Todavia - Fallen - Featured Image - (700x700)

NEW VIDEO PREMIERE | Todavía - Fallen

Los Angeles based hazy dream pop aficionado Todavía aka self-releasing multi instrumentalist Rhyan Riesgo has unleashed a stunning new video to accompany the immense track  'Fallen' lifted of Todavía's fantastic full length album entitled 'Shyness' released back in April 2017. Todavía's sound is distinctly dreamy, with hushed synth swells, sequenced percussion, swirling guitars and shimmering reverberation that all circumnavigates that almost ethereal vocal tone. This mesmerising video was filmed & edited by Elijah Reynozo with the full album available to buy/download right now on various formats via todaviamusic.bandcamp.com

'Fallen' is beautifully serine, whispering breathe of fresh air. Tumbling guitar signatures subtly fall in amongst floating synth swells as Rhyan deploys the best vocal take on the whole entire album and takes the listener on a melancholic journey of sonic discovery.

Recommended!

LINKS:

twitter.com/rhyvotchka

facebook.com/todaviamusic#

todaviamusic.bandcamp.com


Tombstones In Their Eyes - Fear - post Image - (300 x 300)

EP REVIEW | Tombstones In Their Eyes - Fear

Tombstones In Their Eyes - Fear - post Image - (300 x 300)ARTIST: Tombstones In Their Eyes

RELEASE: Fear

RELEASE DATE: 4th August 2017

RECORD COMPANY: Send Me Your Head Records

Stoner rock, neo-psych, subtle flavours of shoegaze and rolling slowcore melded with fluttering dark frequencies, intense melody and those totally addictive vocalisations of John Treanor make up the collective sonic melting pot of musically astute L.A based quartet 'Tombstones In their Eyes'. Back in May 2016 they literally blew me away with their 'Bad Clouds' EP, so much so that I have been waiting with baited breath to see what these guys could come up with next. The band are made up of John Treanor – Vocals/Guitar/Keyboards, Josh Drew – Bass/Backing Vocals, Stephen Striegel – Drums/Percussion & Samuel Sherwood – Percussion  and they have just announced their third EP entitled 'Fear' penned in for release on August 4th 2017 via 'Send Me Your Head Records' with pre-order options now available via tombstonesintheireyes.bandcamp.com 

The EP unfurls its sticky sonic tendrils with ‘I Want To Fly’. An explosive opening breathes life into an effortless vocal track that sits gracefully atop growling guitars, shuddering percussion and throbbing bass frequencies as ‘Tombstones In Their Eyes’ dip into their inner psych, melding it with subtle shoegazing tendencies and angry alt-rock to create a magically intense piece of music. Up next, my favourite track on the entire release enters audible range. ‘Separate’ tumbles into the ether strapped tightly to a downward spiralling tremulous drone before hazy vocalisations snake and undulate through warbling guitars, fizzing synth and cascading bass lines. It builds in intensity as it works through it’s sonic gears, moving menacingly through swathes of impressive reverb before culminating into a swirling mass of blissful noise. It’s a triumph of a track and it’s filled with everything that is needed to stir the senses completely.

‘Always There’, the EP’s lead single, sounds more like a mash up of french band AIR, R.E.M and some other nondescript alternative outfit from the mid 90’s. It doesn’t do it for me at all I’m afraid and I find it hard to understand what it is exactly that the band where trying to achieve here. I’ll probably be hung for saying that but for me it’s a very confusing track. Up next, ‘Another Day’ fizzes into life tumbling effortlessly through waves of hazy reverberation as melodious guitars are cajoled and whipped by swirling drones, the plink of synth and driving percussion before we’re dragged headlong into a marvellous chorus progression that simply soars. Brilliantly executed and filled with excellent production ‘Another Day’ mesmerises. The EP close out with another triumphant piece of music. ‘Fear’ swirls through a hazy psych filled world with blistering aplomb. Metronomic percussion coupled with shimmering tambourine adds intense atmosphere as a growling wall of noise pulls hypnotic vocalisations out into the ether, trembling on waves of throbbing bass and undulating synth swells. Soaring lead guitar gloriously punishes this entire piece to within an inch of it’s life, intertwining at times with those shamanic like vocal lines before we’re dropped off the back end, holding on desperately to it’s fading instrumental drones. A blistering end to a rather good EP.

