- 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, 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 ---> firstname.lastname@example.org
- 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
"Wolves' Clothing" is a very solid effort that can be enhanced even further by some production fixes. The vocals seem a bit too up-front in the production and jarring during the first minute, likely emphasized by the absence in percussion, but it all comes together well after the one-minute mark. I'd suggest to turn the vocals down a bit in the mix to counteract this. Great, emotive interlude around the two-minute mark -- leading into the solid "oh my gosh" hook, which is accompanied nicely by the guitar swipes and spacey synths. Concluding interlude starting at 02:30 is very good as well. This reminds me fondly of Scandinavian pop acts. Thanks so much for the submission; feel free to keep me posted on any new material and reach out to email@example.com if ever in need of PR servicing. Thanks -Mike
Swelling strings and powerful vocals remind me strikingly of Massive Attack's "Unfinished Symphony" from the get-go -- so that had me hooked. The subtle backing percussion and string variation in the next section, as well as the creeping string addition around the 50-second mark, add even more the gradually developing soundscape, ominous in the vocal approach, string flourishes, and sporadic bloops of synths. The introduction of a lighter, xylophone instrument around 01:30 is a wise choice to lighten the load and help transition to the tribal-like vocal route that begins just prior to the two-minute mark. It sets up for the excellent second half very well, especially the "I'm ready" string-accompanied exultation just prior to the three-minute mark. This is a haunting, atmospherically rich effort that I'm really enjoying. Look out for a post on Obscure Sound in the near future, and reach out to me at firstname.lastname@example.org if interested in success stories/rates regarding my digital PR servicing. Thanks for the submission -Mike
Soaring beauty of a sound with a western-y twang and alternative-folk fervor that reminds me fondly of Matthew Sweet and Camera Obscura. "I wanna love you strong like a cowboy junkie song," is a captivating, effective line that successfully delivers the message of this yearning love song, the genuine feelings even further propelled by the twangy guitar solo around the two-minute mark. There's nothing to fault about this track; it's to-the-point and simple in its structure, but lovingly so -- it's anthemic and moving in its melody and message, a very commendable work. I'll be posting it on Obscure Sound in the near future for sure. Also feel free to reach out to me at email@example.com if in need of PR help -- I can provide rates and success stories upon request. Thanks again for the great submission -Mike
"This Is Home" is a fresh-sounding hip-hop track that serves as a commendable response to racism, referring to overcoming the temptation of retaliation and instead channeling the energy on artistic expression. The verses, with a glisten key-led fervor, speak about the inescapable madness of public racism, while the infectious chorus leads with an anthemic response ("I must get up and live / I just don't really like what I see / But I feel like I want to stay, cause this is home") that effectively relays that running away - especially from home - is not the answer. With a cool beat, coherent central message, and slick delivery, "This Is Home" is a solid effort for sure. Look out for a post on OS, and reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my digital PR servicing. Thanks -Mike
Clean, twangy guitar tones bring this one in gently, before an enjoyable expansion occurs around the thirty-second mark, revealing a full-bodied alt-rock sound that reminds of '90s indie-rockers The Wrens. The vocals are similarly passionate - with a touch of emotive longing - and the guitar use is front-and-center and very melodically involved. The combustible section that begins around 01:15 is a great bridge of sorts, leading cohesively back into the verses by 01:43. The key addition just after the two-minute mark is a nice touch as well, providing a post-punk edge reminiscent of Wild Beasts. The final minute - where the vocals soar and the guitars become even more unleashed - provides a fitting finale to this polished and powerful effort from Suburban Haze. Really nice work here. I'll be posting on Obscure Sound in the near future, and feel free to reach out to me at email@example.com if interested in details regarding my digital PR servicing. Thanks, and have a great weekend -Mike
Glistening keys and melodic brass comprise an enticing intro, with the smooth and soulful vocals commendably leading a romantic track that would sound ideal under the moonlight or in a dimly lit lounge. The lead vocals seem turned up a bit too much for my liking on the production front in the first minute or so, but it's a good performance nonetheless. The strings, brass, and keys - combined with soulful vocals - remind me very favorably of Thom Bell's songwriting/production work. The final minute is a great finale as well, with the the various melodic elements of the track colliding for a very satisfying finish full of emotion and heart-tugging grace. I like it quite a bit - nice work.
