musiccabin

[musiccabin]

Review: My Inner Smeye EP by Shell-i

A genre-straddling, deceptively nuanced debut which delivers standout musical composition and showcases a talented artist, one with an undoubted instinct for making the contradictory complementary.

Shell-i fuses indie-pop with smatterings of jazz, classic rock and metal in her debut EP, My Inner Smeye, which dips into genres with fluency and an instinct for consonance.

The EP debuts five songs and three remixes, but the latter are so vividly reimagined that the lasting impression is one of a full and versatile album. The title track is first up. In its infancy, it delivers symbiotic piano and vocals; from its adolescence emerges a classic rock-rooted guitar solo that warms the track through. Admittedly, the remix is the weakest track on the album – identical to the original bar a stock-sounding techno filter that blurs the vocal into a synthetic undertone, in places it sounds as though it’s being played underwater.

‘Shallow People’ displays similar stylistic fluctuation. Metal-inspired guitars pulse and wail through the first half of the song, but are superseded (and then accompanied) by lilting piano. Weirdly, it works, and the remix is also successful, pared down musically to dance club elements while the vocal settles in as the main attraction.

The EP middles in more melancholic waters with ‘There Where The Light Is’, which, with its naked piano and cautious harmonies, could almost be a lullaby but for the song’s inherent sadness. An electric guitar solo cuts cleanly through the downwind of the song and is as stunning as it is out of place; Shell-i is a master of making that which should contradict complement instead.

The final tracks – ‘La Cote’ and ‘We’ll Fly High’ – are the EP’s strongest, and are sung in French and Russian respectively. The former implements a haunting echo on the vocal that belies the track’s upbeat vibe, and the guitar solo wouldn’t be amiss in a country song. My French errs on the side of très mal, but the atmosphere the lyrics create is elegant and moving – the remix subverts this entirely, as the jumping piano and quietly jiving horns drive the track into jazz territory. ‘We’ll Fly High’ is perhaps the most cohesive track on the EP in terms of genre, and, although my Russian is much worse than my French, is still memorable despite the language barrier.

Overall, My Inner Smeye is an impressively versatile debut. Shell-i risks stylistic coherency to achieve innovation and individuality, and the result is an EP that not only crosses the boundaries of genre, but breaks them down and rebuilds them according to blueprints that are uniquely hers.

Find out more on Shell-i at shell-i.com.

By Shannon Eden

[musiccabin]

Review: Behind the Mask by Xsidion

Xsidion’s sophomore EP Behind the Mask transcends the eclecticism of his debut effort Anarchy to deliver a more organised musical chaos.

His classical music education colours the entire album, but it’s the mellow-yet-mighty opener that cultivates trance vibes from traditional roots to the greatest effect—‘Paradox’ disturbs its boneless piano riff with smooth synths that break through the melancholy clouding the track. Amplifying the disorder is ‘Holy Shit’, which rejects cohesion entirely. Keyboards happily trip over delicate percussion until huge synths spike the distortion level well past maximum. Apoplectic but seamlessly rendered, Xsidion falters between the dark cloud and its silver lining with faultless precision.

‘Consequences’ bridges the gap, somehow striking harmonic balance even as animated electronica faces off against an ominous vocal that ties the warring styles together with the promise of further conflict. Stylistic irony is Xsidion’s bread and butter, and closing number ‘Complicated’—just barely reminiscent of the grandeur of Muse’s ‘Uprising’—is as melodically skittish as the percussion is persistent.

Overall, Behind the Mask further proves Xsidion’s ability to brilliantly parallel opposing genres. Here is an artist that knows his niche yet never fails to redesign the box. Xsidion is signed to Blue Label Records, more of his music can be found here: https://soundcloud.com/xsidion

By Shannon Eden

[musiccabin]

Back in 2008, the song Bruises by a then unknown band called Chairlift was chosen by Apple to be the soundtrack for the launch of their new iPod Nano. Even though the pairing of that catchy song and Apple’s new colourful product was a hit, for many, this was sadly their first and only encounter with the band’s music. Last January, Chairlift released Moth, their most diverse and rewarding set of songs yet. Transcending their synth-pop roots, Chairlift had set out to make a more direct and physical record and that is exactly what they accomplished. Case in point: their song Polymorphing, which mixes a funky bass line, a brass section and Caroline Polachek’s lovely vocals to wonderful results.

[musiccabin]

Review: Jullaby by Xsidion

Xsidion sheds the apocalyptic for the ambient in his latest release, ‘Jullaby’. Worlds apart from the raw and rampant energy of his explosive EP Anarchy, Xsidion sharpens organic piano into synthetic-edged sound for a soft but striking progressive house offering.

