ARTIST: Cobra Family Picnic
RELEASE: Magnetic Anomaly
RELEASE DATE: 22nd May 2017
RECORD COMPANY: Cardinal Fuzz/Sky Lantern Records
Tuscan based psych aficionados 'Cobra Family Picnic' released a stunning album entitled 'Magnetic Anomaly' back on the 22nd May 2017 via Cardinal Fuzz Records (UK) & Sky Lantern Records (USA). The band create a fuzzy, blissed-out haze that skips through lysergic rhythmically focused space-rock, kraut-rock, experimental neo-psych and kosmische with relative ease and have over the last three years shared stages with critically acclaimed bands such as Moon Duo, White Manna, The Myrrors and Mugstar. Members of the band recorded here include names from a host of other local Tucson psych ensembles, such as The Desert Beats, The Night Collectors, and Wight Lhite. 'Magnetic Anomaly' is available to buy on lovely vinyl from Cardinal Fuzz, Sky Lantern Records or via cobrafamilypicnic-slr.bandcamp.com
Magnetic Anomaly by Cobra Family Picnic
Sampled vocalisations precariously count down to lift off as ‘Draags’ winds up a twisted drone, skittish feedback laden guitars and the surge of instrumentation like some deranged psych induced jazz recital in the back room of an Albert Hofmann experiment. Off kilter percussion keeps a rhythmic almost processional beat as undulating keyboard thrills tickle and harass the hum of bass frequencies and the whip of angry lead lines whilst swirling vocal samples intertwine brilliantly with seething noise and entrancing production. This is a fascinating jump off point to a deeply experimental collection of minimalistic tracks that literally pierce the listeners inner psyche, taking them on a journey of sonic discovery in the trance-inducing process. ‘IPT 001’ is a sojourn, a side step if you will into the eye of a spinning instrumental drone badgered by fizzing vocal samples and turbulent electronic theatrics while deeply transfixing atmospherics swirl and whirr through layers of mind altering reverberations.
‘Elysium’ shakes into audible range stuck fast to shimmering waves of tambourine and snaking feedback. Tumbling drum patterns envelope a throbbing bass line as the pull of wah-wah pedal melds with spiralling electronics licking and caressing a yearning vocal take. Shamanic instrumentation undulates and pulses psychedelically charged waves out into the ether as the track builds and builds into a raging sonic behemoth making ‘Elysium’ my favourite track on the entire release. Revolving drones intertwined with sporadic but haunting vocalisations announce the arrival of ‘IPT 011’ and we’re thrown headlong into an experimental world of intensely atmospheric synth swells, resonating fret board theatrics and deep lying reverberations melded with dissonant electronics and glistening field noise whilst ‘Frost’ breaks the serenity and streams into earshot on a thunderous drum pattern accompanied by shaking tambourine and a swirling instrumental drone. Tremulous guitars ride the collective sonic surge as the arrival of sublime vocalisations and screaming lead lines twist the mood from one of metronomic incantation into ascending space rock before we fall out the back end into a blistering melting pot of lysergic repose.
Melodiously fuzzy bass frequencies keep steady time as ‘Gilgamesh’ meanders into earshot pulling with it the shimmer of tambourine and those mechanical drums. Mind altering guitar signatures circumnavigate reverberating vocal lines, whipping and harassing each word to within an inch of its life as those sullen organ lines bubble up from below adding delicious atmosphere. ‘IPT 111’ hovers in a haze of atmosphere as sporadic drones fizz and whirr through horrifying vocal samples and swirling instrumental waves. Potent percussive hits meld with dancing electronics that pull the listener into it’s deeply experimental finale whilst the albums penultimate piece groans into existence tumbling within a swirling sonic behemoth. ‘Moody Mountain’ pummels the senses with fuzzy archaic melody and incandescent frequencies that build and build into raging instrumental drone until the arrival of a slow rolling beat and eventually brings some clarity to proceedings, pulling with it an impenetrable bass line, atmospheric vocalisations and a raging wall of guitars. For those of us lucky enough to purchase this album on vinyl there’s an additional bonus track entitled ‘Contact’ to grace your earholes with once you partake in using the digital download code provided. This track is a nine minute white knuckle ride through pulsating kraut like percussion, addictive bass lines, echoed vocal lines and raging guitars that will quite literally blow your mind. A fantastic ending to a marvellous 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: Dazy Crown
