Stepping Stones by Glass Horses
We're very, very late to the party on this one and for that we apologise but we simply can't let this single go by without mentioning it. London based alt/shoegaze quartet 'Glass Horses' have unleashed a stunning brand new single entitled 'Stepping Stones' via their bandcamp page and it follows briskly on from their recently released self-titled debut EP. The band are made up of Noga Shatz - vocals, Terry Hale - guitar/keyboards, Pat Paxton - bass, James Walker - drums and 'Stepping Stones' is available to buy/download right now from glasshorsesband.bandcamp.com with the 'Glass Horses' EP is available to listen to in full over on the bands Soundcloud page.
'Stepping Stones' shimmies into the ether in a torrent of atmospheric reverberation as mesmerising guitar progressions meld with its snaking lead lines and another impressive vocal performance courtesy of Noga Shatz. Sparse percussion and cascading bass frequencies add weight to the piece as the collectively blissful chorus progressions arc and swoon leading us into a sublime closing segment that builds and builds and builds. Their collective sound skips through passages of mesmerising psych, shimmering shoegaze and blissed out dreamy alt-rock with relative ease making Glass Horses one of the most exciting bands on the underground scene right now.
by Primal Music
Daybreak by Divisionists
Londoners 'Divisionists' have unleashed a brand new single entitled 'Dream Landscape' lifted from their forthcoming full length debut album 'Daybreak' penned in for release on March 17th 2017 via the London based Mount Watatic Records. This latest single comes hot on the heels of the brilliant 'Say You Can', the albums lead track which garnered serious support worldwide in both radio & press circles and it also follows on from the bands debut four track EP 'we play rock music ...' released back in 2011. With a sound that skips brilliantly through harmonic psych & power-pop, is sometimes underscored by patchy alternative rock rudiments and stops off for the occasional psych-folk singalong, 'Divisionsits' have a lot going on sonically.
The band are made up of Brendan Quinn – guitar/lead & backing vocals/piano/organ, Rob McGregor – drums/percussion, Mark Bennett – guitar/synths/backing vocals & Mike Whitaker – bass/piano/ backing vocals and the 'Daybreak' album will be available digitally from March 17th 2017 but is available to pre-order right now on on lovely 180 Gram orange vinyl which includes a full-colour folded insert with artwork and lyrics via divisionists.bandcamp.com
'Dream Landscape' swirls into the ether on resonating guitar frequencies that rise and fall blissfully through beautifully astute progressions laced in glorious reverberation. Cascading bass lines straddle steadying percussion as undulating lead licks whip and harass the entire piece into submission allowing those stunning vocalisations to hold court thus stirring up audible manifestations of those 60's psych-pop pioneers 'The Byrds, The Beatles, The Velvet Underground & Crazy Horse'. 'Dream Landscape' is a truly magnificent track and this in turn only bodes well for the full album release.
ARTIST: Alex Chilltown
RELEASE: Eaten Up By Nothing
RELEASE DATE: 24th February 2017
RECORD COMPANY: Witchgirl Recordings
'Eaten up By Nothing' is the new EP by the chilled out post-punk/shoegaze styled 'Alex Chilltown' aka London-based Josh Esaw. It’s a dense, heavy and burningly unhurried meditation of slowcore and thick, murky, gothic sounds that tend to be like some sort of swamp that you might get dragged down in for a while, before it spits you back out of its depths. Although the tracks themselves avoid ‘epic’ and lengthy portions, it’s the crux and interior of the sounds that bellow into trenches of the sort of downtrodden sound you would expect. Accompanying these sounds, however, is the full on wall of sound-style mixing reminiscent of shoegaze music; where one strum of a chord with the right FX and pedals can flood the room with an absolute cacophony of sound. Together these elements make an interesting mix of things.
'Eaten up By Nothing' opens with ‘Untitled’ which establishes the fantastic quality of performance that appears all over the EP. A brilliant and subtle synth sits at the back of most of the songs which adds even more weight to the music. This element, along with the intricate sound of a weaving guitar, makes the instrumentation brilliant and almost always engaging. The 80’s play a deep influence upon the band, which at times sounds like it perhaps should have been basement dwelling in Eastern Europe in the peak of cold-wave. ‘Hollow’ introduces a more fleshed out sound that’s a tad more influenced by shoegaze. The drums slow and minimalistic beat acts as a kind of backbone to the rest of the instrumentation… The vocals sit awkwardly above a kind of ethereal wave guitar pop sound that sounds like the least loud instrument of them all; interesting.
