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Review of ‘EP3’ by audiodeluxe on Pink Dolphin Records — June 30, 2017

Review of ‘EP3’ by audiodeluxe on Pink Dolphin Records

audiodeluxe are a couple of part-time musicians from a small, ever expanding village near Glasgow.

EP3 is their third EP released on Pink Dolphin Records. It’s an excellent EP with 3 solid tracks which are superbly arranged and produced. There’s a brooding quality to the EP, the songs have a great edge of tension and variety of sound from the darker sounding synth pop of How Long to the shoegaze feel of Untitled to the indie feel of To Drown is to Love.

How Long
Opening with feedback and a distorted,swirling guitar riff there’s a brooding type of quality to this song. A bass arp gives a great momentum propelled by a solid drumming which is processed really well and has a tight sound. The vocals are superb, a bit sultry which suits the mood of the song really well. The synth arp and strummed distorted guitar add a great element to the song.

Untitled (Voxless)
Slightly distorted bass riff to opens creates a great groove complimented by subtle drumming and excellent delayed effects. There’s excellent layering and the mangled, distorted vocals sit low in the mix and add a great tension.

To Drown is To Love
Excellent riff and strings create an atmospheric opening with a nice tension. The vocals have some lovely harmonies and an edge of angst to them.

Pink Dolphin Music Ltd: twitter | facebook | website | bandcamp

audiodeluxe: twitter | bandcamp

Review of Synthmaster One VST by KV331 Audio — June 28, 2017

Review of Synthmaster One VST by KV331 Audio

KV331 Audio has introduced Synthmaster One, a wavetable synthesiser built using the same engine as its bigger brother Synthmaster. It is available for Windows and Mac OSx in 32 and 64 bit versions typically priced at $79. A demo version is also available.

Synthmaster One is intuitive and flexible using a one window interface. Essentially it consists of 2 oscillators with associated sub-oscillators, the mixed output of which feeds into two filters which in turn output to one or two envelope modulated amplifiers followed by a series of master effects.

Synthmaster One was created with sound design in mind but it also comes supplied with about 500 presets which can be filtered by categories such as type and author. The presets cover a wide range of arps, sequences, synths, leads, basses and pads. The sound quality is excellent, for instance there are a range of basses from classic analogue to 80s sounds to modern DnB sounds. The pads contain sounds such as strings, evolving textures and darker edged sounds. The arps and sequences also sound great.

The latest version at the time of review is 1.0.4. There have been a number of bug fixes and improvements, it’s good to see that KV331 Audio are responsive to feedback and are providing timely updates. Version 1.0.3 for instance solved compatibility issues with Bitwig 2. This latest version has scaled user interfaces and supports retina screens on Mac OS X. Unfortunately Synthmaster One would not run in my primary DAW, Sensomusic Usine Hollyhock II although KV331 Audio are investigating this issue. The review was carried using MuLab 7.

The stereo oscillators can use standard analogue-style waveforms, single cycle waveforms and wavetables. A number of waveforms are sampled from a range of classic and vintage hardware synths providing a wealth of alternatives to regular analogue shapes.

Wavetables are taken from hardware and are multi-period waves designed with movement in mind. The index control can be used to move the ‘playhead’ backwards and forwards through the wavetable either manually or by modulation, creating effects such as smooth textural shifts or sample and hold style effects. The ability to load custom wavetables gives the potential to create a huge range of sounds.

The raw output of each oscillator can also be shaped using one of 16 algorithms in four categories – spectral, bend, sync and other. As well as waveform displays and algorithm controls, the oscillators also have volume; pan; octave (-3 to +3); semi-tone; fine tune (-64 to 63 cents); unison (upto 16 voices with 5 spread parameters); detune; width; free and detune curve controls.

You can also independently apply drift to each oscillator for that analoge synth feel.

Each oscillator has an associated sub-oscillator which can be used as an audible signal generator or a main oscillator modulation source. There are the standard sine, triangle, square and sawtooth shapes as well as 8 noise types or a wave from Synthmaster’s ‘waveforms’ library. There are also 5 modes of use – sub-oscillator, ring mod, amp mod, phase mod and frequency mod.

