ARTIST: Telstar Sound Drone
RELEASE: Magical Solutions To Everyday Struggles
RELEASE DATE: 18th March 2016
RECORD COMPANY: Bad Afro Records
Copenhagen-based droning psych-gazers Telstar Sound Drone are not here to create pop songs. They have no interest in writing chorus progressions or intermittent 'Love Me Do' soundscapes either. What they collectively create is a swirling maelstrom of golden psychedelic sound that wraps itself around your senses and takes you with it as it loops and arcs through sonic peaks and troughs with relative ease. They released their sophomore album 'Magical Solutions to Everyday Struggles' back on the 18th March 2016 via Bad Afro Records.
Magical Solutions To Everyday Struggles by Telstar Sound Drone
The album opens up with the pulsating 'Drugs Help' and we're treated to a droning swirl of controlled mayhem. Hypnotic vocal progressions weave their way through the wall of sound as that shuffling drum pattern embeds itself deep within your psyche. This is the jump-off point as we dive into the world of Telstar Sound Drone. Track two, 'Something I Can't Place', shatters the sound barriers and crawls into a dark, uncomfortable space, funnelling itself into into a continuous swirling drone that leads us into track three, the aptly-named 'Dark Kashmir'. 'Your Fingers Stir The Liquid Moon' uses its electronically-charged drum sequence to mechanically distribute that swirling reverb-drenched vocal that's swathed in those impressive synth swells, whilst track five, 'Closer Again', swims in some kind of psych-induced industrial soup, as we're treated to another stunningly hypnotic vocal track held within a sonic ball of intensely vivid sound waves. Up next, 'Strange Apples' explodes onto the sonic ether, spewing forth with it that charging drum pattern and a swirling vocal track. The droning, layered guitars add a brilliant punch to proceedings. 'Mad Seeds' is reminiscent of California-based The Warlocks with its noisy, reverberating guitar lines and its impressive call to arms-like lyrical content, whilst the immensely hypnotic opening salvos of 'Deep Spaces' unleash a monolithic track that fills the entire sonic spectrum with aplomb.
The album's closer, 'Lean Down On White', is simply stunning with its massive open spaces and reverb-induced sustained droning. The haunting vocal swims in delays and reverbs as it circumnavigates the the addictive guitar line. A brilliant ending to a brilliant album.
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.
by Primal Music
ARTIST: In Light Of
RELEASE: Little Treasures
RELEASE DATE: 18th November 2016
RECORD COMPANY: Unsigned
Simple and easy… 5/5. And that is, really, that. You know, we could talk and jibber about this and that and the high and the low points; we could peer inside and try and examine what exactly is doing what and what makes the music interesting or engaging… But the best way to describe In Light Of’s new EP/Mini album is by the title they have given it; Little Treasures. A title fitting for a small collective group of songs that push the boundaries of post-rock into more experimental territory and that gives the name lo-fi a prettier looking face in a contextual sense. Landing somewhere between what is generally dubbed ‘ambient’ music and post-rock, the EP comfortably spreads it wings in a sometimes minimalist fashion to cross the path of art rock, dream pop and experimental music. Beautiful, mesmerizing, playfully introspective and kaleidoscopically bright, the band presents not only a well-rounded EP, but an interesting and engaging piece of musicality.
