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Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99 a bag. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the snow and ice into a viscous, briney slush and, eventually, nothing at all. Beginning with the dynamic chaos of ‘Up & Down‘, and ending with Crumb’s closest thing to a lullaby, Ice Melt’s ten tracks combine, like ice sculptures melting into a glistening puddle, into the liquid record of a tumultuous, cathartic journey to safer ground. “Is it like magic or a dream?,” frontwoman Lila Ramani sings on the title track, weaving mythological undercurrents into mundane earthly processes. “It all drips down into the sea.”
From the start, Crumb was a nebulous project, stitched together from various locations, inspirations, experiences, and relationships. Even in their early days, living in jam-packed Boston apartments in 2016, the group knew that cohesion was best achieved through plumbing their individual strengths—Ramani’s earliest songwriting, which catalysed the group’s first two EPs, Crumb (2016) and Locket (2017); Bri Aronow’s knack for building (dis)affecting soundscapes; Jesse Brotter’s melodic bass playing, a Crumb mainstay; and Jonathan Gilad’s drums, which give the music an otherworldly vitality. Even as their fan base grew, they chose to remain independent, self-releasing each album, and now Ice Melt, through their own label, Crumb Records. These early decisions have made Crumb a project of self-discovery, four creative minds converging around an idea that is always shifting and reforming.
Early 2020 found the members of Crumb convening in Los Angeles to work with producer Jonathan Rado, engineer/mixer Michael Harris, and walls of instruments and vintage hi-fi recording equipment at Electro-Vox Studios and Sonora Recorders. Working with Rado and Harris allowed Crumb to tap into atmosphere-creation like never before, building experimental, hypnotic compositions that are at turns head-nodding and surrealist, energetic and euphoric. Spectral synth drones buoy lilting bass and drums through noise guitar interruptions, digital glitch, and processed vocals on ‘Trophy‘. ‘Balloon‘ builds into a warbling disco with helium-sucking alien voices inviting you to dance.
Ramani, who made many of the album’s initial demos on a trip to Los Angeles in 2019, characterises the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” Ice Melt finds Ramani’s vocals in deeper interplay with her indelible guitar lines, which weave in and out of every track, the tones of each calibrated for the specific feeling of the moment. Aronow, inspired by their interest in the uninhibited nature of improvisation, transmutes colors and textures into the sonic backdrop of each track, creating the layered, synth-anchored nervous system of the album.
And if Ramani and Aronow provide something like the heart and gut to Ice Melt, Gilad and Brotter provide the bodily grounding, the arms and the legs of the project’s multiplex anatomy. Gilad’s thrashing, leveling percussion—using an expanded palette of samples and drum machines alongside his live kit—provides a focused, rhythmic vessel while allowing the album to reach ecstatic heights. And beyond Brotter’s bass, dexterous and elegant as ever, his attention to creative detail is apparent in every measure and miniscule production choice—well exemplified by his delicate backing vocals, which add a tenderness to tracks like the mercurial ‘Tunnel (all that you had)‘.
Pre-save / Pre-order Crumb – Ice Melt: https://crumb.ffm.to/
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Blending together cool-girl pop sensibilities with a knack for rich alt-R&B notes, Taylor B-W unleashes her new single, ‘Nunchucks’. Built against a rich combination of production, percussion and soaring vocals, the song is packed with fun attitude and spirit to match.
As her first release for 2021, ‘Nunchucks’ is a great introduction to Taylor B-W for newcomers though for fans who have been following the talented artist, this is simply a fired up new addition to a strongly growing body of work.
For ‘Nunchucks’, Taylor worked with producer Shivaji at the latter’s Central Coast studio after laying vocal arrangements from home in Marrickville. With influences ranging from Kimbra to BANKS and Halsey, ‘Nunchucks’ is driven by a sense of having fun and living for yourself.
“The song is about giving up on a relationship; I’ve done as much as I can, there’s nothing else worth fighting for in this partnership. So why bother? It’s a no strings attached pop song: nothing deep, just fun.” Taylor B-W
Bringing her fun and sassy nature to the music video for ‘Nunchucks’, Taylor hit a number of locations (including the Sydenham basketball courts and Newtown’s Vintage @ 313) with Moose Visuals to bring her ideas to life.
