It’s a new year and it’s a real pleasure to be kicking 2025 off with a single release from one of my favourite labels, Blackjack Illuminist. Regular readers of the blog will know that this is the label run by musical powerhouse Alexander Donat. He has multiple projects on the go such as Fir Cone Children and Vlimmer. Now he is beginning this new year with the latest signing to his roster.
AIMING is the work of York-based trio David, Jordan and Laurie. Formed in late 2023, they draw on a love of shoegaze, post-punk and ambient music to create songs filled with driving bass lines, fuzzy electronic soundscapes and ethereal guitars. Their debut single, ‘Calculations’ was featured on Tom Robinson’s 6 Music Introducing mixtape.
2024 saw them play a series of shows across England in York, Leeds, Middlesbrough and London, including two BBC Introducing York & North Yorkshire live sessions.
They are kicking off their assault on 2025 with their debut EP called The Legend. Before that drops they’re treating us to a digital release of the lead track ‘Brainiac’.
I asked the band to tell us what we can expect from this single.
“The song combines wall-of-sound guitars with fuzzy lo-fi synths and harmony-rich vocals, underpinned by a driving bass line and heavily saturated 80s-inspired snares.”
“Lyrically, Brainiac explores the anxiety of growing up in a small town and feeling like you don’t quite fit in. The song was recorded, produced and mixed by the band in David’s home studio in York, using a combination of analogue and modular synths, drum machines, bass, guitar and far too many pedals”.
Let’s dive in!
The track opens on some distorted spoken word then the pulse of bass and drums brings the groove in. The dual vocals are sublime, like butter they melt over the chiming guitars and icy synths. In places I’m reminded of the atmosphere The Cure create and in others that dreamy approach Slowdive take. In the second verse I love how they mix up both the vocal harmonies and bassline to up the stakes and really grab our attention. When the song ends it leaves you wanting to to hit play and listen again. Which I know you’ll do until the rest of the EP drops on 7th February 2025.
I love a mystery. A few years back I happened upon a song called ‘Scenic’ by a band who, I later found out, were called Ozean. Who were this mystery band and what else have they released was my immediate reaction. I was stunned to discover that this song was from the bands one and only release from 1993. What was their story???
Ozean were a shoegaze band from the Bay Area, California. Influenced by iconic Scottish shoegaze bands like Cocteau Twins and The Jesus and Mary Chain as well as sixties psychedelia Ozean brought a dreamy, ethereal sound which hadn’t been heard before on the North American scene. The band consisted of Lisa Baer on vocals, Mike Prosenko on guitar, Eric Shea on guitar, and Mark Baldwin on drums and bass. Their only single, simply titled Ozean, was originally released as a demo cassette in 1993. The single featured three tracks: ‘Scenic’ ‘Fall’ and ‘Porcelain.’
The single was later remastered and reissued on vinyl in 2017 and again in 2024, dedicated to the memory of Mark Baldwin, the band’s drummer, who passed away in 1997. The long overdue second reissue was devoured buy their fan base which has slowly built in the intervening years. It’s not hyperbole to say that the Ozean single has legendary status in the shoegaze scene with many bands citing them as a key influence in their sound.
Earlier this year I was contacted by Lisa from the band with the news that her and Mike had reconvened in the studio and new Ozean music was imminent. In addition Daniel Dietrick, who wrote and played the bass-line to ‘Scenic’, has joined the band full time!
Today is the day that we get to hear what they have been working on all this time.
‘Streets of Chrome’ is the first new single from the band in over 30 years and, by god, it was worth the wait.
As soon as the track begins those guitars wash over you like a tidal wave. Then comes Baer’s vocals which have only gained more depth and poignancy. Only having heard that voice in the original songs I got serious goosebumps hearing them here. Dietrick on bass controls the bottom end like a sea captain guiding the ship. There’s a timelessness in the song that whilst it nods to their past is firmly set in the here and now.
This is the first taste of what will be the bands debut album due for release at some point in 2025. On that subject Lisa had this to say.
“We wanted to do a pre-release so that fans can get a taste of what to expect from our upcoming album, which will complete our archived songs and has two new ones.”
Welcome back Ozean, we have missed you and it’s great to have new music as well as an album in the works.
‘Streets of Chrome’ is available to purchase now over on the Ozean Bandcamp page only.
Andrew Rose is back with the latest instalment from his Callière project. His varied career has seen him work at the BBC at the height of the original shoegaze scene to being a fellow DKFM Shoegaze Radio DJ with his essential show Pristine Masters. His knowledge of the scene is unrivalled which makes the release of Float, the new Callière album, appointment listening here in the Static Sounds Clubhouse.
