NEW SINGLE - Burning House - Mirror Song - Featured Image - (700x700)

NEW SINGLE | Burning House - Mirror Song

Another one of our favourite bands here at Primal Music, Southampton-based heavy alt-gazers 'Burning House' have unleashed a blistering new track entitled 'Mirror Song' via their bandcamp page. This impressive trio create blissed out noisy infusions layered with melody driven song structures all melded with a dreamy kind of melancholy that is both infectious and addictive all at once. This latest single follows on from their melody driven August 2018 released track 'Peach', which we've covered here for the blog and is available as a two track release over on the bands bandcamp page. You can get your muggy paws on it right now via burninghouse.bandcamp.com

'Mirror Song' surges into the ether on soaring waves of guitar as angry fuzzed out reflections ride busy percussion and the pull of bass sends shivers down the spine. Vocally brilliant, this track oozes confidence as it dips and glides through clouds of fizzing reverberations and those ear pummelling lead lines instil a kind of scary melody over proceedings. We can hear MBV, Dinosaur Jr and the driving fuzz of shoegaze stalwarts Swervedriver all over this one. It's another super sonic gem!

Utterly Delicious!

LINKS:

burninghouse.bandcamp.com

facebook.com/BurningHouseMusic

soundcloud.com/burning-house/tracks

twitter.com/burninghouse_


ALBUM REVIEW - Sky Flying By - (Re) Routed - Featured Image - (700x700)

ALBUM REVIEW | Sky Flying By - (Re) Routed

ALBUM REVIEW - Sky Flying By - (Re) Routed - Post Image - (300x300)ARTIST: Sky Flying By 

RELEASE: (Re) Routed

RELEASE DATE: October 26th 2018

RECORD COMPANY: Fluttery Records 

'(Re) Routed' is the latest studio album by the Boston-based post-rock/drone/cinematic aficionado David Palmer aka 'Sky Flying By'. It contains upwards of eight generally, moving, ambient post-rock instrumentals tied together by absolutely stellar, clean production. Violins and other varied string instruments, buzzing electronic noises, guitars and other instruments combine to create soft sonic texturing and backing soundscapes; all released by the well-loved LA-based independent record label 'Fluttery Records'. The album was officially released back on October 26th 2018 and is available to buy/download right now via sky-flying-by.bandcamp.com

'(Re) Routed' opens with the gentle sway of strings over a minimalistic piano line. Immediately, the listener makes correlations between Sky Flying By and what could be safely coined ‘film soundtracks. This song, titled ‘A Thousand Miles of Everything’, continues along maintaining the consistent level of minimalist piano, introducing complimentary and bring bell sounds as well as the bang of a drum. The entire piece eventually evolves into the continued piano line and varied instruments accompanying the beat of the drums. An electronic interlude of sorts is introduced later in the track. ‘Forgetting Sky’ takes the conceptual elements of a film score and amplifies them ten fold; half the track is the sparse (yet beautiful) sound of various stringed instruments playing cinematic swells and emotionally raw soundscapes. The ending, which is especially great, brings together electronic programming and strings in a compelling and rewarding way. ‘Keep the Weather Eye Open’ is the first track (I think?) on the album to include guitar (albeit minimalistic guitar passages). Here, more traditional rock instrumentation can be found alongside the stringed instruments of previous tracks and, of course, that tinkering piano sound. ‘Completely Lost’ takes this further, maintain the steady rattle of the drums as well as the noticeable presence of guitar. An album highlight, the true beauty of ‘Completely Lost’ hides in the vast electronic sweeps and bizarre buzzing soundscapes in the tracks backing. David Palmer should be complimented on his skill of melding both electronic and acoustic instrumentation together smoothly, and ultimately, beautifully.

‘The Dream of a Promised Fulfilled’ starts darkly, oozing with soft strings that conjure images of wide and perhaps empty landscapes. The song continues much the same, occasionally introducing the hum of synthesizers and electronic soundscapes in the background to add texture to the song as a whole. ‘The Road Ends Where the Sea Begins’ with its marching rhythm and guitar plucking, is certainly one of the album highlights on the latter half of the release. Its eventual unfolding into a sound that truly showcases unity within the instrumentation (drums, guitar, strings and more) reflects upon Palmers talent of melding together sounds. ‘When the Clouds Clear, We’re Gone’ lightens up things while retaining elements found within other tracks. The transitions between passages are adequately held together by the beat of a drum (and at one point some soothly vocal chanting), yet comfortably seem to be distinctly different from one another. The closing sections snare rattle based beat is the strongest of the songs varied passages. ‘Wind Unwind’, almost an interlude, is essentially another drum-orientated rhythmic track wherein strings other electronic elements patter along in a minimalist fashion.

