RF Shannon just released their latest single “Tooth Ache”, which is off of their latest album, Trickster Blues, due out May 5th. “Tooth Ache” pays tribute to all things alternative-indie, but also throws in a western vibe. The intro gives us that western sound with an acoustic guitar, slow drums, and sounds of a classic piano. “I take it slow right in the back road,” hums the band.
Aside from the amazing instrumentals, the vocals are haunting and will capture you. My favorite thing about “Tooth Ache,” is its ability to put a new twist on a classic rock sound. Shane Renfro, of the band says, “I tend to feel like all is right in the world when I’m slowly driving down old country roads with the windows down, so this song is kind of an ode to that vibe. I wanted to write a good backroad song.” A vibe we have all felt, RF Shannon encompasses the feeling on “Tooth Ache.”
Edinburgh-based alternative collective Hamish Hawk & The New Outfit – comprised of the indellible Hamish Hawk and his cohorts Alex Duthie, Andrew Pearson, John Cashman, and Barry Carty – is releasing the official music video for their track “Nomad” today, and we’re excited to announce that we’ve got the exclusive premiere. Trudging through a murky, guitar-heavy soundscape, we find Hamish’s charming and quirky vocals to be refreshing, holding onto every one of his theatric, beautiful words. The song itself paints quite a vivid picture of very specific instances, though we somehow feel a kinship to Hawk because of it.
And perhaps that kinship is electrified by the music video, which is largely set in front of a black backdrop with a few key props. A warmth to the frame, coupled with vintage items and Hawk’s lush, textured style make for a delicate and beautiful display for the track. Additionally, Hawk’s theatric vocals go head to head with his dancing and elaborate movements. We’re big fans of the video, and a part of us hopes to see him blossom into – not only a more talented songwriter and musician, but – perhaps the composer or star of a musical.
All that said, we think the video is worth a watch. Check it out below!
Alternative-indie rock band Dommengang just released their latest single “Past Lives.” Recorded at Stumptown Coffee, “Past Lives” is an angsty anthem that we can’t stop listening to. The funky track samples a classic rock feel with whiny vocals. “Past Lives” talks on the relationship with a former lover. The relationship clearly isn’t over on Dommengang’s side. “Baby I can’t call you baby anymore,” cries out the regretful track. My favorite line is “I don’t belong to anyone,” describing the epitome of what it means for something to be over and even more so- to be able to acknowledge that. “Past Lives” is full of guitar, drums, and post-love blues. It’s definitely worth the listen.
LGBTQA rockers Carry Illinois announce their new EP Work In Progress which will release May 25th. The band will hit the ground running with show release on May 25th in Austin, TX. In the meantime, the indie-pop rockers have released their latest single off of Work In Progress “Runaway.” “Runaway” dives into the synth-pop world of alternative indie with its electronic sounds. The lyrics tell of an uphill battle between anxiety, body image, and internal struggles. “When did you first begin to hate your body and your heart? I was six or I was seven…wasn’t I too young to feel that way?” proclaims the track. Diving into the chorus, Carry Illinois talks about the one thing that is familiar to them: “I know, I know how to runaway– I know, I know it’s not good to runaway.”
“Runaway” shows off a raw and open emotional narrative with no shame. Inspiration for many of Carry Illinois’ songs comes from the loss of a close bandmate, John Winsor. Frontwoman Lizzy Lehman explains this saying, “After John committed suicide in March of 2016, I decided that I no longer needed to shy away from the real struggles that I face. I decided that writing about it, singing about it, and performing with utmost strength and courage is what I need to do.” The cathartic writing that Lizzy touches on is present on “Runaway” and the latest Work In Progress.
Work In Progress is out May 25th. Keep up with Carry Illinois here.
Sine the release of his wildly successful synth laid single, “Let It Go,” singer/songwriter Lonely Benson has been working towards the release of his newest self-titled LP. Not only is “Let It Go” the perfect sneak peak to this wonderfully laid back LP, but every song that Lonely Benson contains is full of the same indie pop magic that fans have come to love from this artist. Throughout the entire release, the listener is taken through story after story that has been perfectly executed with the use of clever lyricism and dreamy vocals. One of tracks in particular, “Lazy Lover” aligns itself to this description. Lonely Benson is the ideal listen for any occasion or circumstance–whether you are spending time with friends, laying on the beach, or on a drive by yourself in the countryside.
