TTSSFU – Me, Jed and Andy EP

Last week I happened across this amazing song on one of my late-night YouTube scroll sessions. That song was by Manchester (UK) artist Tasmin Stephens AKA TTSSFU. Reading more and more about Stephens I discovered they’re a bedroom pop /shoegazer and, most impressively, produced, mixed and mastered this whole EP from their bedroom.

Me, Jed and Andy is an EP inspired, in part, by Andy Warhol. More specifically his 12-year long relationship with famous interior designer/film director Jed Johnson. These songs are also about Stephens contextualising the anger, failure and disappointment of their own relationships too. On this subject they had this to say.

“I related to Warhol in a few different ways and felt really inspired to write about him and start afresh. It was a clever way for me to selfishly put myself, experience and my own feelings into the shape of him and that world. It was easy and less draining, but through this inspiration I ended up writing some of the most personal songs I have ever written.”

Opening track ‘I Hope You Die’ is a real statement of intent. Based around a really horrible experience Stephens went through she channels all her anger into the four minutes of this song. The tension is palpable and is unrelenting. That leads to you being drawn in and transfixed by the melody. The shiny lead guitar riff is both eerie and uplifting at the same time. The atmospheric vocal treatment really compliments the song and helps create a moody ambience. This was the song I heard on YouTube. It’s the perfect intro to TTSSFU and it made me smile when I found out it was the first track on the EP.

Next up is ‘Jed’ a leisurely paced tonic of a song. Stephens breathy, measured delivery offset by the quite stunning pairing of organ and slide guitar. The guitar in particular lends the song an off-kilter element that really catches your ear, I could happily live in the final minute of this song forever and be happy.

‘Baggage’ caught me totally unawares on first listen. I absolutely love ‘I Hope You Die’ and thought that would end up being my favourite track. Second favourite from this point on. I must have listened to ‘Baggage’ about five times back-to-back that first time around. That chorus hook is killer as Stephens sings ‘I’m doing it for you, do you know that I love you’ you can feel the sincerity of that sentiment burst out the speakers. The song is obviously an exercise in catharsis but, to couple that with the melodies and perfectly delivered lines it has set this up to be a future classic.

We head into goth territory next with ‘Character’. Unmistakeably drawing from ‘A Forest’ era Cure it darkens the tone of the EP for a moment giving us a flavour of what TTSSFU can be and breadth of Stephens influences as a songwriter.

In stark contrast ‘Wait It Out’ arrives on chugging guitars and a lilting lead riff that peppers this song like little flecks of gold. If you bottled that longing feeling then distilled it down into music, this is what you’d get. I keep having to remind myself this is the work of one person and Garageband. The production on this track is just stunning. Check out those harmony vocals for example and that subtle change in dynamic as they sing ‘I don’t wanna go away now’.

‘Asexual’ has a late-night feel from the outset. A sultry swagger that feels dangerous. Throughout the track a mystery phone rings out in the background. This is a very accomplished track and captures that sensual mood perfectly. I wonder who was on the phone?

The EP closes out with a song set at ‘Studio 54’ named for the famous New York night club. Scene of many a debauched night out for Andy Warhol and his many acolytes. It maintains that late night vibe but this time it feels like we are voyeurs looking in. Observing the man himself in the place he loved most.

Me, Jed and Andy really has taken my breath away. For a DIY set of songs recorded at home this far surpasses all expectations. The emotional impact of these songs cannot be underestimated. Lyrically Stephens connects time and time again. In ‘Baggage’, for example, the line “I was just a child when I grew up.” hits hard. As an introduction this EP more than does its job. I can’t wait to hear what’s next from this amazing artist.

 Me, Jed and Andy is out now on Fear of Missing Out Records and is available on limited edition vinyl.

You can follow TTSSFU on social media here…

Photo Credit

Mat Coffey

Moon Cowboy – An Explosion of Sound EP

We’re Portugal bound to hear the new An Explosion of Sound EP from rising shoegaze sensation Moon Cowboy. Ricardo Fiel is a shoegaze wizard whose guitar work is nothing short of mesmerizing. With over a decade of experience touring with Portuguese superstar David Fonseca, he has honed his craft and emerged as a solo artist under the moniker Moon Cowboy. Now signed to UK based shoegaze label 1991 Recordings he’s set to release his new EP to the world.

Citing influences as wide and deep as Radiohead, Slowdive and Spacemen 3 it sounds like we’re in for an interesting listen.

