Melody Fields – 1991

In my previous blog I explored 1901, the new album from Gothenburg’s Melody Fields. They have now dropped 1991 the second of their albums to release this year. What can we expect from the band this time around? Here’s what they had to say.

“1991 takes a different approach as a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four collaborations including contributions from GOAT and Al Lover, which inject new life into the original composition ’Jesus’ from the previous album, 1901. The collaborations offer fresh perspectives and invigorating interpretations, breathing new energy into the music and allowing it to evolve further.”

This sounds like it’s going to be a completely different creature altogether. Only one way to find out, let’s drop the needle.

From the very opening refrain of ‘Hallelujah we’re transported to the early nineties. Luscious synths and housey house pianos set this one dead centre of the dancefloor in the Hacienda. Somehow the band maintain that psychedelic edge throughout defining this as a Melody Fields song. Vocals never reach the front of the mix adding to that trippy, hypnotic effect. This is a bold new direction and one the band own every second of. What could so easily have slipped into nostalgia porn instead becomes a celebration of that time that transcends the years.

The closing bars feature that ever-familiar glide guitar effect I love so much. That segues neatly into the utterly euphoric ‘Blasphemy’. For an old shoegazer like me this track had me smiling ear to ear throughout. The synth melody in the verse sections is such a bright and shiny contrast to those pulsing and grinding guitars. This is the very essence of that 1991 shoegaze sound and I could listen to it all day.

Next up is a dub / house reworking of ‘Jesus’ from previous album 1901. That powerful horn section now a serpentine, languid synth pad. Vocals more muted now, as if heard from a distance. Front and centre it’s drums and bass all the way retooling this number for the late-night dance floor.

‘Dandelion’ comes in all pounding drums and guitar riffing. The sixties psychedelic sound looms large in the vocal delivery and sitar-like guitar soloing. I am immediately thinking of Fifth Dimension era Byrd’s recordings which is my favourite era of their output. It’s that cool circular guitar riff that is the thread that everything else is relying on. It’s a great lesson in less is more.

‘Talking With Jesus’ presents a late night take on ‘Jesus’. This is very much post party in the chillout room. I can see this popping up in a future Back to Mine compilation. The laid-back approach carries us off to smoke filled rooms populated with the diehards from the party. Wringing every last moment of the night before mornings light sends us home again.

There’s a shift in tone next with ‘Diary of a Young Man’. Like a souped-up 13th Floor Elevators meets the Mary Chain. It’s a super saturated track dominated by the scuzzy, fuzzed out guitars and almost tribal drumming when in the final minute it all disappears, replaced with a distant lone female voice in the wilderness. Which acts a neat segue into ‘Bhagavana Najika Cha’.

This is a wonderful mash up of eastern influenced psyche with the cosmic, spacey explorations of space rock. The eerily echoing chants of the vocals weave into the flute and screaming guitars. This track really keeps you on your toes as it twists and turns its way along.

As it winds down, we head into the final rework out for ‘Jesus’. ‘Son of Man’ strips it right back to shaker and bass as it begins with only the essential horns making their presence felt from the original. Vocals have been heavily treated and panned out while a tinkling toy piano has been added for some new textures. It’s the perfect chilled way to close out this cracking album.

1991 could be viewed as a companion piece to 1901 however I think that’s looking at simplistically. Yes, there are a few remixes on here but the inclusion of ‘Hallelujah’ and ‘Blasphemy’ for me make this an essential listen any day of the week. Melody Fields have been incredibly generous in my opinion, listened to back-to-back these two albums are practically flawless. Make sure you go and grab your copies before they completely sell out because, trust me, when word gets around, they will fly.

1991 is out now via Coop Records and Nudie Records. Head on over to the Melody Fields Bandcamp page to check it out for yourself.

You can follow Melody Fields on social media here…

Melody Fields – 1901

Once again, I find myself with a band who have released two amazing albums hot on the heels of each other. Swedish psych outfit Melody Fields have just released both 1901 and 1991 within a mere month of each other. I’ll get into talking about 1991 on the next blog but right now let’s explore 1901.

Melody Fields released their self-titled debut album in 2018 to rave reviews. It’s 60’s-tinged atmosphere made it a surefire hit leaving us wondering what would come next. Not content with merely reproducing that sound on these albums Melody Fields have expanded their sonic palette. The band had this to say.

“Our primary album, ‘1901’ can be best described as a rock album with psychedelic influences. It showcases repetitive guitar riffs, distorted soundscapes, and mesmerising three-part harmony vocals. Throughout these musical landscapes, we were fortunate to collaborate with guest musicians from esteemed bands such as GOAT and Holy Wave, who added an extra layer of sonic brilliance to the album.”

This sounds like an absolute treat for the ears. Let’s drop the needle and dive in.

