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Best Rock Music Blog

It is almost impossible to imagine Western society without the influence of rock n roll; the artists that became renowned as (rock)gods, the aesthetic, the culture that so many live and breathe, and of course, the music that became the soundtrack to our lives. Many of the greatest artists of all time are of some rock inclination; whether that be Buddy Holly, Nirvana, or The Rolling Stones – the charts simply wouldn’t be the same without the unpredictable and volatile genre.

Rock started to emerge in the 1940s through the masterful rhythm of Chuck Berry and his contemporaries. Twenty years later, The Rolling Stones became the true face of rock n roll as they advocated for sex-positive youthful rebellion; this controversy became synonymous with rock which took the genre to brand-new cultural heights. By the 70s, artists started to push rock music into heavier, darker territories. At the same time, hard rock and metal were behind conceived; Pink Floyd gave rock trippier, more progressive tendencies with their seminal album, Dark Side of the Moon. Another major move in alternative music happened in the 70s as punk artists, such as The Clash and The Sex Pistols extrapolated rock elements and fused them into their punk sound.

The 80s was the era for sleaze rock, indie rock and college rock bands, while the 90s delivered the grunge movement with Nirvana, Hole, Soundgarden and Pearl Jam chomping at the aggressive discordant bit. Mainstream rock artists from across the globe became part and parcel of the music industry at the start of the 90s, but with the death of Kurt Cobain, the popularity of alternative music took a nosedive – despite the best efforts of Limp Bizkit, Staind, Puddle of Mudd and The Red Hot Chilli Peppers.

In any definitive guide of the best rock bands of all time, the rock artists that made their debut in the 21st-century are few and far between. But regardless of how much you want to pull the plug on the life support of rock, it isn’t quite dead – yet. For irrefutable proof, you only need to consider Black Midi, Yungblud, Greta Van Fleet, Highly Suspect, The Snuts, and Dirty Honey, who are all bringing in the new wave of classic rock – in their own way.

Contemporary rock may not sound like it used to, but that is one way in which rock has remained consistent over the past eight decades – it never has sounded like it used to. Each new generation of artists has found room for expressive and experimental manoeuvre.

HeadFirst Tore Through the Fabric of Modern Disillusionment with ‘Retrograde’

Retrograde, taken from HeadFirst’s LP, Modern Role Models, serves as definitive proof to anyone over 30 that emo was never a phase while welcoming a new generation of grungy pop punk to the sanctity of raw augmented sincerity. With rapid-fire Bloodhound Gang-adjacent vocals snarling through the distortion and melodic hooks that are sharp enough to carve through any former earworms and lacerate a place for this infectious anthem, there’s no denying that Retrograde makes a monumental impact.

If you can imagine how affecting the middle ground between Fidlar, Foo Fighters and Dinosaur Jr would be, you’d get an idea of how the pulse of this track is given the reins to your rhythmic pulses as the lyrics latch onto the tension tearing through your world and give you an outlet.

Formed by Siraj Husainy, Coby Conrad, and Bima Wirayudha, HeadFirst fuse raw post-grunge fervour with the melodic pull of pop punk. Hailing from Boston, the trio pours electric, visceral energy into every performance, whether lighting up dive bars or packed-out venues. Their music rides the tightrope between nostalgia and cutting modernity, crafted with relentless rhythms, emotionally charged lyrics, and hooks designed to leave a lasting scar.

With Retrograde, HeadFirst have solidified their status as a powerhouse for anyone who craves loud, honest expression in a disillusioned world.

Retrograde is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

John Arter & the Eastern Kings Built a Red and Blue Striped Monument to Resilience in ‘The Many Ways’

The Many Ways by John Arter & the Eastern Kings, which wound its way onto the airwaves on April 24th, is steeped in Americana reverence, puts the emotive vocals front and centre, and carries the timbre of a roots-deep Eddie Vedder through the instrumental arrangement as it crescendos through overdriven guitars and a percussive pulse that keeps you anchored in the eye of the affecting storm.

