VideoMusicStars http://videomusicstars.com Independent Music News Headlines Wed, 23 Aug 2017 09:32:00 +0000 en-US hourly 1 “HAZEY (The EP)” – the ability to turn the ordinary into something strange and listenable http://videomusicstars.com/hazey-the-ep-the-ability-to-turn-the-ordinary-into-something-strange-and-listenable/ http://videomusicstars.com/hazey-the-ep-the-ability-to-turn-the-ordinary-into-something-strange-and-listenable/#respond Wed, 23 Aug 2017 09:32:00 +0000 http://videomusicstars.com/?p=14711 Hazey aka Yung Doowee is a 19 year old producer and artist from Dallas, Texas. He moved to Portland 2 years ago and has devoted himself to his music. His latest EP release is the 10 track self-titled “HAZEY (The EP)”. Hazey oscillates between extremes of exhilarating and surreal, through the album, both musically and lyrically. There’s plenty of wheedled and growled phraseology, as well as temperate and tuneful melodic singing, too. Hazey, makes the eccentricities of “HAZEY (The EP)” sound like embryonic visions of a future, calculating take on trap music. The results are something to behold. In its sonic specificity and imaginativeness, this recording makes for a unified project, mixing a direct aim at crossover tunes and inspired flights of stylistic fancy that characterize the always eclectic tracks.

Even when the hooks on the opening track “Work” (Feat. Chucky Brawlz) [Prod. Hazey] are startlingly symmetrical and intelligible, the verses still wind off into slithering leftfield territory, reminding us that Hazey is not the type of artist that could convincingly render himself anonymous. Nor should he: “Stainz/Traphouse’s” (Prod. Hazey) visceral appeal is enhanced by its twisted verses as much as its beatific chorus, which erupts into unabashed singing – another of Hazey’s strongpoints.

Part of the fun of this project comes when Hazey finds ways to twist his voice into new shapes, something he executes with ease and melodic brilliance on the nuanced “Understand Me” (Prod. Hazey). Like most tracks on “HAZEY (The EP)”, Hazey finds a way here to highlight every element of his artistry that rap fans would find compelling.

And some of the tracks found on the EP are subtly gorgeous too: the way the piano on “My Escape” (Prod. Hazey) is capped off by the track’s warm nudges of changing tempos and electronic soundscape, is an organizational feat in itself, evidencing the tighter sense of discipline at work here.

Its songs like this which suggest that Hazey is an artist with a very long career still ahead of him, one whose bag of tricks may never run out as long as he continues to maintain his uncompromising identity, which he promptly dusts off and proposes in two versions on “WantU2” (prod. Hazey) and “Get Loose” (Prod. Hazey).

The more you listen, the more you’re likely to find, and the more you find, the more you’re likely to love “HAZEY (The EP)”. And you’ll find some very poignant moments too, especially in the shape of “I Know, She Knows” [Prod. Hazey], and the EP closer “Clouds” (Prod. Ryan Haze) – Ryan Haze x Julian Outlaw x Fresh x Chuckee Brawls.

Hazey’s forays into melodic territory are well documented throughout this recording and his ear for it is even more impressive. And through his vocal eccentricities he finds ways to surprise on each and every track, as he does on these final two.

Throughout “HAZEY (The EP)”, Hazey’s ability to turn the ordinary into something strange and listenable is unmatched. The way his voice strains and bends is fantastically weird, but it’s just as good at showing restraint as it is performing acrobatics. In the end, everything is positive in this project. Hazey delivers a creative EP that evokes feelings of integrity, exuberance, and the desire to quickly spin it a couple more times.

OFFICIAL LINKS: SOUNDCLOUDINSTAGRAMFACEBOOKTWITTER – EMAIL: hazenewmanagement@gmail.com

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Marcus Christ releases his new single called “Hate On Me” http://videomusicstars.com/marcus-christ-releases-his-new-single-called-hate-on-me/ http://videomusicstars.com/marcus-christ-releases-his-new-single-called-hate-on-me/#respond Tue, 22 Aug 2017 13:27:30 +0000 http://videomusicstars.com/?p=14707 Marcus Christ releases his new single called “Hate On Me” and reminds us why he runs the streets and the industry. MtB Entertainment has confirmed that Marcus Christ will perform his new singles, “I Get High on the Most High”, “If I Die Tonight”, and “You Knew That”, and now “Hate on Me”, to promote his upcoming double album Prince of the Universe due 12/7/2017! Pre-sell begins November 7th and comes with an exclusive download. Currently, MtB Entertainment is offering fans a chance to win 2 free tickets ($30 value) by signing up for the free newsletter at MtB Entertainment’s website.

