Browsing Tag

singer-songwriter

Keith Rayburn – Shine On: Guitar Strings as Gospel

For his latest eagerly anticipated release, Shine On, Keith Rayburn rendered funk-laden rock into smoky, Motown-esque soul intersected with bluesy grooves to offer conjurings of catharsis so intense the single borders on sonically sacred.

Each progression plunges the listener deeper into a hazy, irresistibly immersive soundscape that echoes the nostalgic aura of The Doors as his guitars speak gospel in chorus with the lyrics which attest to how dimming your light is never the answer when the illumination of resilience is an option.

Rayburn is well on his way to riffing his way into the rock pantheon with his peerlessly cultivated sonic signature that will scribe its way through your synapses long after the outro of the sublimity-soaked sanctuary of a single which is easily one of the most sincere feel-good releases you’ll hear all year.

With tens of thousands of monthly Spotify listeners from around the globe behind him and his versatile musicianship, Rayburn is well on his way to reaching the acclaim his superlative song crafting deserves. Make his ear for a melody your new aural remedy.

Shine On arrived on the airwaves on September 4th; stream the single on Spotify now.

Review by Amelia Vandergast

Locked and Loaded: The Country Icon, Chris Erasmus, Fires Off with ‘Shotgun

Chris Erasmus’ latest single, Shotgun, finds its mark with a fusion of deep, resonant vocals and a dynamic full-band sound that finds new country roads to rhythmically explore. Opening with a voice that carries the haunting depth of Nick Cave, Erasmus sets a reflective tone with acoustic strings that soon give way to the invigorating swell of gospel-like backing vocals. The augmented choruses, brimming with vibrant energy, draw listeners into a rhythmic trance, emblematic of the single’s narrative of liberation and emotional revival.

Crafted as a sonic journey through the highs and lows of personal growth, Shotgun artfully captures the essence of moving beyond a toxic dynamic with the instrumentals mirroring the ebb and flow of introspection and realisation. It’s a narrative of empowerment, underscored by the thematic and literal movement the title suggests—moving forward, unburdened and unchained.

With a diverse background that spans continents—from Zimbabwe to London—and a rich litany of musical experiences, from classical training to theatrical performances, Erasmus brings a unique, cultured perspective to his work. This eclectic background shines through in Shotgun, which marries Americana sensibilities with a palpable emotional depth and expert craftsmanship.

Shotgun first blasted onto the airwaves on September 6th; stream the single on Spotify.

Review by Amelia Vandergast

Bella Gate usurped Lorde in her introspectively arcane piano-driven indie ballad, The Death of an Icon

Bella Gate has ushered in her debut album ‘Gateway‘; a sonic anthology that promises an introspective journey mirrored in its poignant title. At 23, the London-based evocateur has evolved from a child prodigy to an artist with a mature, resonant voice, chronicling her odyssey from adolescence to adulthood with lyrical sincerity and a rich sonic palette.

‘The Death of an Icon’, an iridescent highlight from the album, offers a narrative steeped in personal revelation and artistic struggle. This single, draped in folk nuances and anchored by an ornate piano arrangement, gazes into the torment of an agoraphobic, creatively stifled protagonist. Whether reflecting Bella’s past selves or purely fictive, the track’s emotional gravity is undeniable.

Produced remotely by Jordan Round and polished by Geoff Pesche at Abbey Road, ‘Gateway’ spans a spectrum from balladic solemnity to buoyant folk, all the while maintaining an emotive coherence which eschews conventional hooks for lyrical imagery which pierces the soul and haunts long after the last note fades.

Forget Lorde, Bella Gate is reigning supreme in the sphere of introspectively stylised indie ballads.

Stream Bella Gate’s debut LP, Gateway, on Spotify.

Review by Amelia Vandergast

JJORDAN serenaded his fans out of the scarcity mindset with his exotic RnB release, Abundance

With his latest single, ‘Abundance’, the independent West-London artist, JJORDAN, ushers his listeners into a world where love transcends scarcity and thrives in luxuriant harmony. Infusing R&B with Afrobeat rhythms, JJORDAN has cultivated an exotic sonic aura that’s difficult to find elsewhere in the genre, resulting in a track bordering on celestial through the synthesis of sensuality and a grounded sense of spiritual enlightenment.

