Psych-rock duo Debris of Titan incorporate dream-ish sounds on their rock to get that unique feel. Considering it feels a lot like other dream-psych bands out there, its theirs, it's extra spaced-out, and on certain tracks, it's worthy of a lot more recognition than they're getting. The best of it all is they're young, both as a group and in age, so the room to grow in is as huge as my expectations of their future.

We should start things off with Anime, the lead single. There's nothing wrong with it, the track is complete, fairly original, and overwhelmingly catchy. It's a little slow to start, or rather, to get to the point, but once everything fits together the end result makes up for the few cons the track might propel.

Loops aren't necessarily common on the album, but their use of them on this particular track are the reason this is the lead track. It's not something you'd expect to work, but they're pulling it off with more finesse than the average garage band. It's all thanks to both of their abilities on different instruments. Even the monotonous loops are overwhelmed by their talents surrounding it.

The instrumentally inclined public— with a love for psychedelic music, of course— will love the rest of the effort. Intricate percussive beats, elaborate riffs and licks on the strings, and use of their own vocals as melodic instruments, are all just a few details to be expected from On the Home Slope.

I have to admit the effort is a little rough around the edges. I'd like to see a producer step into the studio after they've made the majority of the work, just to polish up last minute details and make them sparkle a little. I'd also like to give them a few more years to work on it on their own and see if they manage to tie up those loose ends on their own. Either way, I'm excited for what's to come.

You can stream the EP in full on Soundcloud and see for yourself. I'm not sure when or how the album's gonna be for sale (it was due the 23rd of October) but you'll probably find it on their Bandcamp page once it's up. Otherwise, you can connect with Debris of Titan on:
They mentioned classic '90s R&B and I thought I understood. Initially, after hearing the first single, The Passion Project wasn't even something I was considering, but there's something about the rest of the EP that works really well.

I think the magic lies more heavily on Lido, the Norwegian producer on his well deserved rise. The quality of the R&B beats might fluctuate, but when they fully develop there's nothing between them and the listener. Santell's vocals are pretty amazing if '90s R&B holds a place in your heart, but it's been hard for me to take the lyrics seriously.

That first track is the lead single. Ashley isn't bad, but the quality of the lyrics weren't convincing me. I've heard enough sexist nonsensical music for the promiscuously inclined to last me a lifetime, I couldn't spot why this effort would be any different. It was after I heard the remainder of the EP that I clicked. The vocals and the lyrics are fun, the production is crisp, which means that The Passion Project is the kind of album that contains a balance between what the average listener wants and what they need.

I still can't take the effort too seriously. Honestly, one of my favorites is Pillows which is about moaning too loud, and that's followed up with a hilarious interlude and Lady's A Hoe, which you'd think is self explanatory but no. You really need the song's story-telling structure.
The Passion Project started losing me with its first single, continued losing me with its name, and only kept me because I was open-minded enough to laugh the same way I laughed at Trapped in the Closet the first time I heard the midget fade-out. It shouldn't take such an open mind to give quality music a chance, and I shouldn't have to work so hard to convince you it's an effort worth listening, but here we are. Give the stream a few minutes and let it sink in.

I think it has to be mentioned that it's not too difficult to take seriously and admire, but seriously, they overshot with the "passion," and despite this have managed to make music with a firm talented base.

Connect with Lido on

Connect with Santell on
I had been waiting for a disco revival for a long time. Occasionally people bring back certain elements, add in some modern ideas and mix the genre for that clean but vintage sound. Electro-pop duo Powers managed to imitate the sound without being too cheesy, and without deviating from the core values.

The first two tracks/singles from the album are that wonderful disco side I'd love to see more of. It started off with Hot. We're talking pure-groove with extra funk-and-a-dash-of-soul disco. The good stuff, made to dance with, made to laugh and enjoy.

