‘Green Light’ is the melodic psych-pop-tinged debut single from the breaking garage rock artist Owen Hamlin; any fans of The Strokes, The Kooks and The Libertines will want to experience the vintage tones for themselves.
With the inventive use of the wah pedal, we can guarantee that the guitar solos in Green Light hit like no other. Owen Hamlin’s use of brash and kaleidoscopic textures resulted in a soundscape that is as scuzzy as it is soulful.
With his debut album Right as Rain in the pipeline, you will want to save space for Hamlin on your radar.
Green Light is now available to stream on Spotify.
Up and coming alternative artist, Wohn has released his relatable EP, Waiting for Life to Happen; the lead track, Junjito, is an arresting amalgamation of shoegaze, post-punk and garagey psych-rock that any fans of the alt-90s will want in their ears.
After a shoegazy prelude, the mostly instrumental release starts to centre around the artist’s ability to lay down riffs at blistering speed and his ability to make a soundscape fraught with tumultuous tension with his over-driven angular lead work.
After an ebb in the veracious momentum, the pensive vocals make an eerily captivating appearance before Wohn lays down a scorching-hot, seemingly endless solo that is leagues apart from other contemporary alternative artists. We truly can’t rate Wohn highly enough. He not only evokes angsty grungy 90s nostalgia, but he also puts a visceral signature spin on it. We can’t wait to hear more of in the future.
Outside of New York, garage rock and proto-punk seems to lack the same raucously charming bite; that wasn’t a concern of Brooklyn, NY-based 5-piece Damn Jackals; they eclipsed the frenetically vintage vibe with their latest single, Lovely Nuthin’.
The enigmatic raconteurs of rock n roll take influence from 60s Garage Rock, 70s Glam and CBGB-style-Punk to leave your soul as fuzzy as the lead vocals and guitars. When the chorus hits, the same hook-filled magnetism of modern indie-garage rock outfits such as the Strokes draws you even deeper into the single that every outlier will want on their playlists.
‘Float Away’is the latest inhibition-stripping garage rock anthem from the Calgary, Alberta based outfit NIKU they formed just before the pandemic hit and discernibly, none of their infectious aural energy was dampened at the time of working on their forthcoming album with the legendary producer, Casey Lewis.
Float Away is the first single released from their upcoming album; I can safely say that I haven’t been as excited by rockabilly guitars since I heard the Brains cover Lovesong by the Cure. The frantic punchy guitar progressions deliver gorgeously rich tones in Float Away while the vocals raucously exude a Jim Jones-style roguish charm. And based on Float Away, If NIKU started a cult, I wouldn’t hesitate in joining it.
NIKU deliver everything that you would want from a breaking luminary alt-rock outfit. The tones are nostalgic, while the energy is a firestorm of optimism despite existential inclination.
Float Away is due for release on July 15th. Check out NIKU via their website and Facebook.
Brighton-based artist 8udDha bl0od can always be counted on to cook up a psychedelic, largely reminiscent-less storm with his new material. That is exactly what you will melt into when you hit play on his recently released single, ‘O’.
The mostly instrumental garage psych rock track is infused with sunset-strip-style-sleaze. It is guaranteed to be a hit with any fans of King Gizzard, the Oh Sees, The Mars Volta and John Dwyer. The vintage guitars may send a few hazy postcards from the 70s in the intro and the former verses, but as the track gears up for the outro, a contemporary no-wave-Esque protestive punk attitude starts to bleed through and leaves you utterly transfixed.
You can check out 8udDha bl0od’s latest single by heading over to SoundCloud.
Rather than serving up yet another archetypal slice of Sunset strip sleaze, USA’s Orson’s Well brought modernism to their raunchy grooves with their latest single, ‘Serve the Verve’.
With Blues weaving its way into the anthemic stormer, Serve the Verve comes with a guarantee that you’ll find yourself mesmerised by the scuzzy yet soaring guitar solos that affirm Orson’s Well are bringing the pinnacle of modern rock.
Serve the Verve is rooted in the past, but it taps into that contemporary need for abrasive smoky rock n roll orchestrated for the discerning rock fan in 2021. For any fans of Guns n’ Roses and Aerosmith, Orson’s Well is definitely worth a spot on your radar.
You can check out the official video to Serve the Verve via YouTube.
