SPIRIT OF THE BEEHIVE – YOU’LL HAVE TO LOSE SOMETHING

Of all the bands I’ve come across over the last few years there’s only one that defies all attempts to pigeon hole or classify. Philadelphia’s SPIRIT OF THE BEEHIVE have made some of the last decades most ground-breaking music across four stunning studio albums. Each album more confounding and spellbinding than the last. Entertainment, Death from 2021 moved that sound into another level with a mindboggling amount of intricacy ploughed into the construction of each track. That was followed by the single ‘The Door’ which came out the same year. It followed the same groove as the album and was an immersive listen both sides. With last years I’m So Lucky EP bringing that era of the band’s music to an end we were left wondering what would be next for these sonic adventurers.

Well, the answer to that question is YOU’LL HAVE TO LOSE SOMETHING. Zack Schwartz, Corey Wichlin, and Rivka Ravede return with their fifth album and this time it’s more of an emotional affair. This being the first album since Ravede and Schwartz ended their 10-year relationship. Reading the PR for this album throws up more question marks than answers. That’s just the SPIRIT OF THE BEEHIVE way though.

“The goal in making YOU’LL HAVE TO LOSE SOMETHING was to soften out some of the edges. “Less hard left turns,” says Wichlin. “We wanted to make something intentionally less antagonistic,” he jokes. In practice, this means the record has slightly fewer drastic arrangement changes, and it is more stripped down.”

A more stripped-down album? I’ll believe it when I hear it. Part of the joy of this band’s music is the anxious busy energy they maintain through the many layers of their productions. Right, no more dilly dallying. Let’s drop the needle and see what’s happening.

The album opener ‘THE DISRUPTION’ features an appearance from experimental synth punk band MSPAINT. The song is immediately archetypal SOTB multi layered, weird and shifts direction and pace on a dime. This is exactly what I was hoping for. There’s so much going on that I know multiple listens will be rewarded with new parts revealing themselves. For example, the luscious harmony vocals behind the hardcore screamo section.

The smash cut into ‘STRANGER ALIVE’ raises that anxiety level in time for the song to fly away with it. The switch from the sample mash up noise mosaic in Ravede’s lush vocal part is sublime. As is the trade to Schwartz and Wichlin to close out the song. Man, this is on point and here we are, five albums in and this band are still pulling rabbits out hats and leaving us breathless.

‘THE CUT DEPICTS THE CUT’ starts off all bleeps and bloops and a frenetic drum machine has a nervous breakdown unsure about what patch it’s meant to play, so it plays them all hoping to placate us. Ravede is sounding menacing in her delivery, almost mono tone yet finding colour in all the right places. After a short-rapped section over a breakbeat the eerie closing section strips it all back until a detuned acoustic remains strumming out the bass heavy outro.

A vocal harmony flourishes beckons us into lead single ‘LET THE VIRGIN DRIVE’. “Heaven is a lie cause you are earthly and you’re alive,” Schwartz sings at the song’s outset in after those signature, tightly auto tuned vocals. At first listen this could come across as a more straightforward song than we’re used to. Worry not the usual dynamic twists and turns arrive in the closing minute. As usual its that dark and wonderful vibe they disappear into before the song rises again like a phoenix. Check out the video here.

My album highlight follows in ‘SORRY PORE INJECTOR’. Starting like some late-night radio call in show all smoky sax and moody keys it slowly evolves into it a driving slacker classic. The chord choices here are inspired and the changes unexpected. The song constantly eats itself and regurgitates a new form, always with a tie to that original theme. It’s a classic piece of SOTB inventiveness with one eye on evolving their approach and one on maintaining that atmosphere we know and love.

‘FOUND A BODY’ is a relatively stripped back affair in contrast. All glitchy beats and vocal treatments. There’s minimal instrumentation here, but the vocal interplay is where the magics at. There’s something quite cinematic in the closing section of the song that I love and makes me smile every time I hear it. I wouldn’t be surprised if this ends up on a soundtrack one day.

There’s also a very sweeping, cinematic intro to ‘SUN SWEPT THE EVENING RED’. After that airy orchestral flourish, the song becomes an eerie ballad. Whilst the vocal melody is pure pop the backing is anxious and jittery. The perfect foil.

‘SOMETHINGS ENDING’ is the shortest track on here and somehow manages to be creepier and freakier in under two minutes than anything else on here. In a good way of course. It seems to be about finding a dead body in a river and the crazy instrumentation just amps up the nervous energy to the max.

Then its straight into ‘I’VE BEEN EVIL’. This is about as accessible a song as I’ve ever heard from a SPIRIT OF THE BEEHIVE album. Vocal melodies are on point again. Different on each verse and lyrically getting darker and darker as the song progresses. I think this is as close to dancefloor filler as we’ll get from the band.

There’s a further development of the bands more accessible side on ‘1/500’. There’s only the lightest use of vocal treatments. This has flashes of Radiohead and Arcade Fire but always comes back to what we love about them. That unusual time signature, that minor resolution and start stop dynamic.

‘DUPLICATE SPOTTED’ is the gift that keeps giving. After an understated opening (well as understated as this band can be) the song erupts and a driving guitar plays off Ravede’s angelic vocal. This contrast is sublime. Not content with giving us that we also get treated to a wonderful ambient outro that is equally heavenly. Man, I don’t want this album to end.

End it must and our closer comes in the form of ‘EARTH KIT’. Discordant strings open proceedings before the vocals kick in. I don’t know why but it made me think of ‘Vienna’ by Ultravox for about 30 seconds or so. That’s short lived. When the line “In a lifetime of your own violent design who will sing your happy songs?” I get goosebumps. It’s not just the sentiment in that line, it’s the impassioned delivery too. Couple that with the closing plea of “What if I need people” and I’m gone, a bubbling mess.

