Visitor by todavía
Hot on the heels of last May's immense 'Sin Iris' single and just in time to inject some dreamy synth led dream-gaze into this already fading summer, comes the latest jam entitled 'Visitor' by self-releasing multi instrumentalist and Californian native Rhyan Riesgo aka 'Todavía'. We're big fans of Todavía here at Primal Music & Radio having covered the vast majority of Rhyan's previous releases and we think that this latest single is absolutely sublime. Filled with simmering atmosphere, 'Visitor' shivers on top of sequenced percussion as layers of soaring synth ebb and flow alongside lines of intense vocalisations collectively steeped in oodles of melodic reverberation. It's a triumph and we can't wait for the forthcoming new EP to drop.
'Visitor' was officially released back on the 10th August 2018 and is available to buy/download right now from todaviamusic.bandcamp.com
ARTIST: Magic Wands
RELEASE DATE: 13th July 2018
RECORD COMPANY: Etxe Records
Los Angeles-based duo 'Magic Wands' unleashed a dazzling new eleven track entitled 'Abrakadabra' via the good folks over at Los Angeles and Washington DC based independent record label 'Etxe Records' back on July 13th 2018. What’s it like? It's like… a time machine whizzing back to a time when shoegaze and dream-pop was more than just about writing a shitty melody or riff and layering as many FX on it as you can. A time when, if you stripped away the studio tricks and FX manipulation, you were still left with a catchy and/or well written pop or rock song. 'Magic Wands' seem to spend as much time writing the music as they do manipulating it into the ethers of distortion, layering and reverb… which makes 'Abrakadabra' well worth the time and the listen. The album was recorded at Voltiv Studios in Los Angeles, produced by Phil Galloni and the band themselves and mastered by Tim Young (The Smiths, My Bloody Valentine). 'Abrakadabra' available to buy/download right now via magic-wands.bandcamp.com (Digitally) & etxerecords.com (Vinyl) respectively.
Abrakadabra [Etxe Records, 2018] by Magic Wands
Following on from the humble but slight opener ‘Bashmuuu’, Abrakadabra opens with the slow pop tones of ‘Nocturnal’, which features layers of feedback guitar and the slow rumble of beats/drums. On top lies the hazy, reverbed vocals which vary from hush and whisper all the way to fully and beautifully spoken. The song screams dream-pop, but the slower and deeper FX and song writing structure allow the song to come off as an intelligent and enjoyable listen. Things turn somewhat more standard with the following song ‘Houdini’, which features that recognizable dream-pop styled guitar tone and a more upbeat feel. Showcasing the bands post-punk influence, ‘Houdini’ compliments the previous tracks more darker sound and is notable for its neat FX laced-sequencer noises. ‘DNA’ is an album highlight and delves deeper into the crossroads between dream-pop and post-punk music (exercised neatly through the drum beat). The aforementioned dream-pop elements shine through in several facets, the vocal performance is dazzling and the general pop-ness shines through to make the song worth the effort. The following track ‘Realms’ seems somewhat more of a step back into cruise control. Beyond the almost darkwave production and synth sounds, the lyrics seem somewhat awkward and almost throw away. The melding of darker elements with the softness of the singer’s voice seems to show off an enjoyable side of the band, but beyond that, ‘Realms’ feels like more of an album filler.
Things thankfully turn back to the more interesting dance/dream-pop of the albums opener. ‘Loveline’ is an enjoyable dance track, laced with neat keyboard production and a danceable beat that highlights the bands strong points. The chorus in particular shows how simplicity can do so much for a song…. There’s some great bass playing as well. ‘New Device’ follows the form of ‘Bashmuuu’, a slower style beat that allows the FX heavy instrumentation to mix in beautifully together. And then things return to the dance floor. ‘Chains and Fur’ features a slick rhythm section with the undertones of a dream-pop guitar and vocals that sound as though they have been dunked in neon; another album highlight for me! ‘Diamond Road’ slows things right back and offers up a hazier, almost psychedelic tempo equipped with soft and more helmed back production. With all the stripped back instrumentation, the vocals shine through, which leads me to the songs main criticism: the lyrics. While at times the lyrics adequately capture the feel of the music, a large portion of them come off awkwardly and, more importantly, cliched. The following track ‘Julie Ann Gray’ is a fantastic post-punk thriller, filtered through Magic Wands dream-pop sensibilities; thankfully, here the vocals and lyrics are in fact one of the songs highlights. ‘Julie Ann Gray’ summarises much of what the band has been projecting over the course of Abrakadabra: the danceable passages, the post-punk underlays and the dream-pop tones that all beautifully meld together sonically and instrumental. ‘Big Life’ features a slow melding beat that sounds like a slower version of trap music: the hi-hats hit rumble slowly, followed by a heavy snare. The vocals float softly and enjoyably over the instrumentation. Bonus track ‘Puzzle of Love’ is also worth noting; especially if you enjoyed the danceable, retro sound of the some of the aforementioned dance-y songs on the album.
