RELEASE: Without EP
RELEASE DATE: 28th September 2017
RECORD COMPANY: Unsigned
Solip's 'Without' EP is a brutal beast of doom-laden gaze. It's a powerful thing, dark and oppressive. Self-released, it follows on from 2016's 2 track 'Dissociation' and takes a similarly dim view of life, the universe and everything. The EP was released back on the 28th September 2017 and is available to buy/download right now via solip.bandcamp.com
Without by Solip
Adaptation's deliberate droning sets the scene for a record with very little light. The double-time drumming is completely suffocating and massively impressive. 'Held In Place' is like a shuddering death march. It's so slow and crushingly heavy at first. The fear just seeps out of 'The Burning Car'. It's unsettling opening notes explode into a chorus of abrasive guitar sounds, and it feels like being buried alive with those pummelling drums, driving us deeper down. The EP closes with 'No Gomorrah', with its enveloping walls of wild guitar squall. And those drums, pounding the nails into all our coffins.
Hailing from Oakland, California, the four piece have created a record with the heft and gravity required for late 2017, when all seems pretty much lost. Embrace the dark, it's all we have.
ABOUT THE AUTHOR:
In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.
by Primal Music
Schism by On The Wane
Ukraine based 'On The Wane' create some serious noise that skips nonchalantly through various music genres comprising of shoegaze, new wave, dark wave and noise rock. The band have just announced a brand new ten track album entitled 'Schism' (the follow up to 2015's 'Sick') penned in for release on the 20th November 2017 and it's lead single, the absolutely mesmerising 'Human Race'. The band were formed back in 2014 and believe in everything 80’s & 90’s alternative, post-punk, shoegazing, new-wave, no-wave & noise-rock. They are made up of Anna Lyashok - drums/vocals, Daria Maksimova - bass/vocals, Eugene Voitov - guitars/synth & Eli Demyanenko - guitar and the ten track 'Schism' is available to pre-order right now via onthewane.bandcamp.com
'Human Race' jangles into earshot swirling through layers of deep atmospheric reverberation wrapped around a blistering guitar progression. Sequenced percussion holds a motorik beat underfoot as undulating instrumental drones bellow and move atop throbbing bass frequencies. There are echoes of hard hitting post-punk meandering through these new wave vibes that envelope intense vocalisations with stunning effect. It's explosive chorus passages inject subtle moments of noisy shoegaze making 'Human Race' an utterly addictive listen.
Shutting Down by Tombstones In Their Eyes
L.A based sound manipulators 'Tombstones In Their Eyes' have returned with an immense new double A-Side single entitled 'Shutting Down' b/w 'Take Me Home' which follows on from their August 2017 release, the widely acclaimed five track 'Fear' EP. 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 bands collective sonic melting pot and if you ask us, this latest double A-Sided single is their best release to date! It gets its full unleashing on November 17th 2017 and is available to pre-order right now via tombstonesintheireyes.bandcamp.com
'Shutting Down' floats and flutters on a heady wave of fuzzy guitars and throbbing bass frequencies that swirl effortlessly through tripped out psychedelic moments and unsurpassed melody with relative ease. It's a mellower accompaniment to the absolutely stunning 'Take Me Home' which explodes skywards from it's very first notes bleeding reverberation into the atmosphere as it stream across the sonic ether on a steady percussive pattern. Treanor's vocals are totally addictive and they ride a tempestuous wave of guitars and bass supplemented with oodles of reverb to stunning aplomb. This as far as we're concerned is a massive step forward from a band who are making serious waves in the underground scene right now!
