Monday, September 30, 2019

“Human Contact” by The Howl & The Hum – A Song Feature


     “Human Contact” is a hook-filled single from The Howl & The Hum. The song is powerful from every dimension. Sometimes alone and more often in combination, the percussion, guitar, and bass drive “Human Contact” with a conviction to purpose. The same is true of the vocals during the verses, while the higher pitch, more relaxed chorus chant of “human contact” provides contrast.

     The Howl & The Hum is based in York, UK. The members of the band are Sam Griffiths (vocals, guitar), Conor Hirons (guitar), Bradley Blackwell (bass), and Jack Williams (drums).

     “Human Contact” by The Howl & The Hum


Lyrics of “Human Contact” by The Howl & The Hum
On Monday night I escaped my cell
A peculiar hell I had built myself
I stumbled out into the high street rush
[All I’m craving is a human touch]

Cos I’ve been trying to get my head screwed tight
Away from people, away from life
Now I don’t know what kind of world I’m from
But it’s not this one, no it’s not this one,

All I need’s a little
Human contact [4x]

Well, I see flesh reacting, I hear skin and bone
I see bodies and bodies and fingers on phones
Digits digitizing singing knuckles on ass
I feel like I look out at the world like through glass

Until one day our eyes meet and combine
Two bodies, two hosts gracelessly intertwine
There’s something so strange about feeling alive
There’s somebody home and they’re deathly deprived of

Human contact [8x]

I see a hand reach out
I see a leg reach out
I see a limb reach out
But I know it’s nothing to die for, die for
Give me your hand reach out
Give me your hand reach out
Give me your hand reach out
To you give me something to die for?

Something to feel alive [Repeating]

Saturday, September 28, 2019

Tiz McNamara - Free Saturday (“FL&R”)

     Finding songs that can be legally downloaded is easy. The difficult task is to find legally downloadable music that we recommend. Our plan is to post at least one Free, Legal and Recommended (FL&R) song each Saturday.

     The Facebook page of Tiz McNamara identifies his “hometown” as Cork/Liverpool. The Soundcloud site indicates that he is now in Toronto, Canada.

     “Days Like These” by Tiz McNamara - from his upcoming EP "April Fool," scheduled for release on April 1, 2020.

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

Lyrics of “Days Like These” by Tiz McNamara
All it takes is just a little faith
No one ever taught me how to pray
On my knees now, God for goodness sake
Just show me what it is I need to say

I'd go anywhere for days like these
I'd do anything just to stay right here

26 years on and nothing's changed
You say it's cause our lives got rearranged
I thought we'd fall in love or settle down
You weren't here the last time, when I looked around

I'd go anywhere for days like these
I'd do anything just to stay right here
I'd go anywhere for days like these
I'd do anything just to stay right here

I'll give you everything
I'll give you every piece of me
You just wait and see
You give me every piece of you
I'd never want you to
I never needed you

I'd go anywhere for days like these
I'd do anything just to stay right here
I'd go anywhere for days like these
I'd do anything just to stay right here
I'd go anywhere for days like these
I'd do anything just to stay right here

Friday, September 27, 2019

“Of Valleys and Hills” by Highland Sanctuary – A Song Feature


     The wind instrument gives “Of Valleys and Hills” a Celtic feel, but Highland Sanctuary is a Swiss Indie project. The instrument is the tin whistle and the source is Simeon, a multi-instrumentalist from Berne. But the term “Highland” does telegraph his use of Irish Folk sensibilities. Quoting the Soundcloud content:
  In this song he poetically describes the ups and downs of a relationship. Highland Sanctuary: “The path is the goal you have to hold on to from the past to the present and into the future. The way leads over hills and valleys and exactly these roller coaster rides promote and strengthen friendships enormously.”
The result is a wonderful, cheerful song – a tribute to friendship!

     As a child, Simeon attended piano and percussion lessons and at high school he also had guitar lessons and acquired music theoretical knowledge. Afterwards, he deepened his knowledge and skills at the University of Music. As versatile as his father, who is a professional musician, Simeon taught himself other instruments such as electric bass, contrabass, banjo, alto saxophone, trumpet and tin-whistle.

     “Of Valleys and Hills” by Highland Sanctuary


Thursday, September 26, 2019

“Low Down” by SHAYNA ZAID – A Song Feature


     The timbre and range of her voice are striking! That’s the takeaway conclusion following an introduction to “Low Down,” a single from SHAYNA ZAID. Her voice is equally pure and comfortable across an impressive range, even within a single lyrical line. Then, additional plays of the song carry an increasing appreciation of the other elements of “Low Down,” particularly the instrumental accompaniment.

