ARTIST: The Altered Hours
RELEASE: On My Tongue
RELEASE DATE: 9th March 2018
RECORD COMPANY: Art for Blind/Penske Recordings
After a year's worth of touring in support of their stunning debut album 'In Heat Not Sorry', Irish-based noise merchants 'The Altered Hours' decamped to Dublin's Bow Lane Studios to record their highly anticipated brand new four track EP entitled 'On My Tongue' . With a sound that typically tumbles through swathes of experimental psych, swirling fuzz and is at times peppered with layers of noisy shoegaze, the band decided to take a slight sojourn on this latest release by swerving into the noisier side of rock & roll thus giving us a little glimpse of what's to come on their forthcoming full length sophomore release. 'On My Tongue' was officially released on March 9th 2018 via Art For The Blind Records/Penske Recordings and is available to buy/download right now on various formats from thealteredhours.bandcamp.com
On My Tongue by The Altered Hours
A fuzzy guitar progression generously harassed by menacing feedback, fret noise and jittering reverberation announces the arrival 'On My Tongue', the EP's opening salvo. It's rumbling percussion arrives from deep below the mix, building meticulously as it pulls a skittish beat and that repetitive bass signature with it into audible range to carefully circumnavigate an impressive opening vocal line. This track explodes into a cacophony of angry noise and it's filled to the brim with a repetitive injection of fuzz, pounding drums, throbbing bass lines and that addictive pulse of feedback laden guitars. Up next, 'Open Wide' shuffles into earshot swirling brilliantly through heady layers of moody atmospherics and sticky reverberation as the slow tempo of drums undulate and move like a well oiled pendulum allowing the hum of that luscious bass progression and the accompanying repetitive guitar line wash over the listener completely. Sporadic lines of lead guitar meander in and out of the mix as another impressive vocal performance hovers in close proximity, shadowed at times by haunting lines of backing vocals and those turbulent swells of resonating instrumentation.
'Over The Void', the EP's penultimate piece, drives a noisy wedge into the sonic ether as a rumbling percussive assault attacks the senses allowing those melodic vocalisations to swirl and meld with angry guitars and the pulse of sullen bass frequencies. This track is triumph, a bloody masterpiece and a definite highlight for me on the entire release. The EP closes out spiralling into the ether stuck fast to a repetitive beat and the glistening sound of tambourine, jangling stabs of guitar and acoustic frequencies. 'Hey No Way' is thoroughly addictive and is interspersed at times with passages of experimental psych, neo-psych and fuzzed out rock and roll. Brilliantly executed vocal lines ride turbulent layers of instrumentation that collectively soar into the ether, increasing in tempo with each cyclonic circumference, before plateauing into a huge sonic behemoth and nose diving into it's sullen finale. It's a huge ending to a marvellous EP.
'The Altered Hours' have twisted and reshaped their normal sonic attack into something altogether new and mesmerising with 'On My Tongue'. It has subtle highlights of post-punk, psych, neo-psych, shoegaze and riotous rock & roll all bundled up into one almighty white knuckle sonic thrill ride.
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 genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
by Primal Music
ARTIST: Lost Echoes
RELEASE: No Tomorrow
RELEASE DATE: March 5th 2018
RECORD COMPANY: Unsigned
Portland based space-gazers 'Lost Echoes' self-released their debut three track EP entitled 'No Tomorrow' to the masses back on March 5th 2018. Their collective sound swims in a heady sonic brew filled with driving reverb laden instrumentation overlaid with a deeply atmospheric hue. The band are made up of David Gross - guitar/vocals/production, Joel Cox - bass, Marcus Knauer - drums/production & Michael Lynch - guitar with the three track EP available to buy/download right now via lostechoes.bandcamp.com/album/no-tomorrow
No Tomorrow by Lost Echoes
The EP's title track growls into life driving comfortably on a steady percussive pattern and a woozy bass line as feedback laden atmospherics squeal and dance just below the mix. 'No Tomorrow' pulls vocal lines into the mix completely enveloped in resonating guitars and lashings of hypnotic reverberation as brilliantly executed guitar progressions lead us into a wonderful chorus break before we dive headlong into passages of billowing distortion. Up next, 'So Tired' ambles into audible range rocking slowly on a metronomic tempo as swells of guitar and booming bass frequencies step into luscious lines of jangling guitar and beautiful entrancing reverberation. This track swoons as the beat picks up tip tapping through time signatures at will allowing the ear to fall onto those shimmering guitars. as instrumental pieces go, 'So Tired' is a triumph and worthy of your ears.
