RELEASE: TAU & The Drones Of Praise 

RELEASE DATE: 2nd February 2019

RECORD COMPANY: Drones Of Praise Records 

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

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

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

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

Is iontach. Go raibh math agat mo chara …




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.