‘You Were Right, Again’ returns to the string-orientated passages of previous songs on the album, yet for sounds much more downtrodden than the bands other soundscape based tunes. The song even winds down into being completely string based, relying on the texturing of music that sounds like a crossover between classical and more film composition, The second half especially showcases a true beauty that can be achieved with string based music. Despite this turn, ‘Stopping for the Breaking Waves’ switches again to a completely rock based instrumentation setup and a much more linear post-rock sound. Guitar and drums play away with the occasional hum of a piano; the eventual unloading of strings in the songs second half make for a more epic backing to the track as well.

'(Re) Routed' certainly has many positives: the stellar production, the precision of the performances as well as the high quality of the assorted soundscapes and the songs. Yet to be honest, writing a full, track by track review of this album was increasingly difficult. After the first few songs you sort of well… get it. Most of the songs (with the exception of a few) sound very similar: there’s the violin swells, the passages that sound like they could be a film soundtrack, the mildly pretentious names, the sort of ‘okay, we get it’ sections where Palmer tries to do the minimalist thing over and over and so forth and so on. I can understand why this appeals to some listeners, but yours truly got to around the fifth track and sort of wandered off into other thoughts. The overly cinematic tinges and extremely polished production leave little room for anything truly ‘organic’ to come over. Because of this, I really struggled with forming an emotional connection to many of the tracks. Bands like Sigur Ros have toyed with these notions of post-rock; the stringed instruments, the touches of electronic instrumentation and the overall special aspects that can be found on (Re) Routed. Except, Sigur Ros carefully experimented and pushed forth on almost every track they made, making their songs sound as though an art orchestra was trying to render electronic music into something viably acoustic. It was this unique method that gave their songs such emotionally originality. Here, Sky Flying By seem to be less interested in incorporating or considering those facts within the music. Truthfully, they seem more interested in making something that could be picked up and used on a film score… and that is very much okay. I had to be honest about those things, and many will be confused about such statements when, on the surface, this album is so beautiful and professionally put together. That’s not to say there isn’t amazing passages, sections and songs held within, because there are. In these passages, the production, writing and performance come together to promote the purity and precision of the bands sweeping yet gentle sound.

3/5

LINKS:

sky-flying-by.bandcamp.com

flutteryrecords.com

ABOUT THE AUTHOR:

Cam Phillips - Contributing Writer

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 Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian-based heavy music blog, I Probably Hate Your Band.


NEW SINGLE - Fawns Of Love - Mournful Eyes - Featured Image - (700x700)

NEW SINGLE | Fawns Of Love - Mournful Eyes

Seemingly unable to put a foot wrong these days, the sublime Californian-based husband and wife team 'Fawns Of Love' have ushered in another sizzling slice of modern tinged dream-pop in the guise of their latest single 'Mournful Eyes', the second single to be lifted from their highly anticipated long player entitled 'Permanent', penned in for release in 2019 via Test Pattern Records. This latest single is the second to be taken from the aforementioned brand new LP, following hot on the heels of one of our favourite singles of 2018 so far, the wonderfully blissful  'Someday'.

'Mournful Eyes' sees the band continuing to experiment with their sonic craft injecting sequenced electronics and repetitive percussion with melodic guitars, simmering swells of synth and swooning vocalisations to collectively create something altogether magical. The track was officially released back on the 9th November 2018, was mixed and mastered by Josiah Mazzaschi (The Jesus & Mary Chain/Built to Spill) and is available to buy/download right now via fawnsoflove.bandcamp.com

Recommended!

