VideoMusicStars http://videomusicstars.com Independent Music News Headlines Sat, 16 Dec 2017 11:03:11 +0000 en-US hourly 1 ‘My World’ – The second EP from electronic singer-songwriter Leena Ojala http://videomusicstars.com/my-world-the-second-ep-from-electronic-singer-songwriter-leena-ojala/ http://videomusicstars.com/my-world-the-second-ep-from-electronic-singer-songwriter-leena-ojala/#respond Sat, 16 Dec 2017 11:03:11 +0000 http://videomusicstars.com/?p=15371 Leena Ojala is back with her new EP ‘My World’, which will be released on Friday 24th November and available to stream on Apple Music. Leena has come up with a more dynamic sound than her earlier melancholic offering. Leena labels this EP as ‘more upbeat and non-genre specific’ and prides herself on the results, describing the project as a ‘natural progression’ of her style.

‘My World’ has been inspired by the many old and new musical influences that Leena has been surrounded with, leading to her new experimental sound. Her musical direction is a fusion of contemporary alternative, indie, soul and electronica.

Her style mixes dark lyrics, 80s infused vibes and soulful tones. With a penchant for writing and producing infectious melodies with major choruses, this EP explores many subjects close to Leena’s heart. The title track ‘My World’ explores feelings of not conforming to other people’s expectations and is a reflection of her latest EP seeing light with very little outside influence.

‘Pretty Girl’ explores a young girl with insecurities – ‘a girl who wants to fit in when there’s no real place for her and she just ends up following the crowd’.

MORE ABOUT LEENA OJALA: Leena began song-writing at the age of 16 when she received her first guitar. Leena moved to London a year later to embrace music and explore her sound. Leena spent time in Berlin – a city renowned for its anarchic creativity – gathering new influences before returning to London to hone her first offering. The critically acclaimed EP1, released in November 2015, was the result.

Leena is influenced by strong female vocalists with emotion-laden melodies, including Stevie Nicks, Kate Bush, London Grammar and Halsey.

Leena has received press coverage from the likes of The 405, The Fader, Clash Magazine, Idol Magazine, The Lady Gunn, Fame Magazine, Atwood Magazine, Earmilk, and many others. Her music has been played in syndicated radio shows such as Passport Approved, Winkelwagen Show and Women of Substance podcasts, as well as in numerous radio stations.

Leena has worked recently with producers Benbrick, DJSweap and DJDoobious, and her tracks have been mixed by D/R/U/G/S, Saturday/Monday, Forte and Paul Gilmore.

“Developing a unique style, the bedroom producer works on instinct, taking enormous chances with her work”Clash Music

“Her ability to drive her voice between moody depths and haunting heights makes for a compelling sound”Idol Magazine

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Mortinus: “Black & Green Mornings” – Each beat drop is an auditory and almost visual journey http://videomusicstars.com/mortinus-black-green-mornings-each-beat-drop-is-an-auditory-and-almost-visual-journey/ http://videomusicstars.com/mortinus-black-green-mornings-each-beat-drop-is-an-auditory-and-almost-visual-journey/#respond Sat, 16 Dec 2017 01:53:49 +0000 http://videomusicstars.com/?p=15368 It’s the end of 2017, and the electronic music market is a crowded one. The emergence of platforms like Soundcloud have had an undeniable impact on this particular style of ambient, world music in the mainstream, making it harder for talented artists like Danish electronic producer, Mortinus to carve out an identity in such a cluttered landscape. Yet he has not surrendered, completing a number of interesting releases this year. Including his latest EP, “Black & Green Mornings”. People complain about electronic for all sorts of reasons, some going as far as calling it fake music because of its reliance on computers and synthesizers rather than a composition of instruments. But if you want to prove electronic music has soul, look no further than Mortinus’ much-anticipated new studio recording, “Black & Green Mornings”.

The recording continues to take the ethnic turning found in Mortinus’ more recent releases and transforms what at the surface seems like a chill electronic mix into a glowing percussive sonic journey. You will find yourself immersed in not only in an EP that uniquely fuses several styles of music, but also diverse instrumentation. Mortinus experiments with his beats to create a dreamlike, nearly cinematic experience.

Each beat drop is an auditory and almost visual journey. Sometimes you can’t even tell if you’re listening to high-pitched string instruments or oblique vocal samples. Nonetheless, you’ll find yourself immersed in the songs’ impressive ability to encapsulate its listeners with a plethora of layered beats.

The opener ‘Unknown Mornings’ is a sly way to start, as its chaotic mix of tumbling percussion and repeated string-type notes make it difficult to know what to expect from the rest of the record. It’s an ephemeral piece that fleetingly rests on one musical motif before morphing into another. It makes for an attention-grabbing intro.

