ALBUM REVIEW - Dead Vibrations - Dead Vibrations - Featured Image - (700x700)

ALBUM REVIEW | Dead Vibrations - Dead Vibrations

ALBUM REVIEW - Dead Vibrations - Dead Vibrations - Post Image - (300x300)ARTIST: Dead Vibrations

RELEASE: Dead Vibrations

RELEASE DATE: January 26th 2018

RECORD COMPANY: Fuzz Club Records 

Swedish noise manipulators 'Dead Vibrations' create a delicious mix of psychedelically tinged shoegaze and dark atmospherics layered brilliantly with swathes of gloomy reverberation, screaming feedback, angry vocalisations all topped off with brooding fuzzed-out guitars. Carefully honing their sound over the past few years through touring and appearing at some of Europe's best psych fests, 'Dead Vibrations' have made considerable sonic strides. Since exploding onto Stockholm's underground psych scene back in 2015 the band have released their debut 12” EP ‘Reflections’ and this year's 7” single ‘Swirl/Sleeping In Silver Garden'. The band are made up of Christian Jansson - guitar/vocals, Elmer Hallsby - bass, Josefin Ahlqvist Lyzwiski - drums & Olov Sjogren - guitar and they have joined forces with London based independent record label 'Fuzz Club Records' to unleash their immense self-titled debut album with the release date penned in for January 26th 2018. The album is available to buy via www.fuzzclub.com on lovely deluxe vinyl (limited to 100 copies on 180g coloured vinyl, hand numbered and gatefold sleeve) and on standard vinyl (limited to 400 copies on 180 vinyl).

Angry instrumental drones swirl and loop through clouds of dark and oppressive reverberations as 'On A Sunday Morning' unwraps it's fuzzy sonic tendrils and pulls repetitive percussion and the throb of deep bass frequencies out into the ether. Melodious guitar progressions envelope soaring vocalisations, strapped to noise laden passages of screaming feedback that pummel the senses as the track builds brilliantly and lurches to a turbulent finale. It's a blistering opening salvo indeed. Up next, 'Chemical Hug' belches out subtle feedback, sporadic notes and sullen fret noise as it winds itself up and steadily sways into audible range. Somber vocal lines ride a huge surge of instrumental fury permeated by layers of dark swirling atmospherics that loop and arc atop of a steady drum pattern. Catchy chorus changes carve out a deafening pause before we lurch back into a raging cacophony of fizzing noise as 'Chemical Hug' presents it's grungy final throws to the masses.

Whirring drones blend with overdriven guitars drenched in swathes of reverb with the arrival of 'Dive With You'. It's addictive lead lines quiver and sway as ghostly vocal lines pulse a surreal kind of melody through the collective sonic fog. Rolling drum patterns hold court here as throbbing bass frequencies hover in close proximity, building ever so slowly as repetition creeps into proceedings and continue right up until tracks end. Up next, 'Marbles' explodes into a magnificent array of sonic colour with pounding almost motorik like percussion keeping a steady backbeat and used primarily as a vehicle to collectively ferry those immense vocals, rumbling bass lines and huge layers of atmospheric guitar on into that magnificent instrumental break and then on into that angry finale. 'Marbles' is a triumph, worthy of your ears and quite possibly my favourite track on the entire release. Up next, the open salvos of 'Void' are angry and atmospheric with swirling reverberations and deep dark sonic trenches filled with alluring instrumentals and a pounding percussive assault but permeating that cacophony of wonderful noise are melody strewn vocalisations that surf on top of the melee and at times carry this track skywards. It's masterful in it's approach and another highlight for me.

The albums penultimate piece entitled 'In Habits' materialises from Void's dissipating death throws. Dark and malevolent, this track has a definite shoegaze personality with ghostly vocalisations riding hypnotic beats, soaring lead lines and the deep penetrating rumble of sullen bass frequencies. Mesmerising instrumental breaks pull the listener in before exploding into a blistering melting pot of sounds lead primarily by luscious guitar and growling production. 'In Habits' ends in a sonic haze before the incantational sounds of 'Bitter Better Way' creep into audible range and wash this listener with a heady concoction of swaying percussion, quivering guitars and cascading bass frequencies. Immense vocals meld effortlessly with dark swirling sounds, breathing life into proceedings as they cut through the noise thus allowing this track to erupt into a massive sonic behemoth. It's a brilliant ending to a mesmerising debut album.