The solemn Western-y acoustics and fluttering arpeggios provide an awesome backing to the intense delivery, which shows melodic range while being simultaneously subdued -- meshing with the track's lush and powerful flow. The entry of distorted guitars around the one-minute mark provides a nice lead-in to a nice hook - where near-screaming vocals alternate with hushed laments. The slabs of distorted guitar throughout are very well utilized, as are the melodic changes - like at 01:40 - that involve them. Looking forward to posting this and "Let the Fire Burn" on Obscure Sound in the near future. It showcases an exciting hybrid of hip-hop and alternative, that's largely unparalleled in style - which is something I'm a big fan of.
Fluttering acoustics and playful vocals headline this pleasant effort. The piano trickles - followed by the amusing kazoo bit - are nice cogs in the build-up, as is the shuffling percussion that emerges about a minute in. The "drivin' on a road that I've never seen before" section - as well as the melodic shift a few moments afterward - is a great hook-y moment, in particular. With an aptly outdoors-y and carefree music video, this is certainly a very solid effort. I don't have any particular criticisms at all -- it's a bit too conventional for my tastes, but I'm on the odd end anyway -- there's no denying the radio-friendly appeal of this. For promotion, I'd recommend scouting out similar artists on Hype Machine - Camera Obscura and Emmylou Harris come to mind - and reaching out to blogs who posted them, while referencing their interest for the comparison in your pitch. Thanks a ton of the submission -Mike
Good to hear from you again - I really enjoyed "Know You Know Me" a year ago, and this one captures a similarly effective hybrid of effervescent synth-pop and unsettling infectious industrial electronica. The strained vocals, whirring synth arpeggio, and glistening keys help craft a very stellar build-up throughout the first 0:15, until a melodic transition in the arp signals the next section. The subsequent introduction of percussion makes the initial hypnotic melody even more full-bodied. The Thom Yorke-esque ghostly interlude around 02:15 followed by brass-like whimpers is my favorite section -- very atmospheric and powerful. Another great one from Clast - really digging this. I'll be posting it on Obscure Sound in the near future. Also reach out to me at firstname.lastname@example.org for details/rates regarding my PR servicing; I'd love to help out with this track/release.
Twangy and lush guitar-led jangles lead the introduction to this stylish track, soon accompanied by charismatic vocals in the ilk of Brian Jonestown Massacre, Dandy Warhols, and other rootsy classic-rock-revering successes. The ensuing guitar wah-wahs provide a burst of varied excitement, as does the "Ricky" hook; the uptick in vocals, before transitioning back to twangy tranquility, is a great production choice. "High as a kite 'cause he ain't got a dayjob" and images of the countryside exude a sorta live-free mantra that works wonderfully with the track. All in all, this is a commendable success; I'll be posting it on Obscure Sound in the near future. Reach out to me at email@example.com if interested in success stories/rates regarding my digital PR servicing. Thanks for the great submission - Mike
Growing distortion and a bouncy bass line begin this tantalizing effort, immediately showing as excitingly likable with the vocal introduction 20 seconds in; the vocal tone nearly perfectly resembles the guitar tone that's reflecting the lead vocal melody, establishing a sense of cohesion that glides perfectly into the crunchy shoegaze-esque bridge just before the one-minute mark. The vocal approach and nod to '80s post-punk reminds me of Frankie Rose and TOPS' fiercer tracks. I'm also fond of the instrumental developments in the final minute or so, with a very effective mixture of distorted backings and effervescent guitar leads combining with the steadily hypnotic rhythm section for a truly convincing result; great work here. I'll be posting it on Obscure Sound in the near future. Reach out to me at firstname.lastname@example.org if interested in success stories/rates regarding my digital PR servicing.
