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Best Rock Music Blog

It is almost impossible to imagine Western society without the influence of rock n roll; the artists that became renowned as (rock)gods, the aesthetic, the culture that so many live and breathe, and of course, the music that became the soundtrack to our lives. Many of the greatest artists of all time are of some rock inclination; whether that be Buddy Holly, Nirvana, or The Rolling Stones – the charts simply wouldn’t be the same without the unpredictable and volatile genre.

Rock started to emerge in the 1940s through the masterful rhythm of Chuck Berry and his contemporaries. Twenty years later, The Rolling Stones became the true face of rock n roll as they advocated for sex-positive youthful rebellion; this controversy became synonymous with rock which took the genre to brand-new cultural heights. By the 70s, artists started to push rock music into heavier, darker territories. At the same time, hard rock and metal were behind conceived; Pink Floyd gave rock trippier, more progressive tendencies with their seminal album, Dark Side of the Moon. Another major move in alternative music happened in the 70s as punk artists, such as The Clash and The Sex Pistols extrapolated rock elements and fused them into their punk sound.

The 80s was the era for sleaze rock, indie rock and college rock bands, while the 90s delivered the grunge movement with Nirvana, Hole, Soundgarden and Pearl Jam chomping at the aggressive discordant bit. Mainstream rock artists from across the globe became part and parcel of the music industry at the start of the 90s, but with the death of Kurt Cobain, the popularity of alternative music took a nosedive – despite the best efforts of Limp Bizkit, Staind, Puddle of Mudd and The Red Hot Chilli Peppers.

In any definitive guide of the best rock bands of all time, the rock artists that made their debut in the 21st-century are few and far between. But regardless of how much you want to pull the plug on the life support of rock, it isn’t quite dead – yet. For irrefutable proof, you only need to consider Black Midi, Yungblud, Greta Van Fleet, Highly Suspect, The Snuts, and Dirty Honey, who are all bringing in the new wave of classic rock – in their own way.

Contemporary rock may not sound like it used to, but that is one way in which rock has remained consistent over the past eight decades – it never has sounded like it used to. Each new generation of artists has found room for expressive and experimental manoeuvre.

Bask in the ‘Alpenglow’ of Lounna’s latest alt-indie folk rock rendering of poetic yearning

Louanna

Lounna’s latest single, Alpenglow, panoramically expanded indie-folk with a sound infused with the ruggedness of Big Thief and the euphonic beauty akin to the works of Gregory Alan Isakov and Boygenius.

The song unfurls with swathes of soul that seep through every note, achieving a séance of seraphic serenity with its Grammy-worthy craftsmanship. Louanna doesn’t just sing; she commands a profound respect that transcends typical genre confines, pulling listeners into a bask-able warmth.

The traditional folk instrumentation intertwines with ornate crescendos, crafting one of the most stirring aural experiences of 2024. The composition breathes the very essence of wonder, reminiscent of breathtaking landscapes, stunning beyond compare. Each note and lyric in the track feels like a brushstroke on a vast sonic canvas, portraying mental health struggles, difficult life circumstances, and the enduring human spirit.

Brenna Slate, under the moniker Lounna, is not new to the music scene. With fifteen years of songwriting, performances at notable festivals, and opening for nationally touring artists, Slate’s voice has matured into a poignant echo of indie folk innovation, which is exemplified in Alpenglow, which will leave you thematically alongside her, yearning for the nostalgia of lost love.

Alpenglow is being primed to debut on September 20th; purchase the single on Bandcamp; for more ways to listen, visit Lounna’s official website.

Review by Amelia Vandergast

Keith Rayburn – Shine On: Guitar Strings as Gospel

For his latest eagerly anticipated release, Shine On, Keith Rayburn rendered funk-laden rock into smoky, Motown-esque soul intersected with bluesy grooves to offer conjurings of catharsis so intense the single borders on sonically sacred.

Each progression plunges the listener deeper into a hazy, irresistibly immersive soundscape that echoes the nostalgic aura of The Doors as his guitars speak gospel in chorus with the lyrics which attest to how dimming your light is never the answer when the illumination of resilience is an option.

