ALBUM REVIEW - Prana Crafter - MindStreamBlessing - Featured Image - (700x700)

ALBUM REVIEW | Prana Crafter - MindStreamBlessing

ALBUM REVIEW - Prana Crafter - MindStreamBlessing - Post Image - (300x300)ARTIST: Prana Crafter

RELEASE: MindStreamBlessing

RELEASE DATE: 11th March 2019

RECORD COMPANY: Cardinal Fuzz / Eiderdown Records 

Originally released in a short run back in 2017 via Washington-based 'Eiderdown Records', Prana Crafter's 'MindStreamBlessing' continued William Sol's intricate investigations into mediative forest psych. Pulling acid folk, lysergic tinged americana, stoner folk blues and droning ambient hued incantations into an already burgeoning sound, it deftly highlights a shining beacon in a back catalogue worthy of investigation. Now Eiderdown Records, in a joint release with Cardinal Fuzz Records, is reissuing the album on vinyl with reformatted artwork and two bonus tracks. This impressive collection of tracks get's it's full release on March 11th 2019 and is available to pre-order right now on various formats via cardinalfuzz.bigcartel.com (UK) & eiderdownrecords.bandcamp.com (USA).

Glistening acoustic themed structures ebb and flow through distant reverberations as the opening bars of ‘At Agatha’s Gate’ materialise out of a delicately melodic ether. Intricate lines of lead guitar arrive, melding effortlessly with haunting swells of organ to form clouds of melancholic vibrations that cling to the surrounding frequencies as if stuck in some kind of suspended animation. Beautifully constructed and wonderfully infectious, ‘At Agatha’s Gate’ pulls you in and keeps you comforted from start to finish. Up next, ‘As The Weather Commands’ swirls into audible range on a subtle feedback-laden drone as bass notes cascade just below the mix. A repetitive guitar line dipped in sticky distortion arrives tumbling atop of rolling bongo hits as oodles of reverberation and those meandering lead lines whip and cajole the piece into shape. There’s a hypnotic almost metronomic swing to this track that keeps things moving while it dips it’s toe into a vast pool of psych-folk abandonment before we collectively fall headlong into the tracks final throws that are filled with clouds of swirling instrumental drones and shimmering swells of organ.

‘FingersFlowThroughOldSkokRiver’ is absolutely majestic. Wonderful western tinged acoustics merge with waves of droning psychedelics that all move and undulate in unison through clouds of hazy reverb. Cinematic in scope, ‘FingersFlowThroughOldSkokRiver’ is a definite album highlight whilst ‘Prajna Pines’ tips the balance with those melody filled lines of rambling guitar and heady atmospherics. ‘MindStreamBlessings’ arrives with a jangle of guitar as onrushing swells of organ swirl and flow through layered reverberations before breaking down into a fluttering of eastern esoteric vibrations led by those reverb fuelled acoustic guitars and subtle instrumental drones. There’s a serine calmness surrounding this track that keeps you focused on every little twitch of instrumentation right up until tracks end. ‘Mycelial Morphohum’ glides into the ether on tumbling electronic drones as jazz infused guitar lines gently languish on hovering waves of reverb and subtle vocal samples bubble up from below. The continuous drone pulls faster strums of guitar into the mix, rising and falling through swathes of sonic ambience and atmospheric psychedelics.

‘Luminous Clouds’, the albums penultimate track, begins with a whirl of organ, repetitive instrumentation and sporadic wind noise. Squally guitar lines enter the fray, drenched in reverb and meticulous in their approach as we glide through another immersive, cinematic experience courtesy of the illustrious Prana Crafter. The album closes out with ‘Bardo Nectar’, a deeply entrancing psychedelic adventure filled with a veritable menagerie of guitar lines that all merge into one fantastic ambient drenched finale.

4/5

LINKS:

pranacrafterabode.bandcamp.com

pranacrafter.com 

facebook.com/pranacrafter/

twitter.com/pranacrafter

cardinalfuzz.bigcartel.com

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six 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.


