Acid Wave – heart2heart

Hogar Records from El Paso in Texas have quickly established themselves as a label with an ear for quality music. Recent releases from EEP, The Rosie Varela Project and Ross Ingram are testament to that. You can imagine my joy to hear of a new signing to the label. Acid Wave are a dream pop band consisting of drummer/vocalist/songwriter Audrey Villalobos, keyboardist/vocalist Jet Gil-Robert, guitarist/vocalist Eva Vasquez, bassist/vocalist Isanette Olivarez, and drummer/vocalist Mary Moreck. Formed in 2018 the band have been making a name for themselves with their dynamic live performances and are now set to release their new album heart2heart. I asked Villalobos how this album contrasts with the bands previous work.

 “I wanted to go for a different tone with this album. It acts as a love letter so I wanted there to be more emotion in the songs.

I just felt so much love and I wanted to put that into songs for my partner, but heart2heart isn’t just a love story; instead, it interweaves all the growing pains of learning to love yourself too.”

Sounds like we’re in for an emotional ride. I can’t wait to dive in.

The album opens on the luscious tones of ‘New to Me’. The band are easing us in gently with a short but sweet introduction to their sound. The refrain of “You make me smile, I don’t want to lose this” is beautifully delivered and hooks us in.

Next up is the more pacy ‘Everything and Nothing’. There’s a great exchange here between the guitars and keyboards, almost like a call and response. It’s when this song moves into the chorus that we get a taste of what Acid Wave can do with a hook. You too will be smiling ear to ear by the end of this song.

‘Summer Moon’ is a more stripped back track until that chorus wraps us in its arms. This song is a real dichotomy. The lonely almost distant verses blossom into this warm and joyous refrain that just elevate this track into something special.

The drums get a work out on ‘Peach Girl’. This track is so unusual and intriguing. Everything follows the one melody line in the chorus which really shouldn’t work, but here it does. In fact I’d say it’s what makes this song. The drums however are next level, carving out a marching yet skipping rhythm. This would be an amazing song to hear live!

We take a short breather with ‘Lullaby Interlude’. Utterly beguiling and comforting it’s a massive hug of a song. The higher register guitars on this I particularly loved, reminding me of some of Orange Juice ‘s more romantic numbers. High praise indeed and well earned.

No sooner has it begun then it fades out and we’re into ‘Blushing’. It’s becoming more and more apparent as we get into the album the importance this band place on their hooks. This chorus is exquisite. The drum break leading into this reverb washed moment of utter clarity, where this song pulls into absolute focus. It’s so visceral and moving.

As if to say “hold my beer” in comes ‘Make Me Drown”. This song just soars into the chorus, like flying through clouds. The verse is beautifully punctuated with the drums off kilter rhythm pulling right on to the beat for the change. The guitars here range from dark and brooding undertones to porcelain bright chimes and it’s just so effective. The Death Cab like keyboards only further endears this song to me making it my album highlight.

‘My Favourite’ is a light and airy love song. The verses punctuated this time by the bass line, playing off the guitar lick. It’s a neat trick and really effective so that when that chorus appears, it’s all the more effective. The band play about with the dynamics with this track dipping in and out keeping the listener on their toes.

It’s that use of dynamics that comes to play next on ‘Basement of My Brain’. We start really minimal before slowly bringing the band in gradually so as not to overwhelm the song. It would’ve been so easy for them to make this another gossamer light chorus but in a show of quite savvy restraint they don’t. Instead, they allow the vocal to remain solo, single tracked. Much like our own inner monologue. It’s testament to the quality of the vocal that this not only works but actually it makes the entire song.

The album closes out on the chiming chords of ‘Sulli B’. If a song ever sounded like a farewell, it’s this one. Its slow tempo allows room for the emotion in the vocal to shine through. When Vasquez sings “Can’t seem to find the tears, I wish I could cry” you absolutely believe it. This connection is what will send you back to the beginning to listen again, it’s the perfect end to this album.

In heart2heart, Acid Wave have created a moment in time that’s all theirs. We’re welcomed into it and in that moment, we dream. We dream of love lost and hearts on fire under an infinite starlit sky. That is a remarkable feat and one that is going to win this band a devoted following.

You can grab a copy of heart2heart from May 5 2023. It’s available on CD, vinyl and download from Acid Wave Bandcamp page.

