RELEASE: Call Of The Void
RELEASE DATE: 22nd June 2018
RECORD COMPANY: Fuzz Club Records
Oakland-based psychonauts 'Lumerians' create a mind-bending hypnotic brew filled to the brim with parts procured from various music genres such as experimental psychedelia, space rock, krautrock, noise rock, drone rock, electronica & dub. The resulting concoction is a thrilling excursion into the mystical & futuristic realms of contemporary psychedelia. Formed in San Francisco back in 2006 by Chris Musgrave - drums/percussion, Jason Miller - vocals/synth/organ/guitar, Marc Melzer - vocals/bass/synth and Tyler Green - guitar/synth/keys, the band relocated to Oakland just before the release of their debut album 'Transmalinnia', building their own recording studio called New Telos Sound in a former church. They released their sophomore LP 'The High Frontier' back in 2013 and two collections of improvised compositions called 'Transmission from Tellos III & IV'. They have also shared the stage with bands such as My Bloody Valentine, Killing Joke and Black Moth Super Rainbow. Now after a four year hiatus the band have returned with their third 'official' studio album entitled 'Call Of The Void'. The album is released on June 22nd 2018 via Fuzz Club Records and is dedicated to the memory of Barrett Clark, 'Lumerians' long-time friend, sound engineer and collaborator who passed away in the tragic Ghost Ship warehouse fire in Oakland 2016. 'Call of the Void' is available to pre-order right now on various formats via both fuzzclub.com & fuzzclub.bandcamp.com respectively.
Call Of The Void by Lumerians
The fizz of melodic electronics merge brilliantly with those swirling instrumental drones as ‘Fuck All Y’all’ arrives to permeate the ether accompanied by the slow pull of percussion and the deep throb of bass frequencies. Repetitive organ notes hover and glide just above the sonic melee whipped by tightly wound lines of lead guitar as we’re led into a magnificent break and momentarily guided out it’s back end by the lull of squally guitars and that hypnotically a-tuned metronomic tempo. ‘Fuck All Y’all’ serves up a sonic tonic to cure all ills and is a blistering opening salvo indeed. Up next, ‘Silver Trash’ pounds into existence on repetitive threads of motorik percussion as swirling synths meander through cascading lines of bass. Woozy guitars cling closely to that explosive drum track allowing the surge of electronic instrumentation, drenched in effects, to bring lines of vocal into audible range, all balancing precariously on top of tumbling swells of organ and whirring lines of lead guitar. ‘Silver Trash’ is a triumph, it’s absolutely phenomenal and a definite stand out piece on this album.
‘Space Curse’ bounces into the ether in a 70’s krautrock haze. Filled with intermittent bleeps and whirrs this track rocks steadily on a bedrock of rolling percussion as various analogue synths pulse lines of catchy chord sequences across booming bass frequencies deftly accompanied by fascinating lines of vocal whilst ‘Signal’ starts small but builds incrementally into a droning sonic behemoth filled with intense melody, ambient strewn breaks and lines upon lines of sequenced electronics. ‘Fictional’ rattles into the ether on a pounding drum track accompanied by hypnotically addictive bass progressions and soaring lines of synth. Duel vocal’s glide brilliantly here all enveloped by the swirling sonic maelstrom, adding squealing guitars and layers of stylish reverberation as fizzing electronica meets metronomic krautrock and collectively dives headlong into a broiling melee of lysergic tinged modern psychedelia.
‘Masters Call’ glides into audible range swirling on an instrumental drone as layers of reverb reach out to slow it’s momentum. Tumbling percussion accompanies booming pulls of bass as sequenced synths arrive to accompany those edgy lines of vocal merging brilliantly into one surging wave of psych induced electronica whilst the albums penultimate piece entitled ‘Ghost Notes’ is deeply atmospheric. Huge swells of reverberation embraces menacing lines of synth, rolling percussion and heady waves of bass frequencies as it’s entrancing vocal’s arrive meandering in and out of angry guitars and overpowering instrumental progressions eventually crescendoing into a magnificent bass led break that builds and builds all over again. ‘Ghost Notes’ is fascinating and another album highlight for me. ‘Call Of The Void’ closes out with ‘Clock Spell’ and instantly arrives strapped to a droning analogue signal and a slow moving line of structured percussion. Catchy electronic bleeps and whirrs accompany layers of reverb that seem to rise and fall brilliantly alongside those hypnotic vocalisations. It’s a blistering ending to a wonderful album.