April’s Fade album had quite a dark and introspective feel which really embodied the colder months the songs were recorded in. I wondered if Rose had taken a different approach to these new songs. He had this to say.
“This album came as a bit of a surprise. I usually record over the winter when it’s cold and dark, then stop and other things for most of the year. This year I kept on going, with new songs written between February and September. Float has, I hope, more of the light and optimism that was not there at the end of 2023 for me but is there now. Maybe it helps that so much of it was written while the sun was shining?”
Sounds like we’re in for an upbeat listen. Let’s dive in and see.
The album opens on the soaring soundstage of ‘Black Grooves’. Lyrically the track tells the tale of Enrico Caruso recording the first truly popular album of the modern age. Musically we are doused in waves of textured fuzz and reverb. It’s a gazers delight and is an astute choice as an opener.
Next up is ‘Radio’, a love song to the medium where Rose spent a great deal of his career. As a fella of a certain age, I can identify to this song strongly. There was nothing like finding that station where they played the music you craved. This is a cracking pop song that whips along at a fair old lick. The joy that went into writing this is borne out in the melodies within and I guarantee it will have you smiling.
The nostalgia continues on the next track, ‘Chrome Dreams’. This time it celebrates the joys of taping to and listening to cassettes as well as the chaos that ensued when the tape machine chewed your prized music up. The song opens on a rhythmic almost goth-tinged bassline which opens up into glistening dreampop number. It’s reminiscent of Cocteau twins in places and Ultra Vivid Scene in others. A sublime blend if ever there was one.
This first collection of songs celebrating recorded music comes to an end with ‘Silver’. A collection of memories of Roses CD collection. From Slowdive to Cocteau Twins he takes those recollections and swathes them in layers of washed-out guitar, sparkling synth and THAT bass sound. There’s a romance to the melodies on show and it only adds to the warmth of the lyrics.
As we leave that first set behind Rose ensures we know we are entering a new phase of this album with ‘Lost in Time’. A song based around the difficulties of our songwriter dealing with performing in 5/4 time for this very track. Speaking as someone who cannot play to the simplest click track, I take my hat off to Rose for this glitchy, itchy and mesmerising song. The addition of electronica in lieu of a drumkit really catches the listeners attention and acts as an anchor for the brilliant performances.
It’s straight into the euphoric ‘Sunflower Girl’ next. Again Rose’ pop credentials come up trumps with this hook laden ode. The song pulses along nicely and radiates warmth with every line. The cymbal work on the drum part is exquisite as is the guitar part. When the track breaks to half time and then kicks back in it’s so effective. Oh, and that outro just takes me back to Surfs Up era Beach Boys. My album stand-out track for sure.
Rose channels his inner Gilmour next with the Pink Floyd flavours of ‘Cold War’. He ruminates on how easy it would be slip back to the dark days of the eighties and the constant threat of war. Reading the touchpoints of that time from Checkpoint Charlie to The Kremlin, from Berlin to Washington as if it’s the shipping forecast is profoundly impactful. Coming after the unbridled joy of the previous track only increases its impact. Very clever track listing.
The album closes out with the title track. Opening on a subdued intro the song soon blooms into a technicolour explosion of harmonies and call and response guitars. The guitar riff in the choruses is particularly effective in driving the song forward coupled with those ooh la la backing vocals. For me the high point comes when that guitar solo just erupts and dominates the song for a brief moment. It never leaves from that point and takes us to a crescendo to close out.
There is a stunning remix of ‘Float’ by Nick Noble of 93millionmilesfromthesun fame which is available now as the b side to the single.
Float is a stunning listen and would play well in vinyl form with the first four songs forming a very neat Side A. Whilst there is that brief moment of darkness on ‘Cold War’ this is an uplifting listen and flows nicely track to track. It has a little bit of everything that you want from a dreampop album and more. I need to call out that decision to include ‘Lost in Time’ even though it’s so different in tone to the rest of the album. It’s clever in two ways. First it bookends that first set of four songs and second it signposts that we are entering a section where we won’t know what’s coming next. That, I found really exciting.
Distance means nothing in the modern world. Technology now has the power to bring us closer than ever before, to be more creative than ever before. Two people who are testament to this are Neil Burkdoll (Whimsical, LoveBlind, Dirty Dead) and Craig Douglas (Neonach, Omega Vague). With Burkdoll moving to Germany and Douglas still Stateside they had to rely on trading files online to record this their debut album under the moniker Bright Like Stars. The two have actually never met in person, never mind been in the same room to record which for me makes the results of their efforts even more extraordinary.
Reflections was recorded with a very deliberate aim in mind. Burkdoll explains.
