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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.

Dukes of Roots reimagined Pink Floyd’s ‘Money’ as a Soul Drenched Protest Against Capitalistic Tyranny and Oppression

To kick off 2025 following a successful 2024 run, Dukes of Roots present ‘Money’, a single that filters the iconic Pink Floyd classic through a roots reggae rock lens, resulting in a sonic revival which spills soul by the smorgasbord, instantly transplanting the listener in a tonal utopia where the grooves come easy, and the high vibes come easier.

Released on the 24th of January, the rework, which translates as though it should have always spilt from Dukes of Roots’ cultivated hands, has already racked up almost 10k streams on Spotify alone as an attestation to the salvation that radiates from the reggae rhythms.

The release stands as a carefree protest against capitalistic greed that hits just as hard as it did in 2025 as it did in 1973. While it’s depressing that money has even more of a chokehold on us in the 21st century, there’s plenty of solace spilling through the organically rich and expansive production that makes the staccato guitar chops and the lead vox the centrefold of this ingenious reimagining.

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

Review by Amelia Vandergast

Rooftop Screamers Rip the Mask Off Manipulation with ‘My Sanity’

Gaslighting isn’t a new affliction, but Rooftop Screamers extended the conversation around the sociopathic phenomenon by throwing a searing light on its suffocating grip in their latest pop-rock earworm, My Sanity. With the haunting vocals of Randy McStine—best known for his work with Porcupine Tree—spilling across a backdrop of 80s-tinged synths, the track takes a razor-sharp dive into the turmoil of emotional manipulation and the reclamation of self-worth.

Mike Collins, the driving force behind Rooftop Screamers, penned My Sanity as an unflinching account of breaking free from a toxic dynamic. The lyrics don’t just skim the surface—they cut through the noise, articulating the psychological warfare of being gaslit before surging into an anthemic declaration of liberation.

Mark Plati, whose studio credentials include working with David Bowie and The Cure, ensures the production is as striking as the subject matter, layering sweeping synths over infectiously anthemic guitar work to build an atmosphere that feels both cinematically urgent, resulting in a track that nestles into the psyche as much as it does the soul.

The nostalgic synth textures could have been lifted straight from a John Carpenter score, while the soaring choruses inject the kind of raw, unshackled energy that gives My Sanity its gut-punching impact. Those who’ve ever fought to reclaim their own sense of reality will find a bittersweet sense of vindication in the euphoric release.

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

Review by Amelia Vandergast

indifferentMonKeY prescribed a trip-hop rock aphrodisiac with ‘little PILL (NRG Monkey Mix)’

Since their inception in 2022, indifferentMonKeY has rewritten the blueprint for contemporary alternative rock by synthesising the sultry atmospherics of trip-hop with the raw energy of riff-fuelled rock.

Their latest ethereally provocative release, little PILL (NRG Monkey Mix), sees vocalist Ellie Knowles weaving her hypnotic with reverie vocal lines into a seductive indietronic diorama, which pulsates with the rhythmic soul of Joe Lowe’s bass and the electrifying edge of Brendan Syson’s guitar.

Meanwhile, Graham Darbyshire’s percussion punctuates the genre-fluid tour de tantalising force, which feels like it belongs in the lineage of trip-hop giants such as Portishead but with the untamed spirit of early Massive Attack and the gritty seduction of Garbage.

From the aphrodisiacal tones to the mind-altering textures to the dark and moody emotive weight, little PILL is a masterclass in sonic sensuality, which is as suited to TikTok virality as it is to longevity within alternative playlists.

With accolades including the “Best Band 22” award from Radio Wigwam, headline spots at Nice N Sleazy, and praise from BBC6music’s Chris Hawkins, indifferentMonKeY are on the rise; get high with them.

Stream little PILL on Reverb Nation now.

Review by Amelia Vandergast

Valley of Salt – ‘What Did You See’: Gospel Born from Strings and Soul

Valley of Salt

‘What Did You See’, the standout single from Valley of Salt’s LP, Voice of One Crying in the Wilderness: The Story of John the Baptist, is less a song and more a visceral awakening. Conceived by Brian Stemetzki, produced by Marty Willson-Piper, and bolstered by contributions from the Polyphonic Spree, the Fort Smith Arkansas Symphony, and Dallas gospel singers, the single is a testament to what happens when spirituality and artistry collide with unrelenting force.

The folk-leaning singer-songwriter accessibility is undeniable, but it’s in the aching emotion of the composition’s grandiosity that Valley of Salt takes their place as one of the most criminally overlooked acts in the contemporary rock landscape. As the classical strings slice through the earthy timbre of the production, you’d be forgiven for feeling your emotional defences buckle.

Stemetzki’s guitar work—featuring vintage 6- and 12-string Rickenbackers and a 1972 Fender Strat—lays the foundation for the composition’s humanity, while the orchestral flourishes and gospel harmonies elevate it to the celestial. Voice of One Crying in the Wilderness doesn’t just recount a spiritual saga—it wrestles with faith, doubt, and redemption in a way that resonates universally, beyond doctrines and ideology.

‘What Did You See’ embodies the soul of the project, balancing cerebral gospel storytelling with vocal vulnerability. With sense-swooning choruses and a production that leans as much on emotional resonance as on technical skill, Valley of Salt offers an open hand to those who dare to grasp the depth of its art and spirituality.

Valley of Salt’s LP, Voice of One Crying In The Wilderness- The Story Of John the Baptist, will be available to stream and purchase on Bandcamp from February 3rd. Discover more ways to connect with the band via their official website.

Review by Amelia Vandergast

Nick Cody & The Heartache featuring Calverley Community Choir’s ‘This is Love’ is a slice of divine sonic intervention  

Nick Cody & The Heartache

Nick Cody & The Heartache’s cover of ‘This is Love’—originally by Towse—featuring the Calverley Community Choir is an immersive sermon on the visceral weight of human connection. Recorded by acclaimed Leeds producer Carl Rosamond, this track will feature on the forthcoming album This is Love and Heartache, slated for release on 11th April 2025 via Green Eyed Records.

True to form, the Leeds-based artist, whose previous work has been praised by notable names such as Jon Gomm and Chris Catalyst, continues to define the indefinable. Jim Glennie, founder member of James, aptly summarised Nick’s artistry as “wonderfully innovative and explorative… exciting and unpredictable,” and ‘This is Love’ lives up to that ethos.

Underpinned by the gentle tension of overdriven guitar chords, the track lets emotion guide the orchestration. Cody’s lead vocals entwine with the celestial harmonies of the Calverley Community Choir, creating an ethereal interplay that transcends rhythm and time. The track’s tenderness belies its immense emotional force; while the delicate crescendos may warm the soul, the unflinching gravity of the lyrics bears down on it.

Far from simply replicating Towse’s original, Cody renders the song anew, threading in his signature authenticity. This is a love song that abandons cliché in favour of a raw yet profoundly human exploration of connection. For fans of Low or those who appreciate their music with both abrasion and beauty, ‘This is Love’ is a strikingly unforgettable experience.

This is Love will be available to stream on all major platforms, including Soundcloud, from February 1st.

Review by Amelia Vandergast

‘Fragile’ by Just Girls – An Indie Rock Anthem Teetering on the Line Between Sweetness and Ruin

With their debut single, ‘Fragile,’ Just Girls unleashes a visceral indie rock triumph that doesn’t just echo the sounds of the 90s but drags them kicking and screaming into the present. Combining the melodic magnetism of Blondie with the searing rawness of Hole and the dissonance of Sonic Youth, ‘Fragile’ lands like a sucker punch wrapped in velvet. It’s gritty, it’s gorgeous, and it’s impossible to shake.

Amie Falkner’s vocals walk a tightrope between unguarded innocence and raw defiance, spilling every ounce of emotional intensity into lyrics that explore the fragility of the psyche and body. The sweeping new wave guitar chords only add to the earworm appeal of the track, creating a storm of distortion and melody that refuses to let up. It’s an anthem that cuts as deep as it soars, teetering on the line between sweetness and ruin.

Just Girls embodies everything indie rock should be: bold, unpolished, and endlessly inventive. After forming when HaslamBrock spotted bassist Kelsey Melvin and drummer Kamilah Palmer jamming at an open mic, the quartet has leaned into their DIY ethos with fierce dedication. Writing on handmade guitars, hosting gigs in RV parks, and producing every note themselves, they’ve cultivated a sound as raw as their roots.

‘Fragile’ leaves you craving not just another track, but the chaos and catharsis only Just Girls can deliver. The indie charts better brace themselves for the band’s sophomore.

Stream Fragile on Spotify now.

Review by Amelia Vandergast

Micheal Fordays – ‘Can’t Stop’: A Riotous Shockwave of Symphonic Ska Punk Force

From the initial riff, Micheal Fordays proves there’s nothing ordinary about his seminal track, ‘Can’t Stop’. Blazing in with a fervour that pays no heed to stylistic confines, the performance sears itself into your senses. I never knew how much I needed to hear metal-injected symphonic ska punk, but now that I have, I’ve found my new sonic obsession.

Imagine a world where Apocalyptica meets Rancid, and you’ll envision what kind of riot Forday incited with ‘Can’t Stop’, which feeds a protestive, indomitable discourse through the equally as unreckonable instrumental arrangement.

This unrelenting energy was forged early on. Fordays honed his craft as a youngster, listening to rock guitar heroes before taking influence from horn players. His passion took flight in garage bands and, eventually, in the high-school-founded Mind Over Four, who laid down six albums on six labels while travelling across the US, Canada, Mexico, and Europe. Their impossible-to-pigeonhole sound was too metal for punk followers and too off-kilter for hard rock crowds, yet it fed Fordays’ determination to push limits until all sense of creative constraint falls away.

That boundary-bending ethic also propelled him into KMFDM, where he contributed his guitar chops on tour and appeared in the ‘Juke Joint Jezebel’ video and ‘Beat By Beat’ documentary. Under the Micheal Fordays moniker, he’s released a string of records from ‘Balls and Blind Faith’ to 2023’s ‘The Mind and Echoes’, all marked by an unshakeable creative vision. If ‘Can’t Stop’ is anything to go by, the forthcoming 2025 release will hold nothing back.

Stream Can’t Stop on all major platforms, including Spotify.

Follow Micheal Fordays on Facebook to keep up to date with his latest releases and news.

Review by Amelia Vandergast

Six Eight’s ‘Emperors of Pain’: A Razor-Wire Soundtrack for a Fractured World

Six Eight’s title track from their freshly launched Emperors of Pain EP is an unforgiving fuzz-drenched inferno that scorches with unrelenting distortion and snarling, sardonic vocal venom. This alternative rock trio—formed in 2023 and straddling Sweden and the UK stepped into the no-wave arena and ground it underfoot, blending garage rock tones with grunge-soaked abrasion.

Darren Lynch (bass, vocals), Cormac Stokes (drums, vocals), and Pete Uglow (guitar, piano, vocals) are no strangers to capturing visceral chaos. Their first album, World Isn’t Ending, recorded at Brighton’s Third Circle Recordings, was an eclectic storm of reflective piano-driven darkness, Clash-inspired rawness, and Dinosaur Jr-style crunch. On Emperors of Pain, the trio amplifies their sonic ferocity while tethering their sound to personal and political undercurrents.

Rarely content to tread softly, Six Eight revels in jagged hooks and a guttural energy that thrives on dynamism. The five tracks on the EP carve through themes of corruption, lies, and digital despair, tempered only by glimpses of hope rooted in friendship and commitment. On the title track, the band’s feral intensity collides with moments of careful, almost sinister, restraint, proving their ability to twist chaos into something magnetic.

The new revolution in alt-rock begins here. Dive in on Spotify.

Review by Amelia Vandergast

Spotlight Feature: Garfield Mayor sought sanctuary in the plight of an icon with ‘Any Tips? (Jimmy James)’

With Any Tips? (Jimmy James), Garfield Mayor lays bare the bittersweet reality of artistic pursuit, offering a tender yet fiercely resonant tribute to the late icon Jimmy James. Far from a surface-level homage, this gentle melodic rock confession exposes the grit behind the glamour, questioning salvation and searching for guidance with an understated intensity.

Mayor crafted this poignant vignette and reached the epitome of euphonic cultivation. A master of marrying introspection with melody, he channelled his influences—from the narrative eloquence of Paul Simon to the sonic aesthetic of The Eagles—into an expansive arrangement that radiates raw soul. His hybridised sound doesn’t attempt to mask the struggle; instead, it makes the plight of the artist a celebration of authenticity and resilience.

Through its plaintive tones and introspective lyrics, Any Tips? reaches beyond the confines of mere music, becoming a sermon for the soul. It’s an evocative reminder that while audiences are often captivated by the limelight, they rarely recognise the toil and torment beneath. For any artist navigating the labyrinth of creativity while wrestling with their own struggles, Mayor offers not just solace but solidarity.

Any Tips? (Jimmy James) was officially released on January 24th and is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Tempus Cucumis reached the epitome of cutting-edge with their prog-rock tour de force, The Axe Drops

Tempus Cucumis have sharpened their classically-trained chops once again for ‘The Axe Drops’, a six-minute tempestuous slice of prog-rock featuring the mesmerising jazz-tinged vocal talent of Anne-Lien. As an extended adaptation of the track that first appeared on their 2021 experimental demo album Mini Mouton—a prog soundtrack to the 1926 silent film Ménilmontant—the single transcends its cinematic roots and evolves into something far more colossal.

Crafted by the formidable duo Jeroen De Brauwer (guitars, drums, composition) and Lukas Huisman (keys, production), the single builds on their signature style of seamlessly balancing storm and stillness. The quiet, reflective interludes, where guitar and keys take centre stage, are fraught with tension, leaving you holding your breath for the monolithic crescendos of doom-laden riffs and symphonic flourishes.

These climaxes pulverise, especially when Anne-Lien’s ethereal vocals sweep in as an arresting juxtaposition to the hostility which breeds in the ferocity of the heavier sections which will leave fans of prog and post-rock slack-jawed. It’s the band’s deft ability to maintain captivation even in the stripped-back moments that make The Axe Drops a triumphant tour de force. The polished production ensures every note feels deliberate, every beat intentional, and every shift monumental.

As Tempus Cucumis work towards their eighth album, this single not only pays homage to their roots but also cements their status as titans of atmospheric innovation. The album artwork, a painting by Giorgi, is a fitting visual companion to a track that feels as vivid as it sounds.

Stream The Axe Drops on Spotify now.

Review by Amelia Vandergast