Keeping the Belfast based shenanigans going into another blog we have a really special premiere. As long-time readers will be aware I am huge fan of the band Virgins, making them album of the year 2024 no less. Michael Smyth, the bands guitarist and songwriter has a new solo project to share with the world and he chose Static Sounds Club to share it first so massive thanks to Michael for that.
Silk is the name of that new solo project and it finds Smyth leaning into the heavier end of the shoegaze spectrum than his main project. He is now ready to share the first single which is called ‘Faze’. I asked Smyth what led him to create Silk.
“I constantly feel like I am rushing towards the inevitable infinite oblivion. Further exacerbated by the marking of years spent circling the sun. To that end, it’s important that I fill the time remaining with joyous, creative acts. The sharing of ideas is an essential part of that, which brings us to Silk.”
So how does this single actually sound then? Let’s find out.
Straight out the gate it’s a lot denser than his work with Virgins. Vocals are driven further into the mix creating that dreamlike quality we all love. Guitars have fuzz set to eleven and the reverb wash is like a tidal wave. As always though Smyth knows that the key is having a hooky melody and killer chorus which ‘Faze’ has in spades. This is the definition of a wall of sound, that claustrophobic almost overwhelming ambiance is devastating.
This is a glorious opening salvo from Silk and has me really excited to hear more. Rest assured you’ll hear about it first on Static Sounds Club!
‘Faze’ is released on January 31st 2025 and you can chack it out over on the Silk Bandcamp page.
A while back I took a trip to Glasgow to catch the Belfast band Virgins doing their live thing. Also, on the bill that night, lucky for me, was Wynona Bleach. I was immediately struck by the bands consistent, hook filled set, the powerful vocal performance and the fuzz driven guitars. In fact, I remember bonding with Jonny from the band over our love of fuzz pedals on my way out after. So, who are Wynona Bleach then?
Also hailing from beautiful Belfast, Wynona Bleach are a band that masterfully bridges the gap between shoegaze, grunge, and alt-pop. The band line up is Melyssa Shannon (Vocals), Jonny Woods (Guitar/Vocals), Carl Gilmore (Bass), and James Foy (Drums). I have played their two releases to date to death here in the Static Sounds Clubhouse. I picked up their 2018 Sugar EP at the gig and not long after found a copy of their then long sold-out debut album Moonsoake which earned widespread praise for its expansive soundscapes and raw emotional core upon release in 2022. This band have earned a reputation for their electric live performances and aren’t afraid to put in the hard yards.
With a new album on the horizon this year we have already had two peeks at what that’s going to sound like via their singles from last year ‘Swim in the Bay’ and ‘I Deserve That’. Both absolute monster tracks that have everyone excited.
We are being treated to a third single now with the band dropping ‘Tangerine’. I asked the band what we can expect from the new single.
“It’s a downtempo, crushing and popping ballad about wants and desires. It explores the delicate state one finds themselves in when they find themselves secretly crushing on someone, they know they’ll never have.”
It’s an exhilarating step forward to my ears, showcasing their unique hybrid sound. This time the song feels like it has more space as the tempo drops ever so slightly. The fuzzed-out bass rumbles underneath Shannon’s effervescent vocals. This gives Woods room to play stabby guitar licks that paint the melody like a watercolour.
Lyrically, “Tangerine” balance’s themes of longing and hope, creating an emotional resonance that pairs beautifully with its vibrant soundscape.
If ‘Tangerine’ is any indication, Wynona Bleach are not just refining their sound but expanding it into bold new territories. This is the kind of track that demands repeat listens, each time revealing new sonic layers and emotional nuances. It’s shoegaze with an edge—bittersweet, euphoric, and entirely captivating.
For over thirty years and across ten albums Glasgow’s Mogwai have slowly built a cult following the world over. And not for nothing, their unique approach to mainly instrumental music once baffled the nineties music press. A press who, at that time, were obsessed with pigeon holing every band into some prefabricated scene. Over time that music became labelled post rock and Mogwai assumed the crown. Their debut album, Young Team and follow up Come on Die Young are considered classics of the genre. A recent reissue of both LP’s has reignited the love many have for that era of the band’s music.
I was late in returning to Mogwai’s music. Having bought the No Education = No Future (Fuck the Curfew) E.P. on release along with a whole bunch of other stuff it was when the album Hardcore Will Never Die, But You Will was released that I rediscovered their beautiful noise. In fact, the song ‘George Square Thatcher Death Party’ from that album remains my favourite Mogwai song to this day.
The band whose core members now consist of Stuart Braithwaite (guitar, bass, vocals), Dominic Aitchison (bass, guitar, keyboards), Martin Bulloch (drums) and Barry Burns (guitar, keyboards, bass, synthesizer, flute, vocals) have slowly evolved their sound through the years. That said they always find an emotional thread on each album and leave it there for you to pull at each time you listen.
