ALBUM REVIEW - MOTE - Samalas - Featured Image - (700x700)

ALBUM REVIEW | Mote - Samalas

ARTIST: Mote

RELEASE: Samalas

RELEASE DATE: 14th March 2019

RECORD COMPANY: Unsigned

Melbourne-based quartet 'Mote' unleash a cataclysmic whirligig of sound on their latest long player with every single track literally filled to the brim with motorik krautrock, modern experimental psych and futuristically attuned spaced out jams. Since unleashing their sizzling five track 'Recordings I' back in 2017 the band have garnered some serious attention from fans on the worldwide underground psych scene and now they've unleashed an absolute sonic behemoth entitled 'Samalas', their debut seven track release. Officially unveiled back on March 14th, 'Samalas' is a brutish tour de force that takes the listener on a white knuckle, lysergic tinged, sonic thrill ride of ingenious proportions. The album is available to buy/download right now on various formats via motemelbourne.bandcamp.com

Swirls of droning notes echo and pulse alongside glitchenous electronic frequencies as the opening salvos of ‘Awesome Wells’ permeate the sonic ether. Rattling percussion and the soft purr of acoustic vibes arrive next to meld with twanging guitar and huge swathes of reverb, creating a perfect plunge point just as the track begins to pick up tempo and starts to resonate perfectly. There are sampled vocals here, swirling motorik krautrock like rhythms deftly straddled by addictive throbs of bass that are all wonderfully constructed around that continuous instrumental drone. Massive in stature and fantastically addictive, ‘Awesome Wells’ is an absolute triumph. ‘Jolo’ unfurls it’s sonic tendrils and wraps its cinematic self around a blistering line of guitar and a swirling instrumental drone. Explosive drum patterns exacerbate it’s space rock credentials as we’re spun in and out of catchy chord structures and those wonderful eastern esoteric vibes. Coming in at a whopping nine minutes plus, ‘Jolo’ pulls on the heart strings a tad as it drags you through huge walls of woozy wah wah led guitar and bounces you atop of those huge bass progressions until we’re led into a brilliant break about halfway through that spirals wonderfully into a cacophony of swirling sonic atmospherics. ‘Jolo’ is a seismic sonic blast and an album highlight for me.

‘Requiem For Al’ begins with a slow moving drone and the soft pulse of repetitive bass notes. Luscious lines of guitar float on top of of reverberating waves of noise leading us gently into massive atmospherically charged chord changes that instil a melancholic edge to proceedings before we fall into that behemoth like break and on into the tracks final throws. Up next, ‘Adventure Call’ slides into the ether on a synth led progression before winding itself up into a magnificent krautrock gem. Wailing guitars, cascading lines of bass and turbulent instrumental drones join in with the sonic melee, adding an intense ambient styled atmosphere until the arrival of the lead guitar that seems to whip and cajole the entire track and that twinkling line of synth that seems to run the gauntlet just below the mix. ‘Adventure Call’ is a fascinating track , possibly my favourite on the entire release and one that I will keep coming back to again & again . The albums title track  'Samalas' is a fourteen minute plus sonic adventure of monolithic proportions mixed with monumentous passages of modern psych, some far out space rock and a sprinkling of ambient abandonment. It builds brilliantly from the off, tumbling through lysergic tinged clouds of frequency laden reverberations peppered with intricate instrumental structures that knit together brilliantly giving off a feel more like a live jam than a track on a studio album. Huge in scope, ‘Samalas’ is absolutely immense.

Having bought the album digitally via bandcamp to support the band, I was pleased to see that it came with two bonus tracks. ‘Magnetic Space’ swirls into the ether on a chittering drone before the arrival of repetitive guitars and drums that collectively cut a wedge into those booming bass heavy notes. Its vocal lines are entrancing, consumed by reverb and hang in a kind of suspended animation just above the charging percussion as the lines of lead guitar undulate in and out of explosive drum fills whilst ‘Hollow’ meanders into audible range on the now customary instrumental drone before a brilliantly constructed bass line ushers in noisy guitars and a steady back beat all the while building into this futuristic sounding sonic behemoth. Reminiscent at times to those UK-based experimental psych heads ‘Dead Sea Apes’, ‘Hollow’ closes out what is now a new addition to my ‘Best Album Releases Of 2019’ list.

