- Founder/Editor of Obscure Sound; Music PR Professional
I am the founder and editor of Obscure Sound, a site that has been exposing quality independent music since 2006. It has been featured in the New York Times, Boston Globe, Toronto Star, The Guardian (UK), The Independent, The Observer (UK), Wired, BBC Radio 1, Stereogum, New York Magazine, and VH1’s Best Week Ever. Feel free to contact me in regard to music submissions for Obscure Sound and/or independent PR servicing, a comprehensive service I provide artists with. I have seen very positive results to date, helping lead to placement in NME, Pitchfork, Indie Shuffle, and many more, including a nationally televised commercial with ESPN, spots on Spotify's official "New Music Friday" playlist, as part of the soundtrack for the 'Rocket League' video game, and several record label opportunities (with names like Burger Records and Rough Trade). I can provide rates and more success stories upon request ---> email@example.com
- artist management, music industry, pr, digital marketing, diy music promotion, consulting, music promotion, artist and creative talent relations, music marketing, social media, social media marketing, brand building, social media strategy, creative writing, emerging artists, music events, copywriting, music writing, music writing / blogging, promoting music, music journalism, music blogging, music reviews
- rap, hip-hop, jazz, funk, soul, indie rock, indie pop, hard rock, rock, folk, indie, singer/songwriter, electronica, edm, music, reggae, pop, r&b, garage, video games, gaming, dance, ambient, house, dubstep, indie folk, synthpop, shoegaze, electro pop, acoustic, chillwave, country, dark ambient, downbeat / electro-acoustic, grunge, film / video, comedy, uk garage, remixes, alt-country
Chiming bells and minimalist percussion make an enticing beginning that allows the vocals to shine, which alternate between raw authenticity and backing autotune-accompanied melodic whimsy. The bouncy synth/key additions around 01:13 is nice and timely -- just as the structure was veering into predictable territory, you managed to infuse some interesting melodic additions over the "why they always talking about me" vocal call-and-response interplay. "Pillow talkin'" verse picks up the tempo a bit, affirming that this is an effort with an adventurous structural charm. Too many hip-hop/R&B-laden tracks these days are way too stale structurally. This follows the Frank Ocean school of keeping structures interesting, even if takes away some radio airplay appeal. The beat here is minimalist, though subtle changes and vocal production effects - with the hook especially at 02:45 coming back around for a nice effect - help guide toward a successful effort. Nice work! Will look into posting on Obscure Sound in the near future. Also feel free to reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR servicing. Thanks for the submission, Effbfabz!
Haunting classical-minded familiarity kicks this off, with The Beatles' "Because" having that melodic genius quality that will bring anyone in. Gradual percussive introduction around 00:55 begins to show where this is going, with emotive vocal turns in the next minute, with the forceful hip-hop delivery arising around 01:42. It's certainly intense and aims to be building somewhere, which arrives at the two-minute mark when the central hook of "Because" becomes evident with a symphonic glow. This plays like a mixtape and does well in showcasing the vocal approach of the act, though it's difficult for me to get a firm grasp on the creative capacity. The beat itself has some nice percussive additions, though over-emphasis on the "Because" beat does get on the repetitive side, though the phase-friendly psych elements emerging around 03:07 do show a shift in the proper direction. Also concerned that you may get some flak for Beatles copyright if you intend on releasing this. Act has potential, though would like to hear something less reliant on an extremely familiar melody as the backbone.