RELEASE: I Don't Need A Jacket
RELEASE DATE: 16th June 2017
RECORD COMPANY: Hazy Dog
Norwich based 'Dazy Crown' have just unleashed a brand new four track EP brilliantly titled 'I Don't Need A Jacket' via the independent record label 'Hazy Dog'. The band began life back in 2015 as the solo project of guitarist and vocalist Thomas Little before fleshing it out into a quartet with Philip Jones on guitar, Thomas Rees on bass and Theo Lewis on drums. Their collective sound sits firmly within the jangling lo-fi/garage catagories of music but it is also infused with stunning melody and subtle passages of dreamy psych-pop. 'I Don't Need A Jacket' is available to buy/download right now on various formats from hazydog.bandcamp.com
I Don't Need A Jacket by Dazy Crown
The EP opens up with 'Euphoria'. A beautifully translucent lead guitar line runs throughout as cascading bass frequencies hover just below the mix hugging a steady drum track and the hum of rhythm guitar, collectively enveloping that melody driven vocal line in it's entirety. A stunning opening salvo indeed. 'Dazy Crown' peel back their outer layers to show their subtle psych-pop tendencies on track two. 'Peanut Butter Dreaming' swerves into earshot filled with summery vibes that swirl around a shimmering a lead lick, a metronomic drum track and the throb of bass. Woozy vocalisations splashed in melodious colour twist a turn through layers of reverberation until we're eventually introduced to brilliantly executed and psychedelically charged finale.
'360 Dunk' drives into the ether swirling on another rambling lead guitar line. This time the bass line takes centre stage though as it meanders on a melodious trip, dancing in and out of a giddy percussive swagger as the collective instrumentation tries desperately to hold on. The vocal lines on this track are addictive and they float effortlessly on top of the surging reverb. The EP closes out with its lead single. 'Multi Vitamin' tumbles through swathes of woozy and highly infectious guitar progressions that ride an insanely laid back percussive pattern. Those simmering vocalisations wobble and arc through hazy layers of bubbling bass frequencies and resonating production as the leaping chorus break snaps you out of a hypnotising trance and tip toes you into a cyclonic world filled with instrumental drones and fuzzy sonic reflections. A fitting ending to a marvellous EP.
ABOUT THE AUTHOR:
ARTIST: My Favourite Things
RELEASE: Fly I Will, Because I Can
RELEASE DATE: 14th July 2017
RECORD COMPANY: Unsigned
Brooklyn based 'My Favourite Things' aka multi-instrumentalist Dorothea Tachler has been writing, recording and producing competent sonic soundscapes since the release of her debut album 'Rarara' back in 2009 and has transfixed audiences in the notoriously unforgiving New York City music scene with her beautifully dreamy, acoustic filled sound both as a solo act and with her constantly changing live five piece band which features various players from within the vibrant underground NYC scene. Her latest album 'Fly I Will, Because I Can' is a beautifully melancholic sonic journey swirling around some turbulent themes such as lost love, life and it's many pitfalls. 'Fly I Will, Because I Can' gets it's official release on July 14th 2017 and is available to pre-order right now on various formats via myfavouritethings.bandcamp.com
Fly I will, because I can by My Favourite Things
The albums opening salvo entitled 'Sunlight' glistens as it jangles into earshot, stuck fast to an addictive acoustic guitar progression and underscored by a subtle array of impressive instrumentation and sporadic hits from various percussive instruments. Beautifully dreamy vocalisations wash over the entire piece draping it in light reverberation and intense melody that collectively adds a summery melancholic vibe to proceedings. Up next, 'Everything Changes' builds from its first notes and introduces layer after layer of instrumentation as it deftly meanders through a predestined production arrangement. Again, there are lashings of melancholy here as you float effortlessly along with the dreamy but addictive vocal tones of Dorothea Tachler and I can't help but hear subtle but delightful touches of Americana swirling around in the mix. The opening bars of 'Goodbye Again' continue with the previous trend albeit on a more scaled back trip before the chorus soars up and out into the ether on a bubbly cacophony of golden frequencies. There's a sonic battle of wills between light and shade echoing throughout this track as the instrumentation shimmers whilst it's underlying theme drapes a dark atmospheric cloak over it's yearning vocal lines. Brilliantly worked and both the songwriting and the production are faultless.