Little Treasures by In Light Of
The EP opens with ‘Bless Your Heart’, a song based around vivid and distant soundscapes that include dream pop sensibilities while introducing the soothing sounds of string instruments into the mix. Even though this is the opening song, the band’s mode of song writing and production are on full display to convey their idea of how post-rock music should sound. That idea is that a song is not a song. Instead, they present what is known as a song as a mesh of different colourful sounds that join together and blend to create a textured style of song writing. The listener doesn’t hear a song; they hear sounds. Sounds that join and form other sounds that lead onto different sounds that set up the music for a different sound and so on and so on. On ‘Bless Your Heart’ these sounds begin as a kind of representation of bright, lucid colours and dreaming; the sounds are all beautiful, slight and warm. On the other side of the song, the string section picks these sounds up and adds a different dimension to them entirely. The song eventually becomes swept up in the beat and sound of the drums which forms a kind of loose musical structure that the listener can follow along to. This is followed by the much more stripped back and acoustic laden ‘Cardinal Song’. Again, the band play with smaller and ‘lighter’ sounds that crescendo as the song continues, always holding the same attitude of sound. ‘Cardinal Song’ however, unlike the EP’s opening track, goes full song in a musical sense; beginning with an acoustic phrase that also appears later.
The title track melds the acoustic mood and the textured sound of the previous tracks together into a song that evokes imagery of bright and soft clouds and some kind of relaxing landscape. The soundscapes that the band are backed up by the slow and steady pace of a drum beat that sits at an extremely relaxing and comfortable volume in the mix. The bands use of piano shines heavily on this song, especially around the midway point where it chases the acoustic guitar around the bright patterns in the background of the music. The song sounds as though In Light Of have captured the albums cover art and set about writing a song that conveys that place and mood to the listener; beautiful. ‘Ascending’ introduces a more digital element to the album; opening with piano and synth like sounds that build up into patter-like drums or samples perhaps? All the while the band maintain their signature layering of noise and sound in the background. There may even be a DJ scratch in the music somewhere… Maybe, or is that something else? The middle of the song acts as a sort of contemplative ease which resonates with some kind of introspective tone; the slow drumming enters and the listener notices just how much is going on in the song and just how many instruments and sounds the band has layered therein. ‘Harmonica’ revisits a lot of the music that the band has explored and showcased through the EP and thus, while still greatly enjoyable, doesn’t present anything vastly different or alternative in the face of the other songs.
As previously stated, Little Treasures presents an alternate definition of the word song. There is little completely ‘traditional’ forms of song writing on this EP. Sure, there’s the occasional acoustic guitar riff or a section of notes and chords that link together for a while but overall much of the album relies on collages of soundscapes to tie themselves together over the top of a drum beat or noise. This is brilliant. And the whole thing is brilliant. It’s so beautiful to listen to; whether that be intently or as background music. It’s an indication of how post-rock can be manipulated into different forms and styles and because of this, Little Treasures could easily be labelled experimental above any other genres; but it is not wild experimentation with a million different guitars, feedback or a trillion different samples, it’s just the simple things; the stripped back elements that make you really look into a sound.
Apparently the making of Little Treasures was somewhat of an experiment within itself; each member of the two piece sent the other music that eventually was edited, composed and re-written into some coherent form of music. This practice puts a lo-fi like spin onto the music on the EP. But not in a grainy, screechy, scratching style but in a more uncovered, honest way that pushes the music forward and helps illuminate every tiny sound throughout the EP. Little Treasures is not an album for those seeking structural, tonal and verse-chorus formed music… But it is however a truly rewarding and intelligent piece of music making that emphasises the tiny cogs and gears that musicians generally coat up with heavy production and song writing techniques. Their music overall is helped greatly by their skills in editing, mixing, performance 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.
Fuzz Club Records mainstays and Berlin via Manchester based dark psych/post-punk outfit The Underground Youth have unleashed the first single entitled 'Alice' and it's gritty accompanying video from their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th launch date with various formats officially going up for pre-order this week via www.fuzzclub.com They have also announced a European tour to celebrate it's release starting in January and you can check out their full tour schedule by heading over to facebook.com/TheUndergroundYouth.
'Alice' surges with dark sullen energy as it's melodious fuzzy bass frequencies weave & bob in and out of those highly infectious lead guitar lines. Subdued metronomic percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer's vocalisations hold court, keeping you transfixed on his impressive gothic tone.
