Here is Miki Vale from San Diego. That may not have inspired you to read on and I don’t blame you, time is sparse, and there are so many distractions. But take a time-out from multitasking and focus on Miki. She deserves your whole attention.

She is a gem to stumble across. Hard to place in just one category, and I am reluctant to do so. She mixes Hip-Hop with Soul and produces carefully crafted pieces of honesty. She has learned her trade, as Drake would say, starting from the bottom, as a music writer to a promoter and mingling with everyone along the way, including the likes of Georgia Anne Muldrow, Oddisee and her own brother Dudley Perkins aka Declaime.

Vale – pronounced Vayl according to her Facebook page – is a refreshing ray of light in an area that can feel like a boys club. It’s the combination of the brilliant lyrics balanced with gorgeous melodies which makes me shy away from defining her as anything but an artist. She might rap but it is so effortlessly harmonious that you almost forget; it is just refreshingly sultry.

The Good The Bad and The Lovely is her new EP with unfortunately just five tracks. Usually when I’m told about a new track I prefer it to be with the fewest words possible because words alter your expectation. So here are mine: it is honest and witty lyrics over soulful music. When you listen to them again, and I know that you will, they only get better. Vale hasn’t just created music, it is a story, and should be listened to as one. This love story is “music to break up and make up to” as she summed up perfectly.

Starting off with “Taurus”, which is just spoken word over a great Seventies inspiring tune, she sets the empowering tone of the entire EP – it is a bold statement. “The Next” is the beginning of love, full of the tingling excitement that comes with it, carried through the light Summery vibe, backed by sparse drums, piercing keys, interjecting horn arrangements and hand claps. Vale’s lyrics are spoken with care; she takes her time knowing she has your attention, so she is in no rush. It brings with it a raw vulnerability. Her style is distinct and heavily sultry; it is music that can reach everybody.

“The Next”:

The third track “Special Way”, featuring Rachel Evans, is where we are head over heels in love. Clear through Evans’ smooth vocals and the slowly plucked guitar strings, Vale’s lyrical ability is attributed to her love of poetry that she developed since her youth and it shows. “Worth it” is definitely my favourite song on The Good The Bad & The Lovely. Things have gone wrong and it is time to save or split. The tempo has changed and it builds slowly. Vale’s lyrics entwine a baffling underlying anger and a healthy dose of self-worth, delivering us through those exhausting relationships that disintegrate against our hopes.

“Worth It?”:

In the middle of shaking your head along you’ll find yourself cracking into a wide grin or even LOL-ing (sorry I couldn’t resist) as she catches you off guard after lulling you with her rhymes. My favourite line had to be “relationships are optional, I ain’t holding you here, you are not a hostage yo” followed closely by “go ahead and take the dog to, I don’t need that bitch either”.

The fLako-produced “Love” – which closes out the EP – starts off broken and jagged, there is a post-apocalyptic feel; it doesn’t fit perfectly and the spontaneous abruptness musically reflects all the anger that has spilled out, Vale does it brilliantly.

Don’t be fooled by this EP’s laidback rhythm, it is achingly honest, without the need for profanity or hype. In just five sweet songs, Miki Vale has created a journey through relationships, enjoy the ride. I know I will be keeping tabs in anticipation on her next creation.

Download: Miki Vale – The Good The Bad & The Lovely

Keep Tabs on Miki Vale: Facebook // Twitter // Website

Raj

“When everybody has the ability to make magic, it’s like there’s no magic — if the audience can just do it themselves, why are they going to bother?” – Thomas Bangalter, in an interview with Pitchfork

While taking in the long-awaited sonographic experience that is Daft Punk’s Random Access Memories, the hugely-anticipated fourth studio album from the mystical robotic duo, I couldn’t help but think three thoughts: 1) that Guy-Manuel de Homem-Christo and Thomas Banglater were the creators of an elaborate prank, and I was outside looking in; 2) that the duo was making music just as much for themselves as much as they were making it for their fans; 3) that I was clearly being schooled in the sounds of the music that my parents likely met and danced to.

Random thoughts aside, Random Access Memories seems to be the instance of magic that has refreshingly reappeared in an all-too-familiar dance music scene where the same 10 EDM artists use the same drum kits, sound effects and melodies…sometimes even the same 5 of-the-moment Pop singers. Thankfully, the human aspect of live instrumentation and the conveyance of human emotions through ironic android voices create an aura a magic — if not off-putting weirdness at first listen — that any listen instantly recognizes as something different, if nothing else.

Three magic spectacles (I refuse to give the the simple treatment of the word ‘tricks’) came to mind while listening to Random Access Memories:

1. The simultaneous nod to the past and the future.  In enlisting music legends such as Nile Rodgers, Paul Williams and Giorgio Moroder, Daft Punk manage to effectively get their geek on (meeting your musical idols is a dream few musicians get to realize, even for the likes of Daft Punk), introduce the history of Pop music to the likely unknowing masses (like yours truly — I had to look up Moroder for a few minutes before I realized just how amazingly familiar I am with his music without ever really knowing it until now), and creating some cool music in the process.

