SINGLE REVIEW: Pole Vault (Club Mix) by Jamit & Franco Paulsen ft. Yuriko

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Jamit is an electronica/EDM composer and producer who grew up in Australia but is now based in Singapore. The past few months have seen a plethora of instrumental releases, including Multiplayer Erotica, Lovers and Rockers, Solar Power and Star of Wonder. His music is essentially psychedelic trance with other aspects of EDM genres incorporated into the sound, along with innovative use of spoken word samples.

After the recent release of Taeb Ecnad, his reinterpretation of a 1969 reggae classic by King Stitt and Clancy Eccles, this club mix of a track called Pole Vault is a return to the extended epic psytrance/techno style of his previous release Female Medieval Jester. This track is a collaboration with fellow producer Franco Paulsen and vocalist Yuriko. Paulsen recently moved from South Africa to Melbourne and Jamit visited him there to work on the track. Owing to the wonders of modern technology, Yuriko was able to record her vocals in Singapore.

The track is nearly ten minutes long, but sustains the listener’s interest to the very end due to the cleverly structured arrangement that allows the music to grow gradually and organically. Starting with a punchy ‘four to the floor’ kick and subtle atmospheric synths, we hear brief snatches of Yuriko’s ethereal, reverb-drenched vocals float across the sonic spectrum.

For the first three minutes the percussion builds from the subtle psytrance beat to a harder-hitting techno beat over an ostinato low-end synth. This is layered with atmospheric synths and Yuriko’s vocals until it breaks down into a dreamy, psychedelic section before building back up for another storming three minutes to bring this epic track to a climactic conclusion.

Overall, this is a very successful collaboration between Jamit and his talented musical cohorts. It’s a return to the expansive and epic style that Jamit does so well and his collaborators bring their own creative flavour to the music. Guaranteed to slay on the dancefloor, it will further enhance Jamit’s reputation as the finest in his field.


VERDICT = 8.7 out of 10

Alex Faulkner


Listen HERE



SINGLE REVIEW: Why Can’t You? by Celiane The Voice

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Celiane The Voice could be roughly described as an R&B/pop singer and songwriter, but her music encompasses a broad range of influences including soul, Latin pop, Broadway music, dubstep and hip-hopera. She surmises her own style as electronica hip-hopera. Hailing from the Bay Area, California, she cites equally diverse influences on her music such as the late, great Amy Winehouse, Origa, Tina Quo, Adele and Pharrell Williams, to name but a few.

This song, Why Can’t You?, was written and performed by Celiane herself and produced by Bill Williams. Musically, it’s an infectious fusion of dubstep, classical, R&B, hip hop and pop which showcases Celiane’s eclectic musical versatility. Starting with moody synth strings along with beautiful harp and woodwinds, it then bursts into a hard hitting Skrillex-style dubstep beat and a gut-punching saw-wave synth.

For the verse, Celiane enters with an immediating captivating vocal performance, the music switching to a more R&B/soul vibe. Her voice is charismatic and commanding, which acts as a cohesive glue on the music’s disparate elements, giving the track its sonic identity. It also features some breathtaking harmonies on the memorable chorus, augmented by a melodic piano motif.

Lyrically, it addresses a relationship where one partner is unable to appreciate the other’s emotional commitment, devotion and love: “I love you, do you know what that means? It means I will do anything, it means I will lay down my life….”. After the second chorus it breaks down to another excellent section built around a vocal refrain before the chorus returns, but with a totally different beat! The continual musical metamorphosing across the track’s five minute duration is breathtaking.

Overall, this is a remarkable single by an artist who seamlessly combines disparate musical genres into one organic whole, underpinned by a strong understanding of traditional songwriting values. The result is something both commercial yet quirky and highly original, with a sonic surprise around every corner. Celiane The Voice has emerged fully formed as an artist with a unique style, and Why Can’t You? deserves to be recognized as both a great song and a hugely inventive piece of composition and cutting edge production.


VERDICT = 9.2 out of 10  

Alex Faulkner


Listen here:


ALBUM REVIEW: Do You Know Who I Am? by D.Ni.L.

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D.Ni.L. is a 33 year old hip hop artist, musician, producer and emcee hailing from Yorkshire. Having played with bands growing up in York, he developed the ability to compose in his head and play by ear. He has battled alcohol and drug addiction since the age of twelve, and spent four years living in hostels and sleeping rough.