MORE ABOUT MARCUS CHRIST: Born in 1983 in Silver Springs, Maryland Marcus Christ is the leading underground hip-hop artist of the generation that emerged in the wake of the influence of Tupac and Michael Jackson. Marcus studied Political Science in the college that established the artist’s political messages. There, he absorbed the attention to form the need for action with video and music, subsequently refining his own visual and conceptual vocabulary that emerged through his focus on the points of intersection between the poor, wealthy, and powerful.

Marcus’s work can be found in myriad of public and private websites both in the United States and abroad, and has been seen in numerous blogs worldwide. He currently lives and works in Compton, California, and travels home to DC on occasion. Some of his past albums are The Profit Mixtape, The Repsonce, The Get Back, No Doubt, Return of the Beast and the upcoming Prince of the Universe. His single “I Get High on the Most High” challenges fans to think about a higher power that provides for those that call upon it.

OFFICIAL LINKS:
Buy Single: http://store.cdbaby.com/cd/marcuschrist7
Twitter: @hotice07
Label Website: http://www.mtbentertainment.org
Artist Website: http://www.marcuschrist.com

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Flexico Deeskie: ‘Leanin’’ – a sunny freewheeling attitude http://videomusicstars.com/flexico-deeskie-leanin-a-sunny-freewheeling-attitude/ http://videomusicstars.com/flexico-deeskie-leanin-a-sunny-freewheeling-attitude/#respond Tue, 22 Aug 2017 12:57:44 +0000 http://videomusicstars.com/?p=14704 Flexico Deeskie comes out of Dallas, TX, to where he moved from Kansas City, MO, in 2005. Fresh on the grid, he became an active artist in July of this year, and has been steadily dropping singles to build his catalog and fan base. Flexico’s emphasis on a positive attitude and grinding, pops up regularly as does his commitment and dedication to his craft. These trademarks of his personality and style, are of course very much evident in the single project, ‘Leanin’’. Trap music’s roots date back quite a few years, and it’s been a presence in rap’s mainstream in various forms since at least the early part of the previous decade. In the 2010s, it became the dominant commercial mode for rap, with other regional sub-genres mutating its primal elements into something new.

‘Leanin’’ certainly falls within trap’s ever-expanding parameters, but it’s supremely laid back, nearly 180 degrees away from the maximalist era. And that’s appropriate for Flexico Deeskie’s homegrown style. The tone has a sunny freewheeling attitude, yet there’s a pernicious sobriety that is hidden under the surface.

Part of this perspective comes from the artist’s ability to have fun, dish out all-encompassing lines and still be dead serious about his craft. That record’s arc is short but powerful.

For stretches, ‘Leanin’’ is the sort of personal venting you might hear if you were eavesdropping on someone’s therapy session, so long as the narrator had a razor-edged pop instinct such as Flexico’s. That’s the sort of honesty you simply can’t fake. Flexico sounds like a quintessential feature artist capable of packing terrific lines into his songs and capable of stretching his skills to shoulder the weight of an entire track.

He uses his sonic landscapes for both motivational aphorisms and exceptional quotables. And checking his earlier material, it is evident that we’ve never heard Flexico Deeskie more confident and comfortable than he is right now on ‘Leanin’’.

This new track allows listeners to slide into the passenger seat and sonically autopilot through Flexico’s lyrical journey. ‘Leanin’’ focuses on the lyrics but stretches itself with the production too. I found myself enjoying this song for the unique quirks Flexico throws into the verses.

Besides, it’s really hard to find flaws here. Effortlessly switching tones, Flexico Deeskie’s colorful, yet grounded project showcases his bravado and rapping skills in a variety of tasteful ways.