Throughout all of his tracks, fans will fall in love with all of the thrillingly nuanced synth-pop influences and skillful guitar work. Along with this killer skills in his back pocket, Lonely Benson has the unique ability to create a warm and inviting atmosphere with his music that is both infectious and highly coveted. Without a doubt, this artist has what it takes to make it big time, seeing as there is already a significant amount of buzz surrounding this new project. Since his debut as an artist, he has been featured on Apple Music’s alternative list and has been awarded over 2 million streams on Spotify. Along with killing it with his now millions of stream, he has also created a following through his coverage everywhere from Indie Shuffle to KickKickSnare. No doubt, this new album is going to satisfy all of those who have jumped on the Lonely Benson band wagon.
Alternative quartet No Dry County – comprised of Dub Wood (bass, vocals), Trent Langford (Lead Vocals, Guitar), Matt Newsom (Drums, Vocals), and Bristen Phillips (Guitar) – recently released their latest track, called “Bittersweet”. The song is about understanding that things change consistently, that things cannot stay the same. The song is a slow dance single that will have you on the dance floor swaying slowly with your partner. The track talks about finding the cause for no longer communicating with one another and realizing what caused them and that person to no longer be on good terms. The lead singer in the song sings about Irreconcilable differences and the hope that those differences will be lit up again.
Punk is a genre that has always been known for its simplicity and raw, primitive sound. Many music fans write off the genre entirely because they believe that music must be complex and polished to be great. But this couldn’t be further from the truth. In the 70’s a bunch of kids who grew up on a steady diet of classic rockabilly, pop, soul, British invasion, Motown, and ska took a look at the vapid and self-important hippies burning out on the radio and said fuck this. They cut their hair, put on the jeans and leather jackets of their early-rock-and-roll heroes, went into their garages, turned up the tempos, pushed their amps into overdrive, and invented the potent form of fundamentalist rock and roll we now know as punk rock. The following songs showcase just how much depth can be captured in a few minutes with a few chords and with some cheap equipment.
The Buzzcocks: I Don’t Mind
The unusual chord progression and surreal message makes this song the “Strawberry Fields Forever” of punk rock. Beginning with the beautiful phrase, “Reality’s a Dream” the verse starts out square but quickly gets mired in a swirling series of out-of-key chords and a disjointed melody that and builds and blossoms into short, simple, and joyful chorus about not caring. It perfectly captures the message of escaping the emotional torment of uncertainty and chaos by just not giving a fuck. During the bridge the song shifts to a minor tonality as Pete Shelley reflects on past insecurity and rejection, emerging at the end in a higher key to once-and-for-all assert his triumphant nihilism.
Stiff Little Fingers: Alternative Ulster
This song about kids caught up in ‘The Troubles’ in Northern Ireland begins with a plaintive guitar melody drenched in reverb raw and almost in-tune. The lonely major-key drone expresses a combination of sadness and optimism that Stiff Little Fingers does so well. The song explodes into short punchy phrases in the verse over a restless 4 chord vamp in which Jake Burns lays out the frustration of scraping by under a repressive regime with throaty angst. Then it stretches out into the prechorus in which he explains that nothing’s going to change because nobody in power has any reason to change it. An usual extra measure builds anticipation before the assertive chorus chords in which he gives the solution to the problem: Do it yourself. Create an alternative of your own. “Ignore the bores, their laws…grab it change it’s yours.” After a powerful bridge rapidly dispensing with the naysayers, the original guitar melody returns over a shuffle drum beat. The meandering line returning with purpose and power before delivering the listener to a satisfying final chorus.
The Clash: Death or Glory
One of the many gems on London Calling, “Death or Glory” explores how high-minded ideals and righteous conquests are corrupted by time and routine. The song starts with a round and melodic bass line and syncopated high hat accents building into a grade-A punk rock groove underneath Mick Jones channeling Mick Ronson’s brand of channeling Chuck Berry via the English Channel. Paul Simon’s baseline walks under guitar stabs as Strummer howls his verse with great lines such as “love and hate tattooed across the knuckles of his hands, hands that slap his kids around ‘cuz they don’t understand” finally breaking into one of the catchiest choruses ever penned. During the bridge Topper Headon lays down a restless funky beat that is complemented by Jones’ rhythmic octaves and Simonon’s sequenced bass line. Creating the perfect musical backdrop for Strummer to quietly but insistently express the the will to fight and raise hell. After a final chorus the band ends the song on a slightly out-of-time, and out-of-tune final hit. Just in case you thought they were getting too refined.