RELEASE: Molten Young Lovers
RELEASE DATE: 13th October 2017
RECORD COMPANY: Shelflife Records
The closest thing I can relate to Airiel's second album entitled 'Molten Young Lovers' is the 1980’s sound of shoegaze: which in its crawling faze was not just shoegaze but a neat mixture between dream pop, soul, synthpop and anything else you could fit in. 'Molten Young Lovers' is the kind of album that harkens to this older and more reminiscent sound while also adding flavours of current and modern day shoegaze scene. And just like the first rays of shoegaze that shone through in the 1980's, there is often a downtrodden and somewhat reflective quality to the album that makes it all the more rewarding to listen to and explore. 'Molten Young Lovers' was released back on the 13th October 2017 via the good folks over at 'Shelflife Records' with the album available to buy/download on various formats from both shelflife.com and airiel.bandcamp.com
Molten Young Lovers by Airiel
‘This Is Permanent’ opens with a drum machine heavy programmed beat that leads into a full scale shoegaze-led guitar progression. The soundscapes and layering of sound that flexes from the guitar adds a whole other level to the sound of the music, as well as the impressive (and loud) vocal performance. Much like the music of MBV, Airiel's brand of shoegaze are in fact linear pop tunes wrapped up with layers of wall to wall effects, and while Airiel are nowhere near as ear-shatteringly loud or echo-drenched as MBV, the same kind of under skin of musicality resides in both. ‘Cloudburst’ appears more as a dream pop track, ethereal and wavering in its backing: drenched with layers and layers of soaring synth and beautiful tones. The drums roll along to capture the essence of late 80’s, early 90’s breezy dream pop music; this transition continues onto ‘Your Lips, My Mouth’ which is a brilliantly original album highlight. This track adds more layering onto the already dense instrumental structure of ‘Cloudburst’ and a darker tone of colour to the music: mix this with the vocal and the shimmering guitar performance and you have a crafty mixture of nostalgic tones and a kind of contemplative feeling of desolation; fantastic.
‘Molten Young Lovers’ follows on with a more moody and ambient opening before sliding back into a dream pop-esque textured passage of guitars and rumbling, rolling drums. Between the rhythm section and a synth based soundscape at the back of the mix, ‘Molten Young Lovers’ offers a kind of post-punk element to the album, this stands at the background of what turns into a beautiful ballad. The lyrics, the delivery, are truly brilliant: these all blend together for added emotive depth and effect. ‘Mind Furnace’ slows things down and sounds similar to an interlude of sorts, unfortunately, the tracks blend of electronic based beats and ambience demonstrates a type of tedious and slight flavour.
‘Sharron Apple’ resumes the pace of the previous half of the album, extending the concept of layered guitar music to an almost noise rock level while also retaining the same kind of pop ballad aestethic of the previous songs also. ‘Song For You’ is an enjoyable song, albeit lengthy and slightly frustrating in its weight, but with several rewarding and attractive passages (especially the outro). Another rewarding but lengthy journey is the follower ‘Keep You’, which features some great keyboard and guitar playing, as well as a fantastic second half and outro. ‘Red Car’ returns to the aforementioned parameter of noise rock and more distorted guitar song, featuring a fantastic drum performance and musical cross over. ‘You Sweet Talker’ remains the strongest track on the albums weightier second half: its more ballad like approach, slow and slight crescendo and progression over its duration is a rewarding listening experience in relation to the other tracks on the album. ‘The Painkillers’ opens with a speedy drum and guitar lead section before diving into the downtrodden strums of the music at the beginning of the second half of the album. Its another emotive, vocal lead track, equipped with a neat double tap snare beat and a screeching central guitar riff.
If 'Molten Young Lovers' demonstrates one thing, it is that collectively Airiel are talented and creative songwriters; across the board the album features some fantastically encapsulating songs and performances to go along with them. The talent of the band themselves are also a strong playing factor in what makes the album a thoroughly enjoyable experience: each instrument is given as much time as the next, with equal delicacy and patience on each track as much so on the one before it. If there were criticisms to be made about the album it would be the length (twelve tracks) and the much more weighted down second half. The songs on the first half of 'Molten Young Lovers' seem to comfortably balance stylistic song writing with a comfortable weight and a brilliant sound. On the second half sometimes things tend to drag on and become slightly monotonous. Either way, it possesses some ridiculously well written songs that act as subtle reminders of past musical movements while simultaneously introducing the bands own original take on genres such as shoegaze and dream pop. Listen out for the stunning production, for the intelligent performance, and ultimately, for the 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.
