Gibberish is the experimental-psych duo of Derek and Lorie Bromley. Formed in their spare bedroom in Arkansas before moving to Los Angeles (where they now reside), Gibberish started out with looping live drums through effects, with Lorie playing bass and keys and Derek rounding things out with a melody and guitar after looping some sort of distorted beat. They enjoy surrounding their songs in textured, spacey blankets, but having a core of rhythmic, lo-fi percussive sounds anchoring the wafty synths and sparkling guitars.
“The new album Kneehigh was written right after we moved from Arkansas to Los Angeles,” the duo explains. “It’s about being in a sort of survival mode that we also felt was mirrored in a lot of ways by society at large around this time.”
“Feet Wet” begins in a luxurious psych-pop haze, gently leading to mellow vocals just prior to the one-minute mark, after an exotic and shimmering introduction of fluttering acoustics and sweeping vocal harmonies. The next four minutes showcase a budding, gorgeous sound that breaks around 02:23, though just briefly until it unleashes cathedral-sized psych-pop bliss in the final minute. It’s an excellent, majestic effort that shows what Gibberish do well: developmental psych-pop with a magical feel.
Dear Pressure have released their debut single “NEVER”.
"This song is our way of balancing the tension between wanting to go elsewhere and realizing that you’re exactly where you’re supposed to be. It’s important to own the fact that your sense of self is attached to your sense of place.We tried to develop a succinct sound for a year, mulling over a variety of sonic palettes, struggling to find something that encapsulated our musical interests while remaining honest. One day we ended up with this interplay between the guitar riff and a synth line which felt like it was trying to break through everything above it. We realized that’s how we wanted to sound and the feeling inspired our debut track. It’s representative of us owning where we are."
Huey Walker plays a fragmented, freeform Jingle-Jangle, based on a Sense of Slowness, Pacing and the Joy of Monotony.
Huey Walker plays carefully crafted Harmonies. He is a Traveller through dense Walls of wafting Tones and a Transmitter of well-tempered Noise. He is a sonic Dreamer, sculpturing Sequins of shimmering Sounds - bacchanal and revellling in elegiac Eclecticism.
His Music is based on various live-looped and modulated Soundsources. Often the Journey starts on a picked and spun Guitar or even multiple Guitars brought to Sound by mechanic Installations. With additional synthetic, bowed, plucked and resounded Instruments, Tapeloops and a plethoric or punctuated use of Effects, he dwells in the poetic and vibrant Areas of Music, generating blistering Billows of marbling Textures and blissful musical Movements with freewheelin' Overtones.
With Aspects of Minimalism, aleatoric Music and impromptu timbral Explorations, he developes a pulsating, static Reeling and winching Whirrings.
Combining the endearing Melancholia and DIY-Aesthetics of Lofi-Homerecording with the psychedelic Qualities of early Cosmic Music and the psycho-acoustic Gravities of spectral Processings and glistening Buzz, Huey Walker is always in search for the ideal, endless Hum.
Huey Walker grew up in Berlin and now resides in a smaller town at the Baltic Sea. He has recorded Music since the late 1990ies and releases Recordings on his Label "Rakkoon Recordings".
As part of the newly designed Catalogue of Rakkoon Recordings, Huey Walker releases his album „Dreamsleaves“ in a finally remastered and conceptionally complete version. The album now contains an additional track and new photographic artwork.
What was released in a small one-off edition as a 2-track-album in 2014, now finds its final, pure 3-track-beauty with additional photographic artwork.
The Songs on „Dreamsleaves“ – no one under 15 minutes – meander through fields of glitchy leftfield-electronica and blissfull, airy, ambient explorations.
A narrative impression fuses these three tracks into a journey of fluidity with gradual breachings and excavations of schemes and themes. The vague becomes distinct and vice versa.
Based on sine waves, fluttering scapes and modulated field recordings, it all starts with some airy drones and swooshing, breathing billows of reverbs – marbled with long-held synth-chords and some teeming, melodic flocks.
