Night Beats – Rajan

Always on the hunt for new music I recently stumbled across Night Beats, the psychedelic brainchild of Texas-born, LA-based artist Danny Lee Blackwell. He’s just released his sixth studio album entitled Rajan and it immediately caught my ear. Some of this album’s tracks sound like they come right out of a Sergio Leone movie.  I was keen to find out what the concept behind Rajan was. Here’s what the man himself had to say

“This isn’t a concept album, because every album has a concept. That term never made sense to me. But if it’s about one thing, it’s about this pursuit of freedom that was instilled in me by my mother. In the arts, I’m very lucky in that I have 100% control over what I want to say, and how I do it. That means some songs toy with Anatolian funk and Western-tinged R&B.”

“Other songs, like “Nightmare” mess around with 70s Brazilian psychedelia. There are also elements of Chicano soul, rock steady love songs, Lee “Scratch” Perry-inspired dub; essentially, in the world of Night Beats, nothing is off limits. Rajan is just one of six examples of me doing exactly what I want, and not caring about whether it’s checked out or not. I’m a journeyperson. I want to make things for the sake of making them.”

This sounds like the kind of album I’m going love. Let’s drop the needle and dive in.

We open on the exotic riffing of ‘Hot Ghee’. A fusion of funk driven sounds, from that smooth guitar line to the cool as a cucumber vocal delivery. This is accomplished song writing and a guitar riff the mighty Khruangbin would kill for. Killing it straight out the gate like this sets the scene for this album perfectly.

Next up is the chilled out ‘Blue’. Like floating down a sun dappled river enjoying the cool breeze. This is such an evocative track. The sixties vibes are strong here from the xylophone to the shuffling drums it feels like a track out of time yet perfectly at home in the context of this album.

That continues into ‘Nightmare’, a 70’s psychedelic odyssey. The guitars are acid drenched and playing over the tightest R&B rhythm section. The melody verges on the epic on a number of occasions and has thrilled me each time I listen to it.

‘Motion Picture’ has undoubted influence to Janis Joplin in its chorus melody but there is also a Small Faces vibe in places too. This magpie approach pays dividends as this song oozes cool and gives an insight into Blackwell’s record collection.

That ever-present coolness continues in the gentle sway of ‘Anxious Mind’. It’s tight groove, keeping it together, always moving forward right up until those abrupt final notes. Blackwells voice is smooth as silk and in this song in particular he gets to fill the spaces with his silkiest tones.

The promise shown in all previous songs is suddenly brought into sharp focus on the wonderful ‘Thank You’. Rajan has a dedication on the back of the sleeve, simply reading “For my Mother”. ‘Thank You’ overtly states that against the most epic funk driven groove. Everything is amped up to the max. Drums are pulling out the big licks, guitars channel Hendrix and the backing vocals are utterly cinematic. This is next level writing and performing.

A guest joins Blackwell in the shape of Ambrose Kenny Smith from King Gizz. He picks up moothie or harmonica duties as well as the off kilter vocal delivery. This is another example of the Night Beats musical melting pot. Fluttering flutes, blues harp and chiming piano married with a hip hop beat and psyche guitars. On paper this shouldn’t make sense but my god it does. When we are told to “Fall asleep to the boogie dream” you know you have to.

‘Dusty Jungle’ is a desert lullaby. Mellotron forms the magic carpet we ride in on as we slowly soar over the twilight dunes. This is escapism at its finest, music transporting the listener far away. The ability that Blackwell has to use music as his canvas to create new vistas for us to visit is nothing short of genius.

That desert vibe continues in the spaghetti western evoking ‘Cautionary Tale’. The guitar sounding positively evil, like the cowboy in the black hat. However, in this song there ain’t no white hats. It could be his Texas roots that he’s channelling to achieve this sound. Whatever it is, it’s just brilliant.

Not to be confused with the Dolly Parton classic it’s ‘9 to 5’ next. This is a lysergic take on a 50’s love song. The simple guitar and piano intro soon melt into a sci-fi inspired soundscape. Trippy overlapping vocal harmonies always just out of sync, but only just, are pure ear candy. This is the sound of a band having fun and nailing it!

The album closes out on the three-bar blues riffing of ‘Morocco Blues’. The song is swathed in swirling sitar which holds front of stage with the stoned vocals. The rest of the band is buried in the mix making this a completely new take on this type of song. Whilst Dylan and The Stones both had their takes, Night Beats really amps up the confusion and giddiness. It just makes you want to flip the record and play it all again.

In Rajan Night Beats have created a transportive listening experience that sends the listener to far off exotic climes in their imaginations. From deserts to crowded markets and cool rivers this album has it all. It’s a woozy wander through the mind of an incredibly creative musician. A musician who has taken his music and created worlds within worlds in the grooves of a record. For the run time of this album, you are happy to surrender yourself to his guiding hand and just lose yourself. If you’re looking for me, I’ll be lost awhile. Care to join me?

Rajan is out now on Fuzz Club and Suicide Squeeze. There’s a fair few vinyl variants to pick from like the green vinyl version on Night Beats Bandcamp.

You can follow Night Beats on social media here…

Photo Credits

  • Hamilton Boyce
  • Daniel Cavazos
  • Chris Keller

DEAFCULT – Future of Illusion

Future Of Illusion is the second full length studio album from Brisbane Australia based gazers DEAFCULT. I’m a huge fan of their last album, Auras, with its lush shoegazing sounds and reverberating soundscapes. The band, who have added Kellie Lloyd (Screamfeeder) on bass/ vocal duties this time around, are keen to point out that this ain’t the same rodeo.