It's that time of the year again when us music bloggers dip into the heap of music submissions we've received just to try and compile some sort of 'Best Of' list. This year has been especially hard as there have been so many immense releases by some seriously good worldwide artists who are either self-releasing out of a bedroom or signed to small independent record labels, that I didn't want to leave any of them out. It's a tough decision trying to whittle them down to a list of just 5 or 10 so I went all out and decided to settle on 20 releases. These various albums & ep's by underground artists based all around the globe have been sent into the Primal Music blog and thus we have gone on to review them, so unfortunately there's nobody out side of our submissions inbox on the list this year I'm afraid. I've also decided not to ask the other writers or Dj's to give me their favourites as it took way too long so the following 20 releases are my choices alone. I've reviewed most of them, took them apart, fantasised about them, listened to them repeatedly and even today they still blow me away.
As I've already alluded to, we've been snowed under with submissions this year and as a result we've had to get very selective with our reviewing process and our best of 2016 year end list will reflect that fact. We don't review reformed bands or artists signed to major labels so you wont read about them here. This is all about the underground psych, shoegaze, ethereal dream-pop and post-punk scene's. As usual, I'd like to thank every one of you readers, writers, commentators, labels, artists and PR companies who have sent us music, liked & shared our reviews and generally supported us 110%. Without you guys & gals I would have given up months ago. I have some big plans for 2017 with some new developments happening right now behind the scenes. I'm very excited to bring them to you as 2017 progresses.
Del Chaney - Primal Music - December 2016
PRIMAL MUSIC's TOP 20 RELEASES OF 2016:
(in no particular order)
JuJu - JuJu (Sunrise Ocean Bender Records) - http://primalmusicblog.com/album-review/album-review-juju-juju-sunrise-ocean-bender-records/
My Invisible Friend - S/T (Fuzz Club Records) - http://primalmusicblog.com/music/ep-review-my-invisible-friend-st/
Stella Diana - Nitocris (Vipchoyo Sound Factory Records) - http://primalmusicblog.com/album-review/album-review-stella-diana-nitocris/
RevRevRev - Des Fleurs Magiques Bourdonnaient (Northern Light Records/Custom Made Records/Kinotone Records) - http://primalmusicblog.com/album-review/album-review-revrevrev-des-fleurs-magiques-bourdonnaient/
Muertos - EP 1 (Wrong Way Records) - http://primalmusicblog.com/ep-review/ep-review-muertos-ep-1-wrong-way-records/
Magic Shoppe - Interstellar Car Crash (Optical Sounds) - http://primalmusicblog.com/album-review/ep-review-magic-shoppe-interstellar-car-crash/
Dead Rabbits - Everything Is A Lie (Fuzz Club Records) - http://primalmusicblog.com/music/album-review-dead-rabbits-everything-is-a-lie-fuzz-club-records/
Is Bliss- Velvet Dreams (Club AC30) - http://primalmusicblog.com/ep-review/ep-review-bliss-velvet-dreams/
In Violet - Amber (Bottle Imp Productions) - http://primalmusicblog.com/album-review/album-review-violet-amber/
Ghost Box Orchestra - High Plaine (Evil Hoodoo Records) - http://primalmusicblog.com/album-review/album-review-ghost-box-orchestra-high-plaine/
Rancho Relaxo - White Light Fever (Wrong Way Records) - http://primalmusicblog.com/album-review/album-review-rancho-relaxo-white-line-fever/
LSD And The Search For God - Heaven Is A Place (Deep Space Recordings) - http://primalmusicblog.com/album-review/album-review-lsd-search-god-heaven-place/
Follow The Sea - Blue Joy (Häxrummet Records) - http://primalmusicblog.com/album-review/album-review-follow-sea-blue-joy/
