- 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 ---> email@example.com
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- 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
Playful percussion and a sonorous synth serve as a nice complement to a suave vocal delivery, the "___, girl" initial approach weaving well into the uptick in tempo that arrives with the additional blooping synths. Effervescent hook around 00:52 is wonderfully done -- I was waiting for a hook at that point, and it arrived just in time. The verses are pretty to-the-point, though I do dig the linguistic transition around 01:30 -- and then into that killer chorus. Some great variety here. This is a very fresh-sounding effort that's easy to get into. As you mention, it's a very appetizing hybrid of lush hip-hop and Afro-beat. Style is getting some nice airplay now, so there's ripe PR potential here. Reach out to me at firstname.lastname@example.org if you ever need a hand with that. I'm looking forward to posting this track on Obscure Sound in the near future -- dazzling hook drives it. Great work! -Mike
Mysterious and enigmatic sound here -- string-laden emotion reminds me fondly of Owen Pallett/Final Fantasy, though with a more folk-driven exposition. Vocals are down-to-earth in their personable approach, though also have a grandiosity in moments like the "dying alone" lyrical bit and then halted bit just past the one-minute mark. String emphasis around 01:38 provides for some excellent atmosphere -- akin to The Decembrists and Marissa Nadler in the haunting string-folk approach. The wordless vocal whimpers around the three-minute mark provide a chilling dose of variety, leading well into the song's second half. Really enjoying the close-knit outdoor setting for this track's video as well -- fits it well. Somber and understated lead just prior to the four-minute mark suggests expansion to come, which does - at 04:24, when the strings combine with the emotional vocals for the imminent culmination. This track is a journey of a listen, though in a good way, and one that introduces listeners to the group's epic songwriting arsenal well. While not always easily digestible, this is a great showing of quality songwriting and musicianship. Will be aiming to post on Obscure Sound in the near future. Also feel free to reach out to me at email@example.com if in need of help with PR; I can provide my rate and success stories upon request. Thanks for the submission! -Mike
Decision to introduce vocals and strumming acoustics immediately sometimes doesn't work, but it does so here -- as the melody is instantly infectious and the vocals airy and sonorous. The "everytime I close my eyes" shift suggests the expansion to a grander hook, additionally driven by the fluttering acoustic approach 10-15 seconds thereafter. Subtle backing symphonic is a nice touch here, though I do think some pulsating percussion would hammer home the hook here. I recognize this is an acoustic version, and it plays very nicely, though I imagine the "satellite" hook would differentiate from the similarly-sounding chorus more with a more distinguished percussive addition. Infectious verses though -- actually reminds me of The Cars in its power-pop approach. Bridge around the three-minute mark provides some nice melodic variation as well. Nice work there. I'm really enjoying this effort, and although I'd like to see more variation between verse and chorus, that's more due to the acoustic aim here. Adding some percussion to the hook would breathe some life here, though I do dig the overall result, even if acoustic music isn't my site's primary emphasis. Nice work and thanks for the submission. -Mike
Creaking guitars and subdued vocals give this track a mysteriously inviting feel, with the warm synth warble around 00:37 showing a nice developmental prowess. Transition to hook around 00:50 is preceded nicely by the barren and semi-creepy acoustic twang, which is a great production choice for going into the confidently suave chorus, where crunchy guitars and emotive vocals collide nicely. Reverting back to the verses, I'm really digging the sporadic bass bursts that give way to snarling guitar twangs. Getting some nice Radiohead vibes here and throughout, even as the vocals are friendlier to the common audience, and the hook veers more toward Queens of the Stone Age territory. Obviously both these comparisons are favorable :D Very nice work here. Will aim to get this up on Obscure Sound in the near future. Thanks for the submission! No faults being heard on my end. Feel free to reach me at firstname.lastname@example.org if you'd like to chat more regarding my PR services; I can provide rates and success stories upon request. -Mike
Theatrical and yearning vocals are aligned well with the delicate piano arrangement, showing a minimalist yet effective introduction. Strings and the "wish I could see you again" yearning prior to the "I'm so sorry" hook works well, as does the aforementioned hooks. Typically Obscure Sound covers more left-field material in terms of style, though I do think that "I'm Sorry" shows great work in the pop genre. The vocals, caressing piano, and string flourishes comprise a very effective arsenal, and Sabrina's vocals are faultless. I see this as having ample radio success -- it's substantially better than a lot of what I hear there nowadays, and there's broad appeal here -- although firmly in the pop genre, there's also a saccharine country tinge. The melodic bridge around 02:35 also works very well. In all, with the production and vocals both being solid, I'm not hearing any faults or points for criticism. Although the style gravitates toward the conventional for site tastes, I'm really enjoying this, and it shouldn't have an issue attracting the attention of pop music sites/blogs/radio. Thanks for the submission! -Mike