“Future Of Illusion takes an unexpected and important left turn. The second full-length record from outliers DEAFCULT examines man’s intervention in nature and the irreparable disconnection it causes. The more we intervene the further away we get.”

“If Auras was the dream, born in what you can look back at as a simpler world, Illusion is the nightmare. The record features 15 tracks in a rage and introspectively-filled capsule. The soundtrack to now, existing within a ripped hole in space and time which has led to absolute despair.”

It sounds like this is going to be a whole new sound for DEAFCULT. Something darker and more intense perhaps. Only one way to find out. Let’s dive in.

The album opens on the brutal assault of ‘Oppenheimer’s Regret’. There is an instant realisation that this isn’t Auras part two. Which makes me incredibly excited to explore this album. The song is almost a chant against the brutal discordant guitars. Respite comes in the form of a short explosive riff laden instrumental chorus. Is this shoegaze? There are elements sure but DEAFCULT are steering this ship towards post punk and noise rock.

Next up is lead single ‘The Sign’. A pulsating heavily punctuated intro leads into a melange of vocals. Interweaving and interplaying it’s a treat for the ears (headphones on for this one). It’s a great choice for a single as whilst there is all this cacophony of noise going on, underneath it all is a catchy pop song. The drums on this one, like gunshots, cut through the mix and drive the song on.

‘Sleep’ is a mid-tempo exploratory piece. Assaulting us with multi vocal approach is such an impactful approach to take. Their voices are really complimentary to each other. There is a glorious break down section mid song where they get to show of their group harmonies and its amazing.

‘The Outsider’ is a short tone poem with a spoken word piece over some moody sonic textures.

Which leads us into ‘Annihilate’ which is a ferocious as you’d expect from that title. This new approach really pays off in spades with the dynamic change in pace between verses catching you off guard each time. Theres some deft noise rock on show here that brings to mind Sonic Youth at times. Can’t think of higher praise than that.

‘Umbilical’ starts off with a guttural growl of a vocal. I was fully expecting it to erupt into a death metal scream. Lloyds dulcet tones soon smooth things out and provide a really effective dynamic contrast. Once again, they back all this with the coolest chorus that immediately hooks your ear.

The deceptive rug pull of an intro leads us into the full ahead, pacey ‘Chemicals’. This one sounds like a band playing to a stadium sized audience. This one will absolutely go off when they play it live. The pin point riff in the verses explodes into the widescreen chorus. It’s a really exciting dynamic and one that fans will lap up!

‘The Nightmare’ is nothing short of epic. I tend to use that word when songs grab you by the scruff of the neck and take you on trip in your head. Theres so much to enjoy here. From the calm and measured veil of vocals to the massive wall of guitars we are faced with at points. I haven’t talked about the drums much so far but they are the core of all these songs and here they lead the way. They dictate the pace, attack and ferocity. It’s an utterly compelling song and, rightfully, the centre piece of the album.

From the squall of feedback erupts he opening riff of ‘The Well’. Again, the band have a killer melody to begin with and have built an off-kilter noise rock classic around it. The crescendo in the build up to the verses is going to be another live favourite. If this isn’t a single soon, I’ll eat my hat.

‘Metamorphosis’ for all its noise driven pomp is actually one of the more emotionally driven songs on here. Lloyd’s vocal is charged with anguish throughout. These are primal screams. The guitars act as a foil with more picked out parts leaving room for the vocals to really punch the mix. The copycat guitar tracking the vocal melody is a neat touch and only adds more impact to what’s being sung.

The title track follows, another short, spoken word tone poem with much brighter textures than ‘The Outsider’ from earlier.

This album is chock full of single material. Case in point, ‘Tulpas’. The staccato verses blossom into this technicolour chorus. The guitars in particular take off heavenward carrying us with them. Man, I always get asked “and what was your favourite track” when reviewing albums and DEAFCULT are making this difficult for me. I proper love ‘Tulpas’ though.

‘Rue du Montparnasse’ is our final connecting instrumental piece leading us into ‘Ein Traum’. A siren call of a song that rips out the gate at pace assaulting your senses. Drums are being pounded into oblivion while the guitars tear along playing give and take with the potent vocals. This is indeed ‘A Dream’

The album closes out on ‘Ame Solitaire’ (French for Lonely Soul). Its frantic urgency is embodied in every scream, every wail of guitar as the pressure builds and builds until the release of the of the final chant, the point of Future of Illusion summed up in four words. “We’re all to blame”.

Coming into this album from Auras doesn’t prepare you at all. This effectively could be another band entirely. The songs have extracted themselves from that reverb cushioned bubble and are laid bare, like the truth Future of Illusion seeks to share. Be in no doubt though, this album kicks all kinds of ass. It pummels your senses and never lets up until the final note. The addition of Kellie Lloyd to the mix is nothing short of inspired and has allowed DEAFCULT to make this transition in direction seamlessly and with real impact. If this is the direction that DEAFCULT will be going in the future then I predict a lot of new fans joining them for the journey. This old fan is all in.

Future of Illusion is out now on Hobbledehoy Records and is available on white vinyl, CD and digital.

You can follow DEAFCULT on social media here…

Fir Cone Children – The Urge To Overtake Time

It’s at this time of the year I always watch my inbox closely. It’s around this time we get the next annual instalment of Alexander Donat’s Fir Cone Children project. This is a series of albums documenting his kids lives as they grow. The albums to date have been nothing short of life affirming, joyous escapism. As I predicted there it was. The new album called The Urge To Overtake Time.