Though I’m still trying to figure out “Touch” (there are apparently 205 elements to the 8-minute song!), I thoroughly enjoyed “Giorgio By Moroder“; I kinda felt like I was in a masterclass of sorts with Moroder himself as he narrates how he got his start in the music business, while several variations on a theme explode through the speakers.  Let’s also not forget the not-so subtle throwback to Michael McDonald’s “I Keep Forgetting” and Warren G/Nate Dogg’s “Regulate” on “Beyond“, yes?

“Giorgio By Moroder”:

2. Computer Love. Perhaps a subtle jab to the cold and unyielding computer-heavy House anthems that are so popular today, Random Access Memories takes a step back from it all without really forgetting where they’d be without electronic influences in the first place — but of course, they do it their way. In the vocals of “The Game of Love” and “Within”; Daft Punk’s vocoded voices manage to project human emotion through the simple yet familiar lyrics, shown here from “Within”:

“There are so many things that I don’t understand. There’s a world within me that I cannot explain. Many rooms to explore, but the doors look the same I am lost I can’t even remember my name.”

Last time I tried, I couldn’t make my laptop cry… so Daft Punk wins this one.

“Within”:

3. It’s got a beat, and I can dance to it! I’ll admit it, I was waiting for the couple of tunes that would magically get me moving after thinking and feeling for nearly half of the record. There are definitely no “club hits” in the style of “One More Time”, or “Harder Better Faster Stronger”. However, much in the style of the rest of the record, Daft Punk indeed gives us something to boogie to — in the forms of “Get Lucky” and “Lose Yourself to Dance“, easily danceable throwbacks to the 70s and 80s, with the signature voice of Pharrell Williams. It’s also refreshing to hear actual instruments, such as a mean bass (thanks Nile Rodgers!), real drums and real guitar riffs. Anyone else notice the nod to “Harder, Better, Faster, Stronger” in the last minute or so of “Get Lucky”? Go back and listen if you didn’t.

Random Access Memories, in the short time I’ve listened to it, has started, ever so slowly, to grow on me. Perhaps Daft Punk’s ultimate magic trick is culminated in this album — the ability to be so radically different from what’s current, so off-putting, and simultaneously able to look to the past and predict the future. Most of all, though, it is sonographic — “an instrument that uses the differential transmission and reflection of ultrasonic waves in order to provide an image of a bodily organ”,  playing to the head, the heart and the feet, through human and android emotions. If after all of that, I simply just want to hit repeat to experience it all over again — I believe Daft Punk has indeed cast a successful spell.

Daft Punk’s first album in eight years, Random Access Memories, is released via Columbia on May 20, pre-order it on iTunes.

Keep Tabs on Daft Punk: Facebook // Website

June Findlay

Mark Asari makes his solo debut with the mixtape, Mark My Words. The London singer, formerly of R&B group Encore, offers a selection of solid soulful cuts, featuring appearances from some of the UK’s freshest emerging artists and producers. The 8-track collection takes a look at the idea of personal aspirations, ranging from superficial desires, to a more deeply rooted pursuit of ones dreams. Musically, the mixtape has classic R&B flavour; there are obvious nods to the popular R&B sounds of the 80s and 90s.

The Wizzy Wow produced, “Clockwork” is a smooth track with a dense, murky bassline perfect for the club, or the car (or indeed the car-ride to the club).The song is a depiction of the relentless pursuit of money, fame, and all the material trappings of success. It features sound vocals from Asari, and an appearance from up-and-coming south London rapper Yungen. With its pretty girls and fast cars lyrics, “Clockwork” revisits the R&B sounds made famous by artists like 112 and Joe in the late 90s and early 2000s. The song introduces the mixtape’s overall US flavour.

While tracks like “Clockwork” focus on the material rewards of success, other songs on Mark My Words touch upon the complicated web of emotions brought about by the reality of striving to succeed. There is the triumphant, disposition of “Winner”, but also the acute despair of “Circles”. And on the song, “She Said”, Asari looks at the difficulty of chasing dreams without the full support of loved ones. The Jay Weathers-produced track stands out as one that’s musically different from the others on the mixtape. The stripped down, guitar driven melody and simple lyrics are instantly engaging, and Asari’s poignant delivery makes “She Said” a particularly refreshing addition.

Of course, no R&B album worth its salt would be complete without an outstanding slow jam. Thankfully, Asari does not disappoint with the immaculate, “Fire”. He once again demonstrates his first-rate vocal talents on this sultry track, which features production from budding, London-based producer, Jay Weathers; plus the soaring, ad-libs from Wiley’s protégé, Ms D. All these elements come together to make “Fire” a brilliantly executed track; it’s a superbly slick, slow jam, with a brooding street edge.

The track, “Never Had Your Love” is another highlight of Mark My Words. Co-written and produced by multi-talented South Londoner, Slic Vic, the 80′s flavour of this song is just irresistible. Everything, from the lyrical style to the use of the synths, and the keys give this song its gorgeous 80′s polish. It almost instantly makes you think of Jheri curls, hi-top fade haircuts, and Alexander O’Neal.  Asari’s voice lends itself so amazingly well to the Summery, soulful vibe of the song.  “Never Had Your Love” is a joy to listen to; it’s a song with such understated charm, that it might take one or two listens to fully realize the retro genius of the track.