“We created something very much Shoegaze inspired, but combining the bleakness of Godflesh/Jesu, the energy of Torche, the noise of My Bloody Valentine, and the speed of Face to Face into a blender that could only be created by musicians that have been doing this for over 30 years.“
“We wanted the listener to have a similar experience to when we first heard Check Your Head by The Beastie Boys in 1992 and you didn’t know what was coming next from song to song, but in a homage to the early Alt Rock bands of the early 90’s.”
This sounds like its going to be right up my street. Let’s dive in and see what we have in store.
It’s a heavy doomy riff that opens the album. ‘Ever Fading’ is a hook laden monster that takes me right back. The combination of the melodic vocals with the simple but effective guitar gets this listening experience off to a strong start. I particularly like the switch up in that last minute or so. It mixes things up just enough yet maintains that guitar motif.
‘Star Dust’ up next has these glistening phased guitars that shine throughout, not least when everything stops and they are left glinting in the void for moment. Douglas choosing a harmonised vocal to compliment those guitars and it pays off in buckets. Two tracks in and two very different styles. I can see already what these guys were aiming at.
As if hearing me type that in storms opening single ‘Reeling’. An instant shoegaze classic. The wall of sound here is of epic proportions. Guitar’s wail and soar whilst the bass and drums absolutely thunder. Vocals, this time that hushed and calm delivery those early bands favoured in the scene that celebrates itself. It’s THAT guitar riff though that will bring you back again and again to this one.
There’s a lighter touch on show on ‘The Healing’. This is bringing to mind early Veruca Salt vibes. That crunchy guitar is bold and sweeping, making definite, assured strokes. Douglas lending a softer aesthetic to his delivery which makes that insane guitar solo all the more impactful when it hits. This is big stage stuff and it hits hard.
Next up is, for me, the album stand-out track. ‘The Less You Know’ is a seriously hooky proposition. Everything is an ear worm. The verse melody, the chorus, the guitar motifs. Even the punchy drums. It’s like some lost Hüsker Dü track been transported through time and amplified through Marshall stacks! This song alone is going to win the band a lot of fans.
Keeping that melodic thread going ‘Entangled’ simplifies things down to a single guitar motoring along. This allows Douglas to really step into the spotlight and have fun with some call and response vocals. His harmony vocal is allowed so much more space here and he makes the most of it and delivers a stunning performance.
‘Home’ steps back into that shoegaze world with a really atmospheric guitar pulsing along. Just when you think you know what’s happening they hit you with the most otherworldly chorus. It totally caught me by surprise the first time through and had me punching the air. It’s so rare that songs do that these days so I doubly appreciate it when it does happen.
You’d think that you’re hearing a church organ as Burkdoll plays some reverse guitar at the start of ‘Unaligned’. Don’t be fooled though, the chilled intro suddenly erupts into breakneck drums and guitars like a speed metal song but whatever the shoegaze equivalent is (is there an equivalent?). Vocals are very definitely gaze influenced and the contrast makes for a heady concoction. Have Bright Like Stars created a new genre here? Answers on a postcard.
It’s ‘The End’ next. Not of the album though. We’re leaning more into metal ballad territory for the instrumentation. Coupled with that serene vocal delivery though, we have something very unique. I’m also detecting some goth influence in here too. The icy guitar lines in the quieter passages bring to mind The Cure or The Banshees. It’s how seamlessly blended it all is that makes this yet another joy to the ear.
All too soon the album comes to a close with ‘On the Other Side’. The fuzzy and dark verses erupt into this triumphant ascending chorus melody that lifts your soul and spirits skyward. This is a song that knows its job. Everything works so well together to leave you, as the listener, utterly euphoric and wanting to listen again.
Well, if the band were wanting to keep us guessing from track to track, I’d say mission accomplished, and how. Reflections is a real journey of an album that takes you through a range of emotions, but always upbeat and positive ones. I think it’s worthwhile noting that all instruments on here are played by Burkdoll himself. That alone would be impressive enough but then Douglas brings such range and commitment to his performances and you have a combination that cannot fail to blow your mind. As the nights are drawing in and the days get shorter, I’m glad that the music I listen to is Bright Like Stars.
Reflections will be available to download FOR FREE, yes you read that right, FOR FREE from November 29 on the Bright Like Stars Bandcamp page.
You can follow Bright Like Stars on social media here…
EEP are a band about to release their third album to the world. Much like the world in which we are currently living the band have been through a period of significant change since the release of both their debut album Death Of A Very Good Machine in 2020 its follow up, 2021’s Winter Skin. Once a five piece the band now find themselves a tight trio of Rosie Varela (vocals, guitar, percussion), Ross Ingram (vocals, guitar, drums) and Sebastian Estrada, (vocals, bass, drums). Couple that with the band hitting a brick wall when trying to come up with an idea for a new album and you can see it was a trying time.
