Displaying items by tag: The Old School Project

The release of "Still in Love with You" marked one-decade of Crane Technique's existence, a solo band by Paul Wheatley. This one-man project was initially created during his packed schedule with We Shot the Moon, yet throughout the years, it  has successfully released eight singles; that means at least one to two songs every two years. Even though the pace may look slow for an active musician, it still makes sense, especially after knowing that he does everything related to the production by himself.

An independent project somehow becomes the escape route for the band-based artist who wants to traverse a new world, and I see that Paul Wheatley has a similar motive. Contrary to his band that sticks to the acoustic-pop genre, he tries to  push  his capability by mingling several well-known musical varieties. As expected, it produces mixed results; some attain desirable outputs, while the others seem neither unique nor appealing.

Let's break them down.

Dated in 2010, Crane Technique's first song debut entitled "Darling, Say Goodbye" embraced the idea of elaborating rock and electronic music. Presenting the 2000s rock-pop as the main show, he injected the catchy electronic melody in the  middle,  giving the element of surprise to the listeners. Truthfully, that EDM hook piques my interest. It suddenly kicks in out of nowhere, fully boosts the ambiance before suddenly fading out in an elegant way. Raw and a bit radical, but  absolutely worth  highlighting.

But contrary to the expectation, some of his next compositions didn't carry the same spirit, as it leaned more to electronic without grabbing the rock roots as tight. For instance, "The Ghost White" only reimplemented the rocky beats,  enveloping  it  with the generic-electronic music patterns and countermelodies. Enticing still, but less powerful and more industrial – Paul probably wanted to attract a bigger market, but it only dulled the sharp characters he had shown before.

Nevertheless, things just started to get more interesting from there. Crane Technique switched sides again in the 2017 project, this time, adopting the 80s influences. Featuring The Modern Longing, Paul introduced the balanced fusion between  modernity and baby-boomer vibes through his "Love U 4 It" and "Naked." This was a brave and unexpectedly lovely turnover. He carried out the ideology of change once again and blew everyone's mind with inventive ideas. While "Love U 4 It"  carries a lighter beat and pure jollification, "Naked" gives a more romantic, appealing impression, making it a perfect contrast. Listening to both songs feels like having the two different ice cream flavors in a cone – one side with a light salty  vanilla, while the other has an intense chocolate taste – truly an endearing experience.

 Crane Technique apparently found its niche in the 80s scene after the Collabs. It was exemplified with the next works, "Just 4 2Nite." This time, Paul literally fully-adopted the disco, embracing a typical merrymaking mood and shelving   modern electronic influences with the eighties' specific guitar strumming technique. Yet, Paul kept it authentic and tasty; he still garnished it with the big chunk of DIY electronic synths. 

 Another perfect rendition of coalescent genres can be found in his latest work, "Still in Love with You." Rather  than continuing the success from embedding the 80s pop, Paul once again strived to clash the contradictive  musical styles, and   his choices fell to rock-pop, electronics, and disco. This track is way richer; those three  minutes, albeit keeping the generic pop forms, give some surprising small elements while maintaining everything  in consonance harmonies.  

 Despite the continuous exploration of styles, there is one thing that always stagnant during the one-decade  voyage: the romantic, love-oriented lyrics. Whether it is about first-sight-   attraction or saddening breakup, Crane   Technique has  successfully carved the lyrics deep down in everyone's mind. It also presents itself as an oasis in    the middle of an uncertain,   explorative desert.

 Progressivity is something worth-doted in Paul's journey. The keep-changing beats, layers, and (on several  occasions) subgenres make me wonder what he will present on the table     next. While Paul's initial solo  compositions are quite  predictable due to his background, he dives more into the combination of electronic  music  and the 80s disco in later works     before turning back to his OG root. I find his identity-seeking globe-  trot enticing to follow.

 But the progressive alteration, while giving the freedom to conduct the imaginative exploration in each track, has a significant drawback to the listener. The constant style-switching     makes his songs lack trademarks, to the extent that we  may misidentify him with someone else. Luckily, his consistent approach to the lyrics saves the day; the love theme enables    everyone to, at least, recognize him.