There are two zero delay feedback analogue filters with four categories – ladder; diode ladder; state variable; bite. This gives a range of lowpass, highpass. bandpass and bandstop filters. The filters can self-oscillate.


The signal flow between the oscillators and filters can be configured as split, parallel or series. The central display panel gives a visual representation of the chosen mode as a series of blocks, each one containing the respective waveform, frequency response curve or envelope shape of its corresponding oscillator, sub-oscillator, filter or amp envelope.

The effects section acts like a rack holding up to 6 effects with the signal flow running from top to bottom and you can swap and reorder effects as required. These effects sound really good and include 11 in total comprising distortion, Lo-Fi, Ensemble, Phaser, EQ, Vocoder, Delay, Chorus, Tremelo, Reverb and Compressor.

Synthmaster One also has extensive modulation options, up to 12 modulators can be assigned to 24 targets. I especially like how these can be assigned by drag and drop, that’s an excellent feature. They can also be assigned in the modulation matrix. There are several modulation options – constant, alternating, bipolar and unipolar. The modulation amount can be edited and is displayed as a ring around the relevant modulated parameter.

The LFOs are hardwired to the filters but can be available as assignable modulation sources and there are a number of modulation sources available separately for each voice – 4 ADSR envelopes; 2 LFOs; 1 vibrato LFO; midi velocity; bipolar/unipolar/random; alternating.

Arpeggiator / Sequencer
Synthmaster One has a very well featured step sequencer up to 16 steps with each step having its own velocity, length, slide, hold, delta (arpeggiator) and note number (sequence mode). This means that you can create rhythmic arpeggios and polyphonic sequences.

There are a number of classic up/down patterns and various combinations. Arpeggiate mode lets you design your own custom arpeggios by setting successive note increments/decrements defined by midi note input and the range of octaves. Sequence mode allows you to edit, record or import monophonic or polyphonic chord sequences with each step capable of playing up to 4 notes at once. You can record via midi or import midi files.

Background Noise
Synthmaster One can generate one of five background hiss types sampled from hardware synths – Moog sub phatty; Korg MS20; Roland SH101; BOOM SEM; Novation Bass Station. The hiss is summed with filter output then routed to the amp envelope.

Polyphony mode
There are 3 configurations – poly, mono and legato. There’s also 2 glide settings for mono and legato mode, normal and slide which have settings between 3ms and 11s.

Recording quality
Synthmaster One has different rendering quality settings determined by Engine Quality and engine buffer size. Engine quality sets the internal sampling rate – draft (no oversampling); good (2x); better (3x) best (4x). The buffer is the smallest size at which the LFOs, envelopes etc are recalculated – short (16 samples); normal (32 samples); large (64 samples); X large (128 samples).

The Verdict
Synthmaster One is not just a cut down version of its bigger brother Synthmaster. It uses the same engine but has been built from scratch to be an intuitive and easy to use synthesiser. The one screen display is well laid out and easy to use, the central display provides a summary of key parameters such as filter routing and effects.

Starting with the init patch it’s easy to create your own sounds starting with the oscillators, filters, effects then setting modulation parameters. The filters shape the sound really well and you can get some really nice movement in the sound modulating the filter cutoff and resonance settings for instance.

The sound quality is very impressive, Synthmaster One has a very full, deep sound and is capable of producing anything from analogue basses to evolving pads to harsh synth lead sounds.

I’ve really enjoyed using and learning Synthmaster One during this review. I’ve created an album using Synthmaster One as the only sound source processed with various external effects. A lot of the sounds I have programmed myself and have used the odd preset. I have also used drum and percussion loops. The album is embedded below.

I also really like how you can grow with Synthmaster One, It is a synth that you can use straight away using the large number of bundled presets but as you start to create your sounds you start to learn and experiment with features such as loading your own wavetables, optimising filter settings, modulation, LFO drift and hiss settings and you start to get more and more out of it whilst creating your own unique sounds.

When you combine all of these features with excellent value for money Synthmaster One is a very capable synth offering extensive sound creation options suitable for a wide range of styles.

