It is a brave move indeed to take on a P J Harvey classic and try to bring something new to the table. Yes, covering the song is easy but for an artist already dripping in non-conformist creativity and single-minded sonic direction, there is little point in taking on such a task unless you can bring a similar uniqueness to the song.
Thankfully, The Secret Things seem to have exactly the right mind set and approach to the song’s reinvention and the result is the perfect blend of their own leftfield alt-rock and Harvey’s beautiful and terrible resonance. They manage to create a version balancing power and restraint, a musical tide that pulls the listener in and just up to the edge of the maelstrom, a majestic cacophony if ever there was one.
Not many people can take on such a song from such an uncompromising artist like P J Harvey and hope to breath new life into it, but the fact that The Secret Things are able to do just that suggests that they might not be that secret for very long.
Some bands like to push boundaries, storm barricades and try to change the face of music; others stick to what they are good at and work in familiar territory. It seems impossible to simultaneously work in both fields; surely they are polar opposites, mutually exclusive, opposing camps. Well, yes, but somehow Desert Clouds bridge that gap. For whilst you can see the familiar elements that make up their sound – a large helping of grungy, stoner rock and desert blues tempered with psychedelic sensibilities – the way they re-arrange these sonic building blocks produces something wonderfully refreshing.
But whereas many bands could take the same musical elements and end up making a clichéd pastiche to any number of bands on the Homme/Lanagen musical axis or worse, try to reimagine 90s Seattle, Desert Clouds manage to make rock music that is cool, groove laden, infectious and well, to be honest…damn sexy. It is also forward thinking, wonderfully of the “here and now,” and reeking with modernity rather than nostalgia. Forget the patched denim hordes and their nostalgic tunnel vision, these guys not only know where they come from, more importantly they know where they are going and that is what really counts.
Drayter is an award winning pop/rock band from Dallas,Texas. Renowned for their high-energy live shows and emotionally charged modern rock songs, Drayter stitches together melodies from both pop and traditional rock ‘n’ roll that are impassioned, heavy at times, most assuredly danceable, and pop in all the right places.
With Liv Miner’s angelic female vocals, jazzy bass lines, combined with Cole Schwartz’s slicing guitar and driving percussion, Drayter’s sound is both unique and familiar to even the most discerning music fan.
It is great to see such a young band, making great music. They take a whole range of musical influences from Foo Fighters to Periphery to create there own style of progressive rock with soaring melodies.
Suburban Myth are a rock band currently based in South Carolina that takes its music influences from bands such as The Goo Goo Dolls and Shine down. Its lyrical influence range from its appreciation of a wide range of musical genre, however rock legends such as Mike Peters and David Bowie figure heavily in their love for anthemic music and one half of the songwriting duo is based in Nottingham , United Kingdom , giving Suburban Myth a cross Atlantic element to their music .
Suburban Myth bring their own unique individualism which together produces a melodic rock sound that surrounds and encompasses storytelling that gets the feet moving and the mind reflecting.
Suburban Myths second Album “Wilderness” will be released sometime in 2016. The single “Wilderness”, received its radio debut on BBC Introducing to an enthusiastic review from its presenter Dean Jackson and has an atmosphere complimented perfectly by the emotional tones of vocalist Derek Daisey.
“Wilderness follows the release in 2014 of “Welcome (If Only) Suburban Myths first Album. A 15 track compilation that received great reviews with the single “Crashed and Burn” having a good deal of media attention , including airplay on Planet Rock (Wyatt radio show)
Los Angeles-based GROVES comprised Stephen Salisbury (vocals/guitar), Reid Guidry (bass/synth) and Will Smith (drums). The native Texans met in high school at the age of 14 and after years of sharing the same affinity for music, they left for LA in pursuit of starting a band.
Inspired by the likes of Elvis Costello, Phoenix, Blink-182 and The Beatles, the band’s sound is broad and unafraid to experiment. Highlighted by tight groove based, melodically rich guitar interplay, dark synth underpinnings, and vocals that are at once urgent and passionate.
On January 13, 2016 GROVES revealed the first piece of the puzzle, their debut single “Ender” alongside a music video . The release is currently being spun on LA’s New Alternative: Alt 98.7fm, as well as KCRW, and has also climbed to #1 on Hype Machine’s Most Popular Tracks on Twitter. “Ender is a call to arms and represents the rebirth of our music. We’re very excited to show you the rest of what’s recorded” says vocalist Stephen Salisbury.
Wingman is an alternative rock band that lives at the juxtaposition of pop sensible and melancholy.
After years of frustrating and failed personal pursuits, members Con Davison and Dan Stewart met and formed their sound while playing as the rhythm section for another notable indie band, Ancient Mariner. Their debut record, Honcho, tells stories of stolen money, losing faith, and fighting crippling anxiety, all while being delivered by fuzzy guitars and infectious melody.
Self produced and engineered, the duo recruited Brett Bullion (Bad Bad Hats, John Mark Nelson) to mix the record and Huntley Miller (Low, Aero Flynn) for the master.
Their first single, Giant Microphone, boasts grit and groove in which bobbing your head becomes second nature.
The second single, In Comes Rushing In, is a clean and moody track, that builds in intensity and power; all the while never losing its melancholy sweetness.