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.
Hailing from the north-east of England, experimental art-rock outfit 'Dose' have just unleashed a stunning new video to accompany their debut single 'Furniture', a hypnotically addictive slice of noise-rock underpinned with subtle flourishes of melodic shoegaze, slowcore and mesmerising passages of cinematic ambiance. Having decamped to Suburban Home Studio's and under the tutelage of MJ from the awesome 'Hookworms', this Newcastle based five piece have released something rather special indeed. The band are made up of Sean Turland, Ewan Barr, Matthew Collerton, Sam Campbell & Joe Donkin and they've shared the stage with some fantastic live acts such as Sunflower Bean, Menace Beach, Ulrika Spacek & Soviet Soviet as well as headline shows in Leeds and York supported by fellow noise-rock artists Drahla and Colour of Spring.
We've previously reviewed the single in full HERE
'Furniture' gets it's full release on April 27th 2018 via cult indie label A TURNTABLE FRIEND RECORDS as a two track 7" vinyl single backed with 'Opaque' and is available to pre-order right now on various formats via dosencl.bandcamp.com
RELEASE DATE: March 1st 2018
RECORD COMPANY: Unsigned
Hailing from Yekaterinburg, Russia 'SAAT' are a female fronted shoegaze quartet with intricate post-punk & slowcore leanings and an alternative sonic attitude. Their debut self-titled two track EP was self released back on the 1st March 2018. The band are made up of Sasha - vox/guitar, Stepa - bass/scream, Dima - drums & Pasha - guitar feedbacks and their debut releases is available to buy/download right now via saatxband.bandcamp.com
SAAT by SAAT
The EP opens up with 'Raindrops', a fluttering sonic web of busy percussion, throbbing bass, intricate lead lines and jangling guitars echo through layers of luscious reverberation as stunning vocalisations swirl and ebb through every single chord structure. This track builds like a steam train, adding distortion and sporadic duel vocal lines to the mix before tumbling into it's noisy & resonating finale. Reminiscent at times to Australian-based noise merchants 'Hideous Towns', 'Raindrops' is a magnificent opening salvo indeed.
'Falling' opens with a military styled percussive pattern and the progressive pull of a guitar progression as instrumental feedback swells from deep below to cushion the slow moving tempo. 'SAAT' deploy their alt-rock leanings here as the slow chug of distorted guitars keeps pace allowing those soaring vocal lines to pulse through layers of reverb. A quick change of tempo and we explode into an atmospherically charged finale with thundering drums, throbbing bass lines and raging lines of guitar dipping more into noise-rock than punk. It's a noisy ending to a very interesting debut 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, 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
RELEASE: Youth EP
RELEASE DATE: 3rd march 2017
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.
Pure Kafka by Alien Lizard
"Have you ever looked up at the night sky and realized the vast beauty of our universe has been drowned out by the artifice of streetlamps and skyscrapers?"
Noisy Gdansk-based psychedelic explorers 'Alien Lizard' have announced the latest single to be lifted from their forthcoming nine track long player 'Pure Kafka', penned in for release on February 23rd 2018. The track in question is brilliantly titled 'Heaven Takes The Moon' and it delightfully simmers in a heady brew of melodically hypnotic instrumentation steeped generously in glorious reverberation. Wispy vocalisations meander and move in and out of cascading bass progressions and the repetitive pull of tambourine as subtle swells of synth merge effortlessly with swirling drones and beautiful effervescent sound-waves to create something magical. 'Pure Kafka' gets it's official release on the 23rd of February with pre-orders now available via alienlizard.bandcamp.com
Hailing from the north-east of England, experimental art-rock outfit 'Dose' have just unleashed a stunning debut single in the guise of 'Furniture', a hypnotically addictive slice of noise-rock underpinned with subtle flourishes of melodic shoegaze, slowcore and mesmerising passages of cinematic ambiance. Having decamped to Suburban Home Studio's and under the tutelage of MJ from the awesome 'Hookworms', this Newcastle based five piece have released something rather special indeed. The band are made up of Sean Turland, Ewan Barr, Matthew Collerton, Sam Campbell & Joe Donkin and they've shared the stage with some fantastic live acts such as Sunflower Bean, Menace Beach, Ulrika Spacek & Soviet Soviet.
