UK-based artist Prince of Sweden has released their most captivating single to date with “Cabaret”.
The utilisation of archaic elements in their truly timeless approach to songwriting makes it all too easy to warm to their charismatic quietly sonorous soundscapes. With Cabaret, they offered a sweet hazy mellifluous feat of Indie Rock with the perfect infusion of Psych Pop and a few borrowed tones from Big Band Swing Jazz.
Their ability to make you hang off each word as the melody gently exudes plenty of gentle rhythmic catharsis is sure to see Prince of Sweden go far in 2020. If you get the chance to see them live, take it.
You can check out Prince of Sweden’s latest single Cabaret via SoundCloud now.
Keep up to date with live dates & new releases via Facebook.
Manchester-based Alt Rock newcomer Mancana dropped their debut single “Living a Lie” on January 13th. The sticky-sweet soulful Americana-inspired hit affirmed just how lacking the airwaves are when it comes to naturalistically good-vibe feats of Rock. Mancana along with a whole host of other deftly talented artists more than made up for the shortfall.
The constantly evolving rhythms seamlessly sweep across a diverse tonal palette. From striking cutting Blues progressions to effervescent Jangle Pop to the euphoric ringing warmth of Psych Pop. Their sweet harmonic tones and infectiously catchy melodies transformed Living a Lie into one of the most welcome earworms we’ve heard in a long time. Living a Lie drips with 60s Psych Pop/Garage Rock nostalgia, but with Mancana’s personal charm, there’s no better revival to aurally throw yourself back in time with.
Additionally, with a bio like “A casual northern chancer with a penchant for the rock/country/Americana sound. Good honest & wholesome, like your Nan’s Sunday roast.” How could we not instantly become enamoured by Mancana?
You can check out Living a Lie along with the B-side single “CalifornIA” for yourselves by heading over to Apple Music or Spotify now.
Americana Blues Rock doesn’t come much tighter than what you’ll find in up and coming artist Tofteberg’s debut album “Line Up Behind Me”.
While each of the singles is a masterfully polished aural treat, there’s no better introduction to Tofteberg’s sound than the standout single “I Wanna Wake Up”. Whether the sex-appeal was accidental or mindfully implanted in the bass licks, it was efficaciously captivating all the same.
I Wanna Wake Up shares similarities with bands such as Queens of the Stone Age, yet, under Tofteberg’s deft talent, the soundscape has an infinitely more mellifluous smooth-flowing feel. But that’s not to say that you won’t find a handful of mind-altering guitar riffs in the mix.
You can check out Tofteberg’s single I Wanna Wake Up for yourselves by heading over to Spotify where you’ll also find the rest of their provocatively rhythmic album.
With the curiosity-piquing promise of getting to hear Heavy Salad’s new material from their upcoming debut album, I couldn’t resist heading to their headline show at Gulliver’s on January 25th in Manchester.
There was little room for disappointment as their multifaceted talent donned a plethora of wholesome new guises during their set. From mesmerising Blur-Esque trippy transcendence to their individualistically cosmic take on Pop to bitingly vivid Psych Rock to occultist eerily kaleidoscopic tones, they offered it all and more. Their versatility is illimitable.
All too often, when you listen to new bands, you’ll also hear the desperation in their bid for conformity and acceptance within a scene. With Heavy Salad, there’s a tranquil air to their live performances as they relay the melodic manifestations of their Lynchian imaginations and ingenuity. If anything is as refreshing as their defiance against orthodoxy, it’s seeing deftly talented artists with no sense of ego or grandeur. The vibe between them spills out in rhythmic tides ready to sweep up anyone open-minded enough to appreciate genuine distinction.
The sprinkling of bemused faces in the crowd affirmed just how innovative Heavy Salad are – both on record and in their live shows where they are joined by their aptly-named backing singers The Priestesses. Their extremely nuanced vocal contributions lace every single track with a celestially arcane feel. If witch trials were held today, The Priestesses definitely wouldn’t be safe.
But it is safe to say that they know how to end a set. The visceral monster with which they concluded was the first time I’d truly gotten a taste of the extent of guitarist Rob Glennie’s talent. His usual cathartic serene style took a seismic shift into a blisteringly arrestive masterfully crafted riffs which induced a literal jaw-drop moment. It all seemed to happen at the speed of light. If I wasn’t excited for their debut album which is still in production, I definitely am now.
You can check out Heavy Salad’s previously released singles via Spotify.
Keep up to date with their album release and tour dates via Facebook
After the release of their first single “Copernicus Falls” from their upcoming EP “Take Back Tomorrow”, there’s never been a more opportune time to jump on the indulgently nihilistic rigorously catchy tones of She Burns Red.
Before I start to tell you how the angularly-crafted guitars cut through the anthemically cavernous bouncing instrumentals etc. I should probably tell you that the Edinburgh-based four-piece could never be defined by their sound alone. Instead, they set themselves apart through their magnanimous energy which is infectious enough to let your chest cavities know about it.
While the candidly dark lyrics are busy riling you with resonant all-too-familiar frustrations in life, the melody will be he hard at work burrowing down like one of the most indignant Hard Rock earworms you’ve ever known. With Andy Moore’s whiskey-soaked warmly inviting yet fiercely convictive vocals along with James McCulloch’s clean tensile vocal nuances, there was an insane amount of alchemic chemistry on each track.
