Respite, 'Vol. 1' EP Review

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Respite, 'Vol. 1' EP Review

Respite’s ‘Vol. 1’ EP is nothing short of a masterclass in modern alt-rock and the best thing about it is that its title implies that there’s much more to come.

Since re-emerging as Respite, this is the first project from the pop-punk outfit, once known as ‘Finding Argyle’. Respite have been a part of Jeeni’s rock representation for a while now. It’s been an honour for Jeeni to follow and promote the revival of their brutal modern rock sound and the appreciation goes both ways according to their feedback; “Respite are proud to be a Jeeni Artist. Having a platform that supports and actively promotes upcoming artists is truly invaluable.”

This five-track project is a triumphant and proud announcement of a new advancement in their style, synergy and musicianship. Although the group has access to a rich and varied reservoir of influences such as ‘Finding Malory’ and ‘A Day to Remember’, they certainly pave their own path within this rock sub-genre.

The EP’s only single, ‘Chemical Sleep’ was a great choice for a teaser track. Rapid double kick drums and squealing guitars lay down the foundation on which Sam’s anthemic vocals glide. The pre-chorus production choice of layering spirited, but distant vocals over a casually recorded, radio-affected reversed harmony of the same line is a blissful respite before the thrashing resumes for the choruses.

The production value on ‘Vol. 1’ is out of this world. The secret behind their clean and cohesive thrashing rock tone is group guitarist, Andrew Vaughan. Vaughan is Respite’s in-house producer, mastering engineer and manages the recording processes. However, without the impassioned performances in this project, Andrew’s job would be a lot harder. From Reiss Mcleod’s robust drumming, Ross Crawford’s commanding bass, Euan Macqueen’s essential guitar work and Sam Nicholson’s singable vocal melodies, Andrew was spoilt with the sheer talent held in this band.

‘Sincerely, Maybe’ and ‘Change My Mind’ certainly embrace a stronger pop/punk tone and the EP benefits well from its inclusion. Synthesis and brighter instrumentation is used for the lighter and accessible melodies on these tracks. A deliberate embrace of two slight deviations to their sound creates a balance in a natural and impressive way. ‘The Little Things’ and ‘Chemical Sleep’ are the slightly darker and tonally more serious cuts and instead of any kind of clash, the two variations of modern rock subtly contextualises the other and broadens the EP’s sound and style.

The lyrical themes of romance and mental health develops deeper substance to the project instead of surface-level rock music. Something that cannot be faked is how emotion is embedded into the performances, and not just in Sam’s vocals, but in each member’s recordings; it elevates an already excellent project to numerous levels.

If you want to learn more about Respite, check out our Artist Focus blog on them here: https://jeeni.com/blog/artist-focus-respite/

How can Jeeni support artists like Respite

JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.

• We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.
• We empower our audience and reward them every step of the way.
• We promise to treat our members ethically, fairly, honestly and with respect.
• Access to artist liaison and a supportive marketing team.

Check out Respite’s Jeeni showcase here: https://jeeni.com/showcase/respite-band/

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08
Jul

Zed, The Dreamer – ‘I died too’ Single Review

Charming, layered and dreamy, the latest single from this starry-eyed balladeer might be his most impactful yet. With a rich roster of influential artists like Bon Iver, Michael Kiwanuka and Matt Corby, Zed, The Dreamer has a wide and varied well from which he draws inspiration and these influences reveal themselves quite clearly across Zed's young, bright discography. The style of the previously mentioned muses can essentially be reduced to an initial representation of the broad genre of folk music, however, they all individually decide to expand beyond that folk core by enriching it with their own individual styles, experiences and personalities. This is a skill that Zed has adopted in full-effect. A notable element of Zed’s style is his subtle embrace of lo-fi aesthetics. Before, this has materalised as some unfiltered-out background fuzz in tracks like ‘Comfort (Not Love)’, but Zed's latest track takes this raw, casual sentiment to a further level as he uses it to almost reinforce the heart aching messages that he displays in ‘i died too’. The track whirs to life like a tape machine accelerating to the right speed, instantly giving off a warm, analogue tone to the track. The sudden click to silence after just a second of guitar also contributes to a feeling that this is an impromptu recording, straight from the heart, to the microphone. As more elements are introduced, this nonchalant façade crumbles and Zed’s ballad blossoms into a polished and astonishing chorus of love. Intricate and symbolic lyrics aren't needed for the confessional “Baby, I love you” chorus, because the verse has already provided poetic details into the relationship. Interestingly, after the first chorus, Zed doesn’t use its natural momentum to maintain the energy, but instead, he brings the composition back down to where we began with an interlude of radio-effect conversational samples and background ambience that replaces the full, lush textures that we just heard over the chorus. Once back down to the ground, Zed’s forlorn vocals begin to slowly levitate the piece once more with the next verse. The second verse consists of simple guitar-tapped percussion, rumbling bass and shimmering chords, all ornamenting Zed’s gentle acoustic guitar and crooning vocals which creates the folk centre of the piece. The second verse much more seamlessly feeds into the second chorus which now professes the title of the piece, “I died too” in replace of “I love you”. This heartbreaking variation to the chorus is such a clever story-telling device. It’s not often that a chorus is altered to reveal an entirely different side to an emotive narrative, it adds a stunning amount of weight behind an already compelling single. The piece winds down one final time as a more distant and mournful "Baby, I love you" is heard underneath auto-tuned vocalisations and a self-comforting "It's alright, now" repetition. This extended ending at almost a minute long is a beautiful finish to an already unorthodox song structure. A final, pensive guitar chord rings out to finish the piece with one last poignant resignation. Zed, The Dreamer will be performing at Victorious festival this August (26th-28th) so be sure to check him out if you have tickets!

