- Founder/Editor of Obscure Sound; Music PR Professional
I am the founder and editor of Obscure Sound, a site that has been exposing quality independent music since 2006. It has been featured in the New York Times, Boston Globe, Toronto Star, The Guardian (UK), The Independent, The Observer (UK), Wired, BBC Radio 1, Stereogum, New York Magazine, and VH1’s Best Week Ever. Feel free to contact me in regard to music submissions for Obscure Sound and/or independent PR servicing, a comprehensive service I provide artists with. I have seen very positive results to date, helping contribute to placement in NME, Pitchfork, Indie Shuffle, and many more, including a nationally televised commercial with ESPN, spots on Spotify's official "New Music Friday" playlist, as part of the soundtrack for the 'Rocket League' video game, and several record label opportunities (with names like Burger Records and Rough Trade). I can provide rates and more success stories upon request ---> firstname.lastname@example.org
- artist management, music industry, pr, digital marketing, diy music promotion, consulting, music promotion, artist and creative talent relations, music marketing, social media, social media marketing, brand building, social media strategy, creative writing, emerging artists, music events, copywriting, music writing, music writing / blogging, promoting music, music journalism, music blogging, music reviews
- rap, hip-hop, jazz, funk, soul, indie rock, indie pop, hard rock, rock, folk, indie, singer/songwriter, electronica, edm, music, reggae, pop, r&b, garage, video games, gaming, dance, ambient, house, dubstep, indie folk, synthpop, shoegaze, electro pop, acoustic, chillwave, country, dark ambient, downbeat / electro-acoustic, grunge, film / video, comedy, uk garage, remixes, alt-country
- NY, USA
"Soda Water" gives way to suave vocals and acoustical shimmers following a welcoming, jangly rock-forward introduction. The bridge, around 47 seconds in, rouses with an infectious spirit. Chorus at 01:07 shows effervescent, nostalgic rock charm -- channeling a sort of '90s alt-rock with radio-friendly accessibility. The ensuing guitar-based touch plays great. The bass-fronted bridge approaching the three-minute mark plays climatically, riding into a satisfying conclusion. "Soda Water" is a stellar track, for sure - thanks for sending! Since you noted wanting help with promotion, feel free to email me at email@example.com to inquire about my PR servicing's rates and success stories. Please do keep me posted on future releases as well, thanks! -Mike
"Malady" evolves with atmospheric intrigue, aesthetically reminding me with fondness of Wild Beasts. Quaint, guitar-based clanking and rising vocals expand with buzzing infection past the one-minute mark, with string-laden creepiness playing delectably in the background in the minute+ thereafter. I'm very fond of this track's numerous structural twists and turns, within a darkly captivating aesthetic infusing orchestral-tinged components with buzzing, Bowie-esque rock. I added this track to my best-of monthly playlists on Spotify and Soundcloud, and look forward to sharing on OS. Feel free to reach out via email to firstname.lastname@example.org if interested in my PR servicing's rates and success stories, and definitely give me a shout when the album's out in April! Thanks for sending this gem. -Mike
A hypnotic and lulling journey, "Asleep Too Deep" sees nocturnal synth tones and sporadic guitar swipes accompany distant vocals, with atmospheric appeal. Certain guitar-based moments, like around 01:10, remind of something in a David Lynch film. Dark melodic shift at 01:22, with accompanying added backing vocal, plays excellently. Aesthetically, the track reminds me of a more lo-fi vein of The Xx. I'm enjoying "Asleep Too Deep" and its overall, murky, and dreamy soundscape. Feel free to reach out via email to email@example.com with any questions regarding promotional help -- I'm happy to share my PR services' rates and success stories -- as well as any future releases. Thanks for submitting! -Mike
Riveting strings and escalating guitars ease into a country-forward vocal lead, with the "slow guitars," vocal hook at the 45-second mark being nicely accompanied by trickling guitar twangs. "Sing another song," lead-in alongside strings reminds fondly of Jeff Lynne. Guitar work around 02:10 leads effectively into a swaying, acoustical-forward vocal section, before coming into a satisfying conclusion. A catchy, well-produced track with a confident vocal lead, "Lone Stars" engages nicely. I look forward to its release.