Inviting and nostalgic guitar jangle provides an exotic beginning, drawing the listener in with mystical-sounding vocals. Wonderful vocal performance throughout -- highly riveting and engaging. The "Everyone came to dance" hooks finds a nice melodic transition, subtle in arrangement but monumental in setting the stage for future transitions. The electric guitar quivering at 01:56 adds another great effect -- adding a chilling feeling to the mystical soundscape. The pitter-patter percussion is minimally invasive, allowing the vocals and guitar jangle to comprise the arsenal's majority. Re-emergence of hook at 02:55 is welcome. The "ceremony" conclusion - with the creaking backing vocal addition - caps things off well -- reminds me of Kate Bush, quite fondly. Really nice work here! Will look into posting on Obscure Sound in the near future. Also, if in need of help with PR, feel free to reach out to me at email@example.com for rates/success stories regarding my PR servicing. Thanks for the great submission! -Mike
Although I primarily feature and review studio recordings, this one does excellent in showcasing the live enthusiasm and melodic charm of The Pulltops -- no doubt you put on a great show. The beginning guitar tones remind me of early Smashing Pumpkins -- very early (late '80s demos). I mean that quite fondly. Nonchalant vocals chug along melodically, with bridge at 01:14 serving as a nice lead-in to the uptick in emotion around 01:27 that serves as the core hook. The angular guitar work and chugging rhythms make for a sound that, while not defying any stylistic norms, is certainly captivating and fluidly melodic. Vocal intensity and touch of reverb in the production lends a nice dose of '80s rock nostalgia. Lusher bridge around 02:50 adds a nice amount of variation to return back to the central hook, with the track simultaneously sounding nostalgic and forward-thinking. This is a solidly constructed and thoroughly engaging effort with a good deal of infectious appeal. Nice work! Will post on Obscure Sound in the near future. Also let me know if you ever need a hand with PR -- I can provide my rates and success stories upon request, if you reach out to firstname.lastname@example.org. Either way, thanks for the solid submission! -Mike
Endearing vocals and a gentle acoustic strum kicks things off amiably, with a gentle electric guitar twang easing in to show expansion. The gentle backing crooning adds to the ethereal beginnings well, with the "battle cry" hook at 00:46 serving as an effective contrast. This song avoids the tendency of others in this genre to not separate enough between verse and chorus; "Battle Cry" successfully wades between rainy-day and more upbeat, confident chorus to represent triumphant overcoming well. The alignment between melodic structure and lyrical theme is very nicely done - great job! I'm enjoying this track quite a bit. I'll look into posting on Obscure Sound in the near future. Also, feel free to send me an email at email@example.com if you're ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
A galloping bass and western-y guitar twangs kick this off well, with the sound of panting enhancing a frenetic feeling that meshes well with the yearning-for-cash lyrical beginnings. Aesthetic reminds me favorably of the group Man Man, narrative-friendly lyrical content with ample charisma accompanied by a fervent musical accompaniment. Blast of distortion and punk-laden energy around 01:20 adds a nice mix of variation, keeping things quite interesting. Surf-y guitar solo at 01:35 also works nicely. This is a short one at 02:29, but makes great use of its time -- ample variation and energy in addition to prevalent hooks makes "16:12" a winner. I'll be posting this on Obscure Sound in the near future. Also, feel free to send me an email at firstname.lastname@example.org if you're ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
Chorus here soars and plays beautifully -- the "you and I, we should have tried / it's too late, too late / I guess this is goodbye" moment, in particular, works wonderfully off the guitar twangs and keyboard flourishes. This is easy listening, with a sharp vocal presence that reminds me of favorably of Emily Haines. While not breaking down any stylistic barriers, "Seasons Change" is melodic ear-candy with ample radio-friendly charm -- very nice work. I'll be posting on Obscure Sound in the near future. Also, feel free to send me an email at email@example.com if you're ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
Vocals have a punchy charisma to them reminiscent of The Pixies' Frank Black -- very nice. The "I know that you would like to tell me" hook around 00:40 shows the vocal flexibility very well -- loving that pitch fluctuation, reminiscent of Television's Tom Verlaine in that sense (anytime a vocalist can be compared to both Black and Verlane, that's damn good haha). Warm guitar distortion and steady rhythms provide a basic yet aptly enforcing accompaniment, the vocals having a punk-laden edge that combined with melodic charm makes for a great alt-rock presence. Two-minute-mark bridge provides just the right dose of punch-y variation, as well -- giving the vocals a chance to once again impress with ascending emotion. Very nice work here from start to finish. I'll be posting "Forever Poser" on Obscure Sound in the near future, for sure. Also, feel free to send me an email at firstname.lastname@example.org if ever in need of PR servicing; I can provide my rates and success stories upon request. Thanks for the submission -Mike
Ominous piano melody and vocal side-panning make for an ominous beginning, leading into a very ferocious vocal delivery that captures angst and inner demons well. The initial violent lyrical content makes this very niche-specific, and overly aggressive for my site's tone personally, though with the horror-movie beat and charismatic beat it can attract followers of acts like Odd Future, which is the comparison I'd advise to start with for PR efforts. Interesting track, for sure - keep up the good work!
