June Sunshine by Hanford Reach
Brooklyn based outfit 'Hanford Reach' have returned with a shimmering brand new single entitled 'June Sunshine' hot on the heels of their marvellous debut four track EP 'Canyons'. Consisting of Chris Sherman and Leah Cinnamon the band's sound swirls primarily in the realms of jangling shoegaze hued psych-pop but there is a subtle undercurrent of driving post-punk hanging brilliantly under the instrumentation. This latest single was released back on the 16th June 2017 and is available to buy/download via hanfordreach.bandcamp.com
'June Sunshine' is deeply melancholic as jangling guitars sweep and tremble atop tumbling drums and fluttering bass frequencies. It's deeply infectious vocalisations call out with a yearning intent as the track drags surging lead lines and driving psych-pop breaks into audible range injecting swathes of hypnotic swagger into it's coursing sonic veins.
by Primal Music
ARTIST: Tombstones In Their Eyes
RELEASE DATE: 4th August 2017
RECORD COMPANY: Send Me Your Head Records
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 collective sonic melting pot of musically astute L.A based quartet 'Tombstones In their Eyes'. Back in May 2016 they literally blew me away with their 'Bad Clouds' EP, so much so that I have been waiting with baited breath to see what these guys could come up with next. The band are made up of John Treanor – Vocals/Guitar/Keyboards, Josh Drew – Bass/Backing Vocals, Stephen Striegel – Drums/Percussion & Samuel Sherwood – Percussion and they have just announced their third EP entitled 'Fear' penned in for release on August 4th 2017 via 'Send Me Your Head Records' with pre-order options now available via tombstonesintheireyes.bandcamp.com
Fear by Tombstones In Their Eyes
The EP unfurls its sticky sonic tendrils with ‘I Want To Fly’. An explosive opening breathes life into an effortless vocal track that sits gracefully atop growling guitars, shuddering percussion and throbbing bass frequencies as ‘Tombstones In Their Eyes’ dip into their inner psych, melding it with subtle shoegazing tendencies and angry alt-rock to create a magically intense piece of music. Up next, my favourite track on the entire release enters audible range. ‘Separate’ tumbles into the ether strapped tightly to a downward spiralling tremulous drone before hazy vocalisations snake and undulate through warbling guitars, fizzing synth and cascading bass lines. It builds in intensity as it works through it’s sonic gears, moving menacingly through swathes of impressive reverb before culminating into a swirling mass of blissful noise. It’s a triumph of a track and it’s filled with everything that is needed to stir the senses completely.
‘Always There’, the EP’s lead single, sounds more like a mash up of french band AIR, R.E.M and some other nondescript alternative outfit from the mid 90’s. It doesn’t do it for me at all I’m afraid and I find it hard to understand what it is exactly that the band where trying to achieve here. I’ll probably be hung for saying that but for me it’s a very confusing track. Up next, ‘Another Day’ fizzes into life tumbling effortlessly through waves of hazy reverberation as melodious guitars are cajoled and whipped by swirling drones, the plink of synth and driving percussion before we’re dragged headlong into a marvellous chorus progression that simply soars. Brilliantly executed and filled with excellent production ‘Another Day’ mesmerises. The EP close out with another triumphant piece of music. ‘Fear’ swirls through a hazy psych filled world with blistering aplomb. Metronomic percussion coupled with shimmering tambourine adds intense atmosphere as a growling wall of noise pulls hypnotic vocalisations out into the ether, trembling on waves of throbbing bass and undulating synth swells. Soaring lead guitar gloriously punishes this entire piece to within an inch of it’s life, intertwining at times with those shamanic like vocal lines before we’re dropped off the back end, holding on desperately to it’s fading instrumental drones. A blistering end to a rather good EP.
