San Carol – Mala Vida

My vinyl addiction has introduced me to so many amazing folks over the years and one of those people is Maxime Dobosz. We often share links to shoegaze releases we both love and buy from each other from time to time. As well as vinyl collector of consummate taste Maxime also has his own shoegaze project called San Carol. To date he’s released three albums of transcendent sounds and has just dropped album number four, Mala Vida. San Carol is his solo project as he also plays in bands such as Big Wool, Sandwich and Asexual. In that same spirit the line up of San Carol changes album to album.

“Maxime ironically says that this album is in a way his “anthology of shoegaze for dummies” as it explores the different corners of the genre, ranging from references to Slowdive, my bloody valentine or Moose, to talk about the most known. However, they sought to propose a production of the already known codes of the genre with a sound deafening and harsh, like having your head sunk under water.“

Let’s dive in and see how that aesthetic bears out on the speakers.

The album opens on ‘come what may’.  Immediately you get a sense that this guy knows what he’s doing. This is an amazing pop song first and foremost. The vocal melody is so catchy but it’s what Dobosz swathes that melody in that most impresses. The washed-out guitar and chiming bass recalls some of the Cocteau Twins finest moments. This is a very strong start.

Next up its time to ‘cool out’. Guitars are pushed to the limits here. Feedback becoming an instrument in and of itself. Once again though it’s the song that is at the heart of this, the vocal melody shining through the haze of reverb and fuzz. The standard of production on show here is sky high.

The first guest appears on ‘modern times’. Baptiste, the singer from French hardcore band Fragile joins proceedings. This song has an ethereal, gossamer light vocal intro that suddenly erupts into a fuzzed-out anthem. You could draw parallels to the styles of bands like Nothing, Whirr or Cloakroom in places but this merely nods to its ancestors and sets sail on its own course.

‘goldenwings’ is another example of swathing a stunning pop song in atmospheric guitars and vocal effects. I particularly enjoyed the drumming on this song. The fills on the breaks are class. The guitar solo at the end is a masterclass in beautiful simplicity. Overall, the song straddles the divide between dream pop and shoegaze creating an addictive listening experience.

The album drops tempo and intensity for an acoustic moment called ‘Wildfire’. A vocal loop forming the basis of the melody against an earnestly strummed acoustic begins things. It’s a wonderfully atmospheric track that when it brings in drums and additional lead guitar it never overwhelms that gentle aesthetic so carefully crafted by that opening section.

We’re in ‘unsustainable’ next featuring a guest performance from Sale, a pop artist from Dobosz’ hometown of Angers, France. She’s a superb choice for this dreampop number. The chorus sections really make the most of her angelic voice against the crashing guitars.  There’s a joyous energy throughout this track, you can tell they had a lot of fun making it.

We screech headlong into the sonic maelstrom of’ nothing fills up the hole ‘next. The opening riff hits like a tidal wave. The electronic pulses in the verse sections are the perfect foil for the potent guitar work on show here. There’s heavy and then there’s this. Total face melting rock!

The final guest appearance comes from French folk singer Claire Days on supercharged power pop anthem ‘pay no mind’. This feels like a lost artifact from 1991, it’s baggy beat and reverse guitar wails take me back to my youth and I’m here for it. That chorus is just genius, taking off into the stratosphere the way it does. I loved this one so much I had to play on DKFM Shoegaze Radio show back in May.

All too soon the album comes to a close with the soft and euphoric ‘waterfall’. Dobosz strips the San Carol sound back to guitar and voice to deliver an powerful end to this album. This is the measure of him as a musician and songwriter. For this song to have the emotional weight and gravitas with just voice and guitar is an amazing achievement.

