NEW VIDEO - FARIDA - Shoot - Featured Image - (700x700)

NEW VIDEO | FARIDA - Shoot

'Shoot' is the first official release by swedish-french psychedelic/drone/synth act FARIDA taken from their upcoming EP. FARIDA is Jenny Faridas solo project backed up by Pelle Backman (bass) and Paul Sigerhall (drums) from swedish krautrock outfit Audionom, guitarist Fabian Grytt and also included for the live set up are Lisa Pyk (synth) from Vulkano and Martin Malm (visuals) also from Audionom. 'Shoot' was officially released back on April 11th 2018 and is available to buy/download right now via farida.bandcamp.com

'Shoot' is an intense melding of swirling atmospheric instrumental drones, fizzing synths, squally feedback laden electronics and deep penetrating bass lines that gently sway on a slow moving monotonous drum track. Jenny Farida's vocalisations are deeply hypnotic as they loop and arc through heady layers of dark reverberation that conjures up hazy psychedelic incantations with each passing word.

The video was filmed by Jenny Farida Thåström, Pelle Backman and Zackarias Elwin, with editing and visuals by Teresa Elizabeth Lobos (Lagomorphosis).

LINKS:

farida.bandcamp.com

facebook.com/faridaband/


EP REVIEW - Medistation - medistation - Featured Image - (700x700)

EP REVIEW | Medistation - Medistation EP

EP REVIEW - Medistation - Medistation - Post image - (300x300)ARTIST: Mediststion 

RELEASE: Medistation EP

RELEASE DATE: April 20th 2018

RECORD COMPANY: Fuzz Club Records 

Eric Strand is no stranger to Stockholm's burgeoning underground psych scene. Having already established himself in The Orange Revival (hands down one of the best neo-psych outfits out there today) Eric has just announced the self-titled debut EP release for one of his other musical projects, the mesmerising 'Medistation'. Hailing from Stockholm, Sweden, 'Medistation' create a visceral sonic palate filled with fizzing, alternative led, noise-pop drenched in swathes of shuddering reverb and swirling feedback. It collectively spotlights that truly epic early 1990's melodic neo-psychedelic sound, a sound that can sometimes get lost within this modern underground scene. The EP is a collaborative effort, with guest vocals from Jake Garcia (The Black Angels), percussion from Cobian Modeste (The Buttertones) and grand piano from Max Groundstroem (Samling/Valp). It gets it's official release on April 20th 2018 via those London-based purveyors of all things meaningful 'Fuzz Club Records' with pre-orders now available on various formats via fuzz club.com

The EP opens up trapped in an air of fizzing atmospherics as that fuzzy guitar progression pulls throbbing bass frequencies, hypnotic stabs of melodic lead and swirling electronics into the mix collectively enveloping an always impressive vocal courtesy of Jake Garcia (The Black Angels). 'Pool Of Blood' is absolutely sublime and is at times reminiscent of Ian Astbury's stint with UK-based 'UNKLE'. A marvellous opening salvo indeed. Up next, 'I Never Knew' undulates into earshot strapped to a slowly moving blues-fed guitar line underpinned with deeply hypnotic acoustic frequencies. Meticulous percussion shimmers just below the mix as humming bass frequencies meander and pulse through melodic vocal lines before we float away on swirling waves of resonating lead & slide guitar allowing the sickly sweet tinge of reverberation to evoke musical reminiscences such as Spiritualized, JAMC and the ever brilliant Lupine Howl.

'The World Is Weeping' explodes into the ether on a screeching feedback laden wave that quickly melds with repetitive guitars and addictive shakers. Lead lines whip and cajole the piece to within an inch of it's life as a throbbing bass line bounces alongside a giddy percussive assault, enveloping a brilliantly executed vocal line and those distinctly addictive neo-psych sounds loop and arc throughout. The EP's penultimate piece entitled 'Anything For You' floats effortlessly on a cloud of repetitive guitars and the soft pulse of bass. Twinkling synth and beautifully entrancing electronics dance and flutter alongside another impressive vocal performance as it's woozy effects disappear in amongst golden hued acoustics and that ever present injection of fuzz. 'Anything For You' is beautiful and a definite highlight for me on this release. 'Medistation' closes out with 'The End'. Steeped in reverb, the hypnotic pull of strings and that repetitive guitar signature melds brilliantly with swirling electronics, melodic synth and the strengthening air of atmosphere. Slide guitar meanders in and out of those pulsing frequencies as this brilliant instrumental builds into a melody strewn finale. A fantastic end to a rather interesting EP.