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 & 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.
galaxie 420 by bleach bath
Ontario based heavy shoegaze three piece 'Bleach Bath' have unleashed a brand new single entitled 'Galaxie 420', a follow up to their April 2017 debut three track demo 'It'll Get Worse If You Let It' . Their sound shimmers in a haze of fuzzy layered reverberations & ghostly vocalisations collectively underpinned at times by heavier passages of driving alt-rock formulated to allow their sound to soar into the ether, riding a senses pummelling percussive swagger that doesn't give up! 'Galaxy 420' is available to buy/download right now via bleachbathto.bandcamp.com
'Galaxie 420' tumbles into earshot swirling in an angry cyclonic vortex thats filled with tremulous guitars, pounding drums, throbbing bass frequencies and swathes of glorious reverb enveloping a hazy almost ethereal vocal line. Growling lead guitar intertwines perfectly with ghostly murmurings to drive a massive wall of blissed out reverberation forwards on a predestined sonic flight path.
ARTIST: Panda Riot
RELEASE: Infinity Maps
RELEASE DATE: 9th June 2017
RECORD COMPANY: Unsigned
Chicago based hazy dream-gazers 'Panda Riot' have announced a gargantuan eighteen track monolith in the guise of 'Infinity Maps', the follow up to their impressive 2013 release 'Northern Automatic Music'. Steeped in an deeply experimental hue 'Infinity Maps' skips through massive swathes of shoegaze, gloriously addictive dream pop and darker electronic moments with blistering aplomb pulling it's listeners inwards as it spirals out into the ether. The instrumental pieces on this album are sublime and coupled with impressive song writing abilities, stunning vocals and brilliantly executed layers of production, it is sure to be one of best albums of 2017 come years end. This mesmerising Illinois based quartet are made up of Rebecca Scott - vocals/guitar, Brian Cook - guitar/drum machine/programming, José Alejandro Rodríguez - drums & Cory Osborne - bass and you can pre-order 'Infinity Maps' on various formats via pandariot.bandcamp.com
Infinity Maps by Panda Riot
Waves of raging melodious turbulence swirl into earshot as droning guitar squall gives way to shimmering vocalisations and squealing feedback. ‘Aphelion’ bubbles precariously on a bedrock of impressive percussion, noisy guitars and humming bass frequencies peppered at times by subtle swells of synth, wavy reverberations and broken up by magnificent breaks filled with soaring vocal lines. Up next, ‘Helios (June 20th)’ swirls into audible range trapped in cloud of shoegaze infused dream pop as it’s beautifully serine vocal lines bounce and whirr on layers of tremulous reverb drenched guitar progressions whilst ‘Latitudes’ pulses on sequenced electronics and churning instrumental drones before fading out through wavy vocal samples and impressive production theatrics. ‘Ghosting’ unfurls its sonic tendrils stuck fast to a plinking synth progression before careering headlong into a brutish wall of hazy guitars & plodding bass, sweeping synth swells and metronomic percussion all collectively enveloping that soaring vocal track before ‘Chimera’ explodes into a haze of atmospherics as it’s cinematic leanings are brought to bare tumbling effortlessly in a cyclonic ball filled with fizzing synths, lazy percussion, fuzzy guitars and its addictive backwards vocal lines.
Pounding drum patterns and soaring melodious guitars ride throbbing bass frequencies and sequenced bleeps as they circumnavigate beautifully serine vocalisations before ‘Double Dream’ explodes into a mesmerising finale swiftly followed by the tremulous opening guitar tones of ‘Arrows’ and it’s cascading bass lines, hypnotic drum patterns and those shimmering reverberations. Wavy instrumentation coupled with a serine piano progression and instantly refreshing vocal samples herald the arrival of the deliciously dreamy ‘Parachutes’ whilst the driving percussion of ‘Night Animation’ swirls delicately in a hazy modern dream pop vibe underscored at times with acres of reverberation, soaring layered guitars and shimmering vocalisations. The experimental leanings of ‘Parallels’ wash over this listener as sparse drum patterns, humming bass frequencies and swooshing guitar drones circumnavigate that laid back vocal performance allowing moments of sonic abandonment to pierce the normally rigid song structures created by the band. The album swoons as ‘Infinity Maps’ undulates into audible range tumbling effortlessly in a whirlwind of beautifully intense frequencies permeated by the hypnotic swing of the drums before the instrumental pause that is ‘Niagara’ pulses on swathes of comforting atmospheric synth and sequenced bleeps & whirrs.