All in all Abrakadabra is well-worth the time: refreshingly well written song structures make way for sonic exploration through FX… but not too much FX. The only criticisms I have of the album are, quite admittedly, the same I have for many albums of a similar genre. Firstly, the sheer quantity of music on Abrakadabra is at times difficult to engage with. Song after song that thematically maintain similar ‘feels’ to each other mean that, after over ten tracks worth of music, the album can seem a little strained. The other criticism is the lyrics. While generally fitting of the both the music and instrumentation, sometimes the lyrics seem as though they were thrown in purely because they had to be thrown in… At times generic, at times cliched, and at times quite awkward and only semi-written. Beyond these two elements, Magic Wands have created a thoroughly enjoyable listen. The instrumentation fits very well, and the dynamic range between dance track and softer, slower almost balladery stylings makes things all the more interesting. The band comfortably put their foot down, showcasing their talent in the realms of performance, production 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.
by Primal Music
Golden Sun by Citrus Clouds
One of our favourite bands at the minute, the ever brilliant Phoenix-based trio 'Citrus Clouds', have been busying themselves behind the scenes working on some new material that will eventually go on to form the basis of a full release sometime in 2019. For now though, they've just released a little taster of whats to come in the guise of their new two track aptly named 'Golden Sun' (b/w 'Nothing Familiar'), a superb follow up to last January's beautiful 'You Loved Me First' single (lifted from the immense 'Ultra Sound' EP originally released back in September 2017 via Custom Made Music).
With a sound that centres around melody infused shoegaze that's filled with a unlabored and dreamy under current of dream-pop, 'Citrus Clouds' create catchy reverb laden soundscapes befitting of this modern day resurgence of the sound. 'Golden Sun' is seamlessly impressive and this in turn only bodes well for the full release in 2019.
The band consists of Stacie Huttleston - bass/vocals, Erick Pineda - guitar/vocals & Angelica Pedrego - drums. 'Golden Sun' was officially released back on July 30th 2018 and is available to buy/download right now via citrusclouds.bandcamp.com
Nothing Here by Tombstones In Their Eyes
L.A-based psychonauts 'Tombstones In Their Eyes' have unleashed a stunning new single entitled 'Silhouette' lifted off their forthcoming brand new three track EP 'Nothing Here' penned in for release on August 24th 2018. This latest single is the first release since 2017's 'Shutting Down' and see's the band's continuous rise to prominence bearing fruit. 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 are still evident but there's a maturity developing in their collective sound that is really pleasing to hear.
'Tombstones In Their Eyes' current line-up is John Treanor - guitar/vocals/keyboards/songwriter, Josh Drew - guitar,/backing vocals, Mike Mason - bass/guitar and Stephen Striegel - drums. 'Nothing Here' get's it's official release on August 24th 2018 and is available to pre-order right now via tombstonesintheireyes.bandcamp.com
Red Dust by The Suncharms
Sheffield's finest indie-gazers 'The Suncharms' unleash their long awaited new single 'Red Dust' to the masses on September 21st 2018 via Californian-based independent record label 'Slumberland Records'. Originally founded back in 1989, 'The Suncharms' skirted some of the most influential music genres of that time such as indie-pop, shoegaze and C86, dipping their experimental toes into each one to mould and sculpt a sound all of their own. Having shared the stage with some notable bands like The Brilliant Corners, St Christopher, The Orchids and The Television Personalities, the band unleashed a demo tape in 1991 that secured themselves a place within the early nineties shoegaze firmament. 'The Suncharms' went on to release their first EP in 1991 that reached No.23 in the UK indie charts.