LINKS:

fawnsoflove.bandcamp.com

fawnsoflove.com

facebook.com/fawnsoflove

twitter.com/fawnsoflove

testpatternrecords.com


NEW SINGLE - Hanford Reach - Winston Smith - Featured Image - (700x700)

NEW SINGLE | Hanford Reach - Winston Smith

Brooklyn-based psychonauts 'Hanford Reach' haven't been on our radar since late 2017 when we covered their then released 'Caught My Mind' single. Formed back in late 2016 following the dissolution of a previous incarnation called 'Sky Picnic', 'Hanford Reach' are Chris Sherman and Leah Cinnamon. They create a marvellous blend of melodious neo-psych, subtle flurries of shoegaze, post-punk and staggered alternative leanings that collectively swell and fall brilliantly through layers of immense reverberation. This latest dystopian hued single entitled 'Winston Smith' is a very busy one indeed, rattling on a bedrock of rolling percussion with swells of synth and cascading lines of bass in close orbit. It's wailing guitars follow that typically magnificent Hanford Reach styled vocalisation through a fantastic song structure that's ebbed with oodles of impressive melody.

'Winston Smith' is a wonderful return to form by a band who have been away from the scene for far too long.

Recommended!

LINKS:

soundcloud.com/hanfordreach

hanfordreach.bandcamp.com

facebook.com/HanfordReach


NEW VIDEO - Fawns Of Love - Someday - Featured Image - (700x700)

NEW VIDEO | Fawns Of Love - Someday

Bakersfield -based husband and wife team 'Fawns Of Love' have unleashed a brand new video to accompany their recently released single 'Someday', the first on their newly acquired record label 'Test Pattern Records'. With a hint of 80's chic, some shoegaze highlights and lashings of synth led dream-pop, Joseph & Jenny Andreotti have been unleashing some stunning music over the past few years to burgeoning world-wide applause from both fans and peers alike. 'Someday' is lifted from their upcoming full length album entitled 'Permanent', penned in for release in early 2019, and if you want to get your hands on the single just head over to fawnsoflove.bandcamp.com .

For now though, just soon away the minutes to this fantastic new video!

Recommended!

LINKS:

fawnsoflove.bandcamp.com

fawnsoflove.com

facebook.com/fawnsoflove

twitter.com/fawnsoflove


ALBUM REVIEW - Firefriend- Yellow Spider - Featured Image - (700x700)

ALBUM REVIEW | Firefriend - Yellow Spider

 ARTIST: Firefriend

RELEASE: Yellow Spider

RELEASE DATE: 2nd November 2018

RECORD COMPANY: Little Cloud RecordsCardinal Fuzz

The ever prolific São Paulo-based trio of 'Firefriend' continue to plough a deep sonic furrow in todays modern psych firmament. With a plethora of releases since 2009 it comes as no surprise at all to us that these guys show no signs of slowing down anytime soon. Their latest release entitled 'Yellow Spider' oozes the same sonic brilliance witnessed on this years previously released (April 2018) long player 'Sulfur', diving headlong into slow burning psych melded with hazy passages of shoegaze, but there are also subtle signs of a more noisier, up-tempo approach creeping in to the bands sonic arsenal that is very refreshing. The band are made up of Julia Grassetti - bass/vox/keyboards, C.Amaral - drums/synth/harmonica & Yury Hermuche - guitar /vox. Not officially unleashed until the 2nd of November 2018,  'Yellow Spider' is the second full length album from 'Firefriend' to be jointly released by both the UK-based Cardinal Fuzz Records & Portland-based Little Cloud Records this year so depending on your current location you can get your muggy paws on a copy from either littlecloudrec.com or cardinalfuzz.bigcartel.com  respectively.

Swirling instrumental drones, rattling percussion and an immense bass line collectively announces the arrival of track one ‘Surface To Air’. There’s a magnificent atmospheric pull to this track, a slow burning slice of modern psychgaze centred around a whirring drone that holds everything together thus allowing those howling vocalisations to float in a sea of reverb intertwined at times by the growl of guitar. ‘Surface To Air’ is a mesmerizing lysergic dipped sonic melee and a wonderful opening salvo. Up next, ‘Burning A Haunted House’ swerves into audible range strapped to a slow-moving wall of percussion and a massive wave of sonic energy. Menacing lines of vocal meander and creep through fuzzy layers of hypnotic drones as screaming clouds of feedback pepper the track to within an inch of its life. There’s a hypnotic melody here, a kind of lingering sonic addictiveness that is very hard to shake off making it one of the standout tracks on this entire release.

