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Marco V, Vision 20/20 – RAB/BIT (Spotify)

“Marco V /Vision 2020 Rab/bit is an instant classic. The classic trance beat picks right up and organic electronic sounds fill in the background. Vocals are soothing with a touch of class that takes us back. ”

-Nagamag.com

2021 currently belongs to Marco V, continuing to switch between styles and never holding back when it comes to giving you goosebumps. In vocal trance mode, sweet, angelic vocals, slicked back between fantasy and reality and with a taste for the bittersweet, skim across feverish beats. As ‘RAB/BIT’ starts its upward charge, it approaches the promised land of the euphoric but keeps its guard up, a shimmering, holographic synth pattern seemingly anticipating danger around the corner. Made for massive parties armed with supersized glo-sticks.

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Mauricio Morales, Roni Eytan, Al Joseph – Garden of Hope (Spotify)

“A walk among the rhythmic meadows of complex Jazz inspired riffs. They flow seamlessly together like the rivers of time. ”

-Nagamag.com

Artist shared with Nagamag a very instersting story behind song inspiration:

"As we grow we reach moments in our life in which we make mistakes. In which we challenge the principles that work as the foundation of who we are and that eventually continue to build our character. I think there are times in everybody’s life in which we question our own nature. In this particular case I want to convey a specific emotion that I have felt.

It starts with me and a friend spending some time at his house. We drink and end up going out. We end up drinking more and spending money.

At the moment I was unaware or didn't care of the consequences, I just continued behaving as if I owned a world that I didn’t earn myself. But it really did hit me the moment I opened my eyes the next day. For starters, I used my fathers money. He found out of course.

At this moment I felt absolutely lost. First of all I was embarrassed and assumed my dads perception of me had changed completely. I was uncomfortable around my family because of it. I also felt like I had lost whatever innocence I had left in me and that I was turning into someone without proper direction. I felt like the child that wished for the moon was gone and had turned into something else. Something I didn’t like.

A few weeks later, I was sitting down in my pijamas, playing a Nintendo game called Pikmin. After playing it for a couple of hours I realized that for a very short period of time, I didn't think about it at all. In fact I didn't think about anything at all. I was enjoying the game, and it was the most childlike experience I have had in a while. It made me happy. And it was not the video game itself, but the idea that I was still me, and that I am in control of the decisions I make from now on. It was not a matter of neglecting whatever I had done, it was a matter of learning from it. Trying to become the best possible version of myself and be conscious of my ideas and principles and live by them.

I thought it would be a good way to end the record because I believe we are born children, and that in a lot of cases we live our lives pursuing feeling like children again. NOT being children, but feeling like children.

The level of the video game I was playing then was named "Garden of Hope". "

SONOf – Stoaway (Spotify)

“A great track to lose yourself into. The distant vocals seem to shine across the studio floor. The beat builds and climaxes in a soothing guitar riff. ”

-Nagamag.com

A warm wind with eyes closed : Harmony to a far off stare : A window seat just beneath the clouds.

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andreas owens – bad4you (Spotify)

“Are you looking for some light sound after a busy, tiring day? Then, we strongly recommend Andreas Owens new single. Alternative style with pleasant touch and expressive singing. The suitable elixir for your ears and mind relaxation is just ready.”

-Nagamag.com

Los Angeles-based producer and singer-songwriter andreas owens releases his 5-track debut EP, aptly titled almost everything i've ever wanted to say, an intimate and vulnerable R&B-infused pop record showcasing his ingenious and versatile songwriting. The EP follows a series of singles – “don’t feel happy”, “falling & falling”, and “not much (better than before)” – all of which received high praise by the likes of publications Banger Of The Day, Before The Data, DUMMY Mag, Fashionably Early, Substream Magazine, and We Found New Music; inevitably landing editorial placements on Spotify (Fresh Finds, Fresh Finds: Pop, and Study Break) and TIDAL (Rising: Pop).

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QUOTE

“‘almost everything i’ve ever wanted to say’ is truthfully that — it is in every way, nearly everything I’ve ever wanted to say musically, lyrically, sonically, experimentally, and emotionally. For as long as I can remember, I’ve wanted to create and complete a work like this; something where I’ve sat in my room and slowly worked from beginning to end without any real goal in mind. Almost like I’m reading a book about my life, piecing together one experience after another but not quite knowing where or how the story ends.”

