This is a mix of garage, alternative, blues, and psychedelic rock. With keyboards, hammond organ, extra percussion, and a saxophone, this is an entertaining and characterful release that has a 70s lo-fi art-rock feel to it. Continue reading
Featuring current and ex members of bands such as Candlemass, The Doomsday Kingdom, Jupiter Society, Tiamat, and Evergrey, you know a lot of experience and talent is going to be present on this album before you even listen to it. Continue reading
Here we have some spaced out, cosmic-spanning psychedelic doom rock drone…quite a mouthful really, but one well-worth getting your chops around as Polyvision is a substantial cocktail of heady proportions. Continue reading
The album cover alone makes me feel paranoid, not to mention confused and slightly panicked, and this is before I’ve even pressed play. Continue reading
This unusually named band play experimental Doom Metal that contains elements of Progressive Rock, psychedelia and a bit of Sludge Metal alongside the usual genre trappings. Continue reading
The majority of the things you need to know about this album can be summed up in the follwing three words – 70s Progressive Rock. It’s definitely of the era and the inclusion of organ and flute only reinforce the idea.
There are only two tracks on this release but with the first one being 20 minutes in length and the second 18 minutes, there’s a full album’s worth of content here.
Apart from some low-key and ethereal backing vocals, this is almost entirely instrumental; the main focus is on the music itself. The intricate complexity and warm exploratory nature of the songs mean that these two tracks have a lot to offer in a non-threatening way. If you like the 70s style then it’s undoubtedly an impressive display of it.
Agusa 2 is richly textured and has a seemingly loose structure that’s probably actually quite tightly controlled. It twists, turns and winds its way through the playing time in a calm and informal manner.
This offers some real drugged-out psychedelic bliss for connoisseurs of the style. It’s a reflective response to a time that may have passed but is being kept alive by people who share a passion for an era that musically gave so much to what came after.
Although Agusa won’t be a band that appeals to everyone, they do what they do extremely well and if you want to kick back and relax to music that’s both mellow and challenging then this is the album for you.
Ecstatic Vision play music that combines elements of Stoner Rock with 70s Psychedelia and Progressive influences.
The music has the drugged-out aura of an older time, where music seemed purer and bands experimented in more than one way.
This is a guitar-oriented release with lots of riffs, solos and leads. In addition to this we get dreamy organ, throbbing bass and understated-yet-crucial drums.
A decent enough description would be somewhere between Hawkwind and Acid Mothers Temple. The songs easily take on a life of their own during their exploratory ramblings. It remains cohesive though and although you wouldn’t necessarily be in the mood to listen to this type of thing every day, when you are it really, really hits the spot.
Listen and absorb; open the doors of perception and visit other layers of consciousness.
This is winding Post-Rock with a nice Progressive Rock edge to their sound. There’s also some Psychedelia and Stoner elements to their sound that essentially mean 100 Years After Never is a very relaxing, easy listen that washes over you like a rippling tide.
That’s not to say it’s all calm sailing as the band ramp it up a bit when they need to, but there’s no real heavy aggression here or anything of that sort.
Ethereal Post-Rock guitar blends with down-to-earth bass to create a listening experience that’s tranquil and charged at the same time. Sativa do well in this combination of beauty and gritty realism and the songs on this EP are nicely judged.
With the Stoner connection it’s the usual thing to make lots of comparisons to deserts, etc. but the reality is that Sativa have got somewhat of a watery vibe going on in some ways. This is especially strong on track 3, which gives the distinct impression of bubbles…
Maybe it’s just me, but I can hear it, I swear…
Overall this is a neat little EP that hits more times than it misses.
Okay, so I say Post-Rock, but not only is that incredibly vague but it also doesn’t really do the band justice, as Lae don’t really sound like you’d probably envisage when you think of Post-Rock. They have an unusual style that’s as enticing as it is seductive.
So, first off I should mention that the band have a very sexy production courtesy of Today is the Day frontman Steve Austin. Apparently he, understandably, became so enamoured with the band’s songs that he ended up providing lead vocals for the entire album. That album is Break the Clasp and the first thing you should know then is that his vocals are stunning.
Haunting cleans are layered together and occasionally enhanced by Austin’s trademark acidic screams to create a performance that’s like a demented lullaby. Breaking the Clasp gives Austin a true platform to demonstrate just how good a singer he actually is.
The music itself is a multi-textured and highly emotive smorgasbord of tasty treats and delights. It’s a hazy, psychedelic mix of Rock and Post-Rock that’s strictly non-conventional and features enough hypnotic melodies to capture your attention forever.
There’s a great variety of mood and feeling to be found here. Doubtless this is not the kind of album to appeal to everyone; it’s not an “instant hit” by any means. It doesn’t suffer from this though, as the songs here have a longevity to be expected of a band who have seemingly taken the best part of over a decade to release their début.
The songs strike a personal note with the listener, drilling down to the core of what’s important in great music; connection, passion and feeling.
Providing band references as comparisons is not easy. Hmm, certain aspects, (but not all by any means – the slower parts mainly), of bands like Today is the Day, Earth, Swans, Fantômas, Angels of Light, etc. are suitable starting points.
Break the Clasp is something of a revelation for me. Albums of this beauty and intrigue don’t come along very often. I’m floored. I love this.
As I write these words it’s nearing the end of 2014, and a lot of amazing album have been released this year. All I know is that Lae will be featuring very highly on my Best of 2014 list.