The EP closes out with a Marcus Knauer Redux of the title track 'No Tomorrow'. It does exactly as it says on the tin and fans of these kind of remixes will enjoy the finished article. All in all 'No Tomorrow' is a very interesting EP indeed filled with brilliantly executed song writing and deft instrumentation making 'Lost Echoes' ones to watch throughout 2018.
ARTIST: Ten Million Lights
RELEASE DATE: 23rd February 2018
Portland based 'Ten Million Lights' pull influences from from shoegaze, post-punk and modern psych rock to craft and create a sound so luscious it will have you instantly hooked and checking their back catalogue in a heartbeat. Comprising of Ryan Carroll - vocals/guitars, Eric Block - guitars, Emily Logan - vocals/guitars, Russ Ellis - bass & Scott Smith - drums they unleashed their four track sophomore EP onto the world back on February 23rd 2018. 'Bellicose' is available to buy/download right now from tenmillionlights.bandcamp.com
Bellicose by Ten Million Lights
'Bellicose' opens up stuck fast to a jangling guitar progression before swirling vocalisations and the pull of bass frequencies add a heady weight to proceedings. Percussion free and lasting for under two minutes, 'Simplicity' tumbles and flows brilliantly, building with each sonic circumference before falling off a veritable cliff and on into it's unexpected finale. Up next, 'Falling Apart (extended mix)' erupts into a pounding percussive beast. Noisy layers of angry guitar and throbbing bass envelope that brilliantly executed vocal track as we swoon effortlessly through shimmering reverberations peppered with catchy hooks and brilliant production. Bouncing post-punk hued bass lines meander in and out of the mix, cascading at times through catchy lines of lead guitars and brilliantly poised acoustic breaks making this track a definite highlight for me.
'Smother', the EP's lead single, opens up riding a wall of brilliant noise. Humming bass lines ride a steady percussive pattern as feedback laden guitars and catchy lead lines pull those duel verse vocal lines (reminiscent of 'Goo' era 'Sonic Youth'), into the mix before tumbling out the back end into a mesmerisingly melodic chorus progression. Although I hate using these analogies, I can't help hearing subtle similarities to 'RIDE, Catherine Wheel' and the melodic side of 'The Brian Johnstown Massacre' swirling through this track, making it a bloody good listen. The EP close out with a instrumental of sorts. Channelling their inner MBV, 'Ten Million Lights' unleash 'Dakota/Code/Talker' onto the listener. Woozy reverb laden guitars pull turbulent layers of hovering vocalisations into the mix ,underpinned at times by the addictive throb of bass and resonating frequencies, as we fall into those lusciously spacious beaks and eventually out into that infectious ending. Its a great closing track that literally showcases this bands abilities as musicians. They must make one hell of a racket playing live!
