ARTIST: The Final Age
RELEASE: The Final Age
RELEASE DATE: 9th February 2018
RECORD COMPANY: Cardinal Fuzz / Sunrise Ocean Bender
Improvisational project 'The Final Age' is the brain child of Bristol-based drummer Jesse Webb. Originally conceived as an accompaniment to an imagined film focusing on themes of loss and isolation, Webb enlisted the help of guitarist Paul Allen (The Heads, Anthroprophh), saxophonist Dave McLean (Gnod), vocalist Annette Berlin (Big Joan), trumpeter Pete Judge & violinist Agathe Max (Kuro) among others to create something altogether mesmerising. Swimming in a sonic melting pot filled to the brim with various levels of psychedelic enchantment, howling vocals and experimental percussion that establishes connections between psych, proto-punk, jazz and heavy rock 'The Final Age' is a collection of tracks that cannot be defined as standing in one clear musical genre. It is an album of experimentation, of finding new ideas and new sonic stylings and crafting them into something magical. The album gets it's official release on 9th February 2018 via Cardinal Fuzz Records (UK) & Sunrise Ocean Bender (USA) respectively and is available to pre-order right now on various formats via cardinalfuzz.bigcartel.com & sunriseoceanbender.bigcartel.com
The Final Age by Cardinal Fuzz Shop
The album leads track begins swirling in a huge instrumental drone. 'The Final Age' pulls deep penetrating bass notes into the mix building gracefully by introducing subtle synth swells, strings and hazy atmospherics to create a massive wall of blissful noise. This is progressively experimental, spiritually infectious and at times hypnotic as you spiral away into a cyclonic filled landscape. Up next, 'Trust Fund Death Camp Moan' is a mind-bending thrill ride through pulses of synth, repetitive fusion styled drumming, tremulous guitars and resonating frequencies deftly tied to huge reverbs, sampled vocalisations and effervescent delays whilst the jazz sounding 'Second Rule' is absolutely huge in scope. Penetrating percussion rumbles exponentially as squally electronics fizz and ebb in close proximity pulling sporadic swells of trumpet and resonating bass frequencies into the mix adding a sullen atmosphere to the overall proceedings. Changes in tempo and addition of alternate drum fills momentarily break the hypnotic spell before we're thrown back in headfirst into dub like trumpet stabs and throb of bass noise. 'Second Rule' is superbly captivating and a definite highlight on the release. '96 Rules' continues the percussive trend of the previous track although gone are the stabs of trumpet to be replaced by noisy guitar progressions and lines of spoken word. Sparkling repetitive keyboard progressions cascade just below the mix, melding brilliantly with those dub like bass progressions thus drawing the ear to them as all around explodes into a cacophony of resonating noise. '96 Layers' is a fascinating piece of music. It's as if Mark E Smith's & The Fall had recorded fusion jazz record high on enlightening psychedelics. Simply mesmerising.
'Past Minus Future' pulses atmospherically on a bedrock of immense percussion as it's fizzing electronics and swirling drones circumnavigate in close proximity pulling fuzzy vocal samples and senses pummelling production with them into the melee whilst upon next, 'A Certain Breed' is bloody immense. Slow moving percussion instils a menacing air to proceedings as the pull of violin and those swirling drones meld to create the perfect cradle for those magnificent vocalisations. This track is allowed to breathe and meander effortlessly through layers of reverb and stunning atmosphere. Throbbing bass progressions add dept to the track as we glide away on waves of psychedelic abandonment and fall headlong into that eastern esoteric ending. 'I Fall' unfurls it's sonic tendrils and dives headlong into a brooding mass of noise and vocal samples before heavy percussion and atmospheric drones pull saxophone and deep penetrating bass frequencies out into the ether. It is five minutes plus of animalistic, senses pummelling experimental psych that takes no prisoners whilst 'Mephadrone' does exactly as it says on the tin. Leaning more into proto-punk this track has movie soundtrack material written all over it. It's pulsating instrumentation cuts a deep wedge into the sonic ether as a driving percussive assault ferries rumbling bass progressions and swirling synths through layers of atmospheric reverberations and sequenced electronics pulse & bleep just below the mix. The albums penultimate piece comes inn the guise of 'There Will Be Waste'. Swirling vocalisations accompanied by the toll of church bells, sporadic percussive hits, noisy layers of synth and throbbing bass amble into audible range, rising and falling through deep passages of psych and deeply spiritual experimentalism. 'The Final Age' closes out with 'Punching A Hole', a mesmerising piece of heavy psych tumbling through explosive drum tracks, soaring lead lines and throbbing bass progressions as spoken word rages from beneath a heady cloud of atmospheric reverberation. Its a masterful track and a fitting ending to a mesmerising album.