As with much of Mortinus’ work “Black & Green Mornings” is the result of a myriad of sounds, textures and techniques most of which are strung together expertly and imaginatively. The title track, in both part 1 and part 2, is dominated by the percussion which is an integral element in Mortinus’ arrangements on this recording.

Part 1 of “Black & Green Mornings” ebbs and flows, finding new pathways to build to an ethereal intensity informed by world instrumentation and incessant percussion. Oscillating and chameleonic modular synths create a universe of sonics and percussion that recall Northern African cultures like Morocco, Algeria, and Tunisia.

More than the percussion, on Part 2 of “Black & Green Mornings” there is a repetitive and recurring melody line that significantly drives it’s motif into your brain until it sticks there. Much like his previous work “Black & Green Mornings” is crisp, precise and sophisticated, the sound of someone who continues to master his craft.

Overall, this 3 track recording represents another step forward in Mortinus’ musical development, keeping what was already strong in his music but adding more color and depth.

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LoFi Chill: “Isolation” – the search for identity and self in the modern world http://videomusicstars.com/lofi-chill-isolation-the-search-for-identity-and-self-in-the-modern-world/ http://videomusicstars.com/lofi-chill-isolation-the-search-for-identity-and-self-in-the-modern-world/#respond Fri, 15 Dec 2017 02:25:46 +0000 http://videomusicstars.com/?p=15365 LoFi Chill is a U.S. based music producer. His style includes elements of lofi hip-hip, chillhop, and chillwave. “Isolation” is his fourth album release. Previous albums include “Optimism”, “For Lovers Only”, and “These Are The Days”. The producer describes the idea behind the album as feeling a deep sense of disconnection while living in heavily populated urbanized areas. Despite the modern-day reclusive and disuniting theme, this album seems literally tailor-made to relax and zonk you out whether it’s been a long day at work taking shit from the boss, or waking up to an unbearable hangover after a night on the piss. Either way, whatever your momentary woes may be, the recording sets you up into your little corner, alone on a Sunday morning, to take stock of your personal moment of “Isolation”.

And that’s the thing – for an album so minimal and short in length, “Isolation” is one ambitious effort, packaged as a double whammy of audio and emotional components, which gives the impression to the ears and the soul that it’s a much longer affair than the mere 21 minutes it actually is.

And that’s because it manages to come across as rich, textured, and grand in sound and imagery at the same time as it does ethereal, abstract, soulful, funky as well as jazzy. Perhaps only LoFi Chill can pull this off, and if not, he’s one of the better ones who can.

 From track one, “I Don’t Want To Let Go” is a big fat stew of free jazz, hip hop and lounge – peppered with occasional hand-claps and random vocal samples LoFi Chill picked up along the way, to give the album so much depth and texture, which literally demands that you pay attention to keep up. Again, although this clocks in at around twenty minutes, it’s easy to see how LoFi Chill spent time perfectly assembling this sonic collage.

Blissful bass-driven chillers like “Don’t Go Changing”, “You & Me” and “Change Of Heart” were custom made for in-depth soul-searching, sounding somehow nostalgic yet impersonal at once.

And that seems to be the directive behind the album; to use scores of indulgent samples, beats and aesthetics to spawn an immersive, calm and relaxing environment that is nostalgic yet impersonal – hence the theme of isolation keeps presenting itself throughout the songs.

“Isolation” is LoFi Chill’s search for identity and self in the modern world, and through the use of sounds and beats the listener is forced to feel the disconnect that LoFi Chill has encountered in his experiences- moving between the ‘nostalgic’ and the ‘impersonal’.

Basically, “Isolation” sounds like a hazy, atmospheric and rhythmic kaleidoscope with the oblique, twisted vocals added to the thumping swirl. This is the sound of being high…but being alone. Strangely enough the final track is entitled “Don’t care”. This one seems put there purposely to make you rethink the whole concept of “Isolation”.

On the whole, LoFi Chill has crafted a consistently enveloping and rewarding album. It’s concise, so one can put it on for a brief moment of relaxation or deep introspection. Your choice.

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Wayne Watts releases the raw and brutally honest album “Nowadays” http://videomusicstars.com/wayne-watts-releases-the-raw-and-brutally-honest-album-nowadays/ http://videomusicstars.com/wayne-watts-releases-the-raw-and-brutally-honest-album-nowadays/#respond Thu, 14 Dec 2017 13:00:32 +0000 http://videomusicstars.com/?p=15361 “Nowadays” album by Firelane Music and Media Entertainment artist, Wayne Watts is a raw and brutally honest social commentary on the current climate in America. It sets out to contrast 2017 against the struggles and triumphs from previous generations.

