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.
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.
by Primal Music
ARTIST: Sonic Jesus
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
Grace by Sonic Jesus
‘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.
ARTIST: 10 000 Russos
RELEASE: Distress Distress
RELEASE DATE: 7th April 2017
Porto based '10 000 Russos' create a twisted, droning, psychedelically charged & industrially dark vision of social dystopia through their music that is very hard to shake off. Their collective sound envelopes and encroaches the inner psyche, it never panders to it's contemporaries and it leaves an enduring mark on every single listener that it touches making them one of the most exciting bands to have ever graced this modern day psych scene. The trio have just announced a brand new six track release entitled 'Distress Distress' penned in for release on April 7th via the ever reliable London based 'Fuzz Club Records'. The album is available to pre-order right now on various formats from fuzzclub.com
Swirling into audible range comes a progressive motorik behemoth in the form of ‘Germinal’, track one on this impressive release. Tumbling repetitive percussion hover menacingly in the ether, held fast in a kind of sonic gravitational field as those rumbling bass frequencies and growling guitar progressions deftly circumnavigate it’s instantly addictive vocalisations. This track heaves and lurches brilliantly through layer after layer of reverberating instrumentation dragging the listener along as it meanders through sonic peaks and troughs with relative ease. It’s a bloody masterful opening salvo indeed. Up next, ‘Tutilitarian’ stomps into earshot on a metronomic beat that’s violently harassed by droning guitars and haunting vocal progressions. Throbbing bass lines undulate wildly, hypnotising this listener with it’s snake like charms as a raging sonic war is waged through the medium of screaming guitars, disturbing production, noisy drones and psychedelically induced electronic theatrics.
‘Europa Kaput’ enters the sonic arena strapped to a shuddering sequenced beat and a stomping bass line. 10,ooo Russos noisy futuristic tendencies are evident here and they lean heavily towards the experimental, casually dancing through a dystopian sonic landscape, laying waste to what has come before and creating a whole new dimension to the genre that is modern psych rock. Next, ‘ISM’ has humble beginnings as it’s fizzing electronics exquisitely lick a repetitive bass progression while haunting atmospherically effected fret noise pulls frequencies apart at will and turns them into subtle instrumental drones that are free to burn out whilst screaming into the ether. This track builds like a dark progressive techno track, gyrating menacingly around spoken word vocalisations and a driving percussive attack before culminating in a raging cacophony of turbulent reverb and noise.
The albums penultimate onslaught comes in the form of ‘Radio 1’, a tactile pulsing sonic palpitation that vibrates & oscillates around a quivering kraut like sequenced synth progression, brilliantly chained to the sharp metronomic striking of a repetitive percussive beat. It’s subtle vocalisations emerge in stages through a haze of reverb and overdriven guitar squall building with dark menace at every instrumental circumference and merging effortlessly with the tracks collective resonating sound waves. ‘Radio 1’ is my favourite track on this entire release and I urge you to pop on some headphones just to experience the entire immersive sonic journey in full splendour. The album closes out with the rather infectious ‘Distress’. Motorik percussion and growling bass frequencies ride a wave of ticking drum hits as atmospheric machine gun sonics build vivaciously into waves of resonating fret noise. Futuristically styled vocal lines add to the melee of delicious noise, pulsing with expectancy and urging the track on into it’s grand finale. A fitting end to what has to be one of the best releases of 2017 so far.
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.
ARTIST: The Underground Youth
RELEASE: What kind Of Dystopian Hellhole Is This?
RELEASE DATE: 15th February 2017
Fuzz Club Records mainstays and Berlin (via Manchester) based dark psych/post-punk outfit The Underground Youth have announced their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th 2017 release date with various formats officially up for pre-order via the ever reliable www.fuzzclub.com
In a melancholic haze of tattered guitar frequencies and growling atmospherics the opening chord sequence of ‘Half Poison, Half God’ drags itself into the ether and proceeds to wraps itself around infectious vocalisations before swaying awkwardly on the sudden injection of a sparse percussive pattern. ‘Half Poison, Half God’ splashes into a swirling pool of reverb laden noise as repetitive guitar progressions cut through barking bass frequencies to collectively hold time with the metronomic swoosh of echoing tambourine hits. Up next, ‘Alice’ surges effortlessly with dark sullen energy as it’s melodiously fuzzy bass frequencies weave & bob in and out of hypnotic lead guitar lines. Subdued percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer’s vocal holds court, keeping you transfixed on it’s impressive gothic tone.
