Protomythos

Protomythos from Tel Alviv in Israel is the solo alternative rock musician Tom Treivish.

Protomythos - alt-rock from Israel

Protomythos – alt-rock from Israel

An idea formed in Toms’ mind and the project Protomythos came to fruition. Much like the calming material the ideas were not rushed and over the course of a couple of years a number of tracks were selected and packaged into the ten track LP – In Human Sight – from which 20% of the profits will be donated to animal charities.


In many ways this sits in the middle of middle of the road rock, however there are flights of fancy along the way, which gives the music notches in which to explore and whilst never steering too far off the path, there is enough leverage to stand the music out from the crowd. This is music to take in bite-sized pieces, unless you are a particular fan of conceptual rock, but for me allowing tracks to be digested before sitting down another time, is where I gained most from Protomythos else the heavy curtains weighed down too heavily on my ears.

There is a very studied pace to the output which is matched with the instrumentation and compositions, giving the material considerable impact. Whilst it may not be my favourite music of the year, this is a top quality example of the genre and well worth taking time to explore. If it is a style in which you find a natural home, then it is unlikely that you will find anything of higher standard any-time soon.

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Krishna’s Temple Rock

Krishna’s Temple Rock an alt carnatic raga band from Pondicherry in India is Krishna Kumar (Vocals / Kanjeera), Matt Littlewood (Saxophone), Aman Mahajan (Keyboard),  Viji Cheyyur (Electric Guitar), Mishko M’Ba (Bass Guitar) and Sowri Rajan (Tavil / Ghatam / Morsingh).

Krishna's Temple Rock - alt carnatic raga from India

Krishna’s Temple Rock

Combining traditional classical Southern Indian influences with Western jazz and rock, Krishna’s Temple Rock through their extended tracks are able to offer some highly inventive and surprising pieces of music. The metronomic drone more normally provided by the tambula is replaced with the keys and morsingh which gives the music a more morose frame, the injection of sax and electronic instruments provide the injection of lighter flavours.


Whilst the focus remains as with classical carnatic on compositions around the voice, the jazz and western rock influences are given room to breathe and the listener is left with music which extrapolates very distinct styles into a fusion of some considerable intrigue.

Pondicherry given the proximity of Auroville provides some of the most interesting cohesions of styles, in the Indian Subcontinent, which should come as no surprise and this isn’t the first time, nor will it be the last I am sure, that I will introduce a band from the region doing something a little different to the mainstream.

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Sounds Of Sputnik

Roma Kalitkin a solo musician from Moscow in Russia performs under the name of Sounds Of Sputnik to deliver his psychedelic space rock.

Sounds Of Sputnik - psychedelic space rock from Russia

Sounds Of Sputnik

Once again, as with the old URL Indie Bands Blog on the first Russian entry, I find myself in a quandary of where to place Russia in the continent category and once again it appears under Asia, simply to due to the relative landmass in Europe and Asia. Of course as previously, the first review is of a Russian outfit is someone sitting in Europe. However, you aren’t reading this to hear about my travails with geo-political and continental boundaries…. Sounds Of Sputnik


Dim the lights, lie back and gaze-upwards and let Sounds Of Sputnik wend its way into your mind and in a trance you will find yourself floating in the cosmos, what an appropriately named band.

Predominately purely instrumental, the music envelopes the mind in warming bass notes, whilst echoed chords drift lazily across the room captivating the thoughts, while an omnipresent electronic hum adds to the experience of the material, this is not music to hurry, rather to enjoy at leisure and is well worth allowing the music to take over the mind.

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Galaxy 7

Galaxy 7 is the electro-rock performer Daisuke Tsutsui from Tokyo in Japan.

Galaxy 7 - electro rock from Japan

Galaxy 7

After time with a mainstream major record label signed band in 2008, he headed out on his own with Galaxy 7 which could almost be defined as metal electro. Wildly sawing guitar is met with equally frenetic electronics as Daisuke takes the audience on a sparking rumbustious journey of sound.

High energy tracks frequently extend for up to nearly seven minutes, but even then it seems too short as although there are loops of samples they are enlivened by the guitar and percussion which keeps the music moving forwards. On live performance he does use additional players, for the extensive instrumentation he performs himself on recordings, to package the show as a visual treat. As importantly on recording, without the visual entertainment there is plenty to enjoy.

The variety of ideas that Galaxy 7 deploy, give the audience more than repetitions as tracks offer different experiences and his utilisation of orchestral classicism in addition to rapidly progressing sounds gives Daisuke the ability to create solidly based compositions.

Appearing from time to time in Europe by invitation, which is a testament to the far reaching music that is Galaxy 7 and I look forward to more over the coming years.

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Eye of the Dragon Who Wished To Be a Man – Galaxy 7 is available on iTunes*.

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The Vinyl Records

The Vinyl Records is Cheyyrian Bark (Lead Vocalist / Keytar), Banu Jini (Guitar / Vocals), Minam Tekseng (Bass / Vocals) and Mithy Tatak (Drums / Percussion /Vocals) an alt-rock band from New Delhi in India.

The Vinyl Records - alt indie from India

The Vinyl Records

Taking to the stage to confront some of the issues facing many  women across India, they also express those very real fears in their music. The Vinyl Records breathe like fresh air across the sub-continent as they challenge both ‘traditional values’ and current reality, whilst not hiding their own concerns and trepidation. For those reasons the quartet quite naturally sit on my radar, add to that a zingy driving rock they are unmissable.


The keytar gives The Vinyl Records an opportunity to play with some different textures in some of the tracks that hover around the three minute mark. In that short-space of time they are able to conclude the purpose of the piece and leave the listener raring for the next track.

At this stage of their development the message is far more relevant that the inherent musical skills as they are able to rise above any critique of import with their ballsy display and as you know, for me, integrity is of far more importance that the ability to write an Aria.

Beginning to spike some interest across other Asian countries, I look forward to hearing far more of The Vinyl Records.

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