Features
℗ 2018 Eardrum Records/Interscope Records
Swae Lee's latest track, 'Guatemala,' has us ready for summer and we couldn't be thrilled enough.
Featuring his brother, Slim Jxmmi (one half of Rae Sremmurd), Swae Lee roars into 2018 where he left off - spoon-feeding us tropical accents and sensual vibes that fuse perfectly over grooves island-esque beats.
This is definitely a track to add to your playlist this week!
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"Invasion of Privacy" ℗ 2018 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States. A Warner Music Group Company
Be👏🏽Careful👏🏽
Cardi B released some 🔥🔥 🔥 today and this debut album is kickin’.
The Bronx-based emcee followed up hard from her break-out banger, “Bodak Yellow,” in 2017 with an album filled with personality, swag, envy - dare we say vunerability - but raw honesty as the female rapper took pages from her many influences to make this record knock from start finish.
On “Be Careful,” Cardi gives us a warning shot to her careless lover; while on “I Like It,” Cardi shows off her Afro-carribean roots with reggaeton powerhouses Bad Bunny and J. Balvin. Of course - she teamed up with Migos to give us another trap anthem with “Drip.” And might we say that track with Chance The Rapper, “Best Life,” is a real treat which exemplifies Cardi’s versatility and reach.
This record made us smile. Add to your playlist this week!
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"My Dear Melancholy" - ℗ 2018 The Weekend XO, Inc.,
The Weeknd released a gem with "My Dear Melancholy" last month that brought the emotional and melancholic R&B/pop star back to his roots - decadent tales of emotional and toxic indulgences that invites listeners into the artist’s most aching points.
With this new record, The Weekend scored his third consecutive No. 1 album on the Billboard 200 chart.
Our favs thus far on this delightful EP - 'Wasted Times' and 'Call Out My Name.'
Add to your playlist this week!
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As an artist who has consistently defined her musical expression through emotion, reflection and love, it’s no wonder why Ayo’s latest record is a powerful account that showcases the artists’ recent challenges through gripping imagery, impeccable songwriting and passionate vocals that deliver a masterful composition to her listeners.
When asked to write a preview of Ayo’s fifth studio album, ahead of the record’s release party at New York City’s, DROM, on Wednesday, I was relatively excited based on Ayo’s extensive reach in the independent music scene over the past decade. With over 1.5 million records sold in 40 countries, Ayo’s versatility in her music, empathy towards each composition and gentle, yet harrowing nature of her voice details Ayo’s complex and focused approach towards her artistry.
In her latest self-titled album, “Ayo,” the Brooklyn-based artist concocts a blend of indie soul and contemporary folk, with a touch of hip-hop elements simmered in reggae. The expansive reach of her musical repertoire in these genres provides a level of versatility that offers a license to embellish in the sounds of Baduism, while also providing a firm contrast to the lyricism of Lauryn Hill – all while crafting a sound of her own that combines retro-pop-soul with the refine African percussions and the vivid storytelling of reggae folk.
Born to a Nigerian father and Romani mother in Cologne, Germany, Ayo was raised on the musical influences of American soul, reggae and Afro-beats that spawned her studying the violin, piano and guitar. At 21 years of age, Ayo re-located to London, diving her time between Paris and New York City on the way to earning her first opening act for Omar and Cody Chesnutt. Ayo’s debut album, “Joyful,” hit Top 10 in four countries, performing with Babyface, winning prestigious European Music Awards and even appearing on the “Late Show with David Letterman” and “The Late Late Show with Craig Ferguson” in the United States.
Her musical approach, rich with honesty, sentiment and passion, releases a mist of positivity and emotion on each record of “Ayo,” guiding audiences to embrace their feelings and reflections on what’s been gained and lost. We see these components in songs such as “Nothing,” “Why” and “I Pray” which showcases Ayo’s vulnerability over these past five years with personal and career challenges.
On “Nothing,” Ayo offers us a reggae-soul inspired perspective on the material things in her life that she believed would make her feel better about herself, all while feeling empty as she realizes the void is just a temporary means of satisfaction. Composed over the African kalimba (strings) and loosely affirmed Afro-percussions, “Why” provides a heartfelt and revealing account on Ayo’s personal issues with her father and the stubbornness and grudges held within their relationships. Ayo’s enduring spirit on the recent challenges of her life, written over gently bright keys and a calming beats, are boldly displayed on “I Pray” as she reaches towards her spirituality for help during a possible career-ending situation.