Mala Vida paints a vivid picture of Maxime Dobosz’s adeptness in crafting shoegaze music that resonates deeply with the listener. Catchy vocal melodies enveloped in lush, atmospheric instrumentation evoke a nostalgia and warm emotions, and that’s the core of it. Emotions. This is an album designed to make you feel something. Whether that’s elation or sadness, excitement or loneliness this album takes you directly to that place. For me that is the sign of someone who cares deeply about their craft, and make no mistake Dobosz cares deeply. That’s evident in each and every song.

Dobosz says that this will be the final San Carol album. If that is the case, then he is leaving us with work fitting to be that end marker, the full stop to this era of his creativity. Life can get bad, that’s for sure. When music this beautiful is created as a result however I say belle vie.

Mala Vida is out now on the San Carol Bandcamp page.

You can follow San Carol on social media here…..

Blankenberge – New Rules

Blankenberge are a much beloved band on the shoegaze scene. With three stunning albums behind them they’ve secured their place in our hearts. Hailing from St Petersburg in the Russian Federation their glacial tones have been exciting us since 2015. With the band not being signed to a label they have self-released everything to date. Which is a massive achievement given everything going on in their country at the moment.

That’s about to change as they will be releasing a new single and album with Automatic Music. Automatic Music is a record label and concert promoter based in the Netherlands run by Antonio Zelada (Resplandor).

It is currently the record label for Blankenberge, Life On Venus, Resplandor, Brian Wenckebach and has also licensed and released albums by The Ocean Blue, The Radio Dept., Robin Guthrie, Lovesliescrushing, Asobi Seksu, Japandroids and many more.

Today we have a sneak peek at the single called ‘New Rules’. It’s quintessential Blankenberge. The song opens on lush synth and bass until the insistent drums start driving things forward. Yana’s vocals remain as beautiful as always. The guitars come crashing in and send the song soaring. The first time I heard this track I’ll not lie; I did get teary eyed. I have a real love for this bands music and have done since Radiogaze came out. To hear them return with a track of this emotional intensity is just overwhelmingly joyful.

Blankenberge will return with a new album in the new year and you can be sure you can read a track by track analysis here on Static Sounds Club nearer the time.

‘New Rules’ is out this Friday September 27th 2024. Check out the Blankenberge Bandcamp page and the Automatic Music Bandcamp page to make sure you don’t miss out.

You can follow Blankenberge on social media here…..

julie – my anti​-​aircraft friend

Californian gazers Julie first dropped into our consciousness with the now legendary ‘flutter’ single. It was a real breath of fresh air and with ‘starjump’ / ‘kit’ following close after it was obvious this band were the real deal. When the Pushing Daisies EP came out it absolutely blew my mind, as did their subsequent single ‘pg.4 a picture of three hedges’ / ‘through your window’.

Now the band, who are Keyan Pourzand (Vocals, Guitar), Dillon Lee (Drums) and Alex Brady aka Alexandria Elizabeth- (Vocals, Bass), are back with their long-anticipated debut album. The band have been working on my anti-aircraft friend for some time now as they explained in their interview with Dork earlier this month.

“We’ve been working on the record since December of 2022 actively, but some of the songs’ original fruition dates back to 2019. It was a mix of recording some songs, going on tour, writing, recording another few, touring, etc.”

Having teased us with some singles prior to release my excitement levels for this album have piqued. Let’s drop the needle and dive in.

We open on the single ‘catalogue’. Brady’s vocal both blasé and driving. Guitars growl, spit and snarl in a way that is reminiscent of Thurston Moore. Lyrics talk of fears unshed through time and dreams unfulfilled. It’s a strong opener and sets the scene well.

Following this is the dynamic ‘tenebrist’. Equal parts wall of noise and pop song it’s everything that early shoegaze was. That contradictory nature of what you’re hearing making you want to listen again and again. There’s so many modern gaze bands miss this aspect in their music. julie nail it here.

On my DKFM Shoegaze Radio show this month I played ‘very little effort’. I was taken with its layered sound and interplay between Pourzand and Brady’s vocal performances. It’s great songwriting that keeps you guessing as to where you’re heading next.

