Ghost by Holy Monitor
Hailing from the sunbaked Mediterranean shores of Greece, experimental neo-psych/krautrock space rockers ‘Holy Monitor’ have unleashed a stunning new single back in September entitled 'Ghost', a ten minute plus journey filled to it's psychedelic brim with magical incantational sonic energy. The band are made up of Stefanos Mitsis - guitars, Alex Bolpasis - bass, Vangelis Mitsis - synths/organs and George Nikas - drums/guitars/vocals and this latest single follows on from their absolutely stunning self-titled album released back in February 2017. The single is available to buy/download right now from holymonitor.bandcamp.com
'Ghost' shuffles into audible range on a glistening instrumental drone accompanied by the throb of synth and the fizz of effected electronics. It builds meticulously into a pulsating organism with the arrival of humming bass frequencies before tumbling headlong into a metronomic percussive beast. Plinking synth lines and waves of reverberation arrive adding lysergic atmosphere to the mix with every single chord change, allowing magnificent guitar progressions to lick and harass the piece to within an inch of it's life. Organ lines howl pulling clandestine vocalisations with them as they meander through layers of reverberation collectively merging with every other piece of the sonic jigsaw to bring us a mesmerising ten minutes of music.
by Primal Music
Although we're late to the party on this one due to their absolutely ridiculous and subsequently non-existent PR policy, our good friends and Donegal natives 'Tuath' have just unleashed a brand new track entitled 'Cuz Why?' accompanied by a rather impressive video to their adoring world wide fan base. The aforementioned track is lifted off their forthcoming EP aptly titled 'Youth' (release date to be announced) and not only have they stripped back their usual tidal wave of reverb to showcase front man Rob Mulhern's vocal abilities but they've also added the subtle throb of post-punk to their unique sonic collage, inserting it brilliantly in amongst the swirling lysergic electronics and pounding percussion.
For those of you new to the psychedelic merry-go-round that is 'Tuath' the band collectively create a heady mix of psych, krautrock, electronic, trip-hop and shoegaze with both eyes directed firmly on the experimental. Their alternative sound has catapulted them onto some of the best live stages both here in Ireland and around Europe making them one of the most exciting Irish underground acts on the circuit today. You can check out their back catalogue of releases by either heading over to tuath.bandcamp.com or by searching our database for everything 'Tuath' related.
ARTIST: Close Encounter
RELEASE: First Light
RELEASE DATE:12th July 2017
RECORD COMPANY: Look Up Records
Smooth smooth smooth are the guitar tinkerings, strums and jazzy drums at the beginning of Seattle based dream-gaze band 'Close Encounter'. Their debut EP entitled 'First Light' is influenced and inspired by pysch-rock just as much as it is influenced and inspired by shoegaze, dream-pop and alt-rock. Across the EP, the band utilize the much more layed back and ‘soft-rock’ side of dream-pop and smooth trip-hop-esque soundscapes, equating to a relaxing and pleasant listening experience that is to often forfeited by other artists under the belief it tampers with ‘high artistry’. The band are made up of Bill Darksoft, Bobby Sydney, Cameron Lambert & Matt Conlen. 'First Light' is available to buy/download right now on various formats from closeencounterband.bandcamp.com
First Light by Close Encounter
'First Light' begins with ‘Lumina’, soft jazz-like drumming plays over the top of soothing guitar tinkering and the backing strum of another reverbed guitar. The vocals, when introduced, are as laidback as the music; creating a communal sense of freedom and loose-ness in the music. Altogether, it conjures into a beautiful and whimsically intelligent soft rock, dreamy ballad-ish tune… Only to be eclipsed by the track that follows it. That track is ‘Fade Away’ which instrumentally presents itself much more upbeat, and whose guitar passages are more weaving and involved than on ‘Lumina’. Lyrically, things seem as day-dreamy and soothing as ever, with a darker undertone of questioning the concept of wandering through things. It is too often easy for dream pop tracks to appear nostalgic and contemplative in their presentation of beauty and warmth, but 'Close Encounter' manages to capture that mood with a more interesting and engaging form of song writing. ‘See The Sun’ turns down the reverb and instead goes for a more alt-rock feel: while the drums pad away in the background, forming the structure of the song, a keyboard plays a fantastically catchy line of music before the band dive into a jangle pop inflused type of dream pop. Although there are exceptions, the lyrics on ‘See The Sun’ are somewhat weaker and sound more throw-away compared to on previous tracks. The second half of the track turns into more pysch-rock territory, maintaing the aforementioned upbeat feel.
