Tune Tank – ‘Invasion of a skyline’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In this evening’s Independent Spotlight, we shine our gaze on an independent rock trio from Sweden, Tune Tank. Consisting of three brothers who had all played in various bands throughout their lives, Tune Tank is an endeavor that kicked off in 2015 and has now resulted in a full record, ‘Invasion of a skyline.’ (Note that the album stylized the capitalization that way.) It’s due out this Friday, September 2. Is it worth digging into? Let’s do just that and find out!

In May, I reviewed the two singles that ‘Invasion of a skyline’ produced: ‘Innocent Man’ and ‘Sometimes I Do.’ Thus, I won’t dig too deep into them – here’s a link to read my full analysis of them from the beginning of the summer. I will say, however, that they now stand tall in a collection of equally tactful songs. ‘Innocent Man’ is a fantastic opening track. It’s very well produced, employs some pop sensibility, and it’s a perfect culmination of the musical chemistry that ‘Invasion of a skyline’ exudes.

‘Insane,’ the tune following ‘Innocent Man,’ is a compelling entry following the hard-hitting single. It centers itself around a sharp, edgy electric guitar that creates a backdrop for a vocal execution that employs some sparse harmonies. The song essentially catalogs everything that’s “insane.” There are darker musings, like how “buying a pistol” could be insane, but the “discovery of medicine” was equally insane – as is “fighting with a good friend.”

‘52 Factorial’ is an acoustic track and interesting inclusion after two tracks of intensity. The more minimalist soundscape allows Tune Tank to focus squarely on their lyricism, of which ‘52 Factorial’ boasts some of the best. It’s a sparse track, and I must laud the lead vocalist, because he holds himself particularly well against a key that’s a difficult one to pull off. There’s a huge vocal register exhibited on ‘52 Factorial,’ and it’s executed well.

In contrast, ‘The Beauty In The Beast’ definitely falters in the lyrical department. It’s a cache of predictable cliches about flying as a bird into the sunset to escape the world, how things always get better, and so on and so forth. It’s a trope-fest. It’s immediately followed up by ‘Sometimes I Do,’ however, which is a very fine tune. Thus, the weak link in the center of this collection is short lived.

The bizarre ‘The Visitor’ is another fascinating song, one that offers some of the most intriguing lyricism on the album. The performances in particular are excellent, too, and that, of course, is a recurring asset of the entire experience. ‘Mindtrap’ follows with another song with instrumental compositions that hit the ball out of the park. For a trio, Tune Tank remains superbly good at filling a landscape with a massive amount of intricacy and explosiveness.

‘Caveman’ is another ‘different’ track, as the vocalist banters back and forth with a metaphorical caveman that seems to have stolen parts of his perceived humanity. It’s surprisingly introspective, perhaps like several of these songs, including the melancholy ‘Down’ that follows immediately after – a track that even incorporates a haunting string section that rounds it out splendidly. In fact, ‘Down’ is one of the understated champions of ‘Invasion of a skyline.’

‘California Let Down’ offers a bombastic finale about finding happiness and laughter within one’s life while there’s still time to do so. The track definitely has a sense of finality to it, and it wraps up the collection in a terrific fashion. Plus, those synthesizers and harmonies? Absolutely fantastic. It concretes an excellent set of ten tracks very much worth one’s time this September.

Earlier this year, I argued that the brotherly camaraderie of Tune Tank is apparent in their music. Having heard a full ten song collection, I’m more certain than ever that this is the case. Their music has a raw chemistry that can’t be manufactured or forced. Every piece of the puzzle aligns magnificently well, and as result, Tune Tank has created one of the most impressive debut albums in the independent scene this year.

