Tús Nua - Horizons - Featured Image - (700x700)

ALBUM REVIEW | Tús Nua - Horizons

Tús Nua - Horizons - Post Image - (300x300)ARTIST: Tús Nua 

RELEASE: Horizons 

RELEASE DATE: 15th September 2017

RECORD COMPANY: Unsigned

Every once and a while a brand new band comes along and gets me really excited about their music. Usually this aforementioned band comes straight out of left-field, far away from the usual underground cyclical music fraternity but with music that has the power to grab me by the ears and throw me willingly around a room. Back in July 2016 a little known band from Zagreb by the name of Tús Nua released their debut single 'Matches', then followed it up in July 2017 with their second single, the stunning 'Geysir', and I instantly fell in love with their sound. Collectively it consisted of melodic & atmospheric post-rock peppered at times with impressively hazy shoegaze moments that occasionally leans slightly into alt-rock territory and drags with it stunning vocalisations and impressive production values. This perfect combination of sounds have led the band to release their debut nine track album back on the 15th September 2017 entitled 'Horizons' and with the help of friends and fellow musicians they have put together one of my favourite albums of 2017 so far. The band are made up of  Jordi Ilić – guitar/vocals/synths, Jelena Božić – guitar/vocals/synths & Matea Milevoj – bass guitar/back vocals/synths with guest appearances on various tracks by Sara Ercegović (ŽEN), Goran Grey (###), Lucija Potočnik (Irena Zilic), Eva Badanjak (ŽEN) & vana Picek (π). 'Horizons' is available to buy/download right now from tus-nua.bandcamp.com

Hazy, reverberating sonic reflections intertwined with sullen chord progressions build into an atmospheric crescendo as 'Tendons' winds itself up into a brooding maelstrom of sound. Subtle electronically styled percussive hits add intense depth as the track explodes into life pulsing haunting vocalisations out into the ether. It's luscious guitar progressions swirl in a magnificent undulating sweep through resonating refractions and echoing instrumentation. Up next, 'Matches' washes into audible range trembling on a thread of  brilliantly atmospheric post-gaze. It swoons as its harmonious vocal track floats through the ether on a swirling foundation of addictive lead guitar licks and undulating synth lines. Its steadying percussive attack holds everything in place, gracefully leading the listener into explosive tempestuous finale thats filled to the brim with dreamy post-rock promise. 'There's A Thin Line Between Everything' jangles on a tremulous guitar progression as that haunting vocal track sucks you into the piece and leaves you floating brilliantly on swathes of shimmering reverb. Instrumentally this track ebbs and flows through explosive bass filled passages underpinned by mesmerisingly hazy guitars and stunning effects laden production that is steeped in ethereal atmosphere. 'Postcards With All Sorts Of Phrases' soars into the ether on streamlined guitars and ghostly atmospherics. 'Tús Nua' have this uncanny knack of building tracks slowly, before twisting and morphing them into massive melancholic beasts that teeter nervously on brilliantly executed drum patterns. Their tracks linger on addictive passages of guitar before diving headlong off the edge into mesmerisingly deep pools of shimmering shoegaze orientated instrumentation before climbing out and starting all over again. 'Postcards With All Sorts Of Phrases' is one of those tracks that brings you on a sonic journey from it's opening bars straight through until it's effects laden death throws. Simply stunning!

Up next, 'Geysir' opens up in a haze of jangling guitars, subtle synth swells and noisy atmospherics. Steady percussion keeps a firm bedrock underfoot as throbbing bass frequencies bubble and skip through entrancing verse progressions, deftly enveloping those impressive vocal skills. It soars through it's chorus parts with relative ease, swirling and tumbling through layers of reverberating instrumentation and magical lead lines effortlessly whilst 'Hills' fizzes into life on a 80's post-punk type of vibe before those sequenced synths start up and drag it into the modern age. Sublime vocals lead meandering guitar progressions on a merry dance through electronically charged percussion and subtle swells of synth led bass frequencies as those yearning vocalisations swirl and shimmer majestically. 'Fight!' is an angry brute that barks into life held fast to a punishing guitar progression as that slow moving percussion grinds through the ether on a wave of bass heavy frequencies and cascading lead lines. It builds into a menacing sonic behemoth dragging a vocal line out from somewhere within and drenching it in an interesting mix of post-rock, psych-rock and alt-gaze before 'Obvious' arrives on a lighter note with melodic guitars and blissed out vocals clinging to the throb of bass and a busy drum pattern. Lead guitars meander in and out of the overall mix as heavier passages of instrumentation rise and fall brilliantly, streaming through hazy reverberations and subtle lines of bubbling synth. The album closes out on a post-rock orientated gem. 'Repeat' is steeped in atmosphere and is underpinned from the off by another impressive percussive display that lays down a bedrock for those repetitive lead lines and that amazing vocal take. The hum of bass expertly hovers over deep lying synth as the track slows down to an addictive pace with 'Tús Nua' injecting a sort of lysergic/psychedelic hue into proceedings before fizzing out into a peaceful finale. A masterful end to a wonderful album.

5/5

LINKS: 

tus-nua.bandcamp.com

facebook.com/tusnuaofficial/

twitter.com/tusnuaofficial

ABOUT THE AUTHOR: 

Del Chaney - (Author Photo)

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.


