RELEASE DATE: 14th April 2017
RECORD COMPANY: Penske Recordings
Dublin based three piece 'Percolator' have been creating electronically charged experimental standards drenched in poly-rhythmic kraut rock connotations underscored with subtle flourishes of shoegaze, prog rock & resonating noise since 2012 with the bands core lineup of Ian Chestnutt - guitar/vocal, Eleanor Myler - drums/vocal & John Murphy - bass staying true to the project since its conception. They popped up on our radar back in 2013 with the immense 'Little Demon' EP (which we played tracks from religiously over on our sister radio station Primal Radio) and now they have returned with a staggering collection of eight tracks packaged as 'Sestra', released via Cork based independent record label Penske Recordings. The album is available to pre-order right now both digitally and on lovely vinyl over at percolator.bandcamp.com
Sestra by Percolator
Menacing feedback laden drones announce the opening salvos of 'Spúlmachine' and they swirl & arc into a punishing crescendo of malicious noise as repetitive percussion bounds into earshot underscored by dark malevolent bass frequencies. Pulsing sequenced electronics fizz and hiss as a waves of frequential noise wash over the piece, purposefully whipping the track into a sonic frenzy. 'Spúlmachine' is a mesmerising opening track. Up next, 'Squishy Future' resonates as it pulses into the ether on a turbulent wave of fuzzy electronically charged sonic frequencies. It twists and turns, gyrating through layers of driving percussion, warbling synth swells and throbbing bass progressions that collectively circumnavigate a stunning vocal line. The track builds and builds into raging cacophony of noise before petering out into diminishing fractious sound waves. 'Law & Order' swirls into earshot leaning heavily on experimental kraut rock as its monstrously good instrumentation grinds out a futuristic sonic behemoth filled with explosive drum patterns, angry feedback laden drones, atmospheric fret noise and noisy guitar progressions purposefully created to harbour those subdued dystopian hued vocalisations.
Driving metronomic percussion and swirling synthetic drones drag 'Kimchi' out into the open as melodic guitar progressions swing and arc, pulling menacing synth lines with them as they intertwine with brilliantly executed vocal lines and intermittent fuzzed out production theatrics. 'Kimchi' is absolutely sublime and possibly my favourite track on this entire release. Up next, 'Crab Supernova' shimmers as it breaks the surface and bounces along on a steadying beat and a warbling bass progression. Vivacious feedback laden guitar squall whips and harasses the track as a beautifully serine vocal line swerves in and out of tempestuous production. 'Yellow Fire' howls into the ether on the back of swirling golden reverberation. Shimmering vocal lines dance and skip along a lazy back beat as those tremulous guitar progressions build and sway through layers of hazy effects, sporadic whammy bar theatrics and undulating bass frequencies. 'Usen't we', the albums penultimate piece, crawls into earshot on a swirling synth line coupled with jangling guitars and repetitious drum patterns. It's duel vocal lines are marvellous here as they tip toe through layers of reverb with stunning aplomb. Sporadic tremulous guitar strums add atmosphere as 'Percolator' unleash their melodic shoegaze tendencies for all to hear, and in the process, they build this track step by step until it swerves through a magnificent wall of reverberating sound and on into its soaring finale. The album closes with the brilliant 'Binkle', a swirling tempestuous affair with screaming effects laden guitars and throbbing bass lines permeated by another impressive vocal performance that all collectively rides steadying drum pattern. Solid stuff and a fitting end to a marvellous album. For me, 'Percolator' have created one of the best Irish album's of the year so far in 'Sestra' and I wouldn't be surprised at all if it appears on many of the 2017's best of lists come year end.
ABOUT THE AUTHOR:
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.