4/5

LINKS:

fuzzclub.com

facebook.com/MEDISTATION

ABOUT THE AUTHOR:

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 was 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 genres 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.


ALBUM REVIEW - Melody Fields - Melody Fields - Featured Image - (700x700)

ALBUM REVIEW | Melody Fields - Melody Fields

ARTIST: Melody Fields

RELEASE: Melody Fields

RELEASE DATE: February 26th 2018

RECORD COMPANY: Kommun 2/Soundeffect Records/Beluga Records

Hailing from Gothenburg on Sweden's west coast and armed with a sound that resonates effortlessly through lysergic tinged waves of 60's Californian psychedelics, psych-pop and the poppier side of shoegaze, 'Melody Fields' are a breath of fresh air in the overly-populated melting pot that is the modern underground psych world. With three part harmonies, jangling guitars, deeply spiritual song structures and an ounce of respect for the pioneering forefathers of the sound, 'Melody Fields' have unleashed a self-titled album filled to the brim with precise instrumentation, intense melody and sweet sonic delight. The music was recorded at Studio Parkeringshuset where Hills, GOAT and The Movements have made their albums and the band are made up of David Henriksson, Ramo Spatalovic, Thomas Widholm, Henrik Bäckström & Sebastian Jannesson with guest musicians on this release courtesy of The Holy Wave’s - Dustin Zozaya on mellotron and Nils Börén on saxophone. 'Melody Fields' was released back on February 26th 2018 and is available to buy/download right now on various formats via melodyfields.bandcamp.com

Tumbling blissfully within a swirling instrumental drone, 'Morning Sun' pulls rumbling drum patterns and repetitive bass frequencies out into the sonic ether accompanied by meandering guitar progressions and addictive hook laden lead lines. Magnificent vocalisations intertwine with layers of resonating reverberations as hypnotic lines of saxophone jockey and vie for space in amongst the glorious melee. 'Morning Sun' is an instantaneous kaleidoscope of sonic hallucinogenics and an immense opening salvo indeed. Up next, 'Liberty' bounds into audible range bouncing brilliantly on a deep permeating bass progression and the jangle of intricate guitars. Again, those absolutely lovely vocal lines captivate this listener as they weave and bob through layers of reverb and repetitive hits of tambourine. There are beautiful chord changes here, luscious percussive skips, cascading bass signatures and soaring lines of lead guitar that meld effortlessly with their surroundings, collectively painting a lysergic themed picture as we traverse these stunning soundscapes. 'Run' injects a heavier gear into proceedings as roaring lead guitars ride steadying drum patterns and subtle acoustic frequencies before dimming down to allow those vocal lines to flow though their verse parts with ease. There are brilliant chord changes dotted here and there permeated at times by lead guitar and deep booming bass progressions that keep everything moving as we fall in and out of spacious instrumental breaks and swirling reverberations and dive headlong into a mesmerising sonic assault filled with soaring progressions of lead guitar. 'Run' is captivating and a definite highlight for me on the entire release.

'Rain Man' is steeped in 60's neo-psychedelia. Woozy, resonating guitars meld with jangling instrumentation before the pull of addictive bass and a busy percussive attack completely envelopes a stunning vocal track. Swooning reverberation and sticky delay add atmosphere but the star of the show is that brilliantly executed and deeply melodious vocal. 'Rain Man' is very catchy, filled with brilliant instrumental structures and another highlight for me. Up next, 'Fire' jangles on an acoustic guitar as closely orbiting progressions of lead, hypnotic shakes of tambourine and intense walls of melody evoke those sonic pioneers of old. There's an air of positive accomplishment here swimming in-amongst the layers of brilliant instrumentation and expert production that is very hard to shake off and those harmonious vocals are an absolute triumph. 'Trädgränsen', The albums penultimate piece, meanders into earshot trembling slightly on a shaky guitar progression lightly washed in luscious reverb. Twinkling percussive hits ripple just below the mix adding an expectant kind of atmosphere to proceedings as sporadic pulls of bass and swirling reverberations arrive dragging a light rumble of tom tom drums with them into the slowly building sonic behemoth. It's vocal harmonies arrive, floating blissfully on the collective instrumentation and pulsing through layers of reverb with relative ease. 'Trädgränsen' is all consuming, it ebbs and it flows, it falls into deep cavernous lakes of reverb and soars skywards when required and it's a monumental triumph. It's my favourite track on this entire release.

