Finger-picking is a great folk-addition, but with this particular case I'm real curious to see Paul live. The guitar shows purity, his vocals and lyrics show passion, and if he can pull them off, alone, in a live setting, there's no way this guy's making it past the year without recognition. Granted, I don't love every track on the album, but the talent is there whether I like the song or not.

I think one of the best tracks to show it all off is The Legend of Mick Dodge. A bit of melancholy evenly sprinkled throughout the song, culminated with the talent and melodies to make a slightly progressive (very slightly) folk track.



Not all of his compositions on here are this elaborate, or this propelled into artistic depths. Here we have a quality of guitar style that you won't see on many of the tracks with lyrics, and you'll probably note some more in-depth musical quality on those few instrumental tracks. At heart, Paul Doffing is more of a singer-songwriter than a musician, though he represents both of his sides excellently.

It's fortunate he doesn't dedicate so much evenly distributed talent on the album. With what he's got going on, it'd get a little boring. Songs from the (quaking) Heart is great thanks to its simplicity, thanks to its versatility of craft, and only because he understands his capabilities and when to stop. Listening to this album all the way through is as enjoyable and effortless as burning some good incense and waiting for it to burn away.

http://www.d4am.net/2015/06/paul-doffing-songs-from-quaking-heart.html
Stream/Buy @ Bandcamp
The album has the capabilities of being a small success. It's a short breath of originality away from booming through indie-folk obsessed speakers around the globe. It's not a lack of inspiration or imagination that takes away from the effort, but it is missing some guidance and order. Nothing a little practice or another release won't fix, and nothing to stop you from enjoying this album from start to finish.

Stream it, like it, buy it if you can. Show your support otherwise by tagging along on Facebook and Twitter. Catch him live if you're in or around his area, and go to his website to check how close he might be.
Earlier this year we shared some of Iglomat's post-rock-y goodness on our socials, and now they've released their third album. To be completely honest I'd forgotten the sound. They kinda aim for that instrumental post-rock purity that can be strong without getting too complicated.

There's a couple of singles on there that stand really well on their own. I feel they express the album's goal relatively well, which is especially nice considering most every other song is better off heard with the album in its entirety, to be properly enjoyed.



Elgato Elgato will eventually feature the first set of vocals on the album, this time provided by 7 year old Noah Macdonald. The contrast between such a tender voice and the music is what begins to give the track form, or the right kind of life, and the way it progresses afterwards shows clear vision on the band's behalf.

The album is pretty similar in that forward progression, but it's much slower. Short tracks will take their sweet time to make a change, and the changes in style are very much so blended into each other. It's not the best listen for everyone, but if you have the time and you enjoy instrumental rock, at least the stream will be worth it.

http://www.d4am.net/2015/06/iglomat-iglomat-iii.html
Stream/Buy @ Bandcamp
My thoughts on the actual genre as the track list went by, ranged from industrial-folk, lullaby-rock, melancholy, flat out electronic, and traditional post-rock. I guess it's got a delicate, sometimes sad tone to it, but that's just this album's life. It has character.

If you enjoyed today's track or have a thing for instrumental post-rock, you have to stream this at the above Bandcamp link. Thank me later. You could also kinda keep up with them on Facebook.
Indie folk is one of this era's most saturated genres. It's relatively simple to create (and have it sound right,) and it allows plenty of room for error. It starts to become normal, boring, monotonous, until bands like Tiny Rhymes come along with their classical training and impressive resume of musical work. What I love is that it's never overdone, folk rarely has to be, but when they do push their talents through, even just a little bit, it makes for magical moments.

The EP is quick to catch your attention if their sound's tailored for you, so don't worry about waiting for the good stuff. This is them, they can be a little cute sometimes, they can be very effective at others, and the sound is generally very classic.



That magical moment was clearest to me on Gold Mountain. It's a very subtle song, not much is really happening, and at the same time talents are being carefully measured to make an excellent track. Next favorite is Oh, Amaranta! which immediately follows it.

