Kill Kid606

When Lindsay Pitts and Clifford John Usher first met, it felt as if they d known each other in another life. They began collaborating immediately, and in 2013 released Medusa, a collection of songs with a remarkably crystalline vision. Lindsay s haunting and deeply emotive vocals provide the backbone for Clifford s dark and dreamy production, balancing gauzy atmospherics with emotional heft. GEMS music is very much about the transformative power of song. It embraces pop s form and structure, as well as its proclivity for distilling emotions to a point, but it reaches for something deeper, searching for those authentic and raw human truths that reside in the shadowland of the soul.

The Essential B-Sides, Singles & Soundtrack Collection.

2012 sophomore solo album from the opera chanteuse turned singer-songwriter. Kinny's lifelong passion for Reggae, Jazz and Soul music intertwines with her classical training for a unique and potent style. This album finds this self-proclaimed 'freestyle improv vocalist' channelling her trademark impulsive, freeform stylings into a more reflective set of deeply personal songs that explore escalating struggles with mental instability and identity. Kinny's captivating power and range of vocal expression, her diverse cultural heritage (a mix of Jamaican, Native Canadian and Swedish), and the twists and turns her life has taken all feed into the music; and her richly emotive sound never shies away from a dancefloor-filling groove or a stream-of-consciousness lyrical flow.

TKK continue to evolve their sound with Death Threat, taking a more rock 'n roll approach compared to the dancier/disco sound of their last album, "The Filthiest Show In Town". Fans of earlier TKK will like Invasion (of the ultra modelz) - as this hearkens back to the bands earlier and much darker sound. It would fit in perfectly on Confessions Of A Knife. They use more guitar here than they have in recent albums - tracks like the swaggering Foxxxy Rockit and the heavy industrial rock of Witchpunkrockstar show that this band is in fine form and far from extinct.

It's hard to fully explain the lukewarm reception that Willis's second album received, especially after the generally warm reception for The Return of Bruno. It's possible it was the rather dull cover artwork, possibly the long album title. It could even have been the choice of music and musical styles, which covers R&B from the '40s to the '60s for the most part horn-driven, powerhouse music that has Stax all over it. Rather than trying to appeal to everyone and coming up with abysmal vanity projects, Willis, one of many actors who decided to try the music world, has thrown himself at the music he loves best, and has come up looking good on the second release.