These tough life experiences give his music an edge and intensity, and his record label Musication specifically uses music as a tool for recovery for people who face issues like homelessness and addiction. This has led to collaborations with Buttercream 87 and Wasabi Fire Alarm, as part of the band). As a solo artist he released two albums in 2017, This In’t A Party and the more guitar-influenced Suicide In Sips.

Earlier in 2018, he released the album Boy Inside, which received a stellar review from me. Hot on its heels is this new album, Do You Know Who I Am?  Both thematically and musically, it feels like a continuation of Boy Inside although there is noticeably less rapping on this one and an emphasis on musically expansive song structures.

D.Ni.L. has formed an entirely new sound unique to him, which fuses aspects of progressive rock/metal (Deftones, Muse) with the emotive and well-crafted songwriting style of the Manic Street Preachers, also fused with the brutal lyrical honesty and aggression of hip hop. The complex sonic structures that D.Ni.L. constructs require multiple listens to be truly appreciated, but the emotional directness of his music resonates the first time you hear it.

Opening track Analogue Bath is a good example of this. Musically, it is built around brooding, swirling low-end guitar riffs and basslines, with meaty yet intricate drums. This provides the soundscape for D.Ni.L. to lay down a brutally honest lyric that sounds at first like he’s addressing a person he’s in a relationship with.

As the song progresses, it transpires that he is addressing his struggle and continual battle with drug addiction: “I didn’t know better when you flowed into my life at eleven and saturated me, you infatuated me when in fact you hated me, groomed and then dated me…”. The rapped verses are counter-pointed by vocal sections that provide an effective contrast, especially the haunting falsetto section towards the end.

This lead vocal style is more prominent on the following Buried, and you can hear the influence of James Dean Bradfield as well as several American hard rock/metal band vocalists. This track epitomizes D.Ni.L’s ability to fuse disparate elements together seamlessly, so it starts out as angular and aggressive with a syncopated rhythm before breaking down halfway into a beautiful extended passage. This features some fine vocal harmonies and usage of guitars in a much more delicate, nuanced and melodic way.

The overall transcendent effect brought to mind the blissed-out modern prog rock of Radiohead’s Pyramid Song. Again, lyrically it’s about battling the demons of his addiction: “So many problems traceable back to you, infected from the start…fed by your roots I’m maladjusted, malnourished right to the heart“.

Third track Feelings is musically more upbeat, driven by a catchy guitar riff and bouncy bassline, offset by a clever, off-kilter syncopated beat. This is alternated by sections of straight 4/4 that again works as a contrast. The second verse shows his mastery of rhythm as he continually displaces the accent, so that the listener feels the music shift underneath their feet. Lyrically, it’s another confession of his inner self as he explores how addiction and hedonism stunted him as a person: “I thought that sex was love, that love was belonging, belonging to me and no-one else, that was jealousy and do-wronging….”.

Forever is one of the more slow-paced epics, with a long and languid vocal melody. Musically, its a chance to express his more melodic side with some gorgeous strings towards the end. There’s a poignancy and double meaning to lines like, “Someday I’ll find another thorn to put in your side….”. Here, he is singing in the first person personifying addiction itself, and its hold on him.

Fifth track Let The Side Down is one of the album’s most instant tracks, with its anthemic title hook and compelling, addictive rhythms. Musically, it gradually builds in intensity until it climaxes with an electrifying rap section: “You were cheap but I was cheaper, as I fell deeper your price tag got steeper….”. Most importantly, it depicts how he is winning the war against his addiction with lines like, “No longer stuck to me, bringing bad luck to me, I’ve written you out of this story….”.

Melt is one of the album’s darkest tracks with a strong metal influence on certain sections which are cleverly alternated with complex, cathartic verses and another passage of great melodic beauty in the middle. It’s one of the most tormented tracks lyrically, as he portrays the seductive and all encompassing nature of addiction with harrowing imagery: “I chased you from brown to black, then you fizzled into nothing… now you’re long gone, even from the tips of my hair…..”.

Nod begins with a solemn string introduction before bursting into one of the visceral riffs that form part of his signature sound. It develops into another fully realized fusion of rock, metal and progressive genres, juxtaposing memorably anthemic sections with sparse and unrelentingly intense verses, brimming with restless rhythmic invention. Lyrically, it feels like it touches on the album’s main theme of gaining self-knowledge: “I didn’t even know myself, spent my life living in my head, no perspective, one dimension, I shut myself out….”.

