ARTIST: One Unique Signal
RELEASE DATE: April 2016
RECORD COMPANY: Fuzz Club Records
As most of you may or may not already know from reading any of my previous reviews, I’m a sucker for bands who push boundaries and experiment with sound. I get excited at the prospect of reading about how certain bands develop their sound on a particular album or release. The third album from UK-based sonic explorers One Unique Signal does just that. Born out of one single repetitious loop from the recording sessions on their previous album, ‘Aether’, ‘Hoopsnake’ is a collaborative four-track monolith of immense sound constructed by the three members of the band and 20 of their contemporaries, including The Oscillations’s Damien Castellanos and Stephen Lawrie of The Telescopes. The resulting four tracks are a testament to the abilities of the artists involved to bend and form sound-waves at will into a sometimes dark and menacing sonic maelstrom and at other times into a beautiful, reverb-drenched, atmospheric soundscape that’s awash with massive synth swells and droning psychedelic guitars. ‘Hoopsnake’ was released via the brilliant UK-based Fuzz Club Records and is available to purchase on all formats from the record label’s website right now.
‘Hoopsnake’ opens with the dark and oppressive ‘HS 01’. Menacing synth swells make way for an explosive whirlwind of sonic delight as a repetitive drum pattern ushers in the tempestuous guitars and off kilter vocal progressions that meld together and manifest into one impressive wall of sound. ‘HS 01’ is heavy work at times as it builds and builds into an oppressive sonic assault on the senses, but there is a sullen clarity hiding deep within the swirling maelstrom of reverb-induced sound-waves that just makes sense! ‘HS 02’ openly glitters as intricate glitchy sounds pan left and right. The sonic tempest builds slowly from far below this listener’s audible range as swirling synths bubble to the surface. ‘HS 02’ is unsettling at first but switches into a rhythmic, almost metronomic animal as the droning guitars enter the fray, adding weight to proceedings as it leads us into that majestic expansive finale! Up next, ‘HS 03’ brings yet another swirling synth drone to the fore. This time accompanied by sampled birdsong and creeping, stagnated and edgy fret noise. This is intensely atmospheric as the whirling drone gathers momentum and pulsates into a living, breathing animal. ‘HS 03’ is so dark and malevolent it will leave you checking behind the shower curtain before going to bed at night. The album’s closing track, entitled ‘HS04’, begins with beautiful reverb-drenched chord structures that shimmer and drone upon themselves. They build and build into a stunning cacophony of immense sound waves before an addictive but plodding synth progression takes over and ushers in the finale.
‘Hoopsnake’ is indeed experimental! It is also sometimes hard to listen to and in the same breath, sometimes awe inspiring. The sonic field it possesses is massive and it’s that expansive soundscape that sucks you in and introduces you to magnificent swells of sonic energy. It’s a wonderful collection of tracks that I feel you really need to sit down, listen and concentrate on properly. Recommended listening all the same!
ABOUT THE AUTHOR:
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.
by Primal Music
ARTIST: The Cult Of Dom Keller
RELEASE: Goodbye To The Light
RELEASE DATE: July 22nd 2016
UK based noisy experimental psych aficionados ‘The Cult Of Dom Keller’ have been creating impressive musical soundscapes under the radar for quite some time. Their sound glides on a screaming swathe of intense psychedelic promise thats underpinned vocally with an interesting slice of goth fuelled expressionism! This band inject a shimmering cinematic quality into their music that can seriously alter reality! Now the Midlands based four piece have announced the next chapter in their musical development, the full length ‘Goodbye To The Light’, released on the 22nd July 2016 via the brilliant London based Fuzz Club Records. The album was released on vinyl as a deluxe edition of 300 half-and-half transparent and solid white vinyl in a heavy gatefold sleeve featuring hand numbering, cutouts, embossing and printed inner sleeves. Also as a standard edition of 1000 transparent white vinyl, and CDs.
