Randay

Without wanting to cast bull-china shop aspersions off the bat, dealing with emotional abuse is more often than not, a difficult ordeal for those affected, but it’s a far more common place subject matter in music than most realise. Arguably the most famous song on the premise, Gloria Gaynor’s I Will Survive, a classic, near four minute disco romp, detailing the breakdown of an abusive relationship an unknown female character found herself in before finding the strength within herself to leave the perpetrator, is considered timeless as no doubt its chorus will be forever etched on the walls of the musical Pantheon. Its optimistic tones and grandeur made this such an uplifting listen, that in some respects, it could be considered easy to forget the subject matter entirely. Just as famous an example, widely acknowledged to be one of the most misinterpreted songs ever, is The Police’s Every Breath You Take, a portrayal of a stalker-type obsessive whom claims ownership over their past lover, never allowing them to move on. The calm, soothing demeanour of its music, along with the misconstrued lyrics of Sting’s impassioned croon has oft been taken as to be a love song for decades, before being publicly debunked by the Police frontman himself. In that respect, thank goodness for pop artists of the new millennium, such as Ke$ha, whose titanic but transparent ballad Praying released this year, brought to life the torment and nightmares faced under her captive producer, after arduous legal proceedings and years in the media spotlight for this reason alone. While currently building a loyal following of his own, Montreal pop sensation Randay is taking the same page from his contemporaries and making the message loud and clear, as well as highlighting another tale of emotional abuse in the process.

DEzE7LfWsAAaGbq

Putting aside the lyrical content for just a moment, Manipulation serves as an impeccably produced electronic pop number that teases crossovers into the EDM and electronic house forays, all to give his sultry charm room to soar. Repeatedly plucked guitar chords, with a very marginal overdub of synth open up the song, give it a cooling ambience, a calm mood and a steady tempo, as we then phase shift into the song’s main body. Enter a realm of pounding bass pulse, dampened hand claps and understated but beautifully layered synth harmonies that bulk out an otherwise minimalist atmosphere, that all lend themselves to Randay’s honeyed tone marvellously. There’s a small touch of hi-hat added to the mix as the verse progresses and a slight delay on the vocals, on which the echo sounds particularly effective against the beat, utilising the less-is-more approach well on a primarily vocal-heavy song. However it is at the chorus where Manipulation is at its strongest. Where once Randay had a lot of vocal processing on previous tracks, stripping the first chorus down to almost entirely vocals, bar delay and some minor ambient synth, has really given his voice a chance to shine on its own merits and it makes the chorus and its hook all the more memorable for it. Quickly building up the drop underneath the vocals, slyly introducing an acoustic guitar amongst the claps and keys, brings a short rush of excitement as you feel a gear shift about to transpire. But while the music doesn’t quite burst with the bombast you would expect from a modern dancefloor filler, the subdued nature of the drop actually fits really well with the overall tone of the song, whilst still having a beat and a bassline for even the most casual of club goers to move to. Throughout, there are little tweaks, production effects and instrumental additions so subtle, you’ll barely notice them at first, that make the song feel all the more complete, and there are more moments along the way where Randay’s vocal talents are isolated but ultimately accentuated as a result of intentional songwriting. Manipulation’s climax brings that memorable chorus hook against the beats, and Randay delivers it with such authority and empowerment, perhaps channeling an inner Gloria of his own, that you begin to realise the potential star power once the music retracts and his voice is left once more on its own, besides the thumping of bass and a melancholic but deeply fulfilling piano chime to close.

Sadly, I was informed that shortly after this song was written, Randay found himself on the receiving end of his own words, and I do extend my sincerest best wishes to him, and hope that he has found peace and closure from such terrible circumstances. But let that take nothing away from what he is capable of vocally, and his ear for piecing together pop music with a punch. Randay has all the tools necessary to become a breakout star and the blossoming process is well under way with the advent of Manipulation; a smartly produced, electronic dancefloor curiosity. with equal parts passion to attitude and a rightful claim for a spotlight to call his own.

Randay is soon to release a brand new track in the coming weeks, having just entered the studio to record vocals for Manipulation’s follow-up. A second album is also due to be announced at some stage in the near future. For everything else currently out including his first album Renaissance and recent remixes of Manipulation, you can find them all at most respectable music retailers.

