ARTIST: Dead Sea Apes
RELEASE: Sixth Side Of The Pentagon
RELEASE DATE: 3rd April 2017
RECORD COMPANY: Sky Lantern Records & Cardinal Fuzz Records
Manchester based experimental psych aficionado's 'Dead Sea Apes' have returned with a brand new album entitled 'Sixth Side Of The Pentagon'. The band have been carving out their own rather special niche in a scene that strives on it's core principles of expansive and consciousness-altering guitar, bass and drum based compositions. 'Dead Sea Apes' have never easily fitted into a 'psychedelic scene' as such like so many of their contemporaries but have instead taken a different path to sonic enlightenment by experimenting with dub, electronic sequencing and mind altering reverberations that both thrill and hypnotise all at once. 'Sixth Side Of The Pentagon' is available to pre-order right now from skylanternrecords.bandcamp.com (US) or cardinalfuzz.bigcartel.com (UK) on standard weight black vinyl edition, 250 copies with full color printed inner sleeves & on CD.
Sixth Side of the Pentagon by Dead Sea Apes
Cavernous reverb peppered with echoing percussive delays swirl menacingly around the rise and fall of a repetitive bass line as ‘The Map Is Not The Territory’ kicks open the door to an atmospheric world of mesmerising (almost incantational) psychedelic dub. This track heaves effortlessly through moments of unrepentant experimentation as growling guitars ride soaring instrumental drones and deliriously off kilter drum patterns as its lead lines whip and harass the senses with wild sonic abandon. Up next, ‘Sixth Side Version I’ provides an atmospheric interlude before ‘Low Resolution’ staggers into earshot riding a resonating drone and slow moving bass line. Synth lines fizz as the tension builds and the track meanders through layers of reverberating lead guitar lines collectively battered by angry synchronised electronics. ‘Dead Sea Apes’ inject the twenty second long 'Sixth Side Version II' next, fitting another piece into the sonic jigsaw before unleashing the brilliant ‘Pale Anxiety’, my favourite track on the entire release. Slow moving drones swirl and loop around a snaking bass line as a repetitive percussive assault keeps a steady metronomic beat. The occasional delayed vocal line slips into earshot riding a turbulent processional wave of noisy reverb laden electronics, jittering effected guitar lines and the odd chopped brass sample that tumbles and dances through layers of echoing hypnotics.
‘Nerve Centre’ explodes into a cacophony of guitar stabs, intense ethereal vocal samples as wailing lead guitar lines and those off tempo drum patterns that collectively add billowing atmosphere. This track hangs suspended in the sonic ether, held fast in a whirlwind of undulating reverb and mind bending production. 'Sixth Side Version III' enters audible range and squeezes shuddering lo-fi instrumentation into a melting pot of spellbinding echoing delays whilst ‘Lo Res’ ambles into the ether tethered to a meandering bass line and it’s accompanying sequenced electronic theatrics. Glorious guitar progressions act like bedrock thus fixating this listener to their hypnotising sway whilst swirling bleeps and whirrs meld with immense production to bring us on a gratifying sonic adventure of immense proportions. The album twinkles and jitters in a golden hued haze before the opening salvos of ‘Tentacles (The Machine Rolls on)’ shatter the illusion and unfurl their sonic tendrils to intertwine brilliantly with a shuddering drum pattern, undulating bass progression and venomous lines of spoken word. Angry sequenced production gradually bubble up to the surface to circumnavigate the entire piece, draping it in resonating reverb laced snare hits and the constant gyrating throb of bass.
The album drags ‘Sixth Side Version IV’ out into the open to show us it’s final death throws before plying us with it’s closing soundscape. ‘Rectifier’ jangles and sways on a wave of fizzing synth, hypnotic bass and the repetitive pitter patter of steady metronomic percussion. Heady lead lines stream and glide in close proximity to those senses pummelling effected delays and the occasional stab of rhythm guitar as ‘Dead Sea Apes’ exhume every single morsel of hallucinogenic dub they can muster and fire it out into the sonic ether. A fitting end to a bloody marvellous album.