Hot was real interesting to me because I didn't want to like it. It's practically oozing with pop production, it's got its repetitive air, but it's way too easy to dance to. It's got every addictive hook disco used to have, and it's got the quality of modern technology on the production. They don't even over-shoot, it just works.

That was followed by the title track, Legendary. If you dig Hot, give Legendary a shot, too. It's got this early, slowed down disco vibe, with a lot of blue-eyed soul blended into it. It's really nice, particularly catchy, I found myself singing along on the first listen.
My problem lies with the second half of the EP. To be perfectly honest, I'm happy with it, 50% of an album isn't normally enough for me, but the 50% I'm into, I love. The remainder of the EP, Beat of My Drum and Loved By You (both of which can be streamed on Soundcloud) just doesn't cut it for me. It felt like electro-pop at its average, and that's fine, but it can't compete with the first two singles.

You can stream the effort in full on Spotify. They're on tour right now with DNCE across the States, check out the dates if you're curious enough.

Connect with Powers on:

Powers was one of D4AM's Top Picks of 2015 for this effort.
Bass music, for me, has been the evolutionary force in modern electronica. Producers like High Klassified are responsible for this. The combination of downtempo beats with trap-like qualities isn't too difficult to produce, but making sure the music isn't tiresome is an art, and in Kronostasis, the art is nearly perfected.

Expect that dark/shady-corner-of-the-alley feel to the music. Visually, according to the lead single Time in Vain (which you should watch here) everything is actually captivating. Bright colors and ideas open for interpretation.

The EP in full is where I found myself getting attached. Time in Vain is a great way to dive head first into what you should expect, but Kronostasis as a whole is several pieces put together eloquently to create an ideal mood.

Okarina of Time opens things up with the Legend of Zelda reference and its sweet time. It eases you into the depths of his bass-based powers and then drops. Hard. The rest of the EP kinda just follows that lead, but when heard in correct order it's a very charismatic experience.
iTunes | Amazon
It's pretty difficult for me to pick favorite songs on this effort. Almost all of them have faults that the rest of the track list will ease in and out of so you can't focus on any negatives. If you're not a huge fan of instrumental electronics, though, you might want to skip ahead to Gold, which features Mick Jenkins on vocals.

If you like what you hear, support with a purchase or by connecting with Kronostasis on:
The only thing I disagree with on Ipman's "Depatterning" is its title. I see a pattern; I see classic electronic styles combined with modern ideas and technology. I think understand why he's doing it, too, it feels like the evolution of an almost forgotten genre.

I didn't love it the first time around, but the lead single deserves the attention they're aiming for. Regicide is also the album opener, which I find odd since it's long and a little overwhelming for anyone stumbling onto the producer. It over-shot with me, but I ended up loving it.

What we've got here is a six minute song that can run a little slow for the common listener. There's a lot of detail and a lot of calculated musical progression, but all that is better fit for the acquired taste. It takes a close listen to hear the deviations and appreciate the intellectual aspects.

I wouldn't say the rest of the effort isn't good, it's just built with a variety of tracks that suit some people more than others. Regicide shows a little bit of everything he has to offer, from the classic electronic base, to the darkness, and the playful airs.
iTunes | Amazon
Despite its repetitive beginnings, this isn't something I'd listen on the background. It's too cluttered for day-to-day listening. This is something to be focused on, even if in passing. There's substance, and that can make it sound a little awkward sometimes, but its in looking through that that you find the magic.

You can stream the album on Soundcloud, and find out all about Ipman, how to keep up with him, and the different formats to buy the music as, at his website.
Listening to Rachel, I felt what I felt the first time I listened to Norah Jones' Come Away With Me. It's not her vocals, it might be a bit of that smooth jazzy style, but really it's the click between the artist and the listener. It's that moment when I realize this will not be the last time I hear McClain, in fact, she's about to boom.

