NEW VIDEO - FARIDA - Shoot - Featured Image - (700x700)

NEW VIDEO | FARIDA - Shoot

'Shoot' is the first official release by swedish-french psychedelic/drone/synth act FARIDA taken from their upcoming EP. FARIDA is Jenny Faridas solo project backed up by Pelle Backman (bass) and Paul Sigerhall (drums) from swedish krautrock outfit Audionom, guitarist Fabian Grytt and also included for the live set up are Lisa Pyk (synth) from Vulkano and Martin Malm (visuals) also from Audionom. 'Shoot' was officially released back on April 11th 2018 and is available to buy/download right now via farida.bandcamp.com

'Shoot' is an intense melding of swirling atmospheric instrumental drones, fizzing synths, squally feedback laden electronics and deep penetrating bass lines that gently sway on a slow moving monotonous drum track. Jenny Farida's vocalisations are deeply hypnotic as they loop and arc through heady layers of dark reverberation that conjures up hazy psychedelic incantations with each passing word.

The video was filmed by Jenny Farida Thåström, Pelle Backman and Zackarias Elwin, with editing and visuals by Teresa Elizabeth Lobos (Lagomorphosis).

LINKS:

farida.bandcamp.com

facebook.com/faridaband/


ALBUM REVIEW - Sexores - East / West - Featured Image - (700x700)

ALBUM REVIEW | Sexores -East / West

ARTIST: Sexores

RELEASE: East / West

RELEASE DATE: March 15th 2018

RECORD COMPANY: Buh Records / Recoop 

Hailing from Ecuador, 'Sexores' have been major players on the underground music scene for quite some time. With various releases spanning over eight years the band have continuously evolved and continuously shed their sonic exo-skeleton to bring us some of the most incredible selections of music to ever have graced todays independent music scene. Their influences are wide ranging and span a multitude of music genres with relative ease. From electronic dream-pop to  dark atmospheric shoegaze, modern psych rock to new wave and synth-pop to retro-wave, 'Sexores' continue to amaze with each evolving release. Now the band have returned with a massive double album entitled 'East / West', a collection of tracks that touches on many of the afore mentioned music genres whilst continuing to remain a standalone beacon of hope in this muggy and overly diluted modern underground scene. Split into two parts, 'East / West' opens with eight unabashed cuts of what are primarily synth-pop tunes touched with undercurrents of dream-pop, subtle atmospheric shoegaze and bubbling new wave whilst part two is a journey into sonic experimentalism that touches on dark psychedelics, menacing electronics and synth driven sonic futurism. 'East / West' is carefully balanced on knife edge and takes several listens before the listener finally realises just what 'Sexores' are trying to achieve. It's an album of evolutionary change by a band who are in a constant flux with music. 'East / West' was produced by Daniel Pasquel & co-produced by Sexores. It was officially released back on March 15th 2018 via 'Buh Records' & 'Recoop Records' respectively and is available to buy/download on various formats right now via sexores.bandcamp.com

The albums a-side opens up swirling into luscious synth-pop territory as ‘Bluish Lovers’ shimmers and dances through bounding electronic percussion and the constant whoosh of synth. Twinkling layers of reverb stick to fizzing electronics and balance precariously on top of those deep penetrating bass frequencies as wonderfully blissful vocalisations are pulled along with the collective instrumentation. It’s a marvellous opening salvo. Up next, ‘The City That Sorrow Built’ pulses into audible range lurching on a massive metronomic themed percussive assault as tumbling progressions of synth carefully cushion another beautiful vocal performance. Catchy lines of cascading synth meld brilliantly with tricky electronic sequences to highlight changes in progression thus allowing the vocals to soar skywards whilst ‘When I’m In Your Eyes’ is the clearest sign thus far that ‘Sexores’ have evolving their sound. It’s sequenced percussion and swirling electronics are at times nauseating but it has definite plus points too as it’s subtle undercurrents of dark-wave and those brilliantly executed vocal lines help to raise it’s profile immensely.

