ARTIST: the Autumn Sighs
RELEASE DATE: 10th February 2018
RECORD COMPANY: Dreams Never End Records
Immense German-based trio 'The Autumn Sighs' have returned with a stunning brand new five track release entitled 'Green' the follow up to their mesmerising 2016 released EP 'Branches'. With a sound that meanders gracefully through melodious and dreamy swathes of blissful dream-pop infused shoegaze coupled with soaring chorus progressions, thunderous drum patterns and addictively hazy instrumentation, 'The Autumn Sighs' have released what is quite possibly one of our favourite EP's of 2018 so far. The band are made up of Katha - guitars/vocals, Ulrik - guitars/effects/ebow, Denis - drums and Florian Malicke appearing on bass for this release. The 'Green' EP was officially released back on February 10th 2018 via 'Dreams Never End Records' and is available to buy/download on various formats including lovely 12' vinyl right now from both dreamsneverend.bandcamp.com & theautumnsighs.bandcamp.com respectively.
green by The Autumn Sighs
In a swirling haze of instrumental drones, hushed progressions and layered reverberations the dreamy opening tones of ‘Intro’ wash shimmering frequencies out into the sonic ether. This wall of blissful noise accommodates haunting vocalisations that swoop and arc throughout as repetitive progressions of guitar billow and swirl at will. Up next, ‘Green’ twinkles and purrs as it’s jangling guitars pull beautifully entrancing progressions out into audible range. ‘The Autumn Sighs’ channel their inner Slowdive here as those immense vocal lines ride the waves of pulsing reverb and that instantaneous injection of noisier guitars. Rumbling percussion bubbles up from below the mix as the throb of enticing bass frequencies lull you into a blissfully hazy dream state and you guided into that huge wall of beautiful noise. ‘Green’ is absolutely entrancing and probably one of the best tracks that I think I’ve heard so far this year. It’s a monumental highlight for me on this entire release.
There’s a subtle air of post punk emanating from the opening bars of ‘She’s His’ that is instantly addictive. The hypnotic pull of the intricate guitar structures accompanied by dancing lines of lead and the throb of cascading bass progressions are collectively fantastic. Haunting lines of vocal meander and tease us as they float in and out of catchy chord structures, leading us gracefully by the hand until we eventually fall headlong into massive swathes of noisy reverberations only get dumped out the back end into tremulous layers of golden sonic frequencies. Up next, the EP’s penultimate piece floats into the ether held fast in a sullen kind of atmosphere. ‘Adorable’ sways gently on a slow moving metronomic tap as the jangle of guitars echo and swirl through heady clouds of reverb. Resonating frequencies wrap themselves around that beautiful vocal and cling to it as it tumbles into shimmering pools of exquisite production. We’re guided effortlessly through a melancholic sonic haze as if watching someone’s dreams get played out in front of us until eventually we drop into an angry sonic attack and the whole feel of the track changes. Distorted guitars soar skywards, that addictive bass line rises and falls just below a noisy percussive assault and we’re dragged into a raging sonic behemoth, churned around it’s insides until eventually we’re pulled into the tracks gentler finale. ‘Adorable’ is a stunning melding of sounds reminiscent at times to Slowdive & The Cranes or the downright rebellious nature of JAMC all wrapped up into one almighty sonic monolith. Its a triumph and a definite highlight on this release.
The EP closes out as it began. Swooning gracefully on beautiful instrumentation and the guiding reverberations of that immense guitar sound. Slow moving hi-hats tremble as jangling guitar strums usher in waves of instrumental drones and another impressive vocal performance. ‘Three’ is absolutely gorgeous and it welcomes you into it’s inner core with open arms and tells you a story. It makes you sit and listen to every single hushed word, makes you feel every twist and whirl of that soaring drone and lifts you up with it as you glide through the sonic ether and pulse through layers of ethereal joy. It's a brilliant book end to a completely entrancing EP.
