Icelandic experimental neo-psych aficionados 'Singapore Sling' have unleashed the first single entitled 'Evil Angel' to be lifted from their forthcoming highly anticipated ninth studio album 'Kill Kill Kill (Songs About Nothing)' due for release in February 2017 via the purveyors of all things psych 'Fuzz Club Records'. Formed back in 2000, 'Singapore Sling' are credited as being one of the originators of this experimental modern day psych scene with their music continuously being mentioned as influential to many of the newer psych bands releasing music within the scene today. As usual, 'Kill Kill Kill (Songs About Nothing) is available to pre-order right now from fuzzclub.com
'Evil Angel' stews menacingly deep within a discomforting psychedelic brew as those seriously off putting horns lounge precariously on top of a fuzzy undulating bass line. The lingering reverberation of the guitars and the turbulent shaking of a motorik percussive beat adds dark atmosphere as Henrik's impressive echoing vocalisations swirl effortlessly into the ether . 'Evil Angel' is very experimental and fans of 'Singapore Sling' will notice it from the off but don't be fooled, this track is genre defining and that only bodes well for the full album release.
by Primal Music
Toronto based cinematic psych/kraut inspired post-rock trio 'Datura Daydream' have unleashed the latest single and it's accompanying video 'Sea Six' to be lifted from their brilliant new album 'THE LICK IS IN THE LISP'. The band are made up of Kevin Robert Fong - vocal/guitar, David Larocque - bass & Turner Roscoe Wigginton - drums and their latest single is a heady sonic brew filled with a metronomic krautrock hued percussive attack, swirling psych induced guitars, hazy vocalisations and beautifully melodic throbbing bass frequencies. 'THE LICK IS IN THE LISP' is available to buy/download right now from daturadaydream.bandcamp.com
ARTIST: Hideous Towns
RELEASE: Disquiet Living
RELEASE DATE: 25th November 2016
RECORD COMPANY: The Lost And Lonesome Recording Co.
Melbourne based 'Hideous Towns' have been on our radar here at Primal Music ever since their self titled five track EP release back in 2014. The band consists of Alana West, Ashley Stirling, Chris MacLean & Ryan DeCoite and they collectively create a beautifully astute melding of dreamy dream-pop, alt-rock and blissed out shoegaze! Their debut album 'Disquiet Living' was released back on November 25th 2016 via The Lost And Lonesome Recording Co and it is available to buy/download right now from hideoustowns.bandcamp.com
Disquiet Living by Hideous Towns
Skittish percussion and jangling guitar progressions announce the arrival of ‘Don’t Forget’, the opening salvo on ‘Disquiet Living’. The stunning vocal arrangement swirls into earshot held fast within a surging maelstrom of fuzzy noise until we’re scooped up with it and pulled head long into a wonderful musical trip. Up next ‘Lion’ woozily swerves into the ether on a beautifully golden guitar line coupled with sublime vocalisations, throbbing bass frequencies and motorik percussion whilst ‘Jacques - Louis David’ reverberates old school post-punk sounds with a distinctly modern twist. Driving bass lines and explosive drums hold a steady central spine while the swirling lead guitar lines weave a blistering sonic web, deftly circumnavigating those impressive vocal lines courtesy of Alana West.
‘Waratah’ pulses dreamy frequencies out into the ether on waves of intoxicating instrumentation as we meander through melodious bass lines, wavy effects laden verse progressions and on into those explosive chorus breaks. A thoroughly enjoyable track and probably my favourite on the entire album. Up next, ‘Glass Curtain’ is drenched in delicious reverb and underscored with angry guitars, driving bass frequencies and those immense ‘call to arms’ vocal progressions reminiscent at times to seminal UK based noise makers ‘The Cranes’. ‘Don’t Look Up’ is a beautiful slice of noisy melody driven dream-pop whilst ‘Coincidences’ is jam packed full of atmospherics and brilliantly executed guitar lines that coalesce effortlessly with West’s distinctive vocalisations.
