RELEASE DATE: 6th April 2018
RECORD COMPANY: Rocket Recordings
'Mien' are a collaborative movement of musicians who in their own individual parts have been personally involved in the creation of some of the most exhilarating releases to ever have graced our ears over the past twenty or so years. Borne back in 2004 whilst crossing paths on various tours and out of an inherent desire for sonic exploration by a quartet of musicians comprising of Alex Maas (Black Angels), Tom Furse (The Horrors), Rishi Dhir (Elephant Stone) and John-Mark Lapham (The Earlies), 'Mien' have created a self-titled debut that took fourteen years to come to fruition. It's inner workings are drenched with hallucinogenic nuances carefully stacked in a particular manner with each of it's individual players adding a specific penetrable layer to each of the tracks whilst trying to avoid falling headlong into the pitfalls of some previously explored sonic paths. It works, albeit in a frenzied, motorik and experimental kind of way through all of it's ten tracks. There are dark passages of atmosphere merged with wide scoped neo-psychedelia, brilliant broad spectrum sweeps through various music genres that all coalesce in one psych infused sonic surge, channelling psychedelic leanings from the past whilst inputting some modernistic sonic themes just for fun. 'Mien' was officially released back on the 6th April 2018 via the good folks over at 'Rocket Recordings' and is available to buy/download right now on various formats from rocketrecordings.bandcamp.com
MIEN by MIEN
'Earth Moon' spirals into audible range swirling melodically in a haze of sitar and keyboard before rumbling tribal drums and deep penetrating bass frequencies rattle it's teeth, in turn dragging steady vocalisations with them and we've set sail on a sonic voyage of discovery. This track builds brilliantly and leads the listener into those monumental chorus progressions with ease. Although it's eastern themed flair threads an already well stitched psychedelic formula, 'Earth Moon' has enough going on beneath it's stereotypical psychedelic leanings to help it stand out. Up next the undulating tones of 'Black Habit' fizz and dance on layers of swirling synths and dark reverberations. A repetitious bass line (for those clued in it originally appeared on The Horrors track - Sheena Is A Parasite) rumbles as that driving percussion pulls everything together tightly and Mass' vocals lean precariously on top of that surging instrumental growl whilst 'Im Tired Of Western Shouting' is tirelessly good. It's dystopia leaning credentials pulse and lull through passages of awe inspiring instrumentation and deep sonic crevices filled with a kind of lysergic sparseness, perfectly suited to host those melodic doom-laden vocal lines.
'You Dreamt' is distinctly electronic and a complete reimagining of the song 'I Dreamt' lifted from The Black Angels 2017 released Death Song. It rattles on a bedrock of breakbeats and sequenced atmospherics whilst being sonically assaulted by waves of raging noise and dark oppressive vocalisations up until the arrival of 'Other', and it's here that we're allowed to take pause. Swirling instrumental drones buffer and twirl as haunting reverberations take hold ushering in a deep bellowing bass tone; mesmerising in stature, it's swells of ambient samples rise and fall through clouds of nullifying reverb as we float in a kind of sonic static surrounded by twinkling lines of synth and punishing atmospherics that eventually blend into the absolutely immense 'Hocus Pocus'. This track begins swirling around yearning vocalisations and the twang of fuzzy guitar. Atmospheric swells of synth, subtle flutes and building electronics arrive and pulse in unison before slow menacing percussion launches us out into a reverb strewn landscape. Dark sonic permutations undulate through instrumental breaks reminiscent at times to Nine Inch Nails before we're pulled back into a huge pulse meandering sonic noise and on into it's final death throws. It's a mesmerising track and a definite highlight on this release.
'Ropes' shimmies into the sonic ether rattling on repetitive shakers and the eastern twang of sitar before creeping sequenced bass frequencies bounce and move beneath haunting vocalisations and the occasional pull of guitar. Cascading lines of synth enter the fray as the track begins to build and we trip out to some spectacular cosmic vibes before that wide instrumental break takes a slight pause before it sucks every single frequency into it only to belch them back out in spectacular fashion. There's more going on here than just sonic experimentation, there's a groove to each of these tracks that is very difficult to shake off. 'Echolalia' drones on a repetitive tone, pulsing and swirling through different pans before erupting into a distorted behemoth that circumnavigates a magnificent vocal line, occasionally whipped by feedback laden guitars, weirdly brilliant off-kilter backing and wonderfully warped production whilst 'Odyssey', the albums penultimate piece, has krautrock like tendencies with repetitive instrumentation, throbbing bass lines and that brilliantly executed vocal performance. The album closes out with the blissful 'Earth Moon (Reprise)'. We drop into hazy sonic frequencies filled with intoxicating eastern tinged swirls and marvellous progressions of guitar, swells of building synth and hypnotically peaceful vocalisations before meandering through repetitive verse/chorus progressions with ease until that slow moving break-beat arrives and we're swept away on ambient hued clouds of synth, rambling bass and sequenced electronics. It's a fascinating bookend to an absolutely marvellous debut 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.