ABOUT THE AUTHOR:
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting 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.
by Primal Music
RELEASE: Medistation EP
RELEASE DATE: April 20th 2018
RECORD COMPANY: Fuzz Club Records
Eric Strand is no stranger to Stockholm's burgeoning underground psych scene. Having already established himself in The Orange Revival (hands down one of the best neo-psych outfits out there today) Eric has just announced the self-titled debut EP release for one of his other musical projects, the mesmerising 'Medistation'. Hailing from Stockholm, Sweden, 'Medistation' create a visceral sonic palate filled with fizzing, alternative led, noise-pop drenched in swathes of shuddering reverb and swirling feedback. It collectively spotlights that truly epic early 1990's melodic neo-psychedelic sound, a sound that can sometimes get lost within this modern underground scene. The EP is a collaborative effort, with guest vocals from Jake Garcia (The Black Angels), percussion from Cobian Modeste (The Buttertones) and grand piano from Max Groundstroem (Samling/Valp). It gets it's official release on April 20th 2018 via those London-based purveyors of all things meaningful 'Fuzz Club Records' with pre-orders now available on various formats via fuzz club.com
Medistation by Medistation
The EP opens up trapped in an air of fizzing atmospherics as that fuzzy guitar progression pulls throbbing bass frequencies, hypnotic stabs of melodic lead and swirling electronics into the mix collectively enveloping an always impressive vocal courtesy of Jake Garcia (The Black Angels). 'Pool Of Blood' is absolutely sublime and is at times reminiscent of Ian Astbury's stint with UK-based 'UNKLE'. A marvellous opening salvo indeed. Up next, 'I Never Knew' undulates into earshot strapped to a slowly moving blues-fed guitar line underpinned with deeply hypnotic acoustic frequencies. Meticulous percussion shimmers just below the mix as humming bass frequencies meander and pulse through melodic vocal lines before we float away on swirling waves of resonating lead & slide guitar allowing the sickly sweet tinge of reverberation to evoke musical reminiscences such as Spiritualized, JAMC and the ever brilliant Lupine Howl.
'The World Is Weeping' explodes into the ether on a screeching feedback laden wave that quickly melds with repetitive guitars and addictive shakers. Lead lines whip and cajole the piece to within an inch of it's life as a throbbing bass line bounces alongside a giddy percussive assault, enveloping a brilliantly executed vocal line and those distinctly addictive neo-psych sounds loop and arc throughout. The EP's penultimate piece entitled 'Anything For You' floats effortlessly on a cloud of repetitive guitars and the soft pulse of bass. Twinkling synth and beautifully entrancing electronics dance and flutter alongside another impressive vocal performance as it's woozy effects disappear in amongst golden hued acoustics and that ever present injection of fuzz. 'Anything For You' is beautiful and a definite highlight for me on this release. 'Medistation' closes out with 'The End'. Steeped in reverb, the hypnotic pull of strings and that repetitive guitar signature melds brilliantly with swirling electronics, melodic synth and the strengthening air of atmosphere. Slide guitar meanders in and out of those pulsing frequencies as this brilliant instrumental builds into a melody strewn finale. A fantastic end to a rather interesting EP.
