RELEASE DATE: 8th December 2017
RECORD COMPANY: Fuzz Club Records
Glasgow based experimental psych outfit 'Helicon' have announced their highly anticipated self-titled debut album to the masses. With eight EP's under their belts, 'Helicon' have taken the live scene by storm, touring Europe and sharing the stage with some serious heavy hitters including Wooden Shjips, The Warlocks and Dead Skeletons. Helicon's sound is addictive, engagingly dynamic and at times all consuming or otherworldly with melodic eastern tinged psych, swirling drones, mantra like vocalisations and intricately intense guitar work that collectively merges into one almighty sonic attack. 'Helicon' get's it's full release on December 8th 2017 via the ever reliable 'Fuzz Club Records' with pre-orders available on deluxe edition vinyl (limited to 100 copies) and standard vinyl (limited to 400 copies) over on fuzz club.com and digitally from fuzzclub.bandcamp.com
Helicon by Helicon
A pulsating motorik wave of driving sonic abandonment announces the arrival of ‘Devil On Your Tongue’, the opening salvo on this sublime collection of tracks. It’s rhythmic progressions envelope the senses as they swirl menacingly through layers of fizzing synth, throbbing bass and driving guitars created primarily to carry those mantra like vocalisations into and out of crawling cavernous breaks that are filled to the brim with heady clouds of resonating sounds and atmospheric reverberations. ‘Valmiki’ swirls into ether tumbling gracefully through the shimmering sounds of luscious sitar underpinned by a steady drum pattern, the plink of fragile synth and rolling guitars. The pace soon quickens introducing droning instrumentation to the mix, echoing brilliantly as sonic frequencies stack on top of one another, gaining momentum with each tempestuous turn, sucking the listener into a broiling mass of stunning sonic sound waves. ‘Valmiki’ is a masterful track, highly infectious and deeply entrancing. Up next, ‘Seraph’ the albums lead single, drones into life meandering on the sweet sounds of melodic sitar and metronomic percussion. Shimmering guitars accompanied by deep throbbing bass frequencies permeate the mix, adding a heady atmosphere before dragging those stunning vocalisations into audible range whilst undulating brilliantly through layers of sticky reverberation.
‘Drinking Of You’ fizzes into life riding a sequenced synth line accompanied by hum of bass, subtle guitar and rolling percussion. A dark and oppressive atmosphere starts to build, and it seeps into every single fibre of the track, erupting in stages into a heaving mass of angry instrumentation that undulates into periods of calm and at times can slip into deep dark trenches filled with raging frequencies and tinged with a kind of lysergic sonic energy. It’s a bloody impressive track that can both scare and amaze all at once. ‘The Bold Yin’ momentarily drones into life pulling blissed out synths and shaking percussion with it as it tumbles through the ether. Heavenly vocals float atop shimmering sounds topped up with swirling organ swells and resonating acoustic guitar as catchy chord changes drenched in reverb pull searing lines of lead guitar into close orbit allowing them to lick and whip the piece into shape. ‘The Bold Yin’ morphs into a very different animal half way though as ‘Helicon’ move up through the gears and inject an acid tinged hue on proceedings. Driving instrumentation swirls and dances alongside senses pummelling percussion, collectively building into an unstoppable sonic behemoth. Up next, my favourite track on the entire release is let loose to fuck with peoples minds. ’Teenage Murder’ is an immensely addictive, crawling, metronomic beast drenched in dark and oppressive psych induced atmospherics. A processional drum beat holds court here forming a bedrock of sound waves capable enough to carry surging synth swells, bubbling electronics, howling guitars and throbbing bass frequencies, drenched in sullen reverberation and deftly enveloping that absolutely immense vocal performance. Resonating synths intertwine with spine tingling tambourine hits and wrap themselves around huge sprawling chord changes as this track is dragged through walls of stunning effects and intense production with relative ease. ‘Teenage Murder’ is infectious and will have you replaying it for days.