The album’s instrumentation is a gumbo of not only different genres (Blues, Jazz, Negro Spirituals, Hip Hop, Classical, and Trap) but different time periods (1930s Southern Churches, 1940s Juke Joints, 1950s Smokey Jazz Clubs, 1990s West Coast Gangsta Parties, 2000s Neo-Soul Poetry Slams, and 2010s Disenfranchised Trenches).

With its lush production, intricate arrangements, and time traveling soundscapes, “Nowadays” allows a space for members of the Silent Generation, Baby Boomers, Gen X, Millennials, and Zennials to all have a seat at the family table in order to begin a much needed conversation.

OFFICIAL LINKS: WEBSITESPOTIFYSOUNDCLOUD

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Roger Cole & Paul Barrere: ‘Lost In The Sound’ makes for borderline grandstanding stuff http://videomusicstars.com/roger-cole-paul-barrere-lost-in-the-sound-makes-for-borderline-grandstanding-stuff/ http://videomusicstars.com/roger-cole-paul-barrere-lost-in-the-sound-makes-for-borderline-grandstanding-stuff/#respond Thu, 14 Dec 2017 00:23:59 +0000 http://videomusicstars.com/?p=15358 If you are a Radiohead fan, with a penchant for legends like Pink Floyd and King Crimson, then Roger Cole & Paul Barrere will be an easy band to fall in love with. Thick haunting atmosphere, lots of bleeps and beeps, intense melodies, beautiful vocals and mystery-veiled lyrics, are part of the deal on their latest, freshly baked album “Lost in the Sound”. The riffs and parts are tight, intense little affairs with so much power as to build a cinematic degree of tension. These are well-oiled high-thread-count arrangements that draw their texture from an array of stringed instruments and keyboards, building lush layered harmonies. It’s a beautiful sound that shows it’s depth on repeat listens. Multiple listens reveal a rich complexity that becomes increasingly engaging. I encourage you to listen to “Lost in the Sound” several times prior to forming a conclusive opinion about this incredible album.

I believe Roger and Paul to be gifted musicians that don’t just pick up their instruments and play for some cash, but put great thought into what they do and equally would like to be proud of the sounds they create. More and more often music is referenced by other bands – “oh, it sounds like so and so” or “so and so is the new blahblah”. In fact I made the same error right on the opening line of this review.

To be truthfully honest, Roger Cole & Paul Barrere manages to sidestep these identifiers creating their own music without falling into the pit of preconceived notions. What they do have in common with the aforementioned bands though, is timeless music.

When I first started telling people about Roger Cole & Paul Barrere, I’d find myself at a loss for words, when asked to describe what it sounded like. Expansive, harmonic, bluesish, rockish, but always elusively avoiding falling into one definitive sound, which is the strength of their music, and this album in particular. Ideally, great bands will evolve and not keep putting out different versions of the same song, which is what they do.

Lyrically, Roger Cole & Paul Barrere veer between thinly veiled allegories of weighty, real-world disquiet, and terse, unknowable personal impressions. By cutting themselves off from a hurry-everywhere-and-everything society, Roger and Paul have successfully realized their most rewarding record yet.

Where the somnambulant rock sway of opener ‘In My Prison’ and the  lead single ‘Lost In The Sound’ present a rich wealth of epic atmospheric and melodic finesse, mid-album highlight ‘Let It Go’ – with its rhythmic flourishes and darkly harmonic twists and turns – makes for borderline grandstanding stuff.

Elsewhere, the shrewd shifts and almost-imperceptible tonal changes on mid-album peaks ‘All That I Need’ and ‘Final Curtain’ capture the band’s knack for exquisite chord changes that reward a keen ear. Woven with sweeping arrangements – not least on ‘Political Freak Show’’Roger Cole & Paul Barrere have once more mined majesty from honoring the craft of the song, not to mention the profound air of musical wanderlust that is forged when Roger and Paul bang heads.

Both masters of understated flourishes – delivering many moments of instrumental and vocal brilliance that marry classic, prog and art-rock influences, Roger Cole & Paul Barrere notch up at times, to a realm of straight-up virtuosic finesse.

The duo has been able to indulge as many whims as they’ve felt right. Listen to the amusing ‘Your Annoying’, or the oblique and artsy ‘Indifference’, as well as my favorite, ‘Grain of Sand’. The sounds captured, as lusciously organic as they are, are perfect for the overall pitch of this release.

This is music stemming from a place that few artists can access. The songs are focused and determined. It’s like hearing the past half a century of rock music playing in one single album, which sounds—thrillingly and reassuringly—like the future to me! Out via Better Daze Records the album ‘Lost In The Sound’ is available now!