"Pass Me the Bottle" is a stellar breakup anthem with comforting allure. Clap-laden effect approaching the one-minute mark joins with wordless backing vocal warmness, aligning aptly with the "pass me the bottle," lead vocal refrain. The organ-laden infusion a minute thereafter joins with passionate vocals -- "I've got memories to forget," -- for a stirring conclusion. I look forward to sharing on Obscure Sound. Since you noted wanting help with promotion as well, feel free to email me at firstname.lastname@example.org to inquire about my PR servicing's rates and success stories. Thanks for sending! -Mike
Twangy guitar and exuberant vocals open "Paradox" win spirited form. The opening lyrics -- "this bed has never been so cold," -- evoking a consuming yearning. The twist at the four-second mark exudes a country, bluesy charm -- maintaining a radio-friendly accessibility, while still touting structural variety, maintaining my interest fully. The "I don't need you but I want you," hook plays well throughout. The expressive guitar tones around 02:05 plays great too, driving into a satisfying conclusion over the next minute. "Paradox" is a fun, enjoyable track showing great songwriting and passionate vocals. I look forward to sharing! Feel free to email me at email@example.com to inquire anytime about my PR servicing's rates and success stories. Thanks for sending! -Mike
Mellow keys and lush acoustics combine with suave, airy vocals for an aesthetic fondly reminiscent of Elliott Smith. The multi-layered vocal escalation around the 35-second mark evolves with satiating enjoyment, especially upon the twangy guitar injections at 00:45. Also reminding me of Sean Lennon here. 01:11 serves as another excellent moment, with percussive fury halting and then giving way to pleasing backing organs. I'm fond of the various twists and turns within, maintaining an accessible, familiar aesthetic throughout that makes for easy engagement. Nice work on this -- I added to my 'Best of February 2021' playlist on Spotify, and plan to post on OS. Since you noted needing help with promotion, feel free to email me at firstname.lastname@example.org to inquire about my PR service's rates and success stories -- would be happy to chat more. Thanks for sending! -Mike
Enjoyable layers of guitar converge for a shoegaze-friendly textural allure, complemented by vocals in a power-punk/pop spirit. The aesthetic meshes genres from the '80s and '90s I love, and does so with a creative, unpredictable engagement. The guitar distortion approaching the two-minute mark, with "I wanted to," vocal pleas, makes for an especially effective moment -- especially as the next section, with the heavy bass and pounding percussion, continues that momentum with spirited passion. "So Broken" succeeds with its beautiful textural guitar work and hooky vocal emotion, conjuring nostalgia with melodic success. Please send me an email at email@example.com when this track releases -- am happy to share, and chat further regarding promotional help. Thanks for sending! -Mike
Passionate vocal outpouring meshes effectively with a bouncy clanging of keys, amidst a busy rhythm section, escalating with gradual yet effective allure. I'm a fan of twists and turns in tracks, and the "no more signal flares," refrain does well in that regard, projecting a feeling of climatic momentum and unbridled emotion, especially upon the vocal at 01:55, which is followed beautifully by lingering guitar tones. Orchestral-laden components mesh with a rock-friendly, climatic push and invigorating vocals throughout; "Signal Flares" is a powerful, satisfying track. Thanks for sending! I look forward to featuring on OS and sharing. I've already added to my Best of January '21 playlist on Spotify. Since you marked needing help with promo, also feel free to email me at firstname.lastname@example.org if interested in hearing about my PR servicing's rates and success stories. Thanks for sending this gem! -Mike
Great sound! Twangy guitars and suave vocals remind aesthetically of early Modest Mouse. "Even in the dead of winter," line aptly aligns with a wintry soundscape, with the guitar work cascading like snowfall. The "nobody wants to be outside," shift leads nicely to an emotive vocal turn around 02:10, reminding of The War on Drugs here. "The Lonesome Foghorn Blows" touts a hypnotic, twangy rock sound that features plenty of great twists and turns, with the glistening guitar injection around 02:40 among the best. Thunderous guitars close the track out with satisfying allure. I'm looking to post this on OS and sharing -- have already added to my monthly best-of playlist on Spotify. Also, since you marked needing help with promotion, feel free to email me at email@example.com if interested in hearing about my PR service's rates and success stories. Would love to chat further, thanks! -Mike
Laid-back vocals and psych-friendly guitar twangs exude an alluring, engaging aesthetic to start. The spacey backing to the video meshes well with the hypnotic, serene enjoyment. The chorus around 02:08 is lovely and captivating -- a bit McCartney-esque in those plucky guitar twangs. Very stellar songwriting and overall aesthetic, which feels enjoyably nostalgic though also refreshing in its melodic rollout. In addition to an upcoming OS post, I added the track to my best-of monthly playlist - https://open.spotify.com/playlist/0RWL5Xcklk0EgNmzpunTU4?si=dNUHQVrOS32qUkT_cXHZHw Since you noted wanting help with promotion, feel free to send me an email at firstname.lastname@example.org if interested in inquiring about my PR servicing. I'm happy to share my rates, success stories, and overall strategy -- would love to work on this.
