ALBUM REVIEW | The Battles Of Winter - At Once With Tattered Sails

AOWTS-Front-1400-300dpi.jpgARTIST: The Battles Of Winter

RELEASE: At Once With Tattered Sails

RELEASE DATE: 23 September 2016

RECORD COMPANY: Unsigned

Post-Rock, Post-Punk with a bit of Alt-Rock and Indie thrown in you say? Well, 'The Battles of Winter' reply swiftly and smartly with their brand new album 'At Once With Tattered Sails'. In what could be the most well produced album I’ve heard from a non-major label in quite a while, the band weave through many sounds to create a dark and atmospheric post-punk album; helped substantially by the amazingly deep and heavy vocals of the album.

'At Once With Tattered Sails' begins with ‘Falcons’ an eerie, post-punk laden track with an intro that uses a slower tempo styled post-punk beat that eventually leads into a hypnotically dark coldwave inspired chorus. ‘Falcons’ sounds like a twisted indie song, full of elements that you could imagine being bright and colourful, turned into a cynical, industrialised landscape. This morphed indie track suits the band profusely though, and a song like ‘Falcons’ does nothing but display the bands most talented tendencies. ‘Hale Seizer’ (see what they did there?) goes even deeper into a perverse darkness, this time with much more minimalist instrumentation, until the rollicking noise rock inspired chorus. This track begins to showcase the deep and thought provoking lyrics, which would not be so out of place if they were read as poetry. The rattle, twangy guitars at the tracks second half maintain a distinctive 80’s coldwave feel, connecting the band back with its musical and artistic roots. The brilliant, two minute punky song ‘Wrong Port’ shows the listener that the band are not solely tied to slow, downtempo, strumming… Rather they show their talent in pulling off what seems to be a much darker, sped up version of an Opera Multi Steel song.

‘Hare Hunter Field’ could be the best song on the album, its slow, quiet beginning seeps into an almost slowcore ballad… The vocals hover spectrally in the mix, as the slow tap of the drum slowly shift, the guitars echo slowly with a reverb style distant in the mix and the track shifts into a heavy, noise ridden track. Everything is highlighted further through the mature and brilliant production and mixing on the album, and occasionally the band show touches of post-rock that make them sound even better with 'Death in a Lemon Grove Part I & II' & 'Shot Down Over Tokyo' being prime examples. ‘Slow Burning Country’ turns the albums sound almost completely alternative rock, but occasionally the band mix this in together with post-punk elements, especially the vocals, which maintain the same profound delivery throughout the entire album. This track highlights the fantastic capabilities of the drums as well; the heavy beat punctuating into the mix, coupling fantastically with the heavy rock of the guitars. Towards the tracks end, the vocals transcend into a higher and impressive registry that gives the music a wild element of ‘surround sound’ quality. ‘Love’s White Thread’ holds back again on instrumentation and instead uses the vocals as the forefront of the sound and the song morphs around it. Although it may appeal to some listeners, ‘Love’s White Thread’ seems less fluent than previous tracks. It also doesn’t show as much of the bands brilliant song writing skills of as other tracks. But, anyway…

‘Sainted Galleries’ is also a contender for the albums greatest song, especially in its magnificent instrumental section in its centre, which slowly and surely brings vocals into the mix. The song brings together sounds touched upon earlier in the album (coldwave and alternative rock especially) and ties it together with the rat-a-tat beat of classic 80’s post-punk, the vocals maintaining their value for the entire entrancing song. 'At Once with Tattered Sails' is not so much an album about performance (although the performances are all brilliant) rather it is an album about sounds. For the listener, the band has conjoined and crafted all sorts of majestic and dark sounds together; thus the sounds on the album come across as truly great, but it is the band who have melded them together so very well to make them even better. Nothing but praise should be handed onto the production and mixing on 'At Once with Tattered Sails', which feels empty, open and echoed all at the same time. Similarly, the vocals are genius; a reminder that post-punk and coldwave music doesn’t have to have distant and low volume yelling to be fantastic. The vocals on the album fit well with the lyrics, displaying a tasteful throwback to the eighties alternative music scene.