RELEASE: Chiaroscuro - Italogaze 2018
RELEASE DATE: 11th May 2018
RECORD COMPANY: vipchoyo-sound-factory / seashellrecords
In recent years Italy has been leading the European charge when it comes to the resurgence of the underground shoegaze sound. Italogaze, as it has been coined, has brought a fresh aspect to this much maligned sound with most of the bands within the scene embracing newer sounds and recording techniques such as modern psych rock, synthwave, vaporwave or even darkwave and deploying them alongside those traditional alternative sounds like postpunk, noise rock and shoegaze resulting in some fantastic pieces of music. In an attempt to highlight some of the immense music coming out of the underground Italian shoegaze scene right now, two Italian-based independent record labels - vipchoyo sound factory (Naples) & seashell records (Palermo) have jointly released a compendium of tracks by some of the most significant bands of the current scene. This new compilation entitled 'Chiaroscuro - Italogaze 2018' aims to be both a representative sample of the so-called Italogaze sound and a jump off point for new listeners. Released back on May 11th 2018 this thirteen track compilation is available to buy/download right now from both vipchoyo-sound-factory.bandcamp.com & seashellrecords.bandcamp.com respectively.
Chiaroscuro - Italogaze 2018 by Various Artists
Up first are Milan-based 'In Her Eye' with a track lifted from their forthcoming long player 'Change', penned in for full release on June 1st 2018. 'Closer To Me' is a woozy fuzzed out slice of melody strewn, alternative led shoegaze with catchy chorus changes and soaring lines of lead guitar. It has subtle nods here and there to the forbearers of the shoegaze sound but there's a modern edge mingling in amongst those solid song structures. Up next, Rome-based 'Weird.' unleash the sublime 'Forevermore', a shimmering cloud of sonic melancholy filled with hazy passages of dreamy instrumentation and floating vocalisations whilst up next and hailing from Milan, 'The Mystic Morning' unveil 'Follow The Sun', a brilliant alternative leaning jangle of intricate guitars and steady percussion swirling around duel vocalisations that lead the listener into that magnificently hazy chorus charge. Next, Cosenza-based new wave/synth-gaze trio 'Electric Floor' bring a sound that leans into the experimental side of post punk mixed with the darker side of new wave and underpinned by a distinctly modern electronic edge to the compilation with the shimmering 'I Made It Up' whilst Naples-based alt-gazers 'Marys Restless Dream' unleash the jangling 'Crazy', a blissed out sonic thrill ride filled with mesmerisingly catchy instrumental progressions that ride woozy layers of reverberation with relative ease.
'Lay' bound aimlessly into the sonic arena straddling a tumbling percussive assault buffered by screaming feedback and the constant hum of bass. leaning heavily into the fuzzier side of shoegaze this track is a definite highlight on the release whilst up next, the Milan-based 'Obree' are comprised of Sara Poma (Emily Plays) and Fabrizio De Felice (Bialogard/Huge Molasses Tank Explodes). Their collective sound echoes a modern edge with elements of synth wave and shoegaze all wrapped up in huge swathes of melancholy. 'Breath' is simply beautiful and a serious recommendation from us lot here at Primal Music. Neapolitan dream-gazers 'Stella Diana' are represented here by 'Iris', a track lifted off their forthcoming and highly anticipated new album '57', penned in for full release on the 25th May 2018. ‘Iris’ jangles into the ether on repetitive lines of melodic guitar as it’s twinkling swells of synth dance and ebb through sticky clouds of reverb. I can hear some early post-punk connotations of The Cure echoed within it’s intricate guitar lines, some new wave leanings reminiscent of Echo And The Bunnymen and even some subtle Sisters Of Mercy vibes going on here also. ‘Iris’ builds ever so slowly and it gently leads it’s listeners into a peaceful break before exploding into a multitude of colours as we tumble through clouds of raging instrumentation and on into it’s blissful finale. Up next, Pisa-based quartet 'Klam' play post punk with a shoegaze feel, blending there sound with influences from 80's and 90's punk and indie rock. 'Begging For Money On Fb Chat' rattles on a layer of sequenced percussion as subtle swells of synth and intricate guitars envelope that impressive vocal take.
