If The Last Dinner Party added one more guest, based on the zanily baroque theatrics in the title single, My Dear, from his debut EP, Emanuel Edner would be the guest of honour. Edner, who deserves to go down in history as the ultimate aural debonair, created the ultimate equilibrium between dark and twisted musical theatre and a slick electro-pop aesthetic that would be equally at home in the Kraftwerk discography. As the track progresses, the synth-swathed groove pockets deepen with the licks of funk and modernised blues, refusing to fit within the parameters of pigeonholes in the process. Y ..read more

When it rains, it pours, and in Cold Hard Rain, the latest single from the singer-songwriter and touring troubadour Jon Fritz, the soulful rock reverie pours deliciously. After an intro of layered gospel-esque harmonies, Cold Hard Rain sells vintage indie rock sanctuary; the bluesy guitar bends carve chemistry across the upbeat rhythm section as Jon Fritz vocalises in the middle ground beyond college radio rock and grunge. Vedder himself couldn’t have performed this release better. There are expansive releases; then there are singles that refuse to inhibit themselves by following genre constra ..read more

Some tracks ensnare you with hooks, others dig to the depths of your soul; Beggar’s Tavern by Jude & The Strangers dug into the trenches of the latter camp. Imagine sinking beers with Bukowski, drinking in the sanctifying feeling of listening to Journey, experiencing the panoramically artistic gravitas of Father John Misty, and getting your blues rock licks as a courtesy of the Black Keys simultaneously, then you’ll get an idea of what this era-spanning Tour De Force delivers. With all the infectious charisma of Jim Jones himself, singer-songwriter Aiden Jude doesn’t just command attention ..read more

Sensing cynicism in the universal waters, Backwoods Creek prescribed a potent dose of optimism with their latest single, ‘Alright’. The refreshing take on bluesy soul-swathed Southern rock played fast and loose with the genre constraints while keeping the instrumental arrangement tight enough to unravel as every rock-inclined muso’s wet dream. Part lyrical mantra, part musical Tour De Force, the UK-based quintet exhibited ‘Alright’ as a masterclass in balancing raw, overdriven guitars and whiskey-soaked vocals with an undercurrent of hope and redemption. It’s a track that carries the dynamic e ..read more

Martin Packwood’s latest single, Moonlight in Paris, is a scintillatingly smooth journey through the streets of jazz fusion, where every note feels like a step along the Seine under a starlit sky. This amorous installation unravels as a sensory expedition, wrapped in the warmth of a Parisian night. Packwood’s guitar work, reminiscent of the bluesy soulfulness of Eric Clapton, intertwines effortlessly with the jazz keys. The bluesy guitar notes, like whispers of a distant love affair, meld with percussive fills that don’t just give the score structure, they fill Moonlight in Paris with anticipa ..read more

Manchester’s newest band of prodigal sons, GETNER, modernised vintage rock n roll tones with the shaking, rattling and rolling reverence in their debut single, White Walls. With a rhythmic undercurrent reminiscent of The Undertones, an injection of Irish rock roots, garage-y blues rock nostalgia in the same vein as the Jim Jones Revue through the shimmering organ timbres and the barely tamed guitar riffs, White Walls is an expansively influenced Rock n Roll tour de force that asserts GETNER as one of the most promising Manchester bands on the scene. By thriving on the unique sonic proclivities ..read more

Bruce Mack, a stalwart of the New York music scene, obliterated the boundaries of sound with his latest fusionist Tour-De-Soulful-Force, Silent Witness, which epitomises his flair in blending genres into a seamless sonic soul-stirrer. Silent Witness is served with soul-infused grooves, blues-laced interstellar melodies, and hip-hop with funk-infused rhythms, and unravels as a revelation in fusionism which entwines elements of the past to forge new innovative sonic trajectories. Every progression in the song is a lesson in avant-garde experimentalism, yet it’s the cohesive, melodious nature of ..read more

If you always turn to Cohen, Waits and Nick Cave for sonic solace, redirect your quest for sanctity toward Jack Cade’s folk-meets-alt-country LP, Bewilderland. His gruff baritone notes against Helen Muggeridge’s glassy-with-soul harmonies create a heart-wrenchingly sentimental dynamic in the standout single, The Glitter Around Your Eyes. Like all of the most affecting love songs, the alchemic feat of Americana lyrically locks into the minute details of affection to elucidate how deep in the veins the affection runs. Around the bluesy guitar bends, honkytonk piano keys that give the track a tou ..read more

Cat Rian cast an arcanely bluesy spell in her latest synthesis of country, soul, pop, and feminine firepower, Read the Room. The Las Vegas singer-songwriter delivered a fatal shot to the kinds of protagonists who only get anywhere in life through manipulation. The demure, smoky refrain of “read the room, it’s the least you can do” is an olive branch of catharsis to anyone who has ever felt the frustration of dealing with someone with no boundaries or self-awareness to compel them to step away after the damage is done. The flawless command of her sultry vocal lines atop the organic luxe grooves ..read more

Wayne Wei’s single Out of Control is a timelessly engrossing neo-pop masterpiece. With its staccato chords that luminously shimmer and pop and the enrichment of Wei’s vocal lines which draw you into a world where romanticism and retro timbres coalesce, the track is a testament to Wei’s organic magnetism as a sonic expressionist. The bluesy waltzing melodies lift the spirit beyond any known construct, embodying the essence of Wei’s unique musical vision. Each element of Out of Control contributes to its overarching allure. The song is a standout track from Wei’s debut EP Cloud Chaser, which enc ..read more