"Hiding Blind" Review (Nu-Soul Magazine)

"Sarah White's Hiding Blind and stealing your favorite CD's place in your stereo!"

By: Marcus Scott

“Call me green because I’m jealous of her. You know she’s got nothing on me.”

You know what? She’s right.

Sarah White’s new EP record best titled “Hiding Blind” is kitsch yet a charmingly uncanny and mystical work of art. The smoky-eyed chanteuse is a songbird of a different flock with a sound fusing electrodub, crunk sounds, hip-hop, tribal and jazz-soul among other genres and interesting lyrical content. White does something rather odd: she sings in a somewhat haiku, on topics ranging from sexual encounters and unrequited love to rather interesting music.
White’s principal producer for “Hiding Blind,” DJ Don Cuco, gave White a sound that mirrors few artists while transforming her musical caricature and lyrical content into a new animal. White, who can be compared to beloved artistes India.Arie, Lauryn Hill and Sadé Adu, is given a distinct harmonious background known only to artistes M.I.A. and Björk with the aid of the compelling Cuco.



Songs “Big Dance,” “Dance on Mars,” “Freakness” and the EP’s title track are all magical surprises especially for a record only housing nine songs on its playlist. The former half of Black Blonde loosens up with the abstract jingle afrobeat-pop “Dance on Mars” which sounds like a dance-along ringtone. The song’s message: tribal music—or more so, music—is like Mars, another planet, provides to be a titillating experience with its African tribal funky backing vocals. The exceptionally bubbly “Big Dance” with its childish tease, unleashes a barbwire braced techno-grime electro-dancehall hip-hop groove is like going out after breaking-up and on the prowl.

Other songs “Freakness” and the title track, while parallels apart, complete the EP. “Freakness,” is a song that may recall raindrops falling into a tin can. However, its sexy, pulsating Arabic dance pop-Reggaeton, provies the album with an upbeat flare while the title track delivers a calm after the storm. “Hiding Blind,” a trip hop R&B, synth-soulful tour de force that maybe influenced by an early Des'ree effort is a great track for contemplating or singing in the shower because of the melody’s slow crawl.


The closing track “Walk Away,” featuring emcee Manifest, evokes the enchantment of the melodic sounds The Fugees’ “Ready or Not” with its hip-hop jive and its slow, sexy electro-synth dub, lovers rock flow.

The album is a gem. Sarah White’s an interesting entity for the masses. While a required taste, she’s right; no one can touch her.

Want to see the original? Go here: http://blog.nu-soulmag.com/?p=272

"Vladimir Cetkar" (Nu-Soul Magazine)

"We Will Never End" by Marcus Scott

Mambo. Ballroom. Soul. Funk. Soft Rock. Jazz. Vladimir Cetkar’s EP We Will Never End at first listen could be stereotyped and then, there’s magic. Maybe record label Harmonia Productions knew all along that Berklee College of Music educated Cetkar (pronounced Chet-kar), was their ace in hole. The Macedonian composer and guitarist vocalized, arranged and conducted arranged six libidinously lustful tracks that are erotica for the soul and an aphrodisiac for the mind.
Title track “We Will Never End” opens like an unreleased song from Michael Jackson’s “Off The Wall” but breaks into a sound reminiscent of the Miami Sound Machine. In mere moments the listener listens to a cherry bomb become dynamite, with its pausing tribal dance influences, its call-and-response phrases, and Cetkar’s mellow and breathy tenor. The following track, is also very similar to the Dean Martin 1954 dubbed mambo hit “Sway” and then in an instant, sweeps to a jazzy lounge dance run. But its not until Cetkar hits full falsetto in “All For You,” that would make any pop contemporary bow out of competition. The smooth jazz influence laces the track like angel dust and gives the song wings. By far an effort that is superhuman.
The closing of the record is sound, there’s clarity, and above all, inner peace. There’s a distinctive and temperamental reality to it that makes a statement to the listener: all music is not meant for ringtones and dancing; sometimes it meant to just enjoy. With its jazz-techno upbeat “Ocean of Love,” Cetkar rose-tints the record’s musical vernacular in movement by placing a fun techno record where one may propose a jazz single be and makes the blood stand and salute.
Now that’s real magic.

