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.


EP REVIEW - Violent Dreams - Serotonin - featured Image - (700x700)

EP REVIEW | Violent Dreams - Serotonin

EP REVIEW - Violent Dreams - Serotonin - Post image - (300x300)ARTIST: Violent Dreams

RELEASE: Serotonin 

RELEASE DATE: 17th March 2019

RECORD COMPANY: Unsigned

Hailing from Liverpool/London, 'Violent Dreams' are a melancholic shoegaze/dream-pop duo who specialise in creating mesmeric sonic soundscapes whilst doffing a well worn cap to the originators of the respective genres. Think 'Cocteau Twins' forged with the instrumental prowess of 'Mazzy Star', a sprinkling of modern goth & noisy alt-rock and you'll stumble onto their collective sound. Consisting of Matt & Abby, 'Violent Dreams' unleashed their debut five track entitled 'Scared of the Dark' to the masses back in 2017 and have followed it up with this latest sophomore EP entitled 'Serotonin'. The five track EP was officially released back on March 17th 2019 and is available to buy/download right now via violentdreams.bandcamp.com

'Lost In You' jangles into the ether on a wave of luscious guitar and swells of synth before haunting vocalisations awash in reverb move atop of repetitive lines of percussion. Deeply melancholic and brilliantly executed, this track is filled with mesmerising chord changes and catchy hooks that ebb and flow through layers of shimmering reverberations as slow moving lines of bass cascade just beneath the mix. Brilliant lead lines haunt the entire track as we tumble through the ether completely enveloped in blissful noise. A fantastic opening salvo indeed. Up next, 'I'm Still Here' arrives with a sprinkle of tambourine, slow moving lines of guitar and booming lines of bass. Repetitive bass kicks add atmosphere as the vocals float on shimmering waves of reverb and those lead guitar highlights lead us into a magnificent chorus change. Explosive cymbal hits crash as drum rolls rumble and lead guitar soar skywards in a haze of glorious golden tinged reverb. 'I'm Still Here' is intensely atmospheric  and a definite standout track. 'Grace' swirls into the sonic arena on a menacing chug of guitar steeped in reverb pulling slow moving percussion and that irresistible vocal tone with it. Sullen verse parts work through the gears before we tumble into another huge chorus break filled with wide scoped reverbs and woozy chord changes. Drenched in melancholy, 'Grace' is infectious.

The EP's penultimate piece entitled 'The Terror' is instrumentally reminiscent of 'Treasure' era 'Cocteau Twins' with its impressive instrumentation and oodles of reverb all swirling around that massive vocal line. A brilliantly addictive percussive assault drives everything forwards as swirling synths, throbbing bass lines and excellent production lifts the entire track skywards allowing the vocal line to permeate absolutely everything. Quite possibly my favourite track on the entire release 'The Terror' holds it's head high. The EP closes out with 'Serotonin', magical acoustic vibes weave a golden web used primarily to capture that magnificent vocal line as those swirling organ swells, captivating synth and the slow moving thud of percussion keeps a deafening metronomic time. Beautiful and awe inspiring, 'Serotonin' is a fascinating ending to a wonderfully refreshing EP.

4/5

LINKS: 

violentdreams.bandcamp.com

facebook.com/ViolentDreamsBand/

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 - Japan Review - Juno - Featured Image - (700x700)

EP REVIEW | Japan Review - Juno

EP REVIEW - Japan Review - Juno - Post Image - (300x300)ARTIST: Japan Review

RELEASE: Juno

RELEASE DATE: 22nd March 2019

RECORD COMPANY: Reckless Yes

London-based 'Japan Review' have had a revolving door of personnel since its formation back in 2014 all milling around it's one solid sonic protagonist - Adam O'Sullivan. Steeped in hazy lo-fi sensibilities and permeated with experimental yet dreamy nugaze vibes, 'Japan Review' inject drone, analog synth and impressionistic twists into their collective modernistic sound. Their latest four track EP entitled 'Juno' was recorded last year and co-written with O'Sullivan's former Beach Volleyball bandmate Dom Ashton. It had it's official release on March 22nd 2019 via independent record label 'Reckless Yes' and is available to buy/download on various formats from both recklessyes.comjapanreview.bandcamp.com respectively.

The EP begins rolling through clouds of reverb as the pitter patter of sequenced percussion fizzes underfoot and the twang of guitar echoes through the sonic ether. 'Soviet Happy' builds into this booming monolith as it's melancholic vocals arrive, peppered with repetitive guitar, the hum of bass frequencies and flurries of synth. Both melodic and sullen in equal parts, this track explodes into a riot of colour as layers of driving reverb-laden guitar merge into one huge wall of fuzz, sucking in the vocal until barely recognisable and those soaring lines of synth point skywards leading us into it's grand finale. Up next, 'Say Hi To Juno' begins floating on a melodic keyboard line before being joined by droning guitars and a busy sequenced drum pattern. Huge in scope, it lays bare an almost cinematic approach with it's wide scoped reverbs and massive production values that allow those vocals to hover in a kind of suspended sonic animation whilst the instrumentation circumnavigates in a gentle kind of way. Beautifully transcendent, 'Say Hi To Juno' is my favourite track on the entire release.

'Sealand F.C' announces itself with blissful sample before sequenced synths and acoustic vibrations arrive, pulling vocals and slide guitar in to the mix drenched in oodles of reverb. Again, this track is heavily melodic and beautifully constructed, abundantly lo-fi and distilling a melancholic wave of reminisces that forces the listener to remember a lost love or times gone by. Listen out for that huge sounding finale and the brilliant use of percussion throughout. The EP closes out with 'Inertia', another brilliantly constructed track but leaning more into alternative led electronica than the previous soundscapes. Layered percussion bubbles beneath the throb of bass frequencies to collectively construct a solid bedrock of sounds as swirling guitar drones and subtle lines of analog synth envelope the vocal brilliantly. Unfortunately though, as I listen through this track, there are massive differences to the previous three and I can't help but hear Radiohead or even Thom Yorke's solo efforts coursing through its veins. All in all a very interesting release.

4/5

LINKS:

japanreview.bandcamp.com

twitter.com/japan_review

recklessyes.com

instagram.com/japanreviewmusic/

facebook.com/japanreviewmusic/

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 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.


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.