Clearly an outfit who have learned the art of intricate arrangements that visualise the pain manifesting through the lyrics and vocals, John Arter & the Eastern Kings are so much more than a breath of fresh air; when it comes to the real deal, they hold all the agony-streaked cards. As an anthem of resilience that allows pain to permeate every sonic pore, The Many Ways is a testament to the trials we all endure as we follow our thorned paths.

John Arter leads Eastern Kings with a voice that floods rooms and leaves an indelible mark. Together, the band orchestrate a sound built on cinematic energy, layered emotionality, and a rare synergy, brought to life with rousing guitar solos and the haunting textures of live violin arrangements. With their fusion of country, folk, and classic rock spirit, Eastern Kings are proving that while trends come and go, raw authenticity remains a vital force.

The Many Ways is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Mario Deschenes as OneSelf Set Soul Spinning Through 60s Psych Rock Kaleidoscopes in ‘Unicitude’

Versions 'N' Not 8 by OneSelf Featuring Mario Deschenes

OneSelf’s latest seminal release, Unicitude, which translates to ‘Unique Link’, swings rock back into the 60s as so much more than a sonic pitstop; it’s a reincarnation of the shaking, rattling, rolling kaleidoscopes of soul that sparked a movement still reverberating with momentum 60 years later. With a garagey rock production giving the track a raucous bite and psychedelic carousels of colours contouring through the harmonised melodies, it’s impossible not to get in the groove with Unicitude. The vocal presence is a dualistic dream; there’s no tearing the rock renegade energy from the lyrics, regardless of the sticky-sweet proclivities that envelop the performance.

OneSelf created Unicitude as a force that reconnects the soulful rawness of yesteryear with the imagination of the present, setting a new standard for how rock and soul can collide and reawaken.

Mario Deschenes, the mastermind behind OneSelf, is a multidisciplinary artist who has spent over four decades weaving his authentic and original creativity across music, painting, and videography. With seven albums released under his name and another set for release in September 2025, Mario’s music is an extension of his visual art, infused with the same vibrant essence. His catalogue spans over 91 songs and 42 videos, a testament to his enduring commitment to artistic expression through every medium he touches.

Unicitude is now available to stream on all major platforms, including Bandcamp. 

Review by Amelia Vandergast

The Glorious Years’ ‘The Darkest Universe’: A Psychedelic Prism Illuminating Post-Punk Nihilism

The Glorious Years

With their debut single, ‘The Darkest Universe‘, The Glorious Years opens a portal to a sonic galaxy where psych, krautrock, new wave, and post-punk coalesce into an aurally rich twilight. Co-produced by the band alongside Euan Hinshelwood (Cate le Bon, Half Japanese), this introduction marks the first glimpse into their upcoming album, ‘Something Beautiful Beyond’.

From the chorally opulent vocals that refract gently through the synth lines, to the subtle yet unwavering melodic pull from the guitars, each note maintains a meticulous tension. The single unravels as an exploration of tonal and textural contrasts—a kaleidoscopic prism of colour chillingly distorted by angular post-punk echoes and distinct influences from 70s and 80s sonic epochs.

There is an irreplicable comfort in the way guitars guide listeners through The Glorious Years’ alchemically orchestrated cosmos while the vocals adjust the listener’s perspective between shadows and illumination. Amidst its layers of nihilism and existential introspection, ‘The Darkest Universe’ acts as an open invitation to briefly abandon reality’s monotony for something more expansive, surreal, and profoundly human.

The Glorious Years set their creative compass towards something uniquely consoling yet philosophically provocative, solidifying their potential as a band adept in traversing the deeper spaces of alternative music.

‘The Darkest Universe’ is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Dust-Stained Dreams and Sky-Wide Hymns: ‘Dreamer’ by Olav Larsen & The Alabama Rodeo Stars

‘Dreamer’, lifted from Stream of Consciousness Vol. 2 by Olav Larsen & The Alabama Rodeo Stars, traverses the most affecting intersections between the avenues of Americana, Alt-Country, and Folk Rock while conjuring a blissfully ethereal manifestation of roots-deep reverie. It’s gospel for anyone who calls the open road home and finds sanctuary within the horizons of a free imagination.