ARTIST: Pia Fraus
RELEASE: Field Ceremony
RELEASE DATE: 16th October 2017
RECORD COMPANY: Seksound Records (EU) Shelflife (US) Vinyl Junkie (JPN)
Estonian dream-poppers 'Pia Fraus' formed in 1998 and released four studio albums and a handful of EP's on various record labels worldwide. Their collective sound is a sublime mixture of dream-pop, subtle shoegaze and beautiful electronica all topped off blissfully with shimmering layered vocalisations. The band are made up of Eve Komp - vocals/synths/metallophone, Kärt Ojavee - synths, Rein Fuks - guitars/vocals/percussion, Reijo Tagapere - bass and Margus Voolpriit - drums and after a ten year hiatus they have returned with a brand new album entitled 'Field Ceremony', to be released on October 16th 2017 via Seksound Records (EU) Shelflife (US) & Vinyl Junkie (JPN) with former member Kristel Eplik returning to record backing vocals and former drummer Joosep Volk also returning to direct the video for 'That’s Not All'. The full album is available to pre-order right now on various formats from the aforementioned record companies.
Field Ceremony by Pia Fraus
Entrancing sound waves swirl and meld effortlessly with the uplifting sweep of fizzing synth and woozy pull of reverberating guitars as ‘It’s Over Now’ unfurls it’s sonic tendrils and wraps itself around steady percussion and the throb of luscious bass frequencies. The repetitive vocal line floats effortlessly alongside sweeping electronics and the buzz of fret noise that steadily builds into a majestic crescendo of noise accompanied by the ghostly refrain of undulating reverb. ‘Never Again Land’ moves brilliantly through catchy chord changes and hazy instrumentation as a busy percussive pattern pulses through a pre-ordained flight path. The glorious duel vocal attack is simply mesmerising and it glides on waves of swirling synth, the hum of bass and those resonating guitar lines before collectively pausing for breath, held fast in a sticky lysergic hued instrumental break anxiously awaiting ejection into a grand finale. Up next, ‘Autumn Winds’ howls into audible range heckled by a screaming synth line before exploding into a colourful cacophony of sound. It charges headlong into a catchy melody driven fog filled with swirling almost incantational reverberations. Steady percussion, soaring synth and pulsing bass lines allow addictive guitar progressions to wrap themselves around another impressive vocal performance that loops and arcs brilliantly throughout the sonic ether.
‘Mountain Trip Guide’ rattles into existence on a lazy drum pattern as pulsating bass frequencies, fizzing electronics and surging synth swells glide in close proximity. Beautiful vocalisations swirl through catchy hook laden guitar progressions whipped by reverberating lead lines and addictiveness of effected slide guitar. ‘No Filters’ floats effortlessly on the up draft of impressive synth swells, the metronomic thud of percussion and the swirl of reverb as ‘Pia Fraus’ deploy a modern dream-pop gem. Shimmering guitars accompanied by the whirl of organ push the tempo on as the track builds momentarily before pulling back and gently descending to a final stop whilst ‘Endless Clouds’ lurches into a organ filled whirlwind peppered by the thrill of tremulous guitars and explosive drum patterns. Intense melody accompanies those gorgeous vocalisations as pulsating bass progressions wind their way through cascading synth and the pull of luscious reverb. Up next, the opening bars of 'Sugar High Of The Year' erupt into an fuzzy sonic behemoth filled with explosive percussion, raging guitars and soaring synth swells. The track echoes through quieter moments of instrumentation allowing the vocals to move through those impressive verse patterns before exploding into a mesmerising display of blissed out noise.