ABOUT THE AUTHOR:
Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
by Primal Music
RELEASE DATE: 1st March 2017
RECORD COMPANY: Gravy Train Recordings
Noisy Bristol based trio 'Jesuits' have just released a brand new six track EP entitled 'Cloudhead' via the UK based independent record label 'Gravy Train Recordings'. The band are made up of Arthur Jay - Vox/Guitar, Lily Cook - Bass & Miles Hastings - Drums and their sound is peppered with wide ranging influences such as post-punk, shoegaze, psych & no-wave. 'Cloudhead' is available to buy/download right now from jesuits.bandcamp.com
Cloudhead by Jesuits
In a turbulent cloud of repetitious feedback whipped by swirls of reverberation the delicious opening salvos of ‘Hardware Store’ swirl into the ether. This menacing reproach is quickly swept away by whirring winds of melody driven instrumentation, those instantly addictive vocalisations and the constant thrum of metronomic percussion. This track vibrates and throbs through layer after layer of stunning production, is peppered with noisy moments of screaming feedback and blissfully lurches from chord change to chord change without breaking sweat. A magnificent opening track indeed. Up next, Jesuits inject some swagger into proceedings as ‘Masturbation Clerk’ drives headlong into a raging whirlwind of explosive drum patterns, throbbing bass frequencies and noisy guitars that collectively circumnavigate those impressively melodious vocal lines. Lead lines whip and lick the entire piece to within an inch of its life before we’re led into the tracks final death throws.
‘Pescatori’ builds from the off, morphing monstrously into a gyrating repetitious behemoth filled with pulsating instrumentation and unrepentant reverberation whilst the EP’s title track ‘Cloudhead’ does exactly as it says on the tin and it’s droning (one minute thirty seven second) assault on the senses is well received. The EP’s penultimate piece is a seething ball of sonic energy. ‘Radio Bunnies’ bounces into the sonic ether pinned fast to a steadying drum pattern and cascading guitar progressions. It’s vocal lines are sublime and they ride a wave of overdriven noise that spirals deliciously through swathes of screaming lead guitar licks that are underscored by throbbing bass lines and layered production theatrics. The EP’s closes out surging through a tempestuous stream of explosive instrumentation that is reminiscent at times to early Creation Records era ‘Swervedriver’. ‘Hexx’ is deliriously malicious, it takes no fucking prisoners and is probably my favourite track on this entire release. It’s a marvellous end to a brilliantly executed EP.
Dublin based swirling neo-psych/garage psych aficionados 'This Other Kingdom' have unleashed a stunning brand new video to accompany the lead track entitled 'COMATOSED' from their highly anticipated twelve track sophomore opus 'Rêveur' penned in for release on April 21st via the ever brilliant 'Wrong Way Records'. 'This Other Kingdom' are made up of Del Kerton - vocals/keys, Declan Dunne - guitar/vocals & Git Sweeney - drums and they are no strangers to this modern day psych scene having previously supported some serious international heavy hitters like 'Holy Wave, The Cult of Dom Keller, TAU, Radar Men from the Moon & Yuck'.
The full album is to be released on 21st April 2017 on translucent orange vinyl with purple splatter, CD and download via Wrong Way Records. You can pre-order the album right now from wrongwayrecords.bandcamp.com
A launch party in Dublin and Manchester accompanies the release, with a full tour scheduled for May 2017.