Hailing from Milan, 'Novanta' aka Manfredi Lamartina has been wowing the underground Italogaze scene since his earliest inception back in 2011. Constructing well attuned soundscapes that soar through layers of synth-wave, shoegaze, electronic dream-pop and alternative sounds, 'Novanta' is represented here by the beautiful 'Lovers', a sequential, slow moving, synth led monolith whilst up next 'Yellow Traffic Light' hail from Turin and create some stunning passages of music. Their debut EP 'Dreamless' was one of my favourite releases of 2014 and I'm so happy to see them on this compilation today.'Fukuoka No(の)Future' is a driving slice of melodic repetitiveness that balances precariously on top of that steady bedrock of percussion. Hard hitting vocalisations swirl and ebb as spellbinding webs of golden hued guitars are spun capturing lengthy sonic refractions that echo through layers of simmering reverb with ease. It's a sublime track and quite possibly my favourite on this entire compilation. The albums penultimate piece comes from 'Bestrass', a postpunk project from Bologna formed back in 2013 by Leonardo Cannatella - vocals/guitar, Iacopo Palasciano - guitar & Lorenzo Brogi - drums. Their four track debut EP 'The Seasons' was released back in 2016 and they are represented here by 'Rain', a slow moving, atmospherically charged slice of postpunk steeped voraciously in wide scoped reverberations with subtle hints of soothing post-rock. The album closes out with an alternate take of 'Ripples' by Modena-based psychgazers 'Rev Rev Rev'. For those of you new to the sounds of 'Rev Rev Rev' they combine the well worn sonic structures of shoegaze with expansive modern psych sections that veer off very, very slowly to the edge of doom, and back again. Their sonic palette uses fuzz in all its colours, from bright trebles to muddy, abrasive darkness and this in turn allows them to paint relevant sounding sonic soundscapes that do not disappoint. Quite simply, 'Rev Rev Rev' are one of the most important bands to have ever come out of the modern day underground Italogaze scene and I'm so happy to see them represented here on this release.
We usually steer clear of various artist compilations here at Primal Music simply because more often than not they are full of self-serving cover versions, misrepresented music genres or are just monumentally dull in quality. But every now and again something sublime comes out of the ether that we simply have to comment on. 'Chiaroscuro - Italogaze 2018' is a captivating celebration of a vibrant underground music scene filled with far seeing musicians & personalities who together have created something altogether magical. In my opinion, this compilation is one of the most important Italogaze releases so far. It incapsulates a music scene on the rise and will surprise some of the older shoegaze fans whilst captivating all of the new ones.
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.
ARTIST: Stella Diana
RELEASE DATE: 25th May 2018
RECORD COMPANY: Vipchoyo Sound Factory / Siete Señoritas Gritando
Neapolitan dream-gazers 'Stella Diana' have been one of our favourite Italogaze outfits since their sublime debut long player '41.61.93' dropped way back in February 2014. We've championed their every release since then, supported singles via our earliest radio shows and continuously spin music from them 24/7 over on our sister radio station - Primal Radio. You could say we've been hooked from the very early stages of their development. Formed back in 1998 by Dario Torre - vocals/guitar, Giacomo Salzano - bass guitar and later joined by Giulio Grasso on drums they wear a multitude of sonic influences on their sleeves. Steeped in shimmering sounds and referencing seminal shoegaze bands such as Ride and Lush, the dark-wave atmospherics of Bauhaus and Joy Division and even the new-wave structures reminiscent of Echo And The Bunnymen and The Chameleons, 'Stella Diana' are a deeply entrancing listen. Their intricate song structures weave intertwining sonics filled with a kind of melancholic atmosphere that never ever disappoints. Now the band have returned with what is their best long player to date. Simply titled '57', this eleven track opus delivers a more mature sounding 'Stella Diana', firmly establishing them as one of the most important bands to ever have come out of the underground Italogaze scene. '57' has it's official release on May 25th 2018 via both the Italian based independent record label Vipchoyo Sound Factory and the Spanish based Siete Señoritas Gritando respectively. It's available to pre-order right now on various formats via stelladiana.bandcamp.com
57 by Stella Diana
