Interview: Albany, GA Based Duo Blyke_Love Discuss Their New Song "Juneteenth Everyday"

Big shoutout to Albany, GA based duo BlykeLove, comprised of Jo3 h3nson and Briley, who connected with DCWS to discuss their new single “Juneteeth Everyday”, which was produced by P K. Along with talking about the song, we got a chance to learn more about how Jo3 h3nson and Briley connected and formed Blyke_Love, the music scene for Hip-Hop and RnB/Soul in Albany, what we can expect from their upcoming project, and much more.

After reading our Q&A with Blyke_Love, be sure to connect with them on their website and social media, and check out their other song, “A Ride In The Deep”.

Congratulations on the release of your new song "Juneteenth Everyday". Tell us about your creative process for the development of the song. Also, how did you connect with the song's producer P K?

Thank You! It was a fun process making the song. As always, it's an in-depth process. We came across P K on YouTube and when we heard the beat, everything just naturally flowed. P K is a very talented producer, and his sound/vibe just spoke to us creatively. Once we wrote the song, we started recording.

For the sake of finding a way to illustrate a future where all black people know and live in the freedom we have everyday, Jo3 h3nson wanted to have kids say the chorus, too. So they got Briley's best friend and manager Jr’s kids and nephews to record saying the lyrics to the chorus (originally they were gonna be in the actual chorus). Eventually, we decided it would make a bigger impact, and illustrate a bigger point, by moving it to the end of the song as an acapella. The point is, we have to raise our kids to know they are free, they have power, and are valuable.

When someone listens to "Juneteenth Everyday" for the first time, what do you want them to take away from the experience?

We want black people to feel empowered, and reassurance in knowing that despite how hard the black experience can be in America, just because of who we are, and how this system has confined us in certain ways, we are still free.

We're free to live the lives we wanna live. It may be a little more difficult, but it's possible. Everyone before us fought for us to be free, to have these freedoms. That freedom is needed in our current society where public opinion causes people to feel like they aren't free to be themselves. That goes beyond black people. We all share that. We just want people to feel free to be who they are.

Tell us about how you two met and why you decided to form the group Blyke_Love.

We met in 2011 at a performance Briley had singing backup with a singer/mutual friend (who was in a group called The Freedom Fighters with Jo3 h3nson, who was going by Monte Carlo at the time and came to the show to support their friend).

In 2013 we started recording for Jo3 h3nson's album "L.A.M.E." and been recording together ever since. 2018 Jo3 h3nson released an EP called "Dear Organized Noize" that was dedicated to legendary southern producers Organized Noize who produced majority of the Dungeon Family's music, whom we loved and grew up listening to.

The EP was created using mainly Organize Noize production, along with 1 track produced by Earthtone III (a production group that consist of Outkast & Mr. Dj), featured Big Rube, and Briley was featured on every song on the EP as well. Realizing how good we sound together, and the natural chemistry we have, we decided to put our creative talents together and formed Blyke_Love.

What can you tell us about the project you are working on? Does it have a title yet and is there an overall theme or concept?

Yes it has a title and a theme but we're keeping that tucked for now. It ain't time yet. We want the listeners to get the full experience when they hear the project for the 1st time. We don't want them to know or be expecting anything but good music.

How would you describe the music scene, especially for hip-hop and RnB/Soul, in Albany, GA? Are locals supportive of homegrown talent and are there a lot of venues to perform?

The music scene here is growing, but still has a lot of room for more. Hip-Hop is the biggest genre that we have seen the growth in. Albany is predominantly a Hip-Hop/Trap city, although there are a few RnB/Soul artists.

The venues are limited to maybe about two clubs here that hip-hop artists can perform in, and that's determined by the content you create in which one caters towards trap music. Which is why we created L.A.M.E. Voices with our partner Chris Jenkins to build a platform for artists who makes more of a unique sound or a sound that is true to them. We saw that there was a need for something fresh, positive, creative, different, and a place to be you not only for the artists to come and showcase their art/gift but for the people to know and see what all they were missing and what all Albany has to offer.

With that being said, Albany locals are becoming more supportive of the talent that is right in their own home, even reaching out to the artists for events in and around the area that they may have heard/seen at L.A.M.E. Voices or other events.

Connect with Blyke_Love: Website | Twitter | Instagram | Facebook

Review: "Algebraic" EP by Tasos Peltekis

Tasos Peltekis opts for a chilled out downtempo journey on his soothing effort “Algebraic”. With velvety sounds, the production on this EP has a tremendous lushness to it. Things are kept slow in order to truly appreciate every possible detail of the sound. Melodies resonate with such rich, colorful textures, and rhythms lazily lounge on by with the multiple layers interacting in a blissful fashion.

Stylistically, Tasos appears to be firmly rooted within downtempo, incorporating elements of trip-hop, IDM, and even jazz into the mix. Featuring such a plethora of approaches, Tasos goes for something that feels absolutely stunning. Beyond this, Tasos employs a hint of playfulness into his arrangements letting a trickster persona loom large over the collection.

