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.


ALBUM REVIEW - Tengger - Segye - Featured Image - (700x700)

ALBUM REVIEW | Tengger - Segye

ARTIST: Tengger

RELEASE: Segye

RELEASE DATE: 22nd February 2019

RECORD COMPANY: Cardinal Fuzz / Sunrise Ocean Bender

Originally formed back in Seoul, South Korea in 2005, 'Tengger' began life as 10, switching their name to (((10))) after the dreadful earthquake in Japan in 2010 before expanding their name officially to 'Tengger' in 2012. With a dynamic sound that hovers elegantly in a cloud of progressive, droning electronica melded with krautrock, atmospheric neo-psychedelica and born out of real world experiences, Itta - voice/Indian harmonium/toys and Marqido - analogue synths began touring around USA, Asia & Europe. Audience reactions, personal remembrances and life experiences on the road began to solidify their collective sound, allowing them to unleash a plethora of impressive releases until eventually in 2016 the band began to write and record their totally immersive eight track long player 'Seyge'. Originally released on cassette by Guruguru Brain, 'Seyge' gets it's vinyl release on the 22nd of February 2019 through the good folks over at Cardinal Fuzz (UK/Europe) and Sunrise Ocean Bender (US/NA) and can be pre-ordered right now via cardinalfuzz.bigcartel.comsunriseoceanbender.bigcartel.com

Whirling synths pulsing through layers of intoxicating reverberation announces the arrival of 'Donggrami', the opening salvo on this addictive release. It meanders through a multitude of frequency laden sonic parameters, building in intensity before adding harmonic vocalisations steeped in deeply entrancing melody as we continue along in a trance like state, tumbling unabashed inside that spiralling whirlwind of intoxicating sound. Up next, 'Haeoragi' begins with a repetitive line of synth riding a swirling instrumental drone that seems to rise and fall effortlessly through hazy clouds of reverb. Steeped in melody, it builds and builds into something akin to a living organism, creating its own tempo (even in the absence of any percussion) as it gyrates through a multi-faceted sonic sequence of swirling electronics. Calm almost sloth like sonic permutations wash over this listener as it fades out into the ether before we're introduced to the shamanic incantations of 'Ollim'.

'Ollim' drives into audible range on a sequenced line of crunchy synth. Droning swells of instrumentation pull haunting vocalisations into the mix that build in intensity with every single note. Repetitive in it's approach, this track is steeped in experimentalism, leaning into a metronomic almost krautrock like stance at times. Shamanic, hypnotic and deeply spiritual,  'Ollim' is a standout track for me on this release. Up next, 'Eeeum' takes a pulsating but short atmospheric trip before 'Gubigubi Badabada' takes control and we're soon gliding on a wave of swirling, golden hued synth. Droning swells of simmering instrumentation arrive, rising and falling in a melodic splendour, all the while building in momentum until eventually we crash into those shimmering angelic vocalisations and on into the tracks finale. The next track, 'Gogae', arrives in a splendid sonic haze, pausing to take breath before it glides away on a wave of short lived droning synth.

The albums penultimate piece entitled 'Neoulneoul' pulses brilliantly on a line of repetitive and darkly atmospheric synth as splashes of calming reverb emanating from just below the mix send resonating ripples out into the sonic ether then we're into the albums final track, the mesmerising 'Geuglag Wansaeng'. A pacy, sequenced line of synth streams into audible range rocking ever so slightly on ricocheting instrumental delays as haunting vocalisations bubble up from below the mix steeped in wonderfully psychedelic, esoteric spiritualism. Probably my favourite track on the entire release, 'Geuglag Wansaeng' is a monumental triumph and a fascinating ending to a marvellous album.