You can follow Acid Wave on social media here…

Callière – Freefall Into Heaven

Callière is a name I was very familiar with. After collaborating with my friends in The Churchill Garden and Echodrone’s Jackie Kasbohm things had gone a bit quiet. I needn’t have worried as Andrew Rose has returned with a full-length album no less! This time he is stepping away from the collaborations of the past and giving us a truly solo album called Freefall Into Heaven. To find out more about the project I asked Andrew to tell us a little bit about himself.

“Callière is a musical project I began as a teenager back in 1984, an umbrella name for solo and collaborative work that became somewhat side-lined when I joined the BBC as a radio sound engineer and studio manager in 1990 – just in time for the shoegaze revolution and my chance to meet and work alongside many of  the great UK bands of the initial flowering of shoegaze – Slowdive, Ride, Chapterhouse, Lush, The Telescopes and loads more – many acquaintances that have been renewed in recent years.”  

“Having bought a guitar from 93MMFTS’s Nick Noble a few years ago and been gifted the Vox amp used by Christian Savill for Slowdive’s first reunion gigs, I finally returned to serious songwriting and recording at the end of 2021, inspired by the Beatles Let It Be documentary to just pick the guitar up and get on with it…”

With that pedigree and influence I can’t wait to dive in.

The album opens with the short and sweet ‘Milton Cross’. An ode to the radio announcer who’s voice ushers us in over some of the tones and textures we will hear later on the album.

This leads into the pounding intro to lead single ‘Hollow’. It’s a battle, a push and pull between the light of the chorus and the darkness in the verses. There’s a real sense of tension in those verses which just explodes into the chorus where we soar heavenward. The feeling of joy is palpable and you can’t help but be swept up in this songs uplifting second half. If you are anything like me this song will soon become an obsession.

The aptly named title track follows and you do feel like you are falling into this song. The gentile, lyrical lilt Rose employs is both soothing and utterly engaging. The soundtrack to this song is both glacial and heavenly. The synth parts in particular are really affecting, cutting through the mix like icicles in the snow. It’s a beautiful ballad in the key of bliss major.

Next up is ‘Reminiscence’, opening on some quite warm ambient guitar tones. These are contrasted against the steel like chime of the synth pads. Rose this time creates an almost woodland feel with his choice of percussion. Sounding like a mix of drums and wood blocks playing an other worldly waltz. It really makes this song stand out and, as a listener, you sit up and really pay attention.

We’re shook from our reverie nest though. Rose goes proto punk on us with the spiky delivery of ‘Foreign Land’. Whilst we feel we are now listening to a different artist altogether Rose makes a very clever move. Halfway in he reminds us this is Callière with an instrumental break using some dreamy tones before returning to the pacy final verse.

The tempo comes way down on ‘The Artist Sits Alone’. His Gallic surroundings seep into every corner of this song. Close your eyes and you see this being performed in the dark below a mirror ball. The glittery light embodied in every note of that sumptuous guitar line.

We are treated to a spacious instrumental next named for the band itself. ‘Callière’ features a gently strummed acoustic guitar playing flamenco style chords over an ambient backing of tonal synth and heavily reverbed guitars. This feels like floating and falling at the same time. Utterly beguiling.

This segues neatly into more traditional rock stylings of ‘Another Sunset’. Again, Rose employs a steady ambient drone as backing here but this time his vocal is very much front and centre. Voice and drums lead the melody of this song foiled by the wash of synths and strings. It’s a really effective device and makes this sound like a futuristic English folk song for an intergalactic audience.

The voice of Milton Cross returns for ‘Radio City’. A final tone poem that bookends the original songs of this album in fine fashion.

To close the album Rose has an extra special treat for us. I’ll let him explain.

“One song sits slightly apart from the rest: the final song, ‘To See You Smile’, is a cover of a song recorded by Even As We Speak for their 1993 Sarah Records album, ‘Feral Pop Frenzy’. Here it begins as a string-quartet-accompanied duet between the original EAWS singer, Mary Wyer and myself that gradually builds in speed and volume, with new harmonies from Mary, until exploding into a second half of increasingly incoherent shoegaze guitar noise, incorporating fx-distorted guitar solos from the 1993 original, and resolving – A Day in The Life-like – into simple hanging guitar reverb tones. (I’m pleased to say this was recorded with the full approval of Even As We Speak and the song’s original writer and guitarist, Matt Love.)”

It really is quite an extraordinary track and a wonderful way to close out the album. The interplay between Rose and Wyer is perfect, their voices harmonising effortlessly. That grand cacophony of an outro sending us off in fine fashion.