The albums penultimate piece entitled ‘French As Fuck’ unfurls it’s sonic tendrils floating through hazy walls of esoteric psych. Luscious sitar lines loop and arc through pulses of organ and fizzing synth as subtle guitars rumble and move alongside cascading bass frequencies and steady percussion. Melodic vocal lines hover atop repetitive progressions and work through shimmering verse patterns with ease as chorus parts explode into a vivid kaleidoscope of colour. ‘French As Fuck’ is a wonderful blissed out psychedelic excursion into the sonic ether. The album closes out with ‘Ring The Albanian’. It’s opening salvo’s shake and shudder into audible range bellowing violently on a layer of growling guitars, shimmering sitar and senses pummelling percussion. A throbbing bass line meanders underfoot as howling guitars take centre stage building maliciously into a blisteringly explosive cacophony of noise accompanied by soaring synth and huge percussive breaks. It's a marvellous end to an absolutely immense 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: Sun System
RELEASE: Strange Ways We Meet
RELEASE DATE: 1st December 2017
RECORD COMPANY: Unsigned
Arizona based 'Sun System' unleash their brilliant debut four track EP entitled 'Strange Ways We Meet' to the underground fraternity on December 1st 2017. With a sound that sits firmly in the alt-shoegaze stable 'Sun System' collectively inject shimmering melodic melancholy into every single track on this EP telling stories throughout and bringing the listener on a sonic journey of discovery with each passing instrumental progression. The band are made up of Cory – vocals/guitar, Nathan – guitar, Curt – bass, Christopher – keys and Lorenzo – drums. The EP gets it's full release on iTunes and Spotify from December 1st but you can check out some more of their singles right now via sunsystem.bandcamp.com
Shimmering guitar progressions glide and echo through layers of melodically hazy reverberation as ‘Smiles With No Teeth’ unwinds itself and shows us it’s inner workings. Throbbing bass frequencies ride a turbulent percussive pattern collectively leading a sublime vocal performance in and out of smooth verse transitions and noisy chorus parts with relative ease. This track builds, builds and builds into a cacophony of blissed out noise before cascading into a marvellously melodic finale. Up next, ‘Glimmer Man’ floats into the ether on swells of synth and jangling guitar that gracefully envelope another impressive vocal performance. Sun System’s shoegaze tendencies are laid bare for all to hear on this track as it rises and falls through stages of impeccable songwriting filled with effervescent layers of addictive noise.
The EP’s penultimate piece is a melodic, slow moving slice of sonic melancholy. ‘Alone Together’ is beautifully intense and it meanders through yearning and thought provoking verse progressions, pulling the listener with it as it tumbles into chorus parts filled with soaring tumults of glittering noise. It’s a wonderful track and possibly my favourite on the entire release. ‘Strange Ways We Meet’ closes out with ‘Scooter (feat. Travis Williams)’ and we’re pulled into an opening salvo of lo-fi guitars and and steady drum patterns. It’s not long before this track explodes into a kaleidoscope of noise, calming down at times to allow us catch little snippets of songwriting brilliance. There’s also a subtle dream-pop hue emanating from it that is rather interesting but for the most part instrumentally it skirts close to alternative or post-rock. All in all it’s this EP has an interesting mix of sounds and some brilliant passages of songwriting all underscored with some fantastic production values. It will be interesting to hear what comes next from ‘Sun System’.
ABOUT THE AUTHOR:
ARTIST: The Cabin Fever
RELEASE: Exercise The Demon
RELEASE DATE: 23rd January 2018
Los Angeles based experimental dark gazing trio ‘The Cabin Fever’ have just announced their brand new sophomore release brilliantly titled 'Exercise The Demon'. This brand new eight track EP gets it's full release on January 23rd 2018 and it follows on from their 2016 debut album ‘Enjoy Yourself’. The band are made up of Sean Moriarty (vocals/guitar), Joel Bedolla (guitar) and Tripp Beam (drums) and 'Exercise The Demon' is available to pre-order right now via thecabinfever.bandcamp.com
Exercise the demon EP by The Cabin Fever
The tumble of slow paced percussion announces the arrival of track one ‘B-L-S-H’ and it’s soon accompanied by the melodic pull of heady bass frequencies and fuzzy guitar squall. There’s a deeply melancholic vibe coursing through the The Cabin Fever’s overall sound that’s inherently captivating and the arrival of those sublime vocalisations adds weight to that statement. They instantly suck you in and initiate a snapshot of modern times and the many pit-falls that lie beneath the blank facade of everyday life. They float effortlessly in amongst melody strewn lanes filled with catchy chord changes, undulating lead lines and the sweet pull of violin. An impressive opening salvo. Up next, ‘Simon Says’ shimmers on a trembling wave of tambourine and almost droning instrumentation that rises and falls through sullen verse parts that envelope another great vocal track and build brilliantly into driving chorus progressions filled with soaring lead lines and busy percussion.
