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Grunge

Coyote Fire came in electrifyingly hot in their garage rock revival ‘Klepto’

Coyote Fire

Coyote Fire will steal the show with their latest electrifyingly hot garage rock revival, Klepto. Fuelled with the noisy nuances of grunge and reverent to the insurgency of rock n roll, the Chicago fourpiece became the sum of all parts while ticking every conceivable garage rock box with their ferociously infectious track that puts the devil on your shoulder and compels you to fall in line with the kleptomaniac tendency of the lyrical protagonist who makes no apologies before taking what they want. Starting with the track with a voice of contempt in the medium of a voicemail, the tongue in maniacal cheek energy doesn’t hang around before asserting itself in the riled with raucous flavour single.

The ensemble’s roots trace back to the former band of Louie Kertgen and Miguel Contreras, Yard Sale, which couldn’t endure the loss of their leading voice, Jimmy Dooley, who passed away in 2018. As the calendar pages turned, Louie and Miguel’s paths diverged, only to be rekindled when Louie traded his drumsticks for guitar strings, finding solace in six strings and a new beginning.

The spark reawakened; Louie dialled Miguel’s number with a proposition that set the stage for rebirth. They coaxed Austin Yurasek into the metamorphosis from guitarist to bassist, and his conviction to the cause was absolute, “The vision was clear, the purpose was calling, and I was all in,” he affirmed after the pitch of the idea. Yet, their symphony lacked its final note—a drummer. Enter Victor Aguirre, the percussive wizard whose hands could converse with any rhythm. Louie, through a twist of fate and a friend’s recommendation, sent Victor some rough cuts. Victor heard the call, and like a moth to a flame, was enchanted by the vision.

Coyote Fire isn’t about the vanity of uniqueness, the complexity of sound, or the chase for flawless execution. Their creed is to forge a visceral bond with their audience. If the crowd’s pulse matches the beat of their music, their mission is accomplished. They aim to weave an intimate tapestry of emotion, attitude, and raw power. Influenced by the likes of Jack White and The Black Keys, Louie adopted a philosophy where music serves as a bridge to the soul, a raw yet simple channel to convey their stories, and a performance that teleports the listener into the band’s collective consciousness.

Klepto will be officially released on November 15; stream it on Bandcamp and Spotify.

Review by Amelia Vandergast

Master Splinter – A Caustic Version: Mike Patton Spawned a Stoner-Rock Monster

If the Alice in Chains discography hit a little bit harder and attacked their song crafting with an infectious sense of facetiousness, their grungy tracks would roll with the same vitriolically zany punches as Master Splinter’s latest single, A Caustic Version, which also runs in the same Machiavellian vein as some of Mike Patton’s most maniacally unhinged tracks.

With the vocals taking on swathes of different guises to amplify the unpredictability of the hard rock hit, your speakers will be smoking the wildfire ignited by the Portland, Oregon-based outfit’s determination not to take themselves too seriously.

If you’re sick of the brooding narcissists who proliferate rock and metal scenes across the globe and want a taste of eccentrically elemental stoner rock ingenuity, sink your teeth into A Caustic Version

A Caustic Version was officially released on October 17th; stream it on Spotify.

Review by Amelia Vandergast

Bellwether exhibited a tonal melancholic masterpiece with their alt-rock single, Gates of Gold

After an opening sequence of shoegaze-y angular guitar work, the standout single, Gates of Gold, by the US duo Bellwether transitions into a doomy synthesis of melodic prog rock and superlatively matured pop-punk with just enough room for a little bit of Modest Mouse reminiscent twang.

Juxtaposingly, Gates of Gold unfurls like a record you’ve been addicted to since the 00s while very progression is a lesson of scintillation thanks to the pioneering song crafting in the hauntingly spectral single which starts to pull the heavyweight punches towards the mid-way mark. A single which traverses themes of child loss was always going to hit hard, but my God, the melancholy mixed with the atmospherics of the tonal masterpiece is as affectingly raw as you could possibly ask for.