The album opens on the sprawling and textured ‘Going Back’. The harmony vocal delivery is spot. Guitars full of eastern promise and the most hypnotic bassline. This is such a visual track; it transports you away to some far-flung desert to trek for miles through the hazy heat. Magical start to proceedings.

We segue neatly into ‘Jesus’ next. Horns blare as the song emerges fully formed and full of intent. The boy/girl vocals are delivered with the utmost cool while the band deliver their backing with real swagger. It’s that motif played by the brass section though that makes this song something really special.

As ‘Rave On’ bursts on to the speaker I’m reminded of the theme from the original BBC series of Hitchhikers Guide to the Galaxy. It’s a grand and sweeping melody that washes over us, lifting us up and carrying us off on our next sonic adventure. There’s so much to enjoy here. Layers of sounds and a stunning mix really reward repeated listens.

This is followed by the eerie tone poem ‘Mellanväsen’. It’s a moody synth driven Kosmische piece that acts as the perfect bridge between the full-on sunshine psychedelia of ‘Rave On’ and what follows.

And what follows is a revelation. ‘Transatlantic’ is a stunning track, full of experimental moments that lean into the more industrial and Kosmische genres but with an overall Madchester vibe. There’s an on the nose reference to Screamadelica towards the end, but rather than feeling tacked on it feels like a natural evolution of this track. In that one word, evolution, is the power of ‘Transatlantic’. It never stays still; more and more layers are added over its runtime until it resolves itself back into silence.

We return to the technicolour psychedelic sound on ‘Home at Last’. The drums add a sense of nervous energy that keeps everyone on their toes. Guitar / Sitar loops around and around the melody while the vocals punch through with their harmonised attack. Always restless, always moving along this is a lesson in this bands ability to make epic, cinematic soundscapes based on the simplest riffs and lyrics.

Following is the potent ‘Indian MC’ the two to ‘Home at Last’s one. These two songs feel like they were born together and went slightly different directions. Much more lyrically dense this employs a much heavier drum and bass track lending it a more serious vibe. The vocal harmonies are much more intricate and strike a very European tone which I love.

‘Void’ is another transitory tone poem punctuating the segue between tracks. Aptly named the spacey sounds echoing around an almost non-existent synth soon blossom to lead us into the light of ‘In Love’.

The band turn all the amps up to eleven on this one summoning their inner Mary Chain. This is a fuzz lovers delight and the gospel-tinged vocals coupled with the ferocious attack of the guitars makes for an absolute monster of a track.

The album closes out on the mellow moods of ‘Mayday’. Fans of Spiritualized will adore this one. The wonky guitars are the perfect foil to the exact and precise melody of the vocals. It ambles along before resolving into an increasingly intense series of synth squelches and swoops and then ……nothing. And it’s all over.

Melody Fields are leading the way with 1901. There brand of neo psychedelia isn’t just rooted in one genre. It leans into and borrows from many broad and diverse influences to create that signature sound. This is an album that will reveal more of itself each time you listen, which for me is the hallmark of a band that really cares.

1901 is out now on Coop Records and Nudie Records. Head on over to the Melody Fields Bandcamp page to check it out for yourself.

You can follow Melody Fields on social media here…

Crystal Canyon – Stars and Distant Light

Crystal Canyon are a shoegaze band from Portland, Maine in the US of A.  They create atmospheric and dreamy soundscapes with lush vocals, swirling guitars, and ethereal synths. To date they’ve released two stellar albums (in this guy’s opinion), Crystal Canyon from 2018 and yours with affection and sorrow from 2021. Both showcase the bands versatility and evolutionary spirit, the latter being one of my all-time favourites of the genre.

The band: Lynda Mandolyn, Todd Hutchisen, Jeremy Smith and Nate Manning now return with their new album, Stars and Distant Light. They came at this album from a different angle than their previous two releases. Mandolyn has this to say.

“Well, the pandemic had a hand in it. We just kept working. I also credit the addition of drummer Nate Manning driving the sound more than on previous albums. We worked on demos and from 17 we whittled it down to the nine best songs. Also, everyone collaborated on this album with the writing”

With quality control that high it looks like we’re in for a treat. Let’s drop the needle and see what they have in store for us.

The album opens on the glorious noise of ‘Dreamray’. Guitars wail against Mandolyn’s vivid vocals. Theres a great use of dynamics between verse and chorus with an additional layer of guitars coming in to send the song soaring. It’s a great comfort to hear this track first as it really doubles down on Crystal Canyons reputation as guardians of the gaze. Everything you could want from a shoegaze track is here and more. What a way to start!

Next up is dreamy single ‘Belt of Orion’. If ever someone was made to sing this song it was Lynda Mandolyn. Her floaty vocal drives the mood with the guitars dialling back their attack to jangle their lively backing. One thing that remains constant though is the precise and impactful drumming. Almost like punctuation it lifts everything to a different level.