“Having always been inspired by ‘90s music and culture, including the bright outfits and cheeky attitudes of R&B female groups and artists like TLC, Salt ‘n’ Pepa, Janet Jackson and The Spice Girls, I wanted to give a nostalgic nod to that era by incorporating the ‘90s vibe into the whole look of the single.” Taylor B-W
RAISE FOR TAYLOR B-W
“Oh my days girl low-key singin’ like Mary J. over those Banks-esque beats I’m here for the marriage of these worlds That skilled control sounds effortless for you.”
Triple J, Ilai Swindells
“She has quickly established her penchant for crafting tracks that feel simultaneously dynamic and well thought-out; they’re always bursting at the seams with explosive energy, but never sacrifice musical acumen.”
Happy Magazine
To mark the release of ‘Nunchucks’, Taylor B-W is turning it up at a sold out Django Bar at the Camelot Lounge in Marrickville this March!
‘Nunchucks’ is out now.
Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed
April 30th will mark the official release date of Biting The Life Nectar by Billy Reeves.
This will be the fourth studio album by the New Zealand born, Melbourne based artist, Reeves’ first full length album in nearly two years.
Biting The Life Nectar takes an in-depth dive into the mind of Billy Reeves over the year long album creation process, the affects of the global pandemic, anxiety and more.
“This is the first time I’ve really just made an album about me, as fun as it is to create worlds and stories for my music, I felt it was time to just be my fully authentic self.” – Billy Reeves
The entirely self produced 12 track project contains features from a slew of artists including Ramaj Eroc, Ben Ivories, Tèbir and Priya Francis. The genre bending album combines elements of Hip-Hop, Alternative R&B and Electronic.
Biting The Life Nectar includes singles “Mama (feat. Ben Ivories)” and fan favourite “Good Fit”.
BITING THE LIFE NECTAR – TRACKLIST
1. WEIGHT
2. ANXIOUS (FEAT. RAMAJ EROC)
3. FRECKLES (FEAT. TÈBIR AND PRIYA FRANCIS)
4. GOOD FIT
5. WHAT IF YOU FLY?
6. YOUNG LORD
7. SMELL THE FLOWERS
8. GROWING PAINS
9. MAMA (FEAT. BEN IVORIES)
10. LOOK UP (FEAT. BEN IVORIES)
11. LOVE
12. SLUMP / THE OTHER SIDE
The latest single from “Biting The Life Nectar” can be streamed here:
https://
Where are you currently based?
I’m currently based in Melbourne, Victoria – I hover around the Sunshine and Richmond suburbs!
How did you first start playing music?
I was always fascinated with writing absolutely anything, whether it was fictional or based on my personal life. I had no prior knowledge of singing or songwriting until I started writing my own songs in my last year of high school and learnt the rest at university through a songwriting degree!
What’s been happening recently?
Recently, I’ve been honing and tightening up my sound in terms of production on old and new songs and creating demo after demo where possible! Also my alma mater, JMC Academy, nominated my first single ‘Lockdown Lover’ for an award! Super stoked!
Your new single ‘System’ is out on April 30 which is a shift in sound from r&b and pop to something more darker with rock, what influenced the sound and songwriting?
This shift in genre and sound to dark-pop/rock is long overdue. I realised a few years ago that I had suppressed feelings of rage, revenge and rebellion relating to past relationships and situations that would come out in the form of angry songs. I love expressing myself through R&B and pure pop music but it’s so much more fun being bad.
How did you go about writing System?
Daniel Roughley – my bassist, co-writer, partial housemate and music guru – sent over a track he made that sounded nothing like ‘System’ does now. It was more like ‘Green Light’ by Lorde and… I wanted to write something similar to that – the desperate and chaotic need and fight for freedom from someone toxic. I wrote all of ‘System’ to that first track and before we knew it, we went through numerous changes and landed on dark-pop/rock.
Where and when did you record/produce/master and who did you work with?
The track was initially recorded at my house during Stage 4 lockdown before deciding to record it elsewhere in a proper studio set-up. However, we decided to go with the initial vocal takes as we felt it suited the song best! It was produced by Daniel and mastered by Nicholas Di Lorenzo of Panorama Mastering.
How did you approach the recording process?
As someone who has only been singing for 4 years, I find my best vocal takes happen when there’s no pressure from anyone else. I tend to overthink when people are in the room and I need to be with someone I’m incredibly comfortable with. Doing it on my own meant that I could take my time, feel the song and not become fixated on or nervous from potential judgement.