This is album nine in the series and I was keen to find out what we can expect to hear on this album compared to the previous instalments. Here’s what the man himself had to say.

“Everything definitely evolves, it’s not just spending time on the playground anymore for my daughters, things are getting much more complex, and with that the music grows into new directions. I can see how it touches melancholic and even darker aspects sound-wise. They’re eight and ten years old, and they are nosy and curious human beings, it’s just natural to discover that not all things and people on our planet are nice. At their age they’re already further than I was back then.”

“Talking about the music, I tried to sound more relaxed, looser, airier, especially in respect of my singing style. The predecessor album was way rawer, very direct and over the top (on purpose).”

Sounds like my kinda album. Without any further ado let’s dive in.

We open on the punky ‘Time Needs An Upgrade’. That Fir Cone Children exuberance is evident from the get go with a spoken word section “We are late and the clocks not right” bringing Sparks to mind. The sonic palate is both jangly and jarring at the same time. This is a tale of a realisation that time is a fixed constant and how frustrating that can be to a child’s inquisitive mind. That frustration is borne out in the vocal delivery and frenetic guitar strumming. Great start to this chapter.

‘Snowblack’ is a darker proposition altogether. Donat’s vocal more direct and less playful. Guitars ranging from the post punk sharp chords to shoegaze wall of glide guitar. The contrast between the melodic vocals and helter-skelter guitar in the chorus is just inspired.

Next, we head into pure shoegaze territory with ‘Another You’. The wall of noise as we head into the opening moments is just sublime. Donat’s playful delivery now replaced with something more grounded and reflective. This is the first signs that this album is showing signs of real life starting to creep into our protagonists’ minds.

That swirly shoegaze sound continues into ‘Fills Up Every Inch’. When this song kicks in, it kicks hard! This song is so dynamic; playing the glide guitar up against an impenetrable wall of fuzz. Theres a tangible menace in Donats’ delivery that adds to the song’s grandeur. This is undoubtably my favourite Fir Cone Children moment to date, never mind being my album highlight.

The fun returns with ‘Sydney & I’ a tale of friendship that lasts the distance. Whilst we still have that fuzzy soundscape beneath it all is the catchiest pop song. As always when it comes to these types of songs it’s in the chorus, we see Donat’s skill as a songwriter. How anyone has so many killer hooks baffles me.

‘The Inability to Raise the Left Corner of My Mouth’ whilst being an unwieldly song title is anything like a slouch. It’s a nimble number built of a chugging guitar and pounding drum beat that forms the foundation the whole song sits on. Theres a lot to enjoy from the vocal layers and harmonies to the synth parts that punctuate each line.

The pace gets turned up to the max as we launch headlong into ‘Let’s Defy Everyday Life’. This is classic Fir Cone Children with a more mature edge. It sounds very much like eavesdropping on kids’ conversation as they play. This is pure imagination and the escapism is welcome.

The oddly titled ‘Sandwich Toast, Belly Ghost’ is next with its goth-tinged instrumentation really amps that darkness that is slowly encroaching on this album. The guitars are the absolute stars here, always on the edge of chaotic feedback and howling into the night.

We take the pace way down now with ‘It Feels Complete’. This is the starkest most gloom driven song on the album. It has real Joy Division moments even the darker Cure material influences this song. Donat has really outdone himself here. I love a lot about this track but what I love the most is its pace. He really takes his time allowing the song to reveal itself at its own pace. Trust me when I say, the final minute is sheer genius.

The album closes out with ‘Spider School’, the perfect balance between that Fir Cone Children childlike abandon and the more mature mood of this album. Again, the chorus is king with the song closing on a chant along and a screaming crescendo.  Pure exhilaration.

If you purchase this album digitally there’s a surprise for you in the form of a bonus track. Fir Cone Children covers The Cure. I’ll leave that as a nice surprise for you to check out over on Bandcamp.

I’ve lived with this album a while now. It’s a weird one for me. I’m a big fan of Fir Cone Children and it’s the unbridled joy in the songs that makes me come back to listen again and again. This time that joy has been tempered by the world starting to encroach on the lives of the Donat kids. As a dad myself maybe I’m projecting on to my own kids here. You don’t want your kids to have to deal with reality. That’s our job as parents. Reality comes for us all unfortunately and perhaps that’s what I’m picking up this time.

The upside to all this is we get a new, more direct and atmospheric album that evolves Fir Cone Children for another year. These kids don’t stop growing and neither will this project and that, right there, fills me with joy. Dammit Donat, you did it again!

The Urge To Overtake Time is out now and is available from the Blackjack Illuminist Bandcamp page. You can grab it on tape, CD or digitally.

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

Virgins – Slowly, Long

Last year’s Transmit a Little Heaven EP by Belfast’s Virgins was every bit the bona fide shoegaze classic it had promised to be. I can also attest from first-hand experience that Virgins live is a sonic assault that will live in your memory for a long time after. This formidable band is formed around main man Michael Smyth with David Sloan on guitar, James Foy on drums, Brendy McCann on bass and Rebecca Dow on vocals. After cementing that reputation with live gigs up and down the emerald isle Virgins return with a new single.

I asked Smyth what ‘Slowly, Long’ is all about.

“Lyrically the track speaks of unchecked desire being set free. ‘Slowly, Long’ is the sound of us leaning into our strengths, fusing elements from different genres to bring a fresh, contemporary and exciting sound to a genre. This is the first track we wrote together as a band and definitely has a more gaze-pop feel to it. Mashing pop centric melody against a multitude of fuzz and reverbs.”