Mark My Words is a compilation of very listenable songs. The title is a clever play on words, which can be interpreted in two ways: one describes the fact that the self-penned mixtape is Mark Asari’s experiences in his own words; the other, is gentle instruction to listen attentively – to pay attention – to mark the words i.e. music. In terms of style, this mixtape pays homage to R&B of old; it successfully blends elements from the 80s, 90s, and beyond. With this mixtape, Asari offers today’s lovers of classic R&B a rare treat: accessible songs, quality production, and velvety smooth vocals. Mark My Words is a solid debut from this rising talent.

Download: Mark Asari – Mark My Words (Mixtape)

Keep Tabs on Mark Asari: Facebook // Twitter

Bibi

This feature is about two months late and I apologize, but sharing great music should not be restricted by time right? If you have ever wondered what your favorite male artists would sound like if they all featured on a song together then this artist would be a great addition for your library. We plug to you Travis Garland who I believe possesses a musical style that channels some of the greatest male vocalists I can name. The Texas native was formerly a part of the boy band NLT (Not Like Them), which included Glee’s Kevin McHale, Justin Thorne and Vahe Sevani. The group never released an album and since they split and parted ways with Interscope Records, Travis has been on his own musical journey.

He has worked with the production group The Stereotypes who’ve worked with Chris Brown, Mary J. Blige and Justin Bieber among others. Speaking of Justin Bieber, Travis co-wrote the track “Sexy Together“, which was then re-written and recorded by Bieber and Jaden Smith as “Never Say Never” for the Hollywood flick The Karate Kid. Now, onto Travis Garland’s music…

Off his Fashionably Late Volume 1 EP comes the track “Abby Lee“, which houses organ-chords introduced at the very start of the track making it impossible to miss. On listening, you will quickly notice Travis’ strong vocal delivery along with the instrumental arrangement conjures up a Gospel feel. Most notable is the bridge, which he delivers in a sermon-like form. Ironically though on the track, Travis sings of a girl who he is having sexual feelings for and lusting over. Belting out in his powerful chords and falsetto, you can definitely tell Travis grew up singing in church.

Pure. Soul. R&B. are the three words I’d immediately attribute to the song “Where to Land“. Travis also recognizes this as one of the best tracks on the album as he released it as the first single from his Fashionably Late Volume 2 project. Sung in a mellow falsetto tone and calm flow and backed by minimalist instrumentals with layered guitar arrangements and a very sonic vibe, Travis showcases a different style of music and vocal ability on this track. The song features III who drops a rap verse, fully solidifying the R&B experience of the song. Press play and I can guarantee this is one track you will constantly have on repeat in your playlist.

Lastly, I plug to you, the song “Blue Electric Roses” also taken from his latest EP. At this point, Travis has definitely proved his versatility to me and I’m surprised with songs this great, he isn’t amongst one of the top mainstream artists today. The track with its chilled vibe, upon which Travis sings, “there’s nothing in the world like blue electric roses, but you can be the one”, talks on how he has found someone so rare and special he doesn’t want to let go. Listen to the emotive track below.

I first heard of Travis Garland when he featured on a song with Jojo titled “When Does It Go Away” off of her latest mixtape. Impressed with his sound, I looked him up, found his EPs and have become an avid fan ever since. Both EPs combined give you ten original Travis Garland songs that are definitely worth a listen. Here’s hoping for more music from the singer-songwriter who seems to currently be enjoying his creative freedom away from any record label deals. If that’s what it takes, we’ll keep on listening.

Keep tabs on Travis Garland: Facebook // Twitter // Website

Download: Fashionably Late Vol. 1 – Travis Garland // Fashionably Late Vol. 2 – Travis Garland

Temi Y.

I don’t know about you, but sometimes, as an avid music listener and full-time music lover, I have to put away my critical ear and just surrender to the beat. It’s sometimes the best way to forget about your troubles, even if for just a little while. Had a rough day? Feel like someone done you wrong? Need to get it all out there? Dance it out instead — Major Lazer’s Free the Universe hands you a ticket to the biggest party in music right now, led by ringleader Diplo. Don your best party gear, and get ready to sweat to a barrage of Dancehall-influenced beats, featuring a motley crew of nearly 27 artists from all over the music scene.

Free the Universe, the sophomore album from Major Lazer and follow-up to their unexpected introduction to the world (thanks “Pon De Floor”, and Beyonce’s “Run the World(Girls)”) is a mishmash of collaborations from the worlds of island-flavoured Dancehall and Reggae with Dubstep, Hip-Hop, Pop and EDM. Sometimes it falls flat on its face (what was Bruno Mars doing on a track called “Bubble Butt” with the loathsome Tyga, anyway?!), but at other times, ringleaders Diplo, Jillionaire and Walshy Fire and their merry band of revellers more than manage to get the party going, and maybe get you to wine yuh waistline while on your way to work in the subway. I may have been motivated to do such things; I’m not going to confirm or deny.

Let’s get right to it then, shall we?

