RELEASE DATE: November 25th 2016
RECORD COMPANY: These Are Not Records
Connecticut based experimental shoegaze/lo-fi four piece 'Landing' are no strangers to the underground music scene having no less than nine previous releases under their belts. The latest addition to that stunning collection is 'Complekt', their 10th release to date and a continuation to their no-nonsense, genre-defining attitude of creating blissful sonic soundscapes that are filled with hazy shoegaze highs and jaw dropping ethereal vocalisations coupled with experimental twists and lashings of glorious reverberation. The band are made up of three longtime members; Adrienne Snow - vocals, Aaron Snow - guitar/synth/bass/drums/vocals, Daron Gardner - bass & John Miller - drums/guitar/synth and you can pre-order the full album on various formats right now from: landing.bandcamp.com
Complekt by Landing
In a beautifully translucent instrumental drone ‘Complekt’ unfurls its effortless sonic tendrils to announce the arrival of it’s opening salvo - 'Light'. It pulses into earshot on a wave of quivering guitars and deliciously ambient swirls before it’s blissfully ethereal vocalisations sweep past you, held fast in swathes of immense reverberation. Up next, ‘Complekt’ swirls repetitiously before exploding into a driving cacophony of thunderous percussion, throbbing bass frequencies and a maelstrom of layered reverberating guitars. The vocal lines cut an ethereal wedge through proceedings, bringing a sort of serine clarity whilst all around them wage a sonic war of attrition. A stunning track that you must listen to via headphones to experience its full sonic onslaught.
‘Weft’ jangles into ear shot on an undulating bed of instrumental promise, sequenced synth theatrics and a shaking percussive pattern as it’s brilliantly executed guitar lines languish deep within swathes of luscious reverb, whilst the monumental ‘Shifts’ menacingly emerges from beneath an angry instrumental drone accompanied by hypnotic shakers and massive walls of ethereal noise. ‘Shifts’ undulates as its beautiful vocals swerve through cascading synth lines that float effortlessly through the sonic ether, looping and arcing with blissful aplomb. Up next, ‘Thither’ soars on a glorious synth swell before building into a throbbing sonic beast. This track pulses and swirls on a cloud of hazy electronics and sequenced atmospherics before we’re treated to a metronomic drum pattern, melodious bass frequencies and another beautiful vocal performance, constantly circumnavigated by reverberating guitars and cushioning synth swells. ‘Thither’ is immense and possibly my favourite track on this entire release.
‘Grow’ bleeps and swirls into existence on a bedrock of sequenced electronics and stunning guitar swells. It shimmers blissfully as it works through it’s sonic gears with aplomb, effortlessly floating unaided through layers of reverb and droning experimental instrumentation. Coming in at ten minutes plus ‘Grow’ is by far the longest track on the entire album and it doesn’t disappoint. It moves effortlessly through soaring guitars, pulsing synths and hypnotic percussion whilst pushing wave after wave of golden hued frequencies out into the sonic ether without breaking a sweat. The vocal lines weave a spell as they majestically intertwine with the entrancing sound waves. ‘Grow’ is a sonic triumph of immense proportions. The albums penultimate track entitled ‘Clouds II’ moves on a lazy percussive swagger albeit coupled with swirling guitars and the constant hum of a throbbing bass line. It’s vocal sits gracefully in the mix, gently leading this listener through a meandering pre-designated verse pattern and on into it’s soaring chorus parts. The albums closing piece however, shimmers on acoustic frequencies and soaring synth swells. ‘World’ switches from female to male lead vocals brilliantly as it builds into a trembling maelstrom of glorious reverberation and tremulous noise. A fitting ending to a marvellous album.
ABOUT THE AUTHOR:
Del Chaney has spent the last four years not only fronting popular experimental Irish based electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & 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. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
by Primal Music
It's All Gone by The Age of Colored Lizards
Norwegian based psychedelic dream gazers 'The Age Of Coloured Lizards' have released brand new track entitled 'It's All Gone' via their bandcamp page. With a sound that permeates a multiple of different layers in the music genre spectrum, taking in dreamy shoegaze, psych, noise rock & fuzzy alt-rock 'The Age Of Coloured Lizards' do not disappoint. 'It's All Gone' is available to buy/download right now from: theageofcoloredlizards.bandcamp.com
'It's All Gone' explodes into audible range swirling menacingly in a maelstrom of noisy fuzz & reverberation. The vocals arrive bringing with them an aura of peaceful solitude, cutting through the cacophony of tremulous frequential noise to deliver a stunning track filled with immense psych-gaze promise.
