News And Reviews

10/11/14 - Quote from a new interview with Sunshine Riot:

What was it like to work with George Dussault and how has that relationship developed?
George is nothing short of brilliant. He’s also one of the kindest people you’ll ever meet. Working with him over the course of two records has been incredible and probably the most important element in our development as a band. I think we’re all very demanding of each other, in a positive sense. George knows us musically better than anyone else on earth – he doesn’t let us phone it in if we’re too hung over and he doesn’t take any shit. We lean on him heavily as a producer and don’t rest until the song is right – that’s how he works and it’s how we work. We’re an odd couple, I guess, but it’s great partnership and we’re really lucky to work with him.

With a guy that have been nominated so many times for the GRAMMYS and worked with some many big acts – did you let him make his work and you followed instructions or there was an exchange of ideas?
George is heavily involved as a producer, of course, and when it comes to much of what he does from an engineering perspective, we stay out of his way. But the production of the songs, the thematic tone and direction, that’s all uber collaborative.

Thank you, gents, for the kind words. We love Sunshine Riot.

10/9/14 - Excellent Review of SexCoffee's new EP Nothing Personal, recorded at Galilee from Chris Conti and the Providence Phoenix

SexCoffee (definition: “The act that ensues after inviting someone into your home for coffee when the true intention is intercourse”), fronted by lead singer Ruth Charbonneau and bassist Sharlene DeNardo, return with a new five-song EP titled Nothing Personal. The band has been in business since 2003 and has undergone some personnel changes since taking Breakthrough Act honors in our 2009 Best Music Poll (which included a memorable exchange with special-guest presenter Vinny Paz). The ’09 EP The Morning After was a decidedly heavier dosage of SexCoffee than the 2007 full-length debut The Drink You Paid For (aside from louder cuts “Last Night” and “August”). The leadoff single “Damascus” and “Love Lust” had noticeably more punch, and Charbonneau had the vocal chops and snarl to match. Guitarist Robert Dumont replaced Rick Gallego in 2012, and the addition of ex-Kanerko drummer Nick Iddon speaks volumes (literally) across Nothing Personal. Dude is a buck-fifty soaking wet but hits the kit like a heavyweight.

“SexCoffee and Kanerko shared a bill during our final run in 2012, and I thought Ruth and Sharlene were total badasses,” Iddon told me earlier this week. He would later join Kris Hansen’s Viking Jesus crew, but still needed an outlet to unleash the beast.

“I needed to find a good harder-edged rock act to get my ‘smash the hell out of a kit’ energy that I can’t fully release with Viking Jesus, and I have definitely found it with SexCoffee” he said. “I am honored they let me in their band.”

Iddon and DeNardo previously worked together as part of Malyssa BellaRosa’s backing band the Liberators, and the pair are locked in from the opening track, “Heart On a Shelf,” alongside Dumont’s ringing chords. “Ready or Not” is an ’HJY-ready track, and Charbonneau’s booming vocals lead the way on “Lying To Yourself.” Iddon sets the rumbling pace on the crushing finale “What it Takes.” SexCoffee recorded the EP with revered producer/guitarist George Dussault, who also worked with local rock greats Sweet Love, the Can’t Nots, and many others.

All three SexCoffee releases are available at and iTunes; visit for info on more upcoming shows.

And thank you Chris for your great review!

Viking Jesus wins Motif Magazine Best Rock Band 2014 Award!

From the Motif Magazine:

"Viking Jesus enjoyed a banner year, playing all over the area showcasing their top-notch chops. Viking Jesus is singer/songwriter Kris Hansen, guitarist George Dussault, drummer Nick Iddon, Uriah Donnelly, and Evan Gilroy. Viking Jesus is a bit of a departure from Hansen’s previous work. Viking Jesus adds an element of electronica to give Hansen’s tunes a bit of a trip hop feel. Their debut self-titled album channels the likes of The Beatles, Flaming Lips, Brit pop and funk. Between Hanson’s classic pop songwriting, Dussault’s shredding and Iddon providing the back beat, Viking Jesus has been thrilling audiences all over the state. Be on the lookout for more shows in the future, and check out Hansen’s Dropout Night every Monday at The Spot with Big Jon Tierney."