Brooding folk sound magnified by murky guitars and forlorn vocals, sounding aptly weary amidst the slight key-laden backing and acoustical hypnotic glow. Reminds me of Red House Painters, aesthetically. "Mistaken for Entirely Dead" captivates with its grunge-tinged vein of folk, certainly -- with the haunting textural introduction around 02:25 also standing out in terms of production. Thanks for sending this, and please keep me posted via email at email@example.com for when this track goes public.
"I Star As You" unfolds delightfully, expanding with ruminating acoustics alongside thumping percussion and piano-laden charm. A strong melodic shift at 00:42 arrives alongside the vocals, with the "live that way," section reminding me fondly of XTC. The re-emergence of piano following the "Star is you," vocal bit -- alongside the sharper vocal touch at the two-minute mark -- makes for a fully enjoyable series of events. I'm enjoying how the track retains a consistent, accessible aesthetic throughout, all while offering a series of clever structural twists/turns. Reminding me fondly of Aztec Camera and XTC, "I Star As You" is a pleasurable listen throughout. For any help with promotion, feel free to send me an email at firstname.lastname@example.org to inquire about my PR servicing's rates and success stories. Thanks for sending this gem! -Mike
Wasting no time, "One Life to Live" begins enjoyably with rousing guitars and wordless, anthemic vocals. Invigorating from the get-go, I enjoyed the subsequent guitar-based intensity, amidst "running for no one," vocal intensity. The unbridled vocals and sweltering guitars lead seamlessly to a reprisal of the vocal energy emitted in the first seconds. I'm a fan of rock tracks with structural variety, and "One Life to Live" does great in keeping my interest, with twist/turns just as a section starts getting comfortable. Case in point, the de-escalation around 02:15 features a bass-fronted mystique and escalating snare that firmly captivates, resulting in the initial energy's reprisal feeling extra satiating into the track's conclusion. Great work on this! Would love to chat further on helping with promotion for the lead single and album -- feel free to send me an email at email@example.com to inquire about my PR service's rates, success stories, and more. Thanks again for sending! -Mike
Lovely, gradual unveiling of flickering acoustics and electronic backing textures. I'm drawn in by the track's steadily unfolding glow, with gargles of synths -- like at 01:10 -- meshing cohesively with lush acoustical trickles. The halting at the two-minute mark, quickly followed by re-emergence of guitars, plays with a crisply invigorating feeling. Certainly, I do think this track has nice single potential, and would do well from a PR perspective in terms of nabbing some recognition among playlists and subsequent sync opportunities. Feel free to send me an email at firstname.lastname@example.org if interested in discussing my PR strategies, and to let me know when this track is public. Thanks for sending! -Mike
Fuzzy, warm qualities inherent initially, like floating ethereally on a jet plane. Spacey frequency past 30-second mark establishes an entrancing feel. Glistening past one-minute mark in regards to that lead is effective, as is the warm buzzing permeating continuously in the undercurrent. I'm intrigued by the dreamy, hypnotic nature of this track, achieving an ambient sort of dream-like state that succeeds. I'll plan on sharing for sure.
