RELEASE: Call Of The Void
RELEASE DATE: 22nd June 2018
RECORD COMPANY: Fuzz Club Records
Oakland-based psychonauts 'Lumerians' create a mind-bending hypnotic brew filled to the brim with parts procured from various music genres such as experimental psychedelia, space rock, krautrock, noise rock, drone rock, electronica & dub. The resulting concoction is a thrilling excursion into the mystical & futuristic realms of contemporary psychedelia. Formed in San Francisco back in 2006 by Chris Musgrave - drums/percussion, Jason Miller - vocals/synth/organ/guitar, Marc Melzer - vocals/bass/synth and Tyler Green - guitar/synth/keys, the band relocated to Oakland just before the release of their debut album 'Transmalinnia', building their own recording studio called New Telos Sound in a former church. They released their sophomore LP 'The High Frontier' back in 2013 and two collections of improvised compositions called 'Transmission from Tellos III & IV'. They have also shared the stage with bands such as My Bloody Valentine, Killing Joke and Black Moth Super Rainbow. Now after a four year hiatus the band have returned with their third 'official' studio album entitled 'Call Of The Void'. The album is released on June 22nd 2018 via Fuzz Club Records and is dedicated to the memory of Barrett Clark, 'Lumerians' long-time friend, sound engineer and collaborator who passed away in the tragic Ghost Ship warehouse fire in Oakland 2016. 'Call of the Void' is available to pre-order right now on various formats via both fuzzclub.com & fuzzclub.bandcamp.com respectively.
Call Of The Void by Lumerians
The fizz of melodic electronics merge brilliantly with those swirling instrumental drones as ‘Fuck All Y’all’ arrives to permeate the ether accompanied by the slow pull of percussion and the deep throb of bass frequencies. Repetitive organ notes hover and glide just above the sonic melee whipped by tightly wound lines of lead guitar as we’re led into a magnificent break and momentarily guided out it’s back end by the lull of squally guitars and that hypnotically a-tuned metronomic tempo. ‘Fuck All Y’all’ serves up a sonic tonic to cure all ills and is a blistering opening salvo indeed. Up next, ‘Silver Trash’ pounds into existence on repetitive threads of motorik percussion as swirling synths meander through cascading lines of bass. Woozy guitars cling closely to that explosive drum track allowing the surge of electronic instrumentation, drenched in effects, to bring lines of vocal into audible range, all balancing precariously on top of tumbling swells of organ and whirring lines of lead guitar. ‘Silver Trash’ is a triumph, it’s absolutely phenomenal and a definite stand out piece on this album.
‘Space Curse’ bounces into the ether in a 70’s krautrock haze. Filled with intermittent bleeps and whirrs this track rocks steadily on a bedrock of rolling percussion as various analogue synths pulse lines of catchy chord sequences across booming bass frequencies deftly accompanied by fascinating lines of vocal whilst ‘Signal’ starts small but builds incrementally into a droning sonic behemoth filled with intense melody, ambient strewn breaks and lines upon lines of sequenced electronics. ‘Fictional’ rattles into the ether on a pounding drum track accompanied by hypnotically addictive bass progressions and soaring lines of synth. Duel vocal’s glide brilliantly here all enveloped by the swirling sonic maelstrom, adding squealing guitars and layers of stylish reverberation as fizzing electronica meets metronomic krautrock and collectively dives headlong into a broiling melee of lysergic tinged modern psychedelia.
