‘Calling’, an album recently released by Queen Atara, is a fine listen that shows many sides to the budding songwriter, singer and rapper. Featuring Nature Ellis (“Never Mislead Me”), Yah Meek (“Try”, “Forevermore”) and Don Eldee (“Just Think About It”), the 10-track album broaches many topics using various approaches.
The title track, “Calling”, is a nyabinghi-laced introduction, leading to reggae tunes that lean more towards roots-puritan influences where the sound is concerned; pop and hip hop are also blended into the mix. Atara sings about “toxic” love, gives encouragement, looks towards Jah and the ancestors and visits lovemaking in a wholesome, almost family-friendly way.
The Jamaican-born, Austrian-based artiste continues t0 be an ambassador in the mission to spread Jamaican music everywhere, especially in the diaspora. These connections are important to maintain, as our industry gains life by breathing in new influences and creating now methods of our own for export. “Calling” by Queen Atara is an album well done.
To follow Queen Atara and access her work, please see the accompanying links:
Romain Virgo‘s latest album, ‘The Gentle Man’, is an exciting, fresh listen that will grab the ears and satiate the musical palate. Featuring Masicka(“Been There Before”), Patoranking & Silly Walks Discotheque(“I Believe”), Jesse Royal(“Bridges”), and Capleton (“You Must Pay”), the album packs twelve tracks that have been curated for one’s aural delight.
The writers were Romain Virgo, Javaun Fearon, Nicholas Browne, Rayon Curate, Romeich Major, Donovan Bennett, Matthew Keaveny, Daniel Weltner, Nkunku Maximila Milanda, Patrick Nnaemeka Okorie, Phillip Meckseper, Oliver Schrader, Joscha Hoffman, Maurice Delauney, Dennis Emmanuel Brown, Phillip James, Andre Stefan Hall, Sean Alaric, Simon Alexander Mitchell, Terry Bennett, Kareem Spencer, Jesse Gray, Oliver Rodigan, Clifton Bailey III, Dayan Foster and Hugh Beresford Hammond.
Drums and bass were by Romeich Major, Dj Densen, .MLND, Maurice ‘Seani B’ Delauney, Kevin McPherson, Makiri Whyte, Jevaughn Latty, Andre Hall, Phillip ‘Winta’ James, Devon Bradshaw, Glen Browne, Oliver ‘Cadenza’ Rodigan, and Donald ‘Danny Bassie’ Dennis. Keyboards were played by Rayon ‘Slyda’ Ricardo Curate, Evad Campbell, .MLND, Kevin McPherson, Roan Johnson, Phillip ‘Winta’ James, and O’Niel Dacres.
Background vocals were Tori-Ann Ivy, Janeel Mills, and Carl Lee Scharsmidt. Guitarists were DJ Densen, . MLND, Jared Ansine, Ian ‘Beezy’ Coleman, Ranoy Gordon, and N’namdi Robinson. The saxophone was played by Dean Fraser. Recording engineers were Nicholas ‘Niko’ Browne, Orane Carney, Michael ‘Boxxy’ Howell, Tandra Jahgroo. Donovan ‘Doncorleon’ Bennett and Phillip Meckseper played all the instruments for the respective tracks.
Publishers were credited as STB Music Inc. dba Music by STB (ASCAP), Jack Russell Publishing Dubplate Music, Jack Russell Publishing, Ultra International Publishing Company, Islandrockpublishing Llc/Bmi, GEMA, Mad Decent, Sony ATV, Maurice Delauney, Analog MetaSongs (PRS), Sean Alaric Publishing, Giving Pro Music Publishing, Universal Music Publishing, Clifton Bailey III and Dayan Foster (ASCAP).
The recording studios used were Lifeline Music Studio, Bay Eight Recording Studios, Tuff Gong Studio, Anchor Recording Studios, Big Yard Studios and Tad’s Recording Studio. Producers included Romeich Major, Rayon ‘Slyda’ Ricardo Curate, Nicholas ‘Niko’ Browne, Donovan ‘Doncorleon’ Bennett, DJ Densen, .MLND, Oliver Schrader, Joscha Hoffman, Maurice ‘Seani B’ Delauney, Andre Stefan Hall, Sean Alaric Ricketts, Phillip ‘Winta’ James and Dayan ‘Pete’ Foster.