Hypnotic, twangy guitars and murky, plucky bass make for an immersive sound, one that reminds me fondly of Thom Yorke's solo work. Gradually involved layers become enjoyably accompanied by the initial guitar twang melody, with the two-minute mark unveiling an electro-infused percussive feel that plays effectively amidst flashing brass-like resonance. "Boss Man" is a track that engrosses with its consuming, hypnotic aesthetic -- with a melody that also is becoming stuck in my head. Nice work on this. I look forward to sharing this track, and digging into the rest of the EP. Since you mentioned needing help with promotion, feel free to email me at email@example.com if interested in hearing about my PR servicing's rates and success stories. Thanks for submitting! -Mike
"Killer Whales" impresses with its serenely unfolding sound. Gently pulsing keys provide a lovely accompaniment to the stirring, deeper-toned vocal lead, which reminds me fondly of Matt Berninger, Nick Cave, and others with a solemnly unique voice. Nice textural backing around 01:18, with a psych-friendly lingering; the effervescent subtlety around 02:20 also impresses. Showing a subtly unveiling soundscape that engrosses, "Killer Whales" is a fully pleasant track I look forward to sharing. Also, since you noted wanting help with promotion, feel free to email me at firstname.lastname@example.org if interested in hearing about my PR servicing's success stories and rates. Thanks for submitting! -Mike
"Jelly" shows an immediate punchiness with warbly and twinkling synths, amidst an enjoyably layered collection of vocals. Funky bass-laden tinge approaching the 30-second mark with spurting synths makes for a very cool sound -- converging precise hip-hop flow with a smorgasbord of electronic, funk, and pop elements. Just within the first minute, "Jelly" impresses with its varied tonal reach and obvious stylistically eclectic nature. Rest of the track continues the engagement, continuing the playfully eclectic arsenal. Thanks for sending this gem. I look forward to sharing on Obscure Sound upon release. Please reach out to me at email@example.com with the public link upon release, and I'll be sure to share. Also feel free to give me a shout regarding my PR servicing, and its rates/success stories. Thanks for submitting! -Mike
Spirited acoustics and strings provide "It's (Never) Too Late for Love" with an alluring intro. Suave vocals emerge shortly thereafter with an entrancing charm. Aesthetically, the strings and stirring vocals remind me fondly of The Waterboys. The poignant "end of all times," bridge leads nicely into the string-laden "it's too late for love," hook -- with shades of Rolling Stones there. The acoustics and strings show enthralling interplay throughout. I'm also enjoying the diversification between verse and chorus -- the track manages to be melodically memorable without feeling too tonally samey. I look forward to sharing this track on Obscure Sound in the near future. Also, since you noted wanting help with promotion, feel free to email me at firstname.lastname@example.org if interested in my PR servicing's rates and success stories. Thanks for submitting! -Mike
A flurry of guitars and synth-based fragments form an excitable, consuming intro. The vocals show a post-punk-friendly vein of nonchalance that vibes well with the aesthetic -- like The Chameleons UK meet Ariel Pink. The "oooh, are you..." section around 00:50 provides commendable variation. The lower-pitched vocal quiver during this section adds a menacing effect that plays convincingly amidst the synth/guitar interplay, which concocts a sort of '80s nostalgia. Somewhere aesthetically in the realm of Ariel, The Chameleons UK, and John Maus, "We Were Here But Now We're Not" shows a convincing aesthetic and memorable melodic quality. Thanks for sending! I look forward to sharing this. Also, since you noted needing help with promotion, feel free to email me at email@example.com to inquire about my PR servicing's rates and success stories. -Mike