‘Masters Call’ glides into audible range swirling on an instrumental drone as layers of reverb reach out to slow it’s momentum. Tumbling percussion accompanies booming pulls of bass as sequenced synths arrive to accompany those edgy lines of vocal merging brilliantly into one surging wave of psych induced electronica whilst the albums penultimate piece entitled ‘Ghost Notes’ is deeply atmospheric. Huge swells of reverberation embraces menacing lines of synth, rolling percussion and heady waves of bass frequencies as it’s entrancing vocal’s arrive meandering in and out of angry guitars and overpowering instrumental progressions eventually crescendoing into a magnificent bass led break that builds and builds all over again. ‘Ghost Notes’ is fascinating and another album highlight for me. ‘Call Of The Void’ closes out with ‘Clock Spell’ and instantly arrives strapped to a droning analogue signal and a slow moving line of structured percussion. Catchy electronic bleeps and whirrs accompany layers of reverb that seem to rise and fall brilliantly alongside those hypnotic vocalisations. It’s a blistering ending to a wonderful 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, postpunk & 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 genres 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.
Peach by Burning House
Southampton based alt-gaze trio 'Burning House' have just announced a brand new single entitled 'Peach', the follow up to their sublime four track debut EP 'Tracer' which was released back on the 17th February 2018. The band inject blissed out noisy infusions into melody driven song structures adding conscience shaking melancholy along the way to create something altogether infectious. 'Peach' was officially released back on the 8th June 2018 is available to buy/download right now via burninghouse.bandcamp.com
'Peach' jangles on multiple layers of fuzzy reverberation as it's intricate guitar progressions spin overlapping sonic webs that envelope an impressive vocal line drenched in blissed out melancholy. 'Peach' is another impressive track by a band who continue to amaze!
ARTIST: Lay Llamas
RELEASE DATE: 15th June 2018
RECORD COMPANY: Rocket Recordings
It's been four years since the release of Italian-based sonic manipulators 'Lay Llamas' sublime debut album 'Østro' on Rocket Recordings and since then their sonic manifestations have gone from strength to strength. Since the departure of Gioele Valenti (now with his own band - JUJU) 'Lay Llamas' have come solely under the command of Nicola Giunta who has reimagined their collective sound into something otherworldly, melding the rhythmic side of krautrock with afrobeat, neo-psych, electronica, spoken-word and experimental atmospherics. Having put out a number of smaller releases on labels such as Backwards, 4 Zero and ArteTetra, 'Lay Llamas' under Giunta's guidance have played on the live circuit with some heavy hitters from the modern psych scene such as the infamous 'Goat' at London’s Roundhouse and effortlessly managing a sonic demolition job of some considerable force at Liverpool International Festival of Psychedelia. Now they have returned to Rocket Recordings to unleash the latest chapter in this fascinating story. Their latest long player entitled 'Thuban' is an eight track sonic rollercoaster of unparalleled psychic abandonment featuring contributions from members of 'Clinic' and 'Goat' along with spoken-word contributions from Mark Stewart of 'The Pop Group' fame. 'Thuban' gets it's official release on the 15th June 2018 and is available to pre-order right now on various formats via rocketrecordings.bandcamp.com
Thuban by Lay Llamas
Melodic wind strewn instrumentation buffers and whirrs as the opening salvos of 'Eye-Chest People's Dance Ritual' arrive pulling twinkling frequencies with it as swells of synth rise from deep below the mix. Metronomic drum patterns dance repetitively alongside the throb of melodic bass and sequenced electronics as those hazy vocalisations meander into audible range attached to woozy instrumentation and the pull of guitars. Instrumentally sublime, this opening track is deeply captivating and filled with sonic brilliance. Up next, 'Holy Worms' swirls into the ether strapped to a boundless swagger filled with busy drum patterns and the hypnotic sway of percussion. Funky bass progressions meander in and out of fizzing lines of synth, tremulous guitars and hypnotic sonic vibes as Giunta crafts something altogether spiritual in nature whilst 'Silver Sun' drones into existence on squally lines of electronic atmospherics and the gentle swing of fizzing reverberations before opening up into a charging rhythmic beast that rises and falls through walls of addictive instrumentation with relative ease. Manifestations of sax and pulsating bass progressions add distinctly addictive sonic flavourings to the track and they envelope another impressive vocal performance.
