Studio Kosmische – Lucifer Rising

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

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

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

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

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

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

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

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

You can follow Studio Kosmische on social media here……

Frankie and the Witch Fingers – Data Doom

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credit

James Duran

Lance Bangs

Travis Trautt

Astral Magic – Sacred Mysteries

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

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

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

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

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

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

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

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

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

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

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

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

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

Astral Magic- Balance of Oblivion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Runway – Runway

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

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

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

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

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

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

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

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

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

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

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

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

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

You can follow Runway on social media here…

DAIISTAR – Good Time

2020 was a tumultuous time for us all but in the spring of that year in Austin, Texas a new band was born. Alex Capistran, Nick Cornetti, Misti Hamrick and Derek Strahan came together to form DAIISTAR. Fans of the neo-psychedelic era of the 80s and 90s they set about creating their own unique take on it. Now, it’s three years later and they present to us their debut album Good Time.

Capistran gives us an insight into what this album means to him and his bandmates.

“To us, these songs were a glimmer of light. Starting a band at the peak of the pandemic to some might seem ill-timed, but to us it was a way to escape for a moment. There was something to look forward to and we kept our heads in the future. These songs guided us through some dark times and hopefully they can do the same for you.”

The album opens with ‘Star Starter’ and it’s a blast of energy and noise, with a catchy guitar riff and a driving drum beat. It’s like a time portal to 90’s Manchester has opened and we have been catapulted into the Hacienda at the height of baggy. As an intro to the band’s sound and style its absolutely perfect.

Into the next track we go and it’s the curiously titled ‘LMN BB LMN’. Whilst it’s a bit more laid-back, it still has a lot of groove and melody. The core riff is so catchy and the drums are on point, swaying between a propulsive rhythm and that ‘Tomorrow Never Knows’ thing. DAIISTAR are taking no prisoners.

That Beatles vibe continues into ‘Repeater’. It’s got a sixties psychedelic aesthetic running throughout but amplified to the max for a bang up to date feel. Just check out that warped guitar solo out in the closing section. As a counter to the descending note riff its tremendous.

Up next is the single from earlier this year. ‘Tracemaker’ is a ten-foot tall, psych rock monster. They balance it out nicely with the verses being quite light and airy before that thick and sludgy guitar riff hooks us back in for more.

We take the pace down a notch for ‘Purified’ next. This is psych pop personified. As always there’s a sublime guitar riff that punctuates the track but its Capistran’s vocals that are the star. It literally soars over this song, lifting it to the next level. I sense real hit single potential here.

Next up it’s ‘Say It To Me’. It’s an anthemic number, with a soaring chorus that has you nodding along. But wait, this is a song of two halves. The fast-driving song suddenly drops top half time and a piano driven coda kicks in. Man, this band like to keep you on your toes. I really love it when a band surprises you and this track achieves that with ease.

With ‘Parallel’ we head in a more experimental and atmospheric direction. Opening with a synth arpeggio that creates a hypnotic effect. The song is dark and moody, but also has a sense of hope and optimism which I really love. Again, just wait until you hear the almighty guitar solo.

The next track is a fast-paced and energetic song, with a synth hook that will stick in your head. ‘Speed Jesus’ Is a more mid-tempo song that has a really relaxed vocal delivery that kinda reminds me of The Primitives in places. That closing section is pretty powerful as everything gets overdriven to the max.

‘Heathens Gate’ touches on an Ultra Vivid Scene influence but never lingers on it for long. The layered guitars create a sense of impetus and the need to move on. They are also cranked up to 11 in places which adds that extra feeling of menace. Again, this screams single to me.

The album closes on the spaced-out sound of ‘Velvet Reality’ It’s a slow and dreamy song, with a synth pad that creates a lush and warm sound. It’s like it’s just stepped out a 50’s diner jukebox and into the far future. It’s soothing and relaxing sure, but also has a touch of sadness and nostalgia. Just beautiful.

DAIISTAR have sculpted a really well-rounded debut. Where some bands debuts can feel disjointed as they throw all the songs they’ve written at it, this feels like a thematically cohesive offering. Every song has its place in the grand story of the album. My main takeaway though, is the quality of the song writing on show. Every song on Good Time is absolutely solid. The old adage of all killer no filler definitely applies here.