Smooth keys and guitar twangs help complement a charismatic vocal lead. Great synth effects at 00:48 provide a fun, bouncy feel. Apt cover picture of the lemonade, as this track does tout a blue-skied sunny day with the key/guitar-twang feel. The track uses vocal repetition - like "love is in the air tonight" and "memory laced thinkin' bout you" - as an infectious asset, bringing the vocals to the center and then submerging it to provide an effective contrasting effect. While it does lack structural variation, it lends a nice hypnotic quality that flows well. I enjoy the lyrics' positive vibes and the smooth production, though do wish the central hook had more variation and departure from the verse.
Gentle guitars, longing piano, and weeping strings make for an emotional beginning, one that does well in captivating the listener. The tone - a bit hopeful, a bit horror movie-esque - reminds me favorably of the act World's End Girlfriend (definitely reach out to any sites that featured them). Vocal entry at 01:52 has a tortured feeling that reminds me of Suede's Brett Anderson a bit. The "I will take you far away" hook at 01:35 comes at a nice time, and touts a great soaring ability. It's a nice departure from the track's initial darkness, showcasing a nice soaring effervescence. This is an enjoyable piece of songwriting in how it traverses between dark and light. A bit Bowie-esque on that front! Nice work here. I'd love to post on Obscure Sound upon release, and help out with PR. If interested, feel free to reach out to me at email@example.com for my PR service's rates/success stories. Thanks for the excellent submission! -Mike
Brooding industrial-rock feeling projected in the beginning, with rising guitar distortion and a powerful vocal presence. Spacey synth effects and guitar bursts just past the one-minute mark - as well as the "in the sky" vocal repetition - makes for a really cool otherworldly feel, with an elongated brooding. Main section chugs along nicely just prior to the two-minute mark, with relatable lyrical sentiments like "Be yourself and you will thrive." It touts a nice inspirational message. String interlude and evolving synth arp at 02:17 is nicely structured, with everything culminating nicely during the final minute. Nice work! Will look into posting on Obscure Sound in the near future. Feel free to reach out to me at firstname.lastname@example.org for rates/success stories regarding my PR servicing, if in need of it. Thanks for the submission! -Mike
Sonorous guitar fuzz at beginning develops nicely into more serene strums around the thirty-second mark, leading nicely into vocals that show a brutal honesty with the opening words "I'm not an honest person" -- with a charismatic tone with ample melodic variation. It makes the first minute immediately engaging, very important for this genre. Great hook around 01:17 where the guitars shift melody and the vocals assume a more romantic longing - "I will always love you more." Really awesome vocal performance in this section, in particular. The remainder is equally engaging, finishing at the perfect length. Very nice work here! I'll post this up on Obscure Sound in the near future. Also, feel free to reach out to me at email@example.com for rates/success stories regarding my PR servicing, if in need of it. Thanks for the submission! -Mike
Nice track! I'll post the following to OS alongside the video in the near future -- Gentle acoustics and a playful keys accompaniment help complement Orouni's engaging vocals on this excellent live session shot of "The Lives of Elevators", a new effort off the group's upcoming album. Also evidenced on the previously featured "The Peanut Specialist", Orouni's vocals have a soaring and personal quality to them reminiscent, at least to me, of Belle & Sebastian's Stuart Murdoch, as well as Neil Hannon, similarly capable of constructing hook-y pop songs that don't need shouting or much in terms of volume alternation to stand out. "The Lives of Elevators" is followed by the superb, brass-laden "The Devil and the Monk Seal", off their 2014 LP Grand Tour.
Soulful vocals, crisp guitars, and sporadic bursts of brass make for a very fresh-sounding take on this track. The hook-y transition at 00:40 works well, building into the brass-friendly primary hook around 00:50. Really loving the lively feel of the brass here, combined with the fervent vocal presence. The "why I got you on my mind?" repetition, followed by the bridge at 02:20, offers a nice juxtaposition between pulsating rock and more lush build-ups. Guitar solo at 02:45 plays nicely, as well. "Got you on my mind" vocal repetition works again structurally to close this up with an assortment of brass and guitars. Nice interpretation. Even though Obscure Sound doesn't really feature cover songs, I will be keeping an eye on this act for sure. No faults in production or delivery to my ears. Keep up the great work!