Ulrika Spacek - The Album Paranoia (Tough Love/ LEFSE Records) - http://primalmusicblog.com/album-review/album-review-ulrika-spacek-album-paranoia/
LEAF - Nothing Seems Real (Unsigned) - http://primalmusicblog.com/ep-review/ep-review-leaf-nothing-seems-real/
Travelling Wave - Simoom (Unsigned) - http://primalmusicblog.com/ep-review/ep-review-travelling-wave-simoom/
Mumrunner - Gentle Slopes (Wolves And Vibrancy Records/Soliti Records) - http://primalmusicblog.com/album-review/ep-review-mumrunner-gentle-slopes/
Living Hour - Living Hour (LEFSE Records) - http://primalmusicblog.com/album-review/album-review-living-hour-living-hour/
The Cult Of Dom Keller - Goodbye To The Light (Fuzz Club Records) - http://primalmusicblog.com/album-review/album-review-cult-dom-keller-goodbye-light-fuzz-club-records/
Bolywool - Hymnals And Bombs (Novoton Records) - http://primalmusicblog.com/album-review/album-review-bolywool-hymnals-bombs/
ARTIST: Ulrika Spacek
RELEASE: The Album Paranoia
RELEASE DATE: 5th February 2016
RECORD COMPANY: Tough Love / Lefse Records
Formed in Berlin but now residing in London, Rhys Edwards and Rhys Williams aka ‘Ulrika Spacek’ began their tentative first steps in what would be a two year journey to finish their debut album entitled ‘The Album Paranoia’ back in 2014. Employing the help of three skilled musicians & friends they embarked on sonic journey that would reap them immense rewards. With a sound that swerves between alt-rock & krautrock whilst taking a trip through downright fuzzed up lo-fi brilliance, ‘Ulrika Spacek’ create hazy impressive soundscapes that are sonically worthy of your ears. ‘The Album Paranoia’ was officially released via ‘Tough Love Records (EU) & LEFSE Records (USA) back on the 5th February 2016.
The Album Paranoia by Ulrika Spacek
The album opens up with ‘I Don’t Know’, a fuzzy swirling triumphant track that loops & arcs through addictive reverberating guitars intertwined with glorious psych tinged effects and a steadying drum progression that holds that stunning vocal aloft like a king sitting atop a mountain of golden sound. Track two, ‘Porcelain’ oozes alt-rock splendour with whirling repetitive guitars and another impressive vocal performance. ‘Circa 1954’ lives in a beautiful shimmering experimental ambient world while ‘Strawberry Glue’ jangles & struts like a sonic peacock before opening up into a glorious fuzzy alternative masterpiece. Track five, ‘Beta Male’ stands up there with some of the great modern day psych tracks. Reminiscent at times of ‘Fuzz Club Records’ own ‘Throw Down Bones’ with its hypnotic swirling maelstrom of sound that builds into a fuzzy multifaceted sonic whirlwind. ‘Beta Male’ is probably my favourite track on this entire release. Very cool! Up next,‘NK’ is a slow but sludgy psych tinged monster with a lazy ‘Sub Pop’ styled effected vocal line and a very impressive break that builds & builds forever.
We’re back on a subtle alt-rock vibe with ‘Ultra-Vivid’. This track is full of melodic melancholy with beautifully intricate guitar lines, gorgeous synth swells and an effortlessly striped back vocal take. ‘She’s A Cult’ screams ‘Radiohead’ from its very first distorted chord structure while ‘There’s A Little Passing Cloud In You’ shakes the sonic ether with is psychedelic flavourings dripping with repetitive guitars, throbbing bass line & a brilliant drum progression that collectively leads us into a false sense of security before opening up & exploding into a massive cacophony of sound.
The albums closer ‘Airportism’ is reminiscent of latter day ‘Radiohead’ with its beautifully delicate vocal lines accompanied by that addictively melodic guitar progression and a lazy drum pattern. A perfect finale to an overall impressive debut album. Recommended listening for fans of MBV, Television, Pavement, Sonic Youth, Radiohead & Deerhunter.