I'm usually so excited with excellent independently released material like this; my complaint with this EP is all the label-like bureaucracy. The only publicly available single, Happy Anniversary, is great, but it's misleading as far as the complete effort is involved, and there's really no need to mislead the audience. The people who enjoy Rachel are going to love it.

It's a wonderful single, it's got a little bit of everything thrown in there. From jazz scats to melodic playfulness, to transitions and displays of musical talents. It's misleading because it's so active, the rest of the album is much more relaxed, but all the components are there. If you dissect this song, you'll understand what she's capable of, and you'll be able to feel out what she's offering on this effort.

Then again, the rest of the album has those iconic awkward moments in jazz where the melody fits perfectly by not fitting together at all. It's a talent to bring it up tastefully, and it's pulled off, but it's not the best way to captivate a large audience so I get where they were going. Still, presenting any other track would have been beneficial to the rest of us.
iTunes | Amazon
The album is available for stream on Spotify, and that includes a radio edit of Happy Anniversary which might be reason enough for some of you to check it out. For the rest of you, don't expect Norah Jones or Amy Winehouse. I kind of get why they're using those names, but this artist is a voice of her own. The similarities come because of the jazz inspiration, and because of the smoothness of the classic pop ideals.

Keep up with the rising singer-songwriter on:
Pittsburgh based space-rock duo Zombi have released this gem of an album a short while ago, and I've been letting it seep. From what I understand, it's just as good left on the background during a spiritual journey as it is during an intense analysis of talents. Its the perfect combination of space synth with rock elements for an array of moods.

The first few songs on the album built the experience for me. Afterwards I felt the plateau, or in reality, I felt myself understanding the album and not feeling the rush of something so intriguing towards the end. This isn't a bad thing, in fact with such an intelligent effort, it's really comforting.

If you take it in from the beginning, and I recommend you do, you'll start things off with Pillars of the Dawn. You'll hear that evolving wave of motion, the synth base, and the memorable repetitiveness. I wouldn't consider this monotonous even though, at times, one could argue it should be. This sets a precedent for the rest of the album, but there's still some versatility left to be shown.

The following track, Total Breakthrough, makes the most of the '80s synth base, as well as showing off the excellence of the percussion. Throughout the album you'll witness different degrees of instrumental rock in all its comfort zones, including the finale, a near 15 minute epic trip.
Stream/Buy @ Bandcamp
I think the plateau moment is great for the relaxed listener, those of you who want something intelligent on while your day moves around you. For those of us who pay a little extra attention, we're graced with the artists' back-and-forth. There's nothing like hearing the electronic elements play with the organic percussion, and there's a few curve-balls in there that the dedicated listener wouldn't want me spoiling. The point is the album is worth listening if you're into this particular combination, and if you played the stream you should know exactly how you feel about the combination by now.

Besides the digital purchase, you can also grab the release in three different kinds of vinyl, in cassette, and in CD. If you like the electronic aspect, Steve Moore has a solo soundtrack for the movie Cub released the same day Shape Shift was. Check it out here.

You can find Zombi on:
Last year we were graced with Shabaam Sahdeeq's Keepers of the Lost Art. We heard quality hip hop, and I understood then what I can now confirm, the quality is ever-evolving. This seven-track EP is a display of lyrical maturity (which I never thought was necessary, but wow,) and a much more acute taste for production quality. If you like classic beats as much as your rhymes, you'll really want to stream this.

I'd say there's varying degrees of quality throughout the effort, but that'd be a lie. There's only one quality, top notch, and fluctuating styles apt for all the different ears that appreciate straight hip hop. Find the full album stream below and see for yourself.

A personally recommend Chance and All Over the World, songs that show the essence of the EP without giving it all away, but I recognize there's no better way to feel the album than to stream it from start to finish. D.I.L.L.I.G.A.F. is a killer opener, and the produced charisma from track to track is a very classic experience.