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 was 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: Amusement Parks On Fire
RELEASE: All The New Ends
RELEASE DATE: 13th April 2018
RECORD COMPANY: Saint Marie Records
Last year (2017) seminal UK-based noise merchants 'Amusement Parks On Fire' unleashed a brand new two-track 7' single entitled 'Our Goal To Realise', their first sonic outing in over eight years. With a wide ranging and sometimes experimental sonic palate, way over fourteen years of experience and incredible song writing abilities the band stabled themselves with the good folks over at 'Saint Marie Records' and 'Our Goal To Realise' was officially released. Now the band have returned with 'All The New Ends', a captivating three track release filled with the same yearning soundscapes that swirled within 'Our Goal To Realise', soundscapes that skip nonchalantly through accomplished layers of experimental alternative sounds such as shoegaze, psych, dreampop, indie & art-rock. 'All The New Ends' get's it's official release on April 13th 2018 and is available to pre-order right now on various formats via saintmarierecords.bandcamp.com
'Amusement Parks On Fire' are pencilled in to tour Europe throughout April with details available via twitter.com/APOF
In a haze of reverberation and the rumble of distorted guitars the opening bars of ‘All The New Ends’ resonates on top of repetitive drum patterns and the hum of deep bass frequencies. Catchy chord structures pull intricate lines of lead guitar and 90’s sounding vocalisations into the mix melding shoegaze, melodic alt-rock and swirling noise into one massive sonic conglomerate. Up next, the instrumentally attuned ‘Temporal Rinse’ musters up it’s inner MBV as turbulent instrumental drones whip up a frenzy of noise permeated by twinkling tones steeped in brilliant production techniques. Intensely melodic frequencies sporadically bubble to the surface, looping and arcing throughout the sonic ether, creating magical sonic permutations that pulse with each passing circumference, intertwining at times with swells of feedback and the deafening roar of reverberation. ‘Temporal Rinse’ is a triumph and a highlight for me on this entire release.
The EP closes out with the immense twelve minute behemoth ‘Infernal Flame’. Noisy guitars accompany stunning vocal lines out into the ether as melodic chord structures echo through layers of addictive reverberation. A pounding percussive assault pulses from far below the mix before rising and erupting into an all out sonic assault on the senses as those throbbing bass lines follow tremulous instrumental progressions, carefully hugging those explosive drum patterns and soaring lead lines as they tumble throughout the piece. It’s a marvellous ending to another impressive release from ‘Amusement Parks On Fire’.
ABOUT THE AUTHOR:
RELEASE DATE: March 1st 2018
RECORD COMPANY: Unsigned
Hailing from Yekaterinburg, Russia 'SAAT' are a female fronted shoegaze quartet with intricate post-punk & slowcore leanings and an alternative sonic attitude. Their debut self-titled two track EP was self released back on the 1st March 2018. The band are made up of Sasha - vox/guitar, Stepa - bass/scream, Dima - drums & Pasha - guitar feedbacks and their debut releases is available to buy/download right now via saatxband.bandcamp.com
SAAT by SAAT
The EP opens up with 'Raindrops', a fluttering sonic web of busy percussion, throbbing bass, intricate lead lines and jangling guitars echo through layers of luscious reverberation as stunning vocalisations swirl and ebb through every single chord structure. This track builds like a steam train, adding distortion and sporadic duel vocal lines to the mix before tumbling into it's noisy & resonating finale. Reminiscent at times to Australian-based noise merchants 'Hideous Towns', 'Raindrops' is a magnificent opening salvo indeed.
'Falling' opens with a military styled percussive pattern and the progressive pull of a guitar progression as instrumental feedback swells from deep below to cushion the slow moving tempo. 'SAAT' deploy their alt-rock leanings here as the slow chug of distorted guitars keeps pace allowing those soaring vocal lines to pulse through layers of reverb. A quick change of tempo and we explode into an atmospherically charged finale with thundering drums, throbbing bass lines and raging lines of guitar dipping more into noise-rock than punk. It's a noisy ending to a very interesting debut release.