4/5

LINKS:

facebook.com/TombstonesInTheirEyes

tombstonesintheireyes.bandcamp.com

soundcloud.com/tombstonesintheireyes

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

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 & 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.


Todavía - Shyness

ALBUM REVIEW | Todavía - Shyness

ARTIST: Todavía

RELEASE: Shyness

RELEASE DATE: 28th April 2017

RECORD COMPANY: Unsigned

Los Angeles based dream pop aficionado Todavía aka self-releasing multi instrumentalist Rhyan Riesgo has unleashed a highly anticipated brand new eight track album entitled 'Shyness' via the bands bandcamp page. Todavía's sound is distinctly dreamy, with hushed synth swells, sequenced percussion, swirling guitars and shimmering reverberation that all circumnavigates that almost ethereal vocal tone. 'Shyness' was released back on April 28th 2017 and is available to buy/download right now from todaviamusic.bandcamp.com 

Beautifully serine waves of blissful sound ether the ether on shimmering synth swells and a subtle undercurrent of pulsing sequenced percussion as 'Say I' winds up through it's sonic gears. The arrival of the sublime vocalisations of 'Rhyan Riesgo' instantly lift this track as hazy lead guitar lines intertwine with layers of intense reverberations. Up next, 'Control' swirls into audible range on a bedrock of fizzing percussion, plinking sequenced atmospherics and a magnificent guitar progression. Resonating frequencies bounce and whirr as it's vocalisations soar skywards, accompanied by a cushioning envelope of undulating synth, tumbling effortlessly as they billow and arc throughout the entire piece at will.

'Our Luck' swirls into the ether on shimmering waves of tremulous guitar and soaring ethereally tinged synth swells. Impressive sequenced percussion adds a metronomic pace to the piece as we're introduced to the stunning vocalisations of Rhyan Riesgo, then we're scooped up and gracefully taken on a blissful ride through layer after layer of impressive dream pop laden sound waves. Up next, 'Forest' breathes a more electronically charged leaning into the album as off kilter lo-fi samples grind and scratch back in the mix accompanied by twinkling guitars and the constant whoosh of hazy synths. The vocals float and ripple through layers of intense delay & reverb as the sequenced electronics stutter and wobble in amongst brilliantly executed lead guitar. A masterfully well produced track and possibly my favourite on the entire album. With subliminal hints of early 'Cocteau Twins', the pitter patter of sequenced hi-hats announce 'Fallen', a whispering breathe of fresh air. Tumbling guitar signatures subtlety fall in amongst floating synth swells as Rhyan deploys the best vocal take on the whole album and takes the listener on a melancholic journey of sonic discovery.

'Fix Myself' swoons effortlessly in a dreamy translucent haze filled with sequenced electronic percussion peppered by hushed synth swells, swirling guitars and shimmering reverberation that circumnavigates another impressive vocal performance whilst the albums penultimate piece entitled 'Thursday' drones into existence on massive swathes of deep synth before rippling magnificently on a collective turbulent wave of guitar, percussion and sequenced production theatrics all centred around that impressive vocal take. The album closes out with ten minutes plus of dreamy, oscillating brilliance. Floating vocalisations cling passionately to sticky guitars and billowing synth lines as cascading wind swept reverberations loop and arc through layers of effected instrumentation as the first of two tracks (one track listed and one not) enters earshot. First up 'Espera' is absolutely fascinating as it moves and undulates through different stages of dreamy sonic abandonment and then for those of you purchasing the album over on bandcamp you will be surprised to know that 'Todavía' has included a hidden track for your listening pleasure. It is absolutely stunning and a fitting end to a marvellous album.