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Rev. Peter Unger gains traction on his timely song “Christmas Cards” http://videomusicstars.com/rev-peter-unger-gains-traction-on-his-timely-song-christmas-cards/ http://videomusicstars.com/rev-peter-unger-gains-traction-on-his-timely-song-christmas-cards/#respond Wed, 13 Dec 2017 10:53:37 +0000 http://videomusicstars.com/?p=15355 As Christmas fast approaches, reverend Peter Unger is set to gain traction on this timely song “Christmas Cards”. Several websites have just featured the song and his YouTube views are starting to accelerate.

Here’s a little more about the influence of the song and background of Peter: When Peter Unger was growing up, Christmas was a magical time for his family and him.

He grew up in a small town in Vermont, and lived on the side of mountain three miles up a dirt road.

Peter’s home was a beautifully renovated farm house from the 1700s. On a clear winter’s day a forty mile vista of snow blanketed fields and mountains could be seen. At dusk the lights decorating his family’s home, and the fireplace smoke curling up from the chimney presented a warm contrast to the growing darkness.

Every year his family, on either snow shoes or cross country skis, would head into the woods surrounding their house to select a Christmas tree. His father, an emigrant from the Netherlands, brought Dutch Christmas into their home.

These included large Dutch chocolate letters sent to us by Dutch relatives, stories about Saint Nick  and Dutch coffee with chicory, anise, and extra milk which the children were permitted to drink when teenagers. Christmas choir music and carols, played on the stereo, filled their home as the holiday neared. Love of faith, family, and friends overflowed our hearts at this very special time of year.

It was these cherished memories that came to mind when Peter wrote “Christmas Cards”.

The song features crisp vocals, and nice clear guitar and piano parts. The song’s lyrics paint a vivid picture of the festive time. You can really get the feel for what Pete is expressing in his lyrics.

A very uplifting song, you could imagine the song being played amongst the classic big hits that play on the radio each year.

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Rock artist Zachary Ray is preparing his New Year resolution! http://videomusicstars.com/rock-artist-zachary-ray-is-preparing-his-new-year-resolution/ http://videomusicstars.com/rock-artist-zachary-ray-is-preparing-his-new-year-resolution/#respond Tue, 12 Dec 2017 17:59:08 +0000 http://videomusicstars.com/?p=15351 Born in Rhode Island, Zachary Ray is a Danish/American musician residing in Los Angeles. He was introduced to Metallica and Eminem at age 5, by his mother and stepfather, and became wildly obsessed with drumming. Hence his grandma from Rhode Island gave him his first drum set. Ray later took drum lessons and eventually also learned to play the guitar. This was followed by singing, which gave Zachary Ray the musical combination to perform and record with absolute artistic freedom. His latest release, is the single ”Trouble”.

  1. How long have you been performing and recording, and did you record or play live first?

Zachary Ray: The local music school I was part of from age 8 to 15 put on shows here and there for family and friends. I started playing live with my own music and band when I was about 13-14. So I was definitely playing live before I started recording.

  1. Who were your first musical influences that you can remember?

Zachary Ray: That would be Metallica and Eminem. Eminem is probably not super noticeable in my sound now but he definitely played a role when I was way young.

  1. Which artists are you currently listening to?

Zachary Ray: I’m really digging Nothing But Thieves and Gin Wigmore at the moment. I’m discovering so much new music right now, it really inspires me. Sometimes I have to take a long break from listening to music cause every time I put on a song I can’t help coming up with ideas for songs and stuff I wanna do, it gets exhausting.

  1. Do you remember the first piece of musical equipment that you actually purchased? And which is the one piece of hardware or software you’re still looking to add to your setup now?

Zachary Ray: The first instrument I bought myself was a drum set. Before that I had a beginners drum set I got from my grandma when I was around 5 I think. As far as what I’m looking for now, I’d say I’m really hot on the Electro-Harmonix Superego synth pedal for guitar. Really looking for a good guitar synth to mess around with.

  1. How and where do you do most of your recording and production work?

Zachary Ray: Been recording and mixing most of my stuff at my rehearsal space but when I need to take a song to the next level I jump in a real studio to polish it with an engineer. Been working closer with producers lately, it’s nice not have to worry about getting it all to sound right in Pro Tools, instead I just worry about serving the song.

  1. Studio work and music creation, or performing and interacting with a live audience, which do you prefer?

Zachary Ray: That’s a tough one. I couldn’t pick one over the other. And I think both is equally important in order to produce quality content. I mean if you don’t sit down and develop your songs, your songs might not turn out so good and fails to connect with an audience or even yourself. But if you don’t play out you’ll never know what works and what doesn’t. both is super important, but if I had to choose I’d say playing live is my favorite thing. That’s where everything you’re all about gets a chance to show. It’s the ultimate therapy.