The EP opens with the drone driven ‘Your Bright Light’. Very much a song of two halves. The opening half has me remembering the Spectrum album Soul Kiss (The Glide Divine) one of my most beloved records. It’s other worldly and beguiling but all is about to change. Once the drums appear the song blooms into this technicolour dreampop track that just soars. The heavy reverb on everything, including the harmonica just ties it all together in in a psychedelic cloud.

It’s in dreampop territory we remain for the recent single ‘Baby Jane’. We fairly skip along while guitars paint textures and dance around the stunning drum pattern. We are occasionally treated to some really heavy glide guitar, which lifts the song no end. Overall, this song is infinitely catchy and holds your attention well.

We slip into ‘A Moment’ next. All agitated and rippling drums like some lost Radiohead track bring us in. Fiel then paints his velvety vocals over the top before the song swells and emerges as a bombastic reverie in the chorus. It’s that contrast throughout that makes this my EP highlight. The darkness in those quieter sections is brought into sharp relief by the sensory overload of the choruses. It’s both very simple and incredibly complex at the same time.

We close out with the slow burn of ‘In Colors’. The song slowly reveals itself as it introduces drums first, some textures of guitar before the moody and atmospheric piano arrives. The orchestral synth pads lift the song as Fiel’s dusky vocal floats over it all. It’s very much a mood piece and that wistful and longing sound takes this EP to its conclusion.

These four songs are my introduction to Moon Cowboy ands it’s left me wanting more. There’s a real variety of tones and feel throughout that makes this an incredibly absorbing and satisfying listen.

An Explosion of Sound EP will be available digitally everywhere on May 17, 2024 on 1991 Recordings.

You can follow Moon Cowboy on social media here…

Whitelands – Night-bound Eyes are Blind to the Day

The long-awaited debut album from London based gazers Whitelands is finally here. After a series of incredible single releases before and after signing to the legendary Sonic Cathedral label they bring us Night-bound Eyes are Blind to the Day. The band are Etienne (guitar and vocals), Jagun (drums and backing vocals), then Vanessa (bass) and Michael (guitar). Along with The Veldt and AR Kane they find themselves a black shoegaze band in what is a predominantly white genre. “There’s an underlying narrative that it’s OK for white men to be romantic, sensitive, emotional and make dreamy music and, by contrast, young Black men should be making angry music,” says Vanessa. “We’ve all grown up with these stereotypes and therefore I think people are mystified when they see Whitelands.”

It’s dreamy music they make alright and the singles released up until now have all been played exhaustedly in the Static Sounds Clubhouse. The album title intrigued me as it stands out from any title they’ve employed up until this point. Etienne was more than happy to explain the album title is taken from The Prophet, the philosophical 1923 book by Kahlil Gibran.

“The full quote is ‘the owl whose night-bound eyes are blind unto the day cannot unveil the mystery of light’, I think it encapsulates the feeling of the album. A common theme running through the songs is lots of ‘I’, ‘you’, sense and emotion. Very physical and intimate settings. Lots of descriptors of light, celestial bodies, water, Biblical stuff, abstract stuff. I don’t really know why I write things the way I do, but I do tend to write emotions as anything other than what they actually are.”

“I consume a lot of media. Video-games, music, news, paintings, manga, animations and film are my go-to, especially anime. There is this drive to want to understand and feel the whole weight of an expression. So, the songs are based on other songs, pictures, aesthetics, ‘vibes’, an emotion someone else felt. Fundamentally, you are what you eat.”

Well, I’m ready to tuck in to whatever Whitelands are serving up. Let’s drop the needle and see what’s what.

The album opens on the driving guitars of ‘Setting Sun’. The single from earlier this year draws inspiration from the murder of George Floyd and the subsequent reactions from the global community. Etienne’s poignant vocals navigate systemic discrimination, while the dreamy guitar backing acts as the canvas for the message. I loved this on release and it’s only got better with repeated listens.

Next up “The Prophet & I” shuffles in and immediately you’re hooked by the melody. This is dream pop with a capital POP. Celestial guitars guide this song along with real purpose. It’s no wonder this was released as a single last year. There’s a palpable joy in the delivery of the vocal which makes this such an impactful track.

We float into ‘Cheer’ on a velvety cloud of reverb-soaked guitars. The pace dropping ever so slightly this is a more meditative track that just shimmers out the speakers. The mellowness of the verses contrasting with soaring vocal in the chorus. It’s a tricky balancing act that the band make look effortless.