Fuzzy guitars announce the arrival of ‘Value’ (the albums first single) and it’s not long before it’s undulating bass lines take hold, deftly intertwined with a steadying drum pattern. Collectively they take up a type of sonic holding pattern as those reverberating guitars try ever so hard to keep up with those turbulent vocal lines. Up next, ‘Fantasy’ is led by hi-hat heavy percussion and another addictive bass line. This track drives sonic wedge through wave after wave of impressive instrumentation that is constantly battered by West’s sublime vocalisations. The albums penultimate track slows proceedings down a tad as lazy percussion and scaled back guitars allow the vocals to soar into the sonic ether. ‘Wake Us’ is a beautiful slice of modern dream-pop. Instrumentally reminiscent at times to Adam Granduciel’s ‘The War On Drugs’ albeit a million times better vocally. The albums closing piece is thing of beauty. ‘Natural Expression’ bobs and weaves on a shimmering wave of instrumentally charged reverb as those sparse percussive hits chug along nonchalantly. Beautifully radiant sound waves pulse outwardly as the vocals arrive accompanied by shimmering lead guitar lines that dance and arc all over the sonic ether. Harmonious vocalisations and spoken word add spine tingling atmospherics as ‘Hideous Towns’ close out on a triumphant piece of music.
ABOUT THE AUTHOR:
Del Chaney has spent the last four years not only fronting popular experimental Irish based electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
beko_champanes - daysaway by beko
Stunning Saint Petersburg based vapourware/shoegaze outfit 'Champagnes' unleashed their immense latest single entitled 'Daysaway' to the masses back on April 29th 2016 via the French based independent 'Beko Disques label'. The bands sound is immersive, beautifully crafted and filled with dreamy shimmering synths, melodic bass frequencies, reverberating golden hued guitar lines and effortless percussion that collectively swirls around that gloriously hazy vocal. 'Daysaway' is available right now as a 'Name Your Price' tariff over on beko.bandcamp.com
ARTIST: Mirror Days
RELEASE: No Hope For Getting Better
RELEASE DATE: 31st October 2016
RECORD COMPANY: Unsigned
Soft, dreamy and influenced by a myriad of different sounds, LA based dream pop/shoegaze/soft rock recording project Mirror Days go into complete introspection and release a beautiful album which sounds like a kind of matured re-structuring of music featured on their EPs from the past. No Hope For Getting Better presents itself in a kind of meditative subtleness; never trying to sound too full or dense but instead creating a mesmerizing deep sound that resonates and plays out with a different kind of heaviness. Part- laid back beach inspired hipster dream, part introverted reconciliation, part directed self-expression, the album comes off as a kind of dazzling diamond of a piece of music; so beautiful and clean, but at times so shiny you can’t totally see into it… In a good way, of course.
No Hope For Getting Better by Mirror Days
The album opens with the breezy but aforementioned type of heavy ‘In Focus’ which is built around a calm and contemplative vocal FX and the slow roll of soft rock instrumentation, until the pounding drums enter into the background which turns the song into a more dream pop key. Lyrically the song takes the shape of the projects name as the vocals send their time questioning, wondering and humbly musing in a kind of reflective manner. The more shoegaze but utterly brilliant ‘Endless’ follows, featuring a more drowned vocal performance; adding a kind of post-punk element to the music. All the instruments join in an imaginative sound to step above vocals; making them sound heavier and deeper. The whole song, however, forms around the beautiful and rich instrumentation that makes it a step above what it could have been. ‘Left to Wander’ features more of a similar kind of instrumentation to previous tracks but adds another layer with a more poppy sound. It also seems to build upon the aforementioned dash of post-punk by incorporating more a coldwave sounding guitar and post-punk inspired bass riff. What makes it one of the albums highlights is again its tone and distinctive sound; the vocals and lyrics seem even more studious in content, again evoking the undercurrent and thematic elements of a more dream pop sound. This track is followed by ‘Time Won’t Heal You’, a shoegaze heavy song which begins with a shoegaze melody coupled with the dream pop aesthetic explored previously on the album. Impressive and well produced and mixed drumming holds the sound together while the guitars snake their way through the soundscape texture of the song. All the while the vocals extend into phrases that follow the instruments around and create interesting contrasts for the listener.
