Posts Tagged ‘Psychedelic’

Christopher Nosnibor

This is one of those lineups that has cult appeal written all over it. It’s also wall-to-wall quality. So while The Crescent may not be rammed – it was always going to be challenge to fill a 350-capacity venue in York on a Tuesday night in August with a lineup specialising in experimental and Kratuy workouts – those present are enthusiastic and know they’re in for a treat.

As I absorb Neuschlaufen’s immersive set, I’m increasingly aware of how much they sound – and even look like – so many of the improv-led experimental rock acts from mainland Europe I hear, courtesy of one Berlin-based PR in particular. These bands have substantial but ultimately underground and disparate cult followings, and release their albums on microlabels in batches of numbered editions of 300 or so, and perform in cool but nice venues around Germany and The Netherlands. Neuschlaufen are as good as any of them, and watching the trio manipulate sound – sometimes intuitively, sleekly, and sometimes by using electrical tape to pin keys on a synth down to sustain a note for ten minutes uninterrupted – is a real treat. An extended two-chord workout around the set’s mid-point – and the whole thing is magnificently and intuitively structured – is pinned together with piercing synth and clanging metallic guitar forging serpentine shapes Ash Sagar weaving a strolling six-string bassline. At times they mine a seam that brings together Bauhaus, PiL and The Fall, with shuddering bass grooves underpinning clanging, repetitive guitar-lines which are so angular as to cause flesh wounds.

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Neuschlaufen

It seems that every time I review Soma Crew, I comment on how they’re better with every outing. It’s not just my ears, or forgetfulness: it’s a fact. It’s been a long and slow ascent, but everything about them is totally cohesive, and tonight they spin their hypnotic brand of pulsating psychedelic rock in the tightest, most mesmerising style I’ve yet witnessed. The sound is rich, dense textured, and they’re brighter, clearer, groovier and trippier than ever.

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Soma Crew

Dave Keegan, standing in on bass, does a fantastic job: he holds the rhythm down perfectly with a heavy tone, pinned to Nick Barker’s insistent drumming, and the occasional nifty run for variety. The drumming is a defining feature, and I’m not the only one to note that Nick has, seemingly, one T-shirt and one rhythm. It’s this consistency and his complete lack of drumming ego which places him as one of my all-time drumming heroes.

On ‘Danger Zone’, they amalgamate Joy Division, The Back Angels, and The Doors to forge a unique sonic compound that encapsulates the brilliance of Soma Crew, and closer ‘Celluloid’ builds to a full-throttle sonic attack.

I can barely read a word of the notes I took during Chris Forsyth & The Solar Motel Band’s set, and there aren’t many. I was too busy standing, absorbed, by the trio’s seamless and utterly compelling performance. With elements of psych and prog and 70s rock and out and out rhythm-driven jamming, and songs like ‘The First Ren Minutes of “Cocksucker Blues”’ to groove out on, there’s a lot to get lost in.

They have a simple setup: drums, bass, guitar, a single amp apiece. Nothing fancy. And yes, there are epic guitar solos comparable to Neil Young and Dinosaur Jr (one track even bears more than a passing resemblance to ‘Like a Hurricane’ in its chord sequence, and the emotion Forsyth wrings from those six strings is almost tear-jerking in places). But – and here’s the important point of note – nothing is overdone. However exemplary the musicianship – these guys can’t just play, thy can fucking play – at no point during the set do things ever descend into self-indulgence. This is a major, and extremely rare, feat. But not a bar passes without an ear to structure, and a remembrance of the importance of the audience’s entertainment.

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Chris Forsyth & The Solar Motel Band

At no point to these guys go too far out on a limb, lose the crowd with tangents or indulgence. They’re well-rehearsed and tight as hell, but equally, they’re not so slick as to feel like they’re going through the motions, and this is when wigging out is at its best. Chris Forsyth & The Solar Motel Band define intuition, and play with an understated showmanship that’s something special.

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With Observed in a Dream, Norwegian purveyors of  psychedelic post-punk / shoegaze, Mayflower Madame, delivered one of our favourite albums of 2016. While their second album is unlikely to see the light until late 2017 or even early 2017, they’ve unveiled ‘Drown’ by way of a taster now. It’s by no means a mere stop gap: to say the signs are good for the next album would be an understatement. A whirl of echo-heavy gutars and even more echo-heavy baritone vocals, ‘Drown’ has an aching melacholy emotional pull. Watch the video and get your lugs around it here:

 

We love  a bit of Soma Crew here at Aural Aggravation. ‘Got it Bad’, which prefaces the release of their new album, is perhaps the most definitie statement of their sonic capabilities yet. Check it hre:

 

You want slow-buiding, psych-tinged shoegaze with a magnificent motorik groove? We’ve got it right here. Lifted from their upcoming debut album Call Them Brothers, it’s seven and three-quarter minutes of blissed-out, FX-laden alternative rock steeped in the haze of 90s greats like Ride and Chapterhouse. But enough preamble. Watch and listen. And enjoy.

Ritual Productions – 28th October 2016

11Paranoias do heavy psychedelic with the emphasis very much on the heavy. Their fourth album, Reliquary For A Dreamed Of World is a downtuned, ultra-low frequency, mega low-tempo doom sludge trudge through the darkest places of psychedelia. The crushing riff that lands halfway through ‘Peripheral Metamorphosis,’ the album’s first track, registers around the same sonic zone as Swans’ ‘Cop’. There’s an eternity between each pulverizing drum smash, which lands with the force of a planetary collision, and the power-chords are heavier than is conceivable for mere instruments to make: this is music that’s nothing short of galactic in its enormity and weight. It’s the sound of dark matter combusting.