Rayburn is well on his way to riffing his way into the rock pantheon with his peerlessly cultivated sonic signature that will scribe its way through your synapses long after the outro of the sublimity-soaked sanctuary of a single which is easily one of the most sincere feel-good releases you’ll hear all year.

With tens of thousands of monthly Spotify listeners from around the globe behind him and his versatile musicianship, Rayburn is well on his way to reaching the acclaim his superlative song crafting deserves. Make his ear for a melody your new aural remedy.

Shine On arrived on the airwaves on September 4th; stream the single on Spotify now.

Review by Amelia Vandergast

Wagner Gracciano became the definition of emotional depth in ‘I’m Here’

Wagner Gracciano’s single, I’m Here, from his sophomore album, The History of Mark Beck, is a veritable smorgasbord of stylistic influence and innovative substance which will transport rock fans back to an era when Chris Isaak dominated the airwaves.

With soul-drenched production, sensual RnB touches weave through a tight mesh of rock guitar lines, classic pop harmonies, and the shimmer of organ keys, creating a unique gospel of pop rock. As diverse as the track is, the seamless cohesion pulls everything together in a sublime display of genre fluidity.

‘I’m Here’ makes a bold statement of passion and dedication, showing that romance isn’t as dead as we perceive it to be as Gracciano exhibits his forte in transcending the confines of genre labels and creating utopias of euphonia with his songwriting. With each listen, there’s a deepened appreciation for the superlative arrangement and emotive depth that defines the track.

As a multi-talented guitarist, composer, and producer, Wagner Gracciano has spent over 25 years mastering his craft across genres such as progressive rock, blues rock, jazz, fusion, RnB, and heavy metal. The History of Mark Beck (2024) showcases his affectingly immersive lyricism and Grammy-worthy compositions, with guest appearances from Cleveland P. Jones, Carlos Zema, and Rachael Da Silva. Supported by world-class musicians such as Charles Judge, Michael Webb, and Adair Daufembach’s pristine production, Wagner’s vision is undeniably realised.

I’m Here is now available to stream with Wagner Gracciano’s sophomore LP, The History of Mark Beck on Spotify and all major platforms.

Review by Amelia Vandergast

Ross Flora – Santa Ana Wind: A Whiskey-Soaked Country Blues Rock Ode to a Femme Fatale

If you’re looking for a track that anchors itself in the quintessence of bluesy country rock, look no further than Ross Flora’s latest single, ‘Santa Ana Wind’, which speaks rhythmic volumes of the singer-songwriter’s seasoned artistry as a fret veteran.

With the sublimity of the single manifesting through the gravelly timbre of whiskey-soaked vocal lines that caustically cut across the winding, sustained guitar notes, it is destined to become a sonic sanctuary for anyone who feels at home in the Nashville sound.

Ross Flora, with a guitar in hand, Flora becomes a conduit of hypnotism, weaving an alchemic spell that prompts you to ponder just when his visage will grace the halls of rock n’ roll fame. His cultivated ability to wrap an aura of seductive soul around his virtuosity is a testament to his rightful place in the annals of music legends.

Raised in the shadow of the Blue Ridge Mountains of Virginia, Ross’s origin story was written early after exposure to a tapestry of R&B and Bluegrass influences. From harmonising in church pews under his father’s tutelage to shredding Van Halen tracks in his youth, his path has always been marked by intrepid sonic exploration, which continued when he put down roots in Nashville and amassed a legion of fans with his unique ability to paint panoramic portraits through sound and soul.

With ‘Santa Ana Wind’, Ross Flora ensnares the listener in a narrative wrought from his rural roots and life’s meanderings, underscored by his literary acumen and deep respect for his musical forebears like Gregg Allman and Chris Cornell.  It’s impossible to reach the last note without finding equal amounts of room in your heart and on your music radar for Ross Flora.

Santa Ana Wind was officially released on September 6th; stream it on all major platforms via this link.

Review by Amelia Vandergast

Divert from your destination to isolated despair with IGOR’s pop-punk anthem, Alone

IGOR pierced the pop-punk veil with his latest single, Alone, which implants a self-deprecating flag in the post-breakup landscape and anthemises the ache of romantic dissolution.

