The Croatian alt-rock trio Punčke are scheduled to release the LP Ništa Nije Kako Se Čini in March 2016.
Punčke – Protiv Nas – artwork
From the forthcoming album Punčke released, as a single available on bandcamp, yesterday Protiv Nas.
A track expressive of being emotionally drained and unsure of a place in the world where the conflict of expectations by others and ones own needs result in an inner sense of hopelessness which is reflected in the music that features a cello to emphasise the melancholia as Protiv Nas works its way around the room accompanied by a mournful, almost sobbing vocal.
It has been well over a year since the Australian garage-rock band Wolf Cola last featured.
Their most recent track Chimes melds Merseybeat with surf-rock delivering a track that contains both jangling guitar and blurry low fidelity providing the audience with a song that keeps revolving around the brain long after the notes have died away.
After a year of not releasing any recordings and scarce live performance as the band sought to expand the line-up, a search recently completed with the addition of two members, now four players with the addition of Curtis Judge and Sean Alves, word arrives of an EP in the works (of which Chimes is one of the tracks) and I look forward to hearing more of Wolf Cola in 2016.
The Swedish ethereal-synth creator MIRA released the single – Ghost – on the 11th.
MIRA – photo credit – Alfred Johansson
Ghost is a track to unwind with as the glissading electronics slide around the room as the spectral vocal floats from afar. The swooping synths combine with bells and guitar leaving the listener engrossed by the ghostly apparitions that flow into the ear.
It has been over three years since the French industrial-electronics project Ottokraft last featured and I have no idea why I have allowed such a long period of no updates.
A new EP is due for imminent release – The Sick Culture Of Wealth and a song from the release surfaced a couple of hours ago – Crazy Horse.
Despite the lengthy gap there is an immediate familiarity as the buzzing synths, which remind of Tubeway Army whizz around the room. There the commonality of sounds, though not sentiment, ends as Ottokraft also now feature chomping guitar to accompany the commentary of societal malcontent. The listener is swayed between warming synth sections and frustrated thrashing rock as Ottokraft express in Crazy Horse the dichotomy of ‘doing the right thing’ as dictated by bureaucrats and actually being a sentient human being who can recognise it is their life that is being ground into a discarded dust of obedient slavery.