Mixing engineers were Mario ‘Dunw3ll’ Dunwell, Donovan ‘Doncorleon’ Bennett, Mix Master Garzy, James ‘Bonzai’ Caruso, Maroon Riddimz, and Gregory Morris. The executive producer was Christopher Chin, with mastering by Christopher Scott (at Castek Systems Solutions). Photography and art direction/ design was by Samo ‘Kush-I’ Johnson. Additional edits/ production was by Deron James. A&R was by Neil ‘Diamond’ Edwards. Legal and business affairs/ A&R admin was John McQueeney.
Courtesy credits were also noted to Def Jam Recordings (Masicka’s appearance), Amari Musiq Ltd. (Patoranking’s appearance), Analog Metaverse and Warner Chappell Music (for Dennis Brown samples and interpolations), and Music of STB (Beres Hammond’s “Irie & Mello” interpolation).
This album is a particular favourite of mine as Romain seems to pour his gentlemanly charisma into all of the songs presented. “Red Dress” is my top pick, followed closely by “Want You Now”, and “No Curfew”. All the collaborative songs sounded complete and satisfactorily complimentary. This is just one album that you have to get familiar with; feel free to ask any member of Virgo’s solid fanbase who will be sure to agree.
To follow Romain Virgo and access his work, please see the accompanying links:
‘Love Letters to K’, the fourth studio effort from Clane Matthew, was released on February 14, 2024. Produced by Matthew and Sirdelapp, the album features Don Lavish(“Waiting For You”), Yannè (“123”) and Demi(“Drop It Guh Down”).
Clane has been making a name for himself locally and internationally, and continues to gain fans and make appearances worldwide. This is album is of a similar niche such as ‘To Tanesha’ by Vybz Kartel. In this lane, emotions and vulnerability are the order of the day, and Clane does well in baring his soul.
The album is a nice listen for lovers , those who love love, and even those who like to reminisce on sweet memories. Clane has always managed to grab attention with his lyrics and harmonies, and his approach to subject matters. An album for all seasons, ‘Love Letters to K’ is a nice addition to Matthew’s catalogue.
To follow Clane Matthew and access his work, please see the accompanying links:
“After work she pick up phone an’ seh fi link up/ So after work, nuh badda ‘itch up, mek we lif’ up/ After work, she give it up, quick like a stick up/ At first she never with us, now she affi switch up” – bigTree, “Switch Up (BFF)”
This is one mixtape I’ve been playing repeatedly. ‘lost & fumed’, the latest release by bigTreeJM (bigNatty and bigMoody) is near-perfect, in my opinion. Featuring the contributions of Knixx Taylor (“Giant”), Mila.Akilah (“Double Tap”) and Spacekat (“Let Yuh Go”), production was done by SOS Dynamikz and bigTreeJM.
bigTree has the ability to weave the patois sound into hip hop/rap frames that are appropriate, clear and authentic. Guest artistes are also given a lot of room to explore their creativity, and the chemistry is never rushed. If one expects to hear some reggae or dancehall, this is present in “Contraband Freestyle”; however, the rest of the songs are a Jamaican rapper’s haven. Have a listen today!
To follow bigTree and access their work, please see the accompanying links:
‘Trilogy’, the latest release by Dexta Daps, is a mix of genres, styles, topics and collaborations that work. The 16-track album featured accompanying acts such as Masicka(“OK”), Chronic Law(“Friendship Sale”), Rally Banks(“Wuk Fi Mine”), Jada Kingdom(“Purge”), and Alaine(“See It Yah”). Qyor, Bounty Killer and Jahshii are also credited as supporting the album. ‘Trilogy’ was released by Dexta Daps Music Group.
Dexta really steps out in this collection. He is most widely-known for songs for the ladies, and these are always appreciated and fill a considerable number of spots on the album. However, Daps also deals with love, friendships, badness, dating double standards, and showers of blessings. The clean version is also available so everyone can have a listen.
It is amazing to witness Daps’ growth as a well-rounded singer, songwriter and performer. I was one who thought his musical maturity would not see much development any time soon, but over the years I have been proven wrong by the variety of works he has been able to apply himself to. This album is a notable example of modern Caribbean music.