In all the press for this album I had kept reading that this was going to be the bands most accessible album to date and that songs were going to follow a more straightforward structure. I’m pleased to report that is not the case and in YOU’LL HAVE TO LOSE SOMETHING the band have once again visited the contrary, euphoric and downright sinister world that all their songs inhabit. Yes, ok, there are brief moments where you think things are going down a more traditional song structure route but they are always short lived. We’re back luxuriating in the genius that is SPIRIT OF THE BEEHIVE in no time.

I’m so grateful that given what this band have been through that they have stayed the course and delivered an album of unbridled creativity and wild imagination. In a world of cookie cutter indie bands, I’ll always be grateful for true originals, true mavericks like SPIRIT OF THE BEEHIVE.

YOU’LL HAVE TO LOSE SOMETHING is out now via Saddle Creek Records and is also available via the SPIRIT OF THE BEEHIVE Bandcamp page as well as your favourite local record store.

You can follow SPIRIT OF THE BEEHIVE on social media here …..

Photo Credits

@davidbrandongeeting

Upupayāma – Mount Elephant

As the summer slowly comes to a close, I’m always looking for any way possible to hang on to every bit of sunshine I can. Cue my good pals over at Fuzz Club who have sent me the latest album from Italian multi-instrumentalist Alessio Ferrari, who goes under the moniker Upupayāma. Mount Elephant is album number three and my introduction to his psychedelic sound.

In his promo it says that Ferrari finds inspiration in traditional Bhutanese music, Thai disco and Anatolian psych, by way of lysergic acid-folk, ‘70s Kosmische and stoner-rock. Wow! That’s some melting pot. The man himself added this.

“Mount Elephant was born out of a need to listen. Listening to the silence while observing flowers, while moving your hands in the wind, listening to your body while you are dancing. If in my first album (‘Upupayāma’) I had travelled the length and breadth of a place, in the second (‘The Golden Pond’) I had reached one and stopped there, in this third album I set out again, crossing a border and entering a long-dreamed place that I could finally ‘see with my own eyes’.”

This sounds right up my street so let’s drop the needle and dive in.

The album opens on the expansive ‘Moon Needs The Wolf’. The acoustic folksy opening section took me away to Asia, high in the hills overlooking the temples and forest in the valley below. The choice of percussion early on is primarily responsible for this imagery. The large shaker taps punctuate the acoustic riff and gentle vocals and flute. The addition of sitar only adds to the exotic feel. Around the mid-point the tempo moves up, drums pick up the slack and lush electric guitar comes in to drive the song home. The bass and conga break is outstanding with a squall of feedback returning the guitars to the mix.

Similarly, ‘Thimpu’ which follows, enters slowly, setting up a hypnotic chiming rhythm before the main guitar riff and congas come in. The song slowly blooms into a psyche odyssey with multiple guitar textures being used to transport us to the calm of a Japanese zen garden. The vibes get steadily more frenetic and when that fuzz pedal gets stomped the groove accelerates heavenward. Exceptional guitar work on show throughout!

Lead single ‘Fil Dagi’ takes us back on that journey through the ancient mountains with its lumbering elephant like rhythm. Much more gentile than the previous track it tiptoes around creating an aura of calm. The guitars trade off against each other as they are in conversation with each other. His whispered vocal like some prayer to the gods of old. As a change of pace and mood this track does a great job of resetting our sonic palate for what’s to come.

Up next the lunar goddess has moved on to a new amour in ‘Moon Needs The Owl’. This is proper dancing music or “world psychedelic disco”. Drums are up front and central to set the groove and guitars squawk and squelch as the bass plays this delicious walking riff. On the track Ferrari says “This song is set in a Thai disco in the 70s with all these people smashing things (I recorded myself smashing empty wine bottles), messing around having fun and laughing, then the night gives way to dawn and everyone walks home.”

Like the opener this is also a song of two halves and the second half is a more languid serpentine affair. Flute takes the lead along with a sultry guitar lead that winds its way home through those early morning hours.

‘Dadadaba’ feels like a jam played out under a star strewn night sky. Sitar and flute weave around each other while a bass lazily picks out key points here and there. This is Kosmische and cosmic music if you get my meaning. Just shut your eyes and you are there under the firmament in bliss.

All too soon we reach the albums close with its title track. Heavy congas beat out the rhythm for the jangling guitars to swathe in their twinkling light. Flute and sitar join the throng and then things explode! A full-on psychedelic wig out jam brings proceedings to a close.

Mount Elephant is the sound of a musician tapping into the very heartbeat of the world. Drawing out its life force and moulding into shapes for us to dance to, relax to and just lose ourselves completely. This is music that takes you away in your imagination to far flung lands of wonder and antiquity. This is my kind of music and once you press play on this album it will become yours too.

Mount Elephant is out on September 13th 2024 via Fuzz Club. Its available on gold nugget or white marble vinyl from the Fuzz Club online store, the Upupayāma Bandcamp Page or your favourite record store.

You can follow Upupayāma on social media here….

Three Quarter Skies – Fade In

Regular visitors to the Static Sounds Clubhouse will know I have a strong affinity and deep love for the Sonic Cathedral label. There just seems to be a never-ending stream of sky-high quality records being released by this standard bearer for the UK shoegaze scene. Once again, my inbox yelps in delight as another of these releases’ lands ready for my eager lugholes.

Slowdive fans rejoice as we have a new album from Simon Scott under his Three Quarter Skies moniker. He’s already had a cassette only Universal Flames EP out there as well as a track on a Christmas single with label mates deary. Now he returns with his first album proper entitled Fade In.

The joy of receiving this recording is slightly tempered in the knowledge that his creativity came partially from a place of deep sadness. Simon frames this for us.

“My creative well was already beginning to overflow and losing my mum pushed me over the edge, I didn’t want to write pretty tunes, or sentimental and saccharine music about love or pretend how happy and healthy the world is. Three Quarter Skies’ songs are angry, noisy, turbulent, stubborn and petulant. It’s an album of profound despair, anxiety, frustration and loss, it’s been therapeutic to scream into walls of feedback”

The album opens with the understated intro to ‘Slight Betrayal’. A ping pong style rhythm beats out like a signal from a distant star. A voice emerges from the static but is tantalisingly held out of arms reach, close but not close enough. Sweeping atmospherics fill the spaces in between making an ambient quilt to wrap ourselves in. Theres something strangely comforting about this track, something familiar yet elusive.