by Primal Music
ARTIST: 10 000 Russos
RELEASE: Distress Distress
RELEASE DATE: 7th April 2017
RECORD COMPANY: Fuzz Club Records
Porto based '10 000 Russos' create a twisted, droning, psychedelically charged & industrially dark vision of social dystopia through their music that is very hard to shake off. Their collective sound envelopes and encroaches the inner psyche, it never panders to it's contemporaries and it leaves an enduring mark on every single listener that it touches making them one of the most exciting bands to have ever graced this modern day psych scene. The trio have just announced a brand new six track release entitled 'Distress Distress' penned in for release on April 7th via the ever reliable London based 'Fuzz Club Records'. The album is available to pre-order right now on various formats from fuzzclub.com
Swirling into audible range comes a progressive motorik behemoth in the form of ‘Germinal’, track one on this impressive release. Tumbling repetitive percussion hover menacingly in the ether, held fast in a kind of sonic gravitational field as those rumbling bass frequencies and growling guitar progressions deftly circumnavigate it’s instantly addictive vocalisations. This track heaves and lurches brilliantly through layer after layer of reverberating instrumentation dragging the listener along as it meanders through sonic peaks and troughs with relative ease. It’s a bloody masterful opening salvo indeed. Up next, ‘Tutilitarian’ stomps into earshot on a metronomic beat that’s violently harassed by droning guitars and haunting vocal progressions. Throbbing bass lines undulate wildly, hypnotising this listener with it’s snake like charms as a raging sonic war is waged through the medium of screaming guitars, disturbing production, noisy drones and psychedelically induced electronic theatrics.
‘Europa Kaput’ enters the sonic arena strapped to a shuddering sequenced beat and a stomping bass line. 10,ooo Russos noisy futuristic tendencies are evident here and they lean heavily towards the experimental, casually dancing through a dystopian sonic landscape, laying waste to what has come before and creating a whole new dimension to the genre that is modern psych rock. Next, ‘ISM’ has humble beginnings as it’s fizzing electronics exquisitely lick a repetitive bass progression while haunting atmospherically effected fret noise pulls frequencies apart at will and turns them into subtle instrumental drones that are free to burn out whilst screaming into the ether. This track builds like a dark progressive techno track, gyrating menacingly around spoken word vocalisations and a driving percussive attack before culminating in a raging cacophony of turbulent reverb and noise.
The albums penultimate onslaught comes in the form of ‘Radio 1’, a tactile pulsing sonic palpitation that vibrates & oscillates around a quivering kraut like sequenced synth progression, brilliantly chained to the sharp metronomic striking of a repetitive percussive beat. It’s subtle vocalisations emerge in stages through a haze of reverb and overdriven guitar squall building with dark menace at every instrumental circumference and merging effortlessly with the tracks collective resonating sound waves. ‘Radio 1’ is my favourite track on this entire release and I urge you to pop on some headphones just to experience the entire immersive sonic journey in full splendour. The album closes out with the rather infectious ‘Distress’. Motorik percussion and growling bass frequencies ride a wave of ticking drum hits as atmospheric machine gun sonics build vivaciously into waves of resonating fret noise. Futuristically styled vocal lines add to the melee of delicious noise, pulsing with expectancy and urging the track on into it’s grand finale. A fitting end to what has to be one of the best releases of 2017 so far.
ARTIST: Rancho Relaxo
RELEASE DATE: 10th May 2017
RECORD COMPANY: Wrong Way Records
One of our favourite bands here at Primal Music, Norwegian based 'Rancho Relaxo' have announced a brand new five track EP entitled 'Polarized', penned in for release on May 10th 2017 via the ever reliable 'Wrong Way Records'. 'Polarized' is the bands eight release & it again epitomises their unique talent of sonic experimentation by creating whirlwinds of intense electronically charged psych intertwined at times with subtle spaced out kraut rock tones. The album has the pleasure of being touched by the bands brand new 60's rhythm ace drum machine which completely turns their overall sound on it's head thus creating a sublime collection of tracks that are worthy of your ears. It is being exclusively released as part of 'Wrong Way Records' Blacklist 100 Series and is available to pre-order right now on lovely 12' hand numbered black vinyl via wrongwayrecords.bandcamp.com
Rancho Relaxo - POLARIZED - Blacklist 100 by Rancho Relaxo
‘Spooky Satisfaction At A Distance’ arrives into the ether held fast in a repetitious percussive swagger as its soaring synth swells echo and drone meticulously as if held in a continuous sonic stasis. Angry guitars growl and belch out distorted atmospherics whilst its haunting vocalisations swirl through swathes of gratifying reverberation. It is a sublime opening track filled with intensely hypnotic instrumentation that streams effortlessly through layers of blissed out electronically charged modern psychedelia. ‘Augen Zu’ drones and swirls into audible range strapped to sequenced electronic percussion and a deeply repetitive guitar progression. This track builds through each chord change brilliantly as underlying synth swells buffer and harass those hypnotically charged vocal lines with stunning aplomb. The arrival shimmering tambourine hits and undulating shakers add instant atmosphere as those cascading synth lines loop and arc through clouds of reverb like some sort of sonic hallucinogen. ‘Augen Zu’ is sublimely addictive and is probably my favourite track on this entire release.