Maybe the reason I'm digging this so much is because it's so much shorter than Keepers of the Lost Art. Maybe it's all about sizing and separating things the right way for Shabaam. I'm already looking forward to more to test out the theory.
iTunes | Amazon
The digital release is out right now, and you'll be able to find the cassette on Cassette Store Day (October 17.) A vinyl release should be out in a bit, though there's no fixed date for it yet. If you're curious, keep up with Shabaam Sahdeeq on Socials.

Find him on:
Facebook (fan page)
Google Plus
Talented producers need to help each other out more often. The way this story goes, Stooki Sound had made the base of the track, sent some stems over to TroyBoi, and W2L was created some time afterwards. Expect dark trap-y vibes and enough bass to collapse a bridge.*

*If you turn it up right.

The downside of a spontaneous collaboration like this one is that you can't force an album onto it. Enjoy this single, and you know, if you dig it, purchase it. It'll cost you about as much as some Ramen noodles and it shows that you appreciate the collaboration.

Keep up with:

Stooki Sound
Hey Samurai! is a display of unexpectedly blended genres. We've got electronics and R&B from the '90s, and classic rock and jazz from the 60's, with hints of everything that happened in between in a giant "alternative" pot.

As far as I can see, there's only one publicly available single. The album version of the same single contains a bonus track, as it's the last you'll hear on the album. Sadly, we don't get that experience through Soundcloud, but I can still let you know we're getting the better half of the bargain.

Yesterday's Gone, Tomorrow's Not Promised, is far from my favorite track on the album. In fact, if it weren't for the last minutes of the song, I wouldn't like it much at all. Let's focus on the beauty of that second half, though, because that's the reason the album works so well. It's the talent of the backing music, it's the way the transitions fit comfortably while keeping the same mood you were expecting.

There's literally just a couple of songs on Hey Samurai! I completely disagree with. For the most part it's a comfortable album with a lot of nostalgic potential, a lot of talent, and a lot of diversity. You'll need to be in the mood for that relaxed sway of things, but you'll know it's worth it if you can pass today's featured track with a smile on your face.
iTunes | Amazon
If you like smooth jazz, classic rock, and don't mind the indie-ness of the vocals, you'll want to at the very least give this album a stream. You can find it in full on Spotify, or you can dive head-first and purchase it. Their influences and talents are of quality.

Keep up with the band on Facebook and Twitter.
I got hooked. I hear quality rhymes on a regular basis, so this effort isn't really stunning me because of the poetry. It's latching onto me because of the balance. It's captivating me because there's a little bit of everything; there's wit, charisma, style, experience, and chemistry that reaches beyond the duo. I want that last bit to be perfectly clear, the bond these people have formed reaches through each featured artist. That's the magic.

Stream courtesy of Diamond Media 360

The entire EP is a great listen, but I don't feel it's essential to hear it from start to finish. If you've got the time, by all means, stream away. If you want a quick opinion, I'd skip ahead to Life is Good, Panoramic, and if you're really into verbal expression, We'll Survive This.

Life is Good is my personal favorite, we've got Rick Gonzalez and Chuuwee demonstrating that chemistry, and DJ Concept's top notch production. Panoramic features Torae, and I see it as Concept going real hard for some of the fans. Finally, We'll Survive This is Rome Clientel's written talents placed with just enough music to keep you, but mostly with nothing but words to bind you to the track.
iTunes | Amazon
I'm not loving the statement on the big picture. This time, though, I know it's not just a matter of personal preference. I admire that they want to send a positive message, that they want to help the listening public, but I feel they could have done a lot more. With all the talent overflowing, with everything they have to offer, I was expecting more than "You can do it if you set your mind to it" but then, at least they're offering something worth listening to. That's enough to make the album worth it.

Find and keep up with them on Facebook and Twitter.
D4AM received a Facebook message from Danny Shyman because his friend (thank you, Dean) raved about the Julietta - Conquest review. Before Danny— we'll now be referring to him as Whiterosethere had only been one person to come into contact via Facebook and show genuine musical potential. What I'm getting at here is that selling yourself via Facebook is unprofessional and usually, maybe 95% of the time, means your music is terrible, so I wasn't expecting his single to be as addictive as it is.