Their earlier work was raw and dynamic building their reputation as masters of tension and release. Albums like Rock Action and Happy Songs for Happy People showcased their willingness to experiment with electronics, keyboards, and unconventional song structures. They began incorporating more textural elements and subtle atmospheres, moving away from the raw aggression of their early work. It wasn’t long before their talents were called upon by the film industry to craft sumptuous scores for films and TV programmes—like Les Revenants and Atomic. From these compositions the band grew a new confidence and maturity that led to albums like Rave Tapes, Every Country’s Sun and ultimately the number one album As the Love Continues.
At the tail end of 2024 the band released the biographical film If the Stars Had a Sound capturing that evolution through the years along with footage of As the Love Continues being recorded and performed live. Reviews have been overwhelmingly positive with it being nominated for best documentary feature at the 2024 Raindance Film Festival.
Let’s dive in to the album now. Can’t wait to see what song titles the band have in store for us this time.
The album opens with recent single ‘God Gets You Back’ and its obvious the band are in a forward-looking place. It’s a synth driven number with the ominous rumble of bass permeating throughout. Lyrically the song comes from Burns daughter. It’s a testament to Mogwai’s continuous innovation, blending familial intimacy with their established atmospheric style to produce a sound that is new to our ears but immediately Mogwai.
‘Hi Chaos’ is a more guitar centric affair and delves into the band’s rich history of crescendo rock that stretches right back to Young Team. That fuzzed out bass absolutely shakes the walls when it kicks in. The closing minute here is one of the finest I’ve heard on any of their albums. Absolute goosebumps stuff. Mogwai have a habit of redefining the word ‘epic’.
We head into a space rock number next with ‘What Kind of Mix Is This?’ This could have been culled from a 70’s sci fi b movie with its squealing and warbling synths. The main theme though remains unabashedly triumphant. You can almost see the hero’s spaceship barrelling through the galaxy at warp speed.
Up next the last single released ‘Fanzine Made of Flesh’ is the most out and out pop track I’ve heard from the band and that’s no bad thing. They still manage to sneak in those grand soundscapes into the instrumental passages with Stuart’s vocoder vocals soaring everywhere else. He claims the song sounds like a mix of ABBA, Swervedriver, and Kraftwerk but its all Mogwai to me.
‘Pale Vegan Hip Pain’ wins the award for my favourite song title on the album. This serene and calming interlude is stunningly beautiful. The chiming guitars and lush synths all work so well together. The more introspective pace allows us more time to really enjoy all those glorious sonic flourishes. A luminous lullaby for the ages.
As if they ever needed to prove their title as the post rock masters ‘If You Find This World Bad, You Should See Some of The Others’ only cements it. That slow build in the opening section is never repetitive and each new element only builds on what came before meaning that when the song explodes (and it does explode) its all there. It’s all there and the band just send it into the stratosphere. I swear, Mogwai make songwriting like this seem effortless but this is next level.
Ever the sonic explorers on ’18 Volcanoes’ more new ground is broken. Stuarts unaffected vocal laid bare is raw and honest. Instrumentally the band opt for a drum less approach using a pulsing guitar to keep time. It brings to mind the same production approach as ‘No More Sorry’ by My Bloody Valentine but with all those nuances that only Mogwai can bring to a song. The synths are utterly sublime and multi layered which is only going to make repeated listens more and more interesting.
I initially thought I was hearing a cover of the Peanuts soundtrack when ‘Hammer Room’ started. This song is so much fun. It’s like joy in music form. It’s a fine example of the balancing act between that playful side and the dark and menacing tones we know Mogwai do so well. Again, in places this would also make a grand sci fi film theme. I wasn’t expecting that at all. Love a surprise!
Next up is the strident ‘Lion Rumpus’ so named because of one of the bands kids mispronunciation of the Scottish flag, the lion rampant. This song absolutely captured my ear on first listen. It’s so hooky and infectious. Let’s also take a moment to appreciate that guitar solo. It swirls around the speakers like some psychedelic freak out jam. Barry is back on vocoder duty and delivers a stellar performance. It’s a breathtaking track and I’d like more of this type of thing from Mogwai!!
No sooner have we started the album then we reach the final track. ‘Fact Boy’ has an almost Icelandic sonic palate, from the chimes to the steady paced synths and orchestral flourishes. However, there is also a strong Celtic heart beating here and as they always do, Mogwai deliver that emotional uppercut that leaves you on your knees and crying for more. It’s the perfect way to round out the album.