It’s very hard to put out a good debut. Goodness, many icons and famed artists weren’t able to do that. Finding one’s sound is a difficult journey. ‘Invasion of a skyline’ exhibits a trio that seems to have found their sound. The next step, however, is growing that sound into its next iteration – arguably one of the hardest things to do as an artist. I can’t wait to see what Tune Tank comes up with next, but in the meantime, put ‘Invasion of a skyline’ on your to-do list for this Friday.

https://open.spotify.com/artist/4HRmG57pkMF1slLS3qXg1A

https://www.facebook.com/tunetankband/

https://twitter.com/tunetankband

Nic Nassuet – ‘How The Gods Kill’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

The last time Nic Nassuet was featured on here on the Independent Spotlight was April of 2015. At that time, I reviewed his album ‘Eleutherios,’ a splendidly excellent excursion through a very different approach to the genre of ‘singer songwriter.’ The artist describes his music with labels like ‘acoustic,’ ‘gothic,’ ‘folk,’ ‘horror,’ and ‘neofolk.’ Yes, a few of those are certainly out of place – at least on paper. In the studio, Nassuet breathes life into his creations with elegant tact. Let’s explore his latest single, ‘How The Gods Kill.’

‘How The Gods Kill’ is a licensed cover, the original credited to Danzig, an American heavy metal outfit. Nassuet, dubbed as the ‘King of Gothic Rock,’ put his spin on it for this release. Prior to digging into Nassuet’s, I went and I found the original to provide some basis for this review. Danzig’s original rendition is surprisingly soft – it’s a melancholy, melodic piece that centralizes around soft vocal crooning. (Definitely not what I expected from a heavy metal band.)

Characteristically, Nassuet has reimagined the track in his own unique way. Like the original, this cover of ‘How The Gods Kill’ is centered firmly around a soundscape of similar vocal crooning and atmospheric composition. Nassuet has brought a stunning string section into the picture, and it complements him in an absolutely haunting fashion. His soft acoustic guitar accents the aural intimacy of the song as well, concreting ‘How The Gods Kill’ as one of Nassuet’s most jaw-droppingly beautiful recordings.

The introspective nature of ‘How The Gods Kill’ suits Nassuet well. He carries the subject matter with an immense amount of prowess, and as waterfalls of his vocals bombard the listener, one is left feeling incredibly invested in the performance. It demands your attention with its genre-bending presence. Is this folk? Soft rock? Classical music? It’s a bit of it all, I think.

Nassuet’s new single is extraordinarily well performed and produced. Its passion is undeniable, and as a first release following ‘Eleutherios,’ it sets a very high bar for the next studio album. One can only hope that’s what Nassuet has in mind! Spin the track on Band Camp below and pick it up for $1.50.

https://nicnassuet.bandcamp.com/album/how-the-gods-kill-single

http://www.nicnassuet.com

Twitter: @NicNassuet

https://www.facebook.com/nassuet

Chasing Jonah – ‘The Sentence’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In this review, I’m going to be exploring the latest studio endeavor by Chasing Jonah, the moniker of Ashley Dudukovich, an alternative indie pop vocalist and composer based out of Florida. On each of her tracks, she’s joined by an array of collaborators that help her flesh out each of her artistic visions. For her new single, ‘The Sentence,’ she was produced by Josh Cobb. It’s a complex track, so let’s dig right into it and determine if it’s worth one’s time.

‘The Sentence’ is an absolutely stunning production. Dudukovich’s vocals are superb and the soundscape that she and Cobb crafted around them is masterful. It’s atmospheric, eerie, and continually emotional. The thunderous percussion combines elegantly with the waterfalls of synthesizers to create a landscape of gorgeous sonic beauty. This beauty, of course, is a somber affair to appreciate, because Chasing Jonah’s lyricism is poignantly heartbreaking.

In ‘The Sentence,’ Chasing Jonah writes from the perspective of a woman who seems to have been sexually assaulted or raped. While the tune comes across as a brooding pop song, it’s one that’s important to dig into the lyricism of. The vast majority of rape cases in the United States never get reported to the police because victims are often afraid of ‘victim shaming.’ There’s a ridiculous knee-jerk reaction by some people to put blame on the victim – they were wearing revealing clothing, they didn’t properly vocalize their distress, etc.