Unlike most emotion-driven rock, She Burns Red don’t create evocatively high octane music to leave you in a pit of morose apathy once you’ve ingested the visceral emotion which inspired the tracks. Instead, their music is a not so gentle olive branch to pull you away from self-pity. As well as being a dynamic record in terms of sound, each single will leave you exposed to a new piece of the artist’s souls. From wistful lament to frustrative defiance, Take Back Tomorrow offers it all and more.
I’m not even ashamed to say that tears were shed listening to the second track on the EP “Crosshairs”. Not even the searing technical riffs could offer any consolation. The release was an emotional rollercoaster from start to finish. And with producer Toby Jepson in charge of production, She Burns Red was able to relay their notorious high-energy live performance style onto the record.
We’re more than blown away. We feel like we’ve been through an aural category 5 hurricane.
You can check out the lyric video to Copernicus Falls via YouTube now.
And you can head on over to Bandcamp to pre-order their EP Take Back Tomorrow which is due for official release on February 1st from Bandcamp.
Keep up to date with tour dates and new releases via Facebook.
If you’re always on the lookout for the most viscerally explosive Indie Rock, look no further than the latest single “Fall into the Sun” from up and coming artist Columbia.
With all of the unrestrained energy of bands such as Buckcherry and the fraught Indie tones of The Kooks, Fall into the Sun is an instantly captivating hit. Those James Dean Bradfield-style relentless riffs will stay stick to my synapses for quite some time.
Columbia makes enough of an impact you may very well get to the outro feeling slightly aurally bruised for the amount of volatility found in the tensile single. If they can bring that amount of energy to a recording, I’m not going to miss any opportunities to hear them live.
You can check out Fall into the Sun for yourselves by heading over to YouTube now.
Iconic Grunge bands such as Alice in Chains hog pretty much all of the aural acclaim. But there are still plenty of gritty haunting soundscapes orchestrated by up and coming artists such as Echoes of Her whose work has the exact same effect.
With their standout track “Grey Sunshine” you’ll be immersed in a single which doesn’t hold back with the pensive angst. Both the cutting instrumentals and the magnetically gravely vocals will leave you doused in cathartically resonant melancholy. The transfixingly dark meandering rhythms aren’t something we’re going to forget about in a hurry.
You can check out Grey Sunshine along with the rest of Echoes of Her’s evocatively raw tracks for yourselves by heading over to Spotify now.
We’re always on the lookout for breaking bands who bring brand-new energy to Rock. And District 13 certainly didn’t disappoint with their transfixingly dark, evocatively visceral offering of Alt Rock “Soma”.
The instrumentals may be heavy, but there’s a striking amount of melodicism to ingest as the progressive hit unravels. Each new evolution in sound leaves you with yet another affirmation of District 13’s talent when it comes to fusing elements of Punk and Heavy Metal. You get the snappy riotous energy of Punk, orgasmically sweet guitar riffs, and harsh heavy tones all wrapped up in one sublime aural package.
That’s all without mentioning the vocals. If Jesus himself wept, it wouldn’t be as emotive as what guitarist and vocalist Jon Hartz Wild brought to Soma. The guttural drawn-out jagged whiskey-soaked screams will stay with me quite some time. But despite all of the raw emotion forcibly thrown into Soma, there was still plenty of upbeat energy to ensure that the track comes to a close without leaving you feeling like you’ve been put into an existential hole.
I’d be willing to put money on the London-based trio’s taking the scene by storm in 2020.
You can check out the official music video to District 13’s latest single Soma via YouTube.
If you’re always on the lookout for the most cuttingly angular guitar riffs in Rock n Roll, look no further than the live recording of “Better Days” by Ernie & The Band.
Fuelled by a Jim Jones-style frenetic energy, the single gives you very little chance to decide whether you get caught up in the punchy, deftly crafted euphoria.
It’s not all too often that a live recording truly captures the animated furore of a live performance. But in this instance, you’ll be instantly enamoured by the high-octane blasts of unadulterated Rock n Roll groove. Ernie & the Band’s revival of a timeless sound is definitely worth four minutes of your time.
You can check out Better Days along with the rest of the EP for yourselves by heading over to Spotify now.
The Slow Day’s 2019 debut single “The Poet” became a playlist staple after the first time I hit play and it resulted in instantaneous infatuation.
There was something incredibly visceral about the amplified emotion poured into their ridiculously accessible feat of Indie Rock. It came without frills, but who needs frills when you’ve got sheer polished instrumental power and arrestingly expressive vocals? Supposedly, the eyes are the window to the soul, but for The Slow Day vocalist Adam Moss, I’m inclined to believe his lies in their larynx.
They’ve followed on from their debut with the equally as resounding single “I Can’t Sleep” released on January 20th. It’s raunchy, it’s smoky, it’s psychedelic and it’s a sublime feat of Americana-inspired Alt Rock which proves that it can be done just as well on this side of the pond.
I Can’t Sleep is a gorgeous mash of reminiscences of bands such as The Black Keys with much heavier, grinding instrumental friction offered by the likes of Mudhoney and Velvet Revolver.
It’s probably the most serpentine Alt Rock earworm which you’ll hear this year. If you find a way of unsticking the tensile rhythms from your synapses, don’t tell me about it, I’m quite fond of my new neural companion.
If there’s any Manchester band worth getting excited about in 2020, it’s the Slow Day with their anthemically-charged sound. Their artist title is criminally deceptive.