LITM Rock Picks Tunes Featuring GAZ, Doug Mishkin and Sean MacLeod!

Week Day Tunes by LITM Rock brought to you by GAZ, Doug Mishkin and Sean MacLeod!

1. GAZ – "Let It Roll"

"Let It Roll" is the sort of song that compels you to let your sideburns grow, put on a leather jacket, and cruise down a sun-kissed highway with nothing but attitude in the tank. Barcelona's GAZ are unapologetically retro- they don't emulate the blues-rock spirit, they bring it back to life. The tune begins with a snappy rhythm section that's smoother than a shot of bourbon, with the guitar riffs sauntering in like they're trying to own the world. Josep Antoni López's vocals have that old-school grit - the kind that sings the blues, rather than just singing about them. But just when you think you've got the track down, along comes a sax solo so pleasantly exquisite, it's about as close to the cherry on this rock 'n' roll sundae as you can get. "Let It Roll" isn't reinventing the wheel- it's buffing a classic one until it shines. Raw, loud, and alive- just as rock needs to be.

2. Doug Mishkin – "Tip of the Spear"

Doug Mishkin has no intention of providing background music. He's here to make you feel. "Tip of the Spear" is not merely a folk record- it's a fireside chat with a man who's watched the world unravel and still holds out hope that it can be sewn back together. Mishkin's songcraft crosses that scarce border between protest and tenderness; he whispers truth rather than screaming to make an argument. The melodies are straightforward, yes- but that's precisely where the strength is. His voice has the kind of integrity that makes you want to pay attention, even when it's painful. "Tip of the Spear" is a call to action wrapped in empathy- a musical message that being right doesn't have to be boisterous, just honest. In a world swimming in static, Doug Mishkin's music is that still pool that ripples and alters everything.

3. Sean MacLeod – "Romeo"

Sean MacLeod's "Romeo" is a ballad that doesn't languish- it rocks. The Irish singer-songwriter replaces sadness with propulsion here, presenting an indie-rock sheen that is like sunshine bottled. From the opening jangle of guitar, you know MacLeod's not messing around: this is the sound of a man who's fallen in love and rediscovered his beat. The production is sharp, the riffs are confetti-like, and his vocals- half-whimsy, half-admission- draw you in. The reason "Romeo" is so catchy is that it's balanced: it's heartfelt but not heavy, catchy but not tacky. You'll be tapping your foot, you'll be humming the chorus, and before you know it, you'll be smiling like an idiot. Sean MacLeod doesn't compose songs; he constructs atmospheres. And "Romeo" is evidence that sometimes, you only need three chords and a lot of guts to fall in love anew.

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LITM Singer-songwriter presents tunes featuring Joshua Caleb Smith, Dryadic, Bishopskin and more!

LITM Singer-songwriter brings you tunes brought to you by Joshua Caleb Smith, Dryadic, Bishopskin, Eddie Cohn and Vanngo.

1. Joshua Caleb Smith – "Barkeep"

"Barkeep" has the feel of being recorded in a dark bar where secrets flow more freely than booze. Joshua Caleb Smith doesn't simply sing- he tells secrets. His voice is worn but welcoming, like a mix between gravel and benevolence, the sort that could tell an old Western or forgotten love letter. The production is bare to its essence- rootsy, smoky, cinematic. It's no wonder that Smith's songs have strayed into television and cinema; it creates pictures without a camera. Each note in "Barkeep" sounds lived-in, as if an old tale told too often and yet never quite the same twice. There's toughness here, but also exposure- the delicate balance of sheen and hurt. Imagine Chris Stapleton drinking bourbon with Bruce Springsteen. "Barkeep" isn't a song, though- it's a subdued confession cloaked in Americana poetry.

2. Dryadic – "Redevelop Our Souls"

If folk-rock were going to have a protest march, "Redevelop Our Souls" would be headlining with a flute and a raised fist. Dryadic's EP lead is half-anthem, half-city sermon, and fully heart. Zora's voice comes in like a call to arms- velvety and volcanic- cutting through the din of contemporary politics. The words cut deep: "Flattened, demolished, do away with the old," she warbles, and you can hear the bulldozers of capital grinding in the distance. The group stacks percussion and melody like a hand-painted banner- raw, intimate, and impossible to overlook. It's hard to find a song this politically sounding, this alive; rather than sermons, Dryadic offer up a track that moves. The combination of folk instruments and contemporary edge makes "Redevelop Our Souls" sound ageless, as if Joan Baez suddenly plugged in and had tea with Florence Welch and sparked a revolution.

3. Bishopskin – "Doggerland"

"Doggerland" is not a song- it's an archaeological excavation to music. Bishopskin have transformed the vanished land between Britain and Europe into a folk-rock Atlantis, and the process is wonderful. The track feels liquid: violins ripple like waves, clarinets drift like sea mist, and Tiger Nicholson’s voice rises and falls like the tide. It’s history made emotional- melancholic, mythic, and mesmerising. The interplay between Nicholson and Tati Gutteridge feels ritualistic, as if they’re summoning forgotten spirits from beneath the channel. By the time the last swell arrives, you don't know whether you've heard a song or seen a myth being remade. It's brazen, textured, and full of guts- proof that Bishopskin are more than musicians, they're sonic mapmakers charting the affective coast between punk, folk, and the divine. "Doggerland" leaves you soggy- in sound, story, and reverence.