While some may feel the album reuses itself too much, I feel that partially that is part of the appeal of the music. For example, pop music vocal deliveries vary from song to song so the average listener thinks each song itself is completely different because of the vocals (that’s pretty much mainstream pop summarised for you). But 'Battles of Winter' maintain the same, deep and echoing voice on nearly every track, which I genuinely feel makes the music ever more powerful. The album showcases everything that should be done in the genre, and how a band should go about producing and mixing an album; achieved cleverly through performance and sound.

4.5/5

LINKS:

thebattlesofwinter.bandcamp.com

facebook.com/thebattlesofwinter

twitter.com/TBOW_BAND

ABOUT THE AUTHOR:

bio-pic

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.


ALBUM REVIEW | New Pope - Youth

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ARTIST: New Pope

RELEASE: Youth LP

RELEASE DATE: 09/12/15

RECORD COMPANY: Unsigned

Contemplative, reflective, gentle, forgiving, lush, ambient, folky, dreampoppy, insert adjective here! Whatever this is, it's good......... really good. Echoing the voices of its predecessors: Bert Jansch, Neutral Milk Hotel and even a spot of Arlo Guthrie, New pope is a band I have experience with, having seen them live at a time when there was a stripped down lineup of classical guitar and accordian in terms of instrumentation. They've upped their game and added an aul setta drums, a wee bass geetar and a nice swirling, echoing electric guitar (which is one half of the reason why this album is justifyibly on a shoegaze website, the other being the spacious vocals). New Pope is the moniker of David Boland, a Galway based songwriter dealing in melodic dream pop and sometimes folk. Live, he is joined by Colm Bohan on drums and Stephen Connolly on organ and guitar. This album is a friend to your ears. Lyrically pensive, restrained and thoughtful; anthropomorphically speaking, this album sounds like a mothers love!

Im not going to go describing this thing track for track because it is on the internet for you to listen to for yourself. I am however going to highlight the tracks that might get you hooked faster than if I didn't, like a crack dealer givin you the crack with the most cocaine in it, because the most sing alongable tracks will hit you first.

'Onwards Westwards' is a doozie, a great-tastic opener for any album. Even limp bizkit could open an album with this track:

This is absolutely the sing alongable-ist track on the album by a long un:

This next one here is a spicy boy as well:

July 2016 saw the release of LOVE EP, the precursor to New Pope's second album LOVE due out in October. So get yer palms nice n sweaty for this one!

The 'Youth LP' is available to buy/download right now from: newpope.bandcamp.com

LINKS:

newpope.bandcamp.com

facebook.com/newpopemusic

twitter.com/newpopemusic

ABOUT THE AUTHOR:

Robert Mulhern is the vocalist, guitarist, producer & engineer in Irish based heavy experimental psych-gazers 'Tuath'. Hailing from Donegal in the North of the Republic, Robert’s musical influences span numerous genres and are far reaching. 'Tuath' are quietly establishing themselves as forerunners in Ireland’s experimental shoegaze & psych-rock scene.


ALBUM REVIEW | Lazy Legs - VISIONDEATH!

a1386142299_16ARTIST: Lazy Legs

RELEASE: VISIONDEATH!

RELEASE DATE: 15/07/16

RECORD COMPANY: Wild Patterns Records

Noisy, fuzzy electric shoegaze is brilliant when it’s pulled off properly, so here’s a band that skips the non-brilliant and stays brilliant. Make sense? Maybe? Anyway, Lazy Legs, a fine trio of musicians, have exerted all their musical knowledge and song writing skills on their latest full length LP to bring you some brilliant noisy, fuzzy electric shoegaze; it’s called VISIONDEATH and its central sounds are built around the dirty, the dreamy and the intelligent.

The LP begins with the distortion heavy intro track, ‘Rapid Eyes’ a nice, melding intro of all sorts of both pointed and beautiful sound mixed together. This leads into the next track, ‘Open’, which features a more garage rock sound than other songs, so much so that it evolves into a post-punk-esque storm, which layers and layers until a distant hum entrenches the background sound; fantastic. ‘Blister’ is much more drenched and heavy, maintaining only the tap of the drums to keep its tempo from swaying at a slowcore pace. The chorus showcases the bands noise pop tendency, taking the music and vocals a note or two higher than the gutter verses (using the word gutter in a good way that is) and blending together beautiful and conceptual sounds. ‘Deep Breath’ sounds almost like a dream pop song compared to the previous few tracks, with a deep, shoegaze inspired chorus that slots swiftly between the crunchy, less violent fuzz of the song.