'Still Practicing' growls on a deep electric guitar progression that envelopes another outstanding vocal performance. The subtle wash of crash cymbal melded with a fuzzy layer of resonating guitar and underlying instrumentation adds weight to the chorus change before we're dragged back into another hazy verse progression and on in to the tracks moody finale whilst up next 'Some Things Stay The Same ( Stay A Little While)' floats into earshot on a woozy cloud of tremulous guitars and droning instrumental swells offering up a glorious 60's esque psychedelic twist as it loops and arcs brilliantly through shimmering reverb hued layers. 'My Favourite Things' offer up some fantastic folk leanings on this record and none more so than on 'Growing Pains'. It undulates around a simple guitar progression accompanied by tumbling drum patterns and twinkling lead lines that collectively circumnavigate it's soothing vocal lines brilliantly whilst 'Nobody Knows' shimmers into audible range swirling on a dreamy vocal harmony before wobbling electronics and tremulous guitars take over and sparkle on a steady metronomic beat. 'A Little Closer' sounds like a long lost Beatles track with its busy drum pattern and wavy, reverberating vocal lines accompanied by a persistent instrumental drone that winds its way through jangling guitars and stunning production with relative ease. Catchy hook laden chorus progressions lift the entire track into a gauzy dream-pop laden masterpiece and this listener is pulled with it up into the ether. Thoroughly addictive and probably my favourite track on the entire release!
Steeped in melody, 'Keep Letting Go' opens with slow tremulous guitars, humming bass frequencies and the occasional wash from the cymbals. A stripped back vocal track cuts through the production and it's joined at times by harmonious backing vocals as the track builds, injecting meandering drum patterns and periods of fuzzy reverberation whilst 'Spaceman' surges from its opening sequenced drum pattern and opens up into a slow moving ball of hazy instrumentation. Dreamy vocalisations swirl and whirr through layers of reverb as this track steps in and out of fuzzy shoegaze and hazy dream-pop at will. The albums penultimate piece entitled 'The Longest Winter' rustles into ear shot on warbling instrumentation and the subtle brush of drums. There's a air of experimentation here that is very refreshing as Dorothea's vocals emerge into the mix precariously positioned atop slow moving ambient hued instrumentation peppered with sparkling atmosphere, brilliantly executed production and fuzzier moments of sonic contemplation. The album closes out with 'I Don't Know', a full on dream-gazing standard. A bedrock of sequenced electronic drums act as the foundation for humming bass frequencies, various instrumentation, bouncing synths and dreamily layered vocalisations. A brilliant finale to a very interesting album.
RELEASE: Wasted Mind
RELEASE DATE: 2nd June 2017
Austin based noise aficionados 'Glaze' self-released their stunning sophomore EP 'Wasted Mind' back on the 2nd June 2017, following on from their impressive debut three track 2016 release entitled 'Dimensions'. Their sound centres around angst ridden post-punk & fantastically noisy alt-rock thats underscored by soaring layered shoegaze collectively topped off with utterly sublime vocalisations that will make the hairs on the back of your neck stand to attention. The band are made up of Stephen McElwee, Austin Yeates & Jake Villarreal and you can buy/download the full EP right now via glazeusa.bandcamp.com
Wasted Mind by Glaze
The EP opens up with ‘No Surprises’; a swirling vortex of intense sound waves buffer and arc through layers of turbulent reverberation as charging percussion tumbles and skits alongside chugging bass frequencies and the resonating pull of guitars. Haunting vocalisations ride the tempestuous instrumental surge as lead lines whip and cajole the track to within an inch of its life dragging this listener with it as it streams into an abrupt finale. This is a masterful opening salvo! Up next, ‘Who Can Say’, the EP's lead single, builds from the off and steadily rises into a raging sonic behemoth filled with with brilliantly dark post-punk hued bass lines, screaming lead guitars and hazily melodic vocals. It breaks midway through into a sublime cacophony of tempo changes, psych induced instrumentation and production theatrics before fading into obscurity by swirling aimlessly into a reverberating fog.
‘Mercury’ jangles into earshot on a tremulous guitar progression before busy percussion drags the deep hum of bass and another blistering melody driven vocal line into focus. This track floats effortlessly through it’s verse parts before breaking into an explosive chorus stacked to the brim with soaring guitars and deliciously catchy vocal hooks. The EP closes out with ‘Chow Mein’, probably my favourite track on the entire release. A simple bass line opens proceedings up before we’re sucked into a swirling sonic whirlwind, battered around the senses and dumped out the back end to perch precariously on a melodic verse progression, only to be pulled along brilliantly by the aforementioned bass line and sucked back into the sonic melee once more. Thoroughly enjoyable and a fantastic finale to a well executed EP.