Reviews for Tammy Laforest's album Copper, recorded at Galilee and produced by George D.

"Right now as I write, I find myself singing along. Its now my fourth time in a row listening to this album.

It literally took seconds to download the digital copy, and less than that to be stunned. Its rare for me to find an album where I like every song, and this one is definitely on that shelf.

That voice is utterly beautiful, and it can be haunting (Gave me goosebumps). And beauty doesn’t just run in the pipes, she’s gorgeous! Go have a look at her! And obviously very deep underneath, which pours from her lyrics. It shows her strength.

The instrumentals, and Tammy’s voice could not be more perfect together. They compliment each other nicely. I have to mention the guitar solo in Copper… I’m an absolute sucker for guitar solos, and this weakened me. Well done, Sir!

Its also been pointed out that I’m fan girling… Totally true.

All in all, its effin’ catchy, and amazing. I’m very thankful to the awesome girl who recommended it. Tammy, you’re going far!"

The Can't Nots

Rob's Album Of The Week: The Can't Nots' Radio Pudding
Rob Duguay, -

Never afraid of getting loud, wild and crazy, The Can’t Nots have been one of the best up and coming acts in the Providence music scene for the past few years. All you have to do is give these soulful rock & rollers a listen to see why. Bobby Brierly’s scorchingly electric riffs of guitar, Gary Wilkinson’s impeccable drumming skills to go with the steady bass licks from Darren Frigon and Naomi Lee’s powerful voice smashing walls into smithereens, The Can’t Nots are a musical force to truly be in awe of.

They have their brand new EP Radio Pudding currently available and it has The Can’t Nots doing what they do best, turning the amps up to 11 and proceeding to take their sound to a new stratosphere. It’s early in the year, but Radio Pudding should prove to be one of the best releases to come out of The Creative Capital by the end of 2014.

When you have George Dussault from Galilee Productions behind the scenes, you simply can’t go wrong with the professional quality that one of New England’s top musical minds put into Radio Pudding. Brierly’s guitar shreds throughout each track along with Lee on vocals becoming a jaw-dropping sonic entity, setting The Can’t Nots new release apart from everything I’ve heard in a while. Part White Stripes, part Tina Turner and even a little funk reminiscent of Sly & The Family Stone, power is the constant rhythmic theme from front to back. I suggest cranking this baby up while opening the windows and not giving a damn about what the neighbors think.

A whole new year, a whole new beginning and you’re probably complaining about the cold. 2014 has had a hell of a start with the abundance of snow we’ve gotten here in Little Rhody. I personally think it helps us appreciate the beachfront summers more while someone else might think that this weather encourages people to be more of an a**hole. Before the Foo Fighters’ IT guy yells at me for writing about the weather, let me get right into my top tracks off of my Album Of The Week. It might not get the frost off of your windshield, but it’ll encourage you to get your hands on the album and blast it through your car stereo. Anyways, here goes something:

The lead up to the loudness in “The Pudding” is spine-tingling, your eyes will bulge with shock and amazement right when you hear Naomi singing her heart out. The Black Crowes-esque tone in “Picking A Fight” is raucous, a headbanging anthem that will bring out all your angst to the front & center. The echoing guitar in “Disco” is something you don’t get to hear in your average typical song, it reminds me a ton of Blondie which makes me adore this one even more. Groovy rhythms in “Old News” flow through the track with Naomi getting reflective with her lyrics. I know I only picked a few songs, but you should be used to it by now. Be well aware that each track off of Radio Pudding is purely pristine.