Serenading his fans with smooth vocals, JJORDAN celebrates love as a rich, fulfilling experience, encouraging listeners to embrace the right partner when the time comes. His narrative weaves seamlessly through the dynamic rhythms, which evoke an irresistible urge to dance while soaking in the sentiment. A pivotal moment in the track arrives when ‘Abundance’ veers into jazz fusion territory with smoky horn stabs that billow into lush, reverb-heavy production.

With Abundance on your playlists, you can carry the sound of summer into the colder months; the days may get dark, but your playlists don’t need to if you keep JJORDAN, who has been on an upward trajectory ever since his debut release, on your radar.

Abundance sank soul into the airwaves on September 5th; stream the single on Spotify now.

Review by Amelia Vandergast

Wagner Gracciano became the definition of emotional depth in ‘I’m Here’

Wagner Gracciano’s single, I’m Here, from his sophomore album, The History of Mark Beck, is a veritable smorgasbord of stylistic influence and innovative substance which will transport rock fans back to an era when Chris Isaak dominated the airwaves.

With soul-drenched production, sensual RnB touches weave through a tight mesh of rock guitar lines, classic pop harmonies, and the shimmer of organ keys, creating a unique gospel of pop rock. As diverse as the track is, the seamless cohesion pulls everything together in a sublime display of genre fluidity.

‘I’m Here’ makes a bold statement of passion and dedication, showing that romance isn’t as dead as we perceive it to be as Gracciano exhibits his forte in transcending the confines of genre labels and creating utopias of euphonia with his songwriting. With each listen, there’s a deepened appreciation for the superlative arrangement and emotive depth that defines the track.

As a multi-talented guitarist, composer, and producer, Wagner Gracciano has spent over 25 years mastering his craft across genres such as progressive rock, blues rock, jazz, fusion, RnB, and heavy metal. The History of Mark Beck (2024) showcases his affectingly immersive lyricism and Grammy-worthy compositions, with guest appearances from Cleveland P. Jones, Carlos Zema, and Rachael Da Silva. Supported by world-class musicians such as Charles Judge, Michael Webb, and Adair Daufembach’s pristine production, Wagner’s vision is undeniably realised.

I’m Here is now available to stream with Wagner Gracciano’s sophomore LP, The History of Mark Beck on Spotify and all major platforms.

Review by Amelia Vandergast

Ross Flora – Santa Ana Wind: A Whiskey-Soaked Country Blues Rock Ode to a Femme Fatale

If you’re looking for a track that anchors itself in the quintessence of bluesy country rock, look no further than Ross Flora’s latest single, ‘Santa Ana Wind’, which speaks rhythmic volumes of the singer-songwriter’s seasoned artistry as a fret veteran.

With the sublimity of the single manifesting through the gravelly timbre of whiskey-soaked vocal lines that caustically cut across the winding, sustained guitar notes, it is destined to become a sonic sanctuary for anyone who feels at home in the Nashville sound.

Ross Flora, with a guitar in hand, Flora becomes a conduit of hypnotism, weaving an alchemic spell that prompts you to ponder just when his visage will grace the halls of rock n’ roll fame. His cultivated ability to wrap an aura of seductive soul around his virtuosity is a testament to his rightful place in the annals of music legends.

Raised in the shadow of the Blue Ridge Mountains of Virginia, Ross’s origin story was written early after exposure to a tapestry of R&B and Bluegrass influences. From harmonising in church pews under his father’s tutelage to shredding Van Halen tracks in his youth, his path has always been marked by intrepid sonic exploration, which continued when he put down roots in Nashville and amassed a legion of fans with his unique ability to paint panoramic portraits through sound and soul.

With ‘Santa Ana Wind’, Ross Flora ensnares the listener in a narrative wrought from his rural roots and life’s meanderings, underscored by his literary acumen and deep respect for his musical forebears like Gregg Allman and Chris Cornell.  It’s impossible to reach the last note without finding equal amounts of room in your heart and on your music radar for Ross Flora.

Santa Ana Wind was officially released on September 6th; stream it on all major platforms via this link.