‘Don’t Tell Me How’ is simply divine and it shimmers and glides through undulating waves of instrumentation that glisten with graceful lustre, drenching melancholic vocalisations in scintillating reverberation that echoes and lingers with every single note, chord change or plucked string. It’s deeply infectious and beautifully constructed making it an album highlight for me. The albums penultimate piece entitled ‘Brutal Truth Of The World’ opens up pulsing atmospherically through massive walls of hazy reverb hued guitars. Slow moving percussion, circumnavigated by the constant sweep of synth and the undulating rumble of bass accompany another impressive duel vocal performance laced with stunning melody that collectively leads the listener through pretty impressive instrumental passages of sonic light and shade right up until its finale. The album closes out with ‘That’s Not All’, a turbulent sonic whirlwind filled with woozy guitars, charging drum patterns, the plink of synth and the throb of bass frequencies all wrapped around those stunning melody driven vocalisations. A fitting ending to an absolutely marvellous album.
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, 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 DATE: 6th October 2017
RECORD COMPANY: Saint Marie Records
The debut album from 'Miniatures' is a dense and lush affair. Its textures are tightly woven to create velvety soundscapes that envelope and endear. Formed in 2012 and currently based in Melbourne, the trio seem to be a further example of the strength of the Southern hemisphere's creative scene right now – especially when it comes to the dreamier side of the spectrum. The band worked with renowned Melbourne based producer Matthew Hosking to fine tweak the sounds on this album and the finished product is spectacular. 'Jessamines' floats and flickers. It gets it's full release on the 6th October 2017 via the ever reliable Saint Marie Records and you can pre-order it right now on various formats from saintmarierecords.bandcamp.com
The opening track is an immersion in the soft swirls that are found throughout this record. 'Try' is wispy and bright, but a few sharp edges reflect the light. 'Jessamine' – the title track – is a fuzzy force, not quite an iron fist in a velvet glove, but thinking about it. You can hear the Cocteau's influence in 'To The Lake'. The chorus shimmers on top, like a heat haze on the surface of the titular water. 'Form Into Soft And Wild' is beautiful whilst the guitars trill and jangle in 'Dust', setting the scene for single 'Without Saying'. A speeding journey through a large sonic landscape, there's much for students of shoegaze to savour here, from the 80s-tinged guitar sound to the vast chorus.
'Honey' is big and bright. 'What You Want' is a real highlight, driving and a touch dark. The rich vocals ride along on a fuzzy wave so gracefully and dive deep into the chorus. An eerie whirr introduces 'Silent Tide' and the colours change. Slow's spacious opening soon spills over with sounds, layered and layered. The album ends with 'Standstill' which slowly swaggers towards the exit, each step cushioned by clouds of fuzz. It's a grand end to an album with ambition.
RELEASE: From Void To Matter Volume 2
RELEASE DATE: 29th September 2017
RECORD COMPANY: VÅRØ Records
Hailing from the wind swept isle of Öland in Sweden, Calle Thor and Oskar Karlström aka 'Bolywool' have been fascinating us lot here at Primal Music for quite some time with their shimmering, cinematic, frost laden soundscapes filled to the brim with flourishes of atmospheric post-rock and scintillating shoegaze collectively underscored by stunning electronic progressions. Their collective sound has the ability to bring listeners on a melancholic journey into their world, a world that twists and turns through epic snapshots of life, death and an inherent love for their homeland. Back in May 2017 the band released the first of a planned trilogy of EP's entitled 'From Void To Matter' via VÅRØ Records and now they have returned with their second thrilling instalment, boldly continuing on a journey of sonic enlightenment and once again blowing our minds. 'From Void To Matter Volume 2' was released back on the 29th September 2017 and is available to buy/download right now via varorecords.bandcamp.com
From Void to Matter Volume 2 by Bolywool
The soft thud of sequenced percussion accompanied by pulsing bass frequencies and cascading synth lines permeate the ether as ‘The Dial (Revisited)’ glides into audible range punctuated by reverb laden guitars and impressive production values. Otherworldly vocalisations add to the seemingly peaceful atmospheric hubris that tumbles wilfully throughout the piece but that ethereal feeling is short lived as we’re pushed headlong into a raging whirlwind of sound that surrounds an immense chorus progression that seems to build and build brilliantly into a undulating sonic behemoth. ‘Bolywool’ continuously amaze me. They are experts at changing the mood of a track at will and it’s well documented here as the track bounces quickly from a melancholic fuelled slice of atmospheric post-rock into a lurching lysergic tinged monster, amalgamating serene vocalisations with churning percussion, fuzzed out guitars and swirling lead lines to create something altogether magical. Not only is ‘The Dial(Revisited)’ my favourite track on this release but it’s possibly Bolywool’s best track to date and it ranks as one of my favourite tracks of this year by far.
