Indie
Hannah Ellis Album “That Girl” Is A Captivating Debut
Country music has always had a formulaic blend to it, but some artists know how to utilize it a lot better than others. Hannah Ellis is someone who understands the importance of connecting with her audience and, more importantly, adopting a stylistic profile that fits her voice organically, and this is precisely why her new album That Girl feels as naturally strong as it does. Where others are fighting the idea of embracing the minimalist elements that are comprising a new era of country jams, this is a singer/songwriter prepared to take her place in the center of the spotlight. To me, she’s found a way to take an old-fashioned formula and make it sound incredibly fresh and original, which is no easy feat by anyone’s standards.
There’s nothing one-note about the vocal Ellis is putting up in “Still,” “Wine Country,” “Plans,” or the brilliantly soft “Home and a Hometown,” and I like that she isn’t afraid to be a little indulgent at the microphone in any portion of That Girl. She hits these hooks with everything she’s got at a time when minimalism has been a disturbingly popular trend, and instead of giving us a taste of what we would hear in a concert setting, I get the impression she’s producing as close to a raw, live juggernaut as is possible from within the confines of a recording studio.
“Karma on the Rocks,” “Someone Else’s Heartbreak,” and one of my favorite tracks from the record, “Country Can,” present us with an Ellis ready and willing to exploit rhythm as a means of accentuating her lyrics rather than as an agent of progressive exclusively, which on its own puts her leaps and bounds ahead of her rivals right now. She seems genuinely eager to experiment with the limitations of her genre, and yet there’s nothing here to indicate that she wants to abandon the core values of a more traditional country sound just for the sake of getting additional followers on TikTok. Contrarily, songs like “Somebody Else” and the namesake song in That Girl project an affection for the old school that can still exist in the new Nashville provided they’re being presented by someone as alluring as this artist and her work has been to date.
Country’s pop side is getting a surge of buzz like few other genres in America are at the moment, but I can’t say that I’ve heard another singer doing it justice quite as well as Hannah Ellis is. I can’t wait to hear what she’s going to come up with next, but at any rate, I think it’s undeniable when listening to That Girl that Ellis is onto a firm formula for songcraft she could easily ride into the primetime if promoted in the right fashion. That Girl lives up to its lofty title and what it implies about its creator, and although star tracks like “Too Much & Not Enough” and “Country Can” stand out as obvious video/single hits, there’s no unwanted excess here. To me, this was made to captivate a new generation of country music lovers everywhere.
Clay Burton
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Shyfrin Alliance ignites rock’s core with grit anthemic sparks in his recent single “Lockdown”
Shyfrin Alliance smashes the blues-rock door wide open with “Lockdown,” a blazing track that promises a spot on every rock lover’s playlist. Kicking off with a blistering guitar solo, the single, an instant ignition, sets the stage for a thrilling musical adventure, carrying listeners on an adrenaline-fueled trip into tricky rock terrain. Frontman Eduard Shyfrin’s gravelly vocals growl with fiercely modern intensity, churning through gritty riffs and face-melting solos reminiscent of classic rock’s most iconic anthems.
The dynamic drum beats and catchy guitar rhythms, combined with the stunning accompanying lyric video, are intensely immersive. Flashes of abstract landscapes, glimpses of community moments, and party scenes alternate with close-ups of Shyfrin at work in the recording studio, drawing audiences into the heart of the song’s passion. This combination of visuals and heartfelt lyrics transforms “Lockdown” into a whole sensory experience that hits on every emotional level.
Shyfrin’s narrative adds another layer to this powerhouse track. Classically trained in piano during his childhood in Ukraine, Eduard’s career took a detour into metallurgy and business before a personal crisis led him back to music with a renewed mindset. With “Lockdown” and his debut album ‘Upside Down Blues,’ Shyfrin Alliance marks the bold comeback of a man who channels life experience into every note. The song “Lockdown” is a true anthem for those who crave rock’s purist energy. It showcases Shyfrin Alliance as a band ready to make a lasting impact, unrestrained and roaring with purpose.
For more information about Shyfrin Alliance, please visit [website].
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Artist Spotlight
“That’s Not a Lie” by Tamar Berk evokes a symbolic trial with vulnerable bruises of truths
In “That’s Not a Lie,” Tamar Berk, a San Diego-based singer-songwriter, showcases her remarkable ability to deliver an intimately profound and soul-baring look into the murky waters of self-realization and relationship dynamics. This track, featured as the second song on her latest album, ‘Good Times for a Change,’ encapsulates the ache of self-discovery while navigating sometimes painful truths that emerge from personal reflection. Berk’s musical style embodies an indie-pop rock sound that resonates with tinges of nostalgia while simultaneously exhibiting a classic edge drawing parallels to the unfiltered emotions expressed by artists such as Snail Mail and the haunting introspection commonly associated with Phoebe Bridgers.
The accompanying music video employs an interrogation-style narrative, ingeniously reflecting the internal emotional scrutiny individuals frequently experience within themselves. As Berk’s vocals soar, traversing a deliberately tension-filled melody, she encourages the audience to confront their hidden faults and vulnerabilities. The video artfully portrays various therapy sessions characterized by both accusation and gentle reconciliation that come from being indeed seen, almost like a one-on-one interrogation where Berk is both witness and participant. While the setting conveys weighty themes, it serves as a symbolic trial, not designed to judge or deliver a verdict but to foster an underlying sense of acceptance and understanding. It creates an anthemic warmth that reassures listeners of the solace in the company of those who genuinely understand, care for, and accept them.
Through poignant lyrics that penetrate the haze of uncertainty, Berk’s songwriting deftly captures the intricate dance of honesty that often occurs in our interactions with those closest to us in relationships. “That’s Not a Lie” is a compelling reminder that acknowledging our truths, including the more arduous aspects, constitutes a decisive step towards personal growth. This composition emphasizes the understanding that authentic comfort arises from embracing our true selves rather than shying away from the complexities of our identities. Tamar Berk has produced a sincere and engaging piece, rendering it a must-listen for anyone brave enough to confront their imperfections.
For more information about Tamar Berk, please visit [website].
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