Then life tapped them on the shoulder. The band happened across an old reel to reel Dictaphone, sequestered away for years inside an old Hammond organ in their El Paso based studio space. On the tape, a message.
It’s the late 70s, or perhaps the early 80s, and a middle-aged woman in Clay Center, Kansas–possibly named Anne–is leaving an audio message for her sweetheart in El Paso, Texas. She’s exiting her old life and entering a new one, jumping across the country and into her next chapter. A second chance at love, and an optimism that’s palpable through the recording; a recording that found its way into the hands of this creative three piece. With their time at this studio coming to an end and the band changes it felt like kismet. Estrada had this to say on this twist of fate and adjusting to their new set up.
“This physical artifact that had been part of our studio for so long allowed us to not just find their conclusion but also a conclusion for our narrative in that space; the space where we came together and became a band.We’re always trying to find new sounds, and we were able to do that by digging into our individual abilities.”
Let’s dive in and explore this new EEP album and see how this tighter outfit has affected their overall sound.
The album opens with ‘Ghost’ a dreamy mood piece that immediately settles any nerves. EEP are back and whilst there are fewer members in the band there’s no less creativity on show. Ingram and Varela’s vocals weave through this song providing that common thread to usher in this new era of the band. The closing section is particularly effective. The repetition of “Is that your ghost. Your whisper. Or is it just noise?” bringing the song to an end. It’s a sure footed and steady opener.
‘My Lack of Symmetry’ next is a hypnotic mantra to unconditional love. The use of percussion and percussive electronica makes this a real treat for the ears. You can really hear the experimentation in every second. The band exploring their limits and finding they have none.
It’s on ’14 Days’ we start to hear exactly how far EEP’s collective creativity has taken them. The array of complex textures and rhythmic flourishes I would only expect to hear coming from someone like Thom Yorke. The lyrical narrative so overt yet the melody always evolving and elusive. Man, this is took my breath away.
We now reach the albums heart. A two-part story where we delve into the tape and the story within. On ‘Here’s What I Want you To Forget’ we find our protagonist torturing themselves over what to record and overthinking the words they need to say to the one they love. It’s instantly relatable and musically captures the mood of that moment beautifully.
Next on ‘Here’s What I Want You To Remember’ the emotional one two floors us as we hear the voice on the tape. She is baring her soul and the careful instrumentation brought in to accompany her tender words perfectly frames her heartfelt soliloquy. If you still have a dry eye as she finishes by saying “I do love you very very much. And I feel very very lucky that you love me” I will be amazed.
It’s into a moody tone poem next. ‘On Tenterhooks’ is a slowcore, jazzy almost smoky instrumental. For me it captures our protagonist on the road. All the thoughts going through her head as she heads for El Paso to meet her love. The track evolves slowly adding various textures but never overloading that subtle melody.
‘Clay Center’ is a display of where EEP are at vocally. This track has some of the most complex overlapping vocal lines / harmonies I’ve heard in a long time. The delivery of each line by each member of the band is carefully calibrated and delivered in such a way that it sounds like they become one voice. The electronic percussion is the perfect foil to their rich warm vocals bringing to mind The Postal Service in places. That devastating final minute just floored me with its sweeping crescendo and its cinematic vista. What more can I say. Breathtaking.
We are treated to that shoegaze sound that EEP do so well next with ‘Always’. As if to further cement the bands evolution the verses of this song take a step down to reflect the more stripped back nature of this line up before launching into that chorus again. EEP have always been able to deliver that chorus experience you need in a song and ‘Always’ exemplifies that ability.
The album comes to a close all too soon with the title track. The cautious optimism that exists like a golden thread throughout all these songs suddenly comes into sharp focus. Varela’s soaring vocal is utterly beguiling and is full of the hope and love that singing these songs must generate in you. The instrumentation is delicate and considered with lots of space. The last word going to Anne signing off both her love letter and our listening experience.
EEP have really outdone themselves on You Don’t Have To Be Prepared. When life presented the group with multiple challenges they found a way. Not only that they have gifted us with our own reminder that we are here for such a short time, we need to grasp the life we have been given and live it with a heart full of love and embrace the possibilities in front of us. Life has a way of taking us by the hand, just when we need it most, and pointing us in the right direction. We just need to be open to it and remember that you don’t have to be prepared.
You Don’t Have To Be Prepared Is out now via Hogar Records and is available on vinyl, CD and digitally from the EEP Bandcamp Page.
