Rather than serving up yet another archetypal slice of Sunset strip sleaze, USA’s Orson’s Well brought modernism to their raunchy grooves with their latest single, ‘Serve the Verve’.
With Blues weaving its way into the anthemic stormer, Serve the Verve comes with a guarantee that you’ll find yourself mesmerised by the scuzzy yet soaring guitar solos that affirm Orson’s Well are bringing the pinnacle of modern rock.
Serve the Verve is rooted in the past, but it taps into that contemporary need for abrasive smoky rock n roll orchestrated for the discerning rock fan in 2021. For any fans of Guns n’ Roses and Aerosmith, Orson’s Well is definitely worth a spot on your radar.
You can check out the official video to Serve the Verve via YouTube.
Canadian hard rock powerhouse Rise in Veins followed on from their phenomenal debut single with the equally as captivating sophomore single ‘Pieces’, it’s a nice nod to early 00s rock, but with the trio’s influences scattered across the alt-rock spectrum, you’re treated to a brand-new experience of sonic veracity.
Pieces is a matured, nuanced evolution from what bands like Bullet for My Valentine and Avenged Sevenfold contributed to the airwaves. With the massive choruses, vocals that are strong enough to pull you into the soul of the single and the mind-bending guitar solos, Rise in Veins have all it takes to become the next big name in hard rock.
UK-based hard rock outfit IN Peril made their debut in 2020 with their stormer of a single, ‘Your Decision’, with their visceral mix of garage rock and punk, they made it impossible not to pay attention.
While many people potentially won’t like the reminder that every life problem bemoaned about is a consequence of their decisions, there’s plenty of high-calibre catharsis within the punchy, thrashy hit that is screaming to be played live.
IN Peril may carry newcomer status presently, but the synergy within this sniping earworm wouldn’t allow you to believe it. Now that ‘normal’ life is threatening to make a return, they’re definitely one for the radar.
Your Decision is now available to stream via Spotify.
With vocals that hit the high notes with the same precision as Matt Bellamy, the sex appeal of Deftones and classic rock licks that come with an ethereally evocative twist, it’s hard not to expect big things to come from GLASS EYE with the release of their album ‘SOMEWHERE, NOWHERE’.
PRAYERS is the perfect introduction to their sound that is so much more than an aural crumble of prominent bands that we’ve come to love across the decades. It’s a delectable invitation to witness the US-based powerhouse’s visceral authenticity that will appeal to anyone who likes their alt-rock to come with rhythmic salacious chills.
PRAYERS is just one of the singles that feature on their forthcoming album ‘SOMEWHERE, NOWHERE’, which is due for release on June 10th.
I always try to find the positives in reviews and give constructive pointers where there are areas for improvement, and I guess with that in mind there’s some nice fingerpicked guitar here coupled with Tommy Harwood’s obvious enthusiasm for what he’s doing. Maybe it’s that enthusiasm that’s at fault here, because ‘Walking In The Dark’ feels and sounds like the passion to get the song finished and recorded took away from the necessity to polish the lyrics and work on the performance. Sadly, the guitar’s lacking in any midrange warmth and so bright as to be brittle and shrill, the vocals are too up-front in the mix and have some – to put it delicately – tuning and pitching issues, and the cajon sadly wanders in and out of time seemingly of its own volition. All of these things could be corrected by some vocal coaching and some time with a seasoned producer to take charge of the engineering and mixing, and to guide the performance in the right direction.
Tommy’s a poet as well as a songwriter, and there’s no question that, at the root of all this, he can write verse; he needs to focus a little more on meter-over-music – poetry and lyric writing are very different beasts, despite their surface similarities – and on the vocal performance. He certainly knows his way around fingerstyle guitar, and it’s a shame that the production values on this demo don’t really allow that to be showcased. It may be that in his eagerness to commit ‘Walking In The Dark’ to tape (is that even still a thing?) and add ‘multi-instrumentalist’ to his CV, he’s done himself a disservice – it’s entirely possible that, with a few fewer instruments to worry about, a bit of singing-and-guitar-only focus, and a decent producer to get the best out of his vocal and guitar-playing performance, there’s some nice song ideas here. It’s just a shame that they’re currently being undone by his intensity and spirit, and a desire to do everything all at once.
Like so many musicians during the last year or so, Tyron Freeman – a veteran of bands as a professional musician in the North West UK – found that the world shifted and skewed sideways at the beginning of the pandemic. Suddenly stranded, jobless and isolated in a studio flat in Germany, what does a creative musician do but call in his mates and put together a killer rock n’ roll track?