This Saturday at AS220 on 115 Empire Street in downtown Providence, The Can’t Nots will be celebrating the release of Radio Pudding with Torn Shorts & Brainfruit sharing the bill. A lot of great shows will be going on in the Providence area that night, but make you sure you stop by and check it out. While you’re there, grab a copy of the band’s new EP. After giving it a listen, I guarantee your ears won’t be able to deny it.

In The Sweet Spot
Chris Conti Providence Phoenix, January 8, 2014

The Can’t Nots return with a six-song EP, Radio Pudding, and the Providence (via Lincoln) quartet sounds bigger and better than ever. Everyone gets a chance to shine on Radio Pudding, with lead singer Naomi Wilkinson confidently taking the reins and riding the grooves laid down by drummer/brother Gary Wilkinson and bassist Darren Frigon, while Bobby Brierly provides big guitar bursts alongside Wilkinson’s dynamic vocal range.

The Can’t Nots caught my ear in 2011 and had me hooked the first time I heard “Go” from the debut EP Applesauce. The band garnered plenty of local positive press, including nominations in our Best Music Poll for Best Breakthrough Act (2011) and Best Female Vocalist (’12). Influences ranging from Talking Heads to Yeah Yeah Yeahs are prevalent, but on Radio Pudding they’ve blended elements of jazz and funk into the guitar-rock formula, while allowing Naomi’s voice to soar and steal the show.

This time around the band enlisted veteran musician/studio guru George Dussault (Viking Jesus) and recorded at his Galilee Productions studio. “I met George when he and I were judging a local battle of the bands and we happened to hit it off,” Naomi recalled via email earlier this week. “He was amazing to work with — infinitely talented, supportive, and overall just a great guy.”

The band knocked out the EP in two days. “We are a sad, broke band and George was kind enough to work with us at our usual frantic pace,” Naomi said.

Dussault and the Can’t Nots cohesively capture that frenetic energy throughout Radio Pudding, ably guided by the maniacal drum skills of Gary Wilkinson. Holy smokes, this dude is on fire, though he modestly attributes his beast-mode bashing to the addition of rhythm section partner Darren Frigon, who joined the band a year ago.

“On the earlier recordings I had always tried to keep it nice and simple so it would be easier for the listener to groove to because there was no bassline to keep it all together,” Gary noted. “But now that we have a solid bass player in the mix I feel that I have more freedom to explore different styles of playing.”

Frigon also gets credit for naming the band, and four years later ended up joining them. “I had a habit of speaking in double negatives, and it was always Darren’s idea to turn my fumbled speech into a band name,” Gary said.

I asked Naomi why it took so long to officially add a bass player to the lineup. “Bobby, Gary, and I had a very specific idea for the kind of music we wanted to play and we really just wanted to explore that freely without other people’s opinions or judgments,” she said. “After awhile we talked about adding bass, and Darren is an old friend from way back who played out with us a few times and had an appreciation for what we were playing, so it just made sense.”

The quirky, midtempo opener “Old News” gives way to “The Squeeze,” where the Wilkinson siblings strut their stuff and Brierly’s guitar crunch jumps in on the chorus. “Picking a Fight” is a personal favorite (Pat Benatar fronting Mary’s Danish, anyone?). Naomi never plays the role of victim in her lyrics, opening up with, “I feel like picking a fight and I know it’s not right, but maybe I’ll do it anyway” and “It’s just a game to me, it’s insane to me.” “The Middle” follows, a slow burner that flares up at the one-minute mark. This one will sound even better in the live setting. The Can’t Nots let the funk out on the final two cuts, “Disco” and “The Pudding.”

“We really wanted to continue with our power-rock roots, but even around the time we recorded the Applesauce EP we had started moving toward incorporating danceable melodies, and ‘Disco’ was probably the first song that led us towards where we are now,” Naomi told me. “The Pudding” follows, and the first minute or so cruises along on a slinky, jazzy pace before Brierly’s guitar detonates the track, allowing ample opportunity for Gary’s maniacal fills and his sister’s soaring vocals to bring it home.