Over the last week or so I’ve been reacquainting myself with the debut album from Dreamlord and Kosmische aka The Hologram People. Sacred Ritual to Unlock the Mountain Portal was originally released back in 2021 on Woodford Halse and subsequently its first highly prized vinyl release on Drone Rock Records the following year. I was at once struck by this albums immediacy and ability to weave pictures in my mind of far-off lands and vistas new.
Multi-instrumentalists Dom Keen and Jonathan Parkes, with help from a handful of guests, focus their considerable talents on these eight tracks. Yes, at just over 30 minutes this is a shorter excursion than any of their subsequent outings but my god, this is a trip. This is, more often or not, my choice for late night listening. Headphones on and off we go. Now with its remixed and remastered edition about to be launched on the world for 2024 I just had to head off to the mountain, one more time.
The album kicks off with the acoustic psych folk of the title track. It’s a pacy opener and immediately I’m on the foothills of the mountain, setting out on my journey. It’s a funky, psychedelic wig out that has a real sense of progression as the track builds and evolves. The lysergic energy is here right from the off and it sets the tone for the rest of our journey.
Soon we walk into a clearing where magick is being practised. ‘Pray To The Maypole Witch’ builds on that pastoral psych sound and darkens the edges. This is moodier piece tinged with menace and foreboding. It’s got big Wicker Man feels and that’s high praise from me.
‘Lord Shiva’s Mothership’ is quite a ride. It blends cosmic psychedelia with a kind of spiritual, mystical aura. I think it feels like a journey through different realms, guided by otherworldly rhythms and melodies. The fusion of seventies sounds with its eastern energy is the fusion that powers this expansive track. At just over eleven minutes it’s the longest cut on the record and at no point does it outstay its welcome. This is the blueprint for many of Dreamlord and Kosmische’s finest moments to come.
We come back down from the cosmos with the more grounded, relatively speaking, ‘A Seventies Void’. Its retro, spacey feel perfectly captures a kind of nostalgic, yet futuristic vibe: blending those classic 70s psychedelic elements with modern production. The swirling synths and groovy bass lines create a dreamy, almost hypnotic atmosphere. It’s like a trip back in time with a cosmic twist. These guys are good.
It’s the bass taking the lead on ‘Étoile Voyageuse’. That groove, locked in tight with the drums from the outset will get your head bobbing along in no time. This ode to a travelling star dips into the smoky, dimly lit ambiance of AIR. The French spoken word element only adding to that. It’s yet another mood and by this point I’m revelling in this embarrassment of riches.
We return to that cosmic (Kosmische) pastoral sound again on ‘Sun Breaks on Saturn’s Return’. This time alongside the psychedelic swooshes and swirls we have sweeping strings lifting us off the ground and sending us soaring through the clouds. All I can equate it to is ‘Flying’ by those cheeky Scousers. The deftly plucked acoustic guitar holding it all together as we reach the very edges of our consciousness. Sheer bliss.
The tone darkens once again as we enter the hazy heat of ‘Planet Sahara’. The looping repetition of the riff on piano and bass is wonderfully hypnotic. The track builds and emerges in a most satisfying way. Each element being allowed its own moment in the spotlight. The attention to detail in the sounds in my headphones is nothing short of spectacular. Gentleman, you are spoiling us.
All too soon our cosmic rambling must come to an end but what a way to finish. ‘Deep Into The Cosmic Ocean’ is by far the albums most visceral and visual number. Every time I get to this one, I feel like I’m swimming in the deep void of space with some interdimensional whalelike creatures in perfect peace. Like we’re old friends and they’re happy to see me. This is how you end a sonic journey.
As I said, at just over 30 minutes in length, it’s nowhere near the longest album The Hologram People have in their esteemed back catalogue. That said, Sacred Ritual to Unlock the Mountain Portal will always hold a special place in my heart and record collection. It’s one of those records that BEACAUSE of its length makes you flip it over for another spin, another ride. In the past I’ve waxed lyrical about how this band fires my imagination, sends me on fantastical journeys in my head. Well, this is where it all starts. This 2024 remaster polishes up and sends these songs sparkling into your ears. If you missed out first time around this is your chance. Let Dreamlord and Kosmische take the controls.
The all new remixed and remastered Sacred Ritual to Unlock the Mountain Portal is out via Dreamlord Recordings on Thursday 24th October 2024. This time around its pressed on gorgeous sacred sunset orange 180g heavy weight vinyl with obi strip and is limited to 300 copies. Get on over to Dreamlord Recordings Bandcamp Page and follow them so you don’t miss out. This one is going to fly.
You can follow The Hologram People on social media here…
Hailing from London, Black Doldrums are a band that seamlessly blends the haunting allure of gothic rock with the dreamy, distorted layers of shoegaze. Founded by Kevin Gibbard and Sophie Landers, the duo has carved out a unique niche in the scene with their dark, atmospheric sound.