All of that, of course, is completely ignorant. When a man takes advantage of a woman, he steals something inherently human about her – and that humanity is a long, difficult road to get back to. When society is so aggressive toward those victims, they may end up echoing some of the sentiments Chasing Jonah does. “I’m wrong, you’re right,” she sings. “I have deserved it every time.”

I sincerely hope that Dudukovich doesn’t actually feel this way. No woman ever should. No victim of violence, regardless of gender, should ever feel responsibility like this. If she is making a statement with this song, though, it is a very, very powerful one. It’s one we can’t turn a blind eye to, because it’s a systemic plague of our modern society that leaves victims in shambles and aggressors untouched by justice.

http://chasingjonah.bandcamp.com
http://facebook.com/chasingjonah
http://chasingjonah.com
http://instagram.com/chasingjonah
http://twitter.com/chasingjonah

Press Release – Weeks – August 26, 2016

FOR IMMEDIATE RELEASE

PRESS RELEASE – AUGUST 26, 2016

Weeks To Release Two New Singles Via New Jax City Music

Jacksonville, Florida – Next Tuesday, August 30, the independent hip hop performer, Weeks, will release two brand new singles. Entitled ‘It Cost – Ft. Dat Nigga & Scarver’ and ‘Cry – Ft. Jordan Lee,’ the dynamic studio endeavors are exciting new entries in Weeks’ growing repertoire. The two singles will be released via New Jax City Music and uncensored and censored versions will both be available.

Born and raised in Philadelphia, Weeks was an active young man who grew up playing football. As a star player, one would often find Weeks in the gym or on the field. In his spare time, however, Weeks began to rap under the moniker ‘Young Menace.’ This was the start of a lifelong ambition to turn rap from a hobby to a career. For years, Weeks hustled day and night on the street to create his own studio and promote his music.

Weeks is the founder and CEO of New Jax City Music, an independent record label that he is releasing his new music under. The bombastic ‘Cry,’ a track that features guest artist Jordan Lee, is an eclectic excursion through intense, hard-hitting hip hop. ‘It Cost,’ a track featuring guest artists Dat Nigga and Scarver, is remarkably well produced as well. Both songs stand tall as releases in the independent scene that are bound for great success. They’re both also early insights into Weeks’ upcoming album, ‘In God We Trust.’

Currently based out of Jacksonville, Florida, Weeks toils tirelessly on both his music and his record label. As such, he’s become more than a independent artist. He’s a businessman and an entrepreneur. New Jax City Music will release both of the new singles on Tuesday, August 30 through all major digital music platforms. Fans will be able to pick up the songs on iTunes, Google Play, Amazon, TIDAL, and much more!

Fans can follow both Weeks and New Jax City Music online via the official website and social networking below!

NewJaxCityMusic.com

Facebook.com/NewJaxCityMusic

SoundCloud.com/NewJaxCityMusic

Snapchat & Instagram: @NewJaxCityMusi

Endsightt – ‘Ghost of John’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

Back in May at the beginning of the summer, I issued one of the most positive reviews I’ve ever penned here on the Independent Spotlight. It was for an indie hip hop artist who calls himself Endsightt. At that time, he had just dropped ‘The Music Demo,’ a phenomenal set of songs that redefined the standard for indie music in his genre. Now, he’s back with a new tune entitled ‘Ghost of John.’ Does it stand as tall as its predecessor? Let’s dig into it and find out.

‘Ghost of John’ has the instrumental and compositional elements that were so splendidly good about ‘The Music Demo.’ I made a parallel in May between Endsightt and Kendrick Lamar. Both of them do an excellent job utilizing eclectic band set-ups in their music – not just drum machines or sequencers. ‘Ghost of John’ continues this trend, and Endsightt is backed by a bombastic acoustic band. Soul elements are at play, as are funk elements – especially in regard to the electric guitar and bass riffing.