The album closes out with 'Morning Sun (revisited)'. From it's opening salvos we instantaneously fall into a glorious melding of eastern themed esoteric psych and flourishes of psych-folk that swirl and flow through hazy hallucinogenic clouds of reverb and intoxicating percussive patterns with ease. It's brilliantly executed vocal lines are sublime and they're carefully buffered by brilliant song structures and intense production. It's a fitting ending to what is one of my favourite releases of this year.

5/5

LINKS:

melodyfields.bandcamp.com

facebook.com/melodyfieldsband/

soundcloud.com/melodyfieldsband

instagram.com/melodyfields.band/

ABOUT THE AUTHOR:

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 genres 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.


ALBUM REVIEW - Dead Vibrations - Dead Vibrations - Featured Image - (700x700)

ALBUM REVIEW | Dead Vibrations - Dead Vibrations

ALBUM REVIEW - Dead Vibrations - Dead Vibrations - Post Image - (300x300)ARTIST: Dead Vibrations

RELEASE: Dead Vibrations

RELEASE DATE: January 26th 2018

RECORD COMPANY: Fuzz Club Records 

Swedish noise manipulators 'Dead Vibrations' create a delicious mix of psychedelically tinged shoegaze and dark atmospherics layered brilliantly with swathes of gloomy reverberation, screaming feedback, angry vocalisations all topped off with brooding fuzzed-out guitars. Carefully honing their sound over the past few years through touring and appearing at some of Europe's best psych fests, 'Dead Vibrations' have made considerable sonic strides. Since exploding onto Stockholm's underground psych scene back in 2015 the band have released their debut 12” EP ‘Reflections’ and this year's 7” single ‘Swirl/Sleeping In Silver Garden'. The band are made up of Christian Jansson - guitar/vocals, Elmer Hallsby - bass, Josefin Ahlqvist Lyzwiski - drums & Olov Sjogren - guitar and they have joined forces with London based independent record label 'Fuzz Club Records' to unleash their immense self-titled debut album with the release date penned in for January 26th 2018. The album is available to buy via www.fuzzclub.com on lovely deluxe vinyl (limited to 100 copies on 180g coloured vinyl, hand numbered and gatefold sleeve) and on standard vinyl (limited to 400 copies on 180 vinyl).

Angry instrumental drones swirl and loop through clouds of dark and oppressive reverberations as 'On A Sunday Morning' unwraps it's fuzzy sonic tendrils and pulls repetitive percussion and the throb of deep bass frequencies out into the ether. Melodious guitar progressions envelope soaring vocalisations, strapped to noise laden passages of screaming feedback that pummel the senses as the track builds brilliantly and lurches to a turbulent finale. It's a blistering opening salvo indeed. Up next, 'Chemical Hug' belches out subtle feedback, sporadic notes and sullen fret noise as it winds itself up and steadily sways into audible range. Somber vocal lines ride a huge surge of instrumental fury permeated by layers of dark swirling atmospherics that loop and arc atop of a steady drum pattern. Catchy chorus changes carve out a deafening pause before we lurch back into a raging cacophony of fizzing noise as 'Chemical Hug' presents it's grungy final throws to the masses.

Whirring drones blend with overdriven guitars drenched in swathes of reverb with the arrival of 'Dive With You'. It's addictive lead lines quiver and sway as ghostly vocal lines pulse a surreal kind of melody through the collective sonic fog. Rolling drum patterns hold court here as throbbing bass frequencies hover in close proximity, building ever so slowly as repetition creeps into proceedings and continue right up until tracks end. Up next, 'Marbles' explodes into a magnificent array of sonic colour with pounding almost motorik like percussion keeping a steady backbeat and used primarily as a vehicle to collectively ferry those immense vocals, rumbling bass lines and huge layers of atmospheric guitar on into that magnificent instrumental break and then on into that angry finale. 'Marbles' is a triumph, worthy of your ears and quite possibly my favourite track on the entire release. Up next, the open salvos of 'Void' are angry and atmospheric with swirling reverberations and deep dark sonic trenches filled with alluring instrumentals and a pounding percussive assault but permeating that cacophony of wonderful noise are melody strewn vocalisations that surf on top of the melee and at times carry this track skywards. It's masterful in it's approach and another highlight for me.

