RELEASE DATE: 4th August 2018
RECORD COMPANY: Saint Marie Records
'Vampires' is the latest four track release from German-based dream-pop (or dream-punk as they would like it known) musical project Seasurfer; the moniker which sole member Dirk Knight creates and collaborates under. Landing somewhere between their obvious influences of Cocteau Twins and the heavy new-age trap-like electronic sound of bands like Salem, Seasurfer present a small collection of well written and beautifully structured songs, dipped in a steaming vat of FX and left to dry out in the cold (or should I say Coldwave?). Knights instrumentation leaves enough room for a pair of female vocal talents (Änni Bird and Apolonia) and a bassist (Steven Burrows) to join the sonic wave that is 'Vampires', creating something emotionally deep while simultaneously dance-ably enjoyable. The EP had it's official release back on August 4th 2018 via the good folks over at Saint Marie Records and is available to buy/download right now on various formats from saintmarierecords.bandcamp.com
Vampires by Seasurfer
Vampires opens with perhaps the EPs strongest and most off the cuff track ‘Into Dust’ which begins with waves of synth and Burrows subtle but strong bass playing. The vocal track moves beautifully over these instruments before it morphs into something wholly anthemic. Immediately, the touch of the Cocteau Twins is evident; the sounds of the programmed drum machines sound eerily identical to the drums used on Treasure by Guthrie and Co. The vocals are presented in a very similar way. That’s not the reason that ‘Into Dust’ is an EP highlight though, its something much stranger. Lovers of the electronic genre 'witch-house' would be both confused and intrigued by this writers mention (and comparison) to the band Salem, but truth be told, ‘Into Dust’ features the same kind of underpinned weirdness that runs rampart on Salem’s brilliant debut EP - 'Yes I Smoke Crack'. Whether it be the heavy washing of FX or the chord progression of the music, ‘Into Dust’ holds some sort point of difference to other dream-pop tracks, one which draws the aforementioned comparisons to Salem and their equally bizarre electronic song writing tactics. It is this strangeness mixed with the catchy and beautiful vocals that make the song sound so great. ‘Sad Song’ has less of a catchy and memorable presentation; this time the band turn the tempo up and present much of the tracks first half in the cold depths of post-punk. In the second half the tempo is lifted, and the tracks intelligent inner structuring show at an interlude like refrain in the tracks second half.
The heavy beat-orientated sounds of post 90's shoegaze present themselves immediately on the slow burning track ‘The Calling’. A slow hi-hat lead drum track plays at the backbone of many layering’s of synth swells and textured soundscapes, over which the vocals float and sway. Somewhat comparable to recent releases by North Carolina-based shoegaze legends 'The Veldt' (especially their recent 'Thanks to the Moth and Areanna Rose') who have totally embraced the wizardry of electronic music, ‘The Calling’ utilizes layering (something that is, strangely, overlooked by shoegaze bands at various times) to achieve a textured array of sounds over which a song slowly but beautifully forms. The Cocteau Twins sound returns for ‘Bring Me His Head’, which offer up a less involved sonic palette. Lyrically the song is the most daring that Seasurfer practice on 'Vampires', showcasing the power of having tangible lyrics in sound heavy genres (such as shoegaze or dream pop). ‘Bring Me His Head’ is just as emotionally bizarre as ‘Into Dust’, but well into the second half of the song, one cant help but feel somewhat touched by the mixture of narrative, sound and vocal that are offered to the listener on the track.
Perhaps the greatest thing about 'Vampires' is both the directness and in-directness it takes emotionally and musically. There are no eight minute epics, no winding intros and fuzz driven solos and, perhaps most importantly, a well-suited amount of tracks. Similarly, the songs are deep and at times (positively) formless listens; in the space of four or so minutes, Seasurfer present deep, FX induced passages of what sounds like four or five synthesisers, guitars, bass and a structurally sound programmed drum for good measure. This mixture of explorative, journey-like songs that don’t delve into indulgent, over the top presentation makes 'Vampires' all the more powerful. Perhaps the only criticisms this writer would highlight are firstly, ‘Sad Song’, which is as close to a filler that 'Vampires' comes. It seems somewhat out of place, and while a good song, doesn’t stand as tall as the other tracks on the EP. The second criticism is that sometimes the line between influence and copying is blurred in regard to Seasurfer's sound. The at first obvious influence of the Cocteau Twins eventually evolves into the occasional passage that sounds as though the band are trying to replicate their sound. The drum patterns, the vocals, the sonic melding of sounds at times sounds like Knight and Co are alluding to more than fan-based influence and more into the realm of artistic un-originality. But this criticism is almost completely revoked when one re-listens to 'Vampires' a couple of times, for the truth is, Seasurfer's embrace of more modern electronic production and mixing techniques elevate them from a copy-like comparison to the Cocteau Twins. 'Vampires' is a great display of what this author would coin ‘contained exploration’ and presents a band pushing the formula of dream-pop into somewhere different and beautiful through great performances, production and sound.