Freefall Into Heaven is a stunning journey of an album. With Rose nodding at his myriad influences throughout, never mimicking, always reinventing and sculpting those tones into the patchwork thread of Callière. This is especially evident on the closing cover version as he stretches those collaborative muscles that he knows so well. This is an album you will return to time and again, each time finding something new, a texture or sound you missed last listen. That to me is the sign of a future classic.

Freefall Into Heaven is released on April 7th 2023 and will be available over on the Callière Bandcamp page.

You can follow Callière on social media here…

The Dawdler – Tracing Spirals EP

Back in 2019 I was absolutely floored by the debut album from Newcastle-upon-Tyne based musician John Edgar. He had made his name with bands such as Okay Champ, EAT FAST and Nately’s Whore Kid Sister. The Dawdler was something totally different. Keith in Ballachulish was a bold and uncompromising album of quite stunning fragility and nuance. It scooped my album of the year in 2019 and remains a firm favourite to this day.

Since then, John has released The Pursed Modern EP and Signs of Growth EP. Both maintaining that high quality of songwriting and production.

It absolutely made my day when I heard a new EP of songs was finished. The Tracing Spirals EP is imminent and I’ve been given a sneak peek. Before we dive into the songs, I asked John to give us a bit of an intro to the EP.

“Recorded and produced entirely at home and alone, this EP is about disability, immobility, sleep, and nostalgia. An honest sketch of my restricted life. Worsening disability and dysarthria (speech and vocal cord deterioration) has brought about my decision to make as much music as I can while I can. A home-made, DIY approach means I can work when I’m able to and not worry about meeting other people’s expectations or demands.”

“I made this EP with sleep in mind. I sleep a lot and spend loads of time in bed listening to ‘sleepy’ music. I wanted these tunes to be a worthy sleep companion for any fellow slumber fiends out there. I’m reluctant to use the ‘lullaby’ word, but I just did.”

“All the vocals are quadruple tracked and whispered at the volume of a snoring mouse. The guitars are fingerpicked and thumbed as gently as I could possibly manage. The synths are all snippets of my demos slowed down, stretched, and layered. Intimacy, warmth, loneliness, nostalgia, quiet, sleep, immobility, disintegration, weed. These were the main bubbles on my EP spidergram.”

“All the vocals are quadruple tracked and whispered at the volume of a snoring mouse. The guitars are fingerpicked and thumbed as gently as I could possibly manage. The synths are all snippets of my demos slowed down, stretched, and layered. Intimacy, warmth, loneliness, nostalgia, quiet, sleep, immobility, disintegration, weed. These were the main bubbles on my EP spidergram.”

The EP opens on the simply stunning ‘Never Go Far’. Slowly plucked guitar couches his warm and comforting vocal. The song’s open and honest lyric cuts straight to your heart. “Don’t be scared I’ll Never Go Far. I’m always scared so I Never Go Far”. It paints a vivid picture of Edgars life that is immediately identifiable. He grabs your empathy and shares his with you. On his Keith in Ballachulish album there’s a song called ‘Sylvie’ which has been my favourite song of his since I first heard it. It shares that empathic quality. I now have a new favourite song.

‘Way Back Home’ has a more sombre ambience. The guitar pulsing like a beating heart as Edgar’s voice weaves around the mix. As the song goes on those synths he mentioned slowly emerge and grow until they consume the closing notes. Once again, the lyrics are really powerful. The moment the words move from “I saw the whole thing burn to the ground” to “Can’t find my way back home” is just epic.

The sound of reverse synth lines leads us into ‘Break’. This song truly has that lullaby feel. The stop start in the chorus is a great but subtle use of gentle dynamics to elevate this track to another level. Like a lot of Edgars songs this one is over before you know it but that too is so clever. His songs never out stay their welcome leaving you wanting hear them again. Immediately.

The EP closes on ‘High in the Bathroom’. This one sparkles like the sun on still water. The synth pads are like porcelain and the harmonised vocal lines exultant. It’s a beautiful little sound study and the perfect way to round off this collection of songs and send us off to our dreams.

As he has so many times before, Edgar crystalizes his vision with pinpoint precision. This EP is a love song to slumber. To the magical idyls of our imaginations. As always, our narrator’s heart is not just on his sleeve. It infiltrates and penetrates every moment. Like a silent companion it holds our hand until we slip off into our own dreams.

Tracing Spirals is out on March 31st from The Dawdler Bandcamp page.

