SKREEN B BLOG

Alpyne's  'love hate' is an interesting beast, there is a lot going on within the confines of a sub-four minute pop song. For that reason, I really enjoyed the arrangement, the core of the song is the usual vocal and guitar combination, but Alpyne add some wonderful augmentations. Those little keyboard moments, vocal harmonies and motifs just add some magic dust, taking the recording beyond the standard approach. The piece is superbly crafted and all that attention to detail packs the song with a hatful of hooks. Hard to define, but definitely more love than hate.

Ignore the slightly indistinct artwork, “No Return” finds The Republic Of Wolves firmly pushing the boat out, and I’m happily along for the ride. The Long Island indie-rock quartet wrap fuzzy, rocking and jangling guitars around a satisfyingly fluid lyrical flow, while pseudo-screamo backing vocals add just the right amount of vocal mayhem. There’s plenty of restraint before the noise bites back, proving the band know when to subdue their wild urges and when to let them roam. At times they almost sound like REM in a frenzy. With their reputation for dark sounds and aggressively knowing lyrics, I’m finding this Republic has declared independence from dullness. No return ticket required, after all - it is a single (boom! boom!). LINK:  The Republic Of Wolves

I’ve heard plenty of wrecking balls in my time, but Guteren’s is definitely swinging at the walls of sound on this one. Alex Goodman’s solo project takes Miley Cyrus’s pop tearjerker and gives it a post-hardcore battering, turning the desperation up to eleven. With emo vulnerability, explosive heaviness and dramatic muscle; just as Guteren wanted, this lands like a 3am doorstep meltdown. As trashed-up cover versions go, he really blows the roof off and brings the house down. However, one thing that really disturbs me about the release is the angle of the runner mat on the artwork. I just feel the need to straighten it. LINK:  Guteren

I live by the sea, we do have Martello towers, but not really any castles. Oh, apart from sand castles, when the tide allows. That makes Dale John Max’s new release ‘Castles in the Sand’ a rather fitting title for a seaside listener.  This is indie rock performed with gusto: nice pounding drums, a driving rhythm and a big, radio-friendly chorus. The lyrics capture lingering feelings beautifully, lines like “we still whisper in overtones” providing a poetic lustre. The latter half of the song includes a thoroughly enjoyable rock-out, with soaring guitars adding extra lift.  Based in Southern California, Max blends indie folk with alternative rock, exploring love, loss and uncertainty. Check him out. LINK:  Dale John Max

There seems to be something in the air at the moment. I know it is all down to personal taste, but some of the artwork accompanying the new releases could do with a little work. Everyone seems to be testing my "always judge a record by its cover" standpoint. OK, gloss over that, after all it is all about the music, isn't it? Anmol Melodies offers up a new release 'It Girl' - an upbeat commercial tune with quite a mild electro pop production. The vocals are at the forefront of the recording, as they really should be for this genre, with Anmol (meaning priceless and/or precious in Hindi) showcasing her vocal gymnastics very effectively. The piece is clean and perky with a subtle East meets West melodic quality, with all the lyrics are sung in English. I would suggest this track is aimed more at the teen or youth market (that counts me out, then!) - the sort of song that could really go down well at parties and sleepovers. Slightly disappointed that the song was not ...

Firstly, I have to say that the cover artwork for Cooper Kenward's 'Bit Better' is a little off-putting. I suppose it is down to personal taste, but even the dog looks dubious. So, going against my usual "always judge a record by its cover" ethos, I have to say that I found the recording quite enjoyable. The song is very straightforward: just a chap singing along with some guitar and drums, no great over-kill on the production. The vocal is restrained, but thoughtful - and the guitars are well performed, plenty of tonal changes and an interesting interplay of styles. I would imagine this is for more mature rock fans, good work and honestly created. Oh, a little sweary in places. LINK:  Cooper Kenward

Back to the noise for this review. South Wales five-piece Strange Company blend high-energy emo-punk with emotionally charged modern rock, drawing on influences such as Boston Manor and Bring Me The Horizon. ‘Do You Feel Numb?’ starts hard and frenetic, before pulling back where the first verse becomes more reflective, built around soft piano and emotive vocals. The song then explodes again into heavy noise and almost-screamo vocals, setting the pattern for this punchy, bleakly honest track. Matt Davies shows impressive vocal range, while the huge recurring riff gives everything real weight. There’s also a lovely guitar and piano breakdown, which was my favourite part. Overall, ‘Do You Feel Numb?’ is an intense, cathartic slice of modern emo-rock. LINK:  Strange Company