The highly recommended Radio Pudding EP is streaming free of charge at ($5 download), and hard copies will be available at the CD release show on Saturday.

Viking Jesus

Mark Clarkin - Motif Magazine - Dec 13, 2012

Viking Jesus is singer songwriter Kris Hansen's latest project in combination with George Dussault and it's a bit of a departure from his previous work.  Viking Jesus adds an element of electronica to give Hansen's tune a bit of a trip hop feel.  The album kicks of "Ebola," which has a hypnotic groove and a killer Beatles-like turn in the outro. Hansen's vocals sound defiant on many of the tunes including "1 & 7" in which the urgency conveyed gives the tune an almost stripped down version of Slim Cessna's Auto Club feel.  "Traffic Song" has a Brit pop feel in a Blur-goes-trip-hop kind of way. 

Viking Jesus revisits my favorite tune from Hansen's previous release (Kris Hansen's Left Hand Band Presents The Kollective), "My Disclaimer," providing the McCartney-esque melody a facelife while retaining hope through the darkness.  "Big Brother Blues" has a jam band funk flavor.  The record closes with an untitled track, which features some ferocious '60s fuzz guitar shredding over the electronic beat.  All and all, I dig the new direction than Hansen and Dussault have embarked on with Viking Jesus.

Groovy Rhythm


Founded by North Attleboro drummer, percussionist and educator Rick Morin, The Rhythm Room is known for eye-popping stage shows and original music that covers the musical waterfront from pop to rock, blues to jazz and African rhythms to country.

Now the versatile troupe has taken on an even bigger challenge: topping their well-received first two albums. Judging by their newly-released CD "Groove Infusion," it appears they have succeeded.

Those who know The Rhythm Room from their crowd-pleasing stage shows at Showcase Live or their well-conceived original songs will be well-pleased with the group's latest offering from its high octane title tune to its sensitive love songs that make up a genre-bending trip around the musical universe.

Anyone who isn't familiar with the North Attleboro based group will be astounded by the musical capabilities of the band, blending Broadway-style glitz with the spontaneity of a rock concert.

Members of the Rhythm Room cast will be performing original music along with holiday tunes and classic covers Friday evening at the Lighthouse Bar at Twin River Casino in Lincoln, R.I.

Groove Infusion was produced by Cumberland audio wizard and prolific guitarist George Dussault, who polishes the slick production to a high sheen. The record also features equally sharp songwriting that swings from the driving rock of "Groove Infusion" to a Louisiana drawl on the bayou-friendly "Cajun Lullabye" and a Nashville-esque "Hiccups and Heartaches" whose lyrics give a musical kiss-off to a fickle boyfriend.

There are also brassy blues instrumentals ("Jibberjam"), Blood Sweat and Tears-reminiscent rock hybrids ("She Devil") and ample demonstrations of the group's virtuosic percussion roots ("The Core," "Birchbark and Glowsticks").

The surprise is that all this genre-hopping in one package works. It does because for several reasons: tight, purposeful songwriting, adherence to carefully-crafted themes, high production values and the multi-instrumental and vocal capabilities of a talented cast.

Julie Marinucci and Tom Frederick highlight a cadre of talented vocalists while Morin, Dussault, Alan and Kait Clavette, Micah Weaver, Seth Antonitis and Tyler Matte as a group more than hold their own on everything from keyboards to African drumming and brass instruments to the digeridoo.

If you're in the market for a last-minute stocking-stuffer, "Groove Infusion" will have your favorite music fans rocking in front of the Christmas tree. Copies can be ordered on the group's web site,

Malyssa Ready to Open Up


  • I first met Malyssa back in the days when she fronted her band, S&M. She is an alumnus of my old Hear in Rhode Island Festivals.