RELEASE: Youth EP
RELEASE DATE: 3rd march 2017
There is something inherently satisfying about following a band from it's earliest incarnation, watching it grow in stature through each of it's online releases and being constantly amazed at how their sound has matured collectively over that time period to eventually stand as a bastion of sonic brilliance in a country that is over saturated with mediocre rock bands and rehashed musical trite. Hailing from the Irish Republic’s rugged northwestern periphery and held fast in a belief that sonic experimentation across many different musical genre’s is the only formula needed to express artistic freedom, resides one of the best modern day experimental psych-gazing collectives to ever have graced this fair isle. Led by the charismatic & multi-lingual Robert Mulhern and a rag tag bunch of instrumental geniuses and with a collection of releases under their belts, 'Tuath' have returned with a brand new six track monolith entitled 'Youth'. This latest EP swims in a broiling sonic broth filled with tantalising slivers of modern psych, noise-rock, trip-hop, prog-rock, shoegaze, krautrock and now with the added ingredient of shimmering experimental ambience used primarily to level us off slightly as we tumble skywards out into the ether. 'Youth' was officially released on March 3rd 2018 and is available to buy/download from right now via tuath.bandcamp.com
Youth EP by Tuath
The EP opens up with 'Youth', a blistering lysergic tinged melding of trip-hop and swirling effervescent psych that tumbles superbly through swathes of glistening reverb and hazy electronic instrumentation deftly accompanied by meandering guitar progressions and rolling synth swells that stick to that instantly recognisable vocalisations courtesy of Robert Mulhern. Up next is the brilliant 'Cuz Why!?'. Unusually stripped back for Tuath , this track dispenses with their usual tidal wave of reverb to deftly showcase the bands vocal abilities. They've also added the subtle throb of post-punk to their unique sonic collage, inserting it brilliantly in amongst the swirling lysergic electronics and pounding percussion thus adding another layer to their already immense sonic arsenal. A sticky reverb-hued guitar progression announces the arrival of 'Rose Tinted Glasses', my favourite track on the entire release. This in turn pulls steady percussion and the throb of bass frequencies with it as a swirling air of menace hangs nonchalantly in the closely accompanying atmosphere. Humming electronics and subtle swells of synth join in on the cranial assault as those bass lines morph into something altogether funky. This track is deeply experimental albeit with some additional informed songwriting knowhow to add that tantalising ambient strewn break filled with synth, saxophone and addictive electronics all swirling effortlessly around Rob's vocals. 'Rose Tinted Glasses' is a monumental triumph and a serious recommendation from us lot here at Primal Music.
'Old Man Yells At Cloud' is melodic, bouncy and a reverb laced noise-rock gem. It opens up with hazy guitars hugging tightly wound vocal lines, strapped to a big bass line before streaming electronic finery begins to bubble from just below the mix and we're walked hand in hand through the opening verse and pushed headlong into that noisy and animalistic chorus change. It's fast paced rinse and repeat stuff from here on in with a verse/chorus/verse/chorus structure as soaring lines of synth merge with explosive percussion and fuzzy guitars to form a massive wall of sound, only broken sporadically by the skip of addictively cascading base frequencies. Up next, the EP's penultimate piece, brilliantly titled 'And Your Cock Gets Soft/Take Me To Your Dealer' ambles into audible range rocking slowly on a metronomic percussive swagger and and an ounce of dry vocal humour before winding up into a sort of fuzzy foxy lady kind of vibe! It's an interesting sojourn that leads us into the EP's closing track. 'I'm Sorry Young Man' shimmers on a tremulous guitar progression as swirling instrumental drones build meticulously from below the mix and Rob's reverb hued vocals sweep into view pulling sparse percussion and deep permeating bass frequencies with them. 'I'm Sorry Young Man' builds brilliantly, adding layer after layer of instrumentation that sticks to the sequenced lines of synth and those fizzing electronics before feedback heavy guitars meander in and out of seamless production values adding a hard hitting atmospheric edge to proceedings that cuts through the melancholic feel of the entire track. It's a marvellous ending to a brilliantly executed EP.
ARTIST: Summer's June
RELEASE: Drag Along
RELEASE DATE: August 2nd 2017
New Jersey based 'Summer's June' create a sonic concoction of modern day dream-pop, fizzy lo-fi electronics and layers of sequenced instrumentation that is carefully sculptured into an atmospheric mix of light reverberations and darker undertones. The band are made up of Vincent Medina - guitar/vocals, Steven Dodge - bass & Luke Lehner - drums. Their debut three track release entitled 'Drag Along' was released back in August 2017 and it's available to buy/download right now via summersjune.bandcamp.com
Drag Along by Summer's June
In a haze of melodic reverberation the opening bars of ‘Crime And Punishment’ eddy and swirl into audible range pinned to the twang of luscious guitar and the tremble of translucent vocalisations. A gently moving percussive pattern moves underfoot accompanied by the soft tones of bass and bubbling tremelo as dreamy lines of synth hang effortlessly in the sonic ether. ‘Crime And Punishment’ is blissfully captivating and a brilliant opening track. Up next, ‘Endless Blue’ shimmers on a fragile synth line, humming bass frequencies and the metronomic pitter patter of sequenced percussion. Woozy guitars add intensity as they wrap themselves around a blissed out vocal track thus allowing catchy chord sequences to carefully lift the listener skywards out into the ether.
