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.
Some say time is the greatest healer, but that empty idiom falls short of the mindful catharsis extended by artists, such as The Paul Clark Project.
The singer-songwriter’s sophomore album, Sown from the Same Seed, uses a timelessly transformative blend of folk, rock and Americana to remind us that even though there are billions of us spread across the globe, we all have the same unifying origin and intrinsic needs.
In a time where irrational tribalism splinters our society, artists and thinkers need to step up to the plate and act as the glue to bind us into peace, love and acceptance. No one could accuse Paul Clark of not pulling his mindfully resolving weight. The opening single, Consciousness, opens a can of candour, forcing into recollection our twisted reality where we shackle ourselves with anger and limitation.
Beyond the humbling textures and tones is an unreckonable intelligence; spurred by Clark’s experience as a clinical social worker and mental health advocate. For your sanity’s sake, take notes.
Sown from the Same Seed is now available to stream and purchase on all major platforms via this link.
‘Don’t Get Too Heavy’ from the London-based outfit, Jo-Jo & The Teeth is the only riff-slicked pop-hooked rock n’ roll debut you need to hear in 2022. A rebellious streak runs right through the glam rock earworm, but like every good hit, it does plenty more than just show its teeth.
If you amped up the visceral attitude in Stevie Nicks’ vocals to 11, they’d still pale in comparison to the hooky veracity of Jo-Jo O’Donoghue’s blisteringly hot pop-rock vocal lines. That’s probably blasphemy, but I’ll prepare to repent for it to do Jo-Jo & The Teeth justice. It’s the least I could do given that she has given rock n roll an Americana iteration of Peaches.
Don’t Get Too Heavy is the lead track from the forthcoming self-produced debut album, No More Good News; I already want it on my turntable.
The official music video for Don’t Get Too Heavy premiered on May 6th; watch it on YouTube.
The Minnesota-based producer, singer-songwriter and prodigal son of rock n roll, Alexander Craig, has teased what’s to come in his upcoming album by giving us a sneak peek of the standout single, Atmosphere We’re Under. You’d be hard-pressed to find a scuzzier bop-worthy feat of blues-rock.
Atmosphere We’re Under is wild with its cheeky, punch-drunk energy that contains the same bite as your average ego-fuelled track. Yet, after stepping out from behind his successful aural alter-ego, Crankshaft, Alexander Craig made a positive stylistic move that radiates through his up-beat lyrics and gasoline-soaked high-energy grooves. The standout track is every bit as hooky and infectious as any of Josh Homme’s many endeavours, but with Alexander Craig, there’s roots-deep respect for rock n roll.
Alexander Craig is going old-school with his debut blues-rock album; it will only be available via CD and Vinyl. After being teased by the roots-rich soul in Atmosphere We’re Under, he can definitely take my money.
The Metaverse may give some people the fear and bring connotations of a cold new world that won’t allow us to touch grass; with his single, Power of the Metaverse, the Ohio-based alternative artist, Derek Cramer, has shown us its potential.
The 80s-inspired alt-rock hit has psychedelic undertones along with high-octane over-driven guitars while Cramer energetically attacks the lyrics that illustrate the freedom that metaverses can grant us. Cramer chose to focus on the positives of decentralization, digital connection and augmented reality, such as the potential for increased self-expression and community.
Those lyrics with such nostalgic rock tones almost feels like a paradox is aurally unravelling before you, and therein lies the sheer ingenuity of the release. We can’t wait to hear what follows.
Power of the Metaverse is now available to stream via Spotify.
Borrowed Souls started out life, in 2016, as a covers band taking in the likes of Portishead, The Black Keys, and Alabama Shakes. As sometimes happens when a musical chemistry is formed between members, they realised they’d got something between them, and started writing their own original material. Finding their own, signature sound – a lo-fi mixture of jazzy, soulful blues-rock – the trio put together their debut EP, ‘Baxter’s Kitchen’, following up now with their debut full-length album, ‘Epiphany and Revelation’, ‘from which Killswitch’ – their debut ‘proper’ single release – is taken.