Up next, ‘Mirror Sky’ rumbles on a repetitive back beat as reverb laced guitars tremble and shimmer through icy atmospherics, the hum of bass and sullen synth swells. Stunning vocals float effortlessly atop of the collective instrumentation guiding the listener into a deeply atmospheric break filled with blissed out sonic reflections and the collective twinkle of instrumentation before exploding into a huge wall of hazy guitars and that soaring maleficent howl. The EP closes out with ‘Blues For Stornoway (Pts 1,2,3 & 4) and if ever a piece of music deserved to appear on a movie soundtrack it has to be this track. Beautifully melancholic opening vibes meander and intertwine with delay and reverb, enveloping themselves around a ghostly vocal line and the woozy flourishes of synth and rumbling percussion. It loops and arcs through shimmering electronics and wavering instrumental progressions before opening up into an almost industrial feel, metronomic in it’s tempo but majestic in it’s approach before finishing up caught in a brilliant atmospheric cloud of samples and synth that rise and fall into it’s stunning finale. A blistering end to another marvellous collection of tracks.
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.
RELEASE: Dreaming In Sound
RELEASE DATE: 15th September 2017
RECORD COMPANY: Shoegazer Sanctuary Records
Our good friends over at 'Shoegazer Sanctuary Records' have compiled yet another no-nonscense, anti-inner sanctum, genre-defining collection of worldwide artists in the guise of their latest compilation release aptly titled 'Dreaming In Sound'. As you are probably all aware we're usually not ones for reviewing compilation releases here at Primal Music as most of the time they do absolutely nothing for the artists involved and we've always found that they're either full of the same old, same old bands & featured artists or it's just another blog, webzine or net label trying their luck by forcing us into another click bait exercise. It's all a very disappointing & mundane exercise to be honest. 'Shoegazer Sanctuary Records' are the exception! They've released three immense compilations so far without fuss or bother. They didn't add the usual heavy hitters from the underground psych/gaze/ethereal/ambient scene just to get Facebook likes or numbers across a blog. They didn't annoyingly force the release into our inbox either by harassing or tagging us in their social media posts. They purposefully & honestly decided on each artist by their sonic individuality (and not by their social standing). We really dig that! Their latest compilation release entitled 'V/A Dreaming In Sound' was released back on September 15th 2017 and it features twenty three artists from the world wide dream pop, dream wave, dream noise & ambient scene and as usual the label have put this out as a 'Name Your Price' tariff via shoegazersanctuaryrecords.bandcamp.com
V/A Dreaming in Sound by Shoegazer Sanctuary Records
The album opens up with the fantastic Mississippi based dreamscape duo 'The Starlight Run' and their track 'Lower', lifted off June 2017's 'Let's Float EP'. It glides on shimmering streamlined reverberations deftly underscored with repetitive percussion, soaring synths and hazy vocalisations. A blistering opening salvo indeed. Up next, Alaska's 'A Thousand Hours' bring 'Bleach' to the party. Lifted off their recently released full length album 'Sleep' this track is a simmering cloud of droning instrumentation and jangling reverb hued guitar progressions. Sporadic percussion adds a heavy atmosphere allowing that stunning wall of vocal tracks to penetrate the gloom and