4/5

LINKS:

sunriseoceanbender.bigcartel.com

cardinalfuzz.bigcartel.com

tengger.bandcamp.com

tengger.net

facebook.com/tenggerland

twitter.com/tenggerland

instagram.com/tenggerland/

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 - APTBS - Fuzz Club Session - Featured Image - (700x700)

ALBUM REVIEW | A Place To Bury Strangers - Fuzz Club Session

ALBUM REVIEW - APTBS - Fuzz Club Session - Post Image - (300x300)ARTIST: A Place To Bury Strangers

RELEASE: Fuzz Club Session

RELEASE DATE: 15th February 2019

RECORD COMPANY: Fuzz Club Records 

'APTBS' have been plying their trade for nigh on a decade now, pummelling ears and breaking craniums with their sizzling brand of fuzzed out atmospheric noise-rock. Famously tagged with the ridiculous 'loudest band in NYC' monikor, the band have continuously amazed those who have seen them live, changing up their sound with every single gig and each time unleashing a darkly twisted cyclonic assault on their baying fanbase in the process. Following on from their 2018 released long player 'Pinned' and at the end of a European tour in support of the album, the trio spent the day at Lovebuzz Studio in South London to record a live session for  'Fuzz Club Records', who have the arduous task of capturing the band's full live sonic might on a vinyl only release. With tracks lifted from Pinned (‘Never Coming Back’ and ‘Punch Back’), 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’), this is a must have release for both long time fans of the band and for those wanting to experience the sheer sonic might of a band who's sound has been perfected by months on the road. APTBS - 'Fuzz Club Session' is officially unleashed on the February 15th 2019 and is available to pre-order as a vinyl only release right now via fuzzclub.com

A pulsating whirl of sonic intensity hits you sure on the jaw as 'We've Come So Far' enters the arena. Originally released on 'Transfixion' back in 2015, it explodes into a swirling cacophony of reconfigured percussion, driving bass frequencies and wailing guitars that lash and cajole the track to within an inch of its life. Haunting vocalisations appear out of the muggy frequency laden fog, ricocheting  on top of the tightly repetitive drum pattern and the constant chug of maliciously angry bass frequencies as Oliver Ackermann, the band’s vocalist/guitarist and founding member unleashes a fury of infectiously raw guitar lines that seem to cling to absolutely everything. 'We've Come So Far' was sublime on the original studio album back in 2015 but it has been redesigned here as a different animal altogether. Up next, 'Drill it Up' erupts into a cloud of dark, sluggish atmosphere. Walls of heavy bass twang and buffer brilliantly as those charging drums ride rough shot all over the mix, cymbal's crashing, those fills and rolls sounding like explosions of thunder as Ackermans snarling vocals accompany distorted lines of guitar as they scream skywards. Originally released on 2012's 'Onwards To the Wall', 'Drill It Up' is a swirling sonic animal on this live release.

'Never Coming Back', lifted off the bands latest long player 'Pinned', begins wailing in a malicious feedback laden cloud before twisting into a kind of driving, bass heavy post-punk hue. Duel vocalisations courtesy of  both Ackerman & new drummer Lia Simone Braswell, who joined the band just last year, are up front, raw and in your face as they lead us through the verse parts, building in intensity at the arrival of guitars and driving percussion as we fall into that delicious chorus attack. Dion Lunadon’s bass line holds everything together here freeing up both drums and guitars to sync & change tempo when needed. 'Never Coming Back' charges into a huge crescendo of wailing noise before falling back into it's quick step finale. The brilliant 'Punch Back', also taken from 'Pinned', is led out on vocals by Lia Simone Braswell, who's voice suits this tracks intensity. Charging drum patterns meld with cascading lines of bass and sublime layers of guitar as the band collectively create a huge wall of non-stop, raging sonic noise until we're led into swirling opening salvos of the magnificent 'Ocean'.