Boards of Canada and Nightmares on Wax, both of these play a role within the collection. For the nostalgia-soaked samples, the Boards of Canada reference feels undeniable. The oftentimes light and airy moments recall the early innocent works of Boards of Canada like “Music Has a Right to Children”. Such a looseness to the whole of the work at times draws from the dubbed-up infusions of Nightmares on Wax. Much of the collection veers into the inspirational, as the songs radiate so much hope. By taking on this sunny disposition, everything about the “Algebraic” EP shines gleefully.

The mood is set immediately on the classic cool of “Mira”. Delivered with so much love, the piece incorporates elements of dream pop and ambient into the mix, allowing the whole thing to truly soar. By far the highlight of the collection comes the sweeping style of “Plein Air” where a bit of the psychedelic filters into it all. Fully coming into bloom, the far-off echoes further add to its Four Tet vibes.

“Jenabus” offers breezy atmospherics, with the guitar elements giving it a distinctly tropical quality. On “Broken”, Tasos get a bit more intense with the beat work out proving to be a wild, maddening thing. Effortlessly bringing things to a conclusion, the spacious closer “Lost Echoes” goes for a unique sense of wonder.

Sounding like a true classic, Tasos Peltekis’s “Algebraic” EP is a dazzling thing to behold, with so much beautiful behind it.

Stream and Share “Algebraic” on Spotify

Artists Can Now Beat the System With New Direct-to-Musician Platform Beatchain

Beatchain, a revolutionary new music platform has launched, enabling artists to take control of their careers. Beatchain’s premium services help musicians share their talent, connect with fans, and earn money from their music, without having to share profits and creative control with industry middlemen.

Though there are many tools in the market providing services to musicians, they tend to be expensive and limited to a single capability, for example, handling just distribution, websites, email lists or social media management. Beatchain believes artists need all of these capabilities together in one platform. The market has clearly indicated that Beatchain is resonating. Over 40,000 artists have already taken their first steps towards independence by signing up to the Beatchain platform.

“Too many artists are seeing music streaming as a talent show where they upload one song to Spotify with zero promotion, and suddenly they’re being signed to a label or played on the radio,” said Ben Mendoza, Beatchain CEO. “Unfortunately that’s not how the music industry works in the streaming era. To get heard above the noise, you need the complete set of tools to grow and engage your fanbase, get them hyped for your new release, and then direct them again and again to your music, your shows and your merchandise. The unique thing about Beatchain is that you can do all this with one platform, without the artist needing to become an expert marketer or music promoter.”

Beatchain offers three pricing levels - a free Basic Plan, a Premium Plan for $14.99 and a “Superstar” Plan for $19.99. The platform’s wide array of tools remove the need for artists to subscribe separately to a number of other services, which can add up to a significant monthly investment, especially for artists just starting out.

“Beatchain will be a big lift for the independent community and artists, which now command a 40 percent market share,” said Allen Kovac, CEO and Founder of Better Noise Music and Tenth Street Entertainment.

Beatchain has an ambitious and exciting roadmap that will add more tools throughout 2020, including subscription fan-clubs, ticketing, AI mastering, lyric videos, and ad-placement functionality.

“We’re firm believers that if you’re a talented artist and you take your music career seriously, then so will everyone else. Beatchain is here to help you demonstrate that,” added Mendoza.

About Beatchain

Beatchain is a musical revolution that beats the system by allowing artists to forge their own path and connect directly with active and engaged fan bases. It was founded to give musicians insight and control over almost every aspect of their careers and help turn more talented artists into superstars.

Connect with Beatchain: Website | Twitter | Instagram

Interview: Guitarist/Composer Tasos Peltekis Talks About His Newly Released EP "Algebraic"

Algebraic is the solo project of guitarist/composer Tasos Peltekis. Born in Thessaloniki, Greece he started studying classical guitar at an early age. His music is an amalgam of cinematic landscapes, guitar textures, electronica and world music influences. He has recorded, performed and toured with artists in a plethora of genres. He has also composed music for other artists, theatrical plays and documentaries such as "What Politica" (17th Thessaloniki International Documentary Festival, 2015), "Schnitzel Arthur " Studio Vis Motrix (2017), "Nerium Park" Averto Theater (2018).​

We connected with Tasos for an exclusive Q&A to discuss his very DOPE newly released EP “Algebraic” and much more. Our in-depth review of “Algebraic” is coming very soon, but in the meantime, enjoy our conversation with Tasos, connect with him on his website and social media, and listen to the EP below.

Congratulations on the completion and release of your new EP “Algebraic”. Tell us about your creative process for the EP’s songs and how long it took to complete overall.

Thank you very much. The EP creation including the recording and mixing process took me about a year. Some of the ideas though were older, having been featured ‘fragmented’ in some theatrical plays and documentaries that I composed music for.

The past year I gathered some of them and they were developed into new tracks. So I would say that the final outcome is a combination of older and new ideas that were molded into this EP during the past year.

You are currently based in Las Vegas but originally from Greece. How would you compare the music scene for electronic music, especially the more experimental side of it, in Greece to that of the United States?

I come from the city of Thessaloniki, which has always had a very vibrant original music scene in all genres. ‘Reworks’, one of the biggest electronic festivals in Europe, is hosted in Thessaloniki every year and features a wide spectrum of music from experimental sound and modern classical music to contemporary dance electronic.