You can follow The Dawdler on social media here…

Waves Crashing – The Viewing

I was overjoyed to hear that Olympia, Washington  based post wave / shoegaze quartet Waves Crashing are back. They have just released their new EP called The Viewing. The band consist of Josh Calisti (guitar, vocals), Bryce Albright (drums) and Joshua Charette (bass). I covered their previous EP High / Low which you can read over here.

I absolutely loved their previous work so I was keen to ask what this EP sounded like.

“With their latest release, the 4-track EP, The Viewing, we hear the band diving sonically deeper than ever before to bring some of their most well-crafted and beautiful songs to the surface. The feature single “Life on Display” has been very well received with continued radio support from KEXP Seattle, DKFM Los Angeles and WXNA Nashville. With this release, all is on display for the world to hear for themselves.”

That all sounds very promising. Let’s dive in and see what the band have been up to.

The EP opens with the pacy ‘Automatic’. Fans of DIIV will find a lot to love here. There’s a tight energy in the verses which opens up on the choruses. There’s a nice drop out section mid song with some spoken word samples before the song erupts again.

That’s followed by lead single ‘Life on Display’. It reminds me of a shoegaze ‘Lovesong’ by The Cure. It’s so atmospheric, guitars soaring whilst the vocals keep the song under control. It’s the bass driving this song. Its purposeful and punchy delivery working hand in hand with the drums to really breathe urgency into it.

‘Voices’ is next, switching up the tempo with a chilled-out intro which blooms into this chorus Billy Corgan would kill for. That switch in dynamics is so skilfully executed, making a really satisfying listen. For me the fuzz tone on the guitar in that chorus is the star here. It’s massive! At the risk of saying the same thing in two blogs, proper widescreen music.

Those hushed opening tones continue into ‘High Horse’. It’s a glorious take on that Philly sound I love so much. Again, the bass steps up, this time to carry a bit of the melody through the verses. It really helps make this song leap out the speakers at you. It’s a short and sharp number which leads us into a Bandcamp exclusive track.

‘Outro’ is a moody instrumental which evokes the feel of small-town America. Much like the soundtrack for Twin Peaks did. It has that eerie, other worldly quality that really endears it to my ears. It’s absolutely beautiful and the perfect way to round out this EP.

The band described the songs on The Viewing EP as “well crafted”. For me that’s an understatement. Everything from the songwriting, production, dynamic choices, sequencing and arrangements are all next level. This has become one of my regular listens, especially in the evening for some reason, and one I’m sure will seep into your consciousness and take over.

The Viewing EP is available now over on the Waves Crashing Bandcamp page. You’ll find it on download, CD and an exclusive vinyl release featuring this EP and on the flip side their previous EP High / Low. It comes on numbered limited edition transparent coke bottle green 180g vinyl.

You can follow Waves Crashing on social media here…

Premiere – WOHN – Fire Smoke Ashes EP

I received a welcome message from my good pal Michael Smyth (Virgins / Old Crow Promotions) to tell me about a new EP from a band he’s promoting. What do you know, it’s Coleraine based power gazers WOHN, who, observant readers will remember, I covered last year. Well, they’re back with their Fire Smoke Ashes EP and I couldn’t be more excited to be premiering it on Static Sounds Club.

The band, featuring John Wisener (Singer. Guitar), Matthew McVicker (Lead Guitar), Dylan Norton (Drums) and Reece Gordon (Bass) take influence from the jagged beauty of the surroundings in their Northern Ireland home. Here’s how Michael describes their sound.

“This juxtaposition of elements runs throughout their debut EP, often pairing flannel-soaked distortion against jangle indie pop or a gently strummed progression against a wall of gazey fuzz. It’s this witches brew that gives Wohn their own voice and scream, making them one of Northern Irelands most exciting up and coming bands.”

I couldn’t agree more! There’s something about this band that caught my ear right away.

That started when I heard opening track ‘No Shelter’.  This track heads in a post punk direction with its angular guitar attack against almost spoken word vocals in the verses. The chorus simply takes off heavenwards. Soaring guitars lift Wisener’s powerful vocal delivery. His emotive screams in the closing section really make you sit up and take notice.

Listen to ‘No Shelter’ here

‘Honey Bubba’ is a different kettle of fish altogether. It blends the Celtic syncopation between bass and drums of a band like Big Country with the propulsive dynamic of Nirvana. It’s a strange mix of styles which on paper shouldn’t work, but it does, my god it does. Norton’s drums are incredible and tie this song together, the constant thread. This allows the guitars to work their magic, often spinning on a dime to morph into the next section.

