RELEASE DATE: 8th December 2017
RECORD COMPANY: Fuzz Club Records
Glasgow based experimental psych outfit 'Helicon' have announced their highly anticipated self-titled debut album to the masses. With eight EP's under their belts, 'Helicon' have taken the live scene by storm, touring Europe and sharing the stage with some serious heavy hitters including Wooden Shjips, The Warlocks and Dead Skeletons. Helicon's sound is addictive, engagingly dynamic and at times all consuming or otherworldly with melodic eastern tinged psych, swirling drones, mantra like vocalisations and intricately intense guitar work that collectively merges into one almighty sonic attack. 'Helicon' get's it's full release on December 8th 2017 via the ever reliable 'Fuzz Club Records' with pre-orders available on deluxe edition vinyl (limited to 100 copies) and standard vinyl (limited to 400 copies) over on fuzz club.com and digitally from fuzzclub.bandcamp.com
Helicon by Helicon
A pulsating motorik wave of driving sonic abandonment announces the arrival of ‘Devil On Your Tongue’, the opening salvo on this sublime collection of tracks. It’s rhythmic progressions envelope the senses as they swirl menacingly through layers of fizzing synth, throbbing bass and driving guitars created primarily to carry those mantra like vocalisations into and out of crawling cavernous breaks that are filled to the brim with heady clouds of resonating sounds and atmospheric reverberations. ‘Valmiki’ swirls into ether tumbling gracefully through the shimmering sounds of luscious sitar underpinned by a steady drum pattern, the plink of fragile synth and rolling guitars. The pace soon quickens introducing droning instrumentation to the mix, echoing brilliantly as sonic frequencies stack on top of one another, gaining momentum with each tempestuous turn, sucking the listener into a broiling mass of stunning sonic sound waves. ‘Valmiki’ is a masterful track, highly infectious and deeply entrancing. Up next, ‘Seraph’ the albums lead single, drones into life meandering on the sweet sounds of melodic sitar and metronomic percussion. Shimmering guitars accompanied by deep throbbing bass frequencies permeate the mix, adding a heady atmosphere before dragging those stunning vocalisations into audible range whilst undulating brilliantly through layers of sticky reverberation.
‘Drinking Of You’ fizzes into life riding a sequenced synth line accompanied by hum of bass, subtle guitar and rolling percussion. A dark and oppressive atmosphere starts to build, and it seeps into every single fibre of the track, erupting in stages into a heaving mass of angry instrumentation that undulates into periods of calm and at times can slip into deep dark trenches filled with raging frequencies and tinged with a kind of lysergic sonic energy. It’s a bloody impressive track that can both scare and amaze all at once. ‘The Bold Yin’ momentarily drones into life pulling blissed out synths and shaking percussion with it as it tumbles through the ether. Heavenly vocals float atop shimmering sounds topped up with swirling organ swells and resonating acoustic guitar as catchy chord changes drenched in reverb pull searing lines of lead guitar into close orbit allowing them to lick and whip the piece into shape. ‘The Bold Yin’ morphs into a very different animal half way though as ‘Helicon’ move up through the gears and inject an acid tinged hue on proceedings. Driving instrumentation swirls and dances alongside senses pummelling percussion, collectively building into an unstoppable sonic behemoth. Up next, my favourite track on the entire release is let loose to fuck with peoples minds. ’Teenage Murder’ is an immensely addictive, crawling, metronomic beast drenched in dark and oppressive psych induced atmospherics. A processional drum beat holds court here forming a bedrock of sound waves capable enough to carry surging synth swells, bubbling electronics, howling guitars and throbbing bass frequencies, drenched in sullen reverberation and deftly enveloping that absolutely immense vocal performance. Resonating synths intertwine with spine tingling tambourine hits and wrap themselves around huge sprawling chord changes as this track is dragged through walls of stunning effects and intense production with relative ease. ‘Teenage Murder’ is infectious and will have you replaying it for days.
