Americana Blues Rock doesn’t come much tighter than what you’ll find in up and coming artist Tofteberg’s debut album “Line Up Behind Me”.
While each of the singles is a masterfully polished aural treat, there’s no better introduction to Tofteberg’s sound than the standout single “I Wanna Wake Up”. Whether the sex-appeal was accidental or mindfully implanted in the bass licks, it was efficaciously captivating all the same.
I Wanna Wake Up shares similarities with bands such as Queens of the Stone Age, yet, under Tofteberg’s deft talent, the soundscape has an infinitely more mellifluous smooth-flowing feel. But that’s not to say that you won’t find a handful of mind-altering guitar riffs in the mix.
You can check out Tofteberg’s single I Wanna Wake Up for yourselves by heading over to Spotify where you’ll also find the rest of their provocatively rhythmic album.
With the curiosity-piquing promise of getting to hear Heavy Salad’s new material from their upcoming debut album, I couldn’t resist heading to their headline show at Gulliver’s on January 25th in Manchester.
There was little room for disappointment as their multifaceted talent donned a plethora of wholesome new guises during their set. From mesmerising Blur-Esque trippy transcendence to their individualistically cosmic take on Pop to bitingly vivid Psych Rock to occultist eerily kaleidoscopic tones, they offered it all and more. Their versatility is illimitable.
All too often, when you listen to new bands, you’ll also hear the desperation in their bid for conformity and acceptance within a scene. With Heavy Salad, there’s a tranquil air to their live performances as they relay the melodic manifestations of their Lynchian imaginations and ingenuity. If anything is as refreshing as their defiance against orthodoxy, it’s seeing deftly talented artists with no sense of ego or grandeur. The vibe between them spills out in rhythmic tides ready to sweep up anyone open-minded enough to appreciate genuine distinction.
The sprinkling of bemused faces in the crowd affirmed just how innovative Heavy Salad are – both on record and in their live shows where they are joined by their aptly-named backing singers The Priestesses. Their extremely nuanced vocal contributions lace every single track with a celestially arcane feel. If witch trials were held today, The Priestesses definitely wouldn’t be safe.
But it is safe to say that they know how to end a set. The visceral monster with which they concluded was the first time I’d truly gotten a taste of the extent of guitarist Rob Glennie’s talent. His usual cathartic serene style took a seismic shift into a blisteringly arrestive masterfully crafted riffs which induced a literal jaw-drop moment. It all seemed to happen at the speed of light. If I wasn’t excited for their debut album which is still in production, I definitely am now.
You can check out Heavy Salad’s previously released singles via Spotify.
Keep up to date with their album release and tour dates via Facebook
NYC-based Hip Hop artist T. Shan’s latest single “Ghost” is a track which instantly commands attention. From the first verse, you’re locked into the fluidity of the beats alongside the pure emotion which has been poured into the evocatively fresh mix.
The grind may be soft and smooth, but you’d be hard-pressed to find more arrestive rhythms from an up and coming Hip Hop artist. T. Shan has stamped down their signature reflective style once more with Ghost which infuses elements of RnB to amplify the sonorous edge to their sound which is sure to see them go far.
While Ghost is undeniably a track with plenty of contemporary appeal, they’ve also been incredibly mindful to make the mix accessible to fans of OS Hip Hop who appreciate pure unadulterated lyrical conviction.
You can check out T. Shan’s latest single Ghost for yourselves by heading over to SoundCloud now.
With the spoken-word narrative which sits synergistically against the groove-deep beats in Guy Metter’s mesmerising Alt Electronica debut “Last Night (We Took Over a Jazz Club)” there was an intensity to the sound like we’d never heard before.
Your mind is split between wanting to follow the intricate and boldly experimental instrumental Jazz & Funk-soaked progressions and wanting to hear how the compelling narrative story ends. Neither of them disappointed.
The lyrics perfectly captured that all too familiar sense of guilt which follows hedonistic indulgence. With a sensual versing and just as much sensuality from the beats, Last Night is a single we’re definitely not going to forget in a hurry.
You can check out Guy Metter’s hypnotically masterful for yourselves by heading over to Spotify now.
After the release of their first single “Copernicus Falls” from their upcoming EP “Take Back Tomorrow”, there’s never been a more opportune time to jump on the indulgently nihilistic rigorously catchy tones of She Burns Red.
Before I start to tell you how the angularly-crafted guitars cut through the anthemically cavernous bouncing instrumentals etc. I should probably tell you that the Edinburgh-based four-piece could never be defined by their sound alone. Instead, they set themselves apart through their magnanimous energy which is infectious enough to let your chest cavities know about it.
While the candidly dark lyrics are busy riling you with resonant all-too-familiar frustrations in life, the melody will be he hard at work burrowing down like one of the most indignant Hard Rock earworms you’ve ever known. With Andy Moore’s whiskey-soaked warmly inviting yet fiercely convictive vocals along with James McCulloch’s clean tensile vocal nuances, there was an insane amount of alchemic chemistry on each track.
Unlike most emotion-driven rock, She Burns Red don’t create evocatively high octane music to leave you in a pit of morose apathy once you’ve ingested the visceral emotion which inspired the tracks. Instead, their music is a not so gentle olive branch to pull you away from self-pity. As well as being a dynamic record in terms of sound, each single will leave you exposed to a new piece of the artist’s souls. From wistful lament to frustrative defiance, Take Back Tomorrow offers it all and more.