ALBUM REVIEW - Earache - Last - Featured Image - (700x700)

ALBUM REVIEW | Earache - Last

ALBUM REVIEW - Earache - Last - Post Image - (300x300)ARTIST: Earache

RELEASE: Last

RELEASE DATE: January 10th 2019

RECORD COMPANY: Lacklustre Records / Blackwire Records

Canberra/Melbourne-based duo 'Earache' aka Gemma Nourse (bass; No Stars, Shopgirl) and David Fenderson (guitar; Territory, Sob Story, Cure) create a very addictive blend of fuzzed out slowcore permeated with post-punk highlights, flourishes of dreamy lo-fi & ethereal alt-shoegaze. They burst onto the Australian underground scene back in October 2018 with their teaser cassette release called 'Voices b/w Parasite'. Now the duo have returned with their eight track full length debut release entitled 'Last', bristling with confidence and filled with some impressive musical incantations. 'Last' was officially released on 12" vinyl through Canberra's Lacklustre Records and Sydney-based Blackwire Records back on the 10th January 2019 and is available to buy/download on various formats right now via lacklustrerecords.bandcamp.com & blackwirerecords.bandcamp.com respectively.

Shimmering lines of guitar ride a wave of sequenced percussion as the opening bars of ‘Voices’ arrives into audible range swirling deftly within a hazy cloud of reverberation. Swells of synth arrive, bubbling and dancing at will as a deep throb of bass cascades through the mix, collectively fixed on predesignated chord structures built to accommodate the angelic pull of those impressive melody strewn vocalisations. What is instantly noticeable as the track works through its individual parts is the amount of glistening melody that this band can inject into their music at any one time. It is deliciously overpowering, beautifully entrancing and a breath of fresh air to this listener. Up next, ‘184’ charges into the ether on a busy percussive pattern drenched in the fuzz and jangle of guitar. Intricate little guitar highlights permeate the cloudy reverb at regular intervals lifting the track ever so slightly, leaving just enough room to accommodate the chug of bass and that fragile line of melodic vocal. ‘Here And Then’ is steeped in early 90’s melancholia. Beautifully serine lines of guitar hug a meandering bass line as the sway of drums keeps a careful backbeat. Collectively, the instrumentation is on point, circumnavigating that pensive vocal brilliantly and allowing the listener to float away on waves of blissful noise.

‘Upside Down’ arrives leaning at a kind of alternative angle with it’s safe percussive pattern, bouncing bass notes and those undulating lines of guitar. The dual vocal lines are a definite highlight here though, harmonising perfectly in amongst the fuzz and reverb. The opening bars of ‘Parasite’ are reminiscent of ‘Slanted & Enchanted’ era Pavement melded with the woozy side of ‘Something More’ by Chapterhouse. Walls of reverberating guitar ride a brilliant drum pattern as throbbing bass frequencies glide in close orbit and those effortless vocals take centre stage. Brilliantly executed, ‘Parasite’ is a definite album highlight for me. Up next, ‘Dead Weight’ chugs into life on a heavy bass line as rambling post-punk leaning guitars and the pitter patter of sequenced percussion glide into view. Warped lead lines accompany the vocals here, impressing greatly as they loop and arc throughout. The albums penultimate piece entitled ‘Under Their Eyes’ is slow burning affair with repetitive percussion, throbbing bass signature and those subtle layers of fuzzed out guitar. Dual lines of male/female vocals are executed perfectly again. Harmonising brilliantly as sporadic swells of organ and the plink of electronics add heady atmospherics. The album closes out with the absolutely immense ‘No Point’. Walls of fuzz, steady percussion and the deep pull of bass frequencies completely envelope the vocals on this track as we’re swept away on waves of effervescent melancholy, reminiscing of days gone by and lost love. A very impressive finale to a wonderfully fresh sounding album.

4/5

LINKS:

lacklustrerecords.bandcamp.com

facebook.com/earacheau/

blackwirerecords.bandcamp.com 

ABOUT THE AUTHOR: 

Del Chaney - (Author Photo)

Del Chaney has spent the last six 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.