I had the pleasure to collaborate as a touring and recording guitarist with Cayetano - a great electronic artist from Greece - and while performing in different cities and festivals, I realized how big the community who loves electronic music is. Of course, the market size of Greece is significantly smaller than the USA’s, but the passion and will of the audience to discover and support good music is as strong.

Besides the guitar, which instruments and software were used during the development of the EP?

I mainly work on Logic; I have been using it for years and I am familiar with its workflow. Besides the electric and acoustic guitars, most of the other instruments that were used are VST. It is quite fascinating how many things you can nowadays do with just a laptop! I also used the Korg MS-20 for some synth sounds and as a filter for some guitar parts.

When working on new music, when do you know that your song is truly finished?

This is a tough one! In many cases I really don’t. Even with some of the tunes in this EP, I still feel this way; that they could be evolved more. But putting a deadline, like a release date, helps me focusing on finishing them. Otherwise, I feel that I would be in that endless loop of keep ‘correcting’, rearranging them etc. Maybe some pieces are never truly finished!

If you could produce the soundtrack to any past or current movie, which one would you select?

I really loved the music that Thom Yorke composed for Luca Guadagnino’s Suspiria remake. He perfectly captured the mood of the film. As an avid fan of psychological thriller movies, I would have enjoyed composing music for a similar concept.

With “Algebraic” now released, what else can we expect musically from you this year?

I am already in the process of writing and recording ideas for the next album. Also, being a performing guitarist myself, I would like to present my ‘Algebraic’ music live performing with other musicians; it is something that I am trying to get organized at the moment.

Connect with Tasos Peltekis: Website | Facebook | Instagram

Review: "I announced this off Impulse. Enjoy." EP by $KINNY BRAGG

Pearl, Mississippi based rapper $KINNY BRAGG delivers an unrelentingly dark world on his newly released EP, “I announced this off Impulse. Enjoy.”. Everything about it opts for a prickly disposition. Arrangements go for an edgy, confrontational tact one that perfectly complements the lyricism. His flows have an urgency to them with each word cascading off the last. For much of the album a paranoid quality reigns supreme, one that feels incredibly claustrophobic. Volume deserves to be blasted for these are tracks that positively teem with life as they consume the listener whole.

A great deal of influences seems to filter into the mix. $KINNY BRAGG’s delivery has an undeniable nod to southern rap, with greats like Big Boi and André 3000. For the sheer content, he brings the bleak anxiety of Tyler, The Creator. Narratives here prove to be incredibly focused on the self, as each piece seems to be on the point of outright collapse. So much pressure is applied to great effect, as the tracks have disorienting sounds, wormy bass lines, and an industrial/electro aesthetic. Indeed, the frantic nature of the EP draws from Death Grips’ weird, kaleidoscopic arrangements. Virtually exploding at the seams, the entire collection works best when taken in as a singular whole.

“60 Seconds” sets the tone for what follows, as the multiple layers intermingle to create a virtual tapestry. Percussion elements have a wild, feral energy to them. An incredible swagger strolls through “Switched Up” as everything about the work messes with expectations, as the pings of the piano nicely merge with the growl of the synthesizer.

Ambient, noir-ish vibes rule over “Lemme Find Out”. By far the highlight of the collection comes from the hyper-kinetic playfulness of “Hennessy”, which goes for a neon-hued cryptic quality. “Tsk Tsk” goes for a giddy energy. Chaos defines the unhinged quality of “Boo’d Up with that Nina” as he goes for something truly infectious perfectly bringing it all to a close.

“I announced this off Impulse. Enjoy.” proves to be one of those rap projects which defies easy categorization, with a mixture of new school and old school influences that reveals $KINNY BRAGG to be a master of his craft.

Stream and Share “I announced this off Impulse. Enjoy.” on Spotify

"Don't Belong" by Declan Sheehy-Moss Wins Week 1 of DCWS BattleSound Music Competition

Congratulations are in order for Declan Sheehy-Moss, a talented saxophone player and songwriter based in Boston, who was the leading vote getter in last week’s DCWS BattleSound music competition round for Week 1 with his song “Don’t Belong”.

Declan will move on to the Championship Round during the last week of this month where he and second place recipient, Le Fil, and will face the top two vote getters for this week and next week.

Check out the winning song below, as well as the EP that it is featured on, “Things Do That”, and connect with Declan on his social media.

Stream and Share “Things Do That” on Spotify

Connect with Declan Sheehy-Moss: Facebook | Instagram

Interview: $KINNY BRAGG Discusses His New EP "I announced this off Impulse. Enjoy"

We connected with Pearl, Mississippi based rapper and producer $KINNY BRAGG for an exclusive interview to discuss his new EP “I announced this off Impulse. Enjoy”. We also conversed with $KINNY BRAGG about the hip-hop scene in Mississippi, what software/hardware he used to make his beats, how he describes his music brand and much more.

After reading our Q&A with $KINNY BRAGG, be sure to listen to the “I announced this off Impulse. Enjoy” EP, connect with him on his social media, and check out some more of his music on Spotify.

Congratulations on the completion and release of your new EP "I announced this off Impulse. Enjoy"; it's a very DOPE EP. What initially motivated you to create this project and how long did it take to complete?

Thank you! Means a lot considering I have always gotten told “ohh your music is great and you’re so talented but it’s too intense” ....anyway I guess that’s for a later time to rant about.

