Consisting of Olly Dean (vocals, guitar), Jonny Wright (bass) and Chris Kidd (drums), the British rock trio Dopamine formed back in early 2015 and since their formation they’ve developed a reputation for a boozy, power chord-based, arena rock friendly sound heavily influenced by the likes of Royal Blood, Kings of Leon, Foo Fighters, Band of Skulls, Silversun Pickups and Nirvana — but while incorporating elements of the blues and country. And as the trio mentioned by email, they’ve just finished their debut EP, which features the anthemic, Ten and Vs. era Pearl Jam and early Soundgarden-like bruiser “Remedy,” a track that the band says is about a familiar situation to some at least — the end of a toxic relationship that in some small and nagging way feels as though it was kind of good.
Initially formed back in 2013 in Boston, the Los Angeles-based rock duo Migrant Motel, comprised of Peruvian-born David Stewart, Jr. (vocals, bass, guitar) and Mexican-born Chava (drums and live loops) have developed a reputation for a power chord-based arena rock friendly sound, largely influenced by the likes of Royal Blood, MUSE, The Struts, Grandson, Foals and Foo Fighters. So far, 2018 has been a breakthrough year for the band, as “New Religion,” off their Peder Etholm Idsoe-produced full-length debut Album One has received over 350,000 Spotify streams — and building upon the growing buzz, the band released the album’s second single “Blue,” a swaggering and self-assured track that that will further cement the duo’s growing reputation for crafting an enormous, arena rock sound centered around the blues, rock and metal.
The recently released video for “Blue” is comprised of live footage shot while the band was relentlessly touring the country — and it gives you a sense of the up-and-coming band’s live set.
Comprised of Tom Novohradský, Michal Janík, Štěpán Pařízek and Jiří Habarta, the up-and-coming, Brno, Czech Republic-based post-punk/indie act Ghost of You quickly became one of their country’s hottest acts with the release of their critically acclaimed debut effort, Glacier & the City — and with a growing profile, the act played the European festival circuit, which included appearances at last year’s Eurosonic Noderslaag and Waves Vienna Festival, 2015’s Sziget Festival, as well as a 2016 tour stop in London.
Building upon a growing profile, the Czech post-punk quartet’s sophomore effort Black Yoga was released last week, and the album reportedly finds the band drawing from Royal Blood, Queens of the Stone Age, Alt-J and Cage the Elephant — although with the album’s latest single “The ark won’t come” to my ears reminds me quite a bit of early We Are Scientists and JOVM mainstays Fufanu; but more important, the swaggering and incredibly self-assured band reveals an ability craft a rousing and infectious hook centered around thumping drumming, layers of arpeggiated synths and angular guitar chords in what may be among the most dance floor friendly song they’ve released to date. Interestingly, the recently released video for “The ark won’t come” is a sweaty and hallucinatory fever dream that manages to emphasize the thumping nature of the song.
Comprised of Brian Hubbert (vocals, guitar) and Andrew Oakley (drums), the New York-based indie rock duo A Shadow of Jaguar can trace their origins to when the duo of Hubbert and Oakley met in Boulder, CO and quickly bonded over their mutual desire to write and play the sort of music they felt was sorely missing from their local scene. And as the story goes, within a few short weeks, Hubbert and Oakley began writing and recording original material while honing their sound and live set playing shows both locally and throughout the country; in fact, with the release of their first two singles, “Mama Needs the Bottle,” and its follow up “Keep On Knocking” the band received praise from the likes of AXS and Live for Live Music.
Since then, the duo have released their full-length debut RAW, which was recorded, mixed and mastered in Denver, CO, by Todd Divel and Justin Peacock at Silo Sound. And as the duo explains in press notes, the album, which is slated for release later this month, was made “to stick a big middle finger up at all the fears and doubts that plague us. The goal was to force upon people the uncontrollable urge to scrunch their faces and nod their heads.” Now, if you had been frequenting this site towards the last few months of 2017, you may recall that I wrote about album single “Don’t Want to Die Here,” an explosive, arena-friendly blues rock tune that reminded me of The Black Keys but with a boozy swagger.
“Too Many Knots,” the second and latest single from the duo’s debut effort RAW will further cement their growing reputation for gritty, bluesy rock with arena friendly hooks but while their preceding single reminded me of The Black Keys, their latest single reminds me of The Hunted Crows and Royal Blood among others — thanks in part to a swaggering, self-assuredness.