Listen to ‘Honey Bubba’ here

We close out the EP with the hazy, lazy title track. This song conjures up that post party, smoky atmosphere. The suns first rays creeping through the curtains as you replay the previous night in your head. It’s a wonderfully emotive track, never rushing, everything taking its time and finding a place in the mix. Guitars swing from sparse strumming to blasting out the fuzz. Drums rolling, constantly driving the song forward. Bass dancing, picking up the dusty end. It’s a perfect closing track and wraps up this EP nicely.

Listen to ‘Fire Smoke Ashes’ here

This EP has been a wonderful surprise. WOHN showcase the extent of their ambition across these three songs. From a wall of fuzzy sound to the delicately picked sounds of the title track the band adopt a chameleon approach to their music. They are wise enough to know that the music serves the song and deliver on this each time.

You can grab a copy of the EP over on Bandcamp now.

You can follow WOHN on social media here…

Les Nadie – Destierro y Siembra

Dirty Filthy Records have done it again. Yet another astounding release this time all the way from Córdoba Argentina. Les Nadie (Nobody) are a desert heavy-psych duo with Juan Codne on guitars and vocals and Rodri Deladerova on drums. They’re building on the legacy of bands like Los Natas, Dragonauta or Los Antiguos to create something new. The dynamics they employ move their sound from blistering stoner doom rock to the shimmering tones of shoegaze.

Destierro y Siembra  or Exile and Planting was released digitally last year to rave reviews. To give you a measure of the excitement around the album it’s now receiving its vinyl debut with two bonus tracks. Even more impressively there are four record labels coming together to ensure this album gets a worldwide release.

The album kicks of the with slow and steady majesty of ‘Grito el indio’. Things chug along nicely until that final minute when the song erupts and blooms into this soaring flight through hellfire, complete with demonic laughing. What a start.

‘Zhonda’ picks the pace up with hammer blow riffs and spacey vocals. This track is wonderfully dynamic, dropping out the big licks for the sung passages only to return at full volume and intensity in the instrumental sections. It’s hard to believe this is just two guys.

We enter the desert wasteland for ‘En Tu Destierro’ or ‘In Your Exile’. The barren heat and despair are palpable in this performance. The vocals cry in anguish and the drums echo the stumbling steps of our exile. The guitar is particularly expressive, picking out light and dark to great effect.

The demonic entity returns to haunt us in ‘Helleden’. This is something totally new. We swing from this gorgeous rolling riff to the lightest and most gentile of vocal lines. For a song called ‘The Hell’ things are remarkably chilled and laid back. I’m not sure I’ve heard this approach to songwriting before. It so refreshing and unexpected that it really made me sit up and take notice.

The big licks return in full effect for ‘Babas Dallah’. When this goes off, man it goes OFF! It might be the contrast to the previous track but this one blew my mind! There is live video to accompany this one which captures the band playing in the sweltering heat. You can check it out here.

The call and response dynamic between vocals and guitar return on ‘Del Pombero’. Codne demonstrates an enormous lung capacity with a held note that stretches on and on. We enter space rock territory with intergalactic tones entering the fray making this my album stand out track.

‘Venenauta’ is a short musical interlude. A tone poem or mood piece. It’s an eerie one that cleanses our palate.

We’re back with the ten storey riffs with ’Mal Viaje’. This is heavy stuff, like Black Sabbath heavy. The band play with a real purpose here. Locked in sync, drums and guitar don’t so much do battle but lead each other through, supporting each other all the way. I might be mistaken but there may be some Janes Addiction influence here too.

The album closes out on the other worldly ‘Hellkam’. It’s spaced out sonics driving the grove of the guitars and the drums ever amazing rhythms. Pay close attention to how the band seamlessly shift the tempo up and down without once falling out of time with each other. This is impressive stuff and the perfect way to finish the album.

Les Nadie have turned me into a fan for life with this collection of songs. The hype is not just lived up to but exceeded in my ears. I keep coming back to, this is just two guys. How on earth do they sculpt these infinite and complex sonic worlds between them. It’s a mystery but a mystery I’m happy to leave unaddressed. When a band creates magic such as this, it’s best to close your eyes and just let them take you away.

“Destierro y Siembra” comes out on 21th March 2023 via Spinda Records (EU), in collaboration with Psychedelic Salad Records (Australia), Echodelick Records (USA) and Dirty Filthy Records (UK).