Well, I already had these songs recorded because I have been working on my album “My Cotton Candy Filled Demise” and I got damn near 40 songs done; none are throwaway. People been asking me for music and when I released my music video for “Miss You” at the end, I announced I would be dropping “Boo’d up with that Nina” soon. Didn’t happen.

Then in like November or December me and Chapa was drinking 1800 and I was like “bruh I wanna make a song about smacking a nigga in the head with some Hennessy”, so we made Hennessy that same night. Once we make that song I previewed it on my IG and everyone was going crazy. Memphis folks, Mississippi folks, Cali Folks. So I said I would release it in January. Did not.

Then one day I was driving and I made a post saying I wanted to release an EP of like 5 or 6 songs. It was an impulse decision but too many people on Facebook started liking and sharing the post. So naturally I now had to keep my word. So I knew off top I needed to put “Hennessy” on there and also “Boo’d up with that Nina”. The EP was born.

I announced it like on a Wednesday and I got home and stayed up all night getting the project ready for a release pretty much touching up some mixes and such. Then I submitted it to my distributor and hey THE EP WAS BORN.

You've mentioned that you produced on the EP along with BOZ and joshu. Which songs did you produce and what software/hardware do you use to make your beats?

I produced “60 Seconds” with a dude named G. Typically speaking I produce about 95% of my music but with this one I used different producers because I wasn’t trying to hit them with the sludge just yet.

I wanted this EP to be fun and cute and violent. So yeah FL Studio and I record and mix everything in Pro Tools. The whole setup is in my room because I don’t trust anyone with my music.

Your visual imagery (EP cover graphic, pics) matches the EP's sound in that both are lively, in your face, and hard to forget. How would you describe your music brand itself and what it represents?

Heavy and cute. Angry. Much like my personality I’m really big on authentic. So yeah I think that’s where I pull people in on stage. I dress how I dress but at the same time, I mean business. So boom they see this skinny dude with different oversized earrings and an Ace of Base t shirt on with a choker then I get started and people are just amazed. That means the most to me because I’ve always expressed myself I’ve always been into colors like pink and other “feminine” colors.

I’ve always broke boundaries as much as I could while still being comfortable like I’m probably not wearing a dress because personally I’m not interested because I don’t think I could pull that off and I’m not even into dresses. More power to those who can. Catch me in a crop top lookin great in the function with a deuce deuce in my shoe.

What are some things/places/people that inspire your creativity as an artist and your desire to be different, especially now when so many rappers sound and look the same?

Metal music and Hardcore music. The Memphis rap scene and Memphis sound in general. Like I love how you hear something and you’re like “okay that’s Memphis right there”; I don’t really get inspired by other rappers because that’s how you end up sounding like a clone.

Being from the south I been around that southern boom shit for a while and trap beats won me over when I was in 8th grade. I been around rap my whole life; my mom loves rap music. So I’ve heard all the classics and stuff and I think that’s what makes me take my lyricism and hip-hop so serious. I love it.

Tell us about hip-hop in Mississippi in 2020; what is one thing you would change for the better and one thing that you like about the music scene there?

Terrible. Haters and clones. It’s really bad. I would get more rap venues out here that don’t just wanna book “conscious” rap. What about the Alternative kids? Pretty much in Mississippi if you aren’t a trap rapper performing at clubs, it’s over. That’s why I love Memphis. They took me in when no one else would. Before that, I was performing at hardcore shows where I was the only rapper and while that was cool; I wanted to be part of a rap scene. I don’t like anything about the scene here. Bunch of fake gatekeepers and conscious venues listening to them. How is it that I was packing out shows but still no venue wants to book me? Or a media outlet out here wants to work with me then all of a sudden they ghost me and I see them working with someone I used to do shows with. It hurts. And that’s where the intensity comes from in my music. I’m hungry. So I guess I like the fact that it’s so trash; it makes me hungry to prove everyone wrong.

Stream and Share “I announced this off Impulse. Enjoy” on Spotify

Connect with $KINNY BRAGG: Instagram | Twitter

BandPay Receives $2 Mil Investment to Launch Creator-Oriented Payment Platform

BandPay, the payment platform designed to help creative collaborators come to and stick to agreements, is announcing $2 mil investment in its iOS and Android app launch.

“We’re honored to receive this investment from an angel investor, who sees the potential and value of BandPay and our related platform PAYMNT,” says BandPay co-founder and co-CEO Gleb Teper. “This is a crucial investment at an important time for our company.”

BandPay will use this investment to build its user base, starting with artists, producers, and other music professionals, as well as to continue building out features to serve them. At launch, BandPay will already offer creatives a broad set of customizable tools to let them establish agreements that lock payment to agreed-upon milestones. As these milestones are met, guaranteed funds are paid out. The platform is designed to eliminate the potential for misunderstanding, scope bloat, and fraud, while empowering artists to reduce costs and losses for creative projects.

“We see so much potential to relieve the stress artists and managers face constantly,” notes BandPay co-founder, co-CEO, and music business veteran DeCarlos Garrison. “Financial tools make a huge difference for artists, who often have really narrow margins and limited resources to pull off ambitious projects. We’re hoping to remove one layer of uncertainty and distrust from their work and let them do more of what they really love doing.”