Ayo also brings to the table a politically and socially charged record with, “Boom Boom,” regarding her outrage over the Mike Brown police shooting in Ferguson, Missouri in 2014. Ayo’s realism is illustrated through her temporary folk and reggae style composition that also challenges the issue of police brutality, social injustice and our government’s response towards these racially charged issues.
With emotion, love and positivity remaining a consistent theme throughout the album, Ayo pays homage to the city that developed her musical ear and early success – Paris. On “Paname” (the surname for the City of Lights), Ayo composes a more complex multi-cultural arrangement with hints of reggae, pop-infused soul and traditional Parisian sounds, such as the accordion, is apparent on the record. The song is written as a love letter to Paris for how the city made Ayo personally, musically and culturally.
Ayo even spreads her hip-hop wings on the contemporary soul records, “Forever & Beyond” and “All I Want,” which exemplifies Ayo’s love of Hip-hop and the lyricism that I represents in music. With deep percussion, smooth vocals and confident melodies, Ayo offers another take on her sound’s versatile and complex approach to her songwriting ability.
With a cascade of emotions over the past several years, Ayo latest record is a testimony to her artistry that thrives on feeling. From the passions of love to the politically/socially charged stance, “Ayo” delivers an account of the world around her both personally and culturally.
As one of the leading independent artist in the world, Ayo’s distinctive songwriting, vivid storytelling and revealing honesty that both painfully and respectively is released through each composition. Ayo’s languorous and delicate vocals, paired with profound musicianship and multi-cultured adaptations, is why Ayo is still a heart-warming figure in the independent music scene.
You can catch Ayo and the anticipated performance of her self-titled record this Wednesday at DROM in New York City. Doors open at 6:30pm with the show starting at 7:15pm. For more on Ayo, please follow her socials listed below and listen to her music on all digital streaming platforms today.
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J. Alan Schneider with raw honesty & emotion at Rockwood Music Hall, Stage 3. Photo courtesy of Sergio Carrasco.
When J. Alan Schneider released his new EP On Precipice in October, we couldn’t wait to see him perform the new record on stage – an EP so tenderly rich with patient guitar riffs, soft and timid melodies and a surrealism of vivid imagery that can only be bred from one of the scene’s most gifted folk artists.
We sat down with the J. Alan last month to discuss his EP’s lead single, "The State Line," and the creative process behind the records overall theme. There was no doubt that the Queens-bred indie-folk artists' haunting elegance, lyrical illustrations and raw storytelling ability were shown graciously throughout the EP would eventually marvel on stage during his release performance. We were anxiously waiting to see how it would play out.
J. Alan Schneider on the strings at Rockwood Music Hall, Stage 3. Photo courtesy of Sergio Carrasco.
Alan’s performance at Rockwood Music Hall’s stage 3 last Wednesday guided us through the singer-songwriter’s journey of accepting and adapting to fate. Alan’s timid vocals, distinct honesty and acoustic sound channeled an uncanny tale of human emotion, atonement and reflection that was touched with each fabric of his lyrical shroud. His music was a shepherd to our ears, placing tranquil and raw sentiments that maintained a sense of noir while Alan ruminated through his guitar play.
His performances to "Labor Day" and "All The Same" shined gently with precious harmonies, profound, yet tender acoustics and caressing lyricism that brought us into Alan’s consciousness and reflective artistry. With candid lyrics such as, “What if the world was taking place/behind a camera phone/and if the world was breaking down/ would anybody know/if it’ll grow on frozen ground under seas/ will it be,” Alan’s precedence on these songs are illustrated through expressive storytelling and compositions, that exemplify the artist’s unique folk-singing approach.
J. Alan Schneider performing in front of an intimate crowd at Rockwood Music Hall, Stage 3. Photo courtesy of Sergio Carrasco.
On the EP’s leading single, "The State Line," Alan’s performance portrayed hints of melancholic imagery and delicate melodies for his warm, yet dark take on fate. Alan’s passionate and relieving vocals helped serene a soothing crowd from the portrayal of his voice and earnest guitar strings.