The albums penultimate piece entitled ‘French As Fuck’ unfurls it’s sonic tendrils floating through hazy walls of esoteric psych. Luscious sitar lines loop and arc through pulses of organ and fizzing synth as subtle guitars rumble and move alongside cascading bass frequencies and steady percussion. Melodic vocal lines hover atop repetitive progressions and work through shimmering verse patterns with ease as chorus parts explode into a vivid kaleidoscope of colour. ‘French As Fuck’ is a wonderful blissed out psychedelic excursion into the sonic ether. The album closes out with ‘Ring The Albanian’. It’s opening salvo’s shake and shudder into audible range bellowing violently on a layer of growling guitars, shimmering sitar and senses pummelling percussion. A throbbing bass line meanders underfoot as howling guitars take centre stage building maliciously into a blisteringly explosive cacophony of noise accompanied by soaring synth and huge percussive breaks. It's a marvellous end to an absolutely immense album.
ABOUT THE AUTHOR:
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & 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 (Now On Hiatus). 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: Sun System
RELEASE: Strange Ways We Meet
RELEASE DATE: 1st December 2017
RECORD COMPANY: Unsigned
Arizona based 'Sun System' unleash their brilliant debut four track EP entitled 'Strange Ways We Meet' to the underground fraternity on December 1st 2017. With a sound that sits firmly in the alt-shoegaze stable 'Sun System' collectively inject shimmering melodic melancholy into every single track on this EP telling stories throughout and bringing the listener on a sonic journey of discovery with each passing instrumental progression. The band are made up of Cory – vocals/guitar, Nathan – guitar, Curt – bass, Christopher – keys and Lorenzo – drums. The EP gets it's full release on iTunes and Spotify from December 1st but you can check out some more of their singles right now via sunsystem.bandcamp.com
Shimmering guitar progressions glide and echo through layers of melodically hazy reverberation as ‘Smiles With No Teeth’ unwinds itself and shows us it’s inner workings. Throbbing bass frequencies ride a turbulent percussive pattern collectively leading a sublime vocal performance in and out of smooth verse transitions and noisy chorus parts with relative ease. This track builds, builds and builds into a cacophony of blissed out noise before cascading into a marvellously melodic finale. Up next, ‘Glimmer Man’ floats into the ether on swells of synth and jangling guitar that gracefully envelope another impressive vocal performance. Sun System’s shoegaze tendencies are laid bare for all to hear on this track as it rises and falls through stages of impeccable songwriting filled with effervescent layers of addictive noise.
The EP’s penultimate piece is a melodic, slow moving slice of sonic melancholy. ‘Alone Together’ is beautifully intense and it meanders through yearning and thought provoking verse progressions, pulling the listener with it as it tumbles into chorus parts filled with soaring tumults of glittering noise. It’s a wonderful track and possibly my favourite on the entire release. ‘Strange Ways We Meet’ closes out with ‘Scooter (feat. Travis Williams)’ and we’re pulled into an opening salvo of lo-fi guitars and and steady drum patterns. It’s not long before this track explodes into a kaleidoscope of noise, calming down at times to allow us catch little snippets of songwriting brilliance. There’s also a subtle dream-pop hue emanating from it that is rather interesting but for the most part instrumentally it skirts close to alternative or post-rock. All in all it’s this EP has an interesting mix of sounds and some brilliant passages of songwriting all underscored with some fantastic production values. It will be interesting to hear what comes next from ‘Sun System’.