The track opens in media res, driven by popping percussion while a darting electronic melody flutters underneath. The drums bleed in and out, and in their recession the song feels like sunlight, like the glare from a camera lens brightening behind your eyelids; it’s the musical equivalent of the shy beginnings of new love.

Sure enough, Xsidion strings a second melody over and under the primary, the strands woven together like a double helix—parallel, but intimately connected. The descant is a near monotone, pulsing in fits and starts over the swing of its partner, inarguably synergetic. Xsidion is a true master of upholding the audiovisual, and in the absence of a vocal, imagery abounds; ‘Jullaby’ could easily be sound-tracked to young lovers sprawled under the scant shade of an oak tree.

Overall, ‘Jullaby’ is a gentle take on the prog. house genre that experiments with symbiosis and invokes the imagination, defining Xsidion as an artist of unparalleled versatility and indefinable talent.

By Shannon Eden

[musiccabin]

Album Review: 666 by Junior Wright

Junior Wright wages warring atmospheres in his sophomore album 666. From first crushes to domestic violence, Junior delivers a track-list that polarizes mood as well as genre, fluctuating between classic pop and R&B tracks flavored with enough stylistic disparity to elevate the album from the slush-pile of mainstream music.

Tracks from Junior’s previous EP Come to Me insinuate themselves between the new releases, the first of which, ‘Without You’, drives the album in a decidedly melancholy direction. Piano punctuates Junior’s mournful vocal, which ends so abruptly on the lyric, ‘My life is amazing without you’ that the sentiment rings irrevocably hollow.

There’s a second divergence in tone in the form of ‘Beautiful Stranger’ and ‘Lovestruck’ (and here we are treated to the original version, which, undercut with serrated synths and a muted vocal, is nearly unrecognisable from the acoustic). The tracks, ripped from the Come to Me EP, feint a return to the feel-good vibe that follow-up ballad ‘Runaway’ strips from the rest of the album entirely. A haunting tribute to a victim of suicide, Junior’s vocal vibrates vulnerably over fractured keys and despondent violins.

In the wake of this tragic turning point, Junior’s vacillation between love and break up songs feels a little redundant, which is likely the point—‘Never’, a standout from the latter category, contrasts upbeat keys and percussion with regretful lyrics, heavy-handedly symbolic of the album’s lighter tracks being unable to completely diffuse the resulting disquiet. Indeed, the reappearance of ‘Blood’, Junior’s debut single, comes as a relief; it slicks a sinister touch through the rest of the album that rounds out its diverse sound.

Of course, no R&B release would be complete without a handful of sexed up songs. ‘Thirst’ straddles the line between sensuality and anger as Junior seems to grudgingly respect the lover who has wronged him, delivering the line, ‘Pandora had nothing on her box / The secrets inside are on lock’ with a twist of bitter admiration. He strikes a bolder pose in ‘Role Play’, winding distorted guitar riffs through heavy percussion to add a touch of rock and roll to the proceedings—lyrically, Junior flirts with obscenity (‘Making you wet / Making you scream / Dripping with sweat / Dripping with cream’) but never fully commits, resulting in a track that titillates the listener rather than turns them off.

The curtains close on ‘Trouble’, which, with its confessional tone, stylistically feels like a song from a Broadway musical. Overtop staccato piano kicks (and with a deeper vocal than usual), Junior declares himself ‘More trouble than [he’s] worth’, but 666 showcases a diverse, multi-faceted artist who deserves to be recognized for his ever-growing talent—whether he’s ‘Nothing but trouble / No good for you’ or not.

By Shannon Eden

[musiccabin]

Review: ‘Im@gine’ by North of Nine

Pop rock project North of Nine’s sophomore EP Im@gine leads listeners into the bittersweet waters of unstoppable dreams versus immoveable reality, and Jackson Guthy’s refined but rough-edged vocal—think Harry Styles crossed with Dave Cook, with the occasional dash of Patrick Stump-ian soulfulness—makes damn sure they drink.

Opening the EP is fast-paced and funk-inspired track “Down”. Hopped up on a heavy, jumping bass-line, the verses skip towards a jazz-studded chorus, with bursts of piano and chirping horns stirring feel-good catchiness that sticks the landing. The boldly-delivered refrain Nothing’s bringing me down sounds like a challenge, and follow-up track “Something Out of Nothing” details a dream (I’m all about the music / So I’m playing it out load / Push the faders up real loud…) that feels fragile in the aftermath of such a declaration.