ARTIST: The Altered Hours
RELEASE: On My Tongue
RELEASE DATE: 9th March 2018
RECORD COMPANY: Art for Blind/Penske Recordings
After a year's worth of touring in support of their stunning debut album 'In Heat Not Sorry', Irish-based noise merchants 'The Altered Hours' decamped to Dublin's Bow Lane Studios to record their highly anticipated brand new four track EP entitled 'On My Tongue' . With a sound that typically tumbles through swathes of experimental psych, swirling fuzz and is at times peppered with layers of noisy shoegaze, the band decided to take a slight sojourn on this latest release by swerving into the noisier side of rock & roll thus giving us a little glimpse of what's to come on their forthcoming full length sophomore release. 'On My Tongue' was officially released on March 9th 2018 via Art For The Blind Records/Penske Recordings and is available to buy/download right now on various formats from thealteredhours.bandcamp.com
On My Tongue by The Altered Hours
A fuzzy guitar progression generously harassed by menacing feedback, fret noise and jittering reverberation announces the arrival 'On My Tongue', the EP's opening salvo. It's rumbling percussion arrives from deep below the mix, building meticulously as it pulls a skittish beat and that repetitive bass signature with it into audible range to carefully circumnavigate an impressive opening vocal line. This track explodes into a cacophony of angry noise and it's filled to the brim with a repetitive injection of fuzz, pounding drums, throbbing bass lines and that addictive pulse of feedback laden guitars. Up next, 'Open Wide' shuffles into earshot swirling brilliantly through heady layers of moody atmospherics and sticky reverberation as the slow tempo of drums undulate and move like a well oiled pendulum allowing the hum of that luscious bass progression and the accompanying repetitive guitar line wash over the listener completely. Sporadic lines of lead guitar meander in and out of the mix as another impressive vocal performance hovers in close proximity, shadowed at times by haunting lines of backing vocals and those turbulent swells of resonating instrumentation.
'Over The Void', the EP's penultimate piece, drives a noisy wedge into the sonic ether as a rumbling percussive assault attacks the senses allowing those melodic vocalisations to swirl and meld with angry guitars and the pulse of sullen bass frequencies. This track is triumph, a bloody masterpiece and a definite highlight for me on the entire release. The EP closes out spiralling into the ether stuck fast to a repetitive beat and the glistening sound of tambourine, jangling stabs of guitar and acoustic frequencies. 'Hey No Way' is thoroughly addictive and is interspersed at times with passages of experimental psych, neo-psych and fuzzed out rock and roll. Brilliantly executed vocal lines ride turbulent layers of instrumentation that collectively soar into the ether, increasing in tempo with each cyclonic circumference, before plateauing into a huge sonic behemoth and nose diving into it's sullen finale. It's a huge ending to a marvellous EP.
'The Altered Hours' have twisted and reshaped their normal sonic attack into something altogether new and mesmerising with 'On My Tongue'. It has subtle highlights of post-punk, psych, neo-psych, shoegaze and riotous rock & roll all bundled up into one almighty white knuckle sonic thrill ride.
ARTIST: Lost Echoes
RELEASE: No Tomorrow
RELEASE DATE: March 5th 2018
Portland based space-gazers 'Lost Echoes' self-released their debut three track EP entitled 'No Tomorrow' to the masses back on March 5th 2018. Their collective sound swims in a heady sonic brew filled with driving reverb laden instrumentation overlaid with a deeply atmospheric hue. The band are made up of David Gross - guitar/vocals/production, Joel Cox - bass, Marcus Knauer - drums/production & Michael Lynch - guitar with the three track EP available to buy/download right now via lostechoes.bandcamp.com/album/no-tomorrow
No Tomorrow by Lost Echoes
The EP's title track growls into life driving comfortably on a steady percussive pattern and a woozy bass line as feedback laden atmospherics squeal and dance just below the mix. 'No Tomorrow' pulls vocal lines into the mix completely enveloped in resonating guitars and lashings of hypnotic reverberation as brilliantly executed guitar progressions lead us into a wonderful chorus break before we dive headlong into passages of billowing distortion. Up next, 'So Tired' ambles into audible range rocking slowly on a metronomic tempo as swells of guitar and booming bass frequencies step into luscious lines of jangling guitar and beautiful entrancing reverberation. This track swoons as the beat picks up tip tapping through time signatures at will allowing the ear to fall onto those shimmering guitars. as instrumental pieces go, 'So Tired' is a triumph and worthy of your ears.
The EP closes out with a Marcus Knauer Redux of the title track 'No Tomorrow'. It does exactly as it says on the tin and fans of these kind of remixes will enjoy the finished article. All in all 'No Tomorrow' is a very interesting EP indeed filled with brilliantly executed song writing and deft instrumentation making 'Lost Echoes' ones to watch throughout 2018.