Songs like ‘Sparks’ and 'Deathvisions' again pull the layer blending off, but only in the bands favour, who crunch out brilliant performance after brilliant performance. The songs at this point sound like a mix between noise rock, noise pop, garage, post-punk shoegaze with majestic slowcore, airy and distant vocals thrown in for good measure. The vocals are on a different wavelength altogether with bizarre, echoed, low volume singing that purposefully can’t be fully heard in the battleground built by the band; full of noise and sludge, with the occasional soundscape and ambient piece of genius thrown in for good measure. ‘Snaketeeth’ is a prime example of this and of perhaps the most shoegaze of all the songs on the album, period. The songs outro is close to one of the most ambient, beautiful and downtempo pieces of music on the entire album.

‘Beholder’ turns the game back around, however, with its crunchy and loud intro; full of filthy and dirty bass and guitars. Eventually though, the song captures the mood and style of almost the entire album; that is a mixture of loud, confronting noises coupled in harmony and blended with serene, dreamy vocals, soundscapes and instrumentation. ‘Beholder’ rises with a mix of winter and sweaty and dirty spaces; who would have thought of that? The albums closer, 'Wide Awake', plays on a much slower beat, eventually displaying everything shoegaze that the band have been toying with over the course of the entire album. This album is whether or not the band think so, very very conceptual. It’s so much so that it’s bordering on a concept album… But, I hear you so patiently ask, what’s the concept? Well… It’s not a conceptual story; Lazy Legs don’t sing about the medieval period or how a girl learned to dance, rather the concept is blending. Every sound on the album is blended with each other, on a theoretical level, ideas (of how a sound should be heard, whether it is loud or soft) are also heavily blended. This theory is backed up even more so by the abstract, digital art on the albums cover… A piece of art built upon blending. The good part of all of this is that Lazy Legs are actually extremely talented in the art of musical and sonic blending, of joining and building a relationship between sounds and instrumentation, which in turn reinforces the albums concept and makes the listening experience all the more enjoyable.

For some, the album will be perhaps too alternative. These same some may ask why the vocals are so distant and become bored with the same fuzz, distortion and ambience that features so heavily on the album. But for those who enjoy truly alternative and original music, the listening experience will be the exact opposite of that. So listen and enjoy the noise, and appreciate the texture and blending, achieved through performance, production and sound.

4/5

LINKS:

facebook.com/lazylegsband

lazylegs.bandcamp.com

twitter.com/WildPatterns

twitter.com/lazylegsband

ABOUT THE AUTHOR:

bio-pic

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.


EP REVIEW | Mumrunner - Gentle Slopes.

ARTIST: Mumrunner   13882193_1735209006743741_5232909711269596361_n

RELEASE: Gentle Slopes

RELEASE DATE: 09/09/16

RECORD COMPANY: Wolves And Vibrancy Records/Soliti Records

Released on September 9th 2016 jointly via the German based independent label ‘Wolves And Vibrancy Records (Vinyl)’ & ‘Soliti Records (Digital)’, ‘Gentle Slopes’ is the sophomore five track EP from Finnish based noisy shoegaze quartet ‘Mumrunner’ and it follows on from their triumphant 2015 debut ‘Full Blossom’. Their sound embraces melodious, reverberating tones, seductive otherworldly musical progressions & beautifully ethereal dream pop flourishes and intertwines them all with driving swathes of shoegaze inspired alternative rock to collectively bring something magical to the sonic table. The EP will get the full vinyl treatment with 300 copies (Black Vinyl Screen Printed B-Side + Lyrics Sheet) available to pre-order with ‘Wolves and Vibrancy Records’ offering a special Vinyl + Shirt package which you can pre-order right now from: wolvesandvibrancyrecords.tictail.com

READ ON -

The EP opens with the beautifully effervescent ‘Sputnik’. Addictive guitar progressions & throbbing melody driven bass frequencies ride a tempestuous percussive pattern as the layered vocals bathe in a glorious swirling sea of ethereal reverb. Up next, ‘Shawshank’ drives and meanders deftly with hypnotically fuzzy lead guitar lines, brilliantly executed vocals and soaring chorus progressions. Instrumentally reminiscent at times to seminal 1980’s US based post-punk stalwart's ‘For Against’, ‘Shawshank’ is a stunning piece of music! ‘Cascais’ explodes into earshot held fast within a captivating maelstrom of glorious reverb laden guitars, intricate lead licks, driving bass lines and thunderous drums. Probably the most ‘alt-rock’ leaning piece on the entire release, ‘Cascais’ uses it’s stunning vocal progressions to cut through the monumental instrumental noise and bring patches of serine ethereal clarity to proceedings.