As a complete contrast to the bulk of my reviews, this time I have chosen something rather upbeat and commercial. Without a shadow of doubt, Ayda Rastgoo’s “Drüber weg” fits the bill as the white to my usual black. This is a groovy dance number, sung in her native German, with a bright and jolly pop feel, conveys a confident vocal performance. The joyful vibe is rounded off with some playful piano, funky bass and disco strings.  At just 20, Ayda already has an impressive musical CV: a classically trained pianist since five, she won first prize at Jugend Musiziert in 2019 and reached the finals of The Voice of Persia. Her music has also carried a powerful message, with her protest song “Nemikham” becoming a viral success. “Drüber weg” shows another side of this talented young artist - fun, polished and full of positive energy. LINK:  Ayda Rastgoo

I like Cherub Dream Records, they often deliver material and bands that are way off even the leftfield. For that reason, we really should be cherishing them and their releases. This time we have a new recording from Blous3. The Sacramento four-piece - Jacob Waite, Julian Hall, Riley Waite and Cole Apperson - deal in art punk, noise rock and “dustdont settle” certainly lives up to that reputation. Chugging bass, thrashing guitars and female/male vocal interplay keep the track controlled one moment before exploding the next. There are elements of shoegaze or grunge gone feral here: art-rock with bite, passion and considered hooks. “dustdont settle” comes from the forthcoming album 'the pledge, the turn', due out September 22. The best band from Sacramento? Quite possibly. LINK:  blous3 the pledge, the turn by BLOUS3

This recording is about as stripped-back as it gets, pretty much just a voice and a strumming guitar, with no big percussion, booming bass, tinkling keyboards or dramatic orchestra. Yet that simplicity gives “Body v/s Mind” a certain charisma. Imagine a religious preacher plucking a guitar and shouting out his inner thoughts like a sermon, and you’re pretty much there. Chicago Boys are a Canadian/Chilean experimental punk project, described as “Wire played by The Shaggs, all while yelling about conceptual art.” The deliberately lo-fi approach suits this strange meditation on body, soul and mind perfectly, turning existential uncertainty into something oddly compelling and memorable. The artwork is equally bonkers. LINK:  Chicago Boys Body v/s Mind by Chicago Boys

Always judge a record by its cover, that's always my rough mantra (doesn't always work) - but the retro-cosmic artwork for Dario Emu's new release pleased my eye. A good start - how about the music? ‘Rabbit Hole’ plunges headfirst into a dark, restless blend of alternative rock, dream pop and post-punk. Emu describes himself as a storyteller first and foremost, creating songs about love, loss and wherever the muse leads, and this track certainly feels like a musical journey. Swirling electronics and noise collide with a constant percussive beat which marches on relentlessly, heavy and pounding, while there’s almost a Madchester, baggy feel to the delivery of the vocals. An brief but unexpected “sponsored” mid-section guitar freak-out adds another twist to this intriguing sonic trip. A cool recording - showing that my mantra, for now, remains accurate.

The Rancho Park Devils turn Chappell Roan’s “Red Wine Supernova” into a raw and unfussy rock workout, swapping the original’s polish for guitar, drums and feisty vocals, with some keys adding extra colour.  The duo of C. Tyler Michaud and Cheryl Lee Scott, both 50-year-old LA natives, bring a rough and ready energy to the cover, which races along at a faster tempo and clocks in at just under three minutes. A touch bluesy with a punky spike, it is sing-a-long friendly, with both male and female vocals, all sounding like a lot of fun was had in the making. There’s plenty of positive energy and inclusivity here, delivered with the kind of unpretentious rock ’n’ roll spirit that suits the Devils perfectly. It has the feel of a tatty, old 45rpm record pulled from a much-loved collection - and that's a good feeling. LINK:  The Rancho Park Devils

I am a massive fan of Sweden, one of my favourite places to visit and the Swedish always seem to punch above their weight when it comes to music. Amelie Aldner is no exception, her new release ‘Bold and Beautiful’ is a sophisticated pop production built around a strong, soulful voice. A gentle piano backing and choral touches provide the foundation as the arrangement expands into a big,  power anthem, complete with a guitar solo. The vocals are very much at the front of the song, with everything else providing a supporting cast. Aldner grew up listening to her mum’s vinyl collection, drawing inspiration from everyone from Whitney Houston and Stevie Wonder to Queen, Dolly Parton (sniff) and Joni Mitchell. There’s a sense of emancipation here that gives the song extra weight, making it one for the more mature mid-ground music lovers - and perhaps a natural fit for daytime radio. LINK:  Amelie Aldner