"Cage" works off an inviting initial arsenal, with warm duet vocals, welcoming guitar twangs, and a fluid rhythm section. Lyrics like "birds all sing in the garden where you lie" help guide toward a carefree and breezy soundscape, with the gentle transition to the next section around 01:03 being accommodating of that direction. The "this passing light" pause works very well, production-wise, in leading to the melodic and harmonious wordless vocal backing around 01:27. Structure thereafter is mostly repeating of the first two minutes, though it's warm and inviting enough to warrant the repeat. This is a very pleasing and accessible indie-rock effort with a high level of satisfaction for the listener. Will aim to get this up on Obscure Sound in the near future. If ever in need of PR help for this track or others, feel free to reach me at email@example.com -- I can provide rates/success stories on my digital PR servicing upon request. Thanks for the great submission! -Mike
A deep bass, enthralling vocals, and an echo-ey dark synth presence provides an enticing intro to "You and I", with the effervescent key additions just before the 30-second mark serving as a great build-in aid to the infectious build-up from 00:30 to the one-minute mark, where successful theatrical vocals combine with hand-snapping for great effect. The "never meant to love you" hook just prior to the two-minute mark, with the building-up crunchy distorted guitar, creates a nicely devastating moment that reminds me very favorably of Placebo/Brian Molko's dark alt-pop brilliance. This sound has a more modern, sleek electro-pop edge, though the guitar additions - and especially the solo that begins around 02:40 - makes for a unique sound that makes me excited for this project. Really great track! Will post on Obscure Sound in the future, for sure. If in need of promotional help for this or any other tracks, feel free to reach out to me at firstname.lastname@example.org; I can send rates/success stories for my digital PR servicing upon request. Thanks for the submission! -Mike
Personable and fun approach to kick things off, with the up-front vocal production providing a serene sense of complacency that works well with the hazy-summer-day vibes I'm getting from this track. I want to play this song on a blue-skied day while lying in a hammock. The punchy halt just past the one-minute mark serves nicely for some infectious variation, as does the playful wordless vocal approach that occurs on occasion. "Dandelion" also touts a lovable minimalism reminiscent of Magnetic Fields or, more recently, Frankie Cosmos. Nice touch with the whistling past the two-minute mark, which plays well off the whoop-like vocal quirk. Nice lo-fi tune that shows a project brimming with potential. Digging it. Feel free to send an email to email@example.com if you'd ever like a hand with PR for this track or any others -- I can provide my rates/success stories upon request. Thanks for submitting! -Mike
Gentle acoustics and sonorous vocals provide "Oasis (First/Last)" a nice and accessible opening, with the "we are the first / we are the last" slight variation setting up nicely for the introduction of percussion just prior to the one-minute mark. The gentle keys also play a nice role. The "sun is blinding" bit is apt -- as the instrumentation resembles shimmering sunshine, in a way that reminds me fondly of Collective Soul's more sun-tinged tracks. This track does have a nicely nostalgic late '90s/early '00s stylistic edge to it; I enjoy it. The sparse bridge around the two-minute mark provides just enough variation to keep things mellow, while the subsequent guitar solo at 02:25 is crisp and audibly welcome. This track chugs along very nicely, not breaking down any stylistic barriers but certainly succeeding in a lush melodic array of amiable pop/rock, with an easily digestible hook and no issues on the production front. Will aim to get it on OS within the next month. Also feel free to reach out to me at firstname.lastname@example.org if in need of help with PR; I can provide my success stories and rates upon request. Regardless, thanks for the enjoyable submission! -Mike
Bluesy howl of guitars set this one up nicely, with the chugging rhythm guitars, twangy lead, and sultry vocals comprising a very appealing arsenal. As your description states, this shows a return-to-roots take on vintage rock 'n' roll that's often absent from today's rock scene. The uptick in vocal emotion and clanging guitars around 01:20 presents the first hook, a spine-tingling accomplishment that - while not blowing me over with innovation - is soundly accomplished. The New Orleans roots seems to have nicely contributed to the bluesy tinges, with the rising and rousing organs working well as a subtle maneuver. Really digging the percussion during the bridge at points like 02:38, and the "I'm free" vocal repetition afterward followed by the commendable guitar solo just prior to the three-minute mark. Repetition on the structural end results in a hypnotic state of energy that's fitting for this bluesy and vintage take. Very nice work! I will get around to posting this on Obscure Sound in the next month for sure. Also feel free to reach out to me at email@example.com if in need of help with PR; I can provide success stories and rates upon request. Regardless, thanks for the great submission! -Mike