RELEASE: Jellyskin EP
RELEASE DATE: 28th June 2017
Immense Leeds based trio 'Jellyskin' have correlated all of their previously released singles, added a splattering of newer material and have packaged it all up on what is being labelled as their very first self-titled physical release. 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. Unless you've been hiding under a rock over the past year you would have read about the band on Primal Music's web pages & listened to them over on Primal Radio daily; they are seriously that good. 'Jellyskin' create stunning musical soundscapes that gracefully meander through experimental shoegaze, dream pop, psych rock and it's many, many sub genres. Their self-titled EP was released back on the 28th June 2017 and is available to buy/download on various formats right now via jellyskin.bandcamp.com
jellyskin by jellyskin
The EP opens up with 'Eater' and it pulses into the ether on a swirling vortex of kraut like repetition as its metronomic percussion, driving psychedelically charged guitars, throbbing bass frequencies and resonating synth lines deftly circumnavigate that stunning trademark vocal line. This track fizzes as it tumbles through layers of sequenced electronics and hazy reverberation. Up next, 'She Sung Oceans' glistens on a beautifully intense vocal line that floats on subtle fizzing synths and melodic guitars. This track sucks you in as it's lazy percussion arrives pulling the entire track skywards on shimmering sound waves, dipping in and out of entrancing instrumental passages filled with heavier moments of atmospheric experimentation and wavy synth laden psychedelics. 'Jellyskin' stay in a mode of electronic experimentation as 'Snow Sky', my favourite track on the entire release, warbles into audible range pinned fast to a cascading synth line, sequenced electronics and repetitive percussion. Beautifully entrancing vocalisations swirl and undulate through subtle eastern esoteric flavours as we dance and whirr through stunning instrumentation that collectively loops and arcs throughout the ether. Absolutely sublime!
The EP's penultimate piece entitled 'Only Rain (Flows To Beach)' floats effortlessly on glorious waves of simmering synth coupled with tumbling tremulous guitar progressions as metronomic sequenced percussion pulses on effervescent frequencies carefully enveloping that fragile vocal track. At predesignated points along its meandering course it morphs and twists brilliantly into a noisy & turbulent psych induced behemoth before snaking back into a beautifully entrancing piece of music before we close out with the intensely addictive 'Milk Of Magnesia' . It moves slow, is draped in swathes of psychedelic reverberation and is deliciously repetitious. It will have have you hooked from the off with it's burgeoning percussive pattern, layers of stunning atmospherics, swirling synth swells and luscious lead licks. It has subtle esoteric vibes underscored by droning instrumentation coursing through it's inner core that envelopes those sublime duel vocalisations with visceral aplomb. A masterful finale to a wonderful EP.
RELEASE: Taeppe EP
RELEASE DATE: 27th June 2017
RECORD COMPANY: Structure vs Chaos Music (SESAC)
Fantastic Connecticut based lo-fi shoegaze quartet 'Landing' have announced a brand new three track cassette in the guise of the 'Taeppe' EP , released to coincide with their 2017 tour which has just kicked off and will run all the way to July 12th taking in Northampton, Hamilton, Detroit, Indianapolis, St. Louis, Minneapolis, Des Moines, Austin, New Orleans, Atlanta, Raleigh, Salt Lake City & Washington D.C. The band create blissful sonic soundscapes that are filled with hazy shoegaze highs and jaw dropping ethereal vocalisations coupled with experimental twists and lashings of glorious reverberation. The band on this release are made up of Adrienne Snow - vocals, Daron Gardner - bass/drones, Aaron Snow - guitar/synth/drums/bass/vocals, Kryssi Battalene - guitar on Side A & John Miller - drums on 'Together'. You can buy/download this latest release digitally right now from landing.bandcamp.com or if you are one of the lucky folk who get to see them play live, the cassette version is released by Vast Arc Hues in an edition of 50 and will be available at shows on their summer 2017 tour.