Citrus Clouds - Ultra Sound - Featured Image - (700x700)

EP REVIEW | Citrus Clouds - Ultra Sound

ARTIST: Citrus Clouds

RELEASE: Ultra Sound

RELEASE DATE: 22nd September 2017

RECORD COMPANY: Custom Made Music

Phoenix based desert-gaze trio ‘Citrus Clouds’ have announced the highly anticipated follow up to their debut full length album ‘Imagination’ which was released back in November 2016 via Custom Made Music. This new release entitled 'Ultra Sound' has it's official unveiling on the 22nd September 2017 and it consists of seven brand new tracks that swirl effortlessly in a sonic style that only 'Citrus Clouds' can create. The band are made up of Eric Pineda, Stacie Huttleston & Anthony Jarero and collectively they create stunning soundscapes that swim effortlessly through swathes of reverberating shoegaze and addictive, dreamy vocal lines that are impressively underpinned by steadying percussion and sublime instrumentation. 'Ultra Sound' is available to pre-order right now via citrusclouds.bandcamp.com

The repetitive tap of percussion announces the EP's opening track entitled 'Ocean Eyes' and it not long before we're awash in that Citrus Clouds trademark luscious wall of melody. Hazy guitars underpinned by the subtle throb of bass frequencies collectively swirl around that impressive vocal performance. There's a brilliant ethereal vocal highlight that touches each line throughout the chorus parts and that instantly catapults this track into a fantastic dream-pop state and it marks another level in 'Citrus Clouds' continuously evolving sound. Up next, 'You Loved Me First' fizzes into life held fast in an addictive shoegaze orientated cloud. Beautifully melodic duel vocal tracks meander through warbling guitar stabs and humming bass lines as that steady percussive swagger holds perfect time. Catchy chord structures and hook laden instrumental sequences mark this track out as a favourite of mine and let's not forget that impressive lead break and its soaring reverberations. Simply stunning!

'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 whilst 'Happy' (reminiscent at times to early 90's era 'Lemonheads') explodes into a cacophony of hazy sound waves and lazily undulates through laid back vocalisations, catchy chorus lines and sticky instrumentation that seems to linger long after the track ends. Up next is another favourite! 'Is This Real?' echoes in a 4AD kind of way. It's opening salvos sound like thunder before mellowing out into a melody driven slice of blissed out desert gaze. Jangling guitars ride a busy drum pattern deftly delivering that immense vocal take as it's distinct chord changes are permeated by the throb of bass and deep echoes of reverb.

The EP's penultimate piece entitled 'Here Is Where We Are' is drenched in luscious reverb and this helps immensely with it's atmospheric opening bars, instilling a kind of fragility that is both addictive and melancholic all at once. As per the norm for Citrus Clouds this track unfurls it's sonic tendrils and we're absolutely drenched in a collective downpour of melody as lead guitars soar into the ether accompanied by those beautifully intense backing vocals, cascading bass and that steady percussive assault. The EP closes out with what is one of the best pieces of music that I think I've heard this year. 'A Dream Of You' is a meandering wave of jangling desert-gaze. Lazy percussion keeps metronomic time as warbling guitars and a bloody brilliant bass line protects that haunting vocal line. The chord sequences on this track are absolutely fantastic and catch you off guard as they seamlessly connect verse and chorus with a pull of whammy bar and that downward step of heavy bass and as for that stunning instrumental break ...... well you'll have to hear that for yourself ..... THIS IS MUSIC!

As EP's go 'Ultra Sound' is one of the best I've heard this year. It's so exciting to hear a bands development from their early releases until now with each release being a positive step forward. As far as I'm concerned this band have gone from strength to strength and they've worked hard to create a sound all to themselves in a scene that is so bloody diluted right now the hip scensters are fighting over genre tags!

5/5

LINKS:

citrusclouds.bandcamp.com

facebook.com/citrusclouds/

twitter.com/Citrus_Clouds

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.


SPC ECO - Calm - Featured Image - (700x700)

ALBUM REVIEW | SPC ECO - Calm

ARTIST: SPC ECO

RELEASE: Calm

RELEASE DATE: 22nd August 2107

RECORD COMPANY: ELaB Records

It seems like only yesterday I was sitting down to give a listen to the latest release by legendary producer Dean Garcia and his daughter Rose Berlin aka SPC ECO. The release in question was 'Under My Skin' and it was awarded a 5/5 by yours truly; a feat not so easy to come by. Garcia and Berlin had come together to create something as dark as it was beautiful: ethereal vocal performances were combined with shadow-filled synth passages and lyrics, all topped off neatly with drum programming and a crisp clean production. When I heard that the duo were releasing a follow up full length album (entitled Calm) I thought two things: one, it will great to see what SPC ECO have churned out this time, and two, could they keep together over the length of an album? There was only one way to find out, I guess?

'Calm' opens with the MBV shoegaze-influenced fuzz of ‘Out of Sight’: its deep and rumbling walls of static back up Berlin's siren-like calls and humming. Behind the mix, Garcia twists knobs and presses buttons to give the music a focal point, hip-hop like beats guiding the rest of the instrumentation and music along slowly. Although it is a fantastic 90’s-ish track and perhaps even an album highlight, there is something blaringly obvious: this is going to be much denser, louder and wild than 'Under My Skin' (not that that is a bad thing). Somehow Berlin and Garcia follow an album highlight with yet another album highlight: the slower, but still as dense, ‘All the Voices’ utilizes a breathy performance by Berlin, backed up by a borderline industrial soundscape of the instruments behind. All the while as the track plays, brilliant ambiance and drone seeps in through the mix, making things heavier and more beautiful. ‘Rising Up’ stands as another absolutely fantastic track: the guitars again create a wall of technical fuzz and feedback, a drum beat again guides the music, but it's vocals are perhaps the most haunting found on the entire release. Things turn into some sort of wildly dark and exotically evocative dance party: equipped with songs you can dance to and songs you can have a neon-lit knife to at the same time.

‘All I Had’ captures a slower and a somewhat more sensual vocal performance by Berlin; meanwhile Garcia turns things down to a trip hop level, creating a mix of loud, noise filled dream pop-esque music. It's placement on the albums track list is also ace. Perhaps my favourite song on the entire album is the stellar ‘Pearls’ in which the vocals and instruments meet in a beautiful kind of harmonic pairing to create a downtrodden afterthought of dream pop. It’s an emotive mixture of contemplative ponderings and long winded passages of sun covered beaches with the texturally white backing of clouds amongst a blue sky. ‘Who Are You Now?’ is, however, much, much darker… Somewhat evil as well I guess. Its slow trip-hop inspired drum beat is accompanied with a creepy sample of bottles clanging together or something? Ambiance and atmospheric strings also add to the landscape even more thoroughly. ‘Ghosts’ is where things start to taste a little over-done: another slow tempo drum beat with breathy vocals make this song one of the more forgettable on 'Calm'. The more upbeat and soundscape inspired ‘When It Moves’ turns things back around, thankfully, injecting some of the elements that made previous tracks an invigorating , engaging and unique listening experience. ‘Get Lost’ is another album highlight, especially its massive, hi-hat trap inspired chorus, which underpins a sweep of ambiance and sampled noise over another brilliant vocal performance by Rose Berlin. Garcia truly turns up the ambiance on this track, weaving thin and slow instrumental sections with larger and more heavier passages of more colourful sounds.