The song opens on reverberating chiming guitars before exploding into life and they propel us into the song. Dows vocal performance is dynamic and expressive. Anyone who has seen the band live knows how she embodies the spirit of the songs. The multi textured guitars vary from dreamy and floaty to pummelling fuzzed out chaos.

Production values are extremely high with the band once again teaming up with producer Jonny Woods. You may know Woods as the guitar powerhouse from the band Wynona Bleach. Every corner of the sound stage has something amazing going on. Especially when you get this track into the headphones.

The single comes with a fantastic performance video featuring dancer Anna Tennyson. You can check it out here.

Once again, Virgins have pulled an absolute belter of a single out the bag and it’s obvious, they have evolved their approach. Their sound is more upfront and has a new complexity which makes this a really satisfying listen.

‘Slowly, Long’ is out August 11th via Blowtorch Records. You can stream it on Spotify here or grab it over on the Virgins Bandcamp page.

You can follow Virgins on social media here…

Photo credit

Ebony Alexander Media

Feeble Little Horse – Girl With Fish

Last year I stumbled across the stunning debut album from Pittsburgh DIY noise makers Feeble Little Horse. Hayday was an instant hit with its slacker sensibilities and killer songs. The band have just dropped their second full length album and I couldn’t wait to get it on the turntable. Now it’s time to get some words on to the page and that excitement level is even higher.

The band consisting of drummer Jake Kelley, bassist/vocalist Lydia Slocum, and guitarists Seb Kinsler and Ryan Walchonski refuse to be pigeon holed. Their sound has touch points in many genres but never lingers in one too long. Theres’s elements of shoegaze and college rock and then there’s also folk and psychedelia sprinkled liberally throughout.

The album explodes onto the speakers with ‘Freak’. Slocum’s laid-back vocal playing over the sludgiest guitars ever and it’s the perfect pairing. The song has a sweeping dynamic weaving in and out. Great start to the album.

The lead single ‘Tin Man’ follows with its psychedelic English folk intro. The song punches things up with a scuzzy and carefree chorus. This makes it all the more impactful when we return to that folky, acoustic verse part. This is nuanced writing and is light years on from the songs on Hayday.

The segues neatly into ‘Steamroller’ a subdued number that, again, shows how far this band have come. The wall of feedback in the intro gives way to a measured vocal delivery from Slocum. She gets into lock step with Kelley’s drums giving this song a more defined sound than anything I’ve heard them play yet.

That laid back sound continues on ‘Heaven’. I love the chime of the guitars on this one. Almost like a lullaby, it beguiles you however there’s an unmistakable sadness behind it all. It’s intangible and always just out reach but its there alright.  

‘Paces’ is my album standout track. It comes racing in all demented like a child singing a Spirit of the Beehive song. That guitar riff makes me smile ear to ear. It’s utterly sublime. They make use of that switch up in pace (see what they did there) and its so effective. It makes sure your ear is never bored and always delighted.

‘Sweet’ plays out like you’re listening to two conversations at once. It has the effect to draw you in and really pay attention to what’s going on. This odd duet is yet another example of the band making good use of dynamics, switching up what’s happening to thrill the listener. Oh, and it works.

‘Slide’ returns to that psychedelic folk sound however this time its coupled with some nice electronica touches which makes me think of Grandaddy in places. Ultimately though it’s the give and take between Slocum’s beautiful vocal and that glorious acoustic guitar riff that elevates this track.

‘Healing’ is a jittery, glitch driven intermission. Barely a minute and a half long yet the band still manage to create a small universe in this song. The song seems to ruminate on the marks left by healing, be they physical or otherwise. No mean feat.

We pick the pace back up again with ‘Pocket’. A mesmerising, heady track that blends a poppy chanted chorus with verses that defy definition. Multiple vocal lines criss cross each other seemingly at odds with each other but ultimately resolve into the mantra “Do you wanna be in my pocket”. Then the song just stops and erupts into this fuzzed out screamed section. Man, this band really want to keep you on your toes.

‘Station’ has a clear sixties influence in its melody. This could be a lost Brian Wilson track from the SMiLe sessions. The vocal delivery is absolutely stunning but it’s the multi layered track that draws you in, from the picked out acoustic, to the strange warbles that come in and out. This song is just joy in musical form.

The album closes out with ‘Heavy Water’. A sombre track for the most part it explodes for a moment near the end in an exultant fervour before quietly folding back in on itself.

Girl With Fish is an album that leaves you with more questions than answers. Nothing is handed to you on a silver platter and, most of all, you never know what’s about to happen next. That for me, is what makes this such an important album. This is an album you will come back to again and again and still be surprised each time at what the band have achieved. Let’s also not forget, this is only their second album. I cannot wait to hear where this band goes next.

Girl With Fish is available now on Saddle Creek Records via Bandcamp and all good record stores.

You can follow Feeble Little Horse on social media here…

Lital Hagayan – Singularity

From the garden city of Tel Aviv in Israel comes singer, songwriter, multi-instrumentalist, composer and record producer Lital Hagayan. A stalwart of the shoegaze and dreampop scene over the last couple of years she has treated our ears to a series of sumptuous singles. Always with the dreamiest production and deeply emotional lyrics, her music has touched countless fans hearts and gained her a loyal following. Now she is ready to release her debut album, Singularity, and I’ve been lucky enough to have been given a very early peek at the album. Before we explore the songs in here, I asked Lital what the overall theme of Singularity is.

