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
How We Lost The 21st Century by Cathode Ray Eyes
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.
ABOUT THE AUTHOR:
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
by Primal Music
ARTIST: Paper Daggers
RELEASE DATE: 18th June 2017
RECORD COMPANY: Unsigned
Brooklyn based dreamgazers 'Paper Daggers' create deeply melodious soundscapes that skip effortlessly through melancholic sonic snapshots filled with woozy shoegaze and shimmering yet hazy dream pop with blistering aplomb. The band are made up of Rob - guitar, Nicola - vox/keys, Carrie - bass & Lisa - drums and they have just released a stunning three track debut self-titled EP and you can buy/download it right now from paperdaggersnyc.bandcamp.com
Paper Daggers by Paper Daggers
The EP opens up with an absolutely stunning track entitled 'Small'. Tumbling tremulous guitars meld brilliantly with subtle synth swells and humming bass frequencies as rolling percussion collectively ferries a beautiful vocal out into the ether. A hazy wash of gentle reverberation smoothes the journey as we're deftly scooped up and carefully enveloped in resonating lead guitar lines that intertwine with infectious songwriting and brilliant production. Up next, 'Wash' penetrates a busy wall of tremulous noise before a beautiful wave of melody gracefully pulls a deeply hypnotic percussive swing into the mix, it's metronomic pulse adding intense atmosphere as Nicola's ethereal vocalisations float into earshot. Entrancing instrumentation swirls throughout as this tracks lead guitar parts whirr and dance in and out of throbbing bass lines and subtle reverberations collectively following the gravitational pull of those entrancing drum patterns. This is absolutely stunning and if you have to listen to anything at all today please let it be this one track. 'Wash' will blow you away.
The EP closes out with slice of magic. There are bands out there who can pull off shoegaze and dream-pop to a consistent level but never really step outside of their comfort zones. And then there are bands like 'Paper Daggers' who have the ability to inject subtle genre changes outside of their chosen sonic disciplines. 'Between Moments' shatters into earshot on a beautifully serine melancholic vibe, steeped in dreamy dream-pop but underscored by something completely new to the sounds previously heard on this EP; this track has a late 80's post-punk vibe that I'm instantly drawn to courtesy of those plodding bass notes and that ever present swell of swirling synth. It's infectious, it's hypnotic and it's insanely masterful all at once and it shows that 'Paper Daggers' have the ability to change. A trait that is needed in this modern underground scene. Again the vocals are on point here too and those soaring guitars inject an intense shoegaze high and patches of angrier resonating lows. It's a stunning ending to a marvellous EP and I for one cannot wait to hear what comes next from 'Paper Daggers'.
ABOUT THE AUTHOR:
ARTIST: Magic Shoppe
RELEASE: High Goodbye
RELEASE DATE: 16th June 2017
RECORD COMPANY: Little Cloud Records
Sublime Boston based dissonant psych aficionados 'Magic Shoppe' have just unleashed a brand new EP to the masses entitled 'High Goodbye', a bruising four track fuzz fest that will literally blow your socks off. From their very first release, the impressive ‘Reverb EP’ (2010) ,'Magic Shoppe' have been firmly on our radar and have also been a recommendation of ours for quite some time. Their immense brand of fuzzy, reverb induced psychedelic mayhem rattles through its gears with blistering aplomb and takes the listener on melodic journeys of sonic discovery. This latest EP had it's official release back on June 16th 2017 via the brilliantly independent 'Little Cloud Records' with various formats available including lovely limited edition 12' translucent red vinyl from magicshoppe.bandcamp.com
High Goodbye by Magic Shoppe
The EP opens up, tumbling menacingly through an unwavering wall of growling melodious guitars as ‘High Goodbye’ resonates into the subconscious. Shaking tambourines ride a wave of sticky bass frequencies and gravitate in close proximity to a tempestuous percussive swagger. It’s vocal lines croon and undulate in and out of snaking lead lines as the hypnotic swing of instrumentation captures this listeners attention. ‘High Goodbye’ is a stunning opening salvo steeped in swirling reverberations and whirring drones that captures a snapshot of what this modern day psych-gaze scene is all about. Up next, ‘Lost In Space’ shimmers in a dark resonating haze as the twang of lead guitar drags metronomic shakers into the mix underscored by soaring drones and a definitive 60’s neo-psych hue. The heady sonic fog clears to allow addictive vocal lines to lick, whip & penetrate just enough to guide the way as we shake and move through hypnotically charged shamanic vibrations filled with raging lead guitars and punishing production.