-andreas owens

'almost everything i've ever wanted to say'

The mentality and overall vision behind andreas owens has been pretty different to that of The Millennial Club. Ironically, the biggest distinction between the two projects lies less in the final product, but more so within the creative process itself.

Adapting an “anything goes” mindset helped facilitate a lack of pressure to fit within a specific genre and andreas owens quickly found himself enjoying the refreshing freedom present in creating without convention. This unadulterated creative energy ultimately led to the birth of almost everything i’ve ever wanted to say: a diverse and genre-blending EP that not only reflects his personal growth as a songwriter and producer, but surely defines his personal footprint as a truly generational artist.

BIOGRAPHY

andreas owens is the solo project of Los Angeles-based producer and multi-instrumentalist Andres Owens, the lead vocalist of indie pop and R&B band The Millennial Club. Delicately blending intimate vocals with unabashedly ‘pop’ backbeats, the So-Cal native has been slowly but steadily building a catalogue of truly unique material. Embracing the ever-evolving notion of bedroom pop, everything is written, recorded, and produced in his (tiny) bedroom-turned-studio.

In his own words, “It’s the only way I’ve found it to feel authentically myself. The safe, familiar space is the catalyst for facilitating something visceral and unapologetically my own. It allows me to release my compulsive ‘perfectionist mindset’ and instead create with the understanding that mistakes are inevitably a unique and beautiful part of the process that makes it my own.”

Track Commentary by andreas owens

“bad4you”

“‘bad4you’ is likely the first song I’ve ever written where I can truly say I understood the significance of every sonic and conceptual decision. I’m not sure why, but with ‘bad4you’ in particular, I felt like something just clicked and suddenly everything made sense to my brain. Writing and arranging the song became less about convention and expectation, and more about what I felt the song needed, throwing caution to the wind, and consciously letting the song finish itself. I think in doing that – in a sense, giving myself to the song and not trying to dictate its final form – I found a place of comfort knowing I wasn’t forcing anything into the track that perhaps didn’t belong. Through the process I think it came into focus that production is, in every sense, a language, and producing ‘bad4you’ really helped widen my vocabulary.”

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Kiey – Sunday Sanctuary (Spotify)

“Very fresh delivery in the Electro Pop scene, from those which we appreciate from the first seconds. Rich sound pallete with organized mix of pads and melodic patterns. The song starts smoothly and quickly changes with dynamic shifts, followed by the lyrical part. True masterpiece by "Kiey"!”

-Nagamag.com

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Justy – Letting Loose (Spotify)

“"Justy" presents an interesting tune with innovative ideas. "Letting Loose" has the structure of House matched with Hip-Hop style lyrics. Remarkable is the bass and beat part which function like a connecting ingredient between the two music genres.”

-Nagamag.com

"Letting Loose" is the first single where I've really experimented with house elements and song structure. When I first heard the beat I knew I wanted to incorporate some of that house-hip hop vibes in my delivery. The musiciality in the song felt like stepping out of my comfort zone and I wanted to write a song that also touched on that feeling of letting loose. The song is about unwinding and liberating yourself for yourself.

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Banco De Gaia, Ian Urbina – My Little Country (Spotify)

“A classic buildup of arpeggiators opens the vibe. The mid-tempo techno vibe takes over and grabs you along for the journey. Strings appear and you want more. ”

-Nagamag.com

Artist shared few words behind his song inspiration with Nagamag:

"I often work with field recordings but generally in abstract ways where the shape and texture of the sound is more important than its general context or meaning. For this project in particular, it is the meaning of what you are hearing that matters — the mood created by the sonic environment and the message of the words being spoken. One person stating a fact is less convincing than witnessing the reality, even if it’s indirectly.