With a swirl of twinkling guitars underpinned by effervescent harmonics and a rush of delayed reverberation the opening permutations of ‘Lurine Rae’ completely captivate the senses. Like a child opening gifts on Christmas morning I tentatively wait for that typical ‘Stella Diana’ sound, that intricate web of frequencies that I’ve come to know over their previous releases; and they do not disappoint here. There’s a heady rush of fuzzy instrumentation as the track blissfully erupts into a kaleidoscope of colour, unfurling it’s sullen sonic tendrils with each sonic progression, introducing busy percussion and that addictive pull of bass before the vocals arrive floating in a hazy air of atmospherics. There’s a specific art-form to writing and painting melody into songs. ‘Stella Diana’ have that majestic art form perfected and it is highlighted in abundance here. Up next, ‘Naos’ spins into existence trapped in a swirling droning haze as slow moving percussion keeps a steady tempo as humming bass frequencies bubble and arc below layers of hazy guitar that collectively envelope another impressive vocal performance courtesy of the masterful Mr.Dario Torre. There are refreshing hints of post-punk, shoegaze and even psych-gaze here that are invigorating and are sure to catch the ear of older fans of the band. My only criticism is that the track is too short, but maybe I’m just being selfish!
‘Iris’ jangles into the ether on repetitive lines of melodic guitar as it’s twinkling swells of synth dance and ebb through sticky clouds of reverb. A slow percussive swagger accompanies floating vocalisations out into the mix as throbbing bass frequencies hover in a kind of suspended sonic animation. I can hear some early post-punk connotations of The Cure echoed within it’s intricate guitar lines, some new wave leanings reminiscent of Echo And The Bunnymen and even some subtle Sisters Of Mercy vibes going on here also. ‘Iris’ builds ever so slowly and it gently leads it’s listeners into a peaceful break before exploding into a multitude of colours as we tumble through clouds of raging instrumentation and on into it’s blissful finale. It’s a definite album highlight for me. The psychedelic incantations of ‘Harrison Ford’ are amazing and there’s a definite psych-pop tinge to this track that will have you harking back to those early melodic tones of The Stone Roses or even the melodic intensity of The La’s. It’s big, it’s brash, catchy as hell and it’s as addictive as they come whilst ‘Ludwig’ has hints of sullen dark-wave undulating just below it’s atmospheric exterior. Repetitive bass lines hum on top of synth and slow moving percussion as swirling lines of guitar ebb & flow through layers of reverb, pushing ripples of frequential refractions out into the sonic ether with each twist as it’s haunting vocalisations precariously balance on each pulse of sound. Again ‘Stella Diana’ use catchy chord changes here, building the track step by step until eventually it erupts into it’s magnificent finale.
‘Elaine’ is deeply melancholic, with it’s sampled beginnings, intricate golden tinged lines of guitar, those intense swells of synth and that brilliant addition of saxophone, this track is absolutely immense and it harkens back to some of Stella Diana’s earlier releases. It morphs into something altogether magical and is another highlight for me on this release. ‘Do Androids ...’ tumbles into audible range on a rolling drum pattern as cascading lines of bass cling to distinctly spacey progressions of synth and those rambling lines of lead guitar. Stella Diana’s fascination with all thing sci-fi are pushed to the fore here and there are some mesmerising passages of hazy instrumentation to lose yourself in whilst the slow moving opening bars of ‘Mrs Darling’ are intensely captivating. Reverberating layers of guitar float into the ether as the subtle pull of bass and that slow moving percussive assault accompany haunting lines of vocal out into the unknown. Reminiscent at times to Ride’s - Dreams Burn Down, 'Mrs Darling' is simply breathtaking.
‘Der Sandmann’, the albums lead track, sounds like it could have appeared on the bands last album - ‘Nitcrosis’. Inherently melodic and intensely atmospheric, it meanders brilliantly on a repetitive bass line sporadically whipped by swells of synth, subtle pulses of percussion and that ever present sting of lead guitar as Dario Torre’s yearning vocalisations swirl through clouds of atmospheric reverberations with relative ease. ‘Der Sandmann’ is absolutely sublime and it leads us effortlessly into the albums penultimate piece. ‘Lost Children’ shimmers on waves of cascading bass frequencies as slow moving percussion bellows just below the mix allowing beautifully intense progressions of guitar to cushion haunting vocalisations as they push through surging waves of golden hued production before disappearing from view completely and we fade out on the ever present repetitive hum of bass whilst the albums's outro entitled 'Caves' is a squally synth led slice of cinematic ambience and a wonderful closing piece on what is another spellbinding album by one of the best bands to ever have come out of the Italian underground music scene.