OFFICIAL LINKS: FACEBOOKSOUNDCLOUDTWITTERINSTAGRAMREVERBNATIONTUMBLR

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“Trump in the Trunk” – poking fun at its preferred target http://videomusicstars.com/trump-in-the-trunk-poking-fun-at-its-preferred-target/ http://videomusicstars.com/trump-in-the-trunk-poking-fun-at-its-preferred-target/#respond Tue, 22 Aug 2017 10:55:41 +0000 http://videomusicstars.com/?p=14701 From Backwards is a master at creating high quality music with low quality satire. The only thing more surprising than how well those two aspects mesh, is how well he performs them on stage. His genius, however, lies within the fact that while he will laugh at (not with) almost everything he does, his audience will nod and move in sheer appreciation that someone is able to articulate the frustrations they otherwise are unable to deal with. From Backwards is the much needed fifth of whisky to last year’s presidential debates.

Hip-hop and politics have been together for a long time, and there are no signs the two will break apart soon. Although there were the naysayers who once dismissed hip-hop as a fad and predicted its untimely demise, this is an art form, a culture, and a political movement that is not going away.

It’s a medium that expresses the hopes and frustrations of a disenfranchised community, and From Backwards is a front-runner, though an alternative one. His verses are left field, full of comedy, parody and satire, so obviously not suited to the mundane mainstream arena.

He offers biting commentary, that at first will make you laugh, and then will make you think…again…and again. He attacks political and social and cultural issues without fear or discrimination, poking fun at his preferred targets. Trump is obviously a sitting duck for someone as scathing and acute as From Backwards.

From Backwards has released the 10-track album “Trump in the Trunk”, featuring Count4dB which can be found on ITUNES, BANDCAMP and SOUDCLOUD. You can follow and find out more about From Backwards at TWITTER and FACEBOOK

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Alien Skin: ‘1980 REDUX’ – a brilliant conception http://videomusicstars.com/alien-skin-1980-redux-a-brilliant-conception/ http://videomusicstars.com/alien-skin-1980-redux-a-brilliant-conception/#respond Tue, 22 Aug 2017 02:26:16 +0000 http://videomusicstars.com/?p=14698 There aren’t many synth-pop bands that I deem buyable today. I could probably count them all on my left hand. And if I only included the bands that actually played authentic 80’s analogue-driven synth-pop, I’d probably be left counting my stiff middle finger.  Sure digital and sampling can mimic just about any sound today…if you know what to mimic of course! Our current generation of electronic heroes can knock up the most devastating beats, create massive drops, and stirring buildups, so synth-pop might seem like the simplest form of electronica to them. Technically that is. Because musically we’re talking two different worlds. 80’s synth music is much more than just a type of sound, it possessed an aura, an atmosphere, creating moods that were as palpable as they were intangible.

George Pappas, aka Alien Skin, and long-time keyboardist and co-songwriter with chart topping Australian band Real Life, who had a multi-million selling ’80s smash with the track, Send Me An Angel, knows all about the analog synth period. He’s lived them, and played them, having made the transition to electronic music in the early 80’s, influenced by the Gore/Wilder version Depeche Mode. Alien Skin has just released his brand new album ‘1980 REDUX’, which recaptures the glorious sounds of real vintage analog synths and rhythm boxes. And along with those sounds come the authentic auras, atmospheres and moods, of a period that spawned innovation.

For the making of this album, Alien Skin was initially inspired by David Bowie’s trilogy work during his artistically adventurous Berlin period. And subsequently the UK movement which sprang up around about that time.80’s revival is nothing new to the music scene in recent years, its array of synthesizer pop makes for an unbelievably catchy listen, and a great blast to the past.

But Alien Skin takes his synth-pop to a different set of limits, as he is not looking to create a revival or appear as a retro hipster. It’s not just flattery, or merely a homage meant to evoke the sounds of the past. He is simply following his heart, and after one listen the true beauty of what he can create is breathtaking.

‘1980 REDUX’ is just as brilliant in its conceptual execution as it is in its painstakingly detailed production work. Each and every song points to a specific event, memory, artist or song from that era, which stuck in Alien Skin’s mind. Essential tracks: “1980 You Were A boy”, “This Fantastic Voyage”, “The Berlin Trilogy”, “Walk on Water”, “The Playground of Syd Barrett” and “Dark Star”.