‘Ultra Violet Thing’ groans into existence on a woozy wave of angry guitar as bouncing lines of bass and tumbling drones merge into one almighty sonic barrage. Somewhere in the mix there is room for a distant vocal in amongst all of that electronic wizardry and those deep-rooted psychedelic incantations. And listen out for that immense finale; it’ll completely floor you. ‘Juxtaposed Parallax’ & ‘Yellow Spider’ are reminiscent of early Sonic Youth with jangling guitars, busy percussion and the luscious addictiveness of the vocal with the latter upping the tempo a little bit more, injecting a layer of stinging fuzz into the mix to accompany those long passages of turbulent noise whilst ‘The Third Wave’, the albums penultimate piece, dives headlong into a pool of hallucinogenic reverberation pulling with it slow-moving percussion and haunting vocalisations (reminiscent of the fantastic Velvet Underground & Nico) before splashing into the fizzing feedback-laden melting pot.

‘Yellow Spider’ closes out with a seven minute long psychedelic trip. ‘Shutdown Your Electronic Hallucinations’ opens with some fanciful guitar steeped in wide scoped reverberation, used primarily to lull the listener into a false sense of security before unleashing a repetitive guitar progression, metronomic rhythms and some undulating swells of instrumentation all circumnavigating a stunning vocal line topped with a haunting vocalised accompaniment. Yes ..... I have just used a heap of superlatives to explain what this track sounds like; but it is that bloody good. It’s a superb ending to what is a marvellous album.

5/5

LINKS:

cful.bandcamp.com/

cardinalfuzz.bigcartel.com

littlecloudrec.com

littlecloudrecords.bandcamp.com

firefriend.com

firefriend.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.


ALBUM REVIEW | The Black Planes- This Is The Black Planes - Featured Image - (700x700)

ALBUM REVIEW | The Black Planes - This Is The Black Planes

ARTIST: The Black Planes

RELEASE: This Is The Black Planes

RELEASE DATE: 2nd August 2018

RECORD COMPANY: Lucky Orange Records

Seattle-based trio 'The Black Planes' pull their impressive sound from a multitude of varying sonic influences. Droning modern psych, krautrock styled rhythms, late 80's Manchester vibes and sullen new wave experimentations are carefully pick-pocketed and reimagined into one huge cyclonic wave with plenty here for everyone to get their teeth into. Their massive debut full length entitled 'This Is The Black Planes' carries a whopping twelve tracks was recorded over a ten-month period with the mixing and mastering completed by local legend Chris Hanzsek (producer of Soundgarden; Melvins and many others), co-founder of Reciprocal Recordings alongside Jack Endino. The band are made up of former Friction Pitch singer and guitarist Dan Gallagher; Brent Cajka on synthesisers and Jeff Gall on drums and the album was officially released back on the 2nd August 2018. 'This Is The Black Planes' was released on all major streaming platforms and is available to buy/download on various formats via theblackplanes.com

Fizzing lines of synth intertwined with the pull of undulating bass frequencies and that almost kraut like percussive swagger announces ‘Cyclosonic Sister’, the opening salvo on this monolithic release. Modern psychgaze melded perfectly with a kind of 70’s sounding prog/kraut shimmer and a subtle injection of rock n’ roll comes to mind as those hypnotic tambourine shakes bring hovering lines of vocal into view washed diligently with swathes of swirling reverb. Individually the instrumentation stacks perfectly, each piece slotting into place inside a whirring wave of noise, forming cohesive sonic progressions that cling to those meandering lines of synth with relative ease. A wonderful opening track indeed. Up next, 'Too Radar Love' bounces into audible range strapped to a repetitive beat and the jangle of guitars. Explosive instrumentation allows a clearer vocal to take shape, steeped in melody and riding a line of humming bass frequencies. There are catchy chord changes here too that build brilliantly and lift the chorus out of a deep repetitive rut but it’s the final two minutes of hypnotic instrumentation that really catches the ear.