ARTIST: Tears Run Rings
RELEASE: In Surges
RELEASE DATE: December 2nd 2016
RECORD COMPANY: Deep Space Recordings
Not officially released until the 2nd December, dreamy shoegaze four piece ‘Tears Run Rings’ have used the magic of the internet to conceive their hauntingly good third album entitled ‘In Surges’. Taking a grand total of six years to complete, the band recorded in three separate studios transferring tracks backwards and forwards between three different cities - San Francisco, Portland and Los Angeles until each finished track was perfect. The band are made up of Laura - bass/vocals, Matthew - guitars/vocals, Ed -guitar and Dwayne - drums. Laura, Ed & Dwayne are original members of the now defunct 90’s twee/pop outfit ‘The Autocollants’ and Matthew & Ed also founded the brilliant 'Shelflife Records'. ‘In Surges’ is the bands third album and gets its full release via Deep Space Recordings. The album is available to pre-order on lovely coloured vinyl right now from: deepspacerecordings.storenvy.com
'In Surges' opens up swirling gracefully within a reverberating instrumental drone. ‘Happiness 6’ pulses a beautifully translucent sonic wave out into the ether as swathes of reverb are met with soaring synth swells and sparse percussion to perfectly envelope that impressive vocal. Up next, ‘Belly Up’ charges into earshot on a repetitious percussive attack coupled with noisy reverberating guitars and throbbing bass frequencies. Haunting vocal lines sway and bounce as they deftly circumnavigate the instrumentation, dashing in and out of subtle quieter/dreamier moments and on into awe inspiring soaring shoegaze, all the while drenched in beautifully ethereal reverb.
‘Things Have Changed’ shimmers as the twang of guitars meet underlying synth swells and ethereal vocalisations. The addition of the hazy acoustic guitar tones add atmosphere before the thud of bass frequencies take hold and carefully guide you out into the ether aided by wave after wave of underlying shimmering guitar effects. I can’t help but be totally blown away by both the lead vocal lines and the ethereally haunting backing vocals on this track. Absolutely stunning in its entirety, ‘Things have Changed’ is possibly my favourite track on the entire release. ‘Part of Glass’ blissfully ambles into audible range on a repetitive drum pattern, swirling instrumentation and another impressive vocal whilst ‘Green Lakes’ echoes and sway’s on a wave of reverb laden noise until we’re introduced to a beautifully ethereal vocal performance. ‘Green Lakes’ explodes into a cacophony of glorious colour as its chorus progressions take hold and we glide effortlessly within a haze of sonic grandeur into the ether.
‘Broken’ brings us back down to earth as it explodes into a reverberating beast. The vocals bring some clarity as they cut through overdriven guitar frequencies and I can hear subtle old-school flourishes reminiscent of ‘Slowdive’ here. Up next, ‘Destroyer’ breathes a modern sounding edge to proceedings as the track builds in momentum through its blissful verse parts and on into a beautifully arranged chorus progression. The chug, chug, chug of rhythm guitar coupled with those snaking lead lines, lazy percussion and soaring instrumental swells enter the fray and act as the perfect accompaniment to those ethereal vocal lines. The beginnings of ‘Something You Cant Hide’ have a welcoming post-punk edge before the track unfurls its sonic tendrils and radiates a stunning wall of layered guitars and driving bass frequencies underscored with a bedrock of explosive percussion. The albums penultimate track doesn't disappoint either as it unleashes a repetitious guitar progression and shimmering tambourine shakes. ‘Sine Wave Sleep’ is steeped in reverb, and totally reminiscent (instrumentally) of early Spacemen 3 mixed with the stunning melodic expertise of ‘The House Of Love’. As soon as the vocals takes hold, accompanied by those plodding bass frequencies and soaring lead guitar swells, you are completely hooked. ‘Sine Wave Sleep’ is a stunning track from start to finish.
The albums closing salvo entitled ‘Happiness 7’ majestically swerves through tremulous droning guitars and stunning atmospherics as it throws up blissfully noisy frequencies and hazy instrumentation. Out of the blurred sonic maelstrom comes a brilliantly executed vocal coupled with its underlying ethereal backing lines.
'In Surges' is a stunning return to form and well worth the six year wait!
Del Chaney has spent the last four years not only fronting popular experimental Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled 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.
