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Artist Spotlight

Chapell’s “The Underground Music Show”

There’s nothing quite like Chapell’s The Underground Music Show in the modern musical universe.

I assert that this is a good thing. We don’t need any more cookie-cutter singer/songwriter fare full of quavering sensitivities. Nor do we need paint-by-numbers noise merchants peddling oh-so-indie guitar albums that wear their oddities on their sleeves. Chapell is, unashamedly, himself and nothing more.

The Stamford, Connecticut-born performer and songwriter discovered initial notoriety as a fifteen-year-old prodigy working with Dirty Dancing producer Jimmy Ienner. He later led the East-West fusion outfit Kalki. His tenure with that band served notice that Chapell wasn’t content with finding fame as a garden variety song and dance man. He had bigger fish to fry.

The peak of his musical journey so far comes with the formation of the band bearing his name. Chapell’s 2016 debut, The Redhead’s Allegations, produced by Talking Heads’ Jerry Harrison, illustrated Chapell’s mammoth growth as a songwriter and human being. Two successors, Soul Man and Love in the Summer of Trouble, solidified his direction and garnered him a loyal following.

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 I believe it bodes well for the album’s remaining songs when an artist leads off with the title track. There’s a long tradition of this kind of track listing signaling a wellspring of self-assurance. It’s justified in this case. “The Underground Music Show” sets the stage for everything following it. One of its primary merits lies with the vocals. Chapell has an idiosyncratic voice, and further strengthens the singing with The Crush Boys’ backing vocals. Marrying thoughtful lyrical content with the pop predilections of this opener establishes a template that Chapell won’t desert.

However, I’m glad to report there are ample variations. He doesn’t follow a single path. The bright piano-laced pop balladry of “The Space Between Us” is an excellent follow-up to the opener. He builds the song from relatively restrained beginnings into a robust march that simmers with energy. Chapell continues indulging in anthemic pop with the album’s third cut, “When the Music Plays Again”. Violinist Lorenza Ponce is one of the underrated musical forces driving many of these cuts and plays with great confidence throughout this track.

I wondered going in if Chapell was covering John Lennon with the plaintively titled “Grow Old with Me”. However, it’s another outstanding original. He pursues a jaunty trajectory that eschews the anthemic tendencies of the preceding songs in favor of an irresistible pop bounce. “I Used to Say This Could Never Be Me” steers The Underground Music Show into different textural waters. He scaffolds his lyrics about the ironies of getting older around a loping tempo with a surprising amount of swing. It’s one of his best vocals on the release, and he tosses in several understated moves into the imaginative arrangement.

The relaxed gait of “When Sally Left” juxtaposes nicely against a nuanced and often vigorous Chapell vocal. This tune packs an unexpected punch and comes at an ideal place in the album’s track listing. “Like We Just Met” is The Underground Music Show’s penultimate tune, and its hypnotic piano motif supplies an important musical hook for the song’s success. It’s another of the vocal high points with a strong central performance from Chapell and astute multi-tracking scattered throughout the cut. Chapell’s The Underground Music Show harbors a bounty of rewards that listeners won’t readily exhaust. I advise you to check it out today.

Skyler Voss

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Artist Spotlight

Alwyn Morrison drops an enchanting love ballad to Manhattan with the single “Lenox Hill”

Alwyn Morrison

Alwyn Morrison has delivered an evocative sonic experience with his latest track, “Lenox Hill,” designed for those who have ever felt the pang of leaving a piece of their heart behind. This song emerges as a meticulously crafted blend of pop-rock, characterized by its emotional resonance and sophisticated production techniques. From the opening measures, Morrison immerses listeners in an auditory landscape reminiscent of New York’s electrifying streets, where motifs of love and heartbreak are seamlessly interwoven.

The production, helmed by Michael Carey, an established figure recognized for his collaborations with artists like Pablo Alborán and Idina Menzel, masterfully fuses the raw intimacy inherent in live performances with a contemporary synth-pop aesthetic. This duality creates a sound that feels both expansive and deeply personal. Morrison’s partnership with Emmy-nominated composer Michael Kooman infuses the songwriting with a dramaturgical quality that elevates it beyond conventional love ballads. Harlan Hodges’ emotive piano arrangements also provide a poignant foundation, enhancing the track’s lingering emotional impact long after the final notes decrescendo.

At its core, “Lenox Hill” explores themes of love and loss, a nuanced meditation on transient moments forever imprinted on our lives. The recording, executed in Los Angeles, showcases Morrison’s earnest and yearning vocal delivery, guiding listeners through the complex emotional landscape of Manhattan’s Upper East Side. Each lyric acts as a fleeting memory, meticulously captured in time.

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With its rich cinematic production, “Lenox Hill” solidifies Morrison’s identity as a distinctive artist possessing a unique vision. His songwriting transcends mere auditory enjoyment, resonating with a deep emotional core. Whether navigating the remnants of a broken heart or seeking a musical accompaniment to a reflective late-night stroll through New York City, this track stands out as an unforgettable piece of art.

 

For more information about Alwyn Morrison, please visit [website]. 
CLICK HERE TO STREAM Alwyn Morrison’s Lenox Hill on Spotify.
CONNECT WITH Alwyn Morrison | Instagram | TikTok | Facebook |

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Artist Spotlight

“No Daylight” by Fiona Amaka evokes an anthemic storm of emotion

Fiona Amaka

It’s as if each release is chasing the next, never quite catching up. Emerging London-based artist Fiona Amaka returns with “No Daylight,” a sonic masterpiece that invites listeners to delve into the unfiltered corners of emotion. From the outset, the track distinguishes itself as a composition and an immersive auditory experience. The crashing guitars and soaring instrumentals create a sonorous landscape, but Fiona’s voice truly takes center stage. Her vocals embody poignant expressiveness, delivering an aching vulnerability long after the last chord fades.

The mesmerizing production of “No Daylight” showcases Fiona’s artistic versatility and sonic innovation. Echo and delay effects aren’t just embellishments but vital threads in the song’s emotional tapestry, amplifying its haunting allure. The track pulses with controlled chaos, balancing intensity with intimacy and power with restraint. Its cinematic quality evokes a palpable sense of time dilation, where emotions rise, and reality blurs into something more profound.

With every release, Fiona Amaka cements her status as a formidable presence in the contemporary music industry. From the pulsating, club-oriented rhythms of ‘In-Club’ to the profoundly introspective ballad ‘Miles Apart,’ her capacity to traverse varied moods and genres is remarkable. “No Daylight” continues this trajectory, further establishing her as an artist to monitor closely. The single brilliantly enriches her discography, crafting compelling soundscapes that captivate listeners and invite deeper engagement.

As the buzz around her music intensifies, “No Daylight” stands out effortlessly, infusing pop sensitivities with her emotive storytelling. Get ready for an evocative auditory journey that warrants repeated listening.

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CLICK HERE TO STREAM Fiona Amaka’s No Daylight on Spotify.
CONNECT WITH Fiona Amaka | Instagram

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