Like the opening atmospheric score of a 1970’s cinematic thriller, we’re introduced to a sprawling drone coupled with a repetitious two note sequenced synth pattern that swirls within a sea of enveloping golden frequencies. The opening salvo’s of ‘Hole In The Whole’ punch a reverberating pulse through the protective shield of the surrounding musical ether and immediately gets engulfed by creeping vocal lines and a dark malicious guitar squall. Up next, impressionistic fuzzy bass frequencies tickle the outer reaches of the audible range as those distinctly 80’s, almost post-punk sounding vocal progressions, coupled with hypnotic swirling organ swells take hold and drag you kicking and screaming through the blistering prog-leaning ‘Broken Arm Of God’ before the massive sonic surge of ‘Ravens & Rockets’ clatters into earshot and ploughs a dark and foreboding sonic furrow through proceedings.
‘Deepest Pit Of Emptiness’ enters the arena on massive ambient synth swells before we’re hit with enormous resonating bass frequencies shadowing slow malicious vocal lines as it crawls to its dark finality. ‘Tunnel In The Clouds’ floats impressively on a bed of atmospheric organ swells as haunting vocal lines as an increasingly intrusive monotonous drone pulses through layers of reverb before ‘Exterminating Angels’ enters the fray and brings with it a massive swathe of intensity that builds from the off into a maelstrom of beautiful frequential noise. Up next, ‘I Can See You’ pulses and shakes as it winds itself up into a rattling coil and prepares to strike. Thoroughly reminiscent of early experimental stage ‘Nine Inch Nails’ with its brilliant vocal production and those impressively overpowering synth lines. ‘Astrum Argenteum’ brings a blissful layered wall of psychedelic joy to proceedings before the deeply experimental but highly infectious ‘Nothing Left To Say’ cranks up and enters the realm of 70’s psychedelic Sci-Fi chic!
‘Bring Out The Dead’ begins with sequenced poly-rhythmic acoustic progressions coupled with a tempestuous percussive assault and an utterly addictive vocal. It undulates as it works through its gears, constantly evolving and layering instrumentation as it meanders through sonic peaks and troughs. There’s a short instrumental interlude as ‘Waltz Of The Morgellons’, the albums penultimate track, works the floor before we’re introduced to the albums final track, the aptly named ‘Shambhala Is On Fire’. This is a sprawling monolithic animal, jam packed full of reverb induced groove-laden instrumentation that circumnavigates yet another awe inspiring hypnotic and well executed vocal. A stunning finale to a very impressive album.
ARTIST: The Underground Youth
RELEASE DATE: March 4th 2016
‘The Underground Youth’ are something of a musical enigma. This Manchester based four piece have been collectively creating a heady blend of shoegaze, post-punk and psych rock with ease since 2008 to produce an overall sound so hypnotically mesmerising that I’m constantly floored every single time that I hear them. The band originally self released their third stunning long player entitled ‘Mademoiselle’ back in 2010 and now it’s getting the full on Vinyl treatment courtesy of the ever consistent London based Fuzz Club Record‘s and is available right now via FuzzClub.Com.
Mademoiselle by The Underground Youth
‘Mademoiselle’ begins with the intensely vivid 'Hope & Pray'. This opening track snakes its way through the musical landscape on a wave of tambourine shakes, subtle percussive hits, shimmering guitars and that instantly recognisable vocal courtesy of Craig Dyer. I’m totally transfixed with ‘Mademoiselle’, the self titled second track on this impressive release. It lazily meanders on an addictive guitar progression that swirls around that impressive vocal line before it cleverly injects some distortion into the chorus, thus balancing everything out nicely. The metronomic ‘Underground’ hypnotises you from the off whilst ‘Olya’s Song’ is a beautiful slice of dreamy, melodic brilliance. Vocally heart wrenching in its entirety but jam packed full of sonic finesse none the less, the atmospheric cover version of the endemic ‘Spacemen 3’ track ‘Lord Can You Hear Me?’ shimmers and radiates while the pentatonic ‘Crash (BSA JAM)’ introduces us to a full drum kit for the first time, albeit with the obligatory hypnotic percussion track and tambourine accompaniment, collectively shuffling through their sonic gears alongside the impressive lead guitar attack.
