Osaru presents the listener with classic R&B vocal styles and movements that keep the overall vibe more ambiguous as the instruments also stay specifically within tried and true R&B perimeters. The prominently instrument-heavy mix offers a relaxed melody and rhythm that is definitely not over-produced and presents an old school feel to Home. An older crowd could surely attach themselves to the vibe as well as younger crowds that relate to and enjoy a classic R&B sound.

The chemistry of sound and production between Osaru’s vocals and music lends itself to a relaxed and in the background feel. The direction of rhythm and feel on Home stays very consistent and within itself while the production and composition work makes sure not to experiment with other musical influences, avenues or production. Home’s sound engineering takes interesting liberties in offering less low-end frequencies/bass and much crisper and noticeable highs/high-mid frequencies and his smooth vocal delivery left me wanting to hear them more prominently in the mix.

Osaru’s lyrical themes are classic and the production makes no attempt to deviate by mixing in or innovating the album with a more 2008 Pop/R&B sound. The lower vocal mix gives Home a more private/bedroom music vibe.

As opposed to the vocals and lyrics fueling the emotions of the album, the high music mix is the engine of the tracks. The instruments are what may encourage the listener to stay in the emotional moment while being only slightly egged on by the vocals.

On Home, it’s obvious that Osaru gives his very personal best and is particularly passionate about his work. To be in the audience at a live Osaru performance at my nearest Jazz or R&B lounge would definitely be an enjoyable and interesting night.

Artist: Osaru
Title: Home
Genre: R&B-Fusion
Label: Osaru Records
Website
Source Link

Tracks:
01. I Know
02. Home
03. Made Up My Mind
04. Don’t Stop
05. Downtown
06. Pretty Lady
07. Let’s Begin
08. Start the Dancing
09. 24
10. Keep It Real
11. Pretty Lady (piano Version)

© MuzikReviews.com

Ahmad A. Farzad aka “Nastii”– MuzikReviews.com Contributor

Seattle, Washington — WildLife, Gary Paul Bryant’s 10th CD, is quickly climbing jazz and world music charts, airing on more than 100 radio stations from Australia to Europe to the U.S. and topping 120,000 streams and downloads in recent weeks on Soundclick.com alone. Yet, you’ve probably never heard of him.

Gary Paul Bryant’s WildLife - musicdish

Recording from his home studio north of Seattle, Washington, Bryant reflects an evolving reality of today’s music industry, where artists who take advantage of new technology can build dynamic careers outside the mainstream.

“People are surprised to find that you can have a strong international fan base and a satisfying career operating in your own niche, a bit below the pop culture radar,” said Bryant.

After an early experience with the traditional corporate recording industry, Bryant began marketing and publishing his own material in the 1980s, a time when producing an album on your own could cost as much as buying a house and marketing meant hauling hundreds of vinyl albums to radio stations and retail outlets.

Then came the 1990s with new recording technology and, of course, the Internet. Music web sites like iTunes, Rhapsody and Napster gave musicians access to worldwide audiences and gave fans an unprecedented selection of genres and styles. Tech-savvy songwriters willing to adapt to the new medium found that making a living through music was no longer an unlikely dream. Bryant’s affinity for technology soon moved him from acoustic pianos and guitars to music workstations, sampling software and digital distribution.

“What really made it interesting for artists is that, in addition to all of the recording and performance gear going digital, support services like CD production, digital distribution and promotion were adapting to the technology in a big way,” said Bryant. One such company, CDBaby.com, founded in 1997 by musician Derek Sivers, has paid more than $80 million directly to artists.

Bryant’s first album, Just a Word, was digitally remastered and released as an anniversary edition in 2004. Seattle Times music critic Patrick MacDonald summed it up: “Exceptional piano work!”

In May 2005 came Imaginary Piano, a high-energy collection of jazz motifs, followed by a collection of original and classic Christmas piano solos, Midnight Clear.

Melding power rock with jazz and classical music, his 2007 project, Big World, reached the No. 1 Jazz spot at SoundClick.com, was featured Jazz selection at Garageband.com and made the Top 10 Jazz playlist at Broadjam.com.