Running starts by showcasing the flipside of his main sound, with a dreamy and delicately performed lengthy introduction that shows his musical craftsmanship as well as his more sensitive side. This is alternated with a more typically heavy section, yet the sensitivity is maintained with a soaring falsetto performance. Lyrically, its perhaps the most opaque thing here but conveys huge emotive power through lines such as, “I knew that we had an opportunity, now running, running away home and running out of oil soon….”.

Ninth song Sweet Man and the following Top and Bottom Of It feel like a potent diffusion of all the elements of his sound and style that he displays complete command of across the duration of the album. The former features some killer opening lines (“Could be the swig that takes you out of the game, could be the dig that adds deceased to your name…”) while the latter is one of the effective arrangements, building enormous cathartic tension through gradually developing themes and dynamics.

Under My Wing is one of the lighter, more immediately accessible songs here, with a seductive title hook and vocal melody, sung over equally infectious, pulsing low-end guitar. This more laid back style continues into the album’s final track, which takes the template of the slow burning epic to its ultimate conclusion.

Clocking in at nearly nine minutes, Way Back Down spends its first five minutes building up a brick wall of unbearable tension before it explodes into a brief section full of deep-seated rage. It then returns to the haunting, disturbing refrain of, “Under your breath, you swear that you’ll take me down….”, leaving the listener wondering if the addiction battle is ever truly won.

Overall, this album is a compelling musical journey that depicts the struggles of drug addiction with unflinching honesty and raw emotional expression. D.Ni.L is artistically fearless, taking the listener to some dark places but also unafraid to express sensitivity and vulnerability. The result is a work of enormous cathartic power that offers the hope of recovery and redemption throughout, making it the perfect follow up and companion piece to his previous masterpiece Boy Inside.


VERDICT = 9.1 out of 10  

Alex Faulkner


Listen to the whole album HERE


SINGLE REVIEW: Mama Left Me by Pologang DB


Pologang DB is an American hip-hop artist and one fifth of the acclaimed rap group PoloGang. This group is made up of multiple independent rappers, releasing music together under separate aliases. As a group they have already received great acclaim, featuring in a top ten list in famous music publication Complex, alongside Gucci Mane who has been one of DB’s major influences. Originally from Toledo, Ohio, DB’s debut music video for Get a Roll (ft. Nick Kane) got a lot of traction online. He cites influences such as Lil Wayne and Drake on his infectious, storytelling rapping style.

This track, Mama Left Me, is a perfect example of that style. It’s a searing, hugely  honest and poignant depiction of having to be raised by his father due to his mother’s drug related issues. Musically, it fuses soul/RnB with hip-hop, a mid-paced intricate beat providing the platform for DB to lay down his rhymes. His rapping style is distinctive, with an incredibly fluent and fast lyrical delivery.

On the first verse it depicts a moving story of his father working hard to support them, then DB finding out the harsh reality: “When I was a teen I found out the real…see my Mama chose crack instead of life with her kids….”. In the second verse, the poignancy ramps up another notch as he finds out he has a sister he didn’t know about: “I got a sister that I just met, for real…so Caitlyn you gotta forgive her but she never will….how many other siblings we got that never lived?“.

DB is also brutally honest about the emotional issues that his childhood has left him with: “Sometimes I think I ain’t able to love, I play some bitches cos I’m scared to let emotions out, cos if my Mama played me what is you capable of?“. There’s an understandable feeling of anger and bitterness to some of the final lines of the track: “Hey, when I make it don’t you call, cos you don’t deserve shit…I remember that you left me…”.

Overall, this is a highly emotive and powerful hip-hop track by a massively talented rapper who has the courage to wear his heart on his sleeve. His fiercely honest, ‘for real’ approach combined with finely honed skills as an emcee means that just one listen to Mama Left Me will make a big impact on anyone with an ounce of soul. Like the best rappers, his innate self-belief also shines through, and if there’s any justice in the music industry Pologang DB should be a dead cert for success. Mama Left Me should be a big stepping stone towards that.


