Tasmania based experimental psych/space rock aficionado 'The Planets Collide' aka Stephen Dunham has released a follow up single entitled 'Circles' to May 2016's stunning release 'Wake Me Up When Its Over'. With a sound that deftly traverses the outer reaches of psych rock, melded brilliantly with subtle hypnotically charged rhythmic percussion whilst all the while swirling hazily through motorik driven experimental space rock 'The Planets Collide' offer up something completely different and fresh to this modern day experimental/psych/space rock scene. 'Circles' is a available to buy/download right now from theplanetscollide.bandcamp.com
Circles by The Planets Collide
'Circles' explodes into a cacophony of swirling reverberating frequencies from the off, attacking the senses and dragging you the listener with it as its utterly addictive vocal lines and thunderous sequenced percussive attack jostles within the hazy musical maelstrom. A thoroughly enjoyable sonic thrill ride through layers of growling guitars and brilliantly executed synth lines. Recommended!
by Primal Music
Phoenix based dreamy desertgaze trio 'Citrus Clouds' have just released a new video to accompany their latest single 'Imagination', lifted off a full length album of the same name, penned in for release via Custom Made Music this autumn. The band create stunning soundscapes that swim through swathes of melodic ethereal shoegaze whilst all the while coupled with addictive dreamy vocals & an underlying cutting edge! 'Imagination' is available to buy/download right now from: citrusclouds.bandcamp.com
'Imagination' swerves & glides on gloriously dreamy, layered frequencies that are simply doused in reverb and deployed effortlessly to accompany a vocal line that swoons & soars as it gently caresses the senses with ethereal joy!
ARTIST: Children Of Leir
RELEASE: Children of Leir (3rd Album)
RELEASE DATE: 5th September 2016
RECORD COMPANY: Unsigned
Following on from their impressive single release entitled 'Shades' back in July, Hamburg/London based experimental psych/drone aficionados 'Children of Leir' have self-released their magnificent third album to the masses. The bands sound melds together repetitious motorik percussive patterns with swirling synth drones, snaking hypnotic guitar progressions and intense vocal lines to collectively create a musical melting pot of acid drenched sonic reverberations that will enthral both new and old listeners alike. The 'Children Of Leir (3rd Album)' is available to buy/download on various formats right now from childrenofleir.bandcamp.com
Children of Leir (3rd Album) by Children of Leir
On a cacophony of synth drones and a thunderous percussive assault the albums opener 'Bad Little Woman' erupts into ear shot dragging with it a growling meandering guitar line steeped in swathes of glorious reverberation. The track shifts gears as the metronomic drum pattern takes off at marching pace, all the while haunted by swirling synth swells and the ever present lead guitar line. Vocally sublime and utterly addictive 'Bad Little Woman' is a stunning opening salvo! Track two begins with a menacing synth drone thats pierced with beautiful frequency laden melody. 'Questions' builds momentum as it ploughs a sonic furrow through proceedings, opening the door for a repetitive drum beat coupled with layers of reverb laden guitars. The vocals are melodious & hauntingly fuzzy, but broken intermittently at times by the snaking lead guitar line that seems to circumnavigate the entire track, pulling the remaining instrumentation with it as if some unseen sonic gravitational pull is at play. 'Questions' is nine minutes plus of magnificent psychedelic experimentation and is probably my favourite track on the entire release. You really need to listen to it via headphones to experience its sonic intensity in glorious technicolour.
Tremulous guitars announce the arrival of track three, the overtly 60's sounding 'Hate'. This is two minutes plus of charging experimental 60's psych pop thats full of swirling organ swells and hypnotically charged vocal lines purposefully arranged to attack the senses and wash a glorious golden tinge onto its listeners. The albums lead single arrives next on a wave of fuzzy frequencies. 'Shades' is a dark fuzzy ball of glistening sonic energy that drones as it skips along its designated path, deliciously perched upon a skittish bed of motorik-driven percussive patterns. The swirling mass of reverberating noise carefully circumnavigates that addictive duel vocal attack as those organ crescendo's tease and the hypnotically charged instrumentation instils both giddying excitement & atmospheric trepidation all at once.