'The Final Age' as a standalone album is one that will take repetitive listens before it begins to sink into the inner psyche. With some mesmerising passages of experimental instrumentation and a percussive assault that at times seems unbelievable, this album is a welcome addition to any true modern psych fans music collection.
ABOUT THE AUTHOR:
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.
by Primal Music
ARTIST: Dead Sea Apes
RELEASE DATE: February 9th 2018
RECORD COMPANY: Cardinal Fuzz/Sunrise Ocean Bender
Manchester based experimental psych aficionado's 'Dead Sea Apes' have returned with a brand new sonic compendium entitled 'Recondite', a collection of tracks recorded for various compilations, off-the-cuff jams, dub remixes and covers of Kraftwerk, Harmonia and Alexander ‘Skip’ Spence. The band have been carving out their own rather special niche in a scene that strives on it's core principles of expansive and consciousness-altering guitar, bass and drum based compositions. 'Dead Sea Apes' have never easily fitted into a 'psychedelic scene' as such like so many of their contemporaries but have instead taken a different path to sonic enlightenment by experimenting with dub, electronic sequencing and mind altering reverberations that both thrill and hypnotise all at once. Those of you new the sounds of 'Dead Sea Apes' will find this brand new compendium of tracks absolutely fascinating as it perfectly explores every facet of their collective sound, from their influences to their unique talent of merging various genres to create one hell of a lysergic tinged trip. 'Recondite' has it's official release on February 9th 2018 with pre-orders available on various formats from Cardinal Fuzz Records (UK) & Sunrise Ocean Bender Records (USA) respectively.
Dead Sea Apes - Recondite by Cardinal Fuzz Shop
The absorbing opening salvos of ‘Tentacles (version)’, a track that originally appeared on ‘Dead Sea Apes’ last album - ‘Sixth Side Of The Pentagon’ are taught and frequented with swirling drones, glitchy dub lined scratches and sequenced electronics. Spoken word courtesy of artist and author ‘Adam Stone’ float into earshot accompanied by the rumblings of deep dub lined bass notes, warbling stabs of guitar and synth as heady clouds of machine gun delay and sticky reverb fill the ether with intense atmospherics. This take is longer than the original version of ‘Tentacles’ but it’s a highly infectious mix of psych and dub with this listener marvelling at the melding of it’s dystopian vocalisations and the aforementioned hypnotically charged accompanying instrumentation. Up next ‘Coronal’ (originally appearing on a Cardinal Fuzz compilation entitled Stay Holy) tumbles into audible range on a swirling instrumental drone. Rolling percussion builds from below the mix and a subtle surge of eastern esoteric psych bubbles to the surface dragging noisy electronics and tempestuous production theatrics with them as shimmering guitars undulate and merge with repetitive lines of atmospheric synth. This track is deeply incantational, krautrock heavy and it rises and falls through huge cavernous sonic troughs before surging skywards on layers of wide scoped sonic reverberation.