VERDICT = 9 out of 10

Alex Faulkner


Listen here:



RIIV is an up and coming singer/songwriter originally from Haiti. Moving to Connecticut at the age of 6, he was a rebellious teen until he hit a low point in life and his father had him placed in a group home. It was there that RIIV began to turn his life around. He started discovering his love for singing. He has been through ups and downs in life but music has always been a constant. RIIV is a go-getter and has linked up with L2 Records to produce his recently released track “Beautiful”.

“Beautiful” is the result of RIIV’s collaborative process with beatmaker DJ Shaw, producers DJ Dens (a.k.a. The Rooster), Chris Anger and executive producer Michael Varner of L2 Records. The track is a blissfully laid-back pop tune with a subtle EDM vibe and works as the perfect showcase for RIIV’s smooth and charismatic voice. Beginning with filtered clean guitar, a languid ‘four to the floor’ beat provides the bedrock for RIIV to lay down a memorable vocal melody with romantic lyrics: “Finally found a reason to sacrifice all of my heart…”.

It breaks down for the bridge with a catchy “Is it your love?” refrain before building back up to an instantly anthemic chorus augmented by synth melodies. In the second verse, the beat develops subtly with handclaps before the chorus and bridge refrain combine to great effect. The production throughout is absolutely first rate and can stand alongside anything on mainstream radio. With the music appealing to both the pop and EDM scenes, “Beautiful” is well placed to be successful both on radio and in the clubs.

Overall, this a perfectly produced Pop/EDM track with a summery, joyous vibe that will undoubtedly help RIIV gain traction in the Pop/EDM space. Since the track’s release, “Beautiful” has received nearly 200,000 views on YouTube and has been doing extremely well on streaming platforms. If RIIV continues to produce songs of this caliber, he has the potential to become the next big thing in the Pop/EDM world. I await future releases with great interest.

VERDICT = 8.7 out of 10

Alex Faulkner


Listen here:

ALBUM REVIEW: Insanity Origins by Parasyche


Parasyche are a four-piece metal band hailing from Santiago in Chile. The band were formed back in 2010 by Matías Becerra and Nico España. When singer and rhythm guitarist Nick Borie joined in 2011 the band found their musical and lyrical identity.

In 2016, they began work on their debut album with Christian Suárez on bass and also secondary vocals. Their music is a fusion of thrash, speed and progressive metal and you can hear the influences of bands like Metallica and Megadeth, classic heavy rock like Deep Purple and prog-metal bands like Dream Theater and Tool. A cover of Bohemian Rhapsody by Queen went viral on YouTube, amassing well over a million views.

Insanity Origins consists of ten tracks that clock in around five to eight minutes in length, something that shows their musical ambition. Opening track Box Of Hate gets the album off to an incendiary start, starting in a blaze of low-end guitar riffs and furious drumming.

A metal band is nothing without a great vocalist and fortunately Nico Borie has an excellent voice, halfway between Metallica’s James Hatfield and Sepultura’s Max Cavalera. The relentless intensity of the music is interspersed with numerous superb passages that brought to mind Deep Purple’s Ritchie Blackmore. They show their progressive influences with constant shifts in tempo and dynamics and lyrically it’s equally heavy: “I can’t any escape…it’s inside my head, a box filled with rage“.

The intensity somehow ramps up another notch with second song Vesania. Beginning with a syncopated section then breaking into rapid fire double kick drumming, it then launches into an astonishing thrash metal groove, setting the scene for another fantastic vocal performance. Fairly early into the track we hear a sample of the famous “Here is someone who stood up to the filth….” speech from the dark classic film Taxi Driver. The track is an absolute epic, maintaining its colossal rolling momentum across its six minutes and featuring some fabulous Avenged Sevenfold-style dual lead guitar harmonies.

Detonation keeps the pedal to the metal and shows their thrash roots with some juggernaut sections in 2/4 time. It features a particularly strong drumming performance from Nicolas España as well as some almost unbelievable lead guitar work from Matías Becerra. Again, the pile driving energy only increases during the song’s duration. Fourth song The Treason switches to 6/8 time, at least to begin with, and this is a track where the guitarists really get to shine with a never ending series of skull-crushing riffs and acrobatic guitar solos. The way the band remain water tight through such a complex maze of time signature changes and different sections is testament to their musical synergy.

Land of Lies is a real change of pace; it’s a mid-paced seven minute epic in half-time that brought to mind the tormented grandeur of Soundgarden’s Black Hole Sun as well as Metallica’s equally classic Nothing Else Matters. It’s a song that shows their melodic gifts as opposed to just their virtuosic chops, with an impressively restrained performance from all concerned after the riotous first four tracks. It also features some excellent backing harmonies, another strength to the band.

