My Favourite Things - Fly I Will, Because I Can - Featured Image - (700x700)

ALBUM REVIEW | My Favourite Things - Fly I Will, Because I Can

ARTIST: My Favourite Things

RELEASE: Fly I Will, Because I Can

RELEASE DATE: 14th July 2017

RECORD COMPANY: Unsigned

Brooklyn based 'My Favourite Things' aka multi-instrumentalist Dorothea Tachler has been writing, recording and producing competent sonic soundscapes since the release of her debut album 'Rarara' back in 2009 and has transfixed audiences in the notoriously unforgiving New York City music scene with her beautifully dreamy, acoustic filled sound both as a solo act and with her constantly changing live five piece band which features various players from within the vibrant underground NYC scene. Her latest album 'Fly I Will, Because I Can' is a beautifully melancholic sonic journey swirling around some turbulent themes such as lost love, life and it's many pitfalls. 'Fly I Will, Because I Can' gets it's official release on July 14th 2017 and is available to pre-order right now on various formats via myfavouritethings.bandcamp.com

The albums opening salvo entitled 'Sunlight' glistens as it jangles into earshot, stuck fast to an addictive acoustic guitar progression and underscored by a subtle array of impressive instrumentation and sporadic hits from various percussive instruments. Beautifully dreamy vocalisations wash over the entire piece draping it in light reverberation and intense melody that collectively adds a summery melancholic vibe to proceedings. Up next, 'Everything Changes' builds from its first notes and introduces layer after layer of instrumentation as it deftly meanders through a predestined production arrangement. Again, there are lashings of melancholy here as you float effortlessly along with the dreamy but addictive vocal tones of Dorothea Tachler and I can't help but hear subtle but delightful touches of Americana swirling around in the mix. The opening bars of 'Goodbye Again' continue with the previous trend albeit on a more scaled back trip before the chorus soars up and out into the ether on a bubbly cacophony of golden frequencies. There's a sonic battle of wills between light and shade echoing throughout this track as the instrumentation shimmers whilst it's underlying theme drapes a dark atmospheric cloak over it's yearning vocal lines. Brilliantly worked and both the songwriting and the production are faultless.

'Still Practicing' growls on a deep electric guitar progression that envelopes another outstanding vocal performance. The subtle wash of crash cymbal melded with a fuzzy layer of resonating guitar and underlying instrumentation adds weight to the chorus change before we're dragged back into another hazy verse progression and on in to the tracks moody finale whilst up next 'Some Things Stay The Same ( Stay A Little While)' floats into earshot on a woozy cloud of tremulous guitars and droning instrumental swells offering up a glorious 60's esque psychedelic twist as it loops and arcs brilliantly through shimmering reverb hued layers. 'My Favourite Things' offer up some fantastic folk leanings on this record and none more so than on 'Growing Pains'. It undulates around a simple guitar progression accompanied by tumbling drum patterns and twinkling lead lines that collectively circumnavigate it's soothing vocal lines brilliantly whilst 'Nobody Knows' shimmers into audible range swirling on a dreamy vocal harmony before wobbling electronics and tremulous guitars take over and sparkle on a steady metronomic beat. 'A Little Closer' sounds like a long lost Beatles track with its busy drum pattern and wavy, reverberating vocal lines accompanied by a persistent instrumental drone that winds its way through jangling guitars and stunning production with relative ease. Catchy hook laden chorus progressions lift the entire track into a gauzy dream-pop laden masterpiece and this listener is pulled with it up into the ether. Thoroughly addictive and probably my favourite track on the entire release!

Steeped in melody, 'Keep Letting Go' opens with slow tremulous guitars, humming bass frequencies and the occasional wash from the cymbals. A stripped back vocal track cuts through the production and it's joined at times by harmonious backing vocals as the track builds, injecting meandering drum patterns and periods of fuzzy reverberation whilst 'Spaceman' surges from its opening sequenced drum pattern and opens up into a slow moving ball of hazy instrumentation. Dreamy vocalisations swirl and whirr through layers of reverb as this track steps in and out of fuzzy shoegaze and hazy dream-pop at will. The albums penultimate piece entitled 'The Longest Winter' rustles into ear shot on warbling instrumentation and the subtle brush of drums. There's a air of experimentation here that is very refreshing as Dorothea's vocals emerge into the mix precariously positioned atop slow moving ambient hued instrumentation peppered with sparkling atmosphere, brilliantly executed production and fuzzier moments of sonic contemplation. The album closes out with 'I Don't Know', a full on dream-gazing standard. A bedrock of sequenced electronic drums act as the foundation for humming bass frequencies, various instrumentation, bouncing synths and dreamily layered vocalisations. A brilliant finale to a very interesting album.

4/5

LINKS:

myfavouritethings.bandcamp.com

facebook.com/MyFavouriteThingsBrooklyn

dorotheatachler.com/my-favourite-things

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.


Bolywool - From Void To Matter Vol 1(700x700) Featured Image

EP REVIEW | Bolywool - From Void To Matter Volume 1

Bolywool - From Void To Matter Vol 1 (300x300) Post ImageARTIST: Bolywool

RELEASE: From Void ToMatter Volume 1

RELEASE DATE: 26th May 2017

RECORD COMPANY: VÅRØ Records 

Back in March 2016 whilst writing for 'The Sound Of Confusion' I was tasked with reviewing a fantastic fourteen track album entitled 'Hymnals & Bombs' by Swedish based (Borgholm/Gothenburg) cousins Calle Thoor and Oskar Erlandsson AKA Bolywool. Having never heard of the band before I instantly fell face first into their shimmering & experimental sonic landscapes and I was literally blown away by their musical interpretations on life and the way in which they told melancholic stories through the medium of sound. Now the duo have released the first of a planned trilogy of EP's entitled 'From Void To Matter Volume 1'. This stunning two track EP was released back on the 26th of May 2017 via VÅRØ Records  and it is available to buy/download right now via varorecords.bandcamp.com

Pounding, rhythmically charged percussion announces the opening salvos of ‘Hafmeyjan’ and with its arrival it pulls droning synth swells and the constant twang of guitar with it to collectively conjure up mesmerising incantational atmospherics. Beautifully intense passages of serine vocalisations swirl into the ether riding the turbulent instrumental wave before rippling skywards on undulating pulses of reverb and delay. ‘Hafmeyjan’ stirs the imagination and instills heavy swathes of melancholic abandonment as it meanders through layers of brilliantly executed production used effortlessly to whisper tales of salt lashed islands and far flung windswept beaches. This is a stunning opening track and it reminded me of just how good Bolywool are at telling stories through the medium of sound.

Up next the duo unleash ‘Meø Lögum Skal Land Byggja’ and it opens up tumbling erratically into a shimmering ball of sequenced electronics, swirling samples and the constant accompaniment of a synth heavy drone. Lazy, but brilliantly produced drum patterns rattle and shake, underscored at times by throbbing bass frequencies and tantalising good instrumental atmospherics that glide and shimmer on wave after wave of stunning reverberation. It’s synth lines glisten as they rise and fall giving off the impression of waves crashing on a storm ravaged beach-head and the constant rolling of different sonic frequencies add swathes of light and shade, reminiscent at times to the sun breaking through dark storm clouds. A magnificent ending to what is the opening volume of Bolywool’s planned trilogy of EP’s.

5/5

LINKS:

varorecords.bandcamp.com

bolywool.bandcamp.com

bolywool.com

facebook.com/Bolywool/

twitter.com/Bolywool

ABOUT THE AUTHOR:

Del Chaney has spent the last four years 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 (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.


REVIEW | Black Needle Noise (John Fryer) - Singles Retrospective

Black Needle Noise is the new moniker under which famed and acclaimed underground producer John Fryer tweaks and creates. It’s a new kind of heightened ambient/experimental project that holds nothing back while traversing for adventure in the darkest realms of electronic and dream pop music. While it’s refreshing and original, one can’t help but hear the signature touch of the legendary producer in every corner of every track, as pounding drums mix with several bouts of 80’s sounding music. For those who don’t know of John Fryer, his retrospective production chronology reads like a trip through the alternative underground of the 80’s and 90’s; having produced or had some part in releases from a wide array of bands and artists from the post-punk era. And for those of you who do know him, you will recognize him and his signature sound as one half of 4AD legends This Mortal Coil, a band who are comfortably considered one of the most influential and acclaimed British alternative acts of the past century. Black Needle Noise borrows some of Mortal Coils gothic flavours, along with a heavy and deep electronic sound that adds a modern feel to each song. Fryer has been releasing singles from Black Needle Noise’s debut album one by one, which will eventually amount to a full album release; featuring a guest list of some of the most brilliant and talented musicians from across the world alternative music scene.

‘Heaven’ is a warped, percussive and dark musical journey; guided through the depths of darkness by the thrum of a bass guitar and the heavy, sludge like weight of the backing drums. Throughout the song, Fryer introduces a plethora of brilliant production techniques; one of which is the way the instruments mix together to create what can only be described as an intriguingly confusing piece of music making. And although the experimental instrumentation and production sound like a giant stomping, Fryer adds a neat and tricky piece of This Mortal Coil's gothic edge to the song by featuring a dazzlingly swaying choir like string section deep at the back of the song. The vocal performance, by the ever-talented Jennie Vee, hits every note beautifully; crafting another dimension to the song in the fantastic context of contrast. Fryer followed ‘Heaven’ by releasing the much more ambient and electronic influenced ‘She Stands On A Storm’, which is a powerful electronic standard that features a synthpop/industrial chorus. In a similar vein to ‘Heaven’  it mixes this electronic instrumentation and programming with a myriad of sounds and noises that land somewhere between samples and FX heavy feedback loops and tricks; that walk around freely in the background of the song. Fryer again utilizes a fantastic vocalist to sing amidst the tenebrosity and darkly dispersed sounds of his musical structures; this time it is the harmonious pipes of Andrea Kerr, who comes across as more subdued to Vee, but in a way that does wonders for the song.

Perhaps the best lead single that Black Needle Noise has released is the atmospheric, soaring, dream pop/ethereal wave oscillating of ‘Swimming Through Dreams’, with a wondrous vocal track from Mimi Page, who presents the case for how voice can be used as an instrument just as a guitar may. It’s three minutes of Fryer layering choir synth upon choir synth upon string arrangements to create a song that sounds like the musical equivalent of glowing. But even though he does everything right in a production sense, it is Page’s hypnotic vocals that serves as the most interesting layer of them all. ‘Teeth to Grey’ is another symphonic piece of dark electronic pop music, this time with the added element of a trap-influenced drum machine program within the song. If one single showed how brilliant of a producer Fryer was, it would be this; where noises, instruments and sounds rattle around the song to create a confusing and engaging listening experience. Things are panned around, and then they’re not, and then other sounds seep in while your concentrating on another thing, all the while you hear the tiny micro-cogs of a greater machine churning out something memorable and heavily influenced by a darker form of 80’s ethereal wave pop. For ‘Teeth to Grey’ he calls upon the skill and talent of the vocalist from experimental/trip hop project Omniflux, whose voice is again greatly different in mood to those featured on other tracks. Vocals here are much more hushed and whispered, keeping in key with the intricate and net-like music. The much more dream pop influenced ‘Treasured Lies’ sees the combination of electro-pop and the soaring kind of shoegaze that’s made less with guitars than it is with walls of light and bright sounds. The vocal performance of Zialand is a good fit for the producers more experimental tendencies, which at the songs beginning takes the form of lo-fi feedback and frequencies.

These collective singles showcase the genius of Fryer’s production and song writing techniques, harking back to his older projects and musical explorations in the ‘good ol’ days’ of alternative music. If there is one thing that is definitely different from his earlier This Mortal Coil releases it is that every single released by Black Needle Noise sounds clean and polished, even when a cacophony of noise screeches and whizzes away in the background. Much like fellow producer Dean Garcia, the technological advancements in music production, mixing and recording seemed to have allowed Fryer to create a more fluid and smooth sound; all the while creating beats and dense gothic sounds that still hold their intent through the ‘fresh’ production style. Praise should be given to every vocalist who Fryer has enlisted for this project; each containing their own distinctive vocal styles that suit their chosen songs with an air of beauty and mystery. These Black Needle Noise songs showcase a producer at the top of his game, through his skills and talents in mixing, song writing and sound.

4/5

LINKS:

blackneedlenoise.bandcamp.com

twitter.com/johnfryer666

facebook.com/John.Fryer.Official

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 the Australian heavy music blog, I Probably Hate Your Band.


ALBUM REVIEW | Stupid Cosmonaut - Algol (Drone Rock Records)

ARTIST: Stupid Cosmonaut

RELEASE: Algol

RELEASE DATE: March 2017

RECORD COMPANY: Drone Rock Records

UK based sound manipulators ‘Stupid Cosmonaut’ release the next chapter in their impressive sonic catalogue this coming March via Drone Rock Records in the form of their deliciously entrancing four track monolith 'Algol'. Their sound permeates the outer reaches of ambient psych-rock whilst it’s inner core is full of dark, atmospheric synth swells, beautifully produced percussion and swathes of minimalistic drones that collectively create music to immerse your entire being into until you float away on sonic ripples of shimmering ambience. The band are made up of Steve McNamara – synths/bass, Sam Read – synths,/guitar, Andy Hunt – drums & Mark Hawnt - synths. The album is available to pre-order right now on lovely vinyl (colour Side A / Side B effect in black and grey/limited to 250 copies) via dronerockrecords.com

'Algol' unfurls it's sonic wings and swirls into earshot on a wave of hushed voices, haunting bass frequencies and repetitive fret board theatrics. 'Solitary Stasis' floats through the ether on clouds of sweeping synth swells and ambient reverberation coupled with intense atmosphere and the constant chattering of samples vocalisations that seem to come and go in and out of earshot at will. A stunning opening track indeed. Up next, 'The Demon Star Pilot' announces itself on indignant guitar tones and swirling synth swells. coming in at a whopping sixteen minutes plus I quickly realise that I have to strap myself in for the long haul. Senses pummelling frequencies underscored by dark swathes of unrelenting synth lines quiver and wail in a visible mass of atmospheric reverberation as we're swept up and advanced into what I now firmly believe deep space actually feels like. Alone and frightened the arrival of a metronomic percussive thrill and something solid sonically to focus on is a welcome reprise. That's not to say this isn't enjoyable, I'm simply referring to the brilliance of 'Stupid Cosmonaut' and their use of dark atmospherics to stimulate the senses. 'The Demon Star Pilot' rumbles on through massive walls of shimmering synth and soaring lead guitar lines as the ever present cadence of drums, addictive bass thrills and droning instrumentation loops and arcs all over the entire track, helping the listener to experience the full on sonic arsenal that this band can unleash at will. Let's not be fooled here, this track is absolutely immense! You need to listen to it via headphones to experience total sonic immersion.

The album moves on with frightening pace as the albums penultimate piece 'Passing Between Dancing Giants' enters into audible range spiralling menacingly in seething synth lines, echoing reverberation and the constant thump of repetitive drum progressions. 'Passing Between Dancing Giants' is so good it belongs on a sci-fi movie soundtrack. It is huge in scale and moves like a monstrous tidal wave through the ether pulsing instrumental drones, sound waves and frequential noise through swathes of dark reverberation, deploying expansive deluges of sound into every single facet of being. Its a triumphant piece and one that I will keep coming back to again and again. The album closes out in a flurry of psych induced guitar progressions, surging synthetic drones and turbulent glitchy sound waves. 'Barus' is absolutely immense! Swirling atmosphere builds rapidly from behind the dark oppressive instrumentation as hauntingly good production holds court dragging this behemoth into the ether, pulling with it sparse percussion and the dark throb of bass frequencies. Synth swells bob and weave a steady path, intertwining with the twang of guitars but dodging the explosive drum patterns as 'Stupid Cosmonaut' unleash the heaviest track on the entire release. Gone are the ambient stylings of previous tracks to be replaces by a monolithic modern day space rock anthem! 'Barus' is a fitting end to a bloody marvellous album!

Bravo 'Stupid Cosmonaut' ..... we've just pre-ordered this one on vinyl!

4/5

LINKS:

dronerockrecords.com

stupidcosmonaut.bandcamp.com

facebook.com/stupidcosmonaut/

twitter.com/stupidcosmonaut

ABOUT THE AUTHOR:

Del Chaney has spent the last four years 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 (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.


ALBUM REVIEW | Shoegazer Sanctuary Records (V/A) - Gazing Into Andromeda Volume II

ARTIST: Shoegazer Sanctuary Records

RELEASE: Gazing Into Andromeda Volume II 

RELEASE DATE: 7th January 2016

RECORD COMPANY: Shoegazer Sanctuary Records

I'm not really one for reviewing compilations. I've always found that they're either full of the same old, same old bands & featured artists or it's just another blog, webzine or net label trying their luck by forcing me into another click bait exercise. It's all a very disappointing & mundane exercise to be honest. But I sat back and watched as the Connecticut based net label 'Shoegazer Sanctuary Records' release their debut compilation 'Gazing Into Andromeda Volume I' in July of last year and I was mesmerised at how they selected the list of artists for the release. They didn't add the usual heavy hitters from the underground psych/gaze/ethereal/ambient scene just to get Facebook likes or numbers across a blog. They didn't annoyingly force the release into my inbox either by harassing or tagging me in their social media posts. They purposefully & honestly decided on each artist by their sonic individuality (and not by their social standing) and that's the reason why I'm reviewing this compilation release today. 'Gazing Into Andromeda Volume II' features 20 artists from the world wide space rock, shoegaze, psych-gaze & ambient electronica scene that you may or may not have ever heard of before, and that really shouldn't matter. What you can bet your bottom dollar on is that every single track on this release will blow your socks off. As usual the label have put this out as a 'Name Your Price' tariff up on their bandcamp page: shoegazersanctuaryrecords.bandcamp.com

This massive compendium of sound opens up with Italian giants 'Clustersun' and a track taken from their amazing 2014 release 'Out Of Your Ego'. The chosen track is 'Clustersun' and it shimmers in a beautifully translucent psych-gaze haze filled with melodic drones and fizzy sonic sequences. Up next, Melbourne natives 'Fire To The Stars' bring magical synth swells, swirling vocalisations and droning reverberation to the fore as 'Keep You Safe' taken from their 2016 release 'Made Of Fire' is brought to bare. Connecticut based 'Omega Vague' unleashes a huge sonic behemoth next, in the form of 'From The Outside', lifted off last years triumphant full release 'Obsolescent' whilst Canadian based 'Slowly' ushers in tremulous instrumentation and gloriously addictive shimmering tones as the melancholically atmospheric 'Melt' does exactly as it says on the tin. Utterly delectable and a beautifully crafted piece of music.

It's off to Malaysia next as we're graced with beautiful waves of reverb laden guitars and ethereal vocalisations courtesy of the track 'Past', lifted off SOFT's majestic 2013 release 'A Warm Romanticism In A Coldwave Room'. Sit back as this track explodes into the ether, swirling into beautiful, cascading frequencies as it burns out. Up next is the California based Ryan Fields aka 'Project Skywards' and a track called 'No More Lies' originally released back in 2006 on his immense 4 track EP entitled 'Sirius'. 'Project Skywards' blend ambient electronica and experimental space rock with magnificent results. Definitely worthy of your ears. The next five track blend seamlessly. The hazily hypnotic space rock sounds of 'The Quality Of Mercury' swirl into the ether as 'Her Eyes Are The Stars' explodes into earshot whilst Sweden's own shoegaze wonders 'Zeit' bring the noise with their 2013 release 'Silvery Nights'. Then it's up to Atlanta based 'Absence Of Ocean' to bring their majestic blend of experimental post-gaze into the mix as 'We Don't Sleep' spins into earshot on a cloud of swirling reverb & quivering atmospherics. Up next, impressive Californian doom gazers 'Sleep White Winter' bring a heavy darkness to proceedings with two tracks. Firstly 'Philo Sophia' gets a spin, lifted off their latest six track release 'Degeneracy of Nostalgia' followed by 2014's 'A Succession of Unrecognizable Emotions' lifted off their self titled full length album.

Half way through and the immense tracks keep coming. One of our favourite UK based bands of the past few years 'The Virgance' aka Nathan Smith injects his fuzzy brand of experimental psych into proceedings with the incredibly intense  'Saturnine', lifted off his immense 2015 release 'Paradigm 3' whilst up next we're whisked off into a dreamlike electro-gaze state as Vitaly Bogachev aka 'Talhayme' unleashes 'Real Me' lifted off his 2016 release 'Telesanctuar'. Up next are a band who tweaked my attention back in 2014. Melbourne based 'The Lost Jackets' released a five track EP back then entitled 'The Airports Of The World All Look The Same' and I instantly fell in love with it. Here they are represented by the brooding track 'Sirens', lifted off their 2016 release 'Don't Turn Your Back On The Sea'. Well worth your time! Argentina based 'Ison Spectra' swirls effortlessly into earshot with their experimental space-gaze release 'Oceano' whilst Brazilian based Roberta Artiolli and Bruno Romani aka 'S.E.T.I' reinvigorate the senses with the beautifully dreamy synth laden 'Sinta​-​se, Perca​-​se', taken from their latest full length album 'Extase' released back in 2015. Santiago, Chile is our next port of call as delicious dream gazers 'Perfectos Extraños' float into earshot on a swirling frequential drone and instrumental atmospherics. The track represented here, entitled 'Shanghái' is filled with warm, summery eastern flair.

Québec based 'The City Gates' have been wowing the underground fraternity over the past year or so with their brand of no nonsense gaze induced soundscapes. The brilliant 'Maddening Ride' is taken from their highly anticipated forthcoming sophomore release penned in for sometime in 2017. Recommended listening if you ask me. Up next, Berlin based shoegazers 'Downhill Willows' unleash the brilliant track 'Machines', lifted off their self titled debut album, released back in 2016. Special mention here has to go to the immense vocalisations of Kenneth Estrada. Check them out. The spiralling dark-wave sounds peppered with subtle psych-gaze highlights of North Carolina based 'Spirit System' (another band that we've reviewed here at Primal) effortlessly swerve into audible range with their track 'Nest' lifted off their immense album 'Nightfalling' whilst the brilliant London based 'Doldrums' have added their epic track 'Dreamcatcher' to the list, bringing with it a touch of impressive neo-psychedelia. I'm please to see another one of my favourite bands make an appearance on this compilation as Michigan based 'Great Black Night' bring their fuzzy brand of melodiously dreamy psych-pop to the sonic table. 'Spit You Out' is lifted from the bands latest six track release 'Lift Those Hands', a serious recommendation from me! 'The Dead Lucid' released their debut six track self titled EP to the masses back in October 2016. This is an immense slice of impressive psych rock and it's well represented here with 'If You Don't Mind', a serious throw back to that delicious 60's psych sound.

Self classed as 'Soundgaze', Rome based Massimiliano Nardulli and Gabriele Saffioti aka 'Pipes Not Dead' create a heady mix of shoegaze & electronica with outstanding results. 'The Place Where Time Stood Still' plinks into existence on sequenced theatrics and electronic percussion before scooping you up on a journey of sonic discovery. Up next are the experimental indie rock/shoegaze stylistics of L.A based 'PurePleaser' who's track 'The Grateful 4' at first confuses me before exploding into a electro-gaze masterpiece.  The penultimate track on this epic 20 track compilation comes courtesy of 'The Infinite Seas', an LA based electronica duo comprised of Infinite Creativity Group Founder and Producer Dino Bose and Vocalist/Dancer Yanna Fabian who create dark and broody electronica. 'Dark Lightning' is reminiscent at times to the brilliant 'Spc Eco', with it's huge production and ear catching vocalisations. The final piece of this immense worldwide sonic puzzle goes to Maryland based 'Soñder' and their specially commissioned 'Sanctuary Remix' of 'STRAÑGE'. A fitting book end to one of the more interesting music compilations out there today. Go get it!

4/5

LINKS:

shoegazersanctuaryrecords.bandcamp.com

twitter.com/JShoegazer

facebook.com/groups/shoegazersanctuary/

facebook.com/shoegazersanctuaryrecords/

ABOUT THE AUTHOR:

Del Chaney has spent the last four years 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.


EP REVIEW | In Light Of - Little Treasures

a2437008403_16ARTIST: In Light Of

RELEASE: Little Treasures

RELEASE DATE: 18th November 2016

RECORD COMPANY: Unsigned

Simple and easy… 5/5. And that is, really, that. You know, we could talk and jibber about this and that and the high and the low points; we could peer inside and try and examine what exactly is doing what and what makes the music interesting or engaging… But the best way to describe In Light Of’s new EP/Mini album is by the title they have given it; Little Treasures. A title fitting for a small collective group of songs that push the boundaries of post-rock into more experimental territory and that gives the name lo-fi a prettier looking face in a contextual sense. Landing somewhere between what is generally dubbed ‘ambient’ music and post-rock, the EP comfortably spreads it wings in a sometimes minimalist fashion to cross the path of art rock, dream pop and experimental music. Beautiful, mesmerizing, playfully introspective and kaleidoscopically bright, the band presents not only a well-rounded EP, but an interesting and engaging piece of musicality.

The EP opens with ‘Bless Your Heart’, a song based around vivid and distant soundscapes that include dream pop sensibilities while introducing the soothing sounds of string instruments into the mix. Even though this is the opening song, the band’s mode of song writing and production are on full display to convey their idea of how post-rock music should sound. That idea is that a song is not a song. Instead, they present what is known as a song as a mesh of different colourful sounds that join together and blend to create a textured style of song writing. The listener doesn’t hear a song; they hear sounds. Sounds that join and form other sounds that lead onto different sounds that set up the music for a different sound and so on and so on. On ‘Bless Your Heart’ these sounds begin as a kind of representation of bright, lucid colours and dreaming; the sounds are all beautiful, slight and warm. On the other side of the song, the string section picks these sounds up and adds a different dimension to them entirely. The song eventually becomes swept up in the beat and sound of the drums which forms a kind of loose musical structure that the listener can follow along to. This is followed by the much more stripped back and acoustic laden ‘Cardinal Song’. Again, the band play with smaller and ‘lighter’ sounds that crescendo as the song continues, always holding the same attitude of sound. ‘Cardinal Song’ however, unlike the EP’s opening track, goes full song in a musical sense; beginning with an acoustic phrase that also appears later.

The title track melds the acoustic mood and the textured sound of the previous tracks together into a song that evokes imagery of bright and soft clouds and some kind of relaxing landscape. The soundscapes that the band are backed up by the slow and steady pace of a drum beat that sits at an extremely relaxing and comfortable volume in the mix. The bands use of piano shines heavily on this song, especially around the midway point where it chases the acoustic guitar around the bright patterns in the background of the music. The song sounds as though In Light Of have captured the albums cover art and set about writing a song that conveys that place and mood to the listener; beautiful. ‘Ascending’ introduces a more digital element to the album; opening with piano and synth like sounds that build up into patter-like drums or samples perhaps? All the while the band maintain their signature layering of noise and sound in the background. There may even be a DJ scratch in the music somewhere… Maybe, or is that something else? The middle of the song acts as a sort of contemplative ease which resonates with some kind of introspective tone; the slow drumming enters and the listener notices just how much is going on in the song and just how many instruments and sounds the band has layered therein. ‘Harmonica’ revisits a lot of the music that the band has explored and showcased through the EP and thus, while still greatly enjoyable, doesn’t present anything vastly different or alternative in the face of the other songs.

As previously stated, Little Treasures presents an alternate definition of the word song. There is little completely ‘traditional’ forms of song writing on this EP. Sure, there’s the occasional acoustic guitar riff or a section of notes and chords that link together for a while but overall much of the album relies on collages of soundscapes to tie themselves together over the top of a drum beat or noise. This is brilliant. And the whole thing is brilliant. It’s so beautiful to listen to; whether that be intently or as background music. It’s an indication of how post-rock can be manipulated into different forms and styles and because of this, Little Treasures could easily be labelled experimental above any other genres; but it is not wild experimentation with a million different guitars, feedback or a trillion different samples, it’s just the simple things; the stripped back elements that make you really look into a sound.

Apparently the making of Little Treasures was somewhat of an experiment within itself; each member of the two piece sent the other music that eventually was edited, composed and re-written into some coherent form of music. This practice puts a lo-fi like spin onto the music on the EP. But not in a grainy, screechy, scratching style but in a more uncovered, honest way that pushes the music forward and helps illuminate every tiny sound throughout the EP. Little Treasures is not an album for those seeking structural, tonal and verse-chorus formed music… But it is however a truly rewarding and intelligent piece of music making that emphasises the tiny cogs and gears that musicians generally coat up with heavy production and song writing techniques. Their music overall is helped greatly by their skills in editing, mixing, performance and sound.

5/5

LINKS:

inlightof.bandcamp.com

twitter.com/inlightof_

facebook.com/InLightOfOfficial#

ABOUT THE AUTHOR:

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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.


EP REVIEW | Twin Haus - Nothing Lavish

a2675988367_16ARTIST: Twin Haus

RELEASE: Nothing Lavish

RELEASE DATE: 22nd March 2016

RECORD COMPANY: Bedlam Records (BDM010)

Brisbane based noisy, ambient psych rockers ‘Twin Haus’ have just released their sophomore EP entitled ‘Nothing Lavish’ (22 March 2016) via Bedlam Records. This release follows on from their successful debut EP, the sonically sublime 7 track ‘Waxen Myriad’ (2014) and see’s the band continue on with their sonic manifesto of not pigeon holing themselves into any one particular musical genre. With a sound that expertly skips through noisy, psych tinged highs but also has subtle atmospheric post-rock strands that are infused with stunning atmospheric ambient low points, ‘Twin Haus’ successfully produce wonderful sonic soundscapes that deserve to be listened to over and over again. ‘Nothing Lavish’ is available to buy/download right now from: twinhaus.bandcamp.com

