Self-described as "kinda like a psychedelic Eagles with a sense of humour", Space Apaches is the spaced-out rock ‘n roll band dedicated to the weird and wonderful. Hailing from North Carolina, the quintet’s front-man, Andrew Reed was the producer behind Daves Highway’s top-five release An Acoustic Christmas, but the sound couldn't be further away on Space Apache’s latest record, Smokin’ Voyages.

The 14-track album is a meaty blend of rock and country, topped with space synthesisers and retro effects to create a sound that feels somewhat a late ‘80s time- warp. Opening track, ‘Entry’ leads you into the album with an expansive, booming soundscape reminiscent of every sci-fi movie ever made, followed by classic-rock guitars bursting through the door on track, ‘Sunrise’. ‘In My Mind’ takes a bluesy direction with organ-esque keyboards and acoustic guitars, while ‘Empty’ leans on the wailing ballad side. One of the more jaunty tunes on the album is jangly, tambourine-adorned, ‘I’m On My Way’: “I’m on my way, just feeling fine/Knowing I got nothing but my pride. I left my past, I dumped my load/Just starting my redemption of the soul”. 

The band throws a few covers into the mix on Smokin’ Voyages, including the psychedelic-rock hit ‘Just Dropped In’, written by Mickey Newbury and made famous by Kenny Rogers. However, in this setting Space Apaches give the track a slight Motown treatment with female backing vocals that feel like they've been lifted straight out of the ‘60s.

Space Apaches have produced a record that’s in a word, fun. These tracks are full of life, played by a group that clearly loves their craft. While the album feels a little drawn out, you get the feeling that these guys don’t really care for condensing and there’s something quite endearing in that method of creation.

Smokin’ Voyages is available from Amazon & iTunes

Tumbler are a British band harking back to the simplicity of an acoustic guitar to make pastoral, countryside-reminiscent folk music. The father-and-son act comprised of Richard Grace and his son, Harry hail from the small town Epsom and it was here that they met Dave Needham. Needham runs a tiny recording studio out of a shed that used to be part of an old stable block, a setup that’s seen UK ‘70s hit-maker David Essex record within its walls. It was from this homespun studio that Tumbler recorded, You Said.

You Said is 12-tracks of humble folk music that’s at times adorned with the slightest hint of psychedelia and while these might sound like totally disparate influences, Tumbler manage to make them gel through the art of subtlety. ‘Moments (She Reappears)’ opens the album with a quilted soundscape of percussion, distant whirring electronics and lush harmonies. In its quirkiness the song ends up being a fun number and thanks to strong melodies throughout, it’s also infectiously catchy. ‘Don’t Think Twice (She Says)’ trades electronics for keyboards to create a jaunty folk-rock sound while, as its name suggests, ‘Businessman Blues’ sees the band crank their electric guitars for the shuffling blues track. Arriving at the second half of the album, ‘Dennis and Jean’ sways with a gentle lullaby feel as Richard Grace sings: “Sixty years, it’s quite a time/To share each day, to share a life. The story begins not long after the war/She’s there alone, he’s helping her at the door.” The track features occasional entrances of swelling violins and twinkling triangles, creating a blissful setting that perfectly fits Grace’s simple, storytelling way of lyricism. 

Tumbler doesn't stretch to be experimental. Instead, they write within the comfortable confines of simple folk and blues music and every once in a while spices the tunes with a little something extra; the result is an album that’s charming and endearingly down to earth.

You Said is available from Amazon & iTunes 

Sidewave’s sound is one big melting pot; with the likes of The Smashing Pumpkins, angst-teeming ‘90s rock and awash with spacey sounds home to their 2012 album, Oceania. That’s not to say their latest offering is a carbon copy. Glass Giant glides between atmospheric slow-burners and distortion-swamped stoner-rock: opening song ‘Grounded’ sits somewhere in between, over an abrasive guitar riff that whirrs throughout like a broken record, Phil Golyshko croons both wishfully and despondently: “I wanna see you in the morning/I’ll take you somewhere new. But I find myself back in the garden/Just taking in the view”. He sings with mellowness and subtlety and to draw another Smashing Pumpkins comparison, it brings to mind Billy Corgan’s vocals over ‘1979’. Golyshko’s smooth voice gives the band an interesting sound considering it’s laid on top of gritty, feed-backing guitars that are anything but clean. Another notable aspect of ‘Grounded’ is that the song tumbles along at a relatively slow pace, one that’s present throughout the album, lending an element of hypnotic calmness to the music.

The album’s lead single ‘Supersonic’ isn’t the strongest track on the record, but its swelling, hooky chorus makes it no surprise that Sidewave has put it out into the world as their front runner for the album. ‘Honest to God’ and ‘Moonshine’ kick off with fuzz-doused grungy riffs, while tracks like ‘Pine’ and ‘Romance Is Dead’ endeavour to be crisp. The band takes a slightly left of field approach on, ‘This Is Who You Are’, which builds from a delicate guitar instrumental into their trademark muddy sound before the vocals make a late entrance at the song’s two-minute mark. 

Sidewave find their footing in their ability to bring ‘90s shoegaze/stoner music to 2015 without it feeling dated and have concocted an album that has all the attitude of ‘90s grunge whilst remaining easily accessible to the casual listener. While it’s abrasive, Glass Giant is far from aggressive, and in fact ends up being oddly hypnotic.

Glass Giant is available from Amazon and iTunes

Jas Patrick’s brand of blues-rock has been worked and honed over a lifetime of dedication to music. Hailing from Nashville, Patrick started learning drums when he was four years old and began touring by the age of 18. Fast-forward to now, Patrick runs his own label called Tiny Lion Records, is wholly immersed in DIY music, and has recently released his three-years-in-the-making third record Inky Ovine.

The six-track EP is as raw and hearty as they come. Patrick recorded Inky Ovine in a home studio he built himself, wrote and played nearly every track and instrument on the record, and invested every dime he earned into obtaining the gear he needed; the result is an earthy, homespun sound that oozes authenticity. 
The EP kicks off like a firecracker with ‘Harpy’, a rough and rugged blues track that’s brimming with attitude. Patrick’s voice is unique to say the least; you get the sense that this is a man who’s throwing his heart and soul into every single line he huskily croons, and as a result, even his imperfections are somehow endearing. ‘Party Line (Classified)’ takes the EP in a slightly countrified direction, while ‘Little Bug’ ushers in a string section and mandolins for a romantic, high-rising lullaby that swells with emotion and washes over you from beginning to end. Closing track ‘Snow Day’ is a boppy number that tumbles along with an infectious, repetitious guitar riff - a groove-laden end to the record.

Inky Ovine gives you a well-rounded taste of what Jas Patrick is all about. There’s an eclectic mix of tunes here, but they all emanate a sense of Patrick’s individuality to create a cohesive DIY record.  

Inky Ovine is available via Amazon & iTunes.