Things stay as mellow ever on ‘Reappear’, an EP highlight complete with soaring vocals and melodic drumming. The song is also backed with what sounds like the ooze and breeze of a synthesizer, adding a whole other dimension to the track. If the previous tracks on First Light could be played at the beach while the sun set, ‘Reappear’ would be an applicable track to play on your way back from the beach; the cars roof recedes, the sun sets, hair flows; a kind of nostalgia-laced relief blows in the wind. ‘Tuff Time’ slows down things to a speed akin to the opener ‘Lumina’, drifting on the back of a neat bouncing cymbal performance by the drums and the distant strumminngs of the guitars. A small but extremely pleasurable solo sneaks its way into the song somehow as well. One of the only songs that sounds like a true album filler, or perhaps a B-Side kind of track, is the song ‘Halo’. While attempting to touch upon more slowed down psych elements explored previously on the EP, the band become background music in the most bland way, rendering the track less impressive than some of the other engaging yet relaxed gems on the EP. ‘Channels’ turns things more to an indie rock spectrum, and while crafting a nice and rhythmic tune, it sort of recedes into the background of the EP as a whole.
'First Light' has many beautiful and enjoyable qualities about it. And much in the same way as 'Pastel Coasts' music does, the thematic elements of deep and care-free yearning seem to loom around the bands music (in a good way.) There is an easy way to put it: this is beautiful music… And while the EPs second side becomes lacklustre at times in comparison to the first, it nevertheless shows a band that are well versed in crafting a tune, painting a picture and performing admirably together. These things are achieved swiftly through production, performance and sound.
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.
RELEASE DATE: 1st September 2017
RECORD COMPANY: Modernsky UK
Liverpool based psych-pop aficionados 'Fuss' release their sublime debut self-titled four track EP on vinyl via Modernsky UK on September 1st 2017 just in time for their appearance at 'Liverpool's International Festival Of Psychedelia' on the 22nd September. The band are made up of David Baddeley, Tony Dixon, Karl Byrne, Bobby Reardon & Cormac Gould and they've previously shared the live stage with some serious sonic heavyweights such as the fantastic Psychic Ills, Ulrika Spacek and The Vryll Society. The 'Fuss' EP is available on lovely vinyl via Modernsky UK and digitally over on iTunes and Spotify.
Jangling melody driven guitars intertwine with swirling synth lines and throbbing bass progressions as 'Fluff' unfurls it's sticky sonic tendrils and washes this listener in simmering reverberations. Addictive vocalisations float into the ether held fast to sticky instrumentation, rocking slowly on a bedrock of steadying percussion and lysergic vibrations that build effortlessly into a kaleidoscope of sonic colour. Up next, 'Human Music' fills the ether with sparking guitar riffs, cascading bass lines and slow metronomic drumming as fizzing electronics and bubbling synths envelope another impressive vocal take. Lead guitars loop and arc in and out of catchy hook laden chorus progressions that float and undulate on magical psychedelically charged sonic frequencies.