‘Over’ seems to feature the most heavy percussion on the release: the programming with which the band uses is as thick and heavy as ever before. Behind the beats and vocals lies a bizarrely enjoyable sneaking sound of what could be the introductory music to a British detective series, full of rain, shadows and the occasional dash of neon lights. ‘Hours’ seeps all the atmospheric reverb, noise and ambiance into one melting pot of music; creating a dense and somewhat murky soundscape with which the song plays out. Berlin's voice fits well within the context of this kaleidoscopic tornado of sound, proving her graceful voice is a positive point of originality for SPC ECO.

While some elements of 'Under My Skin' (and perhaps SPC ECO themselves) are evident on 'Calm' (think the atmospheric and somewhat trance-inducing instrumentals, as well as the waveringly beautiful vocals), overall it seems the duo have created something somewhat noisier and denser than ever before. Where 'Under My Skin' relied on the atmosphere of each song (which it did very successfully) 'Calm' instead pulls down any filters that Garcia placed over the music previously; opening a flood gate of wall of sound type feedback, and more intricate and involved instrumentals throughout the album. Because of this, 'Calm' is at times more difficult a listen than 'Under My Skin', and while I champion noise, feedback and wall of sound song writing; I can understand why some listeners just may not connect with the album. Similarly, each tracks basic foundation (with some exceptions) is the same: a slow(ish) programmed drum beat plays over soundscapes while Rose Berlin smoothly dances between her upper register and mid-tone, spoken word style sensual vocal deliveries. Thankfully, I can acknowledge and see where the difference between tracks lies, and furthermore how much skill is required to write such music… I just assume some will not. Garcia and Berlin remain as beautifully beguile as ever: some tracks sound as though they should be on film soundtracks, some tracks sound like they should be played in the most warped and harrowing dance club in the world, others just sound completely and utterly mesmerizing in their beauty. Besides, it all really comes down to the artists and the music: a well seasoned and ridiculously talented producer doing what he does best, accompanied by some of his equally talented and interesting friends… And his daughter, who happens to have the kind of pipes that you can play at a demented carnival or a hypnotic lounge-type dinner party. Together they produce a strong, original and commendable album, achieved through programming, production and sound.

4.5/5

LINKS:

spceco.com

facebook.com/Spc.Eco

twitter.com/SPCECO

spceco.bandcamp.com

ABOUT THE AUTHOR:

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.


A Thousand Hours - Sleep - Featured Image - (700x700)

ALBUM REVIEW | A Thousand Hours - Sleep

A Thousand Hours - Sleep - Post Image - (300x300)ARTIST: A Thousand Hours

RELEASE: Sleep

RELEASE DATE: 22nd July 2017

RECORD COMPANY: Vesper Records

Alaskan based shoegaze/post-punk aficionado Red Collier aka 'A Thousand Hours' released his latest ten track sonic opus entitled 'Sleep' to the waiting public back on the 22nd July 2017. 'Sleep' is the highly anticipated follow up to January 2017's insanely good 'Endless Grey' and was mainly written and composed by Collier himself with the addition of Demi Haynes on a few tracks, backing vocals by Nadi Mack and additional arrangements, synths and drums by Saad Khan. The album was released via Vesper Records and is abvailable to buy/download right now from onethousandhours.bandcamp.com

The album's opening track begins very brightly indeed before quickly nosediving into a mix match of genres. ‘Shipwreck’ is an EMO filled slice of alt-rock, infused sporadically with dreamy garnishes of melodic instrumentation and very precise guitar work; sufficed to say that I can't get my head around bands covering all angles generically and it seems to be the in-thing with most bands in this scene nowadays, a tactic used not only to keep the same circle of inner scenesters happy but more often than not deployed for PR purposes to catch the ears of as many blogs, online radio fanboy podcasts and webzines as is feasibly possible. As opening tracks go however (and I have to be brutally honest here), ‘Shipwreck’ unfortunately doesn't float my boat one bit and reminds me of those god awful mind numbing naughties era bands like ‘Paramore’ or ‘Dashboard Confessional’ although it’s one saving grace is it’s powerful vocal track. Up next ‘Christine’ shimmers on waves of ethereal joy as ‘A Thousand Hours’ redeem themselves ten fold. This track glistens on beautifully intense frequencies as it’s tumbling dual vocal lines swirl beautifully in an effervescent hue. Trembling guitar progressions ebb and flow effortlessly on subtle lines of synth and sequenced percussion, resonating brilliantly through sticky clouds of reverb all the while accompanied by some stellar music production whilst 'A Stillness In The Moment' is a mesmerising snap shot of late 80’s ‘Cocteau Twins’ with it’s post-punk inspired percussive attack and those beautifully intense vocals intertwined with soaring synth swells and the twang of tremulous guitar. Simply breathtaking. ‘Bleach’ ambles into the ether on a simmering cloud of droning instrumentation and jangling reverb hued guitar progressions. Sporadic percussion adds a heavy atmosphere allowing that stunning wall of vocal tracks to penetrate the gloom and drench this listeners ears in glorious sonic joy. ‘Bleach’ is another triumph on an increasingly impressive collection of tracks.