ARTIST: Ten Million Lights
RELEASE DATE: 23rd February 2018
Portland based 'Ten Million Lights' pull influences from from shoegaze, post-punk and modern psych rock to craft and create a sound so luscious it will have you instantly hooked and checking their back catalogue in a heartbeat. Comprising of Ryan Carroll - vocals/guitars, Eric Block - guitars, Emily Logan - vocals/guitars, Russ Ellis - bass & Scott Smith - drums they unleashed their four track sophomore EP onto the world back on February 23rd 2018. 'Bellicose' is available to buy/download right now from tenmillionlights.bandcamp.com
Bellicose by Ten Million Lights
'Bellicose' opens up stuck fast to a jangling guitar progression before swirling vocalisations and the pull of bass frequencies add a heady weight to proceedings. Percussion free and lasting for under two minutes, 'Simplicity' tumbles and flows brilliantly, building with each sonic circumference before falling off a veritable cliff and on into it's unexpected finale. Up next, 'Falling Apart (extended mix)' erupts into a pounding percussive beast. Noisy layers of angry guitar and throbbing bass envelope that brilliantly executed vocal track as we swoon effortlessly through shimmering reverberations peppered with catchy hooks and brilliant production. Bouncing post-punk hued bass lines meander in and out of the mix, cascading at times through catchy lines of lead guitars and brilliantly poised acoustic breaks making this track a definite highlight for me.
'Smother', the EP's lead single, opens up riding a wall of brilliant noise. Humming bass lines ride a steady percussive pattern as feedback laden guitars and catchy lead lines pull those duel verse vocal lines (reminiscent of 'Goo' era 'Sonic Youth'), into the mix before tumbling out the back end into a mesmerisingly melodic chorus progression. Although I hate using these analogies, I can't help hearing subtle similarities to 'RIDE, Catherine Wheel' and the melodic side of 'The Brian Johnstown Massacre' swirling through this track, making it a bloody good listen. The EP close out with a instrumental of sorts. Channelling their inner MBV, 'Ten Million Lights' unleash 'Dakota/Code/Talker' onto the listener. Woozy reverb laden guitars pull turbulent layers of hovering vocalisations into the mix ,underpinned at times by the addictive throb of bass and resonating frequencies, as we fall into those lusciously spacious beaks and eventually out into that infectious ending. Its a great closing track that literally showcases this bands abilities as musicians. They must make one hell of a racket playing live!
RELEASE: Youth EP
RELEASE DATE: 3rd march 2017
There is something inherently satisfying about following a band from it's earliest incarnation, watching it grow in stature through each of it's online releases and being constantly amazed at how their sound has matured collectively over that time period to eventually stand as a bastion of sonic brilliance in a country that is over saturated with mediocre rock bands and rehashed musical trite. Hailing from the Irish Republic’s rugged northwestern periphery and held fast in a belief that sonic experimentation across many different musical genre’s is the only formula needed to express artistic freedom, resides one of the best modern day experimental psych-gazing collectives to ever have graced this fair isle. Led by the charismatic & multi-lingual Robert Mulhern and a rag tag bunch of instrumental geniuses and with a collection of releases under their belts, 'Tuath' have returned with a brand new six track monolith entitled 'Youth'. This latest EP swims in a broiling sonic broth filled with tantalising slivers of modern psych, noise-rock, trip-hop, prog-rock, shoegaze, krautrock and now with the added ingredient of shimmering experimental ambience used primarily to level us off slightly as we tumble skywards out into the ether. 'Youth' was officially released on March 3rd 2018 and is available to buy/download from right now via tuath.bandcamp.com
Youth EP by Tuath