Phasez’s 'Don’t Let Go' starts as a fairly straightforward 80s-era indie tune before gradually descending into a slightly more chaotic improvisation towards the end, possibly following the theme of the lyrics. The jangly guitars and solid vocal performance, with a sort of Morrissey-esque tone and inflexion, give it a distinctly, old-school, new-wave feel. Ottawa artist Phasez makes indie/alternative music inspired by the never ending waves of progress and regression we experience through life. Here, identity seems to be consumed within a relationship where he desperately tries to hold on to control: “I’m drowning / Don’t leave me / Please save me.” The increasingly unruly ending effectively mirrors that sense of losing oneself. Overall, this is quite a fruitful recording, just like the artwork. LINK:  Phasez

Back in the day, I had a few conversations with Jyoti Mishra (aka White Town - mostly known for 'Your Woman'), he was very helpful when discussing the possibility of signing to EMI. In the end, against his advice, my band signed to the label and went on to have a Top 5 hit single. However, he was quite correct about a lot of the trappings and issues we would encounter. So, it was interesting to hear Gold Leaf's 'All My Time' and to read the influences included White Town. Listening to the track, I could really hear the White Town approach coming through - the song has the same simple and clean arrangement. The vocals also use some of the same stylings, making the piece more interesting by applying subtle variations. 'All My Time' comes across really well, the bass and rhythm acts as the engine-room groove, with the synths and vocals providing the colour. I think Jyoti would be pleased to hear that his legacy is still having an influence on new music.

It is good to end the day with something relaxing and VPC Ensemble provides just that with 'Soulwater'. The instrumental piece is a mellow collage of sound built around flutes, elongated strings and ethereal vocalisations. The arrangement is quite abstract and busy, but flows well and has the feel of an experimental piece which has been lovingly polished to remove any rough edges. The layers of activity remain constant, without ever individually rising as a prominent focal point, allowing everything to work as one watery soundscape. A great track to float away with.

Here's another first for me, it is the first time I have reviewed any music from United Arab Emirates and it is a surprisingly Western sort of recording. Richard Bas delivers a soulful male vocal over light, upbeat rhythm guitar, giving ‘I Need God’ an almost jazzy lounge feel.  There’s a mild, easy-listening indie pop quality here, driven by shuffling beats and slickly performed, multi-layered vocals. Pleasant on the ear and weighted with a 1960s mood, it is a short and simple tune. The song purports to be a soundtrack a crazy driving experience, making you want to jump in the car, put your foot down and zoom away. That probably explains the sound of sirens in the background, so better keep that speed legal!

This one really caught me with the novel intro.  Issy ’s 'Mannequin Man' is a quirky, upbeat indie pop-rock number that begins with crunchy guitar being over-run with some cheeky, bubbling electronics. However, that wrong-footer opens out into a full-blown ’90s indie-rock storyboard, recalling the melodic poise of acts such as Belly and Juliana Hatfield. Recorded at Marigny Studios in New Orleans, the song playfully explores the excitement of falling for an idealised version of someone rather than the real person. “Was it love at first sight or tummy trubs” sets the humorous tone, while “Is it love or am I crazy” captures the uncertainty beneath the fun. It’s less a grand showpiece than an engaging glimpse into Issy’s world, like overhearing a personal diary set to infectious guitars and melodies. Issy is an indie/alternative rock band from Baton Rouge, Louisiana, originally beginning as a solo project before evolving into a five-piece fronted by Isabel Mathes. Combining soulfu...

Every so often, to contrast my general tartness of taste, I like to drop a decidedly sugary delight into the frame. This time that extreme goes from the cover artwork to the recording itself. Saint Micah , formerly known as Micah McLaurin, delivers another polished dance-pop gem with ‘Papillon’, released via Casa Doce Music. The soft and light production with a real pop feel gives the track an easy, accessible charm, while inoffensive dancefloor electronics keep things moving without over-complicating the song. The teasing French-inspired piano bridge adds a more delicate touch, perfectly matching the butterfly-inspired theme of new love. With its blend of elegance, melody and lightness, ‘Papillon’ is a sweetly performed addition to Saint Micah’s transformative new era. Possibly a case of angelic pop music, certainly one for fans of Eurovision. LINK:  realmicah

I don't really know the original version of Naked And Alive by Milky Chance, but I do share their desire to go to Tokyo. Last time I was there it was a wonderful experience, going up to the 200th floor in the wrong skyscraper, meeting friends and seeing the much-missed Astro-B live in some crazy basement music house. Regular readers will know that I don't review remixes very often, in general, I am not overly keen on them. I am more of a purest - give me the definitive version of a track, not something that's had the Halford treatment and been tinkered with to make it seem "fresh". However, as I am not aware of the original version, I can let Samstone's remix slip through as I can hear the merits of a dancefloor styling.  Samstone gives 'Naked And Alive' a high-octane makeover, combining a summer vibe guitar with an infectious drum and bass engine. The result is snazzy, energetic and noticeably radio-friendly treatment, retaining a commercial light fee...