Punchy guitars exude a catchy power-pop feeling from the get-go. A bass-y reverberation alongside suave vocals makes for climatic initial verses, seamlessly gliding into bouncy guitars that excel toward the "tell me that you," chorus, which shimmers with delightful infectiousness. Aesthetically, I'm reminded of a cross between Rooney and The 1975. As such, the aesthetic is accessible and radio-friendly, while still showing enjoyable creativity. "Tell Me It Ain't Over" exudes contagious charm and aesthetically bright energy throughout, capped nicely by the melodic guitar solo around 01:50. Nice work! I look forward to sharing. Also, since you noted wanting help with promotion, feel free to email me at firstname.lastname@example.org for details on my PR servicing. This track has ample PR potential. Thanks! -Mike
Spacey, futuristic vibe throughout shows a convincing aesthetic. Reminds me of the 'Mass Effect 2' soundtrack. I enjoyed the effervescent synth addition around 01:40, following by very active percussion and an ominous synth pad serving as a bridge into the second half. Pit-patter of snares expands nicely alongside this synth pad, leading into a fully satiating second half. Nice production and work on this, overall -- capturing a unique soundscape while still being melodically intriguing. I look forward to sharing! Please send over the Spotify link to me at email@example.com and I will add to playlists and plan a post. -Mike
Engaging, pleasantly evolving track. Percussive click-clacking and exotic background murmurs form an interesting opening aesthetic. Past one-minute mark sees enjoyable soaring vocals that quickly assume a perkier, pop-forward presence, reminding me quite fondly of the band The New Pornographers, as well as The Arcade Fire. The playful '80s-friendly percussion around 01:35 onward - "city," - is especially catchy. Infectious, shimmering qualities throughout make "Rust on the Train Bridge" a winning release. Thanks for sending! Added to my best-of monthly playlist https://open.spotify.com/playlist/5bmyTvAFQ87tqS0DyxN1q2?si=27r6E7gpSzqHQkMBJ8K3kg Planning an OS feature as well. Since you marked needing help with promotion, also feel free to email me at firstname.lastname@example.org if interested in hearing about my PR servicing's rates and success stories. -MIke
Serene acoustics open with beauty, subsiding a bit upon the soaring, elongated vocal presence that follows. The psych-friendly, otherworldly feeling conveyed -- with natural folk-spirited intentions -- reminds me fondly of the act Sun City Girls. I'm also reminded of Damien Jurado, in regard to the lingering backing textures prominent 01:22 -> 01:30 especially. Vocals feel more up-front around 02:15, enjoyably. "Cleared" shows a stirring aesthetic and successfully hypnotic melodic allure. I look forward to sharing, for sure. Feel free to email me at email@example.com if interested in hearing about my PR servicing, for promotion. Thanks for sending! -Mike
"In Limbo" succeeds in terms of aesthetic and atmosphere, and certainly in Obscure Sound's wheelhouse. Enjoyably nocturnal, murky soundscape achieved via dreamy vocals and nostalgic synth tones, echoing an '80s feeling that -- in terms of atmosphere -- reminds me of Kate Bush. The clanging keys around the two-minute mark, escalating alongside lush synth pads, plays with a melodic charm, especially. I have added this track to my 'best of July 2020' playlist on Soundcloud, and intend on featuring. Since you noted needing help with promotion, feel free to email me at firstname.lastname@example.org if interested in hearing about my PR servicing's success stories and rates. Thanks for sending! -Mike
Lounge-friendly keys and a shuffling percussive pulse make for a calming, engaging sound initially and throughout the duration of "Speak Easy." I'm reminded fondly of Ryuichi Sakamoto tracks like "A Day in the Park," where a spacious soundscape is achieved via similar instrumentation. "Speak Easy" succeeds aesthetically, touting a mellow melodic structural pull, expanding nicely with twangy guitars approaching the 02:30 mark, followed thereafter by plucky piano tones. This track succeeds and is a nice work, for sure. Since you marked needing help with promotion, feel free to email me at email@example.com if interesting in hearing about my PR servicing's rates, success stories, and strategy. Thanks for sending! -Mike