Crane Technique becomes Paul Wheatley's medium for liberating his adventurous mind and showcasing the long-untouched creativity. He has adequately brought new, fresh cuts to the game – catchy vibes of typical oldies, adorned with  synth-based tunes. Put the superficial tracks aside; those works are a perfect alternative for indie enthusiasts out there or ones who want to reminisce about the 80s scenes.

 

Follow Crane Technique on:

This publisher had the pleasure of writing for The Cubes a few times, so it is another honour to write the review for The Cubes’ first full length LP “Untitled”. The band were formed in 2012 by songwriter/ guitarist Jacob Solarek following a jam session with friends. After a few lineup changes, The band currently comprises of Solarek ( Vocals, Guitar, Piano), Chris Jones ( Bass) and Danny Kirkham ( Drums).

Untitled is a healthy diet of blues, jazz, folk and funk to create another outing of highs and lows. The band continue to impress with their tight musicianship and thought-provoking lyrics that center on more darker topics like depression, faith, homelessness and love.

This LP provides more fresh and engaging material that won’t disappoint followers of the band that may have had the opportunity to listen to the band’s EP FALL OUT, which I had the privilege in reviewing last April for The Old School Project. (You can read the full article below) “ Untitled” shows another example of the band’s maturity to craft good songs that are subject lead. I will review the ten track LP by picking out some highlights of the LP below;

The album begins with a prelude entitled INTRO, which is a melodic combination of piano and acoustic guitar melded together to feel like the listener has been introduced to a long journey on this odyssey.

DRAWING THE STARS II - This indie track is a good song to begin with its heavy bass lines and up-tempo riff, Solarek proclaims “finally reached something at least”. This feels like the writer has had time to reflect which reaches a climax with a lovely interlude between two sparring guitar riffs and the bass.

https://open.spotify.com/track/2fQloB4RbcDFiW3r7L7lxu?si=HZvtjirQS-aadTWYWOCavg - Drawing The Star II

HOMELESS - The next track looks at the taboo of homelessness, as the vocal style takes a more provocative stance. The aggressive riff feels like it reflects the frustration behind the message to the song.

ROSARY is another acoustic track that I think looks at faith during troubled times in the songwriter’s life. The basic strumming patterns. The vocals feel sullen, as the singer contemplates this. The choral background singing during the verses sound like guardian angels helping with the decision.

CORPSE is an acoustic track which I think is another introspective look at peoples’ attitudes. The hazy riff skips along nicely with the strong imagery addressed within this song. This feels upbeat, but the subject feels like this may be undermining the issue.

https://open.spotify.com/track/3xPCxdUmLdeeaTslDuWHHd?si=VpScjsgEQTy8OQXqzzdBWQ- Corpse

The album wraps up with a more intimate cover of DRAWING WITH STARS II . Solarek sings a more familiar tone that is set against the backdrop of a warm jazz section that feels like it has been sung o the listener at a club

MR BLUES is my standout track with its dirty blues-soaked riff that trudges along to the lyric’s topic of downtrodden in love. Overall, I enjoyed how each track blended into one another by telling its own story with a variation of genres and polished production values. I would recommend giving it a listen.

You can visit The Cubes Website for more information on the band via https://the-cubes.org/the-cubes/

Alternatively, you can follow the band on social media to find out more about “ Untitled”, and any upcoming gigs via

https://www.facebook.com/the.cubes.liverpool/,

https://www.facebook.com/Jacob.Solarek.Music/

https://twitter.com/JacobSolarek1

https://soundcloud.com/jacob89-1

Also, You can read my previous review of The Cubes’ EP Fall Out for The Old School Project here.

Written by Anselm Anderson - UK / Lancaster

My name is Anselm and I have a strong passion for music. I host two rock radio shows for the internet on a weekly basis. Also, I have experience in the past year of writing music reviews and conducting interviews with upcoming artists for several online music magazines. My main goal is to continue to write for thse interested in learning about what is new in the musical world.

Hire mr Anderson to review your band or your new album.

For more info feel free to Contact Us

Mr Anselm Has Already Publish...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in Europe Section

Entropia (Entropy) is the measure of disorder of a system, but the third album of Brazilian singer/songwriter and guitar player Edu Aguiar is far from chaos. The “late musician” (as he calls himself) from Rio de Janeiro presents a real tribute to the best of Brazilian popular music (MPB) tradition: elegant melodies, inspired lyrics and that irresistible bossa- nova-jazz touch. Enjoy!

