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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.

Kilravock unchained a sludgy industrial rock wrecking ball with ‘Incompatibility’

Incompatibility ][ Working Class Hero by Kilravock

The latest single, ‘Incompatibility’, by the alternative artist Kilravock, sonically storms through the gates of multiple genres. The raucously riled juggernaut is fuelled by the fire of industrial metal, sludged up through strokes of stoner doom rock, and finds its chameleonic stripes through the influence of progressive rock. It’s an onslaught of chaos that places Kilravock in the same league as Combichrist and Rammstein without bowing to any mechanised predecessor’s rulebook.

Omaha-based Steven W. Smith—known for his contributions to The Alliterates, Lucid Fugue, Megaton, and Valley of Shadows—has morphed into a one-man powerhouse under the Kilravock moniker. From instrumentation to production, everything you hear is of Smith’s own making, lending the track an undeniable sense of personal authenticity as it distils Smith’s frustration with society’s rigid frameworks and his lived neurodivergent experiences into a landscape of deep, sorrowful vocals and raw, frustrated howls.

Throughout, Kilravock’s grip on the melodic weight ensures that even though you’re pummelled by vicious distortion and messy reflections of discordance, you’re never lost. Instead, you’re locked into the insanity, granted permission to unchain your own chaos, and left with an aftertaste of brutal truth.

Incompatibility is now available to stream and purchase via Bandcamp.

Review by Amelia Vandergast

Ralph Bishop’s ‘Photographs’ is a snapshot of rock theatre

With Photographs, the standout single from Ralph Bishop’s debut LP, The Path, the 18-year-old artist from Dorset threads theatrical intensity with classic rock sophistication. Far from settling into well-trodden territory, Bishop carved a distinct niche by pairing his histrionic harmonies with an unapologetically dramatic arrangement that would be equally at home on the airwaves or the Broadway stage.

The track’s emotional depth is as vast as Bishop’s awe-inspiring octave range, which soars alongside the cabaret piano, chamber strings, and searing guitar solos that nod to the golden age of 80s rock. Rather than overpowering the melody, the instrumentation leaves space for Bishop’s theatric vocals to command attention, balancing subtlety with unrelenting intensity.

Lyrically, Photographs transcends rock’s usual fare by delving into the poignant fragility of our relationship with mementoes, inviting listeners to reflect on how memories can simultaneously comfort and haunt. Bishop’s piercing poetry only amplifies the visceral weight of his performance, proving his talent isn’t just in the notes he hits but in the stories he tells.

Having cut his teeth in front of crowds as young as 11 and sharpened his musicianship at the Guildhall School of Music and Drama, Bishop brings a maturity beyond his years to his solo career.

Stream The Path in Full on Spotify.

Review by Amelia Vandergast

Alt-Indie Raconteur Mickey Haimes Shines Light on Shadows in his Debut Single, ‘Sunlight’s Exposure’

Mickey Haimes

With his debut single ‘Sunlight’s Exposure’, Guernsey-based singer-songwriter Mickey Haimes signalled that supremacy in the alt-indie scene is his for the taking by blending jazz, blues, and indie rock with the swagger reminiscent of Nick Cave. Supported by BBC Music in the Channel Islands, Haimes offers a candid tale of questionable life choices via an unflinching descent into past experience.

With a distinctive, soulful voice, he could harmonise his shopping list and still leave listeners mesmerised. His rugged yet sweet harmonies infuse smooth grooves with a warmth that only a true conduit of soul can provide. While most artists have to resort to experimentalism for authenticity’s sake, with Haimes, there’s a rare sense that his distinction breeds from unfeigned expression as he exudes a rare originality born from sincere expression.

The intricate, organic layers of ‘Sunlight’s Exposure’ paint a vivid portrait of a soul guarding its own shadow, serving as the perfect introduction to an artist already making major waves before his first official release reaches the shores of the alt-indie arena.