The record comes on Black 180g Vinyl or Orange 180g Vinyl. There’s only 150 copies of each so don’t sleep on this one.

You can follow Les Nadie on social media here …

Trillion – So Soon Now

Is it really three years since I last took to the keyboard to extoll my love of Australian gazers trillion? This five-piece outfit blew my mind with their Move to You EP back in 2020. You can read that blog in full here. They return to us, triumphant, in 2023 with an album, no less, called So Soon Now. So, who are trillion?

Well, trillion are from Sydney, Australia and consist of Steve Hartley (guitar/ vocals), Darren Barnes (bass/ programming) Sarah Quirk (guitar/ vocals) Rohan Mackenzie (guitar) Sean Vella (drums) and Megan Liu (guitar/ vocals). Their sound is classic heavy shoegaze drawing on influences like My Bloody Valentine, Blonde Redhead, Ringo Deathstarr, Peel Dream Magazine, Deafcult and Flyying Colours.

The band have the following to say about the new album.

“So Soon Now brings together driving basslines and blistering drums, layering these with hazy vocals and multi-textured fuzz to create crashing caverns of sound and subtle yet sonic sweeps of light and dark. We recorded So Soon Now over about 6 months across several studios, helping us nail the sound we wanted and deliver a total of 10 tracks, each of which displays different characteristics of our love for sonic mayhem.”

Sonic mayhem you say? Sounds right up my street!

The album opens on the title track and right away we are swathed in gorgeous textures of fuzz guitar. Those complimenting male female vocals picking out the melody from way down, deep down in the mix while the guitars explode all over them. This is an amazing choice as an opener and has me excited for what’s next.

What’s next is the dreamy ‘Lo-Fi Days’. The soporific melody is really quite intoxicating. Whilst not holding back on the fuzz the band somehow make this sound like an out and out ballad. I love how it comes back in after the false stop. That totally caught me off guard and made me smile. Don’t you love it when a song surprises you.

‘Atomic Sunshine’ follows, led by a groovy, baggy bassline. It’s a sparser mix in places than previous tracks letting us hear another side to the band. The dynamic change in mood as the band steps back for a moment and then come back in all at once is so impactful. Vocals too are more up front and centre here letting us soak up the textures of their interplay.

The single ‘Cherry Blossom’ follows with its bombastic, psychedelic tightly locked groove. A song about the judgement that comes with living life to the fullest. Vocals here reminding me of Jefferson Airplane at their height. Guitars warping and bending around each note adding to that other worldly, trippy vibe. That breakdown mid song is the definition of heavy gaze for me. It’s not hard to see why the video for this track has been has been getting a lot of love.

Changing the mood completely is the lighter than air fuzz pop of ‘Kusanagi’. From what I can glean online it’s a legendary Japanese sword of ancient myth. I could be wrong so don’t quote me on that. What you can quote me on is that this song is the business. It’s fuzzed out intro fooling us into thinking we are about to hear more super heavy gaze. The song kicks in for real on the vocals lifting us up and flying skywards. The vocals are next level on this track and I can see this serving really well as a single.

This is followed by my album highlight, a woozy, fuzzy behemoth called ‘Falling Down’. The guitars on this are absolute dynamite I just love that heady impenetrable fog of a sound they make. When that heavy fuzz guitar kicks in on the chorus it takes your breath away. This is a band who have done their MBV homework. The influences here drawn from B-sides and EP tracks. I really appreciate the effort as this is simply stunning. The fact that there is no bass or drums on this only makes it more amazing that it’s able to hit so hard.

‘Take it Slow’ brings the band back in melodic form. Really zone in to the drums on this one. They are practically dancing. It adds another new dimension to this bands repertoire. The guitar riff is so hooky as are the punchy vocals throughout. They float over the top of this glorious wash of rhythmic joy. Check out the cool video here.

As if taking a cue from the previous song, ‘Close Your Eyes’ takes it slow and steady. Whilst that steady wall of chaotic fuzz hangs in the air behind it there’s some cool stuff happening. A delicious guitar melody is ringing out whilst that Jefferson Airplane style vocal interplay returns. Overall, this is a hypnotic tune, you can’t quite believe its over when those last distorted notes ring out.