'Ocean' was originally released on the band self-titled album back in 2007. Here, it is deftly reimagined into swirling psychedelically charged behemoth drenched in layers of reverb and meticulously stacked with raging walls of feedback-laden guitar, busy percussion and sullen bass lines. Again, Ackermans brilliant vocal seems to come from out of nowhere, floating on the sonic melee below but barely audible above the ensuing din as Braswell keeps a steady metronomic time and Lunadon's remorseless bass signature undulates throughout. For long time fans of the band 'Ocean' will stir the senses here as the full weight of the bands sonic fury hits you like a cataclysmic punch in the face. The live session concludes with a previously unreleased track. ‘Chrome Shadow’ rattles on a bedrock of percussion, throbbing bass pulls & scuzzy guitar trickery. Deeply atmospheric, the cascading bass line materialises out of the gloom, instantly solidifying the track as those wailing vocalisations drenched in effects meld as one with those screaming lines of guitar. Momentary instrumental pauses add weight as catchy chord changes and layers of reverb combine to make one fantastic closing salvo.

4/5

LINKS:

fuzzclub.com

twitter.com/APTBS

facebook.com/aplacetoburystrangers/

aplacetoburystrangers.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, 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 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.


EP REVIEW - Hanford Reach - Nathalie - Featured Image - (700x700)

EP REVIEW | Hanford Reach - Nathalie

ARTIST: Hanford Reach

RELEASE: Nathalie EP

RELEASE DATE: 25th January 2019

RECORD COMPANY: Medium Lavender Music 

Brooklyn-based 'Hanford Reach' first tweaked our radar back in 2017 just before the release of their debut four track EP 'Canyons'. Since then the recording duo, consisting of Chris Sherman & Leah Cinnamon, have released a splattering of singles leading up to this brand new four track release entitled 'Nathalie'. Spanning a multitude of sonic disciplines, 'Hanford Reach' create solid, melody filled standards stuffed to the brim with ear catching chord structures and clever instrumentation. 'Nathalie' was officially released on the 25th January 2019 via the bands own record label 'Medium Lavender Music' and is available to buy/download right now from hanfordreach.bandcamp.com

The EP open up with 'Ontario'; driving guitars ride a ridiculously live sounding drum pattern before collectively imploding into a swirling cacophony of golden tinged synth and the luscious pull of cleverly created bass frequencies. Steeped in punchy and  woozy psych-pop, the vocal lines courtesy of Chris Sherman, cut through the instrumentation brilliantly, instilling melody and an overall freshness to a sound that we've come to know from the bands previous releases. Up next, 'Microfiche' arrives swaying to a slow moving percussive swagger and trapped in a dense cloud of jangling guitars. Featuring Dan Kendall on synths and effects, the track glides gracefully on that cascading baseline before falling into precise reverb filled instrumental pauses with ease and capturing another impressive vocal performance wonderfully.

'Asunder', the EP's lead track, resonates into audible range on splurge of guitar trickery and jazzy drum pattern before woozy bass notes and swells of synth arrive to back up that fragile vocal line. Building majestically, it charges into a fantastic chorus change, led in part by a blistering lead guitar line and explosive drum rolls. Melodic in intensity and brilliantly executed, 'Asunder' is a definite EP highlight for me. 'Nathalie' closes out with 'Morning Phantoms', a busy psychedelically leaning sonic behemoth that loops and arcs through layers of glistening reverb and those jangling lines of guitar. Irresistibly catchy, the bass line meanders and snakes just below the mix, intertwining with those huge drum fills and the addictive swell of woozy synth while the vocal lines ride the infectious sonic melee below. It's a great ending to another impressive Handford Reach release.

4/5

LINKS:

soundcloud.com/hanfordreach

hanfordreach.bandcamp.com

facebook.com/HanfordReach

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 - Steeple Remove - Vonal-Axis - Featured Image - (700x700)