5/5

LINKS:

motemelbourne.bandcamp.com

facebook.com/motemelbourne/

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 | The Dandelions - Old Habits & New Ways Of the Dandelion - Featured Image - (700x700)

EXCLUSIVE ALBUM STREAM | The Dandelion - Old Habits & New Ways Of The Dandelion

With a sonic style that swirls effortlessly inside a generous melding of warm psych-folk, explosive garage psych and entrancingly fuzzy sixties sounding musings (or retro-psych as the kids like to call it these days), 'The Dandelion' began life as a solo project by 'The Dolly Rocker Movement' frontman, Daniel J Poulter, eventually releasing it's debut long player 'The Strange Case Of The Dandelion' back in 2013. Shortly after the release however,  Poulter walked out and the super talented Nathalie de Silver took over songwriting duties, subsequently releasing some impressive collections of music alongside a revolving door of live musicians. The current line up though, consists of Nathalie de Silver - vocals/guitar/songwriting/producer, Laura Murdoch - organ/vocals/theremin, Josh White - drums/vocals & Lauren Crew - bassWith a brilliant self-titled EP released in 2014, a very interesting sophomore release in 2015 called 'Seeds Flowers and Magical Powers of The Dandelion' and a dedicated worldwide following, 'The Dandelion' have announced a brand new thirteen track album entitled 'Old Habits & New Ways Of The Dandelion' via Greek-based independent record label 'Blackspin Records', and a European tour throughout April taking in France, Spain, Greece, England, Scotland, Belgium, Austria, Croatia & Germany to support the album. 'Old Habits & New Ways Of The Dandelion' is penned in for official release on April 1st 2019 and will be available on various vinyl formats via blackspin.gr

'Old Habits & New Ways Of The Dandelion' begins tumbling in a haze of instrumental drones, military style drumming and the unmistakable pull of wind instrumentation as 'Garden Of Yi' opens up into a kaleidoscope of sonic colour spinning in kind of psychedelic surf rock tinge. Swells of electric organ and the pitter patter of reverb cushion de Silver's luscious vocalisations throughout as tingling slide guitar and those melodic incantations ebb and flow. 'Old Habits New Ways' undulates into audible range on a woozy line of organ as the comforting tones of cascading bass frequencies meander beneath and the slow metronomic swing of percussion keeps a wonderful back beat. Shimmering vocalisations meld with soaring clouds of reverb and those soothing backing vocals as accompanying drones and that delicious lead guitar intertwine to form a glorious wall of noise. Up next, 'El Poncho Rojo' oozes west coast charm with it's busy percussive pattern, those addictive guitars and it's subtle rockabilly sensibility whilst 'Beneath The Rowan Tree' has infectious psych-folk and esoteric middle eastern connotations brilliantly overlaid with classical sonic tones and passages of stunning wind instrumentation that collectively sweep you off your feet.

'All I Ever' opens up swirling on hazy acoustic vibrations before more eastern tinged instrumental accompaniments arrive to superbly envelope Nathalie's vocalisations. Handclaps, tambourine hits and woozy lines of guitar sway blissfully on top of those hypnotic percussive patterns as we float on waves of psychotropic sonic abandonment. Up next, 'Who May Have Found God' is a classic 60's psych cut. Warbling lines of organ bounce on top of a busy percussive assault as we're led into the melee. Bass notes hum and that shimmering vocal line takes centre stage, gently leading us by the hand into that magnificent finale. Infectious, addictive and beautifully constructed, 'Who May Have Found God' is a definite album highlight. 'The Holy Son (What Have You Become?)' begins on a line of acoustic guitar before a flurry of hypnotic sitar and rumbling percussion arrives to pulse in unison with waves of bass frequencies and that washed out vocalisation. Swirling lines of organ add serious atmosphere here as those intricate lines of guitar spin sonic webs and the catchy chord structures completely entice the listener. 'Message From The Fire' shudders into audible range on tumbling drum pattern and a busy organ line. Wonderful structures of chugging guitar cling to a thumping bass signature as the vocals arrive and we're all collectively pulled headlong into that angry assault of lead guitar before 'de Silvers Dream' unfurls it's blissful, incantational tendrils and unleashes a wave of beautifully hypnotic psychedelic sounds on us all.