ABOUT THE AUTHOR:
ARTIST: The Cabin Fever
RELEASE: Exercise The Demon
RELEASE DATE: 23rd January 2018
Los Angeles based experimental dark gazing trio ‘The Cabin Fever’ have just announced their brand new sophomore release brilliantly titled 'Exercise The Demon'. This brand new eight track EP gets it's full release on January 23rd 2018 and it follows on from their 2016 debut album ‘Enjoy Yourself’. The band are made up of Sean Moriarty (vocals/guitar), Joel Bedolla (guitar) and Tripp Beam (drums) and 'Exercise The Demon' is available to pre-order right now via thecabinfever.bandcamp.com
Exercise the demon EP by The Cabin Fever
The tumble of slow paced percussion announces the arrival of track one ‘B-L-S-H’ and it’s soon accompanied by the melodic pull of heady bass frequencies and fuzzy guitar squall. There’s a deeply melancholic vibe coursing through the The Cabin Fever’s overall sound that’s inherently captivating and the arrival of those sublime vocalisations adds weight to that statement. They instantly suck you in and initiate a snapshot of modern times and the many pit-falls that lie beneath the blank facade of everyday life. They float effortlessly in amongst melody strewn lanes filled with catchy chord changes, undulating lead lines and the sweet pull of violin. An impressive opening salvo. Up next, ‘Simon Says’ shimmers on a trembling wave of tambourine and almost droning instrumentation that rises and falls through sullen verse parts that envelope another great vocal track and build brilliantly into driving chorus progressions filled with soaring lead lines and busy percussion.
‘Trucrime’ chugs into existence strapped to a crawling guitar progression and a slow processional snare hit that ricochets atop a pinging delay. It’s vocal track meanders brilliantly through 80’s themed synth lines and layers of hazy reverberation, cruising through catchy hook laden highs and dipping below the ether into addictively dark post-shoegaze atmospherics. ‘His People’ pulses and weaves a repetitive sonic web filled with off beat drum patterns and crawling guitar progressions underpinned with streamlined synth and layered production theatrics whilst ‘Exercise The Demon’ is dark and atmospheric. It moves extremely slow attached to the pull of intense guitars, it’s underlying strings and the melancholic tone of it’s lead vocals that keep the listener focusing intently on their every move. This track builds brilliantly. In fact, it has a subtle movie soundtrack quality and introduces it’s layered instrumentation as each verse progression passes adding colour when needed and slowing down at times to highlight lyrical narrative.
The Cabin Fever included a fantastic bonus track on this EP entitled ‘Tony’s Song’ that swirls into audible range on 60’s sci-fi synth swells and plodding bass progressions riding an almost metronomic percussive pattern. It explodes into a melting pot of sounds including resolute hand claps, cascading synth, hazy shoegaze hued layers of resonating guitars and the outright addictiveness of those sublime vocalisations. The EP closes out with two alternate mixes of both ‘B-L-S-H’ and ‘Exercise The Demon’. If that kind of thing floats your boat then these are for you. However if like me you don’t see the point in including them, then the EP finished up on that brilliant bonus track. All being said, ‘Exercise The Demon’ is an impressive collection of tracks loaded with layers of atmosphere and impressive melancholic abandonment.
ARTIST: The Veldt
RELEASE: Thanks To The Moth And Areanna Rose
RELEASE DATE: 3rd November 2017
RECORD COMPANY: sonaBLAST! Records
Of the past while in modern music, I can think of no other band like 'The Veldt'. They are (as they like to say) virtually unclassifiable and against the practice of being pigeon holed or tied to a particular scene; against conformity and against rules and regulations. They are also (in my humble opinion) possibly the most underrated band in past memory of alternative music in America. Their songs are beautiful yet nostalgic, comforting yet retrospective; simple yet genius. They originated years ago, their history forming around the musicality of twin brothers Daniel and Danny Chavis who single handedly punched through the burgeoning dream pop scene of Chapel Hill in the 90's and presented themselves as one of the most original bands to come from the underground scene in the USA. Over the years they were dropped and picked up by a succession of labels, toured internationally with some of the biggest names in the world and released a string of amazingly beautiful albums, one of which, 'Afrodesiac', I personally regard as one of the greatest albums of the 90's. Here then, years after a stint under the Apollo Heights moniker and following up last years dreamy-trap influenced The Drake Equation, is a new EP by 'The Veldt' entitled 'Thanks to the Moth and Areanna Rose': a collection of older tracks reanimated and re-recorded from the bands past catalogue. And while generally a re-visit to the past can lead to awkward and somewhat ‘has-been’ attitudes, 'Thanks to the Moth and Areanna Rose' is the exact opposite. It stands as a dreamy reminder of how important the band has and continues to be. The EP had it's full release back on the 3rd November 2017 and is available to buy/download right now via theveldtmusic.bandcamp.com