ALBUM REVIEW | Steeple Remove - Vonal Axis

ARTIST: Steeple Remove

RELEASE: Vonal-Axis

RELEASE DATE: 30th November 2018

RECORD COMPANY: Fuzz Club Records

With a career that spans two decades and a perplexing sound that drones through shoegaze, krautrock, psych pop, post-punk and deep experimentalism, 'Steeple Remove' dip their impressive musical tendrils into a variety of sonic worlds. Their debut album 'The Importance Of Being Steeple Remove' was released back in 1998 on cult label Sordide Sentimental who put out earlier works from the likes of Joy Division, Throbbing Gristle and Psychic TV, not returning until eight years later with 'Radio Silence' in 2006 and 'Electric Suite' in 2008, both marking a change in direction away from their experimental electronica days and unveiling a sound filled with krautrock, psychedelic rock and sullen atmospheric pop. With a few live shows and the odd single release in-between the band unleashed 'Position Normal' back in 2014 receiving monumental praise. Steeple Remove is Arno Van Colen - vocals/synth, Walter Thomas - percussion, Mana Audisio - guitars & David B - bass. The French-based quartet returned late last year with a blistering nine track opus entitled 'Vonal-Axis', recorded by the band themselves on an old 8 track recorder, mixed by Demian Castellanos (The Oscillation) and officially released back in November 2018 through the good folks over at Fuzz Club Records. You can get your hands on it right now on various formats via fuzzclub.comfuzzclub.bandcamp.com

'Oval-Stril' kicks off proceedings swirling within an instrumental droning strapped to a breakbeat and walls of luscious guitar. Hushed vocalisations cling just below the mix, gliding on top of cascading bass notes that cut through layers of intense melody and woozy reverberation. Up next, 'Blood Veins' echoes into audible range stuck top a bedrock of repetitive percussion and electronic bleeps & whirls. Howling drones accompany angry bass tones into the atmospheric abyss as 'Steeple Remove' unleash their experimental side sounding more like Nine Inch Nails colliding with energetic drive of The Stooges. Vocal lines cut through swathes of reverb and those catchy chorus changes impresses immensely as howling lines of lead guitar intertwine with that more abrasive industrial sound. The instrumental 'Ferris Noir' resonates through eerie atmospheric drones, distorted passages of lead guitar and heavy bass frequencies whilst the opening bars 'Set It' lean slightly into a more electronic vibe with those sequenced percussive accompaniments before eventually exploding into a menacing cut of garage psych that balances precariously on a repetitive instrumental chord structure. Filled with swirling lines of synth, cutting vocalisations and angry guitars, 'Set It' is a definite album highlight.

'In Dreams' glides into earshot on a woozy wave of droning synth as jazz like instrumentation, a slow moving drum track and a female vocal swirls into the light. Fuzzy, repetitive bass notes bounce and hover just below that hallucinogenic tempo as soaring lines of lead guitar weave a sonic web, connecting the dots brilliantly with intricate trails of reverb clinging to every single note. 'Monochrome Continuum' screams into the ether on a resonating drone before that off kilter drum pattern arrives pulling bouncing bass lines into the mix accompanied by walls of synth laden noise. Catchy chorus changes lift the entire piece allowing lines of lead guitar to dance and flow in between those melody filled vocal lines whilst 'In The Waves' begins with a flurry of energetic frequencies as lines of feedback laden guitar and subtle swells of synth merge into one magnificent wall of sound. Pacy, kraut like drums add weight, building slowly alongside cascading keyboard frills and the drone of angry bass before the vocals arrive and we're spiralling into the ether on a blistering psychoactive chorus change. 'In The Waves' is sublime and another album highlight for me.

The albums penultimate piece entitled 'Waters' exploders into life with a steady rumble of drums before lines of hallucinogenic synth and a punishing wall of guitar arrive, bouncing on a line of catchy bass notes. Theres as summery 70's psych vibe swirling here that is infectious as kraut like experimentation mingles perfectly with golden hued psychedelic abandonment. Catchy vocals etched with golden reverberation cling to the instrumentation perfectly as we'e scooped up and brought on a soaring kaleidoscopic thrill ride. The album closes out with instrumental 'Pink Ferris'. Futuristic in it's approach, it has electronic vibes deftly twisted and shaped into that post-punk styled engine room and adorned with a modern garland of entrancing psychedelic instrumentation. A very interesting experimental finale to a really great album.