‘Stella Diana’ have a unique talent of not only writing catchy, melodically sound and instantly enjoyable songs but they also have a knack for pulling some of their various musical influences together, morphing them, twisting them and meshing them into something altogether new sounding. And just when you think you have their sound pinned down they change it up and confuse you all over again. With each of their album releases this band have continued to impress. Where some of the well known bands within this worldwide underground scene have fallen short as of late, 'Stella Diana' continue to fly the flag for the never waning Italogaze movement. In closing, ’57’ is absolutley immense and has instantly highlighted itself as my favourite release of 2018 so far.
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 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.
ARTIST: Sherpa The Tiger
RELEASE: Great Vowel Shift
RELEASE DATE: 18th May 2018
RECORD COMPANY: Fuzz Club Records
Hailing from Lviv, Ukraine, 'Sherpa The Tiger' deploy a serious arsenal of seventies leaning cosmic sounds on their debut five track entitled 'Great Vowel Shift' courtesy of erratic rhythms, Soviet era synthesisers and 1980's Vermona Formation 2 organs built in East Germany. From influential 60's/70's sounding krautrock underpinned with a bedrock of off kilter drum patterns to swirling 80's themed ambient hued soundscapes filled with twinkling synths and heady atmospherics 'Sherpa The Tiger' introduce a whole new layer of sounds to this burgeoning underground kraut/psych scene that flickers between danceable funk-ridden rhythms and vast electronic experimentation. 'Great Vowel Shift' gets it's official release via Fuzz Club Records on the 18th May 2018 and is available to pre-order right now on various formats via fuzzclub.com & fuzzclub.bandcamp.com respectively.
Great Vowel Shift by Sherpa The Tiger
‘Peninsula’ begins buffering in a haze of pulsing electronics closely monitored by it’s orbiting bass line. The arrival of driving metronomic percussion, a woozy accompaniment of guitar and whirring bleeps add brilliant atmosphere as they dive headlong in and out of swirling swells of simmering synth. There’s a kind of hypnotic repetitiveness here that is very very addictive and when interwoven with those intricate guitar progressions, cascading lines of various keyboard sounds and those understated sequenced electronics the collective sound transforms into something otherworldly. Up next, ‘Periscope’ shimmies into audible range trapped in a layered sonic patch filled to the brim with repetitive breakbeats, fuzzy sequential samples and luscious streamlined reverberations. Addictive bass progressions dance and hug swirling drones as the percussion track builds cyclically into a funked out psychedelic trip. There are definite 60’s/70’s krautrock tendencies here but they've been brilliantly dissected into an array of ambient sounds, injected with subtle indiscriminate psych-pop flourishes, deftly reimagined and washed with a shimmering sonic edge almost akin to modern dance music. ‘Periscope’ is sublime and quite possibly my favourite track on this entire release.
‘Golden Ratio’ gyrates endlessly on glossy dream laced swells of synth that build in intensity with each swirling circumference adding a mind-blowing 70’s sci-fi twist to proceedings whilst ‘Contre-Jour’ has a woozy groove laden undercurrent albeit accompanied by swirling drones and a monstrous synth line. A metronomic backbeat keeps the tempo solid while those swirling sequenced electronics and the funked out bass line cause havoc until we’re led into a magnificent break half-way through and catapulted out the back end into it’s glorious tripped out finale. ‘Contre-Jour’ is another highlight for me. The album closes out glistening in a neon tinged synth laden sheen as ‘Cavalcade’ swirls into audible range. It’s dreamy ambient strewn beginnings are quickly overpowered by a groove -laden bass progression, sequenced samples and that hypnotic percussive swagger. Swirling progressions of guitar and synth join the fray and we’re quickly swept away on melodic instrumental waves filled with repetitive hypnotic reverberations. It's a magnificent finale to a wonderful debut album.
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.