This disc, Open Up, is a stellar work of recording. Producer/Engineer/Arranger George Dussault of Galilee Studios in Cumberland is a musical genius. “George is extremely professional and efficient, but those qualities are second to the creativeness and musical intuition he possesses.” Malyssa says. I have previously heard some of his work with Kris Hansen’s Viking Jesus project and was quite impressed. Dussault transformed Bellarosa’s compositions into pop-indie rock perfection.

While Dussualt played most of the instruments on Open Up, Malyssa provided powerful and passionate lead vocals, sometimes layered, on each of the disc’s nine songs. She has a distinctive phrasing style that is consistent in all the tracks. Bellarosa wrote three of the songs for the project as “assignments” for a RISA Songwriters In The Round Show at AS220 and a Four Corners Show at the Mediator. All of the songs are gems, but she definitely saved the best for last.

Track # 9, “Shine” is an anthemic closer to the CD. She sings, “Open Up, Don’t Hide, Share your heart, share your mind, Forget the voices, Forget the voices.” It is such a powerful song it could be a closing number for a rock musical or Broadway play. I had it playing in a loop most of the day that I got the disc. You need to get out, see Malyssa play and get this CD. You can do this by attending her CD release party on Thursday, October 27th at 9pm at the Spot Undergound. The music is also available as a digital download for $10 at using PayPal. Malyssa BellaRosa and George Dussault (special guests to be announced) will perform the songs on the CD at the onset of the release party.

Malyssa Bellarosa soars on debut solo CD Open Up

By Bill Copeland on November 11, 2011

Malyssa Bellarosa just recently released her first solo CD, Open Up. The CD is certainly an opening up for this Rhode Island singer-songwriter. Here, she steps away from her acoustic solo mode that she is known for in Providence and shows more of her aggressive side. Bellarosa is hard rocking this time around, with producer George Dussault playing most of the instruments to help flesh out her creative vision. Bellarosa and Dussault recorded Open up in his Galilee Studios in Cumberland, Rhode Island.

Bellarosa’s voice and songwriting make you picture her as some kind of exotic sorceress, a magical woman who can conjure many musical nuances. Like a magician, she suddenly brings the unexpected into full view from out of nowhere, with her musical sleight of hand.

Open Up begins with “Lover Undercover,” Bellarosa’s silky smooth voice easing its way forward over the pop melodies that inform this song. This vocalist takes her natural sliding voice and asserts it over her clever, textured musical terrain. It is a treat for the ears when this young lady takes her timbre out for a joy ride.

“Moving On” finds Bellarosa in more hard rocking territory, aggressively belting out her vocal lines like a big cat roar. She just belts those words without ever losing her sensual exotic timbre.

With its hypnotic keyboards from producer Dussault, “Wounds” showcases Bellarosa’s softer vocal approach. On this quiet, tender number, she emotes all sorts of haunting, lovely coos and mesmerizing charm. Bellarosa has a larger than life presence in her music, projecting many emotions with power and technique.

“Music Is My Soul” is the theme song for Bellarosa’s life. She is, has been, and always will be a woman whose music defines her life and projects her persona onto a larger canvas. This song is also a beautiful artistic expression of one person’s love of her art. It is in Bellarosa’s clever use of dynamics to announce the energy abounding inside her.

“All My Love” leaps into a Heart-Pat Benatar mode with an acoustic-electric guitar mesh. Bellarosa gets 1970s style belty in her chorus. She kicks scratches, and claws her way through this tough mama vocal approach. Listeners will like the way she sings this song while at the same time becoming afraid to run into her in a dark alley. This one could be a bad ass hit single.

A contemplation of economic injustice, “One Headlight Out” describes how the distribution of money divides us and binds us into different lifestyles. Bellarosa puts heart and soul into this one with her mighty, emotive vocal, leaving no doubt where her sympathies lie.

“Me Without You” plays out its succession of gusty choruses with a mighty guitar in the background blowing heavy winds into its sail. Bellarosa creates a tempest of emotion and soul, like she’s directing it all with a magic wand, layers and textures all under her command. Again, she comes across like a sorceress, walking to the edge of a cliff, raising her staff, and causing the sea below her to erupt into huge waves of sound.