ABOUT THE AUTHOR:
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, postpunk & 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: Lay Llamas
RELEASE DATE: 15th June 2018
RECORD COMPANY: Rocket Recordings
It's been four years since the release of Italian-based sonic manipulators 'Lay Llamas' sublime debut album 'Østro' on Rocket Recordings and since then their sonic manifestations have gone from strength to strength. Since the departure of Gioele Valenti (now with his own band - JUJU) 'Lay Llamas' have come solely under the command of Nicola Giunta who has reimagined their collective sound into something otherworldly, melding the rhythmic side of krautrock with afrobeat, neo-psych, electronica, spoken-word and experimental atmospherics. Having put out a number of smaller releases on labels such as Backwards, 4 Zero and ArteTetra, 'Lay Llamas' under Giunta's guidance have played on the live circuit with some heavy hitters from the modern psych scene such as the infamous 'Goat' at London’s Roundhouse and effortlessly managing a sonic demolition job of some considerable force at Liverpool International Festival of Psychedelia. Now they have returned to Rocket Recordings to unleash the latest chapter in this fascinating story. Their latest long player entitled 'Thuban' is an eight track sonic rollercoaster of unparalleled psychic abandonment featuring contributions from members of 'Clinic' and 'Goat' along with spoken-word contributions from Mark Stewart of 'The Pop Group' fame. 'Thuban' gets it's official release on the 15th June 2018 and is available to pre-order right now on various formats via rocketrecordings.bandcamp.com
Thuban by Lay Llamas
Melodic wind strewn instrumentation buffers and whirrs as the opening salvos of 'Eye-Chest People's Dance Ritual' arrive pulling twinkling frequencies with it as swells of synth rise from deep below the mix. Metronomic drum patterns dance repetitively alongside the throb of melodic bass and sequenced electronics as those hazy vocalisations meander into audible range attached to woozy instrumentation and the pull of guitars. Instrumentally sublime, this opening track is deeply captivating and filled with sonic brilliance. Up next, 'Holy Worms' swirls into the ether strapped to a boundless swagger filled with busy drum patterns and the hypnotic sway of percussion. Funky bass progressions meander in and out of fizzing lines of synth, tremulous guitars and hypnotic sonic vibes as Giunta crafts something altogether spiritual in nature whilst 'Silver Sun' drones into existence on squally lines of electronic atmospherics and the gentle swing of fizzing reverberations before opening up into a charging rhythmic beast that rises and falls through walls of addictive instrumentation with relative ease. Manifestations of sax and pulsating bass progressions add distinctly addictive sonic flavourings to the track and they envelope another impressive vocal performance.
'Cults and Rites From The Black Cliff (Ft. Clinic)' is an instant album highlight. It's darkly atmospheric beginnings pulse those penetrating bass frequencies out into the ether, unfurling heady waves of dystopian led sonics that loop and arc at will throughout. Distant wails of sax penetrate the hazy clouds of reverb and those menacing electronics as the metronomic pull of afrobeat and middle-eastern styled krautrock meets to form a brand new sonic singularity, moving as one collective that pushes a massive wall of delicious noise before it before finishing up dancing on a wave of sax and acoustic guitar. 'Cults and Rites From The Black Cliff (Ft. Clinic)' is absolutely mesmerising and worthy of your ears. Up next, 'Altair' features those magnificent sonic alchemists 'Goat' who provide a kind of psychedelic serenity alongside the fizzing psychedelic vibes created by Lay Llamas and this track doesn't disappoint whilst 'Fight Fire With Fire' featuring the dystopian hued spoken-word courtesy of Mark Stewart hangs suspended in a sea of glitchy reverberations and pulsing electronic atmospherics. Crawling feedback laden frequencies pull repetitive percussion and throbbing lines of melodic bass into the mix, instantly injecting structure and clarity into proceedings. This is addictive, brilliantly produced and another album highlight for me.
The albums penultimate piece comes in the guise of 'Chronicles From The Fourth Planet' and this track title maybe feeds on one of the albums main themes. The albums press release stated that - "Dwelling in the night sky of the Northern hemisphere, Thuban (named after the Arabic for ‘snake’ also known as Alpha Draconis, and sometimes as the ‘dragon’s tail’) was the star closest to the North pole from the fourth to the second millennium BC. Yet in a migration that perhaps allows us to consider our own insignificance in the realm of the cosmos, its never-ending trajectory will mean that it will once again become the polar star by 20346AD. It’s a star system powered by mystical significance enough for both Matt Groening to include it in Futurama and for David Icke to consider it the homeland of the shapeshifting reptiles that he maintains secretly control Earth". 'Chronicles From The Fourth Planet' opens up in a heady psychedelic cloud filled with distant instrumental drones, throbbing lines of bass and oodles of reverb. Pulsing percussion courtesy of Indian tabla drums arrive pulling noisy lines of lead guitar and the undulating echoes of hazy vocalisations with them as contrasting twangs of acoustic guitar inject catchy chord changes highlighted by cascading bass progressions and layer upon layer of delicious atmosphere. Surging swells of synth add intense weight to proceedings as we rise and fall through heady waves of jittering frequencies and are eventually lulled into submission in tracks final throws by the sway of instrumentation and the peaceful sound of waves washing the shoreline. The album closes out with 'Coffins On The Tree, A Black Braid On Our Way To Home'. A repetitive bass progression hugs the rumble of percussion and the twinkle of instrumentation as swirling drones and infectious electronics wash over this listener. This track builds ever so slowly, adding brilliantly executed layered vocalisations, sublime production and slow moving drum patterns into the mix as those heady lines of guitar join in with melee of collective sounds to create something altogether magical. It's a fantastic closing track and a fitting ending to what is a marvellous album.