The song segues neatly into an abridged version of Nick Drakes ‘Horn’. This immediately made my ears prick up as I am a massive Drake fan. As it turns out, so is Scott. “The original idea I had for the band was Suicide playing Nick Drake. I was wrangling feedback out of my acoustic, a Westerly Guild, the same model Nick Drake used for Pink Moon, and I just threw that onto the tape. Feedback was squealing around my studio and I just pulled the volume down on the guitar input and played it.” I love that he kept this homage on the tape and it ended up on the album.

‘Leave a Light On’ follows with the bass overwhelming the cascading guitar. That steady pulse lifting and swathing the track in a fuzzy gossamer veil. Whilst there is a tangible sense of loss in the melody (that brings to mind early Sigur Ros), there’s also hope. An optimism that shines through. Especially in the swell into the chorus lines.

The clacky rhythm of ‘Crows’ brings to mind someone playing the spoons. It’s not long though until the waves of fuzz and reverb swell to a sonic tsunami and we’re off. This track has two really compelling counter melodies. One played on this pillowy, low end heavy guitar and the opposite on a treble heavy, almost crystalline toned guitar. In amongst the feedback, they play off one another creating a space of Scott to fit his vocal line. This is musical sorcery to me.

Next up is Scott’s Christmas single ‘Holy Water. He is joined on vocals by Rachael Swinton from Glasgow band Cloth. Their voices are a perfect blend and I absolutely love how it all comes together. The instrumentation has a restraint to it that allows the vocals to emerge into the light and shine. Having heard this on the limited edition seven-inch single last year as a standalone track I’m so glad that it feels right at home on this record.

‘Superwoman’ blooms on to the speakers straining at the edge of distortion. That sense of being at your limit, at the edge of coping is palpable. Yet at the same time there’s a comfort in this sound, like someone throwing their arms around you. Telling you its going to be ok. That’s the magic of this album, finding the light in the darkest of moments.

‘Pieces Of Roslin’, which was originally released on last year’s introductory EP, Universal Flames is our penultimate stop on this journey. The feedback being manipulated here almost feels like a physical manifestation of Scott’s inner turmoil. There are very few musicians that could claim such control over something so ethereal. How can a track sound so powerful and potent yet so fragile at the same time.

The final destination for this album is ‘In The Night’. A pastoral, almost folk song swathed in the textures of this album established over the previous seven songs. Acoustic guitar rings out between soaring, ever ascending reverb trails and glitchy moments. It’s an ambient adventure that takes your mind on a journey lifting you off your feet and floating off to, well, whatever is next.

Fade In is a truly transportive listening experience. I can only equate it to one of my favourite albums, Soul Kiss (The Glide Divine) by Spectrum. That is another album that envelope’s you in its musical thrall and you go willingly. Scott has a wealth of experience to draw from and on this album, it feels like he has eschewed all that and turned inwards and bared us his soul. This is an intensely moving experience and I’ve found it a real privilege to be allowed in. Anyone who’s ever experienced grief will hear something in here that they’ll recognise. More importantly they’ll hear hope.  

Fade In is out on September 6th 2024 via Sonic Cathedral. You can grab a copy on vinyl, digital and on CD which comes with an exclusive bonus track. Head over to the Sonic Cathedral Bandcamp page or your favourite local record shop to grab your copy.

You can follow Three Quarter Skies on social media here….

Photo Credit

Julia Beyer

New Ghosts – A Dagger In Every Tide

I always enjoy getting behind homegrown talent. Such is the case with Sheffield based New Ghosts. They have been steadily building a strong profile since 2019 through releasing a mini album, two EPs, and a handful of well received standalone singles. They describe their sound as a blend of art rock, shoegaze and dreampop. The best music out there is always where genres blur at the edges and form a new shape. The band consists of Taran Ali, Nic Bowden, Gareth Hughes, Ellie Richards, Joe Richards, and Chris Anderson. All seasoned musicians in their own right.

Asked to give us an insight into their album, A Dagger In Every Tide, the band said this.

“A Dagger In Every Tide” was written in the wake of a near death experience – the catalyst which imbued the record with a sense of loss and urgency, making the songs feel, at times almost uncomfortably autobiographical. It also provided a narrative thread which weaves throughout the record, with the “narrator” imagining their death, and then searching for a long since deceased loved one. “

The album opens on the otherworldly tones of ‘Like Lazarus’. I’m reminded of Radiohead at times through the glitchy rhythm section and that eerie undulating organ sound. From that foundation emerges the bands sound. Fuzzed bass couches harmony vocals and we’re off. It’s a stunning arrival and sets the bar high!

‘Cherry Violence’ next takes that fuzz bass and builds a towering epic of as song on it. Thunderous drums drive the menacing pace as cavernous guitars weave their way back and forth across the soundstage. I particularly enjoyed the vocal treatment here, giving the song its own unique imprint.

Up next is ‘Over’ a story of addiction, and of a life squandered. The guitars capture the pain and grief of the lyrics in their mournful wails. This is a two hander vocally and the mirror approach again lends this a very personal sound that a harmony vocal would only pretty up. The closing section of the song lifts the tone with a more optimistic vocal delivery and uplifting guitar riff. I love that the band aren’t afraid to just let the song dictate how long it needs to be.

‘Dreamsong’ opens on an undulating synth line before the song arrives fully formed and seeking your undivided attention. Vocals are up front and, in your face, lyrically as well. When they sing the line “Time is just an atom bomb a reason to exist is not enough” it just floored me. Whilst this song, like the preceding tracks, leans heavily on that fuzzy, distorted guitar tone it’s never as a crutch. The guitars are there to drive the melody, and here it’s the melody that’s king.

