Over the years Japanese Fighting Fish have become more confident in their sound which is reflected in the development of their compositions and – For Queen Marilyn – from the forthcoming album is further evidence of their evolution.
Whilst maintaining a recognisable foothold to earlier material in their career Japanese Fighting Fish add flourishes which shatter through the flow of the track like, well like, Swimming With Piranahs – an LP I look forward to hearing in full next month.
Regularly surfacing with new material that always tickles the fancy, but sadly until now has been out of synch for an feature for one reason or another, their latest track was made available on Wednesday.
Freight Train lays inside a shroud of echoing chambers and the louder you turn the volume the more you find yourself sensing transportation to the UK-Uncut camps that used to exist outside St. Paul’s Cathedral in London (England) and from there taking the few steps to the Whispering Gallery as the delays seem to come from another venue entirely.
SAP, unlike their namesake proprietary software hedge-fund traders designer-coders, don’t attempt to polish the nuggets of sound they produce allowing them to shine in their rawest state and it is this cohesion with the listener that gives the music its intensity that draws the audience on to the same stage to play along with them.
Pulverising holes in the sub-woofer – Taken, the fifth of the ten tracks on the LP Ruins, marks its entrance with excavating bass and synth which, like an opened tear gas cannister, sears the room prior to a mystical vocal appearing through the clouds and filters its way in to the ears as the track slowly and deliberately stomps its way round the head casting spell upon all those it falls.
Once again a composition to throw the weight of the volume inducer behind with bass turned to maximum and treble a forgotten after-thought.
For those who haven’t previously come across A Scent Like Wolves – Haunted – the fifth of the eleven tracks demonstrates their ability to pack punches through the speakers, whilst simultaneously developing meandering melodies.
The US psychedelic-garage trio Acapulco Lips will be releasing their eponymous LP on the 15th.
From the nine track album – the second, Awkward Waltz (available on bandcamp).
Given the summery shimmers it would be easy to assume Acapulco Lips resided in sunny climes. They create their music from Seattle on the chilly winds of the North-West Pacific Ocean, though they surface from territories afar with Maria-Elena Juarez (Bass / Vocal) from Austin (Texas) in the USA, Davy Berruyer (Drums) from Grenoble, France and Christopher Garland (Guitar) being the only local member of the band.
Gutsy Bass punches through the speakers whilst Guitar immediately lifts the mood with shoegazey reverberations as a busy Percussion bounces like riding a Camel over sand-dunes and the vocal fuses into the background giving Awkward Waltz a tremulous feel which instils its way in to the heart like a nervous first kiss.