SchizoRat AKA 18-year-old independent artist Jacob Tanner’s track Trial by Error was enough to land him amongst my all time favourite Alternative Rock artists. How the Las Vegas recording artist managed to exude such maturity through his sound is absolutely baffling. With Trial by Error he created a sound just as raucous and electric as bands such as the Eighties Matchbox B-Line Disaster, The Libertines, Black Keys, and The Strokes. His pioneeringly fresh sound was just what I needed to add a contemporary hit to my playlists which rarely contain any music made after the 90’s. Every single track that SchizoRat has created is utter perfection. He bounces between various Lo Fi sounds, and vocal arrangements but never fails to incorporate blinding guitar riffs and a palpable amount of angst. The rhythm and resonance behind his instrumentals could only be described as pure filth. Tanner is a guy of seemingly infinite talents being able to master piano, guitar, drums, vocals, and even the trumpet.
Stop listening to me fangirling all over the show and check out SchizoRat’s debut single Trial by Error on SoundCloud using the link below:
If you put the sounds of The Jim Jones Revue, The Cramps, The Zombies, The Fall and Joy Division in a blender, you might get somewhere close to the sensational sound of Joe Bone & The Dark Vibes. The Glaswegian Alt Rock outfit are a powerhouse of talent that have joined together to create music drenched in nostalgia and animated by the dirtiest riffs you’ve probably ever defiled your ears with.
Pale Moon stands as testament that Joe Bone’s vocal ability is boundless, throughout the track he moves from a sultry Blues sound to bouncing into a raucous revival of Psychobilly.
The low reverb on the driving bassline will be adored by any fans of Post Punk & New Wave, whilst anyone will appreciate the overall veracity of the track that sounds like something you’d hear in a Tarantino soundtrack. You’re probably not even human if you can sit still to this track.
Check out Joe Bone & The Dark Vibes latest track on SoundCloud now:
Mines of Gold is the first ever single by Claudio Soto a uniquely spectacular Alt Indie Rock singer songwriter who writes all of his own monumental tracks. It’s too easy to fall in love with Soto’s sound with his reminiscence to Matt Bellamy from Muse with his vibrato vocal style, yet he did more than assimilate his sound, Soto infused it with Dinosaur Jr style grunge, mixing in his palpable, yet swampy rhythm. I adore the fuzzy instrumentals soaked in reverberation that make this track a truly thick anthemic and bouncing along beside Soto’s strenuously charming voice dominating his heart wrenchingly evocative lyrics. With his music Soto transcended the superficiality that pours through most contemporary music today. There’s no Rockstar grandiosity to his sound, just pure, unrelenting honesty that reads like poetry.
So, If you’re a 90’s Alt Rock fan, I highly recommend you check out Mines of Gold, you can check out the track on YouTube using the link below:
The resonance of Jimi and The Strangers new track You Ain’t right hits you from the first verse, the sweet yet soaring melodies that have been soulfully composed to create such an authentically alternative soul hit create a cacophony of euphoria. This track rings with the nostalgia of the 1996 hit by Beautiful South – Don’t Marry Her. Recreating that sound is no easy task, but with their infinite amount of command over their instrumentals this Nottingham, UK based collective of musicians harness their talents to create an ethereal track which is impossible to listen to just the once!
Their playful lyrics are cut with a vibrant poetic flow, which really brings You Ain’t Right into an element of its own with its genre hopping sensibilities in which you can taste a variety of sounds from Country, Rock, Acoustic, Ballads and a bitter sweet touch of Rhythm and Blues.
If you feel like ingesting some positive vibes you can check out You Ain’t Right via the BandCamp link below:
With their infectiously catchy riffs that would make even Johnny Marr’s ears prick up, rattling drum rolls and tight soaring harmonies it’s no wonder that the Indie Alt Rock collective MOTHER have already attracted attention from the likes of the BBC with their debut single release of Petrichor.