‘Low’ is an enjoyable and noteworthy interlude that features in just the right place for the album to flow and continue in the desired way. ‘Old Beginnings’ is a good, straightforward song but only continues the sound and tracks that have featured on the album before it, making it less impressive. That’s, of course, not to say it’s not a well written song, but it is definitely not one of the best on the album. Driving guitar opens the song ‘Spinning’. Its more melodic heavy sound gives it a hypnotising quality; couple this with the distant lyrics and moody air of the track and you have a song that is far away from the soft rock-beach aesthetic at the beginning of the album. ‘Spinning’ dives straight into the ocean, now dark and deep, to move away from its past while keeping one eye firmly in its preverbal rear-view mirror. ‘Rest Assured’ seems like the character or voice within the previous songs has finally made a decision of sorts. What kind of decision? What is the decision about? I have no idea. But as the most colourful and ‘least heavy’ song on the second side of the album it seems that the core tone has altered back into a more relaxed sound; slow and inward in a different form. These elements all join together to create a picture and ultimately to make the listener revaluate all the previous songs; to consider them in a different kind of light. No Hope For Getting Better thus presents itself together with this loose yet interesting concept involving regret and pondering of the past. And just as the album soothes with its opening chords and notes of a soft rock style sound, the complexion of the music swells into a whirl pool of darkness, depth and heaviness throughout the second half; ultimately culminating with the more considerate ‘Rest Assured’, bringing the entire album into a kind of full circle. A fantastic and engaging element of the music is that said content doesn’t only appear as a lyrical feature. In fact, the music and instrumentation pushes this kind of concept and emotive experience more so than the lyrics on a lot of moments on this album, and when it’s not just the music, it’s the music combining and contrasting the lyrics in a beautiful way.
Overall almost all the songs themselves remain enjoyable without featuring in between other songs on the album. Mirror Days talent of combining genres such as dream pop/shoegaze/soft rock/post-punk and alternative rock showcases the projects tight and impressive performance and song writing skills. It was mentioned in the PR kit for this release that the album features no electronic instruments; an extremely noteworthy feature as many bands program this and that to achieve sounds in a synthetic manner. Rather, like the music and the lyrics, the instruments come pure for the listening experience. An experience which is assisted with brilliant low key production and a type of mixing that saves the heavier drums from drowning out other instruments in a song. The projects actually talent with playing said instruments is also immensely impressive and can be heard through the magnificent production and sound.
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.
Fizzy Orange by The Orange Kyte
Vancouver based psych outfit 'The Orange Kyte' have unleashed the final track on their mammoth sonic expedition to release one track per month for 2016! It's been an explosive sonic thrill ride for the band this year with every single monthly instalment swirling in and out of varying degrees of deliciously addictive psychedelic exploration. 'The Orange Kyte' are made up of Steve Moonboots & a revolving door of likeminded musicians. Piloting the good ship Orange Kyte on it's final voyage of 2016 are Stevie Moonboots - guitars/vocals, Mat Durie - organ/piano, Dave Mulvaney - drums/percussion, Robin Schroffel - bass & Jonah Kya Goksøyr - Trombone. The single is available to buy/download right now from theorangekyte.bandcamp.com
'Fizzy Orange' shimmies blissfully on a fuzzy instrumental wave thats filled with subtle brass indentations courtesy of Jonah Kya Goksøyr on trombone, luscious swirling organ lines, growling guitars, hypnotic drum patterns, cascading bass progressions and the ever present addictive vocalisations of Stevie Moonboots. 'Fizzy Orange' breaks down wonderfully around the two and a half minute mark, transforming itself into a creeping psychedelic beast, constantly changing it's sonic form until eventually exploding into a finale that is filled with beautiful frequential noise. A brilliant ending to a great year of releases.
ARTIST: Bloom Waves
RELEASE: Yumi On The Shore
RELEASE DATE: 27th March 2016
Although self-released back in March 2016, the brilliant five track EP 'Yumi On The Shore' seems to have only been sent in to us very recently! I can't really imagine why but I'm glad that they decided to submit to us. 'Bloom Waves' hail from New York and they create blissed out shoegaze gems filled to the brim with subtle dream-pop connotations and shimmering swathes of sonic brilliance. The band is the musical project of Ren Julius Reyes and 'Yumi On The Shore' is available to buy/download right now from bloomwaves.bandcamp.com
Yumi on the Shore by Bloom Waves
The EP opens up with a beautifully intense wall of reverberation as wave after wave of guitar driven noise pummels the senses. ‘Only A Daydream’ shudders on a hazy percussive pattern as it’s lead guitars soar and that immense vocal (reminiscent at times to Tom Barman of experimental music stalwarts ‘Deus’) takes hold. Up next, the grungy ‘Marionette’ growls as it unfurls it’s sonic tendrils. Wailing guitars and pounding drums swirl within a sullen vortex as throbbing bass frequencies melodiously astute instrumental effects loop and arc throughout the musical spectrum.
