UK artist Bentley Jones has experienced success that most independent artists can only dream of; +25 million YouTube views, +6.2 million artist sales, and remix credits for the likes of Britney Spears, will.i.am., Madonna, Calvin Harris, Taylor Swift – even Lady Gaga follows him on Twitter.
Debuting in Japan in 2009 his first single broke the Japanese Top 5 and his album was the first major Japanese album to be released by a British artist. Since then he has been independently successful around the world topping various charts, touring as well as composing scores for video-game franchises such as The X-Files, Tekken, Sonic the Hedgehog, Gradius and QQ Dance.
LINKS:
http://www.bentleyjones.com
http://www.facebook.com/BentleyJonesMusic
http://twitter.com/Bentley_Jones
http://www.youtube.com/BentleyJonesMusic
http://www.soundcloud.com/BentleyJones
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Whispering Sons – Alone
Whispering Sons are Sander Hermans (synth), Fenne Kuppens (vocals), Kobe Lijnen (guitar), Sander Pelsmaekers (drums) and Tuur Vandeborne (bass). The band just wrapped up a mini-tour with The Soft Moon, but look forward to a series of shows with Gang of Four and headlining a series of European live dates in November in support of this album.
This is the first major release for this Brussels-based outfit since their ‘Endless Party’ EP in 2015. This new release represents what the band describes as a “giant leap forward”. Together with producer Micha Volders and engineer/co-producer Bert Vliegen, the band used their time in the studio as a means to broaden their sound, enriching it with acoustic drums and a whole range of synthesizers.
This album, recorded over a period of ten days at GAM Studios in Belgium, evokes an atmosphere that is ominous and urging while capturing the band’s live intensity. Mixed by Bert Libeert (Goose, B, Raving George – Charlotte de Witte) at Jetson Studio and mastered by Frederik Dejongh (Hooverphonic) at Jerboa Mastering, this work is tinged with angst and isolation. Lyrically these songs stem from alienation, distance, and inertia.
The songs on ‘Image’ were written after the band collectively moved to Brussels in 2016. Between intense touring, they channeled their new ideas into the music found on this album. Feeding on the dynamics of the city, the tracks unveil feelings of alienation and distance. ‘Image’ is a motionless state, in which observations overshadow actions. It reflects the artificiality of things, yet still desperately clings on to ideas and obsessions, something which is also strengthened by the cover artwork, created of Flor Maesen.
Whispering Sons won Belgium’s prestigious Rock Rally in 2016, the same national contest that launched the career of dEUS. Since then they released several 7 inches – ‘Performance/Strange Identities’ (2016) and ‘White Noise’ (2017), and the ‘Endless Party’ EP. Touring extensively in Europe, they’ve developed a reputation for their animated performances.
As of October 19, the ‘Image’ LP will be available everywhere, but it can already be ordered via Cleopatra Records on CD and also digitally via Bandcamp.
SOURCE: Official Bio
LINKS:
http://www.whisperingsons.com
https://www.facebook.com/WhisperingSons
https://whisperingsons.bandcamp.com
https://twitter.com/WhisperingSons
https://www.instagram.com/whisperingsons
https://www.youtube.com/channel/UC7AFnJzNQsK_bRA5Dwi3z9w/videos
https://soundcloud.com/whisperingsons
https://open.spotify.com/artist/2iIBcGbTd24FtVwuP9o2OT
https://itunes.apple.com/us/artist/whispering-sons/1068572713 -
Campbell L Sangster – Odds are Stacked
Campbell L Sangster is the solo project of singer/ songwriter aka Lin Sangster from Liverpool. Previous bands include Bad Anorak 404, Kit and Send no Flowers. Sangster’s recent work on soundtracks for film and video projects fed into the songwriting process for ‘Odds Are Stacked’, influencing the approach to the song and lending a visual quality both lyrically and musically.
Campbell L. Sangster’s forthcoming debut album is scheduled for release later this year, and in the meantime more music can be accessed through Soundcloud.
About the Film:
This film is an exploration of female masculinity, past, present and future. Tinged with 50s America and moments of the contemporary, Campbell performs alongside The Drakes – a posing gallant band of butches, bois, studs, transmen & genderqueers.Edie Sedgwick lives on in the body and soul of a sun worshipping, silver-clad mother, desperate for sun rays.