“The album was created in a very unplanned way. The first song of the album, Eternity, was written after a relatively long period in which I did not create music. And I wrote this song out of a very deep pain, I would say heartbreak, but it was much more than a heartbreak. It’s hard for me to go into details. I had an experience of a loss. A partner that I loved to the core, lost himself in the mental sense of the word. It was a long process that left me with quite a few traumas. The album actually describes my dealing with life in the first year without him, while he is in hospitals, etc.  Even the order of the songs on the album is arranged chronologically, it’s really a journey album. I think anyone would be able to notice the process I went through this year while listening to the album. The album also describes the stages of heartbreak, anger, faith, hope, disappointment. At that time, I started listening to a lot of shoegaze music, dream pop, synth wave, and yes these are some of the musical influences on the album.“

This album deals with an incredibly painful time in Hagayan’s life, telling the story through her music. Let’s turn to the first page and begin.

The album opens with ‘Eternity’. From the opening notes, ‘Eternity’ captivates with its hauntingly beautiful melody. Hagayan’s ethereal vocals glide effortlessly, drawing you into a dreamlike realm where every word feels like a delicate brushstroke on a canvas of emotions. The song’s atmospheric instrumentation adds a touch of magic, creating an enchanting soundscape that feels both intimate and expansive. The pain she described earlier is almost tangible. This is going to be an emotional ride.

From the very first note, ‘Waiting’ sets a contemplative and introspective mood. The haunting vocals immediately draw you into the emotional centre of the song. The stripped-down and intimate instrumentation allows her voice to take centre stage, creating an immersive experience that feels like a personal conversation with the Hagayan. The song’s themes of longing and patience resonate with anyone who has experienced the complexities of love and relationships.

‘Monsters in Your Head’ explores the struggles of inner demons and the battles we face within ourselves. Hagayan’s poetic storytelling paints a vivid picture of the complexities of the human mind, where darkness and light intertwine in a delicate dance. The raw vulnerability in her delivery makes the song feel deeply personal, as if she is baring her soul to the listener. On this track she says “this song that speaks about the paranoia he had about me in his head, the paranoia I called his Monsters”.

‘You Are My’ immediately sets a tender and affectionate mood. Hagayan’s gentle and soulful vocals wrap around you like a comforting embrace, creating an atmosphere of intimacy and love. The subtle instrumentation complements the song’s heartfelt sentiment, allowing the purity of the emotions to shine through. Lyrically, ‘You Are My’ is a beautiful declaration of love and devotion. Her heartfelt words paint a vivid picture of deep affection and connection, the very essence of being utterly enamoured by someone. The sincerity in her delivery makes the song feel wholly personal.

‘Like I Remember You’ is a poignant vignette of memories and the passing of time. Hagayan’s words paint vivid images of cherished moments and the ache of missing someone. From the very first chord, ‘Like I Remember You’ transports you to a world of reminiscence and longing. The tender and lilting vocals instantly draw you in, infusing the song with a sense of vulnerability and intimacy. ‘Like I Remember You’ is a musical time capsule that holds the essence of cherished memories and reminds us of the import of nostalgia.

Hagayan’s cover version of ‘Songbird’ is a stunning and soulful rendition that pays homage to the timeless Fleetwood Mac classic while infusing it with her own unique charm and emotive artistry. This cover showcases her exceptional talent as a vocalist, capturing the essence of the song’s beauty and vulnerability in a way that is both heartfelt and captivating.

At this halfway point let’s pause for a moment. I also asked Hagayan about how this album was recorded.

“Everyone who played on the album, without exception they are all talented and brilliant musicians one and all. This album beyond refuge was also an abnormal experience. I had some very good colleagues and friends who took part in this album, with the drums and bass, and also more guitars recorded by not only me, in one song a good friend of mine jammed on the keys and I arranged the midi notes afterwards, one studio colleague also played some piano in the song Eternity which also was kind of a jam on the song which I arranged afterwards. I mixed the tracks, but my talented studio partner collaborated, which was the best thing I could have! The mastering was sent to one of the best mastering technicians in Israel, which I’m also very satisfied with. Back then, at these times I worked in a big studio and I also rented a little acoustic room that I mixed in the album with my colleague who shared with me that room. Almost every day when I finished my work day, let’s say at around 9-10pm, I stayed in the studio into the night to create and work on my music. It was my refuge, it was my anchor, and it helped me survive my grief.”

 ‘When Words Been Said’ opens gently with a lightly plucked acoustic with dreamy synth pads providing the atmosphere. Hagayan’s lush vocal reverberates over it all. The song is incredibly dynamic with lots of changes in the arrangement as we go on. As a listener it really keeps you on your toes with its false stops and when those drums kick in, wow! She has a real ear for a melody, you’ll be humming this one to yourself for days. As always, her lyrical style is very much heartfelt and on her sleeve.

‘Stay’ is a mesmerizing and emotionally charged track. The ethereal and emotive vocals immediately draw you into the emotional journey of the song. It’s a deep dive into love, longing, and the fear of losing someone dear. The heartfelt words paint a vivid picture of the complexities of relationships, capturing the beauty and fragility of human connection.

The instrumentation of ‘See Me See You’ is delicate and evocative, drawing listeners in with its warm and inviting sounds. The gentle strumming of the acoustic guitar sets the foundation for the song, creating a sense of intimacy and vulnerability. This track is an exploration of understanding and being understood. ‘See Me See You’ reminds us of the power of empathy and the beauty of genuine human connection.