5/5

LINKS:

fuzzclub.bandcamp.com

fuzzclub.com

facebook.com/deadvibrationsband

ABOUT THE AUTHOR: 

Del Chaney - (Author Photo)

Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


Pretty Lightening - The Rhythm Of Ooze - Album Review - Featured Image - (700x700)

ALBUM REVIEW | Pretty Lightning - The Rhythm Of Ooze

ARTIST: Pretty Lightning

RELEASE: The Rhythm Of Ooze 

RELEASE DATE: 1oth November 2017

RECORD COMPANY: Fuzz Club Records 

From Saarbrucken in Germany comes the loud and wild crunch of Pretty Lightning: a band whose influences include drone rock, krautrock, stoner rock, blues, alternative rock and most importantly psychedelia. Here they present their third album 'The Rhythm of Ooze', drenched in the structure of hard-stompin’ blues but with the alternative sound of thick psychedelia. Songs are epic journeys of steady rhythm, percussive backings and rolling guitar and bass sections, all amounting to something that steps well above the rest in terms of genre and contemporaries. 'The Rhythm Of Ooze' had it's official release back on the 10th November 2017 via those ever reliable folks over at 'Fuzz Club Records' with digital copies available through bandcamp and vinyl copies through fuzzclub.com

‘Thunder Mountain Return’ opens the showcase with its percussively sequenced opening of bangs and clattering, following by the slow introduction of other instruments. Over the seven minute long opener Pretty Lightning carve a neat mental picture of rolling through the desert: the greatest addition to the track is the winding organ and guitar combo that keeps the sound primarily focused on the a kind of neon blues music. The drums back everything up tightly and intricately: an engaging opener. ‘Willow Valley Blues’ features the first vocal performance of the album, which is drowned out beneath a kind of fuzz-centric tone, reminiscent of other contemporaries (most notably any band Dan Auerbach features within). The instrumentation is fun and almost borderline pop-infused, while simultaneously featuring a kind of krautrock, motorway rhythm. ‘Tangerine Stream’ turns things down to a more mellow level, still featuring the same vocal FX, but conjures up something interesting for the listener in relation to song writing. Guitars churn, the rhythm section cooley follows, and altogether a catchy melody is established between the players. ‘Loops’ features some interesting timing, hisses and noises, buzzes. The vocals, which come in after the second part of the song suit the tempo and sound; making it one of the most straightforward yet rewarding vocal contributions on the album.

The title track is an album highlight: the psychedelic tempo and beats of the drums along with the less drowned out vocals and the fuzz-induced bass line make for a great mixture and texturing. A similar feel follows on the straightforward rock of ‘This Machine is Running’, which captures the bands more rock-tinged practices. A drum break in the middle of the song also adds a twist of something different as well. One of the most enjoyable tracks on the albums second half is ‘Rainbow Fantasies’ which melds around a laidback guitar riff and some very pleasant humming. The drum kit is absent, in its place is a collection of bells and a tambourine, making the song even more low down and humble in its appearance. The best song on the whole album is ‘Pale Yellow’ a slow burn, spaghetti western shootout soundtrack that features jangling guitar and brilliantly hazy vocals and lyrics. The track rolls along, the percussion loosely jiggering behind the brilliant fuzz and rays of guitar noise vibrating from the instrument. ‘Born to Snooze’, another seven minute feature, doesn’t add up to the rewards of the equal length opener ‘Thunder Mountain Return’, instead become background music that one would happily classify as generic psych rock music.

Thanks to their influences and a true knack of song writing, Pretty Lightning climb well above the generic, average pysch bands that seem to have begun sweltering around the current music climate. My only true criticism would be for the Black Keys style vocal FX, that for the most part sound copied, bland and actually quite irritating. Besides that, the production and song writing is truly strong and as mentioned before, Pretty Lightning successfully rise above the wave of mediocrity that has formed around their chosen genre: a rewarding journey through imaginative sound.