Good Time is out now on Fuzz Club Records and you can also grab a copy from DAIISTAR’s Bandcamp page.

You can follow DAISTAR on social media here…

SPIRIT OF THE BEEHIVE – I’m So Lucky

 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.

The band, Zack Schwartz, Corey Wichlin, and Rivka Ravede return now with the closing chapter to that Entertainment, Death book.  I’m So Lucky is their new four song EP and it is us who should consider ourselves lucky to be getting it at all. In the summer of 2022, Schwartz and Rivka ended their romantic relationship after being together for over 10 years. This launched the band into a transitional state. Schwartz picks up the story.

“I don’t know if anybody was sure we would continue doing the band. But then we sorted it out slowly and we just all wanted to get back to work. We’ve been trying to make some of the newer stuff less maximalist and just focus on what we can accomplish live. It’s not that these songs are simpler: They’re just different and have more space, more room to breathe.”

With real gratitude let’s drop the needle and hear what they have created for us this time.

The EP opens on the slow pulsing intro of ‘human debenture’. Immediately you can hear the kinship with the Entertainment, Death era tracks. That contrast between dark and light. Between the warm and airy opening and the out and out screamo chorus. Do SPIRIT OF THE BEEHIVE songs even have verses or choruses. Structure is something more fluid in their music.

Eerie spoken word samples kick us off in to ‘really happening’. The vocal is almost spoken throughout the opening section. When we get to title refrain that signature off kilter SOTB guitars kick in almost sounding like a discarded Bond theme. When Ravede takes over lead vocal duties the song kicks into an otherworldly samba. It’s genius and its my stand out track from the EP.

‘Tapeworm’ comes in hard, the bass super fuzzy, the guitars bit crunched and synthed up. Vocals screamed at top volume. Yet when the most genteel piano piece kicks in we aren’t surprised. It’s just another example of what the band calls “collage rock”. A nice play on words that sums up their approach perfectly. You just never know what to expect.

Speaking of which, the closing track ‘natural devotion 2’ is a call back to a track form their very first EP. This could be considered the bands pop track but only pop in the universe SOTB have created. It has Groove Armada like samples, a soulful synth part. The boy girl vocal exchange is totally engaging and sucks you in. This is something totally new from them yet still familiar and works so well as the closer for this set of songs.

This is a wonderful gift, the red ribbon that ties up the Entertainment, Death era of the band. These songs ooze confidence and showcase the inventive spirit that embodies all their music. Within these four songs they skip from gleeful to twisted, from sinister to euphoric and every emotion in between. That, right there, is the reason I love this band so much.

I’m so lucky is available now digitally and on two variants of seven-inch vinyl from the SPIRIT OF THE BEEHIVE Bandcamp page.

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

BREATHER – BREATHER EP

Plymouth is best known as where the pilgrim fathers set sail for the new world back in the 1600’s. Looking to cement their place in history comes BREATHER. The band only got together in January this year but only a few short months on and we have their debut self-titled EP. BREATHER is comprised of Scott (vocals), Josh (vocals/guitar), Sam (lead guitar), Jack (bass), and Harry (drums). They describe their sound as grunge gaze, which combines two of my favourite genres so I’m quite excited to hit play on this one. Without any further ado, let’s get in amongst it.

The EP opens on frantic riffage of ‘We Know Pt.1’. There is definitely a blurring of the lines between indie pop and shoegaze which is making me smile right away. Great hook in the vocal line supported by some cool textures coming from both guitarists. Drums are on point, always creating interesting patterns and calling the pace throughout. Latterly the bass starts to create a warped sound that creates even more for the ear to enjoy. Solid start,

As we head into ‘We Know Pt.2’ the lads are really showcasing their individual contributions. Guitars soar skyward whilst the tempo comes down to allow space for the song to evolve. The descending chords on the main verse are particularly potent as they thrash out this new melody. Finishing on the high-pitched wails is really neat and wraps up this two parter nicely.