Very well-executed take on modern psych-rock, with traditional phaser-friendly guitars and nonchalant vocals combining with inventive use of sitar-like samples. The youthfully intense vocals combine well with this hypnotic assortment, with the "crashing down" bridge around 01:45 being a very innovative and success interlude of sorts that showcases The Interstellar Vessel's more electronic-leaning abilities. When the guitar kicks back in, it's another reminder of this group's potential. I'm reminded very favorably of Supergrass when I listen to this - songwriting smarts combined with appreciation for both alt-rock and psych of the past and present. Excellent work. I'll be posting it on Obscure Sound in the near future. Reach out to me at email@example.com if interested in success stories/rates regarding my digital PR servicing. Thanks for the submission -Mike
"Armchair Committee" is a suave and well-accomplished blues-rocker that manages to evade the faults of many genre imitators; this track packs enough vocal ferocity, inventive guitar lines, and all-out intensity to stand apart from the hordes of other groups inspired by the likes of Jack White and The Black Keys. The punchy distorted guitars and vocals ride heavy throughout, with the transition to the chorus being signaled nicely by throttling percussion. I'm also fond the melodic transition around 02:30; it provides a nice sense of variation, and preps listeners for the primary hook's re-entry and onslaught-like conclusion. I'll be posting it on Obscure Sound in the near future. Reach out to me at firstname.lastname@example.org if interested in success stories/rates regarding my digital PR servicing. Thanks for sending this -Mike
"Chill Pill" begins with alternating between a funky energetic beat and more tranquil electronica, epitomizing brilliantly the process of transitioning from busy hecticness to a relaxing couch-bound setting. The R&B-inspired vocals around 01:10 over the percussion-less vocals set up well for the more intense delivery to follow, complemented by glitch-pop-esque rhythms with a colorful appeal. The various vocal effects and layers - both natural and effect-laden - proves for good production, as is the glitch-pop around the two-minute mark - which could have turned messy but did not, especially with the "took a chill pill" hook reprising shortly thereafter. Very nice work here. I'll be posting it on Obscure Sound in the near future. Reach out to me at email@example.com if interested in success stories/rates regarding my digital PR servicing. Great sound; thanks for submitting. -Mike
Darkly reverberating guitars, a ghostly vocal accompaniment, and chilly subtle synth-pop adornments immediately set up "Divine Stillness" as an atmospheric charger, enhanced even more so by the effervescent guitar additions and hook-laden vocal twist right around the one-minute mark. "Just holding you in time was enough" - longing lyrics like this, combined with the trickling guitars and prickly synth touch, makes for a very emotionally successful sound that hooks me very uniquely - very nice work on all fronts: vocals, guitar work, synth subtlety, and general production. Very impressed, without any faults to be heard. I'll be posting this on Obscure Sound in the near future. Reach out to me at firstname.lastname@example.org if interested in success stories/rates regarding my digital PR servicing. Thanks for the submission -Mike
Simple yet engaging composition with the rollicking acoustics and steady percussive beat, combined with deeply endearing vocals reminiscent of Nick Cave or The National's Matt Berninger. Similar to Nick Cave as well, I'm digging how this bluesy and atmospheric tune is accompanied by an engaging narrative that's funny, mythological, and longingly melancholic -- all simultaneously. The range this track conveys in just around two minutes is impressive on its own; great work. I'd suggest pursuing PR with Nick Cave and The National as comparison points. I'll be posting it on Obscure Sound in the near future. Reach out to me at email@example.com if interested in success stories/rates regarding my digital PR servicing; I can help if you need it. Thanks for the great submission -Mike
"Remember" is a darkly seductive soul-pop crooner, with a soaring bridge around 00:45 that shows Prisca's effervescent voice in quality form. The soft percussion, lush keys, and hypnotic music video visuals remind me of David Lynch's dark and mysterious production/direction, which is very complementary for any artist. With tinges of both that and Massive Attack's hybrid of vocal soul and lush electronica, Prisca shows atmospherically gripping capabilities throughout the track's entirety. Great work - look out for a post on OS, and reach out to me at firstname.lastname@example.org if interested in success stories/rates regarding my digital PR servicing. -Mike
Bustling acoustics, shuffling percussion, and a jubilantly twangy guitar lead make the beginning of "King of Diamonds" very amiable, showcasing a hook-laden form of alt-country with ample organic draw. The combination of serene backing female vocals and key trickles around 01:25 provides a nice break-bridge of sorts, this section re-emerging around the two-minute mark before giving way to an effective harmonica solo. Okkervil River comes to mind as a stylistic comparison, so cool to see that your keyboardist was involved with them. Horace Holloway capture a similarly engrossing alt-country sound with a lovable twang. Look out for a post on OS, and reach out to me at email@example.com if in need of PR servicing for this. Thanks for the submission -Mike
"Destination Unknown" is an impressive acoustic track with passionate vocals and a warm melodic background led by steadfast strumming. The central chorus - the "destination unknown" phrase followed by the nicely spastic guitar solo - is well-executed and reminds me of Felt and Television/Tom Verlaine in its hook-laden maneuvering. I'm really enjoying the natural appeal of the solo guitar section, and am wondering if some lush jazzy drumming would make it even fuller-bodied. The track is very minimalist from a structural and instrumental arsenal standpoint, and I look forward to checking out the rest of your EP; the potential is absolutely there, even if - within the genre of an acoustic singer/songwriter - some more structural ambition would be worth pursuing. Still, really enjoyed it - and thanks for the submission.
