is very musically accomplished as a pop hook; very impressed with its infectious tendencies. The synth/guitar interplay reminds me very fondly of some of Weezer's efforts. Great sound. Look out for a post on Obscure Sound in the near future. Also, reach out to me at email@example.com if interested in details (rates/success stories) regarding my digital PR servicing. I'm confident this track would be received very well by my contacts. Regardless, thanks for the submission :) -Mike
On the masterfully atmospheric "Let Me Go", an icy synth arpeggio surrounds otherworldly vocals, the female lead projecting a heavenly tone as the backing vocal samples present a dark sort of percussive infectiousness. Lying On Ice's gorgeous style reminds me very favorably of Chromatics' neon-tinged synth-pop, in addition to Hikaru Utada's more darker-geared efforts - or a less hectic and more organized Crystal Castles. Either way, comparisons aside, "Let Me Go" is a remarkably well done effort that balances a dark atmosphere brilliantly with seductive vocals and a subtle sort of infectiousness that sticks, with a sound that's quite original despite the complementary comparisons. Awesome work. Look out for a post on Obscure Sound in the near future. Also, reach out to me at firstname.lastname@example.org if interested in details (rates/success stories) regarding my digital PR servicing. This track should be received very well throughout the blogosphere. Thanks for the submission :) -Mike
"Vagabond" begins with a playful acoustical lead and a softly strummed rhythm, setting for a beautifully barren accompaniment to the lush vocals of Richard J Aarden. The Dutch/Italian singer-songwriter projects an impressive lushness throughout the effort, with particular props during the "let me come home" interlude and ensuing addition of guitar twangs. The "we're going nowhere, nowhere at all" bit provides a great build-up, especially with the uptick in vocal emotion and subtle backing vocal effect, which cohesively aligns with the beautiful guitar twangs. This begins barren and lush and ends fiercely memorably; it's an impressive track for sure. No criticisms on my end. Great work, and thanks for the submission. -Mike
"Meteorite" sounds like it will be massive from the get-go -- with a prickly synth/guitar combo immediately accompanying the intensely anthemic vocals, which possess a remarkable charisma that's matched by the energetic musical accompaniment. The drop hits aptly at the one-minute mark, enjoyably predictable in its execution yet wholly enjoyable nonetheless. It's a shame that summer is over here -- because "Meteorite" sounds like it could be a summer club-time hit. In reality it's enjoyable regardless of season, but the track possesses a remarkable energy typically found during summer. The galloping synth-bass, warp-speed synth lead, and hypnotic percussion align with the enthusiastic vocals to make a track ripe for airplay. Nice work -- thanks for the submission; I really enjoyed it. -Mike
"Sleep Forever" is a very well done track. The intro's distortion crafts a spacey dissonance that's nicely accompanied by the beginning guitar lead and reverbed vocals, resulting in warm gauzy layers that sound like a cross of grunge and psychedelic space-rock -- so nicely akin to Spiritualized. The spirited guitar solo just before the two-minute mark is a fantastic lead-in to the most subdued acoustical folk leanings, which tout a mystical sort of tendency in their arpeggiated infectiousness before the elements blend together for a cohesive finale. Great work -- I'll be posting it on Obscure Sound in the near future. Reach out to me at email@example.com if interested in details regarding my PR servicing as well. Thanks for the submission. -Mike
Based on this great track, I am really looking forward to this project -- nice work. The vocals, airy and sonorous, provide a melodic and lively accompaniment to a stirring arrangement of natural percussion, spacious woodwinds, and sprightly keys -- reminding me fondly of Owen Pallett, Andrew Bird, and other talented multi-instrumentalists capable of crafting a nice hook within a breathing soundscape full of swirling colors and eclectic stylistic endeavors. They "hey-ya-ya" section around 02:20 sounds like an otherworldly success, with its touch of Afro-pop. "Satisfied" is one heck of a track that I greatly enjoyed. Please reach out to me at firstname.lastname@example.org when the track is ready to post, as I'll put it up on Obscure Sound ASAP. If interested, aso reach out to me regarding my PR servicing; I can provide rates/success stories upon request, and would love to work on this. Thanks again for the submission -- great work. -Mike
