The English glaze-rock band Flashes released the AA side single Black Monday / Infinites on the 10th.
The drum-skins sink far below the rim of the carcass affording the two songs (available on bandcamp) a deep resonance whilst pirouetting guitars shimmer inside their own echoes with the bass pulsing just below the surface as the gauzed vocal floats like an ethereal presence from locations undetectable.
Black Monday – my pick of the release a, wandering towards eight minutes, song minds of sinking into quicksand on a tropical shoreline with the gently drawing liquefaction pulling the listener towards their peril whilst trusting in the warming embrace to keep them safe as the buoyancy of the track bubbles up and down during its progression.
Infinites is of more dreamy countenance, though containing the signature sound of expanding and compressing frequencies as the predominance of the drum-kit taking lower stage with pumping bass guitar and bass drum threading the weave of the song, a tad over a minute shorter than its bedfellow, while guitars tie their own distinctive brocade through the beating heart affording the track a distinctive pattern of sound that draws to thought a cooler evening on a cloud shrouded hillock with the vocal laying in the misty shadows.
The new single identifies a year spent well with Wake Up Freya being their, to my mind, most intricate song thus far released.
There is a gentle timorous frailty of vocal which threads through the composition affording the theme its central pivot seeking to narrate tentative advice to a new-born whilst self-doubting the counselling provided as the building layers of instrumentation afford a guarding layer of protection and caring support in to which the listener is invited to join arms.
Marsicans will be embarking on a six stop England, Scotland tour next month:
1st of March – Birmingham, Sunflower Lounge
2nd of March – London, Borderline
3rd of March – Bristol, Louisiana
7th of March – Glasgow, Garage (Attic)
8th of March – Manchester, Deaf Institute
10th of March – Leeds, Church
The English rock quartet Tax The Heat release the LP Change Your Position on the 9th of March.
Tax The Heat
A band with a growing and strong fan-base, as their punchy rock’n’roll extends to converts new through word of mouth via their regular live performances, the release of this, their second, album can only help to spread their name more rapidly to a cross national audience.
Whilst not intended to take a political perspective, by dint of being sentient humans delivering music which is drawn from the realities of their own lives which inspires their creativity, the message isn’t overt though the clear underpinning of the roots of rock – live and let live though never be cowed – is clear.
The title track – Change Your Position – and second of the dozen on the LP being the most recent to surface.
Able to swamp the room in flighty temper and subtle undertows, akin to a riptide, swashing the audience aside and asunder. Megalithic deliver music which holds the audience steadfast in absorbed attention whilst eagerly seeking buoy on which to anchor and stabilise themselves from the buffeting ride – ‘only two players?’ one queries as the diverse layers of snarling sounds tumble through the stereocilia as internal balance desperately attempts to discover equilibrium.
By now, if you are a regular reader, are probably already be thinking that my suggestion is to turn the volumes to full blast and topple over with the speakers – and you would be quite correct.
By way of an introduction – Swiss Army Knife – the sixth of the nine tracks on the LP The Unnamed – which is available on bandcamp.
website (be aware you will have got through most of the song prior to this site resolving – it will finally happen – just be patient)
The English psychedelic rock quartet WUZI released the three track single Bozo Material on the 2nd.
Ensure you have a clear day prior to hitting play, as, as soon as the brain latches to the approximately eleven minutes release it will be seeking means to extend the hallucinogenic flows of moment by insisting on a top up of the feel good mood.
The guitars bend inside hazy folds of echoing reverb while bass pops in and out of earshot as it fancies, giving the songs their multidimensional shape, whilst percussion busies itself seeking out fresh grazing pastures and the vocal, akin to a wayward puppy exploring new smells reluctantly being pulled on a leash, adorably, snuffles the ears.