I have no idea how Bellwether evaded my radar up to now, but if I’m certain of anything, it is that I will follow them to the grave after being consumed by their debut EP, gods. Since forming in Atlanta, Georgia in 2021, the duo hasn’t failed to amass momentum with their releases and live performances, which has seen them share stages with the likes of The Mysterines and Manchester Orchestra. We can’t wait to see where their talent takes the duo next.

Gates of Gold was officially released on September 22nd with the rest of the debut EP, gods; stream it on Spotify.

Review by Amelia Vandergast

Nullor has arrived with his compelling prog rock Tour De Force,  Here

The Fort Worth, Texas-hailing solo artist, Dan Crawford, operating under the moniker Nullor has made his long-awaited debut; it came in the form of his dynamic LP, Finalform. The dusky, doomy and artfully captivating lead single, Here, envelops you in an atmosphere you will never want to come up for air from.

The progressive 6-minute Tour De Force won’t fail to evoke contemplation; the grungy vocal lines which run in the veins of Alice in Chains allow the melodic ambience in the orchestrally cut instrumental arrangement to resonate as a sonically sweet sedative before the monolithic build and burst into intricately electric groove metal.

In the following single, Overdrive, Nullor gives you a taste of classic thrash metal, proving that there are few alternative genres outside of his repertoire. Rather than being a jack of all genres, the versatility of his talent is just as impressive as the degree of it.

Here was officially released with the Finalform LP on September 29; stream it on Spotify and follow the artist on Facebook.

Review by Amelia Vandergast

HeadWar has another hit in their grunge-punk arsenal with ‘Ladders’

With their sophomore EP, Bled Dry, the Madison Wisconsin prodigal sons of grunge punk HeadWar forcibly occupied the middle ground between Fugazi, Nirvana and Pantera and took no prisoners.

The self-described icons of awkward exceeded themselves with the catatonic furore which unfurls through every fortified with catatonic contempt progression in their most seminal single to date, Ladders, which is a cutting with razor-sharp lyrical position exposition on the need to socially climb.

The monolithic breakdown which bursts into a riff that would even leave Slayer fans weak at the knees is the ultimate affirmation of the technical skill of the powerhouse, which is otherwise disguised by the speed of the time signatures and lashings of distortion which lends itself effortlessly well to the lyrical lamentation.

Stream the Bled Dry EP by heading over to Spotify.

Review by Amelia Vandergast

It’s all about the instrumental and mental breakdowns in Jeff from Work’s shoegazey grunge rap hit, Stand Up

Imagine the Beastie Boys augmenting their sound with the anthemics of Nirvana and accentuating the intricacies of the melodies with elements of post-punk, and you’ll almost envision the snarky sharp alchemy which bursts through every (instrumental and mental) breakdown in Jeff from Work’s seminal single, Stand Up, which also forcefully feeds nuances of the Smashing Pumpkins and Joy Division.

Taken from their concept LP, Overtime, which chronicles the oddities of the human experience through the eyes of Jeff, a ready-to-break slave to the rat race, the single is an exhilarant manifestation of rage, corporate disdain, shoegaze etherealism, and pure juggernautical experimentalism.

Their schtick starts to make all the more sense upon learning that the band formed after meeting at an LA ad agency and discovering they had more in common than their workplace angst. It’s an unlikely aural antihero story, but we’re here from it. They have exactly what it takes to become one of the biggest icons of the alternative scene in 2024.

Stream Overtime with the rest of the debut LP which dropped on October 5th on SoundCloud and Spotify.

Review by Amelia Vandergast

 

Emerge from the Shadows of Toxicity with JW Paris’ Clamorous Call to Action Against Digital Subjugation, ‘You’ve Got Me’

Even after growing accustomed to JW Paris’ inventive and authentic amalgams of grunge and Britpop, their latest hybrid synthesis, You’ve Got Me, still struck us as a superlatively ensnaring feat of tightly unhinged volition, delivered with dark tones, and liberating intent.

The cutting social discourse against the more interpersonal vignette slices is an affecting affirmation that JW Paris delivered a verbatim narration straight from the antagonised and agonised soul.