You walk into the dance, and are immediately checking out the scene to see if the atmosphere is right. You check out the people, what they’re wearing, what song is playing (and calculate when you’re finally going to hit the dance floor). You go to the bar, grab a drink… and then you see them. That guy or girl who looks amazing/scruffy/hot/slightly weird, but you’re totally into it. Somehow, you MUST find a way to talk and/or dance with them before the night is over. Your soundtrack for this moment? “You’re No Good“, the slow and steady, drum-roll-heavy, get-you-ready tune brought to you by Santigold, Danielle Haim (of the band Haim), Yasmin, and dancehall veteran Vybz Kartel. Though this is a little bit of the “too many cooks in the kitchen” type of vibe [really, who needs four singers on a track when you can only tell two of them apart from the rest (Santigold/Vyba Kartel)], it’s a good start to what we will eventually go into, in terms of a party EP. The classic story arc of “you’re terrible for me but I don’t care I’m going through with this anyway no matter what” weaves its way through a simple yet catchy melody from the smorgasbord of singers. Not a bad background for starting the flirt-fest that might carry on the whole evening.

You’ve bubbled to a couple of songs with your flirt experiment, and you need a break. Good thing “Get Free” is just starting to play through the speakers. Sometimes, a conscious tune is the last thing you think you’d hear at a dancehall rave, but when you think that the root of most dancehall today are the socially conscious, storytelling, fight-the-power ‘chunes’, “Get Free” makes sense. Featuring the subtle yet strong vocals of Amber Coffman (of the Dirty Projectors), this rocksteady tune alludes to the struggle that many face every day, whether they live in the West Indies or East LA. Coffman’s vocals deliver on conveying the feeling that sometimes life (and the government) is just not fair:

“Never got love from a government man / Heading downstream till the levee gives in / What can i do to get the money / We ain’t got the money, we ain’t gettin’ out”

“Get Free” is the manifesto for just wanting a chance at a life where freedom is an option. It’s almost enough for one to put their lighters up — which you clearly do while you’re at the party, feeling good and fired up. *lighters up*

Speaking of getting fired up, it’s the moment you’ve been waiting for all night at the party — that one banger that gets not only you, but damn near everyone on the floor, bubbling, wining, and bogle-ing to their hearts’ content. Soundtrack for this moment: “Watch Out For This (Bumaye)” the standout track on Free The Universe. Busy Signal, The Flexican and FS Green light up the track with their typical dancehall lyrics(“Watch out fi dis, a di maddest lyrics/Mash up di place put your hands up fi dis“) but it’s the booming baseline and simulated horns that certified this track as an official licence to “mash up di place”. Be sure to check out the video, a great throwback to 90s-era Jamaican Dancehall!

Exhausted, slightly tipsy and fully wukked-up, you leave the party feeling satisfied. Even your flirting experiment turned out to be a success, number in pocket.  How else to relive tonight’s events but to load up Free the Universe and spin it through your ears? De vibes cyaan done (the music never stops)! Free the Universe is the soundtrack to blast through your boomin system to get through whatever you need to – even if it’s just another party. Turn it up, feel the rhythm and forget everything else.

Purchase Major Lazer’s Free The Universe on iTunes.

Ain’t no method to the madness just sit back and enjoy the crazy

— SZA(@justsza) April 19, 2013

This recent Tweet from US singer-songwriter, Solana Rowe – better known as SZA – would make a great tagline for her latest EP, S.

Raised in the Orthodox Muslim faith, SZA spent her early years in St Louis, Missouri and later moved to New Jersey. A Marine Biology graduate and former Strip Club bartender, SZA has spoken of her sheltered upbringing, and how her desire to rebel against it informed her curiosity about music and Pop culture. Although she only started recording in the spring of 2012, she’s been busy making waves on the US underground music scene, and is fast becoming recognized for her abstract style and chameleon-like vocals. At its core, SZA’s music is a mix of elements from Pop, Hip-Hop, Electronica and R&B; but it’s her treatment of these elements, coupled with her enigmatic lyrical style that gives her music such a refreshingly unique edge.

Having released her debut EP, See.SZA.Run in 2012, SZA follows-up with S: the first of a trilogy of EPs to be released during the course of 2013. This first installment is an intriguing catalogue of sweetly spooky vocals, electronic flourishes, and heavy Trap music-style bass line patterns. The bulk of the EP’s production is handled by some of the industry’s most exciting newcomers, including experimental producers Felix Snow, Waren Vaughn and WNDRBRD. There’s also input from former OFWGKTA member Brandun DeShay, and the result is a glorious blend of Hip-Hop flavoured Chillwave sounds, which SZA has described as “Glitter Trap”.

S is characterised by its existential attitude in both sonic and lyrical terms. It delves into the complexity of emotional experience, and uses fantastically whimsical and intensely dark imagery to describe the minutiae of commonplace events. There’s an assortment of Pop culture references, which work to interestingly articulate the EP’s broad sweep of philosophical themes and concepts. With S, songs that might sound like simple bedroom grooves soon materialize as dark, and at times, chilling assessments of emotional predicaments.

Fleetwood Mac, Sleigh bells, and a deliciously deep bass line are just some reasons to love the EPs first track, “Castles”. The Felix Snow produced track samples the sparkly intro from Fleetwood Mac’s 1988 hit, “Everywhere” and thanks to a certain mobile network’s ad campaign, this song might at first conjure the image of a little blonde pony break-dancing on a rural cliff edge. But fear not, the image soon fades when the other elements of this beautiful song kick in. “Castles” introduces the theme of existentialism. It focuses on the idea of increasing displacement from the world and the search to realise a sense of individual purpose within it.