Next up is ‘Alone’. This isn’t your run-of-the-mill love song; it’s a raw and vulnerable confession that is genuinely personal. It’s a revelation of the intricacies of solitude and self-discovery. Hagayan’s heartfelt words convey an authentic vulnerability, like a personal diary entry shared with a dear confidant. It feels like the end of a journey in some aspects.

As if to put a full stop on the experience we finally come to ‘Miss You’. Hagayan’s heartfelt words unveil the complexities of solitude and the beauty found within it. The simplicity of the music speaks volumes, leaving space for the emotions to take centre stage. This track is an absolute treat for the ears in headphones. The ethereal production envelopes you and you lose yourself. Just the most perfect way to close off this musical journey we’ve been on.

In Singularity Lital Hagayan has created some of the most honest and heartfelt songs it’s ever been my pleasure to review. You have to keep reminding yourself that she wrote, recorded, mixed and produced this album largely by herself. It’s an incredible achievement and one that should serve as an inspiration to budding solo artists everywhere. Grief has the power to drive us into the ground and prevent us from engaging with the world. What Lital has chosen to do is to taker her grief and channel it through her creativity. Through this emotional catharsis we now have Singularity. Through her courage we all now have somewhere to turn when our grief threatens to swallow us. Isn’t that most amazing achievement of them all.

Singularity is available to pre order now from the Lital Hagayan Bandcamp page.

You can follow Lital Hagayan on social media here….

Photo credits

Daniel Gan-Or Alon Levin Ohad Elimelech

T.G. Shand – Cinnamon EP

As a big Miniatures fan, I was so happy when lead singer Annemarie Duff returned with her solo project T.G Shand.  Hailing from Ōtautahi New Zealand she is creating some sublime dreampop. She’s released some stellar singles over the last few years. I’m particularly fond of ‘Little Sieve’ not least because it came of a lovely lathe cut 7 inch single (still a very limited amount of those available as I type).

Today she coalesces her last two singles and folds them into the Cinnamon EP. Here’s what Duff had to say on the release.

“I tried to make these tracks an imaginative mix of shoegaze, beats and ethereal floatiness. They come with a classic twist from the 90s shoegaze scene. My shoegaze roots found influences from the likes of Curve, Chapterhouse, Medicine, and equally from modern R&B/hip-hop heroes like Pip Millet and Little Simz. Hopefully someone out there enjoys listening.”

The EP opens with ‘Notions’ a synthwave, lo-fi sweetener. The atmospheric swirling of the electronica surrounding Duffs dreamy guitar chords take us away. The vocal performance is, as always, wholly engaging and I can see exactly why she picked this as her opening track.

Next up is the title track. Offsetting lyrics about baking with the off-kilter instrumentation is a killer move. This is a golden nugget of a pop song wrapped in a fluffy cloud of effects and punctuated beats. I can see this one sitting on many a summer playlist, and rightly so.

‘Fatwood’ is a glorious melting pot of sounds and textures. The fuzzed-out bass rattles against hip hop beats which in turn drives the heavenly guitars. Duff channels her inner Liz Frazer and delivers a vocal performance to remember. This is the sound of someone creating a world for their songs to live in. A video for ‘Fatwood’ will be launched on August 11 over on YouTube, funded by NZonAir, with art direction by Thomas Russell it’s a cool mix of performance and dreamy landscapes.

Her single from earlier in the year follows. ‘WAOW’ (standing for We Are Way Off) it’s another beautiful bit of world building. Duff displays such a light touch yet at the same time it’s such a dynamic track coming in and out. It really holds your interest start to finish!

The EP closes out with ‘Streets’. A chilled number that blends conga drums over an electronic pulse to provide the backing to this delicate song. I can’t help but think of a meadow at dawn, dew hanging on every blade of grass glistening in the early morning sun. As with all her tracks Duffs vocal is the beating heart of it all, this time more malleable and somehow just out of reach.

With the Cinnamon EP Duff has stepped her game up another notch and delivered on each and every track. With able assistance from drummer Cory Champion and the engineering and mastering skills of Bevan Smith, these songs truly do demonstrate why T.G. Shand is one to watch.

The Cinnamon EP is available on all digital platforms and as a 10” mono lathe-cut vinyl via Bandcamp and selected record stores very soon indeed.

You can follow T.G. Shand on social media here….

Dot Allison – Consciousology

Scottish singer songwriter Dot Allison is probably best known for her time fronting the indie dance band One Dove back in the early nineties. However, Allison has produced some absolutely stellar solo albums as well as collaborating with the likes of Massive Attack, Paul Weller and Peter Doherty. Most recently she contributed vocals to the latest Mark Peters album, Red Sunset Dreams which I covered here on the blog. So, it is only fitting that following that release on Sonic Cathedral her new solo album should also be released by the acclaimed indie label.

Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. On the inspiration for this albums themes and sound she has this to say.

“I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together. For me, it is an imagined voice of a conscious universe expressed through music. I see Consciousology as a more psych Heart-Shaped Scars with a fuller, more immersive
sound and so, in that sense, it’s a more wayward, bolder, rule-breaking partner.”

“It’s a plea, an embrace, a longing, a last-gasp, perhaps, imbued through the music, voice, harmony and a harmonic composition, with the lyrics taking an interest in the differing levels of consciousness apparent in all self-organising, natural systems. It takes a less mechanistic, inanimate but more infinitely complex view of the nature of reality and how feelings of love and loss – and consciousness itself – are potentially less ‘molecular’ in nature and more electromagnetic.”

Let’s hit play and explore this musical universe Allison has created for us.