A ferocious series of crunchy guitar riffs and exhilarating vocals set "Mary, Mary, Mary" up for immediate success. This successful alt-rocker is led by some wonderfully theatrical vocals, with the carressing guitar distortion and warm layers of gauze reminding me fondly of Sleater-Kinney. From the guitar solo at 01:40 to the shrill yet enjoyable vocal alternating between squeals and growls, "Mary, Mary, Mary" is riveting throughout its entirety. Fantastic work. Look out for a post on Obscure Sound in the near future, and reach out to me at email@example.com for details (rates/success stories) regarding my PR servicing if interested. Thanks for the submission. -Mike
Mellow keys and a bustling prog-rock assortment of guitars set up for an intro that reminds me fondly of The Wrens, immediately hooking me into "Rain Is Done". The serene vocals that follow, alongside the steady percussion and guitar/key push, show a more relaxed sound, reminiscent of jangle-pop greats like The Go-Betweens and their nonchalant vocals/caressing guitars hybrid. The transition around the two-minute mark to a minimalist yet captivating; the soaring interlude of sorts ("when the rain is done) is remarkably well done, serving nicely as a hook that leads into the gorgeous instrumental section around 02:40, when the backing organ serves as the organic backbone to a gorgeous guitar lead -- wonderfully reminiscent of The War on Drugs and Kurt Vile, who I believe are the most accurate comparisons despite your sound being wholly original and successful in its own right. WONDERFUL work. Look out for a post on Obscure Sound in the very near future, and reach out to me at firstname.lastname@example.org for details (rates/success stories) regarding my PR servicing if interested. Thanks for the submission. -Mike
"Colour Theory" is a strong effort with a sleek neon-tinged atmosphere and series of memorable hooks. Futuristic synths set up for an intoxicating beginning, where enthralling vocals are set alongside spacious reverbed percussion, a warbly synth pad, and effervescent sporadic key trickles -- in the relative vein of FKA Twigs and Jessy Lanza (her Caribou collaborations, specifically). The vocals, restrained yet powerful, add both a sense of nonchalance and sensuality, being particularly memorable during the wonderfully accomplished closing hook. No criticisms on my end -- great work. Look out for a post on OS, and reach out to me at email@example.com if interested in hearing about my digital PR servicing, if you need a hand with that. Thanks for submitting :) -Mike
Phenomenal vocal layering is one of several production standouts throughout "Dancing/Alone", an enthralling electro-pop stunner with heaps of club-bound potential (either via the original or imminent remixes). Roger Singh Kahlon's various vocal techniques - from the whimpering plea of "I don't want nobody dancing with you" to more soft-spoken moments of infectious seduction ("without you, baby, dancing alone") - are wisely incorporated into several overlapping layers. The track flies by, largely as a result of the oddly infectious tendencies it touts; "Dancing/Alone" is nocturnal-sounding but also with a hint of bright pop effervescence, a la Hot Chip. Great job -- Look out for a post on Obscure Sound in the near future, and reach out to me at firstname.lastname@example.org for details (rates/success stories) regarding my PR servicing if interested. Thanks for the submission. -Mike
"This Is the Day" begins with an inviting assortment of longing guitar acoustic and a slight backing distortion. The introduction of loose percussion and vocals is well done, comfortably easing listeners into a sound that reminds of Dr. Dog's vintage psych-rock pursuits, in addition to some fine work from the Elephant 6 collective. Red Sun's sunshine-laden rock/pop has a timeless sort of feeling like E6, mostly in its appreciation of feel-good hooks and an enjoyable sense of familiarity. I'm also particularly fond of the subtle vocal layering just after 02:00, where the serene female vocals combine with the enjoyably coarse male lead. "This Is the Day" is pleasant and accessible while still having its share of creative production and songwriting, like the phaser-friendly relaxed solo going into the four-minute mark. Really solid track here -- thanks for the submission. reach out to me at email@example.com for details (rates/success stories) regarding my PR servicing if interested. Thanks again for the submission :) -Mike
"Hands Up" features a really sick beat that shows its strengths immediately as the vocals kick in. Sporadic guitar samples and straightforward percussion allow both smooth deliveries to shine. The structure is predictable with its flip-flopping of various vocals sandwiching the central hook/chorus, but that lends to its high sense of accessibility; this could be easily heard on the radio or in clubs, whether it's the original or a remix, which I imagine this will inspire. Overall, "Hands Up" is a simple yet accessible effort that nicely plays off "the beginning of a great night" vibes, and whose positive energy and admirable flow should result in plenty of listeners.