‘Ghost of John’ is the “story of the great Johns in history.” Endsightt seems to focus his song around John the Baptist, or as he refers to him ‘John B.’ As we know, John the Baptist died a pretty horrific death because he believed in an ideology that was worth dying for. Removing the obvious religion from this anecdote, it is a message that Endsightt seems to champion in his song: people died for what they believed it, so there’s no real excuse to not live life to the fullest. (Especially if those people that died made it possible for you to do so.)

Endsightt even injects a bit of a western vibe in his production, which is then echoed by him including John Wayne in his list of important Johns. (Though I’m not sure if John Wayne’s death was as abrupt as John the Baptist’s.) In any case, it’s an interesting exercise connecting different historical figures via their first name and tying it all together underneath a banner of living life to the fullest.

Endsightt’s presentation and execution of ‘Ghost of John’ is, as expected, very good. It’s a promising first entry after the massively excellent ‘The Music Demo,’ and it leaves me very curious as to what’s next. I’d love to see a full album on the horizon! ‘Ghost of John’ can be streamed on CD Baby below, but in the next few weeks it should hit most digital outlets!

http://www.cdbaby.com/cd/endsightt2

https://www.facebook.com/endsightt

Luanne Hunt – ‘So It Goes’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In the past here on the Independent Spotlight, I’ve lauded Luanne Hunt for her splendid originality and enthusiasm in the realms of country and bluegrass. My penchant for Hunt’s work lies very much in her ability to harness the roots of these genres and exude authenticity. Her music doesn’t align with popular contemporary counterparts in her chosen genres, instead focusing on a more traditional sound. I’ve always loved this about Hunt, and now she’s got a new single out entitled ‘So It Goes,’ penned by her and her husband. Let’s dig into it!

Hunt is a fascinating figure because her work has garnered her accolades all across the world – usually in places she isn’t even occupying. She was recently inducted into the Independent Superstars Hall of Fame in South Africa, she won a slew of recent American songwriting awards, and she was featured on the cover of WHISNews21, the fastest growing music magazine in the UK. ‘So It Goes’ has also landed itself a spot at the top of Europe’s premier Top 200 country music chart for the month of August.

As expected, Hunt’s production for ‘So It Goes’ is top notch. She’s backed by a very well performed band that’s manning a very traditional set of instruments. Steel guitars, country-style harmonies, and slick electric guitar riffs occupy the soundscape without ever extending their reach too far. Hunt feels perfectly comfortable in her musical domain, and nothing spirals out of control as a result of that. I’ve compared her to the likes of Rosanne Cash and Emmylou Harris in the past – I think those parallels still stand.

‘So It Goes’ is well written, too. It toys with a bit of pop sensibility in its execution, making it easy to sing along to. The song explores a man’s emotions after an “alligator” of a woman has taken a bite out of heart. It’s the kind of music you’d hear when tuning into the Grand Ole Opry in 1962. That speaks volumes, too, because the style holds up so magnificently well. Hunt never has to worry about her music feeling dated to true country music fans.

‘So It Goes’ is another wonderful entry in Luanne Hunt’s catalog. She continues to produce immensely high quality tunes that are injected with her infectious personality and songwriting style. The song also precedes her new album, ‘The Heart of it All.’ Check out her music below!

https://soundcloud.com/luanne-hunt/so-it-goes

www.luannehunt.com

www.facebook.com/luannehuntindiecountrystar

www.twitter.com/luannehunt

Ed Roman – ‘Red Omen’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

Since arriving upon the music scene in the early 1980s, Ed Roman has become a staple of the independent music community through his versatile performances and remarkably eclectic musical palette. He’s an award-winning singer songwriter from Canada with a lengthy resume of radio airtime, awards, features, and more. Thus, his new album, ‘Red Omen,’ should be held to a particularly high standard. How does this new thirteen track collection fare? Let’s dig in and find out!