'Life Forming' bubbles on a slow moving bass line as subtle organ stabs shimmer beneath the surface allowing the tinkering guitars to dance and move along that addictive drum pattern. Laid back vocals lead the listener on a sonic journey, keeping them focused on meandering guitar hooks and shimmering lead lines that circumnavigate the entire piece brilliantly. Thoroughly enjoyable, 'Life Forming' is my favourite track on the entire release. The EP closes out with it's lead single. 'Coma' enters audible range on a swirling guitar riff and simmering sampled vocalisations before exploding into a cacophony of instrumentation. It's fizzing synth lines hold court, strapped to a busy percussive pattern and the throb of magnificent bass frequencies as swirling psych induced guitars lick and whip those impressive vocal lines to within an inch of their life. 'Coma' is an absolutely absorbing piece of music and a fitting end to a marvellous debut EP. Definitely ones to watch going forward!
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
RELEASE: Our Mother Was A Plant
RELEASE DATE: 22nd September 2017
RECORD COMPANY: Fuzz Club Records
Back in 2016 whilst writing reviews for 'The Sound Of Confusion', I came across a fantastic seven track self-titled debut album from Sicilian based sonic manipulator Gioele Valenti of Lay Llamas fame now recording under the moniker of 'JuJu'. Being a Lay Lamas fan myself, I immediately dived headlong into it's swirling lysergic sound waves which were more akin to a pulsating living organism drenched in swathes of rhythmic, almost ritualistic golden frequencies. Sonically, it was something that I'd never heard before and it quite simply blew me away. Fast forward twelve months; 'JuJu' has teamed up with one of the best underground independent record labels currently plying it's trade in this ever evolving scene, the immense 'Fuzz Club Records' and had just announced his sophomore release aptly titled 'Our Mother Was A Plant'. This time around Gioele Valenti dips his sonic tendrils into a plethora of genres that includes afrobeat, krautrock, glam, post-punk, art rock, shoegaze & drone and it also features guest appearances from 'Capra Informis', the masked djembe player of Swedish based psych aficionados 'Goat', making this album one of the most anticipated releases of 2017. It gets it's full release on the 22nd September and is available to pre-order right now on 180g vinyl via www.fuzzclub.com
Repetitious percussion accompanied by sporadic electronic sampling and the constant throb of skittish bass notes announce the arrival of track one, the brilliantly titled ‘Death By Beautiful Things’. Swirling reverberations pull luscious lead guitar lines into the mix as JuJu prepares to jump off the deep end and splash headlong into a pool of emotively experimental psych rock. The music drags this listener along with it tumbling freely into a droning synth laden soundscape filled with impressive kraut like percussive tendencies and mind numbing guitar progressions that seem to loop and arc effortlessly through swathes of psychedelic enchantment. At times ‘Death By Beautiful Things’ dips brilliantly in and out of ambient experimentalism leading you on a totally immersive sonic adventure. Up next, ‘In A Ghetto’ unfurls its sonic tendrils wavering menacingly on a sequenced drum loop that slowly adds a pensive kind of atmosphere with the addition of each musical layer. Hypnotic shakers rattle and shimmer as pulsing guitar progressions rise up from beneath a heady cloud of bass and reverb to envelope those mantra like vocalisations deftly undulating through JuJu’s subtle eastern esoteric leanings.
‘And Play A Game’ is refreshing as it bleeps and whirrs through sticky electronic vibes and repetitive percussion. It’s bass patterns are mesmerising and when accompanied by those addictive synth swells and it’s subtle lead licks, are totally unstoppable. Stunning vocal lines swirl throughout the mix as this track builds and builds into a surging psychedelically charged dance floor filler. It is absolutely magnificent. Up next, the insatiable ‘James Dean’ bounds into the ether on a wave of pounding drums, swirling guitars, haunting vocal lines and throbbing bass frequencies. It’s impressive organ lines intertwine brilliantly with soaring lead guitars and electronic percussion whilst the experimental pull of ‘I Got Your Soul’ is hard to escape. The sway of it’s funk like origins keep perfect time as the duel assault of bass and drums keep a firm hold on the earth allowing it’s mesmerising guitars to circumnavigate impressive vocalisations and soar out into the ether on reverberating sonic waves. ‘Patric’ begins life as a glitchy, atmospheric beast that trembles on yet another impressive bass progression. It’s haunting vocal lines undulate and merge effortlessly with raging guitars and stunning production to collectively create something altogether magical.