To listen to ‘Trilogy’ and access Dexta Daps’ work, please see the accompanying links:
A simple google search of the name ‘Monifa Goss‘ will show a plethora of accolades, accomplishments, appearances and accompaniments that have cemented the status of this burgeoning creative in Jamaican music. Presenting her EP ‘Eve’, Goss compiles six tracks that show genre diversity, a strong-will approach to subject topics, and proof of well-trained musical sensibilities. The EP was produced by the Creed Music Global and EMPIRE labels.
The tracks are generally catchy, and will certainly have your attention. Though not a fan of feminism, Goss’ interpretation of music in convincing enough to have me considering submission. From singing along to “Outside” and the impressive bravado in “Bad Gyal”, to hearing Daddy1 wax poetic with her in “Vibe”, the production quality is hard to miss. Also featured on the EP is Gabrá (“The One”).
I believe that what sets Goss apart is her willingness to explore. For men, women and others, music can be an industry where sticking to norms and expected patterns is seen as the safe way to build an audience and have a fan base. Monifa tends to leave safety behind and unleashes unbridled energy that manages to relate to those who aren’t even fans of her sound. Add to that her consistency to successfully punch above her weight, and you have an artiste that you definitely have to look out for.
To follow Monifa Goss and access her work, please see the accompanying links:
Sarah Couch has released a new 5-track EP called ‘What Do We Know’. With instrumentals produced by Chillmuchmore and overall production by Delicious Vinyl Island and 12 Yaad Records, the R&B offering is a splendid way to pass the day on a rainy Sunday afternoon. An entire vibe, Couch croons on each beat, taking you away to a smooth and subtle realm of relaxation.
Speaking on love, loss, life and living, Sarah Couch breaks out in her own lane, formulating a sound that that feel true to her as an artiste – from arrangements to harmonies to lyrics and even the EP’s cover photo. As Jamaican music continues to evolve, it’s always pleasant to hear more and more music that is marketable and unique to the artiste in question.
To follow Sarah Couch and access her work, please see the added links:
At the time of writing this article, I’m listening to Mi’lann‘s first EP, ‘M Files’, for the second time in a row, trying to get my thoughts together about it. Released on April 19, the 14-minute collection of 5 songs (produced by Irish Hill Records) shows different kinds of versatility that Mi’lann is able to embody.
For me, the strong points on the EP were lyrical usage, exploration with instruments and beats, and most of all, an approach that drew from R&B, hip hop, neo-soul and reggaeton. For points to work on, the breathing, diction and pronunciations weren’t always clear, and mixing/mastering could have been improved for a better sound. Still, this is a strong body of work that could find a following pretty quickly.
Mi’lann is on her way to mastering the kind of musicality that gets you in your feels while dipping into your soul. Her EP reminded me that one does not have to rely on dancehall and reggae to make a local music project, and that genres do not have to confine us to specific styles, topics and arrangements. I’d state my three top tracks, but it may be better if you visited her links and discovered the ‘M Files’ for yourself.
To follow Mi’lann and access her work, please see her:
“Jamaican Singer/Drummer Rankine Jedd offers a soulful blend of solid roots grooves with smooth and distinct melodies. The latest release “Herbal Healing Ep” features 5 tracks dosed heavily with Classic Reggae and Dub all throughout. The project promotes Cannabis Education and Upliftment.” – Audiomack
This collection is a masterpiece, in my opinion. Jedd’s ability to weave the overall production together is telling, even at this early stage in his career. I respect his ability to trust his vocals (showing that a musician can utilize many instruments), and the dub versions included herald a focus on properly marketing Jamaican culture.
“Audiomack is an on-demand music streaming and audio discovery platform that allows artists and creators to upload limitless music and podcasts for listeners through its mobile apps and website. In February 2021, Billboard announced Audiomack streaming data would begin informing some of its flagship charts, including the Hot 100, the Billboard 200, and the Global 200. In March 2021, Fast Company magazine named Audiomack one of the 10 most innovative companies in music.” – Wikipedia
Recently, Audiomack has started to make waves with the inclusion of local artistes and musicians on its roster. In particular, there is now a current push to see more gospel artistes signed on the platform.
Audiomack’s benefits include offline playback and no paywalls, with no limits or charge on storing the music you upload. November 2020 also saw Audiomack signing a deal with Warner Music Group that covers access in the United States, Canada, Jamaica, and five “key African territories,” including Ghana, Kenya, Nigeria, South Africa, and Tanzania.
For more information and begin your process of registration, please Lushane Salmon by calling or WhatsApp at 917-813-0991.
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