ALBUM REVIEW | Belle Mare - Heaven Forget

a1597040533_16ARTIST: Belle Mare

RELEASE: Heaven Forget

RELEASE DATE: 30th September 2016


Brooklyn dream poppers Belle Mare have recently self-released their confident and really wonderful debut album Heaven Forget. They inhabit the same dreamy electronic spaces as bands like New Order, The Cure, and Cocteau Twins, to name just a few.

Opening track 'Georgia' uses moody synth along with Amelia Bushell’s reverb speckled vocals to great effect. Imagine if The Cure had a female singer and you are only getting started. The follow up tune 'Cicada' is extended and gorgeous, containing equal parts Beach House and Radiohead in its soaring textures. Just lovely! 'Every Night' is conversational and intimate, with a bright, jazzy buzz to propel it along. 'How Much Longer' proudly trots out its New Order influence, with synths and metronomic percussion front and center. Amelia’s voice floats over it all like a skein of silk, through which you can view the wonders of the world.

'Dark of My Evening' is entrancing with warm washes of organ that slowly builds in intensity. It is stuffed full of catchy riffs and Amelia sounds particularly fine here. 'Ghostly' is another stunner, and all sonic elements mesh together effortlessly. Amelia’s ethereal vocals are woven into the melodic fabric, and it all works in perfect synchronicity. 'Rehearsed Lines' runs along the same introspective, melancholy lines as Lotte Kestner, while 'All This Time' dials up the energy a bit and bursts through your head in trippy bursts of color. Amelia hums on parts of this, and it’s a fun trip. 'Feel You Against My Heart' dwells in darker spaces populated with chilly synths, only alleviated slightly by Amelia’s airy vocals. 'In the Fall' is the lengthy coda to this bright, elegant, and beautiful record. Recommended for anyone who enjoys savory dream pop with touches of psych and even jazz to sweeten the pot.


'Heaven Forget' is available to buy/download right now from:




Music has always been a driving force for Elizabeth Klisiewicz, which she days "continues to define my existence".  At present, she writes for The Big Takeover Magazine and The Active Listener Blog, and when not writing technical manuals, she gets her thrills from reading mysteries, birdwatching, and can always be found with a camera and a maxed-out storage card full of music.

NEW VIDEO PREMIERE | Tuath - Who Do You Want Me To Be


Our good friends 'Tuath' have joined forces with 'Nartystation Films' to unleash a veritable feast for the eyes in the guise of their latest accompaniment to their absolutely immense single 'Who Do You Want Me To Be'. Lifted from the bands latest EP entitled 'Existence Is Futile', 'Who Do You Want Me To Be' takes us on a mind bending visual journey reminiscent to those over the top, but highly infectious, 'Primus' videos of old (albeit with a considerably better sonic accompaniment).

‘Tuath’ mesmerised the musically saturated underground back in March 2015 with their intensely addictive & deeply experimental debut EP ‘An Taobh Tuath(Ail)’ closely followed by their immense spaced out single ‘Amhairc Thart Ort Fein’ in September of the same year. This year the band returned with a blistering four track EP entitled ‘Existence Is Futile' and have again cemented their status as one of the best experimental psych/prog outfits around today.

'Existence Is Futile' is available to buy/download from and you can also check out some fantastic outtakes from the track 'Who Do You Want Me To Be' right now via the band's soundcloud page:


EP REVIEW | Bloodhounds On My Trail - Haunted Isles

a3563125492_16ARTIST: Bloodhounds On My Trail

RELEASE: Haunted Isles

RELEASE DATE: 18th November 2016

RECORD COMPANY: Moon Sounds Records 

There’s a new found focus on narrative on the new Bloodhounds On My Trail EP (or should that be mini-album?), 'Haunted Isle'. The Melbourne-based behemoths have tapped into a story-telling tradition and married it with the huge, dreamlike soundscapes that they’ve established such a strong reputation for. Building on the sonic structures of last year’s 'Escape II', this feels like a more rounded creation, softer and warmer in places. Combined with the lyrical themes, it somehow imbues the record with a sense that maybe all isn’t lost, and that’s a welcome thought as we approach the end of this bleak year.