19
Oct

Afro-Futurist Project - Onipa

Onipa is an Afro-Futurist project from Ghana/ London founded in 2018 by K.O.G (founder of K.O.G and the Zongo Brigade) and Tom Excell (founder of Nubiyan Twist). Alongside bandmates Finn Booth (Nubiyan Twist) and Wonky Logic (Steam Down). Afro-futurist sensations Onipa combine deep afro grooves, electronics and fierce energy in an effervescent celebration of cultural and musical encounters. ONIPA means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children. Bringing energy, groove, electronics, afrofuturism, dance and fire! Jeeni’s mission is to support artists just like Onipa, showcasing their talent and support them to reach their full potential by having a showcase on jeeni.com. Since their debut showcase at The Great Escape festival, Onipa have gone on to sell out the Jazz Cafe, London and play 40 summer shows around the UK and Europe in 2019. Including, Glastonbury (Truth Stage), Shambala (Dance Tent), Fellabration (Paradiso, Amsterdam) and headline shows in Zanzibar and La Reunion Island in 2020. The group performed in Australia in front of a 5000-strong crowd during a celebration of Nelson Mandela's 100th birthday. As well as Damon Albarn's 'The Circus' in Leyton, London. Their debut album We No Be Machine has a 4* review from MOJO and UK radio play from Benji B, Tom Ravenscroft and Gideon Coe. However, coverage and touring were all badly hit by the pandemic. Despite this, Onipa still managed to record an immersive live performance at Peter Gabriel's Real World Studios for WOMAD as well as showcasing at SXSW and We Out Here online. Additionally, they are currently working on their next record. JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.• We empower our audience and reward them every step of the way.• We promise to treat our members ethically, fairly, honestly and with respect. Check out Onipa's showcase here on Jeeni: Onipa | Showcase | JEENI. Along with other showcases to add to your playlist. jeeni.com.

06
Jun

Waiting for the Harvest in Business

By Kelli Richards, Managing Director, Jeeni USA As an entrepreneur and/or a self-employed professional, have you ever been in a situation where a game-changing opportunity presented itself to you in business? Something that could “overnight” propel you to a different level of success and financial freedom? Only to find that the brass ring was further away than you thought? And while the opportunity seemed to be realistic and close at hand, it remained elusive for a long period of time; sometimes years at times? I’ve been in such a situation with not one but several ‘big deal’ business opportunities over the past few years. I won’t lie; it has been a trying experience, ranging from being annoying, frustrating and even gut-wrenching — waiting for the dominos to fall and for the scales of justice to be balanced in my favor. Holding my breath and waiting to exhale. Friends and colleagues have expressed concern and wonder if I’ve lost my mind holding out hope that one or several of these deals will come to fruition. But I know in my heart of hearts that these opportunities are real — and I need to ride the wave and exercise every ounce of patience and trust that I have. Lately, I’ve felt the life force of these opportunities building in strength, and I see light at the end of very long and dark tunnel — it genuinely appears as though the time is growing nearer for them to manifest at last. I look forward to that happening with great zeal and anticipation, knowing my patience will be rewarded and that I’ll experience great relief on the other side. As I was taking my morning hike the other day in the forest surrounded by trees, I experienced an Ah-Ha! insight that took me aback… I grew up surrounded by fruit orchards. When you plant a fruit tree, you don’t expect it to bear fruit for a few years — but once it starts doing so, it typically delivers wonderful fruit for many years to follow; it’s an investment in patience and trust. Duh! It occurred to me that each of these ‘big deals’ I’ve been waiting on has been like one of these trees — each one has had to come to maturity at its own time, when it was ready, and not a moment before. As they do, my colleagues and I stand to benefit from their rewards for many years to come. If you’ve been in a similar situation, take heart and keep the faith; I hope this dose of perspective serves you and will give you strength to stay the course. Though many of us are rabbits in practice (and sometimes deals do come together at a faster clip), the tortoise knows that “slow and steady” wins the race. A good reminder for us all! Kelli Richards Consultant – Super-Connector Trusted Advisor – Celebrity Wrangler Creating Powerful Connections Across Music, Entertainment and Technology With a unique talent for connecting thought leaders and disrupters from technology with innovators from entertainment, CEO Kelli Richards guides her clients to create big visions, make big connections and achieve big results. Prior to establishing The All Access Group, Kelli made waves in senior-level positions at Fortune 100 entertainment and technology companies including EMI Music, Silicon Graphics (SGI)– and Apple Inc., where she launched Apple’s earliest focus on music & entertainment, driving initiatives in that space during her 12 years with the company. Over the course of the last 25 years, Kelli has been fortunate to have had the opportunity to work and collaborate with many people that have been instrumental in defining their respective fields—some have even become iconic. Steve Jobs, Mark Cuban, Sheryl Sandberg, Stewart Copeland, Nancy Duarte, Todd Rundgren, Alan Cohen to name a few, have all been personal mentors, colleagues, or clients. Click HERE to visit or return to jeeni.com

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