Aptly titled track here, as I can't help but think of hazy summer days when hearing this, with the suave vocals, "in my summer mind" hook, and slight tropical key backing. Really digging the distortion-friendly solo just after 01:30 as well - very well-done. The style reminds me of a few great artists - ranging from Beck's atmospheric nonchalance, to Real Estate's jangly form of indie-rock. "Summer Mind" is a straightforward and breezily enjoyable success; I'll be posting it on Obscure Sound in the future for sure. Also reach out to me at firstname.lastname@example.org if interested in my digital PR servicing; I can provide rates/success stories upon request. Either way, thanks for the submission :) -Mike
"Ritual" is a concisely effective rocker with a thickly reverberating rock sound. The vocals remind of '80s rock anthems with its melodic nonchalance and touch of reverb, with the crunchy guitar riffs employing a predictably fun form of contagiousness that works well as a build-up device, into a shimmering chorus that's led by hypnotic guitar repetition, anthemic vocals, and effectively clamorous percussion. The guitar solo bridge around 01:40 is a wise choice, bridging the gap to a finale that recaps the hook-y chorus with an interesting vocal approach somewhere between Wild Beasts' chilling delivery and Queens of the Stone Age's pulsating take. This is short for sure, but very well done; look out for a post on OS in the future, and if in need of promotional help reach out to me at email@example.com for success stories/rates regarding my digital PR servicing. Thanks -Mike
"Mine" is a polished form of bubblegum-pop that's hard not to like; it manages to sound sweetly effervescent in the verses with Phoebe Ryan's faultless vocals and lush key-laden melody, yet avoids the saccharine-sweet downfall of conventional pop music with a banging chorus, precluded nicely around the two-minute mark by club-ready synths that swell into a percussively aided bridge/chorus with increased enthusiasm and a chirpy melodic lead. The halted "my heart needs to take its time" chorus is worthy of ample radio play, with the hook-y recap in the final 45 seconds practically begging listeners to play it again. Look out for a OS post soon, and if in need of any promotional help reach out to me at firstname.lastname@example.org for success stories/rates regarding my digital PR servicing. Thanks for the submission -Mike
"Off the Grid" is an interesting and successful audio/visual track that blends atmospheric ambiance with gripping hip-hop. Initially, an effervescent piano melody and the sound of footsteps in the snow comprise a very wintry soundscape, complemented fully by the video of wandering in the woods. It's great form of initial captivation that will draw new listeners in immediately. The lead-in to the vocals are nicely executed, organic-sounding and impressively so in that it essentially transitions from soundtrack-esque instrumental into a hip-hop-ready percussive addition. The transition to a bear growl and nocturnal synth sounds around 02:20 remind of Chromatics' scenic synth-pop interjections, showing another form of stylistic expansion that makes this project intriguing. Look out for a post on OS in the future - the narrative video approach is done well here.