Sure enough, piano ballad “Changes” marks Jackson’s fall from vivacious optimism into heartbreak, although it’s undercut with determination to keep on keeping on: And if it takes my soul / Say you won’t let the curtains close. Doubling as a ‘lost love’ song, orchestral violins and a choral accompaniment transform its quiet honesty into shared sorrow that ensures it’s easily the EP’s most relatable track.

“The Man That I Could Be” reflects on the often chasmic divide between dreams and reality, which Jackson mirrors musically with an eclectic clash of electronica, piano, and an especially raw vocal. “Against All Odds” follows suit in conceding that ‘making it’ is never guaranteed—Jackson warps Everything will be alright into a mantra that feels haunting in its desperation.

It’s impossible to miss that the EP is flavoured with familiar melodies: “Applause” and “Against All Odds” mirror The Script’s “Hall of Fame”, “Loving You” recalls Bruno Mars’ “Dancing with Another Man”, “Changes” is reminiscent of Ben Cocks’ “So Cold”, et cetera. Jackson’s melodic emulation cements the core concept of Im@gine: that everyone has been forced to grow up, and that the journey from dreamer to realist is fraught with grief that’s universal.

The final track underlines Jackson’s emotional transition throughout the EP. “Applause” tells the story of:

A kid from out of town Chasing them bright lights down […] With animosity he did it on his own Nightmare screaming in his head always goes I don’t give a shit I won’t fucking quit I have been broken and got back up too many times

A cocktail of bitterness offset with titanium resolve, it’s a fitting curtain call; Jackson is undeterred by the challenges he’s faced so far, and isn’t afraid to demand the success he unequivocally deserves.

We can do anything that we want to Give me my applause

By Shannon Eden

[musiccabin]

Review: Come to Me (EP), by Junior Wright

From the artist that brought you the sinister but slickly produced Blood, Junior Wright’s debut EPCome to Me blends smooth R&B with subtle electronica to highlight the ethereal elements of his vibe. The album is available for digital download here: https://juniorwright.lnk.to/ComeToMe 

Opening the EP is the classic club track ‘Private Dancer’. Synths bubble on the verse in a soothing monotone that swings into a carousel of a chorus – the melody almost mirrors Kanye West’s ‘Stronger’, but Junior manipulates and layers harmonies to transcend the comparison and establish his own distinct sound.

The EP middles in familiar R&B waters. ‘Let Go’ employs cymbal-heavy percussion offset with electronica acmes in the genre’s ‘dance with me’ staple. Musically simple, Junior’s versatile vocal carries the melody singlehandedly, a stylistic success he repeats in ‘Star’ – the track deploys cinematic synths for the chorus, waves of huge sound that the vocal dominates for the position of centre-stage. ‘I’m a star’, the refrain promises, and ‘like a fine wine that can only get better’, Junior certainly delivers.

He rounds out the EP with two love songs for a mesmeric finale. ‘Beautiful Stranger’, the musical equivalent of a missed connections advert, injects the track-list with a personal touch. Junior layers lyrics that scream stream-of-consciousness over a nervous beat, nailing the trepidation of that first meeting. Finishing the EP on an acoustic note is ‘Love Struck’ – the third date to the previous track’s first. Steel string guitar riffs and snaps-and-claps percussion accompany emotionally honest lyrics in this beat-driven ballad.

Overall, Come to Me is an album showcasing an ever intuitive and masterful artist. Junior Wright’s understated musical stylings elevate his signature velvet vocal on tracks that are as addictive as they are accomplished.

By Shannon Eden

[musiccabin]

Wood crafts a gritty chill-out track with his newest release, ‘Way Up’. A classic ‘Let’s Party’ anthem softened by featured artist Kaydence’s seductive vocal, Wood adeptly balances their opposing but complementary musical energies. 

Pendulous electronic piano mainlines the track with sophistication from the intro. Musically, it’s busy. Vocal samples trip over each other on the verse and chorus, and high-pitched synths kick their feet in time with a bass-heavy beat. The hyperactive sound blows air onto the smoky embers of Wood’s vocal, which crackles with energy in this professional production. He delivers smart rhymes that stick their landing on the inevitable replay—no line is a throwaway, and he fires each one perfectly in sync with the track’s complex beat. 

Kaydence’s vocal slides seamlessly over Wood’s. Undercut with the spiralling piano from the intro, her chorus is hypnotic; the come-down from the feverish high of the verse. Despite the stylistic disparity, this is collaboration in its finest form. Wood has managed to spin his and Kaydence’s sparring vibes into symbiosis, creating a truly compelling track where neither artist stays in their lane—instead, they share the limelight.

