Mike Hart Keeping It Real

It's a beautiful August afternoon today as I sit down to write a new article for all you reading out there. As the breeze rustles the leaves outside in a mildly poetic way, I flip on the Myspace of today's story, and nothing says Friday night like this music.
Many of you guys probably know Mike Hart as the former lead singer of So Contagious (fka Seven Story Fall), who've been featured and mentioned here a number of times. Now I could sit here and speculate until the end of time why Hart has embarked now on a solo career, but to be honest, that's between him and So Contagious. Besides, this is a music site, not some tabloid, and precisely one of the reasons I started New Rock News 43 in the first place. I was so tired (as I'm sure you all are too) of publications like Rolling Stone and Spin coming off as tabloids with a music flavor, rather than real in-depth music news magazines. If you're looking for something like that, look someplace else, maybe the Enquirer or the Globe. But if you're here for some new stuff to listen to, read on.
Hart is my focus today because of his newly released summer EP, We Keep It Real. Debuting just four days ago on Monday, August 23, We Keep It Real is a bit of a departure for Hart in terms of sound as he opts to stray a bit from his comfort zone in pop-punk and experiment with a more electronic-pop sound with dance rhythms that even exude an R&B flavor.
For those of you who aren't familiar with him, Mike Hart is an extremely talented vocalist and musician from here in Atlanta, Georgia. Singing on some of So Contagious's most well-known tracks like "The Getaway" and their rendition of Akon's "Right Now (Na Na Na)," Hart demonstrates a vocal talent that bleeds all the way over from pop-punk to dance and emo-punk. Now however, he's pushing his talents even farther as songs like "Telling Me No" and "This Is War" explore a more unique dance-pop background.
In fact, this brings me to the first track from We Keep It Real that blows me away. Released a few weeks ago as a teaser single for the upcoming EP, "This Is War" showcases not only some of the best examples of Hart's unique, smooth vocal style, but also his musicianship as he contributes to this track catchy synthes and rhythmic drum-tracks. Normally dance-punk is a hard genre for me to really appreciate, but Hart's use of pop-punk-ish lyrics mixed with an electro-pop sound gives this track a oddball flavor that makes me unable to turn my head away from it. A great dance song, and one that nods a bit to other electro-pop acts like Breathe Electric and Owl City, "This Is War" is definitely one of the best tracks on Hart's new EP, and it's no wonder why he released this one as the teaser.
"Lights Camera Action," another dance-punk track which features a guest appearance by DJ Vault, shines a knowing light once again on Hart as a clever writer and phenomenal singer. I love Hart's synthe progressions in this one, and his rhymes and clever phasing demonstrate his mastery over an ability to write as well as sing and perform. "Lights Camera Action," though, also benefits from a rhythm and beat the are, in every sense of the word, infectious. If you're looking for a track to play at a party or something to chill out to in the car with the top down on a beautiful afternoon, this one is a favorite in that category.
The last couple tracks from the EP I can't keep myself from writing a few tidbits about are "My Kryptonite" and "Secret Lover." Partnering with Atlanta producer and musician Nikolai Prange to set down a driving, synthe-ridden rhythm, Hart's composition "My Kryptonite" strikes a more romantic tone than I've heard in the previous tracks. With this, "My Kryptonite" is immediately set aside as the track the boasts some of the best rhythms and piano on the EP, as well as the one with the romantic nature under the surface. "Secret Lover" contrasts perfectly with this, leaning more towards a sort of forbidden/dangerous undertone that makes me think of sneaking out at night to see your girl or guy. These songs are brilliant compositions, and We Keep It Real most certainly benefits from their inclusion.
For those of you out there who have seen Mike Hart live, you all know this guy can definitely get a concert floor going. I myself have had this particular pleasure, and it's no overstatement that when he starts singing, he's got you jumping and all your energy going. It's no surprise to me, then, why it seems to me that Hart finds himself so at ease with dance-pop compositions. His punk attitude and ethic mix well with his smooth and polished vocals and synthes to produce a must-hear EP. Coming across as a brash collection of catchy, clever and energetic songs, We Keep It Real is definitely on my must-hear list for you guys this week. Make your way over to his Myspace and have a listen for yourself. Hart's talent puts something like the popularity of Justin Bieber to shame (and his cover of Bieber's "Baby" is, in my opinion, way better than the original). Once word gets out about him, Hart's gonna rise far and fast: of that I am sure. There are no ifs, ands, or buts with this guy; success is inevitable, period.