Dottie from labelmates deary guests on ‘Tell Me About It’. Her vulnerable and airy vocals are the perfect pairing for Etienne’s. They lend this song a romantic angle that plays right into the lyrical content. “How can you tell with loving? How do you hear the answers? How do feet match the guidelines? I never learnt the dance.” The complexities of love laid bare in one verse.

From the dewy-eyed allure, we plunge back down to earth with ‘How it Feels’. This feels more like the flip side of love, the sting of betrayal. I love how the guitars interact with each other in the latter half of the track. Climbing over each other in a race to the song’s conclusion.

Whilst the parallels to Slowdive’s musical palate are undeniable ‘Chosen Light’ takes a detour through the sound of The Cure at their dreamiest. The bass pulsing through this one is most Gallup like in its insistent intensity. As always, its only a colour in the overall picture of the song. Whitelands are no tribute act. Rather a sum of their parts.

“Born in Understanding” is a celestial dance—a waltz with the universe. It’s the soundtrack to stargazing, the ache of longing, and the fragile beauty of vulnerability. The twilight mood just washes over you instantly transporting you to the chilled air of the gloaming. This is just beautiful songwriting, from the transportive lyrics (“The moon rose, asunder from aether The womb unfolds the maw, unearthed, in sight”) to the call and response of the guitars. It’s my album stand out track.

The album comes to a close with the strident opening chords of ‘Now Here’s The Weather’. A track that explores the black experience shining a light on the hypocrisy of religion and well meaning do gooders. “And what of loving? And what of peace? my bible commands, it’s wrapped in green. Let’s love thy neighbour, lets burn their house. I don’t understand what comes from their mouths” It’s really potent stuff and an incredibly impactful way to close out the LP.

Whitelands have crafted a sonic experience that ticks every box on a shoegazers shopping list. Dig deeper though and you have lyrics of depth and real meaning. Delivered with a literary flair there’s so much more to discover in the headphones. The production is top notch with a consistency and cohesion across all the tracks. As a statement of intent Night-bound Eyes are Blind to the Day more than does its job. Its no wonder Slowdive asked the band to support them on recent dates.

Night-bound Eyes are Blind to the Day is out now on Sonic Cathedral. The first press of vinyl is long gone but a second press on blue day vinyl as well as CD and cassette is available now from your favourite record shop.

You can follow Whitelands on social media here…

Photo Credits

Edward Sogunro

Tetsu the Phoenix – See You Around

Last summer I was lucky enough to be sent the debut EP from Northampton (Massachusetts) band Baleen. I was absolutely enthralled with its new take on the shoegaze and grunge sounds of my teenage years. Since then, the band have shaken things up a bit, passed their instruments about and returned with a new album, now under the moniker Tetsu the Phoenix.  

By all accounts the band have approached this album with a different lens. Citing parallels like DIIV and Alcest it would appear we are in for a heavier sound than on the Baleen EP. The album is entitled See You Around and has a very interesting story at its core. I’ll let the band tell you themselves.

“See You Around includes a song cycle based on Haruki Murakami’s The Trilogy of the Rat. Finding inspiration in the otherworldly of Wild Sheep Chase to the mundane of Hear the Wind Sing, the record spends time in Junataki-Cho Township – among other fan-familiar locales – in tracks 4-9. The songs represent an effort to bring Murakami’s world to a new dimension: that of sound.”

Sure enough, the heavier aesthetic is instantly apparent in the intro to opening track, ‘Mr Sunshine’. The Philly vibes are real as mountainous guitars scream and squall in melodic feedback. The dynamics are spot on as the guitars dip in and out over verse and chorus. This track gives me goosebumps every time. Think of a kinda cross between Just Mustard and Nothing and your halfway there.

The feels get ramped up on ‘You Die, I Die’. This one is more vocal led and leans into the epic with a chorus that is deeply affecting. If you don’t fall to your knees when they sing “If you die, I die. We made a deal; we made a deal” on top of that soaring guitar then I can’t help ya. This song has single written all over it and is a perfect intro for someone new to the band.

‘Wanting’ veers into a swampy, more doom gaze feel. The lighter moments here are much lighter but when things get fuzzy, man it’s really dirty. To me, those parts take me away to some vast desert with an infinite horizon. It’s that transportive quality of these songs that I just love.