4/5

LINKS:

twitter.com/rhyvotchka

facebook.com/todaviamusic#

todaviamusic.bandcamp.com

ABOUT THE AUTHOR:

Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing  writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


EP REVIEW | Lunar Twin - Night Tides (Moon Sounds Records)

ARTIST: Lunar Twin

RELEASE: Night Tides

RELEASE DATE: 17th March 2107

RECORD COMPANY: Moon Sounds Records

The word Hawaii… What does it bring to your mind? A few palm trees? Margaritas? Some tropical birds? Some surfing? Gigantic waves? The wallowing baritone mysticism of Lunar Twin? Blue ocean? Blue sky? The heat? The electronic representation of a film that’s as beautiful as it is dark? What about the surf rock? With the eye catching tag of ‘Hawaii’ on their Bandcamp genre tags list, the LA/Hawaiian based band Lunar Twin’ latest mini album/EP Night Tides was a confusing piece of art from the start. I thought, judging by the glisteningly and pretty cover, the track names and the geographical elements of the band, that the music was to be ‘dancehall’ or a kind of a chillwave outing… But it wasn’t. It turned out to be much more interesting, so interesting, actually, that it garners the esteem of a 5/5 rating. It’s a bamboozling listen; electronica gets thrown in a whirl pool of dark synthwave, lounge music, down tempo hip-hop like instrumentation, dream pop and a dash of experimental rock/art rock music just for good taste. Imagine a baritone cowboy balladeer teams up with a man who knows his way round a keyboard/FX station, they both get really drunk in Southeast Asia and start making lounge music, and then get booked to play a poolside party at some movie stars place in Beverly Hills in the middle of the 80’s… Wild.

Night Tides opens with the beautiful tropical, downtempo, electronic vibes of ‘Waves’, which is built around a vibraphone lead percussion section that sits at the back of a contemplative and ‘downtown’ style synth progression. A guitar melds itself into the mix occasionally; forging lighter musical imagery to the context of the synth and piano. The standout, however, is the vocals. Where any old dream pop maverick or uninventive electronic producer would have guaranteed a higher, shimmering voice to sit alongside the instrumentation, Lunar Twin instead throw in the rumble and grit of a deep baritone-lead vocal performance. Thus, instead of two contrasting sounds bouncing off each other in the ‘light’ of the vocals and the guitar and the ‘dark’ of the rest of the instrumentation, the duo instead throw in so many different contrasting sounds that you’re left trying to figure out if you’re on a river boat cruise or lost in the backstreets of Poland in the cold. Its brilliant. ‘Blood Moon’ could very well be the soundtrack to a film noir movie. A nifty drum beat rolls the music along in a similar fashion to the strumming guitar that keeps everything together; built into the foreground of the song, however, is a bonkers genius kind of flamenco guitar picking, the sounds of a subtle string section, and a sequenced synth noise that bounces around in an echo-like fashion. Here the vocals are much more hushed and wicked; locking in magnificently with the lyrics of the song and projecting a much less tropical, more lounge music inspired sound.