(GF) When did your relationship with music start?

(EA) My parents were lovers and listened to all kinds of music. As a teenager I already wanted to work with music, but ironically I only had the courage to make my debut after my forties. I was very discouraged by my father, who used to say that an artist in Brazil was doomed to starve. Despite of that, during high school I started composing alone or together with a friend. I recorded the melodies of my songs on cassette tapes and kept them. All my albums have some material from those tapes and I still have a lot of unreleased recordings that I plan to use in future projects.

(GF) What are your musical references?

(EA) Peter Gabriel, Beatles, Stones, Led Zeppelin, REM and Pearl Jam come right in mind. Big Brazilian icons, such as Joao Gilberto, Nara, Tom and Vinicius, and Paulinho da Viola, Edu Lobo, Chico, Caetano, Gil, Milton. And also recent names in music, such as Livia Nestrovski, among many others.

(GF) Tell us a little about the history of the production of the new CD, "Entropia" (Entropy)?

(EA) After my previous album, "Dias de Blumer", I already had the new project in mind, and decided that it would be all as acoustic as possible, preferably with strings, voice and percussion. With this concept in mind, I invited my friend Mingo Araújo, a renowned percussionist; because I knew that the work I wanted would only be possible with his rhythmic texture. He was also the one responsible for bringing Camila Matoso to our team, an interpreter with the kind of voice, attitude and personality required to perform for the first time a song that had never been heard by anyone before. She sings 12 out of the 14 songs on the album. And there is also an instrumental tune and a song performed by guest singer Zélia Duncan. Geraldo Azevedo, Fred Martins and Eugenio Dale are also on the vocals. My first minimalist concept was replaced by a more organic aesthetic, but I think we quite kept the original spirit of the project.

(GF) Future Projects?

(EA) I have two new projects, one already in progress, similar to "Entropia", with some new partners. The other one is still a draft: an album with songs sang in Spanish, co-authored with several South American artists. I hope to release it in 2021 and I might even spend some time abroad to make this project happen. Let's see what comes. Independent production is always a little box full of surprises.

Written by Geisa Fernandes - Brasil / Rio de Janeiro

The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo. 

For more info feel free to Contact Us

Geisa Has Already Published...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in South America Section

 

I met Venezuelan trombonist Gregory Boza while hiring musicians for my first gig in Lima, Peru. His contact was given to me by a common friend, also leaving abroad and I couldn´t help thinking how the ups and downs of his native country in recent years impacted the trajectory of many musicians, who are now starting over in different music scenarios. Boza told me his first days in Peru were very hard and that we had to take many under-qualified jobs before being able to get a place as a musician and that competition was very hard. How did he deal with it? With a little help from the Buddhist wisdom. Familiar with the faith for a long time already, since 2018 Boza became a regular practitioner of meditation. According to him, “it helps to focus on the really important things”.

 

(GF) When did you start learning music?

(GB) My contact with music was at the age of 14. In 2008, I started in the National Orchestral System of Youth and Children's Choirs, in Trujillo. Six months later, I moved to Maracaibo and there I went to the Jose Luis Paz Music Conservatory. A year later I entered the Zuliana Youth Rafael Urdaneta Symphony (OSJZRU)), which belonged to the system of orchestras. 2011 the Maracaibo Big Band was created and they invited me to be part of a big band with Andrés Briceño, who regularly offered workshops for drummers in Maracaibo. Roberto Paredes decided to carry on with the big band project and I played with them up to the end of 2017.

 

(GF) And how about your musical references?

(GB) My musical references change according to the challenges that music presents to me, but during my formation years I listened to music from all genres: Mahler, Tchaikovsky, Brahms, pieces for trombone and also a lot of Jazz, Michel Camilo, Pat Metheny, J.J. Johnson among others.

 

(GF) Special highlights?

(GB) 2011 I travelled to Italy to the Bergamo Cultural Festival with the OSJZRU. I had the opportunity to work with great singers, such as Rafael el Brito Chicken, Ilan Chester, among others. Playing symphonic repertoire, I travelled to Caracas and played at the Latin American Trombone Academy, led by Maestro Miguel Sanchez. I travelled many times to Caracas in order to have classes with renowned teachers such as Norman Bolter, Angel Subero and Giovanny Scarpetta. 2012 I decided to move to Caracas and become a regular student at the academy. I had bass trombone classes with Franklin Moreno. I lived there up to the end of 2013.