ARTIST: Hanford Reach
RELEASE: Canyons EP
RELEASE DATE: 10th March 2017
RECORD COMPANY: Medium Lavender
Brooklyn based psych/shoegaze outfit 'Hanford Reach' formed back in 2016 following the dissolution of a previous incarnation called 'Sky Picnic'. Consisting of Chris Sherman and Leah Cinnamon the band's sonic tendrils reach primarily into the realms of jangling shoegaze hued pop but with a subtle undercurrent of driving post-punk, reminiscent at times to seminal US based post-punk connoisseurs 'For Against', Boston based shoegaze outfit 'Swirlies' or more recently 'The Marbles Jackson'. 'Hanford Reach' originally started as a solo project for the duo to create new material but they are now currently working behind the scenes to take this EP on tour with live shows promised throughout 2017. Their debut four track EP 'Canyons' gets it's full release on March 10th via their own record label 'Medium Lavender'. You can however pre-order it right now digitally from hanfordreach.bandcamp.com
The EP opens with 'Shifting Patterns'. A shimmering almost effervescent like guitar strum awakens a psychedelic behemoth before tumbling skittishly into reverb laced soundscape filled with impressive instrumental breaks, luscious lead guitar lines, thunderous percussion and that incredibly addictive vocal line. What is instantly apparent as this EP unwraps itself is that 'Hanford Reach' are intellectually astute musicians who can inject a serious amount of melody into every single facet of their songwriting without losing any of that old school 90's charm that has been previously written about them. 'Shifting Patterns' surges and heaves through magical percussive breaks & intricate lead lines that wrap themselves around the vocals adding depth and weight to their overall sound. A brilliant opening track indeed. Up next, 'Muted Edge' swirls into the ether on a menacing instrumental drone and a steady drum pattern. Jangling guitars take over, draped in swathes of reverberating frequencies and subtle synth swells. Another impressive vocal lines sits atop an undulating wave hypnotic instrumentation firmly fixed to a bedrock of throbbing bass lines and tumbling percussion.
The EP's penultimate piece entitled 'Theatre Of Shadows' opens with a turbulent jazz tinged drum pattern intertwined with cascading bass frequencies and swirling psych tinged guitar lines before it's sublime vocalisations enter the fray, looping and arcing effortlessly in unison with the metronomic swing of the collective instrumentation, as if being locked in a kind of sonic gravitational pull. Theatre Of Shadows has the songwriting prowess of 'For Against' with its soaring shoegaze highs coupled with driving post-punk lows but there's also a brilliantly intoxicating modern twist to this track that's very hard to shake off. 'Canyons' closes out with 'Daydream Hues', an impressive slice of psych tinged shoegaze filled with steading drums, throbbing bass progressions and subtle synth swells that are overlaid by jangling guitar lines and explosive passages of swirling reverb laced instrumentation, vocal samples and shimmering tambourine shakes. A brilliant ending to an impressive debut EP.
'Hanford Reach' have an old school sound. Their musicianship & songwriting abilities are faultless. This EP is not experimental at all so it's not going to create new sub-genres in this ever evolving scene. But what it does do is; it gives an honest doff of the proverbial cap to those shoegaze/psych/post-punk pioneers who created these genres originally and thats what makes this EP something really, really special.
Pale White Sun by The Age of Colored Lizards
Norwegian based psychedelic explorers 'The Age Of Coloured Lizards' have released the latest track entitled 'Pale White Sun', to be lifted from their highly anticipated forthcoming EP 'Another Day', penned in for release later this year via the lovely folks over at Sotron Records. With a sound that permeates a multiple of different layers in the music genre spectrum, taking in dreamy shoegaze, psych, noise rock & fuzzy alt-rock 'The Age Of Coloured Lizards' do not disappoint. 'Pale White Sun' is available to buy/download right now from: theageofcoloredlizards.bandcamp.com
'Pale White Sun' swirls into the ether in a deliciously hazy psych pop vibe reminiscent of those early sonic pioneers The Birds. Its evident from the outset that these guys are well versed in music production as they inject fuzz and reverberation into the mix circumnavigating those impressive vocalisations with ease as they tip toe along on a steady bedrock of impressive percussion. Definitely ones to watch in 2017. We can't wait to hear the full EP.
