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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.

Little Villains hooked rock fans back into the euphoria of pop-punk with ‘Red Saturday’

Little Villains aren’t here to sell you nostalgia, but they certainly stoke its fire with ‘Red Saturday’, a hook-driven anthem from their latest album, Simpler Times. Carrying all of pop-punk’s addictive bounce alongside classic rock riffs, the band delivers a timely reminder that emo was never merely a phase. Imagine Dinosaur Jr pushing their signature sound into overdrive, ramping up energy and euphoria to irresistible levels and you will get an idea of what Little Villains delivered here. With melodies infectious enough to lodge themselves into memory long after the first listen, Little Villains prove their rhythmic chemistry effortlessly surpasses the sum of their individual parts.

‘Simpler Times’, recorded live and free from digital polish at The Stujo in Los Angeles, is a sonic nod to simpler days—when mobiles had buttons and mullets defined cool. Little Villains—James Childs (vocals/bass), Owen Childs (guitar), and Chris Fielden (drums)—proudly trade doom and gloom for gritty, uplifting rock. Lyrically playful, tracks such as ‘Cupboardy’ and ‘Rad Saturday’ embody everyday simplicity with understated charm.

‘Red Saturday’ encapsulates the very spirit of what makes Little Villains essential listening: honest musicianship matched by an irrepressible attitude. With this track, they’ve ignited a sonic pyromania that deserves maximum volume.

Red Saturday is now available to stream on all major platforms, including YouTube.

Review by Amelia Vandergast

Shaw Revolver Wrestle Reverie and Reality in ‘Chasin’ My Shadow’

Shaw Revolver is the artistic definition of keeping it in the family—but there’s nothing saccharine about their dynamic. The trio—fronted by the father-daughter triad of Michael, Dresden, and Brielle—harness their natural synergy without ever falling into sentimentality. What they conjure instead is something far more powerful: emotionally charged rock, stripped of ego, driven by instinct.

The layered harmonies in Chasin’ My Shadow come like storm clouds over sunburnt desert guitars—guitars that shift with a chameleonic coolness, bleeding spectral southern rock into gothic textures, then turning on a dime into lines so virtuosically affecting they sound like the subconscious speaking in reverb. It’s a sonic terrain that mirrors the track’s thematic weight: trying to find stillness while wrestling with the shadows trailing behind you.

Chasin’ My Shadow doesn’t just feel like catharsis—it feels like confrontation. A reckoning between dream states and disillusionment, between inner peace and inherited pain. And while I’ll usually brace myself for the insular feel of family bands, Shaw Revolver blew that expectation wide open. Their sound doesn’t lock you out—it drags you right through the heart of their sound.

Since their 2019 debut, Shaw Revolver has toured coast to coast with their travelling acoustic act, but this single proves they’re just as potent when they plug in and wear their souls on their sleeves. Theirs is a rock ethos built on substance, delivered with gravitas, grace, and an unshakable sense of purpose.

Chasin’ My Shadow is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Eureka Machines – Everything: Power-Pop’s Turing Test for Your Emotional Core

Eureka Machines are keeping the serotonin cogs turning with their sixth studio album, ‘Everything’, and it’s everything a power pop record should be. Just as the Turing Test ascertains if technology can possess human cognition, Eureka Machines tests the human capacity to feel visceral emotion or whether you’ve left your soul out in the cold for too long.

Kicking off with the scuzzy pop-punk chords in the title single, there’s an instant affirmation that the Leeds-based outfit succeeded in their mission to flood the studio with the energy they project on the stage. Winding a few euphoria-doused James Dean Bradfield-esque riffs into the mix, the opening track reaches the epitome of affecting. When the vocals come in as a clean, cutting juxtaposition to the cultivated spirals of rhythmic distortion, you’ll be torn between being emotionally ruined by the lyrics and subjugating yourself to the pulsating augmentations of pretence-less power pop.