The EP’s self titled track jangles on a beautiful opening guitar line before exploding into a cacophony of glorious instrumentation that includes driving guitars, a subtle underscoring of ethereal synths and repetitive percussion. It’s lead guitar lines undulate as they intertwine with another impressive vocal track taking ‘Yumi On The Shore’ to new levels. The penultimate track oozes wall of sound guitars and harmonious vocalisations. ‘Fall Like Snow’ is a modern day shoegaze call to arms that is filled with swathes of reverberating frequencies and pounding drum patterns. It’s vocals ride a wave of impressive instrumentation and stunning musicianship to make this track my favourite on the entire release. The EP’s closing piece enters into earshot on a deafening bedrock of sequenced percussion and repetitive guitars. Bass frequencies throb as ‘Dive’ pulses a maelstrom of fuzzy frequencies out into the ether. A fitting ending to a marvellous EP.
ARTIST: Moaning Cities
RELEASE DATE: 23rd September 2016
RECORD COMPANY: Exag Records
Psych/kraut/prog aficionados 'Moaning Cities' formed in Brussels back in late 2011 with the aim of creating ballsy blues edged rock underscored with soaring psychedelia & eastern esoteric flair. Newly signed to the Belgium based independent record label 'EXAG Records', the band released their latest album entitled 'D'Klein' to the masses back on the 23rd September 2016 to rapturous applause and well deserved praise. 'D.Klein' is available to buy on various formats via exagrecords.bigcartel.com or via the usual online digital outlets of iTunes, Spotify, Deezer, etc!
The final death throws of harmonious vocalisations make way for throbbing bass frequencies and snaking lead guitar lines as the opening salvos of ‘Expected’ enter the sonic arena circumnavigated by swirling repetitious drones and shuffling drum patterns. Glorious duel vocals arrive and usher in explosive guitar squall and the full sonic might of 'Moaning Cities' is unleashed. ‘Expected’ traverses the lofty heights of old-school psychedelic rock as it deftly loops and arc’s through ink blotted skies and thunderously good reverberations to bring us a monumental opening track. Up next, ‘Insomnia’ pulses effortlessly in a glorious union of progressive drum patterns and noisy melodious bass lines as those undulating guitars hug impressive vocal lines with apparent ease. ‘Insomnia’ weaves a magical sonic spell as it meanders deftly through musical peaks and troughs, dipping in & out of bluesy lead licks, droning organ swells and woozy psychedelic impressions with ease.
‘Born Again’ swerves into earshot on a wave of brilliant instrumentation accompanied by those almost mantra like vocalisations. This track builds into a raging maelstrom of explosive noise as we’re treated to some absolutely fantastic spells of driving psychedelia mixed with turbulent rock connotations. The creeping ‘Sex Sells’ swirls menacingly around a highly addictive core that hangs on the throb of the bass frequencies and a lazy drum pattern as those undulating guitars wail and snake in and out of the hauntingly good vocal lines and those explosive passages of impressive prog rock. After a reprise of the instrumental ‘Oggy Trev’, we move into another sonic behemoth in the guise of ‘Vertigo Rising’. A turbulent wall of noise swirls & builds effortlessly around another impressive melody driven bass line as the duel vocal attack pounds the senses into submission, joined in the sonic assault by screeching guitars and repetitious percussion. Up next, ‘Yell-O-Bahn’ has 60’s esoteric psych connotations whilst the origins of ‘Drag’ enter the fray held fast within a brilliantly executed driving guitar line and a highly infectious vocal before the track builds into a sonic whirlwind of epic proportions.