Highly atmospheric and rhythmically infectious. Touts nocturnal vibes reminiscent of Burial, with the ghostly choir-like vocal playing beautifully among the submerged-sounding synths, ranging from the rising synth pad around the two-minute mark to the click-clacky hip-hop-laden rhythmic spurts around ten seconds thereafter. Structurally repetitive enough to lend a hypnotic quality, though not overly predictable as to make it dull -- making "Lifted" an impressive effort with a soundscape that will entertain any fan of electronica associated with grime and dubstep. Nice work! I look forward to posting this on Obscure Sound in the near future. Also, if in need of help promoting your work, feel free to reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR services. Either way, thanks for the submission -Mike
Warbled synths and phone-convo-esque vocal sample lends an intriguing introduction to "Dead Tech". Vocal production, specifically the echo at 00:41, adds a great psychedelic element that plays aptly alongside the hypnotic synth instrumentation, complemented nicely by multiple vocal layers. The "find me" vocal pitch manipulation at 01:51 another very cool moment; I'm loving the trippy vocal production throughout this. Slight synth arpeggio just past the two-minute mark also plays well. Wisely, the track takes a structural turn just prior to the three-minute mark, with added swagger to the vocal delivery -- as it assumes a more seductive hip-hop feel. It adds an extra oomph of variation that tops off a unique and engaging track. Very nice work -- I'd be happy to post this on Obscure Sound and provide PR servicing. Feel free to reach out to me at email@example.com to learn more about this. Thanks for the submission! -Mike
Excellent work here. The shuffling percussion, gentle piano, and hazy organ comprise a very engaging arsenal, in addition to the very endearing vocals, quaint and never overpowering but thoroughly engaging just the same. The "and dream" bit at 01:50 - accompanied with the added layer of backing vocal grandiosity - is a very well-executed hook, as is the "Nico" repetition around 02:10. The feel and structure reminds me of a female version of Jens Lekman -- extremely high praise. Highly enjoyable track that I I look forward to posting on Obscure Sound in the very near future. Also, if in need of help promoting your work, feel free to reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR services. Either way, thanks so much for the excellent submission! -Mike
Soulfully enticing vocals and a gentle guitar progression kicks the track off in accessible form. Vocal fluttering during this section makes for a nice melodic touch, with the "until he dies" complemented by the tugging strings around 01:18 serving as great natural melodic development. "hey-hey-hey" pop at 02:12 a nice infectious addition, as well, with the ensuing "will you be my flower?" hook working nicely. The video - showing signs of friendship and natural earth imagery - is aptly done. Track is overall nice ear candy, without any faults in the melodic development or production. Nice work! Will post on Obscure Sound in the near future, and feel free to contact me at email@example.com if in need of help promoting this. I can provide success stories and rates for my digital PR services upon request. Thanks, -Mike
Guitar twangs and organ work plays well in building up toward the central hook, the "play until your fingers bleed" shuffle at 01:04 -- inspirational and easily relatable in theme, with a thematically straightforward video. "There's nothing in this world you need except music, love, and ecstasy" is carried well with the added snarl in the vocal performance. I do believe the track would benefit from a more active percussive presence during the verses, which despite the touches of strings, organ, and guitar sound barren at points. The fuller-bodied sound emerges at 02:52, though prior to that takes some time to get the engine revving. It's a thematically simple and straightforward track, though one with emotional sincerity and no obvious faults in the melody or production process. Although not breaking down enough stylistic barriers for inclusion on Obscure Sound, this is a well-done track that should resonate nicely with more stylistically accessible publications.
Reminds me of '90s alt-rock heyday -- melodic yet angsty vocals ride nicely alongside scraggly guitars and a thunderous rhythm section, which ascends into distortion-friendly grungey bliss just prior to the one-minute mark. Thereafter, the track picks it up very nicely -- with a slight lack of tonal variation being compensated for by the brisk guitar/rhythmic work and emotive vocal passion. Guitar gliding 01:50 onward has a nice Foo Fighters feel to it, with the track generally finding a very accessible balance between more accessible alternative and distortion-friendly fervor. It's a hybrid of stylistic ingenuity with the more accessible. It's a good fit for Obscure Sound, and I'll post it in the near future. Nice work on this. Also feel free to contact me at firstname.lastname@example.org if in need of help promoting this. I can provide success stories and rates for my digital PR services upon request. Thanks, -Mike
Blaring synths and glowing acoustics accompaniment fervent vocals to give this a nice intro for the first 01:05, with the emerging synths thereafter providing a medieval-like feel that reminds me of Spencer Krug's songwriting. Blast of distortion at 01:24 followed by uptick in vocal presence breathes some life into the pleasant preceding soundscape. Your vocals, tonally, remind me of Suede's Brett Anderson - a good thing. Structurally on the predictable side once the mid-point hits, as what's following is mostly a reprisal, though the concluding more quaint minute does well with showcasing the more elegant minimalist elements of the beginning. Very nicely done. I look forward to posting this on Obscure Sound in the near future. Also, if in need of help promoting your work, feel free to reach out to me at email@example.com if interested in rates/success stories regarding my PR services. Either way, thanks for the submission! -Mike
Lush and patient beat, with Christmas-y twinkles and old-school percussive rhythms allowing the vocal delivery to shine through. The panting of sorts in the background adds a form of intensity, and the cool vocal additive at 01:15 adds a nice psychedelic quality. This is trippy and loaded with atmosphere, and makes me want to dig more into the project -- which I will. Not enough substance throughout the 01:48 for me to truly get a great grasp, as there's a good amount of structural repetitiveness, though I look forward to hearing lengthier and more substantive submissions from this act in the future.