‘The Silent Sea’ has that epic power ballad swagger about it. That is if it wasn’t absolutely buzzing and reverberating with crushing fuzz. That transforms it to something else, something we haven’t heard from trillion as yet. This feels new and exciting. The vocals sound colder and more distant than usual and when the lead guitar arrives, it’s enormous sounding. Towering over the rest of the track. That almost reggae section in the middle had me scratching my head but my god, it works. There was a lot of risks taken on this song and they all pay off in spades.

The album reaches its climax with ‘Sometimes It’s Alright’. A gorgeous tone poem of reverse guitar parts, layered and mixed in a most pleasing way. A lovely way to close out the album.

With So Soon Now trillion have sculpted a love letter to the bands who came before them without ever straying into pastiche. The creativity on show is breath-taking throughout and in places breaks new ground. That kind of songwriting is what keeps the gaze scene vibrant and alive. It’s what make trillion absolutely crucial listening.

So Soon Now is available digitally from trillions Bandcamp page. Alas, no vinyl option as yet.

You can follow trillion on social media here…

Krypton Bulb – Jackie’s Man

Every time I hear that the Fuzzed Up & Astromoon Records label has a new release my excitement levels go through the roof. Doubly so when that release is the new single from Dublin’s hottest new act, Krypton Bulb.

This band delivers high octane, gutsy rock ‘n’ roll. They have developed a reputation for incendiary live performances which led to Fuzzed Up & Astromoon releasing a double A-side lathe cut 7” single. That single, ‘Let Me Tell Ya / Come On Over’ remains a firm favourite of mine to this day.

They return this week to launch their brand-new single ‘Jackie’s Man’ with a live show in the beautiful surroundings of The Sound House venue on Dublin’s Eden Quay. The single will be released digitally by the band with a 7″ vinyl release coming out on Fuzzed Up & Astromoon Records.

The track has that dirty garage energy that we all love so much however there’s a real glam swagger in the pounding drums. As always there’s a hook that doesn’t let up making this another sure fire hit for the band.

The release is accompanied by a brilliant video created by long term collaborator Michael White which you can check out here.

As performers go, Krypton Bulb have pretty quickly developed a reputation for unpredictable chaos on stage making them a must-see live act. If you like what you’ve heard and you want to head along, the show is on Saturday 25 February at the Sound House. Tickets are €10 and can be bought from Eventbrite here.

Support comes from lo-fi psych-garage-punks Thee U.F.O whose latest album release ‘Ponderous Fug’ has been a regular spin here in the clubhouse since its release. They will be showcasing new material from their upcoming follow up album!

The 7” lathe cut single of ‘Jackie’s Man’ goes on sale Friday 24 February from Fuzzed Up & Astromoon Records Bandcamp Page. If you want a copy, I’d recommend being ready at 8am GMT hovering over that buy button. This is going to fly!

You can follow Krypton Bulb on social media here…

Last Tourist – Last Tourist

I’ve been a fan of Leeds dark gaze band Last Tourist since the release of their 2020 single “Public Service / Are We Just Algorithms?” In my review, which you can read here, I mentioned their influences were bands like Joy Division, Interpol, Suicide, Diiv and The Jesus & Mary Chain. I also made mention that their sound was a heady concoction.  That heady concoction has been brewing and their self-titled debut album is the result.

Since that singles release the bands, line up has evolved somewhat. Last Tourist feature John Wellby (guitar, vocals), Nick Noble (guitar, vocals), Adam Simpson (synth and programming), and Jason Booth (bass guitar, bass synth), with the album also featuring guest appearances from Whimsical’s Krissy Vanderwoude (vocals) and Slowdive’s Simon Scott (drums).

My excitement levels are piqued so let’s dive in.

The album opens on the soaring ‘Riding Seas’. The pulsing bass, like the song’s heartbeat, gives life to the glorious wash of guitars and synths. The band set their stall out early on, this is going to be quite a ride.

I’m into familiar territory next with the single ‘Public Service. When I covered this song previously, I said “Public Service” is a darkly glorious synthwave meets shoegaze blend. Shimmering synths fight with 10-foot-tall guitars for your attention. Powerful bass lines, entwined with moody vocals and rhythmic danceable drums complete this heady concoction.” I stand by that. What a track.

It’s another single next. ‘Cave in the Hills’. I liken the experience of listening to this song like watching a polaroid develop. The bare bones of the song are there at the start and as it develops more and more detail emerges until it presents itself in glorious technicolour.

‘Lust’ is a different proposition altogether. It arrives fully formed and assaults your senses. Darkly brooding chords play over sweeping synths and intricate drums. It’s sensory overload from the get go and you just lose yourself, surrendering to the experience. I particularly love the guitars on this one, always on the edge of feedback, just in control and no more. My kinda playing.