The albums penultimate piece echoes on a magnificent organ line before unfurling its sonic tendrils accompanied by a steadying drum pattern and the hypnotic throb of the bass line. ‘Solitary Hawk’ meanders deftly, adorned with another impressive vocal performance, building effortlessly and culminating in that impressive organ filled ending. The albums closing piece drones into earshot accompanied by the hum of bass frequencies, slide guitar as those impressive lead guitar lines intertwined with another tremendously atmospheric vocal take. ‘Dagger’ closes out what is a rather interesting album.
ARTIST: Has A Shadow
RELEASE: Sorrow Tomorrow
RELEASE DATE: 18th January 2017
RECORD COMPANY: Fuzz Club Records
Mexico natives 'Has A Shadow' release their sophomore album (their first via Fuzz Club Records) entitled 'Sorrow Tomorrow' on January 18th 2017. The band create a brand of dark and ritualistic modern day psych gaze that heaves and undulates through swathes of unabashed reverberation and driving instrumentation tinged with menacing gothic tones. This new album follows a run of EU dates that included an appearance at Liverpool Psych Fest and shows with LSD & The Search for God, TAU and The Jabberwocky Band. You can pre-order 'Sorrow Tomorrow' ahead of it's January release, on various formats over at www.fuzzclub.com
In a hail of fragmented frequencies and the sampled barking of dogs the opening salvo’s of ‘Sorrow’ squeal into audible range riding rough shot on shuddering synth swells and the metronomic sway of percussion. Tormented vocalisations swirl repetitiously as the track builds and surges into a raging sonic tornado allowing it’s wailing guitar progressions to pulse wave after wave of intense reverberation out into the ether. Up next, ‘Lord Of Flies’ saunters into the musical arena with a distinctly edgy swagger. It’s creeping drum pattern swings hypnotically dragging with it those dark organ progressions, snaking guitars and the menacing throb of bass frequencies. Vocally ‘Lord Of The Flies’ is steeped in gothic flair and unrepentant reverberation as we exquisitely meander through waves of intense dark frequential matter and swirling atmospherics making this a brilliantly executed track. Track three, 'The Flesh' pulsates and swirls on undulating waves of dark instrumentation that includes throbbing bass lines, reverb laced organ swells, repetitive percussion, fuzz -laden guitars and hauntingly good vocalisations.
‘Attack Of The Junkie’ effortlessly drones into earshot, building repetitiously as the drag of the organ swell brings with it those thunderous drums and echoing vocalisations. This track is a driving psych induced behemoth that takes no prisoners as it’s tremulous guitars & throbbing bass progressions wage a war of sonic attrition, bending unsuspecting frequencies at will until eventually turning them into a colossal wall of magnificent noise. ‘Attack Of The Junkie’ is a triumphant track, possibly my favourite on the entire album. It is inherently filled with hard hitting sonic aggression and worthy of your ears. ‘Cul De Sac’ pulses on a sequenced synth line as ‘Has A Shadow’ unleash a noisy post-punk sheen on proceedings. The melodious bass line weaves a jittering sonic web as it works through it’s predesignated course, all the while being harassed by swirling reverberation, intense vocalisations and dark menacing instrumentation. Guitars explode into a cacophony of noise as those hypnotically charged organ lines takes hold, dragging the listener with them on an undulating white knuckle thrill ride.
Up next, the albums latest single jangles into earshot steeped heavily in an air of atmospheric trepidation. ‘Vampire Kiss’ has brash and scuzzy guitars that swirl deep within a dark haze of reverb. You really have to check yourself as those throbbing bass frequencies & thunderous drums dance and swing a hypnotically charged jig, effortlessly circumnavigated by those hauntingly good organ lines and the foreboding vocal tones of Daniel Garcino. ‘Horror Will Grow’ swirls into the ether on a another repetitious drone as it’s menacing organ lines snake and move held fast within a turbulent cloud of dark reverberation accompanied by brilliantly executed guitar lines and shuffling percussive hits. This slow burning psychedelic beast stalks the outer limits of the subconscious as those swirling vocalisations of Garcino slowly pick their way through the many layers of the human psyche and burrow themselves where they can be instantly recognisable for future reference.