"Beautiful Mess" is seductively engaging from the get-go, with sharp vocals and a swanky funk bass line leading as an organ swells in the background. Marcus Bowers' vocals are deliciously funky and full-bodied enough to make things interesting even with ample repetition before the hook-y transition around 01:20, when a distorted guitar descends upon the fold along with an uptick in Bowers' vocal intensity - "wanna break your heart / tear each other apart." The emotional switch from suavely cool to venomously romantic is interesting and well-done, and liable to make listeners feel alive. As a result, the second transition - around 02:30 - is very welcome, as is the finale - where it's enjoyably repeated til the conclusion. Really enjoying this track - feel free to send the public link to me for posting on OS when it's ready, and reach out to me at email@example.com if interested in details regarding my digital PR servicing for help promoting it. -Mike
"Believe" is a wonderfully spacious track that sits somewhere between light electro-pop and suave alt-rock, with a jubilant chorus that rides nicely on multiple vocal layers and twinkling keys. The ensuing "Christmas time" chorus is particularly scene-setting in an effective way, the effervescent and trickling keys conjuring a winter-like soundscape, which works well with the yearning suaveness of the vocals. The transition into the chorus - "the first thing we need to do..." - is exceptionally well-done and natural-sounding. With the link between the captivating verses and infectious chorus being sound, it's not a surprise that the track manages to captivate me significantly. Very good work here -- look out for a post on OS in the very near future, and reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my digital PR servicing. -Mike
"Say Yea" sounds swiftly entrancing from the beginning, with a brisk assortment of piano and strings serving as the backdrop to optimistically passionate vocals that tread between pop and soul in their stylistic delivery. The actual "yea"-ing during the chorus around 01:20 is melodically gripping, and apt considering the track's title. The sound in general actually reminds me of the excellent Gnarls Barkley - certainly a good prospect for potential radio play. The vocals may lack the falsetto of CeeLo Green, but there's a tonal similarity - like a deeper and more melodically relaxed version. I'm particularly fond of the melodic transition around 02:50, when the strings and multi-layered vocal switch to an even more charismatic and exotic-sounding section. This is a solid track; doesn't grip me in an extraordinary way, but it's very well-polished and should do well. Thanks for the submission -Mike
Very interesting sound, meshing the crystallized delights of '80s synth-pop with a David Lynch-ian sort of darkness, highlighted by the nocturnal synth tones and wavy distorted reverb. The mix sounds very amped-up, but it does do the style of "normwave" well in placing the listener in a hypnotic, enveloped soundscape that provides the sleekness and lushness of '80s pop, but with a more up-front production typical of contemporary ambient and industrial genres. The structure is repetitive, but in an enjoyably hypnotic sense. I'm really digging this -- look out for a post on OS in the future, and reach out to me at email@example.com if interested in details regarding my digital PR servicing. Thanks for the submission -Mike
Santiago, Chile-based DJ Who produces an infectiously exciting sound throughout "Runaway", which builds from the initial synth trickles to the highly anthemic chorus, super-charged with effervescent keys, sonorous vocals, and a wonderful hybrid of glitch-pop and EDM around the 01:15 hook. The flamboyance of the sampling is a welcome retreat from many contemporary electro-pop acts, exploring a more ambitious and structurally unpredictable side that works, rather than sounding forced. I also enjoy how the second verse section in the track is starkly different from the first yet just as effective, leading into the familiar hook in enjoyable fashion. This is a stellar track that's the perfect length, and should do quite well in radio and clubs (it's particularly ripe for remixes; I suggest holding a remix contest on social media :)). Look for a post on OS, and reach out to me at firstname.lastname@example.org if interested in help promoting. Thanks for submitting -Mike
"Hourglass" rides successfully on sleek production and melodic pleasantries in its successful infusion of electro-pop and dream-pop; the latter shines through in the use of hypnotic undercurrent keys, while the effervescent female vocals and active synth-bass give the song an infectious dance-laden jolt. I'm fond of the cut-out around 02:40 when the instruments fade out one by one, finishing with the twinkling hypnotic keys. It's a very well-made finale to a successfully upbeat album that makes me want to check out the rest of Cozy Photo's Graffiti. Nice work -- look out for a post on OS in the near future and reach out to me at email@example.com if interested in digital PR work. Thanks for the submission -Mike
