ARTIST: The Underground Youth
RELEASE: What kind Of Dystopian Hellhole Is This?
RELEASE DATE: 15th February 2017
RECORD COMPANY: Fuzz Club Records
Fuzz Club Records mainstays and Berlin (via Manchester) based dark psych/post-punk outfit The Underground Youth have announced their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th 2017 release date with various formats officially up for pre-order via the ever reliable www.fuzzclub.com
In a melancholic haze of tattered guitar frequencies and growling atmospherics the opening chord sequence of ‘Half Poison, Half God’ drags itself into the ether and proceeds to wraps itself around infectious vocalisations before swaying awkwardly on the sudden injection of a sparse percussive pattern. ‘Half Poison, Half God’ splashes into a swirling pool of reverb laden noise as repetitive guitar progressions cut through barking bass frequencies to collectively hold time with the metronomic swoosh of echoing tambourine hits. Up next, ‘Alice’ surges effortlessly with dark sullen energy as it’s melodiously fuzzy bass frequencies weave & bob in and out of hypnotic lead guitar lines. Subdued percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer’s vocal holds court, keeping you transfixed on it’s impressive gothic tone.
The heavy repetitive thump of plodding drum rudiments coupled with the engrossing twang of atmospheric guitars heralds the arrival of ‘You Made It Baby’ and we’re instantly thrown into a world of desolate landscapes, isolation and wild frontier towns. Swirling desert like reverberations envelope everything as subtle instrumental drones echo behind Dyer’s tendril like vocals and aid in the undulating sway of it’s sonic proceedings. The track eventually pulses into a turbulent mass of fuzzy noise before dissipating back into the repetitive plonk of fret noise and salubrious percussion. ‘Beast (Anti War Song)’ does exactly as it says on the tin as it strides into earshot like some plucky teenager on a first date. Driving bass lines ride a steadying drum pattern as soaring lead licks whip noisy frequencies up into a sonic frenzy, building exponentially through the angry verse parts only to then soar effortlessly through those impressive instrumental chorus progressions before fizzing out into nothingness.
Jangling atmospherics underscored by droning organ swells swirl gracefully around the vocals as the constant tap of subtle percussive hits keep a kind of rag tag timing rattling repetitively in the background. ‘A Dirty Piece Of Love For Us To Share’ tip toes magically through glorious guitar progressions and brilliant production to bring a sullen acoustic swerve to proceedings. Up next, ‘Amerika’ drones into earshot accompanied by twinkling instrumentation, whirring feedback and the hollow thrum of sequenced percussion. It stalks and skulks in a densely oppressive sonic fog as it’s vocals swirl menacingly in the musical ether whilst next, ’The Outsider’ instrumentally builds from the off echoing in harmony with the effected vibrato of the vocals and the swirling underscore of synth drone. ‘Persistent Stable Hell’ howls into existence on squally instrumental feedback and the pulsing vibrations of a repetitive kick drum. The vocals arrive held fast within a hazy swirl of reverb as throbbing bass frequencies hum and undulate underneath screaming lead guitar licks and dark reverberation. The addition of female vocals add hauntingly good atmosphere here as all around them pulses and moves in a cacophony of blissful noise.
The albums penultimate piece heaves and breathes on a bedrock of sequenced synth lines, sporadic drum patterns and fuzzy bass frequencies. ‘Your Sweet Love’ swirls in a spiralling sonic whirlwind filled with noise, shuddering reverb and sullen gothic flair. It's vocalisations are trance like as they hypnotically revolve and billow in the heady psych induced stew, modulating wildly until they become one with the instrumentation and eventually throb in a series of sonic pulses. The albums closing piece strums acoustically into the ether as the plink of a piano line echoes & melds brilliantly underneath, constantly harassed by subtly aggressive lead guitar lines. ‘Incapable Of Love’ is laced with darkness as Dyer’s speaking parts venomously spit out a dystopian narrative steeped in atmosphere whilst languishing brilliantly in a bourgeoning musical juggernaut. This is a marvellous ending to a magnificent album.
ABOUT THE AUTHOR:
Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for (Now On Hiatus) The Sound Of Confusion. 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
Fuzz Club Records mainstays and Berlin via Manchester based dark psych/post-punk outfit The Underground Youth have unleashed the first single entitled 'Alice' and it's gritty accompanying video from their highly anticipated eight studio album brilliantly titled 'What Kind Of Dystopian Hellhole Is This?'. The album is penned in for a February 15th launch date with various formats officially going up for pre-order this week via www.fuzzclub.com They have also announced a European tour to celebrate it's release starting in January and you can check out their full tour schedule by heading over to facebook.com/TheUndergroundYouth.
'Alice' surges with dark sullen energy as it's melodious fuzzy bass frequencies weave & bob in and out of those highly infectious lead guitar lines. Subdued metronomic percussion and hauntingly good synth swells add tons of atmosphere as Craig Dyer's vocalisations hold court, keeping you transfixed on his impressive gothic tone.