Opening up with a steady almost metronomic percussive assault 'Furniture' soon pulls repetitive guitar lines and soothing reverb into the mix as addictive lead lines meander in and out of spoken word and shimmering layered vocalisations. The combination of wide-scoped production and cinematic pauses add sublime atmosphere here, allowing this track to breathe before 'Dose' unleash a cacophony of swirling noise filled to the brim with melodic feedback, layered walls of intense reverberations and the dense pull of ebow. There's also a sense of foreboding or loss hiding beneath this tracks outer shell that keeps things rather interesting, instilling a warmth or a mellowness to the entire piece that I especially love. 'Furniture' is a seriously good track making 'Dose' ones to watch in 2018 and I'm looking forward to what comes next.
ARTIST: Curelight Wounds
RELEASE: Constant Mind
RELEASE DATE: 20th November 2017
Brooklyn based noise makers 'Curelight Wounds' have returned with their highly anticipated follow up to their impressive 2016 four track EP release 'Wearing The Strings'. This new EP is the bands seventh release to date and is aptly titled 'Constant Mind'. It's as melodically fuzzy as it's predecessors and pulls with it many influencial genres of music from noisy shoegaze to post-punk, noise-rock to lo-fi. 'Constant Mind' gets it's full release on the 20th November 2017 and will be available to buy/download via curelightwounds.bandcamp.com from that date.
In a broiling undercurrent of senses pummelling instrumentation ‘Curelight Wounds’ unleash a sonic call to arms in the guise of ‘Sew It Back’, the opening salvo on this impressive collection of tracks and the EP’s lead single. Bass lines throb deliciously with post-punk abandon as they stick fast to a busy tambourine led percussive pattern and dodge the searing whip of those ever present lead guitars. It’s accompanying vocal lines quiver menacingly as they pulse through layers of reverb, brandishing an addictive 90’s alternative edginess that is very difficult to ignore. Up next, ‘Hot House’ is a swirling sonic behemoth that starts slow with those woozy whammy bar guitar theatrics before building progressively into a throbbing, bass heavy beast steeped in repetitiveness, screaming guitars and monotone vocalisations. It’s a sublime track and highlights what seems to me to be ‘Curelight Wounds’ perfecting the marvellous art of the ‘no nonsense’ two minute track that hits the nail on it's proverbial head.
The EP’s penultimate piece entitled ‘Distant Song’ shivers on a melody infused bass signature used primarily to instil a calmness as all around it explodes into a cacophony of noise. Guitar lines envelope nearly everything as a steady drum beat keeps meticulous time allowing the vocal lines to ride the tempo sitting comfortably in amongst the sonic melee. The ‘Constant Mind’ EP closes out with ‘Hard Sand’, a pulsating monster musically reminiscent of early ‘Pavement’ or even ‘The Fall’ with it’s driving bass signature, skittish percussion and those wailing guitars. It's a brilliant piece of music that ticks every sonic box as far as I'm concerned - fuzz, noise, throbbing melodic bass and tons of reverb. An absolutely brilliant end to thoroughly enjoyable 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 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: Courage Reels
RELEASE DATE: 21st April 2017
RECORD COMPANY: Morningside Young Team Records
Following on from a handful of well-executed, tight and impressively written EP’s and singles that explored a wide array of genres including traditional shoegaze and much louder feedback ridden noise rock, is the debut full length album 'Courage Reels' from Edinburgh based four piece Wozniak. It’s a heavy, noisy and progressive listen, and one on which the band decides to take full advantage of their instruments, creating several lengthy songs with two or three lines of vocals in it amid riff after riff of sonic noise and what sounds at times to be well-captured jam sessions. Many songs take on this structure; and through it 'Courage Reels' at times sounds anywhere from stoner/sludge metal, progressive rock, shoegaze, dream pop, alt-rock, then throw in a bit of alt-metal and a weird kind of krautrock for good measure and tie them all together in layers of noisy feedback and what you get are tall sprawling arrangements that make Wozniak sound like a ten piece. 'Courage Reels' gets it's full release on April 21st 2017 via 'Morningside Young Team Records' and it is available to pre-order right now in various formats from wozniak.bandcamp.com
Courage Reels by Wozniak
'Courage Reels' opens with the instrumental ‘Shader’ that morphs itself around a heavy stoner metal riff and the gentle tapping of the drums in the background. However, after this introductory riff, the band launch into what sounds more like a traditional shoegaze due to the tone of their guitars and the musical melding between the guitar and the drums. ‘Shader’ takes this form for almost the entire song; jumping from a stoner metal riff into more airy shoegaze passages, all the while masking a background of feedback that compliments the music immensely. Much slower and distant is the shoegaze track ‘Ghosting’ whose form takes the shape of ‘Shader’ in that it jumps from heavy fuzzing back to its mellow origins; coming off as less heavy than ‘Shader’ but more intricate. The slowed, winding parts of the song are soothingly beautiful, masking mood and sound over a distinct form of song writing. ‘Ghosting’ also happens to contain vocals; all five lines of them, so drowned out you can hardly hear them, which actually fits in well with the context of the song. ‘Super Panther’ ties both previous songs together and revisits the more shoegaze sides of the bands sound, implementing fuzz bass and a fantastic drum track over the top of the winding and shimmering guitars that play a demented kind of indie rock. This song also sounds strongly influenced by alt-rock, with its more linear structure and ‘traditional’ riff centred form of song writing on display.
Back in March 2017 the band released the first single from 'Courage Reels', and that single was ‘Perihelion’ which crops up as one of the best tracks on the entire release. It’s a beautiful, trance inducing mix of down-trodden guitar strumming that harkens back strongly to the classic shoegaze sound with swirls of a darker kind of dream pop. The vocal performance here is also fantastic and an album highlight, as well as the instrumentation and backing noise to which the song takes it cues and creations from. Although the song goes for several minutes, the band condense the vocal, quieter and more accessible section of the song to its beginning and then launch into a wild and commendable instrumental section that winds out the second half of the song strongly and passionately. In a similar way is ‘Scottish Dancer’ which blows past the eight minute mark in its form, which is distinctly reminiscent of cold shoegaze, to again show the bands strength in song writing. Scottish Dancer’s beginning, featuring another well produced vocal section, sounds better than ‘Perihelion’ in terms of every aspect of the song fitting swiftly together. Another amazing instrumental outro leads the songs second half, in which background feedback is used as a soundscape style to greatly enhance the songs sound. ‘Natsuko’ returns to a more conventional length and sounds more akin to post-punk than anything else the band touch on 'Courage Reels'. Although its beautiful and holds some impressive moments, I did wonder what its significance in context of the album was, and upon a second listen parts of it tended to sound more like an album filler than anything else.
‘Erebus’ is another true album highlight, perhaps due to fantastic contextual balancing by Wozniak in terms of the track listing on the album. After a few lengthy, heavy and layered songs, the band turns things back to the simple and the minimal, placing the listener’s perceptions upon simple guitar based strumming that goes further to highlight a mesmerizing undercurrent of dream pop-like guitar tones and textures in the mix. ‘Crush’ features the best drumming performance on the album, but unlike the few previous tracks avoids stronger shoegaze elements instead focusing upon a kind of alt-rock type sound, driven by a distant but interesting vocal performance. ‘Death Suit’ turns things back up to the lengthy heights of ‘Scottish Dancer’ and ‘Perihelion’ but with much less conviction. It starts strong, with a neat little guitar intro, but seeps into uneven sections of music that seem to be so far removed from the other that it becomes more of a slog than a listen. However, the six to eight minute section is absolutely masterful and deserves praise for being one of the greatest passages of music on the release.
I must fully admit that I’m a fan of Wozniak, whose style and experimentations in guitar-orientated music have shone through in a fantastic and interesting way through past releases. I especially love the song ‘El Maresme’ which is quite an old song from their fantastic EP Pikes Peak. I say all of this simply because 80% of the music on 'Courage Reels' is less like the bands previous studio EPs and singles; the engaging single 'Harker' remains firmly an alternative shoegaze/dream pop song, so does 'Auster' and its more guitar driven sound. For 'Courage Reels' to feature lengthy, heavy, more straight forward rock arrangements that you could almost always classify as alternative-rock, rather than the hazy dream pop or shoegaze-based musings of their previous efforts is somewhat of a challenge for the listener. I don’t necessarily mean that in a bad way, and we must all congratulate and encourage bands to transform, progress stylistically and traverse new terrain over song writing and performance, but I wonder if 'Courage Reels' is in fact the right kind of progression. It is a fantastic album (as noted by the rating) but ultimately it sounds like a band who are carrying only fragments of their previous skin after shredding it. Personally, as a fan and a listener, I would have loved to have heard more vocals on this instrumentally generous album. Also for some out there, a cover to cover listen would be just too much; the songs are lengthy affairs, the transitions within the songs are at times slightly awkward and the piling of lengthy songs after lengthy songs makes the album feel longer than it is. All of this probably sounds like mad criticism, but that could not be further from the truth. In fact, for all of the criticisms of the music I have, there is equal acclaim and admiration for 'Courage Reels'. It is exquisitely well produced and mixed, and the band shines through on every track to display a commitment and a wild sincerity to the well written songs featured on it. These elements amount to a well rounded and impressive album, bundled up fluently in commitment and sound.
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.
Edinburgh based noise manipulators 'Wozniak' have unleashed yet another super sonic cut entitled 'Shader' lifted off their forthcoming & highly anticipated debut album 'Courage Reels', penned in for release on the 21st April 2017 both digitally and on a limited edition CD via Morningside Young Team Records. The band are made up Simon Cuthbert-Kerr - guitar, Sarah Cuthbert-Kerr - guitar/vocals, John Sinclair - drums & James Urquhart - bass and their collective sound swirls deftly in a heavy sonic stew filled with hazy shoegaze, atmospheric post-rock and fuzzed out noise rock.
'Shader' is an angry sonic behemoth that tumbles menacingly in a dark and fuzzy universe filled with repetitious frequencies and layered reverberations that swirl and undulate precariously on top of a trembling bass line and another impressive percussive assault. Highly addictive, the instrumentally brilliant 'Shader' spins through its verse progressions with intense atmospheric rage before using its powerful chorus parts to soar into the ether on utterly sublime shoegaze inspired highs. Thoroughly enjoyable, this track is a stunning prelude to the forthcoming full length release.
Something Like Eternity by The History Of Colour TV
Berlin based experimental/alt-shoegaze outfit 'The History of Colour TV' have unleashed a moody, introspective second single entitled 'As Grey As Park Can Be' lifted off their forthcoming (March 17th) third full length album 'Something Like Eternity'. The band was founded in 2010 and is made up of Jaike Stambach, Markus Mocydlarz & Janek Sprachta. Collectively they have skipped through a plethora of different musical styles over the course of their previous releases from their electronic leanings on their debut full length 'Emerald Cures Chic Ills' through to the brilliant sometimes heavy, sometimes stripped back/ambient stylings of 'Shapes of Spilt Blood Spelt Love' and on into this new album and it's emotive sweeping soundscapes.
'The History Of Colour TV' are no strangers to the underground scene having previously released music via some heavy hitting underground record labels such as Bruit Blanc, Saint Marie Records, the bands own label 'Weird Books'and now through the French based indie label 'Cranes Records'. This new track follows the first single 'Wreck' from this album which is available to pre-order right now on various formats from thehistoryofcolourtv.bandcamp.com