The albums penultimate piece entitled ‘What A Bad Day’ comes in at a whopping nine minutes plus and at no stage does it disappoint. This track enters audible range strapped to a metronomic drum pattern and the repetitive throb of angry bass. Atmospheric instrumental drones intertwine with fuzzy fret noise and resonating frequencies to circumnavigate it’s stunning vocals, as luscious synth swells bubble up from far below to drench the entire piece in shimmering reverb. There’s a hazy but ambient hue hanging over this track at times that tweaks this listeners attention as it meanders through layer after layer of psychedelic abandonment, twisting and turning through stunning musical passages filled with the occasional saxophone hook, colourful lead guitar progressions, electronic experimentalism and the ever present bark of dark bass frequencies. ‘Sunny Afternoon’ closes proceedings out and does exactly as it says on the tin. Shimmering guitar progressions and sparse percussion make way for fizzing electronics and the hum of bass as subtle synth swells pulse through the mix accompanied by electronic theatrics and the constant pull of simmering reverb. It’s a masterful ending to a totally entrancing sophomore album ...... bravo JuJu!
RELEASE: Distant Sea
RELEASE DATE: 28th July 2017
RECORD COMPANY: Fuzz Club
There are only so many things a chorus pedal can do. Those eleven meagre words could swiftly and perhaps eponymously give title to any article that a writer, a critic or blogger wishes to write about Mac Demarco. He’s the smelly, dirty looking hipster who popularized a kind of jangle pop that initially appears nostalgic and light-laced but eventually secedes into a kind of alcoholic- nicotine based adventure through adolescence that one can enjoy on a leisurely afternoon at the beach, or when they are traversing their inner past-histrionics. Either way, Demarco has used the chorus pedal to do two things (perhaps unintentionally), one is a kind of career suicide; he’s tied himself and crossed his own tracks so much so that he has transcended his own status into a type of figure that could be identified as post-celebrity (it was once trendy to listen to the guy, to wear his clothes and to smoke vile amounts of cigarettes, but since the polo-wearing normies of the world have discovered Mac, he just aint as cool). The second (and more important) is that Mac has put the preverbal knife through the gullet of any aspiring musician who wishes to touch on a similar style of music as his own. How many times do we hear music that we identify as ‘fake Mac Demarco’? A lot. It seems everybody who owned a shitty guitar and had a knack for overalls and dirty looking shoes has become a kind of Demarco-wannabe of sorts. This makes it hard for people like Saccades, who (funnily enough) is actually a hell of a lot more interesting than Mac. Saccades is proof that this genre slating, this assumption and veracious practician of overlooking should all be skipped over, and that nothing but the music should be analysed. Saccades 'Distant Sea' is testament to all of this, and is further proof that Fuzz Club Records know what they are doing. The album was released on the 28th July 2017 and is available to buy/download right now on various formats via fuzz club.com and saccadesmusic.bandcamp.com respectively.
Saccades by Saccades
Distant Sea opens with the title track; its warmly strummed guitar pop poses a beautiful contrast to the lo-fi type production quality of the album. This is where one first hears the quality of the song writing; its fantastic mixture of the nostalgic-dream baked feelings of summer and the breezy relaxation of the heat of the beach and days gone by. ‘Bleeding Colours’ continues on this path, but alters slightly to offer another take on the aforementioned sound again. This time, tempo is up and the guitars eager and dizzing strums give it a neat kind of post-punk feel. The tight, drum-lead feel of ‘Bleeding Colours’ is extenuated on ‘Elusive Dream’, sounding like it could have been a Coldwave-style track with a thicker bass tone and darker production qualities. All the while, the vocals remain slightly (in a well crafted way) drowned out in the mix of the music. ‘Crying Land’ echoes the orange-sun aesthetic of other lo-fi and experimental acts; reverb is heavy and things seem somewhat darker and more confined in a way. The song still retains the same feel and atmosphere as previous tracks however, making it a stray from the path that doesn’t lose track of itself completely.