'Cults and Rites From The Black Cliff (Ft. Clinic)' is an instant album highlight. It's darkly atmospheric beginnings pulse those penetrating bass frequencies out into the ether, unfurling heady waves of dystopian led sonics that loop and arc at will throughout. Distant wails of sax penetrate the hazy clouds of reverb and those menacing electronics as the metronomic pull of afrobeat and middle-eastern styled krautrock meets to form a brand new sonic singularity, moving as one collective that pushes a massive wall of delicious noise before it before finishing up dancing on a wave of sax and acoustic guitar. 'Cults and Rites From The Black Cliff (Ft. Clinic)' is absolutely mesmerising and worthy of your ears. Up next, 'Altair' features those magnificent sonic alchemists 'Goat' who provide a kind of psychedelic serenity alongside the fizzing psychedelic vibes created by Lay Llamas and this track doesn't disappoint whilst 'Fight Fire With Fire' featuring the dystopian hued spoken-word courtesy of Mark Stewart hangs suspended in a sea of glitchy reverberations and pulsing electronic atmospherics. Crawling feedback laden frequencies pull repetitive percussion and throbbing lines of melodic bass into the mix, instantly injecting structure and clarity into proceedings. This is addictive, brilliantly produced and another album highlight for me.
The albums penultimate piece comes in the guise of 'Chronicles From The Fourth Planet' and this track title maybe feeds on one of the albums main themes. The albums press release stated that - "Dwelling in the night sky of the Northern hemisphere, Thuban (named after the Arabic for ‘snake’ also known as Alpha Draconis, and sometimes as the ‘dragon’s tail’) was the star closest to the North pole from the fourth to the second millennium BC. Yet in a migration that perhaps allows us to consider our own insignificance in the realm of the cosmos, its never-ending trajectory will mean that it will once again become the polar star by 20346AD. It’s a star system powered by mystical significance enough for both Matt Groening to include it in Futurama and for David Icke to consider it the homeland of the shapeshifting reptiles that he maintains secretly control Earth". 'Chronicles From The Fourth Planet' opens up in a heady psychedelic cloud filled with distant instrumental drones, throbbing lines of bass and oodles of reverb. Pulsing percussion courtesy of Indian tabla drums arrive pulling noisy lines of lead guitar and the undulating echoes of hazy vocalisations with them as contrasting twangs of acoustic guitar inject catchy chord changes highlighted by cascading bass progressions and layer upon layer of delicious atmosphere. Surging swells of synth add intense weight to proceedings as we rise and fall through heady waves of jittering frequencies and are eventually lulled into submission in tracks final throws by the sway of instrumentation and the peaceful sound of waves washing the shoreline. The album closes out with 'Coffins On The Tree, A Black Braid On Our Way To Home'. A repetitive bass progression hugs the rumble of percussion and the twinkle of instrumentation as swirling drones and infectious electronics wash over this listener. This track builds ever so slowly, adding brilliantly executed layered vocalisations, sublime production and slow moving drum patterns into the mix as those heady lines of guitar join in with melee of collective sounds to create something altogether magical. It's a fantastic closing track and a fitting ending to what is a marvellous album.
Self styled 'space-gazers' and Hong Kong natives 'Thud' have just unleashed a brand new video to accompany their latest single entitled 'Ado', produced by the band themselves in Hong Kong and mixed in Leeds over in the UK by the ever prolific Matthew Johnson at Suburban Home Studio (Hookworms, Eagulls, The Spook School). 'Thud' are made up of Andy & Sky on guitars, Wang - bass, Wai - drums and Kim on vocals/synth. 'Ado' is released via long term collaborators 'Songs For Children' and a new UK-based indie label 'Ghost Crew Records'. The video was directed by Neo Yeung and the single 'Ado' b/w 'Still Still' is available right now digitally HERE and is released later in the year on 7" vinyl.
'Ado' is a slice of summer sun drenched in luscious reverb with the ability to soar into the ether at will with layers of guitar, swells of synth and pounding percussion all enveloping a stunning vocal line. Simply magnificent.
