Alt-rock icon-in-the-making Jessup is on sardonically deadpan stellar form in his electro-rock hit, Amusing. The histrionic flair around the 90s/early 00s alt-rock energy and shimmering disco-pop grooves is an enlivening testament to his ability in orchestrating a distinctively expressive sonic score while making no bones about spilling plenty of authentic personality,
If the Offspring were a little more daring and tonally experimentalist in their heyday, the reminiscences between Amusing and Self Esteem would have been even more tangible. After an orchestral rock outro from the St. Louis, US-residing artist and producer, you can’t help delving right back into the snappy indie rock hit that absolutely sets the bar for other up-and-coming artists.
Amusing was officially released on December 16th. You can check it out for yourselves by heading over to Spotify.
Through sirening synths, palpitatingly frenetic percussion and walls of guitars that I’m not entirely sure the biggest stadiums could contain, Noise Ctrl’s latest electro-hard rock heavy hitter, Please See Me, strips the titular vulnerability and transplants electrifying energy that is almost enough to run a power grid off.
The Columbus, Ohio trio often goes nuclear with their self-described fruity as fuck hard rock edge; it’s a means to an expressive end, and the noise they’re creating in the music industry is impossible to ignore. Allowing us to love them even more, they never take themselves too seriously, heightening the appeal in the dynamically exhilarant vocals, which know all too well how to wrap themselves around a vocal hook.
Listening to Please See Me, it was impossible to entertain anything but the maniacally manicured sonic blasts of euphoria coming at me. If any outfit can distract humanity from the beginning of the end, it’s Noise Ctrl. Now that I can’t listen to Mindless Self Indulgence with a clean conscience, I know who I will be turning to for some riotous catharsis.
Please See Me is now available to stream on Spotify.
Taken from his 2022 album, Sunsneezer,Steve Twinley’s standout single, Time Has Always Been a Friend of Mine, is an indie electroclash earworm awash with 90s nostalgia. With a beat that pulsates with the same ferocity of Emerge by Fischerspooner paired with melodic choral increments that allow you to appreciate Twinley’s softer side, his seminal single inspires you to delve into it time and time again to re-appreciate the seamless shifts in tone and emotion.
The DIY Alt-Rock singer-songwriter hails from the South Coast of the UK and takes his influence from the alt-90s greats, including Weezer, Radiohead, Green Day, Eels and Feeder, but clearly, their inspiration was just a fraction of the creativity of the single that concludes on a psytrance-Esque outro in the same vein of Infected Mushroom.
Stream and purchase Steve Twinley’s single, Time Has Always Been a Friend of Mine, on Bandcamp.
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.
Electro alt-rock provocateurs, Fearless Liars have remained a firm fixture of the Denver music scene since 1999. With their 2021 self-titled debut album, their groove-led guitar music gave international aficionados of experimentalism something to sink their melody-loving teeth into.
Retaining their alt-90s sound, the standout single, Always, made a playful promise of perpetuity through the rolling basslines, funk-chopped guitars and analogue synths that will be a hit with any Bis fans. Fearless Liars may not sound like a loveable outfit but after just one hit of Always, we’re obsessed with their enigmatic energy, which makes it easy to see why the independent DIY outfit has never fallen short of adoration in their long-spanning career.
‘Dirty Little Lips’is the latest sultry industrial electro pop-rock track from the renowned multimedia artist and model, Marked Since Day 1. By matching the galvanising sex appeal in She Want Revenge, Mindless Self Indulgence and Alec Empire tracks, apathy isn’t an option once the fiery track builds to full momentum.
If Taylor Swift is the lyrical angel that sits on your shoulder, the Chicago hailing alternative artist, Marked Since Day 1 (David Gabriel) is the devil that sits on the other. The macabrely meta lyrics allude to the nefariousness that comes to the surface in modern dating etiquette while never letting the realism slip. The devilishly twisted single hits the spot in every conceivable way.