The pace drops for the melancholia swathed ‘Falling Into (Drone)’. The descending chords lock us into a sombre frame of mind. The opening section of the song would’ve sat happily on Disintegration by The Cure. Is there a higher compliment? It feels like we’re on a journey and like all journeys the end comes all too soon.

Next up we have the instant classic ‘Black Raven’. This song combines the pop sensibilities of Phil Spector with the soundscapes of Slowdive and Ride. The chorus has more hooks than a fisherman’s tackle box. When Wellby sings “Can’t resist always lost in my head” I defy you not to sing along.

My album highlight follows in ‘Fake Lust’. There’s something about the woozy guitar and measured vocal that really speaks to me. The intro is nothing short of epic with the band leaping in together. The chorus has some parallels with Joy Division however I will qualify that. Whilst I can hear that Ian Curtis influence, this is all Last Tourist. The elation in the chorus sets it apart, above and beyond to my ears.

There’s a short mood piece next in ‘Interval’. A tone poem to cleanse the palate as we head into ‘Lemon Twist’.

Vocals emerge through an incredibly dense and textured soundscape. With a knowing wink to The Mary Chain we are implored to “Kiss Kiss Lemon Twist”. What really impresses me about the production on this album is the space given to each instrument. Make no mistake there is a lot going on, but there’s a real clarity to every bass not and snare crack. Each guitar and synth note has its spot on the soundstage. This song absolutely exemplifies that.

We receive some soul nourishment next with the uplifting ‘Spiritual Cove’. If the brothers Reid ever dropped the wall of noise, they’d do well to cover this track. Wellby’s laid back drawl drapes itself all over the swathes of beauty conjured by the guitars and synths. The ever-increasing intensity of the fuzzed guitar adding a new and welcome texture. This is one beautiful song.

The album closes out on ‘Slow Moving Traffic’ another mood piece that blends synth swells creating a farewell to the listener. A really satisfying closer.

Last Tourist have laboured long and hard on this debut album. That is apparent in the quality of the tracks laid before us. More than that though. There is a soul on display here, a beating heart that reaches out from every song to bring you close. To share its story with you, share an embrace and then release you to the world. Better for having listened, experienced.

Last Tourist is out now with vinyl variants available for preorder from Bandcamp.

You can follow Last Tourist on social media here…

Under The Sun – Ocean Breeze

Matt Catling returns in his Under the Sun moniker with another slice of truly unique experimental shoegaze. We were all blown away by his 2022 album Dream which came out on Shore Dive Records, a sure fire indicator of quality for me. Ocean Breeze is a collection of three tracks where Catling gets to fire our imaginations and excite us with where he’s going next musically.

So, what was like recording this single as compared to the experience of recording Dream. Catling had this to say.

“Ocean Breeze took four months to make and was mastered by Slowdive’s Simon Scott for which I’m extremely happy. Mostly it was improved writing whilst doing the vocals for the first time. As for instruments, I used Jazzmaster/Jaguar guitars and for the track Soft Focus I used the Catalinbread soft focus pedal.”

That said let’s dive in.

Ocean Breeze opens with the title track. It’s an experimental piece with an atmospheric soundscape being formed by the wash of guitars. On top there is a repeating synth sting, almost like an alarm pulsing away whilst a distorted, stretched and warped spoken word piece echoes. This is so effective. It’s like the words are being kept hidden, just out our reach but tantalisingly close.

‘Whirlwind’ features a glorious wall of reverse guitar pushed to breaking point through a wall of fuzz. Whilst this isn’t a new track it has been given new depth and energy with the injection of dreamy vocals and trippy guitar layers. This is such a soothing piece. Almost hypnotising.

We close the single on my favourite song, ‘Soft Focus’. It has elements that would sit well on a Lovesliescrushing album. That distant vocal, the buried drums, the steady and insistent attack of the guitars. The second half gains a new clarity with bass tone picking out the songs structure and lifting it deeper into your consciousness.

If you like your shoegaze on the ambient side with heaps of character and inventiveness then Under The Sun have you covered. Ocean Breeze is a beautiful collection of tone poems, experimental gaze and is guaranteed to warm your winter evenings.

Ocean Breeze is out now via Shore Dive Records, on digital formats and a now sold-out limited-edition CD.

You can follow Under The Sun on social media here…