When South American-based boyfriend/girlfriend duo of Sofía Aguerre and Leandro Rebellato aka 'Las Cobras' popped up on our sonic radar last year they instantly became firm favourites of ours. Their heady concoction of swirling, hypnotically charged krautrock, porto-punk, subtle shoegaze and hazy sun kissed rock n' roll helped us to immerse ourselves into their brand of Latin American psych and in turn firmly established them into the modern day fuzz fuelled psych firmament. Their debut album 'Temporal' had it's official release via the ever brilliant London-based 'Fuzz Club Records' way back in May 2017 and became an instant fan favourite, ended the year on a plethora of year end lists and catapulted them into one of modern psych's most exciting new bands.
To celebrate Fuzz Club Records repressing their debut album 'Temporal' for a second run, 'Las Cobras' have unveiled a beautiful new video for 'Al Más Allá' (translating from Spanish to 'the afterlife'). There's a tinge of garage psych streaming through the inner core of this track that is quite alluring but it's the pull of traditional percussion, jangling guitars and droning synth enveloping a magnificent vocal line drenched in glorious reverberation that peaks our attention. The video for 'Al Más Allá' is sublime and was created by the band themselves in Cabo Polonio, a tiny fishing village on the east coast of Uruguay that still has no electricity, confronting the passage of time and evolution. 'Temporal' is available to pre-order on lovely vinyl once more via fuzzclub.com and digitally over at fuzzclub.bandcamp.com
ARTIST: Bonnacons of Doom
RELEASE DATE: 18th May 2018
Swirling into the ether in a haze of repetitious sonic vibrations and psychedelic incantations comes the debut self-titled long player by Liverpool-based psychonauts 'Boccanons of Doom'. With identities hidden, and having released a few singles over the years for different compilation releases this immense collective of musicians deal in ritualistic sonic manipulation and otherworldly musical manifestations with each track recorded in single-takes using the band’s trademark improvisational method. Their sound is steeped in psychrock, repetitive drone and electronic experimentation whilst underpinned with sounds from different religious traditions all buried within the mix. 'Boccanons of Doom' have been known to change personnel but the core structure of this collective has included members of Mugstar, Forest Swords, Jarvis Cocker’s band and Youthmovies. Their self-titled debut album was officially released back on the 18th May 2018 via those ever knowledgeable folks over at Rocket Recordings and is available to buy/download right now on various formats from rocketrecordings.bandcamp.com
Bonnacons of Doom by Bonnacons of Doom
The album opens with 'Solus' and we're instantly thrown headlong into repetitive chanting, booming drum hits and sporadic swells of droning instrumentation as 'Bonnacons of Doom' unleash what they term - ‘transcendental echolalia’. Deep resonating bass frequencies swirl and creep, undulating brilliantly between those melodic vocalisations and the repetitive thud of percussion, as the track builds menacingly and gently pushes this listener towards the incoming sonic surge. And surge it does; raging guitars erupt nudging on that monumental percussive assault as the senses pummelling instrumentation takes hold and we dive headlong into a hypnotically charged sonic melting pot. 'Solus' is immersive in stature and a bloody intense opening salvo. Up next, the opening volleys of 'Argenta' boom and undulate on waves of insatiable bass frequencies as ghostly vocalisations simmer atop of steady percussion and melodic progressions of guitar. Again we're pulled along in slow calculated steps containing increasingly erratic sonic layers of distorted instrumentation all held together by that repetitive bass signature and the metronomic tolling of percussion. Noisy progressions of fuzz and distortion accompany the twang of subtle guitar just below the mix as we rise and fall through lulling periods of sonic reflection drenched in swathes of lysergic hued reverberation and on into massive walls of pulsing instrumentation until we're pulled into a dark and powerful state of sublime sonic consciousness. Coming in at a whopping ten minutes plus, 'Argenta' is absolutely magnificent and an album highlight for me.