The EP’s penultimate track, ‘Turn’ is a one minute plus slow burning instrumental piece but its quickly followed by the EP’s closing track, ‘Gentle Slopes’, possibly my favourite track on this entire release! This is a highly addictive slice of glorious shoegaze infused dream pop with brilliantly executed layered guitar progressions that seem to circumnavigate those hauntingly ethereal vocal lines with aplomb. It’s subtle drum patterns add atmosphere though the verse parts when coupled with those droning guitar swells & undulating bass frequencies thus collectively creating a brilliant light/shade dynamic with an overriding feeling of sonic floatation. A truly magnificent ending to a brilliant EP.

4/5

LINKS:

twitter.com/mumrunnerz

facebook.com/mumrunnerband

solitimusic.com

wolvesandvibrancyrecords.tictail.com

ABOUT THE AUTHOR:

Del Chaney has spent the last four years not only fronting popular experimental Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


ALBUM REVIEW | Vibrissae - Somewhere Away.

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ARTIST: Vibrissae

RELEASE: Somewhere Away

RELEASE DATE: 19/08/16

RECORD COMPANY: Vipchoyo Sound Factory 

This is how a conversation about modern dream/trip-hop inspired electronics music sounds: ‘blah, blah, blah, blah, blah’. Why does it sound like that? Cause once upon a time a group of musicians got together and churned out a massive arsenal of absolute 5/5 albums; think Tricky, Smith and Mighty and Mazzy Star. They layered, they edited, they sampled, they sung, they mixed and they scored hit after hit off and on the mainstream. These musicians pioneered a genre of music that has literally being trampled upon since the late 80’s/early 90’s with copycat, boring, unintelligent rehashes that involve pushing some buttons on a drum machine, putting some interesting but generic female vocals over the top of the mix and being ‘atmospheric’. Those technical wizards who do everything blandly digitally believe wholly that trip-hop/electronic music should be released as it is, without experimentation, without huge inspiration, influence or genre-bending. So it is refreshing and somewhat soothing to listen to Somewhere Away; the new LP by electronic three piece Vibrissae, an album that experiments, practices fantastic song writing and is just enjoyable. And that really, is that. If 'Somewhere Away' spoke anything through the speakers in its conceptual and musical language it is that ultimately if a sound is enjoyable, if it mesmerizes in its quality and is a pleasing experience, then what else is there that needs to be pondered?

READ ON -

'Somewhere Away' begins with a short intro track (Whiskers) that sets the mood subtlety by never directly tackling any of the sounds on the album but simultaneously teasing small sounds on the electronic palette of the genre. ‘Never Again’ begins the album with a jangling distorted guitar and pulsating beats that sound reminiscent of trance music; these sounds are all complimented with the hushing vocals, rocketing bass and shoegaze inspired synth and keyboards. The song has flashes of Eurobeat in its musical structure, but returns to a more synth pop orientated field with the chorus and the catchy, danceable riff that follows it. The song balances itself between dance anthem and alternative sonic soundscape just enough to create an intricate and energetic track; one that the listener may enjoy either way. For those searching for evidence of musical experimentation and genre bending/melding, one should look no further than ‘Incident Report’, which starts as a pulsating industrial track, layered with metallic percussion and the sound of a darkwave tracks opening few bars, only to evolve intelligently into a trip-hop song and delve straight back into darkwave inspired sounds coupled with post-punk style drums on the chorus. The song morphs and jumps neatly from one genre to another, while all the while holding its electronic basics and placing the vocals in a backseat position enough that the music and the vocals seep into each other; a rewarding listening experience.