Roman’s career has been concreted by his ability to diversify himself across a massive array of genres. From folk to rock to country to jazz to punk, he’s seen and done it all. Splendidly, this does rub off on his latest solo endeavor. ‘Red Omen’ is a fascinating entry of songs that, much like their creator, don’t seem to subscribe to any real genre classification. Normally, this would indicate an album in disarray, but with Roman, everything subsides into perfect harmony.

‘Red Omen’ opens up with its titular track – a tune that begins with a cackling laugh as the percussion section grows. The track immediately makes a bold statement: Roman’s songwriting style is eccentric and quirky. His performance style matches the lyrics he pens as well, and as a result, everything is very free-flowing. ‘Red Omen,’ the track, is a wonderful culmination of world and rock influence with bizarre lyrical musings. It’s the perfect opener for an album like this.

‘Tough Cookie’ expands Roman’s personality and sound even further with another track that feels entirely effortless, if you will. The performances on ‘Red Omen’ exude levity and comfort. As an indie critic, I’m constantly listening to new outfits and artists that are struggling to find their artistic identities. That, of course, is a process for everyone. On his new album, Ed Roman comes across as a guy who’s figured that out.

‘I Wish The Wolfman Was Back’ is likely the most delightful track on the entirety of this album. There’s nothing to not love about it. It has the oddball lyricism of ‘Monster Mash’ mixed with an intense rock aura that’s completely infectious. It’s well produced, too, as are each of the tracks on this effort. The eerie keys performance is particularly excellent, and ‘I Wish The Wolfman Was Back’ is a track that’ll last for a very long time in your head.

‘I Am Love’ is one of the focus points of the album – in press materials it’s even lauded as one of the important highlights of ‘Red Omen.’ It’s a funky song, one that has a bit of a U2-esque sound. There’s a very free-spirited nature to the tune; Roman sits atop his mountain and proclaims love and kindness. Each person must find their own truth, he explains in a sermon-like section of the album. The song is actually served very well by an extended cut, too, which is technically the final song on ‘Red Omen.’

‘The Way She Goes’ is a stunning acoustic song that’s most welcome after a bunch of electric-centric tracks. The song exhibits Roman’s range especially well, and ‘The Way She Goes’ could be right at home on a contemporary folk or singer songwriter record. The song also borders some country-esque musings, something that’s more fully fleshed out on the next song, ‘Think I’m Just A Fool.’ The steel guitar and ample reverb of ‘Think I’m Just A Fool’ makes for a compelling entry in the collection.

‘Time Itself’ is an interesting track, one that perhaps lands in some experimental territory. The layering of vocal tracks and perplexing melodies and tempos makes for a fascinating listen. It doesn’t feel as razor-sharp in its execution as its predecessors, but it is worthy of its inclusion. ‘Clone the Sheep,’ however, is very concise. Clocking in at an angry, punk-driven two and half minutes, ‘Clone the Sheep’ is the album’s defining statement of versatility and genrelessness.

Of course, after one randomly introduces a bombastic punk song in the middle of their album, the next logical step is to grab the steering wheel of the car and make another abrupt left turn. Roman, characteristically, does this, and follows ‘Clone the Sheep’ with ‘ETA,’ a melodic, sing-along song that incorporates Spanish nylon guitar. Right after that, the eerie ‘Nothing More To Say’ takes a single bass and some sparse percussion and accents one of Roman’s most animated vocal performances.

The folk tune, ‘Lay One Down,’ is a lovely inclusion toward the very end of ‘Red Omen.’ It’s very well written, and Roman’s composition houses a whole slew of musical elements that make the track perfect for recurring listens. ‘I Wanna Be Free,’ the finale, was seemingly written after Roman spent a whole day listening to only the Talking Heads. Seriously, this is a song right off the cutting room floor of ‘More Songs About Buildings & Food.’