In November 1991 the bands stunning second EP entitled 'Tranquil Day' was released, followed in 1992 by a stint in the Peel Sessions studios which highlighted their ability to manufacture melodically catchy soundscapes that transferred brilliantly to a live stage scenario. Unfortunately, as is the way, the trials of modern life took control of the band pulling them in different directions hampering songwriting/recording until eventually they played their last gig in 1993. Fast forward to 2016 and the release of a retrospective compilation of the two EP's plus assorted demos through 'Cloudberry Records' /' Wilde Club Records' and with the buzz surrounding them increasing rapidly the band played their first gig since 1993, opening for The Orchids and The Chesterfields. This in turn led to a stint in the studio working on tracks leading to this highly anticipated brand new release.
'Red Dust' hovers in a kind of cinematic haze before opening up into mesmerisingly melodic swirl of sound. Rattling percussion keeps a steady beat as those jangling guitars twinkle and shine in amongst cascading lines of bass and that instantly recognisable vocal. 'Red Dust' is impressive and a solid return to form by a band who are relevant now more than ever.
'Red Dust' b/w 'Film Soundtrack' gets it's official release on September 21st 2018 and is available to pre-order right now on various formats including lovely 7' vinyl through slumberlandrecs.bandcamp.com
2016's retrospective compilation of the two EP's plus assorted demos is available to buy/download right now via thesuncharms.bandcamp.com
ARTIST: Prana Crafter
RELEASE: Enter The Stream
RELEASE DATE: 31st July 2018
RECORD COMPANY: Sunrise Ocean Bender
William Sol aka 'Prana Crafter' has released some mesmerising experimental psych & acid folk through a plethora of underground labels throughout the years from his home base on Washington’s Olympic Peninsula. Through labels like Beyond Beyond is Beyond, Eiderdown, Deep Water Acres, and Reverb Worship his soundscapes have permeated the sonic ether, flowing down through various levels of consciousness to paint a sonic tapestry so rich in colour that listening to his work is genuinely more akin to a intensely spiritual journey of sonic discovery. Now Sol has returned with what could be the best album of 2018 so far? A blistering new long player entitled 'Enter The Stream', a collection of eight tracks that skip effortlessly through ambient tinged psych folk, acid folk and kosmische styled psych rock all steeped in a kind of esoteric brilliance. 'Enter The Stream' is officially released on July 31st 2018 jointly via the good folks over at Sunrise Ocean Bender Records and Cardinal Fuzz Records and is also available to pre-order right now through pranacrafterabode.bandcamp.com
Enter the Stream by Prana Crafter
'Enter The Stream' begins meditatively, oozing an eerie kind of calmness that completely envelopes this listener in blissful sonic tones as those swirling acoustics tumble through layers of reverberation, carefully cushioning refrained vocalisations and the lulling tap of guitar strings. It's a beautiful opening salvo steeped in highly personal themes but wonderfully refreshing in the way it settles the listener from the off with its hypnotic almost metronomic swing that gently leads us into the ambient strewn wilderness that is 'Moon Through Fern Lattice'. This track opens up shimmering on layers of cyclonic drones and effervescent instrumentation accompanied by the addictive pull of lead guitar as we buffer on ambient themed waves of psychedelically attuned instrumentation. Up next, 'Mycorhizzal Brainstrom' floats into the sonic ether on waves of beautiful frequencies accompanied by progressions of guitar and the fizz of electronics. Melodic lines of lead guitar dance and swing with ease, dipping in and out of translucent waves of reverb and the constant pitter patter of ambient synth. 'Mycorhizzal Brainstrom' is a triumph, a lysergic sonic adventure and an album highlight for me. 'The Spell' jangles into existence strapped to an acoustic progression whipped by the occasional line of distorted lead guitar overlaid with a kind of spaghetti western brilliance. Sol's vocalisations control the tempo here and they sit brilliantly inside the groove, eventually leading us into a lead break that momentarily shatters the air of serenity surrounding this track before we're back inside that swinging groove and pulled into it's final death throws.