       “Cinematic” is the common theme in content about the music of SHAYNA ZAID. If that term is defined by a sliding scale of (1) depth of individual contributions, such as harmonization of the vocals, (2) texture created by the contrasts among the various contributions, and (3) ability to evoke emotion, we agree. “Low Down” is not texture-heavy, but it is strong on drawing out the target emotion. The song is “a ballad about loss and betrayal; colored with haunting/ethereal vocals against an orchestral backdrop.”

     The piano isn’t complex, but is effective in enhancing the emotion within the vocals. The chords are sustained. The sustain pedal on the piano is depressed, prolonging each sound and allowing the strings to vibrate sympathetically with each other. Similarly, the percussion is intelligent, which is not a description we often associate with percussion.

     Shayna Zaid is based in Los Angeles, although she elsewhere. She is from Kuala Lumpur, Malaysia, and has spent time on the East Coast – attending Berklee College of Music in Boston and residing in New York City. She is currently working on new content and releases with her team, under the moniker STEREΩMAZE. Her songs have been placed in campaigns for brands such as Ford, Dulux, Hershey's, Kohls, ADT, ING, Bealls, Zales, Cotton, 23andMe and Lord & Taylor. Shayna's music has also been featured on numerous TV shows, films, and movie trailers, including The Invisible Sign (feat. Jessica Alba).

     “Low Down” by SHAYNA ZAID 


Wednesday, September 25, 2019

“For The Very First Time” by Joel Stewart – A Song Feature


     The start of “For The Very First Time” is ambient in nature – setting a tone of contemplation. The instruments are gentle, intimate and acceptably repetitive. The backing vocals are pulsing. The voice of Joel Stewart enters with an announcement, “I wanna tell you something, it’s on my mind.” Later (at 2:15), there is a well-executed bridge that finishes with a slow building bridge. But it’s the final minute that features the most aggressive instrumentation. The song possesses a charm from start to finish, but the characteristics of the charm vary as the song progresses.

     “For The Very First Time” by Joel Stewart, a UK vocalist/songwriter from Hertfordshire. 

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

Tuesday, September 24, 2019

“Loving Is The Way” by Alex McArtor – A Song Feature


     Alex McArtor flexes various musical muscles in her song “Loving Is The Way.” Each muscle is surprisingly well developed – surprising because she only had 17 years to exercise them. The single begins soulfully. The piano-supported emotional description of the state of a relationship touches upon Amy Winehouse. Later, the song is aligned with Synth Pop sensibilities hardened by Rock elements.. But at 3:10, “Loving Is The Way” briefly enters a minimalist mode that ends in a “moment of silence” before the high energy return.

      Quoting context about the single, “In the new track 'Loving is the Way,' Alex proves she is nobody’s toy. Written after breaking off a long relationship, the infectious tune was penned in an act of rebellion at the thought of feeling owned.”

     “I was always into alternative bands like the Jesus and Mary Chain and artists like Lou Reed, Bob Dylan, Neil Young and Led Zeppelin,” she says. “Plus, I grew up in Austin, which is obviously a musical city. All that inspired me.”
     McArtor would spend her downtime from school writing poems, singing and eventually “grabbing a guitar and experiencing teen angst,” she laughs. She eventually played her parents some of her songs — and they were impressed.
     For lyrical inspiration, McArtor takes a rather unique approach, “I’m really into film — that’s a passion of mine — so sometimes I’ll write songs over photographs or scenes from movies, like Trainspotting. That way, I can kind of ‘see’ things moving.” (Speaking of good taste, McArtor credits films like Velvet Goldmine, Garden State and My Private Idaho for providing musical inspiration). That said, there’s always a personal statement at the core of McArtor’s music.

     “Loving Is The Way” by Alex McArtor


Monday, September 23, 2019

“Manic Upswings” by Miniature Tigers - A Song Feature


     The guitar is aligned with characteristics of Robert Smith (The Cure), but the vocal approach clearly distinguishes “Manic Upswings.” The guitar attracted our attention; then, the tempo and vocals ensured continued engagement.

     Miniature Tigers is formed of Charlie Brand (lead vocals, guitar), Rick Schaier (keyboards and guitar), Algernon Quashie (guitar), and Brandon Lee (bass guitar). They are based in Brooklyn, New York, but their Facebook page identifies their “hometown” as LA, NY and AZ.