The albums penultimate track entitled 'Young Man' shakes into existence on a meandering drone and an addictive vocal line. Reminiscent at times to seminal UK experimental psychonauts 'Spacemen 3', 'Young Man' purrs like a well serviced engine as you become transfixed on its sparse percussive tempo, swirling psychedelic synth swells and atmospheric guitars that add weight to the over all hypnotic swing that the track produces. A thoroughly enjoyable and deliciously addictive soundscape from start to finish. The albums closing piece entitled 'Sirene' is a triumphant maelstrom of sonic noise with its driving repetitive motorik percussive patterns, layered guitars, soaring drones and reverb laden sequenced synth progressions. The vocals sit atop a chariot of beautiful noise like some sonic god wading into an epic battle where musical frequencies bend and shape themselves at will allowing it to cut a sonic furrow through the entire track. This is a masterpiece. In my opinion 'Sirene' should be the next single as it can hold its own with some of the best experimental psych tracks currently gracing the underground scene today.
A monumental return to form! Recommended.
ABOUT THE AUTHOR:
Del Chaney has spent the last four years not only fronting popular experimental Irish Electronic duo Analogue Wave but also 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. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled 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.
Tennessee based fuzzy shoegaze trio 'Tape Deck Mountain' have unleashed the first single, entitled 'Loopers Of Bushwick', from their forthcoming four track EP 'I Will Break You Up'. The EP is penned in for released on October 8th 2016 and it follows on from 2013's impressive full length LP 'Sway'. The band are made up of Travis Trevisan - guitars/vocals, Andy Gregg - drums & David Sullivan - bass and the EP is available pre-order on various formats right now from tapedeckmountain.bandcamp.com
'Loopers Of Bushwick' is steeped in a delicious slacker shoegaze vibe with lazily executed vocal progressions coupled with throbbing baselines, hazy guitars, steadying percussion and layers of gloriously addictive swirling reverberation. Recommended listening for sure!
ARTIST: Dead Sea Apes
RELEASE: SOY DIOS
RELEASE DATE: 5th September 2016
RECORD COMPANY: SKY LANTERN RECORDS / CARDINAL FUZZ
Manchester based underground psych experimentalists 'Dead Sea Apes' have had their stunning debut single 'SOY DIOS' repackaged and re-released on vinyl via Cardinal Fuzz (Sky Lantern Records in the US). It contains a reworking of the original track, released back in 2010 on a then run of 100 CDR's. 'Dead Sea Apes' create massive sonic soundscapes and have the ability to switch from wonderfully picturesque sun-scorched psychedelia to dust laden desert rock and on into hypnotically charged & motorik driven drone rock improvisation with marvellous aplomb! The album is available to buy/download on various formats from cful.bandcamp.com & skylanternrecords.bandcamp.com. You can also purchase the vinyl right now from cardinalfuzz.bigcartel.com
Soy Dios by Dead Sea Apes
The opening salvo's of 'Soy Dios I' are hauntingly good. Aggravated fret noise and spacious atmospherics open proceedings as 'Dead Sea Apes' bring their post-rock credentials to the fore. Melodious guitar progressions add tension as sparse percussive hits enter the fray and we push off on a magical journey of sonic experimentation, stepping into a world of expansive musical understanding and distorted sonic hallucinations. Its not long before a swell of explosive instrumentation takes over and the metronomic swing of the drum pattern brings on a giddying state of hypnotic abandonment. Guitar lines meander menacingly throughout the piece, every so often allowed to soar into the ether as if chasing some unknown prey, before arriving back to terra firma and slotting into its assigned progression to continue on with its pre-designed course. Truly magical in its entirety!
If 'Soy Dios I' was the doorway into the world of 'Dead Sea Apes' then Part II is the hallway .... a wide expansive room filled with oppressive atmosphere, droning swells and spiralling guitar squall. 'Soy Dios II' is a pleasure craft bobbing up and down in a dark tremulous ink like sea, constantly being hit by a wave after wave of shuddering reverberation. The percussion builds as throbbing bass lines hold court before the track lurches forward and explodes into a cacophony of wonderful noise and warbling repetitious progressions.
'Soy Dios III' achingly drones into existence, its burgeoning weight swirling & snarling as it enters earshot, shattering the perilous ideology of the previous soundscape as it circumnavigates its own self. It builds in momentum allowing it to plough a deep furrow into the sonic template, eagerly trying to gain enough updraft to lift itself into the ether. Intermittent fret noise doused in reverb adds atmosphere to the piece as the arrival of much welcomed guitar squall builds intensity .... and we're up and soaring into the ether on waves of golden frequencies inlayed with swathes of reverberation. 'Soy Dios III' is a true masterpiece of modern day psychedelic exploration.
The closing piece on the momentous release brushes aside the previous three tracks from the off. 'Soy Dios IV' is the stunning finale to an expansive collection of experimental musicianship. The culmination of a trip through massive passages of sonic floatation and distorted but oppressive melody driven hallucinations, into a gargantuan cyclonic whirlwind. 'Dead Sea Apes' bring the curtain down completely on this impressive release riding a maelstrom of senses pummelling distorted noise. A fitting end to a marvellous sonic journey. Recommended listening!
