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 & 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.




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.