4/5

LINKS:

fuzzclub.bandcamp.com

facebook.com/prettylightning

ABOUT THE AUTHOR: 

Cam Phillips - Contributing Writer

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


Helicon - Helicon - Album Review - Featured Image - (700x700)

ALBUM REVIEW | Helicon - Helicon

ARTIST: Helicon 

RELEASE: Helicon

RELEASE DATE: 8th December 2017

RECORD COMPANY: Fuzz Club Records

Glasgow based experimental psych outfit 'Helicon' have announced their highly anticipated self-titled debut album to the masses. With eight EP's under their belts, 'Helicon' have taken the live scene by storm, touring Europe and sharing the stage with some serious heavy hitters including Wooden Shjips, The Warlocks and Dead Skeletons. Helicon's sound is addictive, engagingly dynamic and at times all consuming or otherworldly with melodic eastern tinged psych, swirling drones, mantra like vocalisations and intricately intense guitar work that collectively merges into one almighty sonic attack. 'Helicon' get's it's full release on December 8th 2017 via the ever reliable 'Fuzz Club Records' with pre-orders available on deluxe edition vinyl (limited to 100 copies) and standard vinyl (limited to 400 copies) over on fuzz club.com and digitally from fuzzclub.bandcamp.com

A pulsating motorik wave of driving sonic abandonment announces the arrival of ‘Devil On Your Tongue’, the opening salvo on this sublime collection of tracks. It’s rhythmic progressions envelope the senses as they swirl menacingly through layers of fizzing synth, throbbing bass and driving guitars created primarily to carry those mantra like vocalisations into and out of crawling cavernous breaks that are filled to the brim with heady clouds of resonating sounds and atmospheric reverberations. ‘Valmiki’ swirls into ether tumbling gracefully through the shimmering sounds of luscious sitar underpinned by a steady drum pattern, the plink of fragile synth and rolling guitars. The pace soon quickens introducing droning instrumentation to the mix, echoing brilliantly as sonic frequencies stack on top of one another, gaining momentum with each tempestuous turn, sucking the listener into a broiling mass of stunning sonic sound waves. ‘Valmiki’ is a masterful track, highly infectious and deeply entrancing. Up next, ‘Seraph’ the albums lead single, drones into life meandering on the sweet sounds of melodic sitar and metronomic percussion. Shimmering guitars accompanied by deep throbbing bass frequencies permeate the mix, adding a heady atmosphere before dragging those stunning vocalisations into audible range whilst undulating brilliantly through layers of sticky reverberation.

‘Drinking Of You’ fizzes into life riding a sequenced synth line accompanied by hum of bass, subtle guitar and rolling percussion. A dark and oppressive atmosphere starts to build, and it seeps into every single fibre of the track, erupting in stages into a heaving mass of angry instrumentation that undulates into periods of calm and at times can slip into deep dark trenches filled with raging frequencies and tinged with a kind of lysergic sonic energy. It’s a bloody impressive track that can both scare and amaze all at once. ‘The Bold Yin’ momentarily drones into life pulling blissed out synths and shaking percussion with it as it tumbles through the ether. Heavenly vocals float atop shimmering sounds topped up with swirling organ swells and resonating acoustic guitar as catchy chord changes drenched in reverb pull searing lines of lead guitar into close orbit allowing them to lick and whip the piece into shape. ‘The Bold Yin’ morphs into a very different animal half way though as ‘Helicon’ move up through the gears and inject an acid tinged hue on proceedings. Driving instrumentation swirls and dances alongside senses pummelling percussion, collectively building into an unstoppable sonic behemoth. Up next, my favourite track on the entire release is let loose to fuck with peoples minds. ’Teenage Murder’ is an immensely addictive, crawling, metronomic beast drenched in dark and oppressive psych induced atmospherics. A processional drum beat holds court here forming a bedrock of sound waves capable enough to carry surging synth swells, bubbling electronics, howling guitars and throbbing bass frequencies, drenched in sullen reverberation and deftly enveloping that absolutely immense vocal performance. Resonating synths intertwine with spine tingling tambourine hits and wrap themselves around huge sprawling chord changes as this track is dragged through walls of stunning effects and intense production with relative ease. ‘Teenage Murder’ is infectious and will have you replaying it for days.

The albums penultimate piece entitled ‘French As Fuck’ unfurls it’s sonic tendrils floating through hazy walls of esoteric psych. Luscious sitar lines loop and arc through pulses of organ and fizzing synth as subtle guitars rumble and move alongside cascading bass frequencies and steady percussion. Melodic vocal lines hover atop repetitive progressions and work through shimmering verse patterns with ease as chorus parts explode into a vivid kaleidoscope of colour. ‘French As Fuck’ is a wonderful blissed out psychedelic excursion into the sonic ether. The album closes out with ‘Ring The Albanian’. It’s opening salvo’s shake and shudder into audible range bellowing violently on a layer of growling guitars, shimmering sitar and senses pummelling percussion. A throbbing bass line meanders underfoot as howling guitars take centre stage building maliciously into a blisteringly explosive cacophony of noise accompanied by soaring synth and huge percussive breaks. It's a marvellous end to an absolutely immense album.

