You know when you hit play on a track and you get the instant ‘Oh my God’ reaction? Yeah, well, that happened when I checked out KLC’s latest track Good God which is ironic I suppose. But given my affinity for Courtney Love and Courtney Barnett I can be forgiven for being a little bowled over to hear KLC splice their sound and add in a little Country Blues vibe around it. It’s pretty impossible not to fall in love with the up and coming artists dulcet aural prowess. With vocals so raw, lyrics so empoweringly resounding and a beat as textured it’s hard to see why KLC isn’t already a household name. I may have been able to draw some comparisons to KLC’s sound, yet her prodigally conceptual style is one that I would never tire of. Thankfully alongside her single Good God KLC released an 8-track album ONLY YIN, each track is as ethereally stunning as the last.
I really can’t recommend fans of Riot Grrrl, Folk, Blues Rock and Country alike give KLC’s latest track Good God a listen. Head on over to SoundCloud to check it out for yourselves.
Ashes is just one of the blinding new singles from Camcorders debut album Camcorder Suck! (Their words, not mine. I think the Alternative Rock outfit is one of the sweetest Lo Fi hits to great my ears this year.
The instrumental breakdowns to Ashes stand as testament to the elemental skill of this powerhouse of talent. I get the impression that Camcorder are a band steeped in humility, and there’s no sweeter sound. If you’re a fan of Dinosaur Jr, I can almost guarantee that you’ll love Ashes. However, Ashes is more than just an assimilation of sounds previously created back in the 90’s, they’ve added immersive Pop Punk elements that really amp up the sound for an anthemic aura full of high-angsty- vibes. As a massive Eddie Vedder fan, it’s hard for similar vocal artists to even compare to his vocal majesty, yet Camcorder vocalist has that beautifully iconic drawl to his vocals that draws you in to the pure emotion that he’s blasting through the mic.
You can check out Camcorder’s frankly beautiful Grungey Pop Punk track Ashes on SoundCloud which was released ahead of their debut album release which is due to drop on April 9th, 2018.
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.
Fitzgerald once pointed out that there are no second acts in American lives but Proudest Angel may beg to differ, there my have been a 12 year breathing space but two years ago the band roared back onto the scene with renewed vigour. Proudest Angel has been nothing if not consistent in their mission to put muscular, dark, grunge infused old school metal back on the map and Shoulda Known Better is a blend of the cold, doom-laden edge of Danzig’s dystopian blues-metal and the emotive, sonic drama of Staind, built as much on an intangible weight as the power of the musical delivery itself.
It is at once relentless, direct, raw and uncompromising, ticks enough boxes for those who dig the classic template but has enough of the contemporary hallmarks to appeal to a generation of hard rock fans who have grown up since the band has been away. Fans of rock and metal in all its forms will find a lot to like, the gothic set will appreciate its dark soundscapes, the more industrial minded will find its raw beauty and dystopian vibes to their tastes. In fact if you are a fan of the harder and heavier music in any form, Proudest Angel are definitely one to check out.
I have always really got a kick out of 90’s rock, and “Wonderwheel,” by Blissful Red is right up my alley in terms of that unique sound. The track starts off with a very authentic fingerpicking guitar riff, followed by some climatic riff moments and some really great vocals. The track not only demonstrates Blissful Red’s gnarled guitar riffs it’s also a great example of how something so simplistic can give off such a classic sound.
The instrumentation isn’t over done with extra’s it’s a great guitar pattern with a nice cadence driven drum pattern; couple that with Blissful Red’s soothing narrative and you have the makings of an original track with great potential. I would like to hear Blissful release more of his vocals but I love the track and the easy listening sound his vocals add to the overall presentation. Overall pretty solid piece, although I can’t wait to hear more from this musical gem.
City of Salt certainly has a knack for evocative song titles and poignant lyrics with a very personal overtone.
The project’s recent single, The Rhythm, The Cipher, & The Shield, is a blend of delicate folk vibes, echoing the work of artists such as Damien Rice or Ryan Adams, just to mention but a few.
The song is built on a very seamless and simple arrangement: the rich and warm acoustic guitar serves as a backbone to the song, providing a nice steady rhythm, but also defining a great core melody. On the other hand, the string sections, add depth and a stunning atmospheric tone that really defines the vibe of this track. The vocal are honest, inspired and direct, perfectly matching the natural heartfelt vibes of the lyrics. There is quite nothing as compelling and direct as a songwriter pouring his heart out and sharing a moment with the audience!
Living Shape is an alternative rock band from Zurich, Switzerland.
Their sound is hard-hitting, no-frills and no-compromise alternative rock. The tone of the band is really captivating and interesting.
If I could describe it by making comparisons, I would say that their recent single, “Nirwana”, almost sounds like Jim Morrison fronting The Foo Fighters, jamming with members of Metallica.
The track is a great example of the band’s eclectic influences. The guitar tones of the group tip the hat at the early metal sound of the 70s, learning lessons from bands such as Metallica or Judas Priest. The vocals are present, really cutting through the mix perfectly. On the other hand, the drums are dense and thick, echoing the best early stoner rock and grunge. In spite of the band’s rocking attitude, there is also a lot of melody in this track, making it appealing to a broad pool of listeners.
The band recently even took to Youtube to release a brand new music video for their single, which showcases the band jamming in various locations in an abandoned old mansion!
Simultaneously paying homage to the more melodic end of Seattle’s grunge scene and the strands of classic rock inspired scenes which were evolving into any number of post-, alt- and nu- subsets around the same time, Hurt revels in a big, powerful and muscle bound sound. But it is much more than just another homage to rocks past. Whilst it flits through and flirts with everything from Zeppelin-esque grandeur to New Wave of British Heavy Metal guitar motifs to Nu-Metal’s dark and edgy sonic world, it also offers a glimpse of rocks future. Or one possible one at least.
It is interesting that one track can reference so many past glories yet keep them all enough at arms length to allow room for new ideas to burst forth at the same time. Hurt is a blend of the cold, doom-laden edge of Danzig’s dystopian blues-metal and the emotive, sonic drama of Staind, but with more than a nod to the likes of Soundgarden and built as much on an intangible weight as the power of the musical delivery itself. Post-grunge? Is that a thing yet?
Post grunge? Is that a thing? Well, if it is then The Night Suns fit right into such a category. You can hear the last dissonant chords of the end of the grunge era drift through their music, as well as the muscular and more polished alt-rock sound of the modern era and between the two The Night Suns find their own singular voice.
But it is cleverer than the simple meeting and re-matching of those two genres. There is a clever dynamic at work in their approach to composition, one that often feels as if they are going to head off into more progressive rock territories but which stops short of any unnecessary noodling or sounds aping. Instead they prove to be masters of taking all the classic sounds from across a number of heavier genres, blend them with melody and deft atmospherics and produce a sound all of their own.
It might be quite obvious where they come from musically but where they are going is a far more interesting prospect.
If you try to unpack Banzai.Giant stoner-alt rock sound you soon find that it is built from some surprisingly deft textures. Rather than just the usual grunge grunt and heavy riffs, there are layers of electronic wash, chiming, jangle pop guitars, progressive passages and dramatic symphonic rock theatre. All of which is rather pleasing. It is good to come across a band that understand that making an impact isn’t merely the business of volume control, but is more about dynamics and the building of layers to contour the sound.
Post-grunge? Is that a thing? If it is it suits Melancholia which proves great at capturing all of the power of the intent and delivery of the rawest of grunge bands and doing it by drawing the deftest of lines and leaving behind the “I hate by mum because she made me tidy my room” parochialism which was often at the heart of the scene.