‘Coral Sea’ turns things almost completely in a synthwave fashion, it opens with pulsated beat sequencing, the ease of a synth choir, a fantastic drum beat and the deep pipes of the vocals. Again, it’s a kind of film soundtrack, this time to some sort of drive into a city in the dark. The chorus’s beautiful orchestral/synth backing is truly delightful and eventually, as the song goes on, one can tell how the song relates to its title. The second half especially, has the aforementioned flavour of what some would call a ‘dark paradise’ where the sky is far from blue, but the scenery still plays a key role in the mood and feel of the place. ‘Birds of Paradise’ turns fully synth orientated, built around the dancing plucks of synths and further sequencing; showcasing the technical wizardry going on behind the scenes on the release. ‘Prayers of Smoke’ is a similar sound to the synth-laced ‘Birds of Paradise’, although the chorus returns to the duos visual projection of a tropical island or beach. A slow drum beat and wavering guitar tones highlight a swish of spaghetti-western guitar playing that overlaps more sequenced synth ques. The song at times, in a good way, sounds like its quivering and spinning into art-style noise pop, but always regains its focus and rhythm in enough time and effort to saviour itself from complete experimentation. Of all the one-track captures of a kind of mystic-tropical beauty on the release, the title track succeeds wholly in its obtuse, morphing beauty the most. I’m going to try and describe it (and that probably still won’t do it complete justice.) A synth and vocal performance open the song, which tells of a train trip and mentions oceanic imagery in a highly poetic form, then, another synth floats by, coupled with what I can only assume is a sample of some kind of Asian harp or guitar instrument. Throw into the mix an uncanny wave kind of vocal sample that sounds like its in an echo chamber. And while your floating on the dazingly metaphorical ocean of sound and allure thinking just how amazingly nostalgic the whole thing is, you notice that the synth chord progression that glues the song together isn’t actually that sweet and golden; it’s actually kind of dark. Then you think ‘f#ck, those wind chime noises aren’t actually that aesthetically pleasing either’ and then you look around yourself and admit that Lunar Twin have somehow made you re-think your imaginary surroundings. Within the context; the mental imagery of the song, you put the puzzle pieces together and feel very confused, almost in wonderment of the kind of sound they have morphed and thrown together. The moral of the story is, is that the whole thing is ridiculously experimental. So experimental in fact, that you just have to sit back and commend the fact that the band show their skills and pure smarts, their kind of own inventiveness or genius on the song.

Night Tides is, in retrospect, a musical interpretation of its title. Between the sunny visions of the tropical ocean and the islands around the place is the scent of experimental waves and a genius, kind of obtuse serenity. It’s a truly beautiful EP, and to summarise all these words and descriptions, I would have to say its major triumph is its originality and creativeness. Said originality and creativeness is achieved through the tight, kind of stripped back production and the great mixing on the release; that really highlights a lot of different sounds on a lot of different tracks. With that said, the actual song writing on the release is at the crux of this praise. Between the wild genre mixing, which includes synth-wave, easy listening, lounge music, dream pop, electronic, oriental music and art rock among others, to the fantastically simple meld between the vocals and the instruments, the duo show their skills in a subtle way from song to song. Sometimes, bands say things like ‘this is a soundtrack to a dissimulated movie’ or something, in an attempt to give a ‘nudge-nudge’ to try and get you to imagine them in a film soundtrack context. In the case of Lunar Twin, you instead make your own connection; and even if that isn’t the connections or thoughts that I had, it is easy to be rewarded from the imagery and thoughts that this music creates. With that all said, it might not be everybody’s cup of tea; the artistic and technical experimentation for the most part is skilfully subtle, but at other times you might need a second listen to focus on every sound on the release. This element is one that I thought was brilliant, but some may believe it is too non-linear. Similarly, appreciate the music for what it is; that’s a piece of experimental mastery, achieved through performance, writing, production and sound.

5/5

LINKS:

lunartwin.bandcamp.com

facebook.com/Lunartwin

twitter.com/lunartwinmusic

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.


REVIEW | Black Needle Noise (John Fryer) - Singles Retrospective

Black Needle Noise is the new moniker under which famed and acclaimed underground producer John Fryer tweaks and creates. It’s a new kind of heightened ambient/experimental project that holds nothing back while traversing for adventure in the darkest realms of electronic and dream pop music. While it’s refreshing and original, one can’t help but hear the signature touch of the legendary producer in every corner of every track, as pounding drums mix with several bouts of 80’s sounding music. For those who don’t know of John Fryer, his retrospective production chronology reads like a trip through the alternative underground of the 80’s and 90’s; having produced or had some part in releases from a wide array of bands and artists from the post-punk era. And for those of you who do know him, you will recognize him and his signature sound as one half of 4AD legends This Mortal Coil, a band who are comfortably considered one of the most influential and acclaimed British alternative acts of the past century. Black Needle Noise borrows some of Mortal Coils gothic flavours, along with a heavy and deep electronic sound that adds a modern feel to each song. Fryer has been releasing singles from Black Needle Noise’s debut album one by one, which will eventually amount to a full album release; featuring a guest list of some of the most brilliant and talented musicians from across the world alternative music scene.

‘Heaven’ is a warped, percussive and dark musical journey; guided through the depths of darkness by the thrum of a bass guitar and the heavy, sludge like weight of the backing drums. Throughout the song, Fryer introduces a plethora of brilliant production techniques; one of which is the way the instruments mix together to create what can only be described as an intriguingly confusing piece of music making. And although the experimental instrumentation and production sound like a giant stomping, Fryer adds a neat and tricky piece of This Mortal Coil's gothic edge to the song by featuring a dazzlingly swaying choir like string section deep at the back of the song. The vocal performance, by the ever-talented Jennie Vee, hits every note beautifully; crafting another dimension to the song in the fantastic context of contrast. Fryer followed ‘Heaven’ by releasing the much more ambient and electronic influenced ‘She Stands On A Storm’, which is a powerful electronic standard that features a synthpop/industrial chorus. In a similar vein to ‘Heaven’  it mixes this electronic instrumentation and programming with a myriad of sounds and noises that land somewhere between samples and FX heavy feedback loops and tricks; that walk around freely in the background of the song. Fryer again utilizes a fantastic vocalist to sing amidst the tenebrosity and darkly dispersed sounds of his musical structures; this time it is the harmonious pipes of Andrea Kerr, who comes across as more subdued to Vee, but in a way that does wonders for the song.

Perhaps the best lead single that Black Needle Noise has released is the atmospheric, soaring, dream pop/ethereal wave oscillating of ‘Swimming Through Dreams’, with a wondrous vocal track from Mimi Page, who presents the case for how voice can be used as an instrument just as a guitar may. It’s three minutes of Fryer layering choir synth upon choir synth upon string arrangements to create a song that sounds like the musical equivalent of glowing. But even though he does everything right in a production sense, it is Page’s hypnotic vocals that serves as the most interesting layer of them all. ‘Teeth to Grey’ is another symphonic piece of dark electronic pop music, this time with the added element of a trap-influenced drum machine program within the song. If one single showed how brilliant of a producer Fryer was, it would be this; where noises, instruments and sounds rattle around the song to create a confusing and engaging listening experience. Things are panned around, and then they’re not, and then other sounds seep in while your concentrating on another thing, all the while you hear the tiny micro-cogs of a greater machine churning out something memorable and heavily influenced by a darker form of 80’s ethereal wave pop. For ‘Teeth to Grey’ he calls upon the skill and talent of the vocalist from experimental/trip hop project Omniflux, whose voice is again greatly different in mood to those featured on other tracks. Vocals here are much more hushed and whispered, keeping in key with the intricate and net-like music. The much more dream pop influenced ‘Treasured Lies’ sees the combination of electro-pop and the soaring kind of shoegaze that’s made less with guitars than it is with walls of light and bright sounds. The vocal performance of Zialand is a good fit for the producers more experimental tendencies, which at the songs beginning takes the form of lo-fi feedback and frequencies.

These collective singles showcase the genius of Fryer’s production and song writing techniques, harking back to his older projects and musical explorations in the ‘good ol’ days’ of alternative music. If there is one thing that is definitely different from his earlier This Mortal Coil releases it is that every single released by Black Needle Noise sounds clean and polished, even when a cacophony of noise screeches and whizzes away in the background. Much like fellow producer Dean Garcia, the technological advancements in music production, mixing and recording seemed to have allowed Fryer to create a more fluid and smooth sound; all the while creating beats and dense gothic sounds that still hold their intent through the ‘fresh’ production style. Praise should be given to every vocalist who Fryer has enlisted for this project; each containing their own distinctive vocal styles that suit their chosen songs with an air of beauty and mystery. These Black Needle Noise songs showcase a producer at the top of his game, through his skills and talents in mixing, song writing and sound.

4/5

LINKS:

blackneedlenoise.bandcamp.com

twitter.com/johnfryer666

facebook.com/John.Fryer.Official

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.


NEW SINGLE PREMIERE | Todavía - Our Luck

Los Angeles based dream pop aficionado Todavía aka self-releasing multi instrumentalist Rhyan Riesgo has returned with a stunning new track entitled 'Our Luck'. This latest track follows on from Januarys single release 'Fix Myself' and its lifted off the forthcoming full length album 'Shyness', penned in for release later this year. Todavía's sound is distinctly dreamy, with  hushed synth swells, sequenced percussion, swirling guitars and shimmering reverberation that all circumnavigates that almost ethereal vocal tone. 'Our Luck' is available to buy/download right now from todaviamusic.bandcamp.com

'Our Luck' swirls into the ether on shimmering waves of tremulous guitar and soaring ethereally tinged synth swells. Impressive sequenced percussion adds a metronomic pace to the piece as we're introduced to the stunning vocalisations of Rhyan Riesgo, scooped up and gracefully taken on a blissful ride through layer after layer of impressive dream pop laden sound waves.

Recommended! 

LINKS:

twitter.com/rhyvotchka

facebook.com/todaviamusic#

todaviamusic.bandcamp.com


NEW VIDEO PREMIERE | Leaf - Wait Until

 

Los Angeles based heavy shoegaze four piece 'Leaf' have unleashed a brand new video to accompany their latest single 'Wait Until' lifted off their stunning debut four track EP entitled 'Nothing Seems Real'. Their music is paradoxically linked back to everything good that came out of the early 90's shoegaze scene with pivotal artists such as 'Swervedriver, The Verve, MBV & Ride' being bandied about as references to their collective sound. The band are made up of members of The Gimmicks, Crystal Antlers & The Orphans. 'Nothing Seems Real' was recently voted as one of Primal Music's top 20 releases of 2016, having blown us way after only one listen! You can get your hands on the full EP by heading over to leaflosangeles.bandcamp.com

In a cyclonic maelstrom of reverberation the opening salvo’s of ‘Wait Until’ instantly grab this listener by the ears and swings him nonchalantly around the room. The combination of soaring angry guitars, explosive drums and the unwavering throb of bass frequencies lure you into a blistering cacophony of luscious noise and ultimately pander to your every sonic need, but it’s the highly addictive vocals that conjure up a plethora of influential bands from this music genre, both past and present, thus adding a hue of invincibility to the collective greatness of ‘Leaf’ that I haven’t been able to tag on any other band for some considerable time.

Recommended! 

LINKS:

leaflosangeles.bandcamp.com

facebook.com/leafheavynoisela


ALBUM REVIEW | CASTLEBEAT - Castlebeat (Spirit Goth Records)

ARTIST: CASTLEBEAT

RELEASE: Castlebeat

RELEASE DATE: 23 July 2016

RECORD COMPANY: Spirit Goth Records

Originally released back in the middle of 2016, CASTLEBEAT's self-titled full length release slipped though our every expanding sonic net and only really came to our attention two weeks ago via the good folks at 'Spirit Goth Records' over in Los Angeles. CASTLEBEAT is a lo-fi bedroom producer who oozes everything that is great about this modern DIY shoegaze/dreampop/lo-fi scene today. He writes, records & produces lusciously dreamy lo-fi shoegaze soundscapes in his garage that skip and whirr through sonic highs and lows with blistering aplomb. His ten track self-titled album was released back on the 23rd July 2016 via 'Spirit Goth Records' and you can buy/download it right now from: spiritgothrecords.bandcamp.com

The album opens with the brilliant ‘Dreamgaze’. This track swirls into audible range oscillating on a wave of jangling guitars and shuddering repetitive drum patterns, both deliciously melded together on ripples of blissful reverberation. It’s vocals cut effortlessly through proceedings buoyed up on melodious effected whirls and hazy production. Up next, ‘Rope’ drives a modern day post-punk styled furrow through the hazy shoegaze inspired instrumentation as ‘Castlebeat’ injects sequenced electronics into cascading guitar patterns, throbbing bass frequencies and swirling vocalisations. ‘Goon Pop’ is centred around a meticulous guitar progression and melody fuelled vocal lines underscored by subtle synth swells and the constant thump of sequenced percussion whilst ‘Falling Forward’ rumbles through swirling guitars and soaring synth lines that are intertwined with blissed out vocals and immense swathes of intense melody.

‘Pool Side’ is absolutely wonderful. It pulses into earshot on waves of triumphant instrumentation deftly layered with busy drum patterns, revolving synth lines, another impressive vocal performance and driving bass frequencies. It’s catchy guitar hook’s harass and badger the entire piece, constantly billowing and whirring through layers of impressive reverberation. Up next, ‘Face On The Wall’ is a fuzzy ball of guitar laden dream pop supplemented with flashes of shoegaze and jingling C86 flair whilst ‘Downstairs’ is wholly reminiscent of seminal US based experimental post-punk outfit ‘For Against’ with it’s driving up tempo, almost metronomic sonic refrain underlined by exceptional production. ‘Phases’ saunters into the ether on a tidal wave of fuzzy frequencies and off beat percussion as ‘Castlebeat’ unleash a soaring modern day shoegaze standard filled with blissful vocals and stunning instrumentation leading us into the albums penultimate piece.

‘Hesitate’ builds from the off, swirling intently through wave after wave of layered reverberation and hauntingly good vocals. It’s guitar lines are slow moving and serine, floating effortlessly through swirling synth lines and sparse percussion, all the while spiralling gracefully around gloriously hazy vocalisations. ‘Hesitate’ is probably my favourite track on the entire release and a serious recommendation from me. Pop on some headphones to experience it’s full sonic majesty ..... you will not be disappointed! The albums closing piece is jam packed full of pensive melancholy. ‘Change Your Mind’ evokes feelings of lost love and good times gone by. Repetitive synth stabs echo and spin as tremulous guitars racked by the constant thud of a bass drum collectively announce the arrival of soaring vocalisations and throbbing bass frequencies. This track loops and arc’s through sonic peaks and throughs, dragging swathes of reverb with it as it tumbles through the ether to blistering aplomb. A fitting ending to a brilliant album.

4/5

LINKS:

facebook.com/CASTLEBEAT/

spiritgoth.com

spiritgothrecords.bandcamp.com

ABOUT THE AUTHOR:

Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


EP REVIEW | Purepleaser - Park Lane 3333

ARTIST: Purepleaser

RELEASE: Park Lane 3333

RELEASE DATE: 13th January 3017

RECORD COMPANY: Unsigned

'Park Lane 3333' is the latest release from Purepleaser (LA-based Bryan Newruck), coming hot on the heels of a full length album entitled 'Den Mothers' released last September.

The record opens in a confusion of brass and nursery rhyme all as warped as Alice in Wonderland. Dark melodies beckon from Sway & Sway, but there’s a glimmer in amongst the crash and growl. Light and air flood in for One Day, a slowdance with a difference. Closing track Film Score 1 (John Hughes Where Are You?) moves from foreboding to psychedelic ballad complete with backward vocals samples and shimmering keyboards - beautiful and definitely too weird to feature in any of the movies that may have inspired it.

'Park Lane 3333' is out now at purepleaser.bandcamp.com

3.5/5

LINKS:

purepleaser.bandcamp.com

purepleaser.com

facebook.com/Purepleaser/

ABOUT THE AUTHOR:

In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.


NEW SINGLE PREMIERE | Snowball II - Anais & Me (Doughnut Records)

Los Angeles based alt/ shoegaze outfit 'Snowball II' are no strangers to the underground scene having previously released two albums throughout 2016 with tracks frequently gracing the online radio fraternity including our own sister station 'Primal Radio'. Now the band have returned with a blistering new single entitled 'Anais & Me' taken from  their forthcoming third full length album 'Flashes of Quincy' due to grace our earholes sometime in February and released via Doughnut Records. This latest single 'Anais & Me' is available to buy/download right now from snowballii.bandcamp.com

'Anais & Me' swerves into earshot riding a tempestuous wave of layered fuzzy guitars and driving percussion underscored by throbbing bass lines and beautifully melodic vocalisations. Definitely punchy and thoroughly enjoyable, 'Snowball II' continue to create brilliant soundscapes.

Recommended!

LINKS: 

snowballii.bandcamp.com/

facebook.com/snowballiiband/