I’ve always loved the sea, both being in it and on it. I’ve spent many happy days diving, snorkeling and being among sea creatures in their environment, and I value aquatic life as highly as I do life on land. Thus it saddens me to learn of the extent to which marine life is treated as nothing more than a resource to exploit, with no concern for what is impacted in the process. This project spurred me to not be complicit in this exploitation, and to instead call it out when I see it." - Banco de Gaia

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Banco De Gaia has been performing and releasing for over 25 years now, along the way becoming one of the music industry’s most maverick innovators. His legacy is as glittering as it is diverse, ranging from Hollywood film sound credits to the critically acclaimed ‘Last Train to Lhasa’, first released in 1995 to a rapturous reception. His live act still packs out venues and festivals all over the world, with audio-visual performances renowned for their explosive, cutting edge quality: from sampling wizardry fused with haunting vocals and poignant acoustics to genre-hopping musical instrumentals, all accompanied by socially engaged visuals.

Georgia Cécile – He Knew How To Love [Official Music Video] (Video)

“Enter the emotions tied to love. Graceful piano and strings embraced by a soothing simple beat. Heavenly gravity in this light and airy track. ”

-Nagamag.com

Georgia Cécile is at the helm of an exciting new wave of UK female jazz talents, however her new single ‘He Knew How To Love’ sees her explore a more broader pop sound. The track comes with a beautifully crafted music video by Rianne White as the two pair up with PRS Women Make Music Foundation (to increase the profile of women, trans and non binary artists who are creating new music in the UK). This November she will be opening the prestigious London Jazz Festival, off the back of dropping her debut album in September.

GEORGIA CÉCILE returns with her boldest release to date, the emotional ballad ‘HE KNEW HOW TO LOVE’. Teaming up with film director RIANNE WHITE and in association with PRS WOMAN MAKE MUSIC, the cinematic music video represents two young women at the height of the game.

“Vocalist of the Year” Nominee Jazz FM Awards 2020

“Her voice is spectacular. Cécile & Stevenson are a songwriting pair to watch out for” Jamie Cullum (BBC R2)

“Her clarity of tone, creativity and ability to sing with genuine emotional depth will take her a long way” Jazzwise

One of UK Jazz’s hottest new prospects, Georgia Cécile is at the helm of an exciting new wave of UK female jazz talents. Tipped as ‘One To Watch’ by BBC Introducing and Jazzwise Magazine, Cécile’s stock has been rising on the strength of her live performances and her songwriting partnership with award-winning pianist/composer Euan Stevenson. She has an accessible approach to jazz (with pop to soul influences) which is key to her crossover appeal as she cites contemporaries such as Celeste, Melody Gardot and Gregory Porter as influences – as well as old favourites like Stevie Wonder, Sarah Vaughan and Nina Simone.

Her new single ‘He Knew How To Love’ is perhaps her most accessible release to date, as the jazz-flavoured beginning builds into a full blown pop ballad at times. As a piano guides the instrumentation, a cinematic soundscape of strings help create pictures with sounds, as the track ebs and flows, mirroring the ups and downs of life. As her vocals take centre stage, Georgia recounts stories of her father’s love and devotion through the years, as she takes stock of her journey into womanhood. Georgia explains the personal message within:

“This song is my most personal as it was written about my Father. I wanted to capture the essence of him – his presence, spirituality, and the ways in which he nurtured and shaped my world and how his personal sacrifices allowed me to pursue my dream.”
“The fruition of those dreams are felt in the song too; moments of self-realisation and the journey of evolving through adolescence into womanhood. It is my hope that others feel moved and empowered to realise their destiny.”
“My paternal grandfather was also a renowned jazz pianist in the 1960’s, who is the key inspiration behind my vocation to music – this song is also in honour of him.”
About the music video: In collaboration with Scottish film director and choreographer Rianne White, the pair have delivered an elegantly rich and movie-like music video to accompany the release. Rianne has gained recognition as one of the UK’s most exciting young film directors, having directed films with Young Fathers, Ellie Goulding, Aurora and Kate Tempest. This project, supported by PRS Woman Make Music, marks the unity of two young women at the height of their creative ambition – bringing female collaboration and support to the forefront of not only their personal but collective visions. *press release attached for more info.

This year, Georgia marked International Women’s Day by performing live for the BBC’s Jazz Nights show and she was included in Jazzwise’s ‘Women In Jazz’ feature that day. Also around that time, her single ‘Always Be Right’ was featured by Wonderland Magazine, and was playlisted on Jazz FM. ‘He Knew How To Love’ is the second single taken from Georgia’s debut album which is due for release early September. In November she will be opening the prestigious London Jazz Festival with the Guy Barker Orchestra and will be recording at Abbey Road this summer.