‘Iggy The Eskimo’ echoes in a world of spacious reverb as the sparse guitar progressions and that radiant vocal track hug each other intently. It’s a stunning track. There’s a subtle menacing drone teetering on the outer fringes of ‘Une Saison En Enfer’ that vies for this listeners attention as the instrumentation builds and that hypnotic psych induced vocal track cuts the sonic tension like a sharp knife. Up next ‘Hedonism’ swims in a sea of swirling reverberating sound waves, repetitive up tempo drum patterns and shimmering guitars whilst ‘Feel So Free’ calms proceedings down considerably to a golden acoustic hued lustre.
The albums closing track ‘Mercury Guitar’ has an interesting post-rock edge, intertwined with a stunningly atmospheric but insanely experimental psych rock swirl that grabs your attention from its very first note. An impressive finale to a very impressive album.
ARTIST: Singapore Sling
RELEASE: Psych Fuck
RELEASE DATE: 30th November 2015
Formed in Reykjavik back in 2000, persuasive psychedelic explorers Singapore Sling have spent 16 years creating impressive ripples within the sonic ether. Their influential brand of experimental fuzzy psychedelic rock has touched nearly every fabric of this modern day underground psych scene and their sound continues to inspire up and coming young talent with its swirling infectious, heaving soundscapes. ‘Psych Fuck’, the bands eight release to date via the immense UK based Fuzz Club Records was unleashed back in November 2015. This twelve track monolith of immense proportions is stunningly sublime from start to finish.
Psych Fuck by Singapore Sling
The opening track ‘Dive In’ is a dark chunk of infectious psych rock. Its shuffling drum patterns, driving guitars and that highly addictive duel vocal attack will floor you. The track shifts through its sonic gears with ease, building into an intense swirling whirlwind of beautiful hypnotic noise as it goes. Track two ‘Let It Roll, Let It Rise’ heaves and trips through its musical progressions with ease, reminiscent at times of early ‘Jesus And Mary Chain’ but with an injection of 60’s surf psych. Those dark, repetitive jangling guitars, impressive drum sequences and that insanely addictive tambourine seems to protectively circumnavigate the vocal lines thus keeping them held in a sonic stasis! Up next ‘ÆJL’ is a fuzzy melodic ball of noise and reverb that just makes sense whilst ‘Na Na Now’ is a slice of 60’s psych goodness with its shimmering tambourines, repetitive drums, jangling reverberating guitar progressions and those highly addictive vocals. ‘Try’ is a distorted, dark, crawling soundscape with a hypnotic guitar line that grabs you by the throat and makes you listen intently to it while ‘The Underground’ is a serine slice of electronic drums, throbbing bass frequencies & infectious vocals that are all intertwined with that melodically creepy guitar line (think country psych, if thats even a musical genre?).
Track seven ‘Dying Alive’ stalks into audible range on a wavy bed of sequenced electronic drums, awkward synth stabs and sampled voices before building to a sublime cacophony of sonic sound waves. ‘Give Me Some Other’ is a throbbing, repetitive, psychedelic beast whilst track nine ‘Glitter’ shimmers and rotates on its sonic axis as it works itself out of a coiled state to unleash a sublime slice of 60’s infused psych rock. ‘Astonaut’ shakes and shudders as it rumbles through its psych tendencies until we’re introduced to the mellow opening tones of ‘Shithole Town’ and those reverb laden guitars, delayed vocals & electronic drum patterns brilliantly reminiscent of The Velvet Underground.
The albums closing track ‘The Shadow Of Foronicity’ is a glitchy affair, full of distorted frequencies that swirl around the droning vocal line, stunning organ progression and that shuffling percussion track. A fitting end to a fantastic album.
Recommended listening from a new fan!
ARTIST: Dead Skeletons
RELEASE: Live In Berlin
RELEASE DATE: 9th April 2016
RECORD COMPANY: Fuzz Club Records
Released on April 9th 2016 via the ever reliable ‘Fuzz Club Records’, psychedelic explorers ‘Dead Skeletons’ bring their explosive live sound to the ears of the listening masses on one highly anticipated latest release. ‘Live In Berlin’ was recorded at Berlin’s iconic S036 Club and it features a plethora of live musical guests including members of The Brian Jonestown Massacre, Spacemen 3 and Singapore Sling gracing the bands stage. The album is available to buy/download right now on most formats from the Fuzz Club website.
‘Om Vajra Sattva Hung’ meanders into earshot on a brutal tidal wave of dark oppressive live frequencies adorned with glitchy guitar squalls and squealing feedback. The intense live atmospherics are indeed palpable as the track builds in momentum swirling within reverberating fret noise and shuffling off-kilter snare drum theatrics. It breaks into an expansively spacious kind of reverberating peace before pounding drums and addictive guitar structures interrupt it’s dreamlike state to announce the track in all of its mantra driven glory. ‘Om Vajra Sattva Hung’ is thoroughly experimental as it works through its structured changes to become one big monolithic sonic surge. Electronic sequences coupled with intense guitars swirl within the musical void as ‘Om Mani Padme Hum’ breathes an explosive edge into proceedings. It’s Pounding drums act as a central spine as it bears the weight of the swirling instrumentation and that exquisitely repetitive vocal mantra! Up next, ‘Buddha Christ’ shuffles on its percussive coil as it explodes into some modern day psychedelically infused rockabilly whilst ‘Kundalini Eyes’ expands the rock n’ roll trend, albeit with an infusion of driving old-school ‘Joy Division’ for good measure, before bending and manipulating frequencies at will to create a massive wall of experimental sonic brilliance.
‘Psycho Dead’ drones on a sampled vocal before its subtle percussion parts add just enough weight to support those dark and oppressive vocals allowing the guitars to swirl around the entire track with ease. It stalks the outer reaches of your audible range but unlike the previous tracks it manages to stay earthbound and straightforward enough to allow even the newest of listeners to grasp whats going on. Up next ‘When The Sun’ shimmers and hangs within suspended sonic animation as it’s gradually allowed to open up and gracefully show off its inner musical demons! It swerves on layers of reverb as the steadying pace of the drum track ushers in the melodic vocal and allows it to breath before it soars into the sonic ether. ‘When The Sun’ is simply stunning and it shows the diversity within a live sound environment that Dead Skeletons possess. They can gauge the mood of the audience on any particular night and change the sound to suit when needed. Magnificently executed.
‘Dead Cometh’ builds from the off and it is packed full of experimental atmosphere as it grinds through its sonic gears. Massive guitar structures loop and arc all over the sonic arena as its addictive vocal lines ride huge waves of brooding and effected frequencies intertwined with those pounding drum patterns. Track eight, ‘Get On the Train’ is a modern day psychedelic behemoth! It drives a tremulous sonic furrow through proceedings whilst the albums penultimate track the aptly named ‘Kingdom Of God’ shudders and groans on a wave of droning guitars and repetitive explosive drum patterns. It builds and builds gathering immense heights, all the while stacking layer upon layer of insanely brilliant sound-waves to create a stunning live sonic assault on the senses. The albums closing piece needs no introduction, no reviewing or fancy wording and no bloody frills! It is simply a thirteen minute plus call to arms to the modern day psych world and is my favourite track on this entire release. Ladies and gentlemen I give you ….. ‘Dead Mantra’.
This is a stunning collection of live recordings from a band who can do no wrong as far as I’m concerned. Dead Skeletons effortlessly transform their entire studio sound into something thats quite otherworldly live. They can evoke out of body experiences through the medium of sound and are definitely worthy of your ears. My advice to you is to get out and see them live just to experience it for yourselves!
This is spiritual enlightenment in musical form ….. this is music!
Fuzz Club debutants & Mexican natives 'Has A Shadow' have announced the second single to be lifted from their forthcoming (January 18th) full album 'Sorrow Tomorrow'. This latest track entitled 'Vampire Kiss' deftly follows on from their rather impressive lead track 'The Flesh' and it carries with it their brand of dark and ritualistic modern psych that is absolutely steeped in menacingly addictive gothic vibes.
What hits you fist upon hearing 'Vampire Kiss' are the brash & scuzzy guitars that swirl deep within a dark haze of reverberation. 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 Garciano. This is seriously good stuff.
As usual the full album will be available to pre-order very soon via fuzzclub.com
London based purveyors of all things psych 'Fuzz Club Records' have announced another addition to their already immense roster of artists. Hailing from Mexico City, 'Has A Shadow' 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. The band have just announced announced a brand new single to coincide with them signing to Fuzz Club entitled 'The Flesh' with the full album extravaganza penned in for release in January 2017. This new single 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.
'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 those hauntingly good vocalisations courtesy of Daniel Garciano.
Continuing on with their highly successful collection of split single releases see's the brilliant Fuzz Club Records return with their latest two track sonic assault on the cranium. Their forthcoming 'Split Single No.9' is officially released on November 24th and features 14 minutes plus of immense psychedelic explorations courtesy of brilliant London based 'The Oscillation' & Portugal's own experimental psych aficionados '10,000 Russos'.
Side A on this impressive release belongs to 'The Oscillation' who offer up a swirling sonic behemoth in the form of 'Almost See', a throbbing atmospheric bass driven beast that swerves menacingly between dark industrial percussive hallucinations, brackish tripped out noise and almost inaudible vocalisations whilst being continuously massaged by fuzzed out guitars, theatrical piano thrills and those senses pummelling synth swells. Side B see's the magnificent '10,000 Russos' bring a highly charged psych incantation to bare as the repetitious motorik percussive pattern of 'Ashkenasi' drives headlong into the musical ether, dragging with it a raging maelstrom of reverberating frequencies, throbbing bass lines, electronic frequential noise and raging cyclonic guitars to collectively create a sonic whirlwind that seems to envelope that addictively ritualistic vocal mantra courtesy of João Pimenta!
'Split Single No.9' is officially released on November 24th and is available to pre-order right now on
transparent blue vinyl from fuzzclub.com
Austin based psych-beat producer Al Lover is no stranger to the modern day American underground psych scene having honed his musical craft by melding past and present psych-rock/garage bands into heaving motorik monoliths filled with spaced out repetitious beats, distorted synths, chopped up/glitchy samples and swirling psych induced instrumentation to collectively create a new, previously untapped, form of modern day psychedelia. Now, ahead of an upcoming EU tour, he has teamed up with the purveyors of all things fuzz, the London based Fuzz Club Records to realease a dystopian sonic homage to two of the most influential bands in underground music - krautrock pioneers Neu! and NY proto-punks Suicide.
'NEUicide!' consists of two tracks that swirl menacingly around two repetitive droning 'SUICIDE' notes as the incessantly rhythmic percussive 'NEU' beat drives headlong into a turbulent world of boundless electronica, kraut rock & hypnotic modern day psychedelia. Its sprawling synth swells are addictive, rising and falling like a small wooden boat fighting a huge storm laden sea swell and coupled with those broken samples, cascading synth lines & swirling reverberating drones makes for an epic modern day sonic adventure.
NEUicide! is officially released November 12th on 10" vinyl and will be available to to pre-order from fuzzclub.com
Highly recommended .... We dig this release!
ARTIST: The Wands
RELEASE: Faces EP
RELEASE DATE: 5th September 2016
RECORD COMPANY: Fuzz Club
Copnhagen natives The Wands' newest release is a trip. The six track EP that follows up 2014's The Dawn is a love letter to 60s pyschedelia. The band revel in the sounds and structures of the first wave of one of modern music's weirder forms, full of rich analogue sounds.
Faces by The Wands
Scene-setter Living the Dream swirls in like smog, that partially clears to reveal Faces, a loose and languid cocktail of 60s and eastern influences. Cosmic Sinners metallic glint comes from jagged guitar tones and gongs that transition ito a thrumming sway for Out of Fever. Between Heavens feels like a partner to Faces in some way, the pure 60s influences (and maybe even a hint if Merseybeat) so strong. And in a swell of sci-fi sounds The Wands are gone again, not faraway, but defintely somewhere far-out.
Faces is out now on various formats via Fuzz Club Records.
ABOUT THE AUTHOR:
In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.