Thanks to the Moth and Areanna Rose by The Veldt
The EP opens with one of the greatest songs the band have ever written in their entire career: ‘The Colour of Love is Blue’. If you ever get the opportunity to listen to 1994's 'Afrodesiac' you will notice a deep and immersive theme of nostalgia running through the music, a friend of mine coined the term (when listening to their magnum opus ‘Heather’) ‘downtown 90’s New York dreaming music’; this theme continues strongly on ‘The Colour of Love is Blue’. Rehashed, the song now features a slower and steadier drum beat, coloured and contextualised neatly with hummingly shoegaze-echoed guitar tones and an even higher vocal performance by Daniel Chavis. This restrung version maintains the same magic of the original, while also utilizing a different mood via the technical wizardry of programmer/bass player Hayato Nakao… The breathy, emotive pipes of Chavis proclaiming the words ‘we’ll be happy in the end’ is enough to send chills down your spine. ‘Black and Blue’ follows with a much noiser and alt-rock base: the song reflects a claustrophobic yet mediative mood that echoes on its brilliant chorus. The guitar rises to the top of the mix, presenting impressive playing and musical texture by Danny Chavis, backed by the somewhat simple but effective thump of the drums.
‘Fit to be Tied’ harkens back to a similar mood that could be found on some of the Apollo Heights releases: atmospheric and the slow build of the instrumentation paint a beautifully dream-pop cencric picture. This track most predominately captures the bands new found practice of mixing technological-based production with the more traditional method of musical texturing. Often ignored in the music of both The Veldt and Apollo Heights are the lyrics, which when studied on ‘Fit to be Tied’ make one wonder why this is the case… The chorus, which Chavis declares with an original mix of power and contemplation, adds another level of depth to the music again. ‘Camus’ turns down the lights even more so, sounding like its original inception dipped in neon lighting: the trap-beats that ran rampart on The Drake Equation dance around in a pan-motion at the back of the music. Where the other tracks on this EP could be labelled somewhere between soul, shoegaze and dream pop, ‘Camus’ stands almost as a down tempo funk song, melding elements of R’n’B with ethereal wave-sounding guitars. If anything, ‘Camus’ perfectly captures a band in the midst of wearing their influecnes (positively) on their sleeve. ‘Dakini’ dives deep into the bands interest in hip-hop, the backing drums and programming bounce boomstatically like the backing to an East Coast hip hop mixtape. The vocals, which dance around in the backing of the instrumentation, mix playfully with the wizzes and the bangs of the various sample, keyboard, feedback sounds through the mix. ‘I Like the Way You Talk’ is a skeletal yet bouncily dreamy take that revisits the bands noisegaze aesthetics with a wall-of-sound approach to the backing of the music. The breathy and somewhat relaxing vocals and drum balance that snakes through the verse is also a refreshing contrast to the aforementioned noise and feedback. A bizarre and off-kilter remix of ‘Dakini’ appears to mix things up, which sounds somewhat out of place with the other songs on the EP…. But it remains all the while enjoyable.
Back in the day, a key player in the foundational structure of 'The Veldt' both musically and stylistically was one of their heroes and generally critically acclaimed producer and musician Robin Guthrie (Cocteau Twins)… Here on this EP his production on the opening couple of tracks are noticeably excellent and should be praised. The other tracks also retain a fantastic open air feeling of soaring, thanks to production from 'The Veldt' themselves. Although an EP of past tracks rediscovered could have come together in an awkward fashion, the EP is instead a happy and rewarding revisit into the past. I personally am thankful that songs like ‘The Colour of Love’ and ‘Camus’, which are extremely difficult to find (even in the YouTube age), have been reanimated, re-recorded and re-released to showcase how genius they truly are. Altogether I can comfortably say that 'Thanks to the Moth and Areanna Rose' is a gratifying and refreshing reminder; its true appeal is in the fact that it combines the past with The Veldt's new and re-stylised approach to writing music. It is a sign that one of the worlds most interesting and most engaging bands is still at it, and that the music they continue to create is as rewarding as ever. All I can hope for now is that the rest of the world turns their head and hears this band, hears their beauty, hears their creativity and most importantly, hears their terrifically brilliant 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 Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.
