Word arrives that a new LP is due for release in early 2018 with the first track from the album – You Don’t See Me – having been released as a stand alone single on the 17th.
A pulsing, persistent, metronomic drum-pad lays under interweaving sequences of electronica and guitar that create a hypnotic landscape through which a dreamy vocal becalms the listener and rounding out a song that prefaces of an LP which has, by this track alone, piqued intrigue.
On hitting play on the first track on Tipping Point (available on bandcamp) Brugata Blues – the rumbling underfoot is not the foundations crumbling – rather the distorted saw of guitars opening the seven and five sixth of a minutes track and merely firing the opening cylinders of the release.
By the time the the fulsome structure of the composition comes to fore the listener has already turned up the volume, only to discover that was not necessarily the wisest move as when the moment arrives at about seventy seconds in – they will find themselves worrying about the structural integrity of the walls and wondering where the nearest scaffolding firm may lay.
The bleakness of the harrowing instrumental songs on Tipping Point paradoxically fill the audience with a sense of catharsis rather than timorous fear.
The band name orsak:olso you may be pondering with its distinctly Norwegian reference is something of an in-house moment as only one of the three is from Sweden.
The US darkgaze duo QTY release their eponymous LP on the 8th of December.
Alex Niemetz and Dan Lardner always allow their material plenty of space to evolve as they invite the listener to hang up their boots and take the time to enjoy the intricate fretwork, threading spinnerets, within which to become entwined. The judicious vocal switching, sometimes with only one vocal other times with two voices in one song to capture the moment, serves to make the music more intimate.
From the forthcoming album, the penultimate of the ten tracks – with just the vocals of Alex – New Beginnings.
The Circus Villains is the british-blues quartet of Luke Taylor (Vocals / Guitar), Matthew Fisher (Vocals / Guitar), Daniel Skilbeck (Bass) and Bob Mackenzie (Drums) originally from Darlington in England, now spread in Manchester and Liverpool.
The Circus Villains
Having had the opportunity to listen to the back-catalogue I am able to attest the best way to approach their music is with bass speakers boosted a little, though not to the extent that treble disappears, to fully appreciate the luxurious effect of the four stringer which bulges the speakers with the two guitars weaving magical mysteries, sometimes acting as lead and rhythm other moments both flowing betwixt each other in harmonics in which the mind becomes transfixed as the shape changing percussion conducts the combinations while the duo of voices enable compositions to take completely different dynamics, one moment merseybeat tipped, the next indie-rock flecked.
Their most recent release- the single Tell Me – which has a heavier sound than previous material, can’t do anything other than secure them greater traction and a band I would anticipate will be securing greater visibility in the coming months with their knack of being able to turn classic rock, which has endured for decades, in to a fresh canvass and likely to draw in fans of the sounds of the ’60s and ’70s as much as those of the ’10s.
The combinations of synth, percussion and a distinctive vocal encase the listener in a beguiling flow of music that ensnares the mind in its luscious textures.
Having initially taken the music to stage, only just over a month ago and rapidly gaining more performance opportunities locally – though it can only be a matter of a short period of time prior to those shows spreading more widely geographically, Hannah Harper recently released the début single Appetite which showcases a talented creator with much to offer the world of music and I look forward to hearing more material.