What programs/equipment did you use?
The latest version of Logic Pro X with a Rode NT1-A Condenser Microphone, Audio Technica headphones and Focusrite Scarlett 2i2 as the audio interface.
Who are you listening to at the moment?
I have an obsession with UPSAHL right now! Her writing is insane and her use of chromatics… soooo juicy. I’m also listening to REI AMI and Olivia Rodrigo!
What do you like to do away from music?
I love exploring new places and travelling! I got bit by a travel bug after my Bali trip which was right before the pandemic started. I’m waiting impatiently for international borders to open!
What’s planned for 2021?
A music video for ‘System’ could very well be dropped soon… but otherwise, you’ll definitely hear more singles in the lead-up to a dark-pop E.P!
Favourite food and place to hangout?
Check out Delhi Streets in the city, superb Indian food! And… my favourite place to hangout isn’t even an actual place! It’s a late night drive carpooling with mates to Maccas/rehearsals or a day drive to somewhere far, far away!
Link to JXCKY’s socials:
Facebook – https://facebook.com/jxckymusic
Instagram – https://instagram.com/jxckymusic
Twitter – https://tiktok.com/jxckymusic
YouTube – https://www.youtube.com/channel/UCB9KPzeyHmQ0C0j4S95vtxg
Spotify – https://open.spotify.com/artist/6BaMvb4XicSCtYWqjXw3hV
TikTok – https://www.tiktok.com/@jxckymusic
Describe the significance of the track to you at the time of writing, and now?
When writing Nunchucks in 2019, I immediately knew it was special because I hadn’t written a song like this before. I was used to writing wistful pop songs that had a number of revisions and drafts, however writing Nunchucks was easy because I was really driven by the percussive beat provided by the composer David Shivaji, so the lyrics just flowed out, without too much thought. As this was my first delve into pure, fun pop, plus still being one of the most popular songs in my set when I perform live, Nunchucks holds a special place in my heart.
How would you describe the scene you’re currently creating music in – how inspired are you by your peers and the energy in your community when it comes to new music?
I am super inspired by what is coming out of the Australian pop music market at the moment, despite Covid-19 doing its best to thwart creativity and performance. Perhaps it is because my peers now have the time and energy to create new music, maybe even change direction, and to perhaps re-think what they are doing, that we are already hearing a rejuvenation of sound and performance.
It has been a very difficult time for so many because of lockdowns, venue closures and restrictions, however, Aussie music has still thrived and I am constantly inspired by the energy that artists are putting in, making phat beats and tracks to ensure their listeners don’t miss out on music because it is what we all need. It’s given me the boost to continue to push through and release more music!
Did you have any stand out influences when putting this track together?
Yes I did! When Shivaji and I first got in contact about writing together he asked me to send him a playlist with songs that I was vibing with at the time, just to get inspiration. From that playlist, he created a beat mostly inspired by Kimbra’s Top Of The World.
Once we got into the studio to flesh it out together, I started using Billie Eilish’s Bellyache chorus, with that driving bass line, as the main inspiration for the chorus of Nunchucks.
How would you describe your ambition and approach to making music in general now, compared to when you first started? What is your driving intent as an artist?
The funny thing is, I still feel like I’m just starting as my own artist, even though I’ve actually been in the music industry for years. I guess, when I was first coming out of Uni, making music and songwriting was only a hobby for me – I really wanted to focus on an acting career first – so I thought I had all the time in the world to leisurely pursue music.
As years went on and life happened, my desire for music became stronger so it was only a couple of years ago that I really knuckled down and pursued my music career with a vengeance! I made the decision to never take my voice and my music for granted again and I have been non-stop since. I am extremely passionate about this ever-changing music industry and my place in it, especially because indie artists have more control over their own career than ever before. This industry, as much as it is about the music, it is first and foremost a business. It is a very different world now and these days artists do everything themselves, plus have to find time to earn a living AND create music. But my ambition and hunger is even stronger, and I’m growing and learning more about my own artistry and the music biz. It’s challenging but I thrive in a challenge.
If people are coming to your music for the first time with this song, what’s the impression you hope to leave on them?
I want a first-time listener to be left wanting more! Nunchucks is a short, straight-to-the-point pop song that reflects my fun and sassy personality a lot so I want a potential follower to see and listen to Nunchucks and want to be my friend, soppy as that is… because I certainly want to be theirs!