Review of Damaged Good by Bettie Serveert on Schoolkids Records — June 26, 2017

Review of Damaged Good by Bettie Serveert on Schoolkids Records

Dutch indie legends Bettie Serveert have released their 11th studio album, Damaged Good. It was released by North Carolina based indie retail store and label Schoolkids Records as an exclusive limited-edition vinyl title, timed to sync with the Tenth Annual Record Store Day event held on April 22nd, 2017.

This limited edition exclusive transparent magenta Vinyl LP (with beautiful gatefold packaging) also includes a digital download and full CD. This is the only version of the LP or CD available in North America, and apparently the only Dutch release to be approved by the USA Record Store Day commission on Schoolkids Records.

There’s an excellent sound to this album, great grooves and a range of clean and distorted guitars in songs ranging from 60 seconds to 8 minutes. The songs often have a change in feel which creates a great tension or movement in the sound. The vocals are superb, they have an angst, a brooding quality at times.

A distorted riff and uptempo drumming to open leads into a more acoustic feel with strummed chords and kick drum. A great change of feel into the chorus. The vocals are excellent.

A song comprised of an acoustic strummed guitar with distorted lead and lovely vocals.

Brother (in loins)
Riff and drumming to open creates a great tension leading into a more uptempo feel. There are nice changes in feel and a solo too.

Damaged Good
Distorted guitar to open leading into a chord vamp feel with vocals and distorted riffing. It’s a great groove with a change to a more open sound which gives great changes in feel.

Whatever Happens
This song opens with an acoustic riff with vocals and a great change to a distorted sound propelled by drumming. It’s quite a sad feel to the acoustic parts with a positive feel to the distorted parts which creates a great contrast.

Uptempo drumming to open with a funky riff and distorted guitar. Excellent vocals again, nice change to a more uptempo feel in the chorus.

Digital Sin (Nr 7)
Excellent drumming with distorted delayed guitar creates a kind of brooding feel. The vocals are spoken with some excellent distorted guitar. A great build and release of tension to a section with vocals and a surf guitar type riff building tension into a heavy distorted riff.

Mouth of Age
This is a very short song comprising of a picked riff and vocals.

Love Sick (feat Peter Te Bos)
A superb opening groove from distorted guitar, drumming and bass. The vocals have a great passion. It’s a high tempo song with nice releases of tension. The male vocals add a contrast and great harmonies too.

Mrs K
A chord vamp, bass and solo guitar lead into a section with vocals, drumming and bass which has a lonesome feel. The strummed shimmery guitar compliments this really well. There’s a great change in feel and build / release of tension.

Never Be Over (feat. Prof Nomad & Co)
Lovely opening from vocals and acoustic guitar, strings and piano compliment these really well. An almost jazz feel at times with a film score sort of feel.

Keep up with Bettie Serveert
soundcloud | twitter | facebook | website

Keep up with Schoolkids Records
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Keep up with Shameless Promotion PR
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Book review of ‘Watling Street – travels through Britain and it’s ever present past’ by John Higgs published by W&N Books — June 23, 2017

Book review of ‘Watling Street – travels through Britain and it’s ever present past’ by John Higgs published by W&N Books

I’m very grateful to Weidenfeld & Nicolson Books (part of Orion Publishing Ltd) for providing a pre-publication copy of Watling Street for review. The book will be published on 13th July 2017 and ahead of the release on 12th July ‘an evening with John Higgs’ is taking place at Brighton Waterstones starting at 7.30pm and John is also speaking at lots of other events over the summer.

It might seem a departure to include a book review amongst the more typical albums and software you find on my blog. John’s book on the KLF was the first one of his that I read and it’s superb. It’s been a source of creativity and inspiration for me, often in subtle ways, for instance the Algo Incantations album is an indirect result of reading that book. So it seems appropriate to publish a review of one of his books.

Incidentally, I’d highly recommend any of John’s previous releases. Brandy of The Dammed and First Church on the Moon are excellent short stories, in fact the latter is one of the few I’ve read that made me laugh out loud. Our Pet the Queen is an interesting and thought provoking take on the role of the Monarchy and Stranger Than We can Imagine is an alternative history of the 20th Century.

