Infusing blues-rock with brass and double-bass allows Jay Bird to create what sounds like extemporised pieces. Whilst jazz isn’t a style of music I often find myself recommending you take time to have a listen, a double-bass always piques an interest. Friday Night combines dirty-blues and jazzy sax, leaving the audience smiling broadly.
Each time I come back to Panda Elliot they throw another idea into the mix.
The live version of Obsesión discovers Panda Elliot in yet another light, with a folk derived track that drifts quietly around the room filling the spaces with softly delivered melodies and a background of rolling mist with vocal shining through the quiet layers of sound. Towards the latter end of Obsesión the mood shifts to one reminding of dark storm clouds blowing fiercely around the ears before calmly folding into a restful conclusion.
The Argentinian dream-wave quartet Tirman Kid were first introduced a year ago.
Tonight finds Tirman Kid with an even softer brush than the tracks previously featured as the guitars blend into the synths, which gives the piece the sense of more deeply piled velvet carpet in which to sink.
Tonight is delivered at a more measured pace allowing the listener time to discover the nuances of the various elements of Tirman Kid in a track that has drips of psychedelic-shoegaze interwoven through the just over three minutes of hushed melody.
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.
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.