‘Planet V’ undulates and moves in unison with big repetitive bass progressions riding pounding drum patterns and swirling drones as impressive lead lines whip the entire piece to within an inch of it’s life whilst ‘True Believers’, another alternate take, originally appeared on the brilliant Evil Hoodoo ‘For Nepal’ compilation, staggers into ear shot on a wave of sullen atmosphere. Slow moving percussion keeps a steady back beat, carefully carrying the throb of bass and subtle production theatrics before all hell breaks loose and we’re spinning wildly in a dark and oppressive slab of stunning space rock. This track builds slowly through staggered verse progressions and unleashes an explosive surge of sonic energy through catchy breathtaking progressional changes that are pinned to meandering lead lines that loop and arc throughout. It’s a masterpiece and a highlight for me on this release. Up next, ‘Land Of The Sun’ featuring 'Gabriel Minnikin' is a cover version, originally released by Canadian native Alexander ‘Skip’ Spence (Jefferson Airplane, Moby Grape, Quicksilver Messenger Service) and deftly undertaken here by Dead Sea Apes. Feedback laden opening bars build and merge with the swirl of cymbals and the pull of reverb before sporadic percussion and the throb of bass lure this listener into a melee of swirling instrumentation and resonating frequencies. It’s a white knuckle thrill ride, permeated at times with intense spoken words that are reminiscent to Iggy’s stint with UK based ‘Death In Vegas’ during the 90’s.
‘The Recognition’ is lifted from the brilliant ‘Stand With Standing Rock’ compilation from Sky Lantern Records and is another album highlight for me. It’s opening permutations are mesmerising as they snake alongside deep rumbling bass kicks separated by shimmering tambourine and deeply spiritual guitar progressions that build and build forever adding layers of intriguing combinations that culminate brilliantly into a magical murmuration of sound. Up next, ‘Universal Translator’ spins in a haze of tumbling synth as rumbling percussion rattles underneath closely followed by throbbing bass lines and swirling feedback that collectively builds into a pulsating sonic behemoth whilst ‘Lupine Wavelength’, originally released on the magnificent ‘Magnetic North’ split album from Drone Rock Records, spirals through massive layers of reverb as those steady drum patterns hold court deftly ferrying cascading bass signatures, fizzing synth and pull of lead guitar out into the sonic ether. ‘Dead Sea Apes’ inject yet another cover version into the compendium as ‘Rückstoss Gondoliére’, originally recorded by 'Kraftwerk' enters into audible range. Swirling drones accompanied by kosmische theatrics, swells of synth and luscious guitar progressions float and ebb through layers of atmospheric reverberation pulling sparse percussive hits and squally instrumentation with them before building into a slow moving slab of incantational psych. It’s mesmerising guitar progressions loop and arc effortlessly through throbbing bass frequencies and rumbling drum patterns. ‘Rückstoss Gondoliére’ is formidable in sonic stature and yet another tripped out highlight on this release.
The highly experimental ‘Rethreads’ pulses menacingly within it’s metronomic, almost motorik sounding skin, as noisy frequencies bend and pull through a kind of backwards cyclonic motion dragging angry feedback laden guitars and the throb of dub strewn bass frequencies with them through the whoosh of cymbal noise and deep dark atmospherics before we’re introduced to the albums closing piece, the absolutely sublime ‘Vamos Compańeros’, a cover version of the original track by ‘Harmonia 76’. This track originally appeared on yet another one of the many ‘The Blog That Celebrates Itself’ covers compilation entitled ‘Komische Musik’. It rattles and surges through layers of repetitious krautrock and fizzing electronics that are permeated at times with subtle fuzziness courtesy of sparse guitars and throbbing bass frequencies. ‘Vamos Compańeros’ is a monstrous sonic filled thrill ride and a fitting ending to a wonderful compendium of tracks
Hailing from the north-east of England, experimental art-rock outfit 'Dose' have just unleashed a stunning debut single in the guise of 'Furniture', a hypnotically addictive slice of noise-rock underpinned with subtle flourishes of melodic shoegaze, slowcore and mesmerising passages of cinematic ambiance. Having decamped to Suburban Home Studio's and under the tutelage of MJ from the awesome 'Hookworms', this Newcastle based five piece have released something rather special indeed. The band are made up of Sean Turland, Ewan Barr, Matthew Collerton, Sam Campbell & Joe Donkin and they've shared the stage with some fantastic live acts such as Sunflower Bean, Menace Beach, Ulrika Spacek & Soviet Soviet.
