Next we get a raspy and snappy vocal lead, short lines of poetic images, further encapsulating the story and location of our Dry River experience. Then the melody rises, the energy shifts, things are catchier, more satisfying in their resolve, and the lyrics pierce through with inescapable suffering and pain; most notably, ‘a trail of genocide’ rings out and lingers in the space.
Music
There’s an exotic vocal flavour, alongside these sci-fi soundwaves and notes, and this creates a sense of rising enchantment that only grows stronger throughout the near-fourteen-minute journey. The song features a mutated version of the riff from Ghost Rider, by Suicide, and is a welcomed alternative to the more traditionally structured electronic tracks that seem so simple and rather predictable these days.
From a fierce wall of nostalgic grunge distortion, to spacious and characterful, snappy and melodic vocal verses, After Halloween is quick to assert a sense of songwriting prowess and creative charm, with the uniquely lyrical and impactful alternative anthem of Please Don’t Shake My Hand.
Conceptual focus and organic instrumental precision, a carefully built series of soundscapes and songs, with honest vocals and stories that feel poetic and poignant amidst impassioned melodies and builds. Stewart Kenny masters the craft with purpose and depth, for the powerful new album Blood on the Wall.
The quality and skill is undeniable, and the songwriting is superb – something often missing from much of independent rap. It’s a voice of value, respect, and self-belief, and this inspires as you listen through an eclectic and memorable catalogue of music.
Explosive new music from the creative force of Syblianta brings further clear development of structure, sound, and substance. The debut was impressive in itself, and this project seems to all the more boldly balance intensity and melody, story and sentiment, across a series of tracks inspired by Bible stories and events.
Dystopian depth of a crisp and colourful euphoria – an intoxicating electronic cyberbass album, from a producer whose style and process seamlessly intertwine humanity and artificial intelligence. PANOPTICON is the immense new project from KOBRA, and it storms into view with the intense bass, beat, and distorted melodies of the mighty 404//REAL.
Fallout is ideal as a starting point, a trap rhythm and dreamy keys and synths laying down a haunting, thoughtful aura, as the beat follows a mellow stop-and-start arrangement that naturally gets the mind wandering. The style is cinematic, finely built, with central melodies that feel fresh, and a kind of impending intensity that always lingers amidst these panned, sweeping sounds and effects.
Back to basics in a way, but a much needed return if so. Santa Fe captures a moment that’s comforting and awakening all at once, with the raw materials, original melodies, and brilliantly intriguing writing, of Undercut.
Something creatively free, unexpected under the light of his grand piano presentation – Thomas O’Shea dives into the depths of sonic ambient expression, with the colourful grooves, fragments and warped production of Generation Z.
Kentucky country rock blends stories of personal turmoil, addiction, and family values, as producer and songwriter Trail Hawk delivers the evocative to uplifting country anthem My Rearview Mirror.
Indie rock guitarist and songwriter Jake Vera brings uniquely moving vocals and sentiments to the scene, with the intimate to explosive, all-consuming new album Lost.