The EP closes out with 'Julia', a melancholic affair that’s fixed to a slow moving drum track and the whoosh of synth. Melodic guitars add catchy hooks as it’s vocal lines meander in and out of airy production and the pull of reverb All in all it’s a beautiful closing piece to what is very accomplished EP.
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 genre's 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.
RELEASE DATE: 24th January 2018
Noisy Spanish based quartet 'Uniforms' create an atmospheric mix of noisy layered shoegaze and alternative rock deftly underpinned with dreamy & melodic vocalisations and connotations of sullen noise-pop. The band are made up of Pan - drums/vocals, Laura - bass /vocals, Spingel - guitar/vocals & Annie - synth/lead vocals. Their debut four track EP entitled 'Equals' was self-released back on January 24th 2018 and is available to buy/download right now via uniformsband.bandcamp.com
EQUALS by UNIFORMS
Swirling instrumental drones bellow and shimmer as the opening salvos of ‘Addicted’ meander into audible range. Angry guitars add beautiful atmosphere as it’s percussive assault pulses through layers of hazy reverberation. Jangling, layered guitar progressions accompany mesmersing vocal lines out of the sonic melee as we move through huge verse patterns and on into monumental chorus changes. The production values on this track are epic. They swirl and intertwine effortlessly with some influential sounds such as shoegaze, dream-pop and noise rock to create a wall of sonic bliss. Up next, the opening bars of 'Pearls' floats and swirls through shimmering clouds of instrumental atmosphere before exploding into a kaleidoscope of sonic colour as it roars skywards in a tumble g ball of collective instrumentation. There are hints of post-punk echoing on that trembling bass line as it's fragile vocals arrive accompanied by occasional strums of guitar and that huge synth line. The chorus progressions on this track are absolutely huge and they envelope layered backing vocals beautifully. 'Pearls' is big, bold and brash and quite possibly my favourite track on the entire release.
'Don't Wake Up', the EP's penultimate piece, leans heavily into shoegaze as it's opening walls of sound reverberate and surge on layers of angry guitar, resonating synth and repetitive percussion. Deep penetrating bass frequencies swirl through the clouds of noise as glorious vocal lines emerge, cutting deep trenches of clarity as they meander through the haze. This track is masterful and another definite highlight on this released for me. 'Equals' closes out with 'Gris'. A repetitive line of electronic sequencing opens proceedings, followed quickly by lines of jangling guitars and subtle swells of synth. A very enticing drum track tweaks this listeners ear as the hum of bass guitar throbs just below the mix and those dreamy vocal lines arrive to wash a kind of ethereal glow over the entire piece. As I've come to realise throughout this whole EP, 'Uniforms' song structures are built to inject massive chorus changes into every track and 'Gris' is no different. It soars into the ether on resonating surges of noisy but melodic guitar, swirling synth and pounding percussion as beautifully intense vocal lines ride the sonic wave skywards. It's a brilliant closing track and another highlight on this release for me. As EP's go, 'Equals' has something very addictive coursing through it's veins. It's thoroughly enjoyable and I'm very eager to hear what comes next from this band.