We enter the song cycle next with the explosive ‘21 China’. This is a more exploratory song structure which is led by a dazzling display from the drums. The vocals impossibly drape themselves over this complex rhythm like some sorcerer’s cloak. Just as you are lulled by the spell though, the song erupts again into exultant guitars and pulverising bass. This album really keeps you on your toes, who knows what’s next.

Luckily, I do, it’s the effervescent ‘Ratlady’ A song built around a bright and melodic lead guitar hook contrasted with a fuzzed-out backline. The elongated syllables in the vocal delivery lend the track an almost drowsy somnolence. That contrast really makes this one of the albums stand out tracks for my money.

As an album See You Around has ambition core to its DNA and as if to embody that whole approach next up, they deliver ‘Full Moon on the Wane’. This song is stadium size and is destined to be a live favourite. It’s the perfect balance between melody and madness. The guitars trade off between that glide guitar sound and carefully picked lead line. The vocals are more up front and as such are more impactful. It really is another little bit of magic.

The oddly titled ‘Sheeps, A Man Appears’ follows and its stream of consciousness lyrics flow and fly in equal parts. Once more we’re kept on our toes as the song takes off at pace only to drop down to a minimal guitar line and vocals for the closing minute or so. I love how the band aren’t afraid to introduce us to new textures and sounds this late into the album. I find that utterly exhilarating and I wish more bands would do it.

Things stay strictly down tempo for the angelic sound of ‘About a Beach’. This is a much more unsaturated sound even though the guitars remain on full fuzz effect. How are they doing this? More sorcery I tell you! That cyclical chord sequence is utterly hypnotic and I wanted it to last about twice as long. I suppose that’s how they’ll keep me coming back to listen again and again.

The album closes out on the Mary Chain influenced ‘Bound to Disappear’. The fuzz driven guitar is maxed out and chugs along as the vocal sits on top cutting a really beautiful melody over it. Hats off for rhyming “garage” with “arbitrage” by the way. It’s a fitting way to round out this utterly exceptional record and send you back to listen again.

I’ll openly admit that I haven’t read Haruki Murakami’s The Trilogy of the Rat series however the good news is you don’t have to in order to appreciate this album. For fans of the books, I’m positive the lyrics will hit you differently but take it from me, they hit you no matter what. Musically the band have created a piece of shoegaze heaven and it’s going to resonate with fans of the genre instantly. There’s much more to enjoy on here though so fans of Radiohead will enjoy it as much as say, fans of My Bloody Valentine. What I love the most is that the album has cohesion. These songs hang together and support each other so well. This isn’t just a collection of songs. It’s an album, an honest to god, thought-out, well-structured album. For that alone it deserves your immediate attention and following that, your undying affection.

See You Around is available now digitally and on vinyl from Strange Library Records. Make sure to follow the Tetsuo the Phoenix Bandcamp page.

Geography of the Moon – Sometimes

After three years which has seen the band relocate from Glasgow in the UK to the sunnier climes of Thailand, Indonesia and soon Japan, post punk poets Geography of the Moon return with a new single.

Formed in London, UK, in 2016, Geography of the Moon is a collaboration between singer/pianist Virginia Bones and multi-instrumentalist /producer Andrea AKA Santa Pazienza. They thrive in the live environment and since the end of Covid restrictions this duo has clocked up over 450 gigs.

I covered their debut album Fake Flowers Never Die back on its release in 2021 and remarked at the time on the band’s lyrical honesty and powerful musicality. I wonder if all these gigs have morphed this band into something else or built on the sound they created back then.

The new single is called ‘Sometimes’ and I asked Andrea how he would describe it to someone who’d never heard the band before. He responded “It’s a surf rock influenced post punk tune duet about social anxiety and existential dread.”

As the track opens, I’m reminded of The Specials if they lived on the California coast. The jagged guitar drives the whole track along. Switching between angular lead lines and rhythmic arpeggios and grungy open chords. As always Virginia’s vocal is on point and forms the perfect foil to Andreas edgy, anxious delivery. She sings just enough, never over complicating her part. When the song hits choruses it just makes it more impactful. Check out the video for the track below.

As always, Geography of the Moon have created yet another track that is unmistakably them. It’s so rare that you can tell whose track you’re listening to after mere seconds of the intro. If, like me, you loved the bands album Fake Flowers Never Die then you’ll be pleased to hear a new album is in the works. I cannot wait!

