Part Time Punks Session by Lavender Blush
Fabulous San Francisco-based quintet 'Lavender Blush' have just unleashed 'My Pal K', the marvellous first track to be taken from their forthcoming 'Part Time Punks Session' penned in for release on November 1st 2018. Originally tracked live back on February 11th over at the Cave Studio in Los Angeles and with the vocals recorded later on back in San Francisco, 'Lavender Blush' have completely melted our hearts with this latest dreamy single. Filled with hazy passages of psychedelically enhanced shoegaze and underpinned with shimmering melody, 'My Pal K' oozes a sonic brilliance that will only bode well for the full release.
The band are made up of Ana Ramundo - synth, Chris Howard - drums, Jérémie Rüest - guitar, Ryan Lescure - vocals/guitar & Sam Hewatt - bass. The bands 'Part Time Punks Session' is officially released on lovely 10' vinyl on November 1st 2018 via Blue Aurora Audio with the digital release due on November 14th. You can pre-order the four track EP on various formats right now via lavenderblush.bandcamp.com
Immense psychgaze collective 'Sun Mahshene' have unleashed a brand new video to accompany the first single 'Tales Of Fiction' to be lifted from their forthcoming and highly anticipated debut album entitled 'Contradictions & Tales of Fiction' due for full release this October. Just incase you've been hiding under a rock these past few years, 'Sun Mahshene' are a Dublin-based collective of musicians led by the extremely talented Nathan Henderson and his band of sonic explorers who bend and manipulate frequencies to create a mesmerising cocktail of shoegaze blended brilliantly with alternative sounds & hazy psychedelic rock.
'Tales Of Fiction' follows on from their sublime 2016 released EP 'Drones That Don't Kill' and it was released via Deathcapades Music Ltd back on the 28th July 2018. The video for the track was directed by Gerard Walsh with makeup by Ellinor Wikman and it starred Ieva Grigaite & Desmond Eastwood. You can check out the new single and the bands back catalogue right now via sunmahshene.bandcamp.com
ARTIST: Lo! Peninsula
RELEASE: AKA Lo! Peninsula
RELEASE DATE: 18th August 2018
RECORD COMPANY: Unsigned
Channelling upheavals or life changing experiences into musical soundscapes convincingly doesn't happen to very many artists. In fact, wearing your heart on your sleeve honestly whilst writing and recording a debut release without it all sounding very bloody boring is a difficult feat to accomplish. Now insert brilliant India-based psych-gaze trio 'Lo! Peninsula' into the narrative who explain brilliantly that this debut EP release "is a catharsis of the existential crisis that we have been facing since the band was formed", and you'll find something so self explanatory, so mesmerisingly good that you can hear every single hard yard that the band have had to travel through just to get to this finished point. Comprising of Nitin, Jyotin & Avinash, 'Lo! Peninsula' have this uncanny knack of producing awe inspiring soundscapes that skip brilliantly through swirling passages of shoegaze with an undercurrent of modern psychedelia and a splattering of soaring post-rock just for good measure. Their immense debut six track EP entitled 'AKA Lo! Peninsula' was released back on the 18th August 2018, is a serious recommendation from us lot here in Primal Music and is available to buy/download right now via lopeninsula.bandcamp.com
AKA Lo Peninsula by Lo! Peninsula
The EP begins caught up in a momentary sample, as we’re introduced to it’s opening salvo ‘Another Divine Joke’ and we dive headlong into it’s sparkling guitar progressions and the hypnotic pull of reverberating fuzz. A sharp percussive attack lurches forwards, dragging a driving bass signature with it as we sail magnificently through bellowing layers of production used primarily to carry that addictive vocal as it streams into audible range. Slight lines of backing vocal come and go as catchy chord progressions switch from heavier indentations into mellower passages of music with relative ease. There are classic shoegaze moments spread out along this tracks hardened spine, permeated at times by lysergic themes sharpened impressively with a modern psych twist. ‘Another Divine Joke’ is absolutely immense and a brilliant opening salvo indeed. Up next, ‘Sleight Of Hand’ flicks into motion strapped to a stunning fuzzed up bass line as a steady drum track announces glittering lead lines drenched in oodles of reverb. Distinctly sixties tinged vocalisations tipped with simmering vocal highlights swirl into view as as those lines of lead guitar whip and cajole the track to within an inch of it’s life! ‘Sleight Of Hand’ loops and arcs throughout, driving through walls of reverb as it drags the listener with it into another impressive finale.