  1. Which one of your original songs gets the crowd’s emotion and adrenaline pumping the most, when performing it?

Zachary Ray: At the moment I think Insane Obsession or Break Me. Both big wild songs with a lot of emotion and surprise elements that captures the audience.

  1. On which one of your songs do you feel you delivered your best performance so far, from a technical point of view?

Zachary Ray: I’m very proud of Trouble, my latest single. I think it changes every time I put out a new song. I always strive to push myself beyond my own limits.

  1. Could you describe your creative process? Where do your ideas usually come from, what do you start with and how do you go about shaping these ideas into a song?

Zachary Ray: Usually it either starts with a riff on my guitar or a beat or melody formed in my head. It’s the best feeling when an idea strikes you, it’s literally like a light bulb that goes off like in the cartoons. Then adrenaline starts pumping and I just need to record it and work on it, there’s no escaping until the basics are down, like a verse and a chorus. But then it can take days to actually finish it, because you want every detail to be right. I feel like my songs are never fully done until I walk out of that studio with a fully mixed and mastered version of the song. It’s a long but super fun and interesting process.

  1. What were your main compositional, performance and production challenges in the beginning of your career and how have they changed over time

Zachary Ray: I’m still learning, and will never stop. I think I caught how to write simple songs pretty quick but to make them so that other people understood what I was trying to do was the biggest challenge in the beginning I think. Like it goes back to question number 6, you need to sit down and develop your song, listen to it, have other people listen to it and figure out what works and what doesn’t. Like you might’ve come up with the most bad ass guitar solo on the planet, but if it’s 10 minutes long, people would just loose interest and don’t give a shit about the rest of the song. So maybe learning how to take a great idea and strip it down to the most interesting parts and make them matter, would be my answer to that. Composing I guess.

  1. What are currently some of the most important tools and/or instruments you’re using in creating your sound?

Zachary Ray: Guitar, drums and Logic Pro.

  1. How essential do you think video is in relation to your music? Do you have a video you would suggest fans see?

Zachary Ray: I think it’s super important. My New Year’s resolution is actually gonna be to release a video plus behind the scenes and other goodies for every song I release in the New Year. My goal is once a month. It’s just important to be consistent otherwise people lose interest. You’re an entertainer. My social media presence have been almost non-existing up until now. I’ve seen a huge increase in traffic within the few months I’ve been going at it like this. And it feels good to not be alone with my music anymore, and sharing my moments through pictures, videos, interview and what not. I’ve been in the game for a long time but I don’t think people know who the hell I really am. I mean really, what’s better than to connect over music with other like-minded people?… It just took me some time to realize or get out of that shell. My only music video is for Insane Obsession at the moment but in February a video for Trouble should be out!

  1. What’s your view on the role and function of music as political and/or social vehicles – and do you try to meet any of these goals in your work, or are you purely interested in music as expression of artistry and entertainment?

Zachary Ray: I think music is the most powerful tool of expression there is. And that it’s used in politics and to influence or raise awareness is only natural. But I’m in it for my own joy. I don’t get a kick out of writing a song for a commercial or if someone tells me to write with a certain perspective. Unless it means something special to me or I really think I’d be fun. I actually made a few commercial tracks. One for Naked Fruit in Denmark when I was about 16 and one for VUC Fyn, when I was 18. I believe that one is still running in selected movie theaters in Denmark.

  1. With more and more musicians creating and releasing music, what does this mean for you as an artist in terms of originality? Do you still see great potential for originality in music and how do you think you set yourself apart from the pack, so to speak?

Zachary Ray: I think it’s awesome with that many musicians creating. Makes you feel less like an outcast haha. But yeah it’s true it also makes you feel less special in a way. But if you’re in it just for fame and glory I think you’ve lost already. And lost to who really? Everybody seems to be racing each other, I’m guilty of it. Every day I feel like I need to do something to move my career and I have that as a daily goal. Which is not necessarily a bad thing!! But it wasn’t until I realized the real reason, for why I keep pushing myself that something real started to happen. And now it’s not the thought of the race that keeps me going. It’s the love and passion for creating and discovering, expressing and inspire. Curiosity is my main source of inspiration to be honest. I terms of originality; we’re programmed to evolve based on curiosity and failure. And as long as we’re imperfect, originality will never cease to exist haha.

  1. Of all your achievements what do you think can be considered as being a high point of yours so far?

Zachary Ray: Right now every little step I take feels like a new high to me. Being a solo artist and learning how to navigate in this new world of music is so interesting I don’t know what the best parts of it is… I mean moving to LA and playing legendary Whisky A Go Go, Viper Room and all those clubs and just being part of the LA music scene, is in itself a huge milestone to me.

  1. Do you consider Internet and all the social media websites, as fundamental to your career, and indie music in general, or do you think it has only produced a mass of mediocre “copy-and-paste” artists, who flood the web, making it difficult for real original talent to emerge?