'Industria' swirls into audible range trapped in a fizzing instrumental drone as off-kilter piano stabs inject stinging atmospheric menace. Throbbing bass frequencies build from far below the mix as swells of synth and electronic instrumentation accompany ritualistic vocalisations out into the light and that incessant fret noise wraps itself around precarious clouds of reverb. This track transcends modern psychedelia as we know it by breaking it's traditional formula and reimagining it. It forgoes with those well trodden sonic paths by melding the spiritual or religious side of incantational psych with a more modern mechanical edge, thus creating something altogether new sounding and absolutely huge in scope. Put very simply, this track could be the future. Up next, the albums penultimate piece entitled 'Rhizome' tumbles into the ether on a bellowing wave of bass and rumbling percussion. Sequenced electronics bleep and whirr as the track begins to build, adding fluttering intensity with each sonic sweep. Drum fills increase as the swirl of infectious drones emerge and 'Bonnacons of Doom' explode into a mesmerising free form live jam underpinned by the steady throb of that marauding bass signature. It's hypnotic stuff and another album highlight for me. 'Plantae', the albums closing piece, begins meandering on a blues led lead guitar riff and the steady swing of percussion. Stunning vocalisations swirl into the melee, gliding in and out of heavy swathes of fuzz and reverberation as the repetitive surge of instrumentation takes hold and we all collectively move in unison ... as one singular entity ....... attached to a raging sonic behemoth.
RELEASE DATE: 6th April 2018
RECORD COMPANY: Rocket Recordings
'Mien' are a collaborative movement of musicians who in their own individual parts have been personally involved in the creation of some of the most exhilarating releases to ever have graced our ears over the past twenty or so years. Borne back in 2004 whilst crossing paths on various tours and out of an inherent desire for sonic exploration by a quartet of musicians comprising of Alex Maas (Black Angels), Tom Furse (The Horrors), Rishi Dhir (Elephant Stone) and John-Mark Lapham (The Earlies), 'Mien' have created a self-titled debut that took fourteen years to come to fruition. It's inner workings are drenched with hallucinogenic nuances carefully stacked in a particular manner with each of it's individual players adding a specific penetrable layer to each of the tracks whilst trying to avoid falling headlong into the pitfalls of some previously explored sonic paths. It works, albeit in a frenzied, motorik and experimental kind of way through all of it's ten tracks. There are dark passages of atmosphere merged with wide scoped neo-psychedelia, brilliant broad spectrum sweeps through various music genres that all coalesce in one psych infused sonic surge, channelling psychedelic leanings from the past whilst inputting some modernistic sonic themes just for fun. 'Mien' was officially released back on the 6th April 2018 via the good folks over at 'Rocket Recordings' and is available to buy/download right now on various formats from rocketrecordings.bandcamp.com
MIEN by MIEN
'Earth Moon' spirals into audible range swirling melodically in a haze of sitar and keyboard before rumbling tribal drums and deep penetrating bass frequencies rattle it's teeth, in turn dragging steady vocalisations with them and we've set sail on a sonic voyage of discovery. This track builds brilliantly and leads the listener into those monumental chorus progressions with ease. Although it's eastern themed flair threads an already well stitched psychedelic formula, 'Earth Moon' has enough going on beneath it's stereotypical psychedelic leanings to help it stand out. Up next the undulating tones of 'Black Habit' fizz and dance on layers of swirling synths and dark reverberations. A repetitious bass line (for those clued in it originally appeared on The Horrors track - Sheena Is A Parasite) rumbles as that driving percussion pulls everything together tightly and Mass' vocals lean precariously on top of that surging instrumental growl whilst 'Im Tired Of Western Shouting' is tirelessly good. It's dystopia leaning credentials pulse and lull through passages of awe inspiring instrumentation and deep sonic crevices filled with a kind of lysergic sparseness, perfectly suited to host those melodic doom-laden vocal lines.
'You Dreamt' is distinctly electronic and a complete reimagining of the song 'I Dreamt' lifted from The Black Angels 2017 released Death Song. It rattles on a bedrock of breakbeats and sequenced atmospherics whilst being sonically assaulted by waves of raging noise and dark oppressive vocalisations up until the arrival of 'Other', and it's here that we're allowed to take pause. Swirling instrumental drones buffer and twirl as haunting reverberations take hold ushering in a deep bellowing bass tone; mesmerising in stature, it's swells of ambient samples rise and fall through clouds of nullifying reverb as we float in a kind of sonic static surrounded by twinkling lines of synth and punishing atmospherics that eventually blend into the absolutely immense 'Hocus Pocus'. This track begins swirling around yearning vocalisations and the twang of fuzzy guitar. Atmospheric swells of synth, subtle flutes and building electronics arrive and pulse in unison before slow menacing percussion launches us out into a reverb strewn landscape. Dark sonic permutations undulate through instrumental breaks reminiscent at times to Nine Inch Nails before we're pulled back into a huge pulse meandering sonic noise and on into it's final death throws. It's a mesmerising track and a definite highlight on this release.
