Slaids caught up with Girish & The Chronicles frontman Girish Pradan ahead of their first Australian tour to talk all things Girish & The Chronicles and dives deep into the history of the band.
Hailing from the town of Sikkah in India, Girish & The Chronicles formed in 2006 and was the result of frontman Girish Pradan needing to follow his heart and soul dedicating his life to rock n roll. In 2009 Youtube became a platform for Girish and the band to share themselves and their music with the world. In 2014 they released their debut album “Back On Earth” via Universal Music India and started to make some serious noise not only in their home country but across the globe. The band release their second album ‘Rock The Highway” in 2020 to strong internet acclaim. In 2021 the band signed a multi album contract with Frontiers Music and in 2022 released their third record ‘’Hail To The Hero’s” to more acclaim.
The band broke the internet and were beamed in millions of American households through their invited appearance on America’s Got Talent where they reached the quarterfinals.
For those that are unfamiliar with the band, please check them out making sure to visit the bands Youtube channel and grab yourself a ticket to the rock n roll show and band that everyone will be talking about.
Anchor 1975 / Think Like A Key 2025 Swooping down on the prairies of Blighty, four horsemen of British country rock dispatch an obscure gem that, refreshed, shines through the ages. Back in the ’70s, supergroups seemed to be thin … Continue reading →
Jet Cemetery’sThe Canary LPcomes on like a strange transmission dug out of the dirt with bare hands, a record made by people who seem to understand that if the century is going to hand you dread, then you’d better answer back with rhythm, nerve, and a little spectral glamour.
The Austin duo of TaSzlin Trébuchet and Lars Wolfshield, both longtime artist-activists, have built something steeped in solidarity and spiritual unrest, the kind of album that wants to move your feet while it rummages through the ruins in your head. Out today on vinyl and digitally in Dolby Atmos, it carries itself with purpose, but never the stiff piety that so often kills records with lofty intentions.
“The album has two parts – one side inspires relaxation and reflection, the other side brings dance and joy,” says Trébuchet. “It’s something for all humans to enjoy during dark times.”
Wolfshield sharpens the point: “This record is about solidarity, and bravery, and hope. It’s about motion easing grief. It’s an ode to the strength of the human spirit, getting back to the earth and our roots, and coming together to bring about a better world.”
That tension between comfort and movement gives the album its shape. The Canarydraws from late-80s and early-90s Detroit techno, apocalyptic sci-fi, fantasy, and indigenous/ Chicano traditions around the threshold between life and death, but it also carries a strong streak of dream-pop decadence and trip-hop unease. The reference points are all there in the bloodstream: the devotional drift of Cocteau Twins, the low-lit sensuality of Massive Attack, Björk’s fearless emotional elasticity, Enya’s celestial calm, and the eerie American unreality of David Lynch and The X-Files. None of that feels pasted on. It feels lived in.
Eagle Rider opens things with a wide, psychedelic sweep, weirdly beautiful harmonies, and the kind of vocal lift that makes Portishead feel like a useful parallel, especially if somebody slipped an Enya record into the after-hours fog. It is euphoric, but with a weird edge around the glow, like the song knows the sky above it might split open at any moment.
Embers is one of the album’s deepest cuts, turning cycles of desire, collapse, and self-reckoning into something urgent and unstable. Here the ghosts of Massive Attack, Portishead, Air, and Björk hover close to the frame. The beat staggers forward with anxious intent while Wolfshield’s delivery cuts through the murk like a plea and a provocation at once.
Underwater leans into a gorgeous vocal arrangement that calls up artists like Clannad and Chrystabell, bathing the song in a kind of submerged ache. “Lost Forever” slides further into trip-hop, hi-hats ticking over languid guitar and soft vocals.
The Dive changes the pulse with a stomping backbeat, early-90s house flavor, and yelp samples that nod toward EMF and Rob Base, while still keeping one foot in the mist.