Synchronicity is often a factor when you read a John Higgs novel. There were several such moments whilst reading this book, subjects I’ve often thought about but haven’t found a suitable explanation for, usually by myself as no one else seems to notice or thinks you’re a bit odd for doing so. I’m glad I’m not the only person that notices these sorts of things.

I really like John Higgs writing style and Watling Street is no exception. He writes intelligently and rationally – often about controversial, difficult to grasp or leftfield subjects – in a concise and engaging way that cleverly weaves and intertwines a number of different subjects into the narrative without you really noticing. This means that he plants a lot of seeds which germinate and grow and give you lots of food for thought not just whilst reading but also shortly afterwards when you’ve put the book down. And for quite some time in the future when these sort of thoughts just pop back into your mind.

Watling Street is a story about travelling along this particular road to discover the history of Britain and discover more about its identity. As with John’s other books it does this very well but ultimately achieves so much more. It is an all encompassing consideration of where we’ve come from and how this has shaped our current world. At times funny, poignant and gruesome there are common themes of the blurring between history and myth, how history is often used for specific purposes rather than reflecting reality, especially considering some of the tragedies and injustices of the past.

The book opens with “A Milton Keynes Solstice”, an intriguing and captivating introduction where a number of themes and aspects of history are introduced which sets the scene for the rest of the book. It also makes a very good case for the road reflecting British History acknowledging that certain parts of the country are not visited and after reading the book I’d definitely agree.

Fourteen chapters follow starting with a discussion of national identity which is clear, rational and extremely accurate. The chapter cleverly builds this discussion and ends on crisps, which are a very British phenomenon.

There’s a fairly sombre mood about storms on the morning of the EU referendum and the poor state of the British press followed by a very brief history of the makeup and formation of language in the UK which really highlights the generally high levels of ignorance and contradictions around national identity. This is followed by a discussion of The Canterbury Tales and how we’re all a continuation of this story and the importance of using language wisely.

Next is a really engaging and thought provoking chapter about the role and differences between politics, spirituality and religion highlighted by poignant and contrasting examples.

This is followed by another engaging chapter which covers a wide range of seeming disparate but linked topics including Dickens, Rod Hull and Carry on Films along with Steve Moore and where reality meets fantasy.

There’s a fascinating account of the Winchester Geese. It’s brilliantly written to convey that past tragedy and injustices exist in hidden places and are part of our history but rather than just apologise, meaningful actions have a much more positive impact. It’s also interesting that the Celtic calendar is discussed in this chapter, this consolidates the feeling that history is very selective. Both of these subjects are very different and have largely been forgotten or ignored over time. There are many benefits to the Celtic Calendar which are lost in modern times. Similarly the injustices are forgotten but still exist and prevail in modern society albeit in a different guise. So the message is not to forget or apologise for the past but rather positive action can have meaningful impact.

One such moment of synchronicity occurs in this chapter with the discussion about the position of East. I have noticed a 45 degrees shift towards South in winter and a 45 degrees shift towards North in summer from the ‘normal’ position of East. I have tried to discuss this with several people who thought I was insane. Glad I’m not the only one to have noticed.

The next chapter discusses how things have a value based on location and time covering Banksy artwork in Brighton to the location of executions at Tyburn in London. This is excellently conveyed in the discussion of London Stone. The discussion about why Londoners aren’t that different to anyone else is succinctly explained. The history surrounding the gallows is really quite gruesome and leads to a number of common phrases in use today that I’m sure many people aren’t aware of.

The next chapter talks about patron saints, dragons, flags and Saint Albans. I don’t want to discuss the content too much because it will give the story away. There is a huge dose of magical thinking in here.

An example of selective history, the next chapter starts with a discourse on Highwaymen and women and how the fiction belies the reality that they were really horrible people. The chapter also highlights how folk heroes are melded to meet a particular narrative to suit the establishment and their version of history – a recurring theme.

Next is an excellent discussion about Bletchley Park told from a historical and current perspective of a family day out. There’s also discussion of ‘alternative history’ and The Man in the High Castle by Philip K Dick. This is definitely one of those chapters that you will return to and think about some time after putting the book down.