Sounds Like: Breathe Electric, Owl City, Phoenix

Key Tracks from We Keep It Real: "This Is War," "My Kryptonite," "Lights Camera Action," "Secret Lover"

Check out Mike Hart more at: http://www.myspace.com/mikehartmusic and http://www.facebook.com/MikeHartMusic?v=wall

Go Periscope!

Last night was a bit surreal; I was way overtired, but couldn't sleep, and as a regular insomniac, I did what I usually do in those kinds of situations: I looked for awesome new music. And may I say, I definitely found it. I came across some incredible bands that I'll be reviewing here in my next few posts, so you guys better keep reading, because I have a slew of all-new, awesome bands that deserve your undivided attention and recognition.

The first of these new giants that I'll debut here are out of Seattle, Washington, and won't stop until they take over your mind and body. But a far-flung cry from Seattle's grunge giants Nirvana, Alice in Chains, Pearl Jam, and Soundgarden, Go Periscope delivers unbelievably catchy synth beats and notes that just invade your mind and pervade your soul. A dynamic duo of Florin Mehedinti (vocals and keys) and Joshua Frazier (vocals, keys, and guitars), Go Periscope have started cementing a name for themselves in the Northwest with hardcore touring and loyal fans. The group's self-titled debut contains 15 synth-poppy tracks that rock in every way pop and electronica can. Yet there's something different about these guys. Groups who deal in heavy electronica need something that sets them apart from everyone else, lest they sound too much like their peers, and Go Periscope have that extra "it" factor that tells you they refuse to be the same as anyone else. So let's dive in then, and let me show you just what is so sick about this periscope.

The first track I listen to from the album is "Crush Me," an easy track that boasts distorted vocals and a strong synth-line. The combined vocals of Mehedinti and Frazier work so well together it's amazing; it's like having surround-sound because the voices come from everywhere. Mehedinti's keys drip in gothic-industrial coarseness, and Frazier's keys and light guitar notes bring the sound home in a ballpark homerun. These guys are so difficult to compare to anyone today because they incorporate such a wide array of electronic influences, but if I were hard pressed, think Owl City's melodic and catchy vocals with Savage Garden's rocking synths and rhythms, and maybe you can get close. This is clearly one of GP's five-star songs on the record, period.

Track two for me is "Emily." Now for me personally, to hear a song with the title "Emily," that always speaks to me in the form of Bowling for Soup's "Emily" from their sick breakthrough album Drunk Enough to Dance. But here GP take the title to a new level and give it new meaning. "Emily" is a synth-poppy ballad that just bathes in romance and pop-sensibility. Frazier and Mehedinti totally nail the vocals here, breathing in sultry voices to pile on the romance and emotion and it's almost like they're here in the room with me. Now, solely as a music fan, that speaks to me, because it sounds like these guys are playing live right in front of me, and that's a five-star track on my list easy. The rhythm is slow, and for all you guys out there looking for the perfect song woo your girls with, this is it. The melody, the keys and notes, works so well with Mehedinti's and Frazier's voices that it's like the whole song is one entity, and that's the ultimate product when you're listening to a song. Incredible track. 

The last song for me is "Take It Personal." This one leans more to the Savage Garden sound than perhaps the Owl City influence. Though the rhythm is a little more electronica than Savage Garden was, the hardcore synths and strong vocals remind me easily of "Break Me Shake Me" and "To the Moon & Back." Now, no one sounds exactly like Savage Garden, and I wouldn't want them to. But Go Periscope just totally break through that wall of being "some electronica band with a cool sound" to being "Go Periscope, a sick new force to reckoned with out of Seattle." Anyone who's looking for a killer dance song, by the way, this is it. Turn the music up, turn the lights down, and turn the strobes on because this is one that'll tear up the dancefloor. 

Go Periscope are set to be featured on MTV's The Real World, but remember you heard about them here first. Now get up off your asses and go check out this amazing synth-pop group. You won't be sorry.

Sounds Like: Owl City, Savage Garden, NeverShoutNever!