"If I Could Undo It" begins with a dream-like atmosphere, where shards of mysterious synth pads evolve quickly yet cohesively into a wonderfully cohesive rock progression featuring bright guitars and tinges of whirring synths. While the spacey guitar arpeggio and general tone is reminiscent of Beach House, the overall psych-laden spirit - particularly in the dual layering of vocals past the first minute and onward - reminds me of Spiritualized's innate grasp of spacey rock-driven development. The vocals' nonchalance provides a great balance to the hypnotic guitar tremolos and overall feel. Very solid work here -- I'll be sure to post on OS in the near future. Also feel free to reach out to me at firstname.lastname@example.org for details (rates/success stories) regarding my PR servicing if interested. Thanks for the submission :) -Mike
Initially led by a playful bass line and tropical vocals, "Feeling Sinister" at first reminds me of beach-foam pop notables like Air France and The Tough Alliance, master manufacturers of beach-set tropical synth-pop. While that comparison is apparent throughout enjoyably, there's a ton of originality here as well. While the backing instrumentation is tropical bliss with its serene keys and plush percussion in a familiar sense, the vocals are very inviting and brilliantly melodic -- like a cross between Hot Chip's Alexis Taylor and pop artist Mika. What "Feeling Sinister" does particularly well is promote tropical synth-pop while being particularly proud of the "pop" element; the chorus is addictive, soaring, and easy to sing along to, while little flourishes - like the brass around 04:07 - are seemingly always successful and well-executed (this brass in particular reminds me nicely of Jens Lekman). Awesome work here. I'll be posting it on Obscure Sound in the very near future. Especially since the track went public just recently, reach out to me at email@example.com for details (rates/success stories) regarding my PR servicing if interested. Thanks for the great submission either way :) -Mike
A familiarly inviting acoustic jangle kicks "I Must Say Off", setting up nicely for Hayley Harrington's bluesy vocals. The sudden burst of various rhythmic and melodic elements around 00:30 suggests development at play, arriving during the chorus just after the one-minute mark when Harrington's suave vocals combine with the addition of lower-pitched and similarly-suave male vocals. The second chorus, at 02:20, does an even greater job of flaunting the group's strengths -- particularly in the bluesy skiffle around 02:40 with the little Allman Brothers-esque guitar stylings. In fact, a female-fronted Allman Brothers is the comparison I would make for this track -- and I mean that obviously very complementary. Nice work here. Look out for a post on Obscure Sound in the near future. -Mike
Oh! Mega! flaunts a refreshing sound that reminds me of a cross between Massive Attack's sensuous soundscapes and Janelle Monae's jazz-leaning versatility. "Vagaries" is a stellar track that rides on many enjoyable aspects. I'm particularly fond of the instrumental bridge around 01:30 with its slick keys and guitar skiffles, before launching again into the smoothly melodic vocals. The chorus - "these vagaries don't soothe me, do they?" - is infectious and warm, yearning in its tone but infectious in the expertly produced mixture of pop, alternative, and jazz. This quintet packs plenty of radio appeal despite impressive stylistic versatility -- great work. Look out for a post on OS in the near future, and contact me at firstname.lastname@example.org if interested in my digital PR servicing. -Mike
"Earned It (Fifty Shades of Funk)" is an immediately appealing effort with polished production and appealing versatility funk-tinged vocals. Fondly enough, Chromeo is an immediate point of comparison; I would prioritize PR outreach to publications fond of Chromeo and Hot Chip, as Haan's sound is on-par in terms of polish and - in my opinion - touts an even more inventive sound, more in the territory of Ford & Lopatin (another useful point of reference) while remaining in the electro-tinged funk-pop realm. With its irresistibly infectious chorus, there's no reason this track shouldn't be making waves in the blogosphere; it certainly meets all the parameters for a hit. Look out for a post on Obscure Sound in the near future, and contact me at email@example.com if interested in details (rates/success stories) regarding my digital PR servicing. Thanks for the submission! -Mike
What a pleasant slice of indie-pop! "Blue Umbrella" is a hook-filled success with a video that touts an illuminating artistic style reminiscent of 'Midnight in Paris' in its colorful demonstration for art-filled adoration. The "hey, hey, you" to kick off the chorus - followed by the soaring "under a blue umbrella" - makes for a fantastic chorus that reminds me favorably of The Pastels, who in addition to The Cardigans are great points of reference for blog outreach. Fun and predictable, the track is a breeze to listen to -- and in accomplishing that role, is largely faultless as a pop track. Masterfully executed ear candy, to be sure. Look out for a post on Obscure Sound in the near future, and contact me at firstname.lastname@example.org if interested in details (rates/success stories) regarding my digital PR servicing. Thanks for sending this along! -Mike
I really enjoyed the personable presentation here -- I usually don't get submissions from artists in front of a camera just playing raw and live, so this was appreciated. Onto to the track, "Trying to Do Me" showcases Stricklen's striking vocals, particularly how his melancholic quiver collides beautifully with the acoustic strums, which nicely alternate from gentle to forceful. "There's a line at the end of a tunnel, just pray it's not a train," is a nice piece of wit that helps guide the track into the pleasantly simple chorus, "just trying to do me." This is a sincere, well put-together country effort that reminds me favorably of Drive-By Truckers in its relay of sincere and highly relatable sentiments, whether it's hoping for light at the end of a tunnel, wallowing in a dimly lit bar, or both. Really solid work here, Orlando. Look out for a post on Obscure Sound in the near future, and keep up the good work. -Mike