Loving this track! Great intro -- getting those Wild Nothing vibes with the shimmering guitars. Also some Kate Bush with those quick-moving synths. The vocal approach - with a nice dose of reverb and anthemic allure reminiscent of Deacon Blue. As you probably guessed by now, I'm really loving these '80s rock/post-punk vibes. Very stirring final minute as well -- nice escalating vocals over the effervescent synths and shimmering guitars. I plan on posting this on Obscure Sound in the near future -- August queue is backlogged and I'll be out of the country for a few weeks, but I'll post it up sometime in mid-September. Feel free to send a follow-up to firstname.lastname@example.org around that time as well -- really nice work on this; no faults that I hear. Definitely interested in posting this and helping out with its promotion. -Mike
Twangy guitars and heavy bass make the intro for "U.N.I." very enticing. Guitars scale back as vocals enter, the clicking percussion and ruminating bass doing all that's needed to gently introduce the vocal presence. Bass-y additions around 01:03 provide a great lead-in to the subsequent shimmering guitars, aided by the infectious "you and I" vocal backdrop. "You and I" wisely shows itself with more clarity around the two-minute mark, setting up nicely for a nicely composed final minute or so, filled with ambient guitar twangs reminiscent of The War on Drugs/Kurt Vile. Ending is enjoyably repeating in a hypnotic sense. Really digging this track - nice work. Will get around to posting this on Obscure Sound sometime in the next 30 days. Thanks for the submission! -Mike
"Five Stars" begins nicely with rousing keys and Jason Cardinal's rousing vocal presence, which has a melodic grasp reminiscent of Elton John but a semi-raspy vocal delivery that reminds me of Paul Weller's enthusiasm. Two awesome vocal comparisons for sure, and complemented nicely by the occasional backing female vocals. Even with a conventional structure, "Five Stars" features a rollicking verse with quality vocals, infectious piano, and slight slabs of organ. Male-female vocal duet in the bridge around 01:30 is very well-executed, driving into the second showing of the chorus. Really digging this! Style isn't new by any means, but within this realm it's excellent -- very hook-y and soulful. The Style Council is a stylistic comparison that you should be proud of, while Joe Cocker comes to mind as another vocal comparison. Will aim to get this up on Obscure Sound within the next month - highly enjoyable track. Feel free to send an email at email@example.com if you need a hand with PR for this track or others. Either way, thanks for the submission. Great work! -Mike
Immediately captivating sound that reminds me of Kate Bush, who herself has a wide stylistic range, but outputs a very worldly sound. The sitar-like drone and gentle strings (?) in the backing during the intro, combined with the soaring vocals, make digging into this one quite easy. Effervescent lift-up around 01:31 serves as a very nice hook. The track possesses a very mystical feel, which aligns wonderfully with the description you provided of the Sirian Dolphin Princess narrative. The rest of the track flows beautifully in hypnotic bliss. I'll post this in the future on Obscure Sound for sure. Also feel free to reach out to me via firstname.lastname@example.org if interested in help with PR for this track; I can provide rates and success stories for my PR services upon request. Thanks for the excellent submission! -Mike
Infectious intro that chugs along nicely, with the proper addition of the twangy guitar line around 00:30 that helps set up well for the bridge at 00:48, following nicely into some excellent melodic maneuvers, like the cohesive transition back to the initial intro around 01:18. "You've been waiting for the longest time" bridge/chorus a nice moment that reminds me of Weezer, circa their Green Album -- this one has similarly concise vocals and crunchy yet melodically warm guitar rhythms. Distortion-friendly interlude around 02:31 a great choice to keep the structure from being overly conventional. This is a very fun rocker/power-popper that I'm really enjoying. I'll post this in the near future on Obscure Sound, for sure. Also feel free to reach out to me via email@example.com if interested in help with PR for this track; I can provide rates and success stories for my PR services upon request. Thanks for the great submission! -Mike
Gentle keys and whisper-y vocals give this one an introducing beginning, warbly and nostalgic in tone. String introduction thereafter aligns with a nice vocal melodic shift, reminding of the melancholic pull of acts like Red House Painters and American Music Club. Slight addition of a percussive element allows the keys to flow freely during the "how does it feel..." sections. Really nice arsenal between the vocals - which possess a likable raspiness reminiscent of Psychedelic Furs' - and the warbly keys/strings, to result in an engaging sound that shows a hint of sadness but also optimism in the string line. Successfully captures intentional distance and nonchalant. I'll post this in the future on Obscure Sound for sure. Also feel free to reach out to me via firstname.lastname@example.org if interested in help with PR for this track; I can provide rates and success stories for my PR services upon request. Thanks for the submission! -Mike
Good vocal production -- has a touch of cohesiveness with the aid of effects, but it's not overly consumed by it, unlike a lot of material today. Beat is straightforward yet effervescent and consuming, with structural variations like the vocal melody change around 01:20 -- leading to the percussive drop at 01:31 -- serving as a commendable hook. Instrumental emphasis thereafter provides a nice relief, though the instrumental section of the beat goes on for awhile, so I'm wondering if you were considering adding some vocals here? Beat is good enough to shine on own, but may want to cut it down a bit if no new vocals are added to second half. Still a nice effort though. Thanks for submitting!