About BandPay

BandPay is redefining how musicians get paid. The app helps creative collaborators set milestones, release guaranteed funds when those milestones are reached, and keep focused on what really matters: making music. Founded by a Florida-based duo, one a music business veteran and one an experienced developer, BandPay provides a simple solution for the complicated problem of work-for-hire and handshake contracts.

Connect with BandPay: Website | Instagram

The SiAngie Twins Release Their Latest Project "Good Girls Gone Bad"

The SiAngie Twins have released their latest project “Good Girls Gone Bad” via DSG Music/EMPIRE. The identical twins born and raised in Philadelphia to Puerto Rican parents, and sisters to World Champion boxer/co-manager Danny 'Swift' Garcia, are showcasing their transition from teenage girls to young women through their lyrics, visuals, and sound. Sianney (CC) and Angelise (Angie) Garcia combine the influences of their youth with a modern vibe to create their own unique lane in the music world.

“Our EP is very versatile and timeless. It crosses a lot of different genres. We look outside the box when we’re recording a project, not just what the sound is right now. The music we make will always last beyond this era,” explain The SiAngie Twins about the project.

Sianney and Angelise started singing and rapping at just six years old, and began utilizing social media early on to share and promote themselves and their music. They built a following on Instagram and Musical.ly that has stayed loyal throughout their career, even having appeared on MTV's My Super Sweet Sixteen. Over the years, they’ve accumulated a following of 1.8 million on Instagram, 3.4 million on Tik Tok, and 344k subscribers on YouTube.

With appearances from Puerto Rico's Miky Woodz, DreamDoll, and production by platinum producer Jahlil Beats, “Good Girls Gone Bad” is the SiAngie Twins' coming of age project. The video releases from the EP “Watch Me Go (Feat. Miky Woods),” “Aquella Vez,” “Never Be Me,” and “Splash” Feat. DreamDoll have accumulated over 3.5 million views on YouTube to date, with more visuals to come.

Listen to the “Good Girls Gone Bad” EP below, stream it on your preferred music service, and connect with The SiAngie Twins on their website and social media.

Stream and Share “Good Girls Gone Bad”

Connect with The SiAngie Twins: Website | Twitter | Instagram

Interview: ABKTRAUMA Discusses His New Song "Trap Coat"

We connected with Camden, NJ based rapper, producer and Classy Trap Society label founder ABKTRAUMA for an exclusive interview to discuss his new single “Trap Coat”. We also learned more about ABKTRAUMA’s plans for “Trap Coat” as part of his upcoming debut album, “First They Love You”, as well as how his time in the Army has impacted how he moves as an artist/producer in the music industry, and much more.

After reading our Q&A with ABKTRAUMA, be sure to connect with him on social media, check out some more of his music on Spotify, and be on the lookout for his upcoming debut album “First They Love You”.

Congratulations on the release of your new single "Trap Coat"; what can you tell us about your creative process for the development of the track?

Thanks! I made the beat a few months back. It was supposed to be for my label's project but I decided to keep it for myself. But shhhhh don't tell anyone lol. I started freestyling one day and that's how “Trap Coat” was born. The song is based on real life experience from when I used to be in the streets.

Will "Trap Coat" be a part of an upcoming project you release this year? If so, what can you tell us about it?

Yea. “Trap Coat” is going to be on my debut album called “First They Love You”. It's the first in my upcoming album series. Next is “Then They Hate You”. And last is “Then They Love You Again”.

You're not just an emcee, but a producer as well. What software/hardware to you use to make your beats and how do you decide which ones to keep or sell to other artists?

I've used everything from the MPC to the Fantom to more. But nowadays I just use FL Studio. I like the workflow in the program. It's really easy but professional at the same time.

Honestly I make beats so fast that it's never really a problem deciding. I make about 40 beats a month and send out snippets of them to all of the artists on my Classy Trap Society label, major artists and indie artists too. If an artist on my label selects a beat first then it's theirs. If someone else wants to buy it, then it's theirs. First come first serve.

How would you say that the time that you served in the Army has impacted the way you move as an artist and producer?

I just keep everything nice and professional. I treat everyone how I want to be treated. Respect gets respect. I don't burn bridges. Ever.

At the end of the day, this music business is small. There's a lot of people that rap and make beats but on a professional level? It's a small game. It's small game of chess. And I'm good at chess so I keep all of my moves like I said, nice and professional.

With "Trap Coat" now released, what are some of your goals musically for the rest of 2020?

“Trap Coat” is literally a street single. A single for the streets. But my first real single is called "Ghost". “Ghost” is about how people say they'll be there when you need them but they end up ghosting you.

“Ghost” is going to be the song that really puts me on the map. I'm already known for being a social media influencer, but this song right here? Yea this is the one that's going to solidify my rap career. It's going to blow my 2020 up and beyond.

