Jimmie (J Metro) Moore is a Singer, Songwriter, Composer, Multi-Instrumentalist and Poet based in Houston, Texas. With 8 Billboard Charting Singles, J Metro has opened for Faith Evans, Brian McKnight, John B, Mary J Blige, Maurice Star, Allen Stone and Bruno Mars. In 2013 J Metro toured West Africa as the headlining American artist in the Jazz A Ouaga Music Festival located in Burkina Faso and was a guest speaker, panelist, and performer at the 2015 World Intellectual Property Organization (WIPO) in Geneva Switzerland. It is with this stunning curriculum that J Metro steps up to the plate with his latest single, “Groove”.
A master class in arranging pianos, bass, and falsetto, fulsome in its wish to connect with an object of desire, condensing a future of possibilities into a metaphor of upper-bourgeois comfort, “Groove” is a new peak for this singer-songwriter. J Metro imagined a new urban soundscape decorated with accents from the past and braided with filigrees of the newly present to the future.
Evolving from an rudimentary and rhythmically lethargic R&B simulacrum to structures that, like a good poet’s command of the sonnet, gives him liberties within the affirmations of sonic form, J Metro has sculpted a molten and fusible sound that will excite just as much as hypnotize.
He pledges his troth to the ladies while letting the listeners worry about specifics. The command of pitch here is a promise fulfilled the show of effort a valentine to the object of desire. This distillation of sound is J Metro at his purest.
In fact, it’s so subtle, so smooth and so goddamn sexy that it sounds like he’s molded his musical vision to find the very heart of soul music. The track feels invigorated by these new-found timbres. It’s almost as if this song has been around forever, half-finished and fussed over, with J Metro adding and subtracting ideas, until, at last, he found the right sound.
What’s impressive about this record, what is always impressive with J Metro, is the space between the instruments, the restraint, the way every flourish, swell and riff seems to be more streamlined down to its smallest possible size while being given lavish enough production to make it sound like the perfect backdrop to the main instrument – his voice – which touches the listener with sensual tones and a falsetto that can devastate.
His voice on “Groove” is a technical marvel, but delivered with feeling that never comes across as being showy. It’s a new sound but it’s the same old J Metro, an artist who would rather blaze his own paths than travel well-worn roads.
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