God Bless by The Citradels
Austrailian based experimental sound manipulators 'The Citradels' have released the first single to be lifted from their forthcoming eight independently released studio album interestingly titled 'God Bless'. Formed back in 2010 'The Citradels' traditionally created engagingly dynamic soundscapes filled with repetitive drones, fuzz and intense melody deftly underpinned with a subtle undercurrent of shoegaze. On this latest single release entitled 'Dawn Chorus' the Melbourne based five piece have channelled the sonic mindset of both Brian Wilson and The Byrds with an added touch of west coast coolness for good measure. 'Dawn Chorus' was released on the 22nd November 2017 and is available to buy/download right now via thecitradels.bandcamp.com
'Dawn Chorus' shimmers and floats atop a swirling cacophony of golden tinged sound waves filled to the brim with stunning five part vocal harmonies, jangling guitar progressions and subtle percussion. Cascading bass lines hum and dance alongside melodic orchestral arrangements adding instant warmth to the ethereal ambience. 'Dawn Chorus' is a welcome injection of summer sun to this damp European winter.
ARTIST: On The Wane
RELEASE DATE: 20th November 2017
RECORD COMPANY: Unsigned
Kiev based four piece 'On The Wane' merge a plethora of genres to form their collective sound, from sullen shoegaze to driving noise rock, throbbing post-punk to oscillating pulses of new wave and atmospherically tinged gothic influences. The band have returned with their third album, brilliantly titled 'Schism'. This new ten track LP follows on from their 2015 released long player 'Sick' and see's the band continuing on with their infatuation of brewing a heady and melodic concoction of stunning soundscapes. 'On The Wane' are Daria Maksimova - bass/vocals, Anna Lyashok - drums/vocals, Eugene Voitov - guitar/synth & Eli Demyanenko - guitar. 'Schism' gets it's full official release on November 20th 2017 and is available to pre-order right now via onthewane.bandcamp.com
Schism by On The Wane
'Schism' unfurls it's sonic tendrils swirling in a cloud of angry atmospherics as stunning vocalisations courtesy of Daria Maksimova ride a tempestuous feedback laden wave. 'Truth Isn't Bright' undulates on a pulsating wave of sequenced percussion and subtle bass frequencies underpinned with periods of fuzzy guitar and electronic whirrs. There's a truly magnificent post-punk edge cutting straight through this opening piece separated at times by jangling lead lines and the twang of whammy bar. Up next, 'Fear' creeps into earshot strapped to a bedrock of electronic percussion and the addictive hum of bass. Swirling vocalisations envelope the entire piece forcing you to focus primarily on their calmness as all around it swims in a dark atmospheric sea. Sublime guitars meld with catchy hooks steeped in reverb pulling this track into a raging break filled with tormenting instrumental progressions more akin to a kind of art-rock than anything else. It's a simply masterful track and really hard to tie down influentially making it a stand out piece on the album for me. 'Human Race' jangles into earshot swirling through layers of deep atmospheric reverberation wrapped around a blistering guitar progression. Sequenced percussion holds a motorik beat underfoot as undulating instrumental drones bellow and move atop throbbing bass frequencies. There are echoes of hard hitting post-punk meandering through these gothic tinged new wave vibes that intertwine with intense vocalisations. It's explosive chorus passages inject subtle moments of noisy shoegaze making it an utterly addictive listen.