The EP’s penultimate piece entitled ‘Her Ritual’ stirs the senses as menacing sonic reflections bounce, drone and jitter effortlessly into the ether with blistering aplomb. The mechanical thump of percussion drags angry guitars and another mesmerising vocal into perspective, drenched in reverb and hovering on a bedrock of throbbing bass frequencies and the incessant whoosh of droning instrumentation and in turn answering to nothing but the pull and swing of a deeply hypnotic tempo. ‘Her Ritual’ sucks you in slowly and spits you out at break neck speeds before dropping you off into a swirling acid drenched haze. The EP closes out with what is possibly the most alternative track on the entire release and although they side step away from the sonic themes of the previous three tracks, ‘My Minds Eye’ is actually bloody immense. It begins with waves of screaming feedback as the band collectively usher in driving drum patterns, undulating bass lines, addictive tambourines and howling vocalisations before lightening the touch paper and exploding into a catchy, hook laden chorus progression. They repeat the process, turning up the noise as they go, injecting swirling drones and surging feedback into the mix before calling a halt to proceedings, trapped in a cyclonic whirlwind of noise. An absolutely stunning finale to another bloody masterful EP.
ARTIST: Tombstones In Their Eyes
RELEASE DATE: 4th August 2017
RECORD COMPANY: Send Me Your Head Records
Stoner rock, neo-psych, subtle flavours of shoegaze and rolling slowcore melded with fluttering dark frequencies, intense melody and those totally addictive vocalisations of John Treanor make up the collective sonic melting pot of musically astute L.A based quartet 'Tombstones In their Eyes'. Back in May 2016 they literally blew me away with their 'Bad Clouds' EP, so much so that I have been waiting with baited breath to see what these guys could come up with next. The band are made up of John Treanor – Vocals/Guitar/Keyboards, Josh Drew – Bass/Backing Vocals, Stephen Striegel – Drums/Percussion & Samuel Sherwood – Percussion and they have just announced their third EP entitled 'Fear' penned in for release on August 4th 2017 via 'Send Me Your Head Records' with pre-order options now available via tombstonesintheireyes.bandcamp.com
Fear by Tombstones In Their Eyes
The EP unfurls its sticky sonic tendrils with ‘I Want To Fly’. An explosive opening breathes life into an effortless vocal track that sits gracefully atop growling guitars, shuddering percussion and throbbing bass frequencies as ‘Tombstones In Their Eyes’ dip into their inner psych, melding it with subtle shoegazing tendencies and angry alt-rock to create a magically intense piece of music. Up next, my favourite track on the entire release enters audible range. ‘Separate’ tumbles into the ether strapped tightly to a downward spiralling tremulous drone before hazy vocalisations snake and undulate through warbling guitars, fizzing synth and cascading bass lines. It builds in intensity as it works through it’s sonic gears, moving menacingly through swathes of impressive reverb before culminating into a swirling mass of blissful noise. It’s a triumph of a track and it’s filled with everything that is needed to stir the senses completely.
‘Always There’, the EP’s lead single, sounds more like a mash up of french band AIR, R.E.M and some other nondescript alternative outfit from the mid 90’s. It doesn’t do it for me at all I’m afraid and I find it hard to understand what it is exactly that the band where trying to achieve here. I’ll probably be hung for saying that but for me it’s a very confusing track. Up next, ‘Another Day’ fizzes into life tumbling effortlessly through waves of hazy reverberation as melodious guitars are cajoled and whipped by swirling drones, the plink of synth and driving percussion before we’re dragged headlong into a marvellous chorus progression that simply soars. Brilliantly executed and filled with excellent production ‘Another Day’ mesmerises. The EP close out with another triumphant piece of music. ‘Fear’ swirls through a hazy psych filled world with blistering aplomb. Metronomic percussion coupled with shimmering tambourine adds intense atmosphere as a growling wall of noise pulls hypnotic vocalisations out into the ether, trembling on waves of throbbing bass and undulating synth swells. Soaring lead guitar gloriously punishes this entire piece to within an inch of it’s life, intertwining at times with those shamanic like vocal lines before we’re dropped off the back end, holding on desperately to it’s fading instrumental drones. A blistering end to a rather good EP.