‘Sometimes’ is out on April 5th 2024 and is available from the Geography of the Moon Bandcamp and all your usual streaming services.

You can follow Geography of the Moon on social media here…

Elephant Stone – Back Into The Dream

With the days starting to lengthen and the sun starting to appear more regularly I’ve been on the hunt for some summery tunes to soundtrack my days. Once again, my pals over at Fuzz Club have come up with the goods. Back Into The Dream is the sixth album from Montreal psych-pop band Elephant Stone. The band consists of driving force Rishi Dhir with Miles Dupire on drums, Jason Kent juggling keys and guitar, and Robbie MacArthur on guitar.

This band have crafted their distinctive sound over a 14-year career that has seen them gain plaudits for each and every album they’ve released. But what is the motivating theme behind the songs on this album. Dhir has this to say.

“I’m often caught in the web of intense, recurring dreams, which I think reflect my ongoing quest for identity and a sense of belonging. ‘Back Into the Dream’ isn’t merely an album; it’s a complex orchestration of emotions, ideas, and existential inquiries.”

I can’t wait to drop the needle on this one so let’s dive in.

We open on ‘Lost in the Dream’ and straight away the summery pop vibes wash over us. There’s a careful balance between those sweet vocal harmonies and the strummed acoustic guitar in the verses. When the chorus erupts in technicolour, we are bathed in the many colours of Elephant Stones genius. It’s a really strong opener.

It’s obvious from the intro to the ‘The Spark’ next that this band have a lot more hooks up their sleeves. The harmonies, on guitar this time, are rich and warm and when that chorus comes it takes you soaring. On writing this song Dhir has some in depth thoughts to share.

“Crafting a song is like tapping into a kind of magic that exists beyond the realm of the ordinary. I’m in perpetual pursuit of that elusive sensation—the spark that turns fleeting thoughts into something immortal. ‘The Spark’ is my love letter to the art of songwriting, a tribute to the creative process itself. It’s about that serendipitous moment when time and space align, allowing you to capture lightning in a bottle.”

“From that ineffable feeling, I labour to find the right words, striving to make the abstract both concrete and deeply personal. Each completed song leaves me both satisfied and hungry—satisfied that I’ve said something meaningful, and hungry to rediscover that spark once more.”

The band tap into their sixties influence for the stunning ‘Going Underground’ (not The Jam song). The guitars here hark back to the sharp and cutting riffs of Townsend and Marriott. That insistent and driving drum beat providing the basis for those riffs to explode from. The chorus Teenage Fanclub would kill for. All call and response on the harmony singing.

The spaced-out intro of ‘History Repeating’ takes us flying into the heavens to soar through the heavens. There’s a sparkly and pulsing vibe to the song that resolves nicely in the coda section to bring us gently back down to earth.

We remain in cosmic territory for out there sounds of ‘bae’. Taking that space folk jam that The Byrds began on The Notorious Byrds Brothers and bringing it bang up to date. It’s second half bursting through the psychedelic veil and, like the close of 2001: A Space Odyssey, takes us hurtling into the void.

Next, we have the two tracks that made up the Dawn, Day, Dusk release from earlier this year. Firstly, the instrumental ‘Godstar’ channels the raga style of David Crosby and provides us with an eastern flavour. Tabla and sitar providing us with another side to Elephant Stone. This segues into the expansive and all consuming ‘The Imajinary, Nameless Everybody In The World’. This song completely floored me on first listen. It’s almost eight-minute runtime flying by in an instant. This could easily be the centre piece of some lost rock opera. It cycles through pastoral psych folk, rock and into free form jazz moments to create this stunning listening experience.

That free jazz vibe continues into ‘Pilgrimage’. Its lush arrangement built on a shuffling drum beat and very percussive bassline which drives the swirling saxophone and chiming guitars to even loftier heights.

We return to the hooky psych pop with ‘On Our Own’. The Big Star vibes are real and I’m here for it. It’s a perfect hooky pop number with a baroque moment or two as additional ear candy. They employ their vocal harmonies in just the right places providing us with flashes of light as they go.

The album closes out with the Beatle-esque ‘Another Year Gone’. It’s a lovely full stop to this album with its Mellotron intro and Sgt Pepper era arrangement. It’s only begun and its over but not before they treat us to their beautiful vocal harmonies one last time.