‘In and Out’ is one of the closest songs Saccades gets to minimalism; its brilliant piano based rhythmic set up keeps things tight and coordinated through the entire song. Synths waver and fluctuate in the background… Everything seems like a trip down a dizzingly hallucinogenic river. ‘Know My Name’ stands as an album highlight; the song writing is of a neat kind of radio-friendly pop music, touched on the other side by the experimental aesthetic of lo-fi music. The lyrics are deep but playful; interesting while also being ingrained within the music as one whole piece of the puzzle. ‘Running Wild’ also sticks out as a memorable track, appearing more upbeat than the previous track. Saccades displays his knack for the act of layering and melody and enjoyably jangling styles on ‘Red’, which features a simple but impressive guitar line. Another album highlight is the danceable ‘Cigales’; collecting up the tricks that Saccades has explored formerly on ‘Distant Sea’ before pushing forward something new and impressive into the mix. ‘High Drift’ pushes for the production based-skill of atmosphere creation to help carve out a moody and beautifully simple track that seems much more downtrodden than their other releases.
You should know two things: (just to clarify) I don’t hate Mac Demarco; in fact, I feel quite the opposite about him. Also, Saccades 'Distant Sea' is one of the greatest examples of an artist wading through the depths of lo-fi music I’ve heard in a while. Between the well written and catchy songs lies a dedication to originality that can so obviously be overlooked by listeners. There is a genuine sense of concentrated and well-crafted song writing at play on Distant Sea, and this is helped further along by the tape-recording and mixing quality of the release. It is a lengthy album, featuring twelve songs… But unlike many artists in similar genres, the songs themselves maintain a level of originality between them that makes everything seem that bit more refreshing and alternative from the track before it. There is a level of nostalgia that comes with it all as well; the kind of sun-sets and cold sand that I could write an essay about… But I’ll refrain from that; I just thought it should be noted. Listen for an album projecting beauty against its desire to, and for an album a bit more interesting than those have forged namesakes on its basic reciepe; achieved through production, song writing and sound.
Evil In The Tree by The Oscillation
Sublime London based experimental psych aficionados 'The Oscillation' have returned with a mesmerising new 7' single entitled 'Evil In The Tree' released back on the 11th August 2017 via the ever reliable UK based independent label 'Wrong Way Records'. This two track 7' single is available right now both digitally and on lovely vinyl (limited to 300) via wrongwayrecords.bandcamp.com
'Evil In The Tree' pulses into existence on a magnificent sonic wave filled with metronomic percussion, mind numbing bass frequencies, chittering electronics and droning swirls of synth. Snarling vocalisations swirl menacingly in a dark turbulent haze as screaming lead guitar and haunting organ swells hold court allowing Demian Castellanos to imprint his addictive brand of audio chaos on the baying public. Track two; 'Paranormal Non-Activity' is a slightly calmer affair that dips in and out of dark, ambient hued reverberations whilst swirling through turbulent instrumental drones and tumbling swathes of angry electronics until eventually building into a monstrous incantational soundscape.
