Galaxy 7 is the electro-rock performer Daisuke Tsutsui from Tokyo in Japan.
After time with a mainstream major record label signed band in 2008, he headed out on his own with Galaxy 7 which could almost be defined as metal electro. Wildly sawing guitar is met with equally frenetic electronics as Daisuke takes the audience on a sparking rumbustious journey of sound.
High energy tracks frequently extend for up to nearly seven minutes, but even then it seems too short as although there are loops of samples they are enlivened by the guitar and percussion which keeps the music moving forwards. On live performance he does use additional players, for the extensive instrumentation he performs himself on recordings, to package the show as a visual treat. As importantly on recording, without the visual entertainment there is plenty to enjoy.
The variety of ideas that Galaxy 7 deploy, give the audience more than repetitions as tracks offer different experiences and his utilisation of orchestral classicism in addition to rapidly progressing sounds gives Daisuke the ability to create solidly based compositions.
Appearing from time to time in Europe by invitation, which is a testament to the far reaching music that is Galaxy 7 and I look forward to more over the coming years.
Eye of the Dragon Who Wished To Be a Man – Galaxy 7 is available on iTunes*.
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The Vinyl Records is Cheyyrian Bark (Lead Vocalist / Keytar), Banu Jini (Guitar / Vocals), Minam Tekseng (Bass / Vocals) and Mithy Tatak (Drums / Percussion /Vocals) an alt-rock band from New Delhi in India.
The Vinyl Records
Taking to the stage to confront some of the issues facing many women across India, they also express those very real fears in their music. The Vinyl Records breathe like fresh air across the sub-continent as they challenge both ‘traditional values’ and current reality, whilst not hiding their own concerns and trepidation. For those reasons the quartet quite naturally sit on my radar, add to that a zingy driving rock they are unmissable.
The keytar gives The Vinyl Records an opportunity to play with some different textures in some of the tracks that hover around the three minute mark. In that short-space of time they are able to conclude the purpose of the piece and leave the listener raring for the next track.
At this stage of their development the message is far more relevant that the inherent musical skills as they are able to rise above any critique of import with their ballsy display and as you know, for me, integrity is of far more importance that the ability to write an Aria.
Beginning to spike some interest across other Asian countries, I look forward to hearing far more of The Vinyl Records.
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Death To Ponies ( 小马之死 ) from Shanghai in China is the psychedelic rock collaboration between Ivan Belcic (Drums / Vocals) and Nichols (Bass / Vocals / Trombone ) both of Death To Giants and Clement Pony (Roland SH101) and Raphael Valensi (MicroKorg / Vocals) both of Acid Pony Club.
Death To Ponies ( 小马之死 )
The combination of the experimental rock of Death to Giants combining with the electronic wizardry of Acid Pony Club brings to the audience an intensive immersion in mind bending sounds. This is not material to take a brief glimpse around as the sounds immediately challenge the preconceptions demanding of full attention.
For certain it wont be everyone’s cup of tea, but it is worthy of consideration and making the effort to investigate as the quartet take recognizable shapes and distort them into hallucinogenic capsules that distort perception and time. Tracks regularly extend to over ten minutes as Death To Ponies rework the reference points in ever expanding loops of distortion.
There is no attempt to soften the journey being proffered as the ears and senses are pummelled in an unceasing wall of noise that is intended to discombobulate and achieves its objective with nerve-racking intensity. One could imagine this being used in torture chambers of sensory overload and I highly recommend you take the journey of discovery with Death To Ponies and feel your head bleeding dry.
I offer you another Marmite discovery and personally I like Marmite for its very unpalatability.
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Anas and Friends from Damascus in Syria centres around Anas Abd Al-Moumen who has over the years sought to work with a variety of new musicians.
Anas and Friends أنس عبد المؤمن
Those of you who have got to know my politics over the years will have been expecting me to find someone in Syria to talk about.
With the breadth of musicians that the collective collaborates with there is a wide spread of material on offer, from melodic vocal masterpieces to hard rock edges. As Anas acknowledges with this disparity in vocalists and instrumentalists there is a certain problem with continuity, but given the situation in Syria at present, perhaps that uncertainty of itself creates its own significance, giving its own reflection on the local environment.
It is always a salutary lessons to the world of musicians who are unhappy with their lot, to find creators who are struggling to stay alive, never mind get the music together. Updates are somewhat sporadic as you would perhaps expect from Anas and Friends, but posted just a couple of days ago is a performance in Damascus shot in December, I will even forgive them a cover song.
website (Be aware music starts immediately)
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