Just to prove my point ‘Viscera’ arrives with its bombastic twin drummer performance. Check out the bass on this one, it’s core to that ever-escalating ebb and flow. I love the chorus melody, it’s a proper ear worm delivered with real heart. As the song morphs around the halfway mark, it feels like we are starting to descend. The song slowly gives up its instruments one by one and we are left with some ambient atmospherics to float around in. With the sound of own breathing for company. That was a trip!!

On ‘Red & Blue’ the band say it “paints a picture of insurmountable grief and pain when confronted with someone you love being suddenly and violently taken from you.” This is by far the bands most dynamic song on the album so far. It features a guest vocal from Julie Clarkson whose voice really taps into an Englishness that lifts the song to another level. As always melody drives everything, even through those complicated time changes that leave you breathless.

The emotional gut punches continue in ‘Wayfarer’. This has electronica elements that bring to mind The Postal Service and Pinkshinyultrablast. But it’s the lyrics here that have me in awe. “I’ve seen it all (all this love), There’s not a secret to keep, I’ve been received by my kin. The future’s done.” I’m not crying, you’re crying!!!! This is songwriting at its most poignant and shows a band that know exactly what they’re doing. Easily my album stand out track.

‘All Endings’ is a massive sounding track that sounds like the band are already planning their festival circuit. This is what I’d call big stage music. It straddles shoegaze, dreampop, metal and indie over its five-minute run and never sounds confused. It’s testament to the bands surehanded approach to their craft that they make this sound effortless.

The album concludes all too soon with ‘Slow’. Opening like an introspective ballad the off-kilter meter lending the vocals a most impactful delivery. The eruption of guitars mid song lifts us off into the stratosphere and we’re flying. This is the kind of thing I’ve only seen the likes of Sigur Ros or Mogwai achieve effectively. That face melting wall of sound yet losing none of the emotional impact at the heart of the song.

A Dagger In Every Tide is the sound of an experienced band bringing their sound into laser focus. Honing all the learned knowledge into a sharp edge that cuts straight through to the heart of their subject matter. Contemplating our own death and our existence with that knowledge. New Ghost have tackled an extremely emotive subject with the utmost care and respect. So much so that after this album slowly fades out your left feeling hopeful and optimistic. If that isn’t a gift in these dark and confused days then what is?

A Dagger In Every Tide is out on September 6th 2024 and you can grab this on download from the New Ghost Bandcamp page.

You can follow New Ghost on social media here…

Sun Mahshene – A Place We’ve Never Been

I first discovered Dublin’s Sun Mahshene via their split seven-inch single with fellow Irish psych legends Thee UFO. That single was released by Fuzzed Up and Astromoon records. Those of you who follow this blog will know how much I love that label. That was swiftly followed by Space Echoes, a collection of their previous EP’s. That cemented my obsession with this band’s music. Then silence. That was until a few months back when they announced their debut album was imminent. Needless to say, excitement levels here in the clubhouse went through the roof.

Sun Mahshene are Nathan Henderson (Guitar & Vocals), Robert Crosbie (Guitar & Backing Vocals), Ian McGinn (Guitar), David Hilliard (Bass & Backing Vocals), David Murray (Drums) and Asia Wolf (Synths & Vocals). With members from Ireland, the UK and Poland the band are a melting pot of influences. They cite influences such as Ride and The War On Drugs and describe their music as Post Shoegaze, which interests me a lot. This album has been mastered by none other than Mark Gardener from the aforementioned Ride.

Singer Nathan has this to say on what has influenced the writing of this record.

“A lot of the lyrics are about escaping, but at the same time a lot of them are about being rooted, finding ‘home’, whatever that may be. A track like “World”, with the lyric “the world will grind you down” might sound defeatist, but it’s really about focusing on those who you love and want to keep close in times of trouble.”

Ok, lets drop the needle on this one and see what we have in store.

Straight out the gate we have ‘Deep Red Skies’ and the evolution in the band’s sound crystalises immediately. This is next level songwriting. The production values are sky high; guitars sound enormous, synths sound killer and Henderson’s vocals soar into that chorus. It’s a chorus you will find yourself singing without thinking. This is music for a big stage, like a BIG stage. Sun Mahshene are here for your heart and soul and they ain’t leaving without them.

Next up is single ‘Reverie’. This is a pacy number that has instant ear appeal. Reputedly the song that cemented the sonic theme for this record it carries on that larger-than-life quality. The dynamic change between the pulsing bass in the verses to the offbeat stabs of the chorus is really satisfying. I’ve seen comparisons made to Oasis made by other writers but frankly that’s fucking ludicrous. The diverse approach to how to dynamically structure their songs and the meaningful and thoughtful lyrics place Sun Mahshene waaaaay above their league. Way. Above.

‘Pale Azure’ taps into a Besnard Lakes groove. Straddling the psychedelic and shoegaze worlds all at once. The simplicity of the intro belies the complexity of the chorus and melodic instrumental break to come. I particularly love that seamless change between verse and chorus. It takes you a wee minute for your ear to catch up. I really dig that.

Following this we have the sweeping and cavernous instrumental, ‘Fluorescent’. The lead guitar with that delicious bit of glide playing really appeals to an old gazer like me. The spoken word sections add another, lighter texture later taken up by some tinkly keyboards. On the whole this is a driving, guttural guitar track that I can only imagine will melt faces when played live.

‘World’ up next is a two hander between Henderson and Wolf. This song really taps into the bands Gaelic heritage whilst retaining that edgy rock sound. Like Henderson said earlier even though they’re singing “The world will grind you down” it still sounds utterly euphoric. This is another example of a song starting stripped back and blossoming into a massive singalong. This will play so well on a festival stage.

The pace ain’t letting up as the band rip into ‘New Shores’. The contrast between the laidback vocal delivery to the galloping guitars and powerhouse drum performance from Murray is utterly spellbinding. Bet he broke his sticks on this one! The lush backing vocals and bass punctuating the spaces with a carefully crafted line or two will have you smiling ear to ear.

