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.
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 the Australian heavy music blog, I Probably Hate Your Band.
by Primal Music
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
RECORD COMPANY: Wrong Way Records
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!
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.
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.
ARTIST: Buried Feather
RELEASE: Mind Of The Swarm
RELEASE DATE: 10th February 2017
RECORD COMPANY: Cobra Snake Necktie / Kozmik Artifactz
With a sound that draws regular comparisons to Dead Meadow & Spacemen 3, Melbourne based experimental psych aficionados 'Buried Feather' have a lot to live up to. Since exploding onto the underground scene back in 2012 the band have unleashed two mesmerising singles and a debut full length filled to the brim with modern experimental psych flourishes and driving kraut rock tendencies all underscored by magnificently addictive mantra like instrumentation. 'Buried Feather' are now set to unleash their full length sophomore follow up to their 2013 self-titled 8 track monolith. 'Mind Of The Swarm' gets it's full official release on February 10th 2017 via Melbourne based indie label Cobra Snake Necktie Records as well as the German based stoner rock imprint label Kozmik Artifactz. It will be released digitally and on limited edition 180g vinyl.
Dust by Buried Feather
The album explodes into earshot swirling deftly on a wave of growling guitars, powerful percussion and those hypnotically charged organ lines that collectively circumnavigate around the woozy vocalisations. ‘I Would Miss You’ trembles on repetitious bass frequencies as it effortlessly meanders through sonic peaks and troughs, all the while surging on entrancing psychedelic vibrations and waves of fuzzy reverberation. Up next, the albums lead single buzzes into earshot on a revolving wave of colourful droning frequencies. ‘Dust’ spirals repetitively, held fast in a sonic whirlwind filled with throbbing bass lines, whirring organ swells and screaming wah wah filled lead lines as it’s metronomic drum pattern conjures up hallucinogenic incantations with great aplomb. Probably my favourite track on this entire release, ‘Dust’ is a thing of sonic beauty.
‘The Stranger’ undulates into the ether on repetitive guitars and pulsating drum patterns as menacingly hypnotic vocal lines intertwine with churning instrumentation and top notch production to produce a flood of psych induced compressions and rarefactions whilst up next, the burgeoning tones of ‘Mind Of The Swarm’ fills the senses with a slow repetitive chord progression, underscored by menacingly good reverberating drones and rhythmic organ fills. The vocals swoon on waves of delayed reverb, leading the listener on a trance like procession through walls of throbbing bass frequencies and punishing lead guitar. The opening bars of ‘Sunshine’ lean favourably into garage/psych territory with it’s pounding drums and effected fret board theatrics until the instrumentation gathers pace and injects a hit of swirling hypnotics. The track builds into a raging cacophony of noise as before filtering out into a droning synth laden whirr. Up next, 'Endless C' is slice of sunshine in a revolving cauldron of infectious sound waves. It’s deliberate swagger entices the listener in and you quickly float away on it’s addictive chord sequences, warbling vocalisations, motorik drum patterns and those mind numbing organ swells.
‘Regular Creep’ is a heavy sonic beast. The repetitious thump of percussion echoes with almost military precision as the angry growl of guitars melds fluidly with unrepentant drum cadence. It’s snaking organ lines meander in and out of another impressive vocal take as we’re led from static verses through to noisy chorus runs, explosive breaks and on into the tracks turbulent finale. The albums penultimate piece however, has futuristically themed experimental stylings as it’s hazy synth lines ride tempestuous sequenced drum patterns, deftly enveloping that addictive vocal line. ‘Screen Dreamer’ glides on noisy guitars, electronic atmospherics and the continuous hum of bass frequencies, building as it undulates into a grand exit filled with unwavering production skills. The albums closing piece shudders into life on a bedrock of off kilter drum patterns, tumbling bass lines and the rise & fall of massive swathes of fuzzy instrumentation. ‘Well Wishes’ tumbles through the ether held fast in a swirling maelstrom of heavenly noise. A fitting ending to a brilliant sophomore release.
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 now on hiatus Sound Of Confusion music blog. 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.
Fantastic Leeds based experimental alt-psych collective 'Jellyskin' have unleashed their latest single entitled 'Milk Of Magnesia' and it's dark accompanying video to the masses. Formed in 2016, 'Jellyskin' are made up of Will, Zia & Olly and they spent months writing and recording before announcing themselves as a band. They exploded onto the underground psych/gaze scene back in June 2016 with the release of ‘Grey Glass Hat’ which garnered serious online attention for the band. The track has since been re-released on tape via Blak Hand Records. 'Jellyskin' create stunning musical soundscapes that gracefully meander through shoegaze, dream pop, psych rock and it's many sub genres.