“Shattered a thousand times before you found me, Kickin’ the pieces, I bet I’ll never amount to anything [...] Tell me it gets easier for me”

SZA possesses amazing vocal dexterity; she is able to adapt to the mood and shape of a song with ease. Here, her syrupy-sweet R&B vocal resembles that of Keri Hilson, and captures an acute sense of innocence and anguish, while the thick, oozing bass line casts a shadowy sense of foreboding across the entire song.

The Waren Vaughn produced “Terror.Dome” features a clip from the classic horror film Rosemary’s Baby, which is referenced again later on the EP. Here, it introduces the idea of a growing sense of paranoia and affirms the EP’s dark undertones. The song touches on the feelings of anxiety and claustrophobia associated with the struggle to make sense of a world, which is becoming increasingly alien. It also alludes to the idea that there is a strange sense of freedom to be found in the fear. The songs musical arrangement is dominated by the meandering moan of a synthesiser and cool, eerie harmonies that fully captures the sense of seduction and, well, terror.

“Picture yourself in a padded room, welcome to my Terror Dome”

The paradoxical concept of finding comfort in discomfort is the main idea in the song “Aftermath”. Following on from “Terror.Dome”, both chronologically and thematically, it makes a comment on the seductive power of a self-destructive lifestyle. It suggests that maybe for some, a life of chaos is fated, and that as such, there can be an abstract sense of peace and pleasure to be found in the acceptance of that destiny, as SZA tentatively suggests in the chorus, “maybe we should burn”. This rather chilling philosophical notion is off-set by her smooth echoic vocal against the euphoric soundscape, and an array of fantastic imagery, which unravels with lyrical gorgeousness. “Aftermath” combines the rich tranquility of a Sade or Dido with the melancholic chill of The Weeknd or The xx. In the picture SZA paints, there’s danger, trust and pixie dust; it’s irresistibly bittersweet.

“Caught up in the blast, caught up in the action, caught up in the bursting flame [...] Stuck in your tandem, heat that’s worth standing, I like it.”

Lyrically, S is a glorious mix of the ordinary and the extraordinary, with an added touch of the absurd. SZA intertwines everyday details, like her mother’s dislike of non-matching underwear with talk of dream filled sandcastles, unicorns, and being made of bacon; and she does so, with fascinating fluidity. Also, any child of the 90s will be amazed by her ingenious references to characters from the hit TV shows, Boy Meets World and Doug. SZA’s song writing is exciting; she’ll throw in a little surprise or an abstract turn of phrase, which hits you like a lyrical curveball.

“Feeling like Topanga, Patti Mayonnaise, kind of average with queen qualities”

S is a trip; the EP’s musical, lyrical and conceptual exploration feels like a psychedelic experience. But make no mistake: although S is laden with allusions to fantasy creatures and characters from film and TV, it actually depicts a cycle of emotion that is firmly rooted in reality. SZA is an exquisite artist with something compelling, and unusual to say the least. She might tell stories that we’ve heard before, but we will not have heard them told quite like this. Maybe it’s about time we stepped into the glitter trap.

Stream SZA’s S EP Below:

Keep Tabs on SZA: Facebook // Twitter // Website

British Singer/Songwriter and producer James Blake is certainly not a newcomer to our readers. The London native – who started off his career making music in his bedroom while studying at Goldsmiths, University of London – was introduced to us in 2009 with a release of “Air & Lack Thereof” and further in 2010 courtesy of the huge success of his critically-acclaimed breakthrough single “CMYK” which earned him the tag, “King of Post Dubstep“. 2011 saw James Blake crowned second in both the BBC Sound of 2011 list and the BRIT Awards’ Critic Choice while his “The Wilhelm Scream” single went on to be one of the best songs of that year. Fast-forward to today and James Blake has gone on to release five EPs and two studio albums including his latest Overgrown which was released earlier this month and debuted at #8 on the UK albums chart.

Kicking off the 10-track album is the album’s title track “Overgrown”. The track presents a mellow rendition by Blake backed up by soft shakers with the occasional sounds of stark piano chords and a drum loop creeping in. Like much of the album – which centers on love – the instrumentals on “Overgrown” stand minimal at best, keeping the focus on Blake’s vocals. ”Retrograde“, the album’s lead single, on the other hand, is introduced by a subtle humming which lead into claps, hypnotizing synths and dense kick drum patterns and subsequently, commanding and constant horns, to create a rather expansive and compelling musical backdrop. The song emulates a retro-Soulful feel, which listeners outside of James Blake’s core fanbase will certainly warm towards and enjoy.

