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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.

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.

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