The next chapter is brilliant, describing a meeting with Alan Moore and Alistair Frith discussing Alan’s exceptional and inspiring career as well as the visit to the centre of England.

The theme of selective acceptance of history and importance / role of individuals has been discussed several times so far, the next chapter talks about false memories and then goes on to discuss the Atherstone ball game and the invention of rugby just up the road. It’s another one of those subjects that I know will pop back onto my head at some point in the future for me to think about again.

Next is a discussion about battles leading into a thought provoking discussion about land ownership and the need for reform. I must admit I’ve always been puzzled how you can own land when we don’t have the same claims to the sky and sea, this chapter explains the historical context which makes things fall into place.

The penultimate chapter contains a discussion about the futility of borders, the blending between myth and history and the history of the British. There are some recurring themes from previous chapters and some excellent points made.

The final chapter is the end of the road. It’s a very fitting end to the story, tying together the different themes of the book into an acknowledgment of past, present and future which fits very neatly into the conversation John had with Alan Moore. I really like the way that although he is at the opposite end of the road, the story ends exactly how it starts.

John Higgs on twitter
W&N Books on twitter

Review of Dance with Destiny on Factory Fast Records — June 16, 2017

Review of Dance with Destiny on Factory Fast Records

Another superb compilation from Factory Fast Records, it’s best described as experimental rock but only in the sense that it’s really difficult to categorise these songs by a particular genre, each artist is comfortable to explore and develop their own sound. There are indie rock, jazz, post punk and melodic rock influences, great use of distortion and excellent vocals too.

Red Crickets – My Deviance
Bass line to open leading into a slow jazz infused rock vibe with piano, chords and vocals. Some great harmonies, a great vibe and the organ adds a great element.

Glass Garden – One of a Kind
A post rock / grunge feel to the opening with fuzzed chords, bass riff and laid back vocals. A change to a more distorted sound in the chorus with corresponding change in vocals which have an angst.

AMbassadors of Morning – Dance With Destiny
Delayed guitar riff to open, great layering of piano and strummed chords. The song is propelled by solid drumming and bass. The song has a solid Rock vibe with great vocals which have a laid back feel.

Pig’n’Aif – My Amie
A sparkling synth riff and almost bitcrushed sounding bass to open, there’s a great distorted riff with a change of feel into a melodic prog rock kind of sound. I really like the interplay between synth and guitar parts.

The Danbury Lie – See the Light
Guitar riff and uptempo drumming to open, the vocals have a laid back psych quality which contrasts with the more uptempo drumming.

Aura-Blaze – Sub-terranean Patchwork Torus
Distortion / feedback to open, the drumming has a laid back feel leading into a more uptempo feel with distorted guitar and bass. The song takes on a more laid back vibe when the vocals enter. The organ adds a great element. The song has a melodic rock feel.

The Everglows – Julia Lost
Strummed distorted guitar and vocals to open, there’s a post rock feel (reminds me of Paul Westerberg) with a chord vamp which gives a great contrast to the riffing and distorted chords.

Factory Fast Records: website | twitter | facebook

Red Crickets: website | soundcloud

Glass Garden: bandcamp | instagram

AMbassadors of Morning: twitter | instagram

Pig’n’Aif: twitter

The Danbury Lie: twitter | bandcamp

Aura-Blaze: twitter | facebook

The Everglows: twitter

audio gym – a new feature on mixing and mastering featuring Martin Kristopher aka Trium Circulorum — June 14, 2017

audio gym – a new feature on mixing and mastering featuring Martin Kristopher aka Trium Circulorum

I’m delighted to start a new feature on my blog called audio gym which will give practical hints and tips on mixing, mastering and music production.

I’m especially delighted that Martin is sharing his experience on my blog. He is a prolific musician having recorded under the names of 3dTorus, Kanal Drei, Trium Circulorum and 3rd Witness. I’ve reviewed a number of his excellent releases on my blog. He also previously released my ‘Lurking Fear’ album when he ran the Mobius Spin netlabel and has always been very helpful and supportive and I’m sure there will be something for everyone.

audio gym will be a series of articles discussing topics such as mixing, mastering and production. It will focus on Digital Signal Processing (DSP) types such as EQ, compression, saturation, stereo field manipulation and reverb rather than special models or manufacturers and will include a Q&A session.

audio gym has it’s own dedicated page to keep the flowing discussions together in one place.