As a long-time fan of Gary Numan, it is always warming to hear his influence when it appears on tracks by new bands. With 'A Sense Of Danger' by The Pixel Rain, it is hard not to notice the elements - whether in the gliding synths or the vocal phrasing, the "sound" is there to be enjoyed. In truth, I am not sure that the band are influenced by Numan, but the resemblance is striking - and I can simply sit here and go "oh yeah, nice synths!". This London-based darkwave/industrial band wrap the track in big swathes of electronic sound, creating a suitably ominous backdrop for lyrics steeped in danger, obsession and fractured intimacy. Lines such as “It lures me back / To you” and the repeated “For the last time” establish a compelling sense of inevitability, while “Push your fingers in my wounds” takes the relationship into much darker territory. There is tenderness here too, but it feels dangerously close to pain. 'A Sense Of Danger' succeeds by balanc...

Signal-23 ’s ‘Torchrite’ is a short and simple electronic piece, clocking in at less than two and a half minutes, but that doesn’t detract from the enjoyment. The synth sounds are spot on, with a Polygon Window sort of execution that gives the track a wonderfully precise, retro-electronic character. There’s a satisfying restraint to the arrangement, allowing the textures and tones to carry the weight without unnecessary embellishment. It’s a neat distillation of Signal-23’s hardware-driven approach, where atmosphere and sound design matter as much as melody. The retro-futurist artwork complements the music perfectly, too - somewhere between Art Deco elegance and Cubist geometry, it feels like the visual counterpart to the band’s seemingly analogue-meets-future aesthetic. A pleasingly concise instrumental without an ounce of flab. LINK:  Signal-23

I have not really recommended a lot of drum and bass material recently, I find that a lot of it follows too much of a predictable approach. However,  OK dreamer x widalen ’s ‘Antifragile’ thrives on the tension between two tonal extremes. Soft, dreamy vocals almost dripping with honey sit against abrasive, harsher sounds, creating an intriguing push and pull. The drum and bass styling is punchy without becoming overly fierce, while almost tribal rhythms and warped dynamics give the track an unpredictable edge. A guitar-like motif gradually morphs into noise, adding another layer of transformation as the song moves through several distinct phases, breaking away from its beats. It feels suitably dreamlike and fragmented, fitting OK dreamer’s “dreamy bass music” approach, while widalen brings another perspective to this collaborative experiment. The track features on Silkenwood’s ‘Better Together Vol. 7’, supporting The Jed Foundation through its proceeds. “Better Together” is a mus...

Jet Black Berries’ ‘Johnsonville’ sounds like the theme tune to a lost goth western, where the cowboys are dressed in black and the synths wear eyeliner. Rattling drums, grizzled guitars and big goth keyboards create a wonderfully cinematic backdrop for this tale of outlaws, guns and frontier justice, as Bill rides into the tension-filled saloon of some dusty outpost. There’s a classic 80s feel here, with something that slightly reminded me of Spear of Destiny, while the lyrics add a pulp-horror edge. A nice synth and guitar break provides a welcome stand-off, before the song returns to its bouncy, sinister groove. Dark, atmospheric and oddly swaggering, it’s a fine slice of horror-punk. 'Johnsonville' is the opening track on the newly remastered reissue of the band's seminal 1985 concept album, Sundown On Venus. LINK:  propellersoundrecordings

Spoken word recordings are often overlooked, as they don't fall into that easy listen format born from hooks and catchy choruses. However, I always try to share the most interesting ones and this track hit the mark. BON's 'Golden' is a song about the pleasure of nature or should that be natural pleasure? Built around a gentle rhythm, acoustic guitar strumming and birdsong, there’s lots of lovely fruitiness here. Earthy and nature-inspired but with an underlying sensuality, it’s a spiritual spoken word piece ripe with amusing double entendres, all  performed with a wink and a cheeky glint in the eye. With 'Golden', London-born artist BON’s soulful, human-centred poetry offers a tantalising glimpse of Woven in Light, her second album, due in September 2026. LINK:  soul.beam