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Promote This: Club Paradise, Jessica Chase & Nudybronque

Posted by January 30th, 2015 No Comments »

Promote This is a long-running NadaMucho.com feature wherein we write about songs and videos by emerging and unsigned bands. Send submissions to @nadamucho with hash tag #PromoteThis. This installment includes Club Paradise, Jessica Chase and Nudybronque.

Club Paradise – “Salvation”

At first, with the beat and the bass, you might expect just another typical house song from Club Paradise’s “Salvation.” But the guitar saves the day—more or less. The vocals are okay, but a little weak for the style of the song. And the guitar “solo” later in the song totally falls flat, since it’s mostly single notes and sounds juvenile. Not to mention the weird, low “hey” starting half way through the song that, at first, sounded like an accidental burp during recording that they decided to keep. It’s a fun song that could have been tightened up a bit more. Oh, and be careful, Club Paradise: that catchy guitar in the beginning? Sounds an awful lot like a Lenny Kravitz song. – Adrienne Pollock

Listen to “Salvation”

Jessica Chase – “The Only One” and “God Made Lana Del Ray”

This highly produced, somber, electronic pop from Ontario’s Jessica Chase on her newly released EP Coming Down does have strong vocals and mildly catchy melodies to recommend it. Broadly accessible, but with as much attention to getting the sound of Jessica’s breathing as her actual singing, “The Only One” is a mid-tempo ode to an unwanted relationship. With “God Made Lana Del Ray”, I was expecting satire and what I hear is straight-up homage. Modern pop for modern people with a taste for the weepy. Not my thing, but not entirely without merit. – Abe Beeson

Listen to “The Only One”

Listen to “God Made Lana Del Rey”

Nudybronque – “No Wives, No Children”

Nudybronque released their single “No Wives, No Children”—or, rather, the video for the single—on June 30. It’s a strange tune, using mainly super digital tones and what sound like they could be either digital or real drums. It is pretty catchy, with some bounce and pep to counter the depressing lyrics, but a little overdone with the chosen tones and the overly affected vocals, which at first sound quite good, but then get a bit muddy, in terms of enunciation, and sound a bit unnatural. Overall, the flow of the song gets a little lost, and it ends up feeling like a part of a longer story, rather than a song that stands on its own. – Adrienne Pollock


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