Folk isn't really my thing, it does take something special to catch my attention and Tiny Rhymes have provided. I'd be excited to find out about a future release and how they've incorporated their talents into it. Until that happens, I'll just tag along. You can find Tiny Rhymes on Facebook, Twitter, and Soundcloud.
Earlier this year I first heard Busty and the Bass. Their single, Right Kind, was a promising display of the album to come. A funk-tastic hip-hop based bass driven sound emerged from a four minute track, and the prior EP contained enough talent to lift spirits.

Well, GLAM is finally out, and it's a pretty great listen. There's some over-produced moments, but for the most part we've got a band fitting themselves into a pretty tight space. They don't just let their influences wander, they try and concentrate them into one busty effort.



The last track on the album is, in my opinion, the next best single. It shows the packed energy and the life that springs from it, the bass driven dance-worthy beats, and the production. The production is actually key to their sound right now, it becomes them, but I still wonder where they'll head with it.

The rest of the album pulls through pretty nicely. There's some variety, one of my favorite tracks, Light Blu, has a bit of a reggae twist. There's also (once again) a killer instrumental track titled "Models II", if you like lyric-less music you should definitely keep an eye out for that one.

http://www.d4am.net/2015/06/busty-and-bass-glam-free-download.html
Soundcloud | Free Download
I highly recommend at least the stream, especially considering how very free it all is. They're not even asking for your email, there's nowhere to turn to for donations, this from them, for you, and the least you could do is give it a quick listen.

If you like it, share it with likened minds. Show your support to the band by showing up to their events if they're ever near you. You can also up their numbers on the socials; you can find them on Facebook, Twitter, and Instagram.
The first time I heard Stratus wasn't too long ago, and it was his The Collider single. It was nearly five minutes of EDM party-starting goodness, and it was free (it still is.) I was expecting something very similar when I heard there was an EP out. The results, however, were a little more interesting, as far as I'm involved.

The first track, Fokya, set my expectations apart. There's the build up, a very very long build up, and a peculiar trap-meets-dubstep drop. Not everyone likes the sound of heavy machinery getting its freak on, but those of you that do should be extremely satisfied with at least that first track.



Next is what I consider the decrescendo, Grim Ripper. It's a decent track but it didn't really wow me. When not compared to the rest of the EP, the fact that its original definitely adds some character to it, but having the surrounding tracks really stumps some of the magic.

It'll end with the title track. Now, there's a bit of bias on here, since I'm 90% sure there's a Bloody Beetroots Warp sample defining the Juiced drop, but even without that chunk the track holds its weight. The only downside to all these tracks is that they're so ridiculously aggressive. Aggressive is great if the mood fits, but the EP doesn't welcome a change of mental pace, and I find that to be a real shame.

There's no telling where the Stratus future leads, though. This is just an EP, a free one at that. Whatever tricks he might have up his sleeve, I wanna be around to catch 'em. If you're as curious as I am, tag along. Find Stratus on Facebook, Twitter, and Instagram.
AM & Shawn Lee recently offered this synth-based psychedelic electro-soul album, and I've just finished listening to it a couple of hours ago. The effort is as unique as it is talented, with subtle varieties outside of synth composition that make the entire listen a smooth one.

Today's feature track won me over immediately. The very first song on the album's track list is this ultimate modern funk-synth blend. It runs a little long, but it incorporates a lot of the best the duo have to offer, and manages to maintain quality similar to it throughout the album.



The aptly titled Persuasion is a feast for the ears, a sudden rush of sound will emerge from the synths, the ambiance will build, and the vocals kick in with the right kind of sway. By the time the bass kicks in, you've been sucked into the sound.

Persuasion isn't really a clear idea of what the album tries to do, though. It just shows the duo's possibilities. Singles like Nightshine show the album average nicely. The effort is more of a fun and bubbly effort than it is a pedestal for their talents. They're both well aware what they can do, they're just having a lot of fun while they do it.

http://www.d4am.net/2015/06/am-shawn-lee-outlines.html
Stream/Buy @ Bandcamp
Even when a song starts the path and wanders onto pop or commercially-average territory, it never stops being a delight to the ear. AM and Shawn have got a chemistry to them that stops them from wilting upon experimentation, which means we get to hear it all without growing tired. From Afro-percussive roots, to '80s influence, to even a bit of downtempo.