4/5

LINKS:

fuzzclub.bandcamp.com

fuzzclub.com 

facebook.com/SteepleRemoveFR/

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, 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 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 - Fawns Of Love - Permanent - Featured Image - (700x700)

ALBUM REVIEW | Fawns Of Love - Permanent

ALBUM REVIEW - Fawns Of Love - Permanent - Post Image - (300x300)ARTIST: Fawns Of Love

RELEASE: Permanent

RELEASE DATE: January 18th 2019

RECORD COMPANY: Test pattern Records 

California-based husband and wife team of Jenny & Joseph Andreotti aka 'Fawns Of Love' have made huge strides in the development of their collective sound over the past eighteen months. Since the release of their debut album 'Who Cares About Tomorrow' back in 2017 they have matured their sonic techniques, concentrating on melody, intricate instrumentation and instilling a serene calmness into their overall sound that is both breathtaking & atmospheric all at once. Their addictive twist on the traditional ethereal dream-pop sound should be applauded for being both forward thinking and experimental in it's approach. Injecting raw slices of shoegaze, walls of shimmering reverb and moments of immersive post-punk into a distinctly 80's sounding sonic platform is a joy to hear. The band have returned with a blistering full length release entitled 'Permanent' through Sacramento-based 'Test Pattern Records'. It's penned in for official release on January 18th 2019, was mixed and mastered by Josiah Mazzaschi (whose credits include The Jesus & Mary Chain & Built to Spill) and is available to pre-order right now on various formats including lovely vinyl via fawnsoflove.bandcamp.com

The soft pulse of electronic percussion announces the arrival of ‘Someday’, the albums opening track and it’s not long before we’re scooped up and whisked off our feet, tumbling gracefully in a flurry of intricate guitar lines and clouds of hazy reverberation. Swells of synth bubble and sway from below the mix, merging with the orbiting instrumentation and adding serene atmospherics to proceedings as Jenny Andreotti's gentle vocal tones glide effortlessly on waves of shimmering electronics. ‘Someday’ is absolutely sublime, a wonderful opener and one of the many track highlights on this impressive album. Up next, ‘December’ dances into the ether trapped in a sequence of pounding drum hits, trembling lines of guitar and swells of beautifully entrancing synth. Ethereal vocal lines come into view, swimming in a sea of reverb that seems to catch her tone perfectly, gently melding it with those glistening swirls of reverb to collectively envelope the entire mix. Reminiscent at times to 80’s sounding New Order colliding with the ethereal qualities of the Cocteau Twins, ‘December’ is deliciously majestic.

‘Horoscope’ oozes a kind of sentimental coolness that is very hard to shake off. It sways into audible range on layers of synth and a totally addictive drum pattern. Rhythmic electronic incantations twitch and run alongside those rambling lines of guitar, carefully circumnavigating a pristine vocal take as we glide and move with every single note. Graceful in it’s attack and beautifully serene, ‘Horoscope’ is another little sonic gem. ‘Permanent’ arrives trapped in a cloud of intense melody as it’s swirling instrumental drones mix with huge swells of synth and the rush of reverb leaves you breathless. Guitar lines intertwine with the ricochet of percussion as the vocal cuts a deep furrow straight through the mix with relative ease whilst ‘Mournful Eyes’ sees the band continuing to experiment with their sonic craft, injecting sequenced electronics and repetitive percussive loops with melodic guitars, simmering swells of synth and swooning vocalisations to collectively create something altogether magical.

‘Divine’ echoes into existence on a wave of swirling instrumentation as ghostly vocalisations materialise out of those huge waves of reverberation. The pitter patter of electronic percussion holds a steady rhythmic pattern here as floating electronics and cascading bass frequencies dance and flow just below the mix and that constant pull of guitar is ever-present. Wonderfully  ethereal, ‘Divine’ is a sublime track and should of been a lead single. The albums penultimate piece entitled ‘Anarchy & Kisses’ unfurls it’s sonic tendrils and tumbles brilliantly into a cloud of hazy instrumentation as Fawns Of Love inject their now trademark sting of shimmering melody. Repetitive guitars arrive to pierce through the woozy layers of production as Jenny’s ethereal vocalisations float into view, now wrapped in a warm blanket of reverberation, and proceed to glide with grace on top of the swirling sonic melee. Another fantastic track, ‘Anarchy & Kisses’ is simply beautiful. The album closes out with ‘Wasted Days’, a blissful sonic charge of intense melody and instrumental perfection. Swirling guitars, beautifully streamlined vocals, hazy synths and a repetitive rattle of electronic percussion collectively bring this magnificent album to a shimmering close.