The EP opens up with 'Youth', a blistering lysergic tinged melding of trip-hop and swirling effervescent psych that tumbles superbly through swathes of glistening reverb and hazy electronic instrumentation deftly accompanied by meandering guitar progressions and rolling synth swells that stick to that instantly recognisable vocalisations courtesy of Robert Mulhern. Up next is the brilliant 'Cuz Why!?'. Unusually stripped back for Tuath , this track dispenses with their usual tidal wave of reverb to deftly showcase the bands vocal abilities. They've also added the subtle throb of post-punk to their unique sonic collage, inserting it brilliantly in amongst the swirling lysergic electronics and pounding percussion thus adding another layer to their already immense sonic arsenal. A sticky reverb-hued guitar progression announces the arrival of 'Rose Tinted Glasses', my favourite track on the entire release. This in turn pulls steady percussion and the throb of bass frequencies with it as a swirling air of menace hangs nonchalantly in the closely accompanying atmosphere. Humming electronics and subtle swells of synth join in on the cranial assault as those bass lines morph into something altogether funky. This track is deeply experimental albeit with some additional informed songwriting knowhow to add that tantalising ambient strewn break filled with synth, saxophone and addictive electronics all swirling effortlessly around Rob's vocals. 'Rose Tinted Glasses' is a monumental triumph and a serious recommendation from us lot here at Primal Music.
'Old Man Yells At Cloud' is melodic, bouncy and a reverb laced noise-rock gem. It opens up with hazy guitars hugging tightly wound vocal lines, strapped to a big bass line before streaming electronic finery begins to bubble from just below the mix and we're walked hand in hand through the opening verse and pushed headlong into that noisy and animalistic chorus change. It's fast paced rinse and repeat stuff from here on in with a verse/chorus/verse/chorus structure as soaring lines of synth merge with explosive percussion and fuzzy guitars to form a massive wall of sound, only broken sporadically by the skip of addictively cascading base frequencies. Up next, the EP's penultimate piece, brilliantly titled 'And Your Cock Gets Soft/Take Me To Your Dealer' ambles into audible range rocking slowly on a metronomic percussive swagger and and an ounce of dry vocal humour before winding up into a sort of fuzzy foxy lady kind of vibe! It's an interesting sojourn that leads us into the EP's closing track. 'I'm Sorry Young Man' shimmers on a tremulous guitar progression as swirling instrumental drones build meticulously from below the mix and Rob's reverb hued vocals sweep into view pulling sparse percussion and deep permeating bass frequencies with them. 'I'm Sorry Young Man' builds brilliantly, adding layer after layer of instrumentation that sticks to the sequenced lines of synth and those fizzing electronics before feedback heavy guitars meander in and out of seamless production values adding a hard hitting atmospheric edge to proceedings that cuts through the melancholic feel of the entire track. It's a marvellous ending to a brilliantly executed EP.
RELEASE DATE: December 4th 2017
Do you like your dream pop lush, thick, full of ambient undertones and ethereal texturings? If so, look no further than the new Heligoland EP - 'Coriallo', a mixture of the deepest most harmonious dream pop mixed with the kind of ambience relative to somebody like Eno or even Robin Guthrie. In fact, this EP is mixed, produced and mastered by the man himself, known for his contributions to what we now know as ethereal wave and alternative rock in general via his stint in the famous Cocteau Twins. His touch and contribution on the EP are highly notable; I felt like some of the songs atmospherically sounded very similar to 'Guthries' - Continental (released 2006), a brilliant mixture of instrumental ambience that I highly recommend. Anyway, thankfully here Guthrie's position as producer only adds to the band and their sound; he leaves room for originality while enhancing elements of the bands performance and texturing, to achieve brilliant sounds for the listener. 'Coriallo' was officially released back on December 4th 2017 and is available to buy/download right now on various formats via heligoland.bandcamp.com
Coriallo by Heligoland
'Coriallo' opens with ‘Elk’; a low, downtempo and moody track that is built around the slow tempo of the drums and the shimmering background soundscapes of what I assume is some kind of synth. Guitar tones are lush and dreamy, reverberating and echoing around the mix, mingling with the voice. Speaking of which, the vocals remain extremely emotive for the whole song, somewhat clear in the mix but always suitable to the music. Lines like ‘I want to turn away/ because the right way seems to fool my mind’ become fully realized and emphasised by the beauty and patience of the vocals on the song. ‘Orion’ almost does away with the drums in favour of a more guitar based sound; the entire song is like a conversation between the vocals and the guitar. Deep down at the back of the mix, the drums steadily roll along with the rhythm. Structural the song feels free form; a fact that makes the listener pay closer attention to the performances and sounds. In turn these elements hold their own, assisted greatly by Guthries technical wizardry.