Jillie Mae Eddy's captivating vocals and gripping lyrics make "Flame" a captivating success. The sloshy, minimalist reverbed-handclap percussive choice in the intro proves a clever way to show off her soulful vocals, as well as gradually add successful components like the suave bass line. When it scales back to just a kick drum and vocal layers around the one-minute mark and then injects a playful guitar loop, the track's impressive flow becomes fully apparent. I'm a fan of the understated quality of this track, minimalist to an extent - but as it grows in the final two minutes or so, I'm very fond of each instrumental choice and the subtle growing expansion - the dual vocals, the guitar-play, suave bass, and simplistically direct percussion are all fitted very nicely. Look out for a post on OS, and reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR servicing. Thanks for the great submission, and I'm very happy to hear you enjoyed my take on littlecoaldove - such beautiful music, like your own :) -Mike
I'm loving the lush vintage synths and gentle 808/R&B inspired percussion in the intro, immediately captivating me into a mysteriously spacey soundscape (that's aptly fitting for the music video's colors and general stylistic delivery). The hushed vocals add even more this lushness, setting up well to the clever synth-led melodic hook around 01:25, where the vocals cut out in favor of interesting melodic developments and the addition of static-y synths, sounding like a lost transmission from the dark depths of space. Crystal Castles are a rather obvious point of comparison, and complementary so, but I'm also reminded of the synth-pop richness dictated by a group like Yellow Magic Orchestra (and Yukihiro Takahashi's solo works specifically, which pursue a similar soundscape). "Capsules" is a slice of dark, spacey synth-pop magic - thanks so much for the submission. Look out for a post on OS in the very near future. Also reach out to me at email@example.com if interested in rates/success stories regarding my digital PR servicing. I'd love to work with you on this. Thanks again, and please keep me updated on any new material. -Mike
Calibrate's remix of Lana Del Rey's "High By The Beach" infuses an aptly aquatic feel into the track, with effervescent synths/keys and a gentle synth pad enveloping over Lana's hypnotic vocals. The original track is somewhat sleepy, but this remix injects some enjoyable life into it. The yearning for blissful nonchalance that the track exudes is conveyed well by these instrumental choices, setting up nicely to the explosive cameo after 01:30, when Logic presents some technically flawless and irresistibly infectious spitfire. The clap-laden build-up around 03:40-03:56 is also excellent -- another flawless lead-in to the great hip-hop implementation. This is a very successful remix that does exactly as intended in its implementation of bass-heavy trap and hip-hop. Great work -- I'll be posting it on OS. Reach out to me at firstname.lastname@example.org if interested in help promoting this track. I can provide rates/success stories regarding my PR servicing upon request. Thanks again -Mike
"Wintersleep" is inviting and emotionally moving from the get-go, with crisply sonorous electric guitar twangs reflectively collaborating with effervescent keys. Both instruments expand their composition with the arrival of percussion just before the one-minute mark, introducing an epic yet relatively anxious mood. The vocals do a nice job of crafting a wintry setting, complete with warm descriptions and a very lofty nature-minded focus. As the track progresses, the post-rock influences begin to enjoyably show, The "winter, snowflake, christmas" section around the four-minute mark is exceptionally well done, as is the melodic guitar solo around 20 seconds later. It all makes for a superb hook that fits nicely in the middle of the track, helping guide to the similarly atmosphere-constructing bliss that culminates the final three minutes. This is a great, wintry rocker. I'll be sure to post this on Obscure Sound. If interested in digital PR servicing, reach out to me at email@example.com -- I'd enjoy working with you on this. Either way, thanks for the great submission. -Mike
Nick Evans Mowery presents a very likable brand of lush indie-pop on "Ribbons", a track where playful guitars and endearing vocals cross harmoniously over the backdrop of a faintly effervescent synth/key pad. The melodic twist around the two-minute mark reminds me fondly of Paul Weller's recent brand of rock/pop, where infectious transitions from lush familiarity to energetic creativity is effectively conveyed, like this effort. I can certainly see why Mowery's music has been in TV and film; he has a knack for immediately enjoyable and quaintly effective pop harmonies that are very listenable without being overly demanding. Very solid work. I will be posting on OS at some point for sure. If in need of help promoting this track, feel free to reach out to me at firstname.lastname@example.org for rates/success stories regarding my PR servicing. Thanks for the submission -Mike
Great, interesting take on "Fire to the Rain", Klaus -- your idiosyncratically melodic vocals are a great fit for this composition; the growing weariness in your voice around the one-minute mark upon the entry of Castlevania-esque synths prove eerily effective, as does the robot-like vocal effect around a minute later. The harp-like effect around 02:30 provides a graceful melodic twist, as well, that provides a nice lead-in to the more barren post-punk conclusion. This is an enjoyable stylistic journey that traverses many paths in a short period, making it certainly one of the more interestingly effective covers I've come across. Thanks again for another quality submission.