 

(GF) How about your future projects?

(GB) I am actually starting in a new band. Last June I was invited to become a member of Los Barraza, a well-known Peruvian orchestra. They have a very busy agenda with presentations in different parts of the country and I am very excited about it.


Since you've come so far ...

.... we would like to inform you about The Old School Project's operation. Over time, the number of people interested in The Old School Project has steadily increased. Unlike other websites and online media, the core of The Old School Project is not the well-known journalists and radio producers, but the young people in the field of journalism who nevertheless worthy of their place. Therefore, the resources for running The Old School Project, which requires time, money and hard work, come only from its physical place, the coffeehouse.

So to continue to provide our services to upcoming bands / artists, giving the opportunity to new journalists publish their articles, and to develop our innovative ideas, we ask you to devote a minute of your time and become a part of The Old School Project.


You want to go bigger? Enter your own contribution amount.


 

Written by Geisa Fernandes - Brasil / Rio de Janeiro

The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo. 

For more info feel free to Contact Us

Geisa Has Already Published...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in South America Section

 

Vinicius Oliveira is only 30, but he´s definitely got an old soul. No wonder this autodidact musician/singer/songwriter felt just at home at the Trio de Couro e Cordas, revisiting traditional Brazilian samba and making it sound brand new.

(GF) How was your first contact music?

(VO) Since my childhood I listened to my mother´s the old records, but I became very interested in it when I was 15 and I got my first instrument as a birthday present: a ukulele. From this day on, I´ve been intensively researched the history of Brazilian music, focusing on samba and Candeia, one of the icons of the genre, was the subject of my undergraduate thesis in History.

(GF) What are your references?

(VO) I´ve been influenced by various genres and I love samba and jazz. Tom Jobim, Johnny Alf, Paulinho da Viola, Joao Nogueira, Joao Donato, Gilberto Gil, Djavan, Custódio Mesquita, Nelson Cavaquinho, Dorival Caymmi, Radamés Gnattalli, Gershwin and Cole Porter are among my many references. As an interpreter, I try to leave a personal signature, focusing on rhythmic division and cool, organic singing, without excesses.

(GF) Tell us about the Trio de Couro e Cordas:

(VO) The group was created in 2011 by percussionist Rodolpho Dutra, who wanted to put up a samba repertoire for a trio. One year later I was invited to join its second line-up and became responsible for selecting the songs. The idea was to reach out for   the audience, avoiding the most frequently repeated tunes, but rather through a more daring repertoire. Our first prize came in 2013, when we won the Soulvision Festival in São Paulo with one of my songs. In the same year we were selected to take part   in   the project “Samba rundt bordet" (Samba around the table) in Norway, where we presented a little bit of Brazilian music to children and teenagers. This project was a milestone for the Trio. It brought us not only a lot of experience, but also showed us   how far the love for music could take us. Learning how to perform in a musical play was very challenging and we had to sing some songs in Norwegian too, but it all went very well. The show was such a success that, although only two tours had been   initially planned, we made four tours between 2013 and 2015. Bruno Campos has been the guitarist since 2014. He is also co-responsible for the arrangements.

 

(GF) Future projects?

(VO) The Trio is currently performing a tribute to the great poet Vinicius de Moraes and I am working on my first solo album. It is influenced by samba-jazz and bossa nova, but most of all, it reflects my idea of Brazil. I wrote all the songs and amazing musicians, such as Roberto Menescal, Arthur Maia, Humberto Araújo and Kiko Continentino are taking part in it. The release is planned for the first half of 2020.

Written by Geisa Fernandes - Brasil / Rio de Janeiro

The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo. 

For more info feel free to Contact Us

Geisa Has Already Published...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in South America Section

 

When I think of Britpop, I immediately imagine bands like The Verve, Oasis, Blur and Supergrass. The kids with shaggy who sing about certain aspects of life in, for some reason, the same tone of voice. I’m not saying it’s a good thing; I’m not saying it’s a bad thing – I’m making a sober observation. Why do I mention this? I mention this because the band Reardon Love has been grouped into Britpop.