Wildlife, released in August 2008, includes 13 upbeat instrumentals that combine classical, rock and jazz elements. It’s available from iTunes.com, CDBaby and other digital outlets. For information, visit http://www.GaryPaulBryant.com

Beatbuggy is a new innovative social music beat catalogue discovery service aimed to let music consumers participate in the music industry. The new beatbuggy service will expand the company’s existing services by including mainstream music producers, incorporating links among friends, and offering free MP3s from emerging music producers. These new services also allow consumers to share ratings, discover new music beats, and play the music production quiz to see how their skills rank against their friends.

With a brand new look and a fresh image, Beatbuggy will help consumers discover music beats based on what they and their friends like. “This represents an epic change in how music beat catalogues can be marketed and promoted on the web,” said Duane Washington, CEO of Beatbuggy, inc. “We’re thrilled to be at the forefront of innovation, and we have re-oriented the site to create a more efficient channel for music beats from undiscovered music producers to reach fans.”

The company anticipates supporting other media players in the future.

http://www.beatbuggy.com/

New York’s Post-Pop duo KOKO DOZO’s members — Amy Douglas and Polarity/1 — remember 9/11 well. P/1 shares a neighborhood with the fallen towers. They remember; and they know that you remember. That day will live on in our nation’s DNA. Death, destruction and the trauma of invasion generate a force of memory that is trivialized by media rituals with solemn speech-making, dazzling graphic design, dramatic background music and the droning subtext of fear and vengeance.

KOKO DOZO also want to point out that national tributes to The Fallen — the rendering of tragedy as fetish — inevitably lead to more death, less freedom and the assurance that healing will never occur. For the past seven years America has celebrated the nightmare of 9/11 with a ceaseless Dance of Death.What has gone unnoticed and unheralded are all of us who have remained alive and who breathe life into the future with wisdom gained from that day. We are not “heroes” and we do not lobby for the construction of monuments to ourselves. We do not inspire insane acts of aggression and repression. We are not sexy ad copy for political campaigns. Living fearlessly is our act of defiance against brutality. That is what ultimately will make us safe and prosperous.

KOKO DOZO proclaims that the daily act of living through tragedy is more worthy of a holiday than death and destruction. We’re alive! And we want to celebrate being alive on September 11. And on every September 11 to follow. Life springs from the living. Creativity springs from the living. Hope and possibility are the natural expression of life in motion.

KOKO DOZO has chosen to perform on 9/11 and they will not request a moment of silence. They want their audience to dance. They want everybody to go out and dance; to remember the dead and celebrate the living. Be alive! It feels good. KOKO DOZO proclaims that it’s ok to feel good. Especially on September 11.

Koko Dozo play Club NME on Thursday, Sept 11th, 2008 with Boy Wonder www.myspace.com/boywonder and more. Go to www.myspace.com/clubnmenyc for more on lineup. This show should not be missed.

http://www.kokodozo.com

Gary Paul Bryant’s piano stylings add the perfect amount of snazzy class on “One Cool Squirrel.” Complete with the steady, pulsating beat of the high hat and stunningly swift sax melodies, the track sends listeners on a trip to New Orleans at night, mesmerizing both their eyes and ears with the classy tone of the city as they visualize street musicians and shining lights.
http://www.wildlifethecd.com

2008 Dove Award winning musician Ryan Farish announced the release of his brand new single, “In This Moment”, available worldwide via iTunes and all major digital music stores/distributors. The EP reveals the next chapter in Farish’s signature chilled electronic pop sound, and includes two remixes - the “Summer Mix” and “Positive Chillout Mix.”

“‘In This Moment’ by Ryan Farish begins with a beautiful piano line that segues into a delightful mix of breakbeats and choir-like background vocals. The piano remains consistent throughout the song, serving as the backbone to a stunning instrumental. With its chilled out atmospheric vibe, “In This Moment” will transcend listeners to a sea of tranquility. Simply put, a peaceful, majestic, song.” Eric Hartline, MusicDish

About Ryan Farish
From his first music lessons at the age of four, to his studying music performance at Old Dominion University and music business at UCLA, to his recent releases - Everlasting & Selected Works - composer, producer, and multi-instrumentalist Ryan Farish has clearly been making a musical splash.

Ryan Farish first launched his artist career, back in 2000 on the former mp3.com. Ryan almost instantly became one of the most popular and downloaded artists in the history of the mp3.com era. Having received over 1.8 million downloads from his website on mp3.com, Ryan Farish (at age 28) ranked as one of the most popular artists of all time on the legendary mp3.com. Many of his tracks held the coveted #1 spot for months at a time, over 38 different times reaching #1 for their genre, and his cds sold to almost every corner of the earth.

