Americana, is a word that can be stated to be an resemblance of this band. Probably not as much when it comes to their music, but they’re from that continent on the other side of the world. The band I’m talking about is Cathedral Pearls, whom are from Spokane. They’ve released their debut-album “Off My Chain“, which is a sincere trip in between folk and indie, with hints of new wave. All with a spiraling experimental vein, but with a spoon, as they’re simply cooking the drug – inserting it when they say go. Most of the music revolve around both instrumentals, but a high stake in their bet is their vocalists, which consists of an equal part of women and a single man. With their voices, they sure overshadow their instrumentals, as there’s only some parts in the songs that reflect their ingenious bet. Unfortunately, the music itself is guided into a folly of generic. That ultimately destroys the symbiosis of what’s unique with the music at hands, which is a shame to be honest. But you always have something to pluck out and consider to be great. Once a medley of voices comes on, your brain simply catches its breath and you make a sigh of total relief. The atmosphere of the songs are very American, they have that certain aura which you can sense with your ears. You pick up the different characteristics which make it American. A well-polished sound-scape, their dialects of course and the general feeling can be related to folk songs from that part of the world. This is also one of their nemesis, which needs to be eluded. There’s some amount of cheesiness between the layers, but that doesn’t really matter in the end. The overall picturesque music that they deliver are considerably gentle, sincere and enacted with a great amount of precision. With that in mind, we might just set out for the sun. Their release feature eight songs, which have been hastily recorded, and were released on the 14th of May.
Some of the French are always up to something new. At least this isn’t an odd thing, thankfully. Other things could be said about the band VVVV, which fall into this category. They’re odd, or at least their blend of different genres, in becoming a somewhat supreme experience. Currently, they’ve released an EP titled “Cuerpo EP“, which is just an endeavor in itself. Think of modern electro, not as it should be, fixated with krautrock and tightly knitted to a psychedelic sense of post-punk avant-gardism. Yes, this is the decadance that you’ll shake your shaken hips to in a matter of seconds. At times, it’s too electronic for my taste, but it doesn’t stop oneself from digging the monotonic, albeit sufficiently layered cream of the crop – namely the witty synthesizers, clinging to the beat. From the first song and on, it just gets weirder and weirder. Hear the percussion garner itself in the hellhole that can be VVVV, as the modesty of the singer’s voice turns your frown upside down. A moment ago, decay and darkness would seem to be the only thing alive. But when you cut the corners, they blend those elements with an unused sense of appreciation, channeled into the atmosphere. So there’s a sense of hope, at the same time things come to a grinding halt. Rhythms couldn’t be more unconventional and the mixture of the different genres blend into a weird kind of psychedelic notion, a notion that is originating from their original idea. Simply something you couldn’t think of yourself, so you need to hear it first. Yes, this is something you must listen to, whether you prefer it or not. It’ll change a lot of things. This release feature three songs and was released on the 15th of May, almost totally D.I.Y.
Eftersom att det snart bara är en vecka kvar tills EPn “Lilla Ukraina EP” släpps, så låter Rigas den Andre oss inte vänta och därför kommer ännu ett smakprov därifrån. Låten “Not Just People” är den andra singeln som släppts, vilket ger sig ut på en resa mellan vidderna av nostalgisk R&B, tillplattat med den värsta av Skweee. Men den ger även utrymme för mer minimalistiska tongångar, när den elektroniska musiken sammansmälter med de underliggande influenserna. Däremot så låter denna singel lite mer poppig, snarare än något annat. Trots det så är det ytterligare ett mästerverk som kan signeras utav Rigas den Andre och får de som törstar efter någonting nyskapande att sätta sin musikalitet i halsen. “Lilla Ukraina EP” släpps den 22:a Maj, av samma bolag som Henrik Euler (Rigas den Andre) bossar över – nämligen Flora & Fauna. Denna låt kan även laddas ner helt gratis, för den som känner att de behöver ha det mer fysiskt.
För han släpper nämligen en höstvisa. Skämt åsido, men Markus Hulthén som är medlem i gruppen Mackaper, har släppt en musikvideo – till låten som går under namnet “Höstvisa“. Denna musikvideo filmades under Baltic Wave-turneén i November år 2012, då de spelade i Estland, Finland, Sverige och Danmark. Den något melankoliska visa, som drivs utav en orgel och sorgesamma syntljud, låter sig inte väntas på. Istället är den flera steg före, samtidigt som den låter efter. Nej, det där var inte en billig allegori, utan det är precis så det låter. Tillsammans med den överliggande progg-rocken, så formar den en kaskad av vilda ljud som ej kan tämjas. Låten är från deras album, “Mot Ljusare Tider“, som släpptes förra året på Flora & Fauna. Se det vackra landet, den värdefulla arkitekturen och lyss till den melodi som ännu ej har tystnat.
Portugal delivers a mystic group that goes by the name of Tendagruta. They’ve been around for a compilation in 2011, by the name of Futuro Primitivo, released by You Are Not Stealing Records and Chilli Com Carne. In May, they also released “Cloaca“, which was originally released on Latrina do Chifrodo in 2011. However, their latest effort, which goes by the name of “Ensalmo do Sargaço” – is a record which compiles tracks they recorded from the time-span of 2010 to 2012, in various locations. Some of the tracks have also been featured on various releases. Now, let’s get to the point at hand. Their solemn and sincere mixture of the fundamentals of industrial, with a gritty layer of dark ambient, surely paves a way into the ancestral but occult thinking of Tendagruta. You’re drawn into the atmospheric content, in a malignant sphere of collectivized agony. Channeled into the medium that is the aforementioned genres, in an unorthodox and unprecedented heavy-weight competition, in between the different elements that constitute the make-up of each song. Hailing these dark landscape, showing immense respect for what can be thought to be a natural conscience, driven between the edges of virtuous and natural industrial – to the brink of thoughtfulness. Imagine yourself seeking a treasure that is hidden from plain sight, in a barren world where caves are your friend and the water can be unpredictable. As elements form together and shape the world you’re orienting yourself in. Tendagruta does precisely that, as they utilize whatever they can get, just to have those naturalistic sounds. Nothing can be more analogue than this, and it feels like they’ve gone long ways to make it sound like that. Perhaps I’m wrong, and this is just an illusion to frame my mind into this way of thinking, but either way – they’ve succeeded with their intentions and that’s what counts.