London based experimental sonic aficionado's 'In Violet' have returned with a stunning single entitled 'Amber' lifted off their forthcoming album of the same name, penned in for release on October 21st 2016 via 'Bottle Imp Productions'. With a sound that traverses a plethora of varying musical styles, taking in driving electronica, avant-garde post industrial, psych & krautrock tones whilst infusing melancholic post rock & sonic atmospheric's into the mix, 'In Violet' are not afraid to push boundaries or test limitations with their music. 'Amber' is the highly anticipated follow up to 2013's stunning debut album release 'Opal' and see's the band embark on a darker, more electronically driven sound coupled with intense sonic manipulation, sense's pummelling percussive attacks, layered reverberating guitars and meandering hypnotic vocal lines.
'Amber' is available to pre-order right now both digitally & with an extremely limited edition CD & art book available via: inviolet.bandcamp.com
amber by in violet
'Amber' takes no prisoners as it squeals into earshot on a bedrock of dark synthetic drones and screaming psych induced guitars before its motorik percussive patterns and accompanying sequenced synth lines add weight to proceedings thus buffering those hazy vocal lines, helping to guide the listener into a cacophony of reverberating instrumentation and explosive sonic manipulation. This is a magnificent return to form by a band who never fail to amaze.
Norwegian based psychedelic dream gazers 'The Age Of Coloured Lizards' have unleashed a beautifully hazy new video to accompany their debut single, the brilliantly titled 'We Don't Care', released via 'Sotron-Records'. With a sound that harks back to the likes of 'early Verve, Spacemen 3, Spiritualized & fuzzy UK stalwarts Lupine Howl', 'The Age Of Coloured Lizards' have created a downtempo masterpiece, filled with jangling acoustic guitars and utterly addictive vocal lines that collectively swirl within a shimmering sea of glorious reverberation.
'We Don't Care' is streaming right now over on Soundcloud, Spotify & Apple Music.
Indiana based shoegaze/dream pop outfit 'Whimsical' formed in 1995 as a five piece. They self-released two demo's prior to signing to 'Seraph Records' back in 2000 and then went on to release their stunning debut album 'Setting Suns are Semi-Circles' before their untimely demise in 2005 whilst on the verge of unleashing their sophomore release. After some time away from the scene, the band have returned as a song writing duo consisting of Krissy Vanderwoude - Vocals & Neil Burkdoll - Music. They have a forthcoming new album entitled 'Sleep To Dream' (Saint Marie Records - November 2016), and have been deftly adding tracks throughout the year to a bandcamp based self-released album entitled 'Brought To Light', which includes their own cover versions of tracks by bands such as 'Slowdive, Lillys & Lycia', plus two original 'Whimsical' soundscapes & a remix by the brilliant 'Beatastic'. The latest track to be added to 'Brought To Light' is a blissful original composition entitled 'Never Come Down' and you can buy/download it right now from: whimsical1.bandcamp.com
<a href="http://whimsical1.bandcamp.com/album/brought-to-light">Brought to Light by Whimsical</a>
'Never Come Down' bends into earshot on a frequency laden cacophony of reverberating guitars and throbbing baselines before the percussion explodes and introduces us to the gloriously ethereal vocal tones of Krissy Vanderwoude. 'Never Come Down' floats and weaves a fascinating sonic web of hazy dream pop and layered melodious shoegaze that's fabulously underpinned by one of the most impressive vocalists ever to have graced this modern underground scene. Roll on November!
Vancouver based experimental psych aficionado's 'The Orange Kyte' have returned with their eight single and possibly their most laid back release so far entitled 'Imaginary Conversation #27'. This new single see's the band continuing on with their sonic manifesto of releasing one new track per month in varying shapes & sizes whilst always staying through to all things fuzz! The band are made up of 'Vancouver based but Dublin born', Steve Moonboots & a revolving door of likeminded musicians. Piloting the good ship Orange Kyte on this voyage is Stevie Moonboots - guitars/bass/hammond organ & vocals and he's accompanied this time by Ross Fahy -percussion/synth & rhythm ace programmed by Chris van der Laan. The single is available to buy/download right now from: theorangekyte.bandcamp.com
Imaginary Conversation #27 by The Orange Kyte
'Imaginary Conversation #27' features spoken word readings of Vernon Howard's 1967 'The Mystic Path to Cosmic Power' intertwined with swirling hammond drones, sparse percussive hits, tremulous guitar progressions and swathes of joyous reverberation.