"Czar 7" begins in lively fashion, with swanky brass and illuminated strings serving as a great backdrop to NewSC's impressive cumulative flow, which is simultaneously furious and melodic in its technical preciseness. The hook - with deep backing vocals complementing a slick brass-synth maneuver - is a nicely executed one. The various vocal cameos, all different in their tone but similarly effective in flow and cohesion, provides welcome variety to the predictably enjoyable and hypnotically repetitive beat. Everyone involved does a fine job, and "Czar 7" serves as a great introduction to show the various voices involved with this infectious project. I'm enjoying it for sure, and will send you a message when an OS post is live.
"Dissolve the Line" is a bubbly electro-popper with immediate melodic appeal. The vocals are airy and supplementary rather than domineering, allowing the eclectic instrumental tendencies to shine through; the warbly synths, neon-tinged keys, and charismatic percussion comprise for a fresh-sounding result. Both lyrics and vocals are relatively minimalist, which I agree to be a good choice despite CORPUZ' commendable performance. It makes for a very hypnotic effect that works well with the generally upbeat but slightly nocturnal pop feel -- nice work here. Reach out to me at email@example.com if interested in help promoting this. Good to hear from you again, Chris -- always appreciative of your submissions.
"Neptune" touts a very slick beginning -- a vocal sample is melodically stretched out to give cohesive way to windchime-esque keys and a lush piano. The lead-in around 00:40 allows the percussion to slide in seamlessly as well, setting a great mark for all these elements to collide - the distorted vocal sample, synth/keys, piano, and vibrant percussion all make for a fantastic sound. The trap-inspired drums prove to be a good choice, while the effervescent vocal sample chip-chopping reminds me fondly of Balaeric beat-inspired contemporary acts like Air France and Sally Shapiro; "Neptune" manages to capture a similarly beachtime-during-sunset feel. Great work; I'll be sure to post on OS in the near future. Reach out to me at firstname.lastname@example.org if interested in help with promotion; I can provide details about my PR servicing upon request. Thanks for the submission -Mike
"I Think I'm Falling" is immediately hypnotic; mellow keys and gradual guitar swipes help establish an interesting stylistic cohesion between dark warbly synth-pop and seductive R&B. The guitar-synth interplay is reminiscent of Chromatics and James Ferraro, artists capable of infusion nocturnal suaveness within a polished and deliciously atmospheric soundscape. The "falling in love" vocal phrase repetition is eerie and weary, in a good way -- very effective. Awesome work here; I'll be posting on OS in the near future. Also reach out to me at email@example.com if interested in details regarding my digital PR servicing, which I've had great success with. Thanks for the superb submission. -Mike
A swelling distorted synth and Ema's crisply enthralling vocals make "Cold" hypnotic from the get-go. The halted section around 01:05 is a nice lead-in to the verse's reprisal, with the subsequent more subdued section providing some additionally pleasant variation. The "why are you so cold?" halting around 01:55 serves as a particularly savvy hook, helping construct the track's overall industrial-driven alt-pop feel with a concisely memorable composition and structure. The sound is very unique is a complementary way, though it's not too far off from Grimes' dark alt-oriented takes and Crystal Castles' dark elegance. Look for a post on OS in the near future, and reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR servicing. Thanks for the submission. -Mike
This is fantastic - the style reminds me very favorably of sophisti-pop in the vein of Prefab Sprout, both in its grandiose scope and melodic lushness. As such, "Here to Stay" begins with a slick assortment of keys, a bustling bass line, sonorous vocals and '80s synth-pop adornments. The particular lead and accompanying video remind me of Prefab's track "Hey Manhattan". Comparisons aside, The Late Innings puts forth a fresh sound that treads a fine line between '80s sophisti-pop and modern indie-pop elegance, the vocals suavely maneuvering between the clanging keys and brass-like synth effects. I'll be posting this on OS in the very near future. Also reach out to me at email@example.com if interested in details/success stories regarding my digital PR servicing. Thanks so much for the great submission -Mike