On his song, "They’re On to Us," Alan’s displayed a euphorically glowing performance that gently whispered over amplifying strings and calming percussion. His gifted storytelling ability is shown through his tantalizing and subtle lyrics through the song. “This day belongs to us/,” Alan crooned, “The cracks and gleams and scuff/and the side streets are so rough/ they lied to us/.” Another illustration of Alan’s purity and veracity that relished as we witnessed the folk artist perform.
J. Alan Schneider performing a quaint acoustic show in front of a Lower East Side crowd at Rockwood Music Hall, Stage 3. Photo courtesy of Sergio Carrasco.
J. Alan Schneider’s artistry is an esthetic platform for the contemporary indie-folk catalog. His work as a singer-songwriter is purified through the honesty of his lyrics, gentle, yet rough-edged compositions and a blistering vocal that helps us captivate our own humanity. Through his themes of fate, lost and reflection, Alan utilizes his musical talent as a wandering storyteller, passing though the events of common folk, while also contemplating his own path. His music is raw and stellar to the indie-folk scene and is a pedestal that fans of this scene can relate with: truly a treasure worth witnessing and listening to.
J. Alan Schneider performing his EP release show at Rockwood Music Hall, Stage 3. Photo courtesy of Sergio Carrasco.
For more on J. Alan Schneider, be sure to follow his socials and listen/stream to his EP, “On Precipice” today. Out now on all digital stream services.
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Deem Spencer breathing on the mic at The Safari Room. Photo courtesy of Sergio Carrasco.
New York’s independent hip-hop scene has endured a multitude of changes over the years with the rise of trap-infused beats and sharp-edged vocals; this growth has spawned some of the mainstream titans that flow through our airwaves today. As listeners crave for the club ravaging and intensifying sounds of trap music one can argue that the raw lyricism, vivid storytelling and deep productions of New York hip-hop - which made the east coast so successful - has been put on the back-burner.
Yet, some of NY’s young and talented emcees continue adopt the traditional flows of east coast hip-hop alive with fresh new sounds and production, which altogether, has even attempted to move the trend needle forward: This is where Deem Spencer comes in.
Deem Spencer prepping up at The Safari Room. Photo courtesy of Sergio Carrasco.
The Queens-based rapper, overnight, has become one of the biggest talks on the scene and has impressed both his listeners and audiences with razor sharp lyricism, honest emotion and raspy-esque flows. His ambling vocalization and handsomely smooth compositions resembles the flows of Mos Def mixed with a hint of Tyler, The Creator.
Over a series of crispy bundled-up beats blended with an array of soft keys and complex strings, Deem’s rhymes are as complex as his stage presence: keeping audiences guessing and on their toes for what comes next next.
We came out to El Cortez in Brooklyn last Saturday to watch Deem Spencer’s performance of his latest EP, “We Think We Alone.” The show took place at El Cortez’s, The Safari Room, adjacent to the Tex-Mex bistro in the Bushwick section of Brooklyn (definitely recommended for some hearty bites and luscious margaritas). The faint aromas of Mary Jane, overnight IPA hops and cigarettes hovered in the air as audiences slowly poured in to catch a scent of some good old NY hip-hop.
Deem Spencer movin' on stage at The Safari Room. Photo courtesy of Sergio Carrasco.
Crimdella and Venture Klan opened the show for Deem as they kicked off the night with ferocious bars, brilliant production and ravaging beats that assailed audiences into that uptown sound that never disappoints.
Crimdella, aka Black Zeusx, provided a series of poetic rhymes and intense imagery that breathed heavily through pulverizing beats. Zeusx’ gripping charisma on the mic pierced through every chord, as the Harlem emcee broke into the crowd – getting us wiled up for an awesome night of hip-hop.
Venture Klan also offered a pulsating performance through their club-banging anthems filled with character, swag and humor. This three-piece act conquered the stage with their enduring styles; precision-like flows and energetic jibes that made The Safari Room crowd keep their hands in the air. They even gave us some free merch for us to make our friends hate us just a little more.
Deem Spencer showing his lyrical talent at The Safari Room. Photo courtesy of Sergio Carrasco.
