Eric, Matthew, Adam, Pat and Kurt – split between Philadelphia and New York in the USA – form the cinematic-rock band PALMAS.
Atmospheric textures ooze out of the speakers (unlike the shouty capitalisation of the band name) filling the room with puffy down-filled pillows of luxury. Harking of ’60s Merseybeat the quintet have added surfy froth, to festoon the listener, in luscious compositions in which to recline. It is easy to imagine the soundtrack to any brightly light Lynch film with PALMAS adding the finishing touches of context to the scenes. Far more than this, the creations are not merely backing music but stand on their own legs with considerable poise.
Easily spaced reverbed and delayed guitar is interwoven with blurred percussion giving the out-put its other-worldly qualities as the vocal peeks its head above the mix without ever aiming to become an over-riding element of the creations.
PALMAS are, unsurprisingly, gaining significant traction in live performance and the release of To The Valley yesterday will, if justice be served, break to a global audience a quintet who should be far better known.
Earlier this year the Canadian electro-goth quintet The Scarlet Fever were introduced.
Sea Of Mercury, the third of the eleven tracks on the LP Collider is a continuation of the journey, with The Scarlet Fever groping deeper into the entrails finding bloodied hands grasping still beating heart, in a number that slithers from hold as the semi-permeable soundtrack promenades from the speakers in self-confident aloofness.
Rather than becoming disenfranchised the listener stretches arms to gain tenuous grip in frenzied desire to become part of the festooned procession. The Scarlet Fever have the knack of furrowing a path that enraptures the audience in the casually scattered flecks of gold that spill into earshot – to entice further investigation.
Shane Romero is an urban hip-hop poet from the USA.
In something of a parody of all Shane Romero purports to stand for The Gentleman’s Movement tells the story of ‘achieving’ the ‘American Dream’ in a journey from legacies of street shootings, with trainers hung over wires in remembrance, to delusional sartorial elegance and soulless exile.
Perhaps Shane won’t thank me for mentioning it, but to me, he was able to take the mickey out of the dingy, so called aspirational, clothing retailer – Argyleculture – who have chosen this song as their version of ‘drip down economics’ in a number that demonstrates all that is wrong with a society that doesn’t care about anything other than ‘what is your bank balance?’ with The Gentlemen’s Movement.
Or, perhaps that is just my cynical take on the world and some people do aspire to be conned by a system that has failed. Whichever message you take, a great piece and poetry is always about personal interpretation.
The Provincial Archive is an alt-rock trio from Canada.
The Provincial Archive – eponymous LP – artwork
Due to release their eponymous six track LP on the 20th, Bad Connection, the opener, announces the continuation of The Provincial Archive with their ’90s influences, The artwork for the album even reminds of what can’t be seen on Spiderland by Slint, since slimming down to a three piece recently.
Fuzzy distortions leaves the audience feeling they have been washed down with a body-scrub as Bad Connection, which doesn’t try to be anything other than what it is – a great slice of catchy rock, drifts around the room.
Foresteater is the project of the naïve-rock songwriter Michael J. Protocollo from the USA.
The one and only track around is High And Bright, which meanders around the room in strutting stance, which for its very aloofness captivates the mind.
Simply laid chords are furrowed by easy to engage percussion and vocal. It is due to the trusting simplicity of it all that the audience is entranced by the material as it lacks any cynicism and one can only hope that Foresteater continues this refrain of accessible innocence, as sometimes being coddled is all that is needed.