Under the alias Dazy Crown, Thomas Crown crafts highly melodic guitar-rock reminiscent of Ducktails and Real Estate. Integrating both surf-pop and garage-rock influences, Crown's sound is an instant pleaser; on "Perfect Dream" his mellow vocals are mixed perfectly amid the twangy guitars, gentle rhythmic strums, and light percussion. The structure may be predictable, but that lends to a certain hypnotic quality that seems just right for this style; the bridge at 02:40 provides just the right dosage of versatility. Judging by the calm ocean waves on the cover, it seems the branding is already down pat, as the track conjures visions of a hazy lazy beach day with its languidly enjoyable guitar progressions and vocals. Fantastic work! I'll be posting this on Obscure Sound for sure in the coming week or so. Keep an eye out. Also, reach out to me at email@example.com if interested in rates/success stories regarding my PR servicing. Thanks for the great submission -Mike
"Be Here Now" is an excellent track that hearkens back to the heyday of folk music, when artists like Cat Stevens and Harry Chapin seemed to effortlessly lace gentle guitar progressions with vintage keys, soft vocals, and a pleasant lyrical palate. As the track begins to pick up, with the listing of the seasons, the music seems to reflect it -- with the jazzy percussion and uptick in vocal intensity representing the shift; the enjoyable interplay is similar to how Van Morrison collaborates his wordplay with instrumentation throughout 'Astral Weeks'. "Be Here Now" is a gentle folk success that's very pleasant to the ears. Folk-driven blogs should eat this up. I'll be posting it on Obscure Sound in the near future, anyway. Feel free to reach out to me at firstname.lastname@example.org if interested in details (rates/success stories) regarding my PR servicing. Thanks for the submission! -Mike
"The End of the World With You" begins spaciously -- with a stirring orchestra of sorts, and a swelling series of horns that reflect a rising sun (at least in my mind). Sam Strawbridge's lyrics - which speak of a coming apocalypse of sorts, but a sort of comfort as well in being with the one you love - combine with the instrumental backing for a striking effect, reminding me very fondly of Pink Floyd's "When the Tigers Broke Free." The "I'm glad I could just spend it next to you" line preceding the instrumental elevation around 01:20 is quite effective, as is the gradual build-up that makes the use of strings particularly apparent during this section. I'm really enjoying how the backing instrumentation's beauty becomes increasingly apparent. Whereas build-ups in many other tracks attempt to cloak insubstantial songwriting, this is the opposite -- the culmination is excellent, and the build-up is an excellent methodological choice to showcase it in its most appreciative form. Technically sound and stylistically innovative, "The End of the World With You" is a stunner that blends Spiritualized's spacious beauty with Pink Floyd's psych-leaning vocal experimentation. Awesome work! I'll be posting it on Obscure Sound very shortly. Also feel free to reach out to me at email@example.com if interested in details (rates/success stories) regarding my PR servicing. Thanks for the submission! -Mike
Spastic guitar effects complemented by a suave bass trickle make for a fascinating intro that makes "Drive" immediately entrancing. The arrival of spoken-word vocals and trickling keys conjure up a darkly brooding narrative, something not too far out of Nick Cave's realm. Kuhl's voice is clear and intense, with the video's swapping between spoken lips and a very striking dance, with the actress' facial distortions being particularly apt in regard to the dark sprawl of "Drive". With a brooding backing build-up reminiscent of Nick Cave and an idiosyncratic penchant akin to Scott Walker's more recent works, "Drive" is an enjoyable piece of spoken-word music with plenty of innovation. Thanks for the submission! Look out for a post on Obscure Sound, and reach out to me at firstname.lastname@example.org if interested in rates/success stories regard my digital PR servicing. -Mike
"Blue Planet Blues" reminds me of Robert Wyatt's ability to concoct beautiful soundscapes with his jazz and funk-leaning hybrids containing wistful vintage keys, minimalist percussion, and gradual hooks. The first central hook here arrives around the one-minute mark, when the vocals assume a funk-tinged enthusiasm over the relaxed demeanor of the keys. The heightened vocal pitch around 01:35 is an excellent choice -- providing a degree of emotional versatility reminiscent of Lewis' classic album 'L'Amour' and even Prefab Sprout's sophisti-pop adventures. Also taking a cue from funk and soul greats of old, the track still manages plenty of modern innovation -- particularly how the vocals seamlessly shift from various pitches and incarnations. The spoken word section is interesting, but works well, as does the nah-nah-ing toward the conclusion. This is a stylistically inventive and successful effort that travels many interesting roads. Look out for a post on Obscure Sound in the near future. Also feel free to reach out to me at email@example.com if interested in details (rates/success stories) regarding my PR servicing. Thanks for the submission! -Mike