Taeppe EP by Landing
Reverberating drones coupled with fizzing effected fret noise collectively move and undulate in a dense sonic fog as faint hints of melody punctuates through subtle feedback and the odd pull of guitar notes. 'Page After Page' unfurls it's enveloping frequencies, gradually building momentum as it peels back each individual musical layer before pulsing a beautifully intense wall of glistening vibration out into the ether in one great big wave, enveloping Adrienne's haunting vocals in the process. It's subtle percussion keeps an almost ethereal tempo as the wash of luscious guitars surge and break through layer after layer of stunning production. Instrumentally, 'Page After Page' pulls you inwards and keeps you transfixed on all eight minutes of this fantastic opening salvo. Up next, 'Tape' explodes into a cacophony of golden hued frequencies as tremulous guitars, augmenting synth swells and the repetitive whoosh of hi-hat's swirl and meld effortlessly with beautifully entrancing vocalisations, the gentle hum of bass frequencies and sublime production. 'Tape' is my favourite track on the entire release. It's a blissed out sonic adventure that will have you forgetting daily life as you float skywards into the abyss.
The EP closes out with 'Together', a snapshot of dreamy sonic escapism. A hazy wall of steady drums, cascading bass lines and fuzzy reverberation glisten and shine as jangling progressions mix with melodious lead lines to collectively circumnavigate another shimmering vocal take. 'Landing' tease us with their old school shoegazing tendencies half way through as the track explodes into a driving mass of blissful noise drenched in simmering instrumental melody that loops and arcs brilliantly throughout the the entire piece. This flight of fancy is quickly tamed however as the band pull the plug and dump us headlong into a finale of fading incandescent sound waves.
ARTIST: Brilliant Beast
RELEASE DATE: July 7th 2017
Hailing from Minneapolis, fuzzy shoegaze quartet 'Brilliant Beast' are no strangers to Primal Music. In fact, we've been spinning them religiously over on Primal Radio for quite some time as we fell in love with their glistening dream-gaze tones way back in 2013 after the release of their fantastic 'Where Do You Want' long player. Hazy yet melodious and with a grungy kick that stirs up many different influential artists from the scene, 'Brilliant Beast' are a band that I selfishly keep coming back to again and again. The band are made up of sibling dual vocalists Hannah & Jordan Porter, both on vocals/guitar, Ronnie Lee -bass & Eric Whalen - drums an they have just announced a brand new five track EP entitled 'Jelly', penned in for release on the 7th July 2017. The EP is available to pre-order right now via brilliantbeast.bandcamp.com
Jelly by Brilliant Beast
Surging instrumentation swirls and cajoles for space as woozy frequencies battle clandestine reverberations for the right to accompany a truly melodious vocal line as it meanders out into the ether. 'High Time' mesmerises as it sifts through stunning layered guitars and pounding drums, floating effortlessly on the continuous throb of bass and skipping brilliantly through catchy hook laden chord structures and immense production. A mouth watering opening salvo that leads us into squealing feedback and the heavier opening bars of 'Scatter', a menacing sonic behemoth that heaves and undulates on bass heavy frequencies. Soaring guitars carry another impressive vocal as 'Brilliant Beast' wage a sonic war of attrition looping and arcing in and out of heavy shoegaze at will before exploding into a stunning chorus break. Up next, 'Spiders' stalks into earshot on a charging percussive assault punctuated by grunge heavy guitars and snaking vocalisations. I can hear tons of early Sonic Youth here (I don't know how the band will feel about that??) but I bloody love it anyway, so much so that it's my favourite track on the entire EP. Seductive lead lines intertwine with punchy percussion and hovering bass signatures before that woozy chorus break slows everything down just a tad before exploding back into a maelstrom of blissful noise.
The EP's penultimate piece skips into range straddled to a hazy wall of resonating noise and a busy drum progression. 'Slipping' continues with the same sonic formula as the previous tracks that holds 'Brilliant Beast' in good stead. Fuzzy guitars, explosive percussion, undulating bass lines and a duel vocal to die for that at times sounds almost ethereal. Add into the mix that fantastically explosive closing break and it's a win win for me. 'Jelly' closes out with it's lead single. 'Star Of' is a blissed out summer jam filled with glorious golden hued fuzz, a dreamy dream-pop inspired vocal line and fantastic instrumentation. Again, catchy hooks make this track easy on the ear but it's those duel vocals that are absolutely spellbinding and at times hypnotic, keeping this listener well entertained. A brilliant ending to a marvellous EP .... bravo Brilliant Beast.
