Browsing Tag

alt rock

Templemind reached the pinnacle of life-affirming alt-rock anthems with, More to This Life

I don’t make a habit of head-banging alone at home but I’m only human, and when Templemind’s latest single, More to This Life, flooded the room with visceral energy and hooky guitar riffs, getting caught up in the cathartic momentum was non-optional. The meditative yet rhythmically arresting propensities of the monolithic alt-rock track started to make a little more sense upon learning the single was tuned to 432Hz, which is proven to lower heart rates and heightens perception.

Starting with a disconcerted scratchy prelude that threw me right back to my teen days obsessing over Linkin Park’s raw introspection and catapulting into an alt-rock soundscape which raises the vibe with funky angular guitar chops around the massive synth lines and grittier tones, More to This Life is a life-affirming lesson in vindication.

I’m going to throw professionalism out of the window and confess to fucking ADORING Templemind. Although I guess I’m not alone. After his 2022 debut, the mastermind behind the project, Philipp Schardt, amassed over 500,000 streams.

More to This Life is now available to Stream on Spotify.

Review by Amelia Vandergast

The alt-rock originator, djamesk13, struck again with his grungy proto-punk single, And That’s Where It Ends, And So It All Begun

And That’s Where It Ends, And So It All Begun” is the latest tonally sublime single released by the London-based alt-rock originator djamesk13 (David Kemp).

If Dinosaur Jr veered away from grunge and towards proto-punk and made a pit stop at 90s Britpop to pick up a bit of extra guitar swagger, the sonic result would be in a similar vein to this nostalgically produced hit.

The distortedly and poetically orchestrated single provides a definitive discourse on the nature of our lives which runs through like pre-determined chapters of destiny. Lament it or live it to the max, but that’s the nature of being, captured in the lyrical hooks in this epitomisingly sludgy earworm.

And That’s Where It Ends, And So It All Begun was officially released on November 19th. Catch it on SoundCloud.

Review by Amelia Vandergast

Go down the downward spiral with Daniel Antonio’s dark electronic rock debut, everything I touch

Any fans of Blue October, Celldweller, and Three Days Grace will be gripped with the evocative raw candour that complements the turbulently dark electronic rock aesthetic in Daniel Antonio’s debut single, everything I touch.

For infectious appeal, the debut fuses pop hooks with glitchy electronica and down-tuned guitars. With the bilingual lyrics adding yet another repeat-worthy facet to the track that exhibits Antonio’s fearless vulnerability equally through the lyrics and vocals, every time you listen to everything I touch, the immense sensory experience becomes that little bit more visceral. The single was written to encapsulate a relatable dark downward spiral that made losing touch an inevitability and admirably as an admission of fallibility.

Away from the music industry, the Sheffield-based solo artist starred in the BAFTA-nominated film Everybody’s Talking About Jamie – which explains the colossal cinematic touches in his debut. He also provided backing vocals for Ed Sheeran & Bring Me the Horizon’s earworm, Bad Habits, which hit number 3 on the UK charts. If this single doesn’t chart too, I might start a riot on his behalf.

Everything I touch will be available to stream from November 25th. Catch it on SoundCloud.

Review by Amelia Vandergast

Kiss the Scientist is ‘Waiting on the Rest of the World’ in their psych-tinged orchestrally-heightened post-rock triumph

After opening for the Plain White T’s and Hoobastank, LA alt-rock powerhouse Kiss the Scientist is priming the airwaves for their debut EP that is set to release in 2023. Their latest single, Waiting on the Rest of the World, starts with an ambient neoclassic stringed prelude before waves of momentously high energy break around the alt-rock instrumentals.

Strap yourselves in and prepare for off-kilter curveballing progressions that make delving back into Waiting on the Rest of the World infinitely pleasurable. With every repeat listen, you pull something new out of the multi-sensory experience that entices you with the punk ethos in the lyricism and the delicate motifs around the monolithic breakdowns.

The swirling psych-rock cascades cut up by classic rock riffs create a stunning score of ingenuity for lead singer and guitarist Max Tomack to lay down his dynamic vocals that range from ragged post-hardcore screams to hook-filled melodic lines.

As if we didn’t love the latest single already, we were infatuated upon finding out that all of the music that spills from the practice room is a happy accident made through their sheer unadulterated love of making music. We’re officially psyched for the debut EP.

Waiting on the Rest of the World will officially release on November 18th. Catch it on Spotify and all other major platforms via this link. Follow Kiss the Scientist on Instagram.

Review by Amelia Vandergast

Nestle into the safe chasm of alt-90s nostalgia with I’ve Tried Sleeping’s single, Without the Faintest Idea

With a moniker as defiantly dejected as I’ve Tried Sleeping, we knew we’d find ourselves head over heels when we dug into their eponymous debut album.