If you like what you hear, buy it. Buy it quick, too, there's all kinds of limited edition material on their Bandcamp that you'll want to be a part of. Otherwise keep up with both of them on Facebook or Twitter.


AM & Shawn Lee were one of D4AM's Top Picks of 2015 for this effort.
Vocal jazz in these times is often commercialized and distorted into something for the background, or into something more fitting of R&B. Gracie Terzian graces us with her take, a more classic ideal is displayed and a nod to several sub-genres, allowing the listener plenty of room for admiration.

Her beautifully delicate voice weaves through melodies in such a way that seems effortless. It's because of her talents, and because there's only two publicly available tracks, that today's featured track was such a difficult decisions. In the end, I think the title track is the most accurate Terzian representation.



Saints and Poets is a suave but intricate musical display. Its purpose is mainly to lift her voice, but you can tell the a capella track is an item of beauty. Pay mind to the swaying melody and the elegantly composed lyrics. By no means do I consider it perfect, but it's an original jazz piece with a lot of potential, if it gets the right air time.

If you wanna see how she becomes versatile while keeping the same carefree warmth, definitely check out the other single, Sleepwalker, on Soundcloud. It's got a bit of a bossa touch, and makes better use of her band's talents.

http://www.d4am.net/2015/06/gracie-terzian-saints-and-poets.html
iTunes | Amazon
To debut a jazz EP with nothing but original compositions is admirable. She shows hard work, dedication, and amazing levels of creativity. Wells Hanley co-wrote the music and has a lot to do with the ease of listening as well. There's room for improvement, I suppose. I'd love to see her live, to see if the emotion ever reaches a higher peak, and I'd really love to see either a bigger band or a more well knit one backing her. The vocals on their own are enough to sell this album, the music is great enough to lift it that much higher, but with a little more help it could have been absolutely stunning. I also wish there were at least a couple of standards in there to lift the effort from EP to a more engaging full length.

These aren't complaints, it's how I see it. This album is just one step in a long and bright foreseeable future for Gracie, and I'm sure each step to follow will be that much better than the last. If you're curious to keep up with her, follow along on Facebook, Twitter, or Tumbler.
I've often criticized American reggae for facing away from the roots and nurturing the radio-friendly pop-ish vibes. The Expanders' latest album is a step in my kind of direction, inspired from early roots reggae but composed with the technology and wisdom of our present.

World of Happiness is the lead single, in this case that means it's the only song you can find through any of their mediums from the album. Initially that was upsetting, but over the past few listens I've found that this song defines them extremely well. The track allows a clear view of their musical capabilities and style, and contains lyrics that are catchy without offending the listener's intelligence.



I think it's the lyrics that helped win me over. I enjoy them the same way I enjoy them when I listen to Queen, and this is added to the fact that the music is true. It's not that the music is the best, it's that it's honest. The strings are in harmony, the percussion isn't overdone, and the vocals are relatively simple without earning an advance degree in monotone melodies.

The song alone is a pretty convincing campaign for the album as a whole, especially when you realize how complicated the simple sound really is. Let's add to that by saying it's far from my favorite track on the release. Sure, World of Happiness shows a lot of the best they have to offer, but in my eyes, musically, lyrically, and emotionally, there's a handful of songs that surpass the lead single's quality.

http://www.d4am.net/2015/06/the-expanders-hustling-culture.html
iTunes | Amazon | Rootfire
The track list is very well balanced, some songs I just don't like that much, and that's fine because in a few weeks after a few more listens, I'll happily sing along to them, too. The album has a lot of listening potential, a lot of replay possibilities, but more than that it's got more than a few songs that are bound to stick with you for years to come.