Born in Ukraine, raised in Russia, finessed in America, and now based in New York and part of the LGBTQ+ community, the independent artist is unflinching in his mission to soak the airwaves in self-love. Alone is one of the most affecting sonic extensions of his dedication to uplifting his listeners from self-inflicted despair.

Alone taps into early 2000s rock vibes, offering a rhythmic rebellion that evokes nostalgia while marinating it in a euphorically projected melancholy. The battle cry for the soul pulls at the heartstrings with the universal mantra we’ve all whispered post-heartbreak, “I’ll be better off alone”. IGOR transforms this often private concession into a rallying cry for communal solace, affirming that no one is truly isolated in their feelings of destined solitude.

It’s so much more than just a journey through emotional desolation; it’s a cathartic release that prises serotonin from the grips of despair. IGOR paved the path back to embracing the empowering nature of self-reliance with the therapeutic hit dedicated to the broken-hearted looking to find their way back to themselves.

Alone hit the airwaves on September 4th, stream the single on all major platforms, including Spotify.

Review by Amelia Vandergast

Lie awake in the illusory land of Mindless Crowd’s new wave seminal release,  ‘Dreamscape’

With their desperately anticipated LP, Wanderlust, released on 30th August, Mindless Crowd stand as innovative new-wave indie architects; if you’re always looking for new ways to explore this vain of sonic nostalgia, let Mindless Crowd be your guide with the standout single, ‘Dreamscape’.

‘Dreamscape’ may not deliver your quintessential dreamy ambient aesthetic, but who decided dreamscapes are unanimous in tonality anyway? Mindless Crowd orchestrated their own chimaera with the reverie of angular jangle pop guitars that resonate with the perpetually influential rhythms of Johnny Marr and echoes of Iggy Pop through gruff, spoken-word style vocals that strikingly juxtapose the vibrant tones of the instrumentals.

As the track evolves, the guitars transition in the middle eight, creatively adorning the track in veritable rock n’ roll stripes. The vintage-toned lead work ascends to what can only be described as guitar porn, embodying the perfect melodic narrative switch for indie fans always on the lookout for boundary-pushing new-wave indie sounds.

Emerging from Geneva, Mindless Crowd has evolved from covering rock titans like Pink Floyd and Led Zeppelin to crafting their original material. Formed in 2012 by school friends and driven by a blend of nostalgia and innovation, the band—comprising Alex, Julien, Gaël, and Lucas—has grown a significant following, propelling them forward with over 150,000 listens on Spotify.

The album ‘Wanderlust’ encapsulates this growth and exploration, offering a mix of motivation, disillusionment, success, and failure, reflecting the winding journey of introspection the band describes.

Mindless Crowd’s LP, Wanderlust, is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Those Heavy Souls opened the doorway to the Britpop pantheon with How High’s Too High?

With plenty of stylistic and introspective substance to put behind their indie rock swagger, Those Heavy Souls hit the ground (trail)blazing single, How High’s Too High. Orbits above indie landfill, this indie dance rock hit, which takes the infectious rhythms of Kasabian and Led Zeppelin and gives them a gritty 90s Britpop edge, won’t know when it’s time to stop reverberating around your mind after the outro.

With red-hot wailing guitars searing across the frenetic pace of the single which is punctuated by strobing synths, electronic breakbeats and bass drums big enough to kick you in the chest, the single asserts itself as a definitive indie anthem.

If you’ve ever come close to slipping into hedonistic oblivion to escape the fray of a torn material reality, How High’s Too High will hit hard enough to bruise. After news of the Oasis reunion has swept up the UK in a fever of indie nostalgia, How High’s Too High is the perfect track to remind indie fans that there are plenty of contemporary acts worthy of the Gallaghers’ iconic status.

How High’s Too High? dropped on August 23rd; stream the single on all major platforms, including Spotify.

To stay up to date with news of the debut LP, Without Our History We’ve Got No Future, follow Those Heavy Souls on Instagram.