ARTIST: Soft Science
RELEASE DATE: 1st June 2018
RECORD COMPANY: Test Pattern Records
Sacramento-based 'Soft Science' reside in the grooves between music genres, pulling different influences from each to create something altogether sublime. From shoegaze to dream-pop and power-pop to alt-rock, each of the aforementioned genre's sonic impressions are brilliantly compressed and honed until their forms have been collectively reimagined into one intensive surge of melody. The band are made up of Ross Levine, Katie Haley, Matt Levine, Tony Cale & Mason DeMusey with influences ranging from The Beach Boys to Lush, Pale Saints, Teenage Fanclub, New Order and Jesus And Mary Chain. Their latest long player entitled 'Maps' was officially released back on June 1st 2018 via the good folks over at 'Test Pattern Records' and is available to buy/download right now on various formats via testpatternrecords.bandcamp.com
Maps by Soft Science
In a haze of fizzing guitars and dreamy melody the opening bars of ‘Undone’ permeate the senses with tingling clouds of shimmering reverberation. Swirling sound-waves charge skywards as a steady drum pattern tethers itself to those sublime swells of synth and the throb of luscious bass allowing that alluring vocal line to meander in and out of the collective instrumentation with relative ease. ‘Undone’ is captivating and a marvellous opening salvo indeed. Up next, ‘Breaking’ bounces into audible range strapped to a tumbling line of synth and a fast injection of tempo. Surging swells of keyboard dance just below the mix as jangling guitar progressions envelope those magical vocalisations and we’re pulled into that soaring chorus break. Catchy chord changes here erupt as we rise on clouds of synth and tumble into reverberating walls of beautiful noise. ‘Diverging’ charges into the ether on a pounding swagger of percussion as the throb of bass as those swirling lines of synth pull beautiful vocalisations out into the open allowing fuzzy guitars to ebb and flow with ease. There’s a brilliant instrumental break here that rises majestically, bursting through layers of hypnotic synth, swirling guitars and boisterous drums to allow subtle vocal refrains to peek through until the tracks end. ‘Diverging’ is a triumph and a definite highlight for me on this release.
‘There’ arrives grinding through layers of reverberating guitars before that melodic vocal line takes hold and pulls the listener skywards. This is an absolutely magnificent slice of dreamy shoegaze tinged with simmering flourishes of dream-pop. Lines of lead guitar whirr and intertwine brilliantly with those catchy chord structures as swirling instrumental drones circumnavigate the entire track creating cyclonic frequencies that bounce and jostle for space in amongst lines of humming bass and hypnotic synth. There’s a subtle tinge of Californian psychedelia emanating from 'Apart' that is addictively delicious. That off beat jingle of tambourine coupled with the flutter of organ and that slow moving drum track instantly captivates as we’re led into a magnificent change of tack and those lead guitars whip and harass the piece into submission. The vocal lines here flow cleanly, easily hovering over that laid back groove too which only adds to the overall feel of the track. ‘Sooner’ soars into the ether on cyclonic waves of simmering synth, humming bass and jangling guitars that all meld effortlessly with those dreamy vocalisations courtesy of Katie Haley. Catchy chorus changes reminiscent of seminal era Lush are intensely captivating here also as are those twinkling tambourine shakes that arrive sporadically to ride that steady percussive swagger.
‘Know’ explodes into a riotous kaleidoscope of colourful sonic waves as those arcing 80’s themed synth lines merge with charging bass frequencies and the sheer rage of percussion. Swirling guitars circumnavigate around the vocal track menacingly, backed up with lines of lead and oodles of reverberation as we’re led through a brilliant song-structure and catapulted out into the ether. ‘Know’ is sublime and another highlight for me on this release. The serine opening bars of 'Still' meander into audible range gliding on lines of synth and layers of fuzzy guitar. It’s melodic vocal lines ride a steady wave of percussion and juggle blissful chord changes with ease. It’s a little slice of summery summer vibes all wrapped up in one dreamy shoegaze package. The albums penultimate piece comes in the form of ‘Enough’. Noisy guitars pull glistening swells of synth out into the open as that brilliant drum track keeps a metronomic tempo underfoot and the throb of bass frequencies tingle the senses. Vocal lines shimmer as they glide through those verse progressions and sparkle brightly as those twinkling electronics arrive and the soaring lines of synth carry them skywards through the scintillating chorus progressions whilst ‘Slip’, the albums closing piece, is one minute and twenty four seconds of melodic bliss and a fantastic finale to a wonderful album.