ARTIST: Coconut Cluster
RELEASE: Brighter Day
RELEASE DATE: 25th September 2016
RECORD COMPANY: Unsigned
Generally when I get a post-rock submission into the blog these days the first thing that I tend to look for are surrealistic or atmospheric soundscapes with expansive swathes of reverb and repetitive patterns of minimalistic instrumentation. At least thats what I have been brought up associating the post-rock genre to be. Music that you can transfer into a movie soundtrack with the flick of a switch and in doing so you end up being brought on an immense sonic journey. Paris based post-rock/indie duo of Matthieu Connon & Gaël Maffre aka ‘Coconut Cluster’ released their debut five track EP entitled ‘Brighter Day’ to the masses on the 25th September 2016, and if you can get over the band name, have actually released something rather special. A melding of post-rock, shoegaze and electronica with indie and alt-rock tendencies that still have those spine trembling atmospheric moments but with a distinctly modern edge. ‘Brighter Day’ is available to buy/download right now from: coconutcluster.bandcamp.com
Brighter Day by Coconut Cluster
‘When We Burn’ pulsates on a wave of synth and swirling guitars as sequenced percussion builds feverishly behind walls of impressive production. The vocals arrive in a haze of atmosphere that builds menacingly through the verse parts and explodes brilliantly into the chorus progressions. The use of undulating synth swells and repetitive guitars lines add depth to proceedings and I cant help but hear sounds reminiscent of our good friends ‘In Violet’ peppered throughout. It’s a wonderful opening salvo. Up next, ‘The Terrifying’ rattles and shakes on a slow percussive pattern as sampled vocalisations and intensely delicious instrumentation creeps and weaves a magical kind of sonic spell. The vocal lines intertwine themselves in amongst the swirling cacophony of atmospheric noise as the track builds & drags itself into the musical ether on a wave of harmonious sounds and massive synth swells.
Track three, ‘The Mysterious’ explodes into the arena circulating effortlessly within a maelstrom of synth, drums and growling guitars. The cascading lead guitar lines dance and spin a web of blissful, golden hued instrumentation as the track unfurls its tremulous tendrils before ‘Downstream’ pierces the musical ether, held fast within an distinctly atmospheric sonic bubble. ‘Coconut Cluster’ show us their definitively intelligent post-rock side with this beautiful track. It’s fragile melancholic vocals ride a wave of reverberation as droning instrumentation builds and shimmers into earshot. Sparse rumbling percussion pulses from far below before the introduction of dark repressive synth swells and swathes of noise inter the fray with one aim in mind; to deliciously lash the senses with glorious sonic aplomb. The EP’s closing track breathes and undulates brilliantly as its held deep within an air of 70’s sci-fi chic. Acoustic frequencies swirl as the track builds in momentum, consciously looping and arcing as it changes gear and pushes a wave of blissful synth filled repetitious noise out into the ether. ‘The Strange’ injects overdriven guitar squall into the mix, shattering the surreal calmness of before and instilling an unnerving dark & haunting edge into its final moments. An absolutely stunning finale to brilliantly executed debut EP.
Del Chaney has spent the last four years not only fronting popular experimental Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & 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. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled 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.
Octopus Shoes by The Orange Kyte
Our good friends 'The Orange Kyte' have unleashed what we think is their most grooviest track to date in the guise of 'Octopus Shoes'. This latest track is their 10th of 12 singles that continues on their rather interesting sonic manifesto of releasing one single-a-month for 2016 and it definitely doesn't disappoint. Collaborating this time with Matty Reed on sax alongside the now-consistent live unit of Moonboots (Guitar and Vox), Dave Mulvaney (Drums), Mat Durie (Organ and Guitar) and Robin Schroffel (Bass, Vocals), 'Octopus Shoes' is available to buy/download right now from: theorangekyte.bandcamp.com
'Octopus Shoes' catches you from its opening organ hook and sweeps you up with it as the track pulses a progressive wave of driving percussion, throbbing bass frequencies and swirling guitars out into the atmosphere. The introduction of (the now recognisable) vocalisations of Stevie Moonboots are brilliantly highlighted by the stunning tones of Robin Schroffel on backing duties! But its the impressive saxophone lines and those hypnotically repetitious hand claps that add an instant hit of northern soul into the psychedelic mix, that are sure to have you hooked upon hearing them.