The album opens on the bucolic ‘The Shyness of Crowns’. The strings reminiscent of the great Robert Kirby and his work with the late, great Nick Drake. Whilst there is a very definite folk direction, the track is punctuated with some glorious electronica making this something else altogether. Add to that Allison’s gentle tones weaving around the mix in the most delightful way (headphones are a must!) and you have a devastating opener.

We segue neatly into ‘Unchanged’ the opening picked out chords again bringing our minds back to Nick Drake. It isn’t long until the song opens up into a soaring, uplifting chorus which takes us away on a driving rhythm to the heavens. There’s something colourful about this melody. Like a rainbow coming from the hearts of the musicians.

Things are stripped back to the bone on ‘Bleached By The Sun’. The song leaves me breathless each time I listen to it. I don’t know whether it’s Allison’s harmony singing or the sumptuous strings arrangement, punctuating the song in key moments. This is such impactful song writing, like when she pleads “Don’t give up on us yet, there is more that can be”. Gets me every time.

Allison’s voice really comes to the fore on ‘Moon Flowers’. Voice, guitar and lilting strings lead us into this evolution of a song. The strings, again, are so cleverly used to perfection. Adding the emotional punch at just the right moments. Like hanging tinsel on a Christmas tree. The tree is already beautiful, as is this song. The strings pick out the changes and just draw your attention to how well defined they are. The modular approach to the construction of the track draws my mind to Smile by The Beach Boys but it’s so much more.

We take a sharp detour into Kosmische territory next on ‘220Hz’ (the frequency at which tree roots communicate beneath the ground in the ‘wood wide web I’m reliably informed). The synth pads and atmospherics creating an ambient playground for our ears. The strings and Allison’s voice dance merrily around creating a heady tone poem, a punctuation mark in the midst of the album. This had me smiling from the get go.

‘Double Rainbow’ dials us back into that nu folk sound with strange and eerie electronica piercing through from time to time. To achieve this, Allison actually recorded the electrical activity in a plant which was then translated into pitch variations. You feel like you’re lying in a blooming meadow staring at a summer sky. There’s been a transportive quality to the songs on this album that sharply comes into focus here. That, for me, is the sign of a master of their craft.

We head into a soporific and imagination sparking lullaby next. ‘Milk and Honey’ has that cinematic quality that makes you certain you’ve heard it in on a movie soundtrack somewhere. It’s when the voice and gently picked guitar blooms into the strings and piano opening up an aural vista that’s nothing short of stunning!

‘Mother Tree’ continues that exploration of the natural world that is the underpinning thread in all these songs. The drums in particular eschew the constraints of standard time and explore the song, providing another unique element to enjoy. This is perhaps the most sparsely arranged track so far but Allison’s vocal performance fills every nook and cranny.

The album closes out on relatively straight forward arrangement of ‘Weeping Roses’. Like a classic Laurel Canyon number but given that unique spin that only Dot Allison can. This is up there with Joni Mitchell and Carole King.

Consciousology is one of those albums that just consumes you. Every song is its own carefully constructed galaxy in the universe of the album. The juxtaposition between that traditional acoustic folk aesthetic and the more forward leaning trip hop sound we know Allison for is so refreshing. The production has placed each instrument wide across the sound stage, defining each sound and giving them room to be. It is reminiscent of Nigel Godrich’s best work (Beck’s era defining Sea Change) in that respect.

These songs feel like they could’ve been around for fifty years or more yet at the same time, sound like they’ve just landed from space. That is testament to the intricacy and skilfulness of the songwriter.

 Consciousology is out July 28 2023 on Sonic Cathedral. You can grab a copy on digital, limited edition orange vinyl or CD from Bandcamp. You can also grab an exclusive Dinked Edition copy on vinyl from all the usual indie retailers. This comes on “Flax flower” blue vinyl with exclusive alternative sleeve artwork and a 12” art print signed by Dot.

You can follow Dot Allison on social media here….

Sugar For The Pill – Colours

Sugar For The Pill are a Greek dream pop outfit based in the beautiful city of Athens. The name, as you might have guessed, is a tip of the hat to the seminal Slowdive tune. The band consists of Vana Rose (vocals), Spyros Mitrokotsas (guitars), Elias K (guitars), Stefanos Manousis (bass/keyboards) and Konstantinos Athanasopoulos (drums).

Their debut album, Wanderlust, had me entranced this time last year and I’ve been waiting for some new sounds for a while now. I need wait no longer as the band have just dropped a brand-new single called ‘Colours’.

Right from the opening notes, ‘Colours’ grabs your attention and refuses to let go. The song’s infectious melodies are brought to life by a dynamic arrangement that seamlessly merges elements of alternative shoegaze and indie pop.

One of the standout features of ‘Colours’ are the vocals. Rose’s voice effortlessly soars over the music, conveying a range of emotions from introspection to a fiery passion. The chorus of “Colours” is undeniably catchy, leaving an indelible imprint on your mind. It’s the kind of chorus that demands to be sung along with, providing a cathartic release. The song’s uplifting energy and infectious hooks make it a surefire hit and one that will be showing up in many a summer playlist.

There is also a brilliant music video to accompany the release which you can see here.

‘Colours’ is a single that immerses you in a kaleidoscope of vibrant sounds and electrifying energy. With its bold blend of genres and captivating lyrics, this track delivers a refreshing and exhilarating listen.

You can grab a copy of ‘Colours’ now over on the Sugar For the Pill Bandcamp page.

You can follow Sugar For The Pill on social media here….

