DAIISTAR – Good Time

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can follow DAISTAR on social media here…

SPIRIT OF THE BEEHIVE – I’m So Lucky

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

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

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

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

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

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

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

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

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

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

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

BREATHER – BREATHER EP

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

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

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

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

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

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

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

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

You can follow Breather on social media here…

Echo Ladies – Lilies

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can follow Echo Ladies on social media here …

Studio Kosmische – Beyond the Circle of The Fixed Stars

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

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

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

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

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

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

You can follow Studio Kosmische on social media here…

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…