On the following track the band say “’Turning Tide’ is an empowering anthem about breaking free from the chains of a toxic relationship. The song’s poignant lyrics detail the journey from heartbreak to self-liberation.” The vocal delivery is straight from the heart on this one. Punchy and full of feeling. Synth strings in the verses give way to towering guitars and a wall of sound that lifts you off your feet. This is a potent track and it gets me in the feels every time.

The album comes to a close all too soon with ‘Rise’. Opening on a Casio tone bossa nova beat it immediately stands out. It reappears throughout the track in the quieter sections and it bloody works. Against that epic swell of the band in full flight, it’s the last song and they ain’t leaving anything on the page. Everyone turns in stellar performances. Especially in the coda, everything and the kitchen sink gets hit, strummed or blown and it’s just magnificent. That’s how you close an album.

  A Place We’ve Never Been is an absolute joy. I’ve been waiting for this album to come out for a while now and my expectations were high based on their previous work. I’m so pleased to report that my expectations were exceeded, by miles. This album has been put together with real love and care. The songs sit well together and you feel like you go on a musical voyage from start to finish. There’s no doubting this bands ambition. The songs all sound massive. Sun Mahshene are already prepared for their arena tour. I’ll be there in the front row lighter aloft! Last thought from me can only be one thing, what I always comment on the social media posts. Mon e Mahshene!!

  A Place We’ve Never Been is set for release on 23rd August 2024 on Fuzzed Up and Astromoon Records. Pre order for the vinyl has sold out from the label but a very limited amount is available now from the Sun Mahshene Bandcamp page.

You can follow Sun Mahshene on social media here…

Photo Credit

Photosbydavy

CASTLEBEAT – Stereo

One thing I look forward to more than anything is a new release from Spirit Goth Records. There’s only one thing that’s more exciting and that’s when Spirit Goth drop a new CASTLEBEAT album. Guess what!!!?? Spirit Goth have just dropped a new CASTLEBEAT album! Right, for those wondering what I’m talking about, let me fill you in.

CASTLEBEAT is the lo-fi project of first gen Spanish-Korean-American Josh Hwang, also founder of the record label Spirit Goth. He has a unique DIY, lo-fi approach to recording. His self-titled debut was recorded at home in his garage yet sounds yet has the production values of any high-end studio recording. That first album is still a regular on my turntable. There is not one bad track on it. Then came the follow up VHS in 2018. Josh himself considers this a direct continuation of his debut. For me it is a shade darker and denser in production but just as engaging and enjoyable. These were followed by Melodrama in 2020 and Half Life in 2022 bringing us up to date.

I had the honour of interviewing Josh last year and asked him how he defined the CASTLEBEAT sound.

“I think my sound is defined by home recording/production & not really knowing what I’m doing. The end results of all of my albums so far have been like a home-made pie. Maybe a little rough here and there but at least you know that it’s all coming from one person. I don’t think a polished studio sound would suit my music style – I like to blur things with reverb & FX which I’ve found allow me to get away with some more poppy melodic ideas.”

Now he’s back with Stereo. With a vinyl release imminent there’s no better time to get acquainted with these new songs.

The album opens on a smooth fade in to ‘Wish’. A classic bit smooth dream pop. The addition of sleigh bells giving it a festive feel. It slowly builds around a pulsing bassline and crystalline synths becoming totally infectious. Despite those sleigh bells this is great summer music.

We take the pace down a step next with ‘Moonlight’. Despite the undoubted romantic flavour of the melody and song title this is a little darker. “We’re under the moonlight. But it’s not quite right” sings Hwang. This is more a relationship ending in the most romantic way possible. This harks back to ‘Summertime’ on Melodrama. That contrast of melody and lyrics.

‘Tom’s Place’ follows. This is more expansive in productions. The synths in particular dominate the sound stage filling every corner. Despite the songs shorter run time it still warrants an epic description. This is the sound of a someone who is the master of his recording technique really shining.

The tonal fade in to ‘Birthday’ is really effective. The instrumentation really sparse leaving loads of room for small guitar and keyboard motifs or stings to pepper the way. Theres a celebratory feel to the track that compliments the title choice. Just check out his drum and rhythm choices in particular.

‘Old Flame’ appears to be about meeting someone you used to be in a relationship with and realising how lucky you are to have what you have now. The tone is really moody and introspective. A slick and funky bassline immediately catches your ear as something different and new. The eighties style keytar solo adds to that feeling. I’m liking this sound.

The self-exploration continues on ‘Honest’. Theres the coolest guitar lick trading with a synth riff throughout this one that’s just class. Guitar really comes to the fore for the first time on this album and its nice change of texture and flavour.

‘Potion’ is a very measured and restrained ballad. The slowest track yet it takes its time to introduce all its melody, bringing it in piece by piece. Never over loading the listener it’s a really soothing listen and has all that CASTLEBEAT magic.

We are reminded on ‘Anyone’ that Hwang is just as good at drum programming as he is on guitar and synths. This beat is amazing and really makes you sit up and take notice. It’s quite a cinematic song, playing out a movie chase scene in my mind.

‘Over’ continues that new approach to drum programming over this luscious guitar motif. It’s a fluid melody sliding note to note that is mirrored later in the vocal melody. This song feels so fresh. Five albums in and Hwang is still able to take that CASTLEBEAT sound and surprise us.

It’s the turn of the vocals to get a new treatment next on ‘Too Late’. Theres a watery effect over the top adding a lovely texture. Then when that chorus arrives a complimentary harmony-vocal kicks in, much higher than usual. It really makes you sit up and pay attention. All over a hip hop beat that would sit well on a De La Soul track.

‘Stumble’ really lifts the guitar out of the effects loop and presents it au naturel. It’s quite unusual to hear this warm jazzy chord sequence amongst the usual CASTLEBEAT glacial tones. Hwang totally makes it work, especially in the latter stages of the song. The reverb drenched vocals and icicle like synth pads work so well against those soothing strums.

‘Something Else’ takes us right back to that classic CASTLEBEAT sound and I’m in heaven. When Hwang hits the right bpm and gets the bass pulsing its like magic to my ears. Like the best of his songs, it transports us away. It’s the sound of a neon-soaked nightscape and we’re out walking trying to find ourselves in the city.