ARTIST: Hawkeyes / Radiation Flowers
RELEASE: Split EP
RELEASE DATE: 7th July 2017
RECORD COMPANY: Sunmask / Cardinal Fuzz
Ontario based heavy psych aficionados 'Hawkeyes' have joined forces with Saskatoon natives 'Radiation Flowers' on a brand new five track 'Split EP' that is absolutely immense. Stacked with massive walls of hypnotic acid drenched noise 'Hawkeyes' formed back in 2012 (apparently out of sheer boredom) and began self-releasing tracks on cassette before their debut album 'Poison Slows You Down' was picked up by Helmet Lady Records back in 2015. 'Radiation Flowers' on the other hand create spacious psychedelically charged shoegaze permeated at times by edgier, fuzzier moments of sonic contemplation accompanied by floating vocalisations that hark back to that early 4AD sound. The album gets it's full release on the 7th July 2017 via 'Sunmask' and the ever reliable Cardinal Fuzz Records and it available to pre-order right now on colour vinyl with full colour printed inner sleeve via cful.bandcamp.com
'Hawkeyes' open up proceedings with the first of two tracks; 'Atom Heart Motherfuckers Never Learn' swirls into audible range stuck firm to a warbling atmospheric guitar progression steeped in hypnotic reverberations. Sparse flourishes of cymbal and fizzing fret noise pull a massive surge of instrumentation into play as growling guitars, humming bass and steady percussion gently pushes us out into a turbulent sonic sea. Wailing lead lines whip up a sonic frenzy as a pulsing metronomic procession of drums and bass keep up a steady tempo for eight minutes plus, acting like some sort of sonic chariot meandering through layer after layer of spaced out grooves and ambient hued textures before 'Hawkeyes' briefly slip their spaced out ambient leanings and explode into a riotous sonic behemoth filled with darker, heavier guitar progressions and explosive accompanying instrumentation, goading the listener with their impressive mind bending production. All in all this is a massive opening salvo. Their second track entitled 'Creator Destroyer' floats into earshot on a wave of intense atmosphere deftly enveloped in beautifully textured acoustic guitar progressions and hushed vocal tones. That illusion is quickly shattered however as they explode into a cacophony of fuzz and reverb. Soaring lead guitars intertwine with delay & the pull of wah-wah to create a claustrophobic wall of hypnotic sound that builds and builds, tumbling brilliantly through rolling percussion and driving bass frequencies before culminating in a wind swept spoken word finale.
'The Radiation Flowers' unfurl '33 Floors Up', a pulsating sonic behemoth that pounds its way through the ether on a resonating wave of instrumentation swirling magnificently through layer after layer of tantalising reverberations. Soaring guitars traverse huge organ swells and there's no let up to the meandering whip of turbulent frequencies as this track explodes into the ether. Up next, 'Always On the Ground' bounds into earshot rocking giddily on a throbbing bass progression before squally synth hits add a sliver of comedy. Off kilter percussion drags itself into the mix accompanied by luscious lead guitars drenched in subtle feedback, effected fret noise and lashings of reverb. The collective instrumentation builds into a rolling wash of sound as beautifully translucent vocalisations ebb and flow into earshot underscored by an off putting organ drone before huge swathes of noise erupt, adding blistering atmospheric depth that seems undulates on that bouncing bass line. The album closes out with 'Never Fade' as 'The Radiation Flowers' meld tremulous shoegaze & indie rock with 60's psych flair. Surging organ swells ride a steady drum pattern as swirling lead guitar lines wrap themselves around another impressive vocal performance. Catchy chorus changes coupled with intricate guitar progressions keep this listener interested as the band inject some serious jolts of melody into proceedings. A fantastic ending to a rather interesting split release.