Their debut album, Dead Awake, released in 2022, blew my tiny mind. It showcased their signature style, earning them a dedicated following and critical acclaim. Parallels were made to stalwarts of the scene like The Jesus and Mary Chain, Joy Division and The Cure. All of which I agree with, but they bring their own spin too.
Now they return with their sophomore release In Limerence, of which their PR had this to say.
“Black Doldrums continues to push the boundaries of their sound, delving deeper into the realms of post-punk and darkwave influences. Their music will transport you to a smoky underground bar, filled with the raw emotion and sonic depth that only they can deliver.”
Let’s drop the needle and see where the music takes us.
The album kicks off in true goth style with the driving sound of ‘Hideaway’. It’s a dark sonic trip down a highway at night, pedal to the metal. Vocals float over heavy, reverberating guitars. It feels like stepping into an enigmatic, moody dream. It’s a pacy start and a great intro to the album.
‘Dying for You’ next is pretty intense. It’s got this raw, languid energy with a strong post-punk vibe. The track is driven by melodic bass and synths against pounding drums, creating a kind of dark, atmospheric soundscape. The vocals carry a sense of longing and desperation, which really ties into the song’s theme.
The whole vibe of the album changes with ‘Summer Breeze’. It’s got that retro indie pop feel that immediately endeared it to my ears. Like some lost Primitives or Mary Chain track. I had to give this one a spin on my October DKFM show.
‘Dwell or Depart’ has this captivating aura, with guitars that echo through a shadowy soundscape. The rhythm is persistent, almost hypnotic. Vocals seem to whisper secrets, creating an atmosphere that’s both eerie and beautiful.
‘Painting Smiles’ has an almost cinematic quality. The song builds layers of sound that make you feel like you’re charging headlong through a forest at midnight. The guitars chime and lead the melody. There’s a poignant sense of yearning in the vocals. It feels like it captures both the beauty and the melancholy of fleeting moments.
The band strip thing back for ‘Need’. Minimalism is the order of the day. Drums and bass the constant while the guitar trades licks with the vocals. There’s a tension that never quite resolves, keeping you on edge. That nervous energy holding your attention start to finish.
‘In Silence’ next has this overwhelming ambience that builds slowly throughout the track. Drums playing just off the beat are propulsive and coupled with that bassline are devastating. The guitar work has an almost hypnotic quality, with delicate, intricate picking patterns that create a weirdly soothing mood, counter to the overall energy of the track. This is seriously clever stuff.
‘Tarantula’ has a more brooding, atmospheric vibe. Guitars are sparse but rich and textured, creating layers that weave into each other. The rhythm section adds a steady, almost mesmerising pulse. Vocals are distant, haunting even. But for me, that fits perfectly with the overall moodiness of the track.
Theres something Autumnal about ‘Changing of a Season’. The song weaves together delicate guitar melodies with a steady, contemplative beat. The vocals have a wistful quality, capturing the essence of transition and transformation. It’s got this serene yet emotionally charged air, almost like watching the leaves turn and fall in slow motion.
‘New Moon’ is nothing short of lush. It feels luxurious in its textures and production. Like a velvet lined suit it just feels so enjoyable throughout. I especially enjoy the guitar melody in the instrumental breaks. Could this be my album stand out track? I think so.
The album comes to and end all too soon with ‘Modern Times’. Channelling that vintage synth-pop feel with a modern twist. The song pulsates with electrifying energy, carrying those crisp, futuristic synth lines reminiscent of Gary Numan’s iconic sound. The vocals cut through with a sharp, cool delivery, blending seamlessly with the upbeat, driving rhythms. It’s like a retro-futuristic anthem that rounds this LP nicely.
In Limerence feels like a bold step forward. There’s a noticeable maturity in the sound—like Black Doldrums found a way to delve deeper into their musical hearts. It feels more cohesive and polished, yet still raw and genuine. There’s a sense of evolution in the way they experiment with textures and layers, creating a more complex listen that is equal parts exciting and contemplative. If you were expecting just more of the same then you are in for such a treat. I can’t wait to hear where they go next.
I know, like me, you probably really love loud music. At the moment you’d be pushed to find a louder act out there than A Place To Bury Strangers. New York’s finest have crafted a reputation for incendiary live performances and equally potent albums. This iteration of the band feature John and Sandra Fedowitz with front man Oliver Ackerman.
Ackerman is also known in musicians’ circles for his handmade guitar effect company, Death By Audio. I use his Fuzz War pedal myself. It’s not just me though he can count Lou Reed to Radiohead, St. Vincent, Arctic Monkeys, and Animal Collective as big fans of his pedals.