"Trouble Is Real" is a wonderful track that reminds favorably of Dr. Dog, Wilco, Kurt Vile and a few other talented acts who incorporate the classic schematics of acts like The Band and Harry Nilsson into a contemporary indie-rock arsenal. The swooning guitar twangs, sound rhythm section, and central hook-filled chorus make for an excellent rockin' assortment that starts and finishes strong, elevated particularly by a chorus driven by the charismatic vocals and collaborative keys and guitar twangs. The bridge just past the two-minute provides for some excellent melodic variety as well, capped off by the deliciously repeating "the trouble is real" outro chorus and fading key tremolo. I LOVE this track, and will be posting on Obscure Sound this week. Please reach out to me at firstname.lastname@example.org if interested in my digital PR services -- I can send rates and success stories upon request. Thanks for the great submission! -Mike
"Never Needed Anything More" is delicate and ethereal from the get-go, with Stanley Michael's soft and wistful vocals being reminiscent of How to Dress Well's Tom Krell -- especially with the gorgeous backdrop containing patient rhythmic elements, trickling keys, and soft acoustical plucks. The softly contemplative pop of Swedish group jj also come to mind, favorably. There's plenty of innovation as well -- particularly how Stanley Michael's voice tread an enjoyable line between sophisticated pop and R&B, dripping with the reverbed melancholy of How to Dress Well but also the morning-after sexiness of The Weeknd, particularly in the darkly romantic instrumental accompaniments. Cool to see you went to Syracuse as well -- my in-laws live up there a few minutes from the city, so I'm up there a bit. Anyway, I'm really enjoying this track, and will be posting it on Obscure Sound this week. Feel free to reach out to me at email@example.com if interested in my digital PR services -- I can send rates and success stories upon request. Thanks for the quality submission! -Mike
From this submission, "Nuh Backchat Mama" is a short but sweet effort that merges Siaosi's smooth reggae-tinged vocals with the shimmering island-set production of Sadiki. This certainly has plenty of radio airplay potential written all over it -- it has an excellent polish in the production, and isn't short on hooks -- both of the vocal and instrumentation variety. I wish I could hear more of this track, as it's difficult to judge just 01:30, so feel free to submit the full version to firstname.lastname@example.org for consideration. I'm liking what I hear so far though!
This remix of "Blow" uses an impressive array of heavy bass and infectious vocal effects to make for one of the most entertaining pop remixes I've heard recently. The halted vocal effect in the chorus is a particularly inventive effect that works well, progressively aided by an ominous synth-bass and twinkling synths (during moments like 02:05) that enjoyably repeats throughout. The Daft Punk-esque instrumental interlude around 02:20 is a nice addition as well, assimilating well with the more swanky vocal delivery during this section. I could really see this blasting throughout clubs; I'd imagine you'll do very well in pitching this to dance blogs. Nice work! -Mike
With spurts of brass adorning Anna-Maria Nemetz's passionate vocals, B.O.X.E.R.'s "Issue No5" is an immediately striking track that serves as one of the strongest electro-pop tracks I've heard in recent memory. I'm loving the dark-pop production and how it meshes with the various brass accompaniments, which are delivered suavely in the James Bond sense -- with a hint of brooding darkness over self-assured confidence. Nemetz's ability to swap between menacing wit in the verses to the more higher-pitched melodic ear candy during the chorus is impressive, as is the synth-driven bridge around 02:30 that moves into an infectious kick drum-addled build-up over halted vocal samples, before going back to the graceful "this is why I like you" chorus. This is a brilliant track; I'll be posting it on Obscure Sound in the very near future. If interested in my digital PR services, please reach out to email@example.com -- I can send rates and success stories upon request. Thanks for the fantastic submission! -Mike
The lush and inviting beginnings of "Hangover Me", with its summer-y acoustical strums and gentle percussive shuffles, leads nicely into the enjoyably contrasting vocals of Brendan O’Connell's raspy Nick Cave-esque delivery and Rumer's angelically sweet croon. I'm particularly fond of the "stay with me baby" hook around the two-minute mark; it's an expert piece of songwriting that's certainly melodic ear candy. The bar-set music video provides an apt visual for the song's pleasant theme -- which seems to be the importance of quality company. With polished production and clean hooks, "Hangover Me" sounds ripe for radio airplay. Nice work! -Mike
Thunderous percussion and a lively, squealing guitar lead ushers in the explosive "Warrior", an impressive attitude-forward rock track that touts a style appreciative of blues and classic rock. The mechanical percussion and bluesy howl is certainly reminiscent of The White Stripes, and in doing so treads a fantastic line between radio-friendly ear candy and nostalgic-friendly innovation. The "baby baby" interlude around 01:53 is a particularly great hook, establishing the track's melodic mid-section in quality form. The track's conclusion, with the howling vocals reverberating over the hypnotic guitar/vocal effect, caps this excellent effort off in energetic style. Fantastic track! I would recommend visiting http://hypem.com and searching for blogs who posted material from Jack White, The White Stripes, The Black Keys, The Dead Weather, The Kills, Black Rebel Motorcycle Club, etc. Send them an email with a Soundcloud link to the track along with a bio and press shot; this track is high-quality and shouldn't have any trouble achieving some press in the blogosphere.