The heavy repetitive thump of plodding drum rudiments coupled with the engrossing twang of atmospheric guitars heralds the arrival of ‘You Made It Baby’ and we’re instantly thrown into a world of desolate landscapes, isolation and wild frontier towns. Swirling desert like reverberations envelope everything as subtle instrumental drones echo behind Dyer’s tendril like vocals and aid in the undulating sway of it’s sonic proceedings. The track eventually pulses into a turbulent mass of fuzzy noise before dissipating back into the repetitive plonk of fret noise and salubrious percussion. ‘Beast (Anti War Song)’ does exactly as it says on the tin as it strides into earshot like some plucky teenager on a first date. Driving bass lines ride a steadying drum pattern as soaring lead licks whip noisy frequencies up into a sonic frenzy, building exponentially through the angry verse parts only to then soar effortlessly through those impressive instrumental chorus progressions before fizzing out into nothingness.
Jangling atmospherics underscored by droning organ swells swirl gracefully around the vocals as the constant tap of subtle percussive hits keep a kind of rag tag timing rattling repetitively in the background. ‘A Dirty Piece Of Love For Us To Share’ tip toes magically through glorious guitar progressions and brilliant production to bring a sullen acoustic swerve to proceedings. Up next, ‘Amerika’ drones into earshot accompanied by twinkling instrumentation, whirring feedback and the hollow thrum of sequenced percussion. It stalks and skulks in a densely oppressive sonic fog as it’s vocals swirl menacingly in the musical ether whilst next, ’The Outsider’ instrumentally builds from the off echoing in harmony with the effected vibrato of the vocals and the swirling underscore of synth drone. ‘Persistent Stable Hell’ howls into existence on squally instrumental feedback and the pulsing vibrations of a repetitive kick drum. The vocals arrive held fast within a hazy swirl of reverb as throbbing bass frequencies hum and undulate underneath screaming lead guitar licks and dark reverberation. The addition of female vocals add hauntingly good atmosphere here as all around them pulses and moves in a cacophony of blissful noise.
The albums penultimate piece heaves and breathes on a bedrock of sequenced synth lines, sporadic drum patterns and fuzzy bass frequencies. ‘Your Sweet Love’ swirls in a spiralling sonic whirlwind filled with noise, shuddering reverb and sullen gothic flair. It's vocalisations are trance like as they hypnotically revolve and billow in the heady psych induced stew, modulating wildly until they become one with the instrumentation and eventually throb in a series of sonic pulses. The albums closing piece strums acoustically into the ether as the plink of a piano line echoes & melds brilliantly underneath, constantly harassed by subtly aggressive lead guitar lines. ‘Incapable Of Love’ is laced with darkness as Dyer’s speaking parts venomously spit out a dystopian narrative steeped in atmosphere whilst languishing brilliantly in a bourgeoning musical juggernaut. This is a marvellous ending to a magnificent 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 (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
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.
Fuzz Club Records mainstays and Berlin (via Manchester) based dark psych/post-punk outfit 'The Underground Youth' have unleashed the second single entitled 'Amerika' from their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th launch date with various formats officially going up for pre-order via www.fuzzclub.com. The band have also announced a European tour to celebrate it's release starting this month and you can check out their full tour schedule by heading over to facebook.com/TheUndergroundYouth.
'Amerika' drones into earshot accompanied by twinkling instrumentation, whirring feedback and the hollow thrum of sequenced percussion. It stalks and skulks in a densely oppressive sonic fog as Craig Dyer's addictive vocals swirl menacingly in the sonic ether. This is a triumphant slice of psychedelically charged post-punk that's sure to to attract new and old fans alike.
Icelandic experimental neo-psych aficionados 'Singapore Sling' have unleashed the first single entitled 'Evil Angel' to be lifted from their forthcoming highly anticipated ninth studio album 'Kill Kill Kill (Songs About Nothing)' due for release in 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. As usual, 'Kill Kill Kill (Songs About Nothing) is available to pre-order right now from fuzzclub.com
'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 very experimental and fans of 'Singapore Sling' will notice it from the off but don't be fooled, this track is genre defining and that only bodes well for the full album release.
ARTIST: Has A Shadow
RELEASE: Sorrow Tomorrow
RELEASE DATE: 18th January 2017
Mexico natives 'Has A Shadow' release their sophomore album (their first via Fuzz Club Records) entitled 'Sorrow Tomorrow' on January 18th 2017. The band 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. This new album follows a run of EU dates that included an appearance at Liverpool Psych Fest and shows with LSD & The Search for God, TAU and The Jabberwocky Band. You can pre-order 'Sorrow Tomorrow' ahead of it's January release, on various formats over at www.fuzzclub.com
In a hail of fragmented frequencies and the sampled barking of dogs 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. Up next, ‘Lord Of Flies’ saunters into the musical arena with a distinctly edgy swagger. It’s creeping drum pattern swings hypnotically dragging with it those dark organ progressions, snaking guitars and the menacing throb of bass frequencies. Vocally ‘Lord Of The Flies’ is steeped in gothic flair and unrepentant reverberation as we exquisitely meander through waves of intense dark frequential matter and swirling atmospherics making this a brilliantly executed track. Track three, 'The Flesh' pulsates and swirls on undulating waves of dark instrumentation that includes throbbing bass lines, reverb laced organ swells, repetitive percussion, fuzz -laden guitars and hauntingly good vocalisations.
‘Attack Of The Junkie’ effortlessly drones into earshot, building repetitiously as the drag of the organ swell brings with it those thunderous drums and echoing vocalisations. This track is a driving psych induced behemoth that takes no prisoners as it’s tremulous guitars & throbbing bass progressions wage a war of sonic attrition, bending unsuspecting frequencies at will until eventually turning them into a colossal wall of magnificent noise. ‘Attack Of The Junkie’ is a triumphant track, possibly my favourite on the entire album. It is inherently filled with hard hitting sonic aggression and worthy of your ears. ‘Cul De Sac’ pulses on a sequenced synth line as ‘Has A Shadow’ unleash a noisy post-punk sheen on proceedings. The melodious bass line weaves a jittering sonic web as it works through it’s predesignated course, all the while being harassed by swirling reverberation, intense vocalisations and dark menacing instrumentation. Guitars explode into a cacophony of noise as those hypnotically charged organ lines takes hold, dragging the listener with them on an undulating white knuckle thrill ride.
Up next, the albums latest single jangles into earshot steeped heavily in an air of atmospheric trepidation. ‘Vampire Kiss’ has brash and scuzzy guitars that swirl deep within a dark haze of reverb. You really have to check yourself as those throbbing bass frequencies & thunderous drums dance and swing a hypnotically charged jig, effortlessly circumnavigated by those hauntingly good organ lines and the foreboding vocal tones of Daniel Garcino. ‘Horror Will Grow’ swirls into the ether on a another repetitious drone as it’s menacing organ lines snake and move held fast within a turbulent cloud of dark reverberation accompanied by brilliantly executed guitar lines and shuffling percussive hits. This slow burning psychedelic beast stalks the outer limits of the subconscious as those swirling vocalisations of Garcino slowly pick their way through the many layers of the human psyche and burrow themselves where they can be instantly recognisable for future reference.
The albums penultimate track explodes in a torrent of thunderous drums and driving guitars. ‘Not Even Human’ shatters the slow burgeoning drag of the previous track by spewing forth a cacophony of fuzzy atmospheric instrumentation & jittering repetitious noise. Somewhere deep within the sonic maelstrom, however, Daniel Garcino vocals meticulously hold court and strenuously keep everything together magnificently. The albums final onslaught comes in the form of ‘World Sensation’, a swirling salacious beast riding a growling guitar progression and a sparse wave of percussion. The organ arrives on cue as the track explodes into a colourful array of reverberating frequencies orbiting another impressive vocal display, before we’re all swallowed up by glorious surf/psych sounds until the tracks finale! A belter of a track to finish off one hell of a sonic thrill ride.
Del Chaney has spent the last four years not only fronting popular experimental Irish based electronic duo Analogue Wave but also 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.
Fuzz Club Records mainstays and Berlin via Manchester based dark psych/post-punk outfit The Underground Youth have unleashed the first single entitled 'Alice' and it's gritty accompanying video from their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th launch date with various formats officially going up for pre-order this week via www.fuzzclub.com They have also announced a European tour to celebrate it's release starting in January and you can check out their full tour schedule by heading over to facebook.com/TheUndergroundYouth.
'Alice' surges with dark sullen energy as it's melodious fuzzy bass frequencies weave & bob in and out of those highly infectious lead guitar lines. Subdued metronomic percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer's vocalisations hold court, keeping you transfixed on his impressive gothic tone.
ARTIST: Tales Of Murder And Dust
RELEASE: The Flow In Between
RELEASE DATE: 23rd March 2016
Formed in 2007, Danish psych-gazing five piece ‘Tales Of Murder And Dust’ create stunning soundscapes of immense proportions that continuously push the boundaries of our psychedelic awareness. Vocally sublime, they meld together a subtle brand of dark shoegaze with psych rock to create an impressive cacophony of sound that includes pounding drums, waves of droning and noisy guitars, violins, sitars and impressive organ swells. Their latest album ‘The Flow In Between’ got it's official release on the 23rd March 2016 via the brilliant London based Fuzz Club Records and is available right now on various from www.fuzzclub.com
The Flow In Between by Tales Of Murder And Dust
The opening track on this impressive release is ‘Tidal Waves’. Creeping, maleficent percussion and dark guitar swells entice the hauntingly brilliant violin to loop and arc throughout the sonic atmosphere as the introduction of intermittent drum hits adds intensity. When the vocal arrives it does so on a wave of beautiful noise thats reminiscent of some religious choir holed up in a cavernous church hall with its layers of impressive vocals dripping wet with stunning reverb. A deliciously sublime whirling drone, riding a hypnotically tempestuous shuffling drum pattern, heralds the arrival of track two ‘Black Reflections’ and with it comes that undeniably addictive floating vocal line, hauntingly swirling within a dark melodic sonic stew. ‘Black Reflections’ hits you right between the eyes, awakening something rather special. Track three ‘The Devil Is A Poet’ drags itself into the sonic ether on a wave of impressive guitars, soaring organ swells, sparse percussion and hypnotic tambourine hits. Reminiscent at times to ‘Spacemen 3’ or Sean Cook’s (Ex-Spiritualized) ‘Lupine Howl’ with its opiate induced vocal production, ‘The Devil Is A Poet’ is a shuffling slab of sonic darkness personified.
Up next, ‘Mirror’ sweeps into view and brings with it a certain feeling of unease as a dark, brooding cacophony of droning guitars, haunting vocal lines and steading drums collectively gives off a processional feeling. This is another impressive track, full of widescreen cinematic qualities and intense musical atmospherics. A throbbing bass line, hiding a subtle droning guitar leads us into track four, the explosive ‘Sisters’. As a swirling vocal progression intertwined within a melodic ball of noise greets the listener, this track unfolds into something magical with its melodic violins, pounding drums and delightful sonic peaks and troughs. Track five, ‘Distored Ways’ is nine minutes plus of mind inducing psychedelic brilliance. This track is a vivid maelstrom of droning guitars, haunting sitars & violins, hypnotic explosive drum patterns and that circumnavigate that impressive swirling vocal progression. A masterpiece of epic proportions and possibly my favourite track on this entire release.
Squalling feedback announces the arrival of the albums closing track ‘Endless Repetition’ as that dark hypnotic vocal progression grabs you, pulling you into a swirling whirlwind of golden orchestral instrumentation and beautifully constructed musical progressions. That swirling drone works its magic, stirring the entire sonic composition with aplomb, adding atmosphere and bringing up new psychedelic visions with each reverberating pass.
This entire collection of tracks is an edge of your seat, no holds barred, sonic journey of psychedelic discovery.