As the album progresses, it evidences singer-songwriter Chris Catalyst’s songwriting chops as he humbly demands emotional investment through the sheer authenticity of his charismatic candour. There are performers, and there are conduits of sonic expressionism and with the help of Wayne Insane (drums), Pete Human (bass, vox), and Davros (guitar, vox), he’s in the pantheon of the latter camp.

With poignant introspective outpours wrapping around poetic parables remaining a constant throughout the 12 singles, Eureka Machines only leans into stylistic departures from the preceding singles. After Black and White’ nods to 90s Britpop, ‘Canaries in the Coalmine’ veers into a symbiosis of alt-rock and the working-class fire of Morrissey’s First of the Gang to Die and If I’m Gonna Fight Myself, I’ll Never Win’ teases its way into punk ‘n’ roll territory with Catalyst’s signature soaring with sticky-sweet sentimentality vocals tempering the frenetic percussion.

I was preparing myself for a stripped-back ballad-esque entry, and it finally arrived with Home, which gives full permission to lean into the lyricism, cradled by the artful motifs as they ascend around the intimate confessions. By this point, you’ll be wondering if Catalyst bought shares in Kleenex before dropping the album and if Trump funded the heavy emotive artillery.

‘They’re Coming To Get You’ is a full-on exhibition of how effortlessly synergised Eureka Machines have become since 2007. Instrumentally, the riff-heavy track proves that they could skate by on their technical precision alone and leave out all semblance of personality. The synthesis, which is just as harmonious as the layered vocals, sets the perfect tone for the concluding single, ‘Beautiful Day’, which ebbs away ennui. It’s a choral masterpiece which takes the record to consoling new heights.

In an era when becoming numb is a coping mechanism and dragging yourself through the darker days gets harder, albums like this transcend sound to build sanctuaries where it’s safe to resonate.

‘Everything’ was released on April 11th and is now available to stream on all major platforms, including Spotify and Bandcamp, and can be purchased on vinyl and CD via the official merch store.

Review by Amelia Vandergast

Nick Cody & The Heartache’s ‘Next Up’ Is A Swaggering Alt-Rock Serenade to Survival

With their latest single, Next Up, from the freshly pressed LP This is Love and the Heartache, Leeds-based Nick Cody & The Heartache have decidedly dialled up the swank and swagger. Frenetically paced grooves pull listeners into a sandstorm of Jim Morrison-esque desert-infused vocals, while backing harmonies create a dynamic, kinetic whirlwind of alt-rock reverence. The ensemble seems charged with an infectious energy that leaps effortlessly from musician to musician, ensuring the track becomes a certified serotonin shot—even against the stark refrain, ‘you don’t know what it’s like to die ‘round here’.

Clearly the band’s boldest sonic exploration to date, the creative gamble has spectacularly paid off. Genre boundaries crumble away as Next Up seamlessly sways from funk to college radio rock, slipping into vintage soul without missing a beat or dropping intensity. Released via Green Eyed Records—an imprint championing creative collaboration, previously hosting acclaimed artists like Jon Gomm and Martin Simpson—the single underscores Cody’s razor-sharp lyrical instincts and penchant for crafting melodies that refuse to fade.

Next Up is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Jason Klaire Holds the Door Open to Solidarity in His Nine-Minute Pop-Rock Reckoning

Jason Klaire has always had a knack for translating chaos into art. With Open the Door, he strips away the noise of nationalistic chest-pounding and forces attention onto the slow rot of a society that’s convinced itself of its own superiority. Through theatrical piano-laced pop-rock progressions and gruff lyrical reckonings tempered by falsetto-soaked crescendos, he lays bare the internal malaise that festers in the face of external injustice.

The production carries the weight of disillusionment with a world that grows more fractured as the sands of time erode compassion, youth and the impulse to question. Open the Door isn’t content to simply reflect existential dread—it pushes past guilt and calls for a collective pivot, urging listeners to abandon cynicism and step into a future shaped by shared humanity. There’s no patience here for apathy, no room for denial.