I’m not even ashamed to say that tears were shed listening to the second track on the EP “Crosshairs”. Not even the searing technical riffs could offer any consolation. The release was an emotional rollercoaster from start to finish. And with producer Toby Jepson in charge of production, She Burns Red was able to relay their notorious high-energy live performance style onto the record.
We’re more than blown away. We feel like we’ve been through an aural category 5 hurricane.
You can check out the lyric video to Copernicus Falls via YouTube now.
And you can head on over to Bandcamp to pre-order their EP Take Back Tomorrow which is due for official release on February 1st from Bandcamp.
Keep up to date with tour dates and new releases via Facebook.
Sarita Lozano has become an artist renowned for her hypnotically harmonic Alt Indie Pop vocal tones. Within her upcoming album “Lucid” they’re more polished and poised than ever.
Any fans of London Grammar are definitely going to want to check out the 13-track offering of mesmeric nuanced moody pop. Sarita Lozano’s vocals may be consistently soulfully evocative, but the intricately high-vibe high-tempo beats often sit in perfect contrast to the stylistic melancholy.
With elements of Jazz, Hip Hop, Soul and RnB weaved into the electronically orchestrated album, it’s a dynamic feat of Pop which affirms that the London-based artist is definitely one to watch in 2020. Get her on your radar.
You can check out Sarita Lozano’s engrossingly expressive Alt Pop album for yourselves by heading over to SoundCloud from February 3rd. In the meantime, you can check out her earlier releases.
If you’re always on the hunt for striking vocals, prepare to be aurally pierced by up and coming Folk-Pop artist Amie K’s latest single “Bliss”
There may already be plenty of uplifting Pop singles on the airwaves. Yet Amie K was able to project euphorically-laced passion in a completely organic way which amplified the resonance in the bright mood-boosting hit. All too often emotion feels forced or plasticised. Yet, Bliss will leave you under the impression that it contains a piece of Amie K’s soul.
The single was inspired by the feeling of elation felt when you take a moment to reflect on your life with gratitude and get to experience that often inexpressible swell of visceral joy. Somehow, Amie K found a way to infuse that gratified ecstacy into a blissfully empowering soundscape which drips with commercial appeal.
You can check out Bliss for yourselves from January 24th via Spotify.
Keep up to date with the UK-based artist’s latest releases and news by heading over to their Facebook page.
Gus McArthur’s latest Symphonic Death Metal single is about as effective as a cattle prod when it comes to getting your attention. Straight from the prelude, you’re locked into a frenziedly magnetic hit.
After recently becoming overly enamoured with Nekrogoblikon, I’ve been on a constant search for other artists offering a similar sound. The San Diego-based fourpiece Gus McArthur not only do this through their latest single “Both Eyes Closed”, but they set themselves apart with an intellectual amount of distinction.
With each member bringing different styles and energies to the mix, their music transcends the usual thrashing and pounding monotony. Yes, it’s heavy, yes, it’s monstrous, but it’s no mere cacophony. It’s a melodic emotive masterpiece born through the infusion of everything from Hip Hop, Classical strings, Thrash, and Metal.
Yelawolf himself may have been spitting the Rap bars which sit against the insanely emotive Matt Belamy style vocal harmonies and fiercely guttural screams. And there are just as many switch-ups in the instrumental progressions. Hearing Both Eyes Closed may have marked the start of an aural obsession. Long may it continue.
You’ll have to wait until January 31st to check out the phenomenal single. In the meantime, you can head over to SoundCloud and check out their earlier releases.
Keep up to date with news of the release via Facebook.
“Senses” is the recently released aptly-titled sensually-sublime feat of Indie Synth Pop from up and coming artist KINGDØMS.
All too frequently lacing a Pop mix with atmospheric mesmerism dilutes the danceability. But that definitely isn’t the case with Senses. The evocatively arrestive hit may take its sweet and rhythmic time before the euphoria really hits but meandering through the seamless progressive evolutions is an entrancing experience which you won’t forget in a hurry.
Not only is the production radio-ready. But it also allows the Alt Pop artist to lay down their signature smooth style which incorporates a nuanced infusion of Lounge Acid House into a Pop earworm which offers plenty of commercial appeal.
You’ll be able to check out KINGDØMS latest drop for yourselves by heading over the artist’s YouTube channel.
“I Don’t Mind” is the latest piercingly emotive Alt Indie Folk Rock single from up and coming Canadian artist Tyson Ray Borsboom. My soul may feel a little heavier for hearing it, but within the weight lies a comfort which reaches you through both the tonally diverse melodies and the harrowingly expressive vocals.
Even though the indulgently smooth Blues guitar tones gave us plenty to love, nothing else in the timeless record had the same enamouring effect as Tyson Ray Borsboom’s vocals. Instead of striving to assimilate every other Americana Country Folk artist who has come before him. He used the evocative distinction within his own voice to verse his lyrics which resonated liked passion-soaked poetry.
I Don’t Mind was a track orchestrated as a poignant reminder to be present for the people you love. I don’t need telling twice, but I’ll definitely be making I Don’t Mind a playlist essential after hearing the intrinsic empathy contained in the single which made the airwaves an infinitely better place since its release in January 2020.
You can check out Tyson Ray Borsboom’s single I Don’t Mind for yourselves by heading over to SoundCloud.