Zachary Ray: Definitely not easy to get heard or seen with all that noise, but I think it’s good that it’s there. Gives everyone a chance and an outlet. I think really talented artists will get recognized eventually. Social media gives you an opportunity to develop and try things out. But it can be confusing for some people who’re really not good at the social media game. I’m only starting to get it… But we’ll just have to adapt.

  1. What is the best piece of advice regarding the music business that you actually followed so far, and what is the advice you didn’t follow, but now know for sure that you should have?

Zachary Ray: Consistency! Engage with your surroundings. Surround yourself with persistent people.

  1. Reaching audiences usually involves reaching out to the media and possibly working with a PR company. What’s your perspective on the promotion opportunities available to indie artists today? Do you have a manager or label aiding you?

Zachary Ray: So nowadays it again mostly comes down to a social media presence and how you engage with your audience. If you do so the right way you can come a long way on your own. I’m just starting to realize these things myself. But of cause there’s other areas which are hard to conquer on your own, such as labels, radio, magazines, finances, tours and what not. I only recently signed with a management to take this thing to the next level but it’s still up to me to be the content creator and explore opportunities.

  1. Do you have a musical vision that you haven’t been able to realize for technical or financial reasons – or maybe an idea of what music itself should and could be beyond its current mainstream form?

Zachary Ray: So far no. I mean I have a huge desire to collaborate with other creators, like an EDM producer or an orchestra would be fun, but I feel like everything has its own time so I will eventually get to all these ideas but I need to get myself to a point where I feel like I’ve shown the world what I’m all about right now, before I take an obscure direction, which I’m sure I will someday haha!

  1. What is the next step being programmed on the Zachary Ray agenda? What can fans expect for 2018?

Zachary Ray: So my new year’s resolution is gonna be to release a new single and video pretty much every month, along with performances, behind the scenes and other stuff. I’m super stoked about this new venture of mine!

OFFICIAL LINKS: WEBSITESOUNDCLOUDYOUTUBESPOTIFYITUNESFACEBOOKINSTAGRAMSNAPCHATTWITTER

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Nega Blast X: “The Experiment” – a great combo of electronic creativity http://videomusicstars.com/nega-blast-x-the-experiment-a-great-combo-of-electronic-creativity/ http://videomusicstars.com/nega-blast-x-the-experiment-a-great-combo-of-electronic-creativity/#respond Tue, 12 Dec 2017 15:11:42 +0000 http://videomusicstars.com/?p=15348 There’s really no words to describe the sound of Nega Blast X. The Burbank music arranger, author and digital artist, Dominic R Daniels, sole proprietor of the Nega Blast X project, is in a realm of his own and hardly many can touch that artsy creativity he has under the hood. Based in the trance, techno and industrial idioms since 2010, Daniels is inspired by Daft Punk, Orbital, My Life with the Thrill Kill Kult and The Mutaytor. “The Experiment”, Nega Blast X’s third album is released on Amazon, Spotify, iTunes, and all other major digital download stores.

Artistically speaking, Nega Blast X is still pushing the boundaries of acceptance. “The Experiment”, is a loaded gun primed with elements of galactic acid rhythms, infused with just the right balance of desire for overindulgence and a wild sense of adventure. At times it feels as though you’re at a German rave in an underground club during late 1990’s.  And though synth technologies, have come a long way since then and all the rest of the art form has also progressed healthily, Nega Blast X’s brilliant retro sonics never feels out of context or redundant.

I have to be honest, most of the retro elements that are out of context in other genres today, come together in this magnificent collage with such effortless passion, enticing you on with each beat and further note. What a beautiful piece of electronic music.

After consideration, I believe that more work of this caliber and artistic conviction is required for this art and industry to succeed and evolve. Nega Blast X demonstrates, with exquisite vibrancy, across the 8 tracks on “The Experiment”, why he deserves to be a classic in any self- respecting music aficionado’s catalogue.

What I’ll come out swinging with here is, “The Experiment” is one kick ass Nega Blast X recording. With its appropriate title, this EP conjures up some experimental musical vibes, some elaborate synths and groovy electronic dance beats.

The sound on “The Experiment” is an interesting combination of driving dance beats with hints of industrial heaviness, mixed together with sheer groove mastery. Plus electronic bleeps, guitar noise and smashing rock drums. Sounds like a mess doesn’t it? Far from it! It’s a great combo of electronic creativity. Absolutely focused and totally cutting edge.

“Bomber” opens the EP in an overdriven guitar-punk racket, before swerving into the keyboard funkiness of “Fireball”. “Mutant” raises the tempo and syncopated bass beat, before falling into the oddball vocal gymnastics of “Puppet”.