London based purveyors of all things psych 'Fuzz Club Records' have announced another addition to their already immense roster of artists. Hailing from Mexico City, 'Has A Shadow' create a brand of dark and ritualistic modern day psych gaze that heaves and undulates through swathes of unabashed reverberation and driving instrumentation tinged with menacing gothic tones. The band have just announced announced a brand new single to coincide with them signing to Fuzz Club entitled 'The Flesh' with the full album extravaganza penned in for release in January 2017. This new single follows a run of EU dates that included an appearance at Liverpool Psych Fest and shows with LSD & The Search for God, TAU and The Jabberwocky Band.
'The Flesh' pulsates and swirls on undulating waves of dark instrumentation that includes throbbing bass lines, reverb laced organ swells, repetitive percussion, fuzz -laden guitars and those hauntingly good vocalisations courtesy of Daniel Garciano.
As usual the full album will be available to pre-order very soon via fuzzclub.com
Melting by Movie Brain
Tennessee based jangling dream/gaze trio 'Movie Brain' have unleashed a beautiful new single entitled 'Melting' via their bandcamp page. The band are made up of Jonathan - Guitar/Vocals, Adam - Bass Guitar & Kevin - Drums and this latest single follows on from their stunning September 2016 four track EP release entitled 'Soma'.
'Melting' floats effortlessly into ear shot on a wave of beautifully translucent reverberation as its jangling guitars swirl blissfully into the ether cushioned by immense synth swells. The repetitive percussion announces hazy vocal tones as we sway and soar with every single note. Beautifully constructed and gracefully executed, 'Melting' is music to dream away the days to.
ARTIST: Pastel Coast
RELEASE: Sense EP
RELEASE DATE: 17th October 2016
Plain and simple, straight and true, Sense by the French based dream-pop project Pastel Coast is a neat and enthralling 5/5 EP. When I saw the projects genre to be that of dream-pop, I sighed and wondered whether this would be any different; different to the mass amounts of the genre that are poured out into the public sphere from musicians who think they are truly unique in some various way. Is it different? I’m not sure. Because I started to think as I listened to it; what makes dream-pop good? What makes it an enjoyable and a favourable listening experience? The answer, I started to think, is that if it evokes some sort of emotional response; some kind of ‘connection’ (if you want to get fancy) then it must be of better quality than others. And while I feel that Sense is definitely an original EP, filled with unique and refreshing songs and music, I believe it to be the nostalgic, propounded elements of Pastel Coast's musical and lyrical content that truly makes it a step above the others.
Sense opens with the ideal characteristic sound of the whole EP; the hush roll of waves on a shoreline and the gentle plucking of dream pop tone guitars. This song, ‘Nightfire’, showcases the projects musical landscape and favourite tools for creating soothing, relaxing and dreamy pop music. ‘Nightfire’ centres itself silently around the gentle beat of a drum machine at the back of the mix. Guitars sound light and fluffy; perhaps like the clouds that Pastel Coast are trying to emulate through their music. The sound is drenched in reverb enough so that the vocals and the instruments mix together without being totally audible all the time; which fits well in the music. Altogether I feel the song sounds synthetic; but synthetic in almost a genius way… As though these characteristics do nothing but good for the music. What follows, however, is the best track on the EP. ‘Lifes’ sees Pastel Coast use a more shoegaze texture; they connect this back with the ingredients used at the start of the EP; such as drum machines, heavy reverb, distant but entrancing vocals and simple yet appropriate bass lines. The project also add another gem into the mix; as ‘Lifes’ is where the vocals truly shine. The mesmerizingly beautiful chorus sees the vocals reach high to accompany the guitars in a truly brilliant passage of music. This tight mixture of sound also sees Pastel Coast at their most proffer as the music begins to reek (in a good way) of nostalgia.
‘Synthetic Love’ follows with its lengthy and more pronounced musical structure. The song opens with clear vocals, a steady drum beat and some basic backing instrumentation. It develops, however, over the course of the song, to include a neat synth and heavy, pounding drum machine passage of music. The track reaches its artistic heights with a winding, disco like breakdown in the middle of the song; after which the band slowly plaster things back into one cohesive image at the end of the song. Another truly beautiful and genuinely fantastic song is the aptly titled ‘Don’t Gaze Your Shoes’. By far the most shoegaze Pastel Coast ever broach on Sense, the song appears and projects itself in a much heavier way than others with reverb drenched guitars, more elusive vocals and a slower tempo that could be likened more to gazing at ones shoes than dream pop-ing. The song almost acts as the musical representation of swimming as it soothes; gentle, yet always deep and more often than not layered sounds paddle over the top of others.