Up next is the short but really beautiful interlude that is ‘Pulsars and Magnetars’. For those of you unsure, pulsars and magnetars are both types of neutron stars, which are basically the cores of giant stars left over when the stars themselves go supernova. There’s a celestial quality to the backing that makes you feel like you’re floating in the furthest reaches of space. Lonely and staring out at the vast nothingness. An absolute nugget of a song.

We’re back at pace next with the single ‘Judy Moody’. It’s head down and full throttle into the hurricane of guitars and thrashing drums. As always though, at the core is a catchy pop song driving this unrelenting aural assault. I can only imagine this is going to set off the mosh pit when played live.

The sumptuous intro to ‘Sierra’ welcomes us with a big hug next. The gentle sway of the track hooks you in and you find yourself nodding along, eyes closed soaking it in. Theres an iridescent glow to the production which only further endears the song to my ears. Written as a tribute to the late, great Julee Cruise it would undoubtedly have been loved by her.

My album highlight comes in like a wrecking ball next. ‘Catatonia’ fuses that extreme glide guitar of shoegaze with the spry melody of a power pop song. Its utterly celebratory and euphoric. It grabs you by the collar, lifts you up and plasters the biggest smile on your face. You’ll read elsewhere how this song references the big three bands of 90’s shoegaze but for me this is pure Crystal Canyon. Just listen to that psychedelic guitar solo near the end. The effervescent bassline and relentless drums. Sure, all shoegaze owes a thanks to those 90’s bands but the best modern shoegaze bands, of which Crystal Canyon very much are, plough their own furrow and deserve the kudos for doing just that.

‘Cobra Aurora’, as if proving my point, simultaneously straddles that alt-rock and shoegaze divide with ease and an assured confidence. When you’re trading in hooks and riffs as potent as these you can afford to relax into your performances. The band sound completely in the zone, every moment given the swagger and aplomb it deserves.

The hooks keep on coming with the spaced-out cosmic vibes of ‘Penelope, The Odyssey’. The chiming synth is a nice addition to the band’s sonic arsenal. It only adds to the impact of the punchy intro, the swoon some vocals and dreamy guitars. Man, this band have choruses for weeks.

The album comes to a close with ‘Center of The Universe’, a sprawling ballad that allows the band to add some space into their music. The resulting track thusly feels the perfect summary of all we’ve heard so far. Lyrics talk of the heavens and synth washes remind me of sci fi soundtracks of my youth. It doesn’t feel so much like a full stop but rather like leaving orbit and floating off into the galaxy.

With Stars and Distant Light Crystal Canyon have created and then curated us a slice of heavenly perfection. The songs feel thematically familial whilst maintaining their own uniqueness. As someone who listened the grooves out of his copy of yours with affection and sorrow , I’m just so happy the band have once again given us an album where we can get lost and disappear into the music. This time, however, we get lost in the kaleidoscopic universe of sound where Crystal Canyon call home.

Stars and Distant Light is out now and available digitally and on vinyl via Crystal Canyons Bandcamp page.

You can follow Crystal Canyon on social media here…

PREMIERE: Japan Review – Go Around

As a Scot its always great when I can shout out fellow Scots work here on Static Sounds Club. It’s to Glasgow we go to meet Japan Review. Composed of Genna Foden and Adam O’Sullivan this talented duo produces an intriguing blend of genres. That shoegaze wash mingles with lo fi beats and an undercurrent of hypnotic psychedelia. It’s a heady concoction.

Ahead of the release of the bands second album The Slow Down on Blackjack Illuminist Records they are treating us to a sneak peek with the single ‘Go Around’. I asked the band to give us an introduction to the single and how it came to be.

“There is always a lag between writing and recording an album and releasing it, so we basically carried on writing during recording of our first album. ‘Go Around’ was the first thing we wrote for our second album ‘The Slow Down’ and it immediately felt like it belonged to something new but could also bridge the gap between what we’ve done and what we wanted to do next.”

“We wanted to make accessible, electronic pop that had the same amount of space as mid-era New Order recordings. A lot of the rest of the new record is a bit more experimental than our first, but it all orbits our weird blend of shoegaze and electronics, and this sums up our sound pretty well. If you don’t know Japan Review this is probably a good place to start!”

So, start there we will.

The song opens on a pulsing beat and chiming chords. As the bass and vocals come in there is an eighties synth pop aesthetic at play feeling new and nostalgic at once. In the second half the track gains a bit of bite and we are floating along on glorious glide guitar.

I really enjoy how ‘Go Around’ evolves over its three-minute run time. I’m reminded of the arrangements on that classic debut album from Lovesliescrushing with a real focus on interesting textures and changes.