Dead Boys: Sonic Reducer
Whereas the Buzzcocks found release in not caring, Stiff Little Fingers found salvation in not caring, and The Clash believed we were sadly destined to not care, The Dead Boys just didn’t care. Two bold chords at the outset fade into a swirl of flanged cymbals and feedback overtop a foreboding minor-key guitar line which finally explodes into power chords and Cheetah Chrome’s brash guitar solo. The verse pummels forward as Stiv Bators lists all the things he doesn’t need including family, beauty, and the human race. It builds towards a chorus that tells you why he doesn’t need any of that stuff. Because he’s a god damn rock and roller and one day he’ll be a ten foot tall Pharaoh and you won’t be shit. The song barrels forward all the way to the end with Ohio’s trademark street-walking-cheetah-with-a-heart-full-of-napalm raw power and swagger.
The Jam: The Eton Rifles
This fantastic tune begins with an intro of crashing minor chords, splashy drums, and a catchy repeated bass figure. Then breaks in to a double verse based on a two chord vamp of clanging guitar stabs and punctuated by a two chord turnaround contained in an unusual extra measure as bassist Bruce Foxton proves that drums, guitar, and a Rickenbacker bass is all you need to fill up the sonic palette. Buried in the mix, Paul Weller cleverly tells the story of a street fight between working class protest marchers and students from the prestigious UK prep school Eton in his unpretentiously accented baritone. During the chorus his vocal line climbs and the chord changes accelerate climaxing with a repeated “Eton Rifles” hook based on a melodic figure made memorable by its widely spaced intervals. The tonality darkens to minor for the unbalanced-feeling 9 measure bridge, perfectly framing the lyrics in which Weller describes his feelings of shame and disappointment with his comrades who were more interested in posturing than repelling the attacks of the future ruling elite. An instrumental section sandwiched between repetitions of the bridge that includes organ and reggae-influenced guitar delay showcases the band’s versatility. A vitriolic final verse and extended final chorus decays into cacophony before it is tied together by several restatements of the main theme mirrored by palm muted guitar before a definitive final hit. As strong a song as was ever written.
Generation X: Kiss Me Deadly
Pre-White-Wedding Billy Idol and company turned out this masterpiece of a song which is built on a verse, prechorus, and chorus that flow into each other so naturally and evolve so organically through the song that they create a nearly inseparable musical unit. This brilliant structure provides the backdrop over which Idol paints a picture of rebellious youth in the UK in the late 70’s characterized by love, sex, fights, flights, drugs, and old-school rock and roll. It begins with delicate guitar arpeggios venturing through a chord progression that is more reminiscent of The Zombies than The Ramones. Bold drums enter during the second verse foreshadowing the huge guitar onslaught that picks up and carries the song through to its end. After a melodic guitar solo, the chorus is extended during the final musical unit repeating the memorable title, “Kiss Me Deadly.” Exploited may have gotten right to the point with “Sex and Violence” but Generation X was able to translate the eros/thanatos theme into a brilliant work of punk rock art.
Breaking out of the mold and into the limelight that is so highly sought after is fresh new band The Hails. Over the past few months, Robbie Kingsley (lead vocals), Dylan McCue (guitar), Franco Colari (vocals and guitar), Andre Escobar (base) and Zach Levy (drums) have taken their raw talent and turned it into a new single that has now reached over 150 thousand fans in less than one month. Their latest single, “Younger,” alone has created a name for this young group in the music industry that is not soon to be forgotten.
Since the release, streaming stats have flown through the roof which landed them the #1 spot on Hype Machine over the past few days. This hot new single has won over the hearts of fans and critics alike with its alternative rock rhythms and 70’s groove throwback vibes. Not only do they put a fresh twist on a classic sound that has been loved for decades, but they are also able to add their own unique flare that has set them apart from the rest of the alt rock community. Another stunning aspect of The Hails is their high levels of confidence in their live performances that blows fans away and far surpasses their competitors. No doubt this is a group to keep an eye on as they continually grow and fill the expectations that they have set for themselves.
Don’t miss out on any of The Hails’ new music! Follow them on their official website!
In the world of alternative rock and upcoming young artists, Ward has sprinted up the ladder, gathering a large fan following and quickly making his name known throughout the country. Most recently, Ward has unveiled his newest single, “Crush,” which is both hypnotic and full of vibrant soundscapes which show his knack for skillfully arranging beats and lyrics in a harmonious work of art. Since the beginning of his career in the music industry, Ward has found more success and fulfillment than at any other time in his life. In 2016, it was clear to him that the life he was living was lack luster and far beneath his talent and skill. Since then, he has put all of his efforts into developing and maturing his unique sound, performing on stages throughout the country and spending all of his time offstage in the recording studio.
Not only does Ward come with copious amount of skill and talent, but his team has also been known to propel artists into a perpetual line of success. Producer Chris Keup and Darrell Thorpe have taken the raw aptitude and turned it into a alt rock masterpiece. Over the past few years, Ward has been able to maintain his catchy 90’s rock feel and the fans are eating it up.