Ed Roman should have included the subtitle “… Because, Why Not?” underneath ‘Red Omen’ on his album art. This album refuses to sit still, it dances between a dozen different genres, and it genuinely feels as if Roman walked into the studio each day and haphazardly shrugged his shoulders before recording a song entirely different than the previous day’s. Because, why not?

As a result of that, I absolutely adore this album. It’s so splendidly good, and it’s so very much worth your time. Surprisingly, every piece of this puzzle fits together and it’s one of the best indie efforts of the year as a result. Roman is so tactful in each of his creations, they tie together with an astounding grace. It’s a special album worth taking note of.

Tanya Gallagher – ‘Virginia’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In this evening’s edition of the Independent Spotlight, we shine our gaze on a singer songwriter who’s currently residing in Vancouver, Tanya Gallagher. Her latest studio endeavor, an EP entitled ‘Virginia,’ is due out September 30. (It’s currently available to pre-order on both iTunes and BandCamp.) Ahead of the release, however, Gallagher has debuted the title track and single for the album. Thus, is ‘Virginia’ worth your time? Let’s dig into the song and find out.

I’ve said this before, but it does bear repeating. I get a whole lot of indie acoustic singer songwriters across my desk – dozens a week. It’s become a bit of a trope, in truth, and as such, I hold every piece to a particularly high bar. If you want to enter the space of this scene, you have to offer something that’s not only authentic, but fresh and compelling. Surprisingly, Gallagher has done that.

‘Virginia,’ the song, started off as a recording that Gallagher created on her iPhone several years ago while visiting her parents in the United States. (She’s originally from Florida, but a whole slew of events lead to her ending up in Canada.) While she hasn’t explicitly stated it in the liner notes, I’m fairly certain the base of the single is that old iPhone recording. Her and her co-producer and engineer, Brandon Hoffman, just built a sonic landscape on top of it.

While unconventional, this works in Gallagher’s favor. There’s a magic to that original recording; her soft croons and lo-fi quality are endearing to the track. If it wasn’t broken, why attempt to fix it? It holds such emotion. Once the layers of harmonies arise, the listener is presented with a jawdroppingly beautiful dichotomy between the studio work and the original sketch. This, of course, accents Gallagher’s stunning lyricism. This is indie singer songwriting at its finest.

If the passion of ‘Virginia’ is at all indicative of the six other songs on the album, ‘Virginia,’ the full EP, is very, very much worth grabbing when it appears on September 30. I should also note that tracks 3-7 on the EP are live, one-take cuts from three years ago. I’m completely intrigued to hear those in contrast to ‘Virginia’ and the other more recent song, ‘Southern Soul.’

Follow Tanya Gallagher below.

Stream: https://soundcloud.com/tanyagallaghermusic/virginia

Pre-order: https://itunes.apple.com/album/id1141575944?ls=1&app=itunes

BandCamp: https://tanyagallagher.bandcamp.com/

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

Official Website: http://tanyagallagher.com/

Twitter: https://twitter.com/TanyaLGallagher

Fingermouse & Rubberneck – ‘Samsquantch’

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In this edition of the Independent Spotlight, we shine our gaze on Fingermouse & Rubberneck, a moniker that’s been undertaken by Tom Few and Simon Murfitt for a new EP entitled ‘Samsquantch.’ If this entry to the site sounds immediately peculiar, well, that’s because it is. This duo has crafted a record that’s wholly authentic and unique, albeit more than a bit bizarre. ‘Samsquantch’ is indeed an EP worth having in your indie music collection. Let’s dig into why that is.

Fingermouse & Rubberneck comes across right away as a very nonchalant endeavor. Their press materials state that their new EP is essentially a jam session – they weren’t trying to conform to a genre or styling. They also self-produced the effort and apparently recorded it at “an undisclosed studio near some train tracks.” When I get music like this across my desk, it’s typically amateur hour with poorly mixed final masters and awful quality. Fingermouse & Rubberneck, however, are actually quite tactful in their execution.