Very nice structural shift here. Begins with a gauzy form of serene shoegaze-y bliss, with the effervescent burst of energy around 01:15 into the more rock-centric hook being wonderfully executed and providing a sense of stylistic diversity - between atmospheric '80s rock and more modern forms of contagious rock - that reminds me strongly and favorably of Frankie Rose and TOPS. The "can we escape together" hook is EXCELLENT! Digging that hook on its own, though it's especially effective when surrounded by the shoegaze-y verses and the blissfully crunchy guitar emphasis at 02:30. The drugged-out bridge at 02:52 is wonderfully done as well -- major TOPS vibes there. This track is excellent from start to finish, and I'm looking forward to posting it on Obscure Sound in the very near future. Great work! Also, feel free to contact me at firstname.lastname@example.org if in need of help promoting this or any other future releases. I can provide success stories and rates for my digital PR services upon request. -Mike
A very brisk rhythm section serves as a nice accompaniment to equally excited vocals, with that enthusiasm emphasized by pitch variation and the tidy accompaniment of fuzzy guitars just past the one-minute mark. The ensuing hook, crunchy and distorted in blissful form, reminds of Arctic Monkeys -- while the quick shift to more angular art-rock in the subsequent verses provides for some nice structural variation, with the vocal pitch variation/enthusiasm and playful rhythm section reminding me fondly of Primus. While the transition from chorus to verse is slightly jarring, it comes together in the end for an enjoyable and tidily infectious track. I'll look to post this on Obscure Sound in the future, for sure. Also, feel free to contact me at email@example.com if in need of help promoting this or any other future releases. I can provide success stories and rates for my digital PR services upon request. -Mike
Stylistic success, for sure. Warbled beginnings are uplifted infectiously by the percussive push at 00:18, the sonorous vocals and squiggly synths projecting an otherworldly yet serene feel that reminds me of Todd Rundgren's A Wizard, a True Star -- of course, with a sleek more contemporary pop charm, yet atmospherically spacey and playful synth-pop/rock interplay nonetheless. Crystally synth droplets at 02:10 combining with swelling backing synth pad shows some wonderfully majestic production work, the clap-laden percussion 20 seconds later helping further uplift this great hook. It's a well-maneuvered melodic moment that helps cap the following final minute off nicely, with the fading guitar work providing a caressing conclusion. Nice work and captured atmosphere. I'll look to post on OS in the near future. Also feel free to reach out to me at firstname.lastname@example.org if ever in need of a hand with PR. I can send my rate and success stories upon request. Either way, thanks for the submission! -Mike
Moody synth stabs precede infectious hip-hop percussion and an intense vocal delivery, which is smartly accompanied by pitch-fluctuating backing vocals that add an additional infectious edge. This track has a great stylistic arsenal from the get-go, showcasing a snappy vocal delivery that reminds me of a more emotionally serious Das Racist. The warbled synth and backing vocal effects lead the beat's power, though the vocal delivery is the true star -- rhythmically faultless and full of authentic emotion. Could perhaps use some more structural variation, but I'm really digging this as a whole. Great work! I'll look to posting this on Obscure Sound in the near future. Also feel free to email me at email@example.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks for the submission! -Mike
The pulsing percussion and synth wables reminds me - in terms of atmosphere - of Swedish group The Knife, though the vocals pack an anthemic presence more in the vein of Depeche Mode. It makes for an interesting rock/electronic sound, complemented well by the ghostly synth pads during the hook first introduced around the one-minute mark. Cool serene synth arps around the 01:30 mark as well. It shows enough diversity, tonally and structurally, to hook me throughout and keep things interesting. The track is a nice hybrid of Depeche Mode-like synth moodiness and Muse-like anthemic appeal. Good stuff -- I'll look to posting on Obscure Sound in the near future. Also feel free to reach out to me at firstname.lastname@example.org if interested in rates/success stories regarding my PR services. Thanks for the submission! -Mike