‘New Colours’ oozes sonic brilliance as its captivating dream pop leanings bob and weave on layers of hazy guitar, steadying percussion, throbbing melodious bass lines and entrancing vocal lines. There are subtle moments of woozy shoegaze bubbling up at times throughout this track as lead guitar lines whip and cajole resonating frequencies, pushing them through layers of reverb and whammy bar theatrics. ‘Aurora Shift’ moves back into a more experimental patch as a bouncing bass line rides giddying sequenced percussion and swirling synth swells before the instrumental 'Glass Cathedrals' surges through layers of sticky delay, hazy reverb and turbulent drones. Up next, the brilliant ‘Gold Lines’ doffs it's well worn cap to those early 90’s shoegaze stalwarts as it undulates into the ether on a tremulous wall of reverb hued guitars and steadying percussion. Addictive lead progressions pull another intense vocal performance out into the light accompanied by growling passages of soaring shoegaze and cascading bass frequencies. Possibly my favourite track on the entire release, ‘Gold Lines’ doesn’t disappoint. The albums penultimate piece entitled ‘Otherside’ swoons into earshot on a beautifully intense wave of synth and droning guitar as metronomic percussion and a throbbing bass line announces a beautifully effervescent vocal take. The albums closes out on an infectious footing as tumbling vocals intertwine with backwards guitars and addictive production as ‘Magic Numbers’ bookends a fascinating collection of tracks.
Panda Riot never fail to impress me. Their grasp on what is relevant in this modern underground shoegaze & dream pop scene is as evident as ever on this new album. Collectively the quartet move effortlessly through passages of experimentation and ambient exploration whilst keeping a firm grip on their core D.I.Y values, drawing on slivers of wide ranging influence to create magnificent modern sounding standalone pieces alongside their well crafted early 90’s inspired soundtracks that keeps them consistently relevant in todays ever evolving scene. Some folks might find that eighteen tracks is a chore to get through in one sitting but I can guarantee that each one will captivate and hypnotise both old and new fans alike.
Impressive return to form.
RELEASE DATE: 28th April 2017
RECORD COMPANY: Grimoire Records
From Baltimore in the USA comes the deep humming roar of Alter, whose core sound consists of the delicate layering of everything cold and aesthetically pleasing: alt-rock, post-rock, ambient music, shoegaze and even some sort of wild and loud dream pop thrown in there for good measure. Pendulum consists of six dense and spacious tracks laced with reverberating echo and drowned out vocals; offering the sound of envelopment to listeners in the form of some kind of snow drenched village off in the middle of nowhere. For some it will be a sluggish slog through the at times thick and murky waters of alternatively loud guitar music that Alter push forth from their instruments; for others the flood of noise and the hushed echoes of the vocals will provide some kind of beauty through the snowstorm of sound; for your sakes I hope it’s the latter. 'Pendulum' was released via the Baltimore based independent record label 'Grimoire Records' back on the 28th April 2017 and it is available to buy/download right now from grimoirerecords.bandcamp.com
Pendulum by Alter
'Pendulum' opens with ‘False Mirror’ a brilliantly heavy track with subtle hints of post-punk in there for good measure. The beginning of the song makes one immediately think of the quiet, slight post-rock music that they’re about to hear; that is until the churning, loud guitars and cymbal heavy drums arrive into the mix. From there the most intriguing element of the song comes in; the vocals… sporting the aforementioned touch of post-punk. The vocals remain deeply layered under the walls of noise, but unlike the much rehashed shoegaze production technique that many of us are already familiar with, Alter’s vocals sit in a higher register; offering up an almost contrast to the music and the sound on the song. ‘False Mirror’ pans out into a cymbal lead breakdown before turning full circle back within itself. ‘Momentary’ offers up a similar slow beat that concluded ‘False Mirror’ except with a more obvious touch of post-rock evident in both the song writing and the mixing. The dynamics alter awkwardly throughout ‘Momentary’, especially the galloping drums on the second half of the track, but it seems to be the most 'by the book' that the band play it; although it still holds the same beauty as the other tracks around it.