Stolen Liberty continues this lighter, more mid-paced style but with a more complex time signatures and more use of the double harmony vocal technique that was so effective on Land of Lies. These two tracks really show the group’s musical breadth but this versatility only expands further on one of the album’s uber epics, the nearly eight minute Arise. As with the other songs, the inventiveness and vitality of the musicianship maintains to the very end, unexpectedly finishing with a mellow acoustic guitar section.

The acoustic guitars feature again in the eighth track Cachafaz, employed in a Spanish style with some remarkable use of guitar harmony. The contrasting acoustic and metal sections come thick and fast with some of their most progressive times signatures; this is perhaps their masterpiece in terms of sheer complexity and textural sophistication. Ninth track Need stands out for featuring their most unusual and unpredictable riffs, as well as hard to place time signatures that make you feel the ground is constantly shifting under your feet, in a good way.

Final track The Wolf Inside is an apt way to finish, with a fireworks display of guitar interplay that melds guttural chords with top of the neck fretwork and a Catherine wheel of guitar harmonies. It is one of the more accessible and immediate tracks featuring a catchy, colossal chorus. The lyrics are pleasingly dramatic with lines about “turning water into wine” and being a “hungry wolf“. Naturally, it also contains a mind-blowing solo which completes the album with a glorious flourish, along with Nico Borie giving his all vocally.

Overall, this album deserves to go down as a classic in the metal genre. Combining several kinds of metal from thrash to progressive whilst showing a real skill for proper songwriting and arrangement, Parasyche deal with the complex and epic as just second nature, pulling off some astonishing performances without it ever descending into gratuitous virtuosity. Blessed with an authentic, powerful lead vocalist, the entire band work in perfect synergy to create a work that metal fans worldwide seriously need to hear.

VERDICT = 9.2 out of 10

Alex Faulkner


Listen here:



ALBUM REVIEW: Fire by Project Rod Williams

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Project Rod Williams is an electro-dance pop studio ensemble which is the musical brainchild of songwriter/musician Rod Williams. Musically, it is a fusion of classic 70’s disco music like Giorgio Moroder and Donna Summer, 80’s synth pop such as Depeche Mode and Erasure and more modern pop artists like Justin Timberlake and Pharrell Williams. Rod has collaborated with lead vocalist Ben Dial on this album with additional vocals by Matt Williamson, Hannah Montwill, Nataly Andrade and Alex Silva.

The album, Fire, consists of eleven tracks (also featuring club mixes of nine of the songs) and has a conceptual theme. Half of the songs on the album are about enjoying the passion and seduction of nightlife and the other half are about the longing and pain often brought on by romantic relationships. The album is due for release on January 7th, 2019.

Opening track Let’s Get Out is the perfect representation of the Project Rod Williams sound and style. It grabs you from its opening bars with infectious percussion locking in with an alluring 70’s disco-style bassline. This is soon augmented by syncopated 80’s-esque synths before breaking into a full, very danceable beat that gets the toe tapping. The smooth lead vocals of Ben Dial enter the picture and his voice brings to mind cutting edge modern pop like Maroon 5 and the more recent work of Justin Timberlake. Alternate lines are layered with backing harmonies so that the music is constantly evolving and developing.

Thematically, it exemplifies the concept of the songs that celebrate living the good life, with the lyrics highlighting the appeal of escaping the daily grind by looking forward to Friday night and the weekend: “We work all week from nine to five, making money to live our lives…..”. The extremely catchy refrain captures this joyous feeling succinctly: “Leave our problems at the door, laugh, jump and scream, let our hearts be free…..”.

This is followed by an equally memorable chorus and Rod Williams shows his ability to make every part of the song a hook, a hallmark of the best pop songwriters. After the second chorus it enters an excellent breakdown section with a sophisticated vocal arrangement that brought to mind the finest Michael Jackson songs arranged and produced by Quincy Jones.

Second song Come On continues the lyrical theme but is musically quite different; smoky Rhodes and a more complex and unusual rhythmic pattern. There is a more rocky feel to the seductive and raunchy lead vocal performance, fused with Vince Clarke (from Erasure and one time member of Depeche Mode) style pulsing, futuristic-sounding synths. The descending vocal melody is fiendishly catchy, with an overt sexuality to the sultry lyrics: “I see you staring across the room, your eyes are saying what you want me to do….”. Great track.