Written as a defiant stand against territorial arrogance, Klaire’s nine-minute single was sculpted through painstaking revision, mastered by Steve Kitch, and eventually paired with a macabre AI-generated visual epic that consumed two months of obsessive perfectionism.

Klaire may have started with guitar chords and frustration, but what he built is a manifesto. One that swells with theatrical poise and lands with an emotional impact few artists dare aim for.

Open the Door is now available to stream on all major platforms. For the full experience, watch the music video on YouTube. 

Review by Amelia Vandergast

Ghost Nation’s ‘Last Words’: A Dark Pop Mirror Reflecting the Tightrope of Truth

Ghost Nation’s latest dark pop single, Last Words, opens with disquieting, carnivalesque scintillation, quickly establishing an atmosphere thick with tension. The distorted effects enveloping the vocals mirror how fractured we can become when communication is reduced to a battle of reticence and manipulation rather than genuine connection. It’s proof of Ghost Nation’s adept grasp of lyrical themes, vividly amplifying the intense narrative beneath the track’s surface.

There’s swathes of desolation oscillating throughout the darkwave and industrial-infused pop production, emphasising the idea that no man is an island—we’re all adrift if we lose the ability to tether ourselves with truthful expression. But truth itself can cut deeply, and Last Words provides ample space to ruminate on the weight every syllable carries.

Formed by vocalist and producer Tomas Vasseur and producer Micke Berg, Ghost Nation has cultivated a globally resonant sound since 2016, accumulating over eight million streams by fusing alt electronica with cinematic arrangements. Their seasoned approach is apparent in every motif of Last Words, particularly in the dynamic interplay between innocence and strength.

By intertwining rhythmic urgency, playful experimentation, and philosophical depth, Ghost Nation reveals the fragile tightrope we all navigate with words—where one slip can irreversibly alter our connections.

Last Words is now available to stream on all major platforms, including SoundCloud. 

Review by Amelia Vandergast

Darcy Thomas’ ‘It’s You’: Aussie Pop’s Anthemic Heartbreak in Full Bloom

Darcy Thomas’ latest single, ‘It’s You’, carries 00s pop nostalgia in acoustic guitar chops that lend immediate intimacy before the track swells into an anthemic radio-ready proclamation. Raw rock riffs spike through the chorus, fuelling a heart-in-throat crescendo as the lyrical protagonist lays it all unapologetically on the line.

The emotional intensity strikes hard enough to bruise, providing a bittersweet reminder that fairytale love stories rarely survive off the page, screen, or airwaves. Thomas deliberately avoids neat resolutions, leaving listeners tangled in ambiguity as they root for a protagonist faced with losing the one person who makes them feel whole.

At just eighteen, Darcy Thomas has transitioned from writing his first song at six to crafting his vocal identity under the watchful eye of renowned vocal coach ‘Mama Jan’ Smith, whose clientele famously includes Justin Bieber and Usher. Alongside producer Greg Stace, whose guidance at Ignite Studio in Alexandria has been pivotal, Thomas has shaped a visceral sound ready to capture global attention through its expansive cross-over appeal.

‘It’s You’ is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Arnold J.’s ‘Eden is Burning’: An Alt-Rock’s Cosmic Elegy to Lost Paradise

Arnold J.’s latest single, ‘Eden is Burning’, allows listeners to imagine Tracy Chapman’s iconic singles filtered through Bowie-esque cosmic pop-rock, soaring riffs, and twilight-drenched synths. The Ghanaian-born, Canada-based artist, whose creativity first took root amidst the streets of Ghana, defies every boundary with a genre-fluid sound built from raw emotion and untethered imagination.

‘Eden is Burning’ instantly grips with eccentrically ethereal vocals, weaving swooning melodies haunted by 80s nostalgia without succumbing to convention. The experience echoes the otherworldly charm of Science Fiction/Double Feature from the Rocky Horror Picture Show—except here, the surrealism intensifies. Arnold J. crafts a love song steeped in desolation, a harbingering elegy to the absence of someone capable of transforming the seventh ring of hell into a utopian escape.