Every song here hits close to home, to the record’s goal of celebrating the past by creating music that resonates so perfectly in the present. Few people could so totally recreate the sounds of a legendary era and come out with something that sounds so profoundly fresh as ‘1980 REDUX’. In its execution, the record is flawless, an essential distillation of the sounds of nostalgia, melancholy and happiness all mixed up into a sparkling, vibrating melange.

In its spirit, it’s incredibly heartening, the musical equivalent of inspiring people to think back on their past, their childhood, and moments enjoyed together. It’s hopeful and heartbreaking all at once. You don’t have to have lived through the ‘80s to appreciate Alien Skin’s focus – you just have to have lived a little.

If for some obscure reason you know little of this artist, fear not. Careening through nostalgic synths and thick melodies, ‘1980 REDUX’ is not reminiscent of the 80’s in a cheesy manner. On the contrary, the album’s return to the past is overflowing with such heartfelt emotion and passion, that it thoroughly works.

Alien Skin understands that the synthesizer is not just about undifferentiated ambient washes of impressionistic sound but can also deliver guitar-like power and dramatic chord changes. And there’s a sensitivity on display behind the android cool that makes this music far more than the sum of its parts. Couple that with an excellent rhythm section, great keyboard textures, and first-rate arrangements, and you have an album that never seems to wear out its welcome.

OFFICIAL LINKS:  WEBSITEFACEBOOKBANDCAMP

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Glen “Heavy” Wade II: “I’m so UF” is available on all major platforms http://videomusicstars.com/glen-heavy-wade-ii-im-so-uf-is-available-on-all-major-platforms/ http://videomusicstars.com/glen-heavy-wade-ii-im-so-uf-is-available-on-all-major-platforms/#respond Mon, 21 Aug 2017 10:29:12 +0000 http://videomusicstars.com/?p=14692 Off a dirt road, and formed out of the “Muck.” Glen “Heavy” Wade II is an American Singer-Songwriter. Wade II grew up in Belle Glade, FL commonly referred to as “Muck City.” Heavy’s musical style is Pharrell and Will. I. Am. meets Lil Jon. He combines several skill sets into a complete package: Melodic singing, a vivid imagination, the ability to bring it to life, a strong vernacular, and a knack for clever wordplay with no profanity.

The song, “I’m so UF” features thunderous sounds paired with a chanting, call and response manner which set the tone. Followed by heavy basslines, melodic singing and aggressive vocals. “Heavy” displays his oversized charisma and catchy delivery throughout the song.

The “I’m so UF” single by Wade II is sure to have Gator Nation pumped-up this season with his new hype song. The original track will be available online beginning August 18th, 2017 on all major platforms. With 3 National Championship titles in 2017. Heavy was focused on delivering a fresh anthem for all of the die-hard gator fans as they head into the fall season.

Inspired by UF’s winning energy and momentum methodically crafted on “I’m so UF.” He methodically crafted “I’m so UF”  and released it through his record label On The Muscle Ent. and launched with the help of V.Wade , VP of Operations. Heavy recorded the track at well-known Skylab Recording Studios, the same studio Rock & Roll Hall of Fame inductee, Bo Diddly recorded at. To achieve his vision, Heavy brought on board respected producer Klean Beatz, who has worked with Kevin Gates, K- Camp, King Los and more.

CHECK OUT THE VIDEO PREVIEW AT THIS LINK

OFFICIAL LINKS:
Amazon: https://www.amazon.com/Im-so-Heavy-Wade-II/dp/B0744GKMW4
iTunes :https://itunes.apple.com/…/al…/im-so-u-f-single/id1262150010
Google Play: https://play.google.com/store/music/album?id=Bwe6skpzeyf6nzslroo4dplad4a
Imdb: http://www.imdb.com/name/nm5540978/

]]> http://videomusicstars.com/glen-heavy-wade-ii-im-so-uf-is-available-on-all-major-platforms/feed/ 0 Etop: “Masterworks” boasts 13 stunning, inspiring and emotive tracks http://videomusicstars.com/etop-masterworks-boasts-13-stunning-inspiring-and-emotive-tracks/ http://videomusicstars.com/etop-masterworks-boasts-13-stunning-inspiring-and-emotive-tracks/#respond Sun, 20 Aug 2017 10:40:13 +0000 http://videomusicstars.com/?p=14687 Etop is not your typical electronic artist. If someone says to you that Etop plays electronic music do not go thinking that he plays heavy beats and dance songs. Well he does, but not quite the way you’re thinking. Etop is everywhere. He can go to a bubblegum electronic pop tune, to a groovy dance song, all the way over to a depressing ballad. And then he can do something better than just about anyone else…go back in time. No, this is not another installment of Return To The Future. He really goes back to the past, and out of the crate drags a ton of retro flavors and grooves. Often Etop returns to the kitsch 70’s and infuses it with the most exotic tones and melancholy moods. But here he does more…

