Alex Bershadsky’s new album, entitled Anonymous, presents a creative mix of jazz, fusion, and pop. While his previous album, Junk (which I also loved), was an experiment in electronic rhythms alongside jazz melodies, Anonymous focuses more on the melodic part of that equation, and the heart of the music.

Bershadsky says, “my vision was simple, I wanted to get closer to what I believe my music should sound like, and to express my personality/emotions through the music.”

And yet this simple vision gives us a rich sound. Listen to “The River Song,” for example, and you’ll hear an impressively fast bass line set against complex chord progressions and a solid groove, all providing a backdrop to Alex’s haunting vocals.

By the way, I asked Alex how he could possibly perform the song live given the difficult bass part and the simultaneous vocal, and he replied, “Yes, I’m performing them both. As I was practicing this technique I used to sing along on top of the exercises I was playing. I guess it’s kind of natural for me.” That’s musicianship.

But the complex parts are all part of that simple vision, and result in a really cool song. And despite his technical prowess, Bershadsky’s Anonymous is not just an exercise in technique; it’s beautiful music.

Perhaps the most beautiful track on the album is “Ma’oz Tzur.” The composition is a traditional Jewish song that Bershadsky says is a “song of hope,” and I can hear that. I also hear melancholy – hope tinged with pain – a yearning. This is the kind of emotion that makes good art.

My favorite song from Junk is called “Drift,” and Alex revisits that song on Anonymous with a track called “Drift Again.” Bershadsky says he “felt that the song needed a more acoustic approach (piano) and a slightly different groove.” Like the original, the song is upbeat and melodic, and evokes an almost care-free mood. “Drift Again” strips away the electronic parts of “Drift” to focus on those core elements, but the song is every bit as sweet-sounding, maybe more so.

Alex Bershadsky’s Anonymous is a collection of songs that range from imaginative (“Falling Angels”) to intimate (“Song for Emily” – written for his newborn daughter) to fun and funky (“Why Don’t You Come and See Me”). If you like contemporary jazz music you’ll love this album.

Buy Alex Bershadsky – Anonymous here.

Side note: Alex told me the album name represents “all the people that stand behind, or in the shadow or not get credit for their work… and of course me.” So I’d be remiss not to give credit where it is due. The musicians include Ian Freitor on keyboards, Eugene Maslov on piano, Shlomi Cohen on saxophone, Eran Asias and Gal Gershovsky on drums and percussion, Justin Mullens on trumpet, and of course Alex Bershadsky on bass and vocals.

The Ariya Astrobeat Arkestra makes heavily funky Afrobeat music influenced by 60s Free Jazz and 70s Space Jazz. The group came together in 2007 with members of the Kidkanevil live band and Homecut performing late-night Afrobeat shows at the Sela Bar in Leeds.

They have a self-titled album on the way in December, and they’re promoting it with live appearances at The Wardrobe in Leeds (Oct 30th), Bristol’s Metropolis (Nov 5th) and London’s Vibe Bar (Nov 7th) as well as a live session on BBC 6Music for the Craig Charles Funk & Soul show.

Learn more about Ariya Astrobeat Arkestra here.

Despite the name of their EP, The Stow is not just another band. Band-members Haydn Corrodus (vocals), Shiama Young (vocals), Will Brown (Drums), Matt Money (Guitar), and Dave Payne (Bass) make high-energy pop music that embraces Hip Hop, Jazz, and Ska influences. The Stow stands out with songs that are upbeat, melodic, soulful, and fun. The point of pop music, after all, is to make listeners smile and dance. And this group manages to succeed at that without sacrificing musicianship.

Check out The Stow’s EP Just Another Band, which is available for free download.

The Stow – Just Another Band

Cusmos is Herwig Kusatz and Karl Moestl, and they describe their sound as a fusion of House, Big Beat, Nu Jazz, Dub and Electro. We’d describe it as modern electronic chill out.

The synths are warm and lush, and the beats and bass are just heavy enough to establish some deep grooves. These sounds present a calmer mood than Moestl’s Bassdrumrocker, but the production is just as expertly crafted.

Cusmos makes luxurious chill out music, and we think their songs will be rocking dance floors and living rooms alike in the coming year. While “Oh Boy” (preview below) will probably be a Spring/Summer favorite, we recommend the track “I Let You Fly” for its Underworld-like vibe.

Learn more about Cusmos here and here.

The best film music, whether it comes in the form of a score or a soundtrack, is dramatic in sound and emotion. Producers use wide dynamics and wide arrays of instruments, drawing listeners into moods and experiences. The best film music is imaginative and escapist. Of all these things, the only element missing from Kenny James’ A Beautiful Curse project is the film itself.

The album, called As It Should Be, began as a soundtrack and music licensing project, but outgrew its more commercial intent to become a full-length LP. Its cinematic origins are apparent in the record’s adventurous mix of Trip Hop, Downtempo, and even Rock music. As It Should Be explores a variety of sounds and styles, and thus carries the listener through a variety of themes and moods. Think of the album as a collection of short stories, each with its own plot, but all of them sharing the vision and imagination of one writer.

James appropriately describes the album as “a collision of groove and mood for the senses.” With its haunting melodies and deep rhythms combined with an ambient rock air, we think you’ll agree. Learn more about A Beautiful Curse here.