Arnold J. has always marched to his own rhythm, from daydreaming melodies in Ghana to electrifying thousands at Assiniboia Downs on Canada Day. With ‘Eden is Burning’, he continues this pursuit, sculpting sonic portraits from poetic introspection, surreal imagery, and existential musings.

For alternative rock listeners drawn to music that traverses emotional depths and existential heights simultaneously, Arnold J. offers an experience as profound as it is soul-stirring.

‘Eden is Burning’ is now available to stream on all major platforms, including YouTube and Apple Music. 

Review by Amelia Vandergast

Lauren Ash Lights a Match with ‘COOL STORY, BRO’: A Pop-Punk Anthem Fuelled by Scathing Contempt

Lauren Ash

Lauren Ash is driving the nostalgia of pop-punk back onto the airwaves, though you’d be mistaken to expect a familiar revival. Her latest single, ‘COOL STORY, BRO’, confidently flits between glossy pop hooks and sultry-sweet harmonies before crashing headlong into alt-rock territory, exploding into an anthemic chorus driven by jagged guitars and electrifying percussion.

Written from the merciless vantage point of someone whose heartbreak has curdled into sharp-tongued contempt,the track is an acerbic wake-up call delivered with visceral intensity. Lauren Ash channels the relatable brutality of post-breakup clarity, turning personal wounds into lyrical dynamite reminiscent of Alanis Morissette’s unfiltered honesty on ‘Jagged Little Pill’, with a pop-punk energy.

Though best known for her roles as Dina Fox in NBC’s ‘Superstore’ and Lexi in ‘Not Dead Yet’, Ash’s dream was always rooted in songwriting and live performance. With her debut single ‘Now I Know’ soaring to #5 on Billboard’s Alternative Digital Song Sales and #1 on Canada’s iTunes Rock Chart, and performances at venues like the Viper Room and Whisky A Go Go, her musical ambition is swiftly matching her acting acclaim.

‘COOL STORY, BRO’ is now available to stream on all major platforms. Find your preferred way to listen on the artist’s official website. 

Review by Amelia Vandergast

John Drake’s ‘Ocean’ Washes Poetic Desolation in Waves of Soul-Stained Rock

John Drake

With his debut solo single Ocean, the truly prodigal rock n roll conduit John Drake has torn away from The Dust Coda to expose a more vulnerable but no less arresting facet of his talent. The first single from his solo debut Separation Songs is a slow-burning catharsis, steeped in self-doubt and the inertia of ambition, as he captures the conflict between longing and paralysis with a voice that gnaws away at the walls of the soul.

While Drake was never short of emotional artillery during his thirteen-year stint with The Dust Coda, Ocean is where he gives full licence to his inner poet. Resulting in a production steeped in haunting nostalgia, built on Bowie-style acoustic murmurs and thick, lumbering beats that drag you into a Radiohead-reminiscent realm where nothing is safe from introspection. There’s a quiet sense of disquiet that swells under the surface—never theatrically melancholic, always grounded in raw human ache.

Drake’s vocal delivery alone makes the release a force to reckon with—teetering between the cavernous grit of Eddie Vedder and the fragile celestial range of Buckley. It’s not a sound engineered to pander, but one engineered to bruise with truth.

Written in the aftermath of an identity-shedding leap of faith, recorded between Brisbane and London with ARIA-winner Cody McWaters and long-time collaborator Chass Guthrie, Ocean transcends the trappings of its influences. Nick Cave’s brooding presence lingers, Springsteen’s resilience flickers at the edges, but what Drake builds is unmistakably his: a cinematic alt-rock elegy for anyone who’s ever feared they might be swallowed whole by the scale of their own dreams.

Ocean is now available to stream on all major platforms via this link.

Review by Amelia Vandergast