Very soundly produced vein of power-pop here that has a New Pornographers-like looseness. The instrumentation - the twangy guitar and playful rhythm section - is swirling and powerful, while the personable nonchalant vocals provide a nice touch -- especially through various structural idiosyncrasies, like the pause at the one-minute mark and things scaling back around 01:20 into more contemplative psych-leaning territory -- this section reminds me fondly of Modest Mouse, and I'm really digging it! I enjoy the swirling effect around 01:45, with the lyrical repetition "I will never abandon you" hitting an emotional chord successfully. Fantastic melodic navigation around 02:18 -- the track's finest hook, though there are many. This is an excellently done track full of structural adventure and melodic charm. I'll post this on Obscure Sound in the very near future. Also feel free to email me at email@example.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks for the great submission! -Mike
Soaring male lead and melodic female backing provides charisma and energy from the get-go, showcasing a warm and rootsy sound that doesn't break down any stylistic barriers but is comfortably successful, the vocal and stylistic approach reminding me somewhat of a more soul-tinged Blind Melon. The "I'm waiting on you" hook, with the call-and-response vocal bit, plays nicely as the central melodic emphasis. The transition at 01:30, with the bouncier section, works well for distinguished variation, preventing things from getting overly same-y -- which is good, since the structure is fairly predictable. This is a solid track through-and-through, conventional to a point but comfortably so. I'll look to posting this on Obscure Sound in the near future. Also feel free to email me at firstname.lastname@example.org if ever in need of a hand with PR -- I can send my rates and success stories upon request. Thanks for the track submission! -Mike
Immediately introduced vocals and stirring acoustical trickling gives this track life from the first second, the minimalist arsenal serving well in introducing the warm and narrative-driven vocal presence. The churning around 00:36 adds a nice subtle rhythmic element, the backing bass-like murmur adding depth to the sound. Acoustical fluttering re-emerges as the focus at 00:53, with the "running in your head for all to see" hook reaching especially epic heights at 01:43, when a twangy guitar reminiscent of Kurt Vile comes into play. I'm really loving this part - 01:43 until the conclusion - as it successfully integrates instrumental expansion after a successful minimalist introduction. Structurally and melodically well-done, for sure. I'll be posting this on Obscure Sound in the near future. Also feel free to email me at email@example.com if ever in need of help with PR -- I can send my rates and success stories upon request. Thanks again for the submission! -Mike
Haunting acoustics and enthralling vocals help set a gripping scene, with the melodic transition of sorts at the one-minute mark leading cohesively into the spacious percussive introduction around 01:10, when the vocals assume an excellent melodic presence with ample tonal variation reminiscent of Radiohead's Thom Yorke or Muse's Matt Bellamy. Re-introduction of initial verse at the two-minute mark plays nicely in the song structure, predictable but also reassuring, especially when the melodic hook re-emerges at 02:31. I love the darkness and melodic energy of the hook that ensures, both when it appears at the track's mid-section and again as it serves as a wholly effective bookend. Excellent work here! I'll post on Obscure Sound in the near future. Also, feel free to reach out to me at firstname.lastname@example.org if ever in need of help with PR -- I can provide my rate and success stories upon request. Either way, thanks for the submission :) -Mike
Lush pulsating synths and a warm vocal melody kicks things off in very accessible form, with slight trickling percussion serving as a nice accompaniment. Synth arpeggio emergence at 00:51 plays nicely and cohesively, showing a gently developing soundscape that maintains its initial composure but it uplifted by various melodic arp segments and caressing vocal cues. The "we were young then" hook at the two-minute mark provides a nice touch of synth-tinged nostalgia that plays well into the atmosphere. This is a concisely effective effort that shows this act's atmospheric potential well. Nice work! Will look into posting on OS in the near future. Also feel free to send me an email at email@example.com if ever in need of help with PR -- I can provide my rate and success stories upon request. Either way, thanks for the submission! -Mike
Fast-moving guitars and suave vocals make for a sound that resembles a more dexterous version of The Strokes. Uptick in vocal and guitar intensity right around the one-minute mark makes for some nice tonal variety, as does the emphasis on electric guitar and bass around 01:18 onward until the vocal re-emergence at 01:28. The suave vocal approach, reminiscent in a way to Tom Verlaine and Talking Heads, works throughout. Percussive emphasis is very minimal, though it works for this style. While there isn't a major hook grabbing me by the throat, the subtle variation at each chorus does enough to maintain captivation throughout. I'll aim to post this on Obscure Sound in the near future -- no faults on the stylistic or songwriting end. Also feel free to reach out to me at firstname.lastname@example.org if in need of help with PR -- I can provide rates and success stories upon request. Thanks for submitting! -Mike