With his performance on “We Think We Alone,” Deem Spencer delivered an unforgettable performance that was rich, grieving and outright amusement that forced us to all “shake our a$$” while Deem performed the record in its entirety. Inspired by the death of his grandfather last winter, the Queens-based artists’ stage presence reflected a mellow and introverted persona, it was Deem’s precise melodies and intricate wordplay that helped keep audiences afloat – keened in on his heavy-hearted storytelling and brilliance.
Perfectionist, soft-spoken and meticulous, the Southside Jamaica emcee, poured his soul into every bar and mastered them beautifully behind a complex nebula of sensual synths, soulful chords and a mix of venomous beats that elicited a challenging sound of emotion and exasperation.
Deem opened with a killer freestyle on Saturday that showcased the indie-rapper at his lyrical best, along with an early 90’s-esque boom-bap and lulling keys. On “Soap” and “Eve’s T*****s,” we caught a glimpse of Deem’s vivid symbolism, strategic metaphors and illustrious productions with an instrumentation that’s unnerving with its precise strings. On these tracks, we got a sense of Deem’s patience and detailed flow that spoke assertively through his mic.
Deem Spencer spittin' on the mic at The Safari Room. Photo courtesy of Sergio Carrasco.
The night flowed on, and on tracks such as “Mother Earth” and “Moonflower,” we saw Deem with a more peevish and scrappier vocal with a high degree of synths and complex percussions. With “F***d Up Flowers,” Deem relieved himself of that conservative stage presence with a groovy chilled-out track that got him, Sly Cooper and the rest of crowd “shaking their a$$.” With a jazzed-out J-Pop sample, patient chords and complex percussion, Deems' vibed out track helped to bridge that relaxed demeanor with a stellar upbeat performance.
Deem Spencer’s nebulous sound, smoky aroma and artistic lyricism is blueprint for the future of indie hip-hop. It’s genuine & cunning, apologetically honest and deeply descriptive with grief & empathy. With raw emotion and petite aggression, Deem Spencer’s metaphoric scriptures are surely a trend ahead of today’s mainstream and independent hip-hop scenes. No doubt, Deem Spencer will be obtaining that recognition as his music persists.
Deem Spencers honesty & grief on display at The Safari Room. Photo courtesy of Sergio Carrasco.
Photo courtesy of Lowdown Brass Band and The Bloom Effect
We’ve sure seen our share of hip-hop/funk brass bands over the years, but nothing has compared to the thoughtfully hip, energizing and funky sounds of Lowdown Brass Band (LDB). This thriving eight-piece second-line extravaganza has been marching their way through venues across the U.S., steering audiences through a thrilling brass-powered experience that emulates a diverse and irresistible sound.
With a blistering array of horns, funktacious drums and a powerful sousaphone, the Chicago-based brass set has also perfected a gritty and dynamic sound through the genres of hip-hop, soul, ska and rock. The fusion of MC Billa Camp’s poetic rhymes and adaptive storytelling, one of the band’s leading vocalists, has helped catapulted LDB’s national movement with cruising vocals, ferocious depth and provocative flows that helped audiences to capture the LDB experience.
With the release of their fifth self-produced studio album Lowdown Breaks arriving January 19th, Lowdown Brass Band has continued to build upon their hip-hop, ska and jazz styles under their newest single, “Ghost Town". Lead by Billa Camp with illustrious wordplay, keen lyricism and intricate arrangements, “Ghost Town,” exemplifies LDB’s music through groovy brass hip-hop with a unique alloy of genres that is indulgently entertaining to hear.
What began as a Chicago collaboration between Lowdown Brass Band and Chicago hip-hop punk set, The Dread,” has grown into one of LDB’s biggest songs of 2017, aligning perfectly with the 2018 release of their new LP. With a commanding tempo ripe with roaring horns, long brass and robust beats, the song contrasts perfectly with Billa Camps flourishing vocals and profound individuality.
What we really dig about LDB’s new track is the music video – an entertaining, high-energy adventure shot on a fishing boat during Lowdown Brass’s Alaskan tour in July 2017. As a recommendation of a great way to see the Cordova region in Alaska, the band brought their instruments on the boat and randomly had a quick jam session right in the middle of the Prince William Sound. Suddenly, the session quickly turned into a video shoot for “Ghost Town” with people on the boat shooting the session entirely on their iPhone’s. A wild ride filled with humor and dance, Lowdown Brass Band’s “Ghost Town” video is one for the ages and is certainly a must watch!