Dirty Little Lips is now available to stream via Spotify.
The freshly formed Melbourne-based rock act Twin Flowers graciously treated us to a sneak peek of their anti-capitalist debut release, Greed. No artist has sold socialism this well since the Manic Street Preachers went on a revolutionary mission in the 90s. Even then, aural anti-capitalism has never been *quite* this sultry before. The only people that could conceivably hate the bass-dripping synth lines and euphoric drops in Greed are the ones caught up in the phallic space race.
Twin Flowers was conceived after the songwriter, James Toohey, spent a gap year in Bristol. We can only live in hope they hop back across the pond to treat us to some live renditions of their blossoming sonic sound.
Greed is an exceptionally promising debut that proves that even in the darkest and most dystopic times, dancey indie rock escapism will be one of the tragically rare saviours for the socially minded. If you are always on the hunt for the next big thing, it doesn’t get much bigger than the production in Greed.
Greed will be available to stream and purchase from October 22nd, 2021. You can check it out for yourselves via Bandcamp.
What Davey Havoc started in the 90s, Observe the 93rd are finishing with their latest atmospheric electro-rock release ‘awareness of death’.
With hints of Reznor in the darkly mesmerising single perfectly rounding off the duo’s eccentric and sporadically caustic sound, awareness of death isn’t a single that you can listen to half-heartedly.
The symphonic layers wrap themselves around the existentially meta lyricism which serves up lyrics such as ‘We all know that this is more abstract than any dream’, making it all too easy to get lost in a mind hole as you listen to this contemplatively artful single unfold.
Catch the official video which premiered on February 5th by heading over to YouTube.
On Christmas Eve, the adept alchemists of Alt Rock, House of Weirdos, delivered the ultimate antidote to the claustrophobic restlessness with their Psychedelically-layered Garage Rock track ‘Climbing Up the Walls’.
If you could imagine what Queens of the Stone Age would sound like if they incorporated more absurdity, chaos and psychotropic synths into their sound, you might be able to get an idea of what is on offer. Yet, Climbing up the Walls could easily enamour fans of everyone from the Misfits to The Eighties Matchbox B-Line Disaster.
Climbing up the Walls is façade-less, it’s relentlessly ingenious, it’s a visceral invitation to shake off pretence and relinquish shame for the fact that 2020 did a number on your mental health.
The playfully despondent track was made even sweeter with the pairing of the music video which will fill you with gratitude for House of Weirdos, just one of the irreplaceable artists who looked into the stir-crazed frustration and found inspiration so we could be hit with that invaluable feeling of connection and resonance.
You can check out the official video to Climbing up the Walls by heading over to YouTube.
Texan electronic rock artist, Voyce Memos, is set to release their sophomore album ‘Chronology’. We’ve been lucky enough to get a sneak peek of the dizzyingly eclectic standout track, ‘West Girl’.
With popping Post-Punk & New Wave-tinged guitar melodies and Voyce Memos’ soulfully enrapturing vocal timbre, West Girl is a consciousness-consuming exhibition of how transfixing Indie Rock can be when orchestrated under dynamic vision.
The matured high-vibe Indie hit incorporates elements of Post Rock, Synth Rock and Psych. As it runs through, you’ll be hit by aural curveballs from every direction. Even more pertinently, you’ll be inclined to be taken on the rhythmically psychotropic journey time and time again. It isn’t your archetypal Indie Pop earworm, it’s something far more infectious which leaves you inclined to get repeat hits of the euphoria which you’ll easily squeeze out of the melodic hooks.
From funky syncopated guitars to mesmeric garage rock frenetic thrashing, West Girl doesn’t just paint across the tonal palette, it ravenously claws at influences spanning through the decades to create a timeless hit.
West Girl will be available to stream from February 5th along with the rest of Voyce Memos’ forthcoming album ‘Chronology’. In the meantime, you can head over to Spotify to check out their earlier releases.