The albums penultimate track explodes in a torrent of thunderous drums and driving guitars. ‘Not Even Human’ shatters the slow burgeoning drag of the previous track by spewing forth a cacophony of fuzzy atmospheric instrumentation & jittering repetitious noise. Somewhere deep within the sonic maelstrom, however, Daniel Garcino vocals meticulously hold court and strenuously keep everything together magnificently. The albums final onslaught comes in the form of ‘World Sensation’, a swirling salacious beast riding a growling guitar progression and a sparse wave of percussion. The organ arrives on cue as the track explodes into a colourful array of reverberating frequencies orbiting another impressive vocal display, before we’re all swallowed up by glorious surf/psych sounds until the tracks finale! A belter of a track to finish off one hell of a sonic thrill ride.
ARTIST: Strata Florida
RELEASE: Falling From Grace
RELEASE DATE: 25th November 2016
RECORD COMPANY: Cherry Red Songs
Wales based dream-gazers Strata Florida released their beautiful sophomore album to the masses back on the 25th November 2016. 'Falling From Grace' is the highly anticipated follow up to the brilliant 'Made of Stars'(Saint Marie Records) and although it peels away much of the distortion that we had previously heard on the aforementioned album it takes absolutely nothing away from the songwriting prowess of both Louise Trehy & Peter Pavli. Louise returned to music after a 20 year hibernation having previously graced the underground music scene as a member of 4AD darlings 'Swallow'. She joined forces with Peter Pavli (High Tide, Robert Calvert, Third Ear Band, Annette Peacock) to form Strata Florida and they continue to release immense sonic soundscapes. 'Falling From Grace' is available to buy/download right now from strataflorida.bandcamp.com
Falling from Grace by Strata Florida
In a blissful array of stunning instrumentation the opening bars of ‘Caroline’ breathe shimmering frequencies out into the musical ether with delicious aplomb. Louise Trehy’s ethereal vocalisations float effortlessly on a wave of dreamy reverberation as the swirling guitar track and the repetitious sequenced percussion collectively instil a surreal kind of calmness to proceedings. Up next, ‘Vital Signs’ pulses into audible range on sequenced synth swells and tremulous guitar squall. Again, the haunting tones of Trehy are ever present as they swirl and meld into a cascading chorus break, deftly underscored by some fascinating layered guitar work, the bleeps & whirr’s of electronic atmospherics and sparse percussive hits. ‘Emily Bronte’ fizzes into earshot on an post-punk inspired bass line & luscious synth swells. The metronomic drum track takes up a kind of holding pattern, like a musical anchor, as all around it soars into the ether on wave after wave of beautifully golden sonic frequencies that are drenched in blissful reverb. A stunningly refreshing track indeed.
Up next, ‘Frozen’ is filled with boundless energy, allowing it’s woozy guitars to hold court and to gracefully shimmer as sparse sequenced percussive hits and throbbing bass frequencies act like bedrock to support those refreshing vocalisations. ‘Lost In Space’ trembles as it’s guitars jangle and shake on a steadying drum pattern that collectively builds with each progression until eventually breaking down into it’s cascading synth filled finale whilst the brilliant ‘Honey’ unfurls it’s sonic tendrils and transforms itself into a musical mash up between The Cure & Cocteau Twins. ‘Honey’ is a stunning track, deliciously filled with soaring instrumentation and blissfully translucent vocal lines.
The albums penultimate track is by far the heaviest on the entire release. Tremulous guitars and melodious bass lines sit atop a steadying drum pattern as Louise’s otherworldly vocalisations pulse from a different sonic plane than ours. Like a ghostly apparition the brilliant ‘Falling’ instils a surreal calmness as it works through it’s sonic repetitions and on into its grand finale. The albums closing piece is a brilliant slice of modern day post-punk. ‘Don’t Give Up On Me’ shudders on a driving bass line as swirling vocals and snaking lead guitar licks circumnavigate that repetitious percussive pattern. Underscored with electronic atmospherics and subtle synth swells ‘Don’t Give Up On Me’ is an absolute triumph and quite possibly my favourite track on this entire release.
There's an air of invincibility surrounding Strata Florida's music that is both enthralling and addictive all at once. Louise Trehy draws her listeners into every single track with her distinctive ethereal vocal style whilst instrumentally the band create well though out, layered soundscapes that act as a sonic conduit to deliver dreamy shoegaze & post-punk inspired sound.