“Robot” sticks its thumping marching beat to the fore, eventually giving way to the cinematic synths, pianos and resonating basslines of “Starchild”.  “The Fuse” lifts the rhythm and intensity, introducing some squeakier synth and bass tropes.  “The Rumble” closes the EP as it opened, with an eight minute festival of over-driven rock guitars and solo drum and bass passages.

The track is sleazy, and embodies everything that the individuality and hedonism of rock and roll has always been about. Hardly something you would expect from an electronic album. But hey, this is Nega Blast X, and “The Experiment” is a clever album – a guilty pleasure with enough substance and style to really become addicted to it.

OFFICIAL LINKS: WEBSITE – REVERBNATION – FACEBOOKITUNES

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“Work It Out” is the new single and video from Juliett Novak http://videomusicstars.com/work-it-out-is-the-new-single-and-video-from-juliett-novak/ http://videomusicstars.com/work-it-out-is-the-new-single-and-video-from-juliett-novak/#respond Tue, 12 Dec 2017 02:20:58 +0000 http://videomusicstars.com/?p=15345 Who is Juliett Novak?

It’s rare for someone at a young age to know exactly what he or she wants out of life and take the necessary steps toward achieving that goal. Júlia Novák Bartková, otherwise known as Juliett Novak, is a singer from Slovakia who has dedicated her life to music. Her original songs blend elements of R&B, jazz, hip-hop, and classical music.

Six years ago, Juliett moved to the USA with her husband, who was studying at Harvard University. Leaving Slovakia was not an easy decision for her, but this new cultural experience exceeded all of her expectations and provided her with all sorts of inspiration.

Living abroad has changed her.

Juliett confesses that living abroad has changed her and helped her to mature artistically. “I became a different person,” she says. “In the past, I was more conservative and shy. However, living in the US completely transformed my personality.”

She has loved music since her childhood.

Juliett loved music from a very early age and has devoted her life to becoming a respected artist. Up until her twenties, she was classically trained in piano and opera singing. Later she was introduced to jazz and musical theatre. Nowadays she focuses exclusively on pop music.

From classical music to pop

How does a musician switch from classical music to pop music? (This is almost unheard of.)   “I would not have been able to do this without changing my personality. In classical music, you have to stick to the rules and principles, and you must have discipline. In pop, it’s the exact opposite. It’s more about creativity, improvisation, self-confidence, and entertainment,” she explains. “Being influenced by different mentalities and cultures also helped. This gave me a sense of freedom and courage. When I was abroad, I saw many examples of other people who were spontaneous and not afraid to be themselves. Healthy self-confidence is very, very important.”

She is constantly challenging herself to improve.

Juliett studied at the Music Conservatory J.L. Bellu and the Academy of Performing Arts in Bratislava, Slovakia. She also attended the “Stage Performance Workshop” at Berklee College of Music in Boston, USA, where she presented her original songs in a series of concerts. While in Boston, Juliett was also a member of the Harvard Gospel Choir “Kuumba Singers” and performed with them in Cambridge, Boston, and New York. Later she was part of the Saint Augustine Gospel Choir in Washington, D.C. She has also given several self-produced solo performances in Brussels, Boston, and Washington, D.C.

She’s a complex artist.

Juliett Novak is a singer, pianist, and songwriter. She has recorded songs in South Africa and collaborated with Grammy-nominated producer Arty Skye in New York. However, last year she decided to take complete artistic control and release her songs on her own. She writes all her own music and lyrics, produces her own songs, and directs her own videos. “The key is to go where your creativity and intuition lead you,” she says. After developing a complete idea of ​​the sound and visuals of her songs, she is able to bring her vision to life.

“Work It Out”

“’Work It Out’” is an inspirational song that is supposed to give people courage and energy,” she explains. “I chose to show athletes in this clip because their determination, zeal, will, and self-confidence can inspire others to succeed. All of these attributes are absolutely necessary to achieve any goal. We’ve heard this message many times before, but I feel it needs to be repeated over and over again. That’s why I decided to write a song about it. This song helps me and motives me every day, and I firmly believe it will help others find the courage to follow their dreams and achieve their goals!”

The video for “Work It Out” has been released in two versions. The following version Juliett recorded in New York with Grammy- nominated producer Arty Skye and she used her own story to show others how she enjoys the path to success. Version 2 is at the bottom of the article.

Recipe for success

Juliett realizes that talent is only a small part of what it takes to be successful. “You also need to have self-confidence, discipline, time management, and passion,” she says. “You have to be willing to take chances and ask others to collaborate. But most of all, you have to believe in your work.” In addition to composing and recording, Juliett teaches both singing and piano lessons and was even voted one of Washington, D.C.’s top 10 vocal coaches last year.