'Deep Down In The Hollow' is steeped in a swirling kind of retro vibe. Rattling percussion, fizzing guitars and swirling clouds of hazy reverb meld with addictive lines of vocal, swells of electronic frequencies and that sticky wah-wah that washes over everything. 'Deep Down In The Hollow' is another stand out track for me on this release. Up next, 'Song For All Seasons' gently brings us back down to earth, awash in hazy sound-waves and lysergic tinged instrumentation whilst the albums penultimate piece is another super sonic gem. 'Incognito' opens up with tumbling drums and a repetitive line of guitar before the arrival of delicious organ and that cascading bass line launches us out into the sonic ether. Nathalie de Silvers vocals are fantastic here, leaping in and out of heavier lines of guitar dipped in layers of shuddering reverb. Quieter moments permeated by rambling lead lines and warbling electronics stand out on this track and that impressive lead break is memorable. The album closes out with soft acoustic finger pickings floating on waves of iridescent reverb as 'The June Light' meanders into view. Hovering lines of hushed vocalisations amble into ear shot straddling melodic chord structures and catchy chord changes as we gently ripple outwards on soft waves of blissful sound. A marvellous ending to an impressive collection of tracks.

4/5

LINKS:

thedandelion.bandcamp.com

facebook.com/thedandelionmusic/

blackspin.gr

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 - The Underground Youth - Montage Images Of Lust & Fear - Featured Image - (700x700)

ALBUM REVIEW | The Underground Youth - Montage Images Of Lust & Fear

ARTIST: The Underground Youth

RELEASE: Montage Images Of Lust & Fear

RELEASE DATE: 29th March 2019

RECORD COMPANY: Fuzz Club Records

With a decade worth of releases under their belts, relentless touring and a massive worldwide cult following, immense Berlin via Manchester quartet 'The Underground Youth' are poised to release their most impressive long player to date. Brilliantly titled 'Montage Images Of Lust & Fear', the album was recorded live in studio, is the first record with all the band members involved in the writing process and is inspired by the succession of experiences we are increasingly dealt by the media. With guest musicians such as Kristof Hahn (Swans) playing lap steel guitar on six of the album’s nine songs, 'The Underground Youth' create both abrasively distorted psychedelia & haunting industrial tinged post-punk in equal measure on this album underscored with a raw tenacity that can only be captured in a live studio setting. The band are made up of Craig Dyer (vocals/guitar), Olya Dyer (percussion), Max James (bass) and Leo Kaage (guitar). 'Montage Images of Lust & Fear' is officially released on various formats via London-based Fuzz Club Records on the 29th March 2019 and is available to pre-order right now from fuzzclub.com & fuzzclub.bandcamp.com respectively.