4/5

LINKS:

fawnsoflove.bandcamp.com

fawnsoflove.com

facebook.com/fawnsoflove

twitter.com/fawnsoflove

testpatternrecords.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 - Wozniak - Twin Sirens - Featured Image - (700x700)

NEW SINGLE | Wozniak - Twin Sirens

With a brooding new single, a forthcoming new EP, a brand new bass player, working with Simon Scott from Slowdive and teetering on the cusp of their first vinyl release, mighty Edinburgh-based noise merchants 'Wozniak' have emerged from the shadows to shine a veritable sonic light on the opening act of 2019. 'Twin Sirens' is the first track to be lifted from a brand new EP entitled 'The Space Between The Tress', penned in for official release on February 9th 2019 via the good folks over at Morningside Young Team Records. Merging hazy passages of melodic shoegaze with soaring post-rock connotations and fuzzed out slabs of psych induced noise rock, 'Wozniak' are continuing to push musical boundaries and showing no signs of ever slowing down. The band are made up of Simon Cuthbert-Kerr - guitar, Sarah Cuthbert-Kerr - guitar/vocals, John Sinclair - drums & Kevin Fraser - bass. You can get your hands on the new single 'Twin Sirens'pre-order the full EP right now on various formats including lovely vinyl via wozniak.bandcamp.com

Recommended!

LINKS:

wozniak.bandcamp.com

twitter.com/band_wozniak

facebook.com/wozniakofficial


NEW SINGLE - Fawns Of Love - December - Featured Image - (700x700)

NEW SINGLE | Fawns Of Love - December

ICYMI: The wonderful 'Fawns Of Love' released their third and final single entitled 'December' from their brand new & highly anticipated long player via Test Pattern Records called 'Permanent', penned in for release on the 18th January and available to pre-order right now from fawnsoflove.bandcamp.com. Just incase you've been living under a rock for the past while, Joseph & Jenny Andreotti have been unleashing some stunning music over the past few years to burgeoning world-wide applause from both fans and peers alike. With a hint of 80's chic, some shoegaze highlights and lashings of synth led dream-pop, their song writing prowess has gone from strength to strength.

'December' dances into the ether trapped in a sequence of pounding kick drum hits, trembling lines of guitar and swells of beautifully entrancing synth. Jenny's ethereal vocal lines come into view, swimming in a sea of reverb that catches her tone perfectly, gently melding it with those glistening swirls of reverb to collectively envelope the entire mix. Reminiscent at times to 80's sounding New Order colliding with the ethereal qualities of the Cocteau Twins, 'December' only whets the appetite for whats to come on the full album.

If you want to get your hands on the single 'December' right away, it is currently available to buy/download via fawnsoflove.bandcamp.com 

Recommended!

LINKS:

fawnsoflove.bandcamp.com

fawnsoflove.com

facebook.com/fawnsoflove

twitter.com/fawnsoflove

testpatternrecords.com


NEW SINGLE - Sun Mahshene - Come Alive (Leave This City) - Featured Image - (700x700)

NEW SINGLE | Sun Mahshene - Come Alive (Leave This City)