Twangy guitars and a suave vocal lead makes for a consuming initial sound, conjuring a type of barroom-blues aesthetic that plays nicely and reminds me of acts like The Waterboys. A chilling guitar tone around 01:36 caps off the chorus/hook nicely -- structurally achieving a similar success around 03:50, gearing into the track's conclusion. The sweltering vocals, guitars, and steady rhythm section combine to make "Drink Myself to Sleep" a success that plays on a confident aesthetic and anthemic charm. Nice work! Since you marked needing help with promotion, free to email me at firstname.lastname@example.org if interesting in hearing about my PR servicing's rates, success stories, and strategy. Thanks for sending! -Mike
The track's vocal presence does well in showing emotion and range from the get-go, with easy emphasis thanks to the minimalist, contemplative guitars. Nice expansion at 00:38 into a more melodic, flowing guitar accompaniment as the vocals assume a fluttering quality, before the "cry for something," punctuation approaching the one-minute mark. The eclectic vocal approach and commendable melodic variety reminds me fondly of the artist Mitski. I'm quite enjoying the talent on display here, adorned with a gratifying lo-fi feel that suggests ample potential. Thanks for sending this! I just added to my best-of Soundcloud playlist - https://soundcloud.com/obscuresound/sets/best-of-june-2020-updating Also, since you marked needing help with promotion, feel free to email me at email@example.com if interested in my PR servicing's details. Thanks for sending this track! -Mike
"I Don't Mind" rides nicely on jangly guitars and an overall suaveness to start, as chipper vocals emerge shortly thereafter. "I don't mind," expansion around 40-second mark is blissfully melodic, reminding fondly of the band Real Estate. Reprisal of the title-referencing hook plays well again about a minute later, with nifty pscyh-friendly vocal effects arriving around 01:30, followed by a delectably jangly guitar segment thereafter. I enjoyed the track's initial jangle-pop flow and guitar-based emphasis at its mid-point. Nice work here! Thanks for sending these tracks. I look forward to sharing. Since you marked needing help with promotion, also feel free to email me at firstname.lastname@example.org if interested in hearing more about my PR services. -Mike
Vibrant acoustics and a fleeting, jangly sound joins alongside suave vocals to start. Aesthetically, this one chugs along with a power-pop brightness that reminds nicely of the band Teenage Fanclub. The 00:55 is especially shining, with its power-pop allure being undeniable, especially with the "sometimes you gotta disappear," punctuation. Guitar emphasis at 02:17 is welcoming, providing a vibrantly melodic lead to the conclusion. This is another quality track, for sure.
The album's self-titled track grows from a hazy jangle with twangy adornments into an initial verse fit for lazy afternoons. Added guitar lines during the "if I could make it to Monday morning," line keeps my engagement firm. The lush bass line, confident vocals, and "Monday morning," line stick in my head and entice replays, with hypnotic enjoyment to close it off. These three tracks from 'Making Friends' show a strongly melodic sound with satiable jangle-pop and rock aspects. I look forward to featuring all of these on Obscure Sound! Please give me a shout at email@example.com with the album's public links when ready.
A lushly entrancing vocal presence guides along melodic, hazy guitar twangs to make for an enticing beginning. Aesthetically, I'm fondly reminded of Wilco. The "out of my head," refrain makes for a comforting reference point, structurally. I'm also reminded of Matthew Sweet upon the hook at 01:19 -- with the added vocal vibrancy and acoustical shimmer playing effectively. "Out of My Head" is an instantly engaging, continuously melodic success. Thanks for submitting! I look forward to sharing this.