Petrichor is a creation of aural alchemy, not too dissimilar to the psychedelic fury of bands such as The Kooks yet the vocals from vocalist and rhythm guitarist Josh Alden are infinitely more amiable when put against the deft instrumental abilities from Sam Alden (drums), Danny Fisher (guitar) and Everton Barbato (bass). Petrichor is the first audio delight to be released from their already much anticipated EP ‘Remnants of a Wasted Dream’ from the deftly talented Oxford based collective. The band are no stranger to the circuit, the foursome has already achieved notoriety from their earlier ventures through various projects and touring with the likes of The Bluetones and October Drift. Their cacophony of eclectic sounds rings with the influence of bands such as Foals, Bob Dylan and Radiohead. Under the polished production of Mark Gardener, the band really can’t go far wrong.
Where to begin? Something To Get Over by Peace of Mind is a strange piece, there is no denying that. But strange is good, strange is mercurial, unique, original, boundary defying and there is no shortage of that here. At turns it wanders 60’s psychedelic landscapes, alt-rock noise, retro-pop melodies and post-punk swagger which takes some doing in just over three and a half minutes. But music isn’t always about following rules, much of the best of it comes from discarding them and beating your own path along whichever musical route takes your fancy not to mention taking tangential journeys of your own making, hopping fences and short circuiting convention.
Something To Get Over does all that and more, it sits between music and art, art and exploration, exploration and academia, it is blissfully unaware of genres, or more likely wilfully ignorant of their purpose and as such the result is unique. And if the choice is between the tried and tested and the odd and challenging, I’ll take the latter any day of the week…and twice on Saturday.
The wonderfully named Holyphant merge the drifting desert blues sound with a darker and more ephemeral vibe, one which is built on shifting dynamics, from ambient moods to classic rock salvos, and the bleak and wasted stoner rock vibe. Throw in some brooding gothic undercurrents and some hypnotic interludes and you are about half way to nailing down their meandering and mercurial sound.
It’s a lot to back into one song but it shows a clear understanding of the rocks rich and varied history and a deft hand when it comes to blending past styles into a gloriously new sound. It wanders progressive landscapes planting defiant rock seeds, waters them with alt-rock nourishment and prepares for the blooming of a whole new post-genre, all inclusive rock movement. Knowing where you come from is the key to knowing where you are going and Hallucinations prove beyond doubt that Holyphants never forget!
It is a brave move indeed to take on a P J Harvey classic and try to bring something new to the table. Yes, covering the song is easy but for an artist already dripping in non-conformist creativity and single-minded sonic direction, there is little point in taking on such a task unless you can bring a similar uniqueness to the song.
Thankfully, The Secret Things seem to have exactly the right mind set and approach to the song’s reinvention and the result is the perfect blend of their own leftfield alt-rock and Harvey’s beautiful and terrible resonance. They manage to create a version balancing power and restraint, a musical tide that pulls the listener in and just up to the edge of the maelstrom, a majestic cacophony if ever there was one.
Not many people can take on such a song from such an uncompromising artist like P J Harvey and hope to breath new life into it, but the fact that The Secret Things are able to do just that suggests that they might not be that secret for very long.
Some bands like to push boundaries, storm barricades and try to change the face of music; others stick to what they are good at and work in familiar territory. It seems impossible to simultaneously work in both fields; surely they are polar opposites, mutually exclusive, opposing camps. Well, yes, but somehow Desert Clouds bridge that gap. For whilst you can see the familiar elements that make up their sound – a large helping of grungy, stoner rock and desert blues tempered with psychedelic sensibilities – the way they re-arrange these sonic building blocks produces something wonderfully refreshing.
But whereas many bands could take the same musical elements and end up making a clichéd pastiche to any number of bands on the Homme/Lanagen musical axis or worse, try to reimagine 90s Seattle, Desert Clouds manage to make rock music that is cool, groove laden, infectious and well, to be honest…damn sexy. It is also forward thinking, wonderfully of the “here and now,” and reeking with modernity rather than nostalgia. Forget the patched denim hordes and their nostalgic tunnel vision, these guys not only know where they come from, more importantly they know where they are going and that is what really counts.