EP REVIEW - Blume - Wash Away - Featured Image - (700x700)

EP REVIEW | Blume - Wash Away

EP REVIEW - Blume - Wash Away - Post Image - (300x300)ARTIST: Blume

RELEASE: Wash Away

RELEASE DATE: 19th February 2019

RECORD COMPANY: Unsigned

'Blume' aka Alberta native Arthur Bennell creates washed out shoegaze underscored with flurries of dream-laden reverberations, a hovering post-punk edge and a splashing of psychedelic abandonment. Bennell writes and records everything himself, underpinning that lo-fi 'do it yourself' work ethic that we all like here at Primal Music. Hazy vocalisations and jangling guitars meander through walls of reverb on his latest six track release entitled 'Wash Away', the follow up to the 2015 released self titled four track EP. 'Wash Away' had it's official release back on February 19th 2019 and is available to buy/download right now via blumeband.bandcamp.com

The fantastically brilliant 'That Day' kicks things off in grand style. Hazy reverberations swirl and glide as that repetitive guitar line ritualistically twists and turns on a metronomic pattern of percussion. Swells of synth and the hum of bouncing bass frequencies captivate here as lead lines intertwine with those dusky vocalisations. Brilliant in it's approach and eerily good, 'That Day' is a definite EP highlight. Up next, 'Feel Again' arrives tumbling in a wash of reverb as the soft tap of sequenced percussion and the swoon of woozy guitar washes over the listener. Hushed vocalisations cling just below the mix here, barely audible inside a wave of instrumental melody as we're edged slowly into that huge behemoth like instrumental break and on into the tracks finale. The EP's title track has post-rock connotations streaming through it's inner core. Repetitive lines of guitar hover and float on waves of beautiful reverberation as a busy line of percussion rattles below. Swirling lines of lead guitar soar, puncturing through the layers of reverb and injecting intense melody, atmosphere and a delicate hue into the track. Again, the vocal lines here are hushed but seem to fit this track more than the before as the rambling line of lead guitar streaks skywards.

'Error 404' drones into existence on a menacing line of guitar and sullen sweeps of atmosphere. It builds as it's industrial tinged percussion staggers into view, followed by another rambling lead guitar line and the swoosh of reverberation. Repetitive in nature, this instrumental has a distinct post-punk edge. The EP's penultimate piece glides into audible range with an instrumental sound reminiscent of 'The Cure' or mid 80's 'Cocteau Twins'. The meandering guitars and the pull of bass frequencies are instantly addictive as 'Always The Same' unveils a fantastic vocal take that seems to cling to the surrounding instrumental melody and meld with the wash of lead guitar. Wonderfully refreshing and executed brilliantly, 'Always The Same' is another highlight for me. The EP closes out with 'Can't Wait'. The pitter patter of percussion keeps a steady metronomic tempo as throbbing bass frequencies, undulating lines of lead guitar and oodles of reverb take centre stage. Impressive vocals ride the sonic wave as we're led into that hypnotic lead break before that noisy final third brings the curtain down on a very interesting release.

4/5

LINKS:

blumeband.bandcamp.com

facebook.com/Blume-581864445295476/

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 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.


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

EP REVIEW | Wozniak - The Space Between The Trees

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

RELEASE: The Space Between The Trees

RELEASE DATE: February 9th 2019

RECORD COMPANY: Morningside Young Team Records 

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

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

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

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

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

5/5

LINKS:

wozniak.bandcamp.com

twitter.com/band_wozniak

facebook.com/wozniakofficial

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


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

ALBUM REVIEW | Tengger - Segye

ARTIST: Tengger

RELEASE: Segye

RELEASE DATE: 22nd February 2019

RECORD COMPANY: Cardinal Fuzz / Sunrise Ocean Bender

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

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

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

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

4/5

LINKS:

sunriseoceanbender.bigcartel.com

cardinalfuzz.bigcartel.com

tengger.bandcamp.com

tengger.net

facebook.com/tenggerland

twitter.com/tenggerland

instagram.com/tenggerland/

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


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

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

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

RELEASE: Fuzz Club Session

RELEASE DATE: 15th February 2019

RECORD COMPANY: Fuzz Club Records 

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

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

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

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

4/5

LINKS:

fuzzclub.com

twitter.com/APTBS

facebook.com/aplacetoburystrangers/

aplacetoburystrangers.bandcamp.com

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


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

EP REVIEW | Hanford Reach - Nathalie

ARTIST: Hanford Reach

RELEASE: Nathalie EP

RELEASE DATE: 25th January 2019

RECORD COMPANY: Medium Lavender Music 

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

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

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

4/5

LINKS:

soundcloud.com/hanfordreach

hanfordreach.bandcamp.com

facebook.com/HanfordReach

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream-pop, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


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

ALBUM REVIEW | Steeple Remove - Vonal Axis

ARTIST: Steeple Remove

RELEASE: Vonal-Axis

RELEASE DATE: 30th November 2018

RECORD COMPANY: Fuzz Club Records

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

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

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

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

4/5

LINKS:

fuzzclub.bandcamp.com

fuzzclub.com 

facebook.com/SteepleRemoveFR/

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream-pop, post-punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.


ALBUM REVIEW - Fawns Of Love - Permanent - Featured Image - (700x700)

ALBUM REVIEW | Fawns Of Love - Permanent

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

RELEASE: Permanent

RELEASE DATE: January 18th 2019

RECORD COMPANY: Test pattern Records 

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

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

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

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

4/5

LINKS:

fawnsoflove.bandcamp.com

fawnsoflove.com

facebook.com/fawnsoflove

twitter.com/fawnsoflove

testpatternrecords.com

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, postpunk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  - Primal Radio -  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.