Sooner / Paris by Soft Science
Hailing from Sacramento Valley, 'Soft Science' flirt beautifully with a heady blend of shimmering pop orientated song structures deftly infused with 90's era shoegaze sensibilities, melodic dream-pop and a subtle understated tinge of 60's era guitar bands. The band are made up of Katie Haley - vocals, Matt Levine - guitar, Ross Levine - drums/backing vocals & Mason DeMusey on bass. 'Sooner' is the second single to be lifted from their forthcoming & highly anticipated long player 'Maps' (available to pre-order HERE) penned in for release via the California-based independent label 'Test Pattern Records' on June 1st 2018 and it follows on from the albums brilliant lead track 'Undone' which was officially released back in April 2018.
'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. The B-side to this single is a cover version of Northern Picture Library’s 1994 track ‘Paris’ originally released on another one of those covers compilations from TBTCI Records. As cover versions don't really float our boat here at Primal Music we'll leave it up to you to decide on this tracks viability.
'Sooner/Paris' is available to buy/download right now via testpatternrecords.bandcamp.com
Sin Iris by todavía
Seattle-based dream-gazer Todavía aka self-releasing multi instrumentalist Rhyan Riesgo has just released the stunning first single entitled 'Sin Iris' from the soon to be named new EP, penned in for release in early summer 2018. Following on from 2017's stunning full length album 'Shyness' (which earned Todavía a coveted spot on our best of 2017 year end tally) Rhyan moved lock, stock and barrel from Los Angeles to Seattle and we reckon this move has only solidified the outfits overall sound. Distinctly dreamy, with hushed synth swells, sequenced percussion, swirling guitars and shimmering reverberation all circumnavigating that almost ethereal vocal tone, Todavía is a sonic force to be reckoned with again this year.
In a swirling wash of melodic synth the breathtaking 'Sin Iris' floats into the sonic ether effortlessly. Twinkling sequenced percussion arrives on a whim throbbing wonderfully on top of deep booming bass frequencies as those angelic vocalisations, completely enveloped in luscious reverberation, wash over this listener. Melodically brilliant, this track lifts when required and dips into deep cavernous pools of echoing effects with ease. 'Sin Iris' is absolutely stunning and this in turn only bodes well for the forthcoming full release.
'Sin Iris' is available to buy/download right now via todaviamusic.bandcamp.com
'Shoot' is the first official release by swedish-french psychedelic/drone/synth act FARIDA taken from their upcoming EP. FARIDA is Jenny Faridas solo project backed up by Pelle Backman (bass) and Paul Sigerhall (drums) from swedish krautrock outfit Audionom, guitarist Fabian Grytt and also included for the live set up are Lisa Pyk (synth) from Vulkano and Martin Malm (visuals) also from Audionom. 'Shoot' was officially released back on April 11th 2018 and is available to buy/download right now via farida.bandcamp.com
'Shoot' is an intense melding of swirling atmospheric instrumental drones, fizzing synths, squally feedback laden electronics and deep penetrating bass lines that gently sway on a slow moving monotonous drum track. Jenny Farida's vocalisations are deeply hypnotic as they loop and arc through heady layers of dark reverberation that conjures up hazy psychedelic incantations with each passing word.
The video was filmed by Jenny Farida Thåström, Pelle Backman and Zackarias Elwin, with editing and visuals by Teresa Elizabeth Lobos (Lagomorphosis).
White Foam by TANGIENTS
Noisy Los Angeles-based outfit 'TANGIENTS' fuse driving post-punk vibes with ambient flair and gaze heavy pop sensibilities to create something altogether new sounding. Comprising of Chelsea Ray - vocals, Be Hussey - bass/synth with Stephen Becker on guitar they self-released their debut single 'White Foam' back on the 13th April 2018. The single is available to buy/download right now via tangients.bandcamp.com
'White Foam' bounds into the sonic ether strapped to a driving bass line as pounding percussion keeps a steady metronomic back beat and Chelsea Ray's stunning vocals swirl through layers of effervescent reverb. Sporadic whips of lead guitar harass the track to within an inch of its life and those menacing lines of synth lift the chorus parts brilliantly. As debut singles go, this is impressive stuff and it'll be very interesting to hear what comes next from this band.