     “Manic Upswings” by Miniature Tigers


     An adjustment:
We posted a song that wasn’t reposted by Hype Machine for reasons unrelated to Hype Machine ("our bad"). To give the song its due promotion, here is information regarding “Dark Days” by Huw & The Greater Good. The original post is available at CLICK HERE

     “Dark Days” begins with soft-spoken vocals that urge an upward volume adjustment. Later, the appeal of the song prompts a second upward adjustment. More importantly, “Dark Days” is constructed to withstand the test of time, since the song’s powerful foundation supports less apparent features that are discoverable with repeated listening. For example, early in the song, shortly after the lyrics state, “Forgive me for what I have done,” a church-ready organ joins the rhythmic guitar and the description of being “saved” (from my dark days).

     The song from Huw & The Greater Good is not a religious revelation. But “Dark Days” is Soulful and somewhat confessional. Among their influences, the band lists Edward Sharpe and the Magnetic Zeros. “Dark Days” does reflect that influence; still, it is more aligned with the powerfully presented self-realization of “S.O.B.” by Nathaniel Rateliff & the Night Sweats.

     “Dark Days” by Huw & The Greater Good


Friday, September 20, 2019

“Dark Days” by Huw & The Greater Good – Song Feature


     “Dark Days” begins with soft-spoken vocals that urge an upward volume adjustment. Later, the appeal of the song prompts a second upward adjustment. More importantly, “Dark Days” is constructed to withstand the test of time, since the song’s powerful foundation supports less apparent features that are discoverable with repeated listening. For example, early in the song, shortly after the lyrics state, “Forgive me for what I have done,” a church-ready organ joins the rhythmic guitar and the description of being “saved” (from my dark days).

     The song from Huw & The Greater Good is not a religious revelation. But “Dark Days” is Soulful and somewhat confessional. Among their influences, the band lists Edward Sharpe and the Magnetic Zeros. “Dark Days” does reflect that influence; still, it is more aligned with the powerfully presented self-realization of “S.O.B.” by Nathaniel Rateliff & the Night Sweats.

      Huw & The Greater Good are based in Leeds, although the members are from various areas of the UK. They are Huw Edward Thomas (vocals, guitar), Mak Dawson (bass), Callum Stubbs (drums), Luke Marley (keys), and Sam Jarps (guitar). Quoting content from the band’s bio:
  Songs of self-discovery triumph and heartache inspire audiences to throw down their inhibitions like never before. They deliver – live and on record - nonstop, heart-on-sleeve, electric moments. Huw & the Greater Good are a band fast gaining momentum as one of the UKs most exciting acts and have only just begun. With a debut EP due for release in Spring 2020 and a further set of headline dates to be announced, the next 24 months are set to be huge – all for the Greater Good.

     “Dark Days” by Huw & The Greater Good 




     Four of the five members performing an acoustic version of “Under You.”

“Here We Go Again” by Big Little Lions – A Song Feature


     Their music has a beautifully full texture and the voices of Big Little Lions seem specifically tailored for each other. While both are pleasing, the female voice has a smoother, softer feel. But it’s the difference between the two that set Big Little Lions above other skillful harmonization pairings. The voices belong to Paul Otten and Helen Austin.

     In their song "Here We Go Again,” the instruments are many and varied. For the first minute, the drums are forceful and the guitar delicate. Then, the sound of a banjo enters, along with hand claps. The song, which is from the upcoming album “Inside Voice,” never stays in one place long enough to release the attention of the listener. And the lyrics are intelligently crafted. The song is about continuing on, as best conveyed by the two sentences: 
Little by little, bit by bit,
that’s how you eat an elephant.
I’m gonna need to rest,
but I won’t quit… building my pyramid.
   
      Big Little Lions are comprised of the songwriting duo of Paul Otten and Helen Austin. They identify their “hometown” as Comox Valley (Canada) and Cincinnati, Ohio (U.S.). Quoting a description of their soon-to-be-released sixth album:
   "Big Little Lions return with their latest album 'Inside Voice' (Oct 4th, 2019). The award winning band from Cincinnati, OH and British Columbia, Canada have been described as ‘a blissful marriage of new folk and sophisticated pop’. 'Inside Voice' is a new collection of infectious folk pop songs that are jam-packed with emotion and tight harmonies that sound like the product of two people working side-by-side instead of living in different countries. The album digs deeper than their previous work, taking on topics around mental health but in a way that leaves the listener feeling optimistic."