Ryan Farish’s music has been featured on The Weather Channel’s “Local on the 8’s”, which led to TWC commissioning an original score/theme for their primetime TV show “Storm Stories”. Ryan has also been honored to have his music featured as part of the “Freedom Towers” documentary.

http://www.ryanfarish.com

Polarity/1, the multi-genre artist best known for bold, honest, hard-hitting songs, is releasing a brand new instrumental record titled Music From the Other Side. Fitting to the title, the album consists of smooth, jazzy tracks much different from louder albums like Yankin’ the Food Chain. Polarity/1’s music has been incorporated by dance theaters and documentarists, including Danny Schechter’s feature-length film documentary ‘In Debt We Trust and Battery Dance Company’s 26th Annual Downtown Dance Festival last year.

Music From The Other Side is the soundtrack for a dance performance by Lisbon’s Quorum Ballet. The Other Side’s principal objective is to fuse the style and art of the dance of Lisbon and New York. The work is the collaboration of choreographers Daniel Cardoso, Jonathan Hollander and Thaddeus Davis, artistic directors of Quorum Ballet, Battery Dance Company and Wideman/Davis Dance, respectively. Dark, moody, erotic and aggressive, it explores the theme of oppression, which has always been an issue for the people on both sides of the Atlantic. The piece examines the roles of the different agents: the instigator, the oppressor, the oppressed and the observer.

The most impressive song is the vocals version of “Fulano de Tal,” included on the album as a bonus track. Also noteworthy is the exotic, media-infused sound of “Land O’ Debbies.” The entire albums feels like the fusion of every type of media coming together to blend spooky, unique melodies that echo through every track. What really drives the record, though, is the steady, trance-like beat that proves impossible to ignore.

The music of Polarity/1 is exactly what the name suggests - “conjoined opposites,” including the new (cutting-edge electronica, hip-hop and nu-jazz) and the old (roots music of America, including blues, funk, country and early jazz, Brazil (samba, pagode, etc.) and West African groove science).

You can check out Polarity/1 for yourself and learn how to purchase Music From The Other Side by heading to http://polarity1.musicdish.net

Long-running syndicated program of exotic electronica on radio, satellite and the internet, Musical Starstreams, commences nightly run in Chicago on WNUA. Proven, unique mix of mid- to down-tempo “exotic electronica” has been perfected by its producer and host, Forest, over show’s 21-year history

Musical Starstreams, the internationally-syndicated radio program and full-time format of ethereal, spacey, futuristic, progressive, ambient, worldly, dubby, trip hop, acid jazz, downtempo, chill music (simply called “exotic electronica”) begins a seven day per week, nightly schedule tonight on WNUA, Chicago, the USA’s third largest national media market and streaming on WNUA.com.

Longtime WNUA MD and programmer, Rick O’Dell, said, “Starstreams has been ‘can’t miss listening’ for its legions of Chicagoland fans for 21 years on WNUA. And, for every listener who’s asked us over the years to ‘give us more,’ we finally have some good news with the new nightly broadcast of the show.”

Musical Starstreams originated and first aired in San Francisco on December 20th of 1981. Ronald Reagan had been our president for just eleven months, interest rates were in the double digits and recordings were sourced from vinyl and cassettes - there were no compact discs or digital music files.

After a brief stint in the Chicago market on WCKG, Starstreams first aired on a weekly basis on WNUA in November of 1987. In 1991, the program was nominated for a prestigious Billboard magazine award for Network/Syndicator Adult Program of the Year. Over the years Starstreams has aired on over 200 radio stations - including WNUA, KKSF San Francisco, KNTU Dallas, XM CHILL Channel 84, DirecTV and numerous satellite channels and the Internet at Starstreams.com, Live365.com and the top rated, full-time AMBIENT channel at radioIO.com.

Thousands of programs later, producer and host Forest has perfected and evolved a proven, unique mix of mid- to down-tempo “exotic electronica” — neither head banging techno, nor syrupy new age — and in the process Starstreams has consistently garnered top ratings and loyal listeners worldwide.

Musical Starstreams, the exotic side of radio, is offered without charge weekly, nightly or full time, on a barter basis, to radio stations worldwide.

http://www.starstreams.com
http://www.myspace.com/starstreams

Polarity/1, the multi-genre artist best known for bold, honest, hard-hitting songs, is re-releasing his hit album, Yankin’ the Food Chain, now with re-mastered tracks. Polarity/1’s music has been incorporated by dance theaters and documentarists, including Danny Schechter’s feature-length film documentary ‘In Debt We Trust’ and Battery Dance Company’s 26th Annual Downtown Dance Festival last year.