With The Bad Fire, Mogwai have once again proven why they are considered one of the most innovative and influential bands in the post-rock genre. The album’s rich textures, dynamic contrasts, and emotional depth surpasses expectations and once again we are smitten. What struck me more than anything was the range and diverse nature of the songs on this album. From the playful ‘Hammer Room’ to the outer space sounds of ‘What Kind of Mix Is This?’ to the chilled ambience of ‘Pale Vegan Hip Pain’ the band have laid on a sonic feast for us. Whilst the songs are undoubtedly diverse, the album as a whole never suffers. The cohesiveness achieved is breathtaking and speaks volumes to this bands experience and confidence. As Mark Twain once said “Go to Heaven for the climate, Hell for the company.” Judging from listening to The Bad Fire, Mogwai are most excellent company.
The Bad Fire is out on Friday 24th January 2025 on Rock Action Records. You can grab a copy on vinyl, CD and tape from the Mogwai Online Store and stream the album on the Mogwai Bandcamp page.
Stuffed Foxes, the boundary-pushing six piece from Tours, France, are back with Standardized, an album that takes their signature post-psych and noise-rock sound to soaring new heights. Since their formation in 2019, the band has gained a reputation for their explosive live shows and fearless experimentation, and this latest effort captures that raw energy while exploring new sonic textures and moods. Citing influences such as My Bloody Valentine, Swans and The Brian Jonestown Massacre the band have a very clear and profound vision for their sound.
“We do not make rock music as part of a business plan (the market is not exactly lucrative); rather, it is a profession of faith, with our musical practice akin to a ritual, a turning point meant to disrupt all senses.”
So, what does this ritual sound like? Let’s drop the needle and find out.
The album opens with ‘Biting the Dawn’ a blistering introduction that envelops the listener in waves of fuzzed-out guitars and hypnotic rhythms. To me the song sounds gargantuan and all consuming. This is grand song writing and the scale of it won’t be lost on anyone. Its boundless energy sets the tone for what’s to come—a relentless journey through soundscapes that are equal parts chaotic and cohesive.
Following this comes ‘Merry Xmas’. Beginning as an intense, stark, driving punk noise poem it blossoms into a Sonic Youth like instrumental. This section is tonally so different to what came before you could be forgiven for thinking it’s a new song altogether, but when those potent guitar riffs return it blows all those misconceptions away.
‘Pretend to Be a Dog’,” is great example of this group’s democratic songwriting. It’s a track that encapsulates everything that makes Stuffed Foxes special. There are sublime moments of calm sublimated with crashing waves of noise, built around a glorious fuzzed out bassline. Its contradictions are its genius and its genius is manyfold.
‘Bees’ offers a hypnotic blend of relentless rhythm and caustic guitars. The track buzzes with a frenetic energy that perfectly mirrors its title, evoking an almost hive-like intensity. The interplay between the pulsating bassline and cascading guitar crashes creates a tension that builds and releases in waves, pulling you deeper into the song’s layered, chaotic beauty. It’s a track that showcases Stuffed Foxes’ ability to create immersive, textured soundscapes while maintaining a razor-sharp edge. If you don’t leave this track breathless you need to check your pulse.
In an almost unique moment of calm ‘Rough Up’ arrives carrying us away on a blissful wave of tranquillity. I’m reminded of the shimmering world created on some of Sonic Boom’s albums or Spectrum. The song demands nothing of you and is wholly giving in its delivery meaning you can lie back and let it wash over you, taking you up on its swells and delivering you happy into the breakers.
‘I Heard About Love in a Book’ follows, a track that melds melody with dissonance in a way that only Stuffed Foxes can. The interplay between the instruments creates a sense of controlled chaos, with moments of clarity emerging from the swirling noise. The vocal interplay in the noisier sections cuts through with clarifying melody. This gives the swirling chaos around them all that more function. A really great production choice.
The title track is next and it dives headlong into experimental territory, blending backward instrumentation with haunting vocals to create a mesmerizing sonic tapestry. Its complexly unapologetic in its exploration and once again cements this band as masters of knowing what their sound is and how to present that to the world.
The album closes with ‘Return’, a beautifully understated piece that strips everything back to its bare essentials. Featuring little more than a vocal melody and a pair of strummed acoustic guitars which encourages you to crank the volume. That’s when they get you. The overblown guitar that kicks in is like Kevin Shields at his best. All-consuming and affirming leading to a meditative conclusion that leaves a lasting impression.
Stuffed Foxes recorded the album live in Rennes, France in the studio of producer and musician Thomas Poli which, for me, creates a visceral listening experience that feels as immediate as it does meticulously crafted. The band’s decision to record in a live setting also adds a layer of intensity and spontaneity that permeates every track.
With Standardized, Stuffed Foxes have crafted a record that is both daring and accessible. It’s an album that demands your attention and rewards repeated listens, revealing new layers with each spin. Fans of noise rock, post-psych, and experimental music will find much to love here.