Alright, great rant, D4. Tell us who Whiterose is.

I mean there's not much out there, but essentially he's been producing music for other artists for over a decade. What we've got here is a seasoned beat-smith in need of PR representatives to manage his upcoming success. I'd say he also needs a chill-pill, but his eagerness will undoubtedly form part of that success. Sorry, shy artists; knowing what you're capable of really helps you out.

Waters Fall is the subtle kind of hip-hop production. The density of the piano is calculated, the percussive beat to it is solid, but what makes the track for me is Chris Littlefield's trumpet and flugelhorn. Somehow the mix ends up eating at your time. Three minutes fly by me like half its time, every single time I listen to it.

Next, it's important to note this isn't a single, this is the single. The first self-released, completely owned, independent single by Whiterose. Ever. Normally you think introductions start slow, but his plan is to release one track a week into bite-size EPs until those EPs make an entire full length album. Expect 20 songs or so by the end of it.
Stream/Buy @ Bandcamp
Within the short conversation we had, he seemed a little overconfident that Waters Fall was just a drop in a bucket compared to what's in store. Honestly, if he's not just ego tripping, we'll probably show off those future projects, or at least the best of them. Hopefully from here to there he'll be easily accessible through social media. Until then, you're just gonna have to show your support by purchasing the single, or by keeping a steady eye open at D4AM for that upcoming EP.
This is indie rock with a very pop twist. It's the nice kind of pop that blends with acoustics and jazzed vocals. She's not exactly a jazz singer, but as a singer-songwriter Rebecca Everett's talents stand out as those to keep an ear on.

Her band, The Dead Ringers, are what complete the album. Actually, I'm a little baffled their name isn't spread out more on coverage. Maybe Rebecca's the mastermind, the glue, and the charisma, but without this band I find the overall success pretty difficult.

The title track, the album's opener, is the most honest. If you're not feeling it, the album might not be for you. That one's followed by Sting of a Kiss which has a dark and seductive form to it, it shows a different side you might appreciate more.

Seven Shades as an EP is kinda sorta so-so for me. I can hear it all the way through, I enjoy it, I absolutely love the instrumental intersections, but I'm not sure the focal content was meant for my kind of mindset. If you're a big fan of well written lyrics, you probably won't find any issues with the effort.
Stream/Buy @ Bandcamp
There was a moment somewhere in the middle where I felt the generic acoustic pop guitar play, and even though I acknowledged it was well composed, I felt it could easily be mistaken for another song. That was the lowest low on the EP for me, and frankly, it only lasted a few seconds. Give the stream its well deserved listen, and consider the purchase if you like what you hear.

You can keep up with Rebecca Everett on Facebook.
You start paying attention when the magic slaps you across the face. The first time I heard Rich Quick, I heard No1, a single good enough to post on socials. It's not too difficult finding hip hop with quality production, but matching that with equally powerful lyrics will always be the main selling point.

It's several months later and his debut LP is out, and while I wouldn't say the track list is impeccable, we do have a frequent admirable combination of quality rhyme with well prepared production. I think my favorite track right now is Get A Grip, and I think it's about as good an introduction to Rich Quick as No1 is.

It's one of those tracks with the all the powers. We've got sweet funked out beats, the charisma and flow of a seasoned veteran, and an honest connection with the audience. Part of the genre's magic is relating to the artist, empathizing on some level, and RQ pulls it off more than once on the album.