ARTIST: The Battles Of Winter
RELEASE: At Once With Tattered Sails
RELEASE DATE: 23 September 2016
Post-Rock, Post-Punk with a bit of Alt-Rock and Indie thrown in you say? Well, 'The Battles of Winter' reply swiftly and smartly with their brand new album 'At Once With Tattered Sails'. In what could be the most well produced album I’ve heard from a non-major label in quite a while, the band weave through many sounds to create a dark and atmospheric post-punk album; helped substantially by the amazingly deep and heavy vocals of the album.
'At Once With Tattered Sails' begins with ‘Falcons’ an eerie, post-punk laden track with an intro that uses a slower tempo styled post-punk beat that eventually leads into a hypnotically dark coldwave inspired chorus. ‘Falcons’ sounds like a twisted indie song, full of elements that you could imagine being bright and colourful, turned into a cynical, industrialised landscape. This morphed indie track suits the band profusely though, and a song like ‘Falcons’ does nothing but display the bands most talented tendencies. ‘Hale Seizer’ (see what they did there?) goes even deeper into a perverse darkness, this time with much more minimalist instrumentation, until the rollicking noise rock inspired chorus. This track begins to showcase the deep and thought provoking lyrics, which would not be so out of place if they were read as poetry. The rattle, twangy guitars at the tracks second half maintain a distinctive 80’s coldwave feel, connecting the band back with its musical and artistic roots. The brilliant, two minute punky song ‘Wrong Port’ shows the listener that the band are not solely tied to slow, downtempo, strumming… Rather they show their talent in pulling off what seems to be a much darker, sped up version of an Opera Multi Steel song.
‘Hare Hunter Field’ could be the best song on the album, its slow, quiet beginning seeps into an almost slowcore ballad… The vocals hover spectrally in the mix, as the slow tap of the drum slowly shift, the guitars echo slowly with a reverb style distant in the mix and the track shifts into a heavy, noise ridden track. Everything is highlighted further through the mature and brilliant production and mixing on the album, and occasionally the band show touches of post-rock that make them sound even better with 'Death in a Lemon Grove Part I & II' & 'Shot Down Over Tokyo' being prime examples. ‘Slow Burning Country’ turns the albums sound almost completely alternative rock, but occasionally the band mix this in together with post-punk elements, especially the vocals, which maintain the same profound delivery throughout the entire album. This track highlights the fantastic capabilities of the drums as well; the heavy beat punctuating into the mix, coupling fantastically with the heavy rock of the guitars. Towards the tracks end, the vocals transcend into a higher and impressive registry that gives the music a wild element of ‘surround sound’ quality. ‘Love’s White Thread’ holds back again on instrumentation and instead uses the vocals as the forefront of the sound and the song morphs around it. Although it may appeal to some listeners, ‘Love’s White Thread’ seems less fluent than previous tracks. It also doesn’t show as much of the bands brilliant song writing skills of as other tracks. But, anyway…
‘Sainted Galleries’ is also a contender for the albums greatest song, especially in its magnificent instrumental section in its centre, which slowly and surely brings vocals into the mix. The song brings together sounds touched upon earlier in the album (coldwave and alternative rock especially) and ties it together with the rat-a-tat beat of classic 80’s post-punk, the vocals maintaining their value for the entire entrancing song. 'At Once with Tattered Sails' is not so much an album about performance (although the performances are all brilliant) rather it is an album about sounds. For the listener, the band has conjoined and crafted all sorts of majestic and dark sounds together; thus the sounds on the album come across as truly great, but it is the band who have melded them together so very well to make them even better. Nothing but praise should be handed onto the production and mixing on 'At Once with Tattered Sails', which feels empty, open and echoed all at the same time. Similarly, the vocals are genius; a reminder that post-punk and coldwave music doesn’t have to have distant and low volume yelling to be fantastic. The vocals on the album fit well with the lyrics, displaying a tasteful throwback to the eighties alternative music scene.
While some may feel the album reuses itself too much, I feel that partially that is part of the appeal of the music. For example, pop music vocal deliveries vary from song to song so the average listener thinks each song itself is completely different because of the vocals (that’s pretty much mainstream pop summarised for you). But 'Battles of Winter' maintain the same, deep and echoing voice on nearly every track, which I genuinely feel makes the music ever more powerful. The album showcases everything that should be done in the genre, and how a band should go about producing and mixing an album; achieved cleverly through 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 the Australian heavy music blog, I Probably Hate Your Band.