Already recognised locally as Guernsey Street Festival Performer of the Year 2022 and having graced the BBC Introducing stage at the Guernsey Together Festival 2023, Haimes reflected on his songwriting with the observation that “A gritty insight is a useful one, but a playful slant is what brings it to life.”

Sunlight’s Exposure will be available to stream on all major platforms from December 6th; discover your preferred way to listen via this link.

Review by Amelia Vandergast

The devil is in the debauched detail of Too Late To Run’s seminal alt-rock hit, Diablo

Fake News by Too Late To Run

In their debut EP, Fake News, the outfit fated to become Sweden’s latest alt-rock powerhouse, Too Late To Run (TLTR), takes on the hypocrisy of world leaders and puppet news media with gritty distorted guitars and a subtle voice of sarcasm.

The standout single, Diablo, is a down-and-dirty cocktail of funk, scuzz, and playful punk panache that blasts past pastiche while harking back to acts like Eagles of Death Metal and Mike Patton, who avert cliché with their humorous and avant-garde spins on rock ‘n’ roll tropes. For a while, it has felt like rock has become a parody of itself—a trend perpetuated by artists with scarce awareness of how they’re weak effigies of their idols. But with Too Late To Run, you lock into the rolling rhythms and devil-may-care debauchery, instantly assured that every sonic sermon will leave you wanting to kneel at their eccentrically electric altar.

Born in the UK, songwriter, producer, lead vocalist, and band founder LEA says of the album, “Many people are feeling powerless right now, and these songs are the best way I know to get my own voice heard and try to make a difference.”

Diablo is now available to stream and download via Bandcamp.

Review by Amelia Vandergast

Todd Michael Chapman is the lyrical cheerleader everyone will want in their corner with ‘Celebrate It’

New York-born-and-raised singer-songwriter Todd Michael Chapman reached his uplifting zenith with his latest melodic Americana rock single, Celebrate It.

Covering the all-too-relatable phenomenon of chasing dreams and overcoming adversity for the promise of an emotional payoff and never finding any serotonin at the end of the endeavour, Chapman uses the single as an opportunity to remind his fans to reflect on their wins as much as their losses.

Joined by a female vocalist who effortlessly complements his stridently euphoria-painted harmonies, Celebrate It is enough to strip the weight of ennui right off your soul and rose tint the way you perceive your impact on the world.

The country-twanged classic rock melodies paired with Chapman acting as the lyrical cheerleader everyone will want in their corner transform Celebrate It into the ultimate anthem to slam through your speakers every time you need an intravenous shot of optimism.

Stream Celebrate It on Spotify now.

Review by Amelia Vandergast

Turquoise Willie brought the Southern rock funk in ‘Gonna Make It Alright’

Turquoise Willie funked up Southern soul-rock in a way that sets them apart from every other vintage-toned entity gracing our speakers. ‘Gonna Make It Alright’ is a freewheeling escape into euphoria. With sonics to repair the soul, it’s hard to think of anything that this track couldn’t remedy.

From an intro that echoes the legendary vibes of the Stone Roses or Happy Mondays, the single explodes into a Southern soul-rock groove that’s nothing short of infectious. The track testifies to the power of feel-good rock ‘n’ roll, doing exactly what its title promises. Turquoise Willie riffs with an unholy amount of talent, aiming solely to deliver sonic serotonin to rock enthusiasts everywhere. Embed this timelessly gasoline-soaked hit in your playlists and say goodbye to your dark days for good.

Jason Young and Chris Schiltz, the dynamic duo behind Turquoise Willie, formed in 2015 after a long journey as studio and touring musicians, including stints with the legendary Steve Azar. They found their synergy in a shared passion for keeping vintage roots rock not just alive, but amplified. The result is music that reverberates across the vast expanse of roots music with unwavering authenticity.

Gonna Make It Alright was officially released on November 22; stream the single on all major platforms, including Spotify.

Review by Amelia Vandergast

Shadows and Light: Sarah Shafey’s Grunge Resurgence in ‘Don’t Be Afraid of the Dark’

In her standout single, ‘Don’t Be Afraid of the Dark,’ the award-winning Canadian-Egyptian artist Sarah Shafey conjured a maelstrom of emotion and sound, marking a bold new chapter in the legacy alt-rock.