ARTIST: Nest Egg
RELEASE: Nothingness Is Not A Curse
RELEASE DATE: 13th April 2018
Back in 2015, after releasing a handful of tapes and singles, North Carolina-based minimalistic kosmische/psych trio 'Nest Egg' unleashed their mind-expanding debut album 'Respectable' to the masses. With a repetitious but controlled sonic assault filled to the brim with swirling analogue sounds, cavernous guitars, droning synths and metronomic percussion, reminiscent at times to the sonic conjuring's of Moon Duo, Föllakzoid or Throw Down Bones, the band have returned with their sophomore release, the brilliantly titled - 'Nothingness Is Not A Curse'. Officially released back on the 13th April 2018 via the good folks over at Fuzz Club Records this hypnotic collection of tracks is a heaving, sweaty pulse of instantaneously addictive, swirling repetitious noise. 'Nothingness Is Not A Curse' is available to buy/download right now on various formats from either fuzz club.com or fuzzclub.bandcamp.com respectively.
Nothingness Is Not A Curse by Nest Egg
The album opens up swirling menacingly in an atmospheric haze filled with majestic synth, droning organ, shimmering tambourine and the metronomic pulse of percussion. At first ‘DMTIV’ presents itself like some kind of garage-psych behemoth but instinctively drives a sonic furrow into the ether as it’s krautrock like tendencies are brought to bear thus beginning it’s brilliant sonic circumnavigation of a repetitive beat adding various instrumental fancies into the melee with each repetitious turn. The chug of fret noise joins a hail of screeching guitar stabs, both attacking the senses at different stages as those malicious shakers join in and quickly pull haunting vocalisations into the mix to ride the turbulent waves into a rather distinctive post-punk hued lead break. ‘DMTIV’ is a triumph, a blistering opening salvo and wonderful jumping off point for this album. Up next, ‘Print-Process-Repeat’ jangles into earshot riding a swirling organ drone accompanied by the strum from a glistening guitar progression. Thunderous drums rock back and forth on waves of throbbing bass frequencies as that sullen vocal arrives, meandering in and out of woozy lines of lead as the ever constant swirl of organ rises and falls just below the mix.
‘Denied Doctrine’ charges into the ether strapped to a turbulent instrumental drone and that metronomic beat. The chug of guitars sways malevolently on a driving bass progression as the vocals arrive and are lashed to within an inch of their lives by stinging lead lines and breathtaking layers of reverberation. There’s a hypnotic tinge to this track that is instantly addictive right up until it absolutely loses it mind and explodes into a massive wave of surging noise and meanders on into it’s fantastic finale. ‘Denied Doctrine’ is sublime and another definite highlight for me on this release. Up next, ‘Long Night Outside’ drives into earshot on a repetitive bass signature and those charging drums. Abrasive guitars join in at sporadic intervals as it’s vocal lines arrive steeped in darkly atmospheric reverberation and add to to the overall feel of the track. There’s modern psych at the core of proceedings here but it’s mingled with post-punk and riotous rock & roll to create a heady sonic brew.
The albums penultimate piece entitled ‘Cognitive Dissonance’ is a burgeoning sonic monster filled with swirling synth, pounding percussion and humming lines of bass. Reverb tinged vocalisations ride the tremulous sonic wave as collectively, the instrumentation explodes into something more akin to punk-rock. ‘Cognitive Dissonance’ is absolutely captivating, utterly absorbing and a bloody marvellous track to behold. The album closes out with it’s self titled track. ‘Nothingness Is A Curse’ tumbles into the sonic arena on a repetitive percussive assault as atmospheric drones and electronic theatrics steeped in reverb conjure up ghostly sonic reflections and those noisy bass frequencies add intense menace. Explosive chord changes accompany sullen vocalisations into the breech as soaring lines of lead guitar oscillate and glide in and out of simmering synth and noisy delay laden progressions. There is an almost cinematic ending to this track that is worth your time all by itself and it closes out what is another stomping Fuzz Club Records release.