Up next, ‘Life & Death’ billows effortlessly through infectious guitar progressions, gyrating organ lines and distant vocalisations that collectively ripple and surge through spiralling production and woozy denouements whilst swirling frequency laden sonic tendrils reach out to wrap themselves around sequenced electronic drum patterns as ‘Tell Me Something’ enters earshot draped in a hazy veil of droning instrumentation that melds effortlessly with atmospheric swells of synth & guitar. The arrival of distant reverb drenched vocalisations add depth to the track as it’s snaking percussive thrills dance and skip on a bedrock of iridescent bass frequencies and vibrating mechanical sound waves. The EP’s closing piece growls and fizzes into earshot on a wave of punishing feedback driven guitar squall. ‘My Girl (Spoken)’ shudders precariously on a kind of metronomic percussive precipice as throbbing bass frequencies hold court underlined by electronic beeps and whirrs that accompany an up front vocal line. Noisy guitars circumnavigate the entire piece emitting a menacing atmospheric hue to proceedings as the track rises and falls hypnotically through stunning vocal samples and swirling clouds of reverberation. A fitting end to a bloody marvellous EP.
ARTIST: Dead Sea Apes
RELEASE: Sixth Side Of The Pentagon
RELEASE DATE: 3rd April 2017
RECORD COMPANY: Sky Lantern Records & Cardinal Fuzz Records
Manchester based experimental psych aficionado's 'Dead Sea Apes' have returned with a brand new album entitled 'Sixth Side Of The Pentagon'. The band have been carving out their own rather special niche in a scene that strives on it's core principles of expansive and consciousness-altering guitar, bass and drum based compositions. 'Dead Sea Apes' have never easily fitted into a 'psychedelic scene' as such like so many of their contemporaries but have instead taken a different path to sonic enlightenment by experimenting with dub, electronic sequencing and mind altering reverberations that both thrill and hypnotise all at once. 'Sixth Side Of The Pentagon' is available to pre-order right now from skylanternrecords.bandcamp.com (US) or cardinalfuzz.bigcartel.com (UK) on standard weight black vinyl edition, 250 copies with full color printed inner sleeves & on CD.
Sixth Side of the Pentagon by Dead Sea Apes
Cavernous reverb peppered with echoing percussive delays swirl menacingly around the rise and fall of a repetitive bass line as ‘The Map Is Not The Territory’ kicks open the door to an atmospheric world of mesmerising (almost incantational) psychedelic dub. This track heaves effortlessly through moments of unrepentant experimentation as growling guitars ride soaring instrumental drones and deliriously off kilter drum patterns as its lead lines whip and harass the senses with wild sonic abandon. Up next, ‘Sixth Side Version I’ provides an atmospheric interlude before ‘Low Resolution’ staggers into earshot riding a resonating drone and slow moving bass line. Synth lines fizz as the tension builds and the track meanders through layers of reverberating lead guitar lines collectively battered by angry synchronised electronics. ‘Dead Sea Apes’ inject the twenty second long 'Sixth Side Version II' next, fitting another piece into the sonic jigsaw before unleashing the brilliant ‘Pale Anxiety’, my favourite track on the entire release. Slow moving drones swirl and loop around a snaking bass line as a repetitive percussive assault keeps a steady metronomic beat. The occasional delayed vocal line slips into earshot riding a turbulent processional wave of noisy reverb laden electronics, jittering effected guitar lines and the odd chopped brass sample that tumbles and dances through layers of echoing hypnotics.
‘Nerve Centre’ explodes into a cacophony of guitar stabs, intense ethereal vocal samples as wailing lead guitar lines and those off tempo drum patterns that collectively add billowing atmosphere. This track hangs suspended in the sonic ether, held fast in a whirlwind of undulating reverb and mind bending production. 'Sixth Side Version III' enters audible range and squeezes shuddering lo-fi instrumentation into a melting pot of spellbinding echoing delays whilst ‘Lo Res’ ambles into the ether tethered to a meandering bass line and it’s accompanying sequenced electronic theatrics. Glorious guitar progressions act like bedrock thus fixating this listener to their hypnotising sway whilst swirling bleeps and whirrs meld with immense production to bring us on a gratifying sonic adventure of immense proportions. The album twinkles and jitters in a golden hued haze before the opening salvos of ‘Tentacles (The Machine Rolls on)’ shatter the illusion and unfurl their sonic tendrils to intertwine brilliantly with a shuddering drum pattern, undulating bass progression and venomous lines of spoken word. Angry sequenced production gradually bubble up to the surface to circumnavigate the entire piece, draping it in resonating reverb laced snare hits and the constant gyrating throb of bass.