Slow Science by Night Tide
'Night Tide' hail from Caen, France and create hazy modern themed shoegaze permeated by 80's/90's indie-pop and subtle post-punk connotations reminiscent of Alvvays, Snail Mail, The Cure, New Order and The Stone Roses. The band are made up of Lucie & Dorian and they adhere to a DIY manifesto (which we applaud them for) of writing, recording & producing their music in their living room.
Their latest single entitled 'Slow Science' is a wonderfully melodic slice of summer with intricate lines of guitar overlapping catchy hooks and brilliantly executed vocalisations. 'Slow Science' is the first single from a batch of tracks that will eventually go on to the form their debut EP. We love it and can't wait to hear more from them going forward.
'Slow Science' had it's official release on June 6th and is available to buy/download right now via nighttide.bandcamp.com
Diving by Corasandel
Lincoln-based ambient tinged experimental shoegaze duo 'Corasandel' have announced a brand new single entitled 'Diving' b/w 'Tape Interference'. Continuing Corasandel’s work with local musicians, producers and labels the single will have it's official release on June 12th 2018 via 'Old Tin Box Recordings'.
'Diving' meanders into the ether jittering precariously on a slow but busy percussive sequence accompanied by instrumental drones and intricate lead lines that ebb and flow brilliantly just above humming bass frequencies and oodles of reverb. Melodic in stature, it's vocalisations are hushed yet impressive and they wash over the entire piece effortlessly until we're led into that ambient strewn break where we float on waves of shimmering atmospherics. The singles b-side is an experimental gem. 'Tape Interference' could have been lifted from experimental pioneers 'The Telescopes' latest release 'Stone Tape'. It pulses into life straddling swells of atmosphere as ambient electronics dance and whirr pulling fret board theatrics into the ether that rise and fall into deep resonating pools of wonderful reverberation with ease.
'Diving' is available to pre-order right now via corasandel.bandcamp.com
L.A natives and good friends 'The Cabin Fever' have unleashed a tantalising new track entitled 'The Brown Bunny' and it's slightly voyeuristic accompanying video to the masses marking a new phase (it seems) in the bands development. Following on from January 2018's 'Exercise The Demon' EP this new track feels different although we're still trudging through deliciously melancholic and darkly imaginative soundscapes previously explored on the aforementioned EP, the musicianship on this single has tightened up and there's a surreal calmness surrounding the sound that we really like.
As usual, Joel Bedolla, Tripp Beam and Jon Joseph have supplied their collective instrumental talents to bring guru Sean Moriarty's sonic expressiveness to life and the video was shot "inside the famed Sunset Sound studio in Los Angeles with the purpose of bringing the viewer, as a close observer, into the experience of recording and playing this song". Bill Mims took care of the audio engineering with D.P. & cinematographer Nate Klein capturing the visuals, and Kevin Strick tied it all together directing and editing the film.
