The dark-electronica creator Martin Del Carpio based in New York in the USA released the LP Notes From The Underground on the 15th.
Martin Del Carpio – Notes From The Underground – artwork
Having featured various tracks by Martin Del Carpio over the past eighteen months it seemed appropriate to write a fuller article on the material and the new album affords an ideal opportunity.
The music stretches from rock based instrumentation to experimental electronica with the underlying sense that the listener is listening to a commentary on a world in tumult. The slightly subsumed delivery gives the sense of discovering boarded up housing and disbanded manufacturing plants, investigating the crumbling infrastructure on a foggy night dimly lit by fluorescent amber lamps and Martin Del Carpio doesn’t seek to offer glimpses of a bright future, rather a feeling of isolation and forlorn hopelessness.
The material, for its very despondency, sears powerfully into the mind and the audience finds themselves drawn into the dystopian imagery, finding solace in the wanton carnage, in a similar way that authors such as Huxley, Solzhenitsyn and Jameson etc. wrote such engaging pieces of literature.
Notes From The Underground (available on bandcamp) is an eight track release approaching three quarters of an hour that contains very few discernible lyrics, in which you will find little light, but plenty of illumination and will not want to put down until the whole album has run through its journey.
The Gloomies is a garage-surf quartet from the USA.
Their début three track single LSD is scheduled for release on the 16th.
The title track and opener is a good place to get to know The Gloomies as a tempered combination of synth and guitar slide out of the speakers, as though laden with heavy morning dew teasing of a sunlit day ahead. LSD contains a wistful backwash that keeps the ears engaged, along with shadowed lightness of percussion which urges the audience to take skipping footsteps, whilst the overarching moss weighs down the submerged frivolity, akin to excitement and simultaneous consternation of change.
The Gloomies open their account in the music scene with a high bar of future expectation and it will be interesting to listen to the band develop over the coming years, as given their first instalment, there is much in which to be enthused.
The US prog-rock band Perfect Beings release the LP Perfect Beings II on the 16th.
Perfect Beings – Perfect Beings II – artwork
Mar del Fuego, the opening track on the album, runs to just under four and a half minutes and finds Perfect Beings elevating the audience on a space bound journey, in which the listener can sense gravity drifting away as the music becomes lighter and ever more expansive as it progresses.
Perfect Beings II is available directly from the Perfect Beingswebsite.
Centred around Will Mora – ADD Agency which hails from El Paso in the USA is an electro-sex project.
Drawing unashamed reference of the material from Blitz Kids in London betwixt ’79 and ’80 Add Agency reconstitute the scene to the ’10s. Pulses of sounds neatly wrestle with glistening flesh as the music lays a backdrop to prolonged and delayed orgasm.
The oiled synths slithers around the room imparting teasing tongue lashes, whilst bass thrusts passionately in the background beckoning satiation to which varied vocals seek to satisfy and from ether regions scattered guitar passes commentary as percussion bonds the writhing mass.
Long-time in gestation Add Agency released a single Emma Stone back in February 2012 and the follow-up LP Gemstone Radar is only to surface on the 30th. Those who know me well are aware of the tease and denial sites of which I am the Editor, but even to most of the Mistresses and Masters who feature therein – running towards four years in a cage is somewhat excessive.
Music to add to the ‘night without boundaries’ playlist.
Residing in Seattle in the USA you will find Regan Lane (Vocals / Guitar), Sean Van Dommelen (Guitar / Vocals), Ken Schaff (Bass), Raymond Hayden (Keys) and Jason Bair (Drums) who form the synth-rock band Strangely Alright.
Easy lilting tracks are cinched by a powerful undertow of lower registers and a percussion which hurries along the music turning it into well tempered rock driven beats which engage the listener. Strangely Alright are not seeking to change the axis of the world, rather adding to the impetus of fluctuation, something which they do with alacrity.
Floating synths are held to the ground by the tempo, as are guitars. Whilst they are given room to expand their themes they are never allowed to disappear out of sight, retaining a relevance to the progressions of the tracks as the vocal takes the part of the circling hawk to discourage any extravagant flights of fancy. It is the ability of the quintet to restrain conceptualisation within tightly framed numbers which gives Strangely Alright their appeal and giving them a base which can range from the psychedelic tinged to Brit ’60s Blues rock.
Strangely Alright deliver music to add to the ‘friends over for evening’ playlist, where they add a sonic point of reference.