The standout single, Without the Faintest Idea, unravels as though Bob Dylan wrote The Truman show. Sonically, the single is an intersection between the college radio rock vibes of R.E.M., the striking viscerality of the Cranberries and to perfectly round off the single, there’s plenty of unadulteratedly classic rock riffs that drive the searing hot tones right into your synapses while they uplift you from the drudgery of the modern age into the safe chasm of alt-90s nostalgia.

If anyone has a chance of making it in the sorry state the music industry is in, it is the five-piece outfit fronted by Charlie Edwards. They’re a powerhouse, but that doesn’t get in the way of their effortless affability, which makes their tracks a pleasure to endlessly play on repeat. They get better with every listen.

Stream I’ve Tried Sleeping’s debut LP for yourselves on Spotify and Bandcamp.

Review by Amelia Vandergast

Swing back to the late 60s with Sarah Streitz’s dusky groove-led rock hit, Time Passes

Ahead of the release of her 2022 album, Different Space, we got stuck into the retro grooves of Santa Fe and Minneapolis singer-songwriter Sarah Streitz’s single Time Passes. While there’s no arguing with the titular statement, clearly, Streitz doesn’t conform to the linear passing of time if the tonal nostalgia that the dusky rock record spills is anything to go by. With just a few licks of the bass and her effortlessly cool vocal performance, you’re doused in late 60s synaesthesia.

After leaving Americana and country (mostly) behind her, Streitz teamed up with the Grammy-winning sound engineer Marc Whitmore to deliver soundscapes that would make Tarantino’s head spin. Evidently, Whitmore poured the same magic into Time Passes as he did with The Black Keys records – there’s something infinitely intoxicating about her demurely vintage vocal timbre colliding with the bass lines that roll around the shimmering organs and spacey sonic effects that bring a touch of modernism to the trippy swing of the single.

Time Passes is now available to stream on Spotify.

Review by Amelia Vandergast

Lock up your daughters; ORCHAD unveiled their X-RATED pop-hooked alt-rock earworm, SKIN

ORCHAD’s latest single, SKIN, is easily the sexiest alt-rock offering since She Wants Revenge tantalised us with Tear You Apart. Quickly becoming (in all the ways) one of the hottest acts in Montreal, ORCHAD has torn up the rock n roll rule book and is writhing in the confetti of archetypal rock flavours.

Screeching riffs resound around the dark electro beats to create a fervid platform for the dynamic vocal lines that sporadically run through heavy effects to amplify the dark salacious energy of SKIN to the nth degree.

Instead of attempting to appease the insufferable rock snobs by listing only the most revered rock gods in their influences, ORCHAD let us know exactly where their hooky pop proclivities came from by name-dropping everyone from Dua Lipa to LeBrock to Billie Eilish and by owing the heavier parts of their ever-fluid signature to the likes of Avenged Sevenfold and MCR. As someone that was very much in their emo phase in the early 00s, their partially revivalist ingenuity is far from lost on me.

SKIN is now available to stream on Spotify.

Review by Amelia Vandergast

 

Desperate Times Call for Damning Juggernautical Anthems, Cardiff’s Columbia Answered That Call with Their Dark Psych Rock Hit, Disorder

Following the phenomenal success of their 2022 album, Embrace the Chaos, the Cardiff indie alt-rock innovators, Columbia, have unleashed the all-consuming furore of their post-punk-tinged post-Britpop single, Disorder. With the harbingering urgency of the swaggering vocals as they paint a damning depiction of our dystopic bleak modern age against the vortex of psych guitars, Columbia reached the pinnacle of visceral realism with Disorder.

I don’t think I’ve been this excited about a newly discovered band since I tuned into Desert Mountain Tribe for the first time. It comes as no surprise that their producer at Kings Road Studio described Disorder as the biggest sounding track he’s made with a band. It’s a juggernaut that makes no bones about dragging you into the dark disparaging societal view was born from.

Disorder is now available to stream on Spotify.

Review by Amelia Vandergast

Movment chose ‘VIOLENCE’ in their protestive post-punk call to arms

‘VIOLENCE’ is the serendipitously timely new single from the Irish indie post-punk outfit, Movment; the pit-worthy call to arms in the wake of widespread apathy is exactly what our society confounded in fear of failure and futility needs to hear.

The boisterous chugging basslines roll with the percussive punches to fuel VIOLENCE with the aggravated energy required to stand up to the forces which make no bones about oppressing us. Under the fiery duress of Martin Kelly’s angsty vocal lines, the galvanically pulsating furore of the stagnation-emancipating record heightens to the nth degree while affirming that if utilised properly, anger can be one of the most powerful driving forces known to man.

Now that John Lydon is a national embarrassment and the gloss has been taken off PIL, it is all too refreshing to have Movment on our radar.

Violence will officially release on November 18th. Watch the official music video on YouTube and check out Movment’s official website.