‘Glaze’ comes across as a much more whimsical exercise in the bands sonic explorations. For the most part it’s not as engaging as the opening tracks on the EP; and altogether it’s a weird kind of mediocre that kind of plays and plays without reaching any great heights. That is until the outro: a fantastic and involving passage of music that uses all the bands strengths to conjure up an emotive and dreamy reverberate. The melding of guitars, drums and the ethereal synths do wonders for the texture of the track. But, easily the most engaging and greatest track on the EP is the six minute plus ‘Diamond Sea’; which touches more upon a contemplative kind of dream pop/shoegaze noise than the bands previous endeavours into a more dark and gothic sound. ‘Diamond Sea’ is the only song on the EP that truly showcases an interesting and somewhat reputable vocal track. It’s not too loud, it’s not too quiet and the lyrics fit in with the instrumentation. The drums and bass showcase the aforementioned influence of slowcore and musical exploration. It’s a brilliant and original song, with moments that connect both the light and the dark somewhere in the middle.
After a few listens to the EP, one must admit that the sounds explored on 'Eaten Up by Nothing' are well travelled pieces of terrain; and far from original. With this in mind, sometime after a few listens you’ll notice how a few of the tracks sound similar in style and in tone. Also, the lyrics are awkward attempts at poetically gothic statements; like an outpouring or confession that feels as forced as it does tongue in cheek. Accompanying these lyrics are the sometimes-cumbersome vocal performance and mixing, which leaves you asking: is it too quiet, or is it too loud? These elements appear to be prevalent upon a few listens, but although there are flaws, there are also great strengths and highlights. For one, the instrumentation and music performances stay solid, fluid and engaging for the whole EP. The production is brilliant and is used to show the acme of the bands musical texturing throughout Eaten Up by Nothing, and altogether, the sounds produced through FX and tweaking are impressive in their own right. The band use their talents to create an EP that may not be the most original piece of music ever, but is clearly a release that shows their strengths, achieved primarily through production and the melding of 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 the Australian heavy music blog, I Probably Hate Your Band.
ARTIST: Glass Horses
RELEASE: Glass Horses
RECORD COMPANY: Unsigned
London based alt/shoegaze quartet 'Glass Horses' have unleashed a veritable feast for the ears with the debut four track self-titled EP. Their overall sound is distinctly modern with slight nod of respect to the originators of the genre with influences such as Ride, Novella, Siouxsie and the Banshees, Froth, and L.A Witch being bandied about. Personally speaking, I can hear Cranes, Secret Shine & Boston based noise junkies The Swirlies surging through their sound with a slight doff of the cap instrumentally to the repetitiveness of the modern day psych scene. The band are made up of Noga Shatz - vocals, Terry Hale - guitar/keyboards, Pat Paxton - bass, James Walker - drums and the 'Glass Horses' EP is available to listen to in full over on the bands Soundcloud page. You can also pick up a copy of the lead single 'Little Tricks' for a small fee over at: glasshorsesband.bandcamp.com
Little Tricks by Glass Horses
Swirling melodious guitar noise and sparse percussion heralds the arrival of 'Little Tracks' and I'm instantly transfixed on gorgeous vocalisations of Noga Shatz. Instrumentally this track is faultless as droning guitars and the constant throb of cascading bass frequencies meld effortlessly with those repetitive synth lines. The entire track seems to envelope the vocals perfectly. Up next, I'm sort of led into a false sense of security as 'Low' creeps into audible range. It starts slow and builds into a psychedelically charged monster as those almost post-punk sounding bass lines meander in and out of explosive percussion and charging reverberation. The sneaking lead guitar lines mimic those impressive duel vocal's as the track drags itself through explosive chorus progressions with relative ease. A pretty cool track and possibly my favourite on the entire release.
The EP's penultimate piece wouldn't look out of place on a modern day psych rock compilation. 'Honey' is a brooding, atmospheric brute with 60's sounding psych connotations and swirling instrumentation all circumnavigating a melody driven bass line and those addictive vocalisations courtesy of Noga Shatz. The production on this track is brilliant and I know the band self produced this EP so credit where credit is due! The closing piece on this release is absolutely stunning. 'Blue Lights' screams UK noisy experimental shoegaze outfit 'Cranes', with its pulsating rhythmic patterns, quiet verse progressions followed by explosive instrumentation and those hypnotically sounding synth swells. There's a subtle 80's post-punk edge to this track to that is completely addictive and worthy of your ears. All in all this is a pretty special collection of tracks.
Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
London (Hackney) based fuzzy & atmospheric psych/shoegaze outfit 'The Marbles Jackson' have announced a brand new single & visually compelling accompanying video directed by Naoko Takahashi entitled 'Ten Million Suns', penned in for release on the January 26th 2017 via Feline Frequency Recordings. This latest single is the band first since their highly successful full length album 'Notes To Dust' wowed us back in April 2015. The band are made up of Terry Kirkbride - voice/drums/acoustic guitar/drone, Naoko Takahashi - electric guitar/voice, Simon Gwyne - keys/electric guitar/slide guitar & Mikey Belfast Gibson - bass. 'Ten Million Suns' (backed by Wish For) is released on digital download and very limited edition Red Cassette Tape on 26th January 2017 and will be available to pre-order very soon via ffrecordings.bandcamp.com
'Ten Million Suns' echoes in a swirling haze of reverberation as the highly addictive vocalisations of Terry Kirkbride shimmer and glide through diminished instrumental drones, fizzing percussion and tremulous acoustic frequencies. The track loops and arcs through many different sonic permutations all the while cushioning your senses with beautifully intense passages of hypnotically charged psychedelic tones deftly underscored by brilliantly executed production techniques.
ARTIST: Ulrika Spacek
RELEASE: The Album Paranoia
RELEASE DATE: 5th February 2016
RECORD COMPANY: Tough Love / Lefse Records
Formed in Berlin but now residing in London, Rhys Edwards and Rhys Williams aka ‘Ulrika Spacek’ began their tentative first steps in what would be a two year journey to finish their debut album entitled ‘The Album Paranoia’ back in 2014. Employing the help of three skilled musicians & friends they embarked on sonic journey that would reap them immense rewards. With a sound that swerves between alt-rock & krautrock whilst taking a trip through downright fuzzed up lo-fi brilliance, ‘Ulrika Spacek’ create hazy impressive soundscapes that are sonically worthy of your ears. ‘The Album Paranoia’ was officially released via ‘Tough Love Records (EU) & LEFSE Records (USA) back on the 5th February 2016.
The Album Paranoia by Ulrika Spacek
The album opens up with ‘I Don’t Know’, a fuzzy swirling triumphant track that loops & arcs through addictive reverberating guitars intertwined with glorious psych tinged effects and a steadying drum progression that holds that stunning vocal aloft like a king sitting atop a mountain of golden sound. Track two, ‘Porcelain’ oozes alt-rock splendour with whirling repetitive guitars and another impressive vocal performance. ‘Circa 1954’ lives in a beautiful shimmering experimental ambient world while ‘Strawberry Glue’ jangles & struts like a sonic peacock before opening up into a glorious fuzzy alternative masterpiece. Track five, ‘Beta Male’ stands up there with some of the great modern day psych tracks. Reminiscent at times of ‘Fuzz Club Records’ own ‘Throw Down Bones’ with its hypnotic swirling maelstrom of sound that builds into a fuzzy multifaceted sonic whirlwind. ‘Beta Male’ is probably my favourite track on this entire release. Very cool! Up next,‘NK’ is a slow but sludgy psych tinged monster with a lazy ‘Sub Pop’ styled effected vocal line and a very impressive break that builds & builds forever.
We’re back on a subtle alt-rock vibe with ‘Ultra-Vivid’. This track is full of melodic melancholy with beautifully intricate guitar lines, gorgeous synth swells and an effortlessly striped back vocal take. ‘She’s A Cult’ screams ‘Radiohead’ from its very first distorted chord structure while ‘There’s A Little Passing Cloud In You’ shakes the sonic ether with is psychedelic flavourings dripping with repetitive guitars, throbbing bass line & a brilliant drum progression that collectively leads us into a false sense of security before opening up & exploding into a massive cacophony of sound.
The albums closer ‘Airportism’ is reminiscent of latter day ‘Radiohead’ with its beautifully delicate vocal lines accompanied by that addictively melodic guitar progression and a lazy drum pattern. A perfect finale to an overall impressive debut album. Recommended listening for fans of MBV, Television, Pavement, Sonic Youth, Radiohead & Deerhunter.
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.
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
ARTIST: Children Of Leir
RELEASE: Children of Leir (3rd Album)
RELEASE DATE: 5th September 2016
Following on from their impressive single release entitled 'Shades' back in July, Hamburg/London based experimental psych/drone aficionados 'Children of Leir' have self-released their magnificent third album to the masses. The bands sound melds together repetitious motorik percussive patterns with swirling synth drones, snaking hypnotic guitar progressions and intense vocal lines to collectively create a musical melting pot of acid drenched sonic reverberations that will enthral both new and old listeners alike. The 'Children Of Leir (3rd Album)' is available to buy/download on various formats right now from childrenofleir.bandcamp.com
Children of Leir (3rd Album) by Children of Leir
On a cacophony of synth drones and a thunderous percussive assault the albums opener 'Bad Little Woman' erupts into ear shot dragging with it a growling meandering guitar line steeped in swathes of glorious reverberation. The track shifts gears as the metronomic drum pattern takes off at marching pace, all the while haunted by swirling synth swells and the ever present lead guitar line. Vocally sublime and utterly addictive 'Bad Little Woman' is a stunning opening salvo! Track two begins with a menacing synth drone thats pierced with beautiful frequency laden melody. 'Questions' builds momentum as it ploughs a sonic furrow through proceedings, opening the door for a repetitive drum beat coupled with layers of reverb laden guitars. The vocals are melodious & hauntingly fuzzy, but broken intermittently at times by the snaking lead guitar line that seems to circumnavigate the entire track, pulling the remaining instrumentation with it as if some unseen sonic gravitational pull is at play. 'Questions' is nine minutes plus of magnificent psychedelic experimentation and is probably my favourite track on the entire release. You really need to listen to it via headphones to experience its sonic intensity in glorious technicolour.
Tremulous guitars announce the arrival of track three, the overtly 60's sounding 'Hate'. This is two minutes plus of charging experimental 60's psych pop thats full of swirling organ swells and hypnotically charged vocal lines purposefully arranged to attack the senses and wash a glorious golden tinge onto its listeners. The albums lead single arrives next on a wave of fuzzy frequencies. 'Shades' is a dark fuzzy ball of glistening sonic energy that drones as it skips along its designated path, deliciously perched upon a skittish bed of motorik-driven percussive patterns. The swirling mass of reverberating noise carefully circumnavigates that addictive duel vocal attack as those organ crescendo's tease and the hypnotically charged instrumentation instils both giddying excitement & atmospheric trepidation all at once.
The albums penultimate track entitled 'Young Man' shakes into existence on a meandering drone and an addictive vocal line. Reminiscent at times to seminal UK experimental psychonauts 'Spacemen 3', 'Young Man' purrs like a well serviced engine as you become transfixed on its sparse percussive tempo, swirling psychedelic synth swells and atmospheric guitars that add weight to the over all hypnotic swing that the track produces. A thoroughly enjoyable and deliciously addictive soundscape from start to finish. The albums closing piece entitled 'Sirene' is a triumphant maelstrom of sonic noise with its driving repetitive motorik percussive patterns, layered guitars, soaring drones and reverb laden sequenced synth progressions. The vocals sit atop a chariot of beautiful noise like some sonic god wading into an epic battle where musical frequencies bend and shape themselves at will allowing it to cut a sonic furrow through the entire track. This is a masterpiece. In my opinion 'Sirene' should be the next single as it can hold its own with some of the best experimental psych tracks currently gracing the underground scene today.
A monumental return to form! Recommended.
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.
London based experimental sonic aficionado's 'In Violet' have returned with a stunning single entitled 'Amber' lifted off their forthcoming album of the same name, penned in for release on October 21st 2016 via 'Bottle Imp Productions'. With a sound that traverses a plethora of varying musical styles, taking in driving electronica, avant-garde post industrial, psych & krautrock tones whilst infusing melancholic post rock & sonic atmospheric's into the mix, 'In Violet' are not afraid to push boundaries or test limitations with their music. 'Amber' is the highly anticipated follow up to 2013's stunning debut album release 'Opal' and see's the band embark on a darker, more electronically driven sound coupled with intense sonic manipulation, sense's pummelling percussive attacks, layered reverberating guitars and meandering hypnotic vocal lines.
'Amber' is available to pre-order right now both digitally & with an extremely limited edition CD & art book available via: inviolet.bandcamp.com
amber by in violet
'Amber' takes no prisoners as it squeals into earshot on a bedrock of dark synthetic drones and screaming psych induced guitars before its motorik percussive patterns and accompanying sequenced synth lines add weight to proceedings thus buffering those hazy vocal lines, helping to guide the listener into a cacophony of reverberating instrumentation and explosive sonic manipulation. This is a magnificent return to form by a band who never fail to amaze.
ARTIST: The Battles Of Winter
RELEASE: At Once With Tattered Sails
RELEASE DATE: 23 September 2016
Post-Rock, Post-Punk with a bit of Alt-Rock and Indie thrown in you say? Well, 'The Battles of Winter' reply swiftly and smartly with their brand new album 'At Once With Tattered Sails'. In what could be the most well produced album I’ve heard from a non-major label in quite a while, the band weave through many sounds to create a dark and atmospheric post-punk album; helped substantially by the amazingly deep and heavy vocals of the album.
'At Once With Tattered Sails' begins with ‘Falcons’ an eerie, post-punk laden track with an intro that uses a slower tempo styled post-punk beat that eventually leads into a hypnotically dark coldwave inspired chorus. ‘Falcons’ sounds like a twisted indie song, full of elements that you could imagine being bright and colourful, turned into a cynical, industrialised landscape. This morphed indie track suits the band profusely though, and a song like ‘Falcons’ does nothing but display the bands most talented tendencies. ‘Hale Seizer’ (see what they did there?) goes even deeper into a perverse darkness, this time with much more minimalist instrumentation, until the rollicking noise rock inspired chorus. This track begins to showcase the deep and thought provoking lyrics, which would not be so out of place if they were read as poetry. The rattle, twangy guitars at the tracks second half maintain a distinctive 80’s coldwave feel, connecting the band back with its musical and artistic roots. The brilliant, two minute punky song ‘Wrong Port’ shows the listener that the band are not solely tied to slow, downtempo, strumming… Rather they show their talent in pulling off what seems to be a much darker, sped up version of an Opera Multi Steel song.
‘Hare Hunter Field’ could be the best song on the album, its slow, quiet beginning seeps into an almost slowcore ballad… The vocals hover spectrally in the mix, as the slow tap of the drum slowly shift, the guitars echo slowly with a reverb style distant in the mix and the track shifts into a heavy, noise ridden track. Everything is highlighted further through the mature and brilliant production and mixing on the album, and occasionally the band show touches of post-rock that make them sound even better with 'Death in a Lemon Grove Part I & II' & 'Shot Down Over Tokyo' being prime examples. ‘Slow Burning Country’ turns the albums sound almost completely alternative rock, but occasionally the band mix this in together with post-punk elements, especially the vocals, which maintain the same profound delivery throughout the entire album. This track highlights the fantastic capabilities of the drums as well; the heavy beat punctuating into the mix, coupling fantastically with the heavy rock of the guitars. Towards the tracks end, the vocals transcend into a higher and impressive registry that gives the music a wild element of ‘surround sound’ quality. ‘Love’s White Thread’ holds back again on instrumentation and instead uses the vocals as the forefront of the sound and the song morphs around it. Although it may appeal to some listeners, ‘Love’s White Thread’ seems less fluent than previous tracks. It also doesn’t show as much of the bands brilliant song writing skills of as other tracks. But, anyway…
‘Sainted Galleries’ is also a contender for the albums greatest song, especially in its magnificent instrumental section in its centre, which slowly and surely brings vocals into the mix. The song brings together sounds touched upon earlier in the album (coldwave and alternative rock especially) and ties it together with the rat-a-tat beat of classic 80’s post-punk, the vocals maintaining their value for the entire entrancing song. 'At Once with Tattered Sails' is not so much an album about performance (although the performances are all brilliant) rather it is an album about sounds. For the listener, the band has conjoined and crafted all sorts of majestic and dark sounds together; thus the sounds on the album come across as truly great, but it is the band who have melded them together so very well to make them even better. Nothing but praise should be handed onto the production and mixing on 'At Once with Tattered Sails', which feels empty, open and echoed all at the same time. Similarly, the vocals are genius; a reminder that post-punk and coldwave music doesn’t have to have distant and low volume yelling to be fantastic. The vocals on the album fit well with the lyrics, displaying a tasteful throwback to the eighties alternative music scene.
While some may feel the album reuses itself too much, I feel that partially that is part of the appeal of the music. For example, pop music vocal deliveries vary from song to song so the average listener thinks each song itself is completely different because of the vocals (that’s pretty much mainstream pop summarised for you). But 'Battles of Winter' maintain the same, deep and echoing voice on nearly every track, which I genuinely feel makes the music ever more powerful. The album showcases everything that should be done in the genre, and how a band should go about producing and mixing an album; achieved cleverly through performance and sound.