Up next, ‘The Understudy’ is instrumentally reminiscent of those seminal early 90’s stalwarts ‘Cranes’ with it’s experimental piano stabs precariously positioned on soaring lines of synth and echoing reverberation. It’s vocal lines are subdued and melancholic, weighed down by sequenced percussion and it’s dark ambient atmosphere whilst ‘Sleep Of Angels’ screams of ‘Siouxie Sioux’ with it’s breathtaking vocalisations, the thrum of bass and the deep punch of percussion intertwined with cascading synth and those swirling guitars. ‘Clutch’ soars into audible range on hazy lines of synth used primarily to drive those impressive vocals. Sparse experimental percussion clunks and bangs under the mix like some unheard track lifted from the recording sessions of ‘Massive Attacks’ masterpiece ‘Mezzanine’ as those heavy lines of synth loop and arc through catchy hook laden instrumental progressions, collectively streamlined into an impressively dreamy ambient hued behemoth. The albums penultimate piece entitled ‘It’s Rumoured’ is simply divine. Shimmering vocals absolutely drenched in reverb fizz through luscious synth progressions and jangling guitar signatures as those slow metronomic drum patterns keep a well grounded bedrock of frequencies churning underfoot. The addictive sequences of cascading keyboard keep this listener interested as they lead us to the tracks finale and on into a decent cover version of ‘Crushed’ by the fantastic ‘Cocteau Twins’. I'm not one for cover versions appearing on albums so I’ll let this one slide. You can make up your own mind on it though by listening to the album in full.

In closing, ‘Sleep’ will take a few listens before the penny drops and you realise just how good it actually is. It’s god awful beginnings eventually flower into a blossoming procession of impressive tracks that fit neatly into one another and leave a lasting imprint on the listener. Will it be in any ‘end of year’ lists? Only time will tell, but ‘A Thousand Hours’ have definitely placed themselves on the right path sonically. They just have to avoid those 90’s EMO comparisons!

4/5

LINKS:

onethousandhours.bandcamp.com

facebook.com/axthousandxhoursx/

twitter.com/xThousandHours

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.


Retrieval - Sleep Cycle - Featured Image - (700x700)

ALBUM REVIEW | Retrieval - Sleep Cycle

Retrieval - Sleep Cycle - Post image - (300x300)ARTIST: Retrieval

RELEASE: Sleep Cycle

RELEASE DATE: 21st July 2017

RECORD COMPANY: Unsigned

Tunisian based shimmering dream-gaze duo 'Retrieval' unleashed their latest album entitled 'Sleep Cycle' to the masses back on the 21st July 2017 and as far as we're concerned this instantly catapulted them into the 'Best Of 2017' category in the process. Their previous incarnation stood firmly in indie rock territory but boy are we glad that they decided to step outside that generic melting pot and turn their attention to pastures new. Their collective sound now swirls effortlessly through hazy 90's era shoegaze but is definitely underscored with modern instrumentation & production techniques that lifts their sonic footprint to new heights. The band are made up of Omar Chouikha - vocals/guitar/drums/ synths & Tima Savchenko - vocals/guitar/bass/synths and 'Sleep Cycle' is available to buy/download right now via retrieval.bandcamp.com

The albums opener bounds into the sonic arena in a rush of percussion and hazy reverberation. ‘Away’ soars through the ether on waves of turbulent guitar and throbbing bass frequencies, deftly circumnavigating impressive dual vocalisations. Up next, my favourite track, ‘Sleep Cycle’ screams into audible range with it’s soaring guitar signatures enveloping fragile vocalisations as it’s steady almost metronomic drum patterns keep everything strapped down. Intricate chord structures make way for catchy hook laden chorus changes allowing haunting vocal tracks to shimmer and undulate through layers of mesmerising production whilst ‘Calling’ floats effortlessly on a slow melodic frequency laden guitar progression accompanied by those stunning vocal tracks and an explosive percussive swagger. ‘Waves’ opening bars tremble on crisp acoustic frequencies before the track explodes into a melee of hazy instrumentation that is absolutely drenched in stunning reverb. Slow and ambling drum patterns guide this soundscape through meandering psychedelic impressions as it’s ghost like vocalisations float along in close proximity, rising and falling with every single chord change wrapped in luscious lines of lead guitar and the constant twang of acoustic vibrations.

‘Costal Life’ swirls into earshot on atmospheric samples, subtle fret noise and wavy instrumentation before ‘Bones’ erupts into a cloud of fuzzy splendour as it’s lumbering vocal tracks cut a v-shaped wedge into a massive wall of beautiful noise. Lead guitars wail as bass frequencies throb, collectively rocking on a bedrock of heady noise, synth and precision drum tracking. Up next, ‘In The Frame’ is a noisy modern day shoegazing beast with powerful guitars and post-metal like vocal tracks whilst ‘Shut Down’ loops and arcs through massive swathes of stunning reverb as it’s wispy vocalisations magically intertwine with bass frequencies, soaring lead guitar, bubbling synth swells and beautifully atmospheric production. The albums penultimate piece entitled ‘Luna’ is steeped in an ambient hue with subtle sonic reflections that swirl momentarily through layers of tumbling psychedelia before noisy guitars, plodding bass progressions and pounding hi-hat heavy percussion take over, dragging the track kicking and screaming into a melding of post-rock or post-metal with a dollop of soaring shoegaze for good measure. It’s all very confusing instrumentally but deeply satisfying all the same. The album closes out with ‘Lessons’, a droning malicious entity filled with noisy guitars and overfed pedal boards. Melodic vocal lines twist themselves around fuzz filled frequencies as hazy production swallows up any chord changes crazy enough to pop their head over the sonic parapet. Again there is a definite post-rock edge to this track as it undulates through the ether on an atmospheric and percussion-less voyage. A fitting end to a rather interesting album.

4/5

LINKS:

facebook.com/Retrievaltn/

retrieval.bandcamp.com

soundcloud.com/retrievaltn

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)
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.

Crash City Saints - Are You Free? - Featured Image - (700x700)

ALBUM REVIEW | Crash City Saints - Are You Free?

Crash City Saints - Are You Free? - Post Image - (300x300)ARTIST: Crash City Saints

RELEASE: Are You Free?