Following on, the band turn in one of the EP’s best and most moving songs; its title track. The slow, drum and guitar combination roll slowly in the background of a fantastically harmonious vocal performances; even when the song moves back into borderline noise-gaze anthemic guitar, the catchy and dark alt-rock stlye chord progression stays along; forming the song into a complete package of heavy and emotive beauty. Special love and interest should be given to the songs second half, after the slight silent break, where the bands and instrumentation becomes even more extensive than before. ‘Inner Eclipse’, while at the start sounding like the heaviest the band will go, turns out actually to be a brilliantly weird, almost math rock based charge of cymbals and thick reverbed guitars. Bouncing back and forth between walls of sound lead by the bass and guitar, and the more groove orientated riffs that lead into the songs heavier sections, the vocals hold everything together again… Except this time they are much clearer. All these elements mix together to create a fantastic blend of post-rock/shoegaze amplification.
‘The Storm’ is also a definite EP highlight; its downtrodden and icy sound connects the sounds and styles of the title track with the previous and more formless ‘Inner Eclipse’ to create a piece more melodic and drawn out. Of all the heavy, weighty tracks on the EP, ‘Lost Instinct’ offers up the substantial size of feedback laden reverb and soundscapes for the listener to hear. It begins with borderline droning guitars and drums, backed up by the soundscaped noises of guitar feedback and, eventually, the wavering and floating vocals that have played such a pivotal role on other tracks throughout the EP. The wild, open feedback ridden landscapes of Pendulum make it difficult to say whether everybody would be a fan. But for those who appreciate the kind of melodic heaviness that can only really fit comfortably with post-rock and ambient texturings; then the EP is for you. Alter shine greatly when they display their strengths wisely; those being their attitude toward filling up the entire canvas with noise, the dynamics of sound in context with the instrumentation, the smart mixing and production, and perhaps most importantly; the vocals. Thankfully for almost the entire EP, the band do in fact display their strengths wisely offering a sonic piece of noise meditation, created through production, performance and 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.
RELEASE DATE: 16th June 2017
RECORD COMPANY: CRAZYSANE Records
'Yagow' is a psychedelic space rock trio based out of Saarbrücken, Germany. Their collective sound echoes through mesmerising passages of psychedelically charged motorik kraut rock underscored at times with subtle shoegaze tendencies that are deftly permeated with layers of incantational space rock & hazy effervescent stoner rock. Their immense self titled six track album gets its full release on June 16th 2017 via the Berlin based independent record label 'CRAZYSANE Records' and is available to pre-order right now on various formats from crazysanerecords.bandcamp.com
s/t by YAGOW
In a dense instrumental drone the heavy opening salvos of ‘Horsehead Nebula’ unfurl their fuzzy tendrils and wrap themselves around enticingly slow lead guitar lines and swathes of reverberation. Bouncing bass frequencies pull stunning percussive patterns into audible range melding effortlessly with the hypnotic surge of guitars, used collectively to ferry haunting psychedelically charged vocalisations out into the ether. Up next, ‘Snake Charmer’, the albums lead single, resonates and pulses through layers of hazy psychedelia that is peppered with subtle touches of eastern esoteric flair. Meandering vocal lines whip and whirr through spiralling guitar progressions as fuzzy sonic reflections sparkle through swirling clouds of addictive sitar and rolling drum patterns. This track explodes into a raging wall of undulating drones, throbbing bass lines and growling guitars, jointly harassed by explosive drum patterns and acid drenched lead lines before tumbling gracefully into a cyclonic sonic whirlwind before fizzing out into obscurity.