‘clairbourne practice’ grabs you by the throat from the first note. The song envelops you in a haze of nostalgia with its unmistakable nods to early My Bloody Valentine in its guitar riff and vocal delivery. It’s a powerhouse delivery and when it reaches those false stops, you’re left breathless.

The band pull back their defences a bit on ‘knob’ revealing a vulnerable side to their sound. Stripped back guitar and vocals makes up the majority of this deeply affecting track. Lyrically the words are esoteric and leave an emotional mark. Now, it’s not chilled the whole way through but at the mid-point of the album this tells us that julie have plenty surprises up their sleeves yet.

In complete contrast ‘thread, stitch’ has a real density. It’s almost as if the band are playing in treacle. I put it down to that fat bass tone Brady delivers. Vocally this feels like a conversation with our two vocalists trading lines. Ultimately, it goes to show that the simplest of melodies can be the most impactful.

In the Brady penned ‘feminine adornments’ we hear our narrator taking control and asserting herself. We also hear a prime example of the sonically rich and emotionally resonant delivery julie are so adept at. Vocals delivered with a mix of vulnerability and strength over a steady and insistent backing, sometimes with real menace. “Any other reason, to get me off her throat” for example.

‘I’ll cook my own meals’ has a pinch of Malkmus and Cobain liberally sprinkled with that signature julie magic. Musically its very much a homage to that 90’s aesthetic with those quiet loud quiet dynamics and sledgehammer guitars that kick in like a hurricane. Pourzand’s drawl leans heavily into that slacker sound and it really pays dividends when accompanied by this backing. I’m actually surprised this wasn’t picked as a single.

The obtusely titled ‘piano instrumental’ follows. Featuring neither a piano and not being an instrumental. The song opens on a languid and laid back Pourzand, lazily bringing us into the song. It’s not until Brady enters the fray that we realise, this is a part two for ‘feminine adornments. We hear repeated lyrical motifs that bring us back but with a new perspective.

The album concludes with the more genteel ‘stuck in a car with angels. This is, for the most part, guitar and vocals, with Brady’s surefooted and assured delivery being the backbone of the piece. Even when the sonic tornado begins her style doesn’t change to either combat or match the intensity. She somehow seems to rise above it, like the titular angel.

my anti-aircraft friend was a highly anticipated album. When bands set their bar high with their early work and online presence then that debut album can sometimes fall flat or not meet our lofty expectations. I’m very pleased to report that julie haven’t just met my expectations, they have far exceeded them. This album isn’t a one trick pony, single textured experience. There’s so much going on and I never knew what was coming next. I’ve been living with the album for a couple of weeks now and I’m still finding new aspects of the performances I love on every single listen. If shoegaze or grunge is your thing then julie need to be your new favourite band. They are going to be massive.

my anti-aircraft friend is out now on Atlantic Records and is available digitally on CD and vinyl.

You can follow julie on social media here…

Photo Credits

Maya Sprangler

Hello Mary – Emita Ox

I have to admit to having a bit of a soft spot for power trios. There’s something about the directness of the music they make that really speaks to me. Such was my immediate love for the new album from New York based Hello Mary.

Still in their late teens and early twenties, Helena Straight (guitar, vocals), Mikaela Oppenheimer (bass, synth) and Stella Wave (vocals, drums) formed the band in 2019 from a youth music programme in their New York City High school. They have already toured with the likes of Silversun Pickups, American Football and DIIV and received rave reviews for both their recorded works and live performances.

Listening back to their earlier long players 2020’s Ginger and their 2023 self-titled album, it was obvious the band have a deep affection for that alt rock sound of the early nineties. However, the band say that this their third album, Emita Ox, see’s them forging their own path.

“The band have adopted certain elements from their touring contemporaries while making a sound distinctly their own, playing with elements of shoegaze, noise rock, post-rock, and mixed-metre composition. They present an intriguing contrast between dreamy, ethereal moments and unfiltered, noisy chaos, while still maintaining their signature playfulness. This results in a record with the freshness of a debut.”