Olav Larsen & The Alabama Rodeo Stars work with a rare sense of serenity and synergy to deliver a sound that instantly transports you to the panorama of soul they paint through harmony, cutting folk strings, and bluesy guitar licks that ground the release in virtuosic cultivation. It takes a rare breed of musician to make innovative passion feel like a timeless portal to a time when life was simpler and sanctity was easier to find, but clearly, Olav Larsen knows exactly how to deliver sonic solace to wearied nostalgia-inclined minds.

For nearly two decades, the Norwegian country purist has channelled his love for traditional songwriting into a raw, heartfelt sound shaped by the weight of Hank Williams, Bob Dylan, John Prine, and Neil Young. As always, his voice carries a weathered resonance that doesn’t posture or reach—it simply lays truth bare. Stream of Consciousness Vol. 2 broadens the blueprint laid out in the first volume, offering a more expansive, full-band experience without losing the poetic intimacy that defines Larsen’s approach.

Dreamer is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.

Mikey Wayne’s Lovin’ and Leavin’: A Bonfire Ballad for Every Heart That’s Learned the Hard Way

With a Hollywood panoramic production projecting the intimate echoes of a soul that knows the sting of a temporal romance all too well, Mikey Wayne invited listeners to do more than just dwell on the pain with Lovin’ and Leavin’ he painted a vignette with the emotions derived from the ebb and flow of love which pushes and pulls the heartstrings until they snap.

Lovin’ and Leavin’ isn’t merely a heartbreak anthem—it’s the internal monologue of anyone who’s chosen passion over peace and paid the price. The Alabama-based singer-songwriter, shaped as much by his Southern California beginnings as his Deep South roots, channels that contrast into a ballad steeped in bittersweetness and bound by conviction. His rendered-in-sentimentality vocal lines honey the nostalgic agony as it melodically pirouettes through the track, which lands in the perfect spot in the bitter-sweet equilibrium, especially when the rock solo breaks through the affecting atmosphere, illustrating the intensity of passion with the conviction of a thousand words.

It’s a classic feat of stellar songwriting, with all the hallmarks of the ’70s Americana greats—yet the scars are Wayne’s own. Raised fronting rock bands through high school and college, and now launching from Nashville after a decade of refining his voice, Mikey Wayne has proven that his stories don’t borrow—they bleed. Lovin’ and Leavin’ is a reckoning for anyone who’s felt the full force of head vs. heart, lived to regret it, and would do it all again.

Lovin’ and Leavin’ is now available to stream on all major platforms, including YouTube.

Review by Amelia Vandergast.

All Violet’s ‘Animals Domestic’ Fires a Sonorous Bullet Through Indie-Rock’s Corporate Cage

Soft yet sonorous, All Violet’s single ‘Animals Domestic’ pulls you into a vortex of emotion refracted like a prism, a kaleidoscope channelling echoes of Pavement, Badly Drawn Boy, and The Goo Goo Dolls, where the jangly edges of 90s alt-indie collide unapologetically with Americana twang. It’s a sound that settles deep in your chest even as its earworm burrows relentlessly deeper, determined to make its home permanent.

Penned as a war cry against the rising corporate tide, dulling our minds and chaining us to cubicles, Animals Domestic is bathed in venomous vitriol spat at advertising overlords and the sportification of politics, questioning the existential malaise that comes from clock-watching and sleepwalking through life. With a hook that laments, “Is this all it means to be alive? Busy counting sheep until you die,” the song confronts modern existence’s psychological confinement head-on, pleading defiantly for something more tangible than neon-lit consumerist illusions.

Anchored by satisfyingly slick riffs and lyrics sharp enough to pierce the facade of commercial comfort, ‘Animals Domestic’ leaves a lingering mark—a salve for anyone who’s bruised themselves trying to decode life’s absurdities. All Violet, fronted fiercely by the enigmatic BT, ensures their indie-rock revolt resonates loud enough to crack corporate cages wide open.