Connect with ABKTRAUMA: Twitter | Facebook

Detroit Based Rap Artist TNV Releases His New Album "Dirty Beautiful"

“Dirty Beautiful” is the new album by Detroit based rap artist TNV (That New Vessel), featuring Die-Rek and Rocdwell, which follows his last release “Crooked Crown”. In his own words about this 13-track project, TNV says that “This album Dirty Beautiful represents the struggle of every human being. The question is what makes you different than your counter parts. How do you overcome obstacles. Well with this album we artistically navigate through trials and tribulations…”

Throughout the tracks on the “Dirty Beautiful” album, it’s evident that TNV aspires for the listener to not only have a spiritual experience, but also a life change. This is hip-hop for music fans who want to be inspired and after listening to it, actually feel better about themselves and have hope for their future. This album is a counterbalance to what is heard every day on the radio and we’re glad to be able to share TNV’s finest work with you.

If you are a fan of legendary artists and groups like Nas, Little Brother, Common, and The Roots, then you will love TNV’s DOPE new album “Dirty Beautiful”. Listen to the album right now, stream it on your preferred music service and connect with TNV on his social media. Lastly, hang close to DCWS because our exclusive Q&A with TNV is coming very soon!

Stream and Share “Dirty Beautiful”

Connect with TNV: Instagram | Facebook

Review: "Self Reflection" EP by Mitch Darrell

The first track on Mitch Darrell’s “Self Reflection” EP is titled “Where Are You God.” It’s a brilliant introduction; shimmery and full of vibes - a pleasant departure from the over-produced rap tracks that are being churned out by the dozen. Merging the conscious style of rappers like Common and Kendrick, Mitch Darrel has a refreshing flow and distinct voice we haven’t heard before.

We all need a chill-out break from aggressive tracks, and “Where Are You God” brings some levity, especially as the floating hook hits at 1:08. Like many songs, this track tackles a plea for faith, but gently, and with a creative take. “Rearrange” feels like a time warp as a the tick-tock of a clock intros it. With Mitch’s vocal chops shining in this, we get to see more of his unique timbre and graceful lyrics that stand out but are still digestible, like: “mumble rap is the reason that rap has stumbled backwards/ lyricism no talent rappers would fumble that word.”

Although many of his beats are filled with echoing effects and have an electronic influence, Mitch goes back to basics with an acoustic guitar based track “Blood on my Hands” that could easily play on a hip hop station, or an indie one.

Religion and his Christianity are occasionally referenced, but never in an overbearing way - just an introspective and curious approach that remains true to Darrel’s title and album art. “Not Black Enough” has a jazzy instrumental that evokes a Tribe Called Quest kind of energy without being too derivative. In this, Mitch similarly explores concepts of self-identity, particularly the complicated relationship between himself and his culture.

This rapper is being slept on right now, but with the trajectory he’s headed on in 2020, we doubt that will continue for much longer. Listen to Mitch Darrell’s “Self Reflection” below.

Stream and Share “Self Reflection” on: Spotify | Soundcloud

Stream "Algebraic", the New EP by Las Vegas Based Guitarist/Composer Tasos Peltekis

Originally from Thessaloniki, Greece, Tasos Peltekis is a guitarist/composer currently based in Las Vegas. Tasos’s music is an amalgam of cinematic landscapes, guitar textures, electronica and world music influences, and he has recorded, performed and toured with artists in a plethora of genres.

Tasos has also composed music for other artists, theatrical plays and documentaries such as "What Politica" (17th Thessaloniki International Documentary Festival , 2015) , "Schnitzel Arthur" Studio Vis Motrix (2017), "Nerium Park" Averto Theater (2018).​

Tasos has just released “Algebraic”, a five track electronica/experimental EP that will take you on an auditory journey through a lot of different textures and emotions. His guitar is the star of this project but a diverse array of instruments and samples all have key roles to play in the soundscapes that are created in each song. It’s hard to pick, but our favorite out of the five tracks is “Mira”.

Take a journey with “Algebraic” right now, connect with Tasos on his website and social media, and be on the lookout for our exclusive interview with him, as well as our in-depth review of the EP.

Connect with Tasos Peltekis: Website | Instagram | Facebook

Interview: Indie Electropop Trio Lindy Vision Talk About Their Brand New EP "Adult Children Part II"

Major thanks to Dorothy, Natasha and Carla Cuylear, the three sisters of the Albuquerque, New Mexico darkwave/synth-pop trio Lindy Vision, who connected with DCWS for an exclusive interview to discuss their brand new EP “Adult Children Part II”. We also talked with the sisters about what it’s like to work with family in the music business, their musical influences, creative process when developing new music, and much more.

After reading our Q&A with Lindy Vision, connect with them on their website and social media, check out more of their music on Spotify, and be sure to stream/purchase their new EP, “Adult Children Part II”.

It really feeds the soul to see a trio of sisters work harmoniously and authentically together to create something magical as Lindy Vision. What’s it like working on a day to day basis with family?

Thank you. It really has been magical getting to work with one another. Working on a day to day basis with family is special. When we were younger, we probably took each other’s presence for granted because we grew up in the same household and we’d see each other every day, so we naturally just grew close and developed similar interests. As adults, we are still extremely close, but the only difference is that now we are living separately and we each have our own individual lives, so when we come together to spend time with one another as sisters or bandmates, it takes intention and a concerted effort.

Most families can probably relate that there are times when you might not be getting along with certain family members and you need a break, but when you’re in Lindy Vision and you disagree with someone, you’re kind of forced to work through the issue because there’s a lot on the line. We are all hypersensitive to each other’s moods and emotions and that can create a certain type of energy when you’re writing and playing music together, but we strive hard to resolve most disagreements and always stay loving and supportive towards one another.