ABOUT THE AUTHOR:
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on 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: the Autumn Sighs
RELEASE DATE: 10th February 2018
RECORD COMPANY: Dreams Never End Records
Immense German-based trio 'The Autumn Sighs' have returned with a stunning brand new five track release entitled 'Green' the follow up to their mesmerising 2016 released EP 'Branches'. With a sound that meanders gracefully through melodious and dreamy swathes of blissful dream-pop infused shoegaze coupled with soaring chorus progressions, thunderous drum patterns and addictively hazy instrumentation, 'The Autumn Sighs' have released what is quite possibly one of our favourite EP's of 2018 so far. The band are made up of Katha - guitars/vocals, Ulrik - guitars/effects/ebow, Denis - drums and Florian Malicke appearing on bass for this release. The 'Green' EP was officially released back on February 10th 2018 via 'Dreams Never End Records' and is available to buy/download on various formats including lovely 12' vinyl right now from both dreamsneverend.bandcamp.com & theautumnsighs.bandcamp.com respectively.
green by The Autumn Sighs
In a swirling haze of instrumental drones, hushed progressions and layered reverberations the dreamy opening tones of ‘Intro’ wash shimmering frequencies out into the sonic ether. This wall of blissful noise accommodates haunting vocalisations that swoop and arc throughout as repetitive progressions of guitar billow and swirl at will. Up next, ‘Green’ twinkles and purrs as it’s jangling guitars pull beautifully entrancing progressions out into audible range. ‘The Autumn Sighs’ channel their inner Slowdive here as those immense vocal lines ride the waves of pulsing reverb and that instantaneous injection of noisier guitars. Rumbling percussion bubbles up from below the mix as the throb of enticing bass frequencies lull you into a blissfully hazy dream state and you guided into that huge wall of beautiful noise. ‘Green’ is absolutely entrancing and probably one of the best tracks that I think I’ve heard so far this year. It’s a monumental highlight for me on this entire release.
There’s a subtle air of post punk emanating from the opening bars of ‘She’s His’ that is instantly addictive. The hypnotic pull of the intricate guitar structures accompanied by dancing lines of lead and the throb of cascading bass progressions are collectively fantastic. Haunting lines of vocal meander and tease us as they float in and out of catchy chord structures, leading us gracefully by the hand until we eventually fall headlong into massive swathes of noisy reverberations only get dumped out the back end into tremulous layers of golden sonic frequencies. Up next, the EP’s penultimate piece floats into the ether held fast in a sullen kind of atmosphere. ‘Adorable’ sways gently on a slow moving metronomic tap as the jangle of guitars echo and swirl through heady clouds of reverb. Resonating frequencies wrap themselves around that beautiful vocal and cling to it as it tumbles into shimmering pools of exquisite production. We’re guided effortlessly through a melancholic sonic haze as if watching someone’s dreams get played out in front of us until eventually we drop into an angry sonic attack and the whole feel of the track changes. Distorted guitars soar skywards, that addictive bass line rises and falls just below a noisy percussive assault and we’re dragged into a raging sonic behemoth, churned around it’s insides until eventually we’re pulled into the tracks gentler finale. ‘Adorable’ is a stunning melding of sounds reminiscent at times to Slowdive & The Cranes or the downright rebellious nature of JAMC all wrapped up into one almighty sonic monolith. Its a triumph and a definite highlight on this release.
The EP closes out as it began. Swooning gracefully on beautiful instrumentation and the guiding reverberations of that immense guitar sound. Slow moving hi-hats tremble as jangling guitar strums usher in waves of instrumental drones and another impressive vocal performance. ‘Three’ is absolutely gorgeous and it welcomes you into it’s inner core with open arms and tells you a story. It makes you sit and listen to every single hushed word, makes you feel every twist and whirl of that soaring drone and lifts you up with it as you glide through the sonic ether and pulse through layers of ethereal joy. It's a brilliant book end to a completely entrancing EP.
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 genres 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: 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
The Rhythm Of Ooze by Pretty Lightning
‘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.
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.
ARTIST: Highest Sea
RELEASE: Haunted Hearts
RELEASE DATE: February 24th 2017
RECORD COMPANY: SPÄTI PALACE
Even though post-punk music is the sort of genre that’s been rinsed and re-used over and over again, there is some kind of sentimental breeze that blows through when you trip over something that’s in some way original or kind of whimsically nostalgic. In this case, one could trip over 'Haunted Hearts' by German based band Highest Sea, an EP that is not so much a step in a different direction, but rather a mediation on previous footprints. Said previous footsteps divulge in all things classically post/punk, the guitar driven stirring of alternative rock and the churning hum of dream pop; mixed together to create a kind of low-key form of shoegaze.
SP013 HIGHEST SEA - Haunted Hearts by SPÄTI PALACE
The EP opens with ‘Wait For The Night’ which hinges on alternative rock based guitar playing and slow, heavy drumming to create an atmosphere akin to less-intricate, muddled shoegaze music. The song is simple and straight-forward, slow and at times slightly dragging in its structural forms. By this I mean that you could think I’m not expressive of all the songs details, but honestly it is literally just as I describe it. Its slow, riff based alt-rock that spikes into the songs second half into a heavy thrashing kind of musical passage. ‘Hawaii’ is a more intricate, dense song, built this time around a post-punk rhythm section and a dream pop sounding guitar. The vocals stay wholly visible in the mix as the song rolls along with the double tap of a snare; the musical texturing displays a neat kind of laid-back sound to the song. The best song on the EP is by far ‘La Bellea Soledad’ which converges the vocals and the instrumentation into a truly beautiful moment of capture. The song is less direct than others and it gives an opportunity for all involved to shine thoroughly in the perspective of the listener. At its core though, the song still holds stylistic elements of dream pop heavily within itself, which can be heard most predominantly in the songs stop-start second half. All in all, a beautiful track. ‘Black Poison’ is the most open, the most presented the band gets on the entire EP. Its sound is based around an atmospheric vocal performance and a kind of musical side that borders on lo-fi, these two elements bounce off one another to create a memorably slower track whose second half and acoustic section does nothing but highlight the talents of the musicians involved.
While there is obviously moments of true intrigue and intelligence on 'Haunted Hearts' the whole thing comes off as, well, kind of ‘slight’. What I mean by this is that the structural elements of the songs show clearly and definitively, not that that’s a problem, its just that these structural elements are quite in-offensively linear and at times generic. But that’s not to say the band don’t have strengths, and that’s also not to say that these strengths aren’t on obvious display throughout the course of the EP. The lyrics remain fresh and engaging, the performances on the most part are strong and the depth of their song writing ability is shown fully on sections of every song. Its exploration is light, but its worth, its musicality and its roots prove rewarding, especially through production and sound.
ARTIST: The Autumn Sighs
RELEASE DATE: 21st August 2016
RECORD COMPANY: Unsigned
German based indie shoegaze trio 'The Autumn Sighs' have returned with a brand new five track release entitled 'Branches', the follow up to 2015's impressive 'Sprig' EP. Their sound meanders gracefully through melodious and dreamy swathes of blissful dream pop infused shoegaze coupled with soaring chorus progressions, thunderous drum patterns and addictively hazy instrumentation. The band are made up of Katha - guitars/vocals), Ulrik - guitars/effects/ebow & Denis - drums with bass guitar duties on all songs for this recording going to Florian Malicke. The EP is available to buy/download on various formats right now from theautumnsighs.bandcamp.com
branches by The Autumn Sighs
The EP opens up with 'The Autumn Sighs', a beautifully constructed slice of dreamy shoegaze. Glorious frequencies greet the listener as the guitars jangle and sway, held firmly within the metronomic swing of the hypnotic drum pattern. The vocals float in on a wave of beautifully enticing reverb, swirling blissfuly in unison with the instrumentation until the chorus progressions explode into a maelstrom of beautiful frequential noise. As opening tracks go, this is monumental. Up next, 'Thirsty' takes its foot off of the noisy reverb pedal as a melodious vocal line meanders and undulates gracefully, intertwined with a brilliantly constructed guitar progression and another impressive drum pattern. The track builds as it shifts through it's sonic gears and finishes with a flurry of golden hued sounds.
Track three, 'Tonight' initially confuses me. At first, it leans into indie pop territory as its opening chord progressions coupled with another blissful vocal line unfurls. That notion however is quickly shattered as the track unleashes a whirlwind of soaring reverb induced guitar squall coupled with driving instrumentation and an explosive percussive attack to bring what is now my favourite track on this entire release. What tweaks my attention about the 'The Autumn Sighs' is that they have the ability to surprise their listeners as each track works through its progressions. Something that is unfortunately lacking in most modern shoegaze bands these days.
The EP's penultimate track entitled 'Flat', woozily enters earshot on a tremulous guitar line, throbbing bass frequencies and an accompanying percussive pattern. Its dreamy vocal lines enter the fray and instantaneously lifts the entire track to new heights allowing it to glide and arc all over the soundscape thus bringing a serine calmness to proceedings until its finale. The EP's closing piece entitled 'Sway' gently flows as its crawling instrumentation acts a s bedrock for another impressive vocal performance. Its chorus parts build momentum on waves on glorious reverberation coupled with ethereal vocal lines and steadying percussion. Bass frequencies throb as the track meanders along its chosen predesigned course culminating on swirling fuzzy drone. A beautiful & fitting ending to a marvellously executed EP. Recommended listening!
Del Chaney has spent the last four years not only fronting popular experimental Irish 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 hepled 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.
Berlin based post-gazers ‘I Have No Mouth And I Must Scream’ released their self titled eleven track debut album back on the 20th of January 2016. With a sound that traverses the very edges of 90’s alt-rock and 80’s post-punk but also has its foundations buried firmly within the hazy early days of the first wave of shoegazers ‘I Have No Mouth And I Must Scream’ collectively create stunning layered reverberating soundscapes that build intensely throughout each verse and soar impressively when required throughout every single chorus break. The band have just released a brand new video to accompany their stunning track 'Drowning' lifted off the aforementioned album and it harks back to those early 90's, low-budget, alternative music videos! The full album is available to buy/download right now on various formats via nomouth.bandcamp.com
‘Drowning’ has a distinct post-punk edge reminiscent of early ‘Cure’ but with a shimmering bright reverb induced hue ....
by Primal Music Blog
Astral Tide are a Berlin based 5-piece with members from England, Italy, Denmark and Germany. Collectively they create something immensely brilliant. Their sound is sonically infused with full on dark ethereal post-punk intertwined at times with flourishes of noise-pop & deep layered shoegaze! Their latest release 'Glimpses' is a thrill ride through pathways of dark synth swells, fuzzy shoegaze, pounding drums & that trademark modern day post punk vocal attack. The band will record their first official debut EP over the coming months along with releasing a video for current track 'Glimpses'. With third track entitled 'Haunt You' on the way Astral Tide are ones to watch this Summer.
Artist: The Holy Cosmos
Release: THC/VC Split
Release Date: 31/01/15
In the world of music there is no bigger force right now than the internet. Connectivity between bands of all disciplines and their fans is centred around their social media outlets & music streaming platforms. The age of lugging tape reels on airplanes so as to collaborate with your peers on the other side of the globe has gone to the great gig in the sky! Nowadays it’s all about click & send. One such cross geographical collaboration met on a Facebook music group called ‘Space Mantra’, a Facebook group dedicated to supporting psychedelic, shoegaze infused spacerock in all it’s many guises. ‘The Holy Cosmos’ are a spacerock band from Mexico City & along with a German friend of theirs, ‘Vintage Cucumber’ (I Kid You Not ), from Templin, Germany, they have just released a 6 track split EP entitled - ‘THC/VC Split’. Its split with 3 tracks from each artist.
‘The Holy Cosmos’ are: Rita – Drums, Vocals & Percussions, Ernesto - Drums & Percussions, Fabián – Bass, Marco – Guitar & Vocals, Josuæ – Guitar, Juan – Guitar. They met on the Facebook group - ‘Space Mantra’ & then in person at a rock show when they were two different bands. Ernesto & Marco were in ‘Voyager 2’ and Rita, Juan, Fabián & Josué were in ‘Neutle’. At the end of 2013 they decided to join forces to make the atmospheric juggernaut that is ‘The Holy Cosmos’. Their influences are wide reaching & impressive with Dead Skeletons, Brian Jonestown Massacre, Neu!, The Velvet Underground, Spacemen 3, The Warlocks, Sonic Youth, Bardo Pond & MBV all on the list.
The ’THC/VC Split EP’ - is a supersonic roller coaster ride through blissful, lush musical highways intertwined with space heavy atmospheric tones. This is an amazing collaborative release full of pulsating instrumental shoegaze, psychedelic swells & luscious reverb drenched vocal swirls. For fans of shoegaze infused spacerock this is a must have release. 2015 is shaping up to being a massive year for the shoegazing genre.
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The EP opens up with the first composition from ‘The Holy Cosmos’, a creeping monolith of a track called - ‘Fields’. It has a distinctive ‘Spacemen 3’ meets ‘Velvet Underground’ feel to it. You melt into its inner core & disappear inside until you are suspended in reverb drenched wonderment. Check it out:
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Track 2 is another from a heavy hitting - ’The Holy Cosmos’. ‘Come On Riding’ - has that stoner-gaze vibe reminiscent of early stuff by Californian based gazers - ‘The Warlocks’. A sluggish repetitive guitar sequence hugs the bass & drums like a man in love! The reverb effected vocal lines intertwine & swirl around the entire track as it pulsates & moves like a snake. Immense track!
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Track 3 is possibly my favourite on this whole release! ‘Cult Of Skulls’ is a 5 minute plus, express elevator to hell! It explodes onto the musical canvass from the off and it twists & turns through layers of socially brilliant effected guitars, pulsating bass lines & solid Drums. This is an addictive musical masterpiece. It reminds me of another brilliant Australian based outfit called - ‘Luna Ghost’& their epic 2014 release ‘The Luna Ghost EP’. Check it out:
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Track 4 is ‘Vintage Cucumber’ territory! But don’t let the band name fool you. This is an absolutly immense track full of addictive reverb drenched guitar loops, reminescent in parts to early ‘Loop’ or american based instrumental shoegazers ‘Ghost Box Orchestra’. Its another full on edge of your seat sonic ride through layers & layers of effected guitars and solid drum tracks. ‘Mutterhertz’ is dance music in shoegazing form. LISTEN TO IT ON HEADPHONES. It will blow you away.
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Next up is another monster of a track! ‘Vintage Cucumbers’ -’Rennsimulator Marke Eigenbau’ reminds me of ‘Contino Sessions - Death In Vegas’. Continuously pulsing vocal samples striding a drum track built for driving to, with swirling guitar lines and bass frequencies to die for. This track is another floor filler in gazing form. Look at your shoes.
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The final track on this impressive release is another ‘Vintage Cucumber’ gem. Slower than the previous two tracks, ‘Windhart’, takes you by the hand and leads you into a sonic heaven full of angelic reverb laden tones worthy of worshiping on another musical plane. This stunning track opens up into a haunting vocal line filled with intent. It builds & builds into the chorus break like norse god waiting to explode. This is psychedelic shoegazing at its very, very best & it will send chills down your spine! Check it out for yourselves:
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Im very impressed with both bands on this split release. The shoegazing genre of music is amazingly strong all around the globe and both of these acts are worthy of joining this new wave of gazing prowess currently caressing the earlobes of the worlds gazing fans. This Split EP is available up on bandcamp to download for free. Go and get a copy of it while you still can.
Del Chaney - The Primal Music Blog - March 2015 - Dublin, Ireland.
Del Chaney has spent the last two years not only fronting popular Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the Unsigned or Small Independent Label based Shoegaze, Dream Pop, Noise-Rock & Post-Rock genres of music from all over the globe & reviewing them for this blog - The Primal Music Blog. His other arm The Primal Radio Show 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. He also currently writes for Canadian based online music webzine ReplicantEars. 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.