The album concludes with the title track. It’s a song of contradictions. If you only listened to the bass and drums you be grooving on the dancefloor of some eighty’s nightclub. The laid-back vocals and soothing synths almost sound balladlike and do you know what, it totally works. In fact, this might be my favourite moment on the album.

Stereo is yet another album that I’m going to play until I wear the grooves out. It’s classic CASTLEBEAT in places sure, but in amongst there Hwang is still exploring, still pushing to see where he can take the sounds within that world. For a diehard fan like me that’s all I can ask of him.

Stereo is out now on Spirit Goth Records. You can stream and download the album now over on the CASTLEBEAT Bandcamp page. Physical media will be coming soon on cassette, CD and vinyl so make sure you give them a follow on their social media pages so you don’t miss out.

You can follow CASTLEBEAT on social media here…

VIDEO PREMIERE – Fir Cone Children – I Need An Amp And A Synth

Fir Cone Children is of course the musical project documenting the eventful and creative world of Berlin-based frontman Alexander Donat’s daughters, aged 9 and 11. The previous nine Fir Cone Children albums fused elements of shoegaze, punk and alt rock. All have been nothing short of life affirming, joyous escapism that has made my summer each year. Now album ten, entitled Jig of Glee, is out in the world Donat has found time to give us one more single with a cool video to accompany it which I am proud to premiere for you today.

I asked the inimitable Mr D to give me the story behind this one.

“While me and my wife were on a hike in Sweden we found this sweet tunnel. Because of what you wrote about ‘I Need An Amp And A Synth’ on Static Sounds Club I decided to film this particular song! It has this TikTok format because I enjoy creating these reels and shorts, and it shows the whole body moving.”

Back when reviewing the album, I had this to say on the subject of this single.

The Donat girls are forming a rock band on ‘I Need An Amp And A Synth’.  The frenetic drumming and thrashing guitars on here capture that youthful exuberance we’ve come to love in these songs. There some pretty impressive lung shredding screaming at the end which I was blown away by. Salutes Mr D.

Let’s enjoy the video now.

‘I Need An Amp And A Synth’ is out now and you can check it out over on Soundcloud as well as the video on YouTube.

The album Jig of Glee is out now and available from the Blackjack Illuminist Bandcamp page. You can grab it on tape, CD or digitally.

You can follow Fir Cone Children on social media here….

The Joy Hotel – Ceremony

Word of mouth is an amazing thing. Back in the day that’s how you found out about your new favourite band. It’s so rare to see a band build a reputation organically these days so it was with great joy that I was introduced to The Joy Hotel by a friend.

The Joy Hotel are a seven-piece outfit formed in the musical furnace that is Glasgow in 2017. The band consists of the combined talents of Emme Woods, Luke Boyce, Jack Boyce, Jack Borrill, Jenny Clifford, Juan Laforet and Scott Flanagan. All are seasoned musicians in their own right bringing together years of songwriting expertise and hard yards on the live circuit.

In 2021 the band decanted to Wales and the world famous Rockfield studios to record what was to become their debut album, Ceremony. On the subject of getting this double album out to the world at last the band had this to say.

“It’s obviously a huge milestone for us and, while being a huge physical and emotional undertaking, has been a total privilege to be able to release a piece of work that is a true reflection of who we are as a group.”

“When we set out to make ‘Ceremony’ we wanted to create something huge in scale, ever-changing and an honest example of how we sound when we stand together in a room and play, flaws-and-all. To be able to stand in a legendary space like Rockfield Studios where scores of world changing albums have been made to track our debut is nothing short of a childhood dream realised.”

So, what does the record sound like? Let’s drop the needle and see for ourselves.

The album opens on the sixties-tinged sepia of ‘I Decline’. The band are well named. The sheer joy in the performance flies out the speakers. From the dynamics of the song slowing and peaking, to Woods effervescent delivery and the absolutely luscious backing vocals. I’m already placing this band up there with The Band. After a short segue we merge into track two.

‘Forever Tender Blue’ immediately feels like a lost cut from Surfs Up era Beach Boys. Luke Boyce’s voice is like a fine wine here, warm and smooth. When coupled with Woods impassioned vocal it becomes something really special.  The organ and slide guitar add that sweeping majesty that is the trademark of this album.

We’re two tracks in and I’m using words like majesty. This is proper exciting listening

It’s that organ drone that is our segue into the moody ‘First Joy’. Woods opines ‘When you get bored of your head. You are welcome in my bed. In my head”. Only to recant later saying “Let’s go back and pretend. You are welcome in my bed”. The psychedelic swirling instrumentation on this one is extraordinary and transports you off to another world. What I’m noticing right off is that these songs aren’t afraid to take their time but never outstay their welcome.

We’re straight into ‘Jeremiah’ next. An intro that sounds some kind of love child of ‘Dear Prudence’ and early Arcade Fire suddenly morphs into a 50’s love song for a moment before erupting again. This song clearly demonstrates the bands ambition. This isn’t a band playing small club stages. This song is designed for stadiums. Those closing vocal harmonies, like a lost artifact from Brian Wilsons songbook, absolutely floored me. It’s no wonder this was chosen as the lead single. What a statement of intent.

‘Black Balloon’ opens like a piano led ballad with Woods approaching her vocal with tenderness and a real lightness of touch. Like the preceding numbers it’s not long before they switch things up with a glorious chorus melody this time. At the midpoint Boyce joins in, his vocal trading lines with Woods like a conversation. There’s an eerie ‘A Day in the Life’ style orchestral breakdown before the triumphant return of that chorus melody. Quality control has been incredibly high in the song choices for this album. The song flow is superb as we segue seamlessly in the next track.

Largely an instrumental ‘Rapid Eye Movement’ cracks along at pace showcasing that this band are capable of creating a world, a story and an emotional journey without that lyrical narrative. This song has everything from bass solo’s to eerily effected background vocals. Pointed guitar riffs and swirling organ. But, for me, the drums are the real star of the show here. Dictating the pace and setting the mood throughout. The sudden halt telling us part one of the album is over.