‘Moss & Mint’ slows proceedings down as we’re dragged into a muggy metronomic trance like state, glued to the swing of those addictive drum patterns, soaring lead lines the and hazy swirl of dreamy, spaced out vocalisations. ‘Moss & Mint’ works through its instrumental gears with stunning aplomb, at times injecting organ swells, massive waves of imposing reverb and is reminiscent at times to Perth based sonic explorers ‘Mt. Mountain’ with the way they construct intricate song structures, add intense atmosphere and inject undulating passages of heavy psych into their music. ‘Time To Get Rid Of It’ swerves into earshot on a warbling guitar progression, bouncing bass frequencies and skittish percussion. Shamanic reverb drenched vocalisations intertwine with growling lead lines before punishing instrumental drones take over, pulling you with them as you surge through wave after wave of intense psychedelia. Absolutely magnificent!
The albums penultimate piece entitled ‘Non-Contractual’ opens with a menacing instrumental drone before pounding drums, shakers and incantational guitars drag haunting vocalisations out into the open. The subtle plucks of sitar ride punishing instrumentation as we meander through deep sonic troughs, shimmering spaced out verse passages and out into the final throws of a turbulent sonic behemoth. The album closes out with ‘Nude On the Moon Dance’. A tremulous guitar progression rides metronomic percussive pattern that builds and undulates through soaring atmospherically charged prog like lead lines and the constant throb of bass frequencies. Chittering drones sweep aside the opening bars as this track peels back it’s outer layers and morphs into a resonating sonic whirlwind that carefully envelopes another mesmerising vocal. A brilliant ending to rather interesting album.
Shimmering Leeds based psych-gazers 'Jellyskin' have unleashed their immense fifth track entitled 'Only Rain (Flows To Beach)' and it's accompanying video to the masses. Formed in 2016, 'Jellyskin' are made up of Will, Zia & Olly and they exploded onto the underground psych/gaze scene last year with a splattering of singles including the impressive ‘Grey Glass Hat’, the fantastic 'Milk Of Magnesia', 'She Sung Oceans' & the blistering 'Eater' which collectively brought them to the attention of the underground psych/gaze faithful. They have embarked on a mini-tour until mid-June playing: Unfest at The Forum (Tunbridge Wells), Headrow House (Leeds), Night and Day Café (Manchester), The Washington (Sheffield) and Temple of Boom (Leeds). They will also have copies of their debut EP, their first physical release at all of the aforementioned live shows. Get out and see them live if you can!
'Only Rain (Flows To Beach)' floats effortlessly on glorious waves of simmering synth coupled with tumbling tremulous guitar progressions as metronomic sequenced percussion pulses on effervescent frequencies carefully enveloping that fragile vocal track. At predesignated points along its meandering course it morphs and twists brilliantly into a noisy & turbulent psych induced behemoth before snaking back into a beautifully entrancing piece of music.
'Dazy Crown' are a Norwich based lo-fi/garage band who create stunning soundscapes full of melodic brilliance. They wowed us way back in July 2016 with their impressive single 'Move' and now this immense quartet have returned with another citric slice of summer in the guise of 'Multi Vitamin', their latest entrancing groove laden offering.
'Multi Vitamin' tumbles through swathes of woozy and highly infectious guitar progressions that ride an insanely laid back percussive pattern. Those simmering vocalisations wobble and arc through hazy layers of bubbling bass frequencies and resonating production as the leaping chorus break snaps you out of a hypnotising trance and tip toes you into a cyclonic world filled with instrumental drones and fuzzy sonic reflections. Stacked to the brim with summery summer vibes, 'Dazy Crown' have hit the proverbial sonic nail on its head with this latest track.