Opening up with a steady almost metronomic percussive assault 'Furniture' soon pulls repetitive guitar lines and soothing reverb into the mix as addictive lead lines meander in and out of spoken word and shimmering layered vocalisations. The combination of wide-scoped production and cinematic pauses add sublime atmosphere here, allowing this track to breathe before 'Dose' unleash a cacophony of swirling noise filled to the brim with melodic feedback, layered walls of intense reverberations and the dense pull of ebow. There's also a sense of foreboding or loss hiding beneath this tracks outer shell that keeps things rather interesting, instilling a warmth or a mellowness to the entire piece that I especially love. 'Furniture' is a seriously good track making 'Dose' ones to watch in 2018 and I'm looking forward to what comes next.
Sicilian based multi-instrumentalist Gioele Valenti aka 'JuJu' has unleashed a mesmerising new video to accompany the latest track to be lifted from his totally immersive sophomore long player 'Our Mother Was A Plant', officially released back in September 2017. The track in question is called 'In A Ghetto' and it features a mind-bending hypnotic percussive assault courtesy of guest percussionist 'Capra Informis', the djembe player of Swedish psych-rock aficionados 'Goat'. For those of you new to the psychedelic sounds of 'JuJu', he melds together a heady cocktail of experimental psych and kraut-rock with afro-beat and luscious funk thus creating an altogether immersive sonic experience. 'Our Mother Was A Plant' ended up on our 'best of 2017' list with the album being classified as a game changer within the underground psych scene. It was released back in September 2017 and is available to buy/download on various formats via the London based purveyors of all things psych - Fuzz Club Records.
Zine Days by FAWNS OF LOVE
California based dream-gazers 'Fawns of Love' have just announced a brand new double a-sided single entitled 'Zine Days' b/w 'Something Stupid'. The tracks are penned in for official release on March 2nd 2018. 'Fawns of Love' are a husband and wife team comprising of Jenny & Joseph Andreotti. They released a mesmerising debut eight track album in the guise of 'Who Cares About Tomorrow' back in March 2017 and their collective sound is a blissful thrill ride through layers of dreamy, lo-fi, shoegaze laden dream-pop that on first listen harks back to genre pioneers such as Cocteau Twins & Slowdive but with the occasional noisy nod to MBV & Jesus And Mary Chain. 'Zine Days' gets its official release this coming March and is available to pre-order with it's lead track downloadable right now via fawnsoflove.bandcamp.com
'Zine Days' glides through a glistening reverb filled fog to shudder and dance on top of sequenced percussion and swirling lead lines. Cascading bass frequencies hum and throb as synth laden clouds lift stunningly ethereal vocal lines skywards allowing this track to ebb and flow through layers of blissed out beautiful noise.
Edinburgh based noise makers 'Wozniak' have unleashed a brilliantly eerie new video to accompany one of our favourite cuts of theirs - the all consuming 'Ghosting', a track lifted off their highly successful debut album 'Courage Reels'. For those of you who have been living under a rock for the past few years - 'Wozniak' have been successfully plying their trade since 2012, are signed to the independent record label 'Morningside Young Team Records' and are made up of Simon Cuthbert-Kerr - guitar, Sarah Cuthbert-Kerr - guitar/vocals, John Sinclair - drums & James Urquhart - bass. Their immense sound swirls deftly in a heavy sonic stew filled with hazy shoegaze, atmospheric post-rock and fuzzed out noise rock.