drench this listeners ears in glorious sonic joy and that's followed brilliantly by Swedish based dream-gazers 'Weather Island' with their stunning January 2017 released single 'The Eternal'. A massive wall of hazy guitars pound the senses as misty vocalisations swirl in the maelstrom buffered by meandering lead lines and huge chord changes. French based 'Fools Ferguson' appear here supported by 'The Alohama Lakes', a track lifted off their sublime January 2017 released album 'Dead Lines'. This track is a slow and yearning piece of heavy dream-pop whilst California based 'The Fawns Of Love' are up next with their decent track 'Silly Boy' lifted off 2017's 'Who Cares About Tomorrow'. This band are a constant enigma to me as they have seriously great potential but seem to care more about blog, webzine & American based online radio coverage than anything else. Either way 'Silly Boy' swoons into the ether held fast within a whirlwind of tremulous guitars and repetitive sequenced percussion. Add into the mix the dreamy vocalisations of Jenny Andreotti and what we have is a shimmering wall of translucent dream pop underscored by a flurry of shoegaze impressions, impressive instrumentation and some fantastic production.
Nathan Guzman aka 'Southpavv' is a Californian based dream-gaze artist and he is supported on this compilation by his mesmerising track 'Saturday Night 1997' lifted off an EP of the same name released back in June 2017. Luscious walls of swooning guitar & effervescent synth float effortlessly on the serine hum of bass frequencies as sequenced percussion lulls sweetly beneath the intoxicating swirl of reverberation. 'Saturday Night 1997' is a stunning track and a great addition here. Michigan based 'Cesium Swimsuit' appear next and they bring some rather mundane electro-gaze to the mix with their track 'Particles' whilst up next 'Wintermilk' hail from Russia and they fuse blissed out dream-pop and luscious synths together with almost ethereal vocalisations on their track 'Lots Of Light' lifted off their May 2017 released debut album 'Pretty Ugly'. Florida based 'Zooey' create stunning blissed out dream-gaze and they are well represented here by a track called 'Never Was' lifted off their debut album entitled 'Bottlerocket', released back in April 2o17. Hazy walls of melodically infused instrumentation languish in pools of intense reverb as shimmering vocalisations float effortlessly throughout the mix firmly tethered to the earth by those impressive drum patterns. This is a beautiful track worthy of your ears. Virginia based 'Distant Creatures' have been wowing the underground shoegaze fraternity ever since the release of their immense two track single entitled 'Escape' back in September 2016. 'Haunted By You' appears here and it's is lifted from their recently released thirteen track opus entitled 'Snares In Safe Harbours'. It's a dreamy slice of reverberating joy permeated by luscious vocalisations, throbbing bass frequencies, surging synth swells and driving guitars. Andy Jossi aka 'The Churchill Garden' has worked with countless vocalists and used them to bring his sonic visualisations to life. Here he has supplied is latest track entitled 'Breath' fronted by Ben Aylward from Australian based outfit 'Swirl'. His vocal moves and undulates in a mesmerising manner capturing moments of melancholic abandonment as it pulses through wave after wave of magical instrumentation whilst up next UK based 'beatastic' appears here with his track 'Always Us', an atmospherically charged synth driven electro-gaze outing lifted off his 2016 released twelve track entitled 'Staticity'.