'Old North Wind' bellows into life, moving on melodic tentacles of acoustic guitar draped in reverb and an instant hit of melancholy. Beautiful lines of vocal swirl around entrancing instrumental progressions joined sporadically by subtle highlights of lead guitar and slow moving percussion. A magical lead break unfurls it's sonic tendrils and intertwines with the melee of sounds adding blissful atmosphere as we flutter along in it's wake, pondering life and love and everything else in between whist up next, 'Kosmic Eko' does exactly as it says on the tin. Ambient stylings coalesce alongside angry pulses of distortion as tumbling lines of lead guitar plunge into pools of reverb allowing those swirling atmospherics to hold court as the track tries to build momentum from far below the mix. There's a hesitancy here, this listener wants the track to take flight and soar skywards but Sol has other ideas and allows it to tantalisingly hang in a cloud of frequencies until eventually it teeters out into marvellous oblivion. This is absolutely sublime songwriting craftsmanship and only goes to showcase just how good this album really is. The albums penultimate piece entitled 'Pillow Moss Absorption' begins with an acoustic progression that eventually leads into something altogether eclectic. Beautifully entrancing lines of guitar drenched in wah wah theatrics and underpinned with swells of organ and fizzing synths take centre stage as we're whisked off into an esoteric world filled with sonic wonderment. The instrumentation erupts again as progressions of acoustic guitar return and meld with waves of reverb, changing tempo with each sweep, tumbling and splashing through waves of brilliant production until we're swept headlong into the albums closing piece. 'At The Dawn' caps off a truly stunning collection of songs. This track feels like a bookend of sorts and whereas 'Pillow Moss Absorption' was loose and more free form in its approach, 'At The Dawn' is more structured and settled in its own skin. It's a beautiful ending to a truly 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, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He also was 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.
RELEASE DATE: 28th March 2018
RECORD COMPANY: Spirit Goth Records
'Castlebeat' is that weird moment between nostalgia, unnerving contemplation and the dizziness that comes with hazy afternoons, setting suns and retrospection. This reviewer was impressed with their 2016 self-titled album, which arrived at a time before Mac Demarco had entered what could be scholastically deemed ‘post-celebrity’. A time when chorus pedals and slower tempos were beginning to be umbrellaed and confused with terms like ‘copycat’ and ‘influential’. I speak of this time only in reference to the fact that when the debut album 'Castlebeat' was released, a certain demographic, a certain underground and a certain discussion base were carrying them around on pedestals in the same way Demarco and other dream pop/jangle pop/synth bands were being. A similar thing happened around that time with the NY-based Porches and their debut album 'Pool'. Everything was about the aesthetic, the nostalgia… The internet was recovering and re-convening from vapourwave and all the associated facets of it. The moral of the story is, if Castlebeat arrived at a time it made sense in, (while simultaneously being a great album, musically) what happens when times move on? And what does the next album (the aptly named VHS) sound like? Brilliant apparently… And its all a great trick of the light, because not so much has altered for Castlebeat and their music, even if the times have.
VHS by CASTLEBEAT
'VHS' opens with the instrumental ‘Research’, which showcases plucked, bright guitars and a programmed post-punk drum beat. Behind the music, sequencers swirl and pulse with samples and the occasional soundscape that floats back: a welcome introduction to the album. The much more retrospective ‘Tennis’ follows with a darker sound. The vocals, which ooze in after a short guitar introduction, appear in a considered reverb way. On ‘Tennis’ the band do what they do best: combine that kind of goth nostalgia feeling with danceable rhythm sections and extremely catchy guitar riffs, and you have a terrific album highlight. Returning to the sound of album opener, ‘Here’ continues the similar, colour-distorted beach feeling of ‘Tennis’. Of note is the extremely catchy chorus, that finds the vocals dancing in the background of a great texturing of guitar, bass and drums. Easily the greatest intro to any song on the album, ‘Wasting Time’ features a memorable post-punk riff put through several reverb, echo and chorus pedals into the context of the band. The track seems somewhat more darker and distorted than other songs on 'VHS', which gives it a brilliant edge that makes it a true stand out on the release.