Moody twangs of guitar peppered with repetitive hi-hat hits and waves of reverb announce the arrival of 'Sins', the opening track on this impressive release. It builds brilliantly before introducing the menacing vocals of Craig Dyer who seems to meld perfectly with the slow & meticulous rumble of percussion and those deep throbs of bass frequencies as the track meanders in and out of wide layers of hazy guitar and those intimidating lead lines. 'Sins' is an impressive opening salvo. Up next, 'Last Exit To Nowhere' fizzes into life with squally guitars before exploding into am sinister collective of instrumentation. Sounding like a coming together of the raw energy of Iggy's Stooges melded with the sharp abrasiveness of Suicide, this track drives into the ether on charging lines of melodic bass and an addictive percussive swagger. Angry swathes of guitar and that growling  impassioned vocal add dark atmosphere as subtle lead highlights skirt the outer edges to instil haunting post-punk overtones. 'Last Exit To Nowhere' is sublime and a definite album highlight for me. 'The Death of The Author' begins with a smash of glass, swirling reverberations and a deeply entrancing bass signature. Repetitive in it's beginnings, the vocals glide over the ensuing instrumentation with ease as menacing fret noise dances just below the mix. The track explodes into a riot of visceral  sound-waves as the chorus parts erupt, enveloping Dyer's macabre vocalisations perfectly as collectively they swirls in amongst the angry, cyclonic instrumentation.

'This Is But A Dream' bursts into life trapped in a haze of fuzz and reverb. Bouncing bass progressions dance alongside rattling shakers and angry guitar theatrics before the vocals arrive, balancing precariously on the edge of that rumbling percussive assault whilst 'Too Innocent To Be True' with it's more heartfelt approach is a welcome breath of fresh air aided in part by those addictive lines of lap steel guitar courtesy of guest musician Kristof Hahn (Swans) that glide effortlessly alongside the baritone vocal sounds of Craig Dyer. Beautifully executed and lyrically brilliant, 'Too Innocent To Be True' is absolutely magnificent. Up next, 'Blind' slowly opens up on warbling on a woozy bass line and swirling undertones of guitar before snake like shakers pull fret noise and another impressive vocal performance. Eerie atmospherics swirl deep within dark sonics as this spacious track works through it gears, building meticulously with each chord progression, winding itself up to strike until the arrival of that pointed line of lead guitar and those hypnotic organ swells ease the pressure and we begin the process all over again.

'Blind II' has noisy garage psych connotations as it blazes into the sonic ether on a bedrock of rattling percussive, throbbing bass frequencies and noisy guitars, collectively embracing those morose vocalisations that seem to switch attack from light to dark with relative ease. Another impressive track, 'Blind II' is a definite highlight here. The albums penultimate piece entitled 'I Can't Resist' begins with short stabs of glistening instrumentation underscored by a gliding bass line and those meandering lines of lead guitar that circumnavigate another impassioned vocal line. Building in both intensity and tempo at various stages throughout, 'I Can't Resist' is addictively seductive. The album closes out with 'This Anaesthetised World', a slow burning and deeply melancholic piece filled with repetitive guitar progressions, soothing bass lines and swirling lines of reverb infused lead that build & cling to Dyer's vocals whilst guiding the listener into that tempestuous finale. Impressive stuff indeed.

5/5

LINKS:

fuzzclub.com

facebook.com/TheUndergroundYouth

theundergroundyouth.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.

 


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.


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.


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.


ALBUM REVIEW - TAU - TAU & The Drones Of Praise - Featured Image - (700x700)

ALBUM REVIEW | TAU - TAU & The Drones Of Praise

ARTIST: TAU

RELEASE: TAU & The Drones Of Praise 

RELEASE DATE: 2nd February 2019

RECORD COMPANY: Drones Of Praise Records 

'TAU & The Drones Of Praise' is the highly anticipated sophomore release from Berlin-based neo-psych collective TAU. Filled with rhythmic tribal incantations, swirling shamanic mantras and lysergic tinged instrumentation 'TAU & The Drones Of Praise' dips it's impressive sonic tendrils into a fascinating variety of music genres from psych-folk to krautrock, modern day psychedelia to eastern tinged neo-psych, all with a deft nod to esoteric spiritualism & sonic experimentalism. Formed by Dubliner Shaun Mulrooney (Dead Skeletons/Camera) after an excursion through the deserts of the American Southwest, TAU unleashed their debut long player 'Tau Tau Tau Tau' back in September 2016 through the very veritable Fuzz Club Records to positive acclaim. The aforementioned debut release featured guest musicians such as Christoph 'Tiger' Bartlett (Kadavar), John Jeffery (Moon Duo) and Valo from the brilliant Soft Moon to name but a few. With this latest sophomore long player from the band getting it's full release on the 2nd February 2019 through Drones Of Praise Records & Sound Effects Records you can expect to hear a rolling menagerie of guest musicians such as Andy Aged (Celtic Harp) and Idris Ackamoor's cosmic saxophone interpretations. 'TAU & The Drones Of Praise' is available to pre-order right now via tauofficial.bandcamp.com

