Paper Daggers - Featured Image - (700 x 700)

EP REVIEW | Paper Daggers - s/t

Paper Daggers - Post Image - (300x300)ARTIST: Paper Daggers 


RELEASE DATE: 18th June 2017


Brooklyn based dreamgazers 'Paper Daggers' create deeply melodious soundscapes that skip effortlessly through melancholic sonic snapshots filled with woozy shoegaze and shimmering yet hazy dream pop with blistering aplomb. The band are made up of Rob - guitar, Nicola - vox/keys, Carrie - bass & Lisa - drums and they have just released a stunning three track debut self-titled EP and you can buy/download it right now from

The EP opens up with an absolutely stunning track entitled 'Small'. Tumbling tremulous guitars meld brilliantly with subtle synth swells and humming bass frequencies as rolling percussion collectively ferries a beautiful vocal out into the ether. A hazy wash of gentle reverberation smoothes the journey as we're deftly scooped up and carefully enveloped in resonating lead guitar lines that intertwine with infectious songwriting and brilliant production. Up next, 'Wash' penetrates a busy wall of tremulous noise before a beautiful wave of melody gracefully pulls a deeply hypnotic percussive swing into the mix, it's metronomic pulse adding intense atmosphere as Nicola's ethereal vocalisations float into earshot. Entrancing instrumentation swirls throughout as this tracks lead guitar parts whirr and dance in and out of throbbing bass lines and subtle reverberations collectively following the gravitational pull of those entrancing drum patterns. This is absolutely stunning and if you have to listen to anything at all today please let it be this one track. 'Wash' will blow you away.

The EP closes out with slice of magic. There are bands out there who can pull off shoegaze and dream-pop to a consistent level but never really step outside of their comfort zones. And then there are bands like 'Paper Daggers' who have the ability to inject subtle genre changes outside of their chosen sonic disciplines. 'Between Moments' shatters into earshot on a beautifully serine melancholic vibe, steeped in dreamy dream-pop but underscored by something completely new to the sounds previously heard on this EP; this track has a late 80's post-punk vibe that I'm instantly drawn to courtesy of those plodding bass notes and that ever present swell of swirling synth. It's infectious, it's hypnotic and it's insanely masterful all at once and it shows that 'Paper Daggers' have the ability to change. A trait that is needed in this modern underground scene. Again the vocals are on point here too and those soaring guitars inject an intense shoegaze high and patches of angrier resonating lows. It's a stunning ending to a marvellous EP and I for one cannot wait to hear what comes next from 'Paper Daggers'.




Del Chaney - (Author Photo)

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.

Nonn - S/T (Fuzz Club Records)

ALBUM REVIEW | Nonn - S/T (Fuzz Club Records)



RELEASE DATE: 26th May 2016

RECORD COMPANY: Fuzz Club Records

Post-punk combines with coldwave, darkwave, a bit of ethereal wave and perhaps, arguably, most importantly; experimental music on the self-titled debut release by Swedish project NONN (the solo moniker of The Orange Revival's Christian Eldefors). Drum machines and programmed beats guide the way through reams of both light and darkness; to create something akin to classic 80’s style post-punk, but with a little something extra. Experimental music has always been a next-door neighbour of the music commonly associated with punk music, but NONN have decided to push it further, applying it deeply to the music as well as the production and mixing. 'Nonn' gets it's full release on the 26th May 2016 via the ever reliable purveyors of sonic discourse Fuzz Club Records and it is available to pre-order right now from 

The album opens with the brilliant ‘Walls’ which features one of the greatest elements of the album; the attentiveness and experimentation with the instrument of voice. The song opens with heavy, darkly ambient program beats and noises that form into a airy and wide ranging soundscape backing for the song. The reminisce of a bass guitar churns away in the background before the fantastically obscure vocals ooze into the song, sounding like the vocalist is singing with echo and reverbed drenched effects underwater. There is a fantastic synthetic feel to the instrumentation and the kind of murmuringly weird musical backing that compliments and adds another dimension to the album as you listen more closely each time. ‘Lost’ begins with a similar kind of programmed frequency (which remains in the background of the song for the whole time) that is then given a backseat to the drum machine-laden post punk beat of double-snare tapping. The vocals this time are more recognizable and the song itself sounds like a kind of darkwave tune; re-fitted into a post-punk context by the coldwave like guitar that enters the song just after the intro.

‘Stay’ omits a similar feeling and stylistically does not really leap from where ‘Lost’ left off, although it's significantly darker. The bass lines, thick and consuming, guide the robotic-vocals along to the beat of another post-punk drum beat that seems to be taken straight from the eighties. ‘Gone’ is a brilliant track that slows things down, returning to the programmed beats, wizzes and noises of the first few songs. The drum beat borders on trip hop while the whole structural elements of the song sound like the echoing sound of an 80’s synthesizer guiding a character a film along a dark highway. ‘Cold’ takes this even further, offering layers and layers of moody but somewhat danceable synth FX and the churning slow beat of programmed rums in the background. Up next, ‘Need’ injects more of the airy soundscapes of the albums earlier tracks, while maintaining a similar style drum track. The synth within the track steps in for what would have been the guitar; creating a wavering effect that truly pushes the tempo and rhythm of the song strongly. ‘Hills’ is a very similar track, but alters things with the inclusion of small passages of what could be samples held within the music; mostly in the form of background whizz and churn and the synthetic sounding hi-hat of the drums. The vocals feature more visibly within ‘Hills’ as well; differing from other tracks on the album. ‘Time’ borders on a time of warped disco; altering between the dance-induced rhythm of the drums and the even further warped vocals on the track. The song truly shines just after the half way mark; highlighting the engaging production properties of NONN’s music. ‘Fear’ is by far one of the most experimental tracks on the album; it acts as one big long crescendo, backed by an alternating tempo and a wild ringing in the background. The vocals, hushed and wild, fit well with the context; harkening back to the hey days of acid house and other forms of electronica music that relied heavily on the FX of the voice. ‘Wait’ concludes as a fuzzingly loud outro of sorts; a ringing synthesizer hums in the background of some keys being played slightly and softly.

NONN as an album is at times an uphill wander; several tracks sound similar to the one before and the general song structure of several tracks sound thrown together or still in draft form. Still, I believe there to be an interesting focal point to it all; washed somewhere deep within the influence and the context of the music’s background. Listening to the whole album is like a conceptual walkthrough of one lengthy devoted song, where the tempo alters and then resurfaces back within itself the music stays honest enough to keep the listener interested. The production is clear and does the instrumental and lyrical elements of the album many favours. Its an interesting listen, achieved through performance and design, but perhaps most obviously through sound.




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.