This track shows admirable structural evolution throughout. A quaint, plucky beginning is gradually accompanied by peppy, overlapping vocal layers that emit a fun pop-friendly whimsy. 03;38 marks a joyous, melodically effervescent expansion that plays excellently as a hook, and a point that listeners can happily anticipate upon replays. This is an evolving pop success well worth repeated listens, building toward an anthemic hook that culminates from riveting production (vocal production is especially great). Very nice work here! I look forward to sharing on Obscure Sound. Since you noted that you're seeking promotional opportunities as well, feel free to email me at firstname.lastname@example.org if interested in my PR servicing's rates and success stories. This is excellent material; thanks for sending! -Mike
"Enemy" touts excellent production and soulful vocals, evoking a nocturnal vein of electro-tinged R&B. Hip-hop section at the two-minute mark is also excellent; tonally reminds me of Outkast there. The dual-vocal layering plays entrancingly in the verses, with buzzing synths and bell-like tones around 01:17 emitting a lovely production/vibe that's lovably nostalgic -- specifically reminding me of Depeche Mode. This is a melodically gripping and aesthetically consuming success, one that I look forward to featuring on Obscure Sound. Also, since you marked needing help with promotion, feel free to email me at email@example.com if interested in my PR servicing's rates and success stories. Thanks for sending this gem of a track. -Mike
"Got It" is an infectious, well-produced success. Organ-laden expansion at 01:02 plays excellently alongside soaring, suave vocals, Verses exude a cool, funky nonchalance, providing a stellar contrast from the perkier chorus. Psych-friendly bridge around 02:30 shows swirling guitars and wordless vocal passion that exudes a neo-soul, consuming quality. Jam-friendly percussion and synths that follow provide a fully engrossing feel -- this track starts with accessible catchiness and then unfolds with fully creative, expansive vigor. Nice work! I look forward to sharing this. Since you also noted that you're seeking promotional advice, feel free to email me at firstname.lastname@example.org for any questions or if interested in my PR servicing's rates and success stories. This is excellent material; thanks for sending! -Mike
A suave, yearning success fit for smoky rooms, "Wreck Me" develops from slow-burning, entrancing contemplation into rousing emotion. "Wreck me slowly," section at one-minute mark glides on suave keys/organs for a gripping feel, culminating in a twangy guitar effect at 01:21 that adds nicely to the soundscape. The "you don't hold me like you used to," cue at 02:10 is accompanied by a guitar/organ mixture that provides a fully enveloping feel, capped nicely by the vocals assuming a bluesy howl-like demeanor that aptly matches that instrumentation's escalation. "Wreck Me" is a track that consumes me from start to finish -- nice work! I look forward to sharing this. Since you noted that you're seeking help with promotion, feel free to email me at email@example.com with any questions or if interested in my PR servicing's rates and success stories. This is consuming material; thanks for submitting! -Mike
"Lost Cause" is an engrossing, atmospheric synth-pop success that atmospherically reminds me of nocturnal pop from the likes of Chromatics and Crystal Castles -- like something that would play on Twin Peaks. I enjoyed this track's tonal distinction between verse and chorus, with the latter exuding a shimmering quality, especially upon the three-minute mark, when the vocals emit a rousing, anthemic passion. So, you can certainly slot in Obscure Sound as a curator interested in this and future submissions. I look forward to sharing. Feel free to email me at firstname.lastname@example.org as new releases come in, or if interested in hearing about my PR servicing. Would love to help develop a strategy for your upcoming release. -Mike Planning to post the track, though for now I've added to: https://soundcloud.com/obscuresound/sets/best-of-may-2020 https://open.spotify.com/playlist/5jfKYpp69lqakyEyBaEhT1?si=ffE6KmdOSOuwLr5a73P3jA https://open.spotify.com/playlist/0HzLtmb34rC39kLiufeRBd?si=6KeEgrq8SSy3q7bJxc_iMQ
"Merry Guesswork" is an enjoyable journey of a track, successfully navigating a creative soundscape led by eclectic piano tones and string-laden accompaniments. Piano creaks out initially in ominous form, gripping me from the get-go. Mounting piano chords follow, followed by beautifully elegant strings at the one-minute mark. Lush piano assumes a gentler, though still mysterious sounding pleasantry around the two-minute mark. The backing involvement of whirring strings around 03:10 sends a chill up my spine, enjoyably, as does the interesting piano discordant punches at 04:30 -- sounding like things are crashing down. I enjoyed this creative journey of a track - thanks for sending. Since you marked needing help with promotion, feel free to reach out to me at email@example.com if interested in hearing about my PR servicing and its rates/success stories. Have a good one! -Mike
