The most recent song to be released There You Go – which came out on the 12th – is a beguiling tapestry of dampened acoustic guitar which lays as a mellow backdrop to a voice which the listener wishes they could carry in their head each and every day and pull out whenever frustration with the world around arises, to calm the moment.
The sparkling clarity and range of the vocal finds the audience cocking their head, akin to an attentive puppy, whilst allowing the washes of the voice to circle the room.
If there is any justice remaining in the music industry, Dana Williams, will find a break to become a household name across wide geography.
Vazum is relatively new goth-rock project from the USA who will be releasing the début and eponymous LP on the 10th of February.
Watching the subwoofer flex inside its own cone with bass speaker rotating off its platform are but two of the many delights in engaging with Vazum.
The seven track album pulses through the room in ever deeper cloaking until the listener is pitched in to the darkness afforded by a blackout curtain by when the elongated vocal smears and bending guitars have already enticed the limbs in to purple velvet bonds in which to writhe in uncontrolled ecstasy.
Andrew Goldring is a haze-rock project from the USA.
Like a mirage shimmering over the horizon the latest track to surface – Lost In The Motion – fills the room with an entrancing mellow flow of gazey delayed guitar, dreamy vocal, subtle effects and a percussion which holds the composition steady on its course.
Lost In Motion (available on bandcamp) is a song that is best approached whilst laying back with closed eyes – to allow the gently undulating composition to slow down the neurons firing around the brain resulting in the listener emerging, some, two hundred and sixty two seconds later feeling they have received a massage which has untied all the hassle induced knotted muscles of daily life.
Currently only one song is around, Hollow, which was released on the 8th, though word arrives of an EP in the offing.
The combinations of electronica and natural instrumentation immediately capture notice and the audience finds themselves intrigued to explore where the slightly poppy blend of rock riffs is heading and once the stupendous vocal enters the fray there is no turning back. With some fortune, for those of us who are not very good with pop-music, discover that as the track develops so the intensity of the rock infusion builds – to create a song that requires immediate replay just to ensure Hollow is as good as was initially thought, only to discover it is even better.
I look forward to hearing more by Mel Denisse – the person who is NIGHTS.