The album drags ‘Sixth Side Version IV’ out into the open to show us it’s final death throws before plying us with it’s closing soundscape. ‘Rectifier’ jangles and sways on a wave of fizzing synth, hypnotic bass and the repetitive pitter patter of steady metronomic percussion. Heady lead lines stream and glide in close proximity to those senses pummelling effected delays and the occasional stab of rhythm guitar as ‘Dead Sea Apes’ exhume every single morsel of hallucinogenic dub they can muster and fire it out into the sonic ether. A fitting end to a bloody marvellous album.
Black Needle Noise is the new moniker under which famed and acclaimed underground producer John Fryer tweaks and creates. It’s a new kind of heightened ambient/experimental project that holds nothing back while traversing for adventure in the darkest realms of electronic and dream pop music. While it’s refreshing and original, one can’t help but hear the signature touch of the legendary producer in every corner of every track, as pounding drums mix with several bouts of 80’s sounding music. For those who don’t know of John Fryer, his retrospective production chronology reads like a trip through the alternative underground of the 80’s and 90’s; having produced or had some part in releases from a wide array of bands and artists from the post-punk era. And for those of you who do know him, you will recognize him and his signature sound as one half of 4AD legends This Mortal Coil, a band who are comfortably considered one of the most influential and acclaimed British alternative acts of the past century. Black Needle Noise borrows some of Mortal Coils gothic flavours, along with a heavy and deep electronic sound that adds a modern feel to each song. Fryer has been releasing singles from Black Needle Noise’s debut album one by one, which will eventually amount to a full album release; featuring a guest list of some of the most brilliant and talented musicians from across the world alternative music scene.
Swimming Through Dreams by Black Needle Noise with Mimi Page
‘Heaven’ is a warped, percussive and dark musical journey; guided through the depths of darkness by the thrum of a bass guitar and the heavy, sludge like weight of the backing drums. Throughout the song, Fryer introduces a plethora of brilliant production techniques; one of which is the way the instruments mix together to create what can only be described as an intriguingly confusing piece of music making. And although the experimental instrumentation and production sound like a giant stomping, Fryer adds a neat and tricky piece of This Mortal Coil's gothic edge to the song by featuring a dazzlingly swaying choir like string section deep at the back of the song. The vocal performance, by the ever-talented Jennie Vee, hits every note beautifully; crafting another dimension to the song in the fantastic context of contrast. Fryer followed ‘Heaven’ by releasing the much more ambient and electronic influenced ‘She Stands On A Storm’, which is a powerful electronic standard that features a synthpop/industrial chorus. In a similar vein to ‘Heaven’ it mixes this electronic instrumentation and programming with a myriad of sounds and noises that land somewhere between samples and FX heavy feedback loops and tricks; that walk around freely in the background of the song. Fryer again utilizes a fantastic vocalist to sing amidst the tenebrosity and darkly dispersed sounds of his musical structures; this time it is the harmonious pipes of Andrea Kerr, who comes across as more subdued to Vee, but in a way that does wonders for the song.
Perhaps the best lead single that Black Needle Noise has released is the atmospheric, soaring, dream pop/ethereal wave oscillating of ‘Swimming Through Dreams’, with a wondrous vocal track from Mimi Page, who presents the case for how voice can be used as an instrument just as a guitar may. It’s three minutes of Fryer layering choir synth upon choir synth upon string arrangements to create a song that sounds like the musical equivalent of glowing. But even though he does everything right in a production sense, it is Page’s hypnotic vocals that serves as the most interesting layer of them all. ‘Teeth to Grey’ is another symphonic piece of dark electronic pop music, this time with the added element of a trap-influenced drum machine program within the song. If one single showed how brilliant of a producer Fryer was, it would be this; where noises, instruments and sounds rattle around the song to create a confusing and engaging listening experience. Things are panned around, and then they’re not, and then other sounds seep in while your concentrating on another thing, all the while you hear the tiny micro-cogs of a greater machine churning out something memorable and heavily influenced by a darker form of 80’s ethereal wave pop. For ‘Teeth to Grey’ he calls upon the skill and talent of the vocalist from experimental/trip hop project Omniflux, whose voice is again greatly different in mood to those featured on other tracks. Vocals here are much more hushed and whispered, keeping in key with the intricate and net-like music. The much more dream pop influenced ‘Treasured Lies’ sees the combination of electro-pop and the soaring kind of shoegaze that’s made less with guitars than it is with walls of light and bright sounds. The vocal performance of Zialand is a good fit for the producers more experimental tendencies, which at the songs beginning takes the form of lo-fi feedback and frequencies.