Key Tracks from Go Periscope: "Crush Me," "Emily," "Take It Personal," "No Chaser," "Breathe Deception"

Check out Go Periscope more at: http://www.myspace.com/goperiscope and http://www.purevolume.com/GoPeriscope

Electrically Dolled Up

So my NYU application is finally done and turned in, and to celebrate I went out and found you all a sick new group. There's no other way to refer to them, and once you hear the songs, your heart will stop and start along with every chord.

An electro-pop sensation out of London, England, the Electric Dolls are an incredible four-piece with a vengeance. The complete antithesis of a solely pop group like the Pussycat Dolls, the Electric Dolls create a furious storm of melody and funk with the traditional four-piece sound, and it's a sound I've already become addicted to. Composed of Miss Lynsey, aka Red Doll (lead vocals), Layla Doll (guitar), Alice Doll (bass), and Lyndsay Doll (drums), the Electric Dolls are making a name for themselves on the streets of Britain, and I hope they hop the pond soon because I'd love to see these girls in concert. A fantastic electro-pop act that could give the Spice Girls a run for their money, once the Electric Dolls get going, there's no stopping them. 

The first song I listen to from their playlist is "Love Me Long Time." Starting out with a traditional Japanese theme tune, soon the hair is already burned off the back of my neck as Layla Doll shreds in on what can only be described as a metal riff. Then Alice Doll and Lyndsay Doll lock tightly in a bass-drum combo that's killing my guts and I'm loving it. As Layla Doll continues to stake my heart with riffs that Dio and Sabbath would be proud of, Red Doll's sultry vocals flow through my ears, and in an instant I'm an Electric Dolls addict. As we reach the bridge, and Red Doll's vocal are forced through a voice synthesizer in the way Gary Numan's would be, it's clear that this is an addiction that I won't be able to kick. Alice Doll's bass lines have my head banging in the traditional metal fashion, and Lyndsay Doll's drumming is nothing short of hard-rock.

The second song I listen to is "Supercute," and while I love the song for it's rhythmic beats, what really stand out are Red Doll's vocals and Lyndsay Doll's drumming. Apart from clever lyrics that border on the line of sexy, "Supercute" delivers an interesting string section with Layla Doll's talents. Red Doll's vocals are more pop here than hard-rock, and it just works so well for the song. Meanwhile, Alice Doll's bass is the backbone of the whole song, coupled with Lyndsay Doll's slick drumming. A short song, "Supercute" is a great pop song that will definitely have you pole-dancing along.

Though I enjoyed "Supercute," the next track, "Love," is a track that knocks me back on my heals. A song with a strong melody section, Red Doll's sexy vocals float on top of Layla Doll's guitar chords and notes, blending sexy sultry breaths with sensual guitar riffs. Under, the stages of the song on which Red and Layla reside, Lyndsay Doll's drums are pounding away in the best way they could be, as Alice Doll's bass lines blow my ear drums out with rhythmic melody. Aside from a dynamite, sing-along chorus, and a Big Band feel towards the beginning of the song, the track takes a left hand turn at nowhere halfway through when it completely switches beat and melody to a rap-inspired song. A brilliant concept, well executed and unexpected, "Love" is all the much better for it. 

The last song I listen to is "Plastic Girl," starts on a pop-rap note, and continues to an R&B style sound. Showcasing their versatility, the Electric Dolls make sure you know they can be rap and R&B as well as electro-pop and hard-rock. A great song for the dance floor, this one is great for those of you out there who love a great stripping song. Filled with suggestive, brilliant vocals and lyrics, "Plastic Girl" is a high point for both Alice Doll and Lyndsay Doll as they lock tightly in their rhythm section. Meanwhile, just a step away Layla Doll has pulled R&B and pop sounds from her guitar, as Red Doll's vocals stream me away to pop heaven. A great song all around, "Plastic Girl" was the best last song I could listen to. It's blunt, it's sexy, and it's something that will have you jumping in no time. 

The bottom line for these girls is that they can handle any kind of music. From hard-rock to electro-pop and rap-R&B, the Electric Dolls blow my mind in ways that Lady GaGa has failed to. Do I think they deserve a No. 1 album? Fuck yes. Do I think they'll get there? No doubt. With Red Doll's rap-electro-pop vocals and Layla Doll's sick riffing rocking on top of Alice Doll's pumping bass and Lyndsay Doll's hard-rock drumming, these girls make sure you show them the respect they deserve. They make it clear they are not pop singers; they are pure, unadulterated hard-rockers, and that's the way I like it.