'Milk Of Magnesia' is intensely addictive. It moves slow, is draped in swathes of psychedelic reverberation and is deliciously repetitious. It will have have you hooked from the off with it's burgeoning percussive pattern, layers of stunning atmospherics, swirling synth swells and luscious lead licks. It has subtle eastern esoteric vibes underscored by droning instrumentation coursing through it's inner core that envelopes those sublime duel vocalisations with visceral aplomb. 'Milk of Magnesia' is a stunning track from start to finish making 'Jellyskin' the ones to watch in 2017.
ARTIST: Holy Monitor
RELEASE: Holy Monitor
RECORD COMPANY: Primitive Music Records / Blackspin Records
Stunning Athens based experimental psych/kraut rock collective 'Holy Monitor' have announced their debut self-titled full length release filled to the brim with luscious soundscapes that skip through a multiple of different sonic disciplines with blistering aplomb. Not content to have wowed us with last years 'Ongakubaka Records' release 'Golden Light/Aeolus', a compilation containing both of the bands previously released (only digital & in a ltd edition cassette) EP's, 'Holy Monitor' have returned with a ten track monolith that will literally blow your mind. Released via 'Primitive Music Records' in collaboration with 'Blackspin Records' the album is available to pre-order digitally right now from holymonitor.bandcamp.com
Physical copies are available to pre-order in two limited editions of high quality clear-copper & blue-white marbled vinyl, 200 copies each:
Holy Monitor by Holy Monitor
Swirling into the ether on a repetitious instrumental drone we jump off into the unknown just as 'Halcyon' powers up it's atmospheric core and washes us in subtle fret noises, serine lead lines and reverberating swells of sonic delight. 'Nemesis' arrives just as we're getting comfortable and we're soon dragged with it as it's motorik percussive swagger spews forth cascading organ lines, throbbing bass frequencies and the delicious whip of lead guitars. Otherworldly vocalisations arrive, riding a wave of screaming guitars and malicious synth swells as the sonic tension builds into a raging tremulous beast. Up next, 'Holy Monitor' unleash a full on psych behemoth in the form of the albums lead track, the mind altering, mescaline charged 'Bed Of The Earth'. Hypnotic lead guitars gently caress whirring organ swells as steadying drums and a humming baselines carry another impressive vocal performance. 'Bed Of The Earth' meanders deftly through sonic peaks and troughs until eventually exploding into a mesmerising lead break filled with electronic trickery, explosive percussion and the constant swirl of the organ all collectively awash with swathes of reverb. It's haunting vocals swirl and soar, peppered at times by delectable backing lines that seem to morph into one big throbbing behemoth tumbling gracefully through the ether like some new gravitational sonic phenomenon.
'The Vine' undulates and spirals as it floats into earshot circumnavigating itself in a peaceful haze of chandiramani percussion & shimmering tambourines before the hypnotic tendrils of it's utterly addictive guitar progressions take over, whirring above melodious baselines, the cascading plink of brilliantly constructed organ progressions and hauntingly good vocalisations. Before we can float away in a melancholic bliss however, the opening bars of 'Golden Light' (appearing here again and originally released back on 2015's 'Golden Light' EP) grace our ears and we're soon awash with it's eastern esoteric influences, menacing organ swells and stunning reverberations that loop and arc throughout, painting sonic pictures and instilling a blast of shimmering atmosphere. Up next, 'Αφροδίτη' gyrates into audible range trapped in a swirling synth drone before pounding drums and incessant organ stabs metronomically lead the charge accompanied by throbbing bass frequencies and constant barrage of lead guitars that leaps in and out of those blissful vocalisations with aplomb. Electronic theatric's announce the arrival of 'Bend The Tree's' (appearing here again and originally released on 2015's 'Aeolus' EP) and it gracefully glides on a droning synth progression and a highly addictive guitar line. This track bathes in swathes of stunning reverb as its hushed vocalisations take centre stage continuously urging the instrumentation to keep up with the pace.
'Icarus' builds rapidly, trapped in a turbulent instrumental drone, haunted by atmospheric guitar squall, reverberating fret noises, subtle sonic swells and the constant thump of the incessant bass drum. This track glides and arc's through a dark and malicious psych induced world filled with howling vocalisations that twist and morph into many different frequencies at will. Up next, the albums penultimate piece swings deliciously on a bedrock of driving kraut/motorik percussion and repetitious instrumentation. 'Ice Giants' conjures up hypnotic hallucinations of 70's sci-fi b-movie aliens aligned with a modern day sonic twist. The albums closing piece (appearing here again and originally released on 2015's 'Golden Light' EP) charges into ear shot on a bedrock of pounding drums, swirling guitars and soaring synth swells that are constantly building in tempestuous fashion and continuously circumnavigating that fragile vocal track. 'Cacti' builds from the off adding layer after layer of stunning instrumentation as it deftly skips along its chosen sonic path. A fitting ending to wonderfully creative album. Apart from the noticeable & previously released track inclusions, 'Holy Monitor' have put together a serious collection of impressive soundscapes that are sure to attract both new and old listeners alike. My favourite track on this album however has to be the highly addictive 'Bed Of The Earth' and it's driving cacophony of delectable psychedelic sounds.
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 now on hiatus) The Sound Of Confusion. 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: Singapore Sling
RELEASE: Kill Kill Kill (Songs About Nothing)
RELEASE DATE: 2nd February 2017
RECORD COMPANY: Fuzz Club Records
Icelandic based experimental neo-psych aficionados 'Singapore Sling' have announced their highly anticipated ninth studio album 'Kill Kill Kill (Songs About Nothing)' penned in for release on February 2017 via the purveyors of all things psych 'Fuzz Club Records'. Formed back in 2000, 'Singapore Sling' are credited as being one of the originators of this experimental modern day psych scene with their music continuously being mentioned as influential to many of the newer psych bands releasing music within the scene today. You can pre-order 'Kill Kill Kill (Songs About Nothing) right now from fuzzclub.com
A menacing guitar drone ushers in repetitive drum patterns and a driving bass line as 'Shake Shake Shake', the opening track on 'Kill Kill Kill (Songs About Nothing)' explodes into a reactive wall of deliriously erie cascading piano lines and mesmerising vocalisations that seem to be collectively held in some sort of static gravitational reverberation. Guitars wail and arc brilliantly behind surging bass heavy instrumentation as the track meanders through it's sonic peaks and troughs with blistering aplomb. Up next, 'Scum Scum Scum' pulls itself out of it's fuzzy swirling melting pot as mantra like vocals pulse through waves of reverb, constantly berated by unsettling piano lines and cymbal heavy percussion. We're led a merry dance until that glorious chorus progression allows in some dull light and lifts the track ever so slightly out of the darkness only to collapse like some forlorn war weary beast of burden destined to sink back into the mix. A masterful track from start to finish.
'Fuck Everything' lurches into earshot on a brilliantly executed metronomic percussive shuffle as a swirling fuzzy instrumental drone circumnavigates the reverb heavy vocal line and that desert laden tremulous guitar line whilst 'Bop Bop Boo' swings into action held fast within a pulsating unwavering instrumental behemoth as we're told to 'Forget About God & Forget About Hope'. Happy days indeed! Up next comes the album's lead single. 'Evil Angel' stews menacingly, deep within a discomforting psychedelic brew as those seriously off putting horns lounge precariously on top of a fuzzy undulating bass line. The lingering reverberation of the guitars and the turbulent shaking of a motorik percussive beat adds dark atmosphere as Henrik's impressive echoing vocalisations swirl effortlessly into the ether . 'Evil Angel' is deeply experimental and fans of 'Singapore Sling' will notice it from the off but don't be fooled, this track is genre defining.
'Sonic Haus' blasts into audible range on an angry surge of latent driving psych rock as those echoing vocalisations instil a sense of fear and trepidation. Throbbing bass frequencies hug rumbling percussion as it's wailing guitars circumnavigate the entire piece washing it clean with fuzz and reverb before exploding into a mesmerising cacophony of noise. Thoroughly enjoyable and probably my favourite track on this entire release 'Sonic Haus' is definitely worthy of your ears. Up next, 'Surrounded By Cunts' marches into the ether on a repetitive beat as droning instrumentation swerves menacingly behind meandering vocals, driving guitar squall, undulating bass frequencies and those ever consistent malicious piano stabs whilst 'Riffermania (Kill Kill Kill)' ventures into motorcycle b-movie soundtrack territory and wouldn't sound out of place echoing vehemently in films such as 'Motorpsycho, Angels Die Hard, The Hellcats or The Jesus Trip'.
The albums penultimate piece jangles and plinks into existence on a surge of quivering acoustics and swirling reverberation. 'Nothing And Nowhere' meanders deftly through expressive psychedelically charged verse progressions coupled with brilliantly executed vocalisations and on into droning chorus parts, peppered at times with fuzzy & wailing guitar squall and those militant piano stabs. The album closes out however with the majestic 'Nuthing's Theme', an atmospheric eastern tinged slice of experimental neo-psych opening up with sampled swells of brash brass sections and deviously good cascading piano lines that are all precariously positioned on top of a marching percussive assault. 'Nothing's Theme' lurches forward through it's designated sonic parts with aplomb as we're brought willingly on a dark and twisted journey of psychedelic discovery. A triumphant ending to a marvellous album.
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. 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.