Killing Pickle is a great track, one with an immersive sense of rising passion and energy, and the sort that offers up an immediately familiar intro once you’ve heard it even a single time. An indie dance-floor smash but also something to provoke a slightly deeper level of thought at the same time. Well worth a spin.
Indie Rock
PINING work hard to keep indie-rock alive and vibrant with this latest single When the Streetlights Come On. There’s a notably raw sound to the recording, giving off a genuine and fairly live aura.
Aiden Hatfield has created a community around his sincere take on depression, and his latest single, ‘This Horror In Me’ is not only an absolutely fantastic rock tune, but also an honest depiction of dealing with such daily struggles.
“Bands always disagree but one thing we don’t disagree on is creativity. Like I’ve touched on previously, we let each other be as creative as we can and as long as you are playing for the song and not for yourself it works for us.”
During times as divisive as these, it’s easy to forget that we are all human, living together, not apart. Luckily for us, Mark Ambuter has created Love is Everywhere to remind us all of that.
An emotional yet still cinematic journey, into which the leading singer pours soulful poetry – weaving around you a beautifully ambient blanket of warmth. This is a personal favourite from Glorybots to date, and an easy song to escape within.
The band’s sound is classic, not instrumentally groundbreaking but strong enough to impress and entertain. What gives them their edge though is the songs, the approach, the heart.
Creatively walking multiple lines between raw indie rock and dreamlike shoe-gaze or grunge, James Dean Death Machine presents a notably live sound on this album Leave a Pretty Corpse – inviting the listener to stand front and centre as this rain of bass-lines, beats and vocal grit pours down before them.
Boo Cat is alternative, for sure – appealing for its edgy weirdness & the way the music & the voices do whatever the hell they need to. At the same time, the melody is undoubtedly something of an ear-worm – I’d be surprised if anyone could walk away not humming at least one line from the song.
Pushing the shoegaze boat out far into the creative distance, sweetsoak immerse their sound in lashings of reverb for this latest single – presenting the melodic and rhythmic qualities of rock through a dreamlike wash of warmth and lightness.
You get a notable sense of identity from the sound, and the voice seems inherently connected to the lyrics, so the whole thing just works in the way that you’d hope your favourite band’s music to – each time you return to it.
The various stages of the song each seem to surprise and yet satisfy, suggesting there is hope for the future of songwriting and that there is undoubtedly plenty of creativity left to emerge as 2019 peaks its head around the corner.