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 & 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.
ARTIST: Panda Riot
RELEASE: Infinity Maps
RELEASE DATE: 9th June 2017
Chicago based hazy dream-gazers 'Panda Riot' have announced a gargantuan eighteen track monolith in the guise of 'Infinity Maps', the follow up to their impressive 2013 release 'Northern Automatic Music'. Steeped in an deeply experimental hue 'Infinity Maps' skips through massive swathes of shoegaze, gloriously addictive dream pop and darker electronic moments with blistering aplomb pulling it's listeners inwards as it spirals out into the ether. The instrumental pieces on this album are sublime and coupled with impressive song writing abilities, stunning vocals and brilliantly executed layers of production, it is sure to be one of best albums of 2017 come years end. This mesmerising Illinois based quartet are made up of Rebecca Scott - vocals/guitar, Brian Cook - guitar/drum machine/programming, José Alejandro Rodríguez - drums & Cory Osborne - bass and you can pre-order 'Infinity Maps' on various formats via pandariot.bandcamp.com
Infinity Maps by Panda Riot
Waves of raging melodious turbulence swirl into earshot as droning guitar squall gives way to shimmering vocalisations and squealing feedback. ‘Aphelion’ bubbles precariously on a bedrock of impressive percussion, noisy guitars and humming bass frequencies peppered at times by subtle swells of synth, wavy reverberations and broken up by magnificent breaks filled with soaring vocal lines. Up next, ‘Helios (June 20th)’ swirls into audible range trapped in cloud of shoegaze infused dream pop as it’s beautifully serine vocal lines bounce and whirr on layers of tremulous reverb drenched guitar progressions whilst ‘Latitudes’ pulses on sequenced electronics and churning instrumental drones before fading out through wavy vocal samples and impressive production theatrics. ‘Ghosting’ unfurls its sonic tendrils stuck fast to a plinking synth progression before careering headlong into a brutish wall of hazy guitars & plodding bass, sweeping synth swells and metronomic percussion all collectively enveloping that soaring vocal track before ‘Chimera’ explodes into a haze of atmospherics as it’s cinematic leanings are brought to bare tumbling effortlessly in a cyclonic ball filled with fizzing synths, lazy percussion, fuzzy guitars and its addictive backwards vocal lines.
Pounding drum patterns and soaring melodious guitars ride throbbing bass frequencies and sequenced bleeps as they circumnavigate beautifully serine vocalisations before ‘Double Dream’ explodes into a mesmerising finale swiftly followed by the tremulous opening guitar tones of ‘Arrows’ and it’s cascading bass lines, hypnotic drum patterns and those shimmering reverberations. Wavy instrumentation coupled with a serine piano progression and instantly refreshing vocal samples herald the arrival of the deliciously dreamy ‘Parachutes’ whilst the driving percussion of ‘Night Animation’ swirls delicately in a hazy modern dream pop vibe underscored at times with acres of reverberation, soaring layered guitars and shimmering vocalisations. The experimental leanings of ‘Parallels’ wash over this listener as sparse drum patterns, humming bass frequencies and swooshing guitar drones circumnavigate that laid back vocal performance allowing moments of sonic abandonment to pierce the normally rigid song structures created by the band. The album swoons as ‘Infinity Maps’ undulates into audible range tumbling effortlessly in a whirlwind of beautifully intense frequencies permeated by the hypnotic swing of the drums before the instrumental pause that is ‘Niagara’ pulses on swathes of comforting atmospheric synth and sequenced bleeps & whirrs.