Another favorite track from Overgrown is “Life Around Here“. Filled with and driven by melodious synth-heavy keyboard arrangements, minimalistic drum patterns and almost distorted vocals from James, this makes for a really great listen and would definitely make for the perfect second single. Taking an entirely different turn however is the unique song ”Take a Fall For Me“, the track features an inspired RZA who raps poetically about transatlantic love over an eerie Hip-Hop backdrop while Blake croons “you can’t marry her” in unison over the sparse and atmospheric drums-led opus. Still on the topic of uniqueness, is the trance-electronic tune “Digital Lion” featuring Brian Eno. The song fuses abstract melodies, which simply described, takes you on an evolutionary sound journey with Blake’s vocals pitching in at the right moments. On this song, it is almost as if he is showing the listener the two aspects of James Blake we have come to know over the years – the Electro-Soul singer/songwriter and the Post-Dubstep beat maker, both in one melting pot and the outcome is absolutely brilliant.

While “Voyeur“, the song that follows “Digital Lion” on Overgrown began to play, all I wanted to do was speed the BPMs up on the track but I should have known better than to question Blake’s musical genius as before I knew it, I heard what I was longing for and then two-thirds of the way, “Voyeur” had progressed well into a head-bopping shape-cutting psychedelic tune. Blake’s diversity is shown on the track as he switches the sounds to take on a more Dub-Step and House feel – this is a sound that could potentially be a fixture as a dance-floor filler in the Summer plus you will do well not to miss that distinct constant horn sound that can be found on a number of songs on this album.

When my editor referred me to Overgrown I wasn’t sure what to expect, but after three straight listens, this excellent 10-track affair is a highly recommended listen! The minimalistic tracks create a serene listening atmosphere you can just play and vibe to and something has to be said about James Blake’s mature songwriting dexterity and how the combination of his production prowess and Soul singer persona has finally come together beautifully and clicked on this record. With Blake writing and producing all but one of the tracks, his level of musical knowledge and the creativity that goes into creating such an intricate album is admirable. Again, the eclectic album Overgrown is worth checking out and be sure also, to look up some hidden Blake mixes under the stage name Harmonimix, you will not be disappointed!

Purchase: James Blake – Overgrown (iTunes)

Keep Tabs on James Blake: Twitter // Website

TemiY

Juliyaa ensured that Spring started with a bang (and an Azonto) at her headline concert, Stars and Dragons Live, at London’s Rich Mix. The North London singer released her debut EP, Stars & Dragons in the autumn of 2012. The 6-track collection is a colourful mixture of musical elements from various genres, which represent her diverse cultural heritage and experience. The concert was billed as a translation of this EP into an exciting live showcase, along with support from some of London’s best up and coming talents.

East London’s Rich Mix centre was an ideal venue for the highly anticipated show and as the main room of the Cultural Arts centre quickly began to fill up, BBC Radio 1Xtra’s DJ, Ace span a selection of choice cuts. Host, Eke Mba warmed the crowd up with animated delivery of humorous anecdotes, as he introduced the night’s impressive roster of artists.

First to hit the stage was South London singer Dionne Reid. She performed “Here I come” from her 2012 EP, S.M.I.L.E; plus a nicely reworked version of the Chip and Chris Brown collaboration, “Champion”. Her charismatic stage presence and sweetly soulful vocals loosened up the audience, and readied us for the cheeky charm and heartfelt lyricism of Essex rapper, Nick Brewer. Last of the guest acts was emerging singer, Wilson, who brought a touch of smooth, chilled R&B to the room, performing songs from his Painted on Silence EP, with all the poise and confidence of a seasoned artist.

Following a mini interval, a clearly keyed up Juliyaa took the Rich Mix stage, dazzling in a gorgeous vintage floral dress. Accompanied by a full band, complete with a small string section, she kicked off her set with an explosive version of her party anthem, “The Rhythm”. This was followed up with “Like Magic” from the EP. The crowd, who were fully amped by this point, whooped and hollered their appreciation as Juliyaa’s set got underway.

Her rendition of “Tidal Wave” was a particular highpoint. The Drum and Bass inspired single got a rock restyling, and was mashed up with Labrinth’s hit single “Earthquake” and Eiffel 65’s 1999 hit, “Blue (Da Ba Dee)”. These elements combined, transformed “Tidal Wave” from a brooding, dubstep-flavoured track into an electrifying, full-on rock spectacle.

After the high octane start to the show, Juliyaa slowed things down and showcased her special ability to write, and deliver sincere relationship ballads. She performed the songs “Talk to Me” and “I do Less”. She later picked up her guitar to play “Bittersweet”, a beautiful song about love and faith. Juliyaa then gave an impassioned, exclusive performance of “Roundabout Love” from her forthcoming EP 4Loves. After this, it was back to business: Stars & Dragons Live was, foremost a celebration of Juliyaa’s Welsh and Ghanaian cultural identity; and the West African flavour of “Down To the River” saw her encouraging the audience to dance, as she enthusiastically threw a few shapes of her own.

As the concert drew to a close, it was obvious that the final song would be “Stars & Dragons”: the infectious, celebratory title track of the EP, and of course, the night. The Hi-life inspired, standout track had the crowd two-stepping, and “azonto-ing” like it was the law. This was a party and nobody was permitted to stand still: “Hey, you there, man…” Juliyaa called in typical Ghanaian fashion to one unsuspecting spectator – “Dance!” For that moment, she made honorary Ghanaians out of her whole audience. This was a real highlight of the show. It’s a special thing to observe and connect with an artist who performs with such genuinely intense, joy.