'Ropes' shimmies into the sonic ether rattling on repetitive shakers and the eastern twang of sitar before creeping sequenced bass frequencies bounce and move beneath haunting vocalisations and the occasional pull of guitar. Cascading lines of synth enter the fray as the track begins to build and we trip out to some spectacular cosmic vibes before that wide instrumental break takes a slight pause before it sucks every single frequency into it only to belch them back out in spectacular fashion. There's more going on here than just sonic experimentation, there's a groove to each of these tracks that is very difficult to shake off. 'Echolalia' drones on a repetitive tone, pulsing and swirling through different pans before erupting into a distorted behemoth that circumnavigates a magnificent vocal line, occasionally whipped by feedback laden guitars, weirdly brilliant off-kilter backing and wonderfully warped production whilst 'Odyssey', the albums penultimate piece, has krautrock like tendencies with repetitive instrumentation, throbbing bass lines and that brilliantly executed vocal performance. The album closes out with the blissful 'Earth Moon (Reprise)'. We drop into hazy sonic frequencies filled with intoxicating eastern tinged swirls and marvellous progressions of guitar, swells of building synth and hypnotically peaceful vocalisations before meandering through repetitive verse/chorus progressions with ease until that slow moving break-beat arrives and we're swept away on ambient hued clouds of synth, rambling bass and sequenced electronics. It's a fascinating bookend to an absolutely marvellous debut album.
ARTIST: Sherpa The Tiger
RELEASE: Great Vowel Shift
RECORD COMPANY: Fuzz Club Records
Hailing from Lviv, Ukraine, 'Sherpa The Tiger' deploy a serious arsenal of seventies leaning cosmic sounds on their debut five track entitled 'Great Vowel Shift' courtesy of erratic rhythms, Soviet era synthesisers and 1980's Vermona Formation 2 organs built in East Germany. From influential 60's/70's sounding krautrock underpinned with a bedrock of off kilter drum patterns to swirling 80's themed ambient hued soundscapes filled with twinkling synths and heady atmospherics 'Sherpa The Tiger' introduce a whole new layer of sounds to this burgeoning underground kraut/psych scene that flickers between danceable funk-ridden rhythms and vast electronic experimentation. 'Great Vowel Shift' gets it's official release via Fuzz Club Records on the 18th May 2018 and is available to pre-order right now on various formats via fuzzclub.com & fuzzclub.bandcamp.com respectively.
Great Vowel Shift by Sherpa The Tiger
‘Peninsula’ begins buffering in a haze of pulsing electronics closely monitored by it’s orbiting bass line. The arrival of driving metronomic percussion, a woozy accompaniment of guitar and whirring bleeps add brilliant atmosphere as they dive headlong in and out of swirling swells of simmering synth. There’s a kind of hypnotic repetitiveness here that is very very addictive and when interwoven with those intricate guitar progressions, cascading lines of various keyboard sounds and those understated sequenced electronics the collective sound transforms into something otherworldly. Up next, ‘Periscope’ shimmies into audible range trapped in a layered sonic patch filled to the brim with repetitive breakbeats, fuzzy sequential samples and luscious streamlined reverberations. Addictive bass progressions dance and hug swirling drones as the percussion track builds cyclically into a funked out psychedelic trip. There are definite 60’s/70’s krautrock tendencies here but they've been brilliantly dissected into an array of ambient sounds, injected with subtle indiscriminate psych-pop flourishes, deftly reimagined and washed with a shimmering sonic edge almost akin to modern dance music. ‘Periscope’ is sublime and quite possibly my favourite track on this entire release.
‘Golden Ratio’ gyrates endlessly on glossy dream laced swells of synth that build in intensity with each swirling circumference adding a mind-blowing 70’s sci-fi twist to proceedings whilst ‘Contre-Jour’ has a woozy groove laden undercurrent albeit accompanied by swirling drones and a monstrous synth line. A metronomic backbeat keeps the tempo solid while those swirling sequenced electronics and the funked out bass line cause havoc until we’re led into a magnificent break half-way through and catapulted out the back end into it’s glorious tripped out finale. ‘Contre-Jour’ is another highlight for me. The album closes out glistening in a neon tinged synth laden sheen as ‘Cavalcade’ swirls into audible range. It’s dreamy ambient strewn beginnings are quickly overpowered by a groove -laden bass progression, sequenced samples and that hypnotic percussive swagger. Swirling progressions of guitar and synth join the fray and we’re quickly swept away on melodic instrumental waves filled with repetitive hypnotic reverberations. It's a magnificent finale to a wonderful debut album.
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, postpunk & 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: Nest Egg
RELEASE: Nothingness Is Not A Curse
RELEASE DATE: 13th April 2018
Back in 2015, after releasing a handful of tapes and singles, North Carolina-based minimalistic kosmische/psych trio 'Nest Egg' unleashed their mind-expanding debut album 'Respectable' to the masses. With a repetitious but controlled sonic assault filled to the brim with swirling analogue sounds, cavernous guitars, droning synths and metronomic percussion, reminiscent at times to the sonic conjuring's of Moon Duo, Föllakzoid or Throw Down Bones, the band have returned with their sophomore release, the brilliantly titled - 'Nothingness Is Not A Curse'. Officially released back on the 13th April 2018 via the good folks over at Fuzz Club Records this hypnotic collection of tracks is a heaving, sweaty pulse of instantaneously addictive, swirling repetitious noise. 'Nothingness Is Not A Curse' is available to buy/download right now on various formats from either fuzz club.com or fuzzclub.bandcamp.com respectively.
Nothingness Is Not A Curse by Nest Egg
The album opens up swirling menacingly in an atmospheric haze filled with majestic synth, droning organ, shimmering tambourine and the metronomic pulse of percussion. At first ‘DMTIV’ presents itself like some kind of garage-psych behemoth but instinctively drives a sonic furrow into the ether as it’s krautrock like tendencies are brought to bear thus beginning it’s brilliant sonic circumnavigation of a repetitive beat adding various instrumental fancies into the melee with each repetitious turn. The chug of fret noise joins a hail of screeching guitar stabs, both attacking the senses at different stages as those malicious shakers join in and quickly pull haunting vocalisations into the mix to ride the turbulent waves into a rather distinctive post-punk hued lead break. ‘DMTIV’ is a triumph, a blistering opening salvo and wonderful jumping off point for this album. Up next, ‘Print-Process-Repeat’ jangles into earshot riding a swirling organ drone accompanied by the strum from a glistening guitar progression. Thunderous drums rock back and forth on waves of throbbing bass frequencies as that sullen vocal arrives, meandering in and out of woozy lines of lead as the ever constant swirl of organ rises and falls just below the mix.
‘Denied Doctrine’ charges into the ether strapped to a turbulent instrumental drone and that metronomic beat. The chug of guitars sways malevolently on a driving bass progression as the vocals arrive and are lashed to within an inch of their lives by stinging lead lines and breathtaking layers of reverberation. There’s a hypnotic tinge to this track that is instantly addictive right up until it absolutely loses it mind and explodes into a massive wave of surging noise and meanders on into it’s fantastic finale. ‘Denied Doctrine’ is sublime and another definite highlight for me on this release. Up next, ‘Long Night Outside’ drives into earshot on a repetitive bass signature and those charging drums. Abrasive guitars join in at sporadic intervals as it’s vocal lines arrive steeped in darkly atmospheric reverberation and add to to the overall feel of the track. There’s modern psych at the core of proceedings here but it’s mingled with post-punk and riotous rock & roll to create a heady sonic brew.
The albums penultimate piece entitled ‘Cognitive Dissonance’ is a burgeoning sonic monster filled with swirling synth, pounding percussion and humming lines of bass. Reverb tinged vocalisations ride the tremulous sonic wave as collectively, the instrumentation explodes into something more akin to punk-rock. ‘Cognitive Dissonance’ is absolutely captivating, utterly absorbing and a bloody marvellous track to behold. The album closes out with it’s self titled track. ‘Nothingness Is A Curse’ tumbles into the sonic arena on a repetitive percussive assault as atmospheric drones and electronic theatrics steeped in reverb conjure up ghostly sonic reflections and those noisy bass frequencies add intense menace. Explosive chord changes accompany sullen vocalisations into the breech as soaring lines of lead guitar oscillate and glide in and out of simmering synth and noisy delay laden progressions. There is an almost cinematic ending to this track that is worth your time all by itself and it closes out what is another stomping Fuzz Club Records release.
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, postpunk & 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.
RELEASE: Youth EP
RELEASE DATE: 3rd march 2017
RECORD COMPANY: Unsigned
There is something inherently satisfying about following a band from it's earliest incarnation, watching it grow in stature through each of it's online releases and being constantly amazed at how their sound has matured collectively over that time period to eventually stand as a bastion of sonic brilliance in a country that is over saturated with mediocre rock bands and rehashed musical trite. Hailing from the Irish Republic’s rugged northwestern periphery and held fast in a belief that sonic experimentation across many different musical genre’s is the only formula needed to express artistic freedom, resides one of the best modern day experimental psych-gazing collectives to ever have graced this fair isle. Led by the charismatic & multi-lingual Robert Mulhern and a rag tag bunch of instrumental geniuses and with a collection of releases under their belts, 'Tuath' have returned with a brand new six track monolith entitled 'Youth'. This latest EP swims in a broiling sonic broth filled with tantalising slivers of modern psych, noise-rock, trip-hop, prog-rock, shoegaze, krautrock and now with the added ingredient of shimmering experimental ambience used primarily to level us off slightly as we tumble skywards out into the ether. 'Youth' was officially released on March 3rd 2018 and is available to buy/download from right now via tuath.bandcamp.com
Youth EP by Tuath
The EP opens up with 'Youth', a blistering lysergic tinged melding of trip-hop and swirling effervescent psych that tumbles superbly through swathes of glistening reverb and hazy electronic instrumentation deftly accompanied by meandering guitar progressions and rolling synth swells that stick to that instantly recognisable vocalisations courtesy of Robert Mulhern. Up next is the brilliant 'Cuz Why!?'. Unusually stripped back for Tuath , this track dispenses with their usual tidal wave of reverb to deftly showcase the bands vocal abilities. They've also added the subtle throb of post-punk to their unique sonic collage, inserting it brilliantly in amongst the swirling lysergic electronics and pounding percussion thus adding another layer to their already immense sonic arsenal. A sticky reverb-hued guitar progression announces the arrival of 'Rose Tinted Glasses', my favourite track on the entire release. This in turn pulls steady percussion and the throb of bass frequencies with it as a swirling air of menace hangs nonchalantly in the closely accompanying atmosphere. Humming electronics and subtle swells of synth join in on the cranial assault as those bass lines morph into something altogether funky. This track is deeply experimental albeit with some additional informed songwriting knowhow to add that tantalising ambient strewn break filled with synth, saxophone and addictive electronics all swirling effortlessly around Rob's vocals. 'Rose Tinted Glasses' is a monumental triumph and a serious recommendation from us lot here at Primal Music.
'Old Man Yells At Cloud' is melodic, bouncy and a reverb laced noise-rock gem. It opens up with hazy guitars hugging tightly wound vocal lines, strapped to a big bass line before streaming electronic finery begins to bubble from just below the mix and we're walked hand in hand through the opening verse and pushed headlong into that noisy and animalistic chorus change. It's fast paced rinse and repeat stuff from here on in with a verse/chorus/verse/chorus structure as soaring lines of synth merge with explosive percussion and fuzzy guitars to form a massive wall of sound, only broken sporadically by the skip of addictively cascading base frequencies. Up next, the EP's penultimate piece, brilliantly titled 'And Your Cock Gets Soft/Take Me To Your Dealer' ambles into audible range rocking slowly on a metronomic percussive swagger and and an ounce of dry vocal humour before winding up into a sort of fuzzy foxy lady kind of vibe! It's an interesting sojourn that leads us into the EP's closing track. 'I'm Sorry Young Man' shimmers on a tremulous guitar progression as swirling instrumental drones build meticulously from below the mix and Rob's reverb hued vocals sweep into view pulling sparse percussion and deep permeating bass frequencies with them. 'I'm Sorry Young Man' builds brilliantly, adding layer after layer of instrumentation that sticks to the sequenced lines of synth and those fizzing electronics before feedback heavy guitars meander in and out of seamless production values adding a hard hitting atmospheric edge to proceedings that cuts through the melancholic feel of the entire track. It's a marvellous ending to a brilliantly executed 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.
by Primal Music
ARTIST: Lunar Grave
RELEASE: The Sunstruck Forest
RELEASE DATE: 5th January 2018
RECORD COMPANY: Cardinal Fuzz Records / Sky Lantern Records
Portland's 'Lunar Grave' have undergone some personnel changes since their inception back in 2010, releasing various outings on home grown cassette tapes, CDr's and digitally in that time building up to this debut seven track vinyl release. Their sound centres around driving krautrock, deliciously infused with free flowing transcendent psych and hypnotic grooves that collectively create something akin to an out of body experience in sonic form. It was officially released back on the 5th January 2018 via the good folks over at Cardinal Fuzz Records and Sky Lantern Records respectively with editions still available on various formats through cardinalfuzz.bigcartel.com and skylanternrecords.bandcamp.com
The Sunstruck Forest by Lunar Grave
Bouncing bass signatures accompanied by a huge percussive assault announces the arrival of 'Piper In The Woods', the opening salvo on this impressive collection of tracks. The drum and bass assault continues for a time before 'Piper In The Woods' opens up into a full on assault on the senses. Soaring lead guitar meanders in and out of that solid drum & humming bass line combo leading us on a metronomic dance to the tracks finale. Up next, 'JJ-180' slows proceedings down a tad as a swirling concoction of soothing bass frequencies and luscious reverb stick to slow moving percussion and the lull of immense guitar sounds, continuously moving through a trance like state whilst 'Collapsed Horizon' is an impressive live jam that shudders and shakes through repetitious drum tracks, throbbing bass lines and resonating lead guitar. The sonic tendrils of 'Slow Death' unfurl, reach out and wrap themselves around the inner psyche as repetitious guitars swim and move through hypnotic reverberation buffered by slow moving bass frequencies and the slow march of percussion. 'Slow Death' is infectious. It lures you in with it's soothing sonic repetitions, carefully rocking you back and forth before gracefully implanting you deep in it's inner core. It's a triumphant track and possibly my favourite on the entire release.
'Kykeon' builds from the off as meticulous layering of guitars meander into audible range strapped to an almost motorik percussive swagger and the pull of bass notes, swaying back and forth like a pendulum deftly instilling hypnotically charged psychedelic impressions with every twist and turn. The entire track moves as one singular being, a sonic murmuration of sorts spilling technicolour sound-waves at a whim. 'Kykeon' is sublime and another highlight here. We take a quick sojourn as the fifty seconds of 'The Mold' spills it's guts before we're whooshed into the albums closing piece. Coming in at a whopping eleven minutes plus, '2-3-74' isn't for the faint of heart. Woozy instrumentation hugs a monolithic bass signature as lead guitars wrap themselves around a slow moving drum pattern, looping and arcing in and out of catchy bass progressions, drum fills and yards of stunning reverberation. It's intensely hypnotic, spiritual even as it builds and builds into a raging cacophony of psychedelic noise that floats out into the sonic ether and on into a marvellous finale. It's a fitting ending to a wonderful album.
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
RELEASE DATE: 16th February 2018
RECORD COMPANY: Fuzz Club
Taking their name from a live Spacemen 3 album entitled 'Dreamweapon: An Evening of Contemporary Sitar Music' released back in 1990, Porto's 'Dreamweapon' have the sonic know how to back up their collective sound. Like their contemporaries, 'Dreamweapon' use a tightly woven experimental edge as a dominating musical force to carefully create magnificent soundscapes deftly tumbling through electronically themed krautrock, oscillating proto-punk and modern psych with a collective end product that will simply blow your mind. Made up of 10,000 Russos bassist Andre Couto, João Campos Costa and Edgar Moreira, they emerged in 2009 and have since gone on to release one EP, a self-titled debut album and a splattering of singles. Now the band have emerged with their four track sophomore release entitled 'SOL' and have enlisted the brilliant 'Fuzz Club Records' to bring this album to the ears of the world. Officially released on the 16th February 2018, 'SOL' is available to pre-order on various formats right now via fuzz club.com
SOL by Dreamweapon
Swirling menacingly in a darkly atmospheric and all consuming instrumental drone the opening salvos of ‘Mashinne’ instantaneously instil an overriding sense of foreboding as the slow meticulous tempo begins it’s repetitive march into the sonic unknown. Hazy reverberations fizz and move in and out of throbbing bass signatures and the twinkle of electronics as subtle lines of melodic guitar bounce and weave effervescent incantations that meld effortlessly with resonating frequencies to create a wall of hypnotic sound that is both captivating and scary all at once. Shadowy sound-waves float like ghosts in and out of the mix at various times creating light and shade and adding depth to the piece as we’re pulled through cascading synth lines, ghostly vocalisations and the sequenced pulse of surreal production techniques. ‘Mashinne’ is a fascinating opening salvo and a definite highlight on this release.
‘Blauekirshe’ opens up held fast in a kind of eastern esoteric haze as squally guitars scratch and pull through waves of reverb and shamanic shakers hover over droning swells of synth and rolling drum patterns. Bouncing bass lines keep hypnotic time as intense atmosphere undulates throughout injecting distant voices and surging dub like stabs of percussion. This track is lusciously addictive and at times spiritual in it’s approach. It’s reptilian movement demands attention whilst the constant pitter patter of resonating frequencies swirl and ebb effortlessly dipped in an acid blotched haze. Up next, ‘Qram’ enters audible range tumbling through calming waves filled with ringing bells and chiming alarms. At fourteen minutes plus, Qram’s peaceful beginnings are short lived as resonating instrumental drones build from deep below the mix accompanied by the surge of percussion and the rattle of reverberating cymbal noise. Spiralling instrumentation intertwined with sticky reverb pulls the throb of bass and uncompromising production values out into the ether as we tumble headlong into a mesmerising wall of shamanic krautrock. ‘Qram’ is immersive, hypnotically brilliant and another highlight on this release for me.
The album closes out with ‘Monte da Virgem’, a track that has also appeared on Fuzz Club’s latest compilation, the brilliant ‘Reverb Conspiracy Vol.5’. This track is a bass driven sonic monolith that surges through layers of driving percussion, pulsing guitars, surging instrumental drones and the heady pull of sequenced synths. Monte da Virgem’s repetitiveness is what makes it so bloody addictive. At times reminiscent of Throw Down Bones or Föllakzoid in it’s kraut like stylings, Monte da Virgem is a masterful ending to a totally immersive album.