RELEASE DATE: 11th August 2017

RECORD COMPANY: Saint Marie Records 

From the city of Kalamazoo, Michigan (apparently it’s across from Milwaukee, over Lake Michigan) comes 'Crash City Saints' and the interestingly bold and grand concept album they have created, entitled 'Are You Free?'. Released via the ever interesting 'Saint Marie Records' (whose back catalogue includes the impressive SPC ECO, Bloody Knives and The History of Colour TV), 'Are You Free?' tells the story of a boys attempts to mature and bloom in a small town in the 90’s when shoegaze was dense and on rotation in the mainstream and underground of the American music scene. 'Crash City Saints' have obviously utilized said music from the time and adopted it into a mix of shoegaze and alt-rock to tell a story over the course of twelve tracks that hails the significance of influence while also celebrating the freedom of originality in the context of modern music. 'Are You Free?' was released back on the 11th August 2017 and is available right now to buy/download on various formats via saintmarierecords.bandcamp.com

The album opens with ‘Ice Cream’ a nice little jolt of pop-based alternative rock that highlights the hushed MBV style vocalisations and strumming acoustic guitar. There are several fantastic moments, including the churning-downtrodden shoegaze riffs that are touched upon at around the one minute thirty mark, as well as a tasteful string instrument in the background of the music. ‘Spring Lines’ owes more to a soft kind of neo-grunge rather than shoegaze, but nevertheless showcases the instrumentation and weave in-out aesthetic of the guitars. As it is on much of the album, the drumming is tight and impressive; highlighted sufficiently and smoothly in the mix. ‘Weirdos Need Love To’ fits in well as a kind of interlude between the narrative structure of the main songs whilst 'Use Once Then Dispose’ is an absolute album highlight; the post-punk double tap snare and 90’s inspired guitars meld fanatically together to create a rock-inspired atmosphere; the vocals hum away, touching on lyrically much darker themes than have been explored previously on the album. That’s not to say they are not well written, actually it’s quite the opposite. ‘Spirit Photography’ is a smooth, aesthetically enjoyable take on what sounds like 90’s era Brit-pop, while also (eventually) smothering the track in Shoegaze based guitar freak-outs. A very enjoyable experimental track, ‘Spirit Photography’ sheds the skin of the previous songs pop elements; making way for emotive and warped guitar based-psych passages of song writing. I assume ‘Act 2’ is named as such because it brings forth another stage of story and narrative; either way, as a song it feels one of little narrative importance (lyrics are drowned out in a vocal effects) while the whole song takes an almost lo-fi quality (not complaining).

‘Dawn of A Bright New Nothing’ introduces a fantastic Barrett-esque piano line into the mix, making the song one of the most purely enjoyable on the album. Yes, that’s right, this reviewer has significantly enjoyed a song because it sounds, is mixed and feels nice and relaxed. ‘Annabella’ returns to a much more alternative rock sound, the chord progression of the bass and guitar highlighting a progressive rock influence that played an integral role in the development of shoegaze music back in the 90’s. Its outro, featuring a guitar solo over the vocal chant/hum ‘you don’t know my name’ is particularly satisfying. Another interlude follows before one of the longest tracks of the album ‘The Hour Of The Wolf’ opens with a sequencer based EDM style sound. Although this aforementioned beat grows tiring after a while, this doesn’t cease the track from growing into a heavy, loud and colourful collection of sounds and noise, backed by the thrashing of the drums. The outro guitar picking is especially amazing and very much in-context of the seven minute long song. The following dream-pop based ‘Harbour Lights’ remains a sonic (but almost as equally lengthy) contrast to the previous wild melding’s of ‘The Hour Of The Wolf’. In fact, ‘Harbour Lights’ is an album highlight: the guitar tones and overall atmosphere of the song congregate into a dream pop/shoegaze breath of fresh air after the previous songs noise and drenched soundscapes.

Releasing a concept album of any type is a big and daring leap. Will people be able to detail the story (if the concept is narrative)? Will the story get in the way of the music? What about the other way around? 'Crash City Saints' have previously stated there is a narrative kind of concept behind the album, and at times while listening to 'Are You Free?' I was lost as to what (if anything) was actually going on, but then I realized that its concept lies beyond the realm of just a narrative. Over the course of the album the band swiftly (and at times intellectually subtly) incorporate and throw influence and nods to the American music underground of the nineties. There's grunge, dreampop, alt-rock, dance and electronica, shoegaze and many more… This album is a musical exploration in concept rather than a boring ‘he does this, then she does that’ kind of structure that tends to drag down and drown many ‘concept’ albums. The song writing is strong, although at times relies too heavily on formulas used on previous songs, even if it is a kind of throwback. The mixing and production (done so by Elliott Frazier of Ringo Deathstarr) is of course a brilliant, but also (if you listen to a lot of it) a well-rounded and respectful throwback to the music of the 90’s. Listen for an interesting story (accompianed and helped along by interesting lyrics), great instrumentation and playing, and a reminder of the brilliant and nostalgic music of a few decades ago, achieved through production, mixing and sound.

4/5

LINKS:

saintmarierecords.bandcamp.com

twitter.com/crashcitysaints

ABOUT THE AUTHOR: 

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.


