Holy Monitor - Ghost - Featured Image - (700x700)

NEW SINGLE PREMIERE | Holy Monitor - Ghost

Hailing from the sunbaked Mediterranean shores of Greece, experimental neo-psych/krautrock space rockers ‘Holy Monitor’ have unleashed a stunning new single back in September entitled 'Ghost', a ten minute plus journey filled to it's psychedelic brim with magical incantational sonic energy. The band are made up of Stefanos Mitsis - guitars, Alex Bolpasis - bass,  Vangelis Mitsis - synths/organs and George Nikas - drums/guitars/vocals and this latest single follows on from their absolutely stunning self-titled album released back in February 2017. The single is available to buy/download right now from holymonitor.bandcamp.com 

'Ghost' shuffles into audible range on a glistening instrumental drone accompanied by the throb of synth and the fizz of effected electronics. It builds meticulously into a pulsating organism with the arrival of humming bass frequencies before tumbling headlong into a metronomic percussive beast. Plinking synth lines and waves of reverberation arrive adding lysergic atmosphere to the mix with every single chord change, allowing magnificent guitar progressions to lick and harass the piece to within an inch of it's life. Organ lines howl pulling clandestine vocalisations with them as they meander through layers of reverberation collectively merging with every other piece of the sonic jigsaw to bring us a mesmerising ten minutes of music.

Recommended!

LINKS:

facebook.com/holymonitor

holymonitor.bandcamp.com


Pia Fraus- Field Ceremony - Featured Image - (700x700)

ALBUM REVIEW | Pia Fraus - Field Ceremony

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.

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.

4/5

LINKS:

piafraus.bandcamp.com

facebook.com/PiaFraus

seksound.com

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.


Bolywool - From Void To Matter Volume 2 - Featured Image - (700x700)

EP REVIEW | Bolywool - From Void To Matter Volume 2

Bolywool - From Void To Matter Volume 2 - Post Image - (300x300) ARTIST: Bolywool

RELEASE: From Void To Matter Volume 2 

RELEASE DATE: 29th September 2017

RECORD COMPANY: VÅRØ Records 

Hailing from the wind swept isle of Öland in Sweden, Calle Thor and Oskar Karlström aka 'Bolywool' have been fascinating us lot here at Primal Music for quite some time with their shimmering, cinematic, frost laden soundscapes filled to the brim with flourishes of atmospheric post-rock and scintillating shoegaze collectively underscored by stunning electronic progressions. Their collective sound has the ability to bring listeners on a melancholic journey into their world, a world that twists and turns through epic snapshots of life, death and an inherent love for their homeland. Back in May 2017 the band released the first of a planned trilogy of EP's entitled 'From Void To Matter' via VÅRØ Records  and now they have returned with their second thrilling instalment, boldly continuing on a journey of sonic enlightenment and once again blowing our minds. 'From Void To Matter Volume 2' was released back on the 29th September 2017 and is available to buy/download right now via varorecords.bandcamp.com

The soft thud of sequenced percussion accompanied by pulsing bass frequencies and cascading synth lines permeate the ether as ‘The Dial (Revisited)’ glides into audible range punctuated by reverb laden guitars and impressive production values. Otherworldly vocalisations add to the seemingly peaceful atmospheric hubris that tumbles wilfully throughout the piece but that ethereal feeling is short lived as we’re pushed headlong into a raging whirlwind of sound that surrounds an immense chorus progression that seems to build and build brilliantly into a undulating sonic behemoth. ‘Bolywool’ continuously amaze me. They are experts at changing the mood of a track at will and it’s well documented here as the track bounces quickly from a melancholic fuelled slice of atmospheric post-rock into a lurching lysergic tinged monster, amalgamating serene vocalisations with churning percussion, fuzzed out guitars and swirling lead lines to create something altogether magical. Not only is ‘The Dial(Revisited)’ my favourite track on this release but it’s possibly Bolywool’s best track to date and it ranks as one of my favourite tracks of this year by far.

Up next, ‘Mirror Sky’ rumbles on a repetitive back beat as reverb laced guitars tremble and shimmer through icy atmospherics, the hum of bass and sullen synth swells. Stunning vocals float effortlessly atop of the collective instrumentation guiding the listener into a deeply atmospheric break filled with blissed out sonic reflections and the collective twinkle of instrumentation before exploding into a huge wall of hazy guitars and that soaring maleficent howl. The EP closes out with ‘Blues For Stornoway (Pts 1,2,3 & 4) and if ever a piece of music deserved to appear on a movie soundtrack it has to be this track. Beautifully melancholic opening vibes meander and intertwine with delay and reverb, enveloping themselves around a ghostly vocal line and the woozy flourishes of synth and rumbling percussion. It loops and arcs through shimmering electronics and wavering instrumental progressions before opening up into an almost industrial feel, metronomic in it’s tempo but majestic in it’s approach before finishing up caught in a brilliant atmospheric cloud of samples and synth that rise and fall into it’s stunning finale. A blistering end to another marvellous collection of tracks.

5/5

LINKS:

varorecords.bandcamp.com

bolywool.bandcamp.com

bolywool.com

facebook.com/Bolywool/

twitter.com/Bolywool

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.


SPC ECO - Calm - Featured Image - (700x700)

ALBUM REVIEW | SPC ECO - Calm

ARTIST: SPC ECO

RELEASE: Calm

RELEASE DATE: 22nd August 2107

RECORD COMPANY: ELaB Records

It seems like only yesterday I was sitting down to give a listen to the latest release by legendary producer Dean Garcia and his daughter Rose Berlin aka SPC ECO. The release in question was 'Under My Skin' and it was awarded a 5/5 by yours truly; a feat not so easy to come by. Garcia and Berlin had come together to create something as dark as it was beautiful: ethereal vocal performances were combined with shadow-filled synth passages and lyrics, all topped off neatly with drum programming and a crisp clean production. When I heard that the duo were releasing a follow up full length album (entitled Calm) I thought two things: one, it will great to see what SPC ECO have churned out this time, and two, could they keep together over the length of an album? There was only one way to find out, I guess?

'Calm' opens with the MBV shoegaze-influenced fuzz of ‘Out of Sight’: its deep and rumbling walls of static back up Berlin's siren-like calls and humming. Behind the mix, Garcia twists knobs and presses buttons to give the music a focal point, hip-hop like beats guiding the rest of the instrumentation and music along slowly. Although it is a fantastic 90’s-ish track and perhaps even an album highlight, there is something blaringly obvious: this is going to be much denser, louder and wild than 'Under My Skin' (not that that is a bad thing). Somehow Berlin and Garcia follow an album highlight with yet another album highlight: the slower, but still as dense, ‘All the Voices’ utilizes a breathy performance by Berlin, backed up by a borderline industrial soundscape of the instruments behind. All the while as the track plays, brilliant ambiance and drone seeps in through the mix, making things heavier and more beautiful. ‘Rising Up’ stands as another absolutely fantastic track: the guitars again create a wall of technical fuzz and feedback, a drum beat again guides the music, but it's vocals are perhaps the most haunting found on the entire release. Things turn into some sort of wildly dark and exotically evocative dance party: equipped with songs you can dance to and songs you can have a neon-lit knife to at the same time.

‘All I Had’ captures a slower and a somewhat more sensual vocal performance by Berlin; meanwhile Garcia turns things down to a trip hop level, creating a mix of loud, noise filled dream pop-esque music. It's placement on the albums track list is also ace. Perhaps my favourite song on the entire album is the stellar ‘Pearls’ in which the vocals and instruments meet in a beautiful kind of harmonic pairing to create a downtrodden afterthought of dream pop. It’s an emotive mixture of contemplative ponderings and long winded passages of sun covered beaches with the texturally white backing of clouds amongst a blue sky. ‘Who Are You Now?’ is, however, much, much darker… Somewhat evil as well I guess. Its slow trip-hop inspired drum beat is accompanied with a creepy sample of bottles clanging together or something? Ambiance and atmospheric strings also add to the landscape even more thoroughly. ‘Ghosts’ is where things start to taste a little over-done: another slow tempo drum beat with breathy vocals make this song one of the more forgettable on 'Calm'. The more upbeat and soundscape inspired ‘When It Moves’ turns things back around, thankfully, injecting some of the elements that made previous tracks an invigorating , engaging and unique listening experience. ‘Get Lost’ is another album highlight, especially its massive, hi-hat trap inspired chorus, which underpins a sweep of ambiance and sampled noise over another brilliant vocal performance by Rose Berlin. Garcia truly turns up the ambiance on this track, weaving thin and slow instrumental sections with larger and more heavier passages of more colourful sounds.

‘Over’ seems to feature the most heavy percussion on the release: the programming with which the band uses is as thick and heavy as ever before. Behind the beats and vocals lies a bizarrely enjoyable sneaking sound of what could be the introductory music to a British detective series, full of rain, shadows and the occasional dash of neon lights. ‘Hours’ seeps all the atmospheric reverb, noise and ambiance into one melting pot of music; creating a dense and somewhat murky soundscape with which the song plays out. Berlin's voice fits well within the context of this kaleidoscopic tornado of sound, proving her graceful voice is a positive point of originality for SPC ECO.

While some elements of 'Under My Skin' (and perhaps SPC ECO themselves) are evident on 'Calm' (think the atmospheric and somewhat trance-inducing instrumentals, as well as the waveringly beautiful vocals), overall it seems the duo have created something somewhat noisier and denser than ever before. Where 'Under My Skin' relied on the atmosphere of each song (which it did very successfully) 'Calm' instead pulls down any filters that Garcia placed over the music previously; opening a flood gate of wall of sound type feedback, and more intricate and involved instrumentals throughout the album. Because of this, 'Calm' is at times more difficult a listen than 'Under My Skin', and while I champion noise, feedback and wall of sound song writing; I can understand why some listeners just may not connect with the album. Similarly, each tracks basic foundation (with some exceptions) is the same: a slow(ish) programmed drum beat plays over soundscapes while Rose Berlin smoothly dances between her upper register and mid-tone, spoken word style sensual vocal deliveries. Thankfully, I can acknowledge and see where the difference between tracks lies, and furthermore how much skill is required to write such music… I just assume some will not. Garcia and Berlin remain as beautifully beguile as ever: some tracks sound as though they should be on film soundtracks, some tracks sound like they should be played in the most warped and harrowing dance club in the world, others just sound completely and utterly mesmerizing in their beauty. Besides, it all really comes down to the artists and the music: a well seasoned and ridiculously talented producer doing what he does best, accompanied by some of his equally talented and interesting friends… And his daughter, who happens to have the kind of pipes that you can play at a demented carnival or a hypnotic lounge-type dinner party. Together they produce a strong, original and commendable album, achieved through programming, production and sound.

4.5/5

LINKS:

spceco.com

facebook.com/Spc.Eco

twitter.com/SPCECO

spceco.bandcamp.com

ABOUT THE AUTHOR:

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.


Crash City Saints - Are You Free? - Featured Image - (700x700)

ALBUM REVIEW | Crash City Saints - Are You Free?

Crash City Saints - Are You Free? - Post Image - (300x300)ARTIST: Crash City Saints

RELEASE: Are You Free?

RELEASE DATE: 11th August 2017

RECORD COMPANY: Saint Marie Records 

From the city of Kalamazoo, Michigan (apparently it’s across from Milwaukee, over Lake Michigan) comes 'Crash City Saints' and the interestingly bold and grand concept album they have created, entitled 'Are You Free?'. Released via the ever interesting 'Saint Marie Records' (whose back catalogue includes the impressive SPC ECO, Bloody Knives and The History of Colour TV), 'Are You Free?' tells the story of a boys attempts to mature and bloom in a small town in the 90’s when shoegaze was dense and on rotation in the mainstream and underground of the American music scene. 'Crash City Saints' have obviously utilized said music from the time and adopted it into a mix of shoegaze and alt-rock to tell a story over the course of twelve tracks that hails the significance of influence while also celebrating the freedom of originality in the context of modern music. 'Are You Free?' was released back on the 11th August 2017 and is available right now to buy/download on various formats via saintmarierecords.bandcamp.com

The album opens with ‘Ice Cream’ a nice little jolt of pop-based alternative rock that highlights the hushed MBV style vocalisations and strumming acoustic guitar. There are several fantastic moments, including the churning-downtrodden shoegaze riffs that are touched upon at around the one minute thirty mark, as well as a tasteful string instrument in the background of the music. ‘Spring Lines’ owes more to a soft kind of neo-grunge rather than shoegaze, but nevertheless showcases the instrumentation and weave in-out aesthetic of the guitars. As it is on much of the album, the drumming is tight and impressive; highlighted sufficiently and smoothly in the mix. ‘Weirdos Need Love To’ fits in well as a kind of interlude between the narrative structure of the main songs whilst 'Use Once Then Dispose’ is an absolute album highlight; the post-punk double tap snare and 90’s inspired guitars meld fanatically together to create a rock-inspired atmosphere; the vocals hum away, touching on lyrically much darker themes than have been explored previously on the album. That’s not to say they are not well written, actually it’s quite the opposite. ‘Spirit Photography’ is a smooth, aesthetically enjoyable take on what sounds like 90’s era Brit-pop, while also (eventually) smothering the track in Shoegaze based guitar freak-outs. A very enjoyable experimental track, ‘Spirit Photography’ sheds the skin of the previous songs pop elements; making way for emotive and warped guitar based-psych passages of song writing. I assume ‘Act 2’ is named as such because it brings forth another stage of story and narrative; either way, as a song it feels one of little narrative importance (lyrics are drowned out in a vocal effects) while the whole song takes an almost lo-fi quality (not complaining).

‘Dawn of A Bright New Nothing’ introduces a fantastic Barrett-esque piano line into the mix, making the song one of the most purely enjoyable on the album. Yes, that’s right, this reviewer has significantly enjoyed a song because it sounds, is mixed and feels nice and relaxed. ‘Annabella’ returns to a much more alternative rock sound, the chord progression of the bass and guitar highlighting a progressive rock influence that played an integral role in the development of shoegaze music back in the 90’s. Its outro, featuring a guitar solo over the vocal chant/hum ‘you don’t know my name’ is particularly satisfying. Another interlude follows before one of the longest tracks of the album ‘The Hour Of The Wolf’ opens with a sequencer based EDM style sound. Although this aforementioned beat grows tiring after a while, this doesn’t cease the track from growing into a heavy, loud and colourful collection of sounds and noise, backed by the thrashing of the drums. The outro guitar picking is especially amazing and very much in-context of the seven minute long song. The following dream-pop based ‘Harbour Lights’ remains a sonic (but almost as equally lengthy) contrast to the previous wild melding’s of ‘The Hour Of The Wolf’. In fact, ‘Harbour Lights’ is an album highlight: the guitar tones and overall atmosphere of the song congregate into a dream pop/shoegaze breath of fresh air after the previous songs noise and drenched soundscapes.

Releasing a concept album of any type is a big and daring leap. Will people be able to detail the story (if the concept is narrative)? Will the story get in the way of the music? What about the other way around? 'Crash City Saints' have previously stated there is a narrative kind of concept behind the album, and at times while listening to 'Are You Free?' I was lost as to what (if anything) was actually going on, but then I realized that its concept lies beyond the realm of just a narrative. Over the course of the album the band swiftly (and at times intellectually subtly) incorporate and throw influence and nods to the American music underground of the nineties. There's grunge, dreampop, alt-rock, dance and electronica, shoegaze and many more… This album is a musical exploration in concept rather than a boring ‘he does this, then she does that’ kind of structure that tends to drag down and drown many ‘concept’ albums. The song writing is strong, although at times relies too heavily on formulas used on previous songs, even if it is a kind of throwback. The mixing and production (done so by Elliott Frazier of Ringo Deathstarr) is of course a brilliant, but also (if you listen to a lot of it) a well-rounded and respectful throwback to the music of the 90’s. Listen for an interesting story (accompianed and helped along by interesting lyrics), great instrumentation and playing, and a reminder of the brilliant and nostalgic music of a few decades ago, achieved through production, mixing and sound.

4/5

LINKS:

saintmarierecords.bandcamp.com

twitter.com/crashcitysaints

ABOUT THE AUTHOR: 

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.


JUJu - Our Mother Was A Planet - Featured Image - (700x700)

ALBUM REVIEW | JuJu - Our Mother Was A Plant

JUJU - Our Mother Was APlanet - Post Image - (300x300)ARTIST: JuJu

RELEASE: Our Mother Was A Plant

RELEASE DATE: 22nd September 2017

RECORD COMPANY: Fuzz Club Records

Back in 2016 whilst writing reviews for 'The Sound Of Confusion', I came across a fantastic seven track self-titled debut album from Sicilian based sonic manipulator Gioele Valenti of Lay Llamas fame now recording under the moniker of 'JuJu'. Being a Lay Lamas fan myself, I immediately dived headlong into it's swirling lysergic sound waves which were more akin to a pulsating living organism drenched in swathes of rhythmic, almost ritualistic golden frequencies. Sonically, it was something that I'd never heard before and it quite simply blew me away. Fast forward twelve months; 'JuJu' has teamed up with one of the best underground independent record labels currently plying it's trade in this ever evolving scene, the immense 'Fuzz Club Records' and had just announced his sophomore release aptly titled 'Our Mother Was A Plant'. This time around Gioele Valenti dips his sonic tendrils into a plethora of genres that includes afrobeat, krautrock, glam, post-punk, art rock, shoegaze & drone and it also features guest appearances from 'Capra Informis', the masked djembe player of Swedish based psych aficionados 'Goat', making this album one of the most anticipated releases of 2017. It gets it's full release on the 22nd September and is available to pre-order right now on 180g vinyl via www.fuzzclub.com

Repetitious percussion accompanied by sporadic electronic sampling and the constant throb of skittish bass notes announce the arrival of track one, the brilliantly titled ‘Death By Beautiful Things’. Swirling reverberations pull luscious lead guitar lines into the mix as JuJu prepares to jump off the deep end and splash headlong into a pool of emotively experimental psych rock. The music drags this listener along with it tumbling freely into a droning synth laden soundscape filled with impressive kraut like percussive tendencies and mind numbing guitar progressions that seem to loop and arc effortlessly through swathes of psychedelic enchantment. At times ‘Death By Beautiful Things’ dips brilliantly in and out of ambient experimentalism leading you on a totally immersive sonic adventure. Up next, ‘In A Ghetto’ unfurls its sonic tendrils wavering menacingly on a sequenced drum loop that slowly adds a pensive kind of atmosphere with the addition of each musical layer. Hypnotic shakers rattle and shimmer as pulsing guitar progressions rise up from beneath a heady cloud of bass and reverb to envelope those mantra like vocalisations deftly undulating through JuJu’s subtle eastern esoteric leanings.

‘And Play A Game’ is refreshing as it bleeps and whirrs through sticky electronic vibes and repetitive percussion. It’s bass patterns are mesmerising and when accompanied by those addictive synth swells and it’s subtle lead licks, are totally unstoppable. Stunning vocal lines swirl throughout the mix as this track builds and builds into a surging psychedelically charged dance floor filler. It is absolutely magnificent. Up next, the insatiable ‘James Dean’ bounds into the ether on a wave of pounding drums, swirling guitars, haunting vocal lines and throbbing bass frequencies. It’s impressive organ lines intertwine brilliantly with soaring lead guitars and electronic percussion whilst the experimental pull of ‘I Got Your Soul’ is hard to escape. The sway of it’s funk like origins keep perfect time as the duel assault of bass and drums keep a firm hold on the earth allowing it’s mesmerising guitars to circumnavigate impressive vocalisations and soar out into the ether on reverberating sonic waves. ‘Patric’ begins life as a glitchy, atmospheric beast that trembles on yet another impressive bass progression. It’s haunting vocal lines undulate and merge effortlessly with raging guitars and stunning production to collectively create something altogether magical.