‘Anavo’ begins strong but enters a rough patch where it begins to sound like background music as the melodies and sound drift off distantly. The vocals enter a pitch range that seems a tad too comfortable with the guitar, creating a melding together of instruments that seems to kind of alter the music into background sounds. I’m glad to say though, that the followup ‘Three’ puts things back on course for the band. This track uses the same downtempo mood as the opener; the guitars are strummed distantly along with the beautiful sound of dreamy synths in the background. The vocals become a heavier, more defined sound, and the bass and drums step up to form a truly enjoyable rhythm section. The second half of the song is especially brilliant, and certainly a high point for the album in terms of the guitar. ‘Trust’ is possibly the best song on the EP; layered, emotive vocals open the mix and push it forward: layers of immaculately mediative guitars and atmospherics cover the corners of the sound… a truly beautiful song.
Rumour has it that Heligoland, with Guthrie producing, are releasing a full length album, which makes me consider a few things in relation to my thoughts on the album. Firstly, before that, I have to say that I really did enjoy this EP. I loved the performances, I love the texturings and the songwriting, and perhaps most of all I liked the production and overall quality of the sound. But, five songs was about enough. What I mean by this is by the time I reached the fifth track, I had heard just about as much slow simple drum beats, a particular vocal pitch and the lush roll of guitars that one could. On a full length, things may have to be altered a bit, or the same recipe may make the food taste bland. This EP however, pertains to the not too little and not too much rule, landing somewhere neatly in a place that makes it what some would call a comfortable listen. Things are glistening, things are beautiful, things are slightly contemplative and things are personified, positively transfigured and majestically presented through pure, beautiful sound.
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.
ARTIST: Summer's June
RELEASE: Drag Along
RELEASE DATE: August 2nd 2017
New Jersey based 'Summer's June' create a sonic concoction of modern day dream-pop, fizzy lo-fi electronics and layers of sequenced instrumentation that is carefully sculptured into an atmospheric mix of light reverberations and darker undertones. The band are made up of Vincent Medina - guitar/vocals, Steven Dodge - bass & Luke Lehner - drums. Their debut three track release entitled 'Drag Along' was released back in August 2017 and it's available to buy/download right now via summersjune.bandcamp.com
Drag Along by Summer's June
In a haze of melodic reverberation the opening bars of ‘Crime And Punishment’ eddy and swirl into audible range pinned to the twang of luscious guitar and the tremble of translucent vocalisations. A gently moving percussive pattern moves underfoot accompanied by the soft tones of bass and bubbling tremelo as dreamy lines of synth hang effortlessly in the sonic ether. ‘Crime And Punishment’ is blissfully captivating and a brilliant opening track. Up next, ‘Endless Blue’ shimmers on a fragile synth line, humming bass frequencies and the metronomic pitter patter of sequenced percussion. Woozy guitars add intensity as they wrap themselves around a blissed out vocal track thus allowing catchy chord sequences to carefully lift the listener skywards out into the ether.
The EP closes out with 'Julia', a melancholic affair that’s fixed to a slow moving drum track and the whoosh of synth. Melodic guitars add catchy hooks as it’s vocal lines meander in and out of airy production and the pull of reverb All in all it’s a beautiful closing piece to what is very accomplished EP.
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 genre's 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.