German based Leila Zanzibar aka 'Highest Sea' has unleashed a brand new video to accompany one of our favourite tracks from her fantastically dreamy four track EP 'Haunted Hearts', released back in February 2017 via the Berlin based independent record label Späti Palace. The track in question is called 'Hawaii' and it's a dreamy, jangling affair with subtle psychedelic connotations that swirl around Leila's addictive vocal tones brilliantly. Collectively 'Highest Sea' create a melting pot of different sounds all lifted from a variety of superb music genre's such as post-punk, the guitar driven stirrings of alternative rock and the churning hum of dream-pop; all mixed together to create a kind of low key form of shoegaze.
The original track was performed by Leila Zanzibar & Timothée Demoury with video production duties falling to Hayung von Oepen, Anja Klause and Leila Zanzibar. Tamar Weiss, Theo Taylor and Leila also appear in it's accompanying video.
'Haunted Hearts' EP is available to buy/download right now from spaetipalace.bandcamp.com
by Primal Music
RECORD COMPANY: Unsigned
Eulogies is a beautiful offering from Kolibrí, an artist who started out in Limerick, is Berlin bound but currently operates in Brighton. The name means 'hummingbird' and like its namesake, there is lots of energy and a clear taste for sweetness throughout this EP.
Eulogies E.P. by Kolibrí
The luscious textures of the three tracks give the record a aural cohesion, a tasty thread of red liquorice that ties the whole bundle together. Dream Theatre simmers sumptuously with waves and washes of wonderful sound. The vocal teeters on the right side of sadness. Eulogies soars high, with crackles and sparks flying and a chorus the size of the sky. The closing track Headcase opens in a rush of rumbles and powers along, its swirl of sounds ever-expanding. Delicious.
In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.
Something Like Eternity by The History Of Colour TV
Berlin based experimental/alt-shoegaze outfit 'The History of Colour TV' have unleashed a moody, introspective second single entitled 'As Grey As Park Can Be' lifted off their forthcoming (March 17th) third full length album 'Something Like Eternity'. The band was founded in 2010 and is made up of Jaike Stambach, Markus Mocydlarz & Janek Sprachta. Collectively they have skipped through a plethora of different musical styles over the course of their previous releases from their electronic leanings on their debut full length 'Emerald Cures Chic Ills' through to the brilliant sometimes heavy, sometimes stripped back/ambient stylings of 'Shapes of Spilt Blood Spelt Love' and on into this new album and it's emotive sweeping soundscapes.
'The History Of Colour TV' are no strangers to the underground scene having previously released music via some heavy hitting underground record labels such as Bruit Blanc, Saint Marie Records, the bands own label 'Weird Books'and now through the French based indie label 'Cranes Records'. This new track follows the first single 'Wreck' from this album which is available to pre-order right now on various formats from thehistoryofcolourtv.bandcamp.com
Berlin natives 'Highest Sea' have unleashed a vividly brilliant new video to accompany the lead single entitled 'Wait For The Night' lifted from their debut EP 'Haunted Hearts' penned in for release on February 24th 2017 via the Berlin based independent record label 'Späti Palace'. For those of you who are new to the sounds of 'Highest Sea', they burst onto the scene back in 2015 with a three track self-released demo filled with dreamy, psych induced soundscapes layered with sublime, melancholically delicious vocalisations courtesy of the fantastic Leila Zanzibar.
'Wait For The Night' is a dark stalking beast that undulates and pulses through layered reverberations and sonically astute psychedelic vibrations. It builds through it's verse progressions with visceral aplomb, shuddering deftly on a wave of tremulous repetitious guitars and steadying percussion all underscored by cascading bass frequencies and beautifully addictive vocal lines before effortlessly exploding into it's chorus parts and on into a turbulent maelstrom of beautiful noise. This is a sublime track and it bodes well for the full forthcoming debut EP release.
ARTIST: The Underground Youth
RELEASE: What kind Of Dystopian Hellhole Is This?