During the first track „Puddles Watching Leaves Swim“, this bright and breathy flow ebbs over into a slow sort-of-glitch-hop-thing made of purling tones until the droning side of sound takes it over to the drowning side again – counterparted by some twirling vocalsample-lurchings.
The second song „Reflected Dreams Of Blue Travels“ floats in timid, tonal vibrancies, travelling through sleepy-cloudy clusters in wide rooms of hall & echoes, spindrifting into mild-mannered hints of distortions, finally decaying in a quiet ease.
„Alterable Noons Of Loitering“ pushes the narrative structure of field recordings and layered drones into a wry indication of what might be a droll songwriter-song – with a harp and cheesy lyrics.
The recordings on „Dreamsleaves“ were made on multiple occasions and dates. Yet, there is a strong sense of cohesion here. All tunes have similar, conceptional prefixes: layering various soundsources into pearly, manifold, floating structures. Tracks 1 and 2 were recorded in the heat of july 2014 at Hurley Wake in Greifswald, near the baltic sea. Bits of the first track (the ones with organs & guitar) were recorded in january 2013 live at Madame Claude, Berlin. „Alterable Noons Of Loitering“ was made during one week as a conceptional recording within the art project „Schaufensterschau“ in Greifswald, utilizing on-spot-recordings of rain, recorded lofi-nightime-memos on acoustic-guitar and speckled, dreamy synthesizer-tones.
The tracks-titles are taken from poems by Frank O‘Hara. The cover- and inlay-photography shows images taken at Jardin Majorelle in Marrakesh. The CD-edition of „Dreamsleaves“ comes in handmade packaging on blue CDr with two Inlays in colour-printed sleeve with transparent-paper overlay. The included download contains additional photos in a 14-pages PDF-booklet.
The Laytcomers are a collective of ambitious losers, trapped inside a small Bay Area garage with a 4-track. They produce a mixture of noise rock, post-punk and even some elements of twee and Kiwi underground, all showcased on their new track "Population Grave"
"The first time we tried to come up with songs was when me (Ilya) and two of our other friends, who were original members of The Laytcomers, came to Cyes' place in Davis, where he went to college," Ilya explains. "I was hoping we were going to write some music, but at that time no one was really motivated to do anything, until I actually sat down with a cheap microphone myself and played/sang (pretty terribly), forcing everyone to contribute. Most of the sounds from that time were almost unlistenable. For drums we used a Guitar Hero drum set, which we used to write some of our first songs (Coldfront, Coppertone). There weren't a clear idea who does what, I was switching between bass and acoustic guitar, both of which I could barely even play at the time."
"We came a long way in terms of musical development and taste. In recent years our project The Laytcomers started to gain its own identity especially after we got two new members from Craigslist (Sam on saxophone and John on drums). We still walk a line between catchy indie-rock, based on short catchy bass lines and guitar riffs, psychedelic sounds and ear-bleeding noise rock with amp feedback and all kinds of noises."
"Our title song Population Grave wasn't coming along for awhile. We recorded original drum/vocal/guitar version almost five years ago. Something wasn't working out in it until I actually rethought the bassline from the scratch. It turned into a catchy angular post-punk thingy with roots in the no wave and New Zealand noise-rock."
A combination of retro aesthetics, enduring lyrics and alt-rock grit.
The best music happens when artists refuse to remain stuck in their own comfort zones and creative boxes. Whenever this happens, they are free to give full range to their vision, and they can really come up with something that’s groundbreaking and personable. This is certainly the case here with Tommy Red and his brand new EP release, “I Wanna Be Exploited.”
Marva Von Theo is an Electropop / Synthwave duo formed in 2016 by the Athens-based singer-songwriter Marva Voulgari and the Vienna-based composer-producer Theo Foinidis.
Their Debut Album “Dream within a Dream” was released early in 2018. The 12 songs on their Album, lean towards an electronic sound that incorporates a variety of influences ranging from the music of the 80’s until today. Darkwave sounds, Jazz harmonies, Rock and Dance drum beats resonate together and mature into something darkly romantic.