Melt Away offers one of the record’s warmest invitations: “You know you think too much, you know you try too hard,” Wolfshield sings, before extending the line, “Come to the show and melt with me.”
Then Lights Out folds in Trébuchet’s San Antonio upbringing, with trip-hop and freestyle glowing beneath the song’s unease. The lyrics circle a figure seen in the dark, maybe memory, maybe paranoia, maybe the old lover who still lingers at the edge of sight. Whatever bound them together has burned through; what remains is residue, distance, and the quiet ruin of crossed lines.
By the time In The Wind closes on fierce breakbeats and eerie synths, with Portishead and Massive Attack again hanging in the air, The Canaryhas made its case: a graveyard bloom.
In 2019, David Gilmour broke the record for most expensive guitar ever sold when his 1969 Black Fender Stratocaster was auctioned off for $3,975,000. Now, the Pink Floyd guitarist’s iconic instrument has broken the record again, this time selling for $12.1 million, according to Rolling Stone.
Metalcore unit Engraved have just released a new track, the third from a forthcoming album.
Bleed is the latest instalment on the band’s journey, coming after the previous singles NCB and The Fallen, all of which feature on the album Hymns for the Hollow, due in May.
Earlier this year, Neil Young called out ICE and commenced a boycott of all Trump-supporting companies. Earlier this week, the legendary singer-songwriter shared more thoughts about the administration, as well as news that he’s working on a new album.
The Slashes’ new single Vampiros saunters in with its collar up, looking half in love with the night and half ready to knife it in the ribs. The Slashes understand that old post-punk trick of turning tension into glamour, but they come at it from a different stretch of pavement, where border-town air, cold-wave chill, and rock en español romanticism all mix with the fumes and streetlight fever. That collision results in a song with style on its sleeve and a little danger tucked in its boot.
That guitar line is the hook, plain and simple, bright enough to catch your ear on first pass and bruised enough to stay there. It cuts through the track with that clean, cool ache that made whole generations of doomed romantics think buying a black jacket might save their lives. Underneath it, Beto Bautista’s bass moves with a slow, predatory purpose, less interested in showing off than in tightening the song’s spine until every chord change feels like somebody advancing with bared fangs and a flapping cape. Carlos Robles plays the drums with a sharp, restless touch, giving the track a nervous body without crowding the room.
Esteban Rene sings like a man who has spent enough evenings under bad signs to know that romance and ruin often wear the same scent. There is conviction in his delivery, the kind that arrives after experience – bad bars, bad exits, and the odd beautiful mistake. He carries the Spanish lyric with a cool, dusky elegance, and then Elsa Martinez arrives above him, her voice turning the song from a stylish nocturnal rocker into something richer, stranger, and a little spellbound.
The ending is a beauty. The crackle of static and the faint horns from Derek Cannon give Vampiros the feel of a transmission slipping out of reach, like some pirate-radio love song bleeding into the desert air. It leaves a residue, a mood, a sense that the band knows exactly how much mystery to let in.
Listen to Vampiros below and order the singlehere.
The Slashes have already put in the miles, hauling these songs from San Diego to New York and sharing bills with names that carry serious weight, but Vampiros feels like a black flag planted firmly in the earth, heralding more dark romance to come.
In August of last year, Lil Nas X was arrested and hospitalized after acting erratically in Los Angeles and allegedly injuring cops who approached him. He spent the weekend in jail and then was let out on bail and ordered to attend an outpatient drug rehabilitation program. He was charged with four felonies and he pled not guilty to three counts of battery of a police officer and one count of resisting an officer. Today he appeared in court.
German death metal heavyweights Rise Of Kronos have confirmed they’ll be dropping their fifth studio album, Slaves Of Time, on 17th April 2026. The band, who rebranded from their original moniker Surface back in 2021, have been keeping busy lately, racking up nearly a quarter of a million views on their recent videos as they … Continue reading Rise Of Kronos return with new album ‘Slaves Of Time’
