The Australian new-wave quartet The Apathies released their début eponymous EP on the 13th.
Opening the four track release – The Nang Song sets the scene for the release (available on bandcamp) as the sounds scatter across the room in shafts of trippy light that minds of watching a swarm of Lampyridae darting around at night as the song threads through a diversity of pace and intensity.
Next is Nothing To Do which opens with delicately played upper notes on the guitar as-though a librarian wearing soft gloves handling an original Shakespeare manuscript prior to ripping out the pages in frustration, with plectrum sliding up and down strings leaving a delightful springy recoil to the sounds.
What You Want readily identifies The Apathies are far from apathetic, rather capable musicians and song-writers who can create intense imagery within the sparse architecture and my pick of the release.
Closing out with Camus’ Desert which appropriately given the reference to Albert – is an abstract, approaching four minutes, of psychedelic meanderings.
Think Wreckless Eric, Iggy and The Stooges and Captain Beefheart and you will be getting an idea of the melting pot of ideas and influences The Apathies draw upon to create their music.
I look forward to hearing much more of the quartet in short order.
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Neonfaith from New York in the USA have a new six track EP set for release on the 1st October.
Running at just under 25 minutes Neonfaith continue with their exploration of the luxuriant in this release.
Opening with Escape, a beautifully textured track that rings of the imagery that flows through the music put out by the trio (don’t be confused by the four heads in the artwork). The opener harks of ’70s funfair sounds which have been muted as though through the lens of time.
Next is Lowlands has reversed scratch reflecting in the pools of ebbing water as the band digs ever deeper into the sub-woofer stretching territory. A delightful four and a half minutes of dream electronica.
Tied Together is more percussion led which gives it a more stark and earthy feel and although it only runs for just under three minutes is my pick of the release as it demonstrates the ability Neonfaith to wrest the most out of the least.
Darkest Light heads back towards the opener and is a far lighter texture as the notes are dampened almost as-though recorded through a microphone in a soundproofed room. Superb.
Fifty Three 51 in contrast brings out big echoes and fuzzing to deliver a aurally intoxicating piece of music.
The concluding track Mercury was my introduction of the band almost a year ago and a pleasure to hear again on the EP.
Neonfaith are masters at creating evocative tracks that draw in the listener to settling back and dimming the lights to allow the ambient flickers to gently float around the brain.
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