On his latest album, “Masterworks”, Etop slides back a decade from his usual itinerary and takes us through some vintage rock and blues, as well as rhythm and soul textures, ranging from the 60’ through to the 80’s. Although he does this, the album flows together very well and even though there are a lot of different styles and moods here, Etop still keeps this album accessible. He throws in so many different grooves, moods, and rhythms so that no two songs sound the same.

Masterworks” is unlike any other electronic album out there, Etop is constantly keeping things fun, interesting, and above all, authentic. There are two main influences that this album has, there are the softer, beautiful melancholy tracks, and the more rhythmically driven tracks. Of course there’s also the added fascination of tracks such as “Manami In Twilight” ft. Juri ify Love and “Tomoko and the Star Dust” which seem to have decided bent towards Japanese J-pop anime music. And then there’s the reggae influenced “Control Tower” to throw a spanner in the works. Etop also explains that the album’s opening track, “Blue Collar”, is intended to pay homage to vintage blues-rock artists, such as Booker T and Canned Heat. And it does so in splendid style.

Booker T was totally groundbreaking in his time. His band comprised of two black members and two white members, and that was long before Martin Luther King, Jr. lead the March on Washington. In his music you can hear those amazing rhythms that black drummer Al Jackson and white bassist Lewie Steinberg concoct together. Then Booker T. on keys, and lead guitarist Steve Cropper, played off of each other in the most amazing ways. Etop recreates that same vibe and style on this track with aplomb.

From start to finish, on this album, we receive an intense ride full of groove ridden beats, warm old school keys, the occasional vocal interlude, and a wash of soulful guitars. “Orangutan” acts as a slow burning showpiece that successfully blends the blues and that somber mood which is so hard to create electronically. You couldn’t really ask for a more beautiful song on this record. Until you come to “The Guggenheim Job” of course, which is another exercise in beauty and restraint.

One of my favorite songs on this album has to be “Live Love Repeat”. It’s no secret that Etop is a real guru when it comes to the slower tunes, and here he infuses this track with emotionally stirring layers of beautiful horns, reeds, piano and guitar. It’s definitely a contender, alongside the bluesy electric-guitar driven “M.I.T. Instrumental” and the organically atmospheric “Orangutan” as the most outstanding track on the album.

Etop has gone out of his way to make an electronic album that is ground-breaking and innovative with “Masterworks”, and at the same time he has pieced together a record that boasts 13 stunning, inspiring and emotive tracks that sit confidently within the genre’s expansive repertoire, but spills over its boundaries too. His skills lend well to any style but he is especially proficient on slower emotional grooves, and those skills play a prominent role within the soulful and engaging framework of “Masterworks”.

MORE ABOUT: Etop’s family immigrated to the United States during 1986, from South America and West Africa, settling in Brooklyn. Etop would find joy and entertainment in hearing songs on records during his youth. Later on in life, Etop received an associate degree in architecture, while studying at New York City’s Technical College. This allowed Etop to receive his Bachelor of Arts in architecture at the Pratt Institute of Arts and Design. Even though Etop was on the path to architectural design, music production has always been his calling.

 OFFICIAL LINKS: WEBSITE – ITUNES – BANDCAMP – FACEBOOK – TWITTER

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BentleyHendrixx drops his brand new single ‘Trouble’ http://videomusicstars.com/bentleyhendrixx-drops-his-brand-new-single-trouble/ http://videomusicstars.com/bentleyhendrixx-drops-his-brand-new-single-trouble/#respond Sat, 19 Aug 2017 23:57:06 +0000 http://videomusicstars.com/?p=14683 Growing up with his mother in St. Louis, MO, Bentley became influenced by the many genres of music played in the home. From here he developed an interest in creating music. Guitar lessons provided and early introduction into creating and playing music of his own.