I recommend at least a quick stream if you're digging today's track, you'll only be able to find it on Spotify, though. You can also just take my word for it and make the purchase. Rootfire offers the vinyl, and I'd be considering it if I were you, if you were a reggae loving individual like me.

Once you've fallen for the music, keep up with the band. You can find them on Facebook, Twitter, and Instagram.
DJ Shadow has been a name I've looked up to since before I really cared about digital production, and hearing that he teamed up with G Jones would have been extremely exciting if I'd known that before I heard their work together. Nite School Klik seemed like some badass name put together for marketing reasons who probably delved into electro-dubstep or something. I almost waved it off, but you gotta try everything once. It's been about a month and a half since I first heard the work, and I remember that first listen clearly.

All of a sudden you could reach that caffeinated electronic pump without modern cliches, abused repetition, or cheap DJ tricks. What I heard was quality progressive and experimental electronica. What I heard was the first time in years since I'd heard something of this quality without some electro-snob rubbing it in my face as if it were some form of digital gold ingot. There's nothing ruining this experience yet, the music is just good, there's nothing else to it.



It's definitely a little hard to get into if you're happy with Pitbull's latest hot track, or if electronica isn't normally for you. Nite School Klik is a complex formula that sounds best when it can be properly digested. Open your ears, accept the waves as they are, and dissect them. Understand the beauty of the production an there's no way you can finish the listen without at least respect for the duo.

I know, I do; I'm selling this so hard I seem like that very snob I mentioned. I just want it to be clear, I know this isn't gonna be for everyone. What I'm writing here is an expression of gratitude. At a point where I've relied almost exclusively on every other genre for something original and mentally demanding, these guys have managed to turn trap, beats, and thick bass lines, into something with depth and a twist of that commercial appeal. I think it's that twist that's had me on my edge.

http://www.d4am.net/2015/06/nite-school-klik-self-titled-debut-ep.html
Stream/Buy @ Bandcamp | iTunes
Needless to say I'm extremely unhappy with the length of it, just two original tracks and a remix (a pretty great remix, if we're gonna start debating) when this could have been something more magical. With just one extra original track it could have been an amazing vinyl release, with two originals it would have been my favorite kind of musical tease. Instead what we get is a 'to be continued' from a duo who I'm sure have way more up their sleeves.

Buy it. Show the support they need to make more happen more quickly. Share it. Have the music circulate your city, make it go through the world. This has the potential of spoiling under-cooked music, and only its fans can wake the dormant public.
You gotta love these garage-rock based genres. At least, I do. You take something ragged and dirty and you make the most of it, and I think what Falling Stacks have made with their debut full length, is nothing if not original. That whole alternative-indie grunge-punk sound is theirs, and while certain influence will resonate clearly with the intended listening market, most of us will look no further than the quality of their blend.

It's kinda hard to get into their sound without diving in head first. It's a little much for the radio listener, but if you like math rock or prog punk you'll have a real fair first look. The rest of you are just gonna have to give it some time and see if it'll sink in.



Silverware is like a happy grey area song. It's not all out but it's not cutting the crust off the bread for you, either. This is them in natural form, a little loud, a little under-mixed, and ultimately, very dirty. You'll hear how the instruments are the spotlight and the vocals, while I believe even more important than how they're being produced, stay their course in the back of the music. It kinda reminds me of that dull aching headache, if headaches didn't feel terrible and made me move my arms erratically on my desktop.

If you think the track is decent, consider that your green light for the rest of the album. No Wives is all up in your business when you're not sure you want it to be, but smooth and thought out at the same time. It's like an ADHD driven cluster of rock and musical ideals.

http://www.d4am.net/2015/06/falling-stacks-no-wives.html
iTunes | Amazon
No Wives has the charm of a mother gorilla angrily protecting its kin. This isn't a negative thing; just think primal, pure, blunt. It's a little stronger than I usually go for, and I'm not sure it'd be on my library's top picks, but I have to give credit where it's due. They've made a sound that resonates with a difficult emotion to portray.