For this album the title Synthesizer isn’t just a title. It’s an actual synthesizer that Ackerman built specifically for this release. In fact, if you buy the vinyl version of this album, you’ll see the schematic for it built into the sleeve design. You can even buy the parts for it with your pre order from Death by Audio if you have the skills needed to put one together yourself. Ackerman had this to say about the album.
“In an era of making music where so little is DIY and so much is left up to AI, never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point. Synthesizer is a record that celebrates sounds that are spontaneous and natural, the kind of music that can only come from collaboration and community.”
The album opens with a visceral punch. ‘Disgust’ abrasive guitars and relentless drums create a sense of unease. That insistent bass punches through as wild as the maelstrom around it is. It’s unabashed energy and dynamic moments that allow the vocals to pop tie it all together. Phew this is going to be a ride.
‘Don’t Be Sorry’ brings the vocals more to the front of the mix. It feels like Ackerman is standing at your shoulder. This might sound weird but I get a kind English folk, even prog rock kinda vibe from this one. Despite that trademark cutting fuzz.
We enter Kosmische territory next with ‘Fear Of Transformation’. There’s a real Germanic feel to this song, it even feels like we are on the autobahn at midnight. The motorik driving drums carry the song until those tumultuous guitars come crashing in.
‘Join The Crowd’ taps into a goth aesthetic with its doom-laden bass and static guitar chords. What’s clever here is the drums are playing a slightly slowed disco beat that you can’t help but nod along to. This is a solid groove and I can imagine is a big hit in their live sets.
We are back in the vortex of noise next with ‘Bad Idea’. There’s something chilling about this one. I could imagine this being great in a horror movie soundtrack. The swells of guitars over the chant of “I’ve got a bad idea” in the chorus are tremendous. The use of tremolo making it sound like they are trying to talk to us. This is an incredibly overwhelming listen and each time I’ve stuck it on in the headphones I get more and more excited by its ambition.
It’s pure darkwave next with ‘You Got Me’. As a more straightforward gothic pop song it shines in contrast to the preceding track. Combining catchy melodies with a lighter touch to the band’s signature noise-rock elements. The infectious rhythm and playful synths provide a counterfoil to the album’s darker moments.
‘It’s Too Much’ revisits the feeling of being overwhelmed. The relentless pace and intense instrumentation mirror the chaos of the modern world. I’m sure we can all relate.
It feels like we’ve stepped in a time machine and gone back to the retro futuristic 80’s next. ‘Plastic Future’ sounds like some lost synth band from the English midlands. As always it wouldn’t be a A Place To Bury Strangers song without squalls of feedback. However. the application here in the gaps in the track show a deft touch and add that extra something to make this track really special
Ackerman taps into his romantic side next, or does he? ‘Have You Ever Been In Love’ veers from lush warm vocals to the cacophony of crashing synths and guitars. The frenetic pace set by the demanding drums again keeping that anxious energy peaked at eleven.
The album comes to a close all too soon with the expansive cyber romp that is ‘Comfort Never Comes’. Its dark melancholia acts like the perfect full stop to this collection of songs. I particularly loved the twanging guitar effect on the lead sections
Overall, Synthesizer is a powerful exploration of emotion and sound, each track offering a unique and immersive experience. There’s a raw live room sound to this recording which sounds to me like the band aiming to capture that energy and playfulness of their stage performances. Ackermann says, “Going to shows and bringing that imperfect and beautiful DIY ethos is important.” This album is the distillation of that beautiful imperfection. How Ackerman and co have managed it is beyond me but Synthesizer is wild and untamed. Would we have them any other way though?
My vinyl addiction has introduced me to so many amazing folks over the years and one of those people is Maxime Dobosz. We often share links to shoegaze releases we both love and buy from each other from time to time. As well as vinyl collector of consummate taste Maxime also has his own shoegaze project called San Carol. To date he’s released three albums of transcendent sounds and has just dropped album number four, Mala Vida. San Carol is his solo project as he also plays in bands such as Big Wool, Sandwich and Asexual. In that same spirit the line up of San Carol changes album to album.
“Maxime ironically says that this album is in a way his “anthology of shoegaze for dummies” as it explores the different corners of the genre, ranging from references to Slowdive, my bloody valentine or Moose, to talk about the most known. However, they sought to propose a production of the already known codes of the genre with a sound deafening and harsh, like having your head sunk under water.“
Let’s dive in and see how that aesthetic bears out on the speakers.