NEW SINGLE - Corasandel - Unison Mix - Featured Image - (700x700)

NEW SINGLE | Corasandel - Unison Mix

Back in June 2018, 'Diving' - the then debut single Lincoln-based writing/producing partnership of Jimmy Osborne and Mark Merrifield aka 'Corasandel' absolutely blew us away here at Primal Music. The single hit us square in the face (from way out of left-field) and if we had of compiled a 'Best Single Of 2018' list it would have graced our top 3 without any hesitation as it was really that good. The band then followed up their debut single with the deeply melancholic 'Blenefill' before promptly disappearing into the Lincolnshire Wolds in the remote East of England to record their highly anticipated debut five track EP 'All The Hours Are One'. The final mixes of those recording sessions are now bearing fruit with the release of the bands brand new single entitled 'Unison Mix'. The EP is penned in for official release on April 26th 2019 and is available to pre-order with the lead single 'Unison Mix' a direct download right now via corasandel.bandcamp.com

'Unison Mix' begins with a flourish of turbulent frequencies before launching into a swirling cloud of effervescent reverb. Slow moving percussion keeps a steady backbeat as the constant throb of bass frequencies meander just below the mix. Soaring guitars hover elegantly over an ambient strewn landscape, carefully enveloping that fragile vocal line, as the track glides through hazy passages of shoegaze brilliantly infused with beautifully entrancing post-rock inspired instrumentation. 'Unison Mix' is an impressive return to form by a band on the rise.

Recommended!

LINKS:


NEW SINGLE - Laveda - Dream.Sleep - Featured Image - (700x700)

NEW SINGLE | Laveda - Dream.Sleep.

'Dream.Sleep' is the debut single from New York-based lo-fi/dream-gaze duo 'Laveda'. Released on the 17th February 2019, 'Dream.Sleep' bounces into view shimmering gracefully on a repetitive line of guitar before we're swept away on waves of sequenced percussion, those humming bass frequencies and the intoxicating swells of twinkling synth. Catchy hooks and uplifting chorus breaks keep things really interesting and those beautiful vocalisations are seriously infectious. Whats not to like? We will definitely be keeping our beady eyes on this band going forwards!

'Dream.Sleep' is available to buy/download right now via lavedamusic.bandcamp.com

Recommended!

LINKS:

lavedamusic.bandcamp.com

instagram.com/lavedamusic/

facebook.com/lavedamusic/


EP REVIEW - Wozniak - The Space Between The Trees - Featured Image - (700x700)

EP REVIEW | Wozniak - The Space Between The Trees

ALBUM REVIEW - Wozniak - The Space Between The Trees - Post Image - (300x300)ARTIST: Wozniak

RELEASE: The Space Between The Trees

RELEASE DATE: February 9th 2019

RECORD COMPANY: Morningside Young Team Records 

For those of you new to this blog, Edinburg-based 'Wozniak' have been thrilling us with their musical incantations since way back in 2013, subtly changing and morphing their collective sound with each individual release and building something that is much more akin to an experimental sonic journey than it is to a definite generic specification. This latest collection of six tracks brilliantly named 'The Space Between The Trees' is the culmination of six years hard graft, moulding and sculpting a sound that differs from most bands around them. They experiment, forge their own path, create blueprints for future bands to explore and are not afraid to mess with song atmospherics or light & shade sonics. The band are made up of Simon Cuthbert-Kerr - guitar, Sarah Cuthbert-Kerr - guitar/vocals, John Sinclair - drums & Kevin Fraser - bass. 'The Space Between The Trees' gets it's official release through 'Morningside Young Team Records' on February 9th 2019, was mastered by Simon Scott of Slowdive fame and is available to pre-order right now on various formats including lovely vinyl via wozniak.bandcamp.com

The EP opens up with 'Slacker'. Droning instrumentation swirls around the twinkle of guitar as that slow moving percussion rattles into audible range pulling the slow hum of the bass notes with it. Haunting vocalisations glide into view on waves of reverb, hanging in a kind of suspended animation as the track slowly builds, adding layer after layer of shimmering production before falling headlong into a deep pool of fuzzy reverberation and on into that meandering line of atmospheric lead guitar. With sizzling shoegaze highlights and oodles of post-rock charm, 'Slacker' is absolutely sublime. 'Karate Kid' begins with a rumbling growl as the guitars grind through a distorted, noise rock inspired chord structure. A brilliant cascading bass line arrives, skipping through notes with ease and adding a solid spine to proceedings as a steady drum pattern welcomes snaking lead lines that plough into that huge wall of immovable reverb. There are atmospheric post-rock vibrations here too, melding perfectly with those 'in your face' noise rock connotations that are aptly tipped with some psychedelic flair. What is glaringly noticeable already as we skip through this opening tracks is the input of Kevin Fraser on bass duties. Gone are those huge slabs of bass frequencies (as heard on previous releases) in favour of more melodic bass lines that seem suit the bands overall sound, melding brilliantly with the surrounding instrumentation.