ARTIST: Living Hour
RELEASE: Living Hour
RELEASE DATE: 19th February 2016
RECORD COMPANY: LEFSE Records (Portland)
I know that its probably too early to be discussing the dreaded ‘Best Of 2016’ albums list? And that it’s also probably way too early in the year to waxing lyrical about the best singles but I’m so happy that I had the chance to hear & then to write about this debut self titled 8 track release from Winnipeg based dreamy 4 piece Living Hour as I believe that this release will feature heavily on the year end lists for 2016 especially within the dream pop & shoegazing fraternities when the time comes around. The band initially peaked my attention before, way back in 2014 when they were known as their previous incarnation ‘The Hours’ and even back then I had fallen head over heels in love with their reverb induced & luscious single – ‘Steady Glazed Eyes’. The band released this self titled full length debut album worldwide through LEFSE Records (Portland) on February 19th, 2016.
Living Hour by Living Hour
In a haze of shimmering reverberating brilliance the opening bars of ‘Summer Smog’ grace this listeners ears and I’m instantly floating in a world of melodic tone & shape where addictive dreamy vocals are king and where the crackling jangling effected guitar lines stand guard for what will be one of the best releases of 2016 come years end. I am in no doubt of that. There’s a sort of unplanned understanding between the vocals & guitars on this track as they vie for space within the wide expanses of the reverb laden production. It works really well and helps to catapult Livinghour to somewhere special within the dream gazing world as we know it. A jangling guitar line greets us as we wait for track two ‘Seagull’ to break free and let fly. The chorus soars and there’s a brilliant crescendo of sound before it breaks back into the verse parts again. The vocal lines are divine and allowed to stray within the layers of reverb laden guitar whilst the drum pattern keeps the whole affair firmly fixed to solid ground. A triumphant track full of expressive soaring hints of shoegaze & interspersed with heavenly dream pop flair.
The atmospheric awakenings of track 3 ‘This Is The Place’ shatters the sound sphere as yet another reverb laden jangling guitar track ambles into the musical ether. There’s a definite psychedelic feel to this unlike the previous 2 tracks. It sounds like a cross between ‘Spacemen 3’ & early ‘Creation Records’ era 'Telescopes' that have been melded together with Melbourne based underground psych gazing stalwarts ‘Fire Behaving As Air’. Truly remarkable. Im transfixed as the track shuffles through its sonic algorithms. Again, it’s the floating almost whispering vocal track that grabs my attention and I swoon within its grasp. Track 4 is a slice of shoegazing brilliance. Originally appearing at the back end of 2014 and into early 2015 when the band were known as ‘The Hours’, ‘Steady Glazed Eyes’ is a dream gazing phenomenon. Swirling, layered guitars & strong percussion form a droning wall of sound that’s purposely built to envelope & caress that immense vocal track. This is three minutes and fifty four seconds of pure gazing indulgence. A masterful track that deserves plaudits for its song writing structure & production. We’ve comfortably landed from our previous flight and settled back into proceedings as track 5 ‘There Is No Substance Between’ arrives into the arena. A slow menacing affair that’s full of dark & light sonic shading but also expertly buffered by duel vocal lines, shimmering guitars & pounding drums. This light & dark theme is carried right through to that singular rock n’ roll break, 5 minutes into the track, when Living Hour buck the trend and give us a glimpse of a subtle ‘baggy’ manchester vibe!
‘Mind Goodbyes’ is reminiscent of Philadelphia based dream gazers ‘The Morelings’. It swims in reverb soaked guitars as melodic tremolo & delay intertwine with that glorious vocal and we’re treated to a two minute display of dreamy percussion-less melodic dream pop. The track then explodes into a droning mesmerising piece of emotive shoegaze. Sure to be a favourite of the underground dream gazing fraternity on its release. There’s a psychedelic droning entrance for the next track on the immense release before we’re again treated to a masterful melodic chord structure. ‘Miss Emerald Green’ floats along on its reverberating sonic axis as shimmering guitars and dreamy vocals again occupy centre stage. But there is an alt-rock tinge to proceedings as the the track progresses & as tempo’s change but this just showcases the bands ability to switch it up when needed.