Texas based dream-gazers 'Blushing' have supplied their track 'Tether' lifted off an EP of the same name released back in January 2107. 'Tether' has gentle guitars that leads the way into a well written melodic structure built around the slow tap of drums, well mixed and comfortable bass and the noisy but ethereal influenced guitars. Special credit to the fantastic and memorable chorus, in which two soaring female vocals meld mesmerizingly with the instrumentation to create a beautiful and original type of sound. Liverpool based dreamy trio 'Cascadia Fault Line' appear here with an alt/indie acoustic track entitled 'Firefly', a run of the mill add reverb for effect sort of thing, lifted off their recently released two track single 'Firefly/Counting Kings On Rainy Days' whilst up next Texas based 'Creature In The Spiral' balance the playing field once again with their sublime dream laden track 'Anodyne', a simmering slice of melodic dream-pop that floats effortlessly on streamlined waves of tingling reverb, subtle synths and stunning vocalisations. Brazilian based post-gaze outfit 'Alles Club' unleash their explosive track 'Eclipse' lifted off their recently released three track remix package of the same name. Melodic guitar lines merge with huge walls of hazy atmospheric reverb, humming bass frequencies, ghostly vocalisations and busy percussion to collectively inject a massive lysergic ball of sonic energy out into the ether. 'Eclipse' is a triumphant addition to this collection of tracks by a band who I will be checking out further. Experimental duo 'Mayu' join forces with the ever reliant 'Tom Lugo' (Panophonic, Stellarscope, Patetico Recordings) to create an atmospherically dreamy ambient hued track entitled 'Mayu-Quiero Despertar', originally released back in November 2016. Danish based 'Keith Canisius' appears next, bringing his brand of spaced out electronica to the fore in the guise of 'We Gotta Get Going', a busy synth laden affair with repetitive sequenced percussion and huge spaced out chorus breaks. The compilation takes some what of a confusing twist here with the addition of two cover versions. The first is a cover of New Order's 'Temptation' by Maryland based 'Soñder' and it's followed by a cover version of The Byrds track 'It Happens Each Day' by 'Daydream Cathedral'. If you are into this sort of thing by all means check them both out but as I'm completely against cover versions appearing on underground releases I'm going to take a step out and move quickly on.
Tennessee based 'HR_Lexy' released her five track EP 'Nature Vs Neon' back on February 21st 2015. Her sound echoes through electronically charged gothic mysticism with dreamy ambient hued overtones and lashings of atmospheric synth, reverb and sequenced percussion. Her track 'You're Not Mine' is lusciously addictive and stands out here as a major positive. The albums penultimate track comes from Melbourne based droning alt-psych aficionados 'Seasloth'. Their latest album 'Somnuiva' was released on the 5th September 2017 and it is represented here with a track entitled 'Scarlet'. Throbbing bass lines bounce into the sonic ether tethered to subtle atmospherically charged drones and intense vocalisations. Brilliantly executed guitar progressions and the occasional instrumental drone wraps itself around cascading bass frequencies as dark malicious sound wave envelopes the entire track. 'Scarlet' is absolutely absorbing making 'Seasloth' a band to check out going forward. 'Dreaming In Sound' closes out with a track called 'Low Valley Low' by Washington based electronic dream-pop du0 'Static Shore'. This track is lifted off their July 2016 released five track EP 'Life & Love In The Hologram' and it's a shimmering synth laden slice of summery electronica with beautifully entrancing and utterly dreamy vocalisations underscored by sublime production. A fitting ending to another fantastic collection of tracks.