ARTIST: Burning House
RELEASE DATE: 17th February 2018
Southampton based 'Burning House' inject blissed out noisy infusions of sublime melancholy into their sound that is very, very hard to shake off. Streaming through shoegaze, melody driven alternative rock and swirling dream pop, 'Burning House' have evolved somewhat from their heavier and more alternative feedback driven debut single 'If You Won't' adapting and sculpturing a collective sound so serine in it's approach that on first listen it immediately harkened back to those early 90's pioneering shoegaze stalwarts 'MBV, Ride & Swervedriver' with song structures reminiscent of early 'Verve' and the absolute raw power of (dare I say it?) - 'Smashing Pumpkins'. Their four track debut EP entitled 'Tracer' was released back on the 17th February 2018 and is available to buy/download right now via burninghouse.bandcamp.com
Tracer by Burning House
'Ripened' pulls like a racehorse as it drives into the ether on a bedrock of pounding percussion accompanied by the wooziness of reverberating guitars and the throb of fuzzy bass frequencies. It's vocal lines glisten as they ride wave after wave of addictive production theatrics, deftly enveloped by backing vocals and meandering lines of resonating lead guitar. Musically reminiscent of 'MBV', 'Ripened' is a statement of intent and a massive opening salvo. Up next, 'Mercurial' surges into audible range, stacked to the brim with reverberating guitars and driving percussion. A mesmerising bass line bounces through layers of sticky reverb, closely circumnavigating an explosive drum pattern and that addictively harmonious vocal progression. This track teeters on a finely tuned precipice, dragging complex guitar progressions down into poignant melody infused lulls before injecting huge vials of atmospheric melancholy into those catchy chord changes and surging skywards, out into the sonic ether. Possibly my favourite track on the entire release, 'Mercurial' is a bloody triumph and worthy of your ears all day long.
'I Am A Tree', the EP's penultimate piece, leans heavily into alternative rock territory and it's a step back from the previous two tracks. Screaming lead guitars open proceedings before 'Burning House' take fuzz, raw power and subtle psychedelic curiosities and meld them into a charging wall of glistening noise. Vocal lines swirl like ghosts as they wrap themselves around driving instrumentation and dive headlong into a massive pool of reverb before that lead break arrives and overpowers everything in touching distance. The EP closes out with 'Vague', eight minutes plus of swirling sonic mayhem. Raging guitars cling to subtle acoustic frequencies as a slow moving percussive assault and the deep boom of bass frequencies rattle and shake underfoot. A brilliant vocal take takes centre stage here, cutting a deep trough of clarity straight through the sonic melee and instantly allowing this track to breathe and move freely. Catchy chord changes loop and arc skywards catching this listener off guard as they drag me further into the sonic abyss and then this track takes on a life of its own. Majestic in its approach and absolutely mesmerising in it's attack, 'Vague' is a sonic monster of absolutely massive proportions and a masterful closing piece. In my opinion 'Burning House' have nailed it with this debut EP and it'll be very interesting indeed to hear what comes next from them.
ABOUT THE AUTHOR:
ARTIST: Lunar Grave
RELEASE: The Sunstruck Forest
RELEASE DATE: 5th January 2018
RECORD COMPANY: Cardinal Fuzz Records / Sky Lantern Records
Portland's 'Lunar Grave' have undergone some personnel changes since their inception back in 2010, releasing various outings on home grown cassette tapes, CDr's and digitally in that time building up to this debut seven track vinyl release. Their sound centres around driving krautrock, deliciously infused with free flowing transcendent psych and hypnotic grooves that collectively create something akin to an out of body experience in sonic form. It was officially released back on the 5th January 2018 via the good folks over at Cardinal Fuzz Records and Sky Lantern Records respectively with editions still available on various formats through cardinalfuzz.bigcartel.com and skylanternrecords.bandcamp.com
The Sunstruck Forest by Lunar Grave
Bouncing bass signatures accompanied by a huge percussive assault announces the arrival of 'Piper In The Woods', the opening salvo on this impressive collection of tracks. The drum and bass assault continues for a time before 'Piper In The Woods' opens up into a full on assault on the senses. Soaring lead guitar meanders in and out of that solid drum & humming bass line combo leading us on a metronomic dance to the tracks finale. Up next, 'JJ-180' slows proceedings down a tad as a swirling concoction of soothing bass frequencies and luscious reverb stick to slow moving percussion and the lull of immense guitar sounds, continuously moving through a trance like state whilst 'Collapsed Horizon' is an impressive live jam that shudders and shakes through repetitious drum tracks, throbbing bass lines and resonating lead guitar. The sonic tendrils of 'Slow Death' unfurl, reach out and wrap themselves around the inner psyche as repetitious guitars swim and move through hypnotic reverberation buffered by slow moving bass frequencies and the slow march of percussion. 'Slow Death' is infectious. It lures you in with it's soothing sonic repetitions, carefully rocking you back and forth before gracefully implanting you deep in it's inner core. It's a triumphant track and possibly my favourite on the entire release.
