First introduced in 2012, Glass Vaults, have ever sought to develop with their reflection of self-flagellating brooding commentary which as each iteration surfaces, so, the duo stretch the concept to more philosophical status.
From the LP Sojourn, the second of the eleven tracks – Life Is The Show, inveigles its way into the minds eye of the audience as the approaching seven minute journey grows ever more melancholic with each passing bar.
The luscious velvety textures of sound draw the listener into the washes of synthetics as the video for Life Is The Show commentates on the continued, alarmingly, high suicide rates of those faced by the rampant homophobia that still persist in 2016 – in a world that likes to blinker itself and pretend the issue is non-existent.
The Australian metal quartet Envenomed were initially introduced in 2014.
Since the initial article there has been one change in the line-up with Dave Lowes now playing Bass.
Slave No More, the middle of the five tracks on the EP Reckoning (available on bandcamp) is a decent example of the ability of Envenomed to produce music that is simultaneously punchy and silken as the quartet allow the strong melodies plenty of space to flood the room.
The New Zealand melancholic-electronica creator Sharn Te Pou performs under the name Sharn.
Due for official release on the 8th of April – Born was made available a few hours ago.
The just over three and a half minute track fills the room with a dampening despondency which has an intangible beauty as the slowly revolving electronics uncurl into the room and the listener is reminded of an aural fractal as the loops thread inside one another, whilst a dark vocal delivers an isolationist commentary.
Despite the down-tempo nature of Born, or perhaps because of it, this is a track to play whilst silently holding a partner close in a slow romantic dance with the lights dimmed.
Not having featured music previously by Sharn, I took a moment to listen to the back catalogue and there is much to enjoy through the three years of songs. I am certain I will be coming back to Sharn Te Pou in the future with more news.
Mayhem & Me is the dark-folk trio of Majella Eales, Jeff Reeve and Paul Carwana from Hobart in Tasmania.
Mayhem & Me
Mayhem & Me have the ability to fill the room with a wet sandbag of acoustic led material. An eponymous four track EP surfaced in August (available on bandcamp) and I look forward to news of future material by a trio who are able to take a straight forward idea and turn it into an introspective soliloquy, which finds audience gripped in the ensnaring embrace of the vice-hold of drying leather bondage-straps.
The thickly stringed acoustic guitar is given reign to flight, whilst the electric guitar lays subdued in harmony as it meets a deeply resounding bass which tethers the material with reverberating strings that darken the room as the vocal, like a hawk spotting prey, dives to the foreground garnering travel and sight to which the instrumentation gathers in flock.
Mayhem & Me are able to cloak the audience with weighty contemplation through the measured pace which they intransigently refuse to hurry, leaving the listener in enraptured desire, as the music gradually unfurls itself in the ears.
Light the candles and bring out the scarlet ties to join Mayhem & Me in their exploration of inner turmoil.
The Australian lo-fi-garage outfit White Lodge are due to release their eponymous LP imminently.
White Lodge – Labour Of Love
From the forthcoming album – Labour Of Love is a track that typifies their style as it crashes around the room in seemingly random abandon.
White Lodge retain their charm by their refusal to polish the sounds, allowing the listener connect directly with the musicians. If you are after tidy dressings with your music they are not for you, if you prefer a rawness that recalls of four track analogue recordings you are with the right band.