Collectively, they continue to evolve with each release and are firmly stabled within the underground scene thus creating everything they do in-house with a conscientious DIY attitude that is very difficult to ignore. The video for 'Ghosting' is filled with subtle visual throwbacks to some of their previously released videos such as MFMB, Gospel Of Infinity, Five Star and the stunning El Maresme. It was self-shot, directed and edited with band members taking centre stage throughout different facets of the creative process. Their debut album 'Courage Reels' is absolutely sublime and should be in everybody's music collection by now. It was released back on 21st April 2017 and is available to buy/download right now via wozniak.bandcamp.com
RELEASE: In A Stranger's Car
RELEASE DATE: 25th July 2017
RECORD COMPANY: Unsigned
Shoegaze is usually a genre that is defined by its sound. Or more accurately, its purity of sounds, of sound that creates pictures, that creates images, that forges soundscapes and that adds depth to the whole picture of a song. Think of how critics, how writers, describe the emotional landscpes of shoegaze; often they congratulate it on its richness and sculpting. All of this could be said, in a weird, backwards way, about 'In A Stranger's Car' by Barlow, a Pittsburgh based lo-fi/shoegaze/alt-rock band. When I mention the words backwards it is because In 'A Stranger's Car' is the opposing side of lushness; its dirty, lo-fi, recorded on tape sound brings forth a different kind of angle on Shoegaze. And that’s exactly why I thought, immediately after hearing the opener ‘Tirebiter’, this is something notable…. Perhaps very much so. I don’t hand out 5/5 all that often; it has to be something different, something original and (most importantly) something interesting… And I’m pretty sure this album ticks all those boxes. The band are made up of Ethan Oliva - guitars/vocals/drums/bass/keys/piano/tamborine, Andrew Yadeski - drums/guitars/bass, Jake Nowoczynski - bass & Mitch Delong - keys. 'In A Strangers Car' was originally self-released back in July 2017 and is now getting a rather special re-release treatment (on limited cassette format with added material that includes demos etc) through Crafted Sounds. You can get your hands on it right now on various formats via Crafted Sounds and Barlow respectfully.
In a Stranger's Car by Barlow
As previously mentioned, ‘Tirebiter’ opens proceedings, with its noisy lo-fi based dream rock sound. Voices are hushed and dirty, instruments are crunching and pushed to the front. Emotionally, the song brings more to the table than a lot of ‘normal’ shoegaze music does. One should also mention that ‘Tirebiter’ is a definite album highlight. The sense of atmosphere (in a lo-fi way) continues on the brilliant ‘You Have To See It’, which continues things in a similar way to the album opener. The much darker and stripped back ‘East Commons’ presents a stark and more experimental song structure than previous. The vocals are more present (although fuzzy), the occasional dissonant chord or off-key scream and the crescendo like second half makes the song another album highlight. ‘False Eye’ takes things much more upbeat, and is stylistically similar to the opener, the vocals are exceptionally distant, and beside dream-pop, the song sounds like a psychedelic type of soft rock? The shoegaze tone of the guitars and the intricate bass performance also ties things together in a more alternative light. The underlying experimental tone of previous songs comes to the forefront of ‘Accosted’, somehow mixing the dirty, out of time feedback in the background of the music and the bright, jangle pop of the song mix together beautifully.
‘The Messengers’ rags along at a steady punk rate, throwing around words under distorted guitar tones… The second half, however, is where the true gold lies. Going from the aforementioned punk tune, Barlow jump straight off a preverbal cliff as the song shifts into a bizarre, noise laden sound collage soundscape. ‘In His Attic’ may be the most pleasant song on the album; the enjoyable temperature of the jangle pop sound eases slowly through the song. But yet again the second half leaps into a bizarre experimental soundscape, bouncing around with fuzz and distortion for the listener. ‘Disarming Rebels’ takes things guitar-centric, creating a layered and enjoyable alternative/garage rock feel that fits neatly as a kind of interlude on the release. ‘Highway’ sounds similar to ‘Accosted’ but even more beautifully subtle; every instrument does their best to create a textured yet enjoyably simple sound for the listener. Simiarliy is the beautiful ‘Throwing Star’ in which three or so guitars meld together to create a neat interlude like song. ‘c.o.l’ sounds like some sort of 90’s garage rock song that could have gone big if the vocals weren’t so drowned out… But maybe that’s exactly why I find it so interesting. The moments in the song where the guitars and feedback wash over the song are truly beguiling; the emotional depth of this song is fantastic. Another brilliantly weird song is the outsider/freak folk, acoustic guitar lead ballad of ‘Go For It’ which sounds inspiring and introverted all at the same time. The all out punk/noise riot that is ‘Time Man’ eventually sequences into lo-fi guitar contemplation, as if Barlow have finally began to calm down. But this jaunt into placid guitar tunes jumps straight back into the noisy lo-fi rock into the songs second half. Brilliant.