It doesn’t seem as though it’ll start off that way with the opening track 'Gallows'. Despite the name though, this is a beautiful swell of a song and immerses us in the effervescing waters of 'Haunted Isle'. The gentle giant 'Over The Wall', is a richly textured piece, huge and fluid. The Loop’s hypnotic harmonies have light bouncing off every layer. The shimmering sound of 'Sink' has a few Cure-like signals in there. Places Like This’s huge chorus is a wave of relief and release. Dare I feel a little hope? 'Words Like Weapons' seems like the most appropriately titled tune of 2016, but if it is bitter, it hides it well under swathes of beautiful noise.

'Bloodhounds On My Trail' had hoped to make it to the UK earlier this year, but it wasn’t to be. Maybe 2017 will see them make it to this Haunted Isle?

The 'Haunted Isle EP' is available to buy/download right now from:





In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.

NEW VIDEO PREMIERE | RevRevRev - A Ring Without An End


Italian based psych gaze aficionados 'RevRevRev' have unleashed a visual monolith in the form of their latest video to accompany the sonic monster that is 'A Ring Without An End'. Hailing from Modena, 'RevRevRev' have been wowing audiences around Europe and beyond with their no-nonscense, hard hitting brand of psychedelic shoegaze. The band are made up of Laura Iacuzio, Sebastian Lugli, Andrea Dall'Omo & Greta Benatti and this latest single is lifted from their magnificent album 'Des Fleurs Magiques Bourdonnaient' which had it's full release back in February 2016.

The immense video for 'A Ring Without An End' is a little tribute by the band to 'Alejandro Jodorowsky' and in particular to his psych masterpiece 'El Topo' (Mexico/USA, 1970).

You can still get your hands on a copy of 'Des Fleurs Magiques Bourdonnaient' on various formats from:



Noisy Salt Lake City based shoegazers 'No Sun' have unleashed the first single, entitled 'Drown In You', to be lifted from their eagerly awaited debut album 'If Only', penned in for release on January 20th 2017. This alt/shoegaze four piece have been quietly writing and recording the album since the release of their debut EP, the magnificent three track 'Warm', way back in December 2015. You can pre-order the album right now on multiple formats including lovely pink or black vinyl from:

'Drown In You' growls into existence on a jangling wave of guitars and vocals before unleashing a torrent of frequential noise consisting of throbbing baselines, explosive percussion and wave after wave of glorious reverberation. The track swerves into a more contemplative mood half way through as it surges into it's brilliantly executed ethereal finale.



ALBUM REVIEW | Narcosatanicos - Body Cults

a2501229188_16ARTIST: Narcosatanicos

RELEASE: Body Cults

RELEASE DATE: November 4th 2016

RECORD COMPANY: Bad Afro Records

'Narcosatanicos' are a psych/prog/noise rock band from denmark and are by all means laying down the 'Danelaw' once again. In a world populated with Sonic Youth and MBV 2.0's this band immediately caught my ears as if a sawn off shotgun had been unloaded into them and the surrounding areas of my mind. 

Echoing the experimental ballsyness of 'Can' ,the brute force of 'Black Sabbath' and dare I say saxyness of 'Bitches Brew' era 'Miles Davis' all the while keeping it brilliantly psych! This is something I personally admire in a world where people are relying more on their foot pedals than their actual fingers, this band is cataclysmically heavy and experimental in equal measure (These boys definitely love 'Mastodon').

'Body Cults' is an exhibition of all of the most twisted elements I mentioned above. If you are reading this and have not heard the album yet, go into this album after an argument with the Mrs, a shitty day at work or after the results of America's recent election to feel it in its full nature.

There is absolutely no point in me explaining the tracks, 'track by track' while I have a link ready for you with which you can experience it for yourself.
 If you have gotten this far by reading then you are likely to already be interested.

 Instead of the usual track by track verbose nonsense where I try and plug my agenda to you, I will just suggest standout tracks. The opener 'Vulvic Church' is a crafty beast whilst 'Television Dreams' reminds me of Earthworm Jim for the Sega Mega Drive for some reason?! 'Matamoros' is why I added the 'Miles Davis' reference and of course the hard hitting lead single 'Vile'.