‘Animals Domestic’ is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Nikolas Lee Fires Americana Bullets of Redemption in ‘Life That I Lead’

Nikolas Lee’s standout single, Life That I Lead, taken from his debut EP Friend Frequency, hits like a shot to the heart fired from the barrel of an Americana roots rock gun. Guitars twist into contorting forms, winding fluidly around understated drums and conjuring nostalgically secular, salving melodies. It’s paradoxical how Lee crafts such grandeur yet remains anchored to intimate truths in the single that asks for no permission before making emotion and empathy swell in your chest.

Lyrically, Life That I Lead confronts life’s hardest realities head-on, touching raw nerves through unfiltered introspection. Lee narrates an affecting vignette of a life shaped by trials and softened by resilience; it’s gospel for those who recognise consolation in music, resonating with compassion for every betraying road, vice, and proclivity.

Now based in Melbourne after his formative years in Brighton and a creative hiatus, Lee channels renewed purpose into his work. His musical signature integrates nostalgia with world-weary optimism, reflective yet robustly hopeful. Influenced by classic and contemporary songwriters, Lee brings authenticity with warm textures and psychedelic flourishes, represented symbolically by Freddy, the Pink Creature embodying his ADHD alter ego.

Produced by Ben Provest, Friend Frequency speaks intimately to listeners navigating self-discovery. Life That I Lead epitomises this emotional catharsis, delivering not merely introspection, but an open invitation towards understanding personal truths.

Life That I Lead is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Ian McFarland Used Pop Punk to Augment Optimism in His Latest Single, You Are So Loved

If there’s any justice left in indie’s distorted underbelly, Ian McFarland will be recognised as the artist who gave serotonin back to pop-punk. The Brooklyn-based singer-songwriter has already earned a presence across regional charts and NYC live haunts, but You Are So Loved deserves to break much further beyond.

Following a sticky-sweet synth-pop intro, the single throws the genre right back to the golden era of visceral expression with its pop-punk crescendo of unfiltered optimism. But the stylistic transgressions don’t end there. Jangly new wave indie-pop nestles into the volition of the punk-tinged foundations, allowing McFarland to exhibit one of the most distinctive sonic signatures we’ve heard this year.

It’s not just the sound design that makes You Are So Loved cut through the cynicism often used as a crutch in alt scenes. McFarland weaponises sincerity as if it’s a subversive act. There’s bravery in broadcasting this much raw affection, especially within a genre known for self-deprecation and detached irony. But McFarland knew what he was risking—being written off as cloying or sentimental. He bypasses that pitfall entirely with his unshakable authenticity.

Born from a need to pull joy from bleakness, You Are So Loved is an adrenaline shot of altruism for anyone who needs to remember that the world can still look beautiful through a cracked lens.

You Are So Loved is now available to stream on all major platforms, including YouTube. 

Review by Amelia Vandergast.

Title: WD-HAN Punch Their Passport to Liberation in the Indie Rock Anthem ‘Chile’

Chile is one of the strongest exhibitions of WD-HAN’s versatility as they veer into sonic South American territory to bring the sardonically sweet context of the track to life. They flipped the script on the “I’ll follow you wherever you go” trope, as the protagonist stamps his passport to get as much geographical distance between an ex whose indiscretions and false promises led beyond spite to the sheer exhilaration of freedom.

With the vibrant Latin flavours popping through the kaleidoscope of the production, your synapses will flood with colour as you soak in the South American percussion and staccato guitar rhythms. This is an indie rock anthem to scream from the top of your lungs, to forget the spite with and lean into the euphoria of cutting ties from people whose sole mission seems to be psychological degradation.

Produced by Alex Arias at Fab Factory Studios and released via Red Slushy Records, Chile sees the Floridian alt-rock trio leaving no emotional punches unthrown. Vocalist Spencer Barnes keeps it tongue-in-cheek but razor-sharp as guitarist Cal Henry and drummer Lea Campbell inject every aural atom with augmented rapture. Known for emotionally charged anthems, WD-HAN may have made a departure with this release, but the international lyricality more than suits their status as they amass more acclaim from all corners of the globe. Why are we sleeping on making WD-HAN one of the biggest names in alt-rock is beyond beyond me.

Chile is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.