'The Brown Bunny' is out now and you can still get your hands on 'Exercise The Demon' on various formats via thecabinfever.bandcamp.com
RELEASE: Some Time
RELEASE DATE: 25th April 2018
RECORD COMPANY: Unsigned
Hailing from Dallas, Texas, melancholic shoegazers 'Loom' have taken a slow almost processional approach to writing and recording their debut five track EP entitled 'Some Time'. Taking a year and half to create something this interesting stands as a testament to their songwriting skills. Self recorded, engineered and produced 'Some Time' skips nonchalantly through melodic passages of hazy shoegaze, slowcore and noisy alt-rock, showcasing a sound that some might be familiar with whilst newer arrivals to the scene will find endearing. The band are made up of Casey Dorris - guitar, Greg Nunn - guitar, Skylar Schexnayder - vocals, Sam Beaty - drums & Hunter Davis - bass. 'Some Time' was officially released back on the 25th April 2018 and is available to buy/dowmload right now via loom1.bandcamp.com
Some Time by Loom
Swirling clouds of fuzz permeated by twinkling lines of melodic guitar swings meticulously on top of slow moving percussion as ‘All I Ever Wanted’ enters into audible range. Hushed vocalisations dive into the melee of sound-waves bouncing alongside whooshing crash cymbals and the warbling hum of bass frequencies as we tumble brilliantly through layers of whirring reverberations. Up next, ‘Memories’ arrives on tingling layers of soaring guitars as the ping of sparse percussion keeps a rag-tag kind of tempo. Again we move slow here, dragging heady doses of fuzz into those haunting lines of vocal as the boom of heavier drum patterns keep a steady metronomic beat. There are sounds here reminiscent of underground acts like the UK-based ‘Dose’, Virginia-based ‘Keep’ or even those noisy Texans ‘Glare’. Impressive stuff and a definite highlight on this release.
‘Some Time’ rumbles into life rolling on a barrage of snare hits before diving headlong into deep resonating pools full of noise, fuzz and reverb. Jangling guitars accompany melancholic lines of vocal out into the abyss as we glide effortlessly through those hazy verse progressions before exploding into a chorus section packed with kaleidoscopic sound-waves. Ohh, and watch out for it’s intensely good swirling psychedelic finale. ‘Interlude’ does exactly as it says on the tin. Vocal samples cling to layers of reverb drenched guitars and meander brilliantly whilst the EP’s closing piece is probably the best track on the entire release. ‘Your Existence’ floats into the ether on waves of guitar, slow moving percussion humming bass frequencies and senses pummelling reverberation. It’s vocal track projects itself in as kind of off-kilter kind of way, hovering just below the mix but close enough to those impressive guitars so as to be noticed. Clocking in at over six minutes long, ‘Your Existence’ is definitely worth your time. All in all, as debut EP's go, ‘Some Time’ is a cracking little listen and it’ll be very interesting to hear what these guys do next.
ABOUT THE AUTHOR:
When South American-based boyfriend/girlfriend duo of Sofía Aguerre and Leandro Rebellato aka 'Las Cobras' popped up on our sonic radar last year they instantly became firm favourites of ours. Their heady concoction of swirling, hypnotically charged krautrock, porto-punk, subtle shoegaze and hazy sun kissed rock n' roll helped us to immerse ourselves into their brand of Latin American psych and in turn firmly established them into the modern day fuzz fuelled psych firmament. Their debut album 'Temporal' had it's official release via the ever brilliant London-based 'Fuzz Club Records' way back in May 2017 and became an instant fan favourite, ended the year on a plethora of year end lists and catapulted them into one of modern psych's most exciting new bands.
To celebrate Fuzz Club Records repressing their debut album 'Temporal' for a second run, 'Las Cobras' have unveiled a beautiful new video for 'Al Más Allá' (translating from Spanish to 'the afterlife'). There's a tinge of garage psych streaming through the inner core of this track that is quite alluring but it's the pull of traditional percussion, jangling guitars and droning synth enveloping a magnificent vocal line drenched in glorious reverberation that peaks our attention. The video for 'Al Más Allá' is sublime and was created by the band themselves in Cabo Polonio, a tiny fishing village on the east coast of Uruguay that still has no electricity, confronting the passage of time and evolution. 'Temporal' is available to pre-order on lovely vinyl once more via fuzzclub.com and digitally over at fuzzclub.bandcamp.com