Stars & Dragons Live was a success. It was a night filled with rhythm, soul and passion. The warm, carnival vibe created a real sense of fun and unity. People stripped off their coats and winter apparel – and for a while, they forgot about the freezing temperatures outside, because Stars & Dragons Live made it feel like it was the first day of Summer.

Yes, fans may have been expecting the set to include a few more favourites off the Stars & Dragons EP, but nevertheless, Juliyaa proved herself to be an engaging, vibrant performer full of fun energy, and graceful humility in equal measure.

If you have not already done so, download the Stars & Dragons E.P HERE!

Two thumbs up for this well-branded independent artist I’m about to share with you. It took me a lot of snooping around to really prove that she isn’t signed to a record label of any sort. Her music production quality, online brand and music videos are all on point and well presented. The PR, community presence and press coverage for her music and tours are quite impressive for a home-grown indie artist. However, I didn’t need to wonder why for too long, she once was a full-time Publicist and music marketing blogger herself so I guess that explains it. We Plug To You Pittsburgh-based Singer/Songwriter Joy Ike.

For an artist whose tag line reads, “loves people, hates shoes, makes music“, it is no doubt there is a sense of carefree-ness about her and her art. Joy says of her music roots and her Nigerian heritage, “some of my earliest memories involve sitting in the living room with my family singing Nigerian choruses and finding ways to harmonize with my father’s booming voice and my mother’s soprano harmonies”. Her instrument of choice is the piano, which sits well with her Singer/Songwriter persona and her audiences range from the college crowd to a wider adult contemporary radio audience with her songs having been featured on NPR’s All Things Considered and Relevant Magazine’s The Drop among other tastemaker platforms. The Lilith Fair and Purple Door music festivals notably count as two of the over 400 shows Joy Ike has played while enjoying the opportunity to share the stage with artists such as Deas Vail, Butterfly Boucher, Dwele, Chrisette Michelle and Tyrone Wells among others.

Her latest album is titled All or Nothing and her sound on this record can be described as distinct and soulful. Self-described as ‘SoulFolk’, it is certainly folksy as evident in the swing of her vocal stylings, the incorporation of percussions and choppy piano arrangements and the narrative nature of her lyrics through honest interpretations of life and its issues, ranging from love to everyday relationships – poignant, honest, timeless. According to Joy in an interview with WYEP, she does not want her songs to be fluffy but impressionable and I believe that she has achieved that feat in All or Nothing. Needless to say, Joy Ike’s musical essence reminded me of Folk-Pop veteran Norah Jones with a tinge of Natasha Bedingfield. All or Nothing was released in January 2013 and it will be her third studio album and the follow-up to her 2010 album Rumors which we reviewed here. Joy worked on this album with Brooklyn-based producer and multi-instrumentalist Saul Simon MacWilliams (Ingrid Michaelson, Chris Garneau).

I closed my eyes as I let the 10 songs on All or Nothing fill my ears and affect my mind. I drifted in and out with the varying melodies and tempo of each song as it connected to the next with great arrangements and sequencing. The album’s song structure and mood are all well-fitted musically with some ballads, some upbeat songs, a guitar here, a marimba there, most with lush and full orchestra instrumentation, but not too far off the spectrum to be jolted out of a musical reverie. Most of the songs on the album are about sacrifices and selflessness, loving and living life, lyrically speaking. It is difficult to handpick a few choices off the album to represent its entirety in this article but I will go with these three selections – these are my personal preferences, “Everything You Have”, “Go” and “Promised Land”.

Percussive piano riffs drive “Promised Land“, a storytelling song about a love interest (seemingly a foreigner) who shouldn’t let Joy forget her land, her roots and origins. With staggered piano percussions in the backdrop, the violin arrangements join in the milieu and gain momentum as “Promised Land” progresses to drive the song into full gear, mid to the end of the song, with Joy’s smooth deliberate soulful vocals singing passionately about wanting to love yet not swaying away from her identity. Take a listen below:

So if you promise you’ll never let me forget my land / I will promise I’ll never let you forget your land

“Go” on the other hand, has a bluesy Gospel sound yet classical feel to it. Joy Ike’s vocals are also particularly Jazzy on this one. With classic piano chords banging a la Nina Simone style and retro-ish back up vocals and harmonies riding along soulfully – reminiscent of vintage lounge Vegas music which still holds firm residence in some of today’s biggest festivals such as the iHeartRadio Music Festival as well as several key music venues across the country. The lyrics – poetically stated – encourage everyone to “go out and get it“. The song ends with an orchestra like finish. Be inspired below…

Rightfully placed as the first song on the album, “Everything You Have” is more upbeat in tempo than what we’ve heard above, with a quite infectious Pop sensibility to it. I think I would call this the hit single of the album if there should be one and what a hit single this should be! Joy Ike’s vocal melodies and patterns ride on the clapping musical milieu driven by sharp violin infusions, thumping drums and string arrangements with a hook that’s very memorable. The lyrics are about finding true happiness, not in material acquisitions that can fall apart or fade away but in trusting in God.