ARTIST: No Mightier Creatures
RELEASE: No Mightier Creatures
RELEASE DATE: 10th February 2017
RECORD COMPANY: Unsigned
'No Mightier Creatures' is the debut seven track self-titled release from Peru based alt-psych/garage aficionado's 'No Mightier Creatures'. The band consists of Renato - vocals/guitars/words, Dolmo - guitars, Felix - bass & Arturo - drums and what they collectively create is a mesmerising politically charged cacophony of swirling psych rock thats underscored with hints of alt-blues indentations melded with surging swathes of driving garage psych. 'No Mightier Creatures' is available to download as 'Pay As You Like' over on bandcamp but I recommend that you pay these guys a few dollars to help them get this album out on vinyl nomightiercreatures.bandcamp.com
No Mightier Creatures by No Mightier Creatures
The album open up with an angry melodious growl as 'Yet We Divide' enters earshot and sets off a repetitious sonic chain reaction as guitars swirl and sway held fast to a metronomic percussive beat. Vocals arrive and ride the turbulent beast to finality. Highly infectious and surprisingly addictive 'Yet We Divide' is a brilliant opening salvo. Up next, 'Multiply' jangles through waves of reverberation as 'No Mightier Creatures' unleash some sullen rockabilly psych on us, swerving through pulsating drum patterns and hypnotically charged lead lines that gyrate around those impressive vocal lines. 'Springfield' heaves around a central spine of driving instrumentation, throbbing bass progressions, repetitive drum patterns and sporadic noisy guitars thats collectively led by those politically charged spoken word vocalisations. We shatter the repetitiveness of the previous tracks with tumbling bass frequencies and chugging guitars as my favourite piece on the entire release enters the sonic arena. 'No Light' is an anti-establishment call to arms nestled in the welcoming arms of driving instrumentation and pulsating production.
Musically, 'Corporate Dream' acts as a sort of sonic conduit for the spoken word of the bands lead vocalist Renato who spits relevant rhetoric for today's self appreciating society whilst the albums penultimate track growls and wails as it swerves into the ether. 'To Cross' meanders deftly through dark menacing bass patterns and an explosive percussive attack. Its raging guitars wage a sonic war of attrition, whipping up a frenzy of pulsating sound waves in the process that lick and harass another impressive vocal performance. 'To Cross' pushes wave after wave of psych induced passionate spoken word out into the world accompanied by a raging torrent of frequential noise. Thoroughly enjoyable and another highlight on this brilliant release. The albums closing piece opens in a beautiful haze of tremulous guitars and cascading bass lines. 'Take It Easy' is accompanied by sparse percussion and haunting vocalisations. It builds and builds nonchalantly into a brilliantly melancholic tidal wave that crashes multiple sound waves onto an empty windswept beach. A fitting ending to a marvellous album.
ARTIST: E GONE
RELEASE: The Third Is A Mountain Which Holds A Dagger
RELEASE DATE: 13th February 2017
Swedish based experimental psych/folk aficionado 'E GONE' aka Daniel Westerlund has unleashed a surprise seven track album entitled 'The Third Is A Mountain Which Holds A Dagger'. 'E GONE' melds together various musical stylings including electronica, psych, post rock, oriental, dub, raga, ambient and psych folk to create a stunning cacophony of mesmerising soundscapes. This latest album follows on from the recently re-released 'Advice To Hill Walkers' and is available to by/download right now from egone.bandcamp.com
The Third Is A Mountain Which Holds A Dagger by E GONE
The album opens up with 'No Audience, No Metronome', a deeply serine instrumental piece centred around a wonderful progression held in a blissful cloud of sampled rain fall and reverberating fret noise. Up next, my favourite track on the entire album swirls into earshot on beautifully translucent acoustic waves peppered with swathes of driving banjo progressions and a brilliantly executed vocal track. 'A Decoy For the Hunt' draws you in on strings of atmospheric vibrations, metronomic percussion and intense cinematic flair. A sublime track and one that you listen to via headphones. You will thank me for it in the end. 'E GONE' is the master of atmospheric intent and as 'The Tellurian Omega' undulates on repetitive instrumental drones and the twang of stringed instruments I can't help feel slightly uneasy as the track winds its way through dark cloudy reverberations and the atmospheric plink of repetitious bells. Shimmering frequencies ride a turbulent drone as a peaceful hue descends on this listener and we're led into the opening bars of 'Rogue Diplomat', an eastern esoteric themed thrill ride through busy percussion and swirling instrumentation that evokes visions of those 1970's middle eastern based spy movies. A thoroughly enjoyable piece steeped with brilliantly psychedelic vibrations.