Review by Amelia Vandergast

DanFromUpstairs & Luke Matthews shifted the tides of alt-pop with ‘Love’

With his boy-next-door moniker which fully synergises with his genre-fluid sonic identity, DanFromUpstairs is easy to adore. The Brighton-based artist’s latest single, Love, featuring Luke Matthews is a veritable exposition of how much of a forte orchestrating authentic alt-pop earworms is to him. I can safely guarantee you won’t find a more deadpan love song on the airwaves, and that is just scratching the surface of the ingenuity in Love.

As the pseudo-hip-hop beat slaps, the pop melodies stroke with their lush 90s-tinged aesthetic creating an expansive contrast with the intersections of scuzzy synths and raw indie rock guitars which rough the smooth edges of the polished production that you’ll need a serious concussion to forget.

As a true conduit of sonic experimentation who knows exactly which textures, tones and stylistic elements to synthesise into his narratives to ensure innovation doesn’t deviate into obscurity and veers towards commercial potential instead, DanFromUpstairs is standing at the vanguard of the modern genre-bending trend.

The official music video for Love will premiere on September 13; stream it on YouTube.

To connect with DanFromUpstairs and keep up to date with news of his forthcoming debut album, Hopeless Fables, which promises to deliver a continuous fever dream as the track grooves between electronica, funk, hip-hop, jungle and rock, follow the artist on Instagram.

Review by Amelia Vandergast

Eamonn Hubert wrote a new chapter in NYC Rock history with his forthcoming hit, ‘Can’t Get the Words Out’

Eamonn Hubert

New York’s states freshest rock renegade, Eamonn Hubert, is set to write a new chapter in the city’s rock n roll legacy with his forthcoming EP featuring the standout single, Can’t Get the Words Out.

In addition to shredding virtuosic blues rock riffs, the 16-year-old singer-songwriter, multi-instrumentalist and mental health advocate lyrically shreds the shame from speech impediments in the rock hit which isn’t just big enough for Broadway, it’s bigger. Can’t Get the Words Out may have an intrinsically personal meaning to the young prodigy, but universal resonance shines, transmitting a beacon of empowerment to neurodivergent listeners or simply anyone whose introversion compels them to shy from the spotlight.

The rock opera-esque aesthetic to Can’t Get the Words Out is no coincidence; Hubert has shone in the acting sphere, leading to his talents catching the eye of an NYC casting director recruiting for School of Rock: The Musical. At just 10 years old, Eamonn joined the musical’s first national tour; he’s also excelled academically, participating extensively in his high school’s instrumental and choral groups, and achieving recognition in prestigious ensembles like the All-State Vocal Jazz Ensemble.

As the principal cellist for the Senior Binghamton Youth Symphony Orchestra and a seasoned performer at the New York State Blues Festival, he continues to make significant strides in his musical career.

Can’t Get the Words Out will be officially released on November 2nd with Eamonn Hubert’s 5-track self-written, performed, and recorded EP, which was mixed and mastered by Bradford Allen of Acorn Records, Cortland, NY.

Follow Eamonn on Instagram and Facebook to stay tuned to news of the release.

Review by Amelia Vandergast

Slip away from material reality with the artfully nostalgic escapism in Gaud’s seminal release, Prose for the Cradle

With Prose for the Cradle, the prodigal sons of New England, Gaud, defied temporal boundaries, transporting listeners into a dreamscape where the lines between past and present are synthesised into a seraphic sonic sensation.

Taken from the LP The Singer, the track evokes an ambiguous era of melodic rock, yet resists the urge to be pinned down by any particular moment in music history. Instead, it invites you into a space where emotion takes precedence over all else, allowing you to lose yourself in its all-consuming and consoling atmosphere.

The production carries all the hallmarks of a time when songwriters poured every drop of their hearts and souls into their craft. The melodies, artful and ascending, intertwine beautifully with percussion that feels almost like an additional pulse in your body, leaving your own heartbeat to take a backseat. Gaud’s vocal delivery is nothing short of hypnotic, wrapping you in a vignette where material reality fades away and only the sound remains.

For fans of Father John Misty’s songwriting chops, Prose for the Cradle will undoubtedly strike a chord. Its poignant cuts will leave a lasting impression, sticking to your synapses with a tenacity that makes the track impossible to shake.

Prose for the Cradle is now available to stream on Spotify with Gaud’s LP, The Singer.

Review by Amelia Vandergast