Alright, Nicole, so we don’t really care. Of course, you don’t. Why should you care that this band remind me of The Verve but were inspired by Joy Division? Why should you care that the band were only formed last year but are making waves with their debut single, ‘Sweet Brandon Teena (Respond To Me)’? Why should you care that they are selling out shows? The fact that you’re still reading my review shows you care a little.


Since you've come so far ...

.... we would like to inform you about The Old School Project's operation. Over time, the number of people interested in The Old School Project has steadily increased. Unlike other websites and online media, the core of The Old School Project is not the well-known journalists and radio producers, but the young people in the field of journalism who nevertheless worthy of their place. Therefore, the resources for running The Old School Project, which requires time, money and hard work, come only from its physical place, the coffeehouse.

So to continue to provide our services to upcoming bands / artists, giving the opportunity to new journalists publish their articles, and to develop our innovative ideas, we ask you to devote a minute of your time and become a part of The Old School Project.


You want to go bigger? Enter your own contribution amount.


 

Reardon Love are a four-piece from Hull with style, swag and understated attitude which is evident in their debut video and song. One of my favourite elements to ‘Sweet Brandon Teena (Respond To Me)’ is the ominous opening with prominent guitar picking, which then transitions into a melodic instrumentation. The simple verses demonstrate vocalist Matt Fletcher’s charming baritone with a smooth movement to upbeat choruses – nothing too outrageous but showing simple is best.

The song is not over the top. It can’t compete with epic tunes, such as ‘Bittersweet Symphony’ or ‘Song 2’. However, this isn’t to say that it won’t be on repeat or stuck in my head for the next few weeks. In all honesty, Reardon Love’s debut single is one of the best songs I have come across this year. I have a feeling in my bones that the band will be big, and I can’t wait to see what else they have for us! Quick tip Matt: ditch the glittery jacket.


 An Interesting Note.....

Are you a journalist, a writer or a music critic?
Are you interested in reviewing upcoming bands and artists?
Would you like to build your name in music industry?
Join The Old School Project...

Contact This email address is being protected from spambots. You need JavaScript enabled to view it.
If this post doesn't interests you it might interest someone close to you...

Share the news and help the cause!

 


Written by Nicole Mendes / Germany - Norden

My name is Nicole and I am a South African-born music writer currently based in Norden, Germany. For several years I have worked with award-winning indie music blogs conducting reviews, reported on breaking festival news, but my specialism is interviewing.  I currently work as editor-in-chief for an indie music blog I founded where I specialise in interviews with independent artists.

Hire ms Mendes to review your band or your new album.

For more info feel free to Contact Us

Nicole Has Already Publish...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in Europe Section

 

I first met Felipe Fuentes at a rehearsal for a performance at the National Museum for Visual Arts in Montevideo. Cool appeal, social awareness: the young (25), virtuoso bass/double bass “+ some other instruments” (as his social network profile advices) player and composer is one of those talents hard to tag, but easy to enjoy.

(GF) You and music: how did it start?

(FF) I could say that I had contact with music one day before I was born, when Jaime Roos, a well-known Uruguayan author visited my house. As a child, I had the habit of sitting on an armchair, next to a window facing the street and by the sound of the motors I could say the car brand. My parents have both played instruments at some point in their lives, besides being both music lovers and very curious, so I've always been in contact with many music genres. My father is a graphic designer and a photographer, so I also met many musicians through him, for he would be either photographing them or working on their album covers. But even with this favourable environment, the education system in Uruguay for music is quite disastrous, and does not have a conservatory focused on current music, which is why I have learned more in private lessons and with the experience of playing, than in any other way. That means that I had to overcome several obstacles that perhaps a good formal education would have facilitated.

 

(GF) What about your references and influences?

(FF) I have several and very varied ones. I could summarize it by saying that, like a sponge, I absorb something from everything, even things that I do not like at first. I do recognize a strong influence of Afro music in my work, not only in its Uruguayan variant, the candombe, but also as it is represented in other countries and cultures, such as in the United States, Brazil, Cuba, Morocco, Ghana, Senegal, South Africa. I also like Flamenco and the music from India, Bangladesh, Pakistan, China and Japan. Today I'm listening a lot to Flying Lotus revisiting Frank Zappa, and saxophonist Tony Malaby.