UK-based hard rock outfit IN Peril made their debut in 2020 with their stormer of a single, ‘Your Decision’, with their visceral mix of garage rock and punk, they made it impossible not to pay attention.
While many people potentially won’t like the reminder that every life problem bemoaned about is a consequence of their decisions, there’s plenty of high-calibre catharsis within the punchy, thrashy hit that is screaming to be played live.
IN Peril may carry newcomer status presently, but the synergy within this sniping earworm wouldn’t allow you to believe it. Now that ‘normal’ life is threatening to make a return, they’re definitely one for the radar.
Your Decision is now available to stream via Spotify.
I always try to find the positives in reviews and give constructive pointers where there are areas for improvement, and I guess with that in mind there’s some nice fingerpicked guitar here coupled with Tommy Harwood’s obvious enthusiasm for what he’s doing. Maybe it’s that enthusiasm that’s at fault here, because ‘Walking In The Dark’ feels and sounds like the passion to get the song finished and recorded took away from the necessity to polish the lyrics and work on the performance. Sadly, the guitar’s lacking in any midrange warmth and so bright as to be brittle and shrill, the vocals are too up-front in the mix and have some – to put it delicately – tuning and pitching issues, and the cajon sadly wanders in and out of time seemingly of its own volition. All of these things could be corrected by some vocal coaching and some time with a seasoned producer to take charge of the engineering and mixing, and to guide the performance in the right direction.
Tommy’s a poet as well as a songwriter, and there’s no question that, at the root of all this, he can write verse; he needs to focus a little more on meter-over-music – poetry and lyric writing are very different beasts, despite their surface similarities – and on the vocal performance. He certainly knows his way around fingerstyle guitar, and it’s a shame that the production values on this demo don’t really allow that to be showcased. It may be that in his eagerness to commit ‘Walking In The Dark’ to tape (is that even still a thing?) and add ‘multi-instrumentalist’ to his CV, he’s done himself a disservice – it’s entirely possible that, with a few fewer instruments to worry about, a bit of singing-and-guitar-only focus, and a decent producer to get the best out of his vocal and guitar-playing performance, there’s some nice song ideas here. It’s just a shame that they’re currently being undone by his intensity and spirit, and a desire to do everything all at once.
Like so many musicians during the last year or so, Tyron Freeman – a veteran of bands as a professional musician in the North West UK – found that the world shifted and skewed sideways at the beginning of the pandemic. Suddenly stranded, jobless and isolated in a studio flat in Germany, what does a creative musician do but call in his mates and put together a killer rock n’ roll track?
‘Keep It Hid, Locked Away’ is raucous, indie-tinged rock – think Goo Goo Dolls, Bush, a little of Royal Blood, and some Beatles-y sing-song sections. There’s influences of Fontaines and Tame Impala, the White Stripes, and Oasis, too, along with old-school rock in Zeppelin, Bowie, and the Stooges. Recorded at Liverpool’s Parr Studios, Chris Taylor’s production brings elements of the Lightning Seeds, Blossoms, and The Coral into the mix, giving the overall single a perfect mix of classic rock groove and North-East England indie-pop catchiness. This might be early days for Tyron Freeman’s solo career, but on the basis of ‘Keep It Hid, Locked Away’ he really, really needs to avoid his own advice; this needs to be shouted from the rooftops instead.
‘Keep It Hid, Locked Away’ is out now; check out Tyron Freeman on Facebook.
Small towns in Wales seem to regularly turn up superb melodic rock bands, and Empire of Lights – with their new single ‘Hit The Highway’ is no exception to that rule. Sparse, echoey guitar, pounding drums, and driving bass are the order of the day here; there’s a gothy vibe to the music, a feel of ‘The Forest’ or ‘Jumping Someone Else’s Train’-era Cure, mixed with Johnny Borrell Razorlight vocals from singer John Aziz.
It’s a vaguely psychedelic, spacey sound – there’s something special about the dynamics of three piece rock bands; think Hendrix, Cream, Husker Du and Sugar, and of course Nirvana. The interplay between instruments and vocals, the necessity of accepting and using space rather than simply turning everything up louder than everything else, allows for a different approach and that serves Empire Of Lights well here, adding to that slightly ephemeral, dreamy feel, and coming from such a young band – drummer Eifion Davies is still too young to drink in the bars that Empire Of Lights should be playing this year – shows a realy understanding of arrangement and songwriting. The future looks very bright for Empire Of Lights.