The closing track on the magnificent 8 track release is nothing short of brilliant. I expected it to be if I’m honest. A swirling, droning maelstrom of sound heralds in that stunning vocal as ‘Feel Shy’, the albums longest track at 6.51, cranks up and brings with it images of dreamy Cocteau Twins, the droning abilities of The Cranes & the more modern dream pop sounds of Welsh based Golden Fable. You simply have to listen to this track via headphones. Trust me, it will blow your mind. A truly remarkable track to finish off a wonderful album.
Bravo, Livinghour & welcome back.
ARTIST: Tender Age
RELEASE: Disappear Here
RELEASE DATE: 9th March 2016
RECORD COMPANY: SINIS Recordings
Tender Age’s Disappear Here EP is a self-proclaimed attempt at stripping off the polish. So the recording, while far from rough and ready, is definitely at the ragged end of the spectrum. This is a refreshing relief from the tendency to smooth away all the rough edges in the genre. The Portland based band have also gone to the trouble of adding some extras for those fans who go to the trouble of getting themselves a hard copy, which is a nice touch. Their debut album is on the way later in the year, and there’s plenty here to keep your ears engaged until that drops.
Disappear Here EP by Tender Age
Opener 'Lowers' cuts like broken glass with jagged distortion and detuning, but the dreamy vocal glides along, cool and clean. Delirium‘s chopped up in bits, with tremulous guitars and crunchy electro-drums. Like a wonky music box, NO swoops and sways with sinister undertones. ‘Oh, I’m underwhelmed’, sings Elaina Tardif. And the fractured guitar creeps on. The record concludes with two covers, the first is a heavenly melding of the Mary Chain meets Phil Spectre for Dream Lover. The next, I Love How You Love Me, is a howling hurricane.
Disappear Here is shoegaze without the sheen. It’s eerie and engaging and not an easy ride. But who’d ever want one of those?
In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.
ARTIST: Tales Of Murder And Dust
RELEASE: The Flow In Between
RELEASE DATE: 23rd March 2016
RECORD COMPANY: Fuzz Club Records
Formed in 2007, Danish psych-gazing five piece ‘Tales Of Murder And Dust’ create stunning soundscapes of immense proportions that continuously push the boundaries of our psychedelic awareness. Vocally sublime, they meld together a subtle brand of dark shoegaze with psych rock to create an impressive cacophony of sound that includes pounding drums, waves of droning and noisy guitars, violins, sitars and impressive organ swells. Their latest album ‘The Flow In Between’ got it's official release on the 23rd March 2016 via the brilliant London based Fuzz Club Records and is available right now on various from www.fuzzclub.com
The Flow In Between by Tales Of Murder And Dust
The opening track on this impressive release is ‘Tidal Waves’. Creeping, maleficent percussion and dark guitar swells entice the hauntingly brilliant violin to loop and arc throughout the sonic atmosphere as the introduction of intermittent drum hits adds intensity. When the vocal arrives it does so on a wave of beautiful noise thats reminiscent of some religious choir holed up in a cavernous church hall with its layers of impressive vocals dripping wet with stunning reverb. A deliciously sublime whirling drone, riding a hypnotically tempestuous shuffling drum pattern, heralds the arrival of track two ‘Black Reflections’ and with it comes that undeniably addictive floating vocal line, hauntingly swirling within a dark melodic sonic stew. ‘Black Reflections’ hits you right between the eyes, awakening something rather special. Track three ‘The Devil Is A Poet’ drags itself into the sonic ether on a wave of impressive guitars, soaring organ swells, sparse percussion and hypnotic tambourine hits. Reminiscent at times to ‘Spacemen 3’ or Sean Cook’s (Ex-Spiritualized) ‘Lupine Howl’ with its opiate induced vocal production, ‘The Devil Is A Poet’ is a shuffling slab of sonic darkness personified.