(GF) You started your career very young. Any highlights?


Since you've come so far ...

.... we would like to inform you about The Old School Project's operation. Over time, the number of people interested in The Old School Project has steadily increased. Unlike other websites and online media, the core of The Old School Project is not the well-known journalists and radio producers, but the young people in the field of journalism who nevertheless worthy of their place. Therefore, the resources for running The Old School Project, which requires time, money and hard work, come only from its physical place, the coffeehouse.

So to continue to provide our services to upcoming bands / artists, giving the opportunity to new journalists publish their articles, and to develop our innovative ideas, we ask you to devote a minute of your time and become a part of The Old School Project.


You want to go bigger? Enter your own contribution amount.


 

(FF) The first time I performed live on a large stage. I was 13 years old and it was in the Sala Zitarrosa [a prestigious venue in Montevideo], as the guest of a band called Pecho e 'Fierro. I also consider a milestone my participation in the last festival hosted at the Summer Theater, an important local event.

(GF) Future projects?

(FF) Next July, I will release "Sankofa" with rapper AVR (Alvaro Silva), an album that took us 3 years to prepare. Alvaro's great-grandfather, Juan Julio Arrascaeta was actually one of the first afro poets to be published in the region. The album is a mix of candombe rhythms, hip hop drums, socially conscious lyrics and black poetry.

Written by Geisa Fernandes - Brasil / Rio de Janeiro

The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo. 

For more info feel free to Contact Us

Geisa Has Already Published...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in South America Section

Last year I had the privilege in writing a review for the first studio album by Outsider/Lo- Fi/Indie artist Andrew Neil , entitled Merry Go Round. . I told the remarkable story about how the talented up and coming musician was able to succeed in producing a collection of songs this writer enjoyed mostly for the thought-provoking lyrics and well- structured melodies and riffs. (You can read the full story and review below)

http://www.theoldschoolproject.com/index.php/component/k2/item/157-andrew-neil-merry-go-round

Since then, Neil has been able to emulate his idol- Daniel Johnston- by being voted Rankers top Outsider artist. The genre pervades a distinct sound and style to it that allows the artist to express a raw, untainted edge without the use of technology. This has led to comparisons with Elliot Smith, Kurt Cobain, Neil Young and the aforementioned Daniel Johnston, who sadly passed away recently.

These comparisons can be heard in Neil’s latest offering entitled Freak, which was released this past week (OCT 15). This was once again produced by Andy Waldeck and the album brings fourteen more songs of Neil’s undoubted talent for writing engaging tracks about mental health, depression, love and loneliness. These tracks each tell a story, supported by an equally proficient band, and backup vocals from his father, Ray.

The self-titled opener is an emotionally charged song with some hooks that will keep the ears eagerly waiting to hear more. The self- reflective lyrics are daunting and telling, but the music chimes. The openingff hypnotises, whilst Neil’s ri innocuous vocals are rich and mellow. It is a good pick to begin with

https://open.spotify.com/track/6Pf9rZPRFqgY5alC80Heja?si=l7z3KdSwRWCplZa4ZSmrUg - Freak

Hope is an enchanting melody that could be an anthem for mental illness. Neil’s childlike tones deliver each line with aplomb, as the listener can empathise with his message. The strong metaphors intertwine with deft piano keys, and an overall vibe of positivity and innocence.

https://open.spotify.com/track/5l8eByPwRrL6rEmqaaWVJx?si=GH02SEbtTJej3XIHHXZukw- Hope

Pull Me Back Together reaches the midway point with another melodic track steeped with groove and a Latin influence. This is another reflective track that focuses on Neil’s recovery. I liked how the lyrics use nursery rhymes as a metaphor to convey this. Neil’s guitar play improves with every song, as each riff transcends throughout the album.

https://open.spotify.com/track/0UouIW4h28cCtjD7l1iSB4?si=wJITqGhjQw2UIwFffkGPRQ -Put Me Back Together.