'In a Strangers Car' is essentially a group of experimental, lo-fi snapshots of ideas, thoughts and structures for songs… Although in a normal context this would be a criticism, here it is in fact a massive positive. The imaginative experimentation of noise laden passages of music mixed with linear jangle and enjoyably bubblegum-ish pop music makes the album extremely original. Couple this with the bands desire to present everything in the grainy, lo-fi sound that it appears, and you have something that lands somewhere between shoegaze and experimental psych. The performances are rough, the textures are beauty, but there is something truly beautiful about this 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.
Danish based dream-gazers ‘Moon Loves Honey’ have just announced the lead single (and it's brilliant accompanying animatated video) entitled 'Lonely Day' to be taken rom their forthcoming highly anticipated debut album 'You Drift Away From Me' that is penned in for release this April. 'Moon Loves Honey' create blissful soundscapes and their collective sound comprises of a hazy mix of melodic dream-pop/rock underscored with subtle layers of shoegaze. They are led by multi-instrumentalist Jeppe Dengsø with various musicians coming in for both recording and live duties respectfully. This latest single is available to buy/download right now from moonloveshoney.bandcamp.com
French-American animator Neil Ingle, who has studied art in animation in Paris and graduated the Institute Sainte Genevieve, created the video with the help of Régis Marion, Cora McKenna, Vir Prieto, Tyler Davis, Baptiste Demians, Fabien Jimenez, Timon Chapelon, James Cavanaugh and Charly K. Mårtensson.
ARTIST: The Citradels
RELEASE: God Bless
RELEASE DATE: 8th January 2018
RECORD COMPANY: Self-Released
Australian based experimental sound manipulators 'The Citradels' independently released their eight studio album brilliantly titled 'God Bless' back at the beginning of January 2018. Formed back in 2010 'The Citradels' traditionally created engagingly dynamic soundscapes filled with repetitive drones, fuzz and intense melody deftly underpinned with a subtle undercurrent of shoegaze but on this latest album the five piece have channelled the sonic mindset of both Brian Wilson and The Byrds with an added touch of west coast coolness for good measure whilst exploring themes of influence, religion and morality through characters from a small town gradually falling out of touch with its surrounds. 'God Bless' is a stunning listen and it directly showcases the metamorphosis of a band who are not afraid to experiment with music genres or atypical sounds. The album was officially released back on January 8th 2018 and is available to buy/download right now on various formats via thecitradels.bandcamp.com
God Bless by The Citradels
Exploding with a kaleidoscope of sound, the opening bars of 'Hill Out Of Town' are filled with blissed out psychedelic sounds as we take a sonic thrill ride through swirling guitars, bouncing percussion, throbbing bass frequencies and the twinkling whirl of hypnotic keys all lovingly enveloping brilliant layers of vocal. It's a blistering opening salvo indeed and it leads us into the heavenly sounds of track two, 'Holy Ghost', a deeply spiritual affair that floats atop of quivering church organ and repetitive tap dancing keyboard skills that deliciously circumnavigate those ethereally layered eerie vocalisations. It's a short lived piece ideally destined for the stage and imprinted with semi-gothic gregorian flair. Up next, 'God Bless' swims in summery vibes as driving percussion and repetitive organ lines hold court and spoken word is the order of the day whilst 'Believe And Receive' meanders gloriously through golden tinged sound waves and woozy production. Immense vocal lines meander in and out of catchy hook laden guitars, subtle synth swells and off beat drums and float effortlessly through the sonic ether and out into the cosmos.'Believe And Receive' is a triumphant track and definitely a highlight on the album for me.
'Roman Holiday' rattles skittishly as it spirals through incantational instrumentation. Rumbling percussion keeps an almost metronomic time as cascading bass lines undulate beneath swirling lines of organ and the pull of acoustic guitar. There's a slight prog-rock feel to those vocal tracks as they merge and arc into a singular sonic murmuration leading us to the tracks finale and on into 'GRC', a pulsing sonic behemoth tumbling through catchy hook laden guitar progressions, jangling percussion and the repetitive synth rumbling beneath the mix like a sugar rush. The opening salvo's of 'Post-war preschool' scream experimental krautrock with it's repetitive drum patterns, throbbing bass lines and a highly addictive synth line that swirls just under the mix allowing stabs of guitar and sequenced swells of instrumentation to wash over the listener. Off kilter percussive hits drag this track to another dimension though, as we lurch forward all of a sudden and dive headlong into a pool of cascading sonic delight filled with catchy hook laden progressions and colourful instrumentation all wrapped around that immense vocal performance. 'Post-war preschool' is THAT track! The one that appears on every great album, catching you off guard before dragging you with it on a journey of sonic discovery. It's a masterstroke and one that I will come back to again and again.