'Bone Caves' floats into the sonic arena on a sparse but brilliant drum track, spacious guitars and the soft hum of bass. Soaring lead lines echo and dance here, drenching the entire track with instant melody as it pulses through clouds of iridescent reverberation. With swirling psych, hazy shoegaze and melancholic post-rock streaming through it's opening passages, 'Bone Caves' subtly changes half way through, morphing into this enormous sonic behemoth. Huge cliffs of atmosphere add weight as the track swoops skywards, tumbling and spiralling through catchy chord structures before gliding out into the sonic ether. 'Bone Caves' is sublime and a definite album highlight for me. The albums lead track, 'Twin Sirens', arrives with a menacing edge. Catchy lines of guitar bellow on top of swirling instrumental drones as woozy lines of bass tip toe in between the lines and we glide on swirling waves of reverb. Breathtaking and melodic all at once, this track scoops the listener up with it as it moves, building meticulously into a raging cyclone of beautiful noise before carefully tumbling earthwards into a majestic finale.

The EP's penultimate piece is another doozie. 'Rilke' explodes into the sonic arena on a wave of noisy guitar. Layers of reverb cushion those huge production theatrics as animalistic guitar sounds are unceremoniously bent and sculpted into something left over from MBV's 'Loveless' album. Menacing in it's approach, it's an interesting pause before we're introduced to the EP's final track 'Deceiver'. Coming in at almost fourteen minutes, 'Deceiver' begins with a squally guitar structure and the odd pull of bass frequencies before those woozy lead lines arrive trapped in a bubble of reverb. Again, Wozniak build this track brilliantly, adding intense atmosphere and catchy bass thrills before the drums arrive and we push off away from the dock and head out into a magnificent sea of reverb. Sarah's fragile vocals ride the sonic wave as that brilliant line of bass throbs underneath and those swirls of guitar take your breath away. Instrumentally this track is brilliant, manoeuvring through the darker moments with ease and sounding more like a live recording than anything else. Throughout their back catalogue Wozniak have had this great knack of adding an expectant edge to their collective sound and this track does not disappoint. It explodes into a baying wall sonic energy as the band work through the gears, unleashing wave after wave of turbulent noise onto the waiting listener before the arrival of those haunting vocalisations calm proceedings down and we're led into the tracks finale. It's a wonderful ending to what is another huge step in the development of a band on a continuous upwards spiral.

While some 'music commentators' affiliate Wozniak as being on the forefront of an apparent 'Second Wave' of shoegaze, those who have been actively supporting the band from its earliest beginnings understand that it's two main protagonists - Simon & Sarah Cuthbert-Kerr love to explore the spaces between musical generics & modern sonic lines. They collectively exasperate the layered atmospherics around them, slipping in-between different genres to subtly morph and shape their individual parts into something abhorrently better. Shoegaze as a genre has significantly moved on from that god awful 'Second Wave' terminology and is now in a kind of continuous experimental flux. It pulls a veritable melting pot of other musical genres into its collective consciousness such as modern psych, electronica, noise-rock, post-rock, post-punk, indie-pop, dream-pop & other more alternative leaning sounds. As a consequence of this experimental flux, it is forever changing it's sonic make up and is experiencing a longevity that some music types thought would never happen. So for us to just lump Wozniak into that 'second wave of shoegaze' bracket is simply lazy reviewing as they're much, much more attuned to their sonic surroundings than that.

5/5

LINKS:

wozniak.bandcamp.com

twitter.com/band_wozniak

facebook.com/wozniakofficial

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six 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.