Can’t get enough of him? Then here’s some social media links to follow for you:

http://www.facebook.com/OfficialRanday
http://www.twitter.com/Elektro_Randay

And if you can’t get enough of what I do either, then you can give me a like, a follow or subscribe to the site using the link below, always appreciated:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

And one more thing, if you do feel you are in a place where you feel like there is no escape or nobody to talk to, and you can’t channel your inner Gloria Gaynor, then I urge you to call whomever your local crime line, victim support or mental health charity is. Be brave. The Soundshark has faith in you. You can do it. You can get through this.

Advertisements

Chris Kelly & Nicole Gibson

Normally, any piece highlighting new and emerging musical talents on this site begins with a tale, an anecdote or even a little music history, eventually tying the two subject matters together in a philosophical or whimsical manner. Such may not ring so true this time round. Instead, this begins with honesty. Truth is, this site has been out of sync, almost out of touch, with the pulse of brand new, underground, independent, and unsigned music for some time now, that what little reputation has been building has dissipated from existence. To put it simply, and to quote Jesse Lacey of Brand New – life is a test, and I get that much, so much so that all motivation and production of content stood frozen solid in time. Whether it would ever thaw again, remained a worry for the best portion of four months. But something that kept the tiniest of embers ablaze, was the genuine warmth of kindness. Despite absolute silence, PR companies and musicians alike continued to reach out to the site. I rarely contact artists or their correspondents preemptively, so to have a one-way overflowing direction of content without ever asking for it, goes beyond words and has kept the gears in a functional state in lieu of their dormancy. The ember truly came to life however once Nicole Gibson of the titular Montreal duo came into contact. Her authenticity and heartfelt words, with regard to what this site has accomplished so far, were a moving read and most certainly a reflection on her songwriting partnership with Chris Kelly. Hell, they’ve just been nominated for Best Adult Alternative Song by the Hollywood Songwriting Contest if that’s any indicator.

19120621_1794636057517704_3130687256457641984_n

The pair have an incredible work rate, releasing weekly covers of recent music chart entries on YouTube, but their own songwriting endeavours, of which their debut EP is due for release in the coming months, captures their chemistry, versatility and sheer talent better than someone else’s words can. Their most recent single, Ghost of You shows the upbeat, poppier side of their capabilities, both Chris and Nicole’s contrasting, reverb-touched vocals, in a realm of grumbling bass, understated percussion and airy electronics, delivered so refreshingly, and with a hook so catchy, you wonder how it is yet to crack the airwaves. Arguably however, it is Out of The Dark’s moodier, minimalist soundscape that has a far greater impact and establishes exactly why the pair have a songwriting nomination in tow. Immediately, Nicole’s dulcet tone welcomes you in, as does the slight melancholy of piano keys and programmed but subdued kicks and snares. There is a marginal breeze of ambience ever-present also, but it all culminates in a formidable emotive vehicle, for the lyrical premise of never giving up hope. The tale is not complex, but it doesn’t need to be. They are simply the right words for the greatest effect. Their voices unite for the chorus, emanating true passion and belief in their message, with Chris’ solo bellow between each line sounding almost pained, but powerful nonetheless. Piano also gently builds behind them, furthering the big, emotional right hook of a chorus; it’s ultimately a subtle touch but again contributes massively to tone and overall delivery. Chris takes the lead for the second verse, showing his softer, soulful voice, with the now more prominent piano accompanying him, right up to a second chorus where after we are treated to a wailing guitar bridge, adding an extra ambient dimension without being intrusive. The song closes on its chorus, yet there is a refrain with only vocals and piano just before, that may rank among the most tear-jerking 15 seconds you’re likely to hear all year. No doubt Chris Kelly & Nicole Gibson have a prosperous career ahead of them both, with their attention to detail transforming the insignificant into the extraordinary. But it is their authenticity and emotional resonance in their music, that will make them stars. To borrow a quote from the duo:

‘In order to never quit, you have to see hope, and in order to see hope, you have to never quit.’

Thank you, Chris. Thank you, Nicole. It’s taken some time, but it feels like the site can come out of its own dark. And this masterpiece has been instrumental in guiding it through.

Chris Kelly & Nicole Gibson have a fabulous YouTube channel¬†which houses all of their various covers so you can see how wonderful they are as musicians. They’ve also just launched their own website, in case there is any other content your heart desires you wish to view. As already mentioned, their debut EP is due for release really soon. Keep your eyes peeled.

In the mean time, give them a like or a follow on their social media right here:

http://www.facebook.com/kellyandgibson
http://www.twitter.com/KellyandGibson

And if you feel like doing the same for myself, then you can do so by giving me a like, a follow, or by subscribing to the site using the button below, and we can give each other a virtual hug:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark