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!
by Primal Music
ARTIST: The Cult Of Dom Keller
RELEASE: Paradiso Is On fire
RELEASE DATE: 22nd May 2016
RECORD COMPANY: Cardinal Fuzz / Sky Lantern Records
Hailing from the East Midlands, 'The Cult Of Dom Keller' have been laying down influential sonic road maps for the modern underground psych scene to follow for the past decade by creating mind expanding soundscapes drenched in acid laced alchemy. Their heady brand of hypnotically charged psychedelia has influenced many of the newer arrivals to this burgeoning scene and their DIY ethos has insured that you can never predict exactly what they will do next. Now, at last, the band have been captured in a setting that they absolutely thrive in. Witnessing 'The Cult Of Dom Keller' live is a white knuckle sonic thrill ride filled with raw unabashed power and mirrored in a multicoloured spectrum of sound. Captured live as they toured their latest LP – 'Goodbye To The Light' (Fuzz Club) at the at Het Bos, Antwerp 17/11/16 and Paradiso, Amsterdam 19/11/16 the band have stretched out ten live tracks, taken from all 3 of their long player albums, and played them to within an inch of their lives. 'Paradiso is On Fire' is presented over four sides of lovely vinyl and was released back on the 22nd May 2017 via Cardinal Fuzz (UK) & Sky Lantern Records (USA) respectively. You can get your hands on the gatefold vinyl right now from cful.bandcamp.com
Paradiso Is On Fire by The Cult of Dom Keller
Howling incantational vocalisations enveloped within a swirling vortex of tremulous guitars and crashing cymbals add instant atmosphere as 'The Cult Of Dom Keller' whip up a turbulent surging wave of incandescent noise that washes over the entire audience. Throbbing bass frequencies enter the ether, pulling in unison with chugging guitars, raging lead lines and the swing of metronomic percussion thus instilling a hypnotic edge to proceedings. 'Beyond All Evil Is A Black Hole' builds into a surging monolithic wall of resonating noise used primarily to repetitively profess a vocalised statement of intent ... 'You Are Not My God' .... a mantra to live by! The live crowd howl as the droning opening salvo's of 'The Broken Arm Of God' whirr and bounce through waves of punishing reverberation. Growling bass frequencies coupled with angry guitars, pounding drums and dark fizzing synth swells announce those haunting post-punk inspired vocalisations that glisten brilliantly in a dark & menacing hue. Track three doesn't let up either; 'Nowhere To Land' explodes into a tumbling ball of fuzzy noise, filled with explosive drums, wailing synth swells and deep driving bass frequencies. Noisy guitars lick and whip at those impressive vocals as cascading organ lines loop and arc in and out of driving instrumentation leading the crowd into a frenzied response upon it's finale.
'Dead Seas' gyrates on an agitated guitar drone as crashing cymbals ride the turbulent sonic wave. The atmosphere is intense as the track builds and builds through repetitious guitar theatrics permeated by raging waves of resonating sonic frequencies. Giddy patches of sparse percussion bubble up announcing a menacing vocal before a swirling organ line tip toes through a flourish of haunting notes. The track lurches forward twisting and turning through passages of 60's tinged psych at will and bouncing through incandescent progressions with a fervent ease. Up next, the punishing opening barrage of 'Shambala Is On Fire' burns with intent. Dark oppressive instrumentation rides a wave of tempestuous percussion laying down a sonic walkway for another brilliant live vocal performance whilst the raging 'Eyes' screams into earshot on explosive drum patterns and swirling drones as the bark of angry bass and wailing lead guitar envelopes lamenting vocalisations. 'Nothing Left To Stay For' tumbles through an opening repetitive vocal mantra accompanied by sequenced synth and haunting post-punk hued vocal lines. It's surging guitars enter the sonic battle field on a whim, underpinned by humming bass frequencies and a subtle percussive swagger as the tracks different parts are meticulously worked out live before the band unwrap the incantational 'Astrum Arenteum' and wash the crowd clean with it's hypnotic neo-psychedelic reflections.
The albums penultimate live treat comes in the form of 'Swap Heron', lifted off the band debut self-titled album released back in 2013. Live, this track is a different animal altogether. Squally guitars work through a warped chord structure before the track winds itself up into menacing sonic maelstrom filled with tumbling drum patterns, humming bass frequencies and haunting vocalisations constantly harassed by the cyclonic whip of lead guitar. Undulating synth lines emerge from the turbulent whirlwind urging the track into it's explosive finale. The crowd erupt into a rapturous applause before we're introduced to the final soundscape on this impressive live compendium. Possibly my favourite track by 'The Cult Of Dom Keller', 'Worlds' is a driving statement of intent. Pounding drums, angry guitar stabs and shaking tambourine build the intensity nicely before the track explodes into a multitude of resonating frequencies. It's shamanic like vocals float into existence through a muggy haze of reverb, jostling for space with soaring lead guitar lines and crashing cymbals and winning the sonic tug of war with glowing results. A masterful ending to what is one of the better live albums out there today.
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.
ARTIST: Cathode Ray Eyes
RELEASE: How We Lost The 21st Century
RELEASE DATE: 12th June 2017
RECORD COMPANY: Unsigned
Nottingham based 'Cathode Ray Eyes' is the solo moniker of Ryan DelGaudio, who usually plies his trade with one of the most influential modern day psych outfits out there - 'The Cult Of Dom Keller'. He has temporarily stepped away from promoting their latest sonic onslaught to unleash his ten track sophomore solo release; the brilliantly named 'How We Lost The 21st Century'. His debut album 'Eyes in the Melancholy Palm' was released by Cardinal Fuzz back in 2015. With an dark & experimental sound, 'Cathode Ray Eyes' explores disturbing acid etched psych melded with trembling post punk, warbling gothic tones and atmospheric electronics. 'How We Lost The 21st Century' was released on June 12th and you can check it out via thecathoderayeyes.bandcamp.com
How We Lost The 21st Century by Cathode Ray Eyes
A menacing synth line creeps into earshot as 'Take A Bow, Cthulhu' rocks unsteadily on a bed of repetitive sequenced percussion pulling haunting vocalisations and humming bass frequencies into the mix accompanied by chittering sonic frequencies and fizzing lead lines. Up next, 'People/Evil' floats effortlessly on clouds of reverb and the off-putting pluck of strings as scarily infectious gothic vocal lines drenched in layers of production effects drag this track into movie soundtrack territory. The hypnotically warped opening salvos of 'They Cut The Heart From Out Of The Sky So Burn Down This Government' sound like they've been forced through the inner workings of a Wurlitzer and then used as a crazy circus clowns entrance tune. It's disturbingly haunting yet melodious vocal lines float in close proximity to the aforementioned instrumental madness creating sonic yin and yang moments that are brilliantly addictive. 'We Sleep Till We Rust' is a charging psych behemoth. Experimental overtones surge through its inner workings swirling hypnotic frequencies out into the ether as a punishing vocal line cuts a deep wedge into the sonic firmament and gets under your skin albeit in a good way. Instrumentally immense, 'We Sleep Till We Rust' is probably my favourite track on the entire album.
'Say Goodbye (Soul)' swirls into audible range trapped in cyclonic drone coupled with resonating electronically tinged vocal lines and growling guitar progressions whilst 'Dance! Dance! Die!' drones into existence before unfurling a magnificently entrancing psychedelic soundscape drenched in eastern esoteric flair. 'Take The Darkness Again' injects a 60's psych-pop vibe into proceedings with its sweeping organ swells and plinking synth lines. Vocally astute, this track explodes into a growling sonic beast reminiscent at times to one of my favourite ever bands - 'Spacemen 3'. 'We're Not Born to Serve' is drenched in cinematic flair as its electronically charged instrumentation shakes and shudders on an impressive bedrock of sequenced percussion and hypnotic vocalisations whilst 'Digging A Grave For The World', the albums penultimate piece, is deeply experimental. Sparse percussion accompanied by charging synth lines and gothic vocalisations meld with electronic theatrics to collectively create the most forward thinking track on the whole album. 'We Lost the 21st Century' closes out with 'Goodbye 21st Century', a massive six minutes plus soundscape, inertly cinematic, draped in intense atmosphere and filled with stunning instrumentation that is hands down as good as anything that the legendary 'Vangelis' could conjure up. A stunning finale to a rather impressive experimental album.
ABOUT THE AUTHOR:
ARTIST: Panda Riot
RELEASE: Infinity Maps
RELEASE DATE: 9th June 2017
RECORD COMPANY: Unsigned
Chicago based hazy dream-gazers 'Panda Riot' have announced a gargantuan eighteen track monolith in the guise of 'Infinity Maps', the follow up to their impressive 2013 release 'Northern Automatic Music'. Steeped in an deeply experimental hue 'Infinity Maps' skips through massive swathes of shoegaze, gloriously addictive dream pop and darker electronic moments with blistering aplomb pulling it's listeners inwards as it spirals out into the ether. The instrumental pieces on this album are sublime and coupled with impressive song writing abilities, stunning vocals and brilliantly executed layers of production, it is sure to be one of best albums of 2017 come years end. This mesmerising Illinois based quartet are made up of Rebecca Scott - vocals/guitar, Brian Cook - guitar/drum machine/programming, José Alejandro Rodríguez - drums & Cory Osborne - bass and you can pre-order 'Infinity Maps' on various formats via pandariot.bandcamp.com
Infinity Maps by Panda Riot
Waves of raging melodious turbulence swirl into earshot as droning guitar squall gives way to shimmering vocalisations and squealing feedback. ‘Aphelion’ bubbles precariously on a bedrock of impressive percussion, noisy guitars and humming bass frequencies peppered at times by subtle swells of synth, wavy reverberations and broken up by magnificent breaks filled with soaring vocal lines. Up next, ‘Helios (June 20th)’ swirls into audible range trapped in cloud of shoegaze infused dream pop as it’s beautifully serine vocal lines bounce and whirr on layers of tremulous reverb drenched guitar progressions whilst ‘Latitudes’ pulses on sequenced electronics and churning instrumental drones before fading out through wavy vocal samples and impressive production theatrics. ‘Ghosting’ unfurls its sonic tendrils stuck fast to a plinking synth progression before careering headlong into a brutish wall of hazy guitars & plodding bass, sweeping synth swells and metronomic percussion all collectively enveloping that soaring vocal track before ‘Chimera’ explodes into a haze of atmospherics as it’s cinematic leanings are brought to bare tumbling effortlessly in a cyclonic ball filled with fizzing synths, lazy percussion, fuzzy guitars and its addictive backwards vocal lines.
Pounding drum patterns and soaring melodious guitars ride throbbing bass frequencies and sequenced bleeps as they circumnavigate beautifully serine vocalisations before ‘Double Dream’ explodes into a mesmerising finale swiftly followed by the tremulous opening guitar tones of ‘Arrows’ and it’s cascading bass lines, hypnotic drum patterns and those shimmering reverberations. Wavy instrumentation coupled with a serine piano progression and instantly refreshing vocal samples herald the arrival of the deliciously dreamy ‘Parachutes’ whilst the driving percussion of ‘Night Animation’ swirls delicately in a hazy modern dream pop vibe underscored at times with acres of reverberation, soaring layered guitars and shimmering vocalisations. The experimental leanings of ‘Parallels’ wash over this listener as sparse drum patterns, humming bass frequencies and swooshing guitar drones circumnavigate that laid back vocal performance allowing moments of sonic abandonment to pierce the normally rigid song structures created by the band. The album swoons as ‘Infinity Maps’ undulates into audible range tumbling effortlessly in a whirlwind of beautifully intense frequencies permeated by the hypnotic swing of the drums before the instrumental pause that is ‘Niagara’ pulses on swathes of comforting atmospheric synth and sequenced bleeps & whirrs.
‘New Colours’ oozes sonic brilliance as its captivating dream pop leanings bob and weave on layers of hazy guitar, steadying percussion, throbbing melodious bass lines and entrancing vocal lines. There are subtle moments of woozy shoegaze bubbling up at times throughout this track as lead guitar lines whip and cajole resonating frequencies, pushing them through layers of reverb and whammy bar theatrics. ‘Aurora Shift’ moves back into a more experimental patch as a bouncing bass line rides giddying sequenced percussion and swirling synth swells before the instrumental 'Glass Cathedrals' surges through layers of sticky delay, hazy reverb and turbulent drones. Up next, the brilliant ‘Gold Lines’ doffs it's well worn cap to those early 90’s shoegaze stalwarts as it undulates into the ether on a tremulous wall of reverb hued guitars and steadying percussion. Addictive lead progressions pull another intense vocal performance out into the light accompanied by growling passages of soaring shoegaze and cascading bass frequencies. Possibly my favourite track on the entire release, ‘Gold Lines’ doesn’t disappoint. The albums penultimate piece entitled ‘Otherside’ swoons into earshot on a beautifully intense wave of synth and droning guitar as metronomic percussion and a throbbing bass line announces a beautifully effervescent vocal take. The albums closes out on an infectious footing as tumbling vocals intertwine with backwards guitars and addictive production as ‘Magic Numbers’ bookends a fascinating collection of tracks.
Panda Riot never fail to impress me. Their grasp on what is relevant in this modern underground shoegaze & dream pop scene is as evident as ever on this new album. Collectively the quartet move effortlessly through passages of experimentation and ambient exploration whilst keeping a firm grip on their core D.I.Y values, drawing on slivers of wide ranging influence to create magnificent modern sounding standalone pieces alongside their well crafted early 90’s inspired soundtracks that keeps them consistently relevant in todays ever evolving scene. Some folks might find that eighteen tracks is a chore to get through in one sitting but I can guarantee that each one will captivate and hypnotise both old and new fans alike.
Impressive return to form.
Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
RELEASE DATE: 16th June 2017
RECORD COMPANY: CRAZYSANE Records
'Yagow' is a psychedelic space rock trio based out of Saarbrücken, Germany. Their collective sound echoes through mesmerising passages of psychedelically charged motorik kraut rock underscored at times with subtle shoegaze tendencies that are deftly permeated with layers of incantational space rock & hazy effervescent stoner rock. Their immense self titled six track album gets its full release on June 16th 2017 via the Berlin based independent record label 'CRAZYSANE Records' and is available to pre-order right now on various formats from crazysanerecords.bandcamp.com
s/t by YAGOW
In a dense instrumental drone the heavy opening salvos of ‘Horsehead Nebula’ unfurl their fuzzy tendrils and wrap themselves around enticingly slow lead guitar lines and swathes of reverberation. Bouncing bass frequencies pull stunning percussive patterns into audible range melding effortlessly with the hypnotic surge of guitars, used collectively to ferry haunting psychedelically charged vocalisations out into the ether. Up next, ‘Snake Charmer’, the albums lead single, resonates and pulses through layers of hazy psychedelia that is peppered with subtle touches of eastern esoteric flair. Meandering vocal lines whip and whirr through spiralling guitar progressions as fuzzy sonic reflections sparkle through swirling clouds of addictive sitar and rolling drum patterns. This track explodes into a raging wall of undulating drones, throbbing bass lines and growling guitars, jointly harassed by explosive drum patterns and acid drenched lead lines before tumbling gracefully into a cyclonic sonic whirlwind before fizzing out into obscurity.
‘Moss & Mint’ slows proceedings down as we’re dragged into a muggy metronomic trance like state, glued to the swing of those addictive drum patterns, soaring lead lines the and hazy swirl of dreamy, spaced out vocalisations. ‘Moss & Mint’ works through its instrumental gears with stunning aplomb, at times injecting organ swells, massive waves of imposing reverb and is reminiscent at times to Perth based sonic explorers ‘Mt. Mountain’ with the way they construct intricate song structures, add intense atmosphere and inject undulating passages of heavy psych into their music. ‘Time To Get Rid Of It’ swerves into earshot on a warbling guitar progression, bouncing bass frequencies and skittish percussion. Shamanic reverb drenched vocalisations intertwine with growling lead lines before punishing instrumental drones take over, pulling you with them as you surge through wave after wave of intense psychedelia. Absolutely magnificent!
The albums penultimate piece entitled ‘Non-Contractual’ opens with a menacing instrumental drone before pounding drums, shakers and incantational guitars drag haunting vocalisations out into the open. The subtle plucks of sitar ride punishing instrumentation as we meander through deep sonic troughs, shimmering spaced out verse passages and out into the final throws of a turbulent sonic behemoth. The album closes out with ‘Nude On the Moon Dance’. A tremulous guitar progression rides metronomic percussive pattern that builds and undulates through soaring atmospherically charged prog like lead lines and the constant throb of bass frequencies. Chittering drones sweep aside the opening bars as this track peels back it’s outer layers and morphs into a resonating sonic whirlwind that carefully envelopes another mesmerising vocal. A brilliant ending to rather interesting album.
ARTIST: Is Bliss
RELEASE: The Honeycomb Explosion
RELEASE DATE: 19th May 2017
RECORD COMPANY: Club AC-30 Records
Revered, incantational, hypnotic - Three words that aptly describe what I felt after listening to the absolutely stunning 2016 debut EP entitled 'Velvet Dreams' from Portsmouth based psych aficionados 'Is Bliss'. Signed to celebrated Independent record label 'Club AC-30', 'Is Bliss' are causing quiet a stir right now both on the live scene and within the underground fraternity with their no nonsense, full on, psych induced reverberations! They are made up of Jimmy Stuart - vox/guitar, Dean Edwards - bass & Sam Speakman - drums and they have just released a monumental follow up to their untouchable debut EP 'Velvet Dreams' entitled 'The Honeycomb Explosion'. This sophomore release is a statement of intent by a band who collectively create stunning soundscapes filled with blissed out shoegaze & swirling shamanic psych deftly underscored with passages of dreamy spaced-out grooves and hypnotically charged reverberations. 'The Honeycomb Explosion' was released back on the 19th May 2017 and was initially available to purchase on lovely transparent yellow w/red & orange splatted 12' vinyl via store.clubac30.com
In a haze of cyclonic vocalisations that swirl repetitively through swathes of luscious reverb, the opening salvos of track one ‘Someone’ builds with a menacing hue, dragging hypnotic deep bass frequencies, tremulous drones and angry guitar signatures out into the ether whilst injecting tons of impressive sonic atmospherics as it carefully unfurls it’s far reaching sonic tendrils. Beautifully intense from the off and harking back to to those early 90’s shoegaze sounds ‘Someone’ unleashes a blissful, meandering vocal track that’s whipped and cajoled at times by soaring lead guitar lines and underscored by continuously alluring bass progressions. Up next, ‘Alive (Baby Come On)’ enters the sonic arena swirling dreamily through turbulent organ drones and sparse percussion. Bass lines hum and growl brilliantly as we witness some of the best vocal performances on this whole EP. The track builds builds and builds again until it unleashes a torrent of glorious noise, dragging this listener with it into the eye of a raging sonic firestorm. ‘Alive (Baby Come On)’ has a plethora of influences and I can hear the waviness of Spacemen 3, the punishing guitars of seminal shoegazers Loop & the melodious qualities of Ride streaming through its inner core. Absolutely stunning and definitely my favourite track on the entire release.
‘Is Bliss’ pulse some eastern esoteric flair into proceedings next as sumptuous sitar intertwines with 60’s psych connotations, shimmering tambourine and punchy drum patterns. ‘Into A Dream’ does exactly as it says on the tin. You tumble through layer after layer of droning instrumentation, cascading dream like bass frequencies and that twinkling guitar signatures, guided at every turn by that impressive vocal track and just as you think you are settling in for a session in the shamanic sonic immersion tank you get catapulted out the back end of this track at g-force speeds glued to to a fast moving pulse of intense instrumental chaos before being gently placed back on terra firma with a very big smile on your face (yes it is that good). Up next, ‘Tomorrow’ shimmers hypnotically around an incantational instrumental drone and the jaunty rumble of busy tablas as the dissonant sounds of dreamy sitar bounces and envelopes a stunning vocal performance. Again ‘Is Bliss’ work through their sonic gears with blistering aplomb until eventually they unleash a torrent of explosive frequencies punctuated by screaming guitars, throbbing bass lines and pounding drum patterns that collectively coagulate into one hell of a track finale. The EP then closes out with ‘Inner Soul’, a fantastic sonic trip through layers of blissful reverberations, melodious bass progressions, passages of droning guitars and slow moving percussion that drifts and moves effortlessly, acting as a conduit for those stunning vocal lines. Reminiscent at times to ‘A Storm In Heaven’ era ‘Verve’, ‘Inner Soul’ is an absolutely sublime closing piece to a monumental sophomore EP.
RELEASE: From Void ToMatter Volume 1
RELEASE DATE: 26th May 2017
RECORD COMPANY: VÅRØ Records
Back in March 2016 whilst writing for 'The Sound Of Confusion' I was tasked with reviewing a fantastic fourteen track album entitled 'Hymnals & Bombs' by Swedish based (Borgholm/Gothenburg) cousins Calle Thoor and Oskar Erlandsson AKA Bolywool. Having never heard of the band before I instantly fell face first into their shimmering & experimental sonic landscapes and I was literally blown away by their musical interpretations on life and the way in which they told melancholic stories through the medium of sound. Now the duo have released the first of a planned trilogy of EP's entitled 'From Void To Matter Volume 1'. This stunning two track EP was released back on the 26th of May 2017 via VÅRØ Records and it is available to buy/download right now via varorecords.bandcamp.com
From Void To Matter Volume 1 by Bolywool
Pounding, rhythmically charged percussion announces the opening salvos of ‘Hafmeyjan’ and with its arrival it pulls droning synth swells and the constant twang of guitar with it to collectively conjure up mesmerising incantational atmospherics. Beautifully intense passages of serine vocalisations swirl into the ether riding the turbulent instrumental wave before rippling skywards on undulating pulses of reverb and delay. ‘Hafmeyjan’ stirs the imagination and instills heavy swathes of melancholic abandonment as it meanders through layers of brilliantly executed production used effortlessly to whisper tales of salt lashed islands and far flung windswept beaches. This is a stunning opening track and it reminded me of just how good Bolywool are at telling stories through the medium of sound.
Up next the duo unleash ‘Meø Lögum Skal Land Byggja’ and it opens up tumbling erratically into a shimmering ball of sequenced electronics, swirling samples and the constant accompaniment of a synth heavy drone. Lazy, but brilliantly produced drum patterns rattle and shake, underscored at times by throbbing bass frequencies and tantalising good instrumental atmospherics that glide and shimmer on wave after wave of stunning reverberation. It’s synth lines glisten as they rise and fall giving off the impression of waves crashing on a storm ravaged beach-head and the constant rolling of different sonic frequencies add swathes of light and shade, reminiscent at times to the sun breaking through dark storm clouds. A magnificent ending to what is the opening volume of Bolywool’s planned trilogy of EP’s.
Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
Convenience by The Grey Merchant
Cork based sonic experimentalists 'The Grey Merchant' have twisted their sound completely on it's head with their rather strange new single entitled 'Convenience', released on the 31st May 2017 and lifted off their forthcoming album 'Avenue De Rennes' due for release in late July. Gone are the reverberating tones of experimental psych/stoner/motorik kraut rock & fuzzy shoegaze that were the cornerstone of their previous two singles to be replaced by driving grunge themed instrumentalism with punk undertones and sullen alt-rock vocalisations on this latest release. This band definitely don't like being pigeon holed into any one particular genre. For those of you new to the sound of 'The Grey Merchant', it is the collaborative recording project of Enda O'Flaherty (Neon Atlas) and a collection of friends and fellow musicians.
You can head over to thegreymerchant.bandcamp.com to check out their back catalogue and to get your hands on this latest single.
ARTIST: Mt. Mountain
RELEASE DATE: 24th April 2017
RECORD COMPANY: CARDINAL FUZZ
Perth based droning & experimental psych aficionados 'Mt. Mountain' have announced the follow up to last years monumental six track release 'Cosmos Terros' in the form of 'Dust', a four track sonic thrill ride penned in for release on the 24th April via the ever reliable UK based 'Cardinal Fuzz Records'. 'Mt. Mountain' first came to our attention back in 2014 after the release of their brilliant sophomore self titled EP and we subsequently played it to death over on our online sister station 'Primal Radio'. 'Mt. Mountain' are already lauded and revered in Australia where they have built a reputation as one of the most compelling live bands, a distinction that has seen them share stages with myriad Australian and international heavyweights including Sleep, King Gizzard and the Lizard Wizard, Thee Oh Sees, Endless Boogie, Tortoise, Bardo Pond and Boris. 'Dust' is available to pre-order right now on limited edition of 200 - Copper/Black Swirl 12" Vinyl Records with UK/EU purchases available via Cardinal Fuzz.
Dust by Mt. Mountain
In a whirling instrumental drone steeped in acutely atmospheric tape hiss and trembling sound waves the opening salutations of ‘Dust’ manoeuvres itself into audible range. It builds ever so slowly, drenched in a menacing experimental air as a subtle percussive pulse sets a persuasive tempo, slow enough to accommodate those haunting guitar lines and the brilliant addition of a ghostly flute progression whilst being whipped by an ever present & deeply incessant high pitched drone. Coming in at a mere sixteen minutes plus, ‘Dust’ isn’t for the faint hearted as half way through it explodes into a maelstrom of reverberating noise steeped in flurries of modern & experimental psych and peppered with passages of plodding bass frequencies, throbbing synth, addictive lead lines and simmering vocalisations to collectively enthral and captivate it’s listeners all at once. A marvellous opening track indeed. Up next, ‘Floating Eyes’ staggers into earshot on a rickety guitar progression that rides a wave of tumbling bongo hits, the repetitive twinkle of tambourine and a surging synthetic drone. The addition of warbling lead lines add weight to proceedings as ‘Mt. Mountain’ unleash a swirling psychedelic behemoth steeped brilliantly in eastern esoteric flair. Addictive vocal lines float into the mix bubbling on those cascading bass progressions, doffing a well worn cap to those early experimental psych pioneers as we float away on wave after wave of captivating golden hued frequencies that eventually leads us into the tracks final throws.
Swirling organ swells echoed by translucent guitar and subtle instrumental drones announce ‘Kokoti’, the albums penultimate piece, and we drift off into a entrancing psychedelic haze filled with jangling progressions, glorious flute lines and hypnotically charged percussive reverberations. Ghostly vocalisations fill the remaining quiet spaces as sonic reflections rise and fall in and out of throbbing bass frequencies and wah wah heavy lead lines before the track takes on a completely different form and rises high up into the firmament on wings of trance like psychedelic joy. ‘Kokoti’ is a sonic journey of discovery, it’s probably my favourite track on this entire release and I firmly recommend that you listen to it via headphones to experience every ounce of it’s sonic mastery. The album closes out with a three minute peaceful ‘Outro’. A beautifully intoxicating guitar progression pulses into the ether dragging with it a repetitive percussive pattern filled with haunting vocal lines and massive swathes of reverberation. ‘Outro’ is a fitting closing piece and it deftly book ends this impressive collection of tracks.
ARTIST: Las Cobras
RECORD COMPANY: Fuzz Club Records
When South American based boyfriend/girlfriend duo of Sofía Aguerre and Leandro Rebellato aka 'Las Cobras' signed to the ever reliable London based independent record label 'Fuzz Club' and their debut single dropped into our inbox, they instantly became firm favourites of ours with their swirling, hypnotically charged sun kissed rock n' roll vibe underscored at times with dark experimental tendencies that are deeply enshrined within this modern day fuzz fuelled psych firmament. We soon discovered that this initial debut single barely even scratched the surface of what this duo could achieve sonically and it was only after we peeled back the many layers on this debut album did we immerse ourselves into what traditional Latin American psych truly sounded like. 'Temporal' is released on May 19th 2017 via 'Fuzz Club' and you can pre-order it right now on various formats from fuzzclub.com
After an initial intro of warbling synthesiser drone courtesy of 'Dark Waves', the albums opening piece, we're then shepherded into the welcoming arms of 'Beating Hard', a mesmerising mêlée of sequenced percussion and growling guitars that are broken up at times by plinking keyboard patterns and layered brilliantly by those menacing duel vocals. Screaming lead lines meander through swells of synth and luscious reverberation as the track builds in momentum and pulses through huge instrumental progressions with relative ease. Up next, 'The Time Has Come' staggers into audible range on a bedrock of electronic percussion as it's sampled synth lines loop and pull the entire production together dragging with them tremulous guitar progressions and simmering vocal lines that are absolutely steeped in resonating effects. Lead guitar lines whip up a frenzy and are allowed to lash out at will as their serine but sampled electronic understudies hold the track's deeply repetitive modern swagger in check. 'Our Love Will Grow' jangles into earshot accompanied by a fantastic cascading baseline, hi-hat heavy drum pattern and angry guitars as the subtle but infectious sampled production bubbles underneath what is a fantastically refreshing track indeed. Duel vocals add swathes of melody as pulses of reverberation ripple out into the ether, skipping along with that highly infectious baseline.
There's a tinge of garage psych streaming through the inner core of 'Al Más Allá' thats quite alluring but it's the pull of traditional percussion, jangling guitars and droning synth enveloping a magnificent vocal line drenched in glorious reverberation that peaks this listeners attention. Up next, 'Nothing Against You' sways into the ether on a snaking synth line and another brilliant guitar progression whilst 'So Much Love' growls menacingly on a fractious baseline and a swirling synthetic drone as it's metronomic drum pattern pulls a duel vocal attack through massive swathes of delayed reverb. This track loops and arcs through wave after wave of undulating sonic frequencies and turbulent effect laden production and it's probably my favourite track on the entire release. The albums penultimate piece trembles on a swirling synth drone as throbbing bass frequencies and the explosive drum track dig a deep dark furrow into the sonic firmament. 'Same And Again' swerves through passages of intensely addictive lead lines and mesmerisingly hypnotic vocal lines that intertwine with one another and undulate like a stalking pit viper and atmospheric organ sweeps create magical incantations as the collective wall of the instrumentation pulses ripples of psychedelic abandonment out into the ether at will. The album closes out with the bands debut single. 'Temporal' shakes on pulsating bass lines and shamanic like percussion as haunting opening vocalisations mimic addictive streamlined lead lines and open up into a magnificent lush and textured afro-beat connotations underpinned with mystical impressions, droning incantations and warbling guitar lines. A fitting bookend to a wonderful debut album.