Imagine the haunting melodies in The Holy Bible augmented by the rancorous swagger of grunge, and you will be close to getting an idea of what JW Paris delivered with this anthemically cathartic elucidation to the toxicity within the grip of algorithms and the seductiveness of social media.

Discernibly, the London-based three-piece have perfected the art of gnarled high-octane hooks and choruses that draw you right into the centre of their distorted chaos, which still doesn’t hold a candle to the dystopic chaos that consumes us when we’re in digital arenas that leaves us with desperation for validation-derived dopamine.

 After experiencing the visceralism, in retrospect, it is almost laughable that we are so pre-occupied with fears of AI advancing when we’re already enslaved by the technology that keeps us hooked to a mind-numbing sedative which comes with insecurity and polarised hostility as side-effects.

JW Paris Said

‘With lines like “Can you sit inside the silence, reflecting on the shame,” the song paints a vivid picture of introspection, urging us to confront the uncomfortable truths that we’ve ignored. It delves into the paradox of feeling unwanted and pushing for constant attention.’

You’ve Got Me was officially released via Blaggers Records on October 11. Stream it on Spotify.

Review by Amelia Vandergast

wych elm gave grunge a place on 21st-century airwaves with their pitchfork-permeated single, ‘Burnt at the Stake’

Wearing their Angel Olsen and Courtney Barnett influences on the sleeve of their guitarwork and their devil-may-care vocal lines, the Bristol-based trio, wych elm, gave their latest psychedelically sludgy feat of alt-indie, Burnt at the Stake, as much mainstream appeal as their hits that have surpassed the million stream mark.

The winding carnivalesque-with-macabre-glamour melodies are carved through by the angular syncopated notes to ensure the tension is succinctly taught before the breaks into the choruses that blister with catharsis.

Burnt at the Stake is the first single to drip from the forthcoming EP, Field Crow, which will drop on November 13th. Make sure wych elm is on your radar for the deliverance of it and in your gig calendar for when they embark on their UK tour from the same date.

Burnt at the Stake was officially released on September 30th; stream it on all major platforms via this link.

Review by Amelia Vandergast

Adelaide’s hottest post-grunge pioneers, The Yellow Wallpaper, prescribed volatile vindication in the chaos of their sophomore single, Run Your Mouth

The Yellow Wallpaper made an eternal impression with their debut single, Tell Me to Beg; their spiky attitude punctuated the ensnaring sphere of artful alt-rock, but that was nothing compared to the volition that went into as much overdrive as the guitars in their sophomore single, Run Your Mouth.

Veering more towards the 90s Seattle sound but still sinking their teeth into post-rock production styles, Run Your Mouth is a kaleidoscopic vortex of vindication. In a time when it feels like there’s a cacophony of vacuous contempt at every turn, every bark is worse than the bite and every bitch is in heat, sinking into the single, which delivers an exposition of the shallowness of the hypocrisy of public perception and the psychological effects, is as close to utopia as our dystopic epoch will allow.

Following the sold-out launch show of their debut single in mid-2023, the band is priming to do it all again by launching the single to their hometown crowd in Adelaide.

Run Your Mouth was officially released on September 22nd; stream it on Spotify.

Review by Amelia Vandergast

Hex Date cut right to the carnal core with their debut alt-rock hit, DIE ON YOUR BIRTHDAY

LA’s literally and figuratively hottest new alt-rock outfit, Hex Date caused a Dionysiac stir on the airwaves with their vehemently hook-rife debut single, DIE ON YOUR BIRTHDAY.

The track title may appear maleficent and macabre, but the sonic experience of DIE ON YOUR BIRTHDAY is a sensually awakening revelation. With the rhythmic salaciousness of In This Moment and Deftones and Mars Rose’s dark pop harmonies drawing you into the carnal centre of the single, the alt-rock scene will never recover from the genre-defying storm that tore through it by the fair hands of the prodigal fourpiece.

Taylor Momsen might not have any choice in moving over for Mars Rose; the superlative siren has exactly what it takes to take Hex Date to the top of the charts.

DIE ON YOUR BIRTHDAY was officially released on September 8; stream it on Spotify.

Review by Amelia Vandergast