‘Tropical Nest’ is a blissed out slice of endearing electronic dream-pop filled to the brim with shimmering instrumentation and magically overpowering chord changes that both captivate and mesmerise all at once whilst the opening bars of ‘Underneath’ are steeped in melancholy before those wonderfully deep piano stabs give way to bouncing 80’s themed dreamy electronica and those catchy chorus changes soar skywards strapped to twinkling lines of repetitive synth. ‘Evil Drivers’ delivers another slice of synth-pop as big bass heavy frequencies meld with soaring lines of synth and the repetitive tap of sequenced percussion to deliver that absolutely immense vocal line whilst ‘Berlin’ leans into a more industrial feel with it’s pulsing bass frequencies, floating lines of synth and the metronomic tap of percussion. There’s an in your face rawness to the accompanying vocal line that helps it to sit perfectly in amongst the repetitiveness of the instrumentation here and that helps to keep things very interesting indeed. ‘Rigel’ is absolutely huge in scope. It’s massive lines of instrumentation pummel the senses as those dreamy vocal lines intertwine with sequenced electronics and the ever constant pitter patter of reverb hued synth. It’s a wonderful track and a definite highlight for me on this release.

‘The Great Blue Hole’ erupts into a swirling instrumental cloud of synth and reverb as subtle twinkles of electronics bubble to the surface and meld with hushed vocalisations. Massive chord changes usher in a dark kind of atmosphere as we tumble through layers of hazy production drenched in swathes of sticky reverberation and we float effortlessly through clouds of frequency laced brilliance. The next two tracks are utterly mesmerising. The opening salvos of ‘Dazed’ are big and brash sounding. Droning synths and brilliant production values hog the limelight here as Sexores turn their sound on it’s head once again and inject some dark experimental psych into proceedings whilst ‘#nsfk’ is totally atmospheric in it’s approach. Dark penetrating drones twist and morph into something altogether menacing as subtle samples and fizzing electronics whip and arc through layers of deep black reverberations.

We float into the albums distinctly atmospheric b-side with the brilliantly cinematic ‘Neon Hearts’. Sounding like it belongs on a 70’s sci-fi soundtrack, ‘Neon Hearts’ swirls and flows with ease alongside soaring layers of synth and majestically executed lines of twinkling keyboard and those huge chord sequences reminiscent at times to those early electronic pioneers like Vangelis or Jean-Michel Jarre whilst ‘6th Floor’ is a mass of pulsing synths, frequential sequences and pre-destined electronics. ‘Tibidabo’ is beautifully atmospheric in it’s approach. Surging lines of synth accompany cascading electronics and subtle vocal samples into a melee of reverberation and catchy production until we’re introduced to the albums penultimate piece. Swirling electronic drones buffer and fizz as ‘Luna’ unfurls its sonic tendrils and reaches out to engulf the listener in a haze of glitchy synth and dark atmospherics. This menacing track builds like a steam train, is absolutely sublime and definitely worthy of your ears. ‘East/West’ closes out with ‘This Is Not My Way Home’, a punishing slice of sonic experimentation. Menacing electronic drones meld with dark sonic manifestations to bring us something altogether animalistic in stature and closes out an exceptional album of deep sonic experimentalism. ‘East/West’ is most definitely an album of two opposing sonic halves but totally captivating none the less.

4/5

LINKS:

sexores.bandcamp.com

soundcloud.com/sexores/

facebook.com/pg/sxrsxrs

twitter.com/sexores

instagram.com/sexores/

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, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


EP REVIEW - The Autumn Sighs - Green - Featured Image - (700x700)

EP REVIEW | The Autumn Sighs - Green

ARTIST: the Autumn Sighs

RELEASE: Green 

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.

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.

5/5

LINKS:

dreamsneverend.bandcamp.com

theautumnsighs.bandcamp.com

facebook.com/TheAutumnSighs

youtube.com/user/theautumnsighs

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 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.


NEW SINGLE - Jellyskin - Judder - Featured Image - (700x700)

NEW SINGLE | Jellyskin - Judder

Whilst perusing this track you'd be checking the web address right now to see if you'd landed on the right music blog but don't fret as this is Primal Music and NO! ..... we haven't gone full dubstep on you all. The latest single from Leeds-based noisy duo 'Jellyskin' has arrived and they've decided to side step away from their usual sonic fare to bring us something undisputedly experimental. 'Judder' melds slow moving dubstep with noisy industrial tinged electronics, intricate guitar progressions and gritty but abrasive production whilst dispensing with the dreamier psychedelic side of this bands impressive sonic arsenal. Marking it as a change of direction, 'Jellyskin' have completely turned their sound on it's head whilst endeavouring to keep it very, very interesting indeed.