LDB’s barrier breaking sound is as intricate and explosive through your headphones, as it is on-stage: A second-line brass-knuckle spectacular that gets you on your feet and keeps the party pumping all-night long. They’re a band that get’s it: progressive brass beats with a festive attitude and a groovy onslaught of stellar vocal harmonies and horns that are marvelously entertaining and unique. Lowdown Brass is a band that can’t be missed and a must see for when they march across your town.
For more on Lowdown Brass Band, follow their social media and stream/download their music below.
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Jackie Venson live at Rockwood Music Hall, Stage 3.
Austin-based guitarist and singer-songwriter, Jackie Venson, ripped the stage at Rockwood Music Hall last week with an explosive performance that blew us away with electrifying amps, growling rifts and sensual vocals. Rockwood’s serene and tranquilly intimate Stage 3 was the perfect feeding ground for harvesting Venson’s powerful guitar solo that savored our appetite with a mix of blues, soul and rock ‘n’ roll.
The warm candle-lit venue brought us closer to each other, as we sipped on our brews and cocktails while Venson rock out on her 45-minute set. Performing usually with a full set band, Jackie came up to New York as a solo act, giving us New Yorkers a mouthful of that Texas southern soul that blended beautifully with bluesy rock elements and a distinctive sound of pop.
Jackie Venson on guitar at Rockwood Music Hall, Stage 3.
Exposed to music since eight years old, Jackie Venson is a young musician/guitarist that has captivated the hearts and minds of her audiences through her music. Coming off an impressive summer tour with guitarist/singer-songwriter, Gary Clark, Jr., Jackie has become a household name in the independent blues and rock scene. Her mastery of blending the genres blues, soul and rock together speaks to her profound musicianship that’s coupled with her lyrical depth and gripping storytelling.
With local shows and tours performed across Austin, TX, Jackie has toured extensively throughout the south and the west coast, enthralling audiences that capture the Jackie Venson experience through the raw power and vibrant soul of her guitar. As a powerful and passionate artist, Jackie Venson illustrated these traits last week with an invigorating performance that elicited those gritty bayou blues and southern rock ‘n’ roll.
Jackie Venson on vocals at Rockwood Music Hall, Stage 3.
Jackie’s new EP Transcends released earlier this month and was on hand for that weekend as she performed several hit songs from the record. Her solo acts to “Flying,” “Fight” and “Transcends” exemplified Jackie’s versatile compositions and her complexity as an artist to span across genres. On “Flying,” Jackie gave us a flawless mix of pop and rock elements that provided enhanced lyrical ability and stellar musicianship. Her impressive command on stage held audiences in their seats, as Jackie’s guitar rifts fueled a smooth, yet dominating sound. Her play on “Fight” and “Transcends” spoke to Jackie’s ruthlessness on the guitar, while also assembling those 80’s pop kicks and savvy guitar licks that conquered the grasps of the rock ‘n’ roll and blues genre.
Her opening song, “Don’t Lie to Me,” as well as her incredible cover to Tab Benoit’s, “Nice and Warm,” were essential memories from Jackie’s NYC visit. On her opener, Jackie displayed a fantastic guitar solo that wowed audiences and provided an alluring sound that drew audiences thirsty for more. On the Tab Benoit cover, Jackie informed us of how Benoit’s song was one of the artists’ many influences for picking up the guitar. Jackie’s act breathed a fresh air of classic bayou blues and American rock ‘n’ roll that took stage 3 by storm, delivering a simmering guitar play, decadent licks and Orleans style amps.
Jackie Venson mesmerizing audiences at Rockwood Music Hall.
Jackie Venson is a guitarist that has mastered the raw and gritty southern blues with each note her fingers find on the neck and body of her guitar. Her mesmerizing voice, delicate, yet cool attitude and shear talent on the strings are but of the few components that allow her musical expression to be so powerful. Her dominance on the guitar, musical depth and command of her audience has placed Jackie as one of the top emerging guitarists in the independent scene.
Her innate ability to blend the genres produces a rich sound of passion and emotion that establishes a connection with her audiences, as well as illustrates the complexities with her musicianship. She has certainly become a driving force for indie-guitarists today and has our recommendation for anyone’s playlist.
Follow, stream and listen to Jackie Venson's music today!
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