'Sultry Song' drapes a sullen atmospheric film over proceedings as the pull of lead guitar battles vehemently through layers of reverb and busy percussion whilst continuously vying for space in amongst repetitive sequenced shakers and swells of dark fizzing synth. It's an angry animal; dark, oppressive and almost soundtrack like in it's approach thats majestically bolstered by another impressive vocal performance. Up next, 'Revenge (Deeper Than You Can Imagine)' bounds into the ether on a pulsating wave of off beat percussion, sporadic bass frequencies and resonating guitars. It's post-punk credentials are laid bare for all to see but there's an added hazy layer of production sitting just under the mix that makes this track stand out and watch out for the break half way through that will knock your socks off because the instrumental build that follows afterwards is absolutely immense. The slow almost metronomic opening bars of 'Alcohol' skulks into earshot riding a deep melodic bass line constantly harassed by punishing guitar stabs and menacing production theatrics. The vocal lines float effortlessly as it's verse parts play out, building in both intensity and atmosphere until we're finally thrown head first into a raging cacophony of instrumental noise as it's chorus parts shift up a gear and inject some fantastic noise-rock into proceedings. It's a blistering track and worthy of your ears.
'Drop Bombs' is a sonic call to arms and it explodes into a menacing crescendo with stunning vocal lines and brilliantly executed instrumentation culminating in a noisy angst ridden finale whilst 'The Real Coward' swirls around an opening guitar progression and a busy rolling drum pattern. It builds and builds before unleashing a broiling sonic behemoth filled with raging guitars and punishing production before calming into a slow burgeoning juggernaut, it's vocal lines leading the charge as we're led into a torrent of effortless noise. The albums penultimate track entitled 'Home' throbs as it enters the sonic arena. It's opening bars are instrumentally reminiscent of modern day psych with it's tumbling fuzz laden guitars and the angry throb of bass frequencies all riding a brilliant percussive beat but it's when the vocals arrive that this track comes into it's own. The collective instrumentation roll's and twist's to form a protective barrier around Maksimova's vocals, filling every space with noise and atmosphere and allowing the track to flow freely as it works through it's predesigned sonic structure. For me it shows another side to 'On The Wane', it's also pretty impressive and possibly my favourite track on the entire release. The album closes out rippling on a pulsating wave of fizzing electronics as a sullen vocal track materialises out of the ether. 'Bad News' draws fuzzy guitars and angry synths into the mix to meld with deep dark bass frequencies to deliver a short sharp shock. It's a brilliant ending to what is a very impressive album.
ARTIST: Curelight Wounds
RELEASE: Constant Mind
Brooklyn based noise makers 'Curelight Wounds' have returned with their highly anticipated follow up to their impressive 2016 four track EP release 'Wearing The Strings'. This new EP is the bands seventh release to date and is aptly titled 'Constant Mind'. It's as melodically fuzzy as it's predecessors and pulls with it many influencial genres of music from noisy shoegaze to post-punk, noise-rock to lo-fi. 'Constant Mind' gets it's full release on the 20th November 2017 and will be available to buy/download via curelightwounds.bandcamp.com from that date.
In a broiling undercurrent of senses pummelling instrumentation ‘Curelight Wounds’ unleash a sonic call to arms in the guise of ‘Sew It Back’, the opening salvo on this impressive collection of tracks and the EP’s lead single. Bass lines throb deliciously with post-punk abandon as they stick fast to a busy tambourine led percussive pattern and dodge the searing whip of those ever present lead guitars. It’s accompanying vocal lines quiver menacingly as they pulse through layers of reverb, brandishing an addictive 90’s alternative edginess that is very difficult to ignore. Up next, ‘Hot House’ is a swirling sonic behemoth that starts slow with those woozy whammy bar guitar theatrics before building progressively into a throbbing, bass heavy beast steeped in repetitiveness, screaming guitars and monotone vocalisations. It’s a sublime track and highlights what seems to me to be ‘Curelight Wounds’ perfecting the marvellous art of the ‘no nonsense’ two minute track that hits the nail on it's proverbial head.