This is a fine effort with an innovative sound from the intro, particularly in regard to the excellent guitar effects and correspondence between the muted plucks and lush drifting melody leaning into the well-polished full instrumentation around 00:40 in. The "broken glass, twisted steel" enhancement around 02:40 - with the distorted effects in the background and fierce vocals - is a particularly effective piece of songwriting, as is the fantastic guitar solo just after the three-minute mark. The track is a fantastic hybrid of radio-friendly contemporary alternative, with the infectious lead delivery, and nostalgic classic-rock, with the soaring guitar solos and general soundscape. Excellent work here. Look out for a post on OS. Thanks for the submission -Mike
"Floating in Milk" is a beautiful piece of music that's initially led by a droplet-like assortment of plucked acoustics. This gentle lead finds itself gracefully accompanied by Salwa Azar's delicate vocals and a fragile piano line. The "autumn leaves fall off the trees onto the ground below me" line combined with this instrumentation provides a stunning visual that's aptly accompanied by the melody, which is minimal but resoundingly stirring -- like a gently breezy autumn day. The halted acoustic effect around 02:20 is a spine-tingling hook, in particular, that vibes well with the hypnotic allure of the lead acoustic melody. I'll be posting this on OS in the near future for sure. Thanks for the submission -Mike
Magic Giant's joyful, polished, and organic sound is on full display throughout "Let It Burn", a melodically anthemic track that stands among the folk-pop genre's giants in terms of radio potential. The stomping effect of the chorus, with the playful harmonica and jubilant acoustical strums, make for a great melodic core over the half-spoken half-crooning vocals. The conventional structure is welcome, as the chorus is lively enough to bear worth repeating several times with an enjoyable element of predictability. The slight slow-down around 03:10 mixes things up a bit for a majestic conclusion, fading out as the chorus' instrumentation remains in lively form, like a never-ending part. This is a really great track -- not surprised it has been featured in several media outlets. I'd suggest contacting blogs on Hype Machine who have posted DMB, Mumford and Sons, Passion Pit, and The Lumineers -- "Let It Burn" should be received very well.
Perfect for a lush summer day, "Universe + Me" blends caressing vocals, swelling synth pads, and aquatic leads - like the perky lead-in around 01:00 that flows into the vibrant reflection 20 seconds later. The "hello beautiful" interlude just past the two-minute mark provides a great build-up to the aquatic core at 02:21. The "universe and me" vocal repetition provides for an aptly hypnotic effect, especially with the stunning use of woodwinds around the 3-minute mark. The track is full of fantastic production choices, with a sound that reminds me favorably of Balearic beat groups like Air France. Look out for a post on OS, and thanks for the submission. -Mike
"Forget About Tomorrow" begins with a great intro, turning a melodically creative series of vocal coo's into an accessible chugging rock melody in the first 30 seconds alone. It hooks listeners in right away and doesn't let go. The first hook, around 0:50, is a fluttering piece of alt-rock magic reminiscent of Wilco. Shortly afterward, the transition to the chorus - just past the one-minute mark - is a surprising and initially questionable stylistic transition from the previous verses, but the percussive enhancement about 15-20 seconds in helps integrate the two sections in wonderfully cohesive form. When the first verse reprises after that chorus, it's audibly apparent how well the track flows despite its initially unpredictable structural maneuvering. Excellent and creative work! I'm really digging this. I'll be posting it up on Obscure Sound sometime next week. Reach out to me at firstname.lastname@example.org if you're ever interested in my digital PR servicing. I can send more details (rates/success stories) upon request. Thanks for the submission! -Mike
Hazy psych-addled layers of guitar combine with a lush swelling rhythmic backing to craft a very enticing intro, propelled even further by the fun and melodic guitar solo concluding around 01:09, which leads into an FANTASTIC hook that reminds me of some Elephant 6 greats (and Benji Hughes) -- all very favorable. The introduction of synth warbles around 01:44 provides a nice, welcome twist that maintains melody but shifts style slightly. Ian Aware's versatility as a songwriter is impressively evident from this point forward, making his and future material quite exciting. The serene furthered choral vocals around 03:00 is yet another fantastic stylistic shift that fits remarkably well, with the final minute or so playing with the rock/electronic instrumental incorporations touched on throughout. "Window" is a remarkable stylistic hybrid from a rising artist with a wonderful knack for both rock and electronica. I'll absolutely be posting this on Obscure Sound in the very near future. Also, with the EP on the way, feel free to reach out to me at email@example.com for details (rates/success stories) regarding my PR servicing if interested. Thanks for the fantastic submission either way. -Mike