Frequency laden incantations swirl effortlessly around a spiralling rhythmic percussive assault as the opening salvos of ‘It’s Already Written’, the albums emphatic lead track. Featuring Idris Ackamoor (Pyramid) on saxophone & Andy Aged on Celtic Harp, it unfurls it’s sonic tendrils to carefully envelope this listeners entire cranium. A deft injection of pulsating drums arrive at speed to add serious weight to those metronomic percussions as TAU unleash a psychotropic avalanche of kraut tinged melodic sound-waves filled to the brim with lucid lines of guitar, instrumental drones, harp, haunting synths, impressive backing vocals and that magnificent meandering saxophone that seems to tie everything together brilliantly as we collectively glide through hallucinogenic clouds of reverb, desperately trying to catch up with the undulating vocal tones of head honcho Sean Mulrooney. This is absolutely superb and as opening tracks go ‘It’s Already Written’ is a monumental triumph and an album highlight for me. Up next, ‘Tonaith’ drones into existence trapped in a slow burning slice of experimental neo-psychadelia. Mulrooney’s opium hued spoken word clings to weaving lines of slow moving instrumentation that weaves and ebbs through masses of atmosphere, pulling twinkling percussion, flute and bone shaking guitar strums with it into the mix before collectively deploying them to blistering aplomb.

‘Craw’ whispers into existence hovering on waves of atmospheric synth as the gentle pull of melodically inclined acoustic guitar accompanies an almost psych-folk feel. The arrival of strings, sitar and the receptiveness of that meandering guitar move and dance as one before the vocals arrive and instantly inject an eastern esoteric air of brilliance. ‘Craw’ is deeply enchanting and another favourite track of mine. ‘New Medicine’ has a subtle west coast 60’s psych feel pouring from it’s impressive sonic pores whilst ‘Erasitexis’ dives headlong into the more modern sounding experimental psych-folk genre. An entrancing blend of mesmerising instrumentation accompanies hallucinogenic vocalisations layered with stunning lines of backing vocals that collectively lift this listener skywards and out into the infinite sonic ether. ‘The Sturgeon’ chugs into audible range on pulsating bass frequencies as the underlying rattle of instrumental spoons keep a steady metronomic tempo allowing those shamanic vocalisations to take hold and the lysergic injection of heavier guitars to shake the roof. Meandering lines of synth meld with experimental passages of instrumentation, whispering lines of vocal and catchy chord structures that at times swerve into prog rock territory before deftly skipping back out into experimental psych.

‘Dance The Traps’, the albums penultimate piece, drones and swirls into the ether carefully orbiting the poetic vocal tones of Sean Mulrooney. Subtle fret noises merges with hovering swells of feedback and the twinkling plink of piano as we incrementally rise with every single spoken word. Sporadic percussive hits meander just below the mix as the expectant plunge into the sonic abyss arrives. We dive headlong into a massive pool of angry atmospheric noise, filled with heavy bass tones and angry guitars as those heady vocalisations make the senses swim. ‘Dance The Traps’ is impressive and should be released as a single at some point. ‘TAU & The Drones Of Praise’ closes out with a beautiful track entitled 'The Seer'. Magical lines of guitar accompany a mesmerising vocal as subtle swells of synth bubble and move just below the mix, rattling atop of slow moving percussion to collectively inject some summer warmth into the opening months of 2019.

Is iontach. Go raibh math agat mo chara ...

5/5

LINKS:

tauofficial.bandcamp.com

facebook.com/tauberlin/

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.