The mighty 'St.David' injects one minute plus of highly melodic, fast paced instrumentation into the psyche. Charging drums strapped to the meandering jangle of guitar and driving bass catapults those airy 'Byrds' like vocal tones into audible range as a delicious brass section tweaks this listeners attention followed by the rush of acoustic vibrations whilst 'Pictures Of Uncle Arthur' rattles and creaks on a jittering percussive bedrock as it's luscious layers of acoustic frequencies and the twang of resonating lead guitar swirl & float atop hovering bass lines and cascading organ swells. This track gets progressively hypnotic the further you get into it and I must admit, you do get carried away with it's incantational sounds. Ohh, and watch out for the brass section towards the end. It'll seriously blow your mind. 'Holy Water' takes a brief sojourn through agitating vocal harmonies and deep resonating gregorian chants as the ghost of 'Beach Boys' past and present arrives to float ethereally above layers of reverberation whilst the wavy opening bars of 'Milk And Honey' tickle the senses with it's swirling lines of synth and catchy guitar progressions. Meandering bass lines dip in and out of those steady drum patterns as another impressive vocal performance circulates through layers of shimmering reverb.
The albums penultimate piece entitled 'Sunday Best' appears with an addictive 60's psych swagger attached. It's synth lines skip and dance along with those pounding drums and bounce of bass frequencies as the whirl of wurlitzing sound-waves stick to those glorious vocal harmonies like glue. The occasional twang of heavy guitars add weight and atmosphere as we're swept along in a magical sonic haze before the albums closing piece unfurls and washes us all in it's wonderfully translucent light. 'Dawn Chorus' shimmers and floats atop a swirling cacophony of golden tinged sound waves, filled to the brim with stunning five part vocal harmonies, jangling guitar progressions and subtle percussion. Cascading bass lines hum and dance alongside melodic orchestral arrangements adding instant warmth to the ethereal ambience. It's a fantastic ending to a mammoth album, filled to the brim with sounds for everybody to enjoy.
ABOUT THE AUTHOR:
ARTIST: syrup, go on
RELEASE: Joyful Hesitation
RELEASE DATE: January 1st 2018
A spoonful of sugar helps the shoegaze go down - that's the recipe for the success of syrup, go on's latest treat. 'Joyful Hesitation' is the Australian band's newest release. The four track EP has lots of sweet notes, that's for sure. There's some crunch too and plenty of fizzy energy so it's pretty satisfying all round. At the time of recording (2017) the band consisted of Kris Briese, Tom Briese, Liz Dick & Ken Kimura. 'Joyful Hesitation' was released back on January 1st 2018 and is available to buy/download right now via syrupgoon.bandcamp.com and the band have a couple of live dates coming up this weekend around the Gold Coast. Go check them out if you get the chance.
Joyful Hesitation EP by syrup, go on
'Mantaray' bounces open with bass, and barrels along brilliantly. The textures of phased guitars add just a hint of haze, intensifying the track's rolling melodies. Titular track 'Joyful Hesitation' packs a powerful chorus on the scale of, say, Mitski's Your Best American Girl. The verses are sad and spacious, but it's the howling guitars that almost make your heart burst.
There's a change of vocalist on 'Adore' which feels like it's on a trampoline. It's so spirited, shambly and superfun - a really strong song. Closing the EP is 'Waco', a cover of the Violent Soho song, which 'syrup, go on' have succesfully shoegazeified, bringing all their textures to the table. The effect on the chorus is especially impressive. 'Joyful Hesitation' is out right now via the bands Bandcamp page - syrupgoon.bandcamp.com
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.