Elephant Stone are a band after my own heart. We share a lot of musical touchpoints, particularly from the sixties. What I appreciate more than anything though, is both the care and attention that has gone into the writing and performing of each song as well as the track listing of those songs. The album flows along quite naturally and carries you along with a massive smile on your face. This will be the soundtrack for my next few months as the days stretch out in front of us and the sun returns to our skies.

Back Into The Dream is available now from Fuzz Club Records, from the Elephant Stone Bandcamp Page as well as your favourite indie record shop.

You can follow Elephant Stone on social media here…

Seems Like Forever – Listen

Fans of Presents For Sally and Echodrone can rejoice as Matt Etherton and Jackie Kasbohm have joined forces to launch a brand-new musical project. Seems Like Forever have been writing and recording for months and are now ready to let us hear the first fruits of their labour. Listen is the first single from the duo featuring three tracks to introduce us to this new sound they are making.  

Joining them for this first single they have the main man from shoegaze legends Nax, Nicolás Castello. I asked Etherton for the lowdown on what we can expect from these new songs.

“The B sides are pretty loft sounding which I love. One with an acoustic just recorded through a mic and the other just part of one of the tunes which will be on the LP but with Sonic Youth type noise over Jackie’s vocal. I’m excited about it all.”

“The A side is close to exactly the sound I had in my head too. Rough and ready with some animal collective weirdness thrown in.”

Sounds like this is going to be a bit special.

The title track opens on a lo-fi drum beat that anchors the whole arrangement. Soon shimmering synths and a fluttering guitar enter and we are flying. It’s when Kasbohm’s otherworldly vocals enter the fray that this song is fully formed. There’s a real warmth throughout from the rounded bass tones to that arpeggio guitar part that just has me smiling every time I hear it. A real summer sound.

On the flip side we begin with a stripped back ‘Seen It All Before’. It comes in like a lost Nirvana Unplugged track. All moody and ominous, you’re hooked immediately. Etherton’s dead eyed delivery contrasting with Kasbohm’s lighter touch, almost like Kate Bush in the closing coda. I was immediately taken with this song and remains my favourite on the single.

Things conclude with ‘Maybe Never (prelude)’. The track is swathed in feedback, looming guitar tones, looping delay and deep dark fuzz. Underneath is a psychedelic sounding song peeking through the veil, Kasbohm’s vocal full of eastern promise. This has certainly piqued my interest in what the album version will sound like.

Listen is a stunning introduction to the world of Seems Like Forever. The band have cleverly given us three flavours of their sound and each is solid, each is utterly beguiling. This will certainly get fans appetites whetted for the full-length album we have been promised later in the year. Rest assured I’ll be covering that here on Static Sounds Club.

Listen is available now digitally and on super limited edition green coloured seven-inch vinyl over on the Seems Like Forever Bandcamp page.

You can follow Seems Like Forever on social media here…

Thee U.F.O – Beaming A Moments Reflection

Irish psychedelic label Fuzzed Up & Astromoon Records is a bit of an obsession of mine. Their lathe cut seven-inch series has introduced me to some amazing new bands. Among this illustrious list is Dublin’s Thee U.F.O. The label has released two singles and their previous album, Ponderous Fug. If you haven’t explored the band yet I can highly recommend this album and the single ‘Impish Delight’ in particular.

The band return with their new album, Beaming A Moments Reflection. Consisting of core members Darragh Hansard & Beth Doyle they have previously said in interviews their aim is to “create as much as possible”. Aiming for quantity might give you pause to think that quality would take a hit. You needn’t worry. Thee U.F.O have already released two singles from this album and both have been exceptional.

The album opens on the discordant tones of ‘Bursting Egos’. It isn’t long until the song explodes into life like some lost 13th Floor Elevators freak out. The cycling bass line and locomotive drums hold down the groove while the guitar heads off to outer space. Hansards vocal delivery is dynamic and swings from hushed to whoops and howls. It’s an incredibly assured and energetic way to open an album.

Next up is a recent single to be released from the album, the joyous ‘Junk Funk Garbage’.  For me the drums are what makes this track stand out. They never stop moving giving the this a whole new vibe to anything Thee U.F.O have released to date. “Can ya see? Can ya feel? Then Smile” preaches Hansard and we listen! The rest of the song is completed with stabbing guitar and smooth synth lines. If you missed this one on seven-inch now’s your chance to get it on the album.