If you like a little more depth to your shoegaze then Japan Review are the band for you. I’ve been lucky enough to get an advance listen to their new album and it’s stunning. Head over to the Japan Review Bandcamp now to download ‘Go Around’.

You can follow Japan Review on social media here…

Guest Directors – Interference Patterns

Seattle is world famous for being the birthplace of grunge. One of those legendary bands, Tad, included guitarist Gary Thorstensen who has gone on to form Guest Directors. The band also includes guitarist/vocalist Julie D, drummer Rian Turner and bassist Charles Russo. They’ve just released their first full length LP Interference Patterns after a series of successful Ep’s and singles.

The band have a real genre hopping approach to their music and have this to say about the album.

“Like a broken mirror, Seattle’s Guest Directors reflect a multitude of emotional and musical pathways.  On their new LP, Interference Patterns, the songs spiral one after another – sometimes powerful and sometimes delicate. They can sound like snowflakes and hail storms, sometimes in the same song.”

Sounds like an exciting listen. Let’s drop the needle and see what they have in store for us.

The album opens on the punchy ‘From This Distance’. The twin vocal approach adding to the impact of the guitars sonic assault. This song is the perfect opener hooking you in immediately. Billy Corgan would kill for this track.

‘Perfect Picture’ has a stop start rhythm that fools us into thinking this is a melodic indie track. When that driving bass kicks in it reveals itself as a complex, dramatic rock opera. The descending notes in the chorus catch me out every time.

Next up is the moodier ‘Raise a Glass’. The band have this to say.

“’Raise a Glass’ was literally the first complete song we ever wrote. We had the music in place while we were looking for a singer. One of the try-outs went so poorly that Julie decided to give it a go herself. As a long time backup singer, she wasn’t a complete rookie.

But she made a beginner’s mistake of coming up with a melody in a range that couldn’t be projected well live . Fast-forward 7 years, and Gary suggested capo-ing the guitars a couple of frets, and voila! Maybe things happen for a reason because we’re all really happy with the outcome.”

Julie’s voice is just sublime. Especially in those harmony moments. Coupled with that yearning guitar line it creates an emotive atmosphere that captures the mood of the subject matter perfectly.

Next, creeping up is the tightly wound ‘Blackout Dream Blues’. The guitars lending a sense of peril keeping you on edge until the chorus blooms. Something occurred to me listening to this one, I can hear this song in the soundtrack to a future Bond movie.

The shoegaze glide sound comes into full effect on ‘Skinless’. Married with the alt rock riffage and soaring vocals it creates a unique atmosphere. I particularly loved the break down leading into the final minute, those tom rolls providing a new dynamic and room for the guitars to shine.

Speaking of dynamic ‘Nico’ really does keep us on our toes. Beginning like a chilled-out ballad the chorus comes in like the late great Kirsty MacColl, lush deeply rounded harmonies with an instant hook that makes you smile ear to ear. Absolutely love this song.

Next track is a massive curve ball. ‘Laser Hands’ cones in like an almost jazz rock odyssey. The verses ebb and flow with sublime call and response between the vocals and guitars. The vocals swing from a Pink Floydesque whispered delivery to a heavily treated wail to the skies. It really stands up to repeated listens, there’s just so much for your ear to enjoy.

‘Stare it Down’ is a lesson in restraint. Just listen to how the vocals behave in that chorus. So, balanced and poised. The bass delivers a stellar turn, dictating the pace and providing another sonic texture. Guitars are kept in check until that psychedelic solo comes in and sends us heavenward. Hats off to the band for delivering this wee beauty.

The album rounds out with ‘You’ll Never Know’. Again, leaning into that jazz rock sound with some of the chord choices. It lends the song an air of finality, making it perfectly placed on the album. Some moments on here remind me of guitars used by one of my all-time heroes Mary Margaret O’Hara. Also, those drums, never settling, always moving. As the song morphs into as rock ballad in its second half we get to hear another side to the band. Again, the restraint on show is spellbinding and in doing so they allow space for that beautiful vocal to shine through.

The band say that Interference Patterns is culled from songs that the band have been writing for the entire time they have been together. That shared experience and knowledge of each other shines through in every song. This is an album that screams confidence but never over confidence. That is as sure footed in its performance as it is in production. This is an album Guest Directors should feel justifiably proud of.

Interference Patterns is out now via Topsy Records/Snappy Little Numbers digitally and on limited edition CD and numbered vinyl from Guest Directors Bandcamp.

You can follow Guest Directors on social media here…

Studio Kosmische – Lucifer Rising

Studio Kosmische is the solo project of Dom Keen assisted by Jonathan Parkes of Arboria, Korb and The Hologram People. Taking their name from the experimental genre in which they play they truly epitomise what it means to be experimental and without boundaries. Keens impressive CV includes Death in Vegas, Holy Magick and Jack Medley’s Secure Men as well as the aforementioned The Hologram People. To date they have released four ultra immersive albums and one joint release with Ximes. All of which I have slowly been accumulating and absorbing over the last few months.