ARTIST: Tús Nua
Every once and a while a brand new band comes along and gets me really excited about their music. Usually this aforementioned band comes straight out of left-field, far away from the usual underground cyclical music fraternity but with music that has the power to grab me by the ears and throw me willingly around a room. Back in July 2016 a little known band from Zagreb by the name of Tús Nua released their debut single 'Matches', then followed it up in July 2017 with their second single, the stunning 'Geysir', and I instantly fell in love with their sound. Collectively it consisted of melodic & atmospheric post-rock peppered at times with impressively hazy shoegaze moments that occasionally leans slightly into alt-rock territory and drags with it stunning vocalisations and impressive production values. This perfect combination of sounds have led the band to release their debut nine track album back on the 15th September 2017 entitled 'Horizons' and with the help of friends and fellow musicians they have put together one of my favourite albums of 2017 so far. The band are made up of Jordi Ilić – guitar/vocals/synths, Jelena Božić – guitar/vocals/synths & Matea Milevoj – bass guitar/back vocals/synths with guest appearances on various tracks by Sara Ercegović (ŽEN), Goran Grey (###), Lucija Potočnik (Irena Zilic), Eva Badanjak (ŽEN) & vana Picek (π). 'Horizons' is available to buy/download right now from tus-nua.bandcamp.com
Horizons by Tús Nua
Hazy, reverberating sonic reflections intertwined with sullen chord progressions build into an atmospheric crescendo as 'Tendons' winds itself up into a brooding maelstrom of sound. Subtle electronically styled percussive hits add intense depth as the track explodes into life pulsing haunting vocalisations out into the ether. It's luscious guitar progressions swirl in a magnificent undulating sweep through resonating refractions and echoing instrumentation. Up next, 'Matches' washes into audible range trembling on a thread of brilliantly atmospheric post-gaze. It swoons as its harmonious vocal track floats through the ether on a swirling foundation of addictive lead guitar licks and undulating synth lines. Its steadying percussive attack holds everything in place, gracefully leading the listener into explosive tempestuous finale thats filled to the brim with dreamy post-rock promise. 'There's A Thin Line Between Everything' jangles on a tremulous guitar progression as that haunting vocal track sucks you into the piece and leaves you floating brilliantly on swathes of shimmering reverb. Instrumentally this track ebbs and flows through explosive bass filled passages underpinned by mesmerisingly hazy guitars and stunning effects laden production that is steeped in ethereal atmosphere. 'Postcards With All Sorts Of Phrases' soars into the ether on streamlined guitars and ghostly atmospherics. 'Tús Nua' have this uncanny knack of building tracks slowly, before twisting and morphing them into massive melancholic beasts that teeter nervously on brilliantly executed drum patterns. Their tracks linger on addictive passages of guitar before diving headlong off the edge into mesmerisingly deep pools of shimmering shoegaze orientated instrumentation before climbing out and starting all over again. 'Postcards With All Sorts Of Phrases' is one of those tracks that brings you on a sonic journey from it's opening bars straight through until it's effects laden death throws. Simply stunning!
Up next, 'Geysir' opens up in a haze of jangling guitars, subtle synth swells and noisy atmospherics. Steady percussion keeps a firm bedrock underfoot as throbbing bass frequencies bubble and skip through entrancing verse progressions, deftly enveloping those impressive vocal skills. It soars through it's chorus parts with relative ease, swirling and tumbling through layers of reverberating instrumentation and magical lead lines effortlessly whilst 'Hills' fizzes into life on a 80's post-punk type of vibe before those sequenced synths start up and drag it into the modern age. Sublime vocals lead meandering guitar progressions on a merry dance through electronically charged percussion and subtle swells of synth led bass frequencies as those yearning vocalisations swirl and shimmer majestically. 'Fight!' is an angry brute that barks into life held fast to a punishing guitar progression as that slow moving percussion grinds through the ether on a wave of bass heavy frequencies and cascading lead lines. It builds into a menacing sonic behemoth dragging a vocal line out from somewhere within and drenching it in an interesting mix of post-rock, psych-rock and alt-gaze before 'Obvious' arrives on a lighter note with melodic guitars and blissed out vocals clinging to the throb of bass and a busy drum pattern. Lead guitars meander in and out of the overall mix as heavier passages of instrumentation rise and fall brilliantly, streaming through hazy reverberations and subtle lines of bubbling synth. The album closes out on a post-rock orientated gem. 'Repeat' is steeped in atmosphere and is underpinned from the off by another impressive percussive display that lays down a bedrock for those repetitive lead lines and that amazing vocal take. The hum of bass expertly hovers over deep lying synth as the track slows down to an addictive pace with 'Tús Nua' injecting a sort of lysergic/psychedelic hue into proceedings before fizzing out into a peaceful finale. A masterful end to a wonderful album.