hi Sid -- really great, infectious track here. Effervescent synth stabs and a fluid hip-hop delivery are adorned by a funk-laden electronic presence initially, leading nicely into dance-savvy vocals around the one-minute mark that tout some Michael Jackson appeal. That aforementioned comparison is present again in the electric chour saround 01:20, when the flickering synth arpeggios dance around infectiously. GREAT hook! The lyrics - centering on a toxic relationship and the feelings of revenge subsequent to it - are relatable, and I'm digging the contrast between that and the more upbeat, infectious dance-laden sound. The verses are great, though the chorus certainly steals the show. I'm loving this track, and will post it on Obscure Sound for sure in the near future. I think it would be a fantastic fit for my PR services as well, especially with the track's release date on the near horizon -- so feel free to send me an email at email@example.com if you'd like to chat further about that. Thanks for the great submission Sid! -Mike
Hazy guitars and a languid bass combine with enjoyably creaky vocals to provide a worn-and-weary feeling to "Intro" from the get-go, a trait similarly possessed by early '90s alt-rock acts like Pavement. The guitar tones remind me of them specifically in the first few verses, and that's a job well done. Uptick in intensity for guitars and bass around 01:30 works well, with the shift to more angular guitar lines around 01:46 serving as my favorite section. I dig the wordless direction for the hook, letting the guitars shine. There's certainly room for melodic growth, though from what I'm hearing now this act has ample potential on the melodic and musicianship ends. Some Mac DeMarco vibes as well - nice. I'll aim to post this on Obscure Sound in the near future. Also, if you ever need help with PR for this track or others, feel free to send me an email at firstname.lastname@example.org -- I can share my rates and success stories upon request. Thanks again for the great submission! -Mike
"Forget It's Good" begins engagingly, with a mellow guitar and serene vocals comprising the initial arsenal before comforting bass and percussion kicks in around 00:35, helping exude a crisp indie-rock feel that reminds of Metric/Emily Haines. Slight uptick in intensity around the one-minute mark gives way to the distortion-heavy hook around 01:05 -- this particular approach reminding fondly of Sleater-Kinney and their tendency to alternate between distorted gauzy hooks and very sweetly pleasant verses. Speaking of that, the verse subsequent to the first chorus floats wonderfully on a shoegaze-y psych-friendly cloud. A bit of Tame Impala in the rhythm section there, before it transitions back into the original intro feels around the two-minute mark. Overall, I love how this track navigates between moments of distortion-heavy intensity and gorgeous trickling shoegaze-y psych-rock; structurally it's brilliantly done, and the melodies are captivating to me. Excellent work -- will certainly post on Obscure Sound in the near future. Also, if you ever need help with PR for this track or others, feel free to send me an email at email@example.com -- I can share my rates and success stories for my servicing upon request. Thanks again for the great submission! -Mike
Echo-ey guitars and swelling percussion combine with hushed vocals for an enticing beginning, with the transition to a soaring pop-acquired sound around 00:35 working nicely. The track shows itself here as a summer-y, uplifting pop anthem -- impressive for any pop artist, and especially a debut. Transitioning into the verse, intermittent guitar twangs combine with the aforementioned swelling percussion for an aptly aquatic feel, leading predictably back into the chorus. Although the structure here is predictable, the track sits firmly in the fairly conventional pop territory, so it's fine. The exultation during the chorus lends a more pop-centric indie sound as well, though generally it plays very stylistically safe for site tastes personally. Still, the production is faultless, the vocals have plenty of enthusiasm, and the hook is easy to digest and enjoyable -- so this stands as a successful effort with ample radio-friendly appeal. Thanks for the submission! -Mike