In 2013 Hendrixx created the moniker BentleyHendrixx, first as a spoof name for Facebook, and later into a brand. The name comes is a mash up of his dream car and an homage to the legendary rocker, Jimi Hendrix as a reminder to always stay classy and rock out.

The producer, artist and songwriter, hit the summer late, but hard. BentleyHendrixx is back with another release, his 3rd in the past 30 days. This track features Hendrixx crooning in his signature laid back, but interesting tone over minimal electronic production. The self-produced track, while based in R&B, gives the audience reminders of his influences, ranging from modern r&b, pop, rap, and electronic music.

The song tells the story of what would be done to win and keep a lover’s affection. Released recently on 8-11-2017, you can find the new single ‘Trouble’ on every major streaming platform now. Follow Bentley on Instagram for updates and news @behendrixx

OFFICIAL LINKS:

iTunes: https://itunes.apple.com/us/album/trouble/id1270028340?i=1270028347

Spotify: https://open.spotify.com/album/7s2kU6NAvvL2uEDLIEU0xY

Instagram: https://www.instagram.com/behendrixx/

Facebook: https://www.facebook.com/bentleyhendrixx

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Andre Gimaranz: ‘Supermoon’ – a strong feeling of confidence and maturity at every turn http://videomusicstars.com/andre-gimaranz-supermoon-a-strong-feeling-of-confidence-and-maturity-at-every-turn/ http://videomusicstars.com/andre-gimaranz-supermoon-a-strong-feeling-of-confidence-and-maturity-at-every-turn/#respond Sat, 19 Aug 2017 22:54:38 +0000 http://videomusicstars.com/?p=14680 After 15 years as a session musician, Brazilian guitarist, singer and songwriter, Andre Gimaranz’s first solo album, ‘Handmade’, was released in 2015 gaining instant attention from the industry and fans alike, resulting in Gimaranz being considered one of the best new live acts in Brazil. In 2015 and 2016, Andre was a nominee in the categories ‘Song of the Year’ and ‘Artist of the Year’ at the IMEA Awards. He recently dropped the highly acclaimed single, ‘State of Rage and Fear’, and has now followed that up with his brand new full-length album, entitled ‘Supermoon’. Every once in a while, after making many disappointing purchases and endlessly listening to choppy pieced together efforts compiled by lesser artists who try to blend their erratic writings into something cohesive, you finally lose your faith in buying albums, preferring to stick to singles from iTunes.

And then suddenly you unexpectedly find a rare jewel…the complete album you’ve been longing for. ‘Supermoon’ by Andre Gimaranz is one of those finds. Every track from beginning to end is seamlessly tied to the next, whether played in order or in shuffle mode. The mood of each piece varies enough to maintain interest and expectation but does not become repetitive or boring.

Gimaranz’ music and lyrics has a mature, sophisticated sound on this album and, in my opinion, is his best work so far. But while at its core, everything sticks to a modern smoothly produced framework, there’s much ear candy to be found here, as Andre sticks his toe into funky soul, airy jazz, sentimental balladry, and Clapton-esque blues-rock. Besides any other accolades or awards this album may receive, as an independent work, this is truly deserving of a Grammy nomination, above all else.

Those who have bypassed Andre Gimaranz’s work up till now are missing out on some excellently crafted music. As Gimaranz has grown more confident in his work, it’s gotten better. He’s certainly one of the better songwriters in his genre today, and his vocals and guitar playing also place him in an elite class.

While ‘Supermoon’ contains a couple of surefire hits in the superlative, “State of Rage and Fear”, “The Muses Are Heard” and “A Hole on My Shoe”, it’s one of the few mainstream pop/rock albums that’s absolutely satisfying from the beginning to the end.

Apart from the pop and rock influences, Andre Gimaranz obviously has a deep abiding respect for soul, blues and jazz tones, and never is it more apparent than on this superb album. These influence run through these tracks in some way or other, and add many dimensions of depth to the arrangements.

Whether it’s “Tough Guys Don’t Dance” or “Reaching” the orchestrations are always rich, lush and fleshed out, crossing over into more than just one genre style. Make no mistake about it; Andre Gimaranz is a very talented and real individual with nothing but a great future ahead.