You can stream the album here on Soundcloud, make sure you like it before the purchase. If you do like it, there's a nice vinyl through the above Amazon link you might want to consider. Otherwise, just keep up with them on Facebook and Twitter.
I've recently become a fan of Saga, so I was thrilled when I heard this was coming out. He took seven tracks from The Alchemist's Israeli Salad, spun it with his verbal skill, and released it. For stream only. It was only after I started getting attached to this that I realized the fine print, and as upset as I should've been, I do understand.



Maybe it's just me, but that first track felt like bait to gullible sea food. I was hooked. I heard it through; charisma mixed together with Alchemist's quality production. Maybe if enough of us complain this'll turn into something you can purchase. Maybe we can settle for it as a bonus to another purchase.

Show the support they need. You can download Saga's latest absolutely free, read up on that here. You can stream all 20 Israeli Salad instrumentals via Spotify, and you can purchase it digitally on iTunes, and as classic black or avocado 2xLP vinyl
Ever since I was a kid I've had a thing for French rap. If you look at rhymes from an aesthetic point of view, the best thing you can do is make them slay in a more fluent language than the choppy English most of us are used to. I've since grown to enjoy the lyrical artistry of it, but I still enjoy the foreign sound. It's just beats with vocal aid.

What a pleasant surprise it was when I found this in my email. Paris based duo Rezinsky recently released this little gem. According to them, Jolie Môme could mean "Nice Chicks" or "Pretty Girls", but ultimately means much more.



Let's break it down. The vocal flow is the art of Pepso Stavinsky. The quality of the musical production is put together by RezO. I'm not sure who directed the video but they deserve credit too. Putting music with such simplistically memorable visuals is a gift.

I can't tell you much more about the album, simply because I can't really speak it. A great listen means little if it can't be properly analyzed. I think in the end, I just wish I were more fluent in French.

http://www.d4am.net/2015/06/rezinsky-jolie-mome.html
iTunes
I can't promise any more quality than you're already hearing, I can't promise the lyrics are amazing, or that the production will suit you. I can tell you that I like what I have heard, which is just today's single and the title track, Les Hérétiques, which is available via Spotify. Do with that information what you like. I hear the potential, but I do wonder if an entire album might be too much for a foreign listener.

If you're curious to keep up with them, you're in luck. You can find Rezinsky on Facebook, Pepso Stavinsky on Facebook and Twitter, and RezO on Facebook, Twitter, and Tumblr.
Recently, Wax released a video that was quickly taken down. The reason isn't very important because it's back up, but he did post a 14 minute video with the funniest apology in recent hip-hop history. If you're curious, you can find it here. No seriously, give the first two minutes of that video a listen.

I didn't see the video the first time around, and when I decided to go look it up all I could find was that apology video, which did nothing but excite me for what's in store. The video is finally back up (has been for a few days) and I understand the hype.



I'm usually not a 'single' kind of person. Having one song from a full length or EP, a month or few in advance, is just a tease; even in this case you can't buy the effort, so what's the deal? I'll tell you what the deal is, the deal is that there's not enough quality rhymes out in the mainstream today, and people like Wax are capable delivery men. In a world where you can rhyme words with themselves and cook up a hit without any wit, people like Wax step up their game and force you to think about your listening material. So yeah, it's kinda jacked that all you know is that some time this year you'll get the rest of the album, but you also get a clear view at the talent that's waiting for you. Singles like these can give us hope.

Wanna be there when the album comes out? You can keep up right here with D4AM, we'll be on it, or you can keep up with Wax for any news and info. Tag along with him at his Facebook and Twitter.
I have a problem with the comedy genre, and my problem exists because the quality of the music is usually so inferior to the comedy, that I can't consider it music. Dan Latner is one of the few exceptions, and with good reason. Dan was taught Suzuki method violin, and just kinda happened to stumble onto fiddle playing and Weird Al influences. Today's effort is quality bluegrass with more than one reason to make you smile.