4. Eddie Cohn – "Get Back My Way"

Eddie Cohn's "Get Back My Way" is the musical equivalent of a storm-swept dawn- gritty, radiant, and gloriously human. There's a veteran authenticity here, a nod to the golden age of rock in the 90s when songs actually mattered and voices cracked up for good cause. You can hear bits of Eddie Vedder creeping into Cohn's delivery- earthy, impassioned, but with his own indie spin. The song starts from a coarse-strung guitar growl and ends up being a cathartic anthem for finding your truth again. It's less "rock song" and more "emotional return narrative." The cello creeps in on us like a secret weapon, adding cinematic bombast to the whole affair. What makes it land the hardest, though, is Cohn's belief. You trust every syllable. "Get Back My Way" isn't nostalgic; it's a self-takeover, loudly. This is music that rolls up its sleeves and gets down to business.

5. VANNGO – "Tears Fall Like The Rain"

VANNGO's "Tears Fall Like the Rain" is heartbreak with a halo—stripped, simple, and achingly lovely. It's the sort of song that does not demand attention; it deserves silence. A ghostly violin, an acoustic guitar, and VANNGO's voice- cracked like an old photograph. It's refreshingly raw in an era of overproduced pop music, the type of song you listen to at 1 a.m. when your chest aches but you don't know why. It's what makes it magical- the balance- it aches, but it heals. You can almost hear him treading the thin line between despair and acceptance, with each breath an exhale of memory. There is grittiness in the vulnerability and poignancy in the sadness, such as rain on a summer evening. "Tears Fall Like the Rain" is not only sorrowful- it's real. VANNGO has made breakups into a hymn.

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LITM Rock Picks Tunes Brought To You by Tritonic, Harry Kappen, FOUNTAIN and more!

LITM Rock Picks Tunes featuring Tritonic, Harry Kappen, FOUNTAIN, Emotion Kapture and Esore Alle!

1. Tritonic – Oh, Sinai!

Music as ritual, Tritonic's "Oh, Sinai!" would be the incantation. The song begins as if it's intent on frightening you- a distorted, black-metal-hued guitar riff haunts the intro with no percussion to anchor you. Just when you figure you've been left in a state of disarray, the vocals descend- tragic, Bowie-like, singing, and somehow reassuring amidst the cacophony. Then the drums crash in, not in a furious sprint but a slow, ceremonial stomp that shifts the whole mood from unstable to epic. By the time the electronic whistles and hard-rock flourishes arrive, you’re not just listening- you’re inside the sound, caught in its dizzy storm of futurism and ritual. “Oh, Sinai!” isn't a song; it's an aural séance that dissolves gnostic imagery, heavy textures, and ditties into a single indelible experience.

Tritonic demonstrates they're not here to play by the book- they're here to warp the curve in half.

2. Harry Kappen – The Longing
Harry Kappen's "The Longing" is more or less what occurs when your own philosopher and rockstar personality gets into a rumble with guitars. You're seduced by subdued acoustic contemplation one moment; the next, you're pummeled with searing electric hooks that sound like the world exploding in half. The contrast isn't for theatrics- it reflects the song's underlying struggle: head vs. heart, stillness vs. chaos. Mix in layered polyphonic harmonies and orchestral accents, and you've got something that sounds both intimate and expansive, like writing in a mountain during a storm. The lyric video upholds the intensity with cinematic imagery that reinforces the internal struggle. It's messy, it's magnificent, and it's human. Kappen doesn't merely play with volume; he plays with your heart, pulling it across an emotional spectrum of sound. The outcome? A song that doesn't merely resonate- it grapples with you.

3. Fountain – Honest Man
Northampton pair Fountain aren't in this to be a gentleman- it's to burn the fringes of garage rock with "Honest Man." Constructed on heavy blues-drenched riffs and hazy textures, the song ploughs along with intensity and grime. There is a tension inherent in the lean-duo setup- just Ally Wilkinson and Jordan Noon off each other's anarchy- that imparts into the sound the sense of rawness and immediacy. But this isn't noise for noise's sake. The song ventures into philosophical waters, grazing existential questions with a ferocity that's both cinematic and intimate. You can listen to the change in their sound: less refined, more primal, and boldly unapologetic. It's the type of song that's going to make you want to stomp your feet, shake your head, and then overanalyse your life all at once. “Honest Man” is both a brawler and a thinker- a rare combo that leaves a mark.

4. Emotion Kapture – The Future
“The Future” by Emotion Kapture is the kind of track that leans into atmosphere rather than spectacle, creating a sonic space that feels both expansive and intimate. It carries a modern edge, balancing layered textures with a steady drive that keeps the momentum flowing. Rather than clogging up with too many tricks, the track adopts a measured pace to let its mood reveal itself organically. The outcome is a piece that has a cinematic feel, as though it's scoring moments of contemplation and anticipation simultaneously.

Emotion Kapture employ discreet dynamics and thoughtful production to produce something that works on repeat listen. It's not a track- every bit as much, it's a mood-setter, one that hangs the listener in mid-air between promise and doubt.

5. Esore Alle – Such Pretty Lies
Esore Alle has a talent for drawing you into the act, and "Such Pretty Lies" is no different. This song wears its melodrama proudly on its sleeve, embracing the sham of drama with a wink and a smile. There's a vaudevillian energy to the music that makes it immediately universal, but hidden behind the jaunty facade is something more cunning: an examination of the flirtatious strength of illusion itself. The song doesn't push you- it assumes that you'll be drawn eagerly into its small intrigues. What gets it going is the manner in which it blurs the line between playfulness and commentary, allowing you to be entertained by the show even as you're aware of its awareness of itself. As a stage barker wins over the crowd, Esore Alle does too, never quite shouting. "Such Pretty Lies" isn't only catchy; it's clever, multi-layered, and full of personality.

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