JUJu - Our Mother Was A Planet - Featured Image - (700x700)

ALBUM REVIEW | JuJu - Our Mother Was A Plant

JUJU - Our Mother Was APlanet - Post Image - (300x300)ARTIST: JuJu

RELEASE: Our Mother Was A Plant

RELEASE DATE: 22nd September 2017

RECORD COMPANY: Fuzz Club Records

Back in 2016 whilst writing reviews for 'The Sound Of Confusion', I came across a fantastic seven track self-titled debut album from Sicilian based sonic manipulator Gioele Valenti of Lay Llamas fame now recording under the moniker of 'JuJu'. Being a Lay Lamas fan myself, I immediately dived headlong into it's swirling lysergic sound waves which were more akin to a pulsating living organism drenched in swathes of rhythmic, almost ritualistic golden frequencies. Sonically, it was something that I'd never heard before and it quite simply blew me away. Fast forward twelve months; 'JuJu' has teamed up with one of the best underground independent record labels currently plying it's trade in this ever evolving scene, the immense 'Fuzz Club Records' and had just announced his sophomore release aptly titled 'Our Mother Was A Plant'. This time around Gioele Valenti dips his sonic tendrils into a plethora of genres that includes afrobeat, krautrock, glam, post-punk, art rock, shoegaze & drone and it also features guest appearances from 'Capra Informis', the masked djembe player of Swedish based psych aficionados 'Goat', making this album one of the most anticipated releases of 2017. It gets it's full release on the 22nd September and is available to pre-order right now on 180g vinyl via www.fuzzclub.com

Repetitious percussion accompanied by sporadic electronic sampling and the constant throb of skittish bass notes announce the arrival of track one, the brilliantly titled ‘Death By Beautiful Things’. Swirling reverberations pull luscious lead guitar lines into the mix as JuJu prepares to jump off the deep end and splash headlong into a pool of emotively experimental psych rock. The music drags this listener along with it tumbling freely into a droning synth laden soundscape filled with impressive kraut like percussive tendencies and mind numbing guitar progressions that seem to loop and arc effortlessly through swathes of psychedelic enchantment. At times ‘Death By Beautiful Things’ dips brilliantly in and out of ambient experimentalism leading you on a totally immersive sonic adventure. Up next, ‘In A Ghetto’ unfurls its sonic tendrils wavering menacingly on a sequenced drum loop that slowly adds a pensive kind of atmosphere with the addition of each musical layer. Hypnotic shakers rattle and shimmer as pulsing guitar progressions rise up from beneath a heady cloud of bass and reverb to envelope those mantra like vocalisations deftly undulating through JuJu’s subtle eastern esoteric leanings.

‘And Play A Game’ is refreshing as it bleeps and whirrs through sticky electronic vibes and repetitive percussion. It’s bass patterns are mesmerising and when accompanied by those addictive synth swells and it’s subtle lead licks, are totally unstoppable. Stunning vocal lines swirl throughout the mix as this track builds and builds into a surging psychedelically charged dance floor filler. It is absolutely magnificent. Up next, the insatiable ‘James Dean’ bounds into the ether on a wave of pounding drums, swirling guitars, haunting vocal lines and throbbing bass frequencies. It’s impressive organ lines intertwine brilliantly with soaring lead guitars and electronic percussion whilst the experimental pull of ‘I Got Your Soul’ is hard to escape. The sway of it’s funk like origins keep perfect time as the duel assault of bass and drums keep a firm hold on the earth allowing it’s mesmerising guitars to circumnavigate impressive vocalisations and soar out into the ether on reverberating sonic waves. ‘Patric’ begins life as a glitchy, atmospheric beast that trembles on yet another impressive bass progression. It’s haunting vocal lines undulate and merge effortlessly with raging guitars and stunning production to collectively create something altogether magical.

The albums penultimate piece entitled ‘What A Bad Day’ comes in at a whopping nine minutes plus and at no stage does it disappoint. This track enters audible range strapped to a metronomic drum pattern and the repetitive throb of angry bass. Atmospheric instrumental drones intertwine with fuzzy fret noise and resonating frequencies to circumnavigate it’s stunning vocals, as luscious synth swells bubble up from far below to drench the entire piece in shimmering reverb. There’s a hazy but ambient hue hanging over this track at times that tweaks this listeners attention as it meanders through layer after layer of psychedelic abandonment, twisting and turning through stunning musical passages filled with the occasional saxophone hook, colourful lead guitar progressions, electronic experimentalism and the ever present bark of dark bass frequencies. ‘Sunny Afternoon’ closes proceedings out and does exactly as it says on the tin. Shimmering guitar progressions and sparse percussion make way for fizzing electronics and the hum of bass as subtle synth swells pulse through the mix accompanied by electronic theatrics and the constant pull of simmering reverb. It’s a masterful ending to a totally entrancing sophomore album ...... bravo JuJu!

5/5

LINKS:

fuzzclub.com

juju-spell.bandcamp.com

facebook.com/JuJuSpell

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.


Saccades - Distant Sea - Featured Image - (700x700)

ALBUM REVIEW | Saccades - Distant Sea

ARTIST: Saccades

RELEASE: Distant Sea 

RELEASE DATE: 28th July 2017

RECORD COMPANY: Fuzz Club 

There are only so many things a chorus pedal can do. Those eleven meagre words could swiftly and perhaps eponymously give title to any article that a writer, a critic or blogger wishes to write about Mac Demarco. He’s the smelly, dirty looking hipster who popularized a kind of jangle pop that initially appears nostalgic and light-laced but eventually secedes into a kind of alcoholic- nicotine based adventure through adolescence that one can enjoy on a leisurely afternoon at the beach, or when they are traversing their inner past-histrionics. Either way, Demarco has used the chorus pedal to do two things (perhaps unintentionally), one is a kind of career suicide; he’s tied himself and crossed his own tracks so much so that he has transcended his own status into a type of figure that could be identified as post-celebrity (it was once trendy to listen to the guy, to wear his clothes and to smoke vile amounts of cigarettes, but since the polo-wearing normies of the world have discovered Mac, he just aint as cool). The second (and more important) is that Mac has put the preverbal knife through the gullet of any aspiring musician who wishes to touch on a similar style of music as his own. How many times do we hear music that we identify as ‘fake Mac Demarco’? A lot. It seems everybody who owned a shitty guitar and had a knack for overalls and dirty looking shoes has become a kind of Demarco-wannabe of sorts. This makes it hard for people like Saccades, who (funnily enough) is actually a hell of a lot more interesting than Mac. Saccades is proof that this genre slating, this assumption and veracious practician of overlooking should all be skipped over, and that nothing but the music should be analysed. Saccades 'Distant Sea' is testament to all of this, and is further proof that Fuzz Club Records know what they are doing. The album was released on the 28th July 2017 and is available to buy/download right now on various formats via fuzz club.com and saccadesmusic.bandcamp.com respectively.