The album isn't hit and miss, it's got a nice upwards flow to it and it's eager to keep your attention, but it does flake in some areas. Nothing we shouldn't expect from a debut, but I worry about the inclinations. There's a lot of pop tendency scattered around, and there's moments where I didn't feel like paying attention. It might be nothing, or it might be trouble empathizing with a certain demographic.
iTunes | Amazon
If you listen from start to finish, it might feel a little lengthy. Luckily, the content is mostly original, the style is top shelf, and the production nails it more often than not. If you dug today's track, I recommend the listen, you can stream the effort in full on Soundcloud.

Once you realize the quality of the talent and the potential, you'll wanna tag along on Facebook and Twitter.
I've been sitting on this alt-rock gem for longer than I care to admit, and all because I wasn't ready. In truth, my opinions on the album have shifted after every listen, but it's always a good sign. Little Red Lung have found a way to bring you a different sound depending on your mood, and it's about as handy as having artwork tailored for your ever-changing emotions.

Luckily, any favorite songs tend to stay that way. There's two tracks on the album that capture me every time on several levels. The first is Porcupine Sheet, a near-experimental track with special effects and interesting melodic twists. The second is today's feature track, Dead Weight.

Dead Weight has a way of swirling from the very beginning, capturing your ear and dragging it along for the story. It also has some progressive tendencies and some very playful moments, but I feel it's much smoother, both in transition and in melodic elegance. It might not be as rock & roll as some other songs, but it's a wonderful listen outside of genre molds.

If you keep listening from Dead Weight onward you'll also hear the quality of the album's mixing/mastering. From one track to the next you've got nothing but quality, the gaps are strategic and the lack of them are inspiring. Every aspect of the album's creation has been thought of, nothing is under-done, this was created for the listeners as much as it was made for themselves.
Stream/Buy @ Bandcamp
There are moments in the album that feel an odd kind of spontaneous to me. There's a difference between jazz improv and curiosity, and what I'm feeling here is curiosity gone right. It's not a bad thing, but it's not as good as I'm sure future albums are going to be.

There's a limited edition vinyl I'm tempted to grab myself, right over on their Bandcamp page. It includes the lyric sheet, a sticker, the digital download, and it's definitely reasonably priced.

You can also show your love for the band by tagging along on FacebookTwitter, and Tumblr.
I've been listening to The Underachievers since Indigoism, their debut mixtape. There was a ton of hype but I wasn't really that impressed. I kept the album, but I felt a lot of potential and not enough promise. I've kept my ears ready for them, and with this effort I can say they've grown into something I can really appreciate.

Their debut music video contains chunks of three different songs, which is great if you're like me and you know they're talented but you want a peek at what Evermore could be. I find it honest, so pay attention to all three singles to see how the album might suit you.

I think the divisions are unfair. For example, Rain Dance is one of my favorite tracks on the album, but its placement on the video, however impressive it may be, doesn't do the track justice. I think similarly of Chasing Faith and Allusions, but there's more magic for you to hold onto with those, especially with such an excellently directed video.

As far as the rest of the album is involved, it feels lengthy. Evermore: The Art of Duality, can also be the everlasting art of taking too long to say too much. There is such a thing as the perfectly timed album, and with better supervision this album could've had that to add to its repertoire of great producers and excellent rhymes. The fact that this is my biggest complaint means most hip-hop aficionados should be ecstatic, not many out there listen to an entire album nowadays to begin with.
iTunes | Amazon
Years ago I anticipated the death of quality rhyme as music. It's because of albums like this that I've changed my mind. It's not just talent, it's honesty, and it's because of that honesty that drugs are such a frequented topic. It could get a little tiresome for many, but it could be the most interesting subject for everyone else. The truth is it takes an open mind to appreciate their messages, but that doesn't mean they weren't looking to reach for everyone.

Unfortunately, listening to this album outside of Spotify is next to impossible right now, though you could hear a couple of today's tracks on their Soundcloud for the time being. If you use Spotify, give them a stream. If you love rhyme, you won't be disappointed.

Otherwise, find The Underachievers on Facebook, Twitter, and Instagram, for the latest merch, music, and tour info.
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