Out of the 10 tracks, I did not hear one that I could not identify with, or thoroughly enjoy for the musicianship, vocals, and lyrics. This recording oozes with a strong feeling of confidence and maturity at every turn. Gimaranz owns who he is musically, and does things his way, which just so happens to be the right way, in my opinion.

Andre Gimaranz’s guitar playing is clean, sharp, and biting all at the same time. His vocal style is relaxed yet very effective because of the way he brings each word from his heart to his lips; it all comes rolling out with meaning, like something he holds very close to his soul. ‘Supermoon’ is set to become a true indie classic, a sparkling and memorable production that deserves all the media attention that it will be receiving and continue to get many years from now.

OFFICIAL LINKS: WEBSITE – REVERBNATION – ITUNES – YOUTUBE – FACEBOOKSPOTIFY

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Moorhouse: “I Love You to the Moon and Back” ft. The Cellophane Heart – a bold statement http://videomusicstars.com/moorhouse-i-love-you-to-the-moon-and-back-ft-the-cellophane-heart-a-bold-statement/ http://videomusicstars.com/moorhouse-i-love-you-to-the-moon-and-back-ft-the-cellophane-heart-a-bold-statement/#respond Sat, 19 Aug 2017 20:37:37 +0000 http://videomusicstars.com/?p=14677 Irish DJ and producer Moorhouse has dedicated the song, “I Love You to the Moon and Back”, to his daughter, Abbie. It speaks about their relationship and what the future holds. Canadian artist, The Cellophane Heart, provided the vocals for the track, and the song was produced in Moorhouse’s home studio in Waterford, Ireland. The track offers a lively, upbeat 90s dance pop sound mixed with current top 40 influences from Baz Luhrmann and N-Trance. This track means a lot. And there is a reason for that. Sure, it may be electronic dance music, but it’s…different. EDM music is becoming too formulaic and ugly because of it. Moorhouse brings a new slant to the genre.

The best thing about purchasing an electronic track these days is you are buying one of the purist forms of musical artistry available today. Electronic music in general is touched by a fraction of the individuals compared to other genres, and in most cases is under total direction from start to finish by the original artists.

In this case these duties are shared by Thomas Moorhouse and Jeremy Gladstone a.k.a. The Cellophane Heart, who write, perform, record and produce this track with no interference from outside sources, except for the mastering done by Kevin Carafa. What you’re getting is their exclusive vision in all aspects of the final product. That’s what I mean by pure.

This track is very reflective, and after a few listens, I really felt like I knew both Thomas and Jeremy on a personal level. They went really deep here and didn’t cover up any feelings, laying it all on the line. You’ll probably feel the personal vibe a whole lot better if you have kids, but hey, you can just dig the music if you don’t.

“I Love You to the Moon and Back”, as a whole, has a slightly melancholy yet positive, happy feel to it. At the same time, the song is so beautiful. The Cellophane Heart’s spoken word performance adds an earnest and devoted tone to a playful, up-tempo beat. The contrast makes a flowing and encompassing soundscape.

“I Love You to the Moon and Back” is Moorhouse making a bold statement. He is not afraid to differentiate himself from the bass-dropping junkies. He wanted to make this track personal, and he did. And that’s an almost groundbreaking action, in a genre, rightfully or wrongfully, perceived as impersonal and cold, and made by very smart calculating machines! Wrong!

Moorhouse proves that you can make sentimental, heartfelt, and very personal music in the electronic genre, if you put your mind and heart to it. I found him to be successful in this effort, I simply can’t listen to this without being absorbed by all kinds of feelings and Moorhouse’s emotion perfectly portrayed by The Cellophane Heart. You should be impressed. Very impressed.

“I Love You to the Moon and Back” by Moorhouse featuring The Cellophane Heart is currently available for download on Apple iTunes, Amazon, Facebook, YouTube, Google Play, Spotify, Rdio and other online music streaming services.

About Moorhouse: Moorhouse was founded by Tom Moorhouse in 2013 to provide music services to individuals, organizations, and businesses in the areas of DJ, wedding, and event music; music and guitar lessons; and music production and recording.

Contact E-mail: tom@moorhouse.ie Phone: (051) 323-687

OFFICIAL LINKS: WEBSITETWITTERFACEBOOKYOUTUBESPOTIFYSOUNDCLOUDITUNESAMAZON

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