These collective singles showcase the genius of Fryer’s production and song writing techniques, harking back to his older projects and musical explorations in the ‘good ol’ days’ of alternative music. If there is one thing that is definitely different from his earlier This Mortal Coil releases it is that every single released by Black Needle Noise sounds clean and polished, even when a cacophony of noise screeches and whizzes away in the background. Much like fellow producer Dean Garcia, the technological advancements in music production, mixing and recording seemed to have allowed Fryer to create a more fluid and smooth sound; all the while creating beats and dense gothic sounds that still hold their intent through the ‘fresh’ production style. Praise should be given to every vocalist who Fryer has enlisted for this project; each containing their own distinctive vocal styles that suit their chosen songs with an air of beauty and mystery. These Black Needle Noise songs showcase a producer at the top of his game, through his skills and talents in mixing, song writing and sound.
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 the Australian heavy music blog, I Probably Hate Your Band.
Cork based experimental kraut/psych/alternative collective 'The Grey Merchant' have returned with a stunning new single entitled 'The Last Transmission' following on from their highly addictive debut single 'Spotless (The Protecting Veil)'. 'The Grey Merchant' is the collaborative recording project of Enda O'Flaherty (Neon Atlas) and a collection of friends and fellow musicians. Their sound gravitates towards a mixture of stoner rock & modern day experimental psych & kraut rock with a moody undertone that is steeped in glorious reverberation. 'The last Transmission' is penned in for release on February 23rd with the promise of more releases throughout 2017.
'The Last Transmission' is absolutely massive in scope! Instrumentally immense, it glides through layer after layer of blistering reverberation, rattling on explosive percussion, soaring synth swells and impressive vocalisations all the while being whipped into a sonic frenzy by intricate guitar progressions and brilliant executed production. A step up from their previous release, 'The Last Transmission' only whets the appetite for a hell of a lot more from the band.
ARTIST: Dead Gurus
RELEASE: Acid Bench
RELEASE DATE: 17th February 2017
Dark and foreboding, menacing and hypnotic, Minnesota based psych aficionados 'Dead Gurus' are no strangers to this modern underground psych scene. The band are made up of Jason Edmonds (Magic Castles), Bennett Johnson, Collin Gorman Weiland (Daughters of the Sun and Dreamweapon) & Ryan Garbes (Wet Hair) and what they collectively create is a no holds barred, deeply entrancing thrill ride through the darker side of the psychedelic spectrum. Their latest seven track opus entitled 'Acid Bench' is unleashed on February 17th 2017 via the exciting UK based independent record label 'Wrong Way Records' with pre-orders now available both digitally and on limited edition white with black haze vinyl via wrongwayrecords.bandcamp.com
ACID BENCH by Dead Gurus
'Acid Bench' opens in a feral haze of tape hiss, feedback and raging guitar squall as 'Vibrations' kick starts it's inner engine and winds up its hypnotically charged instrumentation into a blazing cyclonic whirlwind of intense noise. Repetitious drones coupled with squealing lead guitar lines lick and whip the entire piece to within an inch of its life as those stomping drum patterns act as a metronomic kind of timekeeper. It's monotone vocalisations add intense atmosphere as we're dragged on a fuzz laden voyage of psychedelic discovery. Up next, 'Mistress X' pulses on a wave of reverberating guitars, throbbing bass frequencies and pounding drums as it's highly addictive vocal lines weave an enticing sonic web, luring it's listeners into a turbulent inner core before unleashing a torrent of fuzz, phasing guitars and a full on sonic storm of wailing noise. 'Serpent Fire' is an undulating sonic behemoth filled with throbbing bass lines, unrelenting guitars & a repetitious percussive attack whilst 'Celestial Fuzz' cleanses the soul with it's melody driven opening bars before unleashing a full on mind bending torrent of menacing psych rock that swirls around it's mantra like vocalisations with blistering aplomb. 'Celestial Fuzz' is a cyclonic beast that twists and turns through many different sonic permutations. It's a bruising white knuckle ride that heaves and pulses intermittent reverberations out into the ether on waves of hypnotically charged incantations that will leave you wanting more. Definitely my favourite track on this entire release, 'Celestial Fuzz' is a modern day psych rock triumph and a serious recommendation from me.