I don’t want to make the world my god / Give up everything for nothing / I don’t care who you think you are / Everything you have will fall apart

Overall, All or Nothing is sure to float your musical boat if you love music that’s calm and collected while delivering strong lyrical content. This record is mellow, full of emotion, head-bopping, foot-tapping, pleasant, melancholic, vulnerable, honest and true – all in this eccentric mix. Lyrically, Joy tells meaningful stories within the songs and keeps you interested with her beautiful vocals and originality in instrumentation. Undoubtedly and without any reservations, All or Nothing is highly recommended for your playlist and again two thumbs up to Joy Ike.

You can purchase the All Or Nothing album on iTunes OR via Joy Ike’s Bandcamp.

Keep Tabs on Joy Ike: Website // Facebook // Twitter // YouTube

Tosinger

It’s been a while since I’ve been here, very sorry about the silence, so many things up in the air at the same time, its too easy to lose focus but I am happy to be back, music is what I love and even though I haven’t been writing, I have been listening and trying to stay in the loop. A little snapshot of what has been on rotation in my ears; Alex Isley, Austin Brown, Curt Chambers, Luke James, Estelle, Lecrae and Rihanna, to name a few! Today however, I will be sharing with you, Face The Music, the seventh studio album from award-winning R&B veteran Avant.

I have to say that I am extremely happy to be featuring this album and I am not saying that this is Avant’s best album, not at all but this one definitely won me over. Across Avant’s vast discograpy, I personally am very fond of Avant and Director; I feel they both had more weight and character but Director on its own has to be one of my favourite albums ever! Tracks like “Grown Ass Man” will forever be bedroom burners for life and although he has that sexy ruggedness to him, he still turns on the smoothness and charm on tracks like “Y.O.U” and “Sailing”. You can not take it away from Avant – he does what he does well!

Face The Music is a bit of weird one for me if I have to be honest; I must have re-written this article a thousand times in my head! It’s one of those albums that gets better after each listen, it didn’t strike me as a fantastic album after my first listen but with every listen after, you almost hear more. It’s Iike your ears become more sensitive to everything and you learn to appreciate the songs better. “When It’s Over” is a perfect example of this, this song completely snuck up on me! The start of it is a bit underwhelming and I’m sort of wondering where Avant is going with this, but right before the hook comes in at the 0.39 minute mark, the song picks up and drives into this beautiful melody and after that, its just a matter of time before the words mean something to you. By this time, I’ve already acknowledged that “When It’s Over” is probably the best song on this album, period! It ticks all the boxes for me, the hook literally breaks down all my walls while the slow-burning keyboard arrangements and drum patterns hit me hard with everything musically right! I could just about go on and on about how freaking amazing this track is, like seriously! But this is where my job gets easier… Press play below:

The next track we’ll be getting stuck into is “Human“. Now, from the first listen, I fell in love with the general melody of the track and that’s probably because of the acoustic guitar lead of the instrumentals which reminds me of “Sailing” from his 2008 self-titled album. I must have played this song about fifteen times already and I’ve never really paid attention to the lyrics and possibly for good reason because if there is one thing I have against “Human” is the lyrics – my goodness, they are so weak! Not the most imaginative lyrics we’ve heard from Avant but hey, everything else about this song is really good so I’ll be plugging it anyway. Just listen to those notes he’s hitting so effortlessly – to hell with the lyrics, Avant could be singing the alphabet to me and I’d still be sold!

Ok so there are few bedroom burners on this album and lets get real, it wouldn’t be a complete R&B album without a few tracks dedicated to the “bump n’ grind”. So I’m stuck in between plugging “More”, “80 In A 30″, “Bestfriend” or “Excited”; they’re all very good but for me the tune that sounds the freshest every time I hear it, is definitely “80 In A 30“. Now, out of nowhere this song had me wanting to strut some very unladylike moves, I am not proud! Having fellow vocalists, Kajun and J’Lyn feature on the song did “80 In A 30″ no harm at all but adds to the overall Hip-Hop vibe of the song. The production, driven by drum machines and a thumping bassline, on this song is simple and so effective, everything needed to bring out stripper-like tendencies in well behaved ladies is definitely present – like I said before, I am not proud!

The final song I will be plugging from this album is titled “No” and I don’t care what people say, I think this track is different and it’s quite refreshing to see Avant do something outside of his usual box. Yes it does sound a little Justin Bieber-ish but it’s Avant and it comes out really good, he could have done a lot worse! “No” is an upbeat Pop power ballad with lyrics that are pleasantly cheesy, so all you secret Bieber fans, this is something you can listen to in the open without feeling ashamed!

Face The Music is certainly not Avant’s strongest of albums when we look at his past work but following up from his 2010 album Letter, I think this record has much more presence than its predecessor. It is definitely more memorable and I feel the production on this album was tighter and all together fresher. Where the album shines the brightest for me is on “When It’s Over”, I really felt the ‘Director’ Avant come alive on this track and the strength of his vocal ability was definitely at its peak. Yes, a lot of the songs on Face The Music are predictable R&B and you can almost finish most of the lyrics without even hearing some of the tracks, but that’s what Avant does. He does traditional R&B, he does it well and delivers every time. He has to be applauded for his consistency and trueness to what he is good at. This album is most certainly worth checking out and undoubtedly GOOD!

Purchase: Avant – Face The Music (iTunes)

Jade O