'Kykeon' builds from the off as meticulous layering of guitars meander into audible range strapped to an almost motorik percussive swagger and the pull of bass notes, swaying back and forth like a pendulum deftly instilling hypnotically charged psychedelic impressions with every twist and turn. The entire track moves as one singular being, a sonic murmuration of sorts spilling technicolour sound-waves at a whim. 'Kykeon' is sublime and another highlight here. We take a quick sojourn as the fifty seconds of 'The Mold' spills it's guts before we're whooshed into the albums closing piece. Coming in at a whopping eleven minutes plus, '2-3-74' isn't for the faint of heart. Woozy instrumentation hugs a monolithic bass signature as lead guitars wrap themselves around a slow moving drum pattern, looping and arcing in and out of catchy bass progressions, drum fills and yards of stunning reverberation. It's intensely hypnotic, spiritual even as it builds and builds into a raging cacophony of psychedelic noise that floats out into the sonic ether and on into a marvellous finale. It's a fitting ending to a wonderful album.
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.
ARTIST: Melt Dunes
RELEASE: Flesh EP
RELEASE DATE: 16th March 2018
RECORD COMPANY: Strong Island Records
Portsmouth based psych aficionados 'Melt Dunes' create a heady brew of dark and doom laden, acid blotched psych permeated at times with sullen krautrock tendencies that collectively creep into the inner psyche to completely blow our fucking minds. With only two singles released to date on both Strong Island Recordings and Fuzz Club respectively, the quintet have penned in the release date for their stunning debut EP brilliantly titled ‘Flesh’ for the 16th March 2018 through 'Strong Island Recordings' with pre-orders available right now on various formats via strongislandrecordings.bandcamp.com
Flesh EP by Melt Dunes
The 'Flesh' EP opens up with 'Whats Your Name?', a burgeoning slab of psychedelic enchantment filled to the brim with swirling electronics, deep penetrating bass lines, rumbling percussion and dizzying guitars. It builds like a steam train, echoing those early psychedelic explorers before unleashing a mind-bending cacophony of sound-waves that swirl around those menacing vocalisations with ease. It's lead guitar lines whip resonating frequencies at will as they fizz and hiss alongside those eerily enticing tambourine shakes and intertwining at times with those absolutely immense bass lines that seem to dance and sway with every single percussive hit. 'Whats Your Name?' is a stunning opening salvo. Up next, 'Flesh' bellows from deep below the mix as squally guitars and a bass heavy drones melds with swirling reverberations before opening up into a modern psych gem. Explosive drum tracks growl, pulling the throb of bass, the stab of synth, hypnotic guitars and those fucking immense vocal lines into audible range. Sullen lead guitar lines buffer for space in amongst the sonic melee as we surge along in metronomic time building monstrously with every twist and turn and tumbling headlong into that huge instrumental break. 'Flesh' is a triumph and a definite highlight for me on this release.