Review by Amelia Vandergast

Robin Shaw borrowed from Bright Eyes in his acoustic indie single, Bus 2 Nowhere

From the first effervescent notes of the acoustic guitar chord progressions in Robin Shaw’s latest single ‘Bus 2 Nowhere (Acoustic Version)’, your soul sets alight and your senses scintillate to the timbre of the euphonically rugged rhythms. Equally sweet are Shaw’s folk-leaning indie pop vocals, which synergise with the summery melodies.

As a true troubadour to the diehard romantics, Shaw knows exactly how to pull you into his panoramic narrative of infatuation that rings with hints of 00s indie pop nostalgia. If you’re a big fan of bands in the vein of Bright Eyes and The Shins, you’ll be downright sycophantic for ‘Bus 2 Nowhere’.

Before making waves in the music industry, Robin started off as a street dancer at age 16, which included appearances on Britain’s Got Talent. He established himself as a singer-songwriter after an audition in Soho, and began his career with Regent Street Artists, eventually moving to work independently. Now, he records across a variety of studios in West/Central London with his producer, Chris Hall.

Robin Shaw has been a hit with music lovers and critics alike after his tracks have been transmitted on BBC Introducing Norfolk and Suffolk, South Devon Sounds, Islington Radio, Watford VIBE FM as well as reaching Global stations in Ireland, Ohio, Toronto, Helsinki, Canberra, Los Angeles and many more.

With his new release, he’s one step closer to sealing his fate as one of the most accoladed singer-songwriters of his generation.

Stream the Acoustic Version of Bus 2 Nowhere on Spotify now.

Review by Amelia Vandergast

ARCTISKY Talks Music Therapy in an Exclusive A&R Factory Interview

In this interview, ARCTISKY opens up about how his passion for mental health awareness is deeply woven into his sound. He speaks candidly about his personal experiences, shedding light on the importance of positive self-talk and its impact on mental and physical well-being. His commitment to mental health isn’t just a topic he touches on—it’s the foundation of his music. Through his lyrics and soundscapes, ARCTISKY offers listeners a space for reflection and healing, blending his emotional depth with eclectic influences, creating something deeply personal and powerfully poignant. 

ARCTISKY, your latest single, My Relief, which hit the airwaves on September 6th is inexplicably sublime. We’d love to dig into the emotional underpinnings. Were there any personal experiences which inspired the track?

Yes, definitely! I’ve had to channel experiences from some extremely strange and dark places. Funnily enough, when I wrote this song, I was still in a state of not being able to understand this side of the emotion spectrum fully. Whenever I was dealing with anything, I’d usually work through these things with the help of music ‘cos I felt like self-reflection was what I needed over anything.

We always get bombarded with so many different opinions of how you should treat yourself and others, we usually tend to lose sight of what’s the healthiest thing for our mind, body and soul. This song quite literally came out of two different times I was admitted to the hospital for health complications I faced during lockdowns, where the last visit was close to being a fatal call. These things give you quite a bit of perspective on how you may want to spend your time on earth.

What was the core message of the song?

“Self-talk matters.” Yeah, I cannot emphasise enough how important it is to mind how we speak to ourselves. A lot of us are not mindful of what our internal dialogues are saying to us. If left unchecked, your mind is susceptible to all sorts of hijacking, and it’s quite literally like training a muscle. We must make it a priority to be our own best friend first, otherwise, the mind will absorb fear and doubt from the haters and naysayers around us, and use it as jet fuel for self-sabotage. It really doesn’t help when people around you are enforcing these, even if it’s just mindlessly repeating some things they’ve heard. It’s crucial for us to safeguard what we allow into our minds so that we don’t let others affect our thinking.

We must be able to judge what’s best for our own health and mental well-being. If our minds are getting too overwhelmed, they will manifest into physical illnesses. The mind and body work hand in hand – it’s all connected. You can’t have a healthy mind without a healthy body, and vice versa – it’s ignorant to think otherwise. Once you get your mind and body right, the soul naturally follows. It’s all a flow. We should do our best to eliminate all internal suffering and convert or channel that energy into the positives we can bring to the people around us. Positive self-talk is key.

How important is it for you to advocate for mental health awareness through sound?