The album opens on ‘come what may’. Immediately you get a sense that this guy knows what he’s doing. This is an amazing pop song first and foremost. The vocal melody is so catchy but it’s what Dobosz swathes that melody in that most impresses. The washed-out guitar and chiming bass recalls some of the Cocteau Twins finest moments. This is a very strong start.
Next up its time to ‘cool out’. Guitars are pushed to the limits here. Feedback becoming an instrument in and of itself. Once again though it’s the song that is at the heart of this, the vocal melody shining through the haze of reverb and fuzz. The standard of production on show here is sky high.
The first guest appears on ‘modern times’. Baptiste, the singer from French hardcore band Fragile joins proceedings. This song has an ethereal, gossamer light vocal intro that suddenly erupts into a fuzzed-out anthem. You could draw parallels to the styles of bands like Nothing, Whirr or Cloakroom in places but this merely nods to its ancestors and sets sail on its own course.
‘goldenwings’ is another example of swathing a stunning pop song in atmospheric guitars and vocal effects. I particularly enjoyed the drumming on this song. The fills on the breaks are class. The guitar solo at the end is a masterclass in beautiful simplicity. Overall, the song straddles the divide between dream pop and shoegaze creating an addictive listening experience.
The album drops tempo and intensity for an acoustic moment called ‘Wildfire’. A vocal loop forming the basis of the melody against an earnestly strummed acoustic begins things. It’s a wonderfully atmospheric track that when it brings in drums and additional lead guitar it never overwhelms that gentle aesthetic so carefully crafted by that opening section.
We’re in ‘unsustainable’ next featuring a guest performance from Sale, a pop artist from Dobosz’ hometown of Angers, France. She’s a superb choice for this dreampop number. The chorus sections really make the most of her angelic voice against the crashing guitars. There’s a joyous energy throughout this track, you can tell they had a lot of fun making it.
We screech headlong into the sonic maelstrom of’ nothing fills up the hole ‘next. The opening riff hits like a tidal wave. The electronic pulses in the verse sections are the perfect foil for the potent guitar work on show here. There’s heavy and then there’s this. Total face melting rock!
The final guest appearance comes from French folk singer Claire Days on supercharged power pop anthem ‘pay no mind’. This feels like a lost artifact from 1991, it’s baggy beat and reverse guitar wails take me back to my youth and I’m here for it. That chorus is just genius, taking off into the stratosphere the way it does. I loved this one so much I had to play on DKFM Shoegaze Radio show back in May.
All too soon the album comes to a close with the soft and euphoric ‘waterfall’. Dobosz strips the San Carol sound back to guitar and voice to deliver an powerful end to this album. This is the measure of him as a musician and songwriter. For this song to have the emotional weight and gravitas with just voice and guitar is an amazing achievement.
Mala Vida paints a vivid picture of Maxime Dobosz’s adeptness in crafting shoegaze music that resonates deeply with the listener. Catchy vocal melodies enveloped in lush, atmospheric instrumentation evoke a nostalgia and warm emotions, and that’s the core of it. Emotions. This is an album designed to make you feel something. Whether that’s elation or sadness, excitement or loneliness this album takes you directly to that place. For me that is the sign of someone who cares deeply about their craft, and make no mistake Dobosz cares deeply. That’s evident in each and every song.
Dobosz says that this will be the final San Carol album. If that is the case, then he is leaving us with work fitting to be that end marker, the full stop to this era of his creativity. Life can get bad, that’s for sure. When music this beautiful is created as a result however I say belle vie.
Blankenberge are a much beloved band on the shoegaze scene. With three stunning albums behind them they’ve secured their place in our hearts. Hailing from St Petersburg in the Russian Federation their glacial tones have been exciting us since 2015. With the band not being signed to a label they have self-released everything to date. Which is a massive achievement given everything going on in their country at the moment.
That’s about to change as they will be releasing a new single and album with Automatic Music. Automatic Music is a record label and concert promoter based in the Netherlands run by Antonio Zelada (Resplandor).
It is currently the record label for Blankenberge, Life On Venus, Resplandor, Brian Wenckebach and has also licensed and released albums by The Ocean Blue, The Radio Dept., Robin Guthrie, Lovesliescrushing, Asobi Seksu, Japandroids and many more.
Today we have a sneak peek at the single called ‘New Rules’. It’s quintessential Blankenberge. The song opens on lush synth and bass until the insistent drums start driving things forward. Yana’s vocals remain as beautiful as always. The guitars come crashing in and send the song soaring. The first time I heard this track I’ll not lie; I did get teary eyed. I have a real love for this bands music and have done since Radiogaze came out. To hear them return with a track of this emotional intensity is just overwhelmingly joyful.
Blankenberge will return with a new album in the new year and you can be sure you can read a track by track analysis here on Static Sounds Club nearer the time.
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