‘New Colours’ oozes sonic brilliance as its captivating dream pop leanings bob and weave on layers of hazy guitar, steadying percussion, throbbing melodious bass lines and entrancing vocal lines. There are subtle moments of woozy shoegaze bubbling up at times throughout this track as lead guitar lines whip and cajole resonating frequencies, pushing them through layers of reverb and whammy bar theatrics. ‘Aurora Shift’ moves back into a more experimental patch as a bouncing bass line rides giddying sequenced percussion and swirling synth swells before the instrumental 'Glass Cathedrals' surges through layers of sticky delay, hazy reverb and turbulent drones. Up next, the brilliant ‘Gold Lines’ doffs it's well worn cap to those early 90’s shoegaze stalwarts as it undulates into the ether on a tremulous wall of reverb hued guitars and steadying percussion. Addictive lead progressions pull another intense vocal performance out into the light accompanied by growling passages of soaring shoegaze and cascading bass frequencies. Possibly my favourite track on the entire release, ‘Gold Lines’ doesn’t disappoint. The albums penultimate piece entitled ‘Otherside’ swoons into earshot on a beautifully intense wave of synth and droning guitar as metronomic percussion and a throbbing bass line announces a beautifully effervescent vocal take. The albums closes out on an infectious footing as tumbling vocals intertwine with backwards guitars and addictive production as ‘Magic Numbers’ bookends a fascinating collection of tracks.
Panda Riot never fail to impress me. Their grasp on what is relevant in this modern underground shoegaze & dream pop scene is as evident as ever on this new album. Collectively the quartet move effortlessly through passages of experimentation and ambient exploration whilst keeping a firm grip on their core D.I.Y values, drawing on slivers of wide ranging influence to create magnificent modern sounding standalone pieces alongside their well crafted early 90’s inspired soundtracks that keeps them consistently relevant in todays ever evolving scene. Some folks might find that eighteen tracks is a chore to get through in one sitting but I can guarantee that each one will captivate and hypnotise both old and new fans alike.
Impressive return to form.
RECORD COMPANY: CRAZYSANE Records
'Yagow' is a psychedelic space rock trio based out of Saarbrücken, Germany. Their collective sound echoes through mesmerising passages of psychedelically charged motorik kraut rock underscored at times with subtle shoegaze tendencies that are deftly permeated with layers of incantational space rock & hazy effervescent stoner rock. Their immense self titled six track album gets its full release on June 16th 2017 via the Berlin based independent record label 'CRAZYSANE Records' and is available to pre-order right now on various formats from crazysanerecords.bandcamp.com
s/t by YAGOW
In a dense instrumental drone the heavy opening salvos of ‘Horsehead Nebula’ unfurl their fuzzy tendrils and wrap themselves around enticingly slow lead guitar lines and swathes of reverberation. Bouncing bass frequencies pull stunning percussive patterns into audible range melding effortlessly with the hypnotic surge of guitars, used collectively to ferry haunting psychedelically charged vocalisations out into the ether. Up next, ‘Snake Charmer’, the albums lead single, resonates and pulses through layers of hazy psychedelia that is peppered with subtle touches of eastern esoteric flair. Meandering vocal lines whip and whirr through spiralling guitar progressions as fuzzy sonic reflections sparkle through swirling clouds of addictive sitar and rolling drum patterns. This track explodes into a raging wall of undulating drones, throbbing bass lines and growling guitars, jointly harassed by explosive drum patterns and acid drenched lead lines before tumbling gracefully into a cyclonic sonic whirlwind before fizzing out into obscurity.
‘Moss & Mint’ slows proceedings down as we’re dragged into a muggy metronomic trance like state, glued to the swing of those addictive drum patterns, soaring lead lines the and hazy swirl of dreamy, spaced out vocalisations. ‘Moss & Mint’ works through its instrumental gears with stunning aplomb, at times injecting organ swells, massive waves of imposing reverb and is reminiscent at times to Perth based sonic explorers ‘Mt. Mountain’ with the way they construct intricate song structures, add intense atmosphere and inject undulating passages of heavy psych into their music. ‘Time To Get Rid Of It’ swerves into earshot on a warbling guitar progression, bouncing bass frequencies and skittish percussion. Shamanic reverb drenched vocalisations intertwine with growling lead lines before punishing instrumental drones take over, pulling you with them as you surge through wave after wave of intense psychedelia. Absolutely magnificent!
The albums penultimate piece entitled ‘Non-Contractual’ opens with a menacing instrumental drone before pounding drums, shakers and incantational guitars drag haunting vocalisations out into the open. The subtle plucks of sitar ride punishing instrumentation as we meander through deep sonic troughs, shimmering spaced out verse passages and out into the final throws of a turbulent sonic behemoth. The album closes out with ‘Nude On the Moon Dance’. A tremulous guitar progression rides metronomic percussive pattern that builds and undulates through soaring atmospherically charged prog like lead lines and the constant throb of bass frequencies. Chittering drones sweep aside the opening bars as this track peels back it’s outer layers and morphs into a resonating sonic whirlwind that carefully envelopes another mesmerising vocal. A brilliant ending to rather interesting album.
ARTIST: Is Bliss
RELEASE: The Honeycomb Explosion
RELEASE DATE: 19th May 2017
RECORD COMPANY: Club AC-30 Records
Revered, incantational, hypnotic - Three words that aptly describe what I felt after listening to the absolutely stunning 2016 debut EP entitled 'Velvet Dreams' from Portsmouth based psych aficionados 'Is Bliss'. Signed to celebrated Independent record label 'Club AC-30', 'Is Bliss' are causing quiet a stir right now both on the live scene and within the underground fraternity with their no nonsense, full on, psych induced reverberations! They are made up of Jimmy Stuart - vox/guitar, Dean Edwards - bass & Sam Speakman - drums and they have just released a monumental follow up to their untouchable debut EP 'Velvet Dreams' entitled 'The Honeycomb Explosion'. This sophomore release is a statement of intent by a band who collectively create stunning soundscapes filled with blissed out shoegaze & swirling shamanic psych deftly underscored with passages of dreamy spaced-out grooves and hypnotically charged reverberations. 'The Honeycomb Explosion' was released back on the 19th May 2017 and was initially available to purchase on lovely transparent yellow w/red & orange splatted 12' vinyl via store.clubac30.com
In a haze of cyclonic vocalisations that swirl repetitively through swathes of luscious reverb, the opening salvos of track one ‘Someone’ builds with a menacing hue, dragging hypnotic deep bass frequencies, tremulous drones and angry guitar signatures out into the ether whilst injecting tons of impressive sonic atmospherics as it carefully unfurls it’s far reaching sonic tendrils. Beautifully intense from the off and harking back to to those early 90’s shoegaze sounds ‘Someone’ unleashes a blissful, meandering vocal track that’s whipped and cajoled at times by soaring lead guitar lines and underscored by continuously alluring bass progressions. Up next, ‘Alive (Baby Come On)’ enters the sonic arena swirling dreamily through turbulent organ drones and sparse percussion. Bass lines hum and growl brilliantly as we witness some of the best vocal performances on this whole EP. The track builds builds and builds again until it unleashes a torrent of glorious noise, dragging this listener with it into the eye of a raging sonic firestorm. ‘Alive (Baby Come On)’ has a plethora of influences and I can hear the waviness of Spacemen 3, the punishing guitars of seminal shoegazers Loop & the melodious qualities of Ride streaming through its inner core. Absolutely stunning and definitely my favourite track on the entire release.
‘Is Bliss’ pulse some eastern esoteric flair into proceedings next as sumptuous sitar intertwines with 60’s psych connotations, shimmering tambourine and punchy drum patterns. ‘Into A Dream’ does exactly as it says on the tin. You tumble through layer after layer of droning instrumentation, cascading dream like bass frequencies and that twinkling guitar signatures, guided at every turn by that impressive vocal track and just as you think you are settling in for a session in the shamanic sonic immersion tank you get catapulted out the back end of this track at g-force speeds glued to to a fast moving pulse of intense instrumental chaos before being gently placed back on terra firma with a very big smile on your face (yes it is that good). Up next, ‘Tomorrow’ shimmers hypnotically around an incantational instrumental drone and the jaunty rumble of busy tablas as the dissonant sounds of dreamy sitar bounces and envelopes a stunning vocal performance. Again ‘Is Bliss’ work through their sonic gears with blistering aplomb until eventually they unleash a torrent of explosive frequencies punctuated by screaming guitars, throbbing bass lines and pounding drum patterns that collectively coagulate into one hell of a track finale. The EP then closes out with ‘Inner Soul’, a fantastic sonic trip through layers of blissful reverberations, melodious bass progressions, passages of droning guitars and slow moving percussion that drifts and moves effortlessly, acting as a conduit for those stunning vocal lines. Reminiscent at times to ‘A Storm In Heaven’ era ‘Verve’, ‘Inner Soul’ is an absolutely sublime closing piece to a monumental sophomore EP.
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
From Void To Matter Volume 1 by Bolywool
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.
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.
ARTIST: Secret shine
RELEASE: There Is Only Now
RELEASE DATE: 16th March 2017
RECORD COMPANY: Saint Marie Records
Bristol based 'Secret Shine' have been flittering between shoegaze, indie-pop and dream-pop since their humble beginnings back in the early 1990's and during their illustrious career have released some mesmerising albums to boot. Now on the back of 2016's reissuing of their seminal album 'Untouched', 'Secret Shine' have unleashed a brand new album entitled 'There Is Only Now' via the elusive Texas based independent record label 'Saint Marie Records'. Filled to the brim with ten shimmering new tracks for you to fall in love with, ten tracks that skip nonchalantly between harmonious hook laden guitar progressions, post-punk inspired keyboard fills, soaring melodious vocal tracks and blissed out hazy passages of sonic serenity, 'There Is Only Now' is a stunning return to form from a band who helped to shape this scene into what we know it as today. It was released back on the 16th march 2016 and it is available to buy/download right now on various formats via saintmarierecords.bandcamp.com
There Is Only Now by Secret Shine
The album opens with ‘Burning Stars’, shimmering vocal lines permeate layers of blissed out reverb as melodious synth swells bubble and move through charging guitar progressions and steadying drum patterns. Catchy hooks and monumental production lift this track skywards as ‘Secret Shine’ unleash a mesmerising chorus progression dragging this listener with it as its streams out into the sonic ether. Up next, ‘All In Your Head’ swirls effortlessly through a turbulent synth drone and tremulous guitars before unleashing a beautiful vocal line accompanied by cascading synth patterns and steadying percussion. This track builds and builds brilliantly throughout before tumbling into a shimmering ball of blissful sonic energy. ‘Dirty Game’ shimmies into earshot on a bedrock of metronomic percussion, throbbing bass frequencies and growling guitars as stunning synth lines weave and meander in and out of fantastic vocalisations and brilliant production whilst ‘Drift Away’ throbs and pulses on waves of melodious bass lines, soaring synth and otherworldly vocalisations. There’s a subtle but brilliant hint of 80’s post-punk emanating through the noisier moments on this track that catch you off guard but for the most part it flows effortlessly through hazy shoegaze passages dipped at times into a dreamy pot of loveliness.
‘To The Well’ bounces into earshot on a marvellous bass signature permeated by the constant plink of synth, the thud of a bass drum and the whoosh of sparse percussion. Floating vocalisations with magnificent duel backing lines ride the collective instrumentation before all hell breaks loose and we’re travelling at break neck speed through a soaring spread of resonating frequencies as ‘Secret Shine’ turn up the heat and pulse wave after wave of stunning sound waves out into the ether. Up next, ‘For You’ growls into existence strapped to a noisy guitar drone before a blinding wall of beautiful noise pummels the senses. Lazy percussion, humming bass lines, reverb laden guitars and sequenced synth swells envelope haunting vocalisations before collectively drenching this listener in a blissed out wave of euphoria. ‘For You’ is absolutely stunning and is my favourite track on the entire album. ‘Snowglobe’ glistens as it loops and arcs through meandering duel vocal lines and sublime instrumentation before ‘Falling Again’ screams into the ether on pounding drums, catchy guitar lines and sublime vocals that instantly transport this listener back to the early 90’s.
The albums penultimate piece pulses into audible range on a pulsating synth progression before unfurling repetitive drum patterns and a soaring wall of reverb laden guitars. ‘Things I Said’ is beautifully produced and it swirls around another stunning vocal take filled with stunning backing lines and shimmering instrumentation. The album closes out with another synth laden masterpiece. ‘Make Me You’ floats into the ether and gently caresses the listener with haunting vocal lines and charging guitars, cascading bass lines and meandering synth swells. A brilliant end to a marvellous return to form.
ARTIST: Mt. Mountain
RELEASE DATE: 24th April 2017
RECORD COMPANY: CARDINAL FUZZ
Perth based droning & experimental psych aficionados 'Mt. Mountain' have announced the follow up to last years monumental six track release 'Cosmos Terros' in the form of 'Dust', a four track sonic thrill ride penned in for release on the 24th April via the ever reliable UK based 'Cardinal Fuzz Records'. 'Mt. Mountain' first came to our attention back in 2014 after the release of their brilliant sophomore self titled EP and we subsequently played it to death over on our online sister station 'Primal Radio'. 'Mt. Mountain' are already lauded and revered in Australia where they have built a reputation as one of the most compelling live bands, a distinction that has seen them share stages with myriad Australian and international heavyweights including Sleep, King Gizzard and the Lizard Wizard, Thee Oh Sees, Endless Boogie, Tortoise, Bardo Pond and Boris. 'Dust' is available to pre-order right now on limited edition of 200 - Copper/Black Swirl 12" Vinyl Records with UK/EU purchases available via Cardinal Fuzz.
Dust by Mt. Mountain
In a whirling instrumental drone steeped in acutely atmospheric tape hiss and trembling sound waves the opening salutations of ‘Dust’ manoeuvres itself into audible range. It builds ever so slowly, drenched in a menacing experimental air as a subtle percussive pulse sets a persuasive tempo, slow enough to accommodate those haunting guitar lines and the brilliant addition of a ghostly flute progression whilst being whipped by an ever present & deeply incessant high pitched drone. Coming in at a mere sixteen minutes plus, ‘Dust’ isn’t for the faint hearted as half way through it explodes into a maelstrom of reverberating noise steeped in flurries of modern & experimental psych and peppered with passages of plodding bass frequencies, throbbing synth, addictive lead lines and simmering vocalisations to collectively enthral and captivate it’s listeners all at once. A marvellous opening track indeed. Up next, ‘Floating Eyes’ staggers into earshot on a rickety guitar progression that rides a wave of tumbling bongo hits, the repetitive twinkle of tambourine and a surging synthetic drone. The addition of warbling lead lines add weight to proceedings as ‘Mt. Mountain’ unleash a swirling psychedelic behemoth steeped brilliantly in eastern esoteric flair. Addictive vocal lines float into the mix bubbling on those cascading bass progressions, doffing a well worn cap to those early experimental psych pioneers as we float away on wave after wave of captivating golden hued frequencies that eventually leads us into the tracks final throws.
Swirling organ swells echoed by translucent guitar and subtle instrumental drones announce ‘Kokoti’, the albums penultimate piece, and we drift off into a entrancing psychedelic haze filled with jangling progressions, glorious flute lines and hypnotically charged percussive reverberations. Ghostly vocalisations fill the remaining quiet spaces as sonic reflections rise and fall in and out of throbbing bass frequencies and wah wah heavy lead lines before the track takes on a completely different form and rises high up into the firmament on wings of trance like psychedelic joy. ‘Kokoti’ is a sonic journey of discovery, it’s probably my favourite track on this entire release and I firmly recommend that you listen to it via headphones to experience every ounce of it’s sonic mastery. The album closes out with a three minute peaceful ‘Outro’. A beautifully intoxicating guitar progression pulses into the ether dragging with it a repetitive percussive pattern filled with haunting vocal lines and massive swathes of reverberation. ‘Outro’ is a fitting closing piece and it deftly book ends this impressive collection of tracks.