‘Keep It Hid, Locked Away’ is raucous, indie-tinged rock – think Goo Goo Dolls, Bush, a little of Royal Blood, and some Beatles-y sing-song sections. There’s influences of Fontaines and Tame Impala, the White Stripes, and Oasis, too, along with old-school rock in Zeppelin, Bowie, and the Stooges. Recorded at Liverpool’s Parr Studios, Chris Taylor’s production brings elements of the Lightning Seeds, Blossoms, and The Coral into the mix, giving the overall single a perfect mix of classic rock groove and North-East England indie-pop catchiness. This might be early days for Tyron Freeman’s solo career, but on the basis of ‘Keep It Hid, Locked Away’ he really, really needs to avoid his own advice; this needs to be shouted from the rooftops instead.
‘Keep It Hid, Locked Away’ is out now; check out Tyron Freeman on Facebook.
It seems March is ‘old-school Goth Power-Rock’ month, with The Faces Of Sarah providing the epic sound-track; there’s big swell keyboards, huge guitar power chords, and the sort of driving drums and pushing bass that fills the soundscape. Sisters Of Mercy and The Mission mixed with big rock production. There’s an epic guitar solo, swathed in delay and reverb, that drips Fields of the Nephilim and a touch of early Cult. You can practically see the black and white promo video and the water droplets bouncing off the snare drum.
It’s sparse, echoey, a big epic goth/rock sound to a powerful single – the first from The Faces Of Sarah’s new ‘Whispers From The Room’ EP – carried by founder/singer Nick Schultz’s potent vocal and that sparse, echoey guitar. It’s time to dig out the black duster coat and eyeliner.
‘Angeline’ is taken from Judge Silver’s debut album ‘Still On The Bench’, nine tracks of relatively gentle alt-flavoured-rock with a lyrical bent and a certain nod to football-related metaphors here and there. There’s some synth and dancey bass across the album, along with the more ‘rock’ flavoured guitars – think Orange Juice and Edwin Collins, a little of the Presidents of the USA, and maybe a touch of Tin Machine-era Bowie, and a little of Amigo The Devil in the vocal delivery.
It’s perhaps a little self-consciously ‘self-effacing’ when it comes to the lyrics, but in between the tongue-in-cheek there are some killer couplets, and in ‘Angeline’ an albeit unconventional love-song.
You can check out ‘Angeline’, and the rest of Judge Silver’s debut, on Soundcloud. Follow Judge Silver on Facebook.
American solo artist Max Diaz has already racked up over 1-million streams with their visceral take on alt-rock, based on their standout track, ‘Mr. Manson’; he is still criminally under-appreciated.
It has been a while since a feat of alt-rock allowed my curiosity to pique so intensely, but this snarling furore of macabre garage rock reels you in hook, line and sinker by using Manson’s infamous line, “I’m nobody, I’m a tramp, a bum, a hobo, I’m a boxcar and a jug of wine and a straight razor …if you get too close to me”, as a prelude. What kind of outlier could resist that Kerouac-style resonance?
It’s a fuzzed-up obsession-worthy track that fans of Black Rebel Motorcycle Club are going to appreciate. Although it is safe to say that the distortedly electric choruses are infinitely more infectious. Instead of retaining an (archetypal) rebellious sense of ‘cool’, Diaz opted for no-wave aural insanity, allowing the soundscape to match the unstable state of Manson’s mind.
Of course, a track like Mr. Manson wouldn’t be complete with a burst of sonic guitars forming a wall, but this wall of noise comes wrapped in razor wire It really wouldn’t be a surprise to see Max Diaz signed to Ipecac Recordings or Sub Pop soon.
Mr. Manson is now available to stream via Spotify.
London-based alt-rock newcomers THE BIGGER PICTURE is set to make a sonic debut with, ‘Sparkle’; a single that parallels the anthemic energy in tracks by Muse, Arcade Fire, Editors and Biffy Clyro and sets the bar high for the debut EP.
The full-bodied release will take you back to the days when rock artists would master theatrical aural experiences, designed to completely blow your mind when the crescendos and guitar solos come around. It is hardly a stretch to say that, given the chance, THE BIGGER PICTURE could offer the same command of a festival crowd as Queen did in the 80s.
The dual vocals practically make Sparkle effervescent with collaborative chemistry, and the guitar work is enough to give James Dean Bradfield a complex.