Now they return with an intriguing release. A complete reworking of the soundtrack to Kenneth Angers avant-garde short film Lucifer Rising which finally saw a release in 1981. The story behind that film and its original soundtrack is worthy of a movie of its own. Characters like Mick Jagger and his brother Chris, Marianne Faithful, Jimmy Page and a member of Charles Mansons notorious family all play their parts. So, what led Keen and Parkes to create a score all of their own? Keen had this to say.

“Countless musicians have created their own scores for the dialogue-free Lucifer Rising since Beausoleil, Jagger, and Page. Some (including myself) will see this new rescore as an act of sacrilege; all I can say is that it was created in awe of, and with great respect to, everyone involved in the original work(s). My hope with this record is that it goes some way – however small – to help spread the futuristic visions that Anger dreamed when he first filmed Lucifer Rising over 50 years ago.”

Having watched the original film, I then sat down and listened to this version of the soundtrack on repeat.

The mood created by the Studio Kosmische team is thoroughly in keeping with the imagery of the film. It’s truly music of the gods. The ambient drones augmented rhythmically by cymbals and heavily reverbed tribal drums in places. They eschew the screeching brass of the original for something more beguiling and entrancing. Very much like Lucifer himself, tempting and seducing us to join their way.

The evolution of the soundtrack is gradual and dramatic at the same time. One minute it sounds like stars falling from heaven then the next the guttural howl of the pit consumes us. It very much feels like being led by the hand through the wilderness discovering this strange land of divinity and demons, of magick and mortals.

In these twenty-eight minutes you will lose yourself over and over again as you do with all Studio Kosmische releases. I have described their albums as being self-contained worlds and Lucifer Rising is no exception. Drop the needle, lie back and let yourself be transported in your mind. Who knows where you’ll end u

Lucifer Rising is out now via the amazing Feral Child Recordings on vinyl. You can grab a copy by heading over to Feral Childs Instagram or Facebook to find out more.

You can follow Studio Kosmische on social media here……

Frankie and the Witch Fingers – Data Doom

Storming out of LA come Frankie and the Witch Fingers, a band that have been making some of the most exciting and creative music in the psych genre of late. Rotating around core creators and multi-instrumentalists Dylan Sizemore and Josh Menashe. After putting in the hard yards on stage they are now joined by Nicole “Nikki Pickle” Smith on bass, and Nick Aguilar on drums to complete the line up for this, their seventh studio release.

Here’s what the band have to say about the genesis of Data Doom.

“Wiping away the haze of stoned-ape psychedelics that permeated their opus Monsters Eating People Eating Monsters… the band favours an asphalt assault of rock, riff, and amphetamine rhythm. As they’ve wound out of the last phase, their sound, over a series of singles, has begun to thicken and throb.”

“It’s coalesced into a darker strain that ingests the explosive impulses of gas-crisis-era proto-punk, the rhythmic insistence of 70’s German Progressives, and the elasticity of funk fusionists alike. They’ve welded their arsenal of influences to a chassis of nail-bitten bombast that drives Data Doom into the midst of the maelstrom.”

Wow, I don’t know about you but I really need to listen to this album. Right Now!! Let’s drop the needle and dive in.

The album starts with the blistering and furious ‘Empire’ that unleashes sheer raw aggression from the outset. The warped and fuzzy guitar riff just rips through the speakers, along with a pounding drum beat and a thundering bass line. The addition of horns into the mix adds a prog rock flair to the sound. Man, this is an intense and utterly satisfying listen. Lyrically the track appears to be about the destructive power of data and how it can corrupt and consume everything. What a way to open an album.

Next up is ‘Burn Me Down’ another blistering and furious track that just explodes into life. Theres some textures of saxophone adding some nuance to the bottom end. Listen to how the bass and drums are in perfect unison calling the time and driving the whole song forward. This then allows space for the guitars to go wild. And that they do.

The pace isn’t letting up as we head into ‘Electricide’. The punk rock shock of the stabbing guitar riffing is mirrored in the vocal melody. It’s when the guitars are let loose to solo that this song soars into orbit. This is exhilarating to listen to, I can only imagine the sheer energy of this being played live.  ‘

Up next is ‘Syster System’. The drums dial back the pace whilst remaining urgent and insistent. The guitars bring a bit of funk to proceedings. This is only lulling us into a false sense of sedateness. Halfway in and it all kicks off. A garage rock opus follows at breakneck speed. I think my ears may have whiplash.

‘Weird Dog’ lives up to its name. Built off a slick guitar hook and pulsing saxophone stabs. It runs amok in your head. Jumping across the channels from left to right and back again. It also contains some of the most intricate harmony guitar soloing on the album. An absolute peach of track.