Beautiful Dancer is another spell binding track, which I think focuses on looking for answers. The music is melodic and dark, whilst the bass and drums combine with mesmerising riffs that feel like the singer is floating amongst the clouds.

https://open.spotify.com/track/2zz2qWck9hNEIRtIq9gw9k?si=cHNn3AI6RQ-i5mKjciIVUw- Beautiful Dancer

The album wraps up with Disappear, a somewhat nod to Neil Drake. This gothic style track opens with a heavily distorted slide guitar. Neil’s tone is more bluesy with darker lyrics. The syncopated beats provide a catchy riff and structure that suits Neil’s overall ability as an adept guitar player and lyricist.

https://open.spotify.com/track/7GSLfsadDxosfh9VMdXRmz?si=POU-6iTcQuqzShAZW5BJdQ - Disappear

Overall, this was another strong outing from the impressive Andrew Neil. His albums improve with each release, as he is able to convey his emotions via a portal that he seemed born for.

Freak is out now via all good musical platforms like Spotify.

If you’d like more information about Andrew Neil and his other projects, please visit his website at https://www.andrewneilmusic.com/

Alternatively, you can follow the musician via his social media outlets,

https://www.facebook.com/Andrewneilmusic/

https://twitter.com/oneloveoneglobe

https://www.instagram.com/andrewneilmusic/

Written by Anselm Anderson - UK / Lancaster

My name is Anselm and I have a strong passion for music. I host two rock radio shows for the internet on a weekly basis. Also, I have experience in the past year of writing music reviews and conducting interviews with upcoming artists for several online music magazines. My main goal is to continue to write for thse interested in learning about what is new in the musical world.

Hire mr Anderson to review your band or your new album.

For more info feel free to Contact Us

Mr Anselm Has Already Publish...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in Europe Section
Monday, 03 December 2018 16:31

Interview with Tiê Alves

The urban troubadour: why Tiê Alves is one of the most interesting artists of the new Brazilian popular music.

Tiê Alves updates the concept of the troubadour blending the best of the MPB (the Brazilian popular music) tradition with a urban touch, which in this case means the mega metropolis of São Paulo. The cultural melting pot of the city and its oppressive immensity are the background for inventive melodies and original lyrics performed with a blasé-yet-shy allure simply impossible to resist.

(GF) When did your contact with music start?

(TA) I began when I was a child. My mother played guitar and sang to me and my father was always very musical. At home, we heard a lot of music, mainly Brazilian music, but also The Beatles among other genres. My sister plays, as well: flute, percussion and double bass, but she works with graphic design. By the way, she developed the cover and all the artwork of my first album. I was 16 when I became interested in playing the guitar and decided to take classes. By that time, I was a huge fan of rock bands such as Nirvana and Pink Floyd. So I set up a band with my high school friends, started playing and never stopped since then. The guitar seduced me right from the start because of its versatility, but also because it is a very intimate instrument that must be kept very close to the body. It is said that the guitar “searches” for the most introspective personalities, for the shy people.

(GF) How about your musical education? Who were your mentors and influences?

(TA) I went to college and got a degree in Music at the Faculty of Arts Alcântara Machado. I also studied singing and Brazilian folk guitar, that we call “viola caipira”. I did this training as a musician, but in parallel I composed regularly. Creation has always been very important to me. Gradually, I joined other partners and developed my composition, but it all started in a very intuitive way. I was mainly influenced by Brazilian musicians, such as Caetano Veloso, Gilberto Gil and Milton Nascimento. After I have built a repertoire of original songs, in 2014 I recorded my first album: O Rio e a Lua (The River and the Moon).

(GF) And how was the production of your debut album?

(TA) It was a great learning experience. Since it was my first one, I literally learned by doing. Fortunately, I had a super talented producer named Ana Rodrigues, who understood my concept and brought a lot of information in terms of arrangements.

(GF) Any coming projects?

(TA) I'm producing my second album, “Tá Osso” (Tough Break, on a free translation) produced by guitarist Luiz Cláudio Sousa. This album has been crowdfunded and it has a strong influence of Jazz. The idea for the name came from an idiom usually used in Brazil to describe financial problems, but in the song, it describes a person who is head-over-heels.

Follow Tiê Alves on Social Media

Contact at This email address is being protected from spambots. You need JavaScript enabled to view it.


Since you've come so far ...