Stylistic approach - playful and narrative lyrics alongside brisk piano-led pop progressions - reminds me of Squeeze, and fondly so. "Oooh ahh" vocal additives just past the one-minute mark allow the subsequent melodic shifts to prepare for the listeners' ears, with the "family at war' bit reminding me of Peter Gabriel's themes. Great use of backing vocals throughout, with some really great piano flourishes as well just past 01:50. Would love to see more of this ambitious, stylistically inventive piano work. This track is enjoyably understated from a stylistic point, but certainly shows an artist I'd love to listen more of. I'll look to post on OS in the future. If you need any help with promotion, feel free to send an email to email@example.com -- I can provide rates and success stories regarding my PR service upon request. Thanks for the submission! -Mike
While stylistically overly radio-centric for Obscure Sound, "Up All Night" is a riveting electro-pop stunner with faultless production that blends anthemic vocals with interesting electronic work. Nice halted effect around the one-minute mark to lead into the first structural verse, with the vocals showing off plenty of variation into the arp-laden bridge and explosive chorus. The "will be up all night" hook is a good one -- with a nice synth melody flourish at its tail-end, which also plays well during the submerged audio effect around the two-minute mark. Very nice work here, though I'd recommend pitching to more pop-centric blogs.
Cool fade-in effect to kick things off, with the serene acoustics, lush vocals, and tranquil twinkles making this instantaneously interesting. When the percussive beat kicks in around the 30-second mark -- at that point I'm FULLY hooked! Excellently infectious first minute -- reminds me of Gwen Stefani in pop-friendly appeal, which is as complementary stylistically as one could get there. Pulling into a fade-out just past the one-minute mark allows this to build up again brilliantly, with the culmination at 01:31 finding a hybrid between the lush acoustics and some sort of club-friendly electro-tinged Afro-pop. Brilliant! Am re-posting on Soundcloud now, and will absolutely post on OS in the very near future. Send me an email at firstname.lastname@example.org if interested in help promoting this; I can provide rates/success stories regarding my PR service upon request. Thanks for the great submission and look out for a post shortly! -Mike
Nice cover of an underrated Beatles tune that isn't covered enough! This is a fun fuzz-friendly alt-rock approach with anthemic vocals that remind of The Hold Steady. A nice modern take, for sure. Would enjoy to see future covers of this extend beyond the conventional structure; beyond bits like the backing vocal reflection past the two-minute mark, there's not a lot of innovation on the melodic or structural front. Would play wonderfully at a live show or Beatles tribute, since it's close-to-heart, but as far as posting to Obscure Sound I'm typically looking for ambitious takes if posting any sort of cover. Thanks for the submission though and keep up the nice work!
Waves of distortion and a suavely confident vocal delivery makes this track enticing from the get-go, with the fuzz-friendly guitar lead and bluesy ferocity making for a good one-two punch in regards to the instrumental arsenal. Alternate vocal delivery around 01:49 provides some nice variation, a more subdued form; I dig the choice to keep the vocals mostly nonchalant and back in the mix, allowing the bluesy distortion to fully envelop the soundscape. The "goooone" effect around 02:25 is a great touch as well! The track has plenty of charisma, showing Milo Starr Johnson as an act full of potential.