There's quite a few personal favorites on the album, all of them capable of a loud chuckle at inappropriate times. There's nothing like having someone reel you into a story and then mix everything up in the opposite direction. It might not be for you, or the content might be so good that you'll learn to appreciate the bluegrass side.



Silver Hair comes up late in the album, but it's one of the best tracks that show the build up to his punch lines while maintaining that classic bluegrass feel. Listen it through, pay close attention to the story, and relax. This isn't music for a serious mood.

The album delves into Americana and other generally folk-y vibes, and the comedy isn't constantly hilarious, but if you're not smiling as you listen through his journeys you're probably just broken. Now if you're not broken, you're in for more than just a few laughs. I know laughed so hard I cried when I heard "A Song for You", and I hope you guys do too when you hear it come up on your listen.

http://www.d4am.net/2015/06/dan-latner-no-fun-intended.html
Stream/Download @ Bandcamp
The album was mostly written in Sri Lanka, and then kinda sorta around some of Asia and Africa, so it's extremely interesting to see how very North American the end result is. It also explains why the effort, while being a name-your-price release, is also offering 100% of its sales (through to the end of June 2015) to redevelopment in Nepal.

So yeah, if your pocket's empty you can grab it for free, but if he made you laugh and you have some spare change, consider the donation. You can also keep up with news and info by tagging along on Facebook and Twitter.
I wasn't expecting the next best synth-pop band to be from Portugal, but I'm not complaining. In addition to the many beauties Lisbon has to offer, we can all now tack on the added benefit of hopefully seeing Thunder & Co. perform their ode to the synth in person.

I don't know if there's a single 'best song' to start off with when it comes to their sound. They're just as likely to spin something modern as they are to root out something from decades past. Instead of finding middle ground, let's just listen to Fake It.



It's relatively well rounded when compared to the rest of the album, it's got their pop base a little more defined than I usually like, but it still plays with the synthesizer in such a way that allows room for admiration. In my eyes it's got some low points, but it's difficult to feature a better track that runs less than 6 minutes.

My favorite songs (there's a handful) are instrumental. From the beginning to the ending title track, those instrumental tracks make the most of progressive opportunities and intelligent composition. Listening in is allowing yourself to fall into their puzzle, bouncing around, breathing it, and escaping it just after you thought it'd finish. It's a wonderful experience to aid an equally refreshing album.

http://www.d4am.net/2015/06/thunder-co-nociceptor.html
iTunes
Right off the bat, before you continue you should expect an eclectic array of influences. You'll hear disco and '80s synth and a bordering edge that barely peeks too close to modern electronic genres. You can also expect fun, memorable lyrics, and the occasional classy finishing touches. It goes without saying, the album is complete.

You can stream the effort in full on their Soundcloud. Give it a nice long listen, buy it if you love it as much as you should. and maybe keep up with their future projects. You can find the Portuguese duo on Facebook and Twitter.
In his latest EP, Aaron focuses more on verse rhyme than chorus, which is refreshing if you're looking for substance more than a hook. Don't even stop to ask what's gonna tickle your brain, he's got quality production on every track. This is meant to stand out.

I think my biggest problem is the slip in chorus quality. It's just a slip, it's not a major issue, but I'm starting to see a pattern here. Is he too high when he comes up with them, or is he just taking Adderall to spit out some of the highest quality rhymes modern hip hop has to offer? I just think there's something in his mind trying to click, that sacred middle ground, and once it does we're looking at the recipe for a winning EP.



For now, we've got this, and this is great. You won't hear my negative points right off the bat, that first track is nothing but verbal skill, and the tracks that follow do their best to follow Aaron's encapsulating shadow. When you get to it, you'll know, and I'm not sure if it's laziness, cockiness, or the continuation of an experiment. All I know is if he can get away with this now, imagine what a hot shot producer could do to him.

Overall the EP is still quality. Some songs take a little more analyzing than usual to understand, others embrace the simplicity of their subject, but when it comes to Aaron and guests' verses, there's no denying top shelf quality. If this is any indication for the future of hip hop, things are looking good.