The albums penultimate piece entitled 'In Habits' materialises from Void's dissipating death throws. Dark and malevolent, this track has a definite shoegaze personality with ghostly vocalisations riding hypnotic beats, soaring lead lines and the deep penetrating rumble of sullen bass frequencies. Mesmerising instrumental breaks pull the listener in before exploding into a blistering melting pot of sounds lead primarily by luscious guitar and growling production. 'In Habits' ends in a sonic haze before the incantational sounds of 'Bitter Better Way' creep into audible range and wash this listener with a heady concoction of swaying percussion, quivering guitars and cascading bass frequencies. Immense vocals meld effortlessly with dark swirling sounds, breathing life into proceedings as they cut through the noise thus allowing this track to erupt into a massive sonic behemoth. It's a brilliant ending to a mesmerising debut album.

5/5

LINKS:

fuzzclub.bandcamp.com

fuzzclub.com

facebook.com/deadvibrationsband

ABOUT THE AUTHOR: 

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.


E Gone - Brilliant Apparatus - EP Review - Featured Image - (700x700)

EP REVIEW | E Gone - Brilliant Apparatus

E Gone - Brilliant Apparatus - EP Review - Post Image - (300x300)ARTIST: E Gone

RELEASE: Brilliant Apparatus 

RELEASE DATE: 24th November

RECORD COMPANY: Self Released

'Brilliant Apparatus' is the latest five track release from the immense Swedish based experimental psych aficionado 'E Gone' aka Daniel Westerlund. 'E Gone' has been wowing us lot here at Primal Music for some time with the way he melds together various musical stylings including electronica, psych, post rock, oriental, dub, raga, ambient and folk to create a stunning cacophony of mesmerising soundscapes that float and permeate layers of impressive sonic production with relative ease. 'Brilliant Apparatus' is self-released and it follows on from Februarys full length LP 'The Third Is A Mountain Which Holds A Dagger'. It's available to buy/download right now via egone.bandcamp.com

In a fizzing haze of twinkling drones and shimmering electronics 'Ectoplasm', the EP's opening salvo ignites and burns sporadically for a short time spilling ambient clouds of reverberating frequencies out into the ether before announcing 'Liber Null Tango', an ambient infused dub electro outing doused in melody and accompanied by deep resonating bass notes that coalesce brilliantly with sequenced synth lines and the constant pitter patter of hi-hats. Sequenced drums pound the senses pulling into the mix cascading synth and low frequency atmospheric drones that sit just below the mix adding weight and depth to the piece. Up next, 'Brilliant Apparatus' bullies its way into audible range bouncing alongside sampled vocalisations and deeply resonating synth lines. Sequenced percussion travels along in breakbeat style dragging angry electronics and film soundtrack accompaniments with it as it meanders brilliantly through ambient breaks, huge sonic builds with screaming crescendos filled with maliciously dark electronics. 'Brilliant Apparatus' is an absolutely fantastic track and possibly my favourite on the entire release.

'Hökarängen' the EP's penultimate piece opens with plinking synth riding dub reggae stylings albeit in an electronic fashion. Off kilter percussion concentrates the sound as panned instrumentation ebbs and flows underneath, jumping in and out of ambient tinged breaks filled with guitar stabs and lines of undulating lead that intertwines effortlessly with layers of synth, sequenced electronics and the heady pull of reverberation. The 'Brilliant Apparatus' EP closes out with 'The Autumn Equinox of 1993'. Floating instrumental drones glimmer and dance on top of pulsating electronics and celestial reverberations as intense melodic psychedelia greets this listener, rising and falling brilliantly through magnificent production and stunning organ swells as sporadic percussive hits permeate the ether from far below the mix. It's a fascinating ending to what is an interesting EP.

4/5

LINKS:

egone.bandcamp.com

facebook.com/eegonee/

twitter.com/EGONEHQ

dwacres.com

ABOUT THE AUTHOR:

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.


Bolywool - From Void To Matter Volume 2 - Featured Image - (700x700)

EP REVIEW | Bolywool - From Void To Matter Volume 2

Bolywool - From Void To Matter Volume 2 - Post Image - (300x300) ARTIST: Bolywool

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

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.

5/5

LINKS:

varorecords.bandcamp.com

bolywool.bandcamp.com

bolywool.com

facebook.com/Bolywool/

twitter.com/Bolywool

ABOUT THE AUTHOR:

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.