"Red White & Blue" rides nicely initially on a driving organ, creaking guitars, and gradual percussion, culminating in a powerful vocal presence accompanied by twangy guitars. The "all is lost" distortion heightening works well as the first hook, reverting back to the first verse afterward for comfy familiarity. "Bluueeeee" vocal longing around the one-minute mark works well for variation as well. Many tracks in this style often fall victim to over-repetition, and while this track is lent a hypnotic quality due to the verse repetition, the various takes on the chorus - from the bridge to "blueee" bit - introduce enough variation to make this a strong effort. Guitar interlude just past the two-minute mark, with the excellent percussive build-up and organ collab around 02:34, serve as the track's greatest point. Really nice work here -- full-bodied and lively effort. Will aim to post on OS upon release. Also feel free to reach out to me at email@example.com if interested in help with digital PR; I can provide success stories/rates upon request. Thanks for the submission! -Mike
"Elderman" is a stellar track that shows a group that's particularly savvy with developmental post-punk songwriting/production. I'm particularly fond of the percussive evolution that begins around 01:40, culminating beautifully with an eruption of distortion at 02:15. Vocal entry around 03:30 is cohesively introduced, and while not electrifying in its melodic presence, does well in mixing things up structurally -- making the distortion and feedback-laden build-up that culminates at 04:49 even more rewarding. From this point on the track soars, serving as a fitting finale. Nice work. Will post on OS in the future -- and feel free to reach out to me at firstname.lastname@example.org if ever interested in help with PR. Thanks for the submission! -Mike
The "the everything you are / everything you knew" hook is excellent -- immediately infectious and to-the-point. The track shows a sharp indie-rock presentation, with suave vocals and playful charismatic guitars. The laid-back and loose take on infectious rock brings to mind Coconut Records and Rooney's more guitar-forward efforts, in showcasing a similar propensity for hooks with the occasional distorted interlude, like here around 02:11 -- with some excellent melodic shifts several seconds thereafter. The guitar reflecting the lead melody at 02:35 gives another nice touch. I'll be posting this in the future on OS - thanks for the submission. Also feel free to let me know if you ever need a hand with PR -- send an email to email@example.com at any point if so for rates/success stories. -Mike
There's a twang in both the vocals and guitar work that gives this effort a nicely nonchalant vibe reminiscent of Mac Demarco and Travis Bretzer. Although the rhythm section seems to stumble at points in trying to catch up with the vocals at points, though "oh baby don't you know you're the one" moment - with the sparse bass lead around 01:40 - and then the reappearing guitar makes for a nice moment. Electric guitar injection around 01:58 suggests some sort of development, which arrives around 02:20 - when the soaring electric guitars comprise my favorite section of the track, proving very reminiscent of The War on Drugs -- high praise indeed. Though the track is shaky at points prior to this rhythmically, the core is here and there's a lot of potential. More similar guitar work to the conclusion throughout would be recommended.
1. Haunting vocal performance with a tone that reminds me of Black Box Recorder's Sarah Nixey, with a dark alt-rock approach that isn't very inventive, but gets the job done in delivering a consuming soundscape with the staccato-laden central hook. Almost a Halloween sort of vibe. 2. Browse Hype Machine for blogs who have actively covered acts like Black Box Recorder, Suede, Portishead, The Cranberries, Metric, Sleeper, Echobelly, Elastica -- these are the points of comparison that come to mind - and pitch. 3. For airplay, try and secure as much blog press as possible. It's difficult to contact radio directly, but their program directors often peruse the web for breaking acts, and the best way to get on their radar - beyond hiring a pricey PR firm - is to gain a large presence in the music blogosphere. 4. Sync deals primarily come from ample good press; I don't have anyone specifically in mind, as it's hard to tell before reaching out to them if someone will enjoy a specific track. I like this, but the style may not grab others - as it's not exactly a new stylistic approach. I dig the '90s alt-rock/Brit-pop nostalgia and darker vibes, though. 5. Keep up the good work and thanks for the submission -- I'll be sure to let you know if a post goes up on OS.
Nice introduction -- loving how the hazy acoustics build into a faint synth pad that accompanies the frailly enjoyable vocals. The psych-folk approach reminds me fondly of Kurt Vile. The "can you hear me?" bit around 01:10 forward is a nice subtle hook, with the backing synth providing much of the melodic variation. Digging the vocal transition around 01:38 - even though the vocals here are a bit creaky and turned up high in the mix. Nicely accomplished soundscape, and though the vocal mix could use some work there's ample potential here and great room to grow. Wonderful brass-laden touch in the closing moments as well.