Distant Sea opens with the title track; its warmly strummed guitar pop poses a beautiful contrast to the lo-fi type production quality of the album. This is where one first hears the quality of the song writing; its fantastic mixture of the nostalgic-dream baked feelings of summer and the breezy relaxation of the heat of the beach and days gone by. ‘Bleeding Colours’ continues on this path, but alters slightly to offer another take on the aforementioned sound again. This time, tempo is up and the guitars eager and dizzing strums give it a neat kind of post-punk feel. The tight, drum-lead feel of ‘Bleeding Colours’ is extenuated on ‘Elusive Dream’, sounding like it could have been a Coldwave-style track with a thicker bass tone and darker production qualities. All the while, the vocals remain slightly (in a well crafted way) drowned out in the mix of the music. ‘Crying Land’ echoes the orange-sun aesthetic of other lo-fi and experimental acts; reverb is heavy and things seem somewhat darker and more confined in a way. The song still retains the same feel and atmosphere as previous tracks however, making it a stray from the path that doesn’t lose track of itself completely.

‘In and Out’ is one of the closest songs Saccades gets to minimalism; its brilliant piano based rhythmic set up keeps things tight and coordinated through the entire song. Synths waver and fluctuate in the background… Everything seems like a trip down a dizzingly hallucinogenic river. ‘Know My Name’ stands as an album highlight; the song writing is of a neat kind of radio-friendly pop music, touched on the other side by the experimental aesthetic of lo-fi music. The lyrics are deep but playful; interesting while also being ingrained within the music as one whole piece of the puzzle. ‘Running Wild’ also sticks out as a memorable track, appearing more upbeat than the previous track. Saccades displays his knack for the act of layering and melody and enjoyably jangling styles on ‘Red’, which features a simple but impressive guitar line. Another album highlight is the danceable ‘Cigales’; collecting up the tricks that Saccades has explored formerly on ‘Distant Sea’ before pushing forward something new and impressive into the mix. ‘High Drift’ pushes for the production based-skill of atmosphere creation to help carve out a moody and beautifully simple track that seems much more downtrodden than their other releases.

You should know two things: (just to clarify) I don’t hate Mac Demarco; in fact, I feel quite the opposite about him. Also, Saccades 'Distant Sea' is one of the greatest examples of an artist wading through the depths of lo-fi music I’ve heard in a while. Between the well written and catchy songs lies a dedication to originality that can so obviously be overlooked by listeners. There is a genuine sense of concentrated and well-crafted song writing at play on Distant Sea, and this is helped further along by the tape-recording and mixing quality of the release. It is a lengthy album, featuring twelve songs… But unlike many artists in similar genres, the songs themselves maintain a level of originality between them that makes everything seem that bit more refreshing and alternative from the track before it. There is a level of nostalgia that comes with it all as well; the kind of sun-sets and cold sand that I could write an essay about… But I’ll refrain from that; I just thought it should be noted. Listen for an album projecting beauty against its desire to, and for an album a bit more interesting than those have forged namesakes on its basic reciepe; achieved through production, song writing and sound.

4/5

LINKS:

saccadesmusic.bandcamp.com

fuzzclub.com

facebook.com/Saccadesmusic/

twitter.com/Saccadesmusic

ABOUT THE AUTHOR:

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.


The Radiation Flowers - Summer Loop - Featured Image - (700x700)

ALBUM REVIEW | The Radiation Flowers - Summer Loop

ARTIST: The Radiation Flowers 

RELEASE: Summer Loop

RELEASE DATE: 7th July 2017

RECORD COMPANY: Sunmask/Cardinal Fuzz

Saskatoon based psych-gaze quartet 'The Radiation Flowers' have been very, very busy this summer. Not only have they released a fantastic split EP with fellow Canadian's 'Hawkeyes Doom' (which we have previously reviewed for Primal Music), but now they've just unleashed what is in our opinion one of the best albums of 2017 so far in the guise of 'Summer Loop', a seven track thrill ride through impressive layers of psych, shoegaze and alternative sounds that will leave you absolutely floored. The band are made up of Shelby Gaudet - guitar/vocals, Amber Ross - drums/percussion, Christopher Laramee – guitar & Jay Allen - bass/vocals and 'Summer Loop' is available to buy on lovely limited release 350 eco-colour vinyl's & 50 limited edition vinyl replica jacket CD-R's via the ever reliable Cardinal Fuzz Records (UK) & Sunmask (USA) or digitally via theradiationflowers.bandcamp.com

Fuzzy guitar progressions build menacingly as ‘Just Go Away’ announces itself as a brooding psych-gaze gem. Steady percussion underscored with throbbing bass frequencies pull floating dual vocal lines into audible range as the soaring hammond organ infused chorus hook is generously whipped by vivacious lead lines and the luscious swirl of reverberation. Coming in at just under six minutes long ‘Just Go Away’ is infectiously addictive and a stunning opening salvo. Up next, ‘Walking Down The Street’ is steeped in melody as tremulous guitars ride a woozy swell of hammond and a cascading bass line. Slow ambling drum patterns hold a hypnotic beat as entrancing vocal lines weave and bob in and out through layers of resonating sonic waves and wall of sound reverberations. ‘Colours’ glistens into earshot on a swirling organ progression as a mesmerising vocal performance dances along on a bedrock consisting of a throbbing bass line and punchy drum patterns. Jangling guitars envelope the entire piece, placing a protective layer around those impressive vocal lines thus reinforcing deep melody in the process.