Up next, ‘Mirror’ sweeps into view and brings with it a certain feeling of unease as a dark, brooding cacophony of droning guitars, haunting vocal lines and steading drums collectively gives off a processional feeling. This is another impressive track, full of widescreen cinematic qualities and intense musical atmospherics. A throbbing bass line, hiding a subtle droning guitar leads us into track four, the explosive ‘Sisters’. As a swirling vocal progression intertwined within a melodic ball of noise greets the listener, this track unfolds into something magical with its melodic violins, pounding drums and delightful sonic peaks and troughs. Track five, ‘Distored Ways’ is nine minutes plus of mind inducing psychedelic brilliance. This track is a vivid maelstrom of droning guitars, haunting sitars & violins, hypnotic explosive drum patterns and that circumnavigate that impressive swirling vocal progression. A masterpiece of epic proportions and possibly my favourite track on this entire release.
Squalling feedback announces the arrival of the albums closing track ‘Endless Repetition’ as that dark hypnotic vocal progression grabs you, pulling you into a swirling whirlwind of golden orchestral instrumentation and beautifully constructed musical progressions. That swirling drone works its magic, stirring the entire sonic composition with aplomb, adding atmosphere and bringing up new psychedelic visions with each reverberating pass.
This entire collection of tracks is an edge of your seat, no holds barred, sonic journey of psychedelic discovery.
ARTIST: Twin Haus
RELEASE: Nothing Lavish
RELEASE DATE: 22nd March 2016
RECORD COMPANY: Bedlam Records (BDM010)
Brisbane based noisy, ambient psych rockers ‘Twin Haus’ have just released their sophomore EP entitled ‘Nothing Lavish’ (22 March 2016) via Bedlam Records. This release follows on from their successful debut EP, the sonically sublime 7 track ‘Waxen Myriad’ (2014) and see’s the band continue on with their sonic manifesto of not pigeon holing themselves into any one particular musical genre. With a sound that expertly skips through noisy, psych tinged highs but also has subtle atmospheric post-rock strands that are infused with stunning atmospheric ambient low points, ‘Twin Haus’ successfully produce wonderful sonic soundscapes that deserve to be listened to over and over again. ‘Nothing Lavish’ is available to buy/download right now from: twinhaus.bandcamp.com
Nothing Lavish by Twin Haus
The EP opens up with an addictively melodic guitar build, carefully cushioning that impressive vocal performance before collectively streaming into a gorgeous chorus break. Yes, I am hearing Radiohead here from the beginning but ‘Synthetic Egg’ morphs into something completely new sounding as we’re treated to a thrilling musical break that is full of golden hued sonic swirls and that brilliant saxophone line that both thrills and interest all at once. The track builds into a maelstrom of atmospheric instrumentation as it deftly works through its sonic gears with aplomb. Is it really strange that I’m hearing hints of Jeff Buckley swirling within those addictive vocal lines? Absolutely stunning. Coming in at nine minutes plus ‘Synthetic Egg’ is by far my favourite track on this entire release.
Track two ‘Self-Love’ is an extension of sorts to the opening track but it has its roots firmly stuck deep within a cacophony of swirling, droning guitar swells and explosive instrumentation. It drives a sonic trench through proceedings and expertly bookends that opening track. Wild but atmospheric percussive hits announce the arrival of track three ‘I Used To Think’ before that soaring vocal line becomes the focal point as reverberating guitar structures circumnavigate the entire track giving off a brilliantly vivid ambient hue as they swirl within the sonic whirlwind. Both the guitar and vocal tracks systematically loop and arc side by side, right across the sonic ether as the track meanders and dances expertly like some imaginary ballroom dancing couple. A brilliantly executed track.