‘Trucrime’ chugs into existence strapped to a crawling guitar progression and a slow processional snare hit that ricochets atop a pinging delay. It’s vocal track meanders brilliantly through 80’s themed synth lines and layers of hazy reverberation, cruising through catchy hook laden highs and dipping below the ether into addictively dark post-shoegaze atmospherics. ‘His People’ pulses and weaves a repetitive sonic web filled with off beat drum patterns and crawling guitar progressions underpinned with streamlined synth and layered production theatrics whilst ‘Exercise The Demon’ is dark and atmospheric. It moves extremely slow attached to the pull of intense guitars, it’s underlying strings and the melancholic tone of it’s lead vocals that keep the listener focusing intently on their every move. This track builds brilliantly. In fact, it has a subtle movie soundtrack quality and introduces it’s layered instrumentation as each verse progression passes adding colour when needed and slowing down at times to highlight lyrical narrative.
The Cabin Fever included a fantastic bonus track on this EP entitled ‘Tony’s Song’ that swirls into audible range on 60’s sci-fi synth swells and plodding bass progressions riding an almost metronomic percussive pattern. It explodes into a melting pot of sounds including resolute hand claps, cascading synth, hazy shoegaze hued layers of resonating guitars and the outright addictiveness of those sublime vocalisations. The EP closes out with two alternate mixes of both ‘B-L-S-H’ and ‘Exercise The Demon’. If that kind of thing floats your boat then these are for you. However if like me you don’t see the point in including them, then the EP finished up on that brilliant bonus track. All being said, ‘Exercise The Demon’ is an impressive collection of tracks loaded with layers of atmosphere and impressive melancholic abandonment.
ARTIST: On The Wane
RELEASE DATE: 20th November 2017
RECORD COMPANY: Unsigned
Kiev based four piece 'On The Wane' merge a plethora of genres to form their collective sound, from sullen shoegaze to driving noise rock, throbbing post-punk to oscillating pulses of new wave and atmospherically tinged gothic influences. The band have returned with their third album, brilliantly titled 'Schism'. This new ten track LP follows on from their 2015 released long player 'Sick' and see's the band continuing on with their infatuation of brewing a heady and melodic concoction of stunning soundscapes. 'On The Wane' are Daria Maksimova - bass/vocals, Anna Lyashok - drums/vocals, Eugene Voitov - guitar/synth & Eli Demyanenko - guitar. 'Schism' gets it's full official release on November 20th 2017 and is available to pre-order right now via onthewane.bandcamp.com
Schism by On The Wane
'Schism' unfurls it's sonic tendrils swirling in a cloud of angry atmospherics as stunning vocalisations courtesy of Daria Maksimova ride a tempestuous feedback laden wave. 'Truth Isn't Bright' undulates on a pulsating wave of sequenced percussion and subtle bass frequencies underpinned with periods of fuzzy guitar and electronic whirrs. There's a truly magnificent post-punk edge cutting straight through this opening piece separated at times by jangling lead lines and the twang of whammy bar. Up next, 'Fear' creeps into earshot strapped to a bedrock of electronic percussion and the addictive hum of bass. Swirling vocalisations envelope the entire piece forcing you to focus primarily on their calmness as all around it swims in a dark atmospheric sea. Sublime guitars meld with catchy hooks steeped in reverb pulling this track into a raging break filled with tormenting instrumental progressions more akin to a kind of art-rock than anything else. It's a simply masterful track and really hard to tie down influentially making it a stand out piece on the album for me. 'Human Race' jangles into earshot swirling through layers of deep atmospheric reverberation wrapped around a blistering guitar progression. Sequenced percussion holds a motorik beat underfoot as undulating instrumental drones bellow and move atop throbbing bass frequencies. There are echoes of hard hitting post-punk meandering through these gothic tinged new wave vibes that intertwine with intense vocalisations. It's explosive chorus passages inject subtle moments of noisy shoegaze making it an utterly addictive listen.
'Sultry Song' drapes a sullen atmospheric film over proceedings as the pull of lead guitar battles vehemently through layers of reverb and busy percussion whilst continuously vying for space in amongst repetitive sequenced shakers and swells of dark fizzing synth. It's an angry animal; dark, oppressive and almost soundtrack like in it's approach thats majestically bolstered by another impressive vocal performance. Up next, 'Revenge (Deeper Than You Can Imagine)' bounds into the ether on a pulsating wave of off beat percussion, sporadic bass frequencies and resonating guitars. It's post-punk credentials are laid bare for all to see but there's an added hazy layer of production sitting just under the mix that makes this track stand out and watch out for the break half way through that will knock your socks off because the instrumental build that follows afterwards is absolutely immense. The slow almost metronomic opening bars of 'Alcohol' skulks into earshot riding a deep melodic bass line constantly harassed by punishing guitar stabs and menacing production theatrics. The vocal lines float effortlessly as it's verse parts play out, building in both intensity and atmosphere until we're finally thrown head first into a raging cacophony of instrumental noise as it's chorus parts shift up a gear and inject some fantastic noise-rock into proceedings. It's a blistering track and worthy of your ears.
'Drop Bombs' is a sonic call to arms and it explodes into a menacing crescendo with stunning vocal lines and brilliantly executed instrumentation culminating in a noisy angst ridden finale whilst 'The Real Coward' swirls around an opening guitar progression and a busy rolling drum pattern. It builds and builds before unleashing a broiling sonic behemoth filled with raging guitars and punishing production before calming into a slow burgeoning juggernaut, it's vocal lines leading the charge as we're led into a torrent of effortless noise. The albums penultimate track entitled 'Home' throbs as it enters the sonic arena. It's opening bars are instrumentally reminiscent of modern day psych with it's tumbling fuzz laden guitars and the angry throb of bass frequencies all riding a brilliant percussive beat but it's when the vocals arrive that this track comes into it's own. The collective instrumentation roll's and twist's to form a protective barrier around Maksimova's vocals, filling every space with noise and atmosphere and allowing the track to flow freely as it works through it's predesigned sonic structure. For me it shows another side to 'On The Wane', it's also pretty impressive and possibly my favourite track on the entire release. The album closes out rippling on a pulsating wave of fizzing electronics as a sullen vocal track materialises out of the ether. 'Bad News' draws fuzzy guitars and angry synths into the mix to meld with deep dark bass frequencies to deliver a short sharp shock. It's a brilliant ending to what is a very impressive album.
ARTIST: Curelight Wounds
RELEASE: Constant Mind
Brooklyn based noise makers 'Curelight Wounds' have returned with their highly anticipated follow up to their impressive 2016 four track EP release 'Wearing The Strings'. This new EP is the bands seventh release to date and is aptly titled 'Constant Mind'. It's as melodically fuzzy as it's predecessors and pulls with it many influencial genres of music from noisy shoegaze to post-punk, noise-rock to lo-fi. 'Constant Mind' gets it's full release on the 20th November 2017 and will be available to buy/download via curelightwounds.bandcamp.com from that date.
In a broiling undercurrent of senses pummelling instrumentation ‘Curelight Wounds’ unleash a sonic call to arms in the guise of ‘Sew It Back’, the opening salvo on this impressive collection of tracks and the EP’s lead single. Bass lines throb deliciously with post-punk abandon as they stick fast to a busy tambourine led percussive pattern and dodge the searing whip of those ever present lead guitars. It’s accompanying vocal lines quiver menacingly as they pulse through layers of reverb, brandishing an addictive 90’s alternative edginess that is very difficult to ignore. Up next, ‘Hot House’ is a swirling sonic behemoth that starts slow with those woozy whammy bar guitar theatrics before building progressively into a throbbing, bass heavy beast steeped in repetitiveness, screaming guitars and monotone vocalisations. It’s a sublime track and highlights what seems to me to be ‘Curelight Wounds’ perfecting the marvellous art of the ‘no nonsense’ two minute track that hits the nail on it's proverbial head.
The EP’s penultimate piece entitled ‘Distant Song’ shivers on a melody infused bass signature used primarily to instil a calmness as all around it explodes into a cacophony of noise. Guitar lines envelope nearly everything as a steady drum beat keeps meticulous time allowing the vocal lines to ride the tempo sitting comfortably in amongst the sonic melee. The ‘Constant Mind’ EP closes out with ‘Hard Sand’, a pulsating monster musically reminiscent of early ‘Pavement’ or even ‘The Fall’ with it’s driving bass signature, skittish percussion and those wailing guitars. It's a brilliant piece of music that ticks every sonic box as far as I'm concerned - fuzz, noise, throbbing melodic bass and tons of reverb. An absolutely brilliant end to thoroughly enjoyable EP.
RELEASE DATE: 10th November 2017
Barcelona based neo-psych duo 'Telescope' unleashed their debut self-titled three track EP to the masses back on November 10th 2017. With a sound reminiscent of The Brian Jonestown Massacre, Dungen and Tame Impala this sweet little release caught our attention instantly. The band are made up of Esteban Garós & Luis Pomés and you can buy/download this impressive release right now via telescopebcn.bandcamp.com
Telescope by Telescope
The EP opens up swirling in muggy reverberating haze. Magically melodic sound waves intertwine with a rambling vocal performance as 'With Your Truth' unfurls it's sonic tendrils and explodes into a cacophony of colourful frequencies. Plodding bass lines meander and undulate brilliantly under busy percussion as catchy hook laden chord changes and the pull of fuzz laden guitars lead us into whirring, looping lead lines and sublime passages of neo-psychedelia. Up next, 'Adrift' bounced into the ether on a melodic bass signature as tambourine hits and swirling organ swells announce the arrival of a catchy lead guitar line and reverb laden vocalisations. It's chorus parts are utterly addictive and they show off the songwriting prowess that this duo possess. There's also a fantastic modern psych feel to this track although it does have passages of 60's psych pop attached to it's kaleidoscopic vibrations.
The EP closes out with 'Not Your Game', a tumbling shimmering behemoth that rumbles through a melody strewn landscape filled with addictive bass fills, explosive percussion and brilliantly executed instrumentation. Leads guitars lick and harass impressive vocalisations before that synth line permeates the ether and instantly adds golden atmosphere to proceedings. A masterful ending to brilliantly executed EP.
ARTIST: The Telescopes
RELEASE: Stone Tape
RECORD COMPANY: Yardpress
Seminal UK based sound manipulators 'The Telescopes' have returned with a stunning follow up to their ninth album, the July 2017 released 'As Light Returns'. Over the past thirty years and under the direction of experimental psychedelic explorer, founder & sole remaining member Stephen Lawrie, 'The Telescopes' have ploughed a steady experimental furrow into the sonic ether, changing perceptions and influencing many bands along the way. Now Lawrie has joined forces with the Rome based independent record label 'Yardpress' to release a six track concept album that goes way beyond the conventional standard of sound. 'Stone Tape' is a lysergic tinged spiritual journey spinning primarily around a experimental central cortex of instrumental drone, sparse percussion and eastern esoteric psych that reflects the inner most workings of an artists mind. It is inspired by the 'Stone Tape Theory', theorized by Thomas Charles Lethbridge back in 1961. The archaeologist, parapsychologist and explorer developed the idea that inanimate materials can absorb energy from living beings, and that this mental electrical energy, released during emotional or traumatic events, could somehow be stored in such materials and reproduced under certain conditions. 'Stone Tape' is a completely immersive sonic experience, deserved of praise and one of the best collection of tracks that I've heard this year so far. It gets it's full release on the 20th November 2017 on various formats via yardpress.com and thetelescopes.bandcamp.com respectively.
Stone Tape by the telescopes
A swirling repetitive instrumental drone accompanied by the almost metronomic splash of tambourine announces the arrival of ‘Become The Sun’, the opening salvo on this stunning collection of tracks. There’s a sense of hushed atmospherics as those whispered vocalisations merge effortlessly with eastern tinged esoteric tones to collectively wash over you in undulating waves whilst at the same time submerging you into a lysergic dream like world of meandering instrumentation. It’s highly addictive and a marvellous opening track indeed. Up next, ‘The Speaking Stones’ unfurls it’s malevolent outer layers and creeps into audible range like a stalking predator on the hunt. It’s percussion free sonic tendrils swirl brilliantly around another sustained harmonic drone permeated at different stages by sullen vocal lines awash with polyphonic textures and steeped in deeply experimental reverberations.
Deeply melodic and wonderfully addictive, ‘The Desert In Your Heart’ is a definite highlight on this release. There’s a sublime tonality swirling deep within this piece that balances it’s poetic but sullen vocal lines with the duel functionality of a repetitive drone and the atmospheric steps of the organ that dramatically enhance both harmony and dissonance as they meander deftly along a predestined course. It sucks you in and holds you in a kind of psychedelic stasis as it’s sonic vibrations and fizzing frequencies invade your inner psyche. It’s a masterpiece, thoroughly addictive and my favourite track on the entire release. Up next, ‘Everything Must Be’ growls and fizzes into existence held fast in a electrically charged, feedback laden haze. The constant stab of bass notes and or the twang of guitar adds a malign kind of atmosphere that builds and builds into a whirlwind of dark energy before petering out, allowing apparitional vocal lines to ride tempestuous frequency laden waves of feedback and the odd plonk of piano before screaming back into life in an unwavering instrumental drone. ‘Everything Must Be’ is a sublimely experimental, totally immersive eight minute long sonic journey an it underlines for me just how brilliant the musical mind of Stephen Lawrie actually is.
The albums penultimate piece entitled ‘Silent Water’ jangles into earshot on a shimmering wave of acoustic frequencies deftly underscored by twisting shakers and repetitive electronics. Reverb hued vocal lines intertwine with subtle organ swells to throw a lamenting air over proceedings as Lawrie takes a brief sojourn away from the experimental to bring us something altogether peaceful before ‘Dead Inside’, the albums closing track, skips into the ether and crashes headlong into a world of repetitive acoustic frequencies, mantra like vocalisations and monstrously dark feedback laden electronics to bring us a horror strewn soundscape, deliciously filled with stunning sonic escapism. It’s a fitting end to a wonderfully experimental outing by a band who continuously amaze.
ARTIST: The Virgance
RELEASE: Worship The Moon
RELEASE DATE: 31st October 2017
RECORD COMPANY: El Vals del Conejo
Stepping away from a tried and trusted sonic format in the name of experimentation is a tricky and sometimes perilous undertaking. Continued advancements in music recording technology feed the mind of the modern musician and the lure for change is a relentless beast regardless of the all encompassing perils and pitfalls that surround a massive change in any artists collective sound. Taking all of that into consideration, I've just reviewed the latest release entitled 'Worship The Moon' from UK based 'The Virgance' and it marks a significant shift in direction in terms of composition, arrangement and incredibly instrumentation thus turning this artists recognised sound on it's head and dumping it firmly in the 'Experimental' category of music for me. 'The Virgance' is the solo project of Nathan Smith, previously of seminal 90's band Ripley & 00's electro noise merchants 'Loveless'. 'Worship The Moon' is his forth album to be released on the brilliant independent net label 'El Vals del Conejo' and it follow's on from both of his 2015 release's, the immense 'Hiko Shrine' and 'Paradigm 3' and his 2014 debut 'Lost Continent'. The album was released on October 31st 2017 and is available to buy/download via thevirgance.bandcamp.com
Worship The Moon by The Virgance
In a cascade of synth and sequenced electronics the opening salvos of ‘Country Of The Past’ begin bombarding the senses with deep sonic vibrations. Dark malevolent bass frequencies merge effortlessly with soaring lines of keyboard, deftly riding wave after wave of entrancing melody and underscored at times with sparse percussion or the occasional drum fill. What is evident from the off is that this is a total step away from what we usually expect from ‘The Virgance’. Yes the wide scoped lunar themed soundscapes are there but usually by now they are awash with layers of hazy guitar and oodles of reverb. Instead these usually addictive sounds have been substituted with swathes of atmospheric synth and their well crafted although progressively electronic accompaniments. It’s almost as if Nathan has channelled the inner mind of Greek composer Vangelis or German based sonic genius Hans Zimmer. Not that I’m complaining at all, in fact, it’s a totally refreshing sound, one that I can personally relate to and a credit to his song writing and production skills. Up next, the deeply experimental but totally entrancing ‘Terrorforming’ floats into the ether on a wave of promulgating synth and warbling keyboard stabs. Ethereal voices glide and shimmer on beautiful pads of Jazz orientated percussion as the listener is immersed in a kaleidoscope of sonic vibrations and massive swathes of intense melancholic atmosphere. ‘Terrorforming’ is absorbingly immense and possibly my favourite track on the entire release.
‘Curious Case’ swirls into audible range caught in the wurlitzing swells of organ with glitchy but explosive drum patterns underfoot. Uplifting instrumental progressions follow a lysergic cycle of circus chic, adding a malevolent theme to proceedings as the collective instrumentation meanders and undulates along a rickety pre-ordained course. It’s impressive but a tad boring after a while and I’m wondering when Harrison Ford will appear with a speaking part. There’s an ambient hue wafting into the ether as the ten minute long ‘Dream Feed’ does exactly as it says on the tin. Twinkling keys and sampled bird calls add atmosphere as ‘The Virgance’ take an experimental sojourn away from their usual cinematic themed fair and drop headlong into an acid blotched world of psychedelic abandonment. It’s all too much for me I’m afraid as it gets a bit freaky half way through, morphing itself into mix match collection of breakbeats, eastern esoteric percussion and swirling reverberations.
The albums penultimate piece entitled ‘Lunar Power’ pulses into life harassed by a cyclonic instrumental drone and soaring swells of atmospheric synth. They collectively rise and fall through layers of reverb and delayed fluctuations, leaving sonic wakes in their path that plough deep dark furrows into the psyche before cascading into almost ethereal like instrumental flourishes. This is encroaching into sci-fi movie soundtrack territory now and it’s not long before the final piece of the puzzle falls into place with the arrival of the closing track aptly named ‘Out Of The Woods’. This track is deeply experimental, a bit too much some might say, and it swerves through passages of modern psych and ambient electronica on a whim with massive walls of reverb, hazy guitars and swooning synths all topped off with some impressive production. It’s a fitting end to what is at times a very confusing album and I don’t mean that in a bad way. ‘Worship the Moon’ has some fascinating moments throughout but is at times way too experimental for my tastes and it overburdens itself with it’s movie soundtrack leanings that can also get a tad monotonous after a while. There are redeeming features throughout with the songwriting, sonic sculpturing and production deserved of serious plaudits. I do however recommend that you listen to it via headphones at first for that all encompassing sonic thrill ride.
RELEASE DATE: 27th October 2017
RECORD COMPANY: Fuzz Club Records
Chilean outfit Vuelveteloca began life over a decade ago and have previously released four full studio albums on various independent labels. They are renowned for their incredible live shows and have shared the stage with some immense noise manipulators such as 'A Place To Bury Strangers, Dead Meadows, Spiritualized and Pond'. Their collective sound echoes through a rhythmic sonic concoction of driving psych, motorik krautrock and splattering's of space rock drenched in dark, heady and sometimes atmospheric stoner rock. To put it in layman's terms Vuelveteloca have that rare ability in today's scene to change it up by becoming sonic chameleons when needed. The band are made up of Tomas Olivos, Marcos De Iruarrizaga, Juan Gili and Mauricio Lacrampette and their fifth album entitled 'Sonora' gets it's full release on the 27th October 2017 via those ever reliable London based purveyors of all things lysergic 'Fuzz Club Records'. The album is available to pre-order right now on lovely deluxe or standard vinyl over at fuzz club.com
The heaving pull of reverberation stuck fast to a motorik percussive attack announces the arrival of ‘La Niebla’, the albums opening salvo. It’s throbbing bass frequencies arrive at break neck speed trapped in a haze of fuzz that bounces underfoot with the sway of lead guitar and those swirling vocalisations. This track meanders brilliantly as it builds through explosive chorus changes and passages of driving heavy psych laced with the repetitiveness of krautrock and alluring addictiveness of space rock. Up next, ‘Alta Montana’ bounds into the ether tumbling menacingly on a wave of pounding drums and deep resonating bass frequencies. Surging guitars add to the melee pulling an intriguing vocal line into the mix intertwining brilliantly with stinging lead lines and heavy atmosphere. The impressive instrumentation eventually morphs into a singular sonic behemoth, pulsing morse code like sound waves out into the ether. The repetitive thud of ‘Ataque Masivo’ tweaks this listeners attention as it pulsates through fuzzy bass frequencies and the throb of busy percussion. It builds ever so slowly with the arrival of those hazy vocal lines and subtle stabs of synth before exploding into a cacophony of sound that loops and arcs throughout, dragging a continuous chug of guitars with it as it brings us all on it’s magnificent lysergic hued sonic journey.
‘Carnaval’ gyrates and undulates into audible range stuck fast to a menacing but repetitive drum pattern accompanied by lines of blues orientated guitars, throbbing bass lines and addictive vocalisations. It pulsates and drives brilliantly as it carves out a sonic trough, morphing and manipulating sound with relative ease into one animalistic wave of angry spaced out noise whilst ‘L.A’ slows things down for a while to a crawling acid blotched psychedelic wave that washes shimmering frequencies over this listener as it envelopes golden tinged sounds, repetitive beats and reverberating fret noise. It pulls you in before exploding into an angry sonic behemoth that soars skywards wrapped in punishing lead lines and thunderous percussion. ‘Vuelveteloca’ merge the throbbing reverberations of ‘L.A’ with the spaced out vibes of ‘El Lado Frio’, extenuating the lysergic trip in the process by injecting some righteous space rock into proceedings. This track is as menacing as it is brilliant with fuzzy driving guitars, ear splitting reverb and the constant thud of immense percussion collectively circumnavigating those impressive vocal lines. There’s a subtle edge of garage psych underlining the opening bars of ‘Tormento’ that is utterly captivating. Explosive guitars, pounding percussion and the throb of overdriven bass acts as a kind of sonic conduit for those intriguing vocals that are permeated at times by piercing lead lines and intense atmosphere.
The album’s stunning penultimate piece arrives swirling in a high pitched instrumental drone. ‘Vuelveteloca’ unleash what is the best track on this album as far as I’m concerned as ‘Chepical’ unveils it’s kraut like credentials and streams into earshot riding a motorik percussive pattern, an totally addictive vocal line and unwavering guitar signatures. Soaring synths pulse in waves alongside catchy chord structures as a seemingly unmovable bass line orbits in close proximity to those explosive passages of percussion and chittering reverberation. ‘Chepical’ is one of those tracks that catches you off guard, spins you around the room and deposits you somewhere out the back end leaving you wondering what the fuck had just happened. Marvellous stuff indeed. The album closes out with it’s lead single. ‘Cientologia & Altiplano’ is a modern psych gem that builds and builds continuously in unison with a pounding drum track and driving instrumentation. Raging guitars swirl around humming bass lines that collectively stick to that motorik percussive pattern. It’s vocal lines arrive in a golden haze, strapped to a massive sonic surge. They rise and fall through sonic peaks and troughs before dropping into deep reverb filled caverns and soaring lysergic hued cloud structures with relatives ease. It’s a fitting end to a bloody marvellous album.