Filmed by Aaron Springston, the recently released video for “Too Many Knots” was shot live in one continuous take on a random Tuesday in Brooklyn, and it captures the band in their element — live.
Comprised of Worthing, UK-born, West Sussex, UK-based Mike Kerr (vocals, bass) and Rustington, UK-born, West Sussex, UK-based Ben Thatcher (drums), the British rock duo Royal Blood first met when the duo were briefly members of a local rock band, Flavour Country, in which Keer played keys and keytar; however, their collaboration together can officially traced back to a sabbatical Kerr spent in Australia, where he had started Royal Blood with Matt Swan on drums. And as the story goes, when Kerr eventually returned to his native England, his former bandmate Thatcher had picked up from the airport, and they immediately decided that they should start a band together. According to Kerr, the British iteration of Royal blood initially had a difficult time landing gigs and they wound up playing a lot of open-mic nights with acoustic singer/songwriters.
After further developing their sound at Brighton Electric Studios, the band was signed to Warner/Chappell Music and the same management company that managed blogosphere darlings Arctic Monkeys, the duo began to receive a steady amount of buzz before the release of their first official single. Now, as you may recall, the duo released their sophomore effort How Did We Get So Dark? earlier this year to critical praise from USA Today, Rolling Stone, NME, Entertainment Weekly, and Forbes. Unsurprisingly, the album has also been a commercial success — it debuted at #1 on the UK Charts, as well as garnered over 30 million streams across Spotify and Apple Music and has sold over 250,000 copies. Adding to a breakthrough year for the British duo, they played at this year’s Outside Lands Festival and are finishing up a string of opening dates for Queens of the Stone Age throughout 2017 and 2018. (You can check out those remaining dates below.)
You may also recall that the swaggering, power chord-based arena rock friendly, album single “Lights Out” reached #1 on the Rock Radio Charts as the #1 Gainer, marking the second time the band has reached #1 in their relatively young careers together. The duo were recently on Conan where they played the bluesy and scuzzy, power chord-based, ZZ Top-like “I Only Lie When I Love You,” which will further cement their reputation for crafting bombastic arena rock.
Comprised of Worthing, UK-born, West Sussex, UK-based Mike Kerr (vocals, bass) and Rustington, UK-born, West Sussex, UK-based Ben Thatcher, the British rock duo Royal Blood can trace their origins to when Kerr and Thatcher met when the duo were briefly members of the local rock quartet Flavour Country, in which Kerr played keys and keytar; however, the band can trace their official origins to sabbatical that Kerr had spent in Australia, where had started Royal Blood with Matt Swan (drums). And as the story goes, when Kerr returned to England, Thatcher had picked him up from the airport and they quickly decided to start a band together. Initially, the duo had a difficult time landing gigs and according to Kerr, they played a lot of open-mic nights with acoustic singer/songwriters. But after further developing their sound at Brighton Electric Studios, the band was signed to Warner/Chappell Music, and as a result of sharing the same management company as blogosphere darling act Arctic Monkeys, the duo began to receive a steady amount of buzz before the release of their first official single.
Kerr and Thatcher’s sophomore album How Did We Get So Dark? was released earlier this summer and the album debuted at Number 1 on the UK charts. Since its release, the album has garnered over 30 million streams across Spotify and Apple Music and has sold over 250,000 copies, while receiving praise from the likes of USA Today, Rolling Stone, NME, Entertainment Weekly, and Forbes. And adding to a growing international profile, the band played the main stage at last week’s Outside Lands Festival, and will be opening for Queens of the Stone Age for a series of dates in the fall. (Check out those dates, as well as the band’s headlining Stateside dates below.)
But before I forget, album single “Lights Out,” recently reached Number 1 on the Rock Radio charts, as the Number 1 Gainer, marking the second time the band has reached Number 1, and as soon as you hear the song you’ll see why it’s been dominating the charts, as it further cements the band’s growing reputation for crafting blistering and swaggering power chord-based arena rock.
Comprised of Michael Schuman (vocals, drums, guitar), best known for his bass work in Queens of the Stone Age, Zach Dawes (bass, drums) and Tyler Parkford (vocals and keyboards), the Los Angeles, CA-based trio of […]