The EP opens up with an addictively melodic guitar build, carefully cushioning that impressive vocal performance before collectively streaming into a gorgeous chorus break. Yes, I am hearing Radiohead here from the beginning but ‘Synthetic Egg’ morphs into something completely new sounding as we’re treated to a thrilling musical break that is full of golden hued sonic swirls and that brilliant saxophone line that both thrills and interest all at once. The track builds into a maelstrom of atmospheric instrumentation as it deftly works through its sonic gears with aplomb. Is it really strange that I’m hearing hints of Jeff Buckley swirling within those addictive vocal lines? Absolutely stunning. Coming in at nine minutes plus ‘Synthetic Egg’ is by far my favourite track on this entire release.

Track two ‘Self-Love’ is an extension of sorts to the opening track but it has its roots firmly stuck deep within a cacophony of swirling, droning guitar swells and explosive instrumentation. It drives a sonic trench through proceedings and expertly bookends that opening track. Wild but atmospheric percussive hits announce the arrival of track three ‘I Used To Think’ before that soaring vocal line becomes the focal point as reverberating guitar structures circumnavigate the entire track giving off a brilliantly vivid ambient hue as they swirl within the sonic whirlwind. Both the guitar and vocal tracks systematically loop and arc side by side, right across the sonic ether as the track meanders and dances expertly like some imaginary ballroom dancing couple. A brilliantly executed track.

The EP’s closing piece entitled ‘The Revue’ leans more towards noise rock as its driving opening patterns take shape before the veil falls away and we’re treated to a beautiful cacophony of addictive guitars, stunning vocal production, sparse percussion and intense atmosphere. ‘The Revue’ is a sonic journey all in itself as it’s eleven minutes plus of shimmering psychedelic brilliance envelopes the listener, lifts you up and carefully pulls you with it into its inner swirling cyclone. This is sonic heaven of immense proportions and it’s recommended that you listen to it via headphones just to experience its sheer sonic abandonment that it holds. It explodes from the break into a stalking sonic cheetah chasing down its prey. A stunning finale to an utterly brilliant EP.

4/5

LINKS:

facebook.com/twinhaus

twitter.com/twinhaus

twinhaus.bandcamp.com

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.


NEW SINGLE PREMIERE | In Light Of - Bless Your Heart

Writing and recording music over the internet is a modern phenomena that has helped the development of todays worldwide underground music scene and in turn has brought some very important musicians together to create some stunning musical soundscapes. I for one am a firm advocate of this method of music production and I personally feel that its aiding in the resurgence of many of the smaller untapped music genres swirling around within the underground scene. Ambient/post-rock/electronic duo 'In Light Of' have self-released their debut single entitled 'Bless Your Heart', lifted off their forthcoming debut EP entitled 'Little Treasures', whilst living in different cities altogether. In their own words - "Jason hired Sandy to join his music licensing company. Starting as colleagues they quickly bonded over a shared appetite for the kind of boundless sonic exploration found in post-rock (and the like) songwriting. But it wasn’t until Sandy moved five hours away that a musical project was first discussed".

What they have collectively created though, is a magnificently atmospheric slice of post-rock that is delectably infused with stunning reverberation & underscored with beautifully ambient textures that effortlessly build and surge into a raging cacophony of beautiful noise. God bless the power of the internet!

Recommended!

LINKS:

inlightof.bandcamp.com

twitter.com/inlightof_

facebook.com/InLightOfOfficial#


NEW SINGLE PREMIERE | SIANspheric - I Have It

Canadian based shoegaze legends SIANspheric have announced a brand new single entitled 'I Have It', lifted off their forthcoming album 'Writing The Future in Letters Of Fire', their first LP since 2001's 'The Sound of the Colour of the Sun'.  SIANspheric have also announced that their stunning debut album 'Somnium' (from 1995) will be released on vinyl for the first time on October 28th. Both albums get their full release on the same day via the brilliant Sonic Unyon Records.

'I Have It' enters into earshot on a wave of squealing feedback & scraping guitar squall before we're introduced to glorious melody fuelled chord progressions and steadying instrumentation that swirls around the hazy vocal line with aplomb. The track weaves in and out of ambient styled percussion free breaks that filled with tremulous guts, throbbing baselines & layered vocal attacks, all steeped in reverberating frequencies.

Recommended Listening!

LINKS:

soundcloud.com/sianspheric

sianspheric.com

sianspheric.bandcamp.com

twitter.com/Sianspheric