The sullen acoustical melody and woodwind-like clanking works well in conjunction, with that clanking adding an exotic percussive element that reminds me of Sun City Girls. The vocals are understated and opt for atmospheric emotion over variation, which plays well in this track specifically. The lack of structural variation makes for a very hypnotic quality, again reminding me of Sun City Girls' general get-glued-to-your-subconscious approach, which this track succeeds similarly in. In a track about loss, the hypnotic and sullen feel works very well, as do the ghostly backing vocals and lyrics like "lie your soul and spirit, I spoke to your monument / too bad you'll never hear it." Nice effort -- will aim to post this up on OS. Also, if you ever need help with PR for this track or others, feel free to send me an email at firstname.lastname@example.org -- I can share my rates and success stories for my servicing upon request. Thanks again for the submission, -Mike
Great lead-in here -- distant gothic-funk beat builds into swelling percussion, with an anthemic guitar/synth arp sound exuding a funk appeal within the first 30 seconds. Guitar and bass mimicking the same melody just before the one-minute mark works well to bring back the initial verse, as it does again when this section arrives again around 01:16 and is successfully enhanced by more whooshing percussion at 01:23. Percussive break at 01:36 shows an interesting transition, one that works well melodically despite the halted instrumental usage here. Synth arp/guitar culmination at 02:09 provides for my favorite hook of the track -- nicely done. Soaring guitar addition at 02:50 serves as my favorite arsenal addition in general, breathing life into the constructed soundscape and carrying the next two minutes as the entire arsenal finishes nicely. Lively and engaging effort, for sure. Will post on OS sometime in the near future. Also feel free to let me know if you're ever interested in help with digital PR -- I can provide my rates/success stories upon request. Feel free to send an email to email@example.com if interested. Regardless, thanks for submitting and please keep me posted on future material. -Mike
Warm guitar jangles and a very steady rhythm section help comprise an inviting beginning to "Reawakening", with the vocal emergence around 00:48 sounding crisp and airy -- nicely done. With the intro down pat, the track navigates nicely in power-pop/alt-rock form to the fun guitar-based bridge just past the one-minute mark. The verses comfortably returns, with the "you forget what you get when you get what you get" hook playing nicely prior to the tropical-like guitar licks around 02:30. I'm enjoying that central hook, as well as the guitar adornments and phaser-friendly production that follows it. This is a very tightly constructed indie-rock effort that reminds me a bit of The Hold Steady. Jam-friendly conclusion adds nicely to it all as well and shows the band's high level of musicianship well. Very nice work! Will post on OS in the near future. Feel free to let me know if you're ever interested in help with digital PR -- I can provide my rates/success stories upon request. Feel free to send an email to firstname.lastname@example.org if interested. Regardless, thanks for submitting and please keep me posted on future material. Have a great weekend! -Mike
Acoustic strums and playful synth keys establish a very inviting beginning, with the vocals around 00:52 coming in cohesively. The vocal tone reminds me of Michael Stipe's, which considering the restrained and melodically developmental vibe plays well. Subtle melodic variation - the "try so hard" repetition around 01:50 - is effective. The lack of variation in the melody at this point results in a hypnotic quality, though a worldless bridge to mix things up probably wouldn't be the worst thing here. Still, really digging this track's hypnotic allure. I will be posting both this and "Transport" on Obscure Sound sometime in the next week. Also let me know if you're ever interested in PR for these tracks -- I can provide my rates/success stories upon request. Feel free to send an email to email@example.com if interested. Regardless, thanks for submitting and please keep me posted on future material :) -Mike
Ghostly and ominous beginnings cast a cinematic quality on the track, especially combined with the running-motion in the video. Some guitar strums around 00:40 add an elegant quality that's reinforced even more by the spacey synth arps that emerge at 01:16, which are excellently incorporated and give off some very cool 'Stranger Things' vibes. The arp combines well with the ominous synth pad backings, with climatic percussion of sorts signaling in just prior to the two-minute mark. This has a very nicely atmospheric quality and would work wonderfully in cinema, especially in films by the likes of Darren Aronofsky or Nicolas Winding Refn. Thanks for submitting -- will aim to post it on OS in the near future. Also, if you ever need help with PR for this track or others, feel free to send me an email at firstname.lastname@example.org -- I can share my rates and success stories upon request. Thanks again for the great submission. -Mike
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 email@example.com 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 firstname.lastname@example.org 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