Up next, 'E GONE' melds a stunning banjo progression with intense synth swells as 'Habit Hides You' works through its sonic repetitions before the albums penultimate track spins into earshot. A massive wall of vocals erupts into the ether accompanied by the twang of banjo and underscored with sullen synth swells. 'I Have Been Given Much' is deeply melancholic and filled with heart felt connotations and the ever present hue of sonic experimentation that I've come to enjoy whilst listening to E GONE's impressive soundscapes. The albums closing piece however is seven minutes plus of swirling instrumentation riding a subtle instrumental drone and interspersed at times by soaring lead guitar theatrics and massive walls of intense atmosphere. 'Give' is a magnificent ending to a wonderfully unique collection of songs.
ABOUT THE AUTHOR:
ARTIST: Dead Gurus
RELEASE: Acid Bench
RELEASE DATE: 17th February 2017
RECORD COMPANY: Wrong Way Records
Dark and foreboding, menacing and hypnotic, Minnesota based psych aficionados 'Dead Gurus' are no strangers to this modern underground psych scene. The band are made up of Jason Edmonds (Magic Castles), Bennett Johnson, Collin Gorman Weiland (Daughters of the Sun and Dreamweapon) & Ryan Garbes (Wet Hair) and what they collectively create is a no holds barred, deeply entrancing thrill ride through the darker side of the psychedelic spectrum. Their latest seven track opus entitled 'Acid Bench' is unleashed on February 17th 2017 via the exciting UK based independent record label 'Wrong Way Records' with pre-orders now available both digitally and on limited edition white with black haze vinyl via wrongwayrecords.bandcamp.com
ACID BENCH by Dead Gurus
'Acid Bench' opens in a feral haze of tape hiss, feedback and raging guitar squall as 'Vibrations' kick starts it's inner engine and winds up its hypnotically charged instrumentation into a blazing cyclonic whirlwind of intense noise. Repetitious drones coupled with squealing lead guitar lines lick and whip the entire piece to within an inch of its life as those stomping drum patterns act as a metronomic kind of timekeeper. It's monotone vocalisations add intense atmosphere as we're dragged on a fuzz laden voyage of psychedelic discovery. Up next, 'Mistress X' pulses on a wave of reverberating guitars, throbbing bass frequencies and pounding drums as it's highly addictive vocal lines weave an enticing sonic web, luring it's listeners into a turbulent inner core before unleashing a torrent of fuzz, phasing guitars and a full on sonic storm of wailing noise. 'Serpent Fire' is an undulating sonic behemoth filled with throbbing bass lines, unrelenting guitars & a repetitious percussive attack whilst 'Celestial Fuzz' cleanses the soul with it's melody driven opening bars before unleashing a full on mind bending torrent of menacing psych rock that swirls around it's mantra like vocalisations with blistering aplomb. 'Celestial Fuzz' is a cyclonic beast that twists and turns through many different sonic permutations. It's a bruising white knuckle ride that heaves and pulses intermittent reverberations out into the ether on waves of hypnotically charged incantations that will leave you wanting more. Definitely my favourite track on this entire release, 'Celestial Fuzz' is a modern day psych rock triumph and a serious recommendation from me.
Up next, 'Song For Saraswati' swirls into audible range on blissful waves of peaceful instrumentation, draped in swathes of eastern esoteric flair, mysticism and droning vocalisations. These opening bars however lead us all into a false sense of security as 'Dead Gurus' unleash a churning sea of frequential noise, filled with unrelenting repetitious instrumentation and mantra like vocalisations that collectively form a heady invocation of mind altering, mescaline fuelled brilliance. Do yourselves a favour and pop on some headphones, sit back and let 'Song For Saraswati' seep into your inner psyche. You will thank me for the tip afterwards. The albums penultimate piece is dark and cyclical. 'Starlight Sisters' takes no prisoners, there's absolutely nowhere to hide from this turbulent brute. Steeped in heavy bass patterns and raging guitars it swings menacingly on a bedrock of metronomic percussion building in intensity as it meanders through the ether cutting a deep furrow through proceedings just to allow those entrancing vocal lines to sit comfortably somewhere whilst all around them wields a sonic war of attrition. 'Dead Gurus' keep the longest track on the entire album to close out with. Coming in at a whopping eight minutes plus 'Black Silk' uses punishing instrumentation to circumnavigate those intense vocal lines. Explosive percussion and repetitious bass frequencies tie the piece to terra firma as all around them pulses and undulates into a wild sonic beast that surges wave after wave of punishing vibrations out into the ether. 'Black Silk' is powerfully addictive and it closes out what will surly be one of the best releases of 2017 come years end!
