UK band Senses Reeling are set to release their full-length album Time’s Still Now on June 14th. It’s a project that showcases a fairly unique approach to pop-rock, often leading with an almost acoustic backbone, spacious soundscapes, and increasingly impressive songwriting.
Rebecca Cullen
Marc Ambrosia’s songwriting style and indeed his vocal tone and delivery, all lean in a decidedly honest and endearing, emotional direction. Nowhere do these qualities shine more brightly than throughout the album Unleashed.
Richard Schroder’s latest release feels like far more of a pop hit than anything purely country – not that either direction is preferable, there’s just a notably accessible and quickly engaging, memorable aura to this song, making it an easy one to relate to and enjoy.
Inanna brings back a decidedly retro electro-pop sound with this latest and debut single. Initially channeling elements of Bjork and Madonna alike, Nefertiti XXI soon goes on to become something of its own entirely.
An awesomely intentional, hard-hitting and brilliantly authentic rock track, from a band who we should all be grateful are making their way back on to the world’s music scenes.
Utilizing creative freedom yet again, offering an alternative pop-rock anthem with a quiet verse vocal that intrigues from the offset, Reigning Nonsense is as multi-layered and colourful as it is conceptually intentional.
Sunday Morning kicks up with a simple Americana set-up, organic and fairly minimalist to begin with, then you get the leading voice for the verse – the first moment at which the personality and unique appeal of the band starts to stand out.
Whatever it is that makes for a beautifully warming and poetic pop-rock ballad, Something Beautiful Won’t Come Out has undoubtedly found it.
The Stifftones have chosen a quiet and genuine setting for this because the song itself is one that deals with personal, reflective ideas – a sense of being far away, isolated or alone.
Microcosms stylishly tumble through the speakers for this single, showcasing chaotic indie rock riffs and a grunge-like leading voice that sees the track slowly but surely gather strength and momentum as it fills the room.
It’s easy to forget the skill and thought that goes into Scoob’s bars and performance style when the majority of indie hip hop continues to flood the airwaves in between listening. This project is a welcomed return from the artist and a fine collaboration that offers hit after hit; always with an alternative, creative twang – the kind of sound that would work beautifully at a daytime festival set.
Fusing a clear skill and passion for production with a quickly energizing and entrancing style of songwriting, The End Of The World emerges as a partly organic gathering of influences and moments, rising up slowly but surely towards an engaging and easily memorable hook.