Switching to the second record we are straight into another epic intro to ‘Old Man’s Eyes’. The pounding drums and wailing guitars will make this a festival favourite for sure. This song is one big hook. The songwriting experience of the band really comes in sharp focus here. It’s hard not to be impressed when you hear that glorious verse melody bloom into the chorus.

Before we know it, we continue on into ‘While You’re Young’. A McCartney-esque paean to misspent youth. The vocal interplay on this one is so satisfying with Woods and Boyce trading lines and harmonising beautifully. This song contains this amazing line “If I would take the time I’d tell a story worth the glory of my kind. But temptation leads me where my devils lie”. That gets me every time. Theres even a Harrison style slide guitar solo to add to that Beatles influence. Once again, we transition immediately into the next track. This time brevity is key with ‘No Use’ clocking in at under a minute. A jaunty whistling intro leads us to a short, repeated lyric. “No use in holding on. To a love long gone”. It serves as a bridge to take us to the two parter ahead.

‘Twenty Three (A Comedy) – Part 1’ revisits the theme of wasted youth. The melody, often complex and involved, never feels exclusionary for that. You just sit back and let this one lead you along. The wistful lyrics and jaunty instrumentation keep you hooked throughout. The band have us in the palm of their hands now. ‘Twenty Three (A Comedy) – Part 2’ an instrumental piece that follows again allows the band to stretch themselves veering from playful fairground style waltzes to eighties euro drama themes and cheeky false stops. This is a band having fun and keeping us on our toes with so many dynamic changes in such a short space of time. Just stunning.

That dynamic performance just gets upped a notch on ‘Killing Time’. A beautiful ballad that starts off quite small and contained before slowly blossoming into a punchy and passionate singalong. That drop out for the spoken word section is so effective. You don’t expect it and it makes for quite the cinematic listening experience with the sweeping strings and lush backing vocals. How can they still be pulling songs of this quality out the bag.

The album concludes with ‘Small Mercy’. Opening as a gentle ode to the day after a good night, regretting your choices the night before. Delivered by a wistful Woods I really love that Boyce comes in only once to deliver a key line near the end. Really impactful. What’s even more impactful is the closing instrumental section that I can only describe as cosmic sounds. The wailing feedback mimicking that last moment as the band put down their instruments and take a bow before leaving the stage.

Breathless. That’s how I feel at the end of each listen of Ceremony. Some albums you can stick on in the background and get on about your day. Not so here. Ceremony demands your full attention and rewards that commitment on every listen. I applaud The Joy Hotel for their bloody-minded ambition in bringing us this gem of an album. There has been an incredible amount of love and care poured into every aspect of this release. That much is obvious. The carefully crafted lyrics, the astounding melody choices and the interwoven nature of the album flow all come together to make a listening experience you will want to come back to time and again. If you need some of that in your life, may I recommend a stay at The Joy Hotel.

Ceremony is out now on So Recordings. There’s a stunning double vinyl and some nice bundles you can grab from the bands webstore or get the wax from your favourite record shop.

You can The Joy Hotel on social media here…..

Photo Credits

Elliot Hetherton

Rosie Sco

Black Market Karma – Wobble

It’s always a good day when Fuzz Club are back in my inbox with their latest release. This time it’s the turn of multi-instrumentalist Stanley Belton aka Black Market Karma. I’ve been following Belton on social media for a while now. I really enjoy his short form videos featuring small portions of songs in development. Wobble will be Belton’s eleventh album. Yes. Eleventh! This prolific musician writes, performs, records, produces and up until now self-releases everything from his own live-in ‘Cocoon’ studio. His ear for a catchy hook and a majestic melody are renowned in psyche circles so it’s only right and proper his songs get the full vinyl treatment.

The albums title refers to tape wobble / wow and flutter, subtle fluctuations in pitch characteristic of analogue recording equipment. Here’s what Belton has to say about this.

“Sonically, I wanted the album to feel like a collection of discarded and worse for wear instruments came to life, refurbished themselves and started to play. The sound is an attempt to give form to the often-formless feeling that is nostalgia. With songs attempting to crystallise a feeling known as ‘fernweh’. A kind of longing for a place and time you’ve never experienced, be it in this world or another.”

“As formats evolved these characteristics were slowly phased out but with this album, I was aiming to put them back in through different methods of sound degradation, reaching for a sweet spot where the sound had a lo-fi flavour but with the punch of a higher quality recording.”

I’m a hopeless nostalgic so this album should be right up my street. Let’s drop the needle and see what’s what.

We open proceedings with the psychedelic swirl of ‘Mushy Conscience’. There’s a lovely mish mash of Beatles sounding mellotron and more modern whooshes and trills. Interspersing it all an acoustic guitar motif that just sets the whole thing off. One word description from me would be glorious. One track in and I’m grinning ear to ear.

Next up ‘Oozer’ gives us the first taste of Belton’s dulcet tones. Based around a cycle of three chords he somehow makes this sound like a sonic journey. Theres a great use of dynamics bringing the lysergic sounds in and out again leaving only his laid-back drawl and that signature acoustic guitar. On what the song is about Belton says “Oozer is about being malleable and adaptive to life as it’s coming at you. Holding close what you believe to be true while also being open to new information and techniques. Liquid moving around an obstacle instead of going through. It’s also about recycling negative mental states through the pursuit of things you enjoy, and repurposing them as a kind of positive fuel.”

Check out the video to the song here.

‘Lead Laces’ has a modern folk feel with a heartfelt vocal delivery from Belton. The lo-fi synth lines add an extra texture that lifts this song to another level. Make no mistake though it’s the guitar that defines the melody and drives the song forward. There’s a real warmth to this song that works its way into your heart.

That Beatles mellotron sound is back for ‘Waterbaby’. Like some updated 60’s lost psychedelic classic Belton knows what buttons to push and levers to pull to get the nostalgia going. This is a lovely musical interlude and keeps the SMiLes coming.

