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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.

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

Byron Ciotter used lo-fi melodic rock as a confession booth through his latest single, Impossibilities

https://music.youtube.com/watch?v=xIoxuYgJ1Ws&si=Hk5o4XXhIdFne8oz

There’s something arrestingly primal in the way Byron Ciotter strips his soul bare in Impossibilities. While most artists polish pain until it sparkles, Ciotter lets it crack and creak through every chord in this lo-fi melodic rock elegy that aches with the weight of unprocessed loss, love, and the universal pull of unanswered questions.

Drawing from two decades of eclecticism that started in Southern Maryland’s metal scene in 2005, Ciotter’s path to Impossibilities was paved through the wreckage of trauma, the solace of connection, and the quiet contemplation of death, divorce, and fleeting affection. It’s a long way from distorted riffs and high-octane catharsis—now the weight is carried by pared-back progressions that resound like intimate confessions. There’s no filter between the listener and the flood of reflection. Every note feels lived in, every lyric sounds like it was torn from the back page of a notebook too private to publish.

While Ciotter may never claim a crown for innovation, he’s reached the epitome of emotive expression. His unembellished approach to songwriting serves as a raw conduit of connection, one forged in the fires of personal experience and cooled in the lo-fi tones of acoustic melancholy.

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

Review by Amelia Vandergast

No Die by Master Splinter: A Grimm Fairground for the Morbidly Curious

With No Die, Master Splinter unveiled their first single of 2025, cracked open a pit of sonic carnage and dared us all to crawl in. Portland’s prodigal sons’ grotesquely theatrical take on hard rock hit a new stride with this track. They’ve always melted faces with monolithic riffs and psychedelic fretwork, but now they’ve stitched those foundations to a grimmer, more vehement guise—without forgoing the tongue-in-cheek Machiavellian mischief that’s always simmered beneath the madness.

Master Splinter didn’t throw out the rulebook. They rewrote it with charred ink. From the first chug of the bass to the last chaotic breakdown, No Die is a warped mirror to our obsession with death, with catastrophe, with the void. It lurches and prowls with snarling vocals, scuzzy rhythms, and frenetic percussion. The track’s lyrical backbone—sung with visceral theatricality—confronts the magnetic pull of the morbid, the inexplicably compelling urge to peer into the abyss.

Mick Arrell’s songwriting, along with Jason Schauer’s bass work and Aaron Bree’s percussive force, keeps the absurdity of modern existence firmly in the firing line. The drama and politics are stripped away; what’s left is raw energy, dark humour, and warped unity delivered through a warped fairground ride of hard rock.

No Die is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.

Angie Keys Unlocks Emotional Armour in Her Alt-Pop Anthem ‘Brave’

With an intro landing deftly between a bitter-sweet Taylor Swift ballad and the soaring guitar strings of a Springsteen-inspired country-pop anthem, Angie Keys’ single, ‘Brave’, instantly immerses you in melodically impassioned territory. Taken from her debut album, Finally Here, the track never allows its emotive momentum to falter, striking an affecting balance between intensity and tranquillity.

Keys’ instrumental swells resonate with palpable feeling, affirming her talent for embedding visceral emotion into each note. Yet, amidst this sonic strength, a gentle serenity emerges through Keys’ vocals, gracefully drifting through the production like whispers of comfort. This effortless vocal touch adds a serene reverie, making the single a musical salve for those wearied by fortitude.

Lyrically, ‘Brave’ explores the resilience required to thrive despite relentless trials—an honest narrative borne from genuine life experience. Keys, a Birmingham-based singer-songwriter with roots tracing back to childhood family performances, has grown into a nuanced storyteller. Her teenage fascination with 90s multitrack recording blossomed into mastery, fuelled further by life’s heartbreaks, repairs, loves, and losses. These lived experiences culminate impressively on her long-awaited debut, underpinned by contributions from global talents including Emiliano Boulot on drums, Daniel Beachy’s pedal steel, Marco Gatti’s piano keys, Hugo Lanauestudi’s lap steel, and Joseph Keys’ accomplished guitar and production work.

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

Review by Amelia Vandergast

White Picket Fences Are a Lie: Pillowprince Rewire Queer Disillusionment in ‘R the Straights OK’

With ‘R the Straights OK’, the Oakland indie gaze trio Pillowprince crack open heteronormativity with a switchblade grin and the simmering scorn of lived queer reality. What starts in alt-indie quiescence, all ethereal lilt and slowburn restraint, fractures with a scuzzy interlude that proves distortion isn’t just a sonic texture—it’s the emotional static that fuzzes over every moment spent being bent into someone else’s blueprint.

Crafted from the leather-creased, glitter-smeared spaces Pillowprince call home, the track flickers between fragility and defiant force. Olivia Lee’s vocals, feather-light but sharpened with conviction, echo through the mix like the ghost of a version of yourself you tried to edit out. As the instrumentation teases the hook with near-ritualistic patience, you’re pulled into a queer coming-of-age narrative where conformity is the real villain. The melodic breaks are more than sonic punctuation—they’re the spaces where all the unspoken things pool.

Lyrically, it’s a spicy satirical stab at the expectation to fall in line—white picket fences, 2.5 kids, dead-eyed suburbia—before it swerves back into the shadows of a different kind of fulfilment. This is queer unity under pressure. A noise-drenched consolation for anyone crushed under the weight of pretending that “normal” ever meant safe. With Sea Snyder on drums and Liza Stegall on bass locking in a rhythm section that holds its shape even as everything else implodes, the band embodies queer rebellion.

‘R the Straights OK’ is now available to stream on all major platforms via this link. 


Review by Amelia Vandergast.