‘Unknown’ brings the pace right down and treads into gazey waters with a cinematic, reverb-soaked backing. What makes this so interesting is the fact that the vocals remain prominent. Whilst the guitars are creating a wall of sound and the drums and bass are keeping a really dynamic time, we get a heartfelt vocal delivery. It’s the Breather calling card and it’s so effective.

Howling feedback welcomes us into the grunge fest that is ’What Are You Saying?’. This is a virile number which taps into that Slow Crush sound whilst also nodding towards Red Hot Chilli Peppers in its bass breakdown section. The backing vocals screaming in the chorus are awesome and bring another level of energy to this EP.

The EP closes out on ‘Wrong’. A more straightforward indie rock number it cuts a more mainstream path than the previous cuts here. That’s no bad thing, it only goes to show the breadth and scope of this band’s influences and also their ambition. Theres a Kings of Leon swagger to that chorus and a directness in the vocal that screams confidence. A fine way to round off a fine EP.

The Breather EP is the sound of a band showing what they can do. It’s variety of styles really keeps you on your toes as you listen. There’s rumblings of a debut album appearing in the new year. For me, I hope they explore their sound in more depth and give us a real treat for the ears,

You can grab a digital copy of the Breather EP over on their Bandcamp page now. If you’re lucky and get to see them live, there is a very limited-edition CD to be grabbed at the merch stall.

You can follow Breather on social media here…

Echo Ladies – Lilies

Five years ago, my ear was caught by the debut album from Sweden’s Echo Ladies. Pink Noise was a sweeping love letter to that synth driven eighties alternative sound. The band, in part, take their name from the debunked theory that Echo and the Bunnymen had a drum machine named Echo. I still have this album on regular rotation here in the clubhouse, in particular the song ‘Bedroom’ holds a dear place in my heart. Imagine my joy when I discovered Echo Ladies were back!

Echo Ladies are Matilda Botwid, Mattis Andersson and Joar Andersén. They are set to release their new album, Lillies, into the world and I wanted to know what they had in store for us. The band had this to say on the subject.

“While our past material conveyed feelings of nostalgia and hope for the future mixed with worries and anxieties about defining who you are and what you will become, Lillies instead tries to balance the emotions of sorrow and loneliness, with anger, frustration, and the determination to make a change for the better. This album really carries the Echo Ladies mantra that ‘Nothing Ever Lasts’—good things can come to an end, but bad things will also pass.”

Ok, I’m sold. Let’s drop the needle and dive in.

The album opens on the gentle sway of ‘Fabrik’. Immediately I’m struck by the crystal clarity of the production. Botwid’s vocals especially leap out the speakers. The sound is unmistakably Echo Ladies though. and I’m in love all over again. Bass and Synths working sympathetically and emphatically driving the song forward.  It’s a strong opener and gets the listener locked in early.

‘Selfcontrol’ contrasts minimal chiming lead guitar with an assured and laid back vocal. Drums are on point with a nice reverse snare sound punctuating the track. Bass looms large with a melody mirroring the vocal in the closing passages making both more impactful.

Casting her eye back on her wild youth in ‘Dirty Dancing’ Botwid’s opening line sets the tone. “You are not only my sweetest memory. You’re definitely my darkest story”. It’s a bitter sweet tale of longing for the excitement of youth tempered by time. It’s a sparsely arranged number with lots of space for the melody to inhabit. Is it a callback to the 80’s classic movie? I’ll let you decide.

‘Coming Home’ arrives all anxious and uptight. Shrill feedback leads us into a claustrophobic, tightly constructed verse. Its when that furious chorus erupts it feels like the song is set free and it soars. That give and take throughout the song is really powerful and hooks you in.

It’s at this point in the album that Echo Ladies decide to play their ace card. The title track is something completely different for the band. Its part new romantic, part dream pop and then it finally reveals itself as a gloriously theatrical pop song. It even has a key change. It took me by surprise the first time I heard it and I’ve been smitten ever since. I haven’t heard anything like it since The Capsules track ‘Play’ on the Static Waves compilations. I love it when bands try something different and it pays off. It’s without doubt my album stand out track.

‘Getting On Me’ gets us back in to familiar territory. That static laced wall of sound is back and we are thundering along. This album hasn’t let the quality drop for one second and this is no exception. It’s wash of guitars and synths provides a platform for the catchiest melody. I can see this being a live favourite. The energy is off the scale!