When you've listened and fallen for the quality, maybe consider buying the effort. You can find it on iTunes and Amazon. You could also find Aaron Cohen on Facebook, Twitter, Instagram, and Tumblr.
Saying "experimental jazz" leaves a lot up in the air, so let's try and narrow the experience down a bit. Ikarus have managed to add progressive rock timing, beautifully studied vocal melodies, and a subtle industrial rock background; to their jazz base. By the end of it, they're not even comfortable calling it experimental jazz, to them it's contemporary evocative music. The shoe fits.

The sound relies, almost crucially, on the expertise of each of the five members. There's two vocalists, one male and one female; a highly capable pianist, a bassist, and the composer/drums; Ramón Oliveras. Composition alone isn't enough to make their music stand, chemistry and psychological closeness are essential components.



Nothing is quite like that first listen. Sanctuary, the very opening of their album, shows off so much emotion in such an organic line of movement that it's hard to believe it's just five minutes long. From the eerie and uncomfortable, the the beautifully complex, to the raw rock tones that breathe life to their songs. Their music is a maze, our ears merely keep up as it progresses.

Unfortunately you can't hear the entire album anywhere without buying it. Fortunately, the four songs you can analyze are accurate representations of the effort. They'll drift and sway as naturally as the rest of the album will, so yeah, maybe you won't get to hear exactly what each song is about, but you'll understand the way they portray their sound.

http://www.d4am.net/2015/06/ikarus-echo.html
Stream/Buy @ iapetus
You should never expect words. Their stories are told through fluid movement, voices are merely instruments in a larger plan. The only time I think I heard words, they were backmasked* on Hotaru, which does nothing but enhance their stunning moments of captured terror. These captured moments make it easier to embrace the beauty they create.

*(edit: these vocals were sung live. Wow.) 

If you're a fan of this new movement, of their evocative music, I'd highly consider the purchase. Stream what you can first, and take my word for it that the remaining tracks will only aid to its quality. This doesn't mean it's for everyone, this is for the open mind that's searching to expand musical horizons, that's looking to be challenged.

After the stream you'll know if it's for you or if it's too challenging for your tastes right now. If it still calls for you (or if you're turning into a fan) you should keep up with the band. Find Ikarus on Facebook, Twitter, and Soundcloud.
Pop music usually doesn't fly on its own on D4AM. There's usually a twist, a slightly under-produced quality, or a vintage pop feel. Cordelia & the Buffalo might have a jungle-ish percussive twist, but for the most part they're being featured today because the pop vocals are perfect, the music has great potential, and because they already deserve international success. If this time next year these guys aren't known among the radio-listening community, I might just give up hope for quality music success stories altogether.

The EP starts with Take It Up A Notch, an excellent first impression and display of their capabilities. It shows how effective their pop sound is, it builds on quality production, and doesn't end until Cordelia's vocals have been properly accentuated.



The sound caught me instantly the first time around, I was mesmerized with the simplicity and the slowly compressing unity between the band. Somewhere around the middle the song begun to lose me. I started noticing similarities with your more common pop songs. I felt bored, I could start to see patterns and predictability. The difference here is with production, they know what people want, they know fully well what they're doing, and they're doing it very well.

At least that song is excellently produced. There's a couple of tracks on the effort that dip a little too pop for my tastes, but then the genre goes against my mentality. I still say the EP is better than most modern day pop productions, and I especially believe in its potential right now for the future audience.

http://www.d4am.net/2015/05/cordelia-buffalo-ep.html
Stream/Buy @ Bandcamp | iTunes
It's six songs in length and of enough quality to make this an excellent debut with a crystalline view of their potential. I'm not too excited for what's to come, since I see them growing rapidly and becoming a little more everyone-friendly. This isn't a bad thing, I just appreciate seeing their roots first and understanding that for this band, mainstream success is well deserved.

Right now they're starting to get the recognition they deserve, so make the most of their early success. You can stream the album in full on their Bandcamp, and you can keep up with them via Facebook, Twitter, and Instagram.
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