Brilliant Dublin-based psych/gaze collective 'Sun Mahshene' have announced the second single entitled 'Come Alive (Leave This City)' to be lifted from their forthcoming & highly anticipated debut album 'Contradictions and Tales Of Fiction'. Penned in for release on the 11th January, 'Come Alive (Leave This City)' is a driving wedge of modern psych melded with swirling alternative led shoegaze with charging guitars, sizzling electronics, pounding drums and an absolutely magnificent bass line. Catchy chorus changes and that unmistakable vocal assault finish off the jam solidifying 'Sun Mahsnene' as one of the most exciting bands on todays underground psych scene. The band are made up of Nathan Henderson - guitar/vocals, Ian McGinn - guitar, Ryan Daffy - guitar, Darren Hughes - bass, David Murray - drums, Ray Burke - percussion/backing vocals & Robert Crosbie - keys/synth. The single was recorded and co-produced in Darklands Audio (Dublin, Ireland) with Dan Doherty. 

The single will be available on all major streaming and digital platforms from Friday, January 11th 2019.

Recommended!

LINKS:

sunmahshene.bandcamp.com

facebook.com/sunmahshene/

twitter.com/Sun_Mahshene


EP REVIEW | Sooner - Stranger

EP REVIEW - Sooner - Stranger EP - Post Image - (300x300)ARTIST: Sooner

RELEASE: Stranger EP

RELEASE DATE: 7th December 2018

RECORD COMPANY: Unsigned

Brooklyn-based dream-gazers 'Sooner' released their latest six track EP entitled 'Stranger' back on December 7th 2018 but due to our extended Christmas break we're only getting to it now. 'Stranger' represents a sea change in the bands collective sound as they've forgone with depending on their alternative rock leanings to concentrate more on those dreamily intricate pop sensibilities that littered their debut self-titled release back in 2017. Yes, their soundscapes are still steeped in shoegaze, but 'Sooner' are deploying the more dreamier almost ethereal side of their sound to good effect on this latest release. The band are made up of Federica Tassano - vocals, John Farris - guitar, Tom Wolfson - drums, & Ehren Brenner - bass. 'Stranger' was officially released back on December 7th 2018 and is available to buy/download right now via soonermusic.bandcamp.com

'Stranger' opens up rumbling on a rolling drum pattern and the soft twang of guitar as 'Humid Air' unfurls it's blissful sonic tones. With a jolt of immediate melody the track stirs, percussive patterns change and that woozy instrumentation cushions a beautiful line of vocal that leads us by there hand in to a magnificent chorus change. Catchy lines of guitar intertwine with the hum of cascading bass as Sooner's dream-pop influences come to the fore showcasing a strong start to this EP. 'Notes From The Underground' begins in a flurry of golden tinged frequencies as jangling guitars and a busy bass signature rattle on top of that steadying drum pattern. A song of two halves, 'From The Underground' melds the soft hushed tones of modern dream-pop with the hazy reverberating whoosh of shoegaze. My favourite track on the entire release, it is filled with intricate lines of instrumentation that wrap themselves around Frederica's vocal line brilliantly.

'Mean' slows things down a tad. Beautifully entrancing and deeply melodic, it's standout moments are full of vocal flair and that woozily addictive guitar that seems to envelope everything as the almost metronomic stomp of drums keeps a steady tempo. Up next, 'Breathing' glides into the ether on a bedrock of jangling guitars, break-beat styled drum patterns and the throb of that hovering bass line. Vocally brilliant again, it's lead guitar uses that space between breaths to full advantage here and also the use of instrumental pauses needs to be applauded as they work really well. There's a refreshing almost atmospheric post-punk edge to 'Lily (Regrets)' that catches the ear as it begins with a melodic guitar line punctuated by heavier stabs of instrumentation. Slow moving at first, it builds into this driving monolith, switching into a woozy freak-out mode driven by that charging bass line and thunderous percussion before falling back into those melodic lines of guitar and on into the tracks finale. The 'Stranger' EP closes out with 'Right There'. One minute plus of layered instrumentation drenched in swirling reverberation with a vocal line sunk into the cyclonic sonic melee. All in all a fantastic ending to a wonderful EP.

4/5

LINKS:

soonermusic.bandcamp.com

facebook.com/Soonersounds

instagram.com/sooner_band/

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.