‘Squashed Planets’ has a Kosmische feel right out the gate. The opening section feels very compressed and claustrophobic. Hansards vocal sounds like its coming from across the vast expanse and we are picking it up on our shortwave radio. Soon we are assaulted by power of fuzzed out guitar attack but its only momentary and we settle back into more gentle tones from the cosmos.

It’s another single next in the shape of the expansive and rhythmic ‘Surveyor’. Like a twisted ‘Taxman’ it sputters along like a firework nearing the end. It’s anxious and regulated rhythm section hold the line whilst the vocals float airily over the top of it all. It’s an utterly infectious jam and will have your head nodding and foot tapping.

‘Cell Map’ is another trademarked Thee U.F.O wig out. Like a bottle of electricity this song bursts out of every available corner of your speakers. Guitars shimmer like waterfalls in the sun, bass, heavy like dew on the grass.

The title track is next and in a complete change of pace and feel it’s an autumnal piece. Woodwind instruments play out a pastoral piece over a minimal drum beat. It’s an arresting change of direction but doesn’t feel out of place. It works as an intro to the final track of the album.

The album closes out with ‘In The Long Run They Queered’. This was the first track I heard from the album early last year and immediately played it on my DKFM Radio Show in May. This remains my favourite Thee U.F.O track to this day. The dreamlike atmosphere, steady pace and hooky melody its just sublime and the perfect way to round out this collection of tracks.

As someone who absolutely loves ‘Ponderous Fug’ I wasn’t sure what I was going to make of this album. Thankfully the band have once again produced an assured and confident album that is brimming with interesting detail and a good variety of styles. I can see Beaming A Moments Reflection clocking in a great many hours on my turntable.

Beaming A Moments Reflection is out now on digital via Thee U.F.O’s Bandcamp and on purple and white marble vinyl via Fuzzed Up and Astromoon Records.

You can follow Thee U.F.O on social media here…

The Hologram People – Isola Dei Morti Viventi

Dreamlord and Komische are up to their old tricks again as The Hologram People return with their new album Isola Dei Morti Viventi. Last time we caught up with our dynamic duo it was on 2022’s Village of the Snake God, an album which garnered them well earned high praise. This time Jonathan Parkes (AKA Dreamlord and Dom Keen (AKA Kosmische) are tackling another imagined soundtrack, this time for a “lost” Italio horror movie called Isola Dei Morti Viventi. The film, directed by Guiseppi Giovanni, was originally supposed to come out in 1977 but was shelved only to be rediscovered in 2020. It’s in this sphere that Keen and Parkes really shine. Their past Hologram People and releases as Studio Kosmische testify to that.

I was keen to find out more about how the guys work together to create these amazing soundtracks, here’s what they had to say.

“With both ‘Village of the Snake God’ and ‘Isola Dei Morti Viventi’ the concepts were all worked out first. We drafted a basic storyline and even had most of the song titles decided on before writing any music.”

“At the time of recording, we were living in different cities so everything was written at our respective home studios. Since last year we live down the road from each other so can get together any time we need to. The first session we recorded in the same room (after many years) turned into the recently released Studio Kosmische LP ‘Beyond the Circle of the Fixed Stars.’”

The album opens on the ominous tones of ‘The Green Inferno’, the opening notes almost like a ship’s horn in the fog. The swirling synths and electronic percussion creating a real sense of disorientation. As a listener this is really freeing as it allows you to surrender yourself to the journey ahead and go wherever the music takes you.

That place is the eerie island in question. ‘Night Sweats Parts 1 & 2’ next slips into a darkly funky groove early on, the bass and drums metering out the vibes whilst the synths add their touches of horror soundtrack motifs. It’s not long before guitar and keyboards lead us on a merry dance with a wailing saxophone adding its alluring affectations.  

It’s not long before we’re on a ‘Slow Cruise to Port Danger’. This number eschewing the horror genre for film noir. This could easily be the theme for a seventies gumshoe detective flick. That mournful trumpet and tasteful use of the Fender Rhodes creating a wonderfully tense ambience.

But, it’s over all too soon and it’s time to face the ‘Worst Case Scenario’. That phat bass and drum partnership brings the funk in buckets. The rest of the track is atmospheric, Kosmische sounds through which you can hear the wails and moans of the advancing zombie horde.

‘Love in the Jungle’ develops those Kosmische sounds into sharp focus all the while building the tension and sense of nervousness.