‘Town’ turns the tempo up but retains a similar feel to previous song. The lyrics seem somewhat lazy compared to others but these are made up for with a brilliantly sounding chorus and refrain and the instruments meld together in a beautifully harmonious way. ‘I Follow’ has one of the catchiest sounds on the album and lives up to Castlebeats self-classification of ‘goth pop’. Another album highlight is the minimal ‘Zephyr’ which relies on the fantastic bass player. The chorus passages reveal a kind of meditative smoothness that makes images conjure to mind even more swiftly. On the Bandcamp page, many listeners who have brought the album speak highly of the second half of 'VHS' and in particular ‘These Days’. I can understand why this would be considered by some to be the best track on the album; it captures (especially through the lyrics) a particular thoughtfulness of regret, retrospect and dreaminess that I think most can in some sort of equivocally way emotionally relate to. Its anthemic, slow and just the right length to support its memorable qualities. ‘Heart Still Beats’ takes 'VHS' full circle, bringing the music back to a danceable and brighter quality of beauty and approachability. Of particular note is the songs fantastic second half, which captures something playful yet emotionally challenging and bring it forth through the music. An additional song, ‘Video Tape’ wraps things up accordingly, in Castlebeat and aesthetically drenched stylings.
'VHS' takes the impetus of 'Castlebeat' and pushes it towards something more post-punk and guitar driven. This push certainly gives the album a faster paced, more danceable feel, and I can understand if fans of Castlebeat find something more approachable and fuller with the sounds found on VHS. The album can be comfortably played as a listening experience, background music, or something you can throw on at a party to get people on the dancefloor. The real intelligence though (and the reason for the rating below) is that underneath each of the ‘goth pop’ sounds and effects of the songs, underneath the beach sounding, aesthetic driven riffs, is a real sense of nostalgia and retrospect. When vapourwave was done well it achieved a similar result, but even that tended toward sounding artificial and distant… VHS maintains the authenticity and reminds the listener that this was handcrafted with love. Many will comfortably ride VHS off as a lesson in how simplicity can critically triumph over intentionally and presentably complex and intellectual music… Little do they know that the band has coated the latter in the former… Do you follow? Before I continuously acclaim VHS, I think it is worth noting that the album wont be without its critics. Many of the songs maintain a similar feeling (which is why it makes for great background music) and you have to pay attention to notice the differences and techniques used from song to song. This goes hand in hand for any similar sounding ‘aesthetic’ laced music. The moral of the story is, however, that Castlebeat have backed a great album up with an even better one… a release that captures so much while presenting something so simple, achieved through textured and mellow 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.
Dublin-based noise merchants 'Sun Mahshene' conjure up a blisteringly good lysergic brew filled to the brim with alternative led sounds, psych, shoegaze and swirling electronics on their highly anticipated new single 'Tales Of Fiction', penned in for release via Deathcapades Music Ltd on the 28th July 2018. High up on our list of bands to watch, 'Sun Mahshene' are on the forefront of Irelands own shoegaze revival, leading the sonic charge and transforming this once revered genre of music into something altogether new sounding. The musical collective is made up of Nathan Henderson - guitar/vocals, Ian McGinn - guitar, Ryan Daffy - guitar, Darren Hughes - bass, David Murray - drums, Ray Burke - percussion/backing vocals & Robert Crosbie - keys/synth. The single was recorded and co-produced in Darklands Audio (Dublin, Ireland) by Dan Doherty and written by Nathan Henderson.
'Tales Of Fiction' follows on from their sublime 2016 released EP 'Drones That Don't Kill' and is lifted from their forthcoming debut album entitled 'Contradictions & Tales of Fiction' due for full release this October. The single will be available to buy/download on release day via sunmahshene.bandcamp.com and all major streaming and digital platforms.
Dublin/Paris-based dream-gazers 'A Ritual Sea' have unleashed a beautiful slice of summer in the guise of their new single 'Seasons (Like You)', the latest track to be lifted from their forthcoming and highly anticipated debut album penned in for release in early 2019. 'A Ritual Sea' released their marvellous debut single 'Serpentine' in late 2016, going on to share the stage with the likes of Jane Weaver and The Underground Youth, amongst others throughout 2017. The quartet have already been highlighted as ones to watch this year by some of our more enlightened peers here in Ireland and we reckon their collective sound is deeply infectious. It'll be very interesting to hear what comes next from them.
The accompanying video is delicious with a distinctly cinematic edge and was filmed in Lioux, France. It's the perfect accompaniment to those shimmering dream-pop sounds. The band will launch their new single on Thursday the 9th of August in Drop Dead Twice on Frances Street, Dublin 8 alongside Hostess (ex CAP PAS PCAP) and Father.