Single ‘Awake’ provides us a musical thread leading back to Pink Noise. This is the song sibling to ‘Bedroom’. An older and more sophisticated sibling. First off, that guitar riff is killer, just killer. It bears all the hallmarks of a great Echo Ladies song. When that chorus appears though, well, that’s something else entirely. Am I sensing a Talking Heads influence? Whatever it is, it’s massive sounding.  ‘Awake’ is an incredibly dynamic song, just check out how they use the bass. How tightly wound the verses are against the wide-open choral sound of the chorus. It’s an absolute stunner!

‘Illness’ really makes the bass earn its money. Dancing around, never letting up. The guitar like a fly in a jar buzzing furiously. Drums making double time and keeping everyone on their toes. This is a dancefloor filler and will be blasting out at a club near you soon.

As if sensing the impending end of the album the band rage on into the night with another slice of dream pop perfection. ‘Strangers’ amps up that Echo Ladies sound to the max. Absolutely no quarter is given as they tear through this blissed out banger.

The end must come however and this album closes on a sombre note with ‘Funeral’. Whilst the pace has dropped this song has all the attention to detail, all the finely tuned textures and heartfelt delivery that has characterised every single song on Lilies. They play with the dark and light like an artist painting a moonlit scene. Some parts of the song in sharp relief while others sparse and gloomy. It’s a bold finish to an equally bold album.

In Lilies Echo Ladies certainly haven’t reinvented the wheel but, by god, they have evolved it. The seismic shift in production values from Pink Noise to Lilies hits you immediately. The attention to quality control and songwriting is apparent throughout.  Never losing your attention for a moment. My biggest takeaway from Lilies is that Echo ladies haven’t forgotten who they are and have leant into what we love about their sound and amplified it. This album shows a band who have honed their skills and are loving every minute of playing for us. If you loved Pink Noise, you are in for an absolute treat.

Lilies is out on 8th September 2023 on Rama Lama Records and Gazehop Records. It’s available on different vinyl variants depending on where you are in the world as well as on CD. Check out Echo Ladies Bandcamp to find out more.

You can follow Echo Ladies on social media here …

Studio Kosmische – Beyond the Circle of The Fixed Stars

If you’re fortunate enough to snag a vinyl copy of the new Studio Kosmische album then what follows will be old news. I was lucky enough to be asked to write a review to appear on the album’s obi strip. As the music fired my imagination, I couldn’t resist but pen a short story based on where the music took me in my mind. You’ll find that story on the back of the sleeve. So, if your interest is duly piqued then read on.

Fans of the Kosmische sound rejoice as sonic pioneers Dom Keen and Jonathan Parkes return with another instalment of their essential record series. I found my way to Studio Kosmische via Parkes Korb project. Whilst I am admittedly tardy to the party, I’m nonetheless smitten by the sounds your about to enjoy in the grooves of this here record.

The album is split into two musical journeys across its two sides. ‘The Rites of Saturn’ starts as a tribal dance before the song enters a black hole and the sounds of the cosmos permeate the speakers. We drift along for a spell enveloped in the calm of the never-ending expanse before emerging back where we started. The drums welcoming us back to the dance. I get lost in this track every time and it sends me running to the turntable to flip the record to continue the journey.

Side B finds us ‘Beyond the Circle of The Fixed Stars’. This is what I’d deem a groovy little number. The minimal bass trades licks with the guitar before a synth line kicks in. Check out the drums by the way. Gloriously busy but never intrusive. They absolutely steal the show for me. Another journey of a track, it transforms before your ears into this mellow, pastoral acoustic jam. It really does feel welcoming and almost like a homecoming.

If you’ve been following Studio Kosmische then you’ll know the quality these guys produce. If, like me, this is your first foray then my dear listener you’re in for a treat. Drop the needle in the groove and let Messrs Keen & Parkes take you on a sonic voyage Beyond the Circle of The Fixed Stars.

Beyond the Circle of The Fixed Stars is out August 23rd on Dreamlord Recordings and you can grab a copy over on Bandcamp.

You can follow Studio Kosmische on social media here…