Go to Nu-Soul Magazine for full interview: http://blog.nu-soulmag.com/?p=270

Hanif-Jamiyl - Krushed Grapes (Nu-Soul Magazine)

"krushed grapes" by Marcus Scott

“Have you ever had your grapes crushed before?”
“Have I ever had my grapes crushed? Well I’ve been juiced before but I don’t know if I’ve had my grapes crushed before.”
Laced with smooth jazz rap influences that date back to the sleek and sporadic vocal delivery of hip hop super group A Tribe Called Quest, Hanif-Jamiyl delivers Krushed Grapes, a slinky, cat-like BUKARANCE Records contemporary album that definitely has sex on the brain.
A sound that may draw comparisons to hip hop legends LL Cool J, Rakim and Q-tip, Hanif-Jamiyl’s sound journeys to the mid 90s smooth hip-hop movement with sexy R&B funk grooves and hip-hop electronica backbeats. Tracks like “Take It off,” and “Insatiable Rose,” could make even an old school LL Cool J blush. “Insatiable Rose,” what could easily be seen as a sequel to the 1995 smash “Hey Lover,” takes Hanif-Jamiyl from the urban glitz seen in several radio everymen of the moment to supernatural ladies’ man when he coos and brings out the bass in his quasi-poetic baritone.
It is the song “She Got It all,” which samples Shelia E’s “The Glamorous Life” that brings the listener to their knees. With its quiet synths and electronic tinkles Hanif-Jamiyl is allowed to truly shine. His causal delivery blows him out of sync with several artists and makes one wonder if he found success in his craft a generation too late.
Who knows? But maybe it doesn’t hurt to get your grapes crushed.

Go to the website to see full-story: http://blog.nu-soulmag.com/?p=266

Lizz Wright (Nu-Soul Magazine)

How to make a tender heart ice cold and make it boil over...
Something this way comes in Lizz Wright's "The Orchard"

By Marcus Scott

Lizz Wright rekindles a gospel folk-soul dreamland where past musicians like Roberta Flack, Melissa Etheridge or Tracy Chapman have taken their craft and all before breaking out the funky electric guitars reminiscent of Carlos Santana with her third album, “The Orchard.”
The album, a step away from her original jazz and quiet storm roots, creates an uplifting air to Wright’s messages of love and tenderness with the signature of the wailing guitar. The in-the-mood atmosphere juxtaposes between the genres of Southern Soul, Blues, Urban Contemporary gospel and folk music but inspires may inspire little sympathy from listeners.
While Wright’s moving husky alto burns like blistering candle wax, the albums sound may draw many comparisons to other well-knowns like Corinne Bailey Rae (“This Is”), BB King and Muddy Waters (“I Idolize You”). The record varies with little range, and while exceptional on first listen, there aren’t any tracks that feel authentic in style or feel upbeat.
Wright’s effort feels more like a monologue after a while, with song after song, almost in repetition, baring the same muse. The album opens more like an old slave hymn spiritual and ends with a feeling of being buried alive. Her songs “Another Angel,” a soul ballad and “When I Fall,” a mid-tempo piece, wear a harmonious poker face and become void of emotion overtime.
However, thankfully there are three stand-alone tracks that may make the album easy to listen to. The Spanish guitar-tinged “My Heart,” coffeehouse folk ballad “Leave Me Standing Alone” and the soulfully wavering “Speak your heart” save the record. “My Heart” is a sexy groove and with Wright’s calm but raspy voice, creates a sleek pressure to the all-too-calm record that keeps its vitals stabilized. At first listen, “Leave Me Standing Alone” is an unstoppable object for meeting an unmovable object. The song, so lively and moving, is an oddity for the record’s slow boil. Lastly, “Speak your heart,” a song the reminds listeners of the smoky-eyed cigarette torch sirens of the Jazz era with its gospel vibes, Wright’s melismatic vocal runs and the song’s slow burn.
Overall, Wright is a talent, but understates her own genius. It shows in her subtly harsh music.

Highlights: “My Heart,” “Leave Me Standing Alone,” “Speak your heart”

To see the article printed, go to: http://blog.nu-soulmag.com/?p=268