Yankin’ the Food Chain fuses electronica, acid jazz, alternative and electro-folk to create a set of funky-fresh beats infused with crucial political messages to future generations. The serious issues covered on Yankin’ force listeners to reanalyze their own ethics, especially when cornered with their own self-images in “Look at Your Shoeshine”: “Can you see yourself in your shoeshine?/ Step back!”

From the excitingly chilly vocals of “Salesman,” to the persuasive political raps found in “News Goo,” to the astoundingly real lyrics of “Di Hard” (”The good die young/ and the bad get paid”), Yankin’ has something to offer every music-lover. Perhaps most notable, though, are the album’s funky, upbeat tracks, such as “Boomers Blues,” “Jam Inya Jimmies” and “Cincinnati Pink.” With lyrics like “She’s catchin’ the groove and won’t let go,” it’s obvious that once you put on this Polarity/1 record, you won’t be letting go of the groove either.

Buy Yankin’ The Food Chain:

But don’t take our word for it; here’s what others have to say:

“Polarity/1 is a musical force unleashing some of the hippest beats and timely lyric[s] on the scene” (MediaChannel.org).

“‘Di Hard’ is a medium tempo groove with rapped and sung vocals, everything done by Polar except for exquisite backing vocals by Scott Parker Allen and Sabina Sciubba. The song is a comment on Princess Di’s demise, the role of the media, and the times we live in, serious without becoming sentimentalized or preachy. An interesting exercise in a style that’s very hard to pull off” (Recording Magazine).

“Polar succeeds in his mission of forcing you to pay attention and not lull into the sounds you ‘expect’ to hear” (StarPolish.com).

The music of Polarity/1 is exactly what the name suggests—”conjoined opposites,” including the new (cutting-edge electronica, hip-hop and nu-jazz) and the old (roots music of America, including blues, funk, country and early jazz, Brazil (samba, pagode, etc.) and West African groove science).

After a few years of playing percussion in samba bands at S.O.B.’s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers’ We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song ‘No More’. John Hollander has choreographed four Polarity/1 compositions for New York’s Battery Dance Company’s fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored “The Other Side” for the Quorum Ballet from Lisbon Portugal. P/1’s new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008.

And you can check out Polarity/1 for yourself and learn how to purchase Yankin’ the Food Chain by heading to www.musicdish.net/polarity1/

Maybe you’ve noticed that America’s debt industry — based on legalized loan-sharking — has created an economic crisis that threatens to go global. On a more local level — millions of families are facing home foreclosures and bankruptcy. And the credit card offers just keep flowing into our mailboxes.

“The avalanche of propaganda from the US debt industry with offers of ‘cheap’ credit is downright immoral as millions of families see their homes foreclosed,” noted NY-based multi-instrumentalist/arranger/composer/producer Polarity/1. “Having long worked on the subject, I felt I had to do something in order to educate Americans and counter the propaganda”

Polarity/1, a multi-instrumentalist/arranger/composer/producer, was one of the early voices warning of the impending debt crisis, having composed most of the score and served as Music Supervisor for Danny Schechter’s feature-length documentary IN DEBT WE TRUST. Focused on America’s dangerous addiction to debt and the predatory nature of our credit and loan industry, the film predicted over two years ago the economic meltdown being experienced today. And he’s now making the message available to the public, offering all his tracks from the documentary - including “Free Money,” “Charge It,” “Free Money Blues,” and “I’m So Broke” - as free MP3 downloads at www.reverbnation.com/polarity1

The music of Polarity/1 is exactly what the name suggests: conjoined opposites — a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1’s musical output: songs and instrumentals.

After a few years of playing percussion in samba bands at S.O.B.’s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers’ We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song ‘No More’. John Hollander has choreographed four Polarity/1 compositions for New York’s Battery Dance Company’s fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored “The Other Side” for the Quorum Ballet from Lisbon, Portugal. P/1’s new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008.

Check out IN DEBT WE TRUST — the scariest movie of the century. www.indebtwetrust.com (Better hold the butter on the popcorn.)

To get more information on these issues, assistance with debt problems and ways you can fight back — go to www.stopthesqueeze.org