Formed in 2016, 'Jellyskin' are made up of Will & Zia and they exploded onto the underground psych/gaze scene with four consecutive single releases, each one absolutely sublime. Their self-titled EP, a correlation of the aforementioned singles, was released back on the 28th June 2017 and appeared in Primal Music's 2017 year end round up of best releases. This latest single 'Judder' was officially released on April 6th 2018 and is available to buy/download right now via jellyskin.bandcamp.com

LINKS:

soundcloud.com/jellyskin

facebook.com/jellyskinband/

jellyskin.bandcamp.com

twitter.com/jellyskinband


EP REVIEW - SAAT - SAAT - Featured Image (700x700)

EP REVIEW | SAAT - s/t

ARTIST: SAAT

RELEASE: s/t

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

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.

3.5/5

LINKS:

saatxband.bandcamp.com

instagram.com/saatxband/

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 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.


EP REVIEW | Lost Echoes - No Tomorrow - Featured Image - (700x700)

EP REVIEW | Lost Echoes - No Tomorrow

ARTIST: Lost Echoes

RELEASE: No Tomorrow

RELEASE DATE: March 5th 2018

RECORD COMPANY: Unsigned

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

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. 

Recommended!

4/5

LINKS:

lostechoes.bandcamp.com

facebook.com/lostechoesmusic/

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 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.


NEW SINGLE RELEASES - Dose - Furniture - Featured Image - (700x700)

NEW SINGLE | Dose - Furniture

Hailing from the north-east of England, experimental art-rock outfit 'Dose' have just unleashed a stunning debut single in the guise of 'Furniture', a hypnotically addictive slice of noise-rock underpinned with subtle flourishes of melodic shoegaze, slowcore and mesmerising passages of cinematic ambiance. Having decamped to Suburban Home Studio's​ and under the tutelage of MJ from the awesome 'Hookworms', this Newcastle based five piece have released something rather special indeed. The band are made up of Sean Turland, Ewan Barr, Matthew Collerton, Sam Campbell & Joe Donkin and they've shared the stage with some fantastic live acts such as Sunflower Bean​, ​Menace Beach​, ​Ulrika Spacek​ & Soviet Soviet.​

Opening up with a steady almost metronomic percussive assault 'Furniture' soon pulls repetitive guitar lines and soothing reverb into the mix as addictive lead lines meander in and out of spoken word and shimmering layered vocalisations. The combination of wide-scoped production and cinematic pauses add sublime atmosphere here, allowing this track to breathe before 'Dose' unleash a cacophony of swirling noise filled to the brim with melodic feedback, layered walls of intense reverberations and the dense pull of ebow. There's also a sense of foreboding or loss hiding beneath this tracks outer shell that keeps things rather interesting, instilling a warmth or a mellowness to the entire piece that I especially love. 'Furniture' is a seriously good track making 'Dose' ones to watch in 2018 and I'm looking forward to what comes next.

Recommended!

LINKS:

soundcloud.com

whoaredose.tumblr.com

twitter.com/dosencl

facebook.com/dosencl


The Virgance - Worship The Moon - Featured Image - (700x700)

ALBUM REVIEW | The Virgance - Worship The Moon

ARTIST: The Virgance

RELEASE: Worship The Moon

RELEASE DATE: 31st October 2017

RECORD COMPANY: El Vals del Conejo

Stepping away from a tried and trusted sonic format in the name of experimentation is a tricky and sometimes perilous undertaking. Continued advancements in music recording technology feed the mind of the modern musician and the lure for change is a relentless beast regardless of the all encompassing perils and pitfalls that surround a massive change in any artists collective sound. Taking all of that into consideration, I've just reviewed the latest release entitled 'Worship The Moon' from UK based 'The Virgance' and it marks a significant shift in direction in terms of composition, arrangement and incredibly instrumentation thus turning this artists recognised sound on it's head and dumping it firmly in the 'Experimental' category of music for me. 'The Virgance' is the solo project of Nathan Smith, previously of seminal 90's band Ripley & 00's electro noise merchants 'Loveless'. 'Worship The Moon' is his forth album to be released on the brilliant independent net label 'El Vals del Conejo' and it follow's on from both of his 2015 release's, the immense 'Hiko Shrine' and 'Paradigm 3' and his 2014 debut 'Lost Continent'. The album was released on October 31st 2017 and is available to buy/download via thevirgance.bandcamp.com