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, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
Drifting Sand by Toast of Botswana
French based alt-psych duo 'Toast of Botswana' have unleashed a swirling sonic behemoth in the guise of their latest single aptly named 'Drifting Sand'. Steeped in hazy reverberating psychedelic incantations their sound echoes through layers of hypnotically charged instrumentation, noisy swathes of percussion and that intensely fragile vocal. Released back in December 2016 'Drifting Sand' is the bands third single and it follows on from 'Vimto' their deliciously psych folk leaning second single released back in August 2016. Definitely ones to watch in 2017.
You can get your hands on 'Drifting Sand' right now by heading over to: toastofbotswana.bandcamp.com
RELEASE: Things I Don't Know
RELEASE DATE: 28th January 2016
‘Tuath’ exploded onto the Irish underground scene back in March 2015 with their intensely addictive & deeply experimental debut EP ‘An Taobh Tuath(Ail)’ closely followed by their immense spaced out single ‘Amhairc Thart Ort Fein’ in September of the same year. Last year the band returned with a blistering four track EP entitled ‘Existence Is Futile’ packed full of experimental dreamscapes that skipped from serine psych-rock into blissfully dreamy shoegaze and on into expressive jazz fusion coupled with swirling hypnotically progressive rhythms and sullen space rock hues. Now the band have created what is probably their most interesting release to date. 'Things I Don't Know' pulses through four tracks of soaring reverb laced progressions, deeply filled with haunting vocalisations that are collectively underpinned by heavier grunge filled moments, swirling instrumentation and massive swathes of melody.
Things I don't know by Tuath
The opening track, 'Stoically, I Ran Through The Rubble' jangles into earshot on wavy guitars and floating atmospherics. Melodious vocals hold court here and when allowed to roam in the over all mix have a knack of drawing you into them even when all around them is waging a sonic war of attrition. Up next, ‘Seacht Seachtaine’ revolves effortlessly around an addictive guitar progression as Rob Mulhern’s darkly melodic vocals churn through wave after wave of diminishing reverb and pulsing sequenced swirls. The back story surrounding this track is harrowing. It deals with the loss of Mulhern's close friend who committed suicide back in 2016 and the events incorporating the seven weeks between hearing he was dead and the coast guard having found the body. It's written as a narrative in Ireland's native tongue and it ignites into an agitating psychedelic behemoth with punishing percussion that drags droning guitars and boiling saxophone lines into the mix thus melding perfectly with haunting vocalisations, twisting and arcing into one massive wave of utterly addictive turbulent noise. Possibly my favourite track on this entire release ‘Seacht Seachtaine’ is a serious recommendation from me.
The penultimate piece on this release 'Things I Dont Know' swirls into the ether on waves of shimmering synth & reverberating guitars, occasionally broken up by the incoherent ramblings of Tuath’s lead man Rob Mulhern and the welcomed sampled vocalisations of Carl Sagan. Just as we’re about to float away into the ether however, explosive percussion shatters hypnotically charged sonic incantations by driving a flirtatious break beat into proceedings that leads us on merry dance through stellar production theatrics and on into the tracks atmospheric finale. The EP's closing act entitled 'Superhighway To Ignorance' drones into the audible range held fast in tempestuous swirling synth line before exploding into a raging torrent of noise that meanders through so many different musical genres it’s difficult to pin one down at any given time. 'Superhighway To Ignorance' is a whirring ball of sonic turbulence supplemented at times by wailing incoherent vocalisations and driving instrumentation. It has repetitiously overdriven guitars that ride a tempestuous beat whilst it's lead lines lick and harass the piece to within an inch of it’s life. It’s important to stress here that traditionally ‘Tuath’ are masters of experimenting with sound so newer fans of their work might be asking themselves ‘What The Fuck?’. Don’t panic, go with it & pop on some headphones to check out what is actually going on under the latent noise. This track will be an absolute monster when played live and it's a fitting ending to what is a massive step up for a band who we have covered intensely here at Primal Music from their very first release. Bravo Tuath!