I would say it’s what gives these projects their foundational pillars. I grew up in the Maldives, where the concept of mental health has just only started taking off at a rapid speed. I feel like it’s mainly due to the highly conservative side of the population that would shut anything up before it could even be discussed. I always saw a lot of people suffer due to this – where the prison system never treats the mental illnesses of the prisoners, and are run through what’s more identical to a brainwashing program on the weak – which in turn breeds a lot of mentally unstable victims of injustices to be released back into society without the proper care or systems in place to actually heal them. It’s extremely dehumanising, and inhumane in my view. The whole prison system is a wreck, and doesn’t even abide by ‘The Nelson Mandela Rules’. Demonised for basic human shortcomings, and anything that’s not in line with what they say, and all of a sudden you’re… It’s so f**kin’ sad, it’s ridiculous. Like quite literally using fear to bully an entire damn nation, and mental health is scrutinised as a weakness because the people in power are afraid that people may find their way to the knowledge that will help them arm themselves against these political manipulations and further efforts to prime social conditioning.

I honestly do not know where on Earth I’d be if it weren’t for music. Songs have spoken meaning to me, and some of the lyrics I’ve heard over the years have been a therapist to me more times than I can count. I’d always feel a whole lot of relief in my subconscious after spending a bit of time with some of my favourite songs.

What would you say to anyone who struggles to find self-compassion?

You’ve got to stay true to what you know is best for yourself, and then the people you love. Remember, you cannot love anyone else if you don’t love yourself first. The more we seek validation outside of ourselves, the further it gets away from us. The only form of validation we need in this world is our own. Once we can validate our self-worth to ourselves, there really isn’t a lot we need to do except guard our energy from those who may come to steal or drain it. You are going to be a reflection of the 5 people closest to you, so selecting your people wisely is crucial in my view. It’s better to spend time building yourself for a better future and life than trying to impress people you’re not even sure you like in the first place.

Most people hide behind masks, and it’s really not that difficult to move forward knowing that almost everyone’s got their own sh*t – so leading with love, respect, compassion and empathy not only makes it easier for yourself, but collectively allows us all to show each other a sense of love and care on a communal level. Always be kind to yourself first. The world is already full of so much suffering, and you shouldn’t be adding more pain and suffering to yourself with your self-talk. Stand up for what’s right, but don’t exhaust yourself in the process of fighting for something you have no control over.

Which artists did you draw influence from while orchestrating the single?

I feel like a bit of that old-school alt-rock/grunge may have influenced this track quite a bit actually. Okay, so here’s a blend of some influences that are in the ballpark – a bit of Daughtry, Pearl Jam, Alice in Chains, Nirvana, Staind, Chris Cornel, Linkin Park, Creed, H.I.M., Lifehouse, Seether, Velvet Revolver. Also slower tracks by Metallica, John Mayer, Bob Dylan, a bit of Johnny Cash and probably a lot of the official soundtrack from the ‘August Rush’ movie – I love all the tracks in that motion picture. The blend’s just full of so many different flavours – I do have trouble pointing out exactly what it is. I feel like it’s just one big blob of everything I grew up listening to if I’m being honest. I’ve lost track!

How did you interplay influence with your own artistic identity?

I just end up blending the sounds to a stage where I get my selected palette of sounds to communicate with one another in the tone of whatever emotion/mood I’m trying to get out of the music. I feel like a lot of the work that I do feels like painting with colours, and looking at sounds through the visual lens really helps me conceptualise what I’m working with.

Other than that, I feel like there is just no way something can’t feel authentic and soulful if it’s a projection of real and authentic experiences. I definitely do my best work when I’m channelling exactly what I was feeling in the moment of the experiences that I write about. It needs to be authentic and real. You need to be able to visualise exactly how you are feeling.

An artist’s own feelings and emotions are their strongest tools for originality, and I live by that. The type of work that I do is really not something I can rush, and I do have to let ideas simmer and even let them marinate for a while before I can treat them more. It’s funny cause I treat my music like they’re my children – it goes through all the stages ’til it grows up and is ready to move out.

We love the tonal juxtaposition the gruff spoken word segment introduces, what inspired you to include this in the track?