It’s a lot of work, and we’re human, but it allows us to be the best artists and sisters we can be in this relationship. Majority of our relationship as adults has revolved around Lindy Vision and we’ve watched each other make a lot of personal sacrifices with regards to our individual families, finances, and time, so, we try to stay mindful of that and respect what each of us has sacrificed to keep our collective dream alive.

The inspirations from Karen O and the yeah yeah yeahs are definitely evident, and you cite them as one of your inspirations. We see a lot of rock influences, but do you have any RnB, hip hop, or other genres that help influence your music? Additionally, people have described you as no wave and dark wave, but how would you describe yourself?

Other genres that have influenced us include hip hop, Motown, and 60s/70s rock. One of our absolute favorite hip hop artists is OutKast. Stankonia was one of our favorite albums growing up.

As for Motown, I think we just always loved the melodies and compositions behind a lot of the songs written on that label. And the 60s/70s rock encompasses artists like the Kinks, The Velvet Underground, Led Zeppelin, and Marc Bolan to name a few. There is something inspirational in the lyrical freedom that those 2 decades offered in songwriting.

We would describe ourselves as Indie Electropop.

The vast travel across genres is an impressive one - while Abandonment has a little more of a tinkling, electronic sound, while Gamblers is a little bit harder and more explosive and grungy? Is your eclectic sound a cohesive and intentional one, or is is the result of your different styles meshing in a. Brainstorm moment together. You’ve previously mentioned that three of you have a natural order of leadership and who plays their part in terms of musical roles. Creatively, are you on the same page when you come up with songs, or do you all usually bring something different to the table?

I think our eclectic sound is a hybrid of both intention and our different styles meshing in a brainstorm moment together. We each have our own unique creative process but when it comes to the overall vibe/emotion that we want the song to create, all three of us are usually on the same page.

Naturally you have 3 different people writing their individual parts and helping to structure the song and establish the vibe. Our band really is a three-headed monster, but somehow, on our last 5 projects, we’ve managed to agree on a direction and what’s best for the music.

Anytime we can create a new song that we all enjoy, it’s this miraculous moment of everything falling into its right place. We were lucky enough on this last album to work with a producer, (Enrique Tena Padilla) who could make sense of the madness and bring a little more cohesion to our sound.

We love seeing girls crossing new boundaries in music - especially badass ones that know how to rock a guitar solo and play some wicked percussion. It’s very easy for the industry and public to quickly put female artists in a box under a singular label, but the diversity in your songs kind of refuses to let people do that. There’s sweeping drama, there’s indie rock elements, and even upbeat pop that we really haven’t seen since Karen O’s heyday. What’s your music making process and how do you see things big picture (i.e, concept, lyrics and production) as opposed to getting too focused on one thing?

Our creative process is always collective. We do everything together. Usually one person takes the lead with a certain part, for example Natasha might have a guitar rift or Carla might have a beat or Dorothy might have a vocal melody and then we build a song from that one part. The person who takes 'the lead' part usually has a song inspiration in mind and if the other members get writer's block, then we can use the inspiration song as a reference. It's a fun collaborative process and it's one of our favorite parts about being in a band. We really inspire each other when writing together.

I think our common goal of striving to create songs/music we enjoy listening to helps us keep the big picture in mind. Once recorded and released, songs take on a life of their own, and we are such big fans of music, we never want to put out music we don’t ourselves enjoy. It’s challenging creating music that all 3 of us like 100% of the time. We’ve all let go of Lindy Vision songs we’ve personally liked for the greater good of the band. I think this helps to make us stronger songwriters.

A big part of the vulnerability and rawness in your music and this “Adult Children Part II” EP related to your openness about how the three of you are kids of alcoholics. It’s always great to see artists use music as a tool of empowerment and empathy for other kids who have suffered from emotional trauma and trust issues. Lyrically, your tracks are intimate but still remain relatable for a range of any human being with feelings - what’s the secret to the formula, and how do you get inspired when it comes to writing?

Our music is very autobiographical. So, our own lives and personal experiences really inspire our creative process. Our secret formula has been striving to experience life with an honest and open heart and to experience every emotion – the good, the bad, and the very ugly.

As kids, our emotional literacy was quite poor, so creating music as adults has allowed us to explore all these suppressed emotions that we didn’t even know we had. Art is powerful like that. When it comes to writing, we get inspired by other artists and their music. It’s like whatever we're listening to at the time can really steer the direction we choose to take a project.

It’s also really inspiring to watch how artists that we’ve loved over the years have evolved with their music. It makes us want to continue to push ourselves and try new things and see what we can create next.

Apart from opening up on your personal family struggles, what is the importance of exploring your Native American and black culture in relation to your music, and how do you express those parts of your identity?

Our culture and identity as Native American and African American women have always been important to us, but it’s something that we’ve only recently began to explore in our music on our last three projects. As we’ve matured as women and artists, we’ve come to a place where we can honor these parts of ourselves in a way that is respectful, and not exploitative. Those parts of our identity are expressed in our performance attire and the strength we exude anytime we step on stage.