ARTIST: Moon Loves Honey
RELEASE: You Drift Away From Me
RELEASE DATE: 17th April 2018
RECORD COMPANY: Unsigned
Danish based dream-gazers ‘Moon Loves Honey’ have just self-released their debut nine track long player entitled 'You Drift Away From Me', the follow up to their stunning 2016 self-released debut EP 'Apart'. Their collective sound comprises of a hazy mix of melodic dream-pop deftly underscored with intricate indie-pop sensibilities, subtle C86 influences and blissfully layered shoegaze. Initially the brainchild of solo multi-instrumentalist Jeppe Dengsø, 'Moon Loves Honey' functions in the studio primarily as a one man band with various players and friends helping out on live duties when required. Jeppe Dengsø played most of the instruments on this album himself except; drums on tracks 1, 6, 7, 8 and 9 by Ludvig Kastberg & backing vocals on tracks 7 and 8 by Stine Drejer. 'You Drift Away From Me' was officially released back on the 17th April 2018 and is available to buy/download right now on various formats including lovely limited availability 12" vinyl via moonloveshoney.bandcamp.com
You Drift Away From Me by Moon Loves Honey
Beautifully translucent progressions announce the arrival of ‘To Be Without You’, the opening piece on this magnificent selection of tracks. Frequencies shimmer and flow through layers of stunning reverberation and the twinkle of synth as it’s melodic vocalisations arrive and instantaneously wash this listener in a wave of blissed out dream-pop interspersed by a glorious C86 haze. The constant pulse of synth, that slow & repetitive bedrock of percussion and those catchy chord structures are lusciously addictive whilst the bubble of cascading bass frequencies are also joy to hear. It’s a very strong opening salvo indeed. Up next, ‘Lonely Day’ fizzes into life straddling a lo-fi percussive swagger as swirling synth and jangling guitars take centre stage, both tumbling gracefully through the pitter patter of reverb and those catchy percussive fills. Instant melody fills the senses as lines of vocal arrive meandering in and out of catchy lines of keyboard with ease allowing the track to breathe. ‘Lonely Day’ leans a little bit into indie-pop territory although there are brilliant passages of dreaminess that simmer just below the mix.
‘You Drift Away From Me’ begins with some lo-fi percussive trickery before opening up into a wall of blissed out instrumentation absolutely drenched in swathes of sticky reverb. It swerves into the ether rocking brilliantly on a repetitive drum pattern as soaring lines of synth ride bouncing bass frequencies and hazy progressions of guitar. It’s verse parts are captivating as the collective instrumentation within envelops another impressive vocal performance and carefully guides us into that massive chord change and on out into the huge verses. ‘You Drift Away From Me’ is endearingly sublime and a definite highlight for me on this release. Up next, ‘Im Falling Out Of Love With You Baby’ swoons gracefully on shimmering lines of synth as ‘Moon Loves Honey’ dive headlong into a dreamy indie-pop haze once more. Riding a catchy drum sequence, this track has some fantastic highs but leans a bit too much into pop for me to comment on. Although those gorgeous chorus changes do introduce us to some fantastic vocal harmonies. The instrumentally aligned and ambient leaning ‘Blâ’ is simply captivating. It inspires images of frost laden landscapes and huge star filled skies whilst ‘Is It Just A Dream’ connects effortlessly as surging synths and pounding percussion unleashes the bands shoegaze side. Soaring guitars ride tempestuous layers of reverb as they accompany stunning lines of vocal out into the sonic ether. Those cascading bass lines are brilliant and they merge meandering lead lines, intricate melodies and some fantastic production. ‘Is It Just A Dream’ is a triumph and possibly my favourite track on this entire release.
‘Before I Crash’ begins with a single atmospherically repetitive synth line that quickly builds into a melee of beautifully layered sonic frequencies. This track explodes with melody as it’s soaring guitars, driving percussion and cascading lines of synth loop and arc throughout, deftly circumnavigating those blissfully ethereal, light and airy vocalisations. The albums penultimate piece comes in the form of ‘Should Have Waited’. A beautifully entrancing keyboard line pulses on a wave of reverb and it instils a kind of calmness over proceedings before this track explodes into a cloud of kaleidoscopic sonic waves and washes over the listener completely. Dual vocalisations filled with pockets of harmony swirl and ebb alongside shimmering guitars and busy percussion as the throb of addictive bass frequencies glide alongside glorious lines of lead guitar and the constant twinkle of synth. The instrumentation on this track is excellent and it crashes against layers of glistening reverberation with ease allowing those vocals to breathe gracefully. ‘Should Have Waited’ is another album highlight for me. The album closes out with the ambient stylings of ‘Replaced’. Coming in at a whopping ten minutes long this track falls headlong into a pool of swirling reverb as Jeppe Dengsø injects different layers filled with the beautiful melodics of C86, dream-pop, the subtle haziness of shoegaze and lashings of alternative atmospherics. There are highs, lows and some little psychedelic flourishes here also that bubble up from time to time and I can’t help but feel that this track was written to highlight a relationship breaking down or some lost love or other. Either way, it’s an absolutely magnificent ending to a wonderful debut album.
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