In a cascade of synth and sequenced electronics the opening salvos of ‘Country Of The Past’ begin bombarding the senses with deep sonic vibrations. Dark malevolent bass frequencies merge effortlessly with soaring lines of keyboard, deftly riding wave after wave of entrancing melody and underscored at times with sparse percussion or the occasional drum fill. What is evident from the off is that this is a total step away from what we usually expect from ‘The Virgance’. Yes the wide scoped lunar themed soundscapes are there but usually by now they are awash with layers of hazy guitar and oodles of reverb. Instead these usually addictive sounds have been substituted with swathes of atmospheric synth and their well crafted although progressively electronic accompaniments. It’s almost as if Nathan has channelled the inner mind of Greek composer Vangelis or German based sonic genius Hans Zimmer. Not that I’m complaining at all, in fact, it’s a totally refreshing sound, one that I can personally relate to and a credit to his song writing and production skills. Up next, the deeply experimental but totally entrancing ‘Terrorforming’ floats into the ether on a wave of promulgating synth and warbling keyboard stabs. Ethereal voices glide and shimmer on beautiful pads of Jazz orientated percussion as the listener is immersed in a kaleidoscope of sonic vibrations and massive swathes of intense melancholic atmosphere. ‘Terrorforming’ is absorbingly immense and possibly my favourite track on the entire release.

‘Curious Case’ swirls into audible range caught in the wurlitzing swells of organ with glitchy but explosive drum patterns underfoot. Uplifting instrumental progressions follow a lysergic cycle of circus chic, adding a malevolent theme to proceedings as the collective instrumentation meanders and undulates along a rickety pre-ordained course. It’s impressive but a tad boring after a while and I’m wondering when Harrison Ford will appear with a speaking part. There’s an ambient hue wafting into the ether as the ten minute long ‘Dream Feed’ does exactly as it says on the tin. Twinkling keys and sampled bird calls add atmosphere as ‘The Virgance’ take an experimental sojourn away from their usual cinematic themed fair and drop headlong into an acid blotched world of psychedelic abandonment. It’s all too much for me I’m afraid as it gets a bit freaky half way through, morphing itself into mix match collection of breakbeats, eastern esoteric percussion and swirling reverberations.

The albums penultimate piece entitled ‘Lunar Power’ pulses into life harassed by a cyclonic instrumental drone and soaring swells of atmospheric synth. They collectively rise and fall through layers of reverb and delayed fluctuations, leaving sonic wakes in their path that plough deep dark furrows into the psyche before cascading into almost ethereal like instrumental flourishes. This is encroaching into sci-fi movie soundtrack territory now and it’s not long before the final piece of the puzzle falls into place with the arrival of the closing track aptly named ‘Out Of The Woods’. This track is deeply experimental, a bit too much some might say, and it swerves through passages of modern psych and ambient electronica on a whim with massive walls of reverb, hazy guitars and swooning synths all topped off with some impressive production. It’s a fitting end to what is at times a very confusing album and I don’t mean that in a bad way. ‘Worship the Moon’ has some fascinating moments throughout but is at times way too experimental for my tastes and it overburdens itself with it’s movie soundtrack leanings that can also get a tad monotonous after a while. There are redeeming features throughout with the songwriting, sonic sculpturing and production deserved of serious plaudits. I do however recommend that you listen to it via headphones at first for that all encompassing sonic thrill ride.

4/5

LINKS:

thevirgance.bandcamp.com

elvalsdelconejo.bandcamp.com

thevirgance.com

facebook.com/thevirgance

twitter.com/thevirgance

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.


Cathode Ray Eyes - Featured Image - (700x700)

ALBUM REVIEW | Cathode Ray Eyes - How We Lost The 21st Century

Cathode ray Eyes - Post Image - (300x300)ARTIST: Cathode Ray Eyes

RELEASE: How We Lost The 21st Century

RELEASE DATE: 12th June 2017

RECORD COMPANY: Unsigned

Nottingham based 'Cathode Ray Eyes' is the solo moniker of Ryan DelGaudio, who usually plies his trade with one of the most influential modern day psych outfits out there - 'The Cult Of Dom Keller'. He has temporarily stepped away from promoting their latest sonic onslaught to unleash his ten track sophomore solo release; the brilliantly named 'How We Lost The 21st Century'. His debut album 'Eyes in the Melancholy Palm' was released by Cardinal Fuzz back in 2015. With an dark & experimental sound, 'Cathode Ray Eyes' explores disturbing acid etched psych melded with trembling post punk, warbling gothic tones and atmospheric electronics. 'How We Lost The 21st Century' was released on June 12th and you can check it out via thecathoderayeyes.bandcamp.com

