Regularly featured since their introduction in 2014 after line-up changes and the addition of a fifth player – Jesus Let Me Fly, from the forthcoming release, is a more expansive sound than previous material.
The shoegazey guitars echo like spinning crystals refracting sunlight through the room as the stretched notes are weighted by blocky concrete bass and percussion giving Jesus Let Me Fly a clear sense of direction from which the gauzy vocal drifts dreamily through the ears.
The Australian electro-rock quintet Bordertown release the LP Wonderland on the 1st of June.
Thunderous energy flies out of the speakers on hitting play on the title track (and first of the seven) on Wonderland which is all deftly herded in to order by the subtle synths which allow the quintet to deliver music which is both pumping bass / percussion combinations, glittering rock-riffs and arching vocal yet layered with a warming calmness that enables the melodic flows and depth of textures to shine more brightly.
Split between South Korea, Spain and Australia – LOV3 MOT3L is a glitch-wave trio.
Perchance it is due to the time-zone combinations and hemispheres in which the three players approach the music, however it comes about, there is a fascinating discombobulation that tips out of the speakers, enmeshing the listener in a delightful puzzle of soft electronics, jangling instrumentation and melted percussion that like an unexpected present delights and confuses by its very presence.
Released recently was the LP – Outside’s Broken (available as a cassette version with a bakers dozen of tracks on it on bandcamp or as a digital version with a dozen tracks also, though separately, on bandcamp) – my selection being the fifth track on both versions – Tizzy (SAMES).
Those of sharper hearing and longer stay may be reminded of the synths of Superborg Boy and you would be right there is a commonality in both iterations.
Scott Sandwich is a conceptual-ideas musician from Australia.
A vivid imagination and more importantly the ability to pull off the idea, earlier this month, Scott Sandwich released the twenty nine track LP Obscure Music History (Vol. 1) (available on bandcamp) which digs through various eras, through individual personas each reflective of the style of music.
It would be possible to write a tome about each persona though handily faithfully created by Tom Hogan on a site dedicated to the project, which helpfully saves you needing to spend an hour or two reading here. Word also arrives of a follow up LP to arrive later in the year.
If you enjoy creative musicians who are able to submerge themselves in to a character and have the patience to absorb their objective, no matter how obscure and long winded that idea may take to resolve, as you have tears of laughter streaming down your face, whilst simultaneously enthralled by the pure skill, ability and patience – then you are reading the right website – if you don’t, you are reading the wrong music review space.
It really isn’t possible to either select a track that is representative of the album, nor pick a highlight, with each track being fully absorbing – however here is a song that takes Scott Sandwich to the persona of Sonny Gilford Snr. with It’s 1955 All Over Again.
To give contextualisation for the text that has preceded – here is Scott in the persona of The Swooning with Boneshaker.
The New Zealand synth-wave outfit Glass Vaults release the LP The New Happy on the 12th.
Glass Vaults – Photo by @funkypancake
From the album – Bleached Blonde – is the penultimate of the nine tracks and allows the guitar, which is normally more submerged, to take a pivoting funk presence around which the synths revolve, giving the track a summer-evening vibe.