Third song Hot To Trot returns to the more traditional dance rhythms of the first track but stands out for the addictiveness of the title hook and for featuring some very funky Nile Rodgers-esque high end electric guitar. Indeed, the way the song celebrates the hedonistic side of life (“We can be flirtatious, lose our minds and act outrageous…”) made me think of Rodgers’ classic group from the 1970’s, Chic. This infectious style is combined with low-end synths and piano lines with occasional stabs of synthetic brass to create a potent sonic concoction.

Next comes Fire, the title track of the album. It maintains the funk guitar sound of the previous song, but has a more modern EDM four-to-the-floor beat, at least to begin with. Vocally, the breathy falsetto style made me think of Prince and one of the dance classics of recent years, Get Lucky by Daft Punk ft. Pharell Williams. Once again, the title hook latches in the mind upon first listen and the use of female foreign spoken word vocals lends an exotic flavour. The falsetto lead vocals are contrasted by a section of low-end male vocals that adds to the song’s very sensual theme.

The following Invasion feels in ways a continuation but has a more rock vibe, with some low end lead guitar lines which work well with the swirling synths. The lead vocals are this time contrasted by certain lines being whispered, which adds a lot of atmosphere and encapsulates the power of seduction which is this tracks subject matter: “I can’t fight the way you hypnotize….invade my body, invade my soul…you’re taking over me, you’re in control….”.

After this, the album switches to the second aspect of the album’s theme, the pain that comes from love. Sixth song Take Cover has a much more emotional tone after the light hearted and sexually orientated earlier tracks. It’s a mid-paced synth pop epic in 6/8 time, with lyrics that are rather deep and poetic, about the tempestuous nature of romantic love: “The sky will thunder tonight, from lightning sparks my rage ignites, when flames of passion burn high you better find a place to hide…”. This kind of emotive synth pop is more reminiscent of 80’s groups like Soft Cell and The Human League.

You Were My Lady is the first truly traditional love ballad on the album (the only one not written by Rod Williams) and it’s a very well crafted one with a lilting vocal melody. It allows lead singer Ben Dial to perform in a more gentle and sensitive way, which he achieves with distinction. It’s a rather moving song about reflecting on happy times after a relationship has ended, then contrasted with the stark reality: “Now that house is empty, the music’s gone from the radio that used to play that song….”.

Bad Boys Don’t Cry returns to the more uptempo synth pop style whilst maintaining the lyrical theme of this half of the album. Musically, it has a real Giorgio Moroder vibe with rhythmic synths driving the song along. It’s about how men are not supposed to appear vulnerable or sad when going through heartbreak and contains yet another strong title hook. Ninth song Broken is rather more angry in its tone with some rather visceral lines: “Fake love you gave to me, filled my blood and clogged my veins…”.

Though the following I Say contains similarly downbeat and tormented lyrics, musically it is one the lightest moments, recalling the euphoric anthems of Erasure. The vocal melody is irresistible, providing another fine example of Williams’ melodic consistency and also features a superb synth section comprising several combined sounds.

The album ends on a rather melancholy but poignant note, with the heartfelt ballad Nobody Wants To Know, which features lead vocals from Matt Williamson. Matt powerfully conveys the troubled nature of the lyrics about not feeling supported by friends during dark times: “Can’t they see the tears I try to keep concealed?“. The music builds as the song progresses, with a sky-scraping string arrangement that closes the album on a musical high, even if the words are sad.

Overall, this is a modern pop album of a very high calibre that fuses the synth pop of the 80’s with the euphoric sound of 70’s disco, then brings it into the 21st century with cutting edge production. Aside from one track, Rod Williams has written, arranged and produced the whole thing which shows his artistic versatility. The album feels like a real labour of love and runs the gamut of emotions, from joy to despair. As if that’s not enough, the album comes with club mixes of nine of the songs, tailor made for the dancefloor. Put simply, Fire is an album laden with killer pop tracks of wide ranging appeal and has enormous commercial potential worldwide.

VERDICT = 9.1 out of 10

Alex Faulkner


Release date: 7th January, 2019

Listen to the album here:

Listen to the club mix of Come On: