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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.

Supersonia became darkwave’s Dr Frankenstein with the electricity in the disquieting Sci-Fi Post-Punk atmosphere of ‘Glowing Engines’

Disquieting sci-fi synths open the latest release by French-born, Los Angeles-based alt-rock emissary Supersonia. From there, Carpenter-esque scores, Kraftwerk-echoing synth-pop, post-punk and Krautrock converge, creating friction around the harbingeringly charismatic vocals which deliver the same kind of drama as Peter Murphy.

In Glowing Engines, Supersonia offers a cheeky Machiavellian grin with his histrionic narration before the stadium-sized rock riffs ensure there is not an atom of negative space in the production. Glowing Engines sparks with more electricity than what Dr Frankenstein used; this track is most definitely alive with darkwave scintillation. As an artist who knows exactly how to take charge of a chilling atmosphere and create gothic spectacle, he is emitting his own limelight.

Glowing Engines speaks to every unsung hero who pours themselves into others while silently running on empty. Within Supersonia’s connected sci-fi narrative, that idea becomes the story of a future healer repairing broken wounds until someone finally repairs his. The emotional premise gives the track a human core beneath its metallic, cosmic casing.

With 80s rock influence, 90s grunge, modern rock force and cosmic shred running through the release, Glowing Engines has obvious appeal for fans of Muse, Metallica, Soundgarden, Queen and DJO. More importantly, it positions Supersonia as an independent artist worthy of a cult following.

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

Review by Amelia Vandergast

Olle Schelin Reached Alt-Indie Alchemy Through the Reverb-Heavy Melancholy of ‘Wave in My Direction’

Olle Schelin reached the pinnacle of alt-indie alchemy in his latest single, Wave in My Direction. The 100% DIY 22-year-old Malmö-based independent artist and multi-instrumentalist wrote, recorded, produced and mixed the release himself over several months, and that labour of love paid off, leaving nothing to be desired when searching for ornate details in the emotional architecture.

Everything lies in perfect synergy within the atmosphere of the languidly lush, artful approach to shoegaze-oriented indie. The incidentally cinematic melodies sprawl as they endlessly ascend in the production, while Schelin commands the same kind of evocative gravity as Jeff Buckley through vocals which augment as much as the guitars, bleeding into overdrive before once again finding restraint within the melancholy of the scarred cathedral of sound.

Wave in My Direction centres on attaching to people too fast, dependency, and the loss of self that follows when affection starts to swallow identity. That theme moves through percussive verses and explosive choruses with the force of an artist pulling confession into widescreen guitar music.

As one of the most affecting singles I have heard this year, battling through the mesmerism to pay tribute to the release through words proved difficult. The crescendos are a landslide of emotion, but it is the moody alt-90s intersections of math rock-esque experimentalism and sludgy reverb-heavy accordance that catch you in Olle Schelin’s grip. He carries all the contemporary cultivation of Jaws and Peace while delivering the same world-class songwriting as Thom Yorke. Why isn’t he at the top of the charts yet?

Wave in My Direction is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Alexander Setzko’s Fairy Tale Is a Dreamy Indie Rock Escape from Memory’s Sharpest Edges

Alexander Setzko

Rose-tinted glasses come with thorns -on the dreamy, new wave indie jangle-pop single, Fairy Tale, by Alexander Setzko. The Brooklyn-based multi-disciplinary artist instantly sweeps you up within an ethereal cinematic glow, conjured by spectres of 80s synth pop and the kind of guitar work which made Johnny Marr stake his claim as one of the most influential indie guitarists to ever live and breathe over a fretboard.

Fairy Tale carries the romance of immaterial mythology, but these fables only carry visions of your past as Alexander Setzko’s dramatically lush indie rock opera vocals paint a vignette of wistful passion for what you wish still remained. The track feels suspended between sentimental illusion and the dull dawning of realisation, letting nostalgia shimmer while still exposing the emotional cost of living too long inside it.

Setzko is the powerhouse behind the vocals, instrumentation, recording and final production, giving Fairy Tale the distinct signature of an artist steering every contour of the release. As the cherry on the cake, Alex Blade Silver’s saxophone solo adds a strident timbre to this narratively enrapturing triumph, which we have been blessed with an early preview. If there is any summer single worth waiting for, it is this stunningly evocative tour de force, granting better escapism than navel-gazing into your memories.

Fairy Tale will be available to stream on all major platforms from September 1st. Buy the single on Bandcamp.