Audessey, one half of the group Soundsci, says their new EP “will remind you why you fell in love with Hip Hop in the first place.” That’s a big promise, and one that he and Jonny Cuba keep on their album Dig for Victory. The music is funky, and the flow is undeniable. In fact, the sounds of Soundsci may leave you reminiscing over a certain legendary duo from the recent past.

But the record isn’t retro. While Audessey and Cuba seem to take influences from groups such as Pete Rock and CL Smooth and Brand Nubian, they don’t come across as yearning for the 90s. The feel is fresh and vital. Cuba says it’s “like stepping into daylight after a long night.” Listen to “Remedy” or “Show and Prove,” and you’ll agree that the group produces pure Hip Hop.

Be careful though: while the songs have plenty of head-nodding beats, they may just motivate you to get up and move. DJ Ollie Teeba of The Herbaliser calls the record “dancefloor gravy.”

Real flows over funky breaks. What more could you want? How about some red vinyl? In True School tradition, Soundsci dropped Dig for Victory on wax – limited edition, hand numbered 12″ records – and they come with a free CD of all the tracks plus mp3s of the instrumentals and acapellas.

Check out the samples below. You can order the album via Crate Escape Records, or learn more at the Soundsci website.

Stape Mega produces dark, instrumental Hip Hop with a sound that’s almost Shadowesque, and reminiscent of the Endtroducing era. While he cites DJ Premier and RZA as his primary influences, Stape’s beats could easily find interest among fans of RJD2 or Blockhead. His latest effort, a forthcoming album called Metrica Mega is what Stape calls a “tribute to machines and robotics.”

But don’t let the industrial description fool you; while the songs have dark melodies and sounds that are at times unnerving, their rhythms maintain the warmth of Hip Hop beats. A good example is “The Art of Machines.” The song begins with a minimalist drone, which is soon followed by metallic, electronic percussions. However, about a minute into the track, comes the familiar boom bap of kicks and snares. Stape seems to be using the Hip Hop drums you know to carry you through the dark and angular sounds you don’t yet know. The same balance can be heard in songs such as “Solid Mechanics” and “T-1000.”

Metrica Mega isn’t out yet, but we highly recommend picking it up when the album drops. The record sounds like a soundtrack to a science fiction movie we wish someone would make. Until the official release date comes, check out the samples below. You can also learn more about Stape Mega at illatropolis.com

Stape Mega – “The Art of Machines”

Stape Mega – “Solid Mechanics”

MaG explores the price of living in his Reagonomics mixtape, with lyrics that often delve into socio-political issues. This is rap with substance, not just political posturing. MaG says, “Sure now its ‘cool’ to be a back-packer or a hipster and talk about your real life, but nobody’s speaking for the impoverished, the lost, the forgotten.”

Call it depth of character. While other rappers focus on their own autobiographies, MaG tells his story within the context of the community and the world around him. He wants to speak for the voiceless.

But MaG doesn’t preach – ultimately his focus is on making good Hip Hop music. “I just hope the music I make can affect people in the way the music I listened to affected me. I want people to throw in a MaG joint and go, ‘Wow, this reminds me of how it used to be….this reminds me of how music is supposed to sound.’”

The Reagonomics mixtape features collaborations with artists such as Skyzoo, Darien Brockington, and Torae. And the co-signs don’t stop there. In fact, Buckwild calls him “the future of NYC Hip Hop.”

As for MaG’s future – he has projects with kevinnottingham.com scheduled for August release dates, and new solo work dropping in the near future. Expect big things to come from this Bronx emcee.

More on MaG:
Download MaG – Reagonomics
MaG at MySpace

FL Jones has a unique background. He served as a US Marine in the Gulf, toured the world as a cast member of the Broadway musical RENT, served as an advocate for at-risk youth in inner city New York, and performed alongside artists such as James Brown, and CeCe Penniston. If that’s not enough, he also composed music for the films “200 American” and “Whirlwind.” While working full-time managing Youth Development grants for the NYC Department of Education, Jones managed to find time to record his debut solo album. His new CD is called Becoming Myself, and it’s available now.

Jones’ sound blends vintage R&B, sophisticated pop, a touch of funk (“Living by the Funk”), and a hint of disco (“I Choose You”). But Becoming Myself is more about songwriting than genre, with sweet-sounding chord progressions and arrangements, and lyrics that often take an introspective tone without becoming self-involved. Jones takes his influences equally from Prince, Stevie Wonder, Sting and Seal, and the diversity of those influences is apparent in every song.

If you haven’t already, we recommend getting to know FL Jones.

The Nothing is a Hip Hop group from Harrisburg, Pennsylvania, consisting of emcees Ted Holmes, Mar, and Solomen Pade.

The Nothing describes their sound as being “for everyone who remembers what it was like to have music that could grab and move you,” and they deliver on that description with their new album Digital Villains.

The Nothing’s sound and flows are reminiscent of 90s-era Hip Hop without being overly retro. The production technique is modern, and the lyrics are relevant. If you like thoughtful rap over jazzy and soulful beats, you should check out The Nothing.

The group released its first record, From Nothing to Something, in 2006. In 2007, they released two more albums: Live from the Shelter and Closer. Their newest production, Digital Villains, is available, as you might expect from the name, digitally. Buy The Nothing – Digital Villains here.

The Nothing – “Rich”
The Nothing – “Superhero”