     “Here We Go Again” by Big Little Lions


     The song's video is a time lapsed sequence of “stage” setup, with a short break to play cornhole - interesting to watch.

Thursday, September 19, 2019

“To You, For Her” by Jordan Lindley – A Song Feature


     “To You, For Her” from Jordan Lindley characterizes music in the mid-1960s. At the start of a four-year period, the Folk revival was a force. The revival was driven by songwriters such as Bob Dylan and Joan Baez, and by groups such as The Kingston Trio. Electric guitars were accepted (perhaps tolerated), but were not featured. Then, Dylan and two members of the Paul Butterfield Blues Band brought electric guitars onto the stage at the 1965 Newport Fold Festival, and the change was underway. It certainly wasn’t immediate and "old-school Folk” never died, but Rock became a major influence for musicians who otherwise would have been destined for traditional Folk.

     At the start of the Jordan Lindley single, the focal point is on the vocals, as the relationship with a promising new love interest is described and compared to the current relationship. Electric guitar is important, but is assigned a lesser role and is limited to “clean” play without the playing techniques and sound processing that characterize Rock. That changes a little more than two minutes into “To You, For Her.” By the 2:34 mark, the guitar has broken the chains.

      In talking about the song, Lindley explains, "'To You, For Her' was the last song that I wrote for this upcoming EP. It was written in one of those in-between-phases where you’re not so sure about a new relationship because you’re still caught up in the last one. Anytime I felt that my new flame was getting closer and falling harder, I felt scared and pulled away. My struggle has always been letting things happen; going with the flow; relinquishing control. Simply put, this song is not only a statement to my new partner, but to myself: that I will try it. I will try to let myself go with it, because right now it is good. It made sense for this to be the lead single because it is a declaration that I constantly make to myself now – just try it."

     The EP, “Look Back,” will be released this Fall. Jordan Lindley was born in Oklahoma City, but moved to Nashville, Tennessee to attend Belmont University. Coincidentally, this is the second post this week in which a Belmont alum is featured (the first was RAEYA).

     “To You, For Her” by Jordan Lindley




Lyrics of “To You, For Her” by Jordan Lindley
So, I met someone
It wasn’t instant
In fact it’s still something that I’m on the fence with
She said she’s falling
So I keep my distance

She’s really something
For instance,
She’s unforgiving in the way that she listens
But I keep stalling
‘Cause you two are different

You never gave yourself permission
to acknowledge what was missing
and allow yourself to give in to the way that you felt
I gave you all of my attention
Never even stopped to get it
That the life that I was living was for somebody else

A lesson I won’t miss
I won’t treat her like you did me

She don’t know me like you, but she wants to
She’s got nothing to prove, but she’s going to
She sees something in me, and she says it every day
Every day
And when I think I’ll blow it
Wouldn’t you know it
She stays

She’s got me thinking, maybe love
wasn’t what I thought it was
You can want them how they come
You can need them just because
And when I give her my attention
She takes it as it’s given
Never asking me live a way that’s not what I want

No
She don’t know me like you, but she wants to
She’s got nothing to prove, but she’s going to
She sees something in me, and she says it every day
Every day
And when I think I’ll blow it
Wouldn’t you know it
She stays

I’ll try and
I’ll keep on trying
I’ll keep on trying
I’ll keep on trying
[Repeat]


She don’t know me like you, but she wants to
She’s got nothing to prove, but she’s going to
She sees something in me, and she says it every day
Every day
[Repeat]

I’ll try and
I’ll keep on trying

Wednesday, September 18, 2019

“Thin Ice” by Gypsy Circus – A Song Feature


      Each aspect of “Thin Ice” is dynamic. The guitar begins with a crisp, clean notes, then gets progressively more forceful before returning. The vocals follow suit, while the percussion drives the transitions.

      The single from Scotland’s Gypsy Circus remains praiseworthy as it moves through its different musical postures. Quoting content from A Badge Of Friendship:
  Stylishly combing indie, rock and pop, the quartet effortlessly bridge the gap between contemporary and classic rock sensibilities. Opening with chiming guitar segments and a snappy drum beat, Thin Ice builds energetically throughout, culminating in a euphoric chorus perfectly complimented by the gravelly, emotive vocals of Aaron King.

     The members of the Gypsy Circus are Aaron King (vocals), Michael Mackay (guitar), Shaun Alderman (bass), and Calum Thomson (drums). 

     “Thin Ice” by Gypsy Circus