Up next, 'Song For Saraswati' swirls into audible range on blissful waves of peaceful instrumentation, draped in swathes of eastern esoteric flair, mysticism and droning vocalisations. These opening bars however lead us all into a false sense of security as 'Dead Gurus' unleash a churning sea of frequential noise, filled with unrelenting repetitious instrumentation and mantra like vocalisations that collectively form a heady invocation of mind altering, mescaline fuelled brilliance. Do yourselves a favour and pop on some headphones, sit back and let 'Song For Saraswati' seep into your inner psyche. You will thank me for the tip afterwards. The albums penultimate piece is dark and cyclical. 'Starlight Sisters' takes no prisoners, there's absolutely nowhere to hide from this turbulent brute. Steeped in heavy bass patterns and raging guitars it swings menacingly on a bedrock of metronomic percussion building in intensity as it meanders through the ether cutting a deep furrow through proceedings just to allow those entrancing vocal lines to sit comfortably somewhere whilst all around them wields a sonic war of attrition. 'Dead Gurus' keep the longest track on the entire album to close out with. Coming in at a whopping eight minutes plus 'Black Silk' uses punishing instrumentation to circumnavigate those intense vocal lines. Explosive percussion and repetitious bass frequencies tie the piece to terra firma as all around them pulses and undulates into a wild sonic beast that surges wave after wave of punishing vibrations out into the ether. 'Black Silk' is powerfully addictive and it closes out what will surly be one of the best releases of 2017 come years end!
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, 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.
RELEASE: Park Lane 3333
RELEASE DATE: 13th January 3017
RECORD COMPANY: Unsigned
'Park Lane 3333' is the latest release from Purepleaser (LA-based Bryan Newruck), coming hot on the heels of a full length album entitled 'Den Mothers' released last September.
Park Lane 3333 ep by Purepleaser
The record opens in a confusion of brass and nursery rhyme all as warped as Alice in Wonderland. Dark melodies beckon from Sway & Sway, but there’s a glimmer in amongst the crash and growl. Light and air flood in for One Day, a slowdance with a difference. Closing track Film Score 1 (John Hughes Where Are You?) moves from foreboding to psychedelic ballad complete with backward vocals samples and shimmering keyboards - beautiful and definitely too weird to feature in any of the movies that may have inspired it.
'Park Lane 3333' is out now at purepleaser.bandcamp.com
In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.
RELEASE: Things I Don't Know
RELEASE DATE: 28th January 2016
‘Tuath’ exploded onto the Irish underground scene back in March 2015 with their intensely addictive & deeply experimental debut EP ‘An Taobh Tuath(Ail)’ closely followed by their immense spaced out single ‘Amhairc Thart Ort Fein’ in September of the same year. Last year the band returned with a blistering four track EP entitled ‘Existence Is Futile’ packed full of experimental dreamscapes that skipped from serine psych-rock into blissfully dreamy shoegaze and on into expressive jazz fusion coupled with swirling hypnotically progressive rhythms and sullen space rock hues. Now the band have created what is probably their most interesting release to date. 'Things I Don't Know' pulses through four tracks of soaring reverb laced progressions, deeply filled with haunting vocalisations that are collectively underpinned by heavier grunge filled moments, swirling instrumentation and massive swathes of melody.
Things I don't know by Tuath
The opening track, 'Stoically, I Ran Through The Rubble' jangles into earshot on wavy guitars and floating atmospherics. Melodious vocals hold court here and when allowed to roam in the over all mix have a knack of drawing you into them even when all around them is waging a sonic war of attrition. Up next, ‘Seacht Seachtaine’ revolves effortlessly around an addictive guitar progression as Rob Mulhern’s darkly melodic vocals churn through wave after wave of diminishing reverb and pulsing sequenced swirls. The back story surrounding this track is harrowing. It deals with the loss of Mulhern's close friend who committed suicide back in 2016 and the events incorporating the seven weeks between hearing he was dead and the coast guard having found the body. It's written as a narrative in Ireland's native tongue and it ignites into an agitating psychedelic behemoth with punishing percussion that drags droning guitars and boiling saxophone lines into the mix thus melding perfectly with haunting vocalisations, twisting and arcing into one massive wave of utterly addictive turbulent noise. Possibly my favourite track on this entire release ‘Seacht Seachtaine’ is a serious recommendation from me.
The penultimate piece on this release 'Things I Dont Know' swirls into the ether on waves of shimmering synth & reverberating guitars, occasionally broken up by the incoherent ramblings of Tuath’s lead man Rob Mulhern and the welcomed sampled vocalisations of Carl Sagan. Just as we’re about to float away into the ether however, explosive percussion shatters hypnotically charged sonic incantations by driving a flirtatious break beat into proceedings that leads us on merry dance through stellar production theatrics and on into the tracks atmospheric finale. The EP's closing act entitled 'Superhighway To Ignorance' drones into the audible range held fast in tempestuous swirling synth line before exploding into a raging torrent of noise that meanders through so many different musical genres it’s difficult to pin one down at any given time. 'Superhighway To Ignorance' is a whirring ball of sonic turbulence supplemented at times by wailing incoherent vocalisations and driving instrumentation. It has repetitiously overdriven guitars that ride a tempestuous beat whilst it's lead lines lick and harass the piece to within an inch of it’s life. It’s important to stress here that traditionally ‘Tuath’ are masters of experimenting with sound so newer fans of their work might be asking themselves ‘What The Fuck?’. Don’t panic, go with it & pop on some headphones to check out what is actually going on under the latent noise. This track will be an absolute monster when played live and it's a fitting ending to what is a massive step up for a band who we have covered intensely here at Primal Music from their very first release. Bravo Tuath!
RELEASE DATE: 13th February 2017
RECORD COMPANY: Cardinal Fuzz / Sunrise Ocean Bender Records
Two of the more interesting of independent record labels that are firmly established in this modern day psych rock/kraut rock firmament have joined forces to release an immensely bruising two track self-titled monolith by magnificent Gothenburg based psychedelic explorers ‘Lamagaia’. The initial seed for this release was sown by UK based ‘Cardinal Fuzz Records’ after the release of the bands ingenious ‘Lamagius’ LP and is wasn’t long before U.S based ‘Sunrise Ocean Bender Records’ jumped on board with the collective aim to get this release out to as many ears as was feasibly possible. The ‘Lamagaia’ LP has it’s official launch 13th February 2017 on standard black vinyl with full coloured printed inners (sleeve and inner sleeve designed by Rommel Valgart) and you can pre-order it right now from both www.sunriseoceanbender.com & www.cardinalfuzz.bigcartel.com respectively.
‘Aurora’ billows into the ether and immediately sets up a kind of gravitational holding pattern, held fast within a vicious feedback laden whirlwind. Coming in at a whopping 16 minutes plus, it was quickly evident that I was in this turbulent behemoth for the long haul. Growling overdriven guitars creep in close proximity with metronomic percussive patterns as throbbing bass frequencies feed effortlessly into the sonic mayhem. ‘Aurora’ surges through sonic peaks and deep atmospheric troughs fed solely on repetitious progressions, mantra like vocalisations and menacingly good instrumentation as the band inject reverberating electronics, explosive percussive breaks and self flagellating lead licks into to the already revolving cauldron of noise. This track is hypnotically intense, absolutely all consuming and saturated by mescaline fuelled sound waves purposefully positioned to bring you on a glorious hallucinogenic trip.
Up next, ‘Paronama Vju’ swirls into earshot building gracefully on luscious waves of shimmering synth, impressive bass frequencies and sporadic drum patterns. Gyrating drones meld effortlessly with fret board theatrics collectively immersed in swathes of diminishing reverb until we’re led into astonishing passages of entrancing ambient abandonment. ‘Lamagaia’ unleash their experimental side as ‘Paronama Vju’ unfurls itself into a repetitious monster, fastened brilliantly to free form instrumental progressions, cascading bass lines and screaming saxophone whirls, all fixed to a bedrock of an almost Jazz like percussive swagger. I can honestly say that this track is eighteen minutes plus of pure sonic enjoyment that I will return to again and again. Absolutely magnificent.