Dream wave duo Lunar Twin release new 'Night Tides' EP via Moon Sounds Records FOR FANS OF: Nick Cave, Mark Lanegan, David Sylvian, Massive Attack, Soulsavers, Washed Out, Talvin Singh LEAD TRACKS: Waves, Birds of Paradise, Coral Sea, Prayers of Smoke
The EP literally flows from beginning to end, taking listeners on a journey through lush downtempo, synth and chill wave, and ultimately to the ocean at night. Tracks ‘Waves’, ‘Coral Sea’ and ‘Blood Moon’ seamlessly blend indie electronica and tropical noir, while synth and chill-wave are at their best on ‘Prayers of Smoke’, ‘Birds of Paradise’, and ‘Night Tides’.
A few years after a chance meeting at the Denver Underground Music festival, Bryce Boudreau and Chris Murphy started working under the Lunar Twin moniker in 2013. They derived the band’s name from a theory about earth having possibly had a twin moon. Inspired by space and time, as well as nature and culture.
Boudreau, vocalist and songwriter and also a Los Angeles native, currently resides in Hawaii, while multi-instrumentalist producer Chris Murphy lives in Salt Lake City. In recent years, he has shared the stage with numerous renowned artists, such as Grimes, Bonnie Prince Billy, and Peaches, through other projects he’s involved with.
Even though the independent rock scene is quite inundated with new acts, there’s always a welcome place for an outfit that changes the formula enough to be consistently interesting and worth taking notice of. The New York-based alternative rock group Voices from Deep Below attempts to do just that, fusing together a variety of styles into a surprisingly coherent sound. Their new record, “I Want to Stand Where the Sun Himself Shakes with Fear”, is a five song album that navigates alt-rock, experimental, and borderline metal and progressive influences all at the same time.
Voices from Deep Below open their album with ‘This Is the Way,’ a near eleven- minute jaunt through intense, distorted electric guitar and heavy rock tinged soundscapes. The atmosphere comes in waterfall-like waves, though, and it’ll tear out of its cage, slowly subside back into atmospheric rumblings, and then maneuver its way forward again. At its more aggressive points, “This Is the Way” sounds like a Queens of the Stone Age demo tape. At its subtler sections, it feels like a Flaming Lips or Roger Waters tune that straddles the line between experimental rock and prog rock.
The second track of the album, “Blurred”, has a similar song structure, rising and falling in methodic waves of reverberated electric guitar and soft, almost indistinguishable vocal croons. True to name, “Blurred” does eventually blur together into a giant hodgepodge of noise, as if the songwriter had spent a little too much time listening to “Metal Machine Music” beforehand. This does more or less become the tone of the record: fuzzy electric riffing atop a bed of sparse vocal harmonies and copious reverb. “I Can’t Speak”, for example, is essentially eleven minutes of distorted chaos with a loose structure. Some of the soloing is excellent, however, making the latter parts of “I Can’t Speak” quite good fun to explore.
“Indigo/Younger” turns down the volume knob for a larger chunk of the song, letting the vivid lyrics and more intricate electric guitar musings shine through. The first two minutes of “Indigo/Younger” is arguably the most beautiful moment on the album. During its nine-minute run, though, the song takes several twists and turns, eventually exploding in a cacophony of distortion followed by a full minute of drowned out samples and electric meandering. “White Columns” closes the album with the most intense instrumentation of the bunch. The song slaps the listener in the face repeatedly for the whole run time, and it’s aggressively committed to doing so.
“I Want to Stand Where the Sun Himself Shakes with Fear” is only going to appeal to a very niche audience of music fans who are looking for modern alternative rock that pulls heavy influence from prog and experimental. Though it may not be everyone’s cup of tea, however, one can’t help but admire how Voices from Deep Below have crafted a sound that is unlike anything else out right now. Is it noise rock? Sort of, yes. Is it alternative, progressive, experimental, and bordering on heavy rock or metal? It’s all the above, and that’s why it’s worth taking a listen to.
Galaxxu's music can best be summed up with this Sonny Sharrock quote: "I’ve been trying to find a way for the terror and the beauty to live together in one song. I know it’s possible." Galaxxu draws inspiration from Chicago's incredible free jazz and indie scenes of the past and present, European free improv, and electronic noise to create spontaneous compositions that range from quiet, delicate serenity to an abrasive, pedal-to-the-floor assault.
Galaxxu is currently finishing mixing for several upcoming releases and planning a couple of tours in summer and fall of 2017.
Chicago’s Galaxxu is excited to announce a super-limited edition seven inch lathe cut, featuring artwork by Alex Dycylyxyvyi. The two sides reflect the terror and the beauty the quartet tries to capture in their free improvisations. Side A starts off innocently enough, until devolving into a mess of disjointed interplay between a sax crying out, and a guitar that is seemingly being torn apart at the atomic level. Suddenly, the drums offer a rallying cry and Galaxxu breaks out into a wall of furious noise. Side B offers a glimpse into the more subdued side of Galaxxu. At times even soulful, albeit still operating within the confines of their chaotic take on free improvisation, it ends things in a dreamy sequence as if the Galaxxians are surveying the damage they wrought on Side A.
A Tisket, A Trifle, A Flittering Flutter [Stereo Edit] - 05:22 info
Today Swedish indie-rockers Kaskelott release their haunting and beautiful music video/short film “Flourish” by director Eric Ivar Persson. Definitely worth watching! It is a melancholic homage to 90s Sweden, old school sci-fi and longing away.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.