The sound behind Saso Sandic comes curtesy of a New York based collective of Alternative Rock aficionado’s that don’t mind lending elements of sound from other genres to create their insanely pioneering sound that demands to be played on repeat. Sandic’s voice is almost too beautiful against the Blues Pop Rock sound that’s fused with extra Funk through the track’s R&B Harmonies. The sound of the acoustic guitar floats throughout the track, even against the attack of the Jazz Funk style bass that bleeds contemporary euphoria into the debut mix.
The genius behind the project lies in singer, song writer and guitarists mind. Through his music he transcends superficiality and explores an enticing array of themes such as evil and gender, which explains part of the resonance behind Pity Boys. Every track that Sandic has orchestrated has been utter perfection, but Pity Boys is a charismatic wonder of a hit that’s playfully emasculating, music sounds pretty sweet when the shoe is on the other foot.
Check out Pity Boys on SoundCloud using the link below:
Trying to be cutting edge musically is a fine thing to aim for but neither is there anything wrong with sticking to comfort zones, both are necessary elements to the music scene as a whole. The reality though is that whilst the former are off conducting brave genre splicing experiments to varying degrees of success, the latter playing it safe but not really bringing anything new to the table, the most interesting music is being forged in the middle ground. Between the safety net of established rock classicism and the forward thrust of more recent genres, the perfect blends of old and new sound are being shaped into great music. It is here that you find Megalithic.
Chemistry 101 is a wonderful slice of hard grooving classic rock re-imagined through a nu-metal lens and then pushed even further into the here and now to create a sound which it would be hard to imagine not finding favour with any rock fan. It is big, brutal and thunderous, back beats pound, bass lines throb and salvos of white hot, jagged guitar riffs form the perfect sound clash whilst battle cry vocals lead it all into the music fray. Denim clad old schoolers, dystopian nu-metallers, anti-fashion grungers and alt-rock warriors alike are going to be right behind it.
MǾǾD dropped his latest track Vegas 4 ThWeekend just as 2017 drew to a close, offering fans the most twisted mash-up of Dancehall, Electronic and Alternative Rock one could possibly hope for. Forget reaching across genres, MǾǾD’s latest track transcends the foundations of sound by creating his own delectable mix of resonance that regardless of your musical persuasions is a pleasure for you to sink your teeth into.
The talented Singer Songwriter & Producer has utilized his penchant for old-school Alternative Rock with his infinite command over music production to create some of the most fulfilling beats on the Alternative Dance scene today. MǾǾD uses his eclectic list of influences of acts such as Drake, Fall Out Boy, Panic at the Disco & Frank Sinatra to bring his soulful renditions to life. The production to the sound is highly powered by a euphoric mix of Hip Hop Electronica.
In just 5 months, MǾǾD released an album along with 3 mixtapes, in 2018 he’s made it his mission to release a new album every month in 2018, it will be interesting to see if he pulls it off, but with that commitment to the cause, it’s hard to see where the uniquely talented artist can go wrong.
Vegas 4 ThWeekend is just one of the stand out tracks off his latest EP ‘The MǾǾD Life Vol. 1 which you can listen to on SoundCloud now:
As alt-rock has become a testosterone fuelled battle ground trying to be the hardest, heaviest and most alternative, one thing has been lost along the way. Melody! No matter what you think of classic rock…the thing that alt-rock inversely defines itself against, you could sing along to it at least. What if a band came along that blended the modern alt musical trappings with the accessibility of music from an older time. Well, The Chance do just that.
Won’t Let You Go sits in a sweet spot for rock music, the tune is memorable, the vocals infectious, and the melodies pass the acid test of lingering in the brain long after the track has finished. But it also has enough modern grit and rough edges to appeal to the black clad modern age rocker. This isn’t alternative rock at all, this is evolved rock, rock music which has learnt the lessons of the past and moulded it to the fashions and tastes of the modern music fan. How hard was that? Consider yourself schooled.
Describing their music as “break up music for tough guys, ” Phantom Drive are the perfect blend of alt-rock muscle and classic melodies, the traditions of rock music past and the potential of where it goes next. Somewhere along the line as rock chased the commercial dollar rather than the creative urge, it seemed to have lost its way somewhat, lightened the load and lost its bite. Thankfully bands like Phantom Drive are putting it firmly back on the menu.
If the stadium filling, crowd pleasing rock of the 21st century has become the equivalent of a church picnic, all smiles and etiquette, best crockery and best behaviour, this Floridian musical gang are more akin to a back alley fist fight. The music oozes swagger and attitude, inherent menace and bristles with energy and whilst it is easy to see their sonic family tree passing back through any number of classic and alternative rock icons, such an approach never really goes out of fashion. After all there is nothing more exciting, than courting danger and this is indeed dangerous territory.
King in The Belly is an Aussie/Brazilian rock band like no other, their sonorously sweet sound is ablaze with contemporary pounding vision. Their style makes Buck Cherry sound squeaky clean. The band’s sound lusciously archaic with a strong Punk Rock undertone.