‘Bulan’ nestles itself in calmly as another beautiful instrumental interlude, showing off all the bands tricks in a much smaller scale whilst 'Not Forever' is an ethereal feast of beautifully constructed guitars and glorious vocals. The metallic ringing from the previous tracks is brought into a stellar techno-inspired instrumental ‘Crooked Stripe’ which is then followed up with ‘Crooked Smile’ a four minute bass heavy dance/darkwave track. 'Vibrissae' show off their skill with the bass guitar, which forms a thick and tasty riff around the central beats and soundscapes. Eventually the track goes full darkwave and reinforces a heavy laden alternative dance beat, all packed together with the slick sounds of keyboard. Although the whole thing stands together intelligently, the song eventually becomes slightly boring, especially in contrast with other tracks on the EP. ‘Need’ is a heavy post-punk style song built around the opening guitar riff and the funk-inspired bass. The vocals fit magnificently in the mix as the song touches on indie rock and the intricate singing style of folk rock all the while returning to the opening post-punk riff; a brilliant and enjoyably diverse listen. The LP concludes with the epic title track, a ten minute adventure through what begins as a slow, alternative rock style riff which builds into an echoing electronic listening experience. The track itself feels like a journey, like sounds are guiding the way through a landscape that Vibrissae has built for the sole purpose of allowing the listener to roam around in, rather than just sitting and listening.

Overall the LP feels too ‘thrown together’. The longer weightier, well written and thorough tracks are surrounded by varying degrees of instrumental track, as if the band thought they didn’t have enough material and chucked together a few filler instrumentals. The LP is also greatly temperamental in its vocals; some tracks feature great amounts of vocals before two instrumentals in a row feature none, and then they return. I am not directly critiquing the songs themselves per say, rather their standing in the whole LP. But as I stated before-hand in the introduction, the pure enjoyment one gets from listening overrides simple things like track placement and the album does itself justice wholly and solely in that area. And that’s what makes 'Somewhere Away' great, it’s not a utopian album, but it’s a reminder that the pure enjoyment factor of a sound should ultimately shine through and inform our opinion in the greater sense. With that in mind, I thought this album was, in most of its parts, enjoyable and refreshing to the genre, a testament to the skill of the band and their sound.

4/5

'Somewhere Away' is available to buy/download right now from: vibrissae.bandcamp.com

LINKS:

vibrissae.bandcamp.com

facebook.com/vibrissae

twitter.com/vibrissaepdx

vibrissae.net

ABOUT THE AUTHOR:

bio-pic

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.


ALBUM REVIEW | Sexores - Red Rooms.

ALBUM REVIEW | Sexores - Red Rooms.ARTIST: Sexores

RELEASE: Red Rooms

RELEASE DATE: 17/07/16

RECORD COMPANY: Coypu Records.

Following on from their stunning full length album release entitled ‘Historias de Frió’ back in 2104, the brilliant Barcelona based darkwave outfit ‘Sexores’ have returned with a blissful six track release entitled ‘Red Rooms’. With an intriguing sound thats full of noisy ambient swirls, ethereal vocalisations and dark repetitive percussive arrangements all gloriously intertwined with soaring walls of layered reverberating guitars, ‘Sexores’ have the ability paint stunning sonic pictures with their music. The band are made up of Emilia Bahamonde - vocals/guitar/programming & David Yépez - drums/programming with various touring members and guest musicians (including Alexander Kretov of UMMAGMA fame) appearing on the album. ‘Red Rooms’ was released back on the 17th July 2016 via Coypu Records and is available to buy/download on various formats right now from: sexores.bandcamp.com

READ ON -

Ethereal vocals coupled with a wall hazily layered guitars announces the arrival of track one ‘Sasebo’ and we’re instantly pulled into a beautiful world of sneaking drum patterns, underlying synth swells and hypnotically cascading piano progressions. The vocals are simply mesmerising as they cut through the swirling instrumentation and instil a gentle calmness over proceedings. Up next, ‘Sea Of Trees’ is a classic slice of beautifully arranged dream pop thats centred around a cascading synth line, a repetitive drum pattern and another blissful vocal performance courtesy of Emilia Bahamonde. ‘Me And The Void’ saunters into earshot riding an explosive drum pattern, dark throbbing bass frequencies and synth swells to die for. Emilia’s vocals shine as they pulse wave after wave of golden hued frequencies through the controlled reverberation and on into the maelstrom of fuzzy tempestuous guitar lines.