Review by Amelia Vandergast

Guilty? by Rebel Trust Is Grunge Nihilistically Dragged Back into the Basement

Rebel Trust caustically cut across post-grunge with the single, Guilty?, from their recently released LP, 31 Atlas. Far more gnarled and scuzzed than anything Dinosaur Jr. ever conjured, with the melodic gravity of their most iconic hits, Guilty?, in all of its nihilistic ennui, drags mainstream grunge back into the basement.

The songwriting chops are as sharp as what made the pioneers legends in the 90s, but the punk energy riling the sludgy vocals and instrumentals places Rebel Trust in a far more disenchanted territory, one which reflects the malaise of your own life and the wider world falling apart simultaneously. The riffs stay raw, simple and melodic in the way grunge should be, carrying the brutal honesty of Nirvana’s era without sounding like a museum-piece imitation.

Rebel Trust is a one-man project, created entirely by Robert without AI, made in the slivers of free time left between hospital shifts. That context gives Guilty? a working-life exhaustion and a lived-in strain that cannot be faked. If we are all being honest with ourselves, we can probably all relate to Guilty?, even in an abstract way. All it takes is one first-world problem, and we are spiralling until we are beckoning the apocalypse.

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

Review by Amelia Vandergast

Tokyo Alt-Rock Project Solo Ronin Hit an Immediate Chest-Swelling Force on 10,000 Miles

Emo has reached peak maturity through the debut single, 10,000 Miles, by Solo Ronin. Created by Tokyo-based artist Kris Thiesen, born in Japan and raised in California, the alternative rock project came in hot with a debut that already sounds fully inhabited and emotionally exposed.

After a prelude that instantly throws you back to when you couldn’t go anywhere without hearing Iris by the Goo Goo Dolls, the track rips into melodic 00s rock in the vein of Breaking Benjamin 10,000 Miles builds from acoustic-driven intimacy into a full-band alt-rock climax that feels cinematically pit-worthy. Produced and mixed by Aaron Johnson, whose credits include Secondhand Serenade and The Fray, the polish on the single heightens its thematic impact to the nth degree.

There’s no sense of Solo Ronin finding their feet with this debut release or hesitantly approaching the industry; they came in with their soul wide open, exuding the same magnetic resonance as Chris Cornell. Lyrically, the single explores distance, timing and the relationships that keep living inside you long after the practical ending.

With early support from Amazing Radio, Raw Radio, Nova Hits Radio and The Fix on Totally Wired Radio, plus clear appeal for fans of Dashboard Confessional, Jimmy Eat World, Secondhand Serenade and Cory Wells, the visceral impact of this debut landing will stay lodged.

10,000 Miles is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Lora Lox’s Too Funky Is a Radio-Ready Funk Anthem with Soul-Swallowing Vocal Force

Lora Lox shook the foundations of funk with her latest sonic fusion, Too Funky. Bringing rock star siren energy into the kind of vocal performance that made Christina Aguilera the poster girl for raw, soul-swallowing vocals, while orbiting around the earworm appeal of pop and never tempering the groove in the kinetic hit, Lora Lox has made Too Funky a euphoric anthem that slams into your rhythmic senses.

As a paradox of poise and power, Too Funky is an infectiously uninhibited hit, but Lora Lox possesses enough talent to keep the whole performance polished without feeling postured. Her voice carries club-season confidence, stage-trained control and the kind of expressive bite that makes the track feel larger than its already radio-ready frame.

Kudos also have to go to Dave Wood, founder of Fownto Crew, who gives the single swathes of crossover appeal while tipping his hat to the funk trailblazers that shaped his own musical roots as a drummer. Over the last year, Lox and Wood have co-written and recorded more than 30 songs, with an album due later this year, dance remix features landing in July and August, and a film project with Grammy-winning songwriter and producer Steve Chrisanthou also in motion.

The music industry may be oversaturated, but Too Funky is still an iconic moment in contemporary funk fusion.

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

Review by Amelia Vandergast

Mike Moss’s This Place Is Americana-Tinged Singer-Songwriter Rock for Anyone Haunted and Healed by Home

Mike Moss has a conspicuous way of shaping outpourings of singer-songwriter emotion and melody into affecting ruptures of timeless resonance. In the same way Jeff Buckley cradles you in crescendos of intensity which broadside you as they swell from intimate narrative songwriting, his latest single, This Place, tests the elasticity of your heartstrings. There is no denying he belongs in the annals of great songwriters.

After the silence imparted through his hiatus, he has returned with a newfound sense of conviction within his poetic, Americana-tinged confessionalism. This Place is the first track from his forthcoming EP, Was It Love?, written in Manchester and produced by James Sinclair-Stott in Nashville, giving the song an authentic transatlantic atmosphere and crossover appeal.