ARTIST: The Radiation Flowers
RELEASE: Summer Loop
RELEASE DATE: 7th July 2017
RECORD COMPANY: Sunmask/Cardinal Fuzz
Saskatoon based psych-gaze quartet 'The Radiation Flowers' have been very, very busy this summer. Not only have they released a fantastic split EP with fellow Canadian's 'Hawkeyes Doom' (which we have previously reviewed for Primal Music), but now they've just unleashed what is in our opinion one of the best albums of 2017 so far in the guise of 'Summer Loop', a seven track thrill ride through impressive layers of psych, shoegaze and alternative sounds that will leave you absolutely floored. The band are made up of Shelby Gaudet - guitar/vocals, Amber Ross - drums/percussion, Christopher Laramee – guitar & Jay Allen - bass/vocals and 'Summer Loop' is available to buy on lovely limited release 350 eco-colour vinyl's & 50 limited edition vinyl replica jacket CD-R's via the ever reliable Cardinal Fuzz Records (UK) & Sunmask (USA) or digitally via theradiationflowers.bandcamp.com
Summer Loop by The Radiation Flowers
Fuzzy guitar progressions build menacingly as ‘Just Go Away’ announces itself as a brooding psych-gaze gem. Steady percussion underscored with throbbing bass frequencies pull floating dual vocal lines into audible range as the soaring hammond organ infused chorus hook is generously whipped by vivacious lead lines and the luscious swirl of reverberation. Coming in at just under six minutes long ‘Just Go Away’ is infectiously addictive and a stunning opening salvo. Up next, ‘Walking Down The Street’ is steeped in melody as tremulous guitars ride a woozy swell of hammond and a cascading bass line. Slow ambling drum patterns hold a hypnotic beat as entrancing vocal lines weave and bob in and out through layers of resonating sonic waves and wall of sound reverberations. ‘Colours’ glistens into earshot on a swirling organ progression as a mesmerising vocal performance dances along on a bedrock consisting of a throbbing bass line and punchy drum patterns. Jangling guitars envelope the entire piece, placing a protective layer around those impressive vocal lines thus reinforcing deep melody in the process.
‘Dancing In The Flames’ growls into existence held fast in a turbulent whirlwind filled with growling guitars, angry bass frequencies and thunderous percussion. Lysergic lead lines lick and harass a punk edged vocal take as we’re drawn headlong into a cacophony of raging psych induced instrumentation that is absolutely drenched in stunning reverberation. ‘Sunrise’ injects some 60’s psych-pop connotations into proceedings as it bounces along on a mid-tempo drum pattern and a repetitive guitar progression underscored with bubbling bass frequencies and that swirling instrumental drone. Intricate lead guitar lines and another impressive vocal performance tie everything together brilliantly and that catchy synth laden break is immense. Up next, the instrumental beast that it ‘Summer Of Burnout’ ambles into audible range tumbling menacingly in a glistening synth drone, a throbbing bass line and acid drenched guitar progressions. Those bass notes are utterly addictive and they drag you with them through layer after layer of undulating psych-gaze as the constant thud of percussion keeps steady metronomic time. The album closes out with ‘Walking (Reprise)’, a lysergic acoustic filled dreamscape that swirls beautifully in a luscious cloud of resonating sound, sporadically pierced by subtle percussive stabs, intense reverberations and delayed swells of instrumentation. A stunning finale to a mesmerising 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, post punk & modern psych rock from all over the globe and 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.
ARTIST: Cobra Family Picnic
RELEASE: Magnetic Anomaly
RELEASE DATE: 22nd May 2017
RECORD COMPANY: Cardinal Fuzz/Sky Lantern Records
Tuscan based psych aficionados 'Cobra Family Picnic' released a stunning album entitled 'Magnetic Anomaly' back on the 22nd May 2017 via Cardinal Fuzz Records (UK) & Sky Lantern Records (USA). The band create a fuzzy, blissed-out haze that skips through lysergic rhythmically focused space-rock, kraut-rock, experimental neo-psych and kosmische with relative ease and have over the last three years shared stages with critically acclaimed bands such as Moon Duo, White Manna, The Myrrors and Mugstar. Members of the band recorded here include names from a host of other local Tucson psych ensembles, such as The Desert Beats, The Night Collectors, and Wight Lhite. 'Magnetic Anomaly' is available to buy on lovely vinyl from Cardinal Fuzz, Sky Lantern Records or via cobrafamilypicnic-slr.bandcamp.com
Magnetic Anomaly by Cobra Family Picnic
Sampled vocalisations precariously count down to lift off as ‘Draags’ winds up a twisted drone, skittish feedback laden guitars and the surge of instrumentation like some deranged psych induced jazz recital in the back room of an Albert Hofmann experiment. Off kilter percussion keeps a rhythmic almost processional beat as undulating keyboard thrills tickle and harass the hum of bass frequencies and the whip of angry lead lines whilst swirling vocal samples intertwine brilliantly with seething noise and entrancing production. This is a fascinating jump off point to a deeply experimental collection of minimalistic tracks that literally pierce the listeners inner psyche, taking them on a journey of sonic discovery in the trance-inducing process. ‘IPT 001’ is a sojourn, a side step if you will into the eye of a spinning instrumental drone badgered by fizzing vocal samples and turbulent electronic theatrics while deeply transfixing atmospherics swirl and whirr through layers of mind altering reverberations.