By Shannon Eden.

[musiccabin]

Russian based MATVEY EMERSON is a solid rock in the nu-disco scene. With his hits "Run Away", "Over" and "Shine" as well as his successful bootleg mixes that he uploads to his soundcloud account and collected massive amounts of plays, Matvey proofed to be an artist that delivers high quality music on a regular base. Reason enough for us to give him well deserved output channel on No Definition. 

Check out his single RUSH: An outstanding and melodic nu-disco gem that comes up with hot vocal chops, dreamy pad textures and an ace beat pattern that makes you wanna dance instantly.

Follow Matvey Emerson https://www.facebook.com/matveyemerso... https://soundcloud.com/matveyemerson

[musiccabin]

Dot Dot – Wired EP

Illusion

The first track opens up a vortex of slowly undulating sounds. Gently introducing you to dot dot's carefully crafted sonic landscapes. It carries a great sense of urgency even though it's not too heavy on beats, doing a perfect job as an opening track - bringing tension and expectations for the journey to come. Precise sound design and constantly evolving tension makes this function just as well in the livingroom as on the dancefloor.

Rapiat

This track begins by immersing you with mysterious melodic elements. The sounds manage to strike a very interesting balance between sounding organic and yet synthetic, inducing an eerie uncanney valley feeling. Towards the middle of the track a 4x4 kickdrum slowly starts rolling in, adding that long sought after bodily thump to what has so far been a very cerebral experience.

Wired

A heavy rhythm hits right from the start. Once again one finds oneself immersed in an interesting world where sounds have the dualistic property of appearing synthetic yet organic at the same time. Synthetic critters lingering in the background constantly piques ones curiosity while kicks steadily beat through your body. Throughout the track deeply striking plucked chords rise and fall, a familiar sound which is a true staple of this genre.

Dynamic Life

The final track brings the energy down a notch. Muffled beats rolls along in a relaxed rhythm, intertvined with the ambience. Movements occur through relatively short loops which brings life while being repetitive and simple enough to instill a sense of ease. This track serves as a great final resting ground before our departure from the interesting world conjured in this EP.

Conclusion

Wired is a well produced EP featuring very rich sound design. You can tell that sounds have been created by experimental means as they have a depth which is hard to accomplish with mere digital synthesis. There are many subtle layers to the tracks, some of these are shared between songs which makes the EP as a whole feel like a cohesive experience. Tracks are ordered in a way that allows the energy progressively evolve, further adding to the sense of cohesiveness. All in all this is a well layered EP full of polish, you can tell that very little has been left to chance.

Review by Jimmy Ghaderi

[musiccabin]

Orenda by Colourz

Canadian Progressive House/Cinematica production duo Colourz deliver a utopic head rush to listeners of their newest track, Orenda. It recalls the dizzying synth loops of their previous release, Nemodom, and melds them with slick, cerebral melodies that promise to entrance.

The track opens with orchestral beauty. Sweeping pads, sublime strings, and a subtle bass crawl towards an anthemic prog house vibe. It’s undoubtedly a track that teases; the slow build up sets you swaying to a stunning refrain, then feeds in understated percussion to drum up the suspense.

The drop doesn’t disappoint, smashing into a pace that underscores the melody, sculpts a harder bassline and shifts the track from smooth trance to a vein-throbbing surge of adrenalised sound. The transition is clean and solid, and Colourz effortlessly slide back and forth between ambient breakdowns and fired up drops throughout the track.  

The build towards the final drop marks the track’s finest accomplishment. The percussion kicks into a higher gear that at first tempers the melody before drowning it in the seconds before Colourz feint the final drop – a stuttered repeat of the melody overlaid with siren-like sound bites. Slick, seamless vibrato pitches the listener ears-first into the real deal, which storms towards the track’s end with power and grace.

The tune’s tapered close makes it a smart choice for a dancefloor mix. The slow bleed back into the orchestral style from its beginning makes for a smooth transition into similarly styled tracks, allowing a touch of breathing room before the next track skyrockets the energy.

All Orenda is missing is a strong vocal element to tie the track together. Colourz are at their best when striking a delicate balance between vocals and instrumentals; see the original mix of their apocalyptic track Selcouth, which employs female choral voices that straddle the line between alto and soprano. A similar vocal sample in Orenda could only enhance its cohesion.

The Iroquois tribe believed an orenda to be an invisible magic power to pervade all natural objects as a spiritual energy, and it’s fair to say that with this track, Colourz have certainly delivered.

Review by Shannon Eden