This leads very neatly into the menacing ‘Float the Conga’. The central bass motif here remains the constant as tribal drums, piano and mournful, wailing vocals slowly join in the dance. There’s something quite Gallic about this track. It harks to that same ambience Air created at times, particularly on their Virgin Suicides soundtrack. That said it is unmistakably a Hologram People number through and through.

That leads us to this albums centre piece and my stand out track. ‘Isola Dei Morti Viventi (Main Theme)’ has that European cinema vibe in spades. The rolling acoustic guitar line beckons us in and we are swept up in soaring choral vocals and dagger like guitar solos. This is the perfect microcosm of this collection of songs. Like some sort of musical summary. Uplifting yet full of menace and foreboding.

As if in complete contrast ‘Jungle Patrol’ is a short tone poem based around a swiftly moving keyboard arpeggio. It’s simultaneously bamboozling and beguiling.

The gnashing of teeth and groans of the undead lead us into ‘March of the Living Dead’. It’s sombre and oppressive vibe feels like leads right out of the themes established in ‘Float the Conga’.  Although the energy is quite different. The inevitability of our protagonist’s demise at the hands of the horde weighs heavy on our musical narrators.

We pause for another short tone poem in the shape of ‘Killer Chrysanthemum’. The arpeggios this time not as urgent but unhurried and measured.

A lone conga beats out the intro to ‘No Escape’ as we approach our end, literal and metaphorical. As the drum calls out the sound of the undead slowly fades to reveal a portentous, gloomy synth.  It’s clear, in the low foreboding coda, that not everyone has made it out alive.

‘Cocktail di Zombie’ takes us back into that noir world with its silky-smooth arrangement. You could imagine the band in the bar zombified and still laying down these jazzy grooves like the hip cats they once were.

The experience comes to a close with ‘The Survivors Return’. Optimism creeping in to its incredibly short run time with the lilting acoustic guitar and what sounds like an autoharp lightening the tone.

Once again, The Hologram People have created a whole world in the grooves of a record. A world where you can completely immerse yourself and get lost for its run time. They have a strange knack of creating music which inspires the imagination. Combined with the beautiful cover art and interesting song titles it all comes together to create a listening experience like no other.

Isola Dei Morti Viventi is out now via Dreamlord Recordings. You can grab a vinyl copy now over on Bandcamp.

You can follow The Hologram People on social media here…

Premiere: Virgins – s o f t e r

Following on from the release of the ‘Slowly, Long’ single last year, Belfast gazers Virgins are back with a brand new single and album announcement.

I’ve been following this band from day dot through the release of their stunning debut EP, Transmit a Little Heaven. Catching them live in Glasgow was an absolute treat and the sheer energy of their performance has been winning them a lot more fans than just me. The band on this record are Michael Smyth on guitar with David Sloan also on guitar, James Foy on drums, Brendy McCann on bass and Rebecca Dow on vocals. I was keen to find out more about this new track. The band had this to say.

“It’s a shoegaze tour-de-force built around a looping lead riff and the ethereal yearning vocals of Rebecca Dow. Gargantuan walls of dense, beautiful reverbs and dreamy fuzz, transport the listener to a world of abstract beauty and bliss.”

That pretty much nails it. From the hooky riff intro into the explosive drums thundering in ‘s o f t e r’ takes no prisoners. Dows vocals are given tons of space in the verses to weave her siren like spell. This is augmented by the glide guitar parts and tremolo picked stuff. Meanwhile holding it all down the bass provides a steady pulse, never sitting still for a moment.

‘s o f t e r’ is such an addictive track. I’ve had it on loop for a few weeks now and it’s not lost any of its freshness or energy. Speaking of energy check out the promo video directed and shot by Ebony Alexander and Michael Smyth.

The single accompanies the announcement of their eagerly anticipated debut album, nothing hurt and everything was beautiful due out April 11th via Blowtorch Records on a pressing of 300 starburst vinyl. Those who pre-order the album via Virgins Bandcamp page will be treated to an instant download of an exclusive non-album track, ‘g l i s s’. A track that in the band’s own words, “is the bridge from the EP to the album, a sonic clue that nods to what came before but looks forward to what is about to come.”

Rest assured, I’ll be back soon with a full break down of the album.

Tour Dates

Virgins will play two album launch parties:

April 26th

Belfast – Deers Head

April 27th,

Dublin – Sin E

You can follow Virgins on social media here…

Photo credit

Ebony Alexander Media