Infused with a hypnotic etherealism seamlessly married to the raw, sludgy aesthetics of grunge, Shafey’s latest single finished what Wolf Alice started. Her singular sonic footprint blazes a trail for a stylised resurgence, one that sinks swathes of substance into style and is layered with sonic transitions from the ferocious growl of grunge to the futuristic shimmer of synth-driven indie rock.

Her latest album ‘The Paper Bag Princess’, from which Don’t Be Afraid of the Dark was taken, draws from the empowering narrative of Robert Munsch’s children’s book, infusing her music with a feminist ethos that puts her in Kathleen Hanna’s lyrical league while vocally allowing her harmonies to drip Shirley Manson-esque seduction.

Shafey’s approach to this album—an eight-song manifesto melding personal revelation with a ’90s grunge backdrop—signals a defiant overturning of outdated norms. As she navigates through a soundscape crafted with chugging guitars and ethereal synths, Shafey not only redefines her musical identity but also challenges the listener to embrace a narrative of strength and self-discovery.

Don’t Be Afraid of the Dark was officially released on November 15th; stream the single on SoundCloud now.

Review by Amelia Vandergast

The Elegant Chasers is set to deliver a kaleidoscope of hope with their politically-charged Britpop-Grunge mash-up sophomore LP, To Live in Colour

The Elegant Chasers

The title track of To Live in Colour, the sophomore LP from The Elegant Chasers, is a vestige of sanctuary for those still searching for hope and resilience amid chaos.

As we sink ever deeper into a textbook definition of dystopia, the visceral fusion of grunge and Britpop, which rages with hook-rife rancour, is a livewire lifeline from an artist who has always sought solace in sound. With the hypersonically grungy hooks injecting adrenalised vindication into the mix, the one-man powerhouse beckons listeners into a tumult of nostalgia. Not to morosely reminisce on what is missed but to dare to fight against the backdrop of a disillusioned world after being reminded of the volition and connection we historically sourced from sonic redemption and calls to action.

Influenced by his own struggles, the track wrestles with darkness but refuses to succumb. The juxtaposition of anguish and upbeat, infectious melodies mirror the internal battle Maz faced growing up—bullying, trauma, and later, the hangover of rock ‘n’ roll’s recklessness.

With backing vocals from his daughters Penny and Phoebe and drums from the ever-present Lloyd “Keith Moon” Pritchard, the track taps into familial warmth and raw, gritty sound. Maz’s gift is to prove that while the world may be descending into madness, we can still choose to live in colour. The firestorm of sound that is To Live in Colour demands your attention and ensures you’ll never feel isolated in your apathy again.

The To Live in Colour LP will be available to stream on all major platforms, including Bandcamp, from December 6th. Connect with The Elegant Chasers on Instagram to stay up to date with news of the release.

Review by Amelia Vandergast

The New Old Became This Generation’s Answer to the Cramps With ‘Ain’t Dead Yet’

Detroit rock n roll heavyweights The New Old delivered one of the raunchily reverent hits of 2024 with their macabrely infectious single, Ain’t Dead Yet. Accompanied by a cinematically shot Day of the Dead-themed music video, which has racked up over 115k streams to date, Ain’t Dead Yet injects swaggering rock n roll nostalgia into a modernised and stylised production.

If you can imagine what the Cramps would sound like if they spawned in this generation, you’ll get an idea of what the devilishly debauched prodigal sons delivered with this radio-ready anthem that retaliates with resilience as a form of resistance, offering vindication to anyone who has been counted out prematurely.

However The New Old follow this scintillatingly serpentine earworm, it’s clear that they’re a band on the brink of a stratospheric ascent. If any band can stop Stonesy rock n roll from fading into obscurity, it’s them.

Stream the official music video for Ain’t Dead Yet on YouTube.

Review by Amelia Vandergast