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rock

Psychosomatik amplified a high-octane alt-rock revelation with their latest release, Slow Motion

Slow Motion by Psychosomatik

Psychosomatik’s latest single, ‘Slow Motion‘, erupts from the speakers with a ferocity that belies its title. This Miami-based rock duo, Edison and Noah, have distilled their diverse universe of influences into a potent mix of alt-rock, psych-rock, and progressive elements, culminating in a track that’s both a nod to rock’s rich history and a bold step into its future.

From the first chord, ‘Slow Motion’ ignites a sense of nostalgia, reminiscent of Led Zeppelin’s rhythmic allure and the Black Keys’ mastery of reinvented rock. Yet, Psychosomatik’s sound is unmistakably their own. The track is a masterclass in controlled chaos, weaving the slick, seductive elements of Velvet Revolver with a grungy, prog edge.

‘Slow Motion’ is a journey through the duo’s “personal hell”, a character study born from a dark, troubled winter. The track’s power lies in its raw, unfiltered emotion; the unholy release will leave you praying at the altar of the ingenuity of the duo. With every groove, you’re inseparably combined from the momentum as it ebbs and flows, pummelling you down into the grungy depths before bringing you up with the soaring riffs and vocal lines.

Slow Motion dropped on March 13; stream and purchase the single on Bandcamp.

Review by Amelia Vandergast

Backwoods Creek delivered the ultimate Southern soul-rock anthem ‘Alright’

Sensing cynicism in the universal waters, Backwoods Creek prescribed a potent dose of optimism with their latest single, ‘Alright’. The refreshing take on bluesy soul-swathed Southern rock played fast and loose with the genre constraints while keeping the instrumental arrangement tight enough to unravel as every rock-inclined muso’s wet dream.

Part lyrical mantra, part musical Tour De Force, the UK-based quintet exhibited ‘Alright’ as a masterclass in balancing raw, overdriven guitars and whiskey-soaked vocals with an undercurrent of hope and redemption. It’s a track that carries the dynamic energy of power pop while remaining true to its bluesy rock and roll roots.

The virtuosic cohesion of the instrumentals showcases their skill and chemistry, honed through years of friendship and collaboration, and you don’t have to buy tickets to their live shows (even though you really should) to witness their infectious energy performance energy; the band’s electrifying aura is perfectly captured in this track.

No one can deny that while life is on a downward trajectory hearing everything will be alright prises ennui out of your perception. This life-affirming hit goes beyond reassurance –  it’s transformative.

Alright will hit the airwaves on March 15; check out the release via the official Backwoods Creek website.

Review by Amelia Vandergast

The country rock rapture arrived through The Whiskey State’s latest single, Where I Need to Be

In the valleys of Hampshire, The Whiskey State, comprising Tom Stride and Jordan Tate, has distilled a sound that resonates with the soul of country and the riotous heart of rock. Their latest single, “Where I Need to Be,” is a testament to their journey from college companions to creators of exhilaratingly sticky-sweet euphoria.

Imagine extracting the quintessence of The Manic Street Preachers, Bruce Springsteen, and Sam Fender, then blending it into a musical elixir. The result? A flavour profile as affecting as “Where I Need to Be,” a song that pays homage to the sanctity of country surrounds. It’s a track that stirs the soul so profoundly, that you might find yourself questioning if any roots-reverent rock track has ever touched it quite like this before.

The song encapsulates tender homecoming yearning through the guitar chords that wrap you in nirvana and endlessly ensnaring vocal hooks which make it impossible not to want to make The Whiskey State your sonic poison of choice. The songwriting prowess of the duo is as evident as their ability to catapult listeners into the soulful aura of their music.

Few things feel better than returning to whatever constitutes home, but this track comes a close second. With their debut EP “Welcome to…”, The Whiskey State not only showcases their distinctive blend of country and rock influences but also cements their place as one of the most captivating country-influenced rock duos in the Uk and beyond..

Stream the official music video for Where I Need to Be via YouTube.

Review by Amelia Vandergast

Dying Habit hit an evocative homerun with their hard-rock exposition on the complexity of the unconscious psyche in their latest single, Celestial

Dying Habit’s latest single, ‘Celestial’, from their upcoming LP ‘The Chaos of Silence‘, injects nuanced 90s Britpop sensibilities into the artful beguile of post-rock and the rancour of hard rock. Every night, our heads hit the pillows without questioning what we’re surrendering to; after the unveiling of this exposition on the complexity of the unconscious psyche, we may never think of the nocturnal ritual in the same way.