‘Flashback Kid’ takes centre stage next, floating on instrumental drones and jangling guitars before the deep throb of bass cascades through slow moving percussion and brilliantly executed chord structures. This track is absolutely beautiful, has definite post-rock connotations and melds shoegaze with ambient swells of blissed out instrumentation very easily making it one of the standout tracks for me on this entire release. Up next, ‘Quicksand (Nuffin)’ fizzes into life swirling through chittering production theatrics before a repetitive instrumental progression riding a well executed drum pattern arrives pulling another impressive vocal performance with it out into the sonic ether. Catchy hook-laden progressions accompanying immense chord structures rise and fall with each line of vocal sending ripples of reverb out to crash into twinkling electronic samples. It’s another sonic triumph, showcasing what is a very impressive release. ‘Evil Flavours’, the EP’s penultimate piece, opens up with sampled rain drops before that addictive guitar progression catches hold and we float into melodic waves of slow moving percussion, pulling melody strewn lines of vocal with us as we dive into massive pools of reverb. This track builds ever so subtly introducing heavier moments filled with fuzzy guitar progressions at different stages topped off with twinkling lines of lead and mountains of melody. ‘AKA Lo! Peninsula’ closes out with ‘Final Roar’, and where normally I would be groaning about now due to the overuse of samples to begin tracks with I think the musicianship and song structuring on this EP far outweigh my grizzled rumblings. This closing track continues with the trend of instilling tons of melody into both the instrumentation and the vocalisations whilst giving careful consideration to production values/techniques to end proceedings on a high. If you have to buy one EP this week I recommend this one. It's absolutely sublime!
ABOUT THE AUTHOR:
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
ARTIST: Tombstones In Their Eyes
RELEASE: Nothing Here
RELEASE DATE: 24th August 2018
RECORD COMPANY: Send Me Your Head Records
There’s something tantalizingly interesting in a band/album description wherein genres cross from somewhat oppositional points. Its like saying ‘I’m in a J-Pop band, our sound is a mixture of Perfume and… Napalm Death’. Immediately you’re interested, you’re captivated, because, due to your years of musical socialization, you find the mixture of those two bands to be somewhat amazing. You also find that mixture of bands to be like mixing ice cream with sausage… it may taste like trash, but it sure is interesting. In my book, creditability can be found and served happily to those who are willing to push the boundaries, to experiment… Even if things turn out like trash, there is a kind of theatre of the absurd quality that makes it more important than some bunch of musicians who stuck to the rules in the proverbial book. Speaking of the proverbial book, turns out LA-based group 'Tombstones In Their Eyes' didn’t read it. Their latest release, a tight three track EP entitled 'Nothing Here', melds the shoegaze explorations of bands like MBV and even a tinge of bands like Asteroid 4 with the dirty, sludge/psych guitar music of stoner bands like Kyuss and a kind of watered down Monster Magnet… This should be interesting.
Nothing Here by Tombstones In Their Eyes
Desert rock guitar begins the EP opener ‘Silhouette’ which winds along slowly on a mixture of heavy guitars and drums. The vocals, muttered through various FX, float atop the instrumentation which eventually turns into layers and layers of guitars and the immovable fixture that is the drums. Interestingly enough (yet not to discredit the song) I actually found this the least engaging/interesting song on the whole of 'Nothing Here'. Don’t get me wrong, it’s a good, well-written song… It just seems deficit of the memorable tinge of the other tracks. ‘Take Me Away’ features a fantastically catchy vocal performance which bolsters the almost-anthemic chorus. Just like on the previous track, walls of guitar filter through the mix, to the point where if you stop and listen, you’re not really sure how many are playing. This guitar wash-out, much like the actual riffs of the song, owe much to the drowned out guitar of MBV. Yet, Tombstones seem to bring it into their own stylings to create something both original and enjoyable. The title track that follows collects the best elements of the previous track and pushes them to the forefront. The vocals here sound more shoegaze orientated, while the backing instrumentation rocks steadily along with a more groovier sound. Again, beyond the guitars and the heavy drums, there is a real catchiness to be found in the music of 'Tombstones In Their Eyes'. The guitar solo, which walks above walls and walls of guitar thrashing, in the second half of the song is an album highlight… as is the refrain towards the tracks end, where guitars are feedback atop the slow tap of the drums.
More often than not bands pump out ten plus song albums that tend to fade into each other in a super un-original way. I give credit to 'Tombstones In Their Eyes' for producing here a tight, compacted and catchy three song EP. I also credit them with their modest song lengths; typically peers of the genre like to chuck a few nine-minute attempts at a magnum opus in there just to piss off/please the listener. I also approve of the less than brutal instrumentation that would sometimes find itself on a heavy release like this. And similarly, I enjoy the fact that the band didn’t push the guitars the way some shoegaze bands like to. But having said all this, I actually kind of wish the band had done all of those aforementioned things. Here there is a catchy collections of songs that meld genres together in beautiful and interesting way, yet there is room for lengither, heavier and more experimental elements of music to be explored. Of course, this comes down to artistic choice, but the band have all the elements to create a five or six song album that really melds the line between experimentation and catchiness… Just a thought. And with that thought aside, I urge you to give this EP a listen; I’m sure you’ll agree when I say there is some kind of relief, of interest, in the bands enjoyable and well written sound. 'Nothing Here' was officially released back on August 24th 2018 and is available to buy/download right now via tombstonesintheireyes.bandcamp.com
ABOUT THE AUTHOR:
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian-based heavy music blog, I Probably Hate Your Band.
by Primal Music
ARTIST: Alien Mustangs
RELEASE DATE: May 15th 2018
RECORD COMPANY: Sound Effects Records
Thessaloniki natives 'Alien Mustangs' are something of a modern day enigma. Through their highly energetic and psychedelically infectious live shows coupled with a DIY release ethos and their anti-social media stance they have managed to thrive exponentially and create a debut album worth shouting about without the need for massive PR campaigns or an online presence. Their collective sound is the result of an inherent need to not follow the sonic norms and instead focus on breaking boundaries or pushing new sonic frontiers. Their brand of modern psych/space rock is deeply rooted in sixties garage whist pulling into the mix some modern influences such as Spacemen 3, Loop and The 13th Floor Elevators. 'Alien Mustangs' back catalogue consists of the 'Pause/Red Tambourine' 7 inch released in March 2013, the 'River' 10 inch EP released in May 2014 and 'The Tape Sessions' two-track, released exclusively on cassette in November 2015. This long overdue full length release brilliantly titled 'Alienation' was officially unleashed back on the 15th May 2018 via Sound Effect Records and is available to buy/download right now from alienmustangs.bandcamp.com
Alien Mustangs - Alienation by Alien Mustangs
The album opens up swirling inside an undulating drone as 'Holy Motors' unboxes it's malevolent side, pulling slow moving percussion, fuzzed out guitars and cascading bass into the mix collectively suffocated in glorious reverberations. Haunting vocalisations float into view tumbling through luscious lines of lead guitar, twisting and intertwining with that hypnotic psychedelic swing. 'Holy Motors' is totally infectious and a mesmerising opening salvo. Up next, 'Going Nowhere' slides into the sonic ether swirling around a calming neo-psych vibe. Acoustic frequencies meld with a simple percussive assault and deep booming lines of bass as subtle swells of addictive organ vie for space just below the mix. The vocals arrive riding undulating waves of reverb as they sit perfectively on top the collective instrumentation instantly catapulting this listener into a world of colourful transcendental hypnotics. The blissful opening bars of 'Forest' are sublime. Acoustic guitars merge with woozy lines of organ catch your ear as those 60's tinged vocalisations ebb and flow in unison. Theres a definite 60's psych vibe swirling around this track reminiscent of 13th Floor Elevators, Ogden's era 'Faces' or early 'Pink Floyd'. It's a beautiful track filled with passages of lysergic abandonment and definite album highlight for me.
'Follow Me' has a subtle garage feel to it's opening bars as it's guitars keep that repetitive chord structure buzzing just below the mix and the swirl of organ catches the ear. Slow moving percussion again keeps a metronomic tempo as backing vocals rise and fall and the pull of bass is overpowering. Melodically brilliant, 'Follow Me' builds and builds with each sonic revolution, bringing sporadic squalls of feedback in and out of the mix until eventually the overdrive arrives, the tempo quickens and it explodes into a righteous colour of reverberating frequencies. It's another triumph on an album that continues to amaze me. Up next, the albums penultimate piece arrives drenched in a kind of 'Velvet Underground' hued cloud. 'Sleep' crawls ever so slowly, tumbling around a beautiful guitar progression, twinkling tambourine shakes and those punchy tom tom hits as it's immense vocalisations ride the repetitive sonic wave. The album closes out with 'Lsd', an angry 60's garage banger that rocks magnificently on lines of tumbling bass, charging percussion and wailing lines of lead guitar. Swirling vocalisations intertwine with reverb, delay and production theatrics to bring this album to a thunderous finale. It's a fitting end to a marvellous debut long player.
India-based noise manipulators 'Lo! Peninsula' have unleashed a sublime new video to accompany the latest single to be lifted from their very impressive debut six track 'Aka Lo! Peninsula'. The track is called 'Another Divine Joke' and it expertly defines exactly what this bands sound is all about. Driving psychedelically infused soundscapes that skip brilliantly through energetic swathes of shoegaze deftly instilled with dreamy melodies that gently usher the listener along with them as they loop and arc throughout the sonic ether. The EP is a sonic triumph and we simply love this new video.
The band are made up of Nitin Shamurailatpam - vocals/guitars, Avinash Thokchom - bass & Jyotin Elangbam - drums and their debut EP 'Aka Lo! Peninsula' was officially released back on August 18th 2018 and is available to buy/download right now via lopeninsula.bandcamp.com
RELEASE: Silent Animals
RELEASE DATE: 29th June 2018
RECORD COMPANY: Fuzz Club
Rome-based psych/kraut trio 'Crimen' have been delicately enticing their fanbase with their long-overdue debut full length release for well over a decade. Steeped in modern psych with an infusion of hyperactive krautrock, 'Crimen' have developed a sound that at times dips it's sonic tendrils into subtle shoegaze and lurching post-punk creating a fizzing lysergic brew that they have self-titled 'Kraut-Punk'. Formed in the Centocelle district of Rome back in 2007 by Simone Greco - bass/vocals/sound engineering and Patrizio Strippoli - guitars/voice, it took another six years before the band enlisted Giuseppe Trezza - drums/electronics. After a collection of successful EP's and two years hibernating to record 'Silent Animals', Crimen officially unleashed the album to the masses back on June 29th 2018, joining forces with the good folks over at 'Fuzz Club Records'. 'Silent Animals' is available to buy/download right now on various formats via fuzzclub.bandcamp.com & fuzzclub.com respectively.
Silent Animals by Crimen
The dizzying throb of bass frequencies accompany the metronomic thud of kick drum as the opening track ‘Above The Trees (Rockets)’ manoeuvres itself into audible range. It builds maliciously before exploding into a raging sonic tempest filled with punishing percussion, cyclonic guitars and fascinating electronics all swirling angrily around that beacon like vocalisation. This track moves brilliantly, has deep permeating breaks that lead the listener into a false sense of security before soaring into the ether with relative ease. Up next, 'Batida' begins twisting inside a raging feedback storm before slow moving percussion and bouncing bass frequencies pull angry guitars and tormenting vocalisations into the mix and we're dumped headlong into a sonic storm whilst 'Flahzz' arrives wobbling woozily on a chittering bass line as sparse percussion and oodles of reverb hover and dance brilliantly allowing mellow lines of vocal to cling to effortless layers of reverb at those jangling lines of guitar add intense atmosphere. We're pulled into psychedelically entrancing breaks where we levitate above swirling layers of reverberation and dragged into bass heavy passages of sonic brilliance where tumbling drum patterns merge with angry guitars. 'Flahzz' is simply sublime and a definite album highlight for me.
The opening bars of 'From My Bed' are deeply atmospheric. Repetitive bass signatures merge with singular notes of guitar and the ever present pitter patter of sequenced percussion as the vocalisations arrive managing to stay just below the mix as different percussive changes twist and turn and sporadic electronic samples loop and arc at will. The track erupts, albeit slowly at first, as those heavy bass notes and jangling guitar progressions pull explosive drum patterns into audible range and injections of melody catch this listeners ear. The instrumentation pulses through layers of reverb, spiralling through different sonic refractions as we tumble into a magnificent feedback laden finale. 'Six Weeks' unfurls its's fuzzy sonic tendrils strapped to a repetitive synth as those fuzzy electronics and the charging percussion take hold allowing a teeth shattering bass progression to drive headlong into the sonic ether. There's a touch of garage psych coursing through this tracks veins but it melds brilliantly with neo-psych and subtle post-punk to create something altogether wonderful sounding. It's a triumph and definitely my favourite track on the album. 'Left Behind' is a modern psych gem. Fizzing guitars and sullen electronics open proceedings as almost anthemic like stylings elevate the overall sound into something heavenly. Again, the bass progressions are immense and the pull everything together brilliantly as rolling percussion bubbles underfoot and distorted frequencies swirl around hard hitting vocalisations. Explosive cymbal's crash, instilling an alternative kind of swagger in amongst those psychedelically attuned atmospherics but watch out for the ear shattering lead break that pierces the mind and shakes the life out of you and also that magnificent pause that comes at just the right time to instil a brilliant kind of sonic calmness.
The breathy beginnings of 'Supermarket', the albums penultimate piece, lead the listener in to a false sense of security as we're led into something altogether different. There are essence's of experimental funk, jazz, dub, kraut, psych and alternative soundings swirling around this track that are both infectious and addictive. Explosive percussion, melodically intricate lines of guitar and cascading bass progressions lead the listener through magnificent progressions of music until we're eventually funnelled into that absolutely immense finale. The album closes out with 'Hit Mania Death', a charging repetitively led, dance floor filler. Sequenced lines of percussion lead the merry dance as it's repetitive lines of bass and malicious synths carry angry vocalisations through massive walls of reverb-laden electronic theatrics. It's a hard hitting finale to a wonderful debut album.
L.A-based psychonauts 'Tombstones In Their Eyes' have unleashed a stunning new single entitled 'Silhouette' lifted off their forthcoming brand new three track EP 'Nothing Here' penned in for release on August 24th 2018. This latest single is the first release since 2017's 'Shutting Down' and see's the band's continuous rise to prominence bearing fruit. 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 are still evident but there's a maturity developing in their collective sound that is really pleasing to hear.
'Tombstones In Their Eyes' current line-up is John Treanor - guitar/vocals/keyboards/songwriter, Josh Drew - guitar,/backing vocals, Mike Mason - bass/guitar and Stephen Striegel - drums. 'Nothing Here' get's it's official release on August 24th 2018 and is available to pre-order right now via tombstonesintheireyes.bandcamp.com
ARTIST: Prana Crafter
RELEASE: Enter The Stream
RELEASE DATE: 31st July 2018
RECORD COMPANY: Sunrise Ocean Bender
William Sol aka 'Prana Crafter' has released some mesmerising experimental psych & acid folk through a plethora of underground labels throughout the years from his home base on Washington’s Olympic Peninsula. Through labels like Beyond Beyond is Beyond, Eiderdown, Deep Water Acres, and Reverb Worship his soundscapes have permeated the sonic ether, flowing down through various levels of consciousness to paint a sonic tapestry so rich in colour that listening to his work is genuinely more akin to a intensely spiritual journey of sonic discovery. Now Sol has returned with what could be the best album of 2018 so far? A blistering new long player entitled 'Enter The Stream', a collection of eight tracks that skip effortlessly through ambient tinged psych folk, acid folk and kosmische styled psych rock all steeped in a kind of esoteric brilliance. 'Enter The Stream' is officially released on July 31st 2018 jointly via the good folks over at Sunrise Ocean Bender Records and Cardinal Fuzz Records and is also available to pre-order right now through pranacrafterabode.bandcamp.com
Enter the Stream by Prana Crafter
'Enter The Stream' begins meditatively, oozing an eerie kind of calmness that completely envelopes this listener in blissful sonic tones as those swirling acoustics tumble through layers of reverberation, carefully cushioning refrained vocalisations and the lulling tap of guitar strings. It's a beautiful opening salvo steeped in highly personal themes but wonderfully refreshing in the way it settles the listener from the off with its hypnotic almost metronomic swing that gently leads us into the ambient strewn wilderness that is 'Moon Through Fern Lattice'. This track opens up shimmering on layers of cyclonic drones and effervescent instrumentation accompanied by the addictive pull of lead guitar as we buffer on ambient themed waves of psychedelically attuned instrumentation. Up next, 'Mycorhizzal Brainstrom' floats into the sonic ether on waves of beautiful frequencies accompanied by progressions of guitar and the fizz of electronics. Melodic lines of lead guitar dance and swing with ease, dipping in and out of translucent waves of reverb and the constant pitter patter of ambient synth. 'Mycorhizzal Brainstrom' is a triumph, a lysergic sonic adventure and an album highlight for me. 'The Spell' jangles into existence strapped to an acoustic progression whipped by the occasional line of distorted lead guitar overlaid with a kind of spaghetti western brilliance. Sol's vocalisations control the tempo here and they sit brilliantly inside the groove, eventually leading us into a lead break that momentarily shatters the air of serenity surrounding this track before we're back inside that swinging groove and pulled into it's final death throws.
'Old North Wind' bellows into life, moving on melodic tentacles of acoustic guitar draped in reverb and an instant hit of melancholy. Beautiful lines of vocal swirl around entrancing instrumental progressions joined sporadically by subtle highlights of lead guitar and slow moving percussion. A magical lead break unfurls it's sonic tendrils and intertwines with the melee of sounds adding blissful atmosphere as we flutter along in it's wake, pondering life and love and everything else in between whist up next, 'Kosmic Eko' does exactly as it says on the tin. Ambient stylings coalesce alongside angry pulses of distortion as tumbling lines of lead guitar plunge into pools of reverb allowing those swirling atmospherics to hold court as the track tries to build momentum from far below the mix. There's a hesitancy here, this listener wants the track to take flight and soar skywards but Sol has other ideas and allows it to tantalisingly hang in a cloud of frequencies until eventually it teeters out into marvellous oblivion. This is absolutely sublime songwriting craftsmanship and only goes to showcase just how good this album really is. The albums penultimate piece entitled 'Pillow Moss Absorption' begins with an acoustic progression that eventually leads into something altogether eclectic. Beautifully entrancing lines of guitar drenched in wah wah theatrics and underpinned with swells of organ and fizzing synths take centre stage as we're whisked off into an esoteric world filled with sonic wonderment. The instrumentation erupts again as progressions of acoustic guitar return and meld with waves of reverb, changing tempo with each sweep, tumbling and splashing through waves of brilliant production until we're swept headlong into the albums closing piece. 'At The Dawn' caps off a truly stunning collection of songs. This track feels like a bookend of sorts and whereas 'Pillow Moss Absorption' was loose and more free form in its approach, 'At The Dawn' is more structured and settled in its own skin. It's a beautiful ending to a truly marvellous album.
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He also was 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.
Dublin-based noise merchants 'Sun Mahshene' conjure up a blisteringly good lysergic brew filled to the brim with alternative led sounds, psych, shoegaze and swirling electronics on their highly anticipated new single 'Tales Of Fiction', penned in for release via Deathcapades Music Ltd on the 28th July 2018. High up on our list of bands to watch, 'Sun Mahshene' are on the forefront of Irelands own shoegaze revival, leading the sonic charge and transforming this once revered genre of music into something altogether new sounding. The musical collective is made up of Nathan Henderson - guitar/vocals, Ian McGinn - guitar, Ryan Daffy - guitar, Darren Hughes - bass, David Murray - drums, Ray Burke - percussion/backing vocals & Robert Crosbie - keys/synth. The single was recorded and co-produced in Darklands Audio (Dublin, Ireland) by Dan Doherty and written by Nathan Henderson.
'Tales Of Fiction' follows on from their sublime 2016 released EP 'Drones That Don't Kill' and is lifted from their forthcoming debut album entitled 'Contradictions & Tales of Fiction' due for full release this October. The single will be available to buy/download on release day via sunmahshene.bandcamp.com and all major streaming and digital platforms.