Massive-sounding introduction, with the theatrical piano and soaring guitars leading nicely into the vocals, which exude an angelic quality that contrasts in successfully interesting form with the distorted guitars. This track plays like a half-ballad and half-rocker simultaneously and does well in doing so, the melody conjuring a wintry landscape with its fleeting guitar and key lines. The guitar lead around the 3-minute mark helps constructs an anthemic feel akin to Coldplay's songwriting technique - a high complement to say the least. The songwriting here is excellent at constructing a grandiose and anthemic sound, as well as the contrast between moments like the resonating guitar and trickling-key interludes (like at around four minutes). Very moving and successful track. Will be posting on OS in the near future. Also feel free to send me an email at firstname.lastname@example.org if you're interested in help with PR; I can send my service's rate and success stories upon request. Thanks for the submission! -Mike
Heavy bass and guitar twangs glide alongside soaring vocals to make"Louise Louise" an immediately captivating effort, recalling '90s grunge with the hook-laden distorted fuzz, as well as early alt-rock purveyors like Sonic Youth and Tortoise. The "louise, louise" line - echoed by a charismatic guitar line - provides a nice memorable moment throughout, as does the twangy guitar solo at the two-minute mark. I'm really digging how this solo goes on for over a minute as well, with some awesome percussive work around the three-minute mark that aligns beautifully with the guitar work. This is a fun, energetic success -- I'll be posting on OS in the near future. Also reach out to me at email@example.com if you ever need a hand with PR -- I can provide my rate and success stories upon request. Thanks for the excellent submission! -Mike
I'm really enjoying the joyous and slightly drugged-out (in a good way) central hook here, the wordless croons fitting well in-between the soulful and charismatic verses, led by simple-enough swaying guitars but a very strong melodic presence that reminds me tonally of Liam Gallagher and Gaz Coombes. The track has a timeless feel, partly due to a style driven by a predictably comfortable instrumental arsenal and a structure that plays it safe, but wisely so - as the hook/verse hybrid is strong enough to repeat several times. It does give me '90s nostalgia, one of my favorite periods for rock, so that's great as well -- very nice track. I'll be posting on OS in the near future. Also feel free to send me an email at firstname.lastname@example.org if you and Mike are interested in help with the PR outreach; I can send my service's rate and success stories upon request. Thanks for the submission! -Mike
"China Doll" has a sparkling but eerie beginning, with the percussive introduction around 00:38 kickstarting the atmospheric brilliance this track conveys. While the vocals and production gravitate toward a radio-friendly spectrum in terms of sheer arsenal, the vocal performance and hip-hop-laden beat - sort of with a Halloween vibe - exude a sort of darkness and submission. The "I was never really there at all" line - then going into the chorus at two minutes - followed by the slight strings is a fantastic touch! Huge props on advancing the boundaries of pop music and remaining accessible while stepping outside the box, similar to Grimes. Will be posting on OS in the near future. Feel free to send me an email at email@example.com if you're interested in help with PR for this track; I can send my service's rate and success stories upon request. Thanks for the submission! -Mike
A heavy and snarling distorted guitar collides with vigorous percussion and forceful vocals to result in a captivating beginning, with Four Trips Ahead showing themselves as a band gets to the point. The enjoyably forceful verses are nicely accompanied by a harmonious chorus that features a memorable hook that's easy to sing/nod along to. Ozzy Osbourne comes to mind as a vocal comparison -- which is obviously a good thing, so props on the commanding presence. Guitars have a charismatic Josh Homme-like feel going on as well. The instrumentation and production are precise; there's no problem with how this sounds. The crunchy interlude around 02:27 is a nice way to mix things up as well before heading back into the enjoyable reprisal. Very nice work! I'll plan to post on OS in the future. Also feel free to send me an email at firstname.lastname@example.org if you're interested in help with PR; I can send my service's rate and success stories upon request. Thanks for the submission! -Mike
Great nocturnal vibe led by the flickering synths and high-presence vocals, which reminds me of Phil Collins circa "In the Air Tonight". On the hook front, I'm really digging the transition around 01:20 to the central hook - with a great arp accompaniment around 10 seconds later during the phenomenal "after you" hook. The track accomplishes enthralling infectiousness in the first two minutes, with the second half finding an enhanced bass line adding to the already-great feel well. The final minute soars especially with, with the hand-clap percussion around 03:15 adding even more life to the uplifted vocals, which near falsetto range in accomplishing this very successful finale (which has great synth arp and guitar interplay). Fantastic track! I'll be posting on OS in the near future, for sure. Also feel free to send me an email at email@example.com if you're interested in help with PR; I can send my service's rate and success stories upon request. Thanks for the submission! -Mike