I believe it came from wanting to emulate a half-baked numb mood with the music. I ended up wanting to retrograde the chords in that section and still wanted to maintain that washy sound as much as possible. When I ended up reversing some of the guitar layer, and flipped it – it gave the whole section this laid-back and cruisy motion where I got to just throw some light and sexy licks on top. The washy ‘verb tying the guitars together is what really makes this section almost sound a bit wet and slippery, and slightly purple. The message reflects a bit of a questionable dialogue with oneself before going down a very interesting rabbit hole (rabbit holes that open up the doorways of perception-type things).

Who did you work with on the production?

I played everything on this track and produced all of it, like most of the songs on this album (unless I want to have that unique flavour for BVs, unique instrument features, or if it’s a collaborative track). In addition to that though, I always pass my work on to my trusted mixing and mastering engineer, Alex Emrich, who’s based in Canada. I completely trust him to take my tracks to the finish line, and working with him has always been a pleasure.

What’s next for ARCTISKY?

I believe I’m getting ready to take these songs out for live performances soon. Currently, I’m exploring how flexible I can be with the music that’s already written. I’m open to being flexible and reimagining my sound to suit whichever venue I may perform at, and cater that sound to the energy of the venue.

There’s been so much I’ve had to rewire about live performances from the ground up, and I know for a fact I won’t take these songs out to live venues until I’ve tightened up all loose ends on the performance side of things. Obviously, it’s in tiers when it comes to the scale of productions. How you treat one thing is how you treat everything, so yes, I’m definitely not just gonna do it for the sake of doing it! I’m still on the lookout for the musicians who will occupy the spots in my lineup – who will help me fully bring these ideas to life. I’m extremely pumped to see what lies ahead on this journey, and I’m just keeping my eyes on the target, no matter how wavy it may get. So yeah, hopefully a lot of good comes out of all this output!

Stream My Relief on Spotify now.

Connect with ARCTISKY to stay up to date with his latest releases on Instagram.

For more info, head to the artist’s official website.

Review by Amelia Vandergast

Celine Georgi serenaded her sycophants in her pop hit, Fan of Mine

RnB Pop revolutionist, Celine Georgi, hit the ground running with her seminal EP, Serendipity I. A standout single on the EP, Fan of Mine, is a rhythmically cultivated earworm which exhibits the euphonically evocative power in her ethereal vocal lines and is sure to leave swathes more sycophants kneeling at her altar.

The track kicks off with a wavy, delay-saturated prelude that gently sweeps you into its sonic sphere, followed by Georgi’s cinematic harmonies which seamlessly meld with a solid, rhythmically gripping beat. As you follow the melodies through the narratively rich synth pop tour de force, the beat punctuates pulsative gravity into the track which mirrors the quality of Hollywood Blockbuster. The balance of snare hits and bass drum punches drives the track forward, carrying all the momentum you could hope for in a dance pop hit.

As the music washes over you, there’s a palpable sense of euphoria paired with an urge to hit replay. For anyone chasing the sound of summer, look no further; Fan of Mine will resonate far beyond the season.

Fan of Mine is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Mars Playground carried an arsenal of earworm potential in his alt-pop hit, ‘S.O.S.’

Mars Playground, helmed by Chris Dixon, embarked on a bitter-sweet alt-pop exploration of angst and existential rumination with his latest track, “S.O.S.” The South Florida native melded the nostalgic beats of mid-2000s hip-hop with the crisp innovation of modern bedroom pop, set to the pace of hyper-pop while touching the raw nerve of pop-punk to craft a boldly original sonic profile worthy of drawing comparisons to the likes of Dominic Fike and Post Malone.

The icon of genre fusion synthesised trap’s rhythmic dynamism and indie’s subtle introspection to create a masterpiece of modern sound which oozes commercial potential. After initiating with percussive breaks that nod to the likes of Alexisonfire, the song subverts expectations with its euphonic pop aesthetics which envelop an emotional upheaval wrapped in a veneer of sticky-sweet melodies that cling relentlessly to memory.

As Mars Playground continues to chart a course towards critical acclaim, S.O.S. is yet another testament to the resonance of his boldly candid sound. The universal plea for solace amidst chaos sends a lifeline, woven with the threads of his vibrant, varied influences and the unvarnished truths of his journey.

S.O.S. hit the airwaves on August 28th; stream the single on Spotify now.

Review by Amelia Vandergast