5/5

LINKS:

fuzzclub.com

fuzzclub.bandcamp.com

heliconglasgow.bandcamp.com

facebook.com/HeliconGlasgow

twitter.com/HeliconGlasgow

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


Vuelveteloca - Sonora - Featured Image - (700x700)

ALBUM REVIEW | Vuelveteloca - Sonora

Vuelveteloca - Sonora - Post Image - (300x300)ARTIST: Vuelveteloca

RELEASE: Sonora 

RELEASE DATE: 27th October 2017

RECORD COMPANY: Fuzz Club Records 

Chilean outfit Vuelveteloca began life over a decade ago and have previously released four full studio albums on various independent labels. They are renowned for their incredible live shows and have shared the stage with some immense noise manipulators such as 'A Place To Bury Strangers, Dead Meadows, Spiritualized and Pond'. Their collective sound echoes through a rhythmic sonic concoction of driving psych, motorik krautrock and splattering's of space rock drenched in dark, heady and sometimes atmospheric stoner rock. To put it in layman's terms Vuelveteloca have that rare ability in today's scene to change it up by becoming sonic chameleons when needed. The band are made up of Tomas Olivos, Marcos De Iruarrizaga, Juan Gili and Mauricio Lacrampette and their fifth album entitled 'Sonora' gets it's full release on the 27th October 2017 via those ever reliable London based purveyors of all things lysergic 'Fuzz Club Records'. The album is available to pre-order right now on lovely deluxe or standard vinyl over at fuzz club.com 

The heaving pull of reverberation stuck fast to a motorik percussive attack announces the arrival of ‘La Niebla’, the albums opening salvo. It’s throbbing bass frequencies arrive at break neck speed trapped in a haze of fuzz that bounces underfoot with the sway of lead guitar and those swirling vocalisations. This track meanders brilliantly as it builds through explosive chorus changes and passages of driving heavy psych laced with the repetitiveness of krautrock and alluring addictiveness of space rock. Up next, ‘Alta Montana’ bounds into the ether tumbling menacingly on a wave of pounding drums and deep resonating bass frequencies. Surging guitars add to the melee pulling an intriguing vocal line into the mix intertwining brilliantly with stinging lead lines and heavy atmosphere. The impressive instrumentation eventually morphs into a singular sonic behemoth, pulsing morse code like sound waves out into the ether. The repetitive thud of ‘Ataque Masivo’ tweaks this listeners attention as it pulsates through fuzzy bass frequencies and the throb of busy percussion. It builds ever so slowly with the arrival of those hazy vocal lines and subtle stabs of synth before exploding into a cacophony of sound that loops and arcs throughout, dragging a continuous chug of guitars with it as it brings us all on it’s magnificent lysergic hued sonic journey.

‘Carnaval’ gyrates and undulates into audible range stuck fast to a menacing but repetitive drum pattern accompanied by lines of blues orientated guitars, throbbing bass lines and addictive vocalisations. It pulsates and drives brilliantly as it carves out a sonic trough, morphing and manipulating sound with relative ease into one animalistic wave of angry spaced out noise whilst ‘L.A’ slows things down for a while to a crawling acid blotched psychedelic wave that washes shimmering frequencies over this listener as it envelopes golden tinged sounds, repetitive beats and reverberating fret noise. It pulls you in before exploding into an angry sonic behemoth that soars skywards wrapped in punishing lead lines and thunderous percussion. ‘Vuelveteloca’ merge the throbbing reverberations of ‘L.A’ with the spaced out vibes of ‘El Lado Frio’, extenuating the lysergic trip in the process by injecting some righteous space rock into proceedings. This track is as menacing as it is brilliant with fuzzy driving guitars, ear splitting reverb and the constant thud of immense percussion collectively circumnavigating those impressive vocal lines. There’s a subtle edge of garage psych underlining the opening bars of ‘Tormento’ that is utterly captivating. Explosive guitars, pounding percussion and the throb of overdriven bass acts as a kind of sonic conduit for those intriguing vocals that are permeated at times by piercing lead lines and intense atmosphere.

The album’s stunning penultimate piece arrives swirling in a high pitched instrumental drone. ‘Vuelveteloca’ unleash what is the best track on this album as far as I’m concerned as ‘Chepical’ unveils it’s kraut like credentials and streams into earshot riding a motorik percussive pattern, an totally addictive vocal line and unwavering guitar signatures. Soaring synths pulse in waves alongside catchy chord structures as a seemingly unmovable bass line orbits in close proximity to those explosive passages of percussion and chittering reverberation. ‘Chepical’ is one of those tracks that catches you off guard, spins you around the room and deposits you somewhere out the back end leaving you wondering what the fuck had just happened. Marvellous stuff indeed. The album closes out with it’s lead single. ‘Cientologia & Altiplano’ is a modern psych gem that builds and builds continuously in unison with a pounding drum track and driving instrumentation. Raging guitars swirl around humming bass lines that collectively stick to that motorik percussive pattern. It’s vocal lines arrive in a golden haze, strapped to a massive sonic surge. They rise and fall through sonic peaks and troughs before dropping into deep reverb filled caverns and soaring lysergic hued cloud structures with relatives ease. It’s a fitting end to a bloody marvellous album.

5/5

LINKS:

fuzzclub.com

facebook.com/vuelveteloca

twitter.com/VL_Chile

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


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

ALBUM REVIEW | JuJu - Our Mother Was A Plant

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

RELEASE: Our Mother Was A Plant

RELEASE DATE: 22nd September 2017

RECORD COMPANY: Fuzz Club Records

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

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

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

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

5/5

LINKS:

fuzzclub.com

juju-spell.bandcamp.com

facebook.com/JuJuSpell

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing  writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


Saccades - Distant Sea - Featured Image - (700x700)

ALBUM REVIEW | Saccades - Distant Sea

ARTIST: Saccades

RELEASE: Distant Sea 

RELEASE DATE: 28th July 2017

RECORD COMPANY: Fuzz Club 

There are only so many things a chorus pedal can do. Those eleven meagre words could swiftly and perhaps eponymously give title to any article that a writer, a critic or blogger wishes to write about Mac Demarco. He’s the smelly, dirty looking hipster who popularized a kind of jangle pop that initially appears nostalgic and light-laced but eventually secedes into a kind of alcoholic- nicotine based adventure through adolescence that one can enjoy on a leisurely afternoon at the beach, or when they are traversing their inner past-histrionics. Either way, Demarco has used the chorus pedal to do two things (perhaps unintentionally), one is a kind of career suicide; he’s tied himself and crossed his own tracks so much so that he has transcended his own status into a type of figure that could be identified as post-celebrity (it was once trendy to listen to the guy, to wear his clothes and to smoke vile amounts of cigarettes, but since the polo-wearing normies of the world have discovered Mac, he just aint as cool). The second (and more important) is that Mac has put the preverbal knife through the gullet of any aspiring musician who wishes to touch on a similar style of music as his own. How many times do we hear music that we identify as ‘fake Mac Demarco’? A lot. It seems everybody who owned a shitty guitar and had a knack for overalls and dirty looking shoes has become a kind of Demarco-wannabe of sorts. This makes it hard for people like Saccades, who (funnily enough) is actually a hell of a lot more interesting than Mac. Saccades is proof that this genre slating, this assumption and veracious practician of overlooking should all be skipped over, and that nothing but the music should be analysed. Saccades 'Distant Sea' is testament to all of this, and is further proof that Fuzz Club Records know what they are doing. The album was released on the 28th July 2017 and is available to buy/download right now on various formats via fuzz club.com and saccadesmusic.bandcamp.com respectively.

Distant Sea opens with the title track; its warmly strummed guitar pop poses a beautiful contrast to the lo-fi type production quality of the album. This is where one first hears the quality of the song writing; its fantastic mixture of the nostalgic-dream baked feelings of summer and the breezy relaxation of the heat of the beach and days gone by. ‘Bleeding Colours’ continues on this path, but alters slightly to offer another take on the aforementioned sound again. This time, tempo is up and the guitars eager and dizzing strums give it a neat kind of post-punk feel. The tight, drum-lead feel of ‘Bleeding Colours’ is extenuated on ‘Elusive Dream’, sounding like it could have been a Coldwave-style track with a thicker bass tone and darker production qualities. All the while, the vocals remain slightly (in a well crafted way) drowned out in the mix of the music. ‘Crying Land’ echoes the orange-sun aesthetic of other lo-fi and experimental acts; reverb is heavy and things seem somewhat darker and more confined in a way. The song still retains the same feel and atmosphere as previous tracks however, making it a stray from the path that doesn’t lose track of itself completely.

‘In and Out’ is one of the closest songs Saccades gets to minimalism; its brilliant piano based rhythmic set up keeps things tight and coordinated through the entire song. Synths waver and fluctuate in the background… Everything seems like a trip down a dizzingly hallucinogenic river. ‘Know My Name’ stands as an album highlight; the song writing is of a neat kind of radio-friendly pop music, touched on the other side by the experimental aesthetic of lo-fi music. The lyrics are deep but playful; interesting while also being ingrained within the music as one whole piece of the puzzle. ‘Running Wild’ also sticks out as a memorable track, appearing more upbeat than the previous track. Saccades displays his knack for the act of layering and melody and enjoyably jangling styles on ‘Red’, which features a simple but impressive guitar line. Another album highlight is the danceable ‘Cigales’; collecting up the tricks that Saccades has explored formerly on ‘Distant Sea’ before pushing forward something new and impressive into the mix. ‘High Drift’ pushes for the production based-skill of atmosphere creation to help carve out a moody and beautifully simple track that seems much more downtrodden than their other releases.

You should know two things: (just to clarify) I don’t hate Mac Demarco; in fact, I feel quite the opposite about him. Also, Saccades 'Distant Sea' is one of the greatest examples of an artist wading through the depths of lo-fi music I’ve heard in a while. Between the well written and catchy songs lies a dedication to originality that can so obviously be overlooked by listeners. There is a genuine sense of concentrated and well-crafted song writing at play on Distant Sea, and this is helped further along by the tape-recording and mixing quality of the release. It is a lengthy album, featuring twelve songs… But unlike many artists in similar genres, the songs themselves maintain a level of originality between them that makes everything seem that bit more refreshing and alternative from the track before it. There is a level of nostalgia that comes with it all as well; the kind of sun-sets and cold sand that I could write an essay about… But I’ll refrain from that; I just thought it should be noted. Listen for an album projecting beauty against its desire to, and for an album a bit more interesting than those have forged namesakes on its basic reciepe; achieved through production, song writing and sound.

4/5

LINKS:

saccadesmusic.bandcamp.com

fuzzclub.com

facebook.com/Saccadesmusic/

twitter.com/Saccadesmusic

ABOUT THE AUTHOR:

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


NEW VIDEO PREMIERE | Has A Shadow - Sorrow

Mexico natives 'Has A Shadow' have released a visceral new video to accompany their track  'Sorrow' lifted off their sophomore album entitled 'Sorrow Tomorrow' released back on January 18th 2017 via Fuzz Club RecordsThe band collectively create a brand of dark and ritualistic modern day psych gaze that heaves and undulates through swathes of unabashed reverberation and driving instrumentation tinged with menacing gothic tones. You can get copies of the album on lovely vinyl via the ever reliable fuzz club.com 

The opening salvo’s of ‘Sorrow’ squeal into audible range riding rough shot on shuddering synth swells and the metronomic sway of percussion. Tormented vocalisations swirl repetitiously as the track builds and surges into a raging sonic tornado allowing it’s wailing guitar progressions to pulse wave after wave of intense reverberation out into the ether.

Recommended! 

LINKS:

fuzzclub.com

facebook.com/HasAShadow

twitter.com/hasashadow


Las Cobras - Temporal (Fuzz Club Records)

ALBUM REVIEW | Las Cobras - Temporal

 ARTIST: Las Cobras

RELEASE: Temporal

RELEASE DATE: 19th May 2017

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.

4/5

LINKS:

fuzzclub.com

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.


Nonn - S/T (Fuzz Club Records)

ALBUM REVIEW | Nonn - S/T (Fuzz Club Records)

ARTIST: Nonn

RELEASE: S/T

RELEASE DATE: 26th May 2016

RECORD COMPANY: Fuzz Club Records

Post-punk combines with coldwave, darkwave, a bit of ethereal wave and perhaps, arguably, most importantly; experimental music on the self-titled debut release by Swedish project NONN (the solo moniker of The Orange Revival's Christian Eldefors). Drum machines and programmed beats guide the way through reams of both light and darkness; to create something akin to classic 80’s style post-punk, but with a little something extra. Experimental music has always been a next-door neighbour of the music commonly associated with punk music, but NONN have decided to push it further, applying it deeply to the music as well as the production and mixing. 'Nonn' gets it's full release on the 26th May 2016 via the ever reliable purveyors of sonic discourse Fuzz Club Records and it is available to pre-order right now from www.fuzzclub.com 

The album opens with the brilliant ‘Walls’ which features one of the greatest elements of the album; the attentiveness and experimentation with the instrument of voice. The song opens with heavy, darkly ambient program beats and noises that form into a airy and wide ranging soundscape backing for the song. The reminisce of a bass guitar churns away in the background before the fantastically obscure vocals ooze into the song, sounding like the vocalist is singing with echo and reverbed drenched effects underwater. There is a fantastic synthetic feel to the instrumentation and the kind of murmuringly weird musical backing that compliments and adds another dimension to the album as you listen more closely each time. ‘Lost’ begins with a similar kind of programmed frequency (which remains in the background of the song for the whole time) that is then given a backseat to the drum machine-laden post punk beat of double-snare tapping. The vocals this time are more recognizable and the song itself sounds like a kind of darkwave tune; re-fitted into a post-punk context by the coldwave like guitar that enters the song just after the intro.

‘Stay’ omits a similar feeling and stylistically does not really leap from where ‘Lost’ left off, although it's significantly darker. The bass lines, thick and consuming, guide the robotic-vocals along to the beat of another post-punk drum beat that seems to be taken straight from the eighties. ‘Gone’ is a brilliant track that slows things down, returning to the programmed beats, wizzes and noises of the first few songs. The drum beat borders on trip hop while the whole structural elements of the song sound like the echoing sound of an 80’s synthesizer guiding a character a film along a dark highway. ‘Cold’ takes this even further, offering layers and layers of moody but somewhat danceable synth FX and the churning slow beat of programmed rums in the background. Up next, ‘Need’ injects more of the airy soundscapes of the albums earlier tracks, while maintaining a similar style drum track. The synth within the track steps in for what would have been the guitar; creating a wavering effect that truly pushes the tempo and rhythm of the song strongly. ‘Hills’ is a very similar track, but alters things with the inclusion of small passages of what could be samples held within the music; mostly in the form of background whizz and churn and the synthetic sounding hi-hat of the drums. The vocals feature more visibly within ‘Hills’ as well; differing from other tracks on the album. ‘Time’ borders on a time of warped disco; altering between the dance-induced rhythm of the drums and the even further warped vocals on the track. The song truly shines just after the half way mark; highlighting the engaging production properties of NONN’s music. ‘Fear’ is by far one of the most experimental tracks on the album; it acts as one big long crescendo, backed by an alternating tempo and a wild ringing in the background. The vocals, hushed and wild, fit well with the context; harkening back to the hey days of acid house and other forms of electronica music that relied heavily on the FX of the voice. ‘Wait’ concludes as a fuzzingly loud outro of sorts; a ringing synthesizer hums in the background of some keys being played slightly and softly.

NONN as an album is at times an uphill wander; several tracks sound similar to the one before and the general song structure of several tracks sound thrown together or still in draft form. Still, I believe there to be an interesting focal point to it all; washed somewhere deep within the influence and the context of the music’s background. Listening to the whole album is like a conceptual walkthrough of one lengthy devoted song, where the tempo alters and then resurfaces back within itself the music stays honest enough to keep the listener interested. The production is clear and does the instrumental and lyrical elements of the album many favours. Its an interesting listen, achieved through performance and design, but perhaps most obviously through sound.

3.5/5

LINKS:

fuzzclub.com

facebook.com/nonnband

nonn.se/NONN

ABOUT THE AUTHOR: 

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


Sonic Jesus - Grace (Fuzz Club Records)

ALBUM REVIEW | Sonic Jesus - Grace (Fuzz Club Records)

Sonic Jesus - Grace (Fuzz Club Records)ARTIST: Sonic Jesus

RELEASE: Grace

RELEASE DATE: 10th March 2017

RECORD COMPANY: Fuzz Club Records 

From the critically acclaimed underground label Fuzz Club Records comes a slab of truly atmospheric, beautiful and moving music; Grace by Sonic Jesus. Deep and gravel-filled baritone vocals sing over the top of layers of soundscaped synth and unique, refreshing kinds of revivalist post-punk. At its core, holding everything together, is the careful and strategic structural elements of well written and performed alternative rock that balances itself with what seems to be the central theme of Grace; the essence and presentation of mood. From the dark corners of contemplation all the way up through to what sounds like narrative storytelling, Sonic Jesus’s use of mood, both musically and lyrically, is what makes Grace a wholly more interesting listen than any other sort of post-punk, synth laden music that seems to pour out easily for many worldwide bands and artists. 'Grace' is out right now with various formats available to buy via the ever brilliant fuzzclub.com 

‘I’m in Grace’ opens the album with layers upon layers of atmospheric synth soundscapes which are punctured by the deep but inventive baritone of the vocals. Eventually, the drums and guitars enter, playing a recognisable brand of post-punk; made special by the fantastic musical texturing and layering by the band. The song turns from sounding somewhat downtrodden to epic and larger within a few quiet moments; an album highlight. ‘I Hope’ utilizes the previous songs formalities but turns it into a more dream pop/indie tune, where the guitar tone sounds much lighter and colourful than on ‘I’m in Grace’. Again, the small tweaks and touches of a snare rattle here, a clap or other percussive sound make the song all the more enjoyable in a greater and more ‘fuller’ context. Perhaps the greatest element of the song is the chord progression within the chorus; where the vocals slide back down at the same time as the guitar; mixing emotions to create a kind of contrast that highlights all things good about the music. ‘Modern Model’ takes the synth elements explored on other songs to the foreground, creating a pysch-rock like feel. And while its an interesting track, it does not admit the same kind of radiance as either ‘I’m in Grace’ or ‘I Hope’, although the use of keyboards should be strongly highlighted and praised. ‘September Ninth’ turns things around again, sounding quite akin to a formal stylistic sound reminiscent of art rock or punk but still shows significant influence from post-punk and even subtle flashes of cold-wave . The brilliantly darker songwriting skills of the band make the song one of Grace’s best tracks, especially in the section just past the two minute point, where the lyrics and music bounce off each other and feed into a synthetic sounding chorus of epic proportions.

‘No Way’ is by far the most omniscient sounding song on the entire release; the thick disco like bass strums over a dance inspired drum track and scratchy, wild sounding guitar riff. The chorus seeps into itself similar to the previous track, sounding large and more wild than the verse that preceded it. Altogether, the track sounds quite New Wave; synthetic in an appealing sense, and layered and deep enough to appear beautifully fulfilling in its full pictorial qualities. One of Grace’s other highlights is the swaying reverie of ‘Space Heels’ which is perhaps the most melodically beautiful track on the entire release. The song embodies a slower tempo and more ‘gentle’ use of the synthesiser, tied together by a majestic and engaging vocal performance, sprouting and crooning majestic and engaging lyrics in the same.  ‘Outdoor Party’ is another brilliantly new wave laced track; equipped with a more dream pop sounding guitar line and a melody that sounds somewhat more upbeat than on previous tracks. ‘Stars’ maintains this quality, heavy and pounding in its percussive elements; it utilizes the airy and hollow ambiance of previous tracks as a background for more alternative soundscaping. The second section of this song, what you could call the outro, plays out texturally rich, with a sequenced sound bouncing around in the background of the alt-rock inspired tune. ‘Fading Lights’ seems to act more like an un-intentional retrospective of the album; collecting up all the elements that the band has explored across Grace.

To keep an album with ten songs on it interesting enough to listen to from cover to cover, a band has to keep one unifying thematic quality to each song and to each transition from one song to another. For Sonic Jesus, that quality is the nifty tonal quality of mood. On Grace, every song either establishes or contorts mood to place emphasis on the atmospheric quality of the songs spread out within. Whether it be large scale, synth laden new wave sounding passages, or the sharp and linear qualities of post-punk revival music, Sonic Jesus manage to keep mood at the centrepiece of this album, to keep it interesting and thought provoking the whole way through. Its easy to see where many other bands stumble with this kind of music in an album context, but to be completely honest, Grace stands out so strongly from the crowd in a fashion that highlights their originality that you don’t even think about how the record could have ended up down the toilet. The performances are tight, showcasing well written songs and music, but it is the production and mixing that pushes the album further in its creativity, appeal and interest. Sonic Jesus have thus created an album that avoids all the clichés, emphasising talent, performance and sound.

4/5

LINKS:

fuzzclub.bandcamp.com

fuzzclub.com

facebook.com/sonicjesus

twitter.com/SonicJesusBand

ABOUT THE AUTHOR: 

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