The English dark-rock project Meggie Brown released the début single Coming Back Again yesterday.
An intriguing one hundred and fifty five seconds reveal which needs the subwoofers to be set to full boost and everything else left as was, though kicked to loudest volume, with windows open (if you are in the nippy climes in which I exist today as I type (else move the freezer and open the door to try that) prior to hitting play to allow the chill blast of soundwaves to ripple the hairs on the forearm to form their own goosebumps in to the descent of every more gloomy self-doubt which circles the brain.
Set to a hypnotic guitar that takes control over the anteroinferior region of the temporal lobe, rather than descending in to an anxiety the listener finds themselves closing down access to the amygdala with glowing feeling of euphoria.
I do apologise, again, that I am once again late to get to an article.
Their début eponymous EP was released earlier this month – a four track, roughly twenty two minutes, collection – which cast dark clouds over even the brightest sunlit day inside which the listener becomes encased in enrapturing billows of thunderous bass-line and evocative duo of rotational guitars entwine with each other as loosely tied drumskin sinks inside the rims to echo around the ears whilst the unobtrusive vocal melts in to the mind.
Without a sub-woofer and sturdy bass speakers the beauty of the music is lost.
My selection from the EP being the penultimate Capitalist Creed.
CWM is a relatively new English dark-rock quartet.
Only a couple of songs are around, both of fairly dark outline though one, Icebreaker, is punchier than other, the more recent Raised As Wolves, which has a more nuanced texturing to it affording the quartet to shine as creative songwriters due to its multitudes of layers that float through the room as it casts an ethereal dreamy presence towards which the listener finds themselves vainly reaching out to embrace the curling echoes as they drift past.
It is difficult to comprehend CWM have only recently got together and on the basis of the two tracks, particularly, to my mind, the latter, will find many more people speaking at least one word of Welsh more than they knew in the past – though to be fair – having not asked about the intended pronunciation, perhaps each individual letter stands on its own.
The Ian Quiet Review is a dark-rock trio from the USA.
The Ian Quiet Review
The room develops its own wave underfoot on hitting play as The Ian Quiet Review deliver their music which has an infectious beat that sublimates in to everything it touches.
The songs contain a dark menace that forms the signature of the output as the formidable vocal paces like a stalking panther while a captivating deeply resonating bass pulses through the ears whilst drifting synth and varied instrumentation melts through the snapping percussion.
From their recent début eight track LP – Seance Fiction – the second song – Hocus Pocus.
Seance Fiction will, if justice be served, raise their profile significantly from the strong and growing local live performance circuit they have thus far developed.
I apologise to one and all for the late handling of this as an email has been sitting in my email inbox for a couple of weeks.
The Finnish dark-rock band Uptown Electronics released the two track single Crashin’ Slow on the 15th.
Uptown Electronics – Crashin’ Slow – artwork
There is a different layering than music previously featured which is evident in both Crashin’ Slow and the B side Release The Pressure where rock guitar architecture builds the scaffolding to the songs as the looming tracks darken the doorway.
These are capable musicians and I look forward to hearing more in the coming years.