Five minutes into the 15-minute mammoth that is ‘Destroying Eyes’, a whip-crack treble-topped snare snaps through the dense murk of noise to propel a vocal track, layered in delay and reverb to plough a New-Wave inspired furrow before it all explodes, unexpectedly, in a blistering wig-out centres around a driving goth-tinged groove.

After the hypnotic ‘Avallaunius’ chills the intensity – at least for the first three minutes or so, at which point it brings the noise – ‘Mutus Liber’ brings it low and slow and goes for the crushingly heavy in a big way, the mangled vocals all but lost in the tsunami of immense power chords. ‘Meditation on the Void’ is the darkly hypnotic workout the title suggests, whipping up a cyclone of psychedelia which threatens to collapse in on itself. After the slowly spiralling ‘Phantom Pyramid’, the brevity of the final track, ‘Milk of Amnesia’ is unexpected. In fact, a squalling barrage of feedback a snarling, ripping bass from which emerges something that for all the world resembles a distorted segment of Fields of the Nephilim’s cover of Roxy Music’s ‘In Every Dream Home a Heartache’, it’s unexpected in pretty much every way imaginable.

Conjuring mental spaces and a hallucinogenic, mirage-filled alternative reality, Reliquary For A Dreamed Of World conjures a world that’s s much a nightmare as a dream. It’s a powerful album which, while heavy – and oftentimes, monumentally so – displays a remarkable knack for a deep groove. It’s an album that will bend your brain, while crushing it by sheer force at the same time.

 

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A year or so back, maybe, from the ashes of York-based psychedelic drone act Muttley Crew emerged York-based psychedelic drone act Soma Crew. Sort of. The same band in essence, it was undoubtedly time for a change of name, but there’s been something of a lineup reshuffle in the process, and, on the evidence of this, the first Soma Crew EP, a sonic evolution too. This means that while there are still heavy hints of Black Angels, and the songs are still built around two or three chord chugs swathed in layer upon layer upon layer which twist and turn over the course of six minutes or more, there’s new stuff going on which wasn’t present on the Muttley Crew album which came out in the Spring of 2015.

With a ragged guitar sound and Simon Micklethwaite’s vocals adopting a sneering, drawling tone, there’s a punk edge to the EP’s first cut, ‘Pulp’. After a left-turning detour around the mid-point, it bursts into a raging racket of dissonance. And all the while, the drums keep on hammering out a relentless mechanoid rhythm, holding it together while everything else collapses to beautiful chaos. The slow-burning ‘Path With Heart’ brings it down a notch or two and offers a more low-key and introspective aspect. It’s exactly the music you’d expect from a band named after a muscle relaxant which works by blocking pain sensations between the nerves and the brain.

‘Vital Signs’ is perhaps the first track here that’s truly representative of their live sound, a motoric droner, with murky, overdriven and reverby guitars yawning and veering across one another over a thumping locked-in groove with no let up for over six and a half minutes. The eight-minute ‘Prizefighter’ begins at a lugubrious crawl. It takes its time… and then the overloading lead guitar breaks in, noodling in a smog of a chugging rhythm to drive it to the end.

The rough edges and hazy production give the songs an immediacy, and beneath the layers of reverb and cavernous delay, there’s a pulsating energy that gives EP 01 (aka Soma) a rare vitality. Rebirthed, re-energised, this band may be habit-forming and should be used only by the person it was prescribed for.

 

Soma Crew

Christopher Nosnibor

Soma Crew were an obvious and natural choice of support for cult psych at The Lucid Dream on their first visit to York in their nine-year career. I first heard The Lucid Dream back in 2010, when they set their stall out with a brace of impressive EPs. Since then, they’ve released two long-players, with a third out next week – hence the tour.

Soma Crew, playing their second set of the day, are on top form. They’re loud, and they’re in synch. In other words, they’re exactly as they need to be for an optimum performance, and they piledrive their way through a set which opens with the spiky, angular ‘Remote Control’ and culminates in a squall of feedback.

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Soma Crew

Call me prejudiced, but I had low expectations for Eugene Gorgeous. It’s a shocking name, for a start, never mind the fact the band members and the gaggle of mates they’ve brought along, who have little to no grasp of gig etiquette or what moshing is about, are barely old enough to drink but fuck me, they’ve got songs and, mannequin-like bassist notwithstanding, energy. Stylistically varied, there’s an alternative / punk edge to the bulk of an impressive set. And, credit to them and their fans, they don’t do the all-too-common thing of sodding off afterwards, and instead stick around for the headliners. It’s a wise choice.

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Eugene Gorgeous

The Lucid Dream ae stunning, and seem determined to make their first trip to the city is memorable one. They may look mundane, but musically, they’re sublime, and they sizzle their way through a set of kaleidoscopic songs which are densely layered and deeply melodic. It’s hazy, blurred, hypnotic shoegaze par excellence. With an early start to the set, it looked like being an early finish, but The Lucid Dream have slowly but surely built a following based on slow-burning epics, and when they announce that they’ve got three songs left and they’re quite long, they’re not kidding: the segued three-track finale sees them lock into a sustained crescendo that explodes for the best part of half an hour. With the set crashing to a climactic close, it makes for an exhilarating and convincing performance. If only they’d had copies of the new album on sale…

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The Lucid Dream