Helicon – God Intentions

Glasgow’s psychedelic generals Helicon return with their third album, God Intentions. Once again releasing on one of my absolute favourite labels, Fuzz Club, the band are promising their most ambitious, collaborative and psychedelic record to date. For those of you new to the band they were formed in 2011 by brothers John-Paul and Gary Hughes in East Kilbride. Signing to Fuzz Club in 2017 they have since released an incredible amount of music, three singles, nine EPs, three studio albums and a Fuzz Club live session album to be precise. These days the band consists of the Hughes brothers, Graham Gordon, Mike Hastings, Mark McLure, Billy Docherty and Seb Jonsen.

On the subject of the new album John-Paul had this to say.

“‘God Intentions’ is inspired by my brother Gary’s story and a few other influences. It’s a journey through regret, redemption and resurrection. Our familiar darkness is there, but the record carries a fresh and uplifting positivity. I had a clear idea of how I wanted it to sound and feel long before it began. We’re so pleased we achieved it. “

“We managed to hold true to the idea whilst allowing the string quartet, Sotho, Lavinia, Anna, Mark, Jason, Luigi and other collaborators the space to put their mark on it. The album art, by San Francisco-based collage artist Nina Theda Black, captures the depth and breadth of themes and sounds we brought together to create a kind of motion in your mind.”

The album emerges from the eternal nothingness, like a signal from the edge of the universe with opening track ‘Dark Matter’. An instrumental piece full of menace and foreboding. It’s screeching feedback and pulsating rhythm resolve back to silence before the album bursts into life.

‘Flume’ gives us our first taste proper of what God Intentions is all about, the juxtaposition of the darkness of this subject matter against the utter joyous music. This has all the fun of the fair; the whirling organ is utterly triumphant. The swooping guitars adding texture whilst the rhythm section keep it tight at the back.

As the album moves into ‘Château H’ it becomes immediately obvious that this band are no one trick ponies. Oh god no, not by a long chalk. What opens as disco driven guitar anthem suddenly evolves into eastern flavoured magic carpet ride. We’re transported into orbit and soaring through the cosmos. The violin pulls off some serious riffs, the kind you’d normally expect from screaming guitar solo. It’s that experimental approach that makes this band and this album. More on that as we go on.

A gentle tabla and sitar intro bloom into this forward leaning rhythm that carries us into ‘Heliconia’. Guitar picks up the mantle and cosmic vibes ensue lifting this song into and another place. Bass walks around in the spaces between picking out the melody and holding it down. More and more textures join the throng before the song absolutely explodes into lightspeed. The unmistakable vocals of Lavinia Blackwall creating a wailing wall of pitch perfect tones that drive this song into memory. This is going to be setting off mosh pits wherever it’s played live.

Giving us a breather next is the sedate and serene ‘Disobey’. The watery lead guitar warbling against the sumptuous lolling bassline is utterly compelling and transportive. Layer that up with the sweeping string section and sitar punctuating the verses and you have what could be the theme music for a euro art film.  Every song is inhabiting its own place within the world of God Intentions, yet all sound at home together. None more so than this vignette.

After that small detour we return to the grand lysergic soundscapes of ‘Zen Roller’. The fuzzed-out guitars shoegaze wall of sound makes this an absolute must to experience in headphones. It’s like the guitars are swirling around your head, rattling about your skull. The treated vocals add an extra dimension of “outthereness” is that a word? If it isn’t I’m insisting on it being added to the dictionary next to a photo of Helicon. I’m a big fan of fake stops too. When the song returns the organ ramps up and the maelstrom intensifies not receding until the song climaxes.

‘Whiplash’ maintains the momentum with some really tasty slide guitar work. Whilst only a short number it fairly packs a punch. The riff is absolutely massive and leaves you crying out for more.

It’s the turn of the title track next which takes the feeling of melancholia and slowly evolves it into something epic. We start off quietly enough with a sombre piano refrain before that trademark wall of noise appears ushering in a sympathetic guitar line. When those pauses, full of static and chaos, come around you feel yourself lift and held motionless. That feeling of being completely at the mercy of the music, it’s overwhelming and addictive. I always find myself skipping back to enjoy it just one more time.

‘Last Tango in Glasgow’ is the albums ballad, a beautiful melody to a slow shuffle. It sends you to a smoke-filled dance hall at the end of the night. Whiskey on your breath as you take one last turn around the floor. Again, the band make use of some really interesting sonic textures to make this song something really special.

If you’ve been following Helicon for a while, you’ll know the previous single ‘Tae the Moon’. It’s a full rework of ‘We’re Gaun Tae the Moon’ from their 2015 Gehenna EP. Whilst that guitar riff remains as majestic the song now has a really spacey vibe, like it’s been hit with gamma rays and has started to hulk out. This feels like a technicolour trip at lightspeed into another dimension. The band are throwing everything into the mix creating a sonic whirlwind that blows your mind. Phew, that was one wild ride.

The band bid us farewell with one last tone poem at the end of this rainbow. ‘Starlounger’ closes things off in a celebratory but gentle way as Helicon head off into the cosmos.

In God Intentions Helicon have demonstrated what a collaborative and exploratory approach to making music can achieve. They make the complex feel like child’s play when it’s anything but. That level of ease comes from their collective years of experience, undoubtedly, but it also comes from having trust in each other, and their collaborators to follow the vision. To honour the songs and where they lead. In doing so they have created something truly unique and special.

God Intentions is out now on Fuzz Club and is available on gold nugget vinyl.

You can follow Helicon on social media here…