Tim-Ryan O’Kane just dropped a hot new single called Heart Attack. To say the least the music is as unique as the artist. Heart Attack is a sensational, eccentric and great single. I like the way things kick off; immediately after the brief piano introduction we have this really psychedelic guitar riff and overall sound with some amazing horns and melodic touches that really bring a special touch to the song. I can hear some of The Vines and Velvet Underground; it really gives you the impression as if you were listening to a 70’s song. The chorus is eccentric, bold and will punch you hard. I get the impression O’Kane is a real risk taker with his music. Despite this, he stays within the fairway of marketability but is definitely pushing boundaries. (These are compliments by the way.) The musicianship follows down the same path, offering up much in the way of trumpets, saxophones, vocal harmonies, piano. It has a really Beatles-ish and The Monks vibe. The track was Produced, Recorded, and Mixed by Miles Kennedy . Other contributors include: Tim-Ryan O’Kane – Vocals, Piano Intro, Jonathan Vieira – Piano, Stephen Hoevertsz – Guitar, John McFaul – Bass, Miles Kennedy – Drums, Percussion, Eric Biondo – Trumpet, Steve Welsh – Saxophone, Baritone Saxophone, Dara Centonze – Background Vocals. From beginning to end this song keeps the same party mood while maintaining a soulful, funky feel. As for O’Kane vocally, he delivers an emotionally invigorating performance and reminded me of a modern day David Bowie or Tom Waits. His high pitch, sexy vocals blend with great guitar riffs, some cabaret/20s bar piano and some other sonic effects.
Criticism: I wouldn’t recommend all tracks on his next release be this exotic, sensational and over the top. There’s a time and place for a song like this. Not so sure I understand the single cover art concept either.
In conclusion, this is a single that will bring you back memories of an early and so distant age now, days where fun music was more organic and simple yet it had such an amazing power to get people dancing and helped them forget their troubles as the sound, the music itself was a drug.
by Erica Carr, edited by J.J. McCall. Approved by Michael Rand.
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