'Epicaricacy', the EP's penultimate track, bounces into the ether on a huge bass progression and strapped to a brooding krautrock swagger. Collectively whipped and cajoled by those reverberating lead guitars, it's sullen vocal lines meander in and out of the instrumentation leading the listener on a merry dance all the way into that darkly atmospheric instrumental break filled to the brim with swirling organ lines, woozy guitars and swaying drum tracks. Hypnotic, enchanting, downright scary and at times sonically reminiscent to those fantastic Athens based psychedelic travellers 'Holy Monitor', 'Epicaricacy' is one of those tracks that you will want to go back to again and again. The EP closes out with 'Grotesque'. Swirling organ lines accompany those immense bass progressions as a slow moving drum pattern rattles deep below the mix allowing the vocal lines to sit comfortably as lines of lead guitar undulate and move at will. Sporadic shakes of percussion join in with the fun was we're led on a merry dance through passages of psych, neo-psych and heavy alternative touches all the way to tracks end. It's a blistering closing piece to what is a decent EP.
RELEASE DATE: 16th February 2018
RECORD COMPANY: Fuzz Club
Taking their name from a live Spacemen 3 album entitled 'Dreamweapon: An Evening of Contemporary Sitar Music' released back in 1990, Porto's 'Dreamweapon' have the sonic know how to back up their collective sound. Like their contemporaries, 'Dreamweapon' use a tightly woven experimental edge as a dominating musical force to carefully create magnificent soundscapes deftly tumbling through electronically themed krautrock, oscillating proto-punk and modern psych with a collective end product that will simply blow your mind. Made up of 10,000 Russos bassist Andre Couto, João Campos Costa and Edgar Moreira, they emerged in 2009 and have since gone on to release one EP, a self-titled debut album and a splattering of singles. Now the band have emerged with their four track sophomore release entitled 'SOL' and have enlisted the brilliant 'Fuzz Club Records' to bring this album to the ears of the world. Officially released on the 16th February 2018, 'SOL' is available to pre-order on various formats right now via fuzz club.com
SOL by Dreamweapon
Swirling menacingly in a darkly atmospheric and all consuming instrumental drone the opening salvos of ‘Mashinne’ instantaneously instil an overriding sense of foreboding as the slow meticulous tempo begins it’s repetitive march into the sonic unknown. Hazy reverberations fizz and move in and out of throbbing bass signatures and the twinkle of electronics as subtle lines of melodic guitar bounce and weave effervescent incantations that meld effortlessly with resonating frequencies to create a wall of hypnotic sound that is both captivating and scary all at once. Shadowy sound-waves float like ghosts in and out of the mix at various times creating light and shade and adding depth to the piece as we’re pulled through cascading synth lines, ghostly vocalisations and the sequenced pulse of surreal production techniques. ‘Mashinne’ is a fascinating opening salvo and a definite highlight on this release.
‘Blauekirshe’ opens up held fast in a kind of eastern esoteric haze as squally guitars scratch and pull through waves of reverb and shamanic shakers hover over droning swells of synth and rolling drum patterns. Bouncing bass lines keep hypnotic time as intense atmosphere undulates throughout injecting distant voices and surging dub like stabs of percussion. This track is lusciously addictive and at times spiritual in it’s approach. It’s reptilian movement demands attention whilst the constant pitter patter of resonating frequencies swirl and ebb effortlessly dipped in an acid blotched haze. Up next, ‘Qram’ enters audible range tumbling through calming waves filled with ringing bells and chiming alarms. At fourteen minutes plus, Qram’s peaceful beginnings are short lived as resonating instrumental drones build from deep below the mix accompanied by the surge of percussion and the rattle of reverberating cymbal noise. Spiralling instrumentation intertwined with sticky reverb pulls the throb of bass and uncompromising production values out into the ether as we tumble headlong into a mesmerising wall of shamanic krautrock. ‘Qram’ is immersive, hypnotically brilliant and another highlight on this release for me.
The album closes out with ‘Monte da Virgem’, a track that has also appeared on Fuzz Club’s latest compilation, the brilliant ‘Reverb Conspiracy Vol.5’. This track is a bass driven sonic monolith that surges through layers of driving percussion, pulsing guitars, surging instrumental drones and the heady pull of sequenced synths. Monte da Virgem’s repetitiveness is what makes it so bloody addictive. At times reminiscent of Throw Down Bones or Föllakzoid in it’s kraut like stylings, Monte da Virgem is a masterful ending to a totally immersive album.