Bellarosa always draws a careful balance between technique and feeling “Never Be” gets its melancholy, mournful feel from the dual cellos of Allison Reid and Samantha Wendland and a lightly picked acoustic guitar. With her wide timbre and rangy voice, Bellarosa perfectly captures the sadness of expression, much like the string duo supporting her.

Bellarosa closes out with “Shine,” a song that encourages you to ignore the critical voices around you in life and go for the thing you’re most focused on. Her energetic voice powers this one into anthem-like choruses. She lets you know that she means business and she will live life on her own terms.

Bellarosa and Dussault have much to be proud of here. Her voice, songwriting, and his instrumentation and production combined to craft a very likable, catchy disc. Bellarosa is one of the most impressive vocalists on the Rhode Island music scene. She should be talking to booking agents about a northeast tour of original rock venues.

The Sun Chronicle, Attleboro - No. Attleboro, Mass. s Thursday, October 2, 2008

Rhythm Room aims high and succeeds with "Circle of Souls"



Few musicians or composers would try to compress the story of rhythm and its influence on life and music into a single, live show or a CD.

But that's precisely what The Rhythm Room, percussion-based ensemble conceived by drummer and music educator Rick Morin, does in its new live show and indie CD titled "Circle of Souls." The result, which the band rolled out on stage Friday and Saturday at Rhode Island College, turns out to he far more than a collection of songs.

Circle of Souls, which tracks the beat of human experience through the blues, urban rhythms, African, native American and World Music, is a complete thematic experience that invokes soul, street beats, jazz, rock and even hip hop through 16 original - and memorable - tunes. Produced by multi-instrumentalist and all-around sound wizard George Dussault, the disc must qualify as one of the most significant works of art ever released by a local ensemble or soloist.

Morin, who hosts a North Attleboro cable TV music show also called The Rhythm Room, is the visionary who built the band over the course of several years from a cadre of former students and highly virtuosic friends. Morin himself either wrote or collaborated on more than half the songs.

Unlike other contemporary percussion groups, The Rhythm Room does more than drum on trash cans, plumbing and floorboards. They integrate guitars, synthesizers, horns and lush vocal harmonies to create a full- flavored melodic experience.

Vocalist Julie Marinucci, who co-wrote several of the songs, lights up the disc with her at-times soulful, at-times soaring voice. On "In The Beginning," which she wrote, Marinucci sets the scene with a sensitive preamble that leads into "One Voice," a powerful, optimistic anthem written by Dussault and Morin. Songs like "Beat Street," a collaboration with rapper D-Rhyme, capture the percussive energy of the streets. "Maka Sica," which Marinucci sings partly in Spanish, brings listeners ringside to what one imagines to be a Barcelona cabaret.

The influences and the genres roll on and on. But variety somehow reinforces rather than dilutes "Circle of Souls," a unified whole made from disparate but complementary pieces.

While The Rhythm Room is essentially a collaboration between nine musicians including Morin, guitarist-producer Dussault's influence is felt more than most on the tour de force disc. Dussault's piano and synth parts underpin a good part of the album, and his versatile guitar playing is prominently on display as well.

Dussault, a top-class studio producer who has worked with both local and national talents, also gives the new CD a 'live' feel by minimizing spacing between individual cuts and underlaying the recordings with a subtle background that simulates an expectant concert crowd.

Both the disc and the live show rely on a cast of highly- versatile musicians who must fill multiple roles. Morin, Harry Hagan, Micah Weaver and Dave Davignon provide the core of the Rhythm Room's percussion. Seth Antonis doubles on percussion and digeridoo. Alan Clavette plays trombone as well as performs keyboard and vocal parts, while Kait Clavette plays trumpet and euphonium as well as singing backing vocals and performing on keyboards, guitar and trumpet.

Tom Frederick sings as well as narrates and plays world percussion.