‘U.S.S.R Girls’ leans more into the realm of dark electronica with its sequenced synth progressions and repetitive drum patterns whilst the albums penultimate track, the impressive ‘Daywalkers’ instantly flatters with its floating boy/girl vocal attack, courtesy of Emilia & Alex Kretov (Ummagma), coupled with those beautifully arranged synth lines & its glorious instrumentation breaks. The album closes out with the highly atmospheric instrumental piece - ‘Loner’. A dark & foreboding reverberating drone opens proceedings before we’re treated to a slow, repetitive drum pattern and stuttering piano stabs. ‘Loner’ sounds like it belongs on a late 70’s sci-fi soundtrack as it deftly meanders through ambient sonic peaks and throughs, never losing its edge and all the while building slowly into a stunning cacophony of blissful atmospheric noise.

A fitting end to an absolutely stunning album!

4/5

LINKS:

sexores.bandcamp.com

facebook.com/sxrsxrs

twitter.com/sexores

ABOUT THE AUTHOR: 

10801829_910434145642940_2344009609374998645_n

Del Chaney has spent the last four years not only fronting popular Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the Unsigned or Small Independent Label based Shoegaze, DreamPop, PostPunk, PostRock & PsychRock genre’s of music 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. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


ALBUM REVIEW | Dead Rabbits - Everything Is A Lie (Fuzz Club Records).

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ARTIST: Dead Rabbits

RELEASE: Everything Is A Lie.

RELEASE DATE: 05/09/16

RECORD COMPANY: Fuzz Club Records

Southampton's ‘Dead Rabbits’ have been wowing us ever since the release of their stunning debut album (The Ticket That Exploded) back in 2013, followed closely by their eponymous follow up (Time Is Your Only Memory) back in 2014. Their meticulous brand of infectious neo-psychedelia, blended perfectly with expressive shoegaze and driving post-punk has permeated down through the many layers of this modern day new school psych/gaze scene, influencing each new emerging band with their heady sonic brew. Now they have returned with brand new musical behemoth in tow. Fantastically titled ‘Everything Is A Lie’, this latest full length album gets its official release on the 5th September 2016 via one of the ‘Go To’ labels in this modern day fuzzy psych/gaze scene, the brilliant London based ‘Fuzz Club Records’.

The album opens up with the stunning ‘Everything Is A Lie’. This is a gargantuan warbling beast who’s percussive assault shudders and pulses on a reverberating wave of sonic delight. Its bass lines are addictive, underscored with soaring synth swells and melodic vocalisations that are all held fast within the whirlwind by shimmering layered guitar progressions. ‘Honestly’ arrives like a sullen child. It’s bass lines are incredible and full of post-punk promise whilst vocally this track is sublime and reminiscent (dare I say it?) of late 1980’s Shaun Ryder (Happy Mondays). It’s a masterclass in song creation and probably my favourite track on this entire release. Up next is the albums lead single! ‘Get Me Over There’ rumbles and growls on a bed of fuzzy jangling guitars, swirling pulsating bass frequencies and skittish percussion as the howling vocals ride a raging sonic twister into the ether. It’s one of the best tracks this year by far and definitely recommended listening.

The album takes a subtle swerve into experimental territory on ‘All Your Little Lies’. Pounding drums and screaming surf-psych guitars take centre stage as those brilliantly executed vocal progressions meander in and out of the hazy instrumentation. ‘Someday’ jangles into earshot on stabs of reverb induced guitars as melodious snaking bass frequencies creep between the drum hits like some huge stalking animal. Vocals wail as synths soar throughout the chorus parts, building in momentum as they rise, leading us into a surging sonic finale. The metronomic swing of ‘I Don’t Want To Die Today’ hypnotises us as it works through its musical gears, deftly building and adding to each sonic layer as it climbs. Vocally sublime and explosive at times ‘I Don’t Want To Die Today’ surges and culminates into an incredible maelstrom of sound.

The albums penultimate track is ‘That Was Then But This Is Now’. Melodically repetitive guitar lines meld with dark pulsating bass frequencies before another impressive vocal performance cuts through proceedings, dragging the steadying drum track with it. Swathes of reverb induced guitars attack the chorus as swirling, droning synth patches lurk menacingly beneath. ‘That Was Then But This Is Now’ thunders through the sonic landscape cutting massive swathes through layer after layer of expertly constructed reverberation. Screaming guitar squall and blistering feedback heralds the arrival of the albums closing track before we’re treated to pounding drums, melodic bass lines, soaring golden synth swells and a glorious vocal track. ‘You Already Know’ is a tremulous beast that takes no prisoners as it beats down on the senses and hypnotises you into submission. A stunning finale to an absolutely immense album.

Bravo ‘Dead Rabbits’......

5/5

'Everything Is A Lie' gets its official release on the 5th September 2016 and is available to pre-order right now from Fuzz Club Records.

LINKS:

fuzzclub.com

facebook.com/deadrabbitsuk/

twitter.com/DeadRabbitsuk

deadrabbitsband.co.uk

ABOUT THE AUTHOR:

10801829_910434145642940_2344009609374998645_n

Del Chaney has spent the last four years not only fronting popular Irish Electronic duo Analogue Wave but also dedicating his time to uncovering the best artists in the Unsigned or Small Independent Label based Shoegaze, DreamPop, PostPunk, PostRock & PsychRock genre’s of music 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. His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has hepled him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


ALBUM REVIEW | SPC ECO - Anomalies (Saint Marie Records).

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ARTIST: SPC ECO

RELEASE: Anomalies

RELEASE DATE: 19/08/16

RECORD COMPANY: Saint Marie Records

Wow, another release from the prolific SPC ECO, the father-daughter duo consisting of Dean Garcia (Curve) and his daughter Rose Berlin. Let’s get one thing out of the way, OK? The band can’t help but remind listeners of Curve; it’s in Dean’s bones, he’s never really escaped from his musical past. And that’s cool, because 'Curve' was an amalgamation of shoegaze with psychedelic-drenched dance beats, and nobody else did it better. So now we have the current project, and it contains less of the hard edges you’d expect from this team, and more of the softly blurred dream pop that they do so well. And thankfully, not a voice synthesizer in sight. I have to mention that, because they erred in messing with Rose’s beautiful voice on last year’s Dark Matter.

So what do we have here? Another solid, darkly inflected release of dreamy trip hop. “Out of My System” is an obvious single, with its catchy melodies and spacey sonic backdrop. It’s the most like their earlier material, which means total ear candy, but it’s not a big step forward. Whereas “Incomplete” is richly layered melodic architecture, slow and sultry as Rose’s breathy vocals roll over the musical waves. It’s quiet and slightly sinister, and ever so beautiful. “Bare To Lie” is bleak dark wave, yet at its core it’s a stunning piece of work. I could totally see this used as a film score, it has that noirish feel I love so well. “Your Own Way” is gorgeous, gauzy dream pop, another killer tune that you need to hear immediately. This is yet another example of how perfectly suited this pair would be for film scoring. “Silent Maybe” reminds me of vintage Curve, and please know that is the highest compliment from me. It’s all about the heavenly vocals and the nearly symphonic landscape that Dean paints around Rose’s voice.

“Think Twice” is icy, slow burning and could be the soundtrack for your favorite spy flick. The lyrics are empty and sad, and leave you wondering what it’s all about. “Revived” is alive with bubbling synths and an upbeat feel, despite the feeling that it’s about the aftermath of a break-up. “All In Time” is heavier synth pop under a starry sky, bits of light sprinkled against velvety darkness. “Lost In a Crowd” closes out this set of songs, and it’s much quieter than the other songs, a great showcase for Rose’s lovely vocals. It’s all rather solemn and almost like a chant. So, what you can expect is another really good album from this duo with a variety of tones, beats, and moods.

'Anomalies' will be available to buy/download on the 19th August 2016 via: saintmarierecords.bandcamp.com

4/5

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ABOUT THE AUTHOR:

elizabeth

Music has always been a driving force for Elizabeth Klisiewicz, which she days "continues to define my existence". During and after her college years, she ran a weekly radio show at WMUA FM Radio and also at a community station in Springfield, MA, in addition to writing music and concert reviews for the college newspaper. At present, she writes for The Big Takeover Magazine and The Active Listener Blog, and recently began producing a semi-regular Mixcloud-based show called The Kitchen Sink. In the real world, when not writing technical manuals, she gets her thrills from reading mysteries, birdwatching, and can always be found with a camera and a maxed-out storage card full of music.