A menacing synth line creeps into earshot as 'Take A Bow, Cthulhu' rocks unsteadily on a bed of repetitive sequenced percussion pulling haunting vocalisations and humming bass frequencies into the mix accompanied by chittering sonic frequencies and fizzing lead lines. Up next, 'People/Evil' floats effortlessly on clouds of reverb and the off-putting pluck of strings as scarily infectious gothic vocal lines drenched in layers of production effects drag this track into movie soundtrack territory. The hypnotically warped opening salvos of 'They Cut The Heart From Out Of The Sky So Burn Down This Government' sound like they've been forced through the inner workings of a Wurlitzer and then used as a crazy circus clowns entrance tune. It's disturbingly haunting yet melodious vocal lines float in close proximity to the aforementioned instrumental madness creating sonic yin and yang moments that are brilliantly addictive. 'We Sleep Till We Rust' is a charging psych behemoth. Experimental overtones surge through its inner workings swirling hypnotic frequencies out into the ether as a punishing vocal line cuts a deep wedge into the sonic firmament and gets under your skin albeit in a good way. Instrumentally immense, 'We Sleep Till We Rust' is probably my favourite track on the entire album.

'Say Goodbye (Soul)' swirls into audible range trapped in cyclonic drone coupled with resonating electronically tinged vocal lines and growling guitar progressions whilst 'Dance! Dance! Die!' drones into existence before unfurling a magnificently entrancing psychedelic soundscape drenched in eastern esoteric flair. 'Take The Darkness Again' injects a 60's psych-pop vibe into proceedings with its sweeping organ swells and plinking synth lines. Vocally astute, this track explodes into a growling sonic beast reminiscent at times to one of my favourite ever bands - 'Spacemen 3'. 'We're Not Born to Serve' is drenched in cinematic flair as its electronically charged instrumentation shakes and shudders on an impressive bedrock of sequenced percussion and hypnotic vocalisations whilst 'Digging A Grave For The World', the albums penultimate piece, is deeply experimental. Sparse percussion accompanied by charging synth lines and gothic vocalisations meld with electronic theatrics to collectively create the most forward thinking track on the whole album. 'We Lost the 21st Century' closes out with 'Goodbye 21st Century', a massive six minutes plus soundscape, inertly cinematic, draped in intense atmosphere and filled with stunning instrumentation that is hands down as good as anything that the legendary 'Vangelis' could conjure up. A stunning finale to a rather impressive experimental album.

4/5

LINKS:

thecathoderayeyes.bandcamp.com

facebook.com/cathoderayeyes

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.


Glass Horses - Stepping Stones

NEW SINGLE PREMIERE | Glass Horses - Stepping Stones

We're very, very late to the party on this one and for that we apologise but we simply can't let this single go by without mentioning it. London based alt/shoegaze quartet 'Glass Horses' have unleashed a stunning brand new single entitled 'Stepping Stones' via their bandcamp page and it follows briskly on from their recently released self-titled debut EP. The band are made up of Noga Shatz - vocals, Terry Hale - guitar/keyboards, Pat Paxton - bass, James Walker - drums and 'Stepping Stones' is available to buy/download right now from glasshorsesband.bandcamp.com with the 'Glass Horses' EP is available to listen to in full over on the bands Soundcloud page.

'Stepping Stones' shimmies into the ether in a torrent of atmospheric reverberation as mesmerising guitar progressions meld with its snaking lead lines and another impressive vocal performance courtesy of Noga Shatz. Sparse percussion and cascading bass frequencies add weight to the piece as the collectively blissful chorus progressions arc and swoon leading us into a sublime closing segment that builds and builds and builds. Their collective sound skips through passages of mesmerising psych, shimmering shoegaze and blissed out dreamy alt-rock with relative ease making Glass Horses one of the most exciting bands on the underground scene right now.

Recommended. 

LINKS:

soundcloud.com/glasshorsesband

twitter.com/glasshorsesband

facebook.com/glasshorsesband/

glasshorsesband.bandcamp.com