The Rhythm Room videotaped its performances last weekend for a future DVD that they can show to potential bookers. Morin is candid about his desire to promote a national tour for The Rhythm Room, and his confidence is not misplaced.

In a world of Celtic Woman, Celtic Thunder and River-dance, the world is ready for a live ensemble founded on something other than step-dancing, stage prop castles and hackneyed pub ballads.

12/8/13 - New Rhythm Room Christmas Video!

Here's video of The Rhythm Room recording a Christmas Mashup in November of 2013 at Galilee Productions.

Click Here for a great review of the excellent new Senior Discount album!

The Rhythm Room

Circle of SoulsGroove Infusion

Selected Credits from Client Albums:

  • Dino Club - Bright Screen Wide: "A very special thanks to George Dussault, who could have just engineered the record, but instead opened his heart and ears and became much more; producer, friend and fellow Dino. Thank You."
  • Bohemian Quartet - Beyond Tradition: "Special thanks to George Dussault, a truly amazing recording engineer who managed to capture us at our best moments and the put it all together for this CD."
  • Rhythm Room - Circle of Souls: "Special thanks to George Dussault for his amazing talents as musician, songwriter and producer; Instruments played by George: Piano, Guitar Bass, Acoustic Guitar and Synthesizer."
  • Baylock - One Good To Be Told: "George Dussault, you are just as much a part of this album as us. Beyond just tolerating and recording us, you've made us better musicians in the process."
  • Joe Parillo Trio with Jay Hoggard - Segments: "Thank you to George Dussault for his extraordinary ears and always the extra in engineering."
  • Antoinette Ferrara - Meditations of the Heart: "Thanks to George Dussault for working tirelessly to ensure the completion and quality of this project - You're the best!"
  • George and MD would like to thank our clients for supporting Galilee over the years, and for their kind words.

Left Hand Band"...A Celebration of Sound...Pick up a copy. It's a plain ol' blast..." - Bob Gulla, the Providence Phoenix

AmsunoGeorge Dussault hooks Clokworx emcee AmsUno up with a beat that just rolls along. Dussault drops a cut similar to the production of Celph-Titled, so if you're into that steez, than cop this. The RI emcee drops sarcastic rhymes that not only make you think, but also bump to move heads. "Brimstone & Fire" is nice, so roll your pennies and buy this.

Rhode Island based duo Clokworx still remains as one of the most interesting up and coming acts of the indie hip-hop movement. And after blessing us with goodies (and near-classics) like the 1999 "Mental Flux" wax debut, Clokworx also delivered last year's dope "Preservatives" single on Cybertek which also held the favorite "Robots". Now it's time for one half of the duo, emcee Ams Uno, to attack on his own. We're getting "Your Brain On Ams" b/w "Brimstone & Fire" on a nice piece of 7" plastic, out on Commonwealth. And these gems are two pure bangers, really. Ams' own beat delivered in the title cut hear, is nothing put pure heat. Beat is standing out on its own (spiced with cuts from DJ Orator) but Ams Uno is also remarkable as a unique lyricist by all means. He's showing that on this wax (again). B-side selection "Brimstone & Fire" is a more of a straight laced banger by George Dussault. And while we're again getting the top notch beats we want, this track is another example of how dope Ams Uno really is when he's rollin with full throttle on the mic. Really dope, and we are just LOVING this record. For its upright honesty, and for its strict, basic hip-hop sound. Ams Uno will drop a full length somewhere this summer, but make sure you bang this record through-out the entire spring season. It IS that good.

"George was not just an engineer or producer on our project. Rather, he was the fifth member of the band, someone who brought new ideas to the table. These ideas were fresh, new, and great suggestions that made our album more dynamic. We wouldn't choose another person to work with."

"George's ear for music is unparalleled. He knows what sounds right, and how to improve musical choices. He strives to make everything sound the best as possible and succeeds." - Acronym
The studio address is 90 Hines Rd, Cumberland, RI 02864. For directions, click here.
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