- 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
- 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
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 firstname.lastname@example.org if interested in rates/success stories regarding my digital PR servicing. 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
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.