The EP’s closing piece entitled ‘The Revue’ leans more towards noise rock as its driving opening patterns take shape before the veil falls away and we’re treated to a beautiful cacophony of addictive guitars, stunning vocal production, sparse percussion and intense atmosphere. ‘The Revue’ is a sonic journey all in itself as it’s eleven minutes plus of shimmering psychedelic brilliance envelopes the listener, lifts you up and carefully pulls you with it into its inner swirling cyclone. This is sonic heaven of immense proportions and it’s recommended that you listen to it via headphones just to experience its sheer sonic abandonment that it holds. It explodes from the break into a stalking sonic cheetah chasing down its prey. A stunning finale to an utterly brilliant EP.
ARTIST: Sons Of The Void
RELEASE: Sons Of The Void
RELEASE DATE: 4th March 2016
RECORD COMPANY: Sunrise Ocean Bender
Finding a true impressionistic collection of psychedelic tracks that are written in a traditionalist way, without computerised trickery or over hyphenated gadgets to control the music’s every move, in todays modern psych scene is a difficult thing to do. With so many different sub-genres attaching itself to the scene it sometimes becomes muggy, uninteresting and frankly bloody boring. So imagine my surprise when I opened up the debut self-titled album from Swiss based psych duo David Max and Nick Nobody aka ‘Sons Of The Void’ and was instantly blown away by its stunningly un-compromised collection of melodically sensible psychedelic treats that are stuck firmly within an experimental 60’s lo-fi swirl. Released via the incredibly trustworthy independent record label ‘Sunrise Ocean Bender’ on March 4th 2016 this stunning debut release will tip toe into your life, scoop you up and effectively bring you on an acid drenched rollercoaster ride of intense proportions.
Sons of the Void by Sons of the Void
The album opens up with the insanely experimental ‘Leichenblume’. The jittering opening sample track makes way for beautifully hypnotic guitar progressions that swirl like some invisible vortex around that melodic vocal line for what seems like an eternity until we’re led into the opening chord progressions of track two, ‘Don’t Forget To Pray’. It in turn, uses its soothing vocals coupled with those beautifully arranged guitar progressions to rock back and forth acting like some metaphorical sonic security blanket thats used to buffer against those tremulous and reverberating sonic frequencies that seem to loop and arc all over the musical ether. The vivid opening bars of ‘Kolliderscope’ swirl within that impressive spoken word vocal sample as it meanders on an explosive percussive pattern that leads us all into it’s soaring chorus progression and on into oblivion whilst the almost country tinged psychedelic sounds of ‘Absorption’ relaxes the senses and eases away the ill’s of a weary day by inviting you into its inner sanctum for a slice of sonic sustenance.
‘Hope I Don’t Miss’ swirls within a melodic late 60’s west coast vibe through its opening bars before crunching into sixth gear and deftly shifting up into a warm, fuzzy, hair standing on end wall of noise thats musically reminiscent of early ‘Spacemen 3’ as its vocal tracks just hang in suspended animation waiting to be explored. Golden edged sonic waves usher in the brilliant psych-pop tones of ‘The Things We Wish’ whilst ‘A Kick Like That’ has dub connotations mingling in amongst it’s swirling psych induced vocal takes and those expansive jangling guitar lines. ‘A Kick Like That’ is thoroughly enjoyable and possibly my favourite track on this entire release. The album closes with ‘Little Children’, an infectious track stuffed to the brim with impressively melodic vocal lines streaked with beautiful guitar flourishes that are collectively embossed deep within 60’s psychedelia.
There is a beautiful calmness surrounding every track on this release that’s intensely melancholic, brilliantly overpowering and deeply infectious. ‘Sons Of The Void’ expertly push the experimental sonic envelope but somehow manage to stay within the realms of the psych purist. If you have to listen to one album today, it should be this!