Search This Blog

Showing posts with label funk. Show all posts
Showing posts with label funk. Show all posts

16 May, 2016

Merrin - Mr. Dominant

Merrin – Mr. Dominant (song review) |self-released, 2016| 5/5 rock, pop, funk

Merrin are a band from Wellington, New Zealand. Judging by their newest single's vibe, the quartet is aiming to gain attention worldwide, presenting a potential hit - something the music industry is always on the lookout for.
The song's low, energizing groove and excellent vocals should agitate listeners already from the very beginning. The arrangements placed swiftly within a solid body holding the entire composition, clearly shared between verses and choruses, make for a really catchy and powerful song. Any chart topper needs to have some repetitions to remain memorable, but in this case there’s not a single second of boredom here.

'Mr. Dominant' begins with vocals that are followed by drums (Richard Maxwell Jr), guitar (Karl Wootton) and bass (Lisa Tagaloa). The rhythm is bouncy making the track instantly memorable, yet it ends on a perfect, popular note with all instruments bringing the rhythm to a gentle stop. Melodically, 'Mr. Dominant' fuses rock, pop, funk and metal vibes thanks to edgy guitar riffs, the overall structure, and the catchy groove. Riffs and drums are less dense, unlike when utilized in purely metal tracks, so the song may find its way to various listeners, not bound to any specific genre. Every instrument, including the voice, has accurate placement, and everything is timed flawlessly. Even if the song may sound spontaneous at first, there's quite a lot of math hiding underneath.

The timbre of the vocals is very interesting, since they sound quite 'androgynous' - the voice could belong to either a woman or a young man, and it’s hard to say before you have a look at the band’s line-up. It's rebellious, confident, and distinctive - it can tap into higher notes easily but it mostly keeps a lower, almost masculine tone somewhere in the middle. Its range intrigues as well. To satisfy your curiosity, the person behind the voice - Charlie Phillips - is female. Being gifted with a voice like this, she should expect many opportunities in the music industry (and beyond, e.g. voice acting in movies or games) sooner or later. It seems that singing comes effortlessly to her - on top of that, her voice is easily recognizable.

Lyrically, 'Mr. Dominant' refers to the act of seduction of an alpha-male man, so called 'the old electric masculine' driven by own ego and thus, always wanting to be in control. How could a female be in control of such a guy, then? Using her sexiest attributes, according to the song writer.

Overall, the song is great for any kind of media placement, and will surely stir the physical energy of listeners, whether it is aired on worldwide radio or included on a personal playlist. The song's recognizable fragments may be a good match for a TV advertisement as well. Guano Apes, Nico, Living Colour, Deftones, and Rage Against the Machine - you could probably name these if you really need a sonic reference, but make sure to check out other songs by Merrin, streamed on their social profiles.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 12th, 2016. Proofreading: Mike 'Vesper' Dziewoński)





Official | Facebook | Twitter | Instagram | SoundCloud | YouTube


Reviewed by Fabryka Music Magazine

16 April, 2014

Stiletto Ghetto - Don't Call Me

Stiletto Ghetto - Don't Call Me (song review) |self-released, Celebrity Society, 2014| funk rock 5/5

Stiletto Ghetto was founded by Louis Raphael (drummer, producer and co-writer) in San Francisco in 2010. Louis is accompanied by a variety of skilled musicians who perform music written by him in studio and on stage. The collective definitely spices songs up through their own expression and character.

Groovy, repetitious bass lines dominate here and interact with the drums very well. Since the rhythm and dynamics are the most important traits of funk music, that’s spot on. There's a soloing rock guitar mixed with excellent arrangements written for saxophone, jazz piano and trombone. Technically speaking though, the guitar riffs are on a layer below bass and drums, giving priority to the main funky theme. Most importantly however, the bass is accompanied by a powerful female voice.

As mentioned before, Louis collaborates with other musicians. "Don't Call Me" features guest vocalist Racquel Roberts. Her highly memorable voice perfectly matches both jazz and funk. It sticks to your ears instantly, together with a performance of the rhythm section, sometimes resembling Anastacia's or Aretha Franklin's voices in tone and range.

The lyrics were written by Louis Raphael and Safiya Bird-Whitten. The song tells a story of a lack of mutual respect and loyalty; friends or rather so called 'friends' who are not available when one needs their help the most, but who always call on you to expect support, advice or help with their own problems when they get in trouble.

"Don't Call Me" is a selection from the 8 songs recorded for the Celebrity Society album released this year. It follows Tendernob Hillbillies EP (2011), put out by guitar icon Steve Vai's own Digital Nations label. This helped Louis license and place two of the tracks in two independent movies.

Does the song have hit potential? Definitely yes. Moreover, it perfectly fits into all sorts of jazz & funk radio playlists. Make sure you'll check out the entire album, too.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 31st, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Music Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=531


Official | Facebook | Soundcloud | YouTube | Myspace | Twitter | ReverbNation

Buy on: Bandcamp

Reviewed by Fabryka Music Magazine

26 June, 2013

Progressivenz - Pickin On Me

Progressivenz - Pickin On Me (song review) |self-released, single, 2013| 4/5

Progressivenz is a musical project founded in New Zealand by Rhys Williams. He's a guitar player, but he doesn't shy away from utilizing other instruments such as bass or synthesizers.

The new song by Rhys entitled "Pickin On Me" undoubtedly sounds groovy. This is mainly thanks to a repetitive, warm & funky R&B-ish bass line that dominates but also stabilizes the composition with a solid core. Additionally, nicely dosed electronica, borrowing themes from goa trance or electro genres chimes in at the right spots throughout the entire track. A fusion of the two results in several smart arrangements stitched into the composition, which is long enough to let the listener enjoy the groove.

Rhys' voice also sounds very interesting. A sensitive ear would find his vocals memorable and recognizable. They are a bit abrasive, holding passion and a hint of anxiety as well. On the other hand, Rhys has used a vocal effect that would suit pop music slightly better. "Pickin On Me" sounds intriguing, yet a bit murky. The effect was probably used to bring some more life to repetitive lyrics. It does take the 'dark' mood away from the song, though.

When it comes to the lyrics, they are presumably about a man who has a romantic interest in a woman, but deals with disappointment since she doesn't reciprocate his love... until he has enough of money: "You welcome me on pay day, And sing your little song, And then you push me to the floor, Just once the moneys gone". Moreover, she flirts with other men, giving a hard time to the one who wants her exclusively: "You dance with everyone but me, And have your little flirt, Then push me to the corner, Just like a piece of dirt". Apparently, it sounds like the man may be addicted to her presence, but he's not ready to quit this manipulative relationship yet.

There's something about "Pickin On Me" that you will like and at least a few details your ear won't miss. It may be the overall nice groove, the repetitions but also the sensual mood. These usually turn one’s mind on and so, they may play with yours as well.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 25th, 2013. Proofreading: Mike 'Vesper' Dziewoński)


Reviewed by Fabryka Music Magazine