sotomayor
sotomayor
4 jan 18

DeRankā„¢: 3,00

Today, the #zot2017 review features an all-Italian album that I had already listened to, but I donā€™t think weā€™ve ever mentioned it here on DeBaser. Here it is.

New Candys - Bleeding Magenta (Fuzz Club Records, October 06, 2017)

This is the moment when Italy has finally realized it has one of Europe's best neo-psychedelic bands at home. Iā€™m talking about New Candys (Stefano Bidoggia, Dario Lucchesi, Diego Menegaldo, Fernando Nuti). 'Bleeding Magenta', released on Fuzz Club Records last October 6th, has indeed received a number of reviews in popular webzines compared to the band's previous works, which have finally helped circulate the name of this group that has long had a following among enthusiasts across the rest of Europe. Particularly in the United Kingdom. A 'classic' neo-psychedelic group, New Candys, with this album, reintroduce a formula that has already worked brilliantly in their other releases over the years. The songs are all recognizable for their typical wave attitude found in other psychedelic bands (starting from the Underground Youth), for the electrifying guitar riffs, the power of the bass lines, and the extensive use of distortion on the vocals. Compared to their 'relatives' Sonic Jesus, their sound is definitely less cryptic and has some nuances that could even be defined as 'pop' due to the accessibility of their songs. The album boasts a certain cohesiveness and features some more experimental moments like 'Sermon', created with the participation of vocalist Julia Hammer, or the trilogy of 'The Otrogeous Wedding' that fills the second half of the album. The rest is the usual mix of fuzz, feedback, distortions, and reverbs. A nice record that the band composed inspired by visual content and the films of Dario Argento and the works of Nicolas Winding Refn. Obviously recommended. If you like neo-psychedelic music (I donā€™t understand the comparisons to Black Angels frankly, who really have little or nothing to do with this), or alternative rock music, you cannot miss listening to it.

New Candys - Excess
 
Alemisso
Alemisso
4 jan 18

DeRankā„¢: 10,56

however (lo-fi)
Tonight I created this "experimental" track.
 
zappp
zappp
4 jan 18

DeRankā„¢: 0,00  BarNecchi

Chi ĆØ veramente "me"?

- memorable scenes (62) -
 
Dislocation
Dislocation
3 jan 18

DeRankā„¢: 2,52  W_I_NEGRI

Isaac Hayes - (They Long To Be) Close To You

ISAAC HAYES WEEK: They Long To Be Close To You.....
 
Battlegods
Battlegods
3 jan 18

DeRankā„¢: 2,97  Electroma

Zoviet France - Mohnomishe (A1/A2) The Zoviet have tried in every possible way to gift the Experimental scene a "Vernal Equinox" or "Music For 18 Musicians," without quite succeeding. The raw "Garista" remains excessively tied to the tribalism of 23 Skidoo, while from their other works I was expecting something more "noise." Here, however, they serve up a killer track, made of divine minimalism and terrifying industrial blasts.
 
Battlegods
Battlegods
3 jan 18

DeRankā„¢: 1,70

Aurora Sutra - Regression (1993) A beautiful dark ambient test in the style of Dead Can Dance. 1993.
 
sfascia carrozze
sfascia carrozze
3 jan 18

DeRankā„¢: 5,44

Arrows of Love - Toad [ Official Video ]
When the Arrows of Love strike, they hit hard.
 
Almotasim
Almotasim
3 jan 18

DeRankā„¢: 2,44

V; - "1926"
V;=post punk band from Boston ('79-'82), featuring guitarists Gary Gogel and George Petcoff. Vocals by Susan Anway.
 
sotomayor
sotomayor
3 jan 18

DeRankā„¢: 3,00

Let's move forward with these Northern European experiments, this time venturing into German territory with a new proposal from the #buzz showcase concerning a group that - clearly - I wasn't familiar with, suggested to me as always by @[ALFAMA].

Dzyan - Electric Silence (Bacillus Records, 1974)

Another 1970s album from a German band, a trio (Reinhard Karwatky, Peter Giger, Eddy Marron) that doesnā€™t quite fit what we call kraut-rock, but in this album, titled 'Electric Silence' and released in 1974, while evoking some sonorities of Popol Vuh, wanders down different paths and predominantly explores conceptual ambient and meditative experimentation. This album is their last and can be described as a kind of improvisation on the edge of the most extreme experimentalism, where genres like jazz fusion and references to Eastern folk music intersect. The album opens immediately with one of the most unique tracks, 'Back To Where We Come From', a long nine-minute experimental session essentially based on the experimental sound of the bass and the use of minimal percussion and underwater synthetic suggestions, culminating in a final noise explosion in a series of overdubs. The sound of the marimba is a characteristic element used on several occasions. 'A Day In My Life' can be considered practically as a beta instrumental version of 'Tomorrow Never Knows' by the Beatles. 'The Road Not Taken' conceptually reprises the opening track: it seems the exercise practiced consists of resonating the empty spaces, alternating forcefully with a solitary ghostly acid blues guitar in a style halfway between 70s psychedelia and Ry Cooder. 'Khali' is perhaps the most interesting track, virtually a session of spatial ambient music blended with traditional Indian music featuring tabla and sitar, reaching a symphonic ecstasy that anticipates Spacemen 3 by a few decades. 'For Early Thinking' (in a more experimental manner) and 'Electric Silence' are more typically jazz fusion episodes that perhaps add little to the overall work, except for confirming the trio's great technical abilities and their eccentricity in compositions of every kind. Itā€™s certainly a distinctive album, and it's worth mentioning the creator of the beautiful and unique cover: the German artist Helmut Wenske, whom I wasn't familiar with but definitely deserves further exploration, especially considering my interest in sci-fi culture.

Dzyan - Khali [Electric Silence] 1974