We wear our face paint as a sacred homage to our Jicarilla Apache ancestors and to our Black forefathers who sacrificed their lives so that we may exist. It’s important to represent our culture when given the opportunity, because of the violent, oppressive, and racist history of America towards Blacks, Females, and Native Americans. We are proof of our existence and resilience despite all odds working against our people.

Presenting our music and our image is also important in order to diversify the predominantly white male indie rock music scene. In America, we historically and presently have had an underrepresentation of people of color in places of power and influence, whether that be artistically, politically, or in pop culture. It’s important to see artists that look different or that look like you on major platforms. There is a value in being seen and acknowledged.

Who are some other emerging New Mexico artists the three of you support and that we should be adding to our playlists?

The late Wakeself, Andrew Martinez, was a groundbreaking Native American hip-hop artist in NM that we loved. His lyrics were always uplifting and positive. Checkout his last release “Ready To Live”. And A. Billi Free, a young African American female RnB artist from Southern NM; she seems to be putting out some strong music; check out her album, “I Luma”.

Connect with Lindy Vision: Website | Facebook | Instagram

Geographer Announces New LP "Down and Out in the Garden of Earthly Delights" and 2020 Spring US Tour Dates

Geographer is the moniker for Mike Deni’s American synth pop/indie rock band. Formed in San Francisco in 2007, Deni has described his sound as being “soulful music from outer space” using analog, electronic, and acoustic elements to craft dense layers and unique sound textures. As Geographer, Deni has released three full length albums, Innocent Ghosts (2008), Myth (2012), and Ghost Modern (2015). Along with four EPs: Animal Shapes (2010), Endless Motion (2015), Alone Time (2018), and New Jersey (2019).

Following the release of ‘New Jersey’, Geographer remained active, releasing a slew of singles throughout the rest of the year. Now he is back with a new full length album titled ‘Down and Out in the Garden of Earthly Delights’, due out on May 1st. The odyssey of the album explores the pleasures and pains of life while testing the depths of the human condition. Following the album release, Geographer will be on the road across North America on his 28 stop headline Down & Out Tour.

Reserve your tickets for Geographer’s tour stop in your city above, connect with him on social media, and be ready on May 1st for his “Down and Out in the Garden of Earthly Delights” album.

Connect with Geographer: Website | Twitter | Instagram

Interview: Singer-Songwriter Jafar Curry Discusses His New Song "On The Low"

We connected with the well traveled and respected singer-songwriter, pianist, and entertainer Jafar Curry for an exclusive interview to discuss his latest single "On The Low”. We also got to pick Jafar’s brain about his upcoming album, “The Tuxedo Bartender”, his favorite travel destination, what he does during his spare time, and much more.

After reading our Q&A with Jafar, be sure to connect with him on his website and social media, and check out some more of his music on Spotify.

Congratulations on the release of your single "On the Low". Who produced the song and what inspired you to write it? Is the song's scenario based on personal experience?

Thanks. I produced the song and had a handful of my colleagues around the world play live instruments that I've performed with and recorded with including Trevoris Scott from Sarasota, Florida, Luis Alicea Jersey City, New Jersey, Keni Michaels from Washington, D.C. and Tuure Mäkinen from Tampere, Finland. This song is most definitely based on personal experiences and those of others that I've known in my life. lol

What motivated you to release a remix of the song and who produced that version?

When we wrapped in the studio we had several good takes in different styles but settled on the guitar solo version and the rap verse version. The production is identical but we wanted to give a version with more hip-hop.

Tell us about your upcoming album “The Tuxedo Bartender”. When do you expect to release it and will there be any featured artists on it?

Oh this new album is pretty exciting. I'm very proud of it. It is a cool fusion of R&B, Jazz, Blues, Hip-Hop and Rock music. The new album speaks to most if not everyone. We've all been down these roads. I'm looking forward to everyone hearing it. There is one tune at the intro called "Coke Run". I'm really holding no punches. haha. Real f****** stories guys!

We are looking at a mid April release date. As far as features I've got several instrumental features on sax, guitar and possibly some rap and vocal features but not sure. I'll know this week. Can't wait!

How would you say that your travels within the United States, and internationally, have impacted you as an artist? Also, where is your favorite travel destination?

I'll answer the last question first. There are things I like about different places in the world. Thailand is easily a favorite but I'm also in love with New Zealand. South America and the Caribbean are right up there as well.

My travels over the last several years through performing and recording have had a huge impact on my music and my sound. Working with different artists and listening to music from other cultures and in other languages has as well. A big thing is hearing foreign interpretations of American Soul, Jazz and Blues. Everyone seems to hear them a bit differently.

I've channeled what I believe to be the best of what I've learned in my travels into this new album both emotionally and musically. However, the basis of my sound and my musical thought I owe to my American musical forefathers from Blues - Soul - Jazz. I'm also keen on a lot of 90s and 70s music.

I love D'Angelo, Deep Purple, Curtis Mayfield, Prince, Chick Corea, Herbie Hancock, Sly and The Family Stone and my favorite Stevie Wonder.

When you are not creating new music, what do you enjoy doing for leisure?

When I'm not writing these days, I kick it with my family. I am very active. I do some boxing 2-3 days per week and I weight train a bit.

Connect with Jafar Curry: Website | Twitter | Instagram