What are you looking forward to the most in 2021?
Releasing a lot more music! It’s embarrassing to say that I only released one track early last year, a song called Dreams, and then my poor followers were left in the dark for too long… you know, COVID n’ all. I mean, sure, I updated my followers constantly through my mailing list and social media, plus I was live streaming weekly for quite a few months, then performing sold out live shows once restrictions began easing, but my online song catalogue was looking pretty bare for 2020.
In saying that, 2020 was a big year for writing and spending time in the studio, and now I have a bunch of songs ready to go that will be released in 2021! I’ve also just recently signed with online distributor, Believe Music, which has given me the kick-up-the-butt I’ve needed to finally get more music out to my listeners. So watch this space!
Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed
Research shows that we are becoming increasingly unhealthy, partly because people exercise less during the lockdown. If it is up to Dutch DJ / producer MOTi something must be done about this. Since the start of the lockdown, he has been at home just like his fellow DJs colleagues, but doing nothing is not an option. Working from his studio MOTi started to focus on a new project called BODYWORX, with which he produces workout music.
MOTi started BODYWORX in 2019 as he was looking for music that could motivate him during his workouts, but couldn’t find it anywhere. He started experimenting with dance music and uplifting lyrics and made songs that work perfect for your workout. Despite the fact that he immediately received a lot of positive reaction, after putting the music online, BODYWORX became a serious project during the first lockdown early 2020. This was partly due to the fact that more people had to exercise at home and the need for good workout music rose. Within no time BODYWORX amassed 45 million streams and those numbers are still rising rapidly. Collaborations soon followed with popular brands like Les Mills, FunXtion and most recently with Dutch actress and influencer Yolanthe Cabau for her CABAU lifestyle app.
MOTi: “I started making music under the name BODYWORX to motivate myself during workouts. After the first releases I received a lot of positive reactions and I noticed that there was a great need for this kind of music, so I continued with it. Now BODYWORX has become bigger than I could have imagined at first.”
Listen to BODYWORX on Spotify
CABAU LIFESTYLE
On March 24, the Dutch actress Yolanthe Cabau, who played alongside Mark Wahlberg in the movie Pain and Gain, launched her own lifestyle app focused on women empowerment. Via the app you can follow various workouts, classes and programs, for which BODYWORX produced the music. You can find videos of High Intensity Interval Training (HIIT), but also follow yoga and meditation sessions and you can also find everything about nutrition and mental health. New training videos will be added every three months with music from BODYWORX.
Website: https://cabaulifestyle.com/
MOTi
In 2008 the Dutch DJ / producer MOTi catapulted into the house scene. Due to his diverse sound and enormous drive in the studio, he became a household name in no time and his music is streamed over a billion times. MOTi has collaborated with big names from within the scene such as Tiesto, R3hab and Martin Garrix with whom he scored a Beatport #1 hit with the track “Virus”, but also with superstars such as Major Lazor, Ty Dolla Sign and Wyclef Jean. With his music he graced the stages of Ultra Music Festival, Tomorrowland, Electric Daisy Carnival and Electric Zoo and played in the biggest clubs around the world. In 2018 MOTi started his own independent label ZERO COOL RECORDS and gathered more than 100 million streams within the first year. He scored his most recent success with BODYWORX, under that name he produces music that suits your workout perfectly.
Follow MOTi via
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TRACKLIST
Wrestling
Contemplation
Drowning
Ascension
Afterparty
Joyride
Your World
Sky Brown
No Good For Me
Real
Eternity
Patience
Stay connected with KUČKA:
Website | Facebook | Instagram | Twitter | Soundcloud | Bandcamp
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Stay connected with Ducks Ltd.
Facebook | Instagram | Twitter | Bandcamp
Melbourne’s Tiny Little Houses return as vital as ever with new single ‘Car Crash’ – a raucous, lyrically introspective burst of jangly energy as crucial and immediate as the band’s previous radio hits ‘Garbage Bin’ and ‘Entitled Generation’.
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“Bursting with infections pop melodies” – Wonderland
“Deep cutting lyrics with an edge” – Notion
Marcelo De La Vega reveals his debut EP ‘Conversation’, arriving with three brand new songs including lead single and title track ‘Conversation. The song is accompanied by a film-clip, which Marcelo self-directed, continuing a series of creative videos from the Australian / Argentinian artist. Marcelo has previously released two songs ‘Told You’ and ‘Broke & Criminal’, which earned him critical acclaim.