‘Elysium’ shakes into audible range stuck fast to shimmering waves of tambourine and snaking feedback. Tumbling drum patterns envelope a throbbing bass line as the pull of wah-wah pedal melds with spiralling electronics licking and caressing a yearning vocal take. Shamanic instrumentation undulates and pulses psychedelically charged waves out into the ether as the track builds and builds into a raging sonic behemoth making ‘Elysium’ my favourite track on the entire release. Revolving drones intertwined with sporadic but haunting vocalisations announce the arrival of ‘IPT 011’ and we’re thrown headlong into an experimental world of intensely atmospheric synth swells, resonating fret board theatrics and deep lying reverberations melded with dissonant electronics and glistening field noise whilst ‘Frost’ breaks the serenity and streams into earshot on a thunderous drum pattern accompanied by shaking tambourine and a swirling instrumental drone. Tremulous guitars ride the collective sonic surge as the arrival of sublime vocalisations and screaming lead lines twist the mood from one of metronomic incantation into ascending space rock before we fall out the back end into a blistering melting pot of lysergic repose.
Melodiously fuzzy bass frequencies keep steady time as ‘Gilgamesh’ meanders into earshot pulling with it the shimmer of tambourine and those mechanical drums. Mind altering guitar signatures circumnavigate reverberating vocal lines, whipping and harassing each word to within an inch of its life as those sullen organ lines bubble up from below adding delicious atmosphere. ‘IPT 111’ hovers in a haze of atmosphere as sporadic drones fizz and whirr through horrifying vocal samples and swirling instrumental waves. Potent percussive hits meld with dancing electronics that pull the listener into it’s deeply experimental finale whilst the albums penultimate piece groans into existence tumbling within a swirling sonic behemoth. ‘Moody Mountain’ pummels the senses with fuzzy archaic melody and incandescent frequencies that build and build into raging instrumental drone until the arrival of a slow rolling beat and eventually brings some clarity to proceedings, pulling with it an impenetrable bass line, atmospheric vocalisations and a raging wall of guitars. For those of us lucky enough to purchase this album on vinyl there’s an additional bonus track entitled ‘Contact’ to grace your earholes with once you partake in using the digital download code provided. This track is a nine minute white knuckle ride through pulsating kraut like percussion, addictive bass lines, echoed vocal lines and raging guitars that will quite literally blow your mind. A fantastic ending to a marvellous album.
ABOUT THE AUTHOR:
Prolific Donegal based experimental psych aficionados 'Tuath' just love pushing boundaries both sonically & visually! Not happy with completely twisting the Irish underground psych scene on it's head back in January 2017 with the release of the superb 'Things I Don't Know', the band have just announced another new EP entitled 'Youth', penned in for release on August 15th 2017 with the lead track of the same name and it's accompanying video spinning wildly throughout the internet to great acclaim as I write this piece.
'Youth' is a blistering lysergic melding of trip-hop and swirling effervescent psych that tumbles superbly through swathes of glistening reverb and hazy electronic instrumentation, deftly accompanied by meandering guitar progressions and rolling synth swells that stick to that instantly recognisable vocalisation courtesy of Master Robert Mulhern. It all bodes well for the full EP release and we'll definitely be keeping our inner chakras wide open to receive it!