ARTIST: The Cult Of Dom Keller
RELEASE: Paradiso Is On fire
RELEASE DATE: 22nd May 2016
RECORD COMPANY: Cardinal Fuzz / Sky Lantern Records
Hailing from the East Midlands, 'The Cult Of Dom Keller' have been laying down influential sonic road maps for the modern underground psych scene to follow for the past decade by creating mind expanding soundscapes drenched in acid laced alchemy. Their heady brand of hypnotically charged psychedelia has influenced many of the newer arrivals to this burgeoning scene and their DIY ethos has insured that you can never predict exactly what they will do next. Now, at last, the band have been captured in a setting that they absolutely thrive in. Witnessing 'The Cult Of Dom Keller' live is a white knuckle sonic thrill ride filled with raw unabashed power and mirrored in a multicoloured spectrum of sound. Captured live as they toured their latest LP – 'Goodbye To The Light' (Fuzz Club) at the at Het Bos, Antwerp 17/11/16 and Paradiso, Amsterdam 19/11/16 the band have stretched out ten live tracks, taken from all 3 of their long player albums, and played them to within an inch of their lives. 'Paradiso is On Fire' is presented over four sides of lovely vinyl and was released back on the 22nd May 2017 via Cardinal Fuzz (UK) & Sky Lantern Records (USA) respectively. You can get your hands on the gatefold vinyl right now from cful.bandcamp.com
Paradiso Is On Fire by The Cult of Dom Keller
Howling incantational vocalisations enveloped within a swirling vortex of tremulous guitars and crashing cymbals add instant atmosphere as 'The Cult Of Dom Keller' whip up a turbulent surging wave of incandescent noise that washes over the entire audience. Throbbing bass frequencies enter the ether, pulling in unison with chugging guitars, raging lead lines and the swing of metronomic percussion thus instilling a hypnotic edge to proceedings. 'Beyond All Evil Is A Black Hole' builds into a surging monolithic wall of resonating noise used primarily to repetitively profess a vocalised statement of intent ... 'You Are Not My God' .... a mantra to live by! The live crowd howl as the droning opening salvo's of 'The Broken Arm Of God' whirr and bounce through waves of punishing reverberation. Growling bass frequencies coupled with angry guitars, pounding drums and dark fizzing synth swells announce those haunting post-punk inspired vocalisations that glisten brilliantly in a dark & menacing hue. Track three doesn't let up either; 'Nowhere To Land' explodes into a tumbling ball of fuzzy noise, filled with explosive drums, wailing synth swells and deep driving bass frequencies. Noisy guitars lick and whip at those impressive vocals as cascading organ lines loop and arc in and out of driving instrumentation leading the crowd into a frenzied response upon it's finale.
'Dead Seas' gyrates on an agitated guitar drone as crashing cymbals ride the turbulent sonic wave. The atmosphere is intense as the track builds and builds through repetitious guitar theatrics permeated by raging waves of resonating sonic frequencies. Giddy patches of sparse percussion bubble up announcing a menacing vocal before a swirling organ line tip toes through a flourish of haunting notes. The track lurches forward twisting and turning through passages of 60's tinged psych at will and bouncing through incandescent progressions with a fervent ease. Up next, the punishing opening barrage of 'Shambala Is On Fire' burns with intent. Dark oppressive instrumentation rides a wave of tempestuous percussion laying down a sonic walkway for another brilliant live vocal performance whilst the raging 'Eyes' screams into earshot on explosive drum patterns and swirling drones as the bark of angry bass and wailing lead guitar envelopes lamenting vocalisations. 'Nothing Left To Stay For' tumbles through an opening repetitive vocal mantra accompanied by sequenced synth and haunting post-punk hued vocal lines. It's surging guitars enter the sonic battle field on a whim, underpinned by humming bass frequencies and a subtle percussive swagger as the tracks different parts are meticulously worked out live before the band unwrap the incantational 'Astrum Arenteum' and wash the crowd clean with it's hypnotic neo-psychedelic reflections.
The albums penultimate live treat comes in the form of 'Swap Heron', lifted off the band debut self-titled album released back in 2013. Live, this track is a different animal altogether. Squally guitars work through a warped chord structure before the track winds itself up into menacing sonic maelstrom filled with tumbling drum patterns, humming bass frequencies and haunting vocalisations constantly harassed by the cyclonic whip of lead guitar. Undulating synth lines emerge from the turbulent whirlwind urging the track into it's explosive finale. The crowd erupt into a rapturous applause before we're introduced to the final soundscape on this impressive live compendium. Possibly my favourite track by 'The Cult Of Dom Keller', 'Worlds' is a driving statement of intent. Pounding drums, angry guitar stabs and shaking tambourine build the intensity nicely before the track explodes into a multitude of resonating frequencies. It's shamanic like vocals float into existence through a muggy haze of reverb, jostling for space with soaring lead guitar lines and crashing cymbals and winning the sonic tug of war with glowing results. A masterful ending to what is one of the better live albums out there today.
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.