The Anglesey-based quartet, led by the emotive vocals of Nathan Jones, are palpably in their introspectively cerebral element with Celestial. After a saturated in delay intro, the grungy melody subtly nods to the likes of the Happy Mondays, setting a nostalgic tone, filtered through an innovative lens. As the track progresses, it transforms into a melodic hard-rock juggernaut, showcasing the band’s ability to seamlessly shift gears without losing the essence of their sound.

The guitar work is nothing short of chameleonic. From the angular, cold tones to the overdriven warmth, the guitar lines are a journey in themselves, perfectly complementing the dynamic range of Nathan’s vocals. The rhythm section, with Mark Jones on drums and Daniel Garner on bass, provides a solid backbone, ensuring that the track’s energy remains high without overshadowing its melodic core.

With ‘Celestial’, Dying Habit has not only hit an evocative home run but also set a high bar for their upcoming album. The track is a testament to the band’s growth and their ability to craft songs that are both intellectually stimulating and viscerally powerful.

Celestial was officially released on March 1st; stream the single on SoundCloud.

Review by Amelia Vandergast

Down River reached the pinnacle of infectiously explosive volition with their hard rock earworm, The Long Way Down

If you have a penchant for hard rock that is as explosive as it is meticulously honed, expose yourself to the rhythmically intense fervour of ‘The Long Way Down’ from Utah’s premier powerhouse, Down River. Instead of letting reverence for the genre’s roots get in the way of innovation, Down River carved out a new trajectory in the evolution of the genre with the sharpness of their hooks.

April Draven’s voice is a force to be reckoned with – a blend of raw power and captivating melody that sets her apart in a league of her own. Her emotionally charged vocal lines are a gravitational force, pulling listeners into the vortex of the song’s energy. Fuck comparing her to other female figureheads in rock and metal, she could hold her own against any of her icons.

Instrumentally, ‘The Long Way Down’ is a masterclass in hard rock dynamics. The band’s ability to balance cataclysmic breakdowns with firebranded production creates a colossal sonic impact, tailor-made for the adrenaline of a stadium experience. Each member brings their own powerhouse performance, resulting in a track that’s tight, ensnaring, and unrelenting.

The Long Way Down is more than a hard rock playlist staple. It is a siren call to anyone who cherishes music that’s crafted with passion, precision, and a touch of rebellion.

The Long Way Down was officially released on March 1st; stream the single on Spotify.

Review by Amelia Vandergast

Make ViperSnatch’s latest Riot Grrrl revival, Witchcraft, Baby, your new sonic ritual

ViperSnatch added a touch of the arcane to the airwaves with the debut of their latest fiercely fervent release, Witchcraft Baby.

As the basslines growl, the drums punctuate the production with volition, and the guitars give the release a chilling shadow side, the vocal dualism, which seamlessly switches from innocently light harmonics to visceral outpours of rancour, draws you deeper into the Riot Grrrl revival that leaves plenty of room for folkishly ritualistic experimental expression.

The Central Queensland-hailing three-piece originally convened to bring a female perspective to Australia’s alt-music scene in 2018, but in 2024, they’re proving to be an indomitably unreckonable force at the epicentre of the scene.

ViperSnatch isn’t just following in the footsteps of L7, Babes in Toyland and Jack Off Jill. With their latest release, they chartered their own noir-esque path through grungy, bluesy punk rock while empowering their ever-growing fanbase to resist the limitations that will always be placed on women and stand at your own vanguard in front of the pitchforks. They’re one of the only breakthrough outfits phenomenal enough to be revered as iconic.

Stream Witchcraft, Baby on Spotify now.

Review by Amelia Vandergast

GETNER enriched the Manchester music scene with their expansively influenced Rock n Roll debut, White Walls

Manchester’s newest band of prodigal sons, GETNER, modernised vintage rock n roll tones with the shaking, rattling and rolling reverence in their debut single, White Walls.