‘Killswitch’, then, is exactly that – bluesy, soulful, rocky, chilled yet powerful; opening up with some delicate guitar arpeggios, ‘Killswitch’ sounds exactly like something from the Sons Of Anarchy or Strike Back soundtracks, that gruff, vaguely Americana-tinged rock in the vein of The Forest Rangers, Billy Valentine, Mark Stone, or the Shapeshifters, but with a modern twist: Laid-back, groovy, swaggering alt-blues-rock – think ‘Short Change Hero’ by The Heavy, The Black Keys, or The Revivalists, and you’re not far wrong.
You can check out ‘Killswitch’, and the rest of the ‘Epiphany And Revelation’ album, here, and follow Borrowed Souls on Facebook and Twitter.
Americana-tinged modern folk is the order of the day from Dublin’s Bill E Daly with this, from his new EP ‘Parachute & Oxygen’. ‘Hey Baby Hey’ is a gentle acoustic-guitar-and-vocal love song with a catchy little chord progression and Daly’s deep baritone voice. Tinged with country and modern rock overtones, this is mature, well-polished, and accomplished, little guitar flourishes on the ends of lines interplaying with Daly’s chilled vocal delivery.
Daly’s previous album, 2017’s ‘There Is A Time’, charted at number 2 in Google Play’s ‘Folk’ category, and there’s every chance that ‘Parachute & Oxygen’ will do similarly well. ‘Hey Baby Hey’ is the ideal introduction to Bill E Daly’s music.
Hear ‘Hey Baby Hey’ on Spotify; check out Daly’s website here.
Kicking off with a beautifully delayed, ethereal guitar line before drums, overdriven sweeping guitar chords, and Tom Farrelly’s deep, sonorous vocals join in, THIRD LUNG’s ‘Falling Stone’ is a well-written, mature piece of stadium-style rock, reminiscent of U2 or maybe Simple Minds, the Foo Fighters, or perhaps a little Coldplay. There’s everything here; delicate verses, a huge, singalong chorus, and a proper, lighters-aloft, show-ending crescendo of a middle eight. It’s a proper, grown-up rock song, well performed, well produced, and with an absolute cracker of a YouTube video to accompany it.
‘Falling Stone’ is an exploration of self-discovery, about being afraid to make changes and to look for things which, intrinsically, we need to find. On the basis of this, a lot more people will be finding THIRD LUNG in 2021.
Sail away with the nostalgically lush tones in the standout release, “Preacher’s Daughter”, from Killarney, Ireland-based artist Colm O’Mahony & The Hot Touches.
Preacher’s Daughter is just one of the singles which features on the band’s debut album which borrows some stylistic elements from across the pond while keeping the folkish tones of Ireland still ringing in the euphoric aural pipe dream. The dreamy hazy melodicism combined with the soul-awakening vocal vibrato proves to be a powerful combination which will be a hit with any fans of Springsteen and the Heart Breakers.
You can check out Preacher’s Daughter for yourselves by heading over to SoundCloud.
Bringing the Classic Rock all the way from Annapolis, Maryland, comes Desert Shade. Describing themselves as ‘born out of necessity in the fall of 2019 to fulfil a headlining slot’, the band came from a scrabbled first headline set to a show that landed them on the Baltimore Soundstage just a few months later. Now, following a couple of early singles, they’re bringing their brand of Americana-influenced classic rock via this, from their forthcoming self-titled debut EP.
Awash of laid-back harmonica and tweedy Fender twang, meandering bass, and graced by a beautiful heavily wah-and-distorted lead-line from Nick M, ‘All For Nothing’ is a cigarette-lighters-at-the-ready burner in the style of ‘Someday Never Comes’ of ‘Forever Young’.
Quietly forceful and evocative without being schmalzy, ‘All For Nothing’ smoulders like the best of laid-back Neil Young, the Allman Brothers, Tom Petty, or the Grateful Dead.