RELEASE DATE: 15th February 2017
RECORD COMPANY: Fuzz Club Records
Fuzz Club Records mainstays and Berlin (via Manchester) based dark psych/post-punk outfit The Underground Youth have announced their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th 2017 release date with various formats officially up for pre-order via the ever reliable www.fuzzclub.com
In a melancholic haze of tattered guitar frequencies and growling atmospherics the opening chord sequence of ‘Half Poison, Half God’ drags itself into the ether and proceeds to wraps itself around infectious vocalisations before swaying awkwardly on the sudden injection of a sparse percussive pattern. ‘Half Poison, Half God’ splashes into a swirling pool of reverb laden noise as repetitive guitar progressions cut through barking bass frequencies to collectively hold time with the metronomic swoosh of echoing tambourine hits. Up next, ‘Alice’ surges effortlessly with dark sullen energy as it’s melodiously fuzzy bass frequencies weave & bob in and out of hypnotic lead guitar lines. Subdued percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer’s vocal holds court, keeping you transfixed on it’s impressive gothic tone.
The heavy repetitive thump of plodding drum rudiments coupled with the engrossing twang of atmospheric guitars heralds the arrival of ‘You Made It Baby’ and we’re instantly thrown into a world of desolate landscapes, isolation and wild frontier towns. Swirling desert like reverberations envelope everything as subtle instrumental drones echo behind Dyer’s tendril like vocals and aid in the undulating sway of it’s sonic proceedings. The track eventually pulses into a turbulent mass of fuzzy noise before dissipating back into the repetitive plonk of fret noise and salubrious percussion. ‘Beast (Anti War Song)’ does exactly as it says on the tin as it strides into earshot like some plucky teenager on a first date. Driving bass lines ride a steadying drum pattern as soaring lead licks whip noisy frequencies up into a sonic frenzy, building exponentially through the angry verse parts only to then soar effortlessly through those impressive instrumental chorus progressions before fizzing out into nothingness.
Jangling atmospherics underscored by droning organ swells swirl gracefully around the vocals as the constant tap of subtle percussive hits keep a kind of rag tag timing rattling repetitively in the background. ‘A Dirty Piece Of Love For Us To Share’ tip toes magically through glorious guitar progressions and brilliant production to bring a sullen acoustic swerve to proceedings. Up next, ‘Amerika’ drones into earshot accompanied by twinkling instrumentation, whirring feedback and the hollow thrum of sequenced percussion. It stalks and skulks in a densely oppressive sonic fog as it’s vocals swirl menacingly in the musical ether whilst next, ’The Outsider’ instrumentally builds from the off echoing in harmony with the effected vibrato of the vocals and the swirling underscore of synth drone. ‘Persistent Stable Hell’ howls into existence on squally instrumental feedback and the pulsing vibrations of a repetitive kick drum. The vocals arrive held fast within a hazy swirl of reverb as throbbing bass frequencies hum and undulate underneath screaming lead guitar licks and dark reverberation. The addition of female vocals add hauntingly good atmosphere here as all around them pulses and moves in a cacophony of blissful noise.
The albums penultimate piece heaves and breathes on a bedrock of sequenced synth lines, sporadic drum patterns and fuzzy bass frequencies. ‘Your Sweet Love’ swirls in a spiralling sonic whirlwind filled with noise, shuddering reverb and sullen gothic flair. It's vocalisations are trance like as they hypnotically revolve and billow in the heady psych induced stew, modulating wildly until they become one with the instrumentation and eventually throb in a series of sonic pulses. The albums closing piece strums acoustically into the ether as the plink of a piano line echoes & melds brilliantly underneath, constantly harassed by subtly aggressive lead guitar lines. ‘Incapable Of Love’ is laced with darkness as Dyer’s speaking parts venomously spit out a dystopian narrative steeped in atmosphere whilst languishing brilliantly in a bourgeoning musical juggernaut. This is a marvellous ending to a magnificent album.
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 (Now On Hiatus) 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.
Fuzz Club Records mainstays and Berlin (via Manchester) based dark psych/post-punk outfit 'The Underground Youth' have unleashed the second single entitled 'Amerika' from their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th launch date with various formats officially going up for pre-order via www.fuzzclub.com. The band have also announced a European tour to celebrate it's release starting this month and you can check out their full tour schedule by heading over to facebook.com/TheUndergroundYouth.
'Amerika' drones into earshot accompanied by twinkling instrumentation, whirring feedback and the hollow thrum of sequenced percussion. It stalks and skulks in a densely oppressive sonic fog as Craig Dyer's addictive vocals swirl menacingly in the sonic ether. This is a triumphant slice of psychedelically charged post-punk that's sure to to attract new and old fans alike.
Fuzz Club Records mainstays and Berlin via Manchester based dark psych/post-punk outfit The Underground Youth have unleashed the first single entitled 'Alice' and it's gritty accompanying video from their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th launch date with various formats officially going up for pre-order this week via www.fuzzclub.com They have also announced a European tour to celebrate it's release starting in January and you can check out their full tour schedule by heading over to facebook.com/TheUndergroundYouth.
'Alice' surges with dark sullen energy as it's melodious fuzzy bass frequencies weave & bob in and out of those highly infectious lead guitar lines. Subdued metronomic percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer's vocalisations hold court, keeping you transfixed on his impressive gothic tone.
ARTIST: The History Of Colour TV
RELEASE: Something Like Eternity
RELEASE DATE: TBA
RECORD COMPANY: Cranes Records / Weird Books
On 'Something Like Eternity', the very crux of genres like post-punk, experimental music, dream-pop and shoegaze are brought to the forefront and laid bare in their characteristics by The History of Colour TV, a Berlin based experimental/alt-rock band. As they do this, they throw into the mix their own brand of indie and punk rock stylings (which have been explored on their previous two albums) to create something that all together sounds like an attempt to push alternative music in a different direction… To try and squeeze something more from sound, song writing and performance.
'Something Like Eternity' opens with the impressive ‘Granite Verge of Tears’ which sees the band utilising a more post-punk sound with some sort of garage stylings. Occasionally the songs ease back into simple guitar playing before jumping back into indie-stylised riffs. ‘Broken Trip’ acts as an extension of this; there is more of a jangle rock sound and the whole mood of the song seems lighter. Much as the opening track, the song dips deep back into a unrestrained dark section of music at places in the song, which gives it several different faces and ways of interpretation. The second half of the song features the crunch of background fuzz and noise; another wind back to the wild west of garage and noise rock. ‘Wreck’ seems slight in light of the previous tracks. Its guitar and drum play is enjoyable but it comes across as overly simple and never really reaches any substantial heights or points of engagement until a loud and wild section near the outro of the song. The lyrics become pointless because of the dry and relatively unimaginative style of the vocals, which sort of wander into the backing instrumentation and become too distant. Thankfully the band somewhat redeem themselves with the colourful and loud ‘Everything That Stood Still’, a track that plays around simple guitar plucking coupled with a drum pattern that leads into the loud and brilliant chorus riff. Credit should also be given to the fantastic outro on this song; a truly spacey and fantastic piece of music. While only meant to be some sort of interlude, ‘Overcast Half’ is a brilliant tiny piece of experimental feedback, mild distortion and FX filtered sounds. And it should be noted it fits very well in the scope of the entire album.
‘Even Rain’ has mesmerisingly beautiful slow passages of guitar picking which are then fluctuated by the banal passages of ‘emotive’ singing and louder instrumented sections. The band play upon more of an alt-rock style of music and this is complimented greatly by a small synth lead in the second half of the song; lending to a more post-punk style of sound. The lyrics again seem almost forced sometimes and I feel like I was concentrating on the music for the most part because of this.
The albums highlight is the alt-rock/noise infused ‘Wait’ which showcases the bands strongest points; the crunch of garage styling with noises and screeching in the background that make for fantastic song writing. The performances are at almost the highest point on the album for this song and the outro of feedback and noise is a complimented element that really wraps the song together for the listener. Another brilliant song follows; the echoed and quiet ballad like structured, ‘Flame’. This, like passages of other tracks is built upon the slow turn of a guitar riff and excellent playing by the band. On this track the vocals are highlighted and make for a quality part of the song, rather than being altogether bland. This song is followed by another riveting song entitled ‘Pattern’, which presents a fuller and more frontal side of the band with keyboards and a much lighter tone than the rest of the album. The songs greatest element is the chugging guitar riff that blends into the outro and into; you guessed it, more noise and feedback on the songs second side.
Across this entire effort, with a retrospective gaze into History Of Colour TV’s back catalogue, I feel this album to be some sort of drafted attempt at creating experimental or ‘different’ music. Sometimes it sounds like the band believe if they throw some feedback in then it will be considered experimental or somewhat avant-garde. Let’s hypothetically pretend there was no noise on the album… What do you have? A non-offensive alternative rock/indie/post-punk album with dark themes and some pretty impressive performances. For these songs act as post-punk, alt-rock tunes cooked down into simple draft structures with guitar, bass, drums, vocals and keyboard; no audio tricks, no mixing enhancements to make the songs sound deeper and darker and even perhaps more conceptually pleasing. As a result, the album drags and drags; yes there’s a song here and a song there that somewhat redeem the bands ‘signature’ sound but beside that the listener, at times, feels like yelling ‘we get it already!’ Also, past releases from the History of Colour TV compared with this material puts these songs into a whole other awkward light.
But that’s not to say the album doesn’t have highlights or well written and performed songs. The second half of the album saves its weaker points in many ways; showcasing a more alternative style of music than the opposing. The performances are impressive on the most part, especially the guitars and the drumming. The mixing shines in the more full production, but praise should be given to it for sections with just guitar and vocals where it shines. Altogether the band create an interesting album, through these avenues of production, mixing and sound.
'Something Like Eternity' gets it's full release in early 2017 via Cranes Records / Weird Books. The bands latest single 'Wreck' is out now and available to buy/download from: thehistoryofcolourtv.bandcamp.com
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.
Berlin based psychedelic noise/goth duo 'Blackfawn' have just announced a brand new single & accompanying video entitled 'Hopes & Dreams'. The band are made of Alexandra & Daniel and they began life nestled within the underground alternative music scene in Malta before the two decided to move to Berlin. 'Hopes & Dreams' is the bands second single and it follows on from February's stunning debut release 'Generations 14'. It is available to buy/download right now from: blackfawnproject.bandcamp.com
READ ON -
'Hopes & Dreams' shuffles on minimalistic sequenced drum patterns and a repetitive glitchy guitar line as hypnotic synth swells & throbbing bass frequencies meander menacingly in and out of earshot, carefully buffering that majestic vocal attack! The accompanying video is simply mesmerising! As it gently pulls you into Blackfawn's golden hued, psych induced underground world.
Berlin based post-gazers ‘I Have No Mouth And I Must Scream’ released their self titled eleven track debut album back on the 20th of January 2016. With a sound that traverses the very edges of 90’s alt-rock and 80’s post-punk but also has its foundations buried firmly within the hazy early days of the first wave of shoegazers ‘I Have No Mouth And I Must Scream’ collectively create stunning layered reverberating soundscapes that build intensely throughout each verse and soar impressively when required throughout every single chorus break. The band have just released a brand new video to accompany their stunning track 'Drowning' lifted off the aforementioned album and it harks back to those early 90's, low-budget, alternative music videos! The full album is available to buy/download right now on various formats via nomouth.bandcamp.com
‘Drowning’ has a distinct post-punk edge reminiscent of early ‘Cure’ but with a shimmering bright reverb induced hue ....
by Primal Music Blog