ARTIST: Is Bliss
RELEASE: The Honeycomb Explosion
RELEASE DATE: 19th May 2017
RECORD COMPANY: Club AC-30 Records
Revered, incantational, hypnotic - Three words that aptly describe what I felt after listening to the absolutely stunning 2016 debut EP entitled 'Velvet Dreams' from Portsmouth based psych aficionados 'Is Bliss'. Signed to celebrated Independent record label 'Club AC-30', 'Is Bliss' are causing quiet a stir right now both on the live scene and within the underground fraternity with their no nonsense, full on, psych induced reverberations! They are made up of Jimmy Stuart - vox/guitar, Dean Edwards - bass & Sam Speakman - drums and they have just released a monumental follow up to their untouchable debut EP 'Velvet Dreams' entitled 'The Honeycomb Explosion'. This sophomore release is a statement of intent by a band who collectively create stunning soundscapes filled with blissed out shoegaze & swirling shamanic psych deftly underscored with passages of dreamy spaced-out grooves and hypnotically charged reverberations. 'The Honeycomb Explosion' was released back on the 19th May 2017 and was initially available to purchase on lovely transparent yellow w/red & orange splatted 12' vinyl via store.clubac30.com
In a haze of cyclonic vocalisations that swirl repetitively through swathes of luscious reverb, the opening salvos of track one ‘Someone’ builds with a menacing hue, dragging hypnotic deep bass frequencies, tremulous drones and angry guitar signatures out into the ether whilst injecting tons of impressive sonic atmospherics as it carefully unfurls it’s far reaching sonic tendrils. Beautifully intense from the off and harking back to to those early 90’s shoegaze sounds ‘Someone’ unleashes a blissful, meandering vocal track that’s whipped and cajoled at times by soaring lead guitar lines and underscored by continuously alluring bass progressions. Up next, ‘Alive (Baby Come On)’ enters the sonic arena swirling dreamily through turbulent organ drones and sparse percussion. Bass lines hum and growl brilliantly as we witness some of the best vocal performances on this whole EP. The track builds builds and builds again until it unleashes a torrent of glorious noise, dragging this listener with it into the eye of a raging sonic firestorm. ‘Alive (Baby Come On)’ has a plethora of influences and I can hear the waviness of Spacemen 3, the punishing guitars of seminal shoegazers Loop & the melodious qualities of Ride streaming through its inner core. Absolutely stunning and definitely my favourite track on the entire release.
‘Is Bliss’ pulse some eastern esoteric flair into proceedings next as sumptuous sitar intertwines with 60’s psych connotations, shimmering tambourine and punchy drum patterns. ‘Into A Dream’ does exactly as it says on the tin. You tumble through layer after layer of droning instrumentation, cascading dream like bass frequencies and that twinkling guitar signatures, guided at every turn by that impressive vocal track and just as you think you are settling in for a session in the shamanic sonic immersion tank you get catapulted out the back end of this track at g-force speeds glued to to a fast moving pulse of intense instrumental chaos before being gently placed back on terra firma with a very big smile on your face (yes it is that good). Up next, ‘Tomorrow’ shimmers hypnotically around an incantational instrumental drone and the jaunty rumble of busy tablas as the dissonant sounds of dreamy sitar bounces and envelopes a stunning vocal performance. Again ‘Is Bliss’ work through their sonic gears with blistering aplomb until eventually they unleash a torrent of explosive frequencies punctuated by screaming guitars, throbbing bass lines and pounding drum patterns that collectively coagulate into one hell of a track finale. The EP then closes out with ‘Inner Soul’, a fantastic sonic trip through layers of blissful reverberations, melodious bass progressions, passages of droning guitars and slow moving percussion that drifts and moves effortlessly, acting as a conduit for those stunning vocal lines. Reminiscent at times to ‘A Storm In Heaven’ era ‘Verve’, ‘Inner Soul’ is an absolutely sublime closing piece to a monumental sophomore EP.
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
From Void To Matter Volume 1 by Bolywool
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.
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.