The opening track of the EP is ‘The Mouse,’ a tune you’ll hear thrice on the record since the EP closes with an acoustic and ‘full’ version of the song. The radio edit, properly cut at under three and a half minutes, is eclectic and jam-packed with personality. The crunchy soundscape is absolutely lovable both musically and lyrically. It’s wry and witty, exuding some of the better lyrics I’ve heard in the last month or two in the indie scene.

‘Nothing I Can Do’ is an interesting effort, perhaps one that even eclipses its predecessor. It has an intriguing pop sensibility to it. If I was to draw a parallel, I’d argue that ‘Nothing I Can Do’ sounds like a track off the cutting room floor of Paul McCartney’s ‘McCartney II.’ It’s in a similar vein to perhaps ‘Temporary Secretary’ or ‘Coming Up.’ That, of course, is a high compliment.

‘Out In The Heat’ brings in searing slide guitar and harmonica sections for an especially bluesy indie rock piece. Tom Few is on both lead and rhythm guitar and vocals, and Simon Murfitt is on bass, harmonica, and vocals. The latter also seemed to experiment with some digital stylings in the studio. The funky ‘What You Want’ then closes the EP out with an eccentric landscape of wah-wah and soloing.

As an acoustic effort, ‘The Mouse’ is truly successful. It’s worth checking out if you dig its electric counterpart. The ‘full’ version of the track is only a few seconds longer, so it’s not really worth taking much heed of versus the radio cut.

Check this EP out when it drops – it’s absolutely fantastic.

http://invisiblemilk.com/Fingermouse-Rubberneck/

https://www.facebook.com/invisiblemilk/

https://soundcloud.com/invisible-milk-records/fingermouse-rubberneck-samsquantch-ep-preview

Press Release – August 18, 2016 – Emy Cee

FOR IMMEDIATE RELEASE

PRESS RELEASE – AUGUST 18, 2016

Emy Cee Returns To Music With Elegant New Single, ‘Above The Sky’

Tomorrow, Friday, August 19, the independent singer songwriter Emy Cee will return to music with a dynamic new single entitled ‘Above The Sky.’ This soulful new tune adds to Emy Cee’s growing and impressive creative portfolio. From music to voice-over to acting, she has become a versatile artist across a variety of mediums.

‘Above The Sky’ marks Emy Cee’s return to music after a hiatus. This break, however, wasn’t her first. In the aftermath of September 11, Emy Cee took a break from her art to serve her country. Since then, she has made supporting veterans her most poignant cause, something she’s immensely passionate about promoting. One of Emy Cee’s greatest accomplishments, performing alongside Roger Waters of Pink Floyd, was in support of veterans at the Bob Woodruff Foundation ‘Stand Up for Heroes’ benefit concert.

Emy Cee’s performance style is peppered with an array of her influences – Beyonce, Alicia Keys, Whitney Houston, and the like. In 1995, the tragic death of Selena Quintanilla awakened Emy Cee as a vocalist, and ever since she’s toiled toward creating a name for herself in the industry. ‘Above The Sky’ harkens back to some of the finest elements of her influences’ music. It’s soulful, heavily R&B based, and tinged with an eclectic jazz fusion styling.

‘Above The Sky’ is also the first glimpse into Emy Cee’s upcoming EP, due out later this year. Fans can keep up to date with the performer by following her on social media and her official website. Based in New York City, Emy Cee is constantly striving to create compelling artistry both in and outside of her musical endeavors. The new single will be available on all major digital music platforms, including streaming services like Spotify and TIDAL as well as shops like iTunes and Google Play.

Emy Cee also has several live shows booked through October in New York, all of which can be found below.

Official Website: www.EmyCeeMusic.com

EPK: http://www.reverbnation.com/rpk/emyceemusic

Instagram: https://www.instagram.com/emycee/

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

IMDB: http://www.imdb.com/name/nm8110822/

Upcoming Shows: https://www.reverbnation.com/artist/artist_shows/1120249