Warm guitar tones and a pleasant vocal delivery make the track immediately enticing, showing a very crisp indie-rock approach that - while although not breaking down stylistic barriers - introduces well, with the stylistic aesthetic reminding me of an old favorite in Ghosty. The backing vocal melody and shimmering piano repetition at the back-end of each verse starting around 01:00 serves as a nice hook and lead-in to the guitar lead around 01:40. The transition around the two-minute mark to deeper, more tranquil vocals is aptly accompanied by scaled-back instrumentation, a production choice that I really enjoy. This whole section serves as a great interlude; many indie-rock groups suffer from over-repetition, and moments like this help your group stand out from the rest. Very nice songwriting, with a joyous quality. I'll be posting on Obscure Sound in the next few weeks, for sure. Also feel free to reach out to me at firstname.lastname@example.org if interested in details/success stories regarding my digital PR servicing. Thanks for the submission! -Mike
Loving the various key sounds that comprise this soulful beginning, with the nice apt cut sample also used on Kanye's "Ultralight Beam" working well. What follows is a punchy and immaculately produced gem, which blends backing gospel vocal samples with a ferocious contemporary take on soulful hip-pop. The vocal delivery is faultless in the rhythmic approach, reminding me of some excellent Mac Miller and Frank Ocean hybrid -- in that it's simultaneously adept at both atmospheric pop hooks and furious hip-hop adornments. This track has STAR radio potential written all over it; it's immediately accessible, and seizes on the gospel-tinged soul-pop that's been increasingly popular lately. No criticisms on my end; this is a timely success. Will be posting on OS in the near future for sure -- and feel free to give me a shout at email@example.com if interested in rates/success stories regarding my digital PR servicing. Thanks for the submission -Mike
The bass and sparsely placed percussion, combined with the distant dual vocals, make for an interesting introduction that becomes nicely enhanced by the shimmering guitar around the one-minute mark. The additional piano and string-like tone 15-20 seconds later adds another nice dimension, culminating in a nice build-up before tracing back to the intro, this time with some more nice additions. The droning guitar that follows is a very nice touch, adding a post-punk vibe to the piano's neo-classical feel. Getting pleasant Interpol vibes in the instrumentation, while the vocal approach reminds me a bit of Swedish group Love Is All. Nice track here - to the point and done well. I intend to post it on OS in the future. Feel free to send me an email at firstname.lastname@example.org if you're interested in help with PR as well; I can send my service's rate and success stories upon request. Thanks for the submission :) -Mike
Muscle-y distortion and an active rhythm section give way to vocals that have a timeless sort of charisma. The percussive halted effect around 01:30 gives away to an effective hook, with ominous spoken-word vocals relaying over wispy guitar distortion and clanking percussion. The intense lyrics that follow - especially the bit about cumming/coming inside, and then giving way to a seductive guitar solo - are very effectively conveyed, especially as they tend to align tonally with the backing instrumentation. This is a refreshing stylistic contemporary hybrid that I'll be revisiting for sure. It blends '00s hard alt-rock with classic-rock sentiments of the past. Will be posting on OS in the future.
Charismatic and personality-packed track, that reminds me of Lil Dicky's humorous hip-hop approach, as well as Das Racist's audible appreciation for the genre in general. Little production bits on "I Like to Climb Trees" - like the repeating "fucker" vocal sample, spacey synth effects, and hypnotic quick and tonally diverse vocal delivery - craft - indeed, as you put it - a truly unique vein of hip-hop. The "climb trees" hook around 02:20 works very well, making up for any lack of variation that may deter those of more structurally complex hip-hop. I'm a fan of the soundscape creation and humorous bits - from the "motherfucker" vocal sampling to jungle sounds around the three-minute mark. The playful percussion and buzzing synths provide a constantly good backdrop to this entertaining track, boosted by an equally entertaining video. Will post on OS in the future. Best of luck, and thanks for the submission. -Mike
Atmospheric and touching track. Beginning with vocals repeating "I can see us as friends" over a melancholic and spacey synth pad and aquatic arp, feelings of unrequited love are strongly conveyed. The nonchalant lead vocals creep forward gently, leading to the creepy leading effect around 01:20 -- which then transitions into a tribal-like procession that reminds me fondly of Animal Collective, with more natural vocals. The playful synth solo around 02:15 is a nice touch, as is the muttered vocals in the background -- conveying a futuristic sense of optimism, despite the murky unrequited underbelly. I'm digging the playful vocal approach in this track, as well as the hypnotic and atmospheric blend of psych-pop and electronica. Will be posting on OS in the near future for sure; feel free to reach out to me at email@example.com if interested in rates/success stories regarding my digital PR servicing, as well. Thanks for the submission -Mike