With a rhythmic undercurrent reminiscent of The Undertones, an injection of Irish rock roots, garage-y blues rock nostalgia in the same vein as the Jim Jones Revue through the shimmering organ timbres and the barely tamed guitar riffs, White Walls is an expansively influenced Rock n Roll tour de force that asserts GETNER as one of the most promising Manchester bands on the scene.

By thriving on the unique sonic proclivities that each of the four members brought to the table, the band of superlatively talented artists ensured that White Walls hit the airwaves hard enough to bruise it. Feel the impact and be a part of GETNER’s inevitable ascent.

Stream the official music video for White Walls via YouTube.

Review by Amelia Vandergast

Welsh Singer-Songwriter, Samuel Evanson, changed the indie anthem game with ‘She Was Blind’

Samuel Evanson’s sophomore single, ‘She Was Blind’, is an intricate weave of sharp instrumental hooks and indie rock melodies that echo the infectious energy of The Vaccines. Yet, Evanson carves his own niche with a vocal performance that is both evocatively charged and endlessly affecting. His voice, rich in vibrato, effortlessly traverses a wide range, carrying the weight of heavy emotion with a finesse that is as haunting as it is exhilarating.

The track is more than just a wounded love song; it’s a raw, emotional outpouring that rages with a fervour akin to Sam Fender’s passionate narratives. His ability to convey deep-seated emotion while maintaining a distinct sonic signature is a clear sign Samuel Evanson has everything it takes to cut through the noise and climb the charts.

As a prelude to his upcoming debut LP, We Are Meant to Break the Rules, which is due for release in June 2024, ‘She Was Blind’ is a tantalising glimpse into Evanson’s artistic soul which was born in the heart of Denbighshire and honed in the vibrant music scene of Liverpool. Evanson’s journey resonates through every note of this emotionally charged anthem.

Watch the official music video for She Was Blind via YouTube or add the single to your Spotify playlists.

Review by Amelia Vandergast

Call Me Cannon rekindled the resonance of rock’s golden era with their latest nostalgic installation of soul, JAMEY

Call Me Cannon’s latest single, JAMEY is a nostalgically fresh breath of air. The pop-rock gem, infused with soulful undertones, is a masterful blend of past and present and echoes the robustness of rock with the catchy allure of pop.

The track is a harmonious blend of piano-driven melodies and rock-solid guitar riffs, creating a sound that carries the influence of the Human League, Billy Idol, and Aerosmith while reverberating a sonic signature steeped in a style of soul that could only belong to Call Me Cannon.

The trio, consisting of Michael Fitzgerald, Jonathan Clark, and Tony Brock, brings a wealth of experience and musical prowess to the table. Their chemistry is undeniable, evident in the seamless way their talents converge in their latest evocative earworm. The song is a testament to their philosophy of “doing what we want as long as it rocks”. We can definitively argue that it does.

Michael’s songwriting shines, offering a glimpse into his impressive repertoire of 17 independent albums and multiple award nominations. Tony Brock, with his extensive credentials, and Jonathan Clark, known for his collaborations with music legends, add endless layers of depth and expertise to the mix that you’ll turn to every time you want to feel the sanctity that only soulfully constructed rock can deliver.

JAMEY proves that sometimes, the most impactful innovations are those that skilfully revisit and revitalise the past.

Watch the official music video for JAMEY on YouTube or add your single to your Spotify playlists.

Review by Amelia Vandergast

SumicSo – It’s Over: A Gothic Rock Ode to Resilience and Power

SumicSo’s latest single, ‘It’s Over’, is a compelling blend of gothic glamour and rock nostalgia, echoing the likes of Siouxsie Sioux, Blondie, Fleetwood Mac, and the Manic Street Preachers. The UK-based musician and songwriter channelled a clarion call for strength and resilience, which will resonate deeply with those who’ve faced the bitter ends of deception and departure.

The track is a masterful fusion of 80s rock aesthetics with 70s rock timbres; the vocals, rich in emotion and power, light a beacon of hope and solidarity, reaching out to listeners who find solace in her message of fighting through pain.

While the production of ‘It’s Over’ might benefit from further refinement, the raw energy and potential of SumicSo as a trailblazing artist are unmistakable. Her lyrical prowess, combined with the strident and rhythmic melodies, ensures that this track is an anthem for those battling their inner demons.

Watch the official music video for It’s Over by heading over to YouTube.

Review by Amelia Vandergast