‘Hush Hush’ chugs into the sonic ether on a brilliant bass line and skittish drum a pattern as The Dead Planes unfurl some post-punk credentials and those lines of synth ooze confidence. Subtle lines of lead guitar rise and fall just outside the mix adding atmosphere as the chorus breaks and a distinctly 80’s hue permeates the ether. It’s a good track, lifted at times by catchy vocal melodies underpinned with solid sonic structures. ‘Stone In Love’, the albums lead single, is a catchy little ear worm that will stay with you well after the first listen. Again, the band meld krautrock sensibilities with a brilliant modern psych twist here, using a majestic vocal as the lead assault with swirling instrumentation hovering in a tight orbit and that addictive percussive tempo holding court. It’s a triumph and a definite album highlight. ‘Get Some Honey’ deploys some mid-west coolness with a sharp injection of 80’s Manchester chic to create it’s melody driven sound whilst ‘Charity’ has a great little garage psych vibe that is extremely overpowering. ‘Love My Way’ doesn’t do it for me at all unfortunately and goes all Arctic Monkeys in places sounding more like an album filler than anything else forcing me to scratch my head until ‘5 Billion A.D’ arrives twinkling on lines of synth and electronic percussion with it’s T-Rex sounding vocal and bouncing bass notes that again feel completely out of place and screams album filler rather than anything substantial. Up next, ‘Where Is My Mind’ rocks on a repetitive guitar progression, a meandering bass line and atmospheric stabs of synth. It’s layered vocals sound fantastic alongside those intertwining lines of lead guitar that seem pull everything together brilliantly.

‘It’s Easier Than You Think’ is filled with passages of melody, catchy hook laden chord structures and a mix match of sonic influences. Angry bass frequencies are carried here by a steady metronomic tempo and those stabs of guitar add an extra bite to proceedings as the vocals lament in a Pavement kind of way. The albums penultimate piece leans more into alternative rock than anything else. ‘Take It Higher’ has a meandering bass line that undulates and moves brilliantly in and out of another safe drum beat as chorus progressions lift and the vocal hangs in a cloud of reverberation. The album closes out with ‘Not Like A Monday’, an atmospheric piece held in place by a brilliant guitar progression and another impressive vocal performance. All in all it’s a solid ending to a good album.

‘This Is The Black Planes’ has the potential to be absolutely bloody immense. It begins brilliantly, charging through passages of psych rock, krautrock and alternative leanings with relative ease, presenting a fantastic opening section that on any other day could hold itself up on it’s own merit as a really great release. Midway through this twelve track opus however it does get a little lost with repetition taking over and a multitude of different influences overpowering the bands collective identity. They lose their way a little bit only to find it again towards the albums closing tracks. That’s not to say that the album doesn’t work, it does but at different stages throughout, failing to connect the dots properly and cohesively. And at a full twelve tracks in length it’s a long slog with pockets of overpowering repetitiveness & structural sonic brilliance in equal measure. However, there are some fantastic individual tracks here that deserve some serious praise and both the song structuring and production/mastering are faultless.

4/5

LINKS:

facebook.com/theblackplanes/

soundcloud.com/user-857145406

theblackplanes.com

twitter.com/@planes_the

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 - Manon Meurt - MMXVIII - Faetured Image - (700x700)

ALBUM REVIEW | Manon Meurt - MMXVIII

ARTIST: Manon Meurt 

RELEASE: MMXVIII

RELEASE DATE: October 12th 2018

RECORD COMPANY: Minority Records 

Manon Meurt hail from Rakovník west of Prague. Inspired by the British shoegaze movement of the early 1990's and bands such as Ride, Lush and Slowdive, this impressive four piece have managed to collectively merge those impressive early scene shoegaze sounds with a modern edge to create something altogether mesmerising.  Their self-titled 12" EP was released back in 2014 to glowing reviews, garnering serious attention from the underground faithful thus leading to a re-release through the Canadian-based independent record label - Label Obscura. The band are made up of  Vojtěch Pejša - guitar/vocal, Káťa Elznicová - vocals/guitar, Jiří Bendl - drums and David Tichý - synths/piano. 'MMXVIII', the band's highly anticipated debut long player, was officially released back on October 12th 2018 via Minority Records and is available to buy/download on various formats from both store.minorityrecords.com & manonmeurt.bandcamp.com respectively.

Glistening swirls of atmospheric piano melded with twinkling lines of guitar announce the arrival of ‘Circle’, the opening salvo on this album. Haunting vocalisations float into view, hugging layers of ethereal reverberation that clings effortlessly to lulling tones and golden frequencies as electronic samples pull duel lines of vocal into the mix and that catchy chorus progression takes hold. ‘Circle’ builds brilliantly, twisting and turning at times into this kind of semi-industrial dream-gaze albeit without percussion. It’s a marvellous opening track. Up next, ‘We Are’ explodes into a wall of blissed out beautiful noise. Layers of reverberating guitars loop and arc through clouds of thunderous percussion as swells of synth and the throb of bass frequencies usher in a fantastic vocal assault. This track has it all, catchy chord sequences, rolling percussion, magnificent instrumental break, uplifting guitars and haunting vocalisations making it a stand out track on this release. ‘Figure It Out’ twangs into existence on a repetitive line of guitar before shimmering lines of vocal and the updraft of instrumental swells add intense atmosphere. The shuddering percussion and twinkle of piano are immense here but it’s that huge cyclonic break with it’s lines of backward guitar accompanying that soaring vocal that carry this track skywards.

‘An Excuse To Hurt’ unfurls it’s warm sonic tendrils strapped to an instrumental drone as intense atmospherics and wide scoped reverb usher in a cutting line of vocal. Shimmering swells of instrumentation lend themselves to a wonderful build as those swooshing drones break the eerie silence and we’re pulled into a sonic dream state .... floating in stasis .... until eventually we’re catapulted out into a huge break more akin to post-rock than dreamy shoegaze. ‘An Excuse To Hurt’ is absolutely beautiful and another album highlight for me. Up next, ‘Neon’ tumbles into audible range on a low rumbling drone before busy percussion pulls the growl of guitar into a massive wall of noise and we’re trapped inside a melodious ball of shimmering joy. The vocal track here is stunning and it’s woozy whammy bar guitar accompaniment fits in rather well when squeezed into those explosive attacks of percussion. With breaks to die for and that slow moving heavy instrumental assault towards the end, ‘Neon’ is another impressive track to listen out for. ‘LXXVIII’ floats into view on a swells of synth, jangling guitars and the metronomic thud of drums. Melody filled vocals ebb and flow in and out of the instrumentation here, drenched in shimmering reverb and clinging to the rise and fall of instrumental progressions. There’s a subtle build that bubbles up from below the mix, proceeded by a beautifully ethereal rush of vocals and the woozy flush of effected guitars that leads us into a fantastically bluesy lead break and on into the tracks melody strewn finale.

‘Lighthouse’, the albums penultimate piece, bellows into existence on an atmospheric line of piano before a blissfuly surreal vocal hovers with an updraft carried by winds of reverb. Slow moving metronomic percussion arrive accompanied by the twinkling of piano as the vocals rise and fall beautifully. We pause momentarily here, trapped in the haze of vocal and an instrumental poise before pulsing again through deep clouds of ethereal dream-pop melded with sequenced electronics. The album closes out with ‘Song Of The Sea’, a bruising slow burner that throbs on lines of catchy chord changes and the hum of bass frequencies. Blissful vocals arrive, clinging to the instrumentation with ease before we’re teased by a partial break thats cut short by an angry refrain of guitar until we dive headlong into layers of reverberation and a twist of experimentation. It’s an absolutely huge track that ends on a massive high, closing out another amazing release by a band who can do no wrong.

5/5

LINKS:

manonmeurt.bandcamp.com

Minority Records

instagram.com/manonmeurt/

twitter.com/ManonMeurt

facebook.com/manonmeurt/

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 - Dead Sea Apes & Adam Stone - Warheads - Featured Image - (700x700)

ALBUM REVIEW | Dead Sea Apes & Adam Stone - Warheads

ALBUM REVIEW - Dead Sea Apes & Adam Stone - Warheads - Post Image - (300x300)ARTIST: Dead Sea Apes & Adam Stone

RELEASE: Warheads

RELEASE DATE: 26th September 2018

RECORD COMPANY: Cardinal Fuzz

'Warheads' is the blistering full length collaborative release between writer/artist Adam Stone and Manchester-based noise manipulators 'Dead Sea Apes'. Picking at the claustrophobic underbelly of modern life, 'Warheads' melds the dystopian commentary of Stone with the experimental sonic might of 'Dead Sea Apes' to bring us on a hallucinogenic voyage that swerves valiantly through angry psychpunk, menacingly broody modern psych and mind altering experimental perceptions, holding absolutely nothing back. 'Warheads' had it's official release back on the 26th September via the ever reliable Cardinal Fuzz Records and is available to buy/download right now on various formats from cful.bandcamp.com and cardinalfuzz.bigcartel.com respectively.

Lysergic fuelled guitars fizz and tingle as they balance precariously on layers of reverb allowing ‘Inside Of Me’ to slowly evolve before punishing drums clatter into view pulling heavy bass frequencies and the snarl of charging vocalisations with them, melding collectively into one turbulent ball of atmospheric energy. Lead guitars begin their merry dance, spinning sonic webs of stinging malice as they follow the vocal lines closely, allowing no quarter as the band unleash a pick n’ mix style of various sounds and Adam Stone enlightens us all on the impending demise of modern life as we know it. There are links here to various musical stylings with the apparent ‘Dead Kennedy's’ or 'Mark E. Smith & The Fall' connection evident from the off but if you listen very closely to the instrumental accompaniment you’ll hear classic ‘Dead Sea Apes’ experimentation bubbling just below the mix. Up next, ‘Reduced To Zero’ floats into audible range strapped to slow moving percussive pattern, swirling instrumental drones and jangling guitars all trapped in a kind of dystopian wild west hue. The mesmerising spoken word of Stone, drenched in reverb, cuts a fine wedge through proceedings, pontificating brilliantly and injecting an unsettling atmospheric psychpunk edge deftly underpinned with the dry wit of John Cooper Clarke.

‘Retreat To Your Bunker’ is absolutely sublime! Droning instrumentation mixed with electronic bleeps, sequenced samples, synths and atmospheric fret noise accompany a busy percussive pattern and meandering bounce of heavy bass frequencies as the vocals arrive swirling within a cinematic cloud of 70’s sci-fi atmospherics. This is fantastic listening and possibly my favourite track on the entire release whilst ‘Doing What You Want’ is a charging heavy psychpunk behemoth. Repetitive guitars ride chariot like drum patterns as Stone’s vocalisations draw influences from punk to post-punk and heavy psych with sermon like abandonment. Up next, ‘Broken In Two’ pulses into life with a sequenced line of menacing synth as squally drones ebb just below the mix and that metronomic percussive pattern adds intense atmosphere. Subtle feedback adds to the melee as the vocals arrive bringing schizoid spoken word broken up at times by building swells of guitar and drawn out instrumental breaks filled with repetitive lines of synth and catchy chord changes. ‘Broken In Two’ meanders brilliantly through dark passages of stunning instrumentation used primarily to carry the blistering social commentary of Adam Stone.

‘Yes No’, the albums penultimate piece, is a hypnotic spaced out psych jam falling somewhere between modern heavy psych and mid nineties alternative rock. Heavy drum patterns carry throbbing lines of bass and growling guitars into a battle of fizzing sonic attrition as the screaming vocal incantations throttle the baying acolytes into absolute submission. It’s a fascinating listen and a recommendation from us lot here at Primal Music. The album closes out with the rousing ‘Power To The People’. Sequenced atmospherics meld with squally drones and layers of reverb as they circumnavigate lines of poetic spoken word and pulse through clouds of heady atmosphere. This track builds brilliantly from the off, injecting layers of hypnotic instrumentation in stages and closes out another marvellous excursion into the sonic mind of ‘Dead Sea Apes’.

4/5

LINKS:

cful.bandcamp.com

cardinalfuzz.bigcartel.com

facebook.com/deadseaapes

twitter.com/deadseaapes

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last five 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 - Ultra Material - Cosmic Anti Stuff - Featured Image - (700x700)

ALBUM REVIEW | Ultra Material - Cosmic Anti Stuff

ALBUM REVIEW - Ultra Material - Cosmic Anti Matter - Post Image (300x300)ARTIST: Ultra Material

RELEASE: Cosmic Anti Stuff

RELEASE DATE: 29th August 2019

RECORD COMPANY: Black Wire Records

Brisbane-based quartet 'Ultra Material' first tweaked our attention back in 2016 when we reviewed their debut album 'Double Date' and swooned at their beautifully entrancing soundscapes. Permeating different layers of shoegaze, passages of haunting dream-pop, bouncing post-punk and subtle undercurrents of psychedelia, 'Ultra Material' create a modern sound that skirts the outer echelons of quaint experimentation whilst doffing a curt nod to the originators of the shoegaze genre. Their sublime sophomore full length entitled 'Cosmic Anti Stuff' was officially released back on August 29th 2018 via 'Black Wire Records', instantly catapulting it into one of favourite releases of this year. It's available to buy/download right now on various formats from ultramaterial.bandcamp.com

With a twang of repetitive guitar and the luscious pull of reverb the opening bars of ‘Belong’ usher in a steadying air of optimism. It’s not long before we’re catapulted headlong into a wall of charging noise as throbbing bass frequencies meld with aggravated guitars and senses pummelling percussion that's more akin to a cumulative krautrock/modern psych gem than a shoegaze odyssey. The arrival of subtle swells of synth only add to the giddying onslaught before those haunting vocalisations float into audible range and my night is complete! ‘Belong’ is absolutely stunning, a monstrous track and a magnificent opening salvo. Up next, ‘Rhodamine’ rocks on a steady metronomic beat as swirling layers of guitar and synth hover above the throb of cascading bass. Sublime vocals arrive in a cloud of atmospherics as catchy chord structures rise and fall through twinkling runs of keyboard and that hypnotic ‘Ultra Material’ vibe takes hold. There’s something altogether magical tumbling through this track that keeps your attention fixed as you follow the individual instrumental layers, listening as they spiral and flow with ease. ‘Rolodex’ is filled with jangling melody that bounces on top of a humming bass signature and those gliding layers of synth with just enough room for another impressive vocal performance whilst ‘Ivory Curl’ has subtle post-punk connotations hidden in amongst it’s beautifully entrancing clouds of dreaminess.

‘Discorporate’ arrives strapped to a fizzing guitar progression before layers of glistening synth dipped in reverb pull steadying percussive patterns and catchy instrumental hooks into earshot, wrapping brilliantly around an impressive vocal take and the continuous sting of lead guitar. This track tumbles effortlessly, melding shoegaze with dream-pop and an undercurrent of psychedelia just for kicks. It’s absolutely beautiful and an album highlight for me. ‘Torpor’ is mesmerisingly beautiful. Swirling lines of guitar rise with the swoosh of cymbal noise and slow pull of bass frequencies and that shimmering vocal meanders alongside allowing the hypnotic pull of reverb to carry the entire track. The arrival of a busy percussive pattern shatters the momentary lull before swells of synth bubble up from below the mix to lift the track skywards, carrying this listener along into the tracks final throws. ‘Transfer’ deploys a heavier atmospheric edge as dark frequencies merge with layers of synth and ‘Ultra Material’ dig deep to unfurl their impressive post-punk side. Busy percussion and a big brooding bass lines lay a deep furrow into the mix as reverb drenched guitars jangle and the haunting refrain of the vocals take flight. It’s another impressive track and a definite album highlight.

The albums penultimate piece arrives in a heavy shoegaze drenched cloud as ‘Reduction’ unfurls it’s fuzzy tendrils and charges into the sonic ether on a throbbing bass line and a repetitive flurry of synth. A steady bedrock of percussion keeps things grounded as we jangle through the verse parts before absolutely exploding into those immense chorus progressions, it's immense vocal and that wall of blissful noise. The album close out with something magical. ‘Parachute’ swirls into action on dreamy waves of synth, the throb of bass and the haunting call of vocal. Slow moving and sporadic percussive hits emerge through the glistening haze as duel lines of vocal ricochet of one another and the fizz of sonic frequencies meld with refractions of reverb to create a multitude of hypnotic melodies all funnelled into one magnificent sonic assault. It’s a wonderful ending to what could be my favourite album of 2018 so far.

5/5

LINKS:

facebook.com/ultramaterials

ultramaterials.bandcamp.com

ABOUT THE AUTHOR:

Del Chaney - (Author Photo)

Del Chaney has spent the last five 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.