RELEASE: Call Of The Void
RELEASE DATE: 22nd June 2018
RECORD COMPANY: Fuzz Club Records
Oakland-based psychonauts 'Lumerians' create a mind-bending hypnotic brew filled to the brim with parts procured from various music genres such as experimental psychedelia, space rock, krautrock, noise rock, drone rock, electronica & dub. The resulting concoction is a thrilling excursion into the mystical & futuristic realms of contemporary psychedelia. Formed in San Francisco back in 2006 by Chris Musgrave - drums/percussion, Jason Miller - vocals/synth/organ/guitar, Marc Melzer - vocals/bass/synth and Tyler Green - guitar/synth/keys, the band relocated to Oakland just before the release of their debut album 'Transmalinnia', building their own recording studio called New Telos Sound in a former church. They released their sophomore LP 'The High Frontier' back in 2013 and two collections of improvised compositions called 'Transmission from Tellos III & IV'. They have also shared the stage with bands such as My Bloody Valentine, Killing Joke and Black Moth Super Rainbow. Now after a four year hiatus the band have returned with their third 'official' studio album entitled 'Call Of The Void'. The album is released on June 22nd 2018 via Fuzz Club Records and is dedicated to the memory of Barrett Clark, 'Lumerians' long-time friend, sound engineer and collaborator who passed away in the tragic Ghost Ship warehouse fire in Oakland 2016. 'Call of the Void' is available to pre-order right now on various formats via both fuzzclub.com & fuzzclub.bandcamp.com respectively.
Call Of The Void by Lumerians
The fizz of melodic electronics merge brilliantly with those swirling instrumental drones as ‘Fuck All Y’all’ arrives to permeate the ether accompanied by the slow pull of percussion and the deep throb of bass frequencies. Repetitive organ notes hover and glide just above the sonic melee whipped by tightly wound lines of lead guitar as we’re led into a magnificent break and momentarily guided out it’s back end by the lull of squally guitars and that hypnotically a-tuned metronomic tempo. ‘Fuck All Y’all’ serves up a sonic tonic to cure all ills and is a blistering opening salvo indeed. Up next, ‘Silver Trash’ pounds into existence on repetitive threads of motorik percussion as swirling synths meander through cascading lines of bass. Woozy guitars cling closely to that explosive drum track allowing the surge of electronic instrumentation, drenched in effects, to bring lines of vocal into audible range, all balancing precariously on top of tumbling swells of organ and whirring lines of lead guitar. ‘Silver Trash’ is a triumph, it’s absolutely phenomenal and a definite stand out piece on this album.
‘Space Curse’ bounces into the ether in a 70’s krautrock haze. Filled with intermittent bleeps and whirrs this track rocks steadily on a bedrock of rolling percussion as various analogue synths pulse lines of catchy chord sequences across booming bass frequencies deftly accompanied by fascinating lines of vocal whilst ‘Signal’ starts small but builds incrementally into a droning sonic behemoth filled with intense melody, ambient strewn breaks and lines upon lines of sequenced electronics. ‘Fictional’ rattles into the ether on a pounding drum track accompanied by hypnotically addictive bass progressions and soaring lines of synth. Duel vocal’s glide brilliantly here all enveloped by the swirling sonic maelstrom, adding squealing guitars and layers of stylish reverberation as fizzing electronica meets metronomic krautrock and collectively dives headlong into a broiling melee of lysergic tinged modern psychedelia.
‘Masters Call’ glides into audible range swirling on an instrumental drone as layers of reverb reach out to slow it’s momentum. Tumbling percussion accompanies booming pulls of bass as sequenced synths arrive to accompany those edgy lines of vocal merging brilliantly into one surging wave of psych induced electronica whilst the albums penultimate piece entitled ‘Ghost Notes’ is deeply atmospheric. Huge swells of reverberation embraces menacing lines of synth, rolling percussion and heady waves of bass frequencies as it’s entrancing vocal’s arrive meandering in and out of angry guitars and overpowering instrumental progressions eventually crescendoing into a magnificent bass led break that builds and builds all over again. ‘Ghost Notes’ is fascinating and another album highlight for me. ‘Call Of The Void’ closes out with ‘Clock Spell’ and instantly arrives strapped to a droning analogue signal and a slow moving line of structured percussion. Catchy electronic bleeps and whirrs accompany layers of reverb that seem to rise and fall brilliantly alongside those hypnotic vocalisations. It’s a blistering ending to a wonderful 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, postpunk & 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.