.... we would like to inform you about The Old School Project's operation. Over time, the number of people interested in The Old School Project has steadily increased. Unlike other websites and online media, the core of The Old School Project is not the well-known journalists and radio producers, but the young people in the field of journalism who nevertheless worthy of their place. Therefore, the resources for running The Old School Project, which requires time, money and hard work, come only from its physical place, the coffeehouse.

So to continue to provide our services to upcoming bands / artists, giving the opportunity to new journalists publish their articles, and to develop our innovative ideas, we ask you to devote a minute of your time and become a part of The Old School Project.


You want to go bigger? Enter your own contribution amount.


 

Written by Geisa Fernandes - Brasil / Rio de Janeiro

The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo. 

For more info feel free to Contact Us

Geisa Has Already Published...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in South America Section

Many musicians (and non musicians) had their first contact to music through a choir at school, church or community group. A choir brings back a lot of affective memories and the Brazilian group Boca Que Usa (a playful Portuguese translation of the Italian expression boca chiusa, used to describe wordless humming), from Rio de Janeiro knows just how to balance impeccable technique with a passionately executed repertoire. I talked to Amilcar de Castro, thirty years of choir experience and one of Boca Que Usa first time members, about the successful journey of the awarded group, which includes participations in festivals in Argentina, Venezuela, USA, Spain and the most recently in the city of Riga, in the Republic of Latvia.

 

(GF) What is so special about choirs?

(AC) Singing in a choir is a very rewarding experience, especially when you have the opportunity to be in a group with  a variety of repertoire that allows you to go from the erudite to the popular. It allowed me to meet several musicians from all over the world, to get in touch with diverse styles and ways of making music. When I started, I had the chance to be part of one the most influential choirs from Rio de Janeiro, Canto Em Canto, conducted by Elza Lakschevitz, a reference in Brazilian choir singing. At the same time, I started to work with Boca Que Usa. I am very proud to be part of it since its first formation, back in 1997.



(GF) How is the repertoire selected?

(AC) Boca Que Usa has a wide and diversified musical proposal. The repertoire contemplates from old to contemporary songs from many genres. We privilege tunes that are less known in Brazil   and we work under no fixed, direct regency, that is, the preparation of the songs is done collectively. Actually, collaborative work is the international current trend and it has been one of the  pillars   of our group.



(GF) The group has been active for over two decades. Any special memories?

(AC) Boca Que Usa has already won gold and silver medals representing Brazil at international festivals. Those were opportunities to show a little bit of our music to other cultures and to prove    that there is also quality choir music being done here. Another interesting moment happened during our last festival performance. We sang a tune in Latvian. The audience was very impressed!    They simply could not imagine that Brazilians would come up with a song in their language!

 


 An Interesting Note.....

Are you a journalist, a writer or a music critic?
Are you interested in reviewing upcoming bands and artists?
Would you like to build your name in music industry?
Join The Old School Project...

Contact This email address is being protected from spambots. You need JavaScript enabled to view it.
If this post doesn't interests you it might interest someone close to you...

Share the news and help the cause!

 


 

(GF) Future plans?

(AC) Logistically and financially speaking, coordinating a trip for twenty singers is not an easy task, but the big plan of Boca Que Usa for 2019 is to take part at the ‘Garda International Choir    Festival  & Competition’, in Italy. It is a daring goal, considering that Brazil has no tradition in choir singing, what makes sponsorship or any kind of funding support extra difficult.



 


Since you've come so far ...

.... we would like to inform you about The Old School Project's operation. Over time, the number of people interested in The Old School Project has steadily increased. Unlike other websites and online media, the core of The Old School Project is not the well-known journalists and radio producers, but the young people in the field of journalism who nevertheless worthy of their place. Therefore, the resources for running The Old School Project, which requires time, money and hard work, come only from its physical place, the coffeehouse.

So to continue to provide our services to upcoming bands / artists, giving the opportunity to new journalists publish their articles, and to develop our innovative ideas, we ask you to devote a minute of your time and become a part of The Old School Project.


You want to go bigger? Enter your own contribution amount.


 

Written by Geisa Fernandes - Brasil / Rio de Janeiro

The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo. 

For more info feel free to Contact Us

Geisa Has Already Published...

  • Default
  • Title
  • Date
  • Random
load more hold SHIFT key to load all load all
Published in South America Section
Page 1 of 7