Part one (overview) is now available.

Review of The Secret Brotherhood of 33Hz by 3rd Witness (TCT11) — June 11, 2017

Review of The Secret Brotherhood of 33Hz by 3rd Witness (TCT11)

3rd Witness is a recording name of Martin Kristopher who also records under 3dTorus, Trium Circulorum and Kanal Drei. He is a prolific producer of consistently high quality albums and I’d definitely recommend checking out his back catalogue, there are a number of reviews I’ve done previously on my blog.

This is a truly outstanding album, excellently crafted sounds that are superbly arranged results in an album that has techno as well as dubstep elements and a solid sound. Often the movement and softer sound of the synth provides a contrast to the more intense and driving techno feel.

The percussive rhythms sound meticulously crafted along with the synth sounds too. Each element has its place, the arrangement is superb.

Rip Curl
Superbly atmospheric opening with strings and subtle percussive sounds, the drumming pattern has a dubstep feel and there’s a subtle movement in the sound which creates a great flow.

A brooding feel to the opening from percussive rhythm and synth that sits low in the mix, I love the control that hints at going full on dubstep returning to the more controlled sound. Tension builds really well through the song.

Phasing Rhodes
Plucked string type of sound and percussive opening with great bass presence, there’s a great contrast between the riff and techno feel of the song.

Excellent synth lead with percussive rhythm and bass, great layering and movement creates a superb sound.

An industrial sounding percussive rhythm with glitchy bass, the synth adds a great element. Superb layering and a great movement in the sound again.

Atmospheric opening from percussive rhythm, drone type bass, layered sound and bleep type sound for the riff. Great change to a more urgent sound and some excellent percussive sounds.

Superb percussive rhythm to open, synth sound has vocal type qualities. It’s a solid techno sound with superb layering.

Synth arp to open with subtle layered sounds, the drumming has a subtle dubstep feel. There’s an excellent movement from the swirling feel of background sounds.

Dead Dummy
Another superbly atmospheric opening with synths, layered background sound effects and deep bass, there’s a great interplay between the synth rhythm and percussive rhythm. The song has quite a sparse rhythm and a kind of ambient techno feel.

Mo Fifi
Excellent layering of synth which acts like a bassline, synth arp, distorted drums / percussion and bass which sounds like a hum. A bit glitchy, a great sound.

The Kink’s Ring
Excellent processed drums to open accompanied by bass, the synth has frequency drift which creates a great tension. Excellent arrangement again.

Trapped Under Purple Skies I
Rhythmic opening from distorted percussive sounds, the synth sounds a bit like sonar. Layering creates a complex rhythm with great use of delay and pitch bend.

Trapped under purple skies II
This song has more of a trance feel with the opening synth riff, background sounds create a great soundscape. The drumming pattern with bass gives a laid back dubstep type of feel. Great contrast between the bright synth and darker / heavier sound bass and background sound effects.

Gho5t F8dEr
Synth arp and swirling pad to open, the bass is dark and drumming pattern suggests dubstep at times and gives a great momentum. It has a kind of Sci fi feel.

Rhythmic synth and bass to open creates a groove accompanied by excellently processed percussive sounds. The acid type synth riff adds an excellent element.

The Blueberry Dilemma
A brooding quality to this song with processed drumming pattern, growling bass and synth with a sound that’s really hard to describe, a kind of percussive dripping sound. Excellent use of panning on delayed sounds.

Gladiator Baby Walk
Deep bass, synth and drumming pattern to open, the synth lead is subtle and distorted which gives a great edge. Excellent layering again.

Guardian Angel
Deep bass and percussive sounds to open, drumming gives a a great momentum and the percussive sounds add to the groove. I like the subtle use of synth. A great Minimal techno feel.

Synth arp, bass and distorted background sounds create a dark Sci fi type of song. Great movement in sound, it’s another minimal techno kind of sound with excellent production.