As enthusiastic percussion helps sets the intro to "Inferno", a series of steadily evolving synths cast a variety of melodies - from arpeggiated twinkles to a very cinematic string lead-in (that wonderfully erupts around 01:19). From this point forward the track is in full-on energy mode -- crafting a haunting yet invigorating soundscape that's reminiscent of an electronic-minded World's End Girlfriend. The next drop, around 02:35, eases into a section that allows the eruptive bass to interplay even more with the synths, especially in the final 30 seconds - as a lush synth reflection fades alongside a fading-out percussion. It's an impressive showing through and through with dynamic trap-minded range. Reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR servicing. I'll be posting on OS in future as well. Thanks for the submission -Mike
Bo Haan's "Undefined" gets straight to the point: slick production, flawless vocals, and a vibrant funk-minded arrangement gets the listener's attention right away. Haan's orchestral vein of funk-pop is refreshing, and appropriately centers around a brass-filled chorus that's melodically delectable and ripe for radio airplay. The bass-friendly bridge around 0:40 provides as a nice transition into the pleasant guitar solo, a nice break from the excitement of the chorus. MJ, Earth Wind and Fire, and Bruno Mars are certainly some complementary influences. Thanks for the submission - will be looking to post on OS in the future. -Mike
This is really fantastic -- look out for a post on OS in the very near future. Featuring confidently melodic vocals that remind me fondly of Eleanor Friedberger, "The Peanut Specialist" is a bouncily infectious rocker with a chipper enthusiasm reminiscent of The New Pornographers; from the playful distorted bass line to the lively synth accompaniments (the solo around the three-minute mark is especially wonderful), it's truly a track that's impossible not to enjoy. The phase-out ending, with the melody constructed down to fading keys, provides a nice finale to a track that grows from a sound reminiscent of '70s folk (intro) to a fresh indie-rock output with an ample variety of hooks. Awesome work. If you need help promoting this, reach out to me at email@example.com for details/success stories regarding my PR servicing. I'll be sure to post this sometime soon. Thanks for the submission -Mike
1. Liquid Hot Magma's incorporation of rock, funk, and reggae results in a hook-filled sound led by anthemic vocals, crunchy guitars, and a reverence for anything that makes rock fun. This is music that's instantly accessible - the sort you play at a party without a second thought as to whether it will be well received. They commendably avoid the repetition of many reggae or funk-tinged acts, primarily through a strong melodic backbone and knack for organic hooks. 2. Hard for me to tell without pitching it to them. I'm sure there are many that would be receptive though. I do provide digital PR services, which includes me contacting over 400 contacts in the music industry with your music on a daily basis (spreadsheet included). You can reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding that. 3. Looks good to me -- Facebook, Soundcloud, Twitter are all you really need for that. The website helps too, for sure. 4. Use Hype Machine as a way to discover blogs who may be interested in you; go to the site and search for bands that your fans typically enjoy as well, and submit your music to the blogs posting them. 5. I will absolutely be looking to post one of your tracks on OS in the near future. In addition to that, keep in mind my PR servicing if in need of it, as well as the Hype Machine tip; that site is really a great database to find contacts. Thanks for the submission, Mike
The punchy synths and percussive whirlwind starts an exotic intro for "Rise", especially as the Kate Bush-esque frolicking synths precede the playful bass at 0:40. The vocal sample at the one-minute mark combined with effervescent key twinkles is a great touch as well, providing a moment of creative serenity before the enjoyable chaos starts up again. The following section is my favorite of the bunch - a slight '80s guitar-led feel combined with tropical-house sounds in the vein of Unicorn Kid, an absolutely entrancing hybrid that leads into the delicate key-led finale. Fantastic work on this engaging track. I will be posting on Obscure Sound in the near future, for sure. Also reach out to me at email@example.com if interested in rates/success stories regarding my digital PR services, if in need of promotional help. Thanks for the great submission -Mike
With a haunting piano lead quickly accompanied by strings and synth trickles, "In My Dreams" is enthralling from the get-go, Fluid vocals flow smoothly over the piano and synths, with the bridge around 01:10 marking a successful maneuver that allows the sensual vocals to stand out more. The piano-laden atmosphere and stirring vocals bring to mind Janelle Monae, if she was asked to score the new Bond theme song. I really dug this -- solid work. I'll be posting on OS sometime in the near future. Reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my digital PR servicing. Thanks -Mike