Literally everything about Sense EP connects with what I referred to as ‘nostalgia’ in the aforementioned paragraphs. The artist image on the Internet is a colourful photo of somebody walking in the ocean with their guitar; the sky is blue, the water is dark and the whole picture looks like some sort of beautiful oil painting. The EP cover art displays a neatly blended colour pattern, light and full of colours associated with the beach, the ocean and I suppose… The coast? Even the band’s name links in with this dream pop nostalgia beauty, aesthetic. Of course, however, it is the music that links everything together tightly; presenting Sense EP in a neat, good-looking package. The production is almost bordering on lo-fi, which one generally does not associate with shoegaze or dream pop. However the project somehow push this very lo-fi like production quality to the front which somehow adds another gentle element to the mixing on the album. Reverb is heavy, as are the echoed programmed drums and the undercurrent of shoegaze like synths and soundscapes. Thankfully, again, the band use this to their advantage.
The beauty of this EP is immense. So much so at some points I felt like I was listening to Sense while standing on a cove or beach somewhere, ankle deep in the dark sand. And ultimately I feel like that’s why you should listen to this EP; it is a creature of mesmerizing brilliance and attraction, all the while being something you feel has walked you back through the past and placed you somewhere under the sun. Pastel Coast present this image and connect it together through the avenues of production, performance and 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 the Australian heavy music blog, I Probably Hate Your Band.
ARTIST: Curelight Wounds
RELEASE: Wearing The Strings EP
RELEASE DATE: November 1st 2016
Brooklyn based noisy lo-fi aficionados ‘Curelight Wounds’ unleash a monumental brand new four track EP to the masses entitled ‘Wearing The Strings’ on November 1st 2016. The EP brings with it a mixed bag of influential sounds that includes surging shoegaze, driving post punk and a splattering of lo-fi frequencies that collectively are guaranteed to stir the deepest of melancholic feelings from the most introverted amongst the underground gazing fraternity.
‘Wearing The Strings’ opens up with its title track, gloriously held within a turbulent maelstrom of angry noise and driving melodious bass frequencies. ‘Wearing The Strings’ weaves and soars effortlessly through layers of screaming feedback and pounding drums as its vocals swim through a deep dark sea of lo-fi brilliance. Up next, (the very punk like) ‘Sail It Away’ is awash in reverberation as its brilliant bass line undulates between the soaring guitars and the pounding drums whilst all the while being straddled by a repetitious vocal progression. ‘Sail It Away’ is absolutely magnificent and probably my favourite track on this entire release.
The EP’s penultimate track is a work of art. ‘Salted Hour’ drives headlong into the sonic ether on a skittish percussive pattern brilliantly underscored by weaving post-punk inspired bass frequencies and a raging cacophony of thunderous reverberation. Again, the lo-fi vocals cut an unwavering wedge through proceedings as the swirling accompanying guitars perform whammy bar theatrics as they unleash a wave of beautiful noise. The final track on this impressive release is ‘All In Red’. A melodious affair filled with snaking bass lines and addictive lead guitar progressions that weave in and out of that sublime vocal take with ease. Reminiscent at times to early ‘Cure’ or Boston’s own ‘Swirlies’, ‘All In Red’ is a fitting ending to a bloody marvellous EP.
Continuing on with their highly successful collection of split single releases see's the brilliant Fuzz Club Records return with their latest two track sonic assault on the cranium. Their forthcoming 'Split Single No.9' is officially released on November 24th and features 14 minutes plus of immense psychedelic explorations courtesy of brilliant London based 'The Oscillation' & Portugal's own experimental psych aficionados '10,000 Russos'.
Side A on this impressive release belongs to 'The Oscillation' who offer up a swirling sonic behemoth in the form of 'Almost See', a throbbing atmospheric bass driven beast that swerves menacingly between dark industrial percussive hallucinations, brackish tripped out noise and almost inaudible vocalisations whilst being continuously massaged by fuzzed out guitars, theatrical piano thrills and those senses pummelling synth swells. Side B see's the magnificent '10,000 Russos' bring a highly charged psych incantation to bare as the repetitious motorik percussive pattern of 'Ashkenasi' drives headlong into the musical ether, dragging with it a raging maelstrom of reverberating frequencies, throbbing bass lines, electronic frequential noise and raging cyclonic guitars to collectively create a sonic whirlwind that seems to envelope that addictively ritualistic vocal mantra courtesy of João Pimenta!
'Split Single No.9' is officially released on November 24th and is available to pre-order right now on
transparent blue vinyl from fuzzclub.com