Sliding back into the funk pool comes ‘Doom Boom’. An absolute stellar monster of a track. This is one major jam workout; the guitars even sound sweaty at one point. Great use of dynamics throughout meaning that when the song truly erupts you really feel it.

Talking of sweaty. ‘Futurephobic’ sounds like its being performed in CBGB’s in the 25th century. That punk rock chorus is utterly compelling. I guarantee the line “System has no way to connect” will be etched in your memory for weeks after hearing this song for the first time. Man, this track barrels along at a lightspeed. It’s like a force of nature, in song form.

The band introduce ‘Mild Davis’ by saying it’s “inspired by Miles Davis’s early-70s electric work, the track’s dizzying 7/4-meter winds through chunky riffs, commanding vocals and proggy synths before crash-landing in a minefield of angular guitar harmonies.”

I can totally get behind that. This is a musical voyage through a few different genres, jazz rock melds into funk into garage rock and round and round it goes. On paper it shouldn’t work but, by God, it does and how,

‘Political Cannibalism’ is the final track of the album, and it’s a heavy and powerful number with a massive and intense guitar riff that dominates the sound, along with a deep and thundering bass line, and some direct and angry vocals that add a defiant and rebellious touch. To me the track sounds like it’s about the corruption of politics and the exploitation of people. It’s a fitting end to such a politically charged album.

Data Doom is a masterpiece of psychedelic rock that really demonstrates just where this band are at. They have a captivating sound that combines elements of garage rock, post-punk, and prog rock, creating a diverse and dynamic sonic palette. Meanwhile lyrically they are exploring big ideas like digital dystopia, artificial intelligence, and human creativity. It’s just mind boggling. Since receiving this album, I just can’t stop playing it. Each spin revealing something new to my ears. Maybe it’s time I shut up and let you enjoy this musical experience all for yourself.

Data Doom is out now on Levitation and is available on a multitude of coloured vinyl pressings as well as CD.

You can follow Frankie and the Witch Fingers on social media here…

Photo Credit

James Duran

Lance Bangs

Travis Trautt

Astral Magic – Sacred Mysteries

Hey, do you remember Astral Magic? They are the psychedelic space rock band from Finland that I told you about in my previous review of their album Balance of Oblivion. Well, they have just released another album, called Sacred Mysteries, and it’s something different this time. The band is still a solo project by Santtu Laakso, who plays everything by himself, but this time he has Anton Barbeau on guitars and Taavi Heikkilä on saxophone. The album is inspired by ancient mysteries and alien encounters, and it combines elements of psych and space rock, creating a different spin on the Astral Magic sound.

The album begins with a cosmic and ambient track called ‘Göbekli Tepe’. Named after an ancient archaeological site in Turkey that is considered to be the oldest temple in the world. The song has all the those 70’s synth swooshes and flourishes that lend it a sense of mystery. I’m loving how this track leans into the Kosmische sound. Right up my street.

From one archaeological site to another next as we cross the ocean to Bolivia and ‘Puma Punku’. This one is a bit heavier and lyrically it dives into the ancient alien theories as to how the amazing structures at Puma Punku were created. The dark bass and fuzzed up guitar make you feel you’re trudging through the jungle to find the ancient site.

‘Mystics From Outer Space’ continues that ancient alien’s theme with a song about the possibility of extraterrestrial beings visiting Earth in the past and influencing human civilization. It’s back to the sci fi sounds and riffing guitar setting this one firmly in the cosmos.

We float gently among the stars in ‘The Other World’. Are we now entering a parallel dimension through this sparkling and luminescent instrumental. Cascading synth pads and squelching notes overlap and play through each other creating a sense of wonder and confusion.

‘Blow Your Mind’ urges us to look outside our everyday thoughts and explore our consciousness. The baritone vocal harmonies on the chorus line are absolutely brilliant. They almost sound like a synth. The lead guitar line weaves about like a serpent and drives the song forward.

More theories are explored in ‘Watchers’. It’s based on the theory that some ancient gods and angels were actually alien beings who observed and manipulated human history. This one is more up tempo than anything so far with an energetic and upbeat drum beat. The track also has some cool and confident vocals that propel the whole thing along. Great track.

Next, we receive a mysterious radio signal from outer space that contains a hidden message. ‘Transmission Omicron’ is another tone poem that taps into the sound of the cosmos to provide with a gentle intermission. Sci fi bleeps and bloops slowly decay until they completely degrade to nothing. Very clever stuff.

‘Phases’ is the closest thing we have got yet to an out and out pop song. It’s really catchy from the get go and bass and guitar work in sympatico to create a rhythm for the saxophone to create its textures over. It sounds like the song is about the cycles of life and the phases of the moon, and how they affect our feelings and relationships. As well as this it touches on reincarnation. “We ride the eternal wheel. We spin around forever”.