The albums penultimate piece entitled ‘What A Bad Day’ comes in at a whopping nine minutes plus and at no stage does it disappoint. This track enters audible range strapped to a metronomic drum pattern and the repetitive throb of angry bass. Atmospheric instrumental drones intertwine with fuzzy fret noise and resonating frequencies to circumnavigate it’s stunning vocals, as luscious synth swells bubble up from far below to drench the entire piece in shimmering reverb. There’s a hazy but ambient hue hanging over this track at times that tweaks this listeners attention as it meanders through layer after layer of psychedelic abandonment, twisting and turning through stunning musical passages filled with the occasional saxophone hook, colourful lead guitar progressions, electronic experimentalism and the ever present bark of dark bass frequencies. ‘Sunny Afternoon’ closes proceedings out and does exactly as it says on the tin. Shimmering guitar progressions and sparse percussion make way for fizzing electronics and the hum of bass as subtle synth swells pulse through the mix accompanied by electronic theatrics and the constant pull of simmering reverb. It’s a masterful ending to a totally entrancing sophomore album ...... bravo JuJu!

5/5

LINKS:

fuzzclub.com

juju-spell.bandcamp.com

facebook.com/JuJuSpell

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.


The Oscillation - Evil In The Tree - Featured Image - (700x700)

NEW SINGLE PREMIERE | The Oscillation - Evil In The Tree

Sublime London based experimental psych aficionados 'The Oscillation' have returned with a mesmerising new 7' single entitled 'Evil In The Tree' released back on the 11th August 2017  via the ever reliable UK based independent label 'Wrong Way Records'. This two track 7' single is available right now both digitally and on lovely vinyl (limited to 300) via wrongwayrecords.bandcamp.com

'Evil In The Tree' pulses into existence on a magnificent sonic wave filled with metronomic percussion, mind numbing bass frequencies, chittering electronics and droning swirls of synth. Snarling vocalisations swirl menacingly in a dark turbulent haze as screaming lead guitar and haunting organ swells hold court allowing Demian Castellanos to imprint his addictive brand of audio chaos on the baying public. Track two; 'Paranormal Non-Activity' is a slightly calmer affair that dips in and out of dark, ambient hued reverberations whilst swirling through turbulent instrumental drones and tumbling swathes of angry electronics until eventually building into a monstrous incantational soundscape.

Recommended!

LINKS:

wrongwayrecords.bandcamp.com

theoscillation.bandcamp.com

facebook.com/theoscillation


Tuath - Youth - Featured Image - (700x700)

NEW VIDEO PREMIERE | Tuath - Youth

Prolific Donegal based experimental psych aficionados 'Tuath' just love pushing boundaries both sonically & visually! Not happy with completely twisting the Irish underground psych scene on it's head back in January 2017 with the release of the superb 'Things I Don't Know', the band have just announced another new EP entitled 'Youth', penned in for release on August 15th 2017 with the lead track of the same name and it's accompanying video spinning wildly throughout the internet to great acclaim as I write this piece.

'Youth' is a blistering lysergic 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 vocalisation courtesy of Master Robert Mulhern. It all bodes well for the full EP release and we'll definitely be keeping our inner chakras wide open to receive it!

Recommended!

LINKS:

soundcloud.com/tuath

facebook.com/tuathband

tuath.bandcamp.com

tuath.space


The Cult Of Dom Keller - Paradiso is On Fire - Featured Image - (700x700)

ALBUM REVIEW | The Cult Of Dom Keller - Paradiso Is On Fire

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

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.

4/5

LINKS: 

cardinalfuzz.bigcartel.com

skylanternrecords.bandcamp.com

facebook.com/thecultofdomkeller

twitter.com/CULTOFDOMKELLER

ABOUT THE AUTHOR: 

Del Chaney - (Author Photo)

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.


Cathode Ray Eyes - Featured Image - (700x700)

ALBUM REVIEW | Cathode Ray Eyes - How We Lost The 21st Century

Cathode ray Eyes - Post Image - (300x300)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

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.

4/5

LINKS:

thecathoderayeyes.bandcamp.com

facebook.com/cathoderayeyes

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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.