Previously, her track ‘Blue Is Just A Colour’ premiered on BBC Radio 2’s Jamie Cullum show, following sell-out shows at UK jazz festivals including Cheltenham, Edinburgh, Glasgow and London. She was championed by The Scottish Sun, The Herald, The Scotsman and The Sunday post after picking up ‘Best Vocalist’ at the 2019 Scottish Jazz Awards and a nomination for ‘Vocalist of the Year’ at the prestigious 2020 Jazz FM awards.

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Mason Owens – Stoned in the Vallies (Spotify)

“Mason Owens creates with his very own personal style and this is quite clear in this recent single. Easy-going guitar based creation with characteristic singing. The artist's elegant voice can immediately steel the listener's impression and lead to a further relaxing mood.”

-Nagamag.com

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Following the success of his debut EP, ‘Off The Bat’, Liverpool alt-folk hero, Mason Owens will release ‘Stoned in the Vallies’ the first single from his hotly anticipated follow up EP, ‘Early Hours’, out now.

The track, along with the rest of the EP, is produced by Glaswegian electronic pioneer Hector Barbour, better known as Denis Sulta, who is renowned across the world for his electric DJ sets spanning house, techno, trance and disco.

The former Mixmag cover star and BBC Radio 1 Residency Broadcaster won DJ Mag’s Best of British DJ awards in 2019 and has turned his attention to the world of acoustic music for this exclusive side project after hearing Owens’ play ‘Stoned in the Vallies’ during a jam session.

Mason Owens, said: “I had a jam session a few months back with Hector and he said, ‘play me a track you haven’t got out yet’. I played him the tune and he related to it - he wanted to be part of it. He understood the sentiment and the meaning behind the song.”

Barbour, who has released music on influential labels such as Ninja Tune, Numbers and his own Sulta Selects and Silver Service imprints brings production techniques that he has nurtured through his impressive career to date.

“I never thought it would sound as good as it did, and a great deal of that is down to the quality of Hector’s production” Owens continues “Recording the track with him was a great experience.”

‘Stoned in the Vallies’ was penned by Mason two years ago, just after a short stint behind bars. It comes as no surprise that themes of freedom run through the lyrics.

“Stoned in the Vallies is about wanting to be free. It’s about the feeling of being caged up and not being able to remember what freedom feels like,” explains Mason.

“My head wasn't necessarily in a bad place at the time (though the spelling of ‘Vallies’ does give a nod to a well-known anti-depressant). I just wanted to get out there and get my life back on track.”

Taking a departure from his previous work, Owens draws on inspirations including John Martyn, Nick Drake and Tracy Chapman, to produce an altogether different sound.

Moving away from the raw sound of his debut EP, “Off The Bat”, Owens introduces intricate guitar work, sentimental lyricism and folk-infused melodies to his latest release, in what he is calling a “new phase” in his artistry.

“It’s closer to what I want to be doing; the music I naturally make,” Owens said. “The style is completely different. It's a lot more mellow, a lot more melancholy and more emotional.

“Off The Bat is a fast paced aggressive one to get you up in the morning, whereas this is made for chilling out to and make you think and reflect.

Owens burst onto Liverpool’s contemporary folk scene in 2020 with releases such as ‘Waiting For You’ and ‘Dock Road’.

He has racked up over 100,000 streams on Spotify alone and earned the attention of BBC Introducing Merseyside and fellow Scouser, Jamie Webster, who topped the Official Folk Album Chart last year.

Owens “could go down in folklore with some of his tunes”, Webster said.

He has since gone on to perform at some of Liverpool’s most popular venues, including the O2 Academy, Art Club Liverpool, Studio 2 Parr Street and Eventim Olympia as well as playing the hugely popular BOSS Night events at the first ever Everton Sessions for Everton Football Club.

As the country emerges from lockdown, Owens is preparing for a number of live shows in the coming months ahead of the release of ‘Early Hours’ including supporting Jamie Webster on several dates on his UK tour, playing the Main Stage at this year’s Liverpool Sound City Festival and his own headline show at the Arts Club, Liverpool with I Love Live Events.

For more information about Mason Owens, visit: www.niftyrecords.com/mason-owens

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