Hailing from the Toronto metropolitan area of Canada, bridging from being a 3-year tenure SoundCloud DJ to transforming his creativity side to founding indie label (Al Mahal Records) since the pandemic swept through the landscapes, eclectic/performance & electronic indie artist King Khan seems to have been through so,e twists and turns to get where he is now – which is a diligent work in progress comprised of many facets to who he is an artist to what his signature sound as a musician. And boy, it’s quite a story that is in the midst of being told, but nowhere near finished. We’re a few chapters in, if anything, but intriguing nonetheless.
Delving into King‘s first single, “Clown Party”, I must give the song credit for its atmospheric presence throughout the grungy synth expression that takes place uniquely through equal and at-times thorough parts of randomness, as well as the almost slapstick kind of way that can’t help but encompass you in what could possibly be serious expression or downright humor. Either way. You truly feel an insatiable intrigue to get to know who King Khan is, musically or not. You want to pull the mask off and really meet the creator who dared to put out such a daring and unwavering piece of art; as simple and at-times isolated it can be. Either part way, this track’s content and aura gives you a very truthful atmosphere; there’s a clown party – and you’re invited.
Moving on to the more noisy and hypnotic “Shah Kumar Sanu”, we hear a vast potential of monolithic ideas if there was more going on. With such high range melodies along with vocal ideas that creatively scream out to bring its versatility to the forefront, the musical omissions of this track is almost tragic. It almost makes you wanna steal the master copy of this single and hand it to a drummer like Danny Carry or a vocalist like Sia; all while lending free reign ground work like Primus bassist Les Claypool (holy hell would a lineup that would be.) This song is an explosion of artistic expression with the potential of such musical precision and togetherness when the ingredients are brought into the room in a double wrapped grocery bag. Again, another tragic and expressive laundry list of potential that is just arm’s length from something genius, but not just quite there. But there nonetheless.
King Khan can lay down a very very stilt foundation, and that is without question. But more needs to be afoot here. More components, collaborations and multifaceted minds coming together. Both of these singles absolutely scream for it. If I lived close by, watch what I, myself a multi musician, could do with the artistic merit these tracks give off. And that’s the direction you need – like minded thinkers to bring this brilliance to fruition. Both “Clown Party” and “Shah Kumar Sanu” are currently available on Spotify, Apple Music and several other digital music streaming streaming platforms. And despite its unwavering need for something more in the ingredients, these tracks need to be heard and understood. Musically, spiritually, meaningfully and genuinely.
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Review by: Justyn W. Brodsky
With an exercise in innovation, experimentation and musical stimulation, Long Island’s Chuck W brings forth 4 years of in-depth puzzle pieces in every track of the frenetic, lo-fi synth-travel signature sound of his Get Your Shit Together! LP. An album that not only grabs you with persistent musicality, but imagery as well.
This instrumental album is comprised with a vast array of musical elements that range from clever looping samples, atmospheric textures, groovy tempos and jazz-infused outbursts that top off with a theatrical and at-times industrial edge. The track “Monoarm” is a grungy and multifaceted set of layers that sends us on an audio and visual journey. The ambient mood that underlies in this frantic track really demonstrates Chuck‘s dynamic behind the mixing board, as well as his songwriting structure that touches on many tangible elements that gives this song the push that it needs to enter your brainwaves. It’ll stick with you in a way you can’t really explain, but it’ll easily have you enticed to explore the rest of this album with your antennas for detail up. The rhythmic groove on this song is not only notable, but downright necessary. There are no blanks to fill on this track – Chuck covers all bases on “Monoarm” and really delves into detail that gives him undeniable versatility.
Veering over to the soundtrack-worthy “Jazz For A Rainy Day”, this creepy track lends an arm to a more theatrical take on Chuck‘s signature touch. This one gives you visuals and it really dives deep into the clever songwriting structures that is made apparent throughout the album. This keyboard-driven track really adds a fascinating parallel to the other songs on the album and really adds more concept to this multilayered musical journey.
Get Your Shit Together! is a nostalgic landscape of audio imagery that is immediately gratifying to the experimental sides of our brains. It has a wit and charm that speaks solely through instruments, structure and textures. Once you give this a listen, you won’t quite be the same again. But you’ll keep coming back to this album to go through each measure of detail, trying to capture every puzzle piece of the in-depth structure that Chuck W conjures throughout this album’s duration. You can’t go wrong with this album – there’s nothing else like it.
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Listen to “Monoarm”:
Listen to “Jazz For A Rainy Day”:
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Review by: Justyn Brodsky
Concept albums are some of the most intriguing. With the concept of the many different emotions of Winter and the cold, Songwriter/Composer Delti Becker presents us with a hauntingly visceral and melodically blissful listening experience with his newest album Voiceless.
With many moods, landscapes and surreal sequences throughout the record, this 19-track masterpiece engages us in a journey into an instrumentally emotional realm with the cold and Winter-themed song titles and conceptual cover art. With production value and songwriting factors that parallel each other perfectly, Voiceless is one of the best demonstrations of how music can be very emotional and visual in an instrumental setting.
Those that understand Classical music and Music Theory will especially appreciate this album, but its modernized approach is perhaps one of the strongest elements Becker brings to the table on this record. Each song resonates with the next, and the choices between melodies and instruments is what makes them so effective when you listen to each track in its entirety. First thing you recognize is the elite songwriting structures that have gone into these songs – no ordinary musician or composer can pull off a signature sound like this without the gift of natural talent. The other is the production value. Every measure has the strings, pianos and supporting instruments in their rightful place with multifaceted multi-layers, and a vast array of melodies that set the moods and emotions that carry the weight of everything you hear.
This is a powerful album for aspiring artists, and artists that wanna be inspired. It’s an exercise of putting a concept in place and getting it across without the use of lyrics. And Voiceless does this beautifully. It’s a modern record for the classic listener. It’s currently available on several digital music retailers and streaming platforms – you’ll be more than happy you listened.
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