The EP’s penultimate piece entitled ‘Distant Song’ shivers on a melody infused bass signature used primarily to instil a calmness as all around it explodes into a cacophony of noise. Guitar lines envelope nearly everything as a steady drum beat keeps meticulous time allowing the vocal lines to ride the tempo sitting comfortably in amongst the sonic melee. The ‘Constant Mind’ EP closes out with ‘Hard Sand’, a pulsating monster musically reminiscent of early ‘Pavement’ or even ‘The Fall’ with it’s driving bass signature, skittish percussion and those wailing guitars. It's a brilliant piece of music that ticks every sonic box as far as I'm concerned - fuzz, noise, throbbing melodic bass and tons of reverb. An absolutely brilliant end to thoroughly enjoyable EP.
Our good friends and Sicilian natives 'Clustersun' have unleashed a stunning new video to accompany the second single entitled 'Lonely Moon' to be taken from their highly acclaimed sophomore long player 'Surfacing To Breathe', released back in May 2017 via the brilliant Italian based independent record label 'Seahorse Recordings'. The band are made up of Marco Chisari - vocals /bass, Mario Lo Faro - guitars, Piergiorgio Campione - synthesizers/keyboards/backing vocals) & Andrea Conti - drums and their sound sits firmly within the shoegaze stable with underpinnings of post-punk, psych-gaze, goth and alt-rock. 'Surfacing To Breathe' is available to buy/download right now on various formats via clustersun.bandcamp.com
'Lonely Moon' swerves into modern dream-gaze territory as wave after wave of shimmering synth and soaring reverb drenched guitars loop & arc around a brilliantly executed drum pattern that carefully surrounds and protects that stunning vocal performance courtesy of Marco Chisari.
RELEASE DATE: 10th November 2017
Barcelona based neo-psych duo 'Telescope' unleashed their debut self-titled three track EP to the masses back on November 10th 2017. With a sound reminiscent of The Brian Jonestown Massacre, Dungen and Tame Impala this sweet little release caught our attention instantly. The band are made up of Esteban Garós & Luis Pomés and you can buy/download this impressive release right now via telescopebcn.bandcamp.com
Telescope by Telescope
The EP opens up swirling in muggy reverberating haze. Magically melodic sound waves intertwine with a rambling vocal performance as 'With Your Truth' unfurls it's sonic tendrils and explodes into a cacophony of colourful frequencies. Plodding bass lines meander and undulate brilliantly under busy percussion as catchy hook laden chord changes and the pull of fuzz laden guitars lead us into whirring, looping lead lines and sublime passages of neo-psychedelia. Up next, 'Adrift' bounced into the ether on a melodic bass signature as tambourine hits and swirling organ swells announce the arrival of a catchy lead guitar line and reverb laden vocalisations. It's chorus parts are utterly addictive and they show off the songwriting prowess that this duo possess. There's also a fantastic modern psych feel to this track although it does have passages of 60's psych pop attached to it's kaleidoscopic vibrations.
The EP closes out with 'Not Your Game', a tumbling shimmering behemoth that rumbles through a melody strewn landscape filled with addictive bass fills, explosive percussion and brilliantly executed instrumentation. Leads guitars lick and harass impressive vocalisations before that synth line permeates the ether and instantly adds golden atmosphere to proceedings. A masterful ending to brilliantly executed EP.
Fantastic Phoenix based desert-gaze trio 'Citrus Clouds' have unleashed a brand new psychedelically hued video to accompany 'Life Happens', the very first single to have been lifted from their utterly delectable seven track EP 'Ultra Sound'. The video was directed by Anthony Sziklay and it was shot in the Maryvale area of Phoenix back in the summer of 2017. We've been supporting this band for a long time after falling head over heels in love with their brand of reverberating shoegaze and those addictively dreamy vocal lines. The band are made up of Eric Pineda, Stacie Huttleston & Anthony Jarero and if you like what you hear you can get your hands on their complete back catalogue including the latest aforementioned 'Ultra Sound' EP via citrusclouds.bandcamp.com
'Life Happens' trembles on a quivering bass signature before opening up into a swirling maelstrom of mind numbing reverberations held fast to a punchy percussive swagger and overlaid by majestic vocalisations. A repetitive lead guitar line races in and out of the collective instrumentation casting magical sonic spells throughout the ether.