The US lo-fi project doe deer was introduced at the tail-end of last year.
doe deer – drugs
The latest track to surface – drugs – continues in the same vein of flat-lining drifting soundscape as doe deer delivers another mastery of music that no matter how loud you set the speakers, the core seems to be out of earshot, which is the intrinsic mastery of the compositions.
drugs has a sublime aural imagery betwixt the sounds barely reaching from the amplifier and the song title, aligning itself alongside the most sought-after impressionist painters with a soundwave interpretation of chemically induced hypotension, leaving the listener just checking their pulse to ensure it is still beating, all extrapolated in less than one hundred and five seconds.
With a much darker presence than much of their material; Pulse has an industrial wrecking-ball temper to it which swings across the room creating a shadowy blackness that reflects upon the continual havoc which has been sown by wealthy oligarchs and London-centric bureaucrats upon their home town of Newcastle-Upon-Tyne, in the North East of England, as it contemplates a local venue that will be known by many national and international touring bands – The Cluny, which, as a building began life as a Cotton Mill.
Pulse is a track that can equally be transposed, by you as a music fan to your own local venue that ‘matters’, where ever you are in the world, whilst property developers, like vultures, lurk awaiting for planning permission to move in and destroy gathering spaces for the non-conformists to enjoy life and get away from the grind-stone, even if only fleetingly, to resurface as a Corporate Headquarters or unaffordable housing stock.
Which similarly minds me of a nearby local authority who evicted a group of tenants, making many homeless, so they could turn the properties over to a property developer to rebuild spaces as ‘homeless accommodation’ all for a short term cashflow, whilst in the longer term being rented back by the same local authority at far higher cost than the cash injection, such is the dystopian reality of socio-capitalism.
Having fused as individuals on the jazz scene the quartet go together to combine, as a side project, to generate ideas of more experimental and leisured pace in the form of Black Dough.
The latest song to surface – Changes has a nebulous and amorphous drift that captivates the attention for the very fact of its intangibility, in which the listener is invited to let their mind roam freely, unfettered by daily mundanities, despite the lyric being of decidedly societal critique.
The fragile architecture sweeps within itself through the six and a tenth minutes track in every changing ebb and flow, whilst the voice peers from overhead as though a condemnatory guillotine.
The England / Scotland based gaze-rock trio Dama Scout release the single Paper Boy on the 14th.
Dama Scout – photo by Emma Swann
Since their introduction in September of last year Dama Scout have secured regular live performance appearances and released the uptempo single, All In Too, that came out in December.
Paper Boy, returns to the territory of their début single, Forget It’s Good (both available on bandcamp), with a luscious texturing of subsumed echoing vocal surrounded by gauzy guitar that fills the room with a hazy rolling warmth in which the listener wants to wrap themselves and stay warm in the comforting embrace of the music.
The English angst-indie trio Fick As Fieves are planning to reveal a new track on the 28th.
Fick As Fieves – photo credit – @jonathandadds
Within the past few minutes – in advance – a video for Label Us.
Currently working on plenty of new material after a hiatus with university study and lives not quite matching – in 2017 Fick As Fieves are looking set fair.
Crank up the volume and kick the speakers to clear out any dust, just to make sure, make yourself space to dance, only then, allow Label Us in the room – as drumsticks, that you feel are necessarily part of a juggling act, such does the tautness of skin to rim – mesmerise.
However there is more than just Richard on drums, as bass and guitar slink through the speakers with generous courtesy, allowing the swarming echoed vocal to smear through the ears. Enabling Fick As Fieves to deliver a track, though less than two and a half minutes in length, that has much to discover with their perspectives of the world around where abandoned hopes which don’t meet others expectations lay tattered by the roadside, with palpable sense of regret, in a song that raises an siren call that nonconformity far from being an affliction is a triumphant space of valediction.
I look forward to discovering more of the new lease of life for the trio.