Bolywool - From Void To Matter Vol 1(700x700) Featured Image

EP REVIEW | Bolywool - From Void To Matter Volume 1

Bolywool - From Void To Matter Vol 1 (300x300) Post ImageARTIST: Bolywool

RELEASE: From Void ToMatter Volume 1

RELEASE DATE: 26th May 2017

RECORD COMPANY: VÅRØ Records 

Back in March 2016 whilst writing for 'The Sound Of Confusion' I was tasked with reviewing a fantastic fourteen track album entitled 'Hymnals & Bombs' by Swedish based (Borgholm/Gothenburg) cousins Calle Thoor and Oskar Erlandsson AKA Bolywool. Having never heard of the band before I instantly fell face first into their shimmering & experimental sonic landscapes and I was literally blown away by their musical interpretations on life and the way in which they told melancholic stories through the medium of sound. Now the duo have released the first of a planned trilogy of EP's entitled 'From Void To Matter Volume 1'. This stunning two track EP was released back on the 26th of May 2017 via VÅRØ Records  and it is available to buy/download right now via varorecords.bandcamp.com

Pounding, rhythmically charged percussion announces the opening salvos of ‘Hafmeyjan’ and with its arrival it pulls droning synth swells and the constant twang of guitar with it to collectively conjure up mesmerising incantational atmospherics. Beautifully intense passages of serine vocalisations swirl into the ether riding the turbulent instrumental wave before rippling skywards on undulating pulses of reverb and delay. ‘Hafmeyjan’ stirs the imagination and instills heavy swathes of melancholic abandonment as it meanders through layers of brilliantly executed production used effortlessly to whisper tales of salt lashed islands and far flung windswept beaches. This is a stunning opening track and it reminded me of just how good Bolywool are at telling stories through the medium of sound.

Up next the duo unleash ‘Meø Lögum Skal Land Byggja’ and it opens up tumbling erratically into a shimmering ball of sequenced electronics, swirling samples and the constant accompaniment of a synth heavy drone. Lazy, but brilliantly produced drum patterns rattle and shake, underscored at times by throbbing bass frequencies and tantalising good instrumental atmospherics that glide and shimmer on wave after wave of stunning reverberation. It’s synth lines glisten as they rise and fall giving off the impression of waves crashing on a storm ravaged beach-head and the constant rolling of different sonic frequencies add swathes of light and shade, reminiscent at times to the sun breaking through dark storm clouds. A magnificent ending to what is the opening volume of Bolywool’s planned trilogy of EP’s.

5/5

LINKS:

varorecords.bandcamp.com

bolywool.bandcamp.com

bolywool.com

facebook.com/Bolywool/

twitter.com/Bolywool

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.


Nonn - S/T (Fuzz Club Records)

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

ARTIST: Nonn

RELEASE: S/T

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 www.fuzzclub.com 

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.

3.5/5

LINKS:

fuzzclub.com

facebook.com/nonnband

nonn.se/NONN

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.


EP REVIEW | Moon Gravity - Antarctica (Silber Records)

ARTIST: Moon Gravity

RELEASE: Antartica

RELEASE DATE: 27th February 2107

RECORD COMPANY: Silber Records 

The cool sounds of ice particles floating in the air has been captured in sonic form by Stockholm's 'Moon Gravity'. The three track release, Antarctica, glides in glacial beauty. It was officially released back on the 27th February via Silber Records and is available to buy/download right now from moongravity.bandcamp.com

Iridescent layers spiral round the eardrum in Nightfall. A faint drone ebbs and flows in Snowstorm, before sharp shards of guitar build into something substantial. A dusting of vocal adds to the atmosphere and it gets truly deep and dark when the bass kicks in. The cosmic rays of Purpling spread out into the wintry sky like the Northern Lights.

4/5

LINKS:

moongravity.bandcamp.com

facebook.com/moongravitymusic

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.


ALBUM REVIEW | E GONE - The Third Is A Mountain Which Holds A Dagger

ARTIST: E GONE

RELEASE: The Third Is A Mountain Which Holds A Dagger

RELEASE DATE: 13th February 2017

RECORD COMPANY: Unsigned

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 buy/download right now from egone.bandcamp.com

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.

4/5

LINKS: 

egone.bandcamp.com

facebook.com/eegonee/

twitter.com/EGONEHQ

dwacres.com

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.