Meanwhile, her budding gymnast daughter becomes mesmerised by the arrival of Buffy – a woman in her 70s – physically strong and utterly focussed in her bespoke one piece swimming suit. With the spirit of Esther Williams and verve of an assassin, we watch as she dives agelessly, effortlessly.
Back and forth, stronger, stronger, air bubbles reaching the surface as each stretch reaches forward, more powerful than the last. The look of the young girl as she watches, watches as this swimmer hypnotizes her.
As the song reaches its climax, the swimmer exits the water; she leaves as she had arrived – controlled but assuaged. The young girl is left to wonder, a stronger spirit, the imprint of the mysterious woman remaining with her forever.
About the Director:
Mike Matthews is a passionate and accomplished director. He has most recently directed successful commercial campaigns for Mullenlowe, VCCP, Leo Burnett and M&C Saatchi. He is exclusively represented by Fat Lemon.Credits:
Director: Mike Matthews @ Fat Lemon
Producer: Kelley Ralph
Production Company: Fat Lemon
Executive producer: Cabell Hopkins
Cinematography: Dave Miller
1st AD: Jerome Franc
Focus Puller: Chris Stephens
Drone: Sam Moore
Gaffer: Darren Jackson
Production Designer: Mark Harriott
Costume Designer: Mark Harriott
Wardrobe Supervisor: Bex Harvey
Make-up: Tricia Woolston
Editor: Kev Palmer @ Ten Three Editing
Colorist: Matt Turner @ Absolute Post
Post Production: Absolute Post -
Atmosphere – Drown feat. Cashinova, The Lioness & deM atlaS
The last time we checked in with Slug and Ant was on 2016’s Fishing Blues, the latest chapter in a string of albums showcasing the pair’s evolution from tortured hedonists into settled-down dads making kicked-back rap records. It would have been nice to carry on thinking they were finally at well-earned peace after two decades of extensively documented trials and tribulations. But just because your corner of the globe is peaceful, that doesn’t mean that the rest of the world stops turning.
It’s a different place than it was two years ago, and the seventh Atmosphere album, Mi Vida Local, reflects the ways in which the world–and Atmosphere’s place in it–have changed. The idyllic domesticity of the past few records has morphed into anxiety over keeping loved ones safe during turbulent times. Instead of bragging about backstage misadventures it’s about grappling with mortality. The easygoing collaboration between Ant and Slug has started to feel more like the life-or-death intimacy of two men trapped together on a lifeboat.
At times it’s a heavy album (“I might be the last generation of grandparents,” goes a key line from “Virgo”), but it’s far from grim. There are jokes being cracked, joints getting smoked, a little trash talking and beefing here and there–after all, it’s still a rap record.
And Atmosphere’s never sounded better.
As the name implies, Mi Vida Local is intensely focused on the place it was created–the southside of Minneapolis–where Slug and Ant work tirelessly in their “beautiful basements”, refining their sound without interruption. (Although a handful of friends from the Minneapolis hip-hop community showed up to contribute.) A year of one-on-one collaboration resulting in an album that matches complex subject matter with equally deep beats–ones that show a clear lineage back to the psychedelic funk landmarks from an earlier era where America was going through a post-utopian hangover, and prove that there won’t ever be a time where boom-bap beats don’t sound perfectly of the moment.
Mi Vida Local might be the best album Atmosphere’s ever made. It’s definitely the one they needed to make right now, and one listeners need to hear just as urgently. If it’s sometimes an album about how the fight to find happiness never really ends–even after you get the house and the kids and the artistic freedom to make dad-rap records–it’s also about discovering that there’s happiness to be found just in fighting.
Video Credits:
Director / DP / Editor – Tomas Aksamit
Producer / AD – Kelan McQuinn
AC – Bryce Wandling
Art Director – Jen Sonibare
Gaffer – Jacob Velander
PA – Lucas LangleyLINKS:
https://rse.lnk.to/MiVidaLocal
https://rhymesayers.com/artists/atmosphere
https://www.facebook.com/Atmosphere
https://twitter.com/atmosphere
https://www.instagram.com/atmosphere