"Time to Ascend" is an immediately striking track; the operatic vocals, cinematic percussion, and trickling key melody make for a very memorable first impression. A soaring bird is a visually apt choice for the initial build-up, as well. The loose, somewhat jazzy percussion in the next section combines well with the trickling keys and brass-like sounds around the two-minute mark, where Mr Fogg's vocals show a wonderfully exuberant quality -- especially when aided by the accompaniment of the blaring horn around 02:30. I'm reminded of the twinkling chamber-pop of Field Music, as well as the soaring nature-minded expansion of Animal Collective. This is a nicely colorful music video and a very well-polished and stimulating track. Great work! Look for a post on Obscure Sound in the near future. -Mike
"Nobody Loves a Tortured Soul" draws me in immediately -- with a playful Brian Wilson-esque keyboard melody and serene hook-minded vocals. The gradual expansion into a brass-tinged piece of brilliant chamber-pop is welcome and expertly executed, reminding me very fondly of the instrumentally eclectic work of The Divine Comedy's Neil Hannon. Honestly, this is one of the most impressive tracks I've been submitted on Fluence. The soaring assortment of keys, brass, and sweeping vocals make for an ambitious piece of ear candy that touts the chamber-pop polish of Field Music, inclined lyrical focus of Stephin Merritt, and orchestral-pop captivation of Neil Hannon. I'll be posting this on OS for sure. Also reach out to me at firstname.lastname@example.org if interested in my digital PR servicing. I can provide success stories and rates upon request. Thanks for the submission! -Mike
Great to hear from you guys again -- I posted your material on Obscure Sound back in 2012. Really cool to hear your stylistic growth. "Time Travel" is a phenomenal track that reminds me of hook-y sophisti-pop in its assortment of concise art-rock guitars, brass bursts, and caressing multi-layered male/female vocals. The chorus is clear and radiant, the brass bridge around 02:30 a wonderful addition that reminds me fondly of Destroyer's Kaputt album. The finale of sorts that starts around 03:10 is full of stomping infectiousness; the culmination of more active percussion, added guitar lines, and more free-flowing brass in this section produces pure melodic bliss. Awesome work! I'll post this track on OS next week. Reach out to me at email@example.com if you're ever interested in my digital PR services. I can send more details (rates/success stories) upon request. Thanks again for the submission -- sounding better than ever. -Mike
This is a lush and melodically inviting effort, with effervescent synths and water-bound atmospherics that remind me of the best to come out of seapunk-laden electronica. The ethereal interlude from 01:00 to 01:37 is a nice refresher before the polished vocals re-emerge, fittingly over a caressing synth pad fully representative of summer lushness. The infectious build-up around 02:15 - with the synth arpeggios and anthemic lead - is a particularly excellent hook, one ripe for radio airplay and summer parties. Great work! Look out for a post on OS in the near future. -Mike
"She" reminds me favorably of late '90s-early '00s college-rock in its amiable jangle and easy-to-please hooks, with a playful chorus led by sprightly guitars and bustling percussion. I love the guitar-led interlude around the two-minute mark, as it navigates away from the fun yet predictable early structure into one of more unpredictable intensity, also displayed in the interesting build-in toward the familiar chorus around 02:30. This is a very well put-together track that is able to concisely strut the group's strengths. Look out for a post on Obscure Sound in the near future, and reach out to firstname.lastname@example.org if interested in details/success stories regarding my PR servicing. -Mike
This is a very impressive effort that features excellent vocals and top-notch production, with an excellent introductory build-up that extends from the percussive lead-in around 00:50 to the infectious eruption of prickly club synths and escalating rhythms around 01:25. Not only is this track ripe for remixing and radio airplay, but it is able to masterfully tread between vocal-driven pop and synth-driven club/dance. I really enjoy how the track embraces both elements. The little guitar effect around the second go-around around the two-minute mark, in addition to the effervescent synth effects thereafter, injects a beautiful twinkle that certainly makes all 03:29 of this track very enjoyable. Look out for a post on Obscure Sound in the near future, and reach out to email@example.com if interested in details/success stories regarding my PR servicing. -Mike
"12345678910" is a suavely melodic track that features bluesy vocals, a mellow bass line, and organ-y synths. It's impressively more electronic-leaning than the art-folk of previous efforts like "I Went Down the Road Today", allowing invigorating life and atmosphere to flow through the track. I'm really digging this particular stylistic direction; stylistic choices like the 1-2-3-4... hi-fi counting chorus of sorts around 01:20 is remarkably well done, making for a great hook. Your stylistic reach continues to impress me for sure. Great work! Look for a post up on OS sometime this week.