'Body Cults' is available to buy/download right now from:



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

EP REVIEW | Leaf - Nothing Seems Real

a3170978495_16ARTIST: Leaf

RELEASE: Nothing Seems Real 

RELEASE DATE: October 30th 2016


Los Angeles based heavy shoegaze four piece 'Leaf' have unleashed what is (in my opinion) one of the best releases to date this year in the guise of their stunning debut EP entitled 'Nothing Seems Real'. Their music is paradoxically linked back to everything good that came out of the early 90's shoegaze scene with pivotal artists such as 'Swervedriver, The Verve, MBV & Ride' being bandied about as references to their collective sound. The band are made up of members of The Gimmicks, Crystal Antlers & The Orphans and 'Nothing Seems Real' contains both of the bands previous two singles, the brilliant 'Outside' and the mesmerising 'Wait Until'.

In a cyclonic maelstrom of reverberation the opening salvo’s of ‘Wait Until’ instantly grab this listener by the ears and swings him nonchalantly around the room. The combination of soaring angry guitars, explosive drums and the unwavering throb of bass frequencies lure you into a blistering cacophony of luscious noise and ultimately pander to your every sonic need, but it’s the highly addictive vocals that conjure up a plethora of influential bands from this music genre, both past and present, thus adding a hue of invincibility to the collective greatness of ‘Leaf’ that I haven’t been able to tag on any other band for some considerable time. Up next, ‘Her Way’, blissfully jangles into earshot held firmly to an underlying wave of instrumental drone and hazy reverb. The immensely melancholic vocal lines gracefully lift you up and sweep you along with them until you are led into a turbulent drum pattern coupled with cascading bass lines & driving guitars until you are eventually deposited into a reverb strewn wasteland that’s filled with dying frequencies and unwavering guitar squall. ‘Her Way’ is utterly immense from start to finish. A triumphant sonic masterpiece.

Up next, ‘Outside’ is filled with so many influential sounds that it’s difficult to keep focused on the track or it’s magnificent instrumentation. I’m hearing ‘Loop, Spacemen 3, Stone Roses, Spiritualized, The Warlocks & Swervedriver’ to name but a few, coursing through it’s veins as it deftly works through it’s highly addictive sonic gears. I’m not messing when I these guys mean business. They’ve come out of left field as far as I’m concerned and I have to give major props to Dean ‘shoegaze’ Bromley for pointing me in their direction. The EP’s closing piece entitled ‘Say Goodbye’ is packed full of catchy hooks and heaps of sublime melody. From it’s rolling drum patterns to it’s cascading bass lines, through effortless gliding guitar progressions and on into it’s totally absorbing vocals, ‘Say Goodbye’ is gloriously addictive and a fitting ending to an absolutely immense EP.


'Nothing Seems Real' is available to buy/download right now from: and you really should have it in your collection.




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

NEW SINGLE PREMIERE | Lunar Quiet - Cold Spell

The untimely death of singer/guitarist Tom Nights from the fantastic Brighton based 'Lunar Quiet' has prompted the band to release a beautiful single entitled 'Cold Spell' to the masses via Hidden Bay Records. This single is the bands last ever recording as a four piece and is a fitting send off to the undoubtedly immense talent that Tom possessed. The cassette version of this single comes with a 32 page zine plus photos and art. The band are also playing a Memorial Gig to Tom on the 14th of December at Green Door Store with a very limited number (20) cassettes & posters to buy on the night.

'Cold Spell' swoons effortlessly on a blissful wave of jangling guitars and subtle atmospherics before opening up into a noisy maelstrom of fuzzy layered shoegaze coupled with stunning vocalisations, throbbing bass frequencies and thunderous percussion.


All proceeds from the sale of this single are going to charity and you can head over to to buy/download your own copy right now.

R.I.P Tom Knights.


ALBUM REVIEW | Echolust - Veldisa

a2243359290_16ARTIST: Echolust

RELEASE: Veldisa 

RELEASE DATE: November 18th 2016

RECORD COMPANY: Cleopatra Records

Programmed drums, dream pop guitars and the deep contextual influence of 80’s post-punk and ethereal wave combine with absolutely brilliant song writing on the debut album of Californian shoegaze/darkwave/post-punk band Echolust. 'Veldisa' is a sprawling, dark yet beautiful musical journey through moods and places, sounds and lyrics and contrastingly vivid soundscapes. Upon almost every track the band exercise some sort of gaze back into the past; but this act surpasses nostalgia and more offers commentary on thought and pondering. It’s beautiful and dream pop inspired guitar riffs support the slow and swinging music to fantastic degrees; expressing emotion through music with some wild sort of ease.

‘1799’ opens the album with a dreamy guitar riff and a drum machine inspired by the double tap of the French coldwave and the early 80’s programmed beats of post-punk bands. Mixed within the song is the screech of a slow and winding synthesizer that seeps out when the soaring and wide chorus opens; offering a neat a song writing counterpoint to the language and sounds used within the verse of the song. The track retains a slow and winding quality which somehow never gets boring; an indication of a well written and instrumented song. ‘Cherry Dancer’ showcases the bands more shoegaze tendencies with its largely reverbed opening. The echoes of dream pop still linger however, so much so that ‘Cherry Dancer’ seems like a next door neighbour or companion piece to the more up tempo ‘1799’. From there the band leaps forward into a fantastically disco-darkwave inspired track titled ‘Dark Hair Girl’. The backing of the song sounds similar to an EDM/Dance style track; which contextually mixes well with the more alternative rock aspects that the song holds. The vocals remain deep and full of FX, which makes the singing sound like a direct instrument in the landscape of all of the instrumentation. ‘Dark Hair Girl’s best moments are when the vocals go higher and the band follow, showing off their talent of creating soaring style dream pop.

One of the greatest tracks on the entire album ‘Decor Blonde’ displays the band in full shoegaze swing; reverb drenched guitars and a slower and darker tempo. I believe it to be one of the greatest on the album simply for its fantastic wall of sound styled production; a form and style that adds a whole other dimension to shoegaze music. The lyrics also practice exactly what I mentioned before accompanied by the fantastic guitars and bass, they add an emotive element to the music and sound of the song. Praise also to the fantastic outro on the song, which takes on a whole brilliant sound of its own. ‘Doublespeak’ returns to a more post-punk formula but retains elements of the shoegaze sound explored on ‘Decor Blonde’. This song also takes the disco beats explored on ‘Dark Hair Girl’ a step further with a tight bass and drums section that sounds exactly like a R’n’B inspired track. ‘Doublespeak’ also relies more heavily upon the gradual tap of the programmed drums in the back of the mix. Perhaps the weakest song on the album is the darkwave heavy ‘Electric’; a lengthy and indulgent track with lyrics that seem like they were written by a completely different band than the previous tracks.

‘For Least Resistance’ brings things back into the bands sphere; featuring a synthwave drum and soundscape style of tone with the fancy shoegaze styles of the dream pop guitar. The track even features an experimental-trap influenced style drum machine beat throughout the song which melds into the music in an interesting and engaging way. The strange lo-fi/alt-rock genius of ‘This Blurry Kill’ shows another side of the bands talent of song-writing; tied off magically with the experimental soundscape stationed in the mix. The title track is another contender for the albums weakest song. It sounds somewhere between a B-side and a draft; featuring comedically confusing drum patterns and boring mid-tone vocals. Thankfully the band turn everything around with the fantastic ‘Velvet Holiday’ which rehashes all of the bands fantastic post-punk songs into a dark, more straight forward and heavy song. It’s almost as though Echolust wanted to connect the more synth and darkwave influenced side of their album with the more post-punk side and speaking of which, the atmospheric ‘Zombie Birds’ connects both sides together in sound with the dance influenced drum machine beats and the shoegaze styled bass, guitars and synth. Together this mixture creates something that sounds almost on the borderline of industrial music, something I suppose the band have constantly toyed with on the entire album. ‘Zombie Birds’ features a fantastic and mesmerizing intro that leads into the lyrically diverse verse and chorus in which the fantastic backing soundscapes and sneaky production sneak back into the song.

A few songs into Veldisa I wondered why the band wasn’t going pro; the songs were well-written, thoroughly beautiful, experimental and original pieces of brilliant music. After the opening few songs I was a little less mesmerized and by the second half I showed little-interest to the music, but the second half of the second half managed to turn it around and recapture some of the magic of the beginning. And that, in essence, is how Veldisa could be summed up. The album as a whole drags on and on and on (there are too many songs) and with less engaging songs in the middle, the listener just becomes more bored as the album plays through. In said mid-album area, the songs begin to sound more and more like clichéd and distant dance tracks thrown together to fill album space… But Veldisa doesn’t need album fillers. The band should have stuck to their guns and produced a more compact album with the same sharp and fantastic song writing skills displayed at the albums opening. For that reason Veldisa as a whole seems tiresome in structure, even when a lot of the songs are so well written.

The production is good, the mixing is great and the performances should also receive praise. Together these elements carry the album in its more paint-drying moments and prove that, although not throughout the total album, Echolust can produce a fantastic quality of song writing. I believe the opening few tracks are so good they almost carry the albums more weaker points and for that reason one should definitely listen intently to Echolust’s fantastic skills. These are achieved through mixing, production, performance and sound.





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

ALBUM REVIEW | Landing - Complekt

a1563261661_16ARTIST: Landing 

RELEASE: Complekt

RELEASE DATE: November 25th 2016

RECORD COMPANY: These Are Not Records

Connecticut based experimental shoegaze/lo-fi four piece 'Landing' are no strangers to the underground music scene having no less than nine previous releases under their belts. The latest addition to that stunning collection is 'Complekt', their 10th release to date and a continuation to their no-nonsense, genre-defining attitude of creating blissful sonic soundscapes that are filled with hazy shoegaze highs and jaw dropping ethereal vocalisations coupled with experimental twists and lashings of glorious reverberation. The band are made up of three longtime members; Adrienne Snow - vocals, Aaron Snow - guitar/synth/bass/drums/vocals, Daron Gardner - bass & John Miller - drums/guitar/synth and you can pre-order the full album on various formats right now from:

In a beautifully translucent instrumental drone ‘Complekt’ unfurls its effortless sonic tendrils to announce the arrival of it’s opening salvo - 'Light'. It pulses into earshot on a wave of quivering guitars and deliciously ambient swirls before it’s blissfully ethereal vocalisations sweep past you, held fast in swathes of immense reverberation. Up next, ‘Complekt’ swirls repetitiously before exploding into a driving cacophony of thunderous percussion, throbbing bass frequencies and a maelstrom of layered reverberating guitars. The vocal lines cut an ethereal wedge through proceedings, bringing a sort of serine clarity whilst all around them wage a sonic war of attrition. A stunning track that you must listen to via headphones to experience its full sonic onslaught.

‘Weft’ jangles into ear shot on an undulating bed of instrumental promise, sequenced synth theatrics and a shaking percussive pattern as it’s brilliantly executed guitar lines languish deep within swathes of luscious reverb, whilst the monumental ‘Shifts’ menacingly emerges from beneath an angry instrumental drone accompanied by hypnotic shakers and massive walls of ethereal noise. ‘Shifts’ undulates as its beautiful vocals swerve through cascading synth lines that float effortlessly through the sonic ether, looping and arcing with blissful aplomb. Up next, ‘Thither’ soars on a glorious synth swell before building into a throbbing sonic beast. This track pulses and swirls on a cloud of hazy electronics and sequenced atmospherics before we’re treated to a metronomic drum pattern, melodious bass frequencies and another beautiful vocal performance, constantly circumnavigated by reverberating guitars and cushioning synth swells. ‘Thither’ is immense and possibly my favourite track on this entire release.

‘Grow’ bleeps and swirls into existence on a bedrock of sequenced electronics and stunning guitar swells. It shimmers blissfully as it works through it’s sonic gears with aplomb, effortlessly floating unaided through layers of reverb and droning experimental instrumentation. Coming in at ten minutes plus ‘Grow’ is by far the longest track on the entire album and it doesn’t disappoint. It moves effortlessly through soaring guitars, pulsing synths and hypnotic percussion whilst pushing wave after wave of golden hued frequencies out into the sonic ether without breaking a sweat. The vocal lines weave a spell as they majestically intertwine with the entrancing sound waves. ‘Grow’ is a sonic triumph of immense proportions. The albums penultimate track entitled ‘Clouds II’ moves on a lazy percussive swagger albeit coupled with swirling guitars and the constant hum of a throbbing bass line. It’s vocal sits gracefully in the mix, gently leading this listener through a meandering pre-designated verse pattern and on into it’s soaring chorus parts. The albums closing piece however, shimmers on acoustic frequencies and soaring synth swells. ‘World’ switches from female to male lead vocals brilliantly as it builds into a trembling maelstrom of glorious reverberation and tremulous noise. A fitting ending to a marvellous album.




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