There are echoes of soul-torn classics in the same vein as Hallelujah, with gospel-esque orchestral backing behind the bluesy 70s rock sonic signature, as Mike Moss battles with the prospect of starting over and how we are all shaped by the place that has come to define us, for better or worse.

The twangy Americana candour gives every line dust on its boots, while Bob Dylan-esque harmonicas come to blows with the complications of wanderlust and feeling homesick. It is the sound of a soul contending with emotionally heavy geography and a compass for anyone feeling lost.

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

Review by Amelia Vandergast

LYRA’s ‘English Weather’ Hits Like Alt-Indie Petrichor After the Worst Kind of Goodbye

Metaphorically, when it rains, it pours, leaving us in the damp, morose poetry of petrichor, and no one knows that more than the alt-indie trio, LYRA. In their latest single, English Weather, the breakthrough act summoned a monsoon of meaning, letting grief move through the song as both a weather system and emotional aftermath.

The reverberations from the cavernous piano and guitar textures could move mountains as the lead vocals seductively languish inside the melancholy of the release. Clouds break for moments of gratitude to shine into the vignette of loss and memory, then gather again in choruses commanded with the same dramatic authority as Garbage’s biggest hits. The alt-90s act as a weathervane for this stunning blueprint of emotional attrition, penned in poetry and pain, while LYRA’s soul-inflected indie rock core anthemises the rawest facets of the human experience.

If you know how it feels to want one more day with someone already gone, the resonance in this intimate triumph, which builds around the emotional architecture of Wolf Alice, will hit hard enough to bruise. Produced and mixed by Larry Hibbitt, whose work spans Nothing But Thieves, Marmozets, Boston Manor and Sea Girls, English Weather marks the third single from LYRA’s forthcoming EP.

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

Review by Amelia Vandergast

Harper – Anymore: A Distortion-Maimed Shoegaze Hymn of Bloody Valentine-Esque Static Haunted by the Melancholy of Thom Yorke

If Thom Yorke ever lent his voice and rhythmic tendencies to My Bloody Valentine, the alt-indie scene would have imploded through everyone collectively losing their minds; the idea of what that would sound like ripples through Anymore, one of the standout singles, Anymore, from harper’s debut album, Breach.

Languid vocal notes stretch through the arrangement, drifting around the walls of distortion-maimed shoegaze guitars; each time the scuzz slips away, it leaves room for the sublimity within the melody to shine through the production alongside the ethereal voice and timbres of acoustic strings, juxtaposing the no-wavey noise that constantly feeds back floods of caustic energy from the amps.

Anymore is the kind of single that could reach you even in the darkest pit of despair, entrenched in its own sense of cultivated darkness, the kind of darkness which can only belong to the painfully self-aware, which, we imagine, comprises the vast majority of harper’s international fanbase, which they should be taking as a badge of cerebral honour.

The Detroit four-piece spent three years recording Breach, threading hundreds of guitar layers through pipe organ, string octet, piano and harp arrangements until the record became a colossal act of atmosphere. Produced by Nick West under the mentorship of Chris Vrenna, founding drummer of Nine Inch Nails, the album reflects its meticulous orchestration and the band’s obsessive devotion to aural purification.

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

Review by Amelia Vandergast

Ana & Gene – See Me Smile: a Riffed Out Power Pop Anthem for Unapologetic Selfhood

Imagine a fusion of the hook in Smells Like Teen Spirit and Hanson’s iconic MMMBop with Pixies-esque distortion drifting through the guitars before Blondie and Morrissey enter the mix, and you’ll get a good idea of the euphoria which swells through the sticky-sweet hit See Me Smile by power pop powerhouse Ana & Gene.

Once there has been enough syrupy harmony, the award-winning duo unleashes raw-as-a-razorblade-cut riffs, leaving swathes of adrenaline to drink in while visualising what it means to be unapologetically happy in the skin of your authenticity instead of wearing the uniform of socially prescribed happiness. See Me Smile is as empowering as it is uplifting, and therein lies the beauty of the always infectiously high-voltage duo.

The Chicago duo’s cross-genre fingerprints remain unmistakable, with Gene Roberts’ gold-certified pop history and Anastacia Bella’s research-led songwriting perspective feeding the track’s bright bite without sanding down its sharper edges. Since forming during the strange stillness of 2020, Ana & Gene have built their own lane through award recognition, international nominations and indie chart success, but See Me Smile feels more personal than a résumé flex. It is a Machiavellian grin with rebellious resistance behind it.

See Me Smile is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast