ARTIST: Hawkeyes / Radiation Flowers
RELEASE: Split EP
RELEASE DATE: 7th July 2017
RECORD COMPANY: Sunmask / Cardinal Fuzz
Ontario based heavy psych aficionados 'Hawkeyes' have joined forces with Saskatoon natives 'Radiation Flowers' on a brand new five track 'Split EP' that is absolutely immense. Stacked with massive walls of hypnotic acid drenched noise 'Hawkeyes' formed back in 2012 (apparently out of sheer boredom) and began self-releasing tracks on cassette before their debut album 'Poison Slows You Down' was picked up by Helmet Lady Records back in 2015. 'Radiation Flowers' on the other hand create spacious psychedelically charged shoegaze permeated at times by edgier, fuzzier moments of sonic contemplation accompanied by floating vocalisations that hark back to that early 4AD sound. The album gets it's full release on the 7th July 2017 via 'Sunmask' and the ever reliable Cardinal Fuzz Records and it available to pre-order right now on colour vinyl with full colour printed inner sleeve via cful.bandcamp.com
'Hawkeyes' open up proceedings with the first of two tracks; 'Atom Heart Motherfuckers Never Learn' swirls into audible range stuck firm to a warbling atmospheric guitar progression steeped in hypnotic reverberations. Sparse flourishes of cymbal and fizzing fret noise pull a massive surge of instrumentation into play as growling guitars, humming bass and steady percussion gently pushes us out into a turbulent sonic sea. Wailing lead lines whip up a sonic frenzy as a pulsing metronomic procession of drums and bass keep up a steady tempo for eight minutes plus, acting like some sort of sonic chariot meandering through layer after layer of spaced out grooves and ambient hued textures before 'Hawkeyes' briefly slip their spaced out ambient leanings and explode into a riotous sonic behemoth filled with darker, heavier guitar progressions and explosive accompanying instrumentation, goading the listener with their impressive mind bending production. All in all this is a massive opening salvo. Their second track entitled 'Creator Destroyer' floats into earshot on a wave of intense atmosphere deftly enveloped in beautifully textured acoustic guitar progressions and hushed vocal tones. That illusion is quickly shattered however as they explode into a cacophony of fuzz and reverb. Soaring lead guitars intertwine with delay & the pull of wah-wah to create a claustrophobic wall of hypnotic sound that builds and builds, tumbling brilliantly through rolling percussion and driving bass frequencies before culminating in a wind swept spoken word finale.
'The Radiation Flowers' unfurl '33 Floors Up', a pulsating sonic behemoth that pounds its way through the ether on a resonating wave of instrumentation swirling magnificently through layer after layer of tantalising reverberations. Soaring guitars traverse huge organ swells and there's no let up to the meandering whip of turbulent frequencies as this track explodes into the ether. Up next, 'Always On the Ground' bounds into earshot rocking giddily on a throbbing bass progression before squally synth hits add a sliver of comedy. Off kilter percussion drags itself into the mix accompanied by luscious lead guitars drenched in subtle feedback, effected fret noise and lashings of reverb. The collective instrumentation builds into a rolling wash of sound as beautifully translucent vocalisations ebb and flow into earshot underscored by an off putting organ drone before huge swathes of noise erupt, adding blistering atmospheric depth that seems undulates on that bouncing bass line. The album closes out with 'Never Fade' as 'The Radiation Flowers' meld tremulous shoegaze & indie rock with 60's psych flair. Surging organ swells ride a steady drum pattern as swirling lead guitar lines wrap themselves around another impressive vocal performance. Catchy chorus changes coupled with intricate guitar progressions keep this listener interested as the band inject some serious jolts of melody into proceedings. A fantastic ending to a rather interesting split release.
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, 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.
by Primal Music
ARTIST: The Cult Of Dom Keller
RELEASE: Paradiso Is On fire
RELEASE DATE: 22nd May 2016
RECORD COMPANY: Cardinal Fuzz / Sky Lantern Records
Hailing from the East Midlands, 'The Cult Of Dom Keller' have been laying down influential sonic road maps for the modern underground psych scene to follow for the past decade by creating mind expanding soundscapes drenched in acid laced alchemy. Their heady brand of hypnotically charged psychedelia has influenced many of the newer arrivals to this burgeoning scene and their DIY ethos has insured that you can never predict exactly what they will do next. Now, at last, the band have been captured in a setting that they absolutely thrive in. Witnessing 'The Cult Of Dom Keller' live is a white knuckle sonic thrill ride filled with raw unabashed power and mirrored in a multicoloured spectrum of sound. Captured live as they toured their latest LP – 'Goodbye To The Light' (Fuzz Club) at the at Het Bos, Antwerp 17/11/16 and Paradiso, Amsterdam 19/11/16 the band have stretched out ten live tracks, taken from all 3 of their long player albums, and played them to within an inch of their lives. 'Paradiso is On Fire' is presented over four sides of lovely vinyl and was released back on the 22nd May 2017 via Cardinal Fuzz (UK) & Sky Lantern Records (USA) respectively. You can get your hands on the gatefold vinyl right now from cful.bandcamp.com
Paradiso Is On Fire by The Cult of Dom Keller
Howling incantational vocalisations enveloped within a swirling vortex of tremulous guitars and crashing cymbals add instant atmosphere as 'The Cult Of Dom Keller' whip up a turbulent surging wave of incandescent noise that washes over the entire audience. Throbbing bass frequencies enter the ether, pulling in unison with chugging guitars, raging lead lines and the swing of metronomic percussion thus instilling a hypnotic edge to proceedings. 'Beyond All Evil Is A Black Hole' builds into a surging monolithic wall of resonating noise used primarily to repetitively profess a vocalised statement of intent ... 'You Are Not My God' .... a mantra to live by! The live crowd howl as the droning opening salvo's of 'The Broken Arm Of God' whirr and bounce through waves of punishing reverberation. Growling bass frequencies coupled with angry guitars, pounding drums and dark fizzing synth swells announce those haunting post-punk inspired vocalisations that glisten brilliantly in a dark & menacing hue. Track three doesn't let up either; 'Nowhere To Land' explodes into a tumbling ball of fuzzy noise, filled with explosive drums, wailing synth swells and deep driving bass frequencies. Noisy guitars lick and whip at those impressive vocals as cascading organ lines loop and arc in and out of driving instrumentation leading the crowd into a frenzied response upon it's finale.
'Dead Seas' gyrates on an agitated guitar drone as crashing cymbals ride the turbulent sonic wave. The atmosphere is intense as the track builds and builds through repetitious guitar theatrics permeated by raging waves of resonating sonic frequencies. Giddy patches of sparse percussion bubble up announcing a menacing vocal before a swirling organ line tip toes through a flourish of haunting notes. The track lurches forward twisting and turning through passages of 60's tinged psych at will and bouncing through incandescent progressions with a fervent ease. Up next, the punishing opening barrage of 'Shambala Is On Fire' burns with intent. Dark oppressive instrumentation rides a wave of tempestuous percussion laying down a sonic walkway for another brilliant live vocal performance whilst the raging 'Eyes' screams into earshot on explosive drum patterns and swirling drones as the bark of angry bass and wailing lead guitar envelopes lamenting vocalisations. 'Nothing Left To Stay For' tumbles through an opening repetitive vocal mantra accompanied by sequenced synth and haunting post-punk hued vocal lines. It's surging guitars enter the sonic battle field on a whim, underpinned by humming bass frequencies and a subtle percussive swagger as the tracks different parts are meticulously worked out live before the band unwrap the incantational 'Astrum Arenteum' and wash the crowd clean with it's hypnotic neo-psychedelic reflections.
The albums penultimate live treat comes in the form of 'Swap Heron', lifted off the band debut self-titled album released back in 2013. Live, this track is a different animal altogether. Squally guitars work through a warped chord structure before the track winds itself up into menacing sonic maelstrom filled with tumbling drum patterns, humming bass frequencies and haunting vocalisations constantly harassed by the cyclonic whip of lead guitar. Undulating synth lines emerge from the turbulent whirlwind urging the track into it's explosive finale. The crowd erupt into a rapturous applause before we're introduced to the final soundscape on this impressive live compendium. Possibly my favourite track by 'The Cult Of Dom Keller', 'Worlds' is a driving statement of intent. Pounding drums, angry guitar stabs and shaking tambourine build the intensity nicely before the track explodes into a multitude of resonating frequencies. It's shamanic like vocals float into existence through a muggy haze of reverb, jostling for space with soaring lead guitar lines and crashing cymbals and winning the sonic tug of war with glowing results. A masterful ending to what is one of the better live albums out there today.
ABOUT THE AUTHOR:
ARTIST: Cathode Ray Eyes
RELEASE: How We Lost The 21st Century
RELEASE DATE: 12th June 2017
RECORD COMPANY: Unsigned
Nottingham based 'Cathode Ray Eyes' is the solo moniker of Ryan DelGaudio, who usually plies his trade with one of the most influential modern day psych outfits out there - 'The Cult Of Dom Keller'. He has temporarily stepped away from promoting their latest sonic onslaught to unleash his ten track sophomore solo release; the brilliantly named 'How We Lost The 21st Century'. His debut album 'Eyes in the Melancholy Palm' was released by Cardinal Fuzz back in 2015. With an dark & experimental sound, 'Cathode Ray Eyes' explores disturbing acid etched psych melded with trembling post punk, warbling gothic tones and atmospheric electronics. 'How We Lost The 21st Century' was released on June 12th and you can check it out via thecathoderayeyes.bandcamp.com
How We Lost The 21st Century by Cathode Ray Eyes
A menacing synth line creeps into earshot as 'Take A Bow, Cthulhu' rocks unsteadily on a bed of repetitive sequenced percussion pulling haunting vocalisations and humming bass frequencies into the mix accompanied by chittering sonic frequencies and fizzing lead lines. Up next, 'People/Evil' floats effortlessly on clouds of reverb and the off-putting pluck of strings as scarily infectious gothic vocal lines drenched in layers of production effects drag this track into movie soundtrack territory. The hypnotically warped opening salvos of 'They Cut The Heart From Out Of The Sky So Burn Down This Government' sound like they've been forced through the inner workings of a Wurlitzer and then used as a crazy circus clowns entrance tune. It's disturbingly haunting yet melodious vocal lines float in close proximity to the aforementioned instrumental madness creating sonic yin and yang moments that are brilliantly addictive. 'We Sleep Till We Rust' is a charging psych behemoth. Experimental overtones surge through its inner workings swirling hypnotic frequencies out into the ether as a punishing vocal line cuts a deep wedge into the sonic firmament and gets under your skin albeit in a good way. Instrumentally immense, 'We Sleep Till We Rust' is probably my favourite track on the entire album.
'Say Goodbye (Soul)' swirls into audible range trapped in cyclonic drone coupled with resonating electronically tinged vocal lines and growling guitar progressions whilst 'Dance! Dance! Die!' drones into existence before unfurling a magnificently entrancing psychedelic soundscape drenched in eastern esoteric flair. 'Take The Darkness Again' injects a 60's psych-pop vibe into proceedings with its sweeping organ swells and plinking synth lines. Vocally astute, this track explodes into a growling sonic beast reminiscent at times to one of my favourite ever bands - 'Spacemen 3'. 'We're Not Born to Serve' is drenched in cinematic flair as its electronically charged instrumentation shakes and shudders on an impressive bedrock of sequenced percussion and hypnotic vocalisations whilst 'Digging A Grave For The World', the albums penultimate piece, is deeply experimental. Sparse percussion accompanied by charging synth lines and gothic vocalisations meld with electronic theatrics to collectively create the most forward thinking track on the whole album. 'We Lost the 21st Century' closes out with 'Goodbye 21st Century', a massive six minutes plus soundscape, inertly cinematic, draped in intense atmosphere and filled with stunning instrumentation that is hands down as good as anything that the legendary 'Vangelis' could conjure up. A stunning finale to a rather impressive experimental album.
ARTIST: Magic Shoppe
RELEASE: High Goodbye
RELEASE DATE: 16th June 2017
RECORD COMPANY: Little Cloud Records
Sublime Boston based dissonant psych aficionados 'Magic Shoppe' have just unleashed a brand new EP to the masses entitled 'High Goodbye', a bruising four track fuzz fest that will literally blow your socks off. From their very first release, the impressive ‘Reverb EP’ (2010) ,'Magic Shoppe' have been firmly on our radar and have also been a recommendation of ours for quite some time. Their immense brand of fuzzy, reverb induced psychedelic mayhem rattles through its gears with blistering aplomb and takes the listener on melodic journeys of sonic discovery. This latest EP had it's official release back on June 16th 2017 via the brilliantly independent 'Little Cloud Records' with various formats available including lovely limited edition 12' translucent red vinyl from magicshoppe.bandcamp.com
High Goodbye by Magic Shoppe
The EP opens up, tumbling menacingly through an unwavering wall of growling melodious guitars as ‘High Goodbye’ resonates into the subconscious. Shaking tambourines ride a wave of sticky bass frequencies and gravitate in close proximity to a tempestuous percussive swagger. It’s vocal lines croon and undulate in and out of snaking lead lines as the hypnotic swing of instrumentation captures this listeners attention. ‘High Goodbye’ is a stunning opening salvo steeped in swirling reverberations and whirring drones that captures a snapshot of what this modern day psych-gaze scene is all about. Up next, ‘Lost In Space’ shimmers in a dark resonating haze as the twang of lead guitar drags metronomic shakers into the mix underscored by soaring drones and a definitive 60’s neo-psych hue. The heady sonic fog clears to allow addictive vocal lines to lick, whip & penetrate just enough to guide the way as we shake and move through hypnotically charged shamanic vibrations filled with raging lead guitars and punishing production.
The EP’s penultimate piece entitled ‘Her Ritual’ stirs the senses as menacing sonic reflections bounce, drone and jitter effortlessly into the ether with blistering aplomb. The mechanical thump of percussion drags angry guitars and another mesmerising vocal into perspective, drenched in reverb and hovering on a bedrock of throbbing bass frequencies and the incessant whoosh of droning instrumentation and in turn answering to nothing but the pull and swing of a deeply hypnotic tempo. ‘Her Ritual’ sucks you in slowly and spits you out at break neck speeds before dropping you off into a swirling acid drenched haze. The EP closes out with what is possibly the most alternative track on the entire release and although they side step away from the sonic themes of the previous three tracks, ‘My Minds Eye’ is actually bloody immense. It begins with waves of screaming feedback as the band collectively usher in driving drum patterns, undulating bass lines, addictive tambourines and howling vocalisations before lightening the touch paper and exploding into a catchy, hook laden chorus progression. They repeat the process, turning up the noise as they go, injecting swirling drones and surging feedback into the mix before calling a halt to proceedings, trapped in a cyclonic whirlwind of noise. An absolutely stunning finale to another bloody masterful EP.
ARTIST: Tombstones In Their Eyes
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
Fear by Tombstones In Their Eyes
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.
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.
RECORD COMPANY: CRAZYSANE Records
'Yagow' is a psychedelic space rock trio based out of Saarbrücken, Germany. Their collective sound echoes through mesmerising passages of psychedelically charged motorik kraut rock underscored at times with subtle shoegaze tendencies that are deftly permeated with layers of incantational space rock & hazy effervescent stoner rock. Their immense self titled six track album gets its full release on June 16th 2017 via the Berlin based independent record label 'CRAZYSANE Records' and is available to pre-order right now on various formats from crazysanerecords.bandcamp.com
s/t by YAGOW
In a dense instrumental drone the heavy opening salvos of ‘Horsehead Nebula’ unfurl their fuzzy tendrils and wrap themselves around enticingly slow lead guitar lines and swathes of reverberation. Bouncing bass frequencies pull stunning percussive patterns into audible range melding effortlessly with the hypnotic surge of guitars, used collectively to ferry haunting psychedelically charged vocalisations out into the ether. Up next, ‘Snake Charmer’, the albums lead single, resonates and pulses through layers of hazy psychedelia that is peppered with subtle touches of eastern esoteric flair. Meandering vocal lines whip and whirr through spiralling guitar progressions as fuzzy sonic reflections sparkle through swirling clouds of addictive sitar and rolling drum patterns. This track explodes into a raging wall of undulating drones, throbbing bass lines and growling guitars, jointly harassed by explosive drum patterns and acid drenched lead lines before tumbling gracefully into a cyclonic sonic whirlwind before fizzing out into obscurity.
‘Moss & Mint’ slows proceedings down as we’re dragged into a muggy metronomic trance like state, glued to the swing of those addictive drum patterns, soaring lead lines the and hazy swirl of dreamy, spaced out vocalisations. ‘Moss & Mint’ works through its instrumental gears with stunning aplomb, at times injecting organ swells, massive waves of imposing reverb and is reminiscent at times to Perth based sonic explorers ‘Mt. Mountain’ with the way they construct intricate song structures, add intense atmosphere and inject undulating passages of heavy psych into their music. ‘Time To Get Rid Of It’ swerves into earshot on a warbling guitar progression, bouncing bass frequencies and skittish percussion. Shamanic reverb drenched vocalisations intertwine with growling lead lines before punishing instrumental drones take over, pulling you with them as you surge through wave after wave of intense psychedelia. Absolutely magnificent!
The albums penultimate piece entitled ‘Non-Contractual’ opens with a menacing instrumental drone before pounding drums, shakers and incantational guitars drag haunting vocalisations out into the open. The subtle plucks of sitar ride punishing instrumentation as we meander through deep sonic troughs, shimmering spaced out verse passages and out into the final throws of a turbulent sonic behemoth. The album closes out with ‘Nude On the Moon Dance’. A tremulous guitar progression rides metronomic percussive pattern that builds and undulates through soaring atmospherically charged prog like lead lines and the constant throb of bass frequencies. Chittering drones sweep aside the opening bars as this track peels back it’s outer layers and morphs into a resonating sonic whirlwind that carefully envelopes another mesmerising vocal. A brilliant ending to rather interesting album.
Shimmering Leeds based psych-gazers 'Jellyskin' have unleashed their immense fifth track entitled 'Only Rain (Flows To Beach)' and it's accompanying video to the masses. Formed in 2016, 'Jellyskin' are made up of Will, Zia & Olly and they exploded onto the underground psych/gaze scene last year with a splattering of singles including the impressive ‘Grey Glass Hat’, the fantastic 'Milk Of Magnesia', 'She Sung Oceans' & the blistering 'Eater' which collectively brought them to the attention of the underground psych/gaze faithful. They have embarked on a mini-tour until mid-June playing: Unfest at The Forum (Tunbridge Wells), Headrow House (Leeds), Night and Day Café (Manchester), The Washington (Sheffield) and Temple of Boom (Leeds). They will also have copies of their debut EP, their first physical release at all of the aforementioned live shows. Get out and see them live if you can!
'Only Rain (Flows To Beach)' floats effortlessly on glorious waves of simmering synth coupled with tumbling tremulous guitar progressions as metronomic sequenced percussion pulses on effervescent frequencies carefully enveloping that fragile vocal track. At predesignated points along its meandering course it morphs and twists brilliantly into a noisy & turbulent psych induced behemoth before snaking back into a beautifully entrancing piece of music.
'Dazy Crown' are a Norwich based lo-fi/garage band who create stunning soundscapes full of melodic brilliance. They wowed us way back in July 2016 with their impressive single 'Move' and now this immense quartet have returned with another citric slice of summer in the guise of 'Multi Vitamin', their latest entrancing groove laden offering.
'Multi Vitamin' tumbles through swathes of woozy and highly infectious guitar progressions that ride an insanely laid back percussive pattern. Those simmering vocalisations wobble and arc through hazy layers of bubbling bass frequencies and resonating production as the leaping chorus break snaps you out of a hypnotising trance and tip toes you into a cyclonic world filled with instrumental drones and fuzzy sonic reflections. Stacked to the brim with summery summer vibes, 'Dazy Crown' have hit the proverbial sonic nail on its head with this latest track.
ARTIST: Is Bliss
RELEASE: The Honeycomb Explosion
RELEASE DATE: 19th May 2017
RECORD COMPANY: Club AC-30 Records
Revered, incantational, hypnotic - Three words that aptly describe what I felt after listening to the absolutely stunning 2016 debut EP entitled 'Velvet Dreams' from Portsmouth based psych aficionados 'Is Bliss'. Signed to celebrated Independent record label 'Club AC-30', 'Is Bliss' are causing quiet a stir right now both on the live scene and within the underground fraternity with their no nonsense, full on, psych induced reverberations! They are made up of Jimmy Stuart - vox/guitar, Dean Edwards - bass & Sam Speakman - drums and they have just released a monumental follow up to their untouchable debut EP 'Velvet Dreams' entitled 'The Honeycomb Explosion'. This sophomore release is a statement of intent by a band who collectively create stunning soundscapes filled with blissed out shoegaze & swirling shamanic psych deftly underscored with passages of dreamy spaced-out grooves and hypnotically charged reverberations. 'The Honeycomb Explosion' was released back on the 19th May 2017 and was initially available to purchase on lovely transparent yellow w/red & orange splatted 12' vinyl via store.clubac30.com
In a haze of cyclonic vocalisations that swirl repetitively through swathes of luscious reverb, the opening salvos of track one ‘Someone’ builds with a menacing hue, dragging hypnotic deep bass frequencies, tremulous drones and angry guitar signatures out into the ether whilst injecting tons of impressive sonic atmospherics as it carefully unfurls it’s far reaching sonic tendrils. Beautifully intense from the off and harking back to to those early 90’s shoegaze sounds ‘Someone’ unleashes a blissful, meandering vocal track that’s whipped and cajoled at times by soaring lead guitar lines and underscored by continuously alluring bass progressions. Up next, ‘Alive (Baby Come On)’ enters the sonic arena swirling dreamily through turbulent organ drones and sparse percussion. Bass lines hum and growl brilliantly as we witness some of the best vocal performances on this whole EP. The track builds builds and builds again until it unleashes a torrent of glorious noise, dragging this listener with it into the eye of a raging sonic firestorm. ‘Alive (Baby Come On)’ has a plethora of influences and I can hear the waviness of Spacemen 3, the punishing guitars of seminal shoegazers Loop & the melodious qualities of Ride streaming through its inner core. Absolutely stunning and definitely my favourite track on the entire release.
‘Is Bliss’ pulse some eastern esoteric flair into proceedings next as sumptuous sitar intertwines with 60’s psych connotations, shimmering tambourine and punchy drum patterns. ‘Into A Dream’ does exactly as it says on the tin. You tumble through layer after layer of droning instrumentation, cascading dream like bass frequencies and that twinkling guitar signatures, guided at every turn by that impressive vocal track and just as you think you are settling in for a session in the shamanic sonic immersion tank you get catapulted out the back end of this track at g-force speeds glued to to a fast moving pulse of intense instrumental chaos before being gently placed back on terra firma with a very big smile on your face (yes it is that good). Up next, ‘Tomorrow’ shimmers hypnotically around an incantational instrumental drone and the jaunty rumble of busy tablas as the dissonant sounds of dreamy sitar bounces and envelopes a stunning vocal performance. Again ‘Is Bliss’ work through their sonic gears with blistering aplomb until eventually they unleash a torrent of explosive frequencies punctuated by screaming guitars, throbbing bass lines and pounding drum patterns that collectively coagulate into one hell of a track finale. The EP then closes out with ‘Inner Soul’, a fantastic sonic trip through layers of blissful reverberations, melodious bass progressions, passages of droning guitars and slow moving percussion that drifts and moves effortlessly, acting as a conduit for those stunning vocal lines. Reminiscent at times to ‘A Storm In Heaven’ era ‘Verve’, ‘Inner Soul’ is an absolutely sublime closing piece to a monumental sophomore EP.
ARTIST: Mt. Mountain
RELEASE DATE: 24th April 2017
RECORD COMPANY: CARDINAL FUZZ
Perth based droning & experimental psych aficionados 'Mt. Mountain' have announced the follow up to last years monumental six track release 'Cosmos Terros' in the form of 'Dust', a four track sonic thrill ride penned in for release on the 24th April via the ever reliable UK based 'Cardinal Fuzz Records'. 'Mt. Mountain' first came to our attention back in 2014 after the release of their brilliant sophomore self titled EP and we subsequently played it to death over on our online sister station 'Primal Radio'. 'Mt. Mountain' are already lauded and revered in Australia where they have built a reputation as one of the most compelling live bands, a distinction that has seen them share stages with myriad Australian and international heavyweights including Sleep, King Gizzard and the Lizard Wizard, Thee Oh Sees, Endless Boogie, Tortoise, Bardo Pond and Boris. 'Dust' is available to pre-order right now on limited edition of 200 - Copper/Black Swirl 12" Vinyl Records with UK/EU purchases available via Cardinal Fuzz.
Dust by Mt. Mountain
In a whirling instrumental drone steeped in acutely atmospheric tape hiss and trembling sound waves the opening salutations of ‘Dust’ manoeuvres itself into audible range. It builds ever so slowly, drenched in a menacing experimental air as a subtle percussive pulse sets a persuasive tempo, slow enough to accommodate those haunting guitar lines and the brilliant addition of a ghostly flute progression whilst being whipped by an ever present & deeply incessant high pitched drone. Coming in at a mere sixteen minutes plus, ‘Dust’ isn’t for the faint hearted as half way through it explodes into a maelstrom of reverberating noise steeped in flurries of modern & experimental psych and peppered with passages of plodding bass frequencies, throbbing synth, addictive lead lines and simmering vocalisations to collectively enthral and captivate it’s listeners all at once. A marvellous opening track indeed. Up next, ‘Floating Eyes’ staggers into earshot on a rickety guitar progression that rides a wave of tumbling bongo hits, the repetitive twinkle of tambourine and a surging synthetic drone. The addition of warbling lead lines add weight to proceedings as ‘Mt. Mountain’ unleash a swirling psychedelic behemoth steeped brilliantly in eastern esoteric flair. Addictive vocal lines float into the mix bubbling on those cascading bass progressions, doffing a well worn cap to those early experimental psych pioneers as we float away on wave after wave of captivating golden hued frequencies that eventually leads us into the tracks final throws.
Swirling organ swells echoed by translucent guitar and subtle instrumental drones announce ‘Kokoti’, the albums penultimate piece, and we drift off into a entrancing psychedelic haze filled with jangling progressions, glorious flute lines and hypnotically charged percussive reverberations. Ghostly vocalisations fill the remaining quiet spaces as sonic reflections rise and fall in and out of throbbing bass frequencies and wah wah heavy lead lines before the track takes on a completely different form and rises high up into the firmament on wings of trance like psychedelic joy. ‘Kokoti’ is a sonic journey of discovery, it’s probably my favourite track on this entire release and I firmly recommend that you listen to it via headphones to experience every ounce of it’s sonic mastery. The album closes out with a three minute peaceful ‘Outro’. A beautifully intoxicating guitar progression pulses into the ether dragging with it a repetitive percussive pattern filled with haunting vocal lines and massive swathes of reverberation. ‘Outro’ is a fitting closing piece and it deftly book ends this impressive collection of tracks.