That description pretty much ticks every box for me. Let’s drop the needle and turn the amp up to eleven.

The album opens on the ominous chords of ‘Float’. Already you can hear the progression in the bands sound. It’s the guitar keeping time here as the drums play around the beat with real intent. Before we get too comfortable the band switch it up with bass and drums exploding as the guitars get frantic and vocals are screamed to a sudden conclusion. It’s only the opening track and I’m out of breath but smiling ear to ear.

That leads neatly into ‘0%’ with Wave channelling her inner Kim Gordon to deliver a powerhouse vocal performance. Meanwhile the bass and drums drive the song forward with some genius switch ups in tempo and volume that keep your attention zoned right in. Guitars are serpentine and slide around the notes with abandon and man, I’m here for it!

‘Three’ arrives on this luscious rolling chord progression and angelic vocals. This song is where the band pluck the albums title from, a spoken word section in the mid-point. Just after that the song tips into a powerful fuzzed out free fall that’s incredibly exhilarating. The band are choosing to operate in various rhythmic patterns and time signatures within songs which makes for such a satisfying listen.

The next track opens with what sounds like that viral drum video beat. You know the one with the balancing stick on the hi hats. ‘Down My Life’ is a song owned by Oppenheimer’s stunning bass work. She fills the space between the vocals and the guitars with a gorgeous walking pattern that erupts into a growling retort, snarling over the chorus sections.

‘Knowing You’ has the feel of a horse straining at the reins wanting to gallop but not yet. The steady drums and pendulous bass keep us in time and grounded but this song needs to fly. It’s not long until that first chorus loose the reins and we’re off. Like a rocket, the band explodes heavenwards taking us with them. The guitar tone in this section is particularly potent. I’d love to know what pedals were involved.

The first curveball of the album comes next in ‘Heavy Sleeper’. To my ears this feels like some SMiLe outtake that Brian Wilson wishes he wrote. Those effected backing vocals are so impactful against the minimal instrumentation.

That takes us into the shining beating heart of this album. ‘Footstep Misstep’ is the very zenith of the band’s experimentation on this album. The variety of styles they seamlessly weave throughout this one track tells you all you need to know about these three as songwriters. Nothing is off the table as they charge and bob and weave at us.

‘Courtesy’ is a more relaxed affair and blends that bedroom pop vocal with a potent indie rock track. Even when the guitars are raging that gentle vocal tempers the flames and sweetens the tea leaving the listener in a state of bliss.

‘Hiyeahi’ is their robotic tone poem for an apocalypse gone right. Equal parts eerie, demonic and optimistic it serves as a palate cleanser as we head into the next track.

The band lean into their shoegaze and dreampop influences next with the effusive ‘Bubble’. One half an acoustic, almost folk song. The other an aural assault akin to Sonic Youth at their artiest. The glue in between is the harmony driven vocals, which I believe are Hello Mary’s secret weapon.

All too soon the album comes to a close. ‘Everything We Do’ an acoustic indie track that bounces along on those sweet vocal harmonies is the perfect choice to end proceedings on. It leads on nicely from the acoustic element in ‘Bubble’ and sends us on our way with a big smile on our faces.  

Emita Ox is nothing short of stunning. This was my introduction to the band (much to my shame) and I’m pleased to say that this was an instant hit to my ears. I didn’t need multiple listens to know that this was going to be appearing on my end of year list. I’m way past multiple listens now (maybe even umpteen) and the album just get better each time. It reveals more layers of intricacy, more nuances that endears this band to me more and more.

Emita Ox is out now on Frenchkiss Records and is available digitally from the Hello Mary Bandcamp page and on a variety of colours of vinyl from your favourite record shop.

You can follow Hello Mary on social media here….

Photo Credit

Cooper Winterson

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…