Loving the sound immediately on "Colonies", as soulful vocals reminiscent of Cass McCombs intertwine with a ghostly assortment of booming bass, a ghostly synth pad, and clacking minimalist percussion; it creates an immediately engaging appeal that is dripping with quality atmospherics. The colorfully unpredictable video adds nicely to this allure. The percussive additions around 02:25 signal an oncoming transition, and what occurs - the beautiful effervescent sun-lit guitars - is fantastic. Now I'm hearing hints of both Animal Collective and Radiohead, oddly enough. Suffice to say, this is a particularly brilliant moment on an altogether brilliant track. Certainly one of the most engaging submissions I've come across lately -- thanks for that! Look out for a post next week on Obscure Sound, and feel free to reach out to me at firstname.lastname@example.org for details (rate/success stories) on my digital PR servicing. Have a great weekend -Mike
Bright acoustics and gentle radio-friendly vocals make "Hotel" an immediately accessible track ripe for radio airplay. The effervescent chorus, with the choral-like vocal exuberance and joyous handclapping, is a pleasant hook that is enough to carry the predictable structure. The interlude just past the two-minute mark mixes things up nicely, bringing it all together for the expansive final chorus. A pleasant track that should please both fans of upbeat dance-pop and anthemic folk-rock.
"Anomalies" projects a dark yet oddly comforting sound that sits in the realm of spacey industrial electronica, driven by a lowly brooding pulsating bass that swells around sporadic synth twinkles and subdued percussion. The track's first real melodic shift, the twinkling additions around 02:10, introduce some great production effects -- particularly the key stuttering that takes place throughout the next minute. This leads successfully into an interlude reminiscent of Boards of Canada with its elegant barrenness, with the percussion-less feel being a nice fit for the icy keys. When the interesting production effects set in, the track carries off beautifully into the sunset with this aforementioned winter-set melody. Really impressive work -- thanks for the submission. Quite atmospheric and gripping. Look out for a post in the near future on Obscure Sound, and feel free to reach out to me at email@example.com for details (rate/success stories) on my digital PR servicing. Have a great weekend! -Mike
"Farewell to Arms / Let Me Start Again" is a darkly atmospheric post-punk gem that leads with nonchalantly brooding vocals, a pulsing bass line, and shimmering guitars. I'm particularly fond of the "just look around" bridge that evolves into the sparser bass-led moments around 01:55, nicely reminiscent of The Chameleons UK. All in all, the sound reminds me of a cross between The Chameleons UK, Joy Division, and The Cure -- I would prioritize outreach to blogs who have posted artists in that vein with relative frequency. I also love the synth/moog incorporation around 03:15 alongside the clashing percussion; it makes for a very excitable rush of energy. Really nice work -- look for a post on Obscure Sound in the near future, and shoot me an email at firstname.lastname@example.org if interested in details (rates/success stories) regarding my PR servicing. -Mike
"French New Year" is a crisp and soulful rocker, fit for fans of anthemic rock singer/songwriters like Brandon Flowers, Bruce Springsteen, and Matthew Good. The exhilarating "hey!" chants in the background - combined with David Ullman's enthusiastic lead - aligns with crunchy guitar riffs and playful production to result in a fun and anthemic effort that shows off Ullman's infectious qualities as a songwriter. I would recommend typing similar-to artists like the ones I named and others into http://hypem.com/ to find blogs that post your style often. Then, gather up their contact info in a spreadsheet and send out pitches emphasizing this single. Hypem is great because it includes blogs for all styles, and is a great database for finding people who will like the track and spread the word.