We all know what a ‘Close Encounter’ is. The album closes on an ambient
and cosmic track that reflects on a close encounter with an alien being and experiencing a telepathic communication. This track leans into an epic soundscape of swirling synths and soaring guitars to create an atmosphere of awe and curiosity.

Sacred Mysteries is an amazing psychedelic album that explores a lot of mysteries of our planet whilst dipping into the Kosmische sound as well as space rock. As withal albums of this type for them to be successful they have to transportive. They have to take you away in your imagination to places unseen and unheard. Sacred Mysteries does this on each and every track and only gets better with repeated listens.

Sacred Mysteries is out now digitally and on limited edition CD from the Astral Magic Bandcamp page.

You can follow Astral Magic on social media here…..

Astral Magic- Balance of Oblivion

If I was to say Astral Magic to you, what would it make you think of? Outer Space? Wizards and demigods? You would be absolutely right however in this case Astral Magic is a psychedelic space rock band from Finland. The band is actually a solo project by musician Santtu Laakso, who used to be in another psych rock band called Dark Sun. He started Astral Magic during the covid-19 lockdown, and he plays everything by himself, but he also invites some guests to help him out on drums, guitar, and other instruments. His music is very diverse and creative, ranging from electronic, ambient, and experimental to heavy, spacey, and psychedelic.

On this album, Balance of Oblivion he picks up synthesizers, sequencers, beats, programming, bass, and vocals. Joining him is Jonathan Segel on guitars, lap steel, mandolin, bouzouki, violin and theremin with Shane Beck providing lyrics and spoken word parts.

Let’s dive in and see what he has in store for us.

The mood for the album is set by the cosmic and ambient ‘Balance Factor’. It has a soothing and ethereal synth melody that floats over a pulsing and rhythmic bass line. Becks spoken word piece cements it all together creating a sense of balance and harmony, as well as a sense of wonder and curiosity. It is a captivating opener that draws the listener in.

‘The Elements Are Among Us’ leans in to that mystical mood with more spoken word samples that add a mysterious and magical touch. It’s a lyrically apocalyptic track whilst musically its very light and airy. It’s a cool contrast.

Next up ‘Set the Tone for Oblivion’ has a cool guitar riff that dominates the sound, along with a deep and menacing bass line. The track also has the eerie and haunting sounds of the theremin. Very sinister and eerie. The drums set the pace of a fast march, like we are travelling through time and space.

‘Sit with the Elders and Breathe’ builds on that sinister atmosphere. The synths bleep like the control panel in a space ship spiralling through the cosmos. It’s disorientating and deliberately so. Laakso is playing with our senses as we journey through this album.

Coming out of our stupor ‘Safe Journey’ takes the pace down with a gentle swoon some sound.  It feels like we’re floating in orbit around some strange new world. It’s a swirling hallucination, here for a moment and then gone.

‘Time Rift’ is an edgy and catchy track that has an infectious and hooky guitar riff that sticks in your head, along with a crystalline synth line. More than anything this song conjures up some digital fortress heist. Time being stolen from its unwitting denizens.

Up next things get dreamy and atmospheric on ‘Concentrate on the Wind’.  It has a hypnotic and ethereal synth melody that floats over a subtle and minimal fluttering effects. The track also has some whispering and breathy spoken word that floats above it all. This feels like some distant meditation on an alien world.

The tone changes completely on ‘This Invisible Kiss’. Like a flower blooming under the sun the song oozes happiness and joy. The instrumentation feels fuller in sound, warmer in tone and much more direct. I love wee surprises like this, keeps your ears on their toes…….if that’s even possible lol.

‘One Floating Soul’ is this cosmic instrumental track (or should I say Kosmische) that has a soothing and floating synth melody that drifts over a pulsing and rhythmic bass line. The track also has some violin cutting through the sound effects that add a sci-fi and mystical touch. It is a spacey and infinite piece that creates a sense of wonder and curiosity.

Onwards to ‘This Is My Fourth Life’ which is a full-on psychedelic track that illustrates the has a distorted and fuzzy guitar riff, along with a dynamic and lively drum beat. The track also has some trippy vocals that add a whimsical touch. It’s an adventurous and chaos driven track leading us neatly into the sublime next number.

‘Redefine This Reality’ rides along on an ever-moving synth pad. An intense guitar riff plays off against a deep and thundering bass line. The track also has a more direct and angry spoken word section that add a defiant and rebellious touch. There’s a definite sense of danger, peril even, in the notes being played.

‘Ticking of Time’ takes its own time to get underway. The ticking being metred out by the cymbal taps.  This is a slow building melodic and catchy track that is like a slowly developing photograph. More pieces of the musical picture become clear as the song progresses.  It really is a musical metaphor.