OFFICIAL LINKS: WEBSITE – FACEBOOK – INSTAGRAM – TWITTER – YOUTUBE

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Tisabel: “GENRE HOPPING” – A multi-talented cross-genre artist at work http://videomusicstars.com/tisabel-genre-hopping-a-multi-talented-cross-genre-artist-at-work/ http://videomusicstars.com/tisabel-genre-hopping-a-multi-talented-cross-genre-artist-at-work/#respond Mon, 11 Dec 2017 16:03:57 +0000 http://videomusicstars.com/?p=15342 Longtime Musical director and vocalist Tony Isabel aka Tisabel boasts an unprecedented skill set. He writes, arranges, sings, plays, and performs. He busts taboos, flashes unstoppable ambition, blends genres together like paint. Soulful ballads and funky grooves, ambient new age soundscapes, Hip-hop fantasy, and divine EDM devotion. For these qualities alone, he deserves respect. However, as you know, respect is also kind of a bullshit concept. Your favorite songs may not grace anyone else’s mixes; your favorite artists may not have ever left town. A century of recorded music has given us a galaxy of worthy tunes. But the gravitational pull of Tisabel’s music is strong; it has few equals in the underground. If you dig people standing tall in the music industry machinery, he’s your standard-bearer.

Practically anyone trying to marry catchy song craft to such a vast number of styles and genres is very hard to find in an era where artists categorize themselves into the tiniest of sub-genres. With astounding ease, Tisabel gives us dozens of evergreen sounding melodies, deep instrumental cuts, futuristic concept ideas and slamming retro harmonies.

Tisabel’s 15 track album “GENRE HOPPING” is a heady blend of styles and passion that add to the conception of the artist. The recording bristles with the energy and audacity of an artist who is poised with the ambition to take over the world.

How else would you explain the artistic courage needed to jump from the smooth and soulful R&B groove of “Can I”, to the new age piano meanderings of “Sierras Float”, and then onto the ghetto rapper’s swag of “5 Star Girl”, before executing the upbeat, dubstep-influenced, electro rhythms of “All Action No Talk”.

Tisabel seems to be in the process of brazenly reimagining what being a modern musician means – both professionally and artistically – while dismantling the public’s preconceived ideas about what kind of one-dimensional music a possible music icon can and should play.

Moving through the album it is clear that even if “GENRE HOPPING” is the only record, Tisabel ever makes, it will stand as a singular creative statement from a musician who knows precisely what he needs to say, musically. As well as showcasing in just how many different ways he is artistically able to say it!

Again, taking it from the slow-burning stunner, “Could You Be My Lady (Walking Down the Aisle)”, to the funky new jack dance of “Need Your Touch”, and then the retro-rock ballad “One and Only”, Tisabel time and again proves to be a universal artist, meant for all seasons and flavors. I have no doubt that if this album had been released during the eighties or early nineties it might have spawned quite a few radio ready singles.

A multi-talented cross-genre artist such as Tony Isabel deserves much more than being trapped in an era of artificially generated robotic music. Luckily though, he’ll find a plenitude of people longing for the soulfully nostalgic sounds, melodies and harmonies he proposes on this album. Not secondary to any of the above qualities however, is Tisabel’s richly resonating voice, which reaches its entrancing zenith on the mid-tempo ballad “Hold Me Tight”.

“GENRE HOPPING” is the type of album that never goes out of style. This is the kind of music that will outlive us all, and these songs will still be blowing the minds and capturing the interest of music fans decades from now. Produced by The Muzikworkz Company, “GENRE HOPPING” is simply the real thing!

Who is Tisabel? – Anthony Wayne Isabel a.k.a. Tony Isabel, was born in Memphis, Tennessee, and later moved to Los Angeles. He began his career with an appearance at the Montreux Jazz Festival in Switzerland as bassist with a college jazz ensemble, and subsequently became the bassist and backup singer for such acts as Memphis, The Indian River Boys, Louise Mandrell, Jerry Lee Lewis and Chuck Berry, as well as the bassist and lead singer for a number of working Top 40 club bands. He has performed with a wide variety of acts during his career, such as Bob Hope, Charo, Freda Payne, Johnny Thunder, Snoop Dog and Tupac Shakur, and has also had appearances in TV and film projects such as Rodney Dangerfield’s “Meet Wally Sparks”. “The Martin Short Show” and “Ally McBeal”. A Music Director for a number of cruise lines, primarily Princess Cruises (The Love Boat), Tony is capable of directing a pit orchestra or show-band with equal ease. He is also the author of two different online instructional video series: “The Elusive Pocket Player” and “Stanley Clarke Secrets”.

OFFICIAL LINKS: WEBSITE  – FACEBOOKSOUNDCLOUD

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