Both Jade River and Deeskee have done a lot musically over the years, but they seem to be just getting started with...Zero Gravity. Jade River has had a busy couple of years releasing projects with Ariano, 2mex, Philieano, and his long-time friend and collaborator, Deeskee. Deeskee, known for founding LA2thebay, has released several albums and worked with underground crews like the Visionaries, The Shape Shifters, and Living Legends. His hip-hop style is about touching the abstract and experimental scene. Jade River, returning from the release of his single, "Wrong Side," delivers his fine-tuned production with Deeskee's roots in the LA scene. The process of this album results in a true blend of styles. Deeskee's live and sequenced arrangements allow Jade River to stand out with his bass-heavy, drum knocking presence. The album weaves in-between solo tracks where they both show off their own methods. Mixing the solo efforts with collaborative songs makes the project feel connected and unique. Listen to the styles of Jade River and Deeskee powerfully collide on Zero Gravity
Jade River & Deeskee - Bridges
Jade River & Deeskee - Upward Spiral
Jade River & Deeskee - Something Different featuring Myka 9
Jade River & Deeskee - Lady Luck
Jade River & Deeskee - Divided By 6
Jade River & Deeskee - Wrong Side featuring Destruct
Jade River & Deeskee - Transmutation
Jade River & Deeskee - Solstice
Jade River & Deeskee - Beauty and Awake featuring Sach illpages
Out on 4/21, Jared Mees’ fourth album 'Life Is Long' employs many of the poet’s traditional tools: metaphor and simile, alliteration and euphony, rhyme and aphorism, variation in voice and point of view. But these are only devices by which Mees treats his diverse subject matters: ;oss of faith, love, legacy, suicide, to name a few contained in 'Life Is Long'. Mees wrote all the songs and recorded them in a small cabin along Oregon’s mighty Santiam river. While supplying the vocals and compositions, Jared had members of Typhoon, Radiation City, The Domestics, New Move and Yeah Great Fine play the music.
In order to excel in the independent music industry, an act has to define itself as especially unique with a sound quite unlike anything else in the community. This is a tall order, one that isn’t easily filled by acts entering variations of rock music due to the immense amount of bands flooding the scene right now. Palehorse/Palerider, a “doomgaze” trio from Denver, has released an EP entitled ‘Burial Songs’ that does a surprisingly superb job at separating itself from the pack. Let’s delve into it.
“Doomgaze” is a genre that very rarely gets floated across my desk, something that’s sometimes described as a mixture of shoegaze and doom metal. Palehorse/Palerider certainly have a unique sound, one that has some of the edge of ‘doom’ music, but it’s also doused in the meandering, atmospheric nature of shoegaze. ‘Sundowning,’ the first track on the new EP, is a terrific eleven minute expedition through the outfit’s spine-tingling sound. It’s an intensely bold statement right out of the gate.
‘Sundowning’ is more or less an instrumental jam, which works to its benefit. The vocals are so droned and reverberated they’re barely coherent, and thus, they serve the role of an instrument in their own way. This is how the vocals remain for much of the EP, and frankly, it’s brilliant. These three musicians have exceptional chemistry, and I love the ghostly nature of the haunting vocal croons. Even though the lyrics are pulled more to the forefront on ‘Tamám Shud,’ they’re still a backseat to the instrumentalism.
‘Tamám Shud’ is a beautiful affair, perhaps even eclipsing its enigmatic predecessor. It’s alternative shoegaze at its finest, laden with massive waves of synthesizers that sound like a modern Phil Spector ‘wall of sound.’ ‘Into the Abyss,’ the song that follows, seems to have a more melancholy nature to it. It’s the first track on the EP that begins to wear on the listener, however, because it’s too sonically similar to ‘Tamám Shud.’
The eerie ‘Nero,’ on the other hand, does strike a contrast between itself and the songs that came before it. It has a pressing, passionate nature, and it’s immensely refreshing after ‘Into the Abyss,’ the lull of the EP’s energy. ‘Nero’ has a sense of urgency to it, as if the wall of sound enveloping the listener is ready to explode in a cacophony of chaos at any moment. The final minute of the song is brilliant, too, especially in regard to the sharp
‘Burial Songs’ is a fantastic EP. ‘Into the Abyss’ feels somewhat unnecessary, but it hardly detracts from a half hour of otherwise gripping music that the collection offers. Palehorse/Palerider have done a fine job of differentiating their sound from the rest of the music surrounding them in the indie scene right now.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.
Davenport Rex is a music project based in Detroit, Michigan. Their sound is diverse and challenging, yet accessible and appealing. The band’s music stands out as a combination of tasteful progressive rock, with shades of various influences, ranging from alternative to symphonic hard rock, just to mention a few.