‘Conversation’ is an EP born out of heartbreak, inspired mostly by the end of a relationship. Musically, Marcelo focuses on organic instruments, and each song has a dreamy and surreal quality, with a live and vintage sound blurring the boundary between indie and pop. “It was one of those relationships with a lot to say about it, just so many odd moments. I wrote a lot about it afterwards and this record was me processing the whole thing” explains Marcelo.
The title track of the EP is about the acceptance of leaving a relationship, with the knowledge you will move on and experience new things. Marcelo says: “The song stemmed from a period where I was really struggling to communicate with people. I felt myself get swept up in a new environment when I first moved to London, I struggled to convey my actual feelings as I didn’t want to come across as weak to my family and friends, which in retrospect is so trivial. I felt really confused, I was coming to the end of my relationship and I forgot who I was without the relationship, and felt quite lost.”
The accompanying video carries its own poignant narrative, starring Marcelo as a hopeless clown called ‘Vinnie Vegas’, along with his own dog who sadly passed away just a few weeks after filming. “Vinnie is not a good clown,” explains Marcelo “he’s not really good at anything. The one thing that keeps him going every morning and every night, keeps him going out there to try, is his dog, who is also his star attraction. The dog gets stolen by another clown and the whole clip is like Finding Nemo, me finding my dog, and realising how lost I am without my dog.”
Marcelo continues: “As the song and the clip developed, the song’s meaning transferred from being just about a partner, to loss in general and how we need love to keep us going and bring us happiness and keep us who we are. Three weeks after we filmed the clip Annie, my dog, passed away, so it brought a whole new meaning and made me feel like I was the clown in real life, but there is nothing I can do to get her back. It has made the clip a lot more personal and it is good that I will have that memory forever to cherish, which I am very grateful for.”
With a matured sound as emotive as it is unique, Marcelo delves into discovering the human condition as it spans the realms of indie to alt-pop; with a burgeoning combination of infectious pop melodies and a gritty alternative edge.
‘Conversation’ EP Tracklisting:
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Told You
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Get Better
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Paris
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Broke & Criminal
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Conversation
Follow Marcelo:
“Mountain Bird is a project rooted in honesty…sharply melodic but with heart-tugging inflections” – CLASH
“His style is brave and consistent as he forms lyrics that force you to think about the state of our society and human relationships in relation to social media” – Notion
Swedish singer, songwriter and producer Mountain Bird (aka Adam Öhman) is set to release his long awaited new EP ‘Once We Were Present’ on 2nd April via Nettwerk Records. The EP contains four previously released songs, plus the brand new lead single ‘Something Wrong with My Mind’.
Analysing the intoxicating effects of the internet age, ‘Once We Were Present’ marks Öhman’s continuing growth into an introspective songwriter who enjoys exploring the human condition just as much as making people dance. “So many people have this abusive relationship with social media, which takes over their lives just like a regular drug addiction does,” Explains Mountain Bird. “With this new EP, I wanted to question whether it currently has too big of a grip over our lives. I hope these songs show people that the internet is a tool we must respect and that we shouldn’t be embracing at the expense of enjoying our youth.”
Despite tackling some heavy subjects, the EP is laced with optimism; with its expansive arrangements of synth pads, stadium ready drums, and ethereal vocals – delivering huge, momentous atmospheres. It’s a recipe that’s summed in the EP’s lead track ‘Something Wrong With My Mind’. Written about the paranoia that comes from turning down all the “digital noise” to go to sleep, afraid to face the real feelings you’ve kept at bay with the “mental fast food” of social media. Once again, the song’s electro-pop theatrics find light among the darkness.
The song is accompanied by an intense video, co-directed by Mountain Bird and long-time collaborator Erik Erik Ögnelooh. “The video is about humans existing only to pay bills and serve growth” explains Mountain Bird, “Modern man together with technology and its effect on the speed of society isn’t only good or bad – it really alters our way of thinking internally as well.The video is inspired by the presence of AI in advertising, and how our digital imprint only works to serve the engine to make us purchase things and behave accordingly, otherwise we have no use in this digital world ”
In the clip, they play with the idea of Mountain Bird deactivating his facebook account, and the algorithm doing everything in its power to keep him there. “When i’ve done it. I couldn’t live a normal life and be connected with everyone else in the same way since everyone is using it. The algorithms have already socially designed our lives for us to be dependent on it to feed it more attention. Hence the character has cut the cord to the television but it still hovers over us because it is in our analog world all around us inside the ones who are still plugged in.”