How was your festive season? Quiet? Spent reflecting on the year past. Not so for shoegaze pioneers Whirr. The enigmatic ensemble from California, has a storied history marked by sporadic releases and long periods of self-induced (or should that be self-inflicted) dormancy. I remember when they dropped their 2019 album, Feels Like You. At the time it was widely lauded as their strongest work to date, showcasing a maturation in their sound and a deepening of their signature ethereal style. It was also signposted by the band as their swan song and farewell to the fans.
Fast forward to 2023 and the Live in Los Angeles album appeared out of nowhere. Could this signal a return from the band?
Sadly no. All went quiet once more.
In a surprising move, Whirr unveiled their latest album, Raw Blue, on Christmas Day 2024, much to the delight of fans and critics alike. Limited editions flew out the door in a matter of hours leaving no one in any doubt. Whirr are back. But back with what? Let’s dive in and find out.
The album opens with the title track and its textbook Whirr. Gorgeous guitar tones and a quiet, loud, quiet production that is the most extreme I have ever heard. When it’s quiet your reaching for the volume meaning that when it kicks in, by god, it kicks in! It’s a more dynamic production than Feels Like You, it has a real vitality that makes your ears really tune in.
That properly comes into focus on ‘Collect Sadness’ next. It’s a punchy track that keeps a volume standard going throughout but the use of dead stops punctuates the song and makes those transitions to roaring guitars all the more impactful. You forget how good heavy gaze can be until a band like Whirr show you.
Pulsing in comes ‘Swing Me’ which at its heart is a great pop song. That pulsing guitar doing as much to keep time as the drums do. I love how pacy it is. It positively bounces along. It’s like a Castlebeat number that’s been swathed in fuzz.
The tempo comes down again for the absolutely megalithic intro to ‘Every Day Is The Same’. The textures in the verses are sublime, serpentine and lithe. Its like the sound of sparkling stars before we plummet into the black hole of the chorus. The song has a sumptuous discordant segue into the next track.
‘Crush Tones’ is a stunningly beautiful ballad. Its utterly hypnotic, using some key shoegaze tropes to great effect. Ultimately though it comes down to the songwriting. This is one of those perfect songs you hear and wish you had written yourself. That final minute or so is life affirming in every way and all that together makes this my album stand out track.
On what I assume will be the flip side we begin with ‘Days I Wanna Fade Away’. This is classic Whirr and is sure to become a fan favourite pretty quickly. It pairs the emotional one two of heartfelt lyrics with wailing guitars that sound like they’re crying their hearts out. It’s a particularly powerful as it flows into the next track.
‘All Mine’ is euphoric and introspective at the same time. This weird musical contradiction plays out over a really simple but effective riff and chord progression. This is all about “less is more”. The vocal melody carries so much more water in this song than any others on the album and that’s a great production choice. Whirr are masters of their own destinies and aren’t afraid to mix things up.
There’s a short mood music intro into ‘Worries Bloom’ and we’re back into that ultra quiet verse mode again. This time the dynamics are gradually turned up as more instrumentation is added in. It’s a nice touch and once again when that cacophony of noise slaps us square across the face, its seismic. That woozy guitar riff is beguiling and has you moving your head around like a snake following the charmers’ pipes.
Speaking of riffs, ‘Walk Through Space’ opens with an absolute stormer. Utilising that dead stop motif again makes this riff coming back all the more effective. The song feels more like a waltz through space. The eerie guitars in the quiet verses sound like they are coming from a lost planet through the vastness of the void. Then when the chorus explodes its like they go supernova and fill our soundstage.
The albums finale arrives with ‘Enjoy Everything’ which climaxes into an unexpected trumpet solo. Yeah, read that again. A trumpet solo. This is a bold choice and how they pull it off still baffles me. The track has this smoky, late night romantic kinda mood that makes the trumpet solo fit in. Oh! Maybe not so baffling after all. It’s a fitting end to this extraordinary album.
In this review I haven’t mentioned anything about the controversial history the band have. I’ve done that deliberately. After reading the fantastic interview Nick Bassett did with Eli Enis early last year it is truly apparent that this band truly regret it all. They couldn’t be more apologetic and as far as I’m concerned that’s all I need. Who amongst us are the same person we were six years ago. I would heartily recommend reading the interview in full. It’s a real masterclass in having a real conversation with your subject. Hats off to Eli.
So, that said let’s get back to the album. Overall, Raw Blue is a testament to Whirr’s evolution as a band, blending their signature shoegaze elements with unobtrusively experimental tendencies. The album’s dynamic range—from very quiet to very loud—creates a dark, dense affair that is both soothing and invigorating. It’s clear that the record has a vision, a narrative, translating into wonderfully soothing sounds and pounding riffs that don’t let up. This really is my favourite album of theirs to date and I proper loved Feels Like You. When the masters of the genre are delivering at this level you just say thank you, hit play, turn it up to eleven and smile.
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.
Static Sounds Club 