There aren’t many tracks that can get me to proclaim feelings of love before the chorus even begins. But Handmade Amigo’s second debut single “Let it Roll, Or the Whale” hit the spot like no other musical collective have before. The Psychedelic Soft Indie Rock & Roll Jam is a carnality of uplifting pleasures that reminded me of the sweet melodies of bands such as Dinosaur Jr.
They teased the introduction with a lullaby of sonorous sound before crashing into the verse with a raucous ensemble of percussion headed by a bass soaked atmospheric beat. Attempting to deconstruct this track is ion impossible. The complexities and melodies fuse themselves so tightly together, it’s just best to sit back, relax and enjoy the cacophony on offer from The Orlando, Florida based quartet.
The Handmade Amigo’s switch from rattling guitar riffs with an adequate pinch of moody reverberations straight through to piano sweeps to reincarnate the song through every second of the 04:26 duration.
Judging by the innocently charming music video, they’ve got a long way to come in the industry, but I’m most definitely sold on what they have to offer.
Cagework was born as the musical project of Samuel Bedford after being conceived in the cello rock aficionado’s bedroom. His humbly dramatic sound is reverberating through the streets of South East London as underground revellers are all too eager to drink in the eclectic sound which he creates. Working through his back catalogue was an audiophiles treat, yet nothing stood out more than Mould.
Cagework’s debut track is a quaint, resonant mix, with a Shoegaze Indie styling, that sounds as though it were born through the 90’s penchant for reverberated guitars and stifled vocals. Mould is an atmospherically haunting mix, dubbed with some silliness that will quite literally take your breath away.
Coming across an artist that doesn’t take itself too seriously is a pretty hard accomplishment to achieve these days. Yet the London based Singer Songwriter seems to master the ability with ubiquitous ease tackling a Sonic Youth style silliness in some of his tracks. Other tracks flow with a prominent cello domination to give his sound a more orchestral and harrowing sound.
Check out Mould, along with Cagework’s other tracks by using the BandCamp link below:
Even before you read anything about the wonderfully titled Vlad In Tears you could have a decent stab at the fact that they hail from Europe, German even and you might even be confident enough to suggest Berlin. And you would be right. There is something in their sound which seems to scream “Old World” and those dark corners which sit perpetually across some of its oldest cities.
If the bands name seem to suggest something aimed at the black clad, wannabe pagans who still have visions of relocating to Sunnydale and hanging around with Buffy and the gang, I am most happy to report that Vlad In Tears rise far above such first impressions. Give the music a spin and you find yourself in a dark and emotive alt-rock soundscape. Even the term gothic, as a genre at least, is slightly amiss here, for it neither fits in with the old-school post-punk movement or the metal sub-genre it has since become. If it is gothic at all it is more in the literary sense, painting dark mystique, broken romanticism and haunted emotions across its musical canvas.
I can’t remember the last time I stumbled upon an alternative track as inviting as Thirteen off the new album from Television Generation.
I’m not sure if it’s just because the track was designed to appeal to my millennial disposition, or I just got swept up in the cacophony of sound which Peel curated through their debut track but, I’m sure that this song will be a regular feature in my angsty play lists from here on out. The indie rock band from Denver, Colorado have a fresh sound that cannot be pinned against another, It’s clear that this band have orchestrated their sound without borders to create the smash hit Thirteen. This delectably talented trio are only just in their infancy on the indie scene. I’m excited to see what they create after the momentum which they have created with this track. The lyrics are so resonant and relatable to anyone who is fond of a pinch of melancholy. Similar to the styling of Fidlar and Wavves that’s sure to appeal to a younger generation of fans.
To check out their latest track head on over to BandCamp via the link below:
Fitzgerald once pointed out that there are no second acts in American lives but Proudest Angel may beg to differ, there my have been a 12 year breathing space but two years ago the band roared back onto the scene with renewed vigour. Proudest Angel has been nothing if not consistent in their mission to put muscular, dark, grunge infused old school metal back on the map and Shoulda Known Better is a blend of the cold, doom-laden edge of Danzig’s dystopian blues-metal and the emotive, sonic drama of Staind, built as much on an intangible weight as the power of the musical delivery itself.
It is at once relentless, direct, raw and uncompromising, ticks enough boxes for those who dig the classic template but has enough of the contemporary hallmarks to appeal to a generation of hard rock fans who have grown up since the band has been away. Fans of rock and metal in all its forms will find a lot to like, the gothic set will appreciate its dark soundscapes, the more industrial minded will find its raw beauty and dystopian vibes to their tastes. In fact if you are a fan of the harder and heavier music in any form, Proudest Angel are definitely one to check out.