The vocalist’s natural lyrical ability goes lulls you into a false state of serenity before the track kicks in with a sneaky instrumental soaked verse. It starts out sounding like any other Shoegaze Indie Track. I was set for 4 minutes of melancholy, nothing could prepare me for the gripping ensemble of chemistry King in The Belly cooked up; the pounding drum rolls, the heavy flow of the bass, and the effortless command of the guitar combined with some 90’s grunge angsty lyrics.
Even before the instrumental riff exploded I’d already added this band to my Alternative Rock playlist. Their debut album is due out early next year, I already know that’s not a sound that I want to miss out on.
London-based trio Distant Bonds brings forth something so different and original with their single “Defender.” Amazing, acceptable, adequate, satisfactory, catchy, and classic are just a few adjectives used to describe the song as a whole. Aside from their tailor made catchy hooks, and awesome instrumentation, the group as a whole presents an awesome dynamic. Their vocal presence is unique, and each voice blends perfects with the other. What intrigued me the most about this band is there inept ability to tell a unique story.
“Defender,” is a well written musical masterpiece. The track is a subdued tale of a hero, who is also simply human flaws and all. I love the play on words, the lyrical intensity and the vocal arrangements. The song hits a few climatic moments which really bring the piece together. Overall, beautiful sentiment of good versus evil, done via the soundtrack of an amazing band.
If you draw a Venn diagram of exploratory music, where the intersection between technical metal, progressive and post-rock occurs you won’t find a whole lot of bands, but you will find Colors in Mind. With their latest release, Yugen Peaks they build their sound on a wonderfully fluid post-rock template, one that eschews the 4/4 signature and rigid verse-chorus ethic of traditional rock and instead wanders its own musical journey, often lingering in one lush musical landscape before flitting through more minimal territory, languishing in gentle, bucolic beauty and then climbing dramatic peaks.
It isn’t hard to see this approach as a modern day progressive classical music, the instruments may have been updated from the traditional format but the symphonic nature of the music is obvious to all. And l it tells its story as much through symphonic sound as it does the lyrics, it maybe be a less obvious, less direct method, but it is no less heart tugging, emotive and effective. It is music of the heart and soul, requiring total immersion. Whilst most music contains its own user manual amongst its beats and notes, one that tells the listener exactly how to interpret the message, this is more about osmosis, a vibe to be soaked up and ingested.
Be courageous. Be honest. Be compassionate. Be Talented. Most importantly be yourself. This has to be Miles Blue Spruce’s mantra, his passion for music exudes in every aspect of his journey. In another era; he would have been an endearing but soulful – rock front man at least twenty years his senior. Lucky for us, he wasn’t and we can enjoy the powerhouse singer, amazing showman, and incredible musician who’s also a pretty amazing audio engineer.
I recently had the pleasure of listening to an original piece entitled, “Flame,” in the musical realm Miles may have succeeded where others have failed, in authenticity. “Flame,” is a beautifully written contemporary rock that brings to mind passion, love and unrelenting passion. The song opens with some exceptional guitar riffs, dynamic tones, and it even utilizes some classic rock chords, patterns, and traditional tempos. The exceptional vocal melodies provide accessible and dynamic tones as it builds at full length in intensity and energy. There’s a slight stream of consciousness in the lyrical delivery which only enhances the classic feel.
Miles’ voice, although light and crisp provides such an intense trance that seems to seamlessly pull you in with just the right amount of riffs and adlibs. Production and arrangement wise this song although similar in quality is slightly above what you may be used to with indie artist. It’s crisp, very clear, there’s no oversaturation of reverb, there’s no unnecessary enhancements to the vocal patterns only pure artistry. The song keeps a basic arrangement through several distinct sections with only some fine adjustments to the bass line and slight additions of a few blues infused chords joining the ever-present classic guitar. This piece has been perfectly molded into a well-orchestrated symphony of diversity. Its classic, it’s modern, it’s soulful, it’s harmonious, it’s authentic, it art, in short, its music. Although the piece is classified as; “rock,” the rich vocal presence coupled with the dulcet driven guitar easily provides this song with a mass crossover appeal.
“Flame,” incorporates elements of alternative rock, blues, and even a slight hint of country while remaining rooted deeply in originality. If this song is at all a hint of what’s to come from Miles Blue Spruce, then I expect to hear quality music for years to come.
With an evocative title like King on the Cross, you know Mystic Tears are cooking up some kind of trouble. Structured like a sing-along and performed with a blistering disdain directed towards theological figures and the atrocities performed in their names, King on the Cross brings up some of what music lost when psychedelic rock fell out of fashion. There’s something really ear-catching about the juxtaposition of simple, repetitive verses underscored with sinister themes and Mystic Tears know just how to capture that haphazard magic and shoot it with intent and precision.
The bassline walks tall and confidently while vocals echo through the halls toward a distant, menacing distorted guitar. Despite the atmosphere, there is no energy lost. Harmonically rich sound effects via the guitar keep things nice and interesting and the building layers of vocals climax but always come back for more. This is a song that doesn’t only seek to make its point. It doesn’t stop until it’s left you haunted. Whether preaching to the choir or converting new members of the congregation, King on the Cross is sure to draw a crowd for Mystic Tears.