Sounds Like: Lady GaGa, Pink, Madonna, Avril Lavigne, Robots in Disguise, Shiny Toy Guns

Key Tracks: "Love Me Long Time," "Supercute," "Love," "Plastic Girl"

Check out the Electric Dolls more at: http://electricdolls.com/home.htm, http://www.myspace.com/electricdollsonline and http://www.unsigned.com/electricdolls      

Caught on the Dancefloor with TheFlashJam

I've been searching all day for a new group to put up on here. Searching for someone with just a new, unique sound. I must say, it was a long and hard search, but I was rewarded at the end with the discovery of these guys: TheFlashJam.

Out of Edmonton, Alberta, Canada, TheFlashJam are a new electronic sensation, and once people find out about them, there will be no way these guys will be able to go back to the small club circuit.

Made up of Jamie McLean (vocals), Oliver Banjac (guitar and keyboards), Stefan Candie (keyboards and vocals), Brody Krock (bass), and Andrew Morren (drums), TFJ delivers a new electronic-punk sound that even stations that played rock and rap could agree on.

Releasing their debut EP TheFlashJam just a short while ago, TFJ rocks us with four unique tracks that just keep your heart-rate up from start to finish.

First off the EP is "Caught on the Dancefloor," a synthed-out track that grabs you from second one. Banjac and Candle rope us in with a sick synth and guitar riff, and McLean's vocals take us from there. It's fast-paced and smooth, with Korck's bass and Morren's drums double-timing every beat. I just had my cousin's Bat-Mitzvah this past weekend, and I wish we'd had this song to play, because it would have kicked the crap out of those worn-out Black-Eyed Peas songs. My fingers are already bruising because of my inability to stop snapping along to this track. If you're looking for a new song to play at any party or dance, or just freak out to, here it is, nicely packaged, slick, and sexy.

Then it's over, and a more traditional piano brings us into "Once You Know, You Know." But it's not slow for long, as Morren comes in on the crash giving us a beat Krock synchs up with, and then Jamie McLean just lets it fly, and at the chorus we're off, propped up by Candie's piano and Banjac's guitar notes. McLean's vocals are a breath of fresh air in a much overdone emo-punk-rock age, and the rest of the band make this breath of fresh are possible with tight playing and unique melodies and lyrics. Just an overall great song. Something I'd listen to on any kind of day, bad or good.

And now we're halfway done as we start in on "Lifeline," a return to speed-of-light paced drumming and synthed-out progressions. McLean leads the way with strong yet lucid vocals as Banjac's guitar riffs are particularly prominent on this song. Delivering a nice hard edge to the song with his guitar, Banjac lays a perfect foundation for Candie's kinky synths, and Krock and Morren round out the song with a tight partnership of a heart-pounding bass and drums that shakes the rust off your eardrums. Certainly a strong track for the album. Not too much like the first track, but alike just enough to know it's the same five guys delivering an electronic punch to your gut.

The last track on the EP, "Let It Die," features local hip-hop artist KazMega on guest vocals, and is a fitting end to a strong album. Acoustically driven in the beginning, it moves away from the acoustic sound very quickly with Candie's and Banjac's synths and guitar, respectively. Then McLean comes in, and it's already an fantastic song, with bombastic drumming from Morren, and a bass line from Krock that keeps everyone in line. And as McLean starts in on the second verse and chorus, you can hear KazMega in the background, getting ready for his carefully timed guest vocals. And after the second chorus, that's it. KazMega educates us with some real life truths as Candie's synths raise the bar on electronic key progressions. Then McLean's back, and brings us home, as we trail out on Candie's synth notes, and all I can think is what a freakin' amazing song. Definitely a solid end to a fantastic EP.

This, my friends is a perfect EP: every song is solid, well-produced, lucid, and catchy as hell. Looking for something new today? Listen to this, it's got every one of your names on it.

Sounds Like: 3OH!3, Metro Station, Blaqk Audio

Key Tracks from TheFlashJam: "Caught on the Dancefloor," "Lifeline," "Once You Know, You Know," "Let It Die"

Check out TheFlashJam more at: http://www.myspace.com/theflashjam and http://www.unsigned.com/theflashjam