Great synth sound with distorted percussive rhythm, the bass is deep and growly. Excellent layering again, the synth provides a great contrast to the harsher bass and percussion.

Secret Mindset
Swirling pad to open with processed percussive sounds and sub bass, there’s a great contrast between the more ambient sounding pad and harsher percussive sounds and darker, heavier bass.

Stone Roll Deep
An uptempo sounding opening from delayed synth, swirling background sounds and distorted percussive sounds. The bass is deep and rolling, it’s a minimal techno sound.

Dread drummer
There’s a dubstep feel to the opening drumming, the chime type synth riff is contrasted by a deep growly bass. The chime type synth sound has a kind of menacing quality.

White Out
Percussive opening and deep bass, there’s an excellent synth arp and brooding quality to the song. Great layering again, some excellent processed percussive sounds and complex rhythms.

Trium Cirulorum twitter | bandcamp

Review of ‘Time to Make a Move’ EP by Rum Thief — June 8, 2017

Review of ‘Time to Make a Move’ EP by Rum Thief

Rum Thief’s last release was Reach for the Weatherman which was released back in August 2015 and I’ve previously reviewed this release which you can read here.

It’s great to see another release, an EP with an excellent indie vibe which features four songs with a range of styles from high energy, uptempo songs to a more laid back feel and often a great contrast between the two. There’s superb riffing and solos and excellent vocals with a great presence.

Spitting Daggers
Distorted slightly jangly riff to open is propelled by solid drumming and bass and very distorted, gnarly riff. The vocals have a great presence, a brooding quality with excellent change into the verses. An uptempo song with great energy, there’s a solo which releases to a stripped back chord vamp kind of feel with vocals before returning to the more distorted sound.

Time to Make a Move
A kind of jazz feel to the strummed guitar chords accompanied by more shimmery chords and uptempo hats. The bass and guitar take on a more funky feel. The vocals are excellent again.

What do You Know
Great strummed chords to open, bass and drumming give a solid momentum. It’s quite a laid back feel with excellent vocals again. There’s a nice change to a more uptempo feel with distorted guitar chords and solo releasing to a picked riff with tension building to a final release.

Toilet Door
Acoustic strummed chords with distorted background chords, there’s quite a laid back feel to the drumming and bass. The vocals are similarly laid back, leading into a more urgent sounding riff with a similar angst in the vocals. Great contrast between distorted and cleaner sounds in the song. Some excellent delayed background effects.

Rum Thief facebook | twitter

Neon Tetra Music PR facebook | twitter | website

Review of ‘Hope’ Single by Analogue Wave — June 2, 2017

Review of ‘Hope’ Single by Analogue Wave

There are some bands who’s next release is eagerly anticipated and one at the top of that list is Analogue Wave.

It’s hard to believe it’s nearly 3 years since Casimir was released. An outstanding album with a great edge and lyrics that you can really relate too. You can read my review here.

Alterations was the follow up, a remix album which has great depth and an excellent sound. You can read my review here.

Hope is an brilliant follow up release, it has a superb glitchy, industrial sound and those excellent vocals that we have come to expect. The two remixes are also excellent interpretations with great individual sounds.

An edgy opening from distorted bitcrushed bassline, the percussive rhythm is excellent, kind of has an industrial feel. There are great sound effects too. The vocals are what we have come to expect from Analogue Wave, they have an angst and suit the style of the song really well. Some excellent glitchy effects and a great synth lead too.

Hope (Tuath remix)
An old school rave kind of feel to the opening leading into distorted percussion. The kick drum takes on a dubstep feel with background effects and synth riffs. The tempo increases to a heavy distorted dubstep sound.

Mezcal (Ummagma remix)
Great vibe to the opening with processed female vocals and uptempo drumming / percussive rhythm. The vocals are excellent, the song has a great bass presence and a distorted edge.

Keep up with Analogue Wave
facebook | Twitter | Soundcloud | Bandcamp | YouTube

Keep up with Tuath
Facebook | Twitter | Soundcloud | Bandcamp | YouTube

Keep up with Ummagma
Website | Facebook | Bandcamp | Twitter | YouTube | Soundcloud

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Soundcloud