After a dead stop, we launch into the surreally title ‘Sonic Broth Soul Taster’. This is a really playful and youthful sounding track. The autoharp sounding strums make me think of some lost 80’s kids TV theme. You can tell Belton is having so much fun pulling this together. You can just imagine him, like some musical wizard, throwing another instrument into his cauldron of chaos.

‘Puddle Eyed Sponger’ follows. What’s notable here is that the song is structured around a synth part way up in the higher register with the bass lurching about full of intent in the lower register. This leaves loads of space in the middle for the vocals and cosmic guitar solo. I really enjoy how this guy makes music.  

Belton ramps up the epic levels next with ‘Going on Easy’. Starting like a soporific lullaby until a supercharged fuzz bass kicks in and we are off. The drums sound massive but somehow the initial guitar melody still cuts through the mix. This fair gets the blood pumping, there’s nothing like a slow builder to get the dander up.

We chill out again on ‘Thin Wild Mercury’: a mid-tempo stomp. The trade off between the vocal and guitar melodies is really satisfying, particularly in the changes. The glue holding it all together the vintage keyboard drone bringing the nostalgia to the fore.

‘The Din of an Ending’ sends us back down that 70’s folk route. The picked guitar melody is sublime, especially against the moody vocal delivery. I’m getting Fairport Convention vibes at times however the drum machine keeps me with one foot firmly in the present.

‘Olive’ is a short instrumental interlude. A wobbly tone poem that has an introspective feel. Like a moment of quiet thought.

We’re soon on into ‘The Death Throes of Nuance’ it’s another chilled walk through the mind of our songwriter. The pace of the song allows for a hypnotic effect to build as the song loops round and round under Belton’s low-key vocals.

The album comes to a close with the stoned groove of ‘Stepping Loose’. Its like the theme tune for some lost 70’s detective show set on the moors above a quaint fishing village somewhere. At times we almost veer off into funk territory. This is the perfect way to round out this groovy album.

‘Wobble’ has proven to be an instant hit with me. Repeated listens only endear the album further to me. This is a truly timeless album that hits those nostalgic notes whilst maintaining its own place in time. By tapping into that nostalgia everyone who listens to this album is going to be transported off to their own adventures based on their own memories. That is a wonderful gift to give your listener and for me the measure of our guide and musical magician. Thanks Mr B.

‘Wobble’ is the first of a two-part album series and is due for release on Fuzz Club Records on July 26th 2024.

You can follow Black Market Karma on social media here…

Diving Bells – Have Taken to Bed

Continuing this golden era of Irish shoegaze comes a new band to the mix. Dublin’s Diving Bells have just released their debut album but these guys are no newbies to the scene.

The band was originally formed in South Korea by two Irish ex-pats and a drum machine in early 2013. They released two EPs before the fact of living in two separate geographical locations made the whole thing untenable. From the ashes of Dublin alt-rockers, Borders of Sleep, Padraig Kelly (guitars and vocals) resurrected the Diving Bells moniker with fellow BoS bandmate Niall Cooney (bass), and recruited Johnny Cole (guitar) and Samuel Martin (drums) to round out the lineup. The band released their third EP Always Searching for Sleep in 2020. Following that, the band set about recording their debut album, the appropriately named and suitably noisy follow up, Have Taken to Bed. The band have this to say on what we can expect.

“Have Taken to Bed is a swift and restless ride of noisy bliss cycling through Diving Bells’ fears, regrets, and hopes amidst a wall of jangling distortion, reverb-soaked vocals, feedback and fuzz.”

That sounds like a heady concoction and one I’m dying to dip into to.

The album opens with the punchy high energy ‘Places’. It comes replete with all fuzzy distorted guitars you lust after. There’s an early Placebo feel to both the vocal delivery and song construction, both of which make me very happy indeed. I love that closing section with then overlapping vocals and circular guitars. Diving Bells are starting strong.

‘Stay Young’ next is full of exuberance and vitality. Its heads down and thrashing the guitars for what seems like an age before we reach the release of the chorus which is bliss. It’s in the final minute though that the band really shake things up with an ever-ascending anxious guitar solo that builds and builds.

The band turn up to eleven on ‘Tripping’. The wall of distortion in the intro is exceptional and sets the scene nicely for the rest of the song. Theres some Sonic Youth level experimentation going on here and it’s utterly thrilling.

‘Ivanhoe’ delivers guitars that have a guttural growl that sounds brutal and menacing. Over the top though is a catchy pop hook in the verses that lifts everything. The choruses though are dark and looming like a slowly rolling fog over a seaside town. It’s that contrast that makes song for me.

The swells of guitars that drive the ever upward trajectory of the chorus to ‘The End is Built into the Beginning’ are so satisfying. Leaning heavily into the shoegaze aesthetic the song washes over you in waves, pounding your senses. This was made to be listened to at volume.

The approach softens slightly on the more balladlike ‘Clothes’. This song has real space allowing the guitar to become another voice, almost in harmony to the main vocal.  The harmony it provides is haunting and adds real impact to the chant of “they’ll figure it out”.

‘Corrections’ is a slow burner of a song. This is a real lesson on how the simplest of melodies can deliver the most epic of results. The way the layers of instrumentation are added create an effect that’s fit for the largest of stadium stages. This makes it my album stand out track.

The album closes as it began, at real pace. The perfectly titled ‘Upbeat’ comes roaring in all hand claps and heads down guitar attack. When the vocals come in it sounds like there’s at least three parts all complementing each other. This high energy number sweeps you up and leaves you trying to catch your breath. I can only imagine this is killer live.

Have Taken to Bed is a stellar album showcasing a band happy to genre hop and, like musical magpies, use their influences to create something shiny and unique. Theres a real ambition throughout and it demonstrates that Diving Bells are only getting started.

Have Taken to Bed is out now and available for download from the Diving Bells Bandcamp page.

You can follow Diving Bells on social media here…