Country isn't my or Obscure Sound's forte keep in mind, but I do enjoy this; the commanding vocals and polished production stand out in a good way, comparable to the good-timey summertime feelings of most country-rockers I hear that achieve nicely on the radio and in the summer tour circuit. Romantic yearning in the verses - with a gentle guitar twang and an acoustic backing - give way nicely to the "let's get lost like we used to" hook, which brims with melodic passion and a contagious sense of sun-shining optimism. Despite not being up my wheelhouse in a stylistic sense and too structurally/stylistically conventional for Obscure Sound in general, "How Bout We Do That Tonight" is an instantly accessible and well-produced track that should achieve success in its respective stylistic niche. Thanks so much for sending, and keep up the great work. -Mike
The "I can get through this" (?) vocal playfulness - along with the developmentally melodic clanking - gives this one a very unique and ethereal introduction, somewhere between Burial-esque dubstep and tranquil dream-pop, mixed with The Weeknd's hungover and nocturnal yearnings. "Lose My Mind" rides on the especially interesting female vocal cuts and otherworldly soundscape, with fascinatingly cohesive transitions - especially whenever it cuts into the harp-like instrument that gently overlaps the female vocal addition. The primary verses are enticing, as well. I'm digging this track's mysterious nature and overall delivery - very nice work. Will be posting on OS in the near future for sure -- and feel free to give me a shout at firstname.lastname@example.org if interested in rates/success stories regarding my digital PR servicing. Thanks for the submission -Mike
Sporadic guitar twangs, enthralling vocals, and a jazz-inspired evolution into lush bass-percussion rhythms make this a stylistic standout; the vocals are lush in their approach, but also show the ability to uptick emotion - at points like 01:15 and 01:24 especially. The percussion reminds me of Afro-pop, while the the trickling and impressive guitars recall a Steely Dan-esque sophistication. The synth-tinged interlude around the two-minute mark is a nice touch as well, and I'm really digging the twangily reverbed elegance around 02:30. This track manages a great degree of structural and stylistic versatility that makes it stand out form the pack while still showing an accessible form of atmospheric captivation and hook-laden accessibility. Very nice work! I will be posting in the near future, and reach out to me at email@example.com if interested in my PR servicing; I can provide rates/success stories upon request. Thanks for the submission -Mike
Great guitar tones in the intro -- natural with a gentle touch of reverb. Vocals are somewhat distant but still emotionally effective. Transition into falsetto vocal territory around 01:19 is very nicely done, even though I hear a tempo-related stutter at 01:33 that should be addressed. I appreciate the bare and honest sentiments though, and this track certainly succeeds in attaining a level of naturalistic beauty, and beyond that singular hiccup there's no glaring miscues. Vocals show good range, though I feel that both the falsetto-driven hook and general approach would benefit from more elaborate and precise production; honesty and naturalism can still be accomplished with that. Heaps of potential here though. Looking forward to hearing more in the future.
"River" is a fluttering vocal-driven effort that rides on a minimalist arsenal of very enthusiastic vocals and twangy guitars. It's a lo-fi approach from an instrumental arsenal standpoint, but simultaneously shows the ability to expand through the charismatic vocal presence of Cookie Cutter Killer. Nice use of brass around 02:35 as well -- was hoping for some instrumental expansion around that point, and it delivered. This track has quality appeal in both the indie market and more radio-centric avenues, without any evident flaws in the production. Some may fault it for a limited instrumental approach, but I find it to be a good demonstration of the artist's talents. Nice work.
Hi Richard -- cool to see this is your first submission ever. Glad to provide my input. First, the production is immediately clear and sonorous - you balance the vocals well between the natural elements and soaring synth/keyboard pad. The "we drift away" hook around 01:10 reminds me very distinctively of The Church - and tracks like "Angela Carter" - which is high praise. This packs a similar sort of jangle-pop punch that sounds like it would be released in later '80s post-punk era. The vocals, while being far from melodically perfect, have personality and a genuine longing that works well with the spacey backing. I would turn the vocals down just slightly in the mix. In any case, this is absolutely worth releasing as it stands. I'm really digging it, and plan on posting it to OS in the future. if you decide to release and are looking for help promoting it, free to reach out to me at firstname.lastname@example.org for success stories/rates regarding my digital PR servicing, as well Thanks for the submission, Richard. -Mike
"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
"Nobody's Business" is a charismatic electro-pop track that reminds me very fondly of Hercules & Love Affair (which I would recommend that as a reference point when promoting this track within the blogosphere). The vocals alternate nicely between suave nonchalant confidence and expansive evolution, highlighted especially during the chorus that kicks in around the two-minute mark (preceded by some cool psych-friendly halting effects around 01:55), and the "church on Sunday / cabaret all day on Monday" vocal line over an infectiously sly vocal backing is a particular standout hook. Very nice work - cool to see it's been in progress since '92. Will be posting on OS in the future -- feel free to reach out to firstname.lastname@example.org for success stories/rates on my digital PR servicing as well, if you're in need of that. Thanks for the submission :) -Mike