"Dance Me Forever" is a haunting, aesthetically gripping track. The wordless vocal haunts converge seamlessly with a creeping piano tone fit for Halloween night. Hip-hop percussion provides a solid rhythmic undercurrent, with expanded percussive distortion around 01:30 adding extra vigor. Vocal sample additions, like the male vocal push at 02:28, also adds a climatic, infectious feel. Aesthetically, this reminds me fondly of material from World's End Girlfriend, a brilliant and overlooked artist. I enjoy how this track establishes a hypnotic, haunting feel -- thanks for sending! Since you noted that you're looking for help with promotion, feel free to email me at firstname.lastname@example.org if interested in my PR servicing's rates and success stories. Thanks again for sending! -Mike
Clap-laden percussion and suave vocals build an interesting intro, driving to the electro-laden drop around 46 seconds in. Here, the spacey, gyrating synth backing combines with a spirited arp to produce a lively, dance-friendly aesthetic. "I've been dreaming of your love," the vocal sing with convincing allure, book-ended by the infectious electro-minded assortment. The result is an effective, hypnotic electronic success that should resonate especially well in the house and club scene. Both on its own and through imminent remixes, I see this track finding success within house-minded outlets and radio. Thanks for sending this over! Since you marked needing help with promotion, feel free to email me at email@example.com if interested in my PR servicing's rates and success stories. Thanks again for sending "Youphoria"! -Mike
Ghostly guitar twangs, soft key-laden reflections, and a stirring vocal presence assemble an aesthetic/vibe that reminds me fondly of Luke Haines and Nick Cave. The title-referencing hook at the 45-second mark is wholly effective, atmospherically and melodically. Reprisal at 01:28 plays with similar effectiveness, this time unveiling a clever bridge thereafter with lush acoustics and a vocal melody variation. The woodwinds around 02:30 add further excellent depth to the soundscape, sounding like a neo-noir thriller and with the video aptly reflecting a similar tone. I'm fond of this track, for sure - thanks for submitting! I look forward to sharing. Since you noted needing help with promotion, feel free to email me at firstname.lastname@example.org if interested in hearing about my PR servicing's rates and success stories. -Mike
A subtle pulsing bass and serene vocals open "Make a Monster" in accessible form, with guitar shards and steady percussion rising gradually. The "now that I got you on the phone," line commences a consuming series of verses, with the "to hear your voice," bridge showing well. The verses' bouncier presence in its second iteration provides just enough variation to keep things interesting while still maintaining accessibility. This is a quaint, effective pop track with radio-friendly potential thanks to its accessibility and vocal-led charm. The "hear your voice," build-up past the two-minute mark is an effective core to the track, which entices replays. Thanks for sharing this track! Since you noted needing help with promotion, feel free to send me an email at email@example.com if interested in my PR servicing's rates and success stories. Thanks again for sending! -Mike
"Trilho" is a gorgeously entrancing piece that grows with subtly consuming allure. A wintry, prancing piano and a bass-y backing warmness converge with a melodic pull throughout. 01:01 sees a gorgeously fluttering section that stands out, in particular. "Trilho" is a song bound to put listeners at ease with its calm, approachable demeanor and intriguing melody. I look forward to posting this on Obscure Sound this week.
Bustling, anthemic percussion, lively acoustics, and pleasant twinkles give "Vega" an accessible feel to start. More solemn, acoustical-accompanied vocals comprise the first series of verses in quality form, as well. Uplifting bridge @ 00:51 exudes a spacious, cathedral-type feel with the organ(?) presence, then expanding into the intro's twinkling allure. This track certainly touts an expansive, melodically fluttering indie-folk with radio-friendly appeal, much like Mumford and Sons. "Take me, embrace me, come back now," acoustical section around 02:25 is a great, emotive moment to lead into a very satisfying conclusion. Thanks for sending this very pleasant track! Since you noted that you're looking for help promoting this, feel free to email me at firstname.lastname@example.org if interested in my PR servicing's rates and success stories. Have a good one! -Mike
"Footprints" is a lushly melodic effort that engages me throughout. Percussive lead-in around the one-minute mark adds nicely, conjuring a feeling reminiscent of the act The Radio Dept. 01:54 marks a particularly engaging moment, with elongated "Strong," vocal work over the free-flowing synth/key work. This section shines and showcases your melodic sensibilities as a songwriter/producer. Nice work! Overall, a soaring and catchy effort with standout production. I look forward to sharing this! Also, since you mentioned needing help with promotion, feel free to reach out to me at email@example.com if interested in my PR servicing's rates and success stories. Would love to work with you. Thanks for submitting! -Mike