It might seem like an odd choice to cover a Led Zeppelin song from the bands second biggest selling album of all time, but rendered back into a minimal bar-room blues solo affair it does remind us of just how much that iconic band made a name for themselves by, if not plagiarising the old blues masters, at least channeling them. And this song in particular is very much based on a traditional gospel song already a favourite of folk revivalists and New York coffee-shop troubadours.
Vic Richardson renders a faithful and authentic pre-electric sound which echoes with the ghosts of a by gone age and returns the song to its rightful home through stripping it back to its bare necessities and letting space, anticipation and emotion do the rest. Sometimes you don’t need to bring much to the musical table, a song with this much history and tradition already drips with resonance and atmosphere, all you have to do is give it the freedom to take flight.
Last Wild Lion are an Alternative Rock collective of five respectably talented musicians hailing from Edinburgh, Scotland. The spotlight undeniably goes to Sarah Monteath for her sweet orchestral lyrics which she throws into a mix of muted instrumentals with a downtempo styling and compelling immersive breakdown leading to stylish build ups. Sarah’s talents don’t end with her vocal ability, the multi instrumentalist also throws in her talents on the violin and keys into the mix to create a dreamy Pop Rock Sound.
The bands sound is simply out of this world, they’ve created an Alternative sound that wouldn’t sound out of place on any mainstream radio station. The talented collective have blended their passion of 90’s emo music. Taking inspiration from Jimmy Eat World, Cross My Heart and Penfold, the band create a pensive sound of authoritative conviction.
Last Wild Lion have just brought out their new Double A Side which is an evocative exploration of human emotion that’s bound to take you on an emotional rollercoaster as the tracks progress from minimalism into raucous soundwaves of chaos. The tracks treat you with a taste of melancholic nostalgia with an ironically haunting Scottish sound.
Check out the bands new debut hit on SoundCloud now!
Julez is a young and talented musician hailing from the NYC/NJ area. Her sound is a great combination of blues, rock and pop, going for a very energetic approach.
When you think of blues music, most of you might think of old-timey music with a retro feel. While Julez still retains a charming old-school tone in her songs, her offering is also compelling and modern. This talented young artist is able to project the blues into the new millennium, catering to a new generation of fans. In partiuar, Julez excels as a live performer, as she can truly kick things up a notch on a stage, where she can get to engage with her audience. Having said that, Julez is also a great studio artist, as shown on his recent studio release.
“Back To First Steet” features 7 exciting blues/rock numbers that highlight the artist’s flexibility and creative vision. Her sound makes me think of influential performers the likes of Jefferson Airplane, Janis Joplin or Lucinda Williams, showcasing a whole new different personality.
Armed with her trusty Fender start, Julez is all about conquering her audience with immediate lyrics and unique vibes.
A kaleidoscopic release from an unpredictable act that will keep you on your toes.
Oya Paya is a band with a truly spontaneous and eclectic approach to their productions. Their music could be considered avant-garde, but their work lacks the pretentiousness and self-indulgence that is often associated with that particular artistic current. In other words, Oya Paya does not create challenging music for the sake of it, but to follow a genuine need to say something in a different way.
Their recent release is titled “Put My Record On”, and it is a great way to showcase how their sound can be smart, yet accessible.
The song is featured within the band’s remarkable debut EP (essentially self-titled, yet stylized with some fascinating fonts) which you can listen to by clicking this link. This particular project is more than an EP in its traditional sense, as each song has a vibe of its own, with an accompanying music video to offer a visual backbone to each tune.
“Put My Record On” is not actually a single, but rather a mix of tracks taken from the EP, combined with a few unreleased numbers and other exciting projects. The project’s broad creative scope is also reflected in the very nature of the band. The 3 masterminds behind Oya Paya come from different countries and bring different creative background to the table. In spite of the band’s drummer being currently stuck in Singapore (his homeland) due to immigration issues, the group is still eager to make more music, while fighting to get him back to the UK.
It comes as no surprise that Grand Lotus come from Tampa, there is a sun drenched vibe which runs through their chiming alt-pop, surf-rock what could only come from such a warm climate. There is also a sophistication which belies their young age. Whilst most guys their age content to be heavy handed copyists of the likes of the Foo Fighters, it is fantastic to find a band who revel in more intricate and more interesting music, heading more into a more Doobie Brothers or better still, Steely Dan direction and that in itself is both an indication of their skills as well as their bravery.
Australia is at once frictionless and luxuriant but with just enough grit in the oyster to keep things from heading off towards the middle of the road and their sound might wear rocks outer garments but you catch glimpses of jazz, R&B and pop undergarments underneath. Now they have proven that they can infuse rock with more interesting elements, we can all wait with bated breath for them to flip the concept and really get creative.