The EP’s powerful lyrics are designed to symbolise how a lot of internet addiction is fuelled by the insecurity of its users, and Mountain Bird hopes that his music can act as a sort of “group therapy” for listeners.
“I wrote these songs for stadiums, and the idea is that by talking about such sensitive subjects, I can encourage young people to cathartically talk about their fears around the internet too,” Öhman explains. “It is in our nature to be eaten up by our need for confirmation and I want people to consider whether the internet is really bringing out the best in us. If one person can feel stronger or more free to discuss their fears around cultivating an online identity or feel free from all those digital pressures by listening to my song then my mission is complete.”
“The colours and the community that the internet gives us are beautiful things, and I wanted that joy to come across in the music too. This EP is about showing all of the different sides of the internet in the hope that it will make people make much more informed decisions about their relationship with it.”
‘Once We Were Present’ is a manifestation of all the techniques Öhman has learned since experimenting in his school studio as a teenager. It’s an explosion of genre, emotion, and intelligence. It feels like an artist who has finally found his sound, and you sense that this is only just the beginning.
‘Once We Were Present’ track listing:
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Modern Man
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Too Blue
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Terrified of Love
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Something Wrong With My Mind
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It Won’t Be Easy
The EP is available here: https://mountainbird.ffm.to/
https://soundcloud.com/mountainbirdswe/something-wrong-with-my-mind-1/s-CC80L66WaaU
https://www.youtube.com/watch?v=fWQj7HgXcSg
Introducing: FLOURISH Self-Taught Producer & Multi-Instrumentalist Makes His Debut With ‘Time Stops’
ADA MUSIC
Flourish – ‘Time Stops’
Out Now
Introducing: Flourish aka Michael Keefe – a self-producing, multi-instrumentalist with an abundance of talent and passion to create intricate and accessible electronic music. Classically trained in both Piano and Saxophone, Flourish fell in love with electronic music and production at the age of 10 and has been hooked since. He now makes his colourful debut with ‘Time Stops’ , out now via ADA Music.
Citing key influences such as Porter Robinson, Flume and FKJ, it is clear to see those sounds shine through in his productions. Ever since hearing Porter Robinson’s 2014 album ‘Worlds’ he has been inspired to produce his own brand of electronic music, creating his first pieces of music using an iPod and the iSequence app. Flourish has come a long way on his production journey in a short period of time and now presents an unedited version of himself to the world via his own original music.
Self-taught songwriter and producer Flourish expresses himself across a number of different instruments whilst also providing his own vocals to ‘Time Stops’, reinforcing his almost DIY approach towards music creation. With a feeling of youthful naivety engrained in his debut single, Flourish now enters a world where anything is possible, allowing himself to explore his own identity and developing his skills as a song-writer and multi-faceted artist.
“‘Time Stops’ to me is about noticing you are having a moment of pure joy and accepting the fact that the moment is fleeting. Sometimes when you’re enjoying yourself it can feel like time briefly stops moving and you really appreciate all the good things in your life.” – Flourish
An artist that struggles to be pigeonholed into one category, Flourish is keen to explore the genres around him that border on the edges of electronic music and skip into the worlds of Pop, Hip-Hop, modern R&B, Jazz and beyond. He draws on wider influences from artists such as Michael Jackson, Prince, Kendrick Lamar and Anderson .Paak to feed his creative mind and produce new ideas. Developing his production style over the past few years, he focuses around a key vocal to provide his music purpose and style.
Defining Flourish; as to grow or develop in a healthy or vigorous way, especially as the result of a particularly congenial environment. Keefe’s development so far has been a product of ambition and hard work, as well as being afforded opportunities in the right environment to cultivate his talent. With debut ‘Time Stops’ locked in and a further two singles scheduled for later this year as well as plans to explore options for a ‘Live’ performance once touring returns, this is just the start for Flourish and Michael Keefe.
Flourish’s ‘Time Stops’ is Out Now via ADA Music.
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