ARTIST: Pia Fraus
RELEASE: Field Ceremony
RELEASE DATE: 16th October 2017
RECORD COMPANY: Seksound Records (EU) Shelflife (US) Vinyl Junkie (JPN)
Estonian dream-poppers 'Pia Fraus' formed in 1998 and released four studio albums and a handful of EP's on various record labels worldwide. Their collective sound is a sublime mixture of dream-pop, subtle shoegaze and beautiful electronica all topped off blissfully with shimmering layered vocalisations. The band are made up of Eve Komp - vocals/synths/metallophone, Kärt Ojavee - synths, Rein Fuks - guitars/vocals/percussion, Reijo Tagapere - bass and Margus Voolpriit - drums and after a ten year hiatus they have returned with a brand new album entitled 'Field Ceremony', to be released on October 16th 2017 via Seksound Records (EU) Shelflife (US) & Vinyl Junkie (JPN) with former member Kristel Eplik returning to record backing vocals and former drummer Joosep Volk also returning to direct the video for 'That’s Not All'. The full album is available to pre-order right now on various formats from the aforementioned record companies.
Field Ceremony by Pia Fraus
Entrancing sound waves swirl and meld effortlessly with the uplifting sweep of fizzing synth and woozy pull of reverberating guitars as ‘It’s Over Now’ unfurls it’s sonic tendrils and wraps itself around steady percussion and the throb of luscious bass frequencies. The repetitive vocal line floats effortlessly alongside sweeping electronics and the buzz of fret noise that steadily builds into a majestic crescendo of noise accompanied by the ghostly refrain of undulating reverb. ‘Never Again Land’ moves brilliantly through catchy chord changes and hazy instrumentation as a busy percussive pattern pulses through a pre-ordained flight path. The glorious duel vocal attack is simply mesmerising and it glides on waves of swirling synth, the hum of bass and those resonating guitar lines before collectively pausing for breath, held fast in a sticky lysergic hued instrumental break anxiously awaiting ejection into a grand finale. Up next, ‘Autumn Winds’ howls into audible range heckled by a screaming synth line before exploding into a colourful cacophony of sound. It charges headlong into a catchy melody driven fog filled with swirling almost incantational reverberations. Steady percussion, soaring synth and pulsing bass lines allow addictive guitar progressions to wrap themselves around another impressive vocal performance that loops and arcs brilliantly throughout the sonic ether.
‘Mountain Trip Guide’ rattles into existence on a lazy drum pattern as pulsating bass frequencies, fizzing electronics and surging synth swells glide in close proximity. Beautiful vocalisations swirl through catchy hook laden guitar progressions whipped by reverberating lead lines and addictiveness of effected slide guitar. ‘No Filters’ floats effortlessly on the up draft of impressive synth swells, the metronomic thud of percussion and the swirl of reverb as ‘Pia Fraus’ deploy a modern dream-pop gem. Shimmering guitars accompanied by the whirl of organ push the tempo on as the track builds momentarily before pulling back and gently descending to a final stop whilst ‘Endless Clouds’ lurches into a organ filled whirlwind peppered by the thrill of tremulous guitars and explosive drum patterns. Intense melody accompanies those gorgeous vocalisations as pulsating bass progressions wind their way through cascading synth and the pull of luscious reverb. Up next, the opening bars of 'Sugar High Of The Year' erupt into an fuzzy sonic behemoth filled with explosive percussion, raging guitars and soaring synth swells. The track echoes through quieter moments of instrumentation allowing the vocals to move through those impressive verse patterns before exploding into a mesmerising display of blissed out noise.
‘Don’t Tell Me How’ is simply divine and it shimmers and glides through undulating waves of instrumentation that glisten with graceful lustre, drenching melancholic vocalisations in scintillating reverberation that echoes and lingers with every single note, chord change or plucked string. It’s deeply infectious and beautifully constructed making it an album highlight for me. The albums penultimate piece entitled ‘Brutal Truth Of The World’ opens up pulsing atmospherically through massive walls of hazy reverb hued guitars. Slow moving percussion, circumnavigated by the constant sweep of synth and the undulating rumble of bass accompany another impressive duel vocal performance laced with stunning melody that collectively leads the listener through pretty impressive instrumental passages of sonic light and shade right up until its finale. The album closes out with ‘That’s Not All’, a turbulent sonic whirlwind filled with woozy guitars, charging drum patterns, the plink of synth and the throb of bass frequencies all wrapped around those stunning melody driven vocalisations. A fitting ending to an absolutely marvellous album.