‘Dancing In The Flames’ growls into existence held fast in a turbulent whirlwind filled with growling guitars, angry bass frequencies and thunderous percussion. Lysergic lead lines lick and harass a punk edged vocal take as we’re drawn headlong into a cacophony of raging psych induced instrumentation that is absolutely drenched in stunning reverberation. ‘Sunrise’ injects some 60’s psych-pop connotations into proceedings as it bounces along on a mid-tempo drum pattern and a repetitive guitar progression underscored with bubbling bass frequencies and that swirling instrumental drone. Intricate lead guitar lines and another impressive vocal performance tie everything together brilliantly and that catchy synth laden break is immense. Up next, the instrumental beast that it ‘Summer Of Burnout’ ambles into audible range tumbling menacingly in a glistening synth drone, a throbbing bass line and acid drenched guitar progressions. Those bass notes are utterly addictive and they drag you with them through layer after layer of undulating psych-gaze as the constant thud of percussion keeps steady metronomic time. The album closes out with ‘Walking (Reprise)’, a lysergic acoustic filled dreamscape that swirls beautifully in a luscious cloud of resonating sound, sporadically pierced by subtle percussive stabs, intense reverberations and delayed swells of instrumentation. A stunning finale to a mesmerising album.

5/5

LINKS:

theradiationflowers.bandcamp.com

theradiationflowers.com

twitter.com/radiationflowrs

facebook.com/TheRadiationFlowers/

cardinalfuzz.bigcartel.com

discogs.com/seller/sunmask/profile

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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 and 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.


Cobra Family Picnic - Magnetic Anomaly - Featured Image - (700x700)

ALBUM REVIEW | Cobra Family Picnic - Magnetic Anomaly

Cobra Family Picnic - Magnetic Anomaly - Post Image - (300x300)ARTIST: Cobra Family Picnic 

RELEASE: Magnetic Anomaly 

RELEASE DATE: 22nd May 2017

RECORD COMPANY: Cardinal Fuzz/Sky Lantern Records

Tuscan based psych aficionados 'Cobra Family Picnic' released a stunning album entitled 'Magnetic Anomaly' back on the 22nd May 2017 via Cardinal Fuzz Records (UK) & Sky Lantern Records (USA). The band create a fuzzy, blissed-out haze that skips through lysergic rhythmically focused space-rock, kraut-rock, experimental neo-psych and kosmische with relative ease and have over the last three years shared stages with critically acclaimed bands such as Moon Duo, White Manna, The Myrrors and Mugstar. Members of the band recorded here include names from a host of other local Tucson psych ensembles, such as The Desert Beats, The Night Collectors, and Wight Lhite. 'Magnetic Anomaly' is available to buy on lovely vinyl from Cardinal Fuzz, Sky Lantern Records or via cobrafamilypicnic-slr.bandcamp.com

Sampled vocalisations precariously count down to lift off as ‘Draags’ winds up a twisted drone, skittish feedback laden guitars and the surge of instrumentation like some deranged psych induced jazz recital in the back room of an Albert Hofmann experiment. Off kilter percussion keeps a rhythmic almost processional beat as undulating keyboard thrills tickle and harass the hum of bass frequencies and the whip of angry lead lines whilst swirling vocal samples intertwine brilliantly with seething noise and entrancing production. This is a fascinating jump off point to a deeply experimental collection of minimalistic tracks that literally pierce the listeners inner psyche, taking them on a journey of sonic discovery in the trance-inducing process. ‘IPT 001’ is a sojourn, a side step if you will into the eye of a spinning instrumental drone badgered by fizzing vocal samples and turbulent electronic theatrics while deeply transfixing atmospherics swirl and whirr through layers of mind altering reverberations.

‘Elysium’ shakes into audible range stuck fast to shimmering waves of tambourine and snaking feedback. Tumbling drum patterns envelope a throbbing bass line as the pull of wah-wah pedal melds with spiralling electronics licking and caressing a yearning vocal take. Shamanic instrumentation undulates and pulses psychedelically charged waves out into the ether as the track builds and builds into a raging sonic behemoth making ‘Elysium’ my favourite track on the entire release. Revolving drones intertwined with sporadic but haunting vocalisations announce the arrival of ‘IPT 011’ and we’re thrown headlong into an experimental world of intensely atmospheric synth swells, resonating fret board theatrics and deep lying reverberations melded with dissonant electronics and glistening field noise whilst ‘Frost’ breaks the serenity and streams into earshot on a thunderous drum pattern accompanied by shaking tambourine and a swirling instrumental drone. Tremulous guitars ride the collective sonic surge as the arrival of sublime vocalisations and screaming lead lines twist the mood from one of metronomic incantation into ascending space rock before we fall out the back end into a blistering melting pot of lysergic repose.

Melodiously fuzzy bass frequencies keep steady time as ‘Gilgamesh’ meanders into earshot pulling with it the shimmer of tambourine and those mechanical drums. Mind altering guitar signatures circumnavigate reverberating vocal lines, whipping and harassing each word to within an inch of its life as those sullen organ lines bubble up from below adding delicious atmosphere. ‘IPT 111’ hovers in a haze of atmosphere as sporadic drones fizz and whirr through horrifying vocal samples and swirling instrumental waves. Potent percussive hits meld with dancing electronics that pull the listener into it’s deeply experimental finale whilst the albums penultimate piece groans into existence tumbling within a swirling sonic behemoth. ‘Moody Mountain’ pummels the senses with fuzzy archaic melody and incandescent frequencies that build and build into raging instrumental drone until the arrival of a slow rolling beat and eventually brings some clarity to proceedings, pulling with it an impenetrable bass line, atmospheric vocalisations and a raging wall of guitars. For those of us lucky enough to purchase this album on vinyl there’s an additional bonus track entitled ‘Contact’ to grace your earholes with once you partake in using the digital download code provided. This track is a nine minute white knuckle ride through pulsating kraut like percussion, addictive bass lines, echoed vocal lines and raging guitars that will quite literally blow your mind. A fantastic ending to a marvellous album.

4/5

LINKS:

cobrafamilypicnic-slr.bandcamp.com

cobrafamilypicnic.com

facebook.com/cobrafamilypicnic/

skylanternrecords.bandcamp.com

cful.bandcamp.com

ABOUT THE AUTHOR: 

Del Chaney - (Author Photo)

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.