KILL WEST from Buenos Aires in Argentina is the drone quintet of Nicolas Miele (Drums), Mariano Miele (Keys), Martin Valentini (Guitar), Franco Beceiro (Guitar / Vocals) and Joel Menazzi (Bass).
The reverb shakes the walls as KILL WEST bring together surf rock, giving a sense of rapidity, with doom strings and layers of echo which gives the out-put a feeling of submerged fuzz. The keys allow the quintet to give the music yet another depth of transmission in which the listener can allow psychedelic imagery to flow around the brain.
KILL WEST produce music which rattles the bones, whilst massaging the head and is their ability to do both at the same time, without losing and sense of cohesion that gives the tracks their intrigue. Although none of the pieces run to much over four and a half minutes, given the sheer weight of textures which slow down the synapses, there is a sense of time slowing.
This is material best taken in large quaffs as a continual line of sound allows the audience to immerse themselves into a vortex of drifting thoughts.
Hell Oh! is the alt-rock quartet of Marco Tulio, Maycon Rocha, Raphael Heiderich and Vinicius Amorim from Lumiar in Brazil.
Hell Oh! – We’ve Got Nothing To Say But A Song – artwork
Initially looked at back in September, by way of one track and a promise to get back to them – Hell Oh! now have more tunes I can hear that are freshly minted. Grinding their way out of the speakers like pepper going through the mill, there is an earthy fresh zest that captivates the audience as the growling guitar mutters malcontent whilst bass and percussion rumble across the room and a scoured vocal sheers its way around the ceiling.
Hell Oh! is able to transition between slowly paced pieces and hurried rattling windows with confidence as the quartet deliver music that emits connectivity with the listener whilst the garage rock influenced psychedelia wraps the mind in energy that draws in the ears.
From foot stomp, to laying supine Hell Oh! maintains a scruffiness into which it isn’t possible but to find appealing. The quartet is able to provide music which relies on careful composition as the textures build, yet provide the ears with easy to understand sounds that inject themselves into the bloodstream.
We’ve Got Nothing To Say But A Song is available on bandcamp.
Enema Noise is the alt-rock quartet of Murilo Barros (Guitar), Rafael Lamim (Guitar / Vocal), Daniel Freire (Drums) and João Morais (Bass) from Brasilia in Brasil.
Enema Noise – alt-rock from Brazil
Cloaking the room in an ominous presence Enema Noise deliver what can perhaps best be described as angry psychedelia. Pressing on at some trot the quartet allow their music to breathe by cleverly cutting away instrumentation only to fold it back into the track giving the developing sounds a foaming temperament.
The resulting out-put holds considerable interest to the audience as the two guitars seemingly melt into the compositions as a bad tempered percussion rages like a feral cat and the bass swoops akin to a hammer to batter the speakers as the subsumed vocal imploringly peers from the maelstrom. Tracks rarely reach the three minute mark yet are so packed with activity that it is difficult to believe that to be the case.
Enema Noise have three releases behind them dating back to 2012, their first being a split EP with Valdez and I look forward to their next stage of development.
The split EP and the current LP manual pouco prático do desapego, which came out in January, both contain the track eu preferi perder (the latter version being one second longer) are available from their bandcamp store as is, of significant difference, a live five track EP released in 2013 árvore monstro ao vivo which was far more experimental and contained scant vocal -running for twenty three minutes.
Tirman Kid from Buenos Aires in Argentina is the dream-wave quartet of Martin Dick (Vocals / Guitar), Agustin Slapak (Guitar / Synth), Manuel Gvirtz (Drums) and Matias Oyamburu (Bass).
Layer upon layer of drifting smoke immerse the room as Tirman Kid feed the music into the room. The shimmering guitars are accompanied by synths which allow the phrases to hang in the air, whilst a gauzed vocal echoes remembrances of instrumentation drifted past as percussion settles on hi-hat and ride giving the out-put a fuzziness to which the bass lays quietly in the back-ground grabbing attention from time to time as it sweeps up the stray remainders of the sounds.
The laconic elongated notes give Tirman Kid a munificence which beguiles the listener, whilst the lyric espouses of bitter regrets and the fusion of the two gives the quartet a fascination that holds the ear.
The music itself transcends geo-political boundaries and could have appeared from anywhere in the world at any time since the ’60s with its hazy waves of sound and for that very inclusiveness I recommend you taking a few moments to – kick off your shoes and drift in the sounds.