All too soon we reach ‘Meditation of the All-Seeing Eye’, the final track of the album, and we are off heavenwards into the cosmos again. It has a soothing and ethereal synth melody that floats over a subtle and minimal bass line. The spoken word conveys a sense of wisdom and enlightenment. Our journey is complete and we have reached our Balance of Oblivion.

Balance of Oblivion is an impressive psychedelic space rock album. Laakso has constructed a musical journey through these tracks that takes you far far away in your imagination. Through stars, to distant galaxies and home again. The songs feel cohesive and there’s a silver thread running through each song that guides the listener not only with the spoken word sections, delivered with gusto by Beck, but also the musicality of it all.

Astral Magic is about using the stars and planets as sources of energy and guidance. Some people may believe that astral magic can help them achieve spiritual enlightenment, psychic abilities, or astral projection. I’m not saying this album has supernatural properties but maybe if you listen closely enough maybe you’ll experience some magic of your own.

Balance of Oblivion is out now digitally and on limited edition CD from the Astral Magic Bandcamp page.

You can follow Astral Magic on social media here…..

Runway – Runway

Canadians Runway launched this, their self-titled album back in April this year which I totally missed. They are set to release it to vinyl at long last so what better time to explore these amazing tracks. They have already won over the psyche fandom with their choice heavy jams so they are fairly well known out there already. For those of you, like me, hitting the Runway for the first time I asked main man Christopher Laramie to give us a potted history of the band.

“Runway formed/ mutated from the band Shooting Guns when SG drummer Jim Ginther moved away from Saskatoon, Long time friend Charles Lemire started coming around for Friday night jams and, rather than keep the old name and out of respect for what had come before, the group decided to start again fresh with new songs. Most definitely in the same vein as SG of course but also moving into an even more kind of “cinematic” approach to jammage and tunes. Brevity is also the key, tightly arranged and good to go quick.”

Sounds like we are in for a treat! Let’s dive in.

The album begins with the mesmerizing and hypnotic ‘Slower Egypt’ which takes us off to a mystical and ancient land. The song has a steady and groovy guitar riff that creates a trance-like state, along with a tight rhythm section that adds a mysterious and mystical touch. It’s is a slow and captivating opener that sets the tone for the album.

We continue with the blistering and furious ‘No Witnesses ‘that unleashes the band’s raw and aggressive side. There’ a ripping guitar riff that tears through the speakers, along with sustained feedback wave of defiance and rebellion. This one is a fast and explosive blast of energy that grabs you by the ears and shakes you up.

With ‘Hogan’s Outback’ things switch up a bit. Theres a stop start, push and pull to the melody. Guitars almost in battle with the drums for control over the pace of that track. The tension that creates is palpable and has you on the edge of your seat.

A nice bit of word play in our next song title. ‘Attempted Mordor’ moves to a colossal and heavy number that explores the band’s epic and ambitious side. The song has a massive and powerful guitar riff that dominates the sound. It’s an ominous and menacing atmosphere it creates that adds a sinister and evil touch. This track is an intense and colossal piece that creates a sense of awe and fear to match the title.

‘Bandera’ is a lysergic journey across the desert. The heat of the sun is almost tangible in the sound exploding out my speakers. The way this one layers up and layers up until the record is struggling to contain the technicolour clamour is breathtaking. Man, I’d love to check this one out live.

Things get a bit lighter on ‘Franchy Cordero’.  It’s an intricate and complex instrumental with a twisting and turning guitar riff, along with a dynamic drum beat and a fluid bass line. The song is full of surprises and changes, creating a diverse and rich soundscape.

We’re in the ‘Crosshairs’ next. This is heavy. Like Zeppelin heavy! Drums sound like they’re being played with tree trunks, the guitar riff is apocalyptic and the swirling soundscape only adds to the song’s gravitas. It’s an intoxicating mix and you get lost in it. Just stunning.

The album concludes with something a bit different. ‘Mailman’ is slice of space rock full of eastern promise. The band introduce a viola for that Bedouin vibe. With a bit more stretch on the runtime the band have a lot more space to experiment and play around. The effect is a spacious sound stage with a real variety of tonal notes and some killer riffage. What a way to bring this amazing album to a close.

Runway is, undoubtedly, an impressive debut album that demonstrates the band’s talent and potential. I have been assured that more recording and writing is underway and I can’t wait to hear where the band go next. If it’s anywhere near the standard of this record, we better strap in, because we’ll be going into hyperspace.

Runway has been released in a three-way deal with labels Cardinal Fuzz in the UK/ Europe, Echodelick Records in the US and WeHere&Now Recordings out of Stratford, Ontario for Canada. If you get along to any of their live shows the band will have a bunch of copies on the merch stall.

You can follow Runway on social media here…