Tunabunny – PCP Presents Alice In Wonderland Jr

PCP Presents Alice In Wonderland Jr is the new and fifth album from US Transcendental Dance Poppers Tunabunny, a huge adventure which sees the Athens, Georgia hailing quartet at their most poppy, darkest, experimental, and compelling. A double album breaching 28 imagination stoking tracks, it is a kaleidoscope of sound; no track like any other or pretty much any offering from the band to date, and a carousel of creative drama which pushes the listener into places they might not know exist let alone have contemplated.

Apparently PCP Presents Alice In Wonderland Jr is “structured as a song-by-song response to The Beatles’ White Album” and through its songs explores themes such as surveillance, futility, alchemy and winter, metamorphosis and anger whilst its fourth side features a twisting song cycle about motherhood; from pregnancy to birth, through postpartum emotional desolation, to the rebirth of self. Whatever their inspiration, the album’s songs challenge and arouse physically, mentally, and emotionally ensuring you get a full and thrilling workout with the foursome of Mary Jane Hassell, Scott Creney, Brigette Adair Herron, and Jesse Stinnard.

Rather than do our usual track by track look, such its bulging size, we are going to pluck the moments which ignited the imagination most forcibly but be assured barely a moment passes within the whole release without making a potent and appealing impact. From the opening atmospherically sinister Cartesian Theater, a track which appears like an intro but is so much more, Tunabunny set the speakers and passions on fire with Incinerate. A recent single, the track is glorious; a slice of indie pop which has the head bobbing, feet shuffling, and ardour brewing within its first round of seduction. Adding one’s own breath is inevitable to a sublime chorus, the vocals a flirtatious beauty matched in temptation by the gentle swing of the sounds cradling their charm.

There is no better moment within the album but plenty of times rival the height of the superb encounter, the following Noise Problems a swift example with its post punk/new wave canter carrying a definite resemblance to eighties UK band The Passions. The stroll of the bass is as deeply appealing as the wiry jangle of the guitars, vocals again an inescapable magnetism in diversity and harmony whilst the song’s emerging discord is simply delicious.

The indie/psych pop of Seek Consequence is another major magnet; the swaying vocals siren-esque as darker hues brew and evolve behind their lyrical wiles until heatedly bubbling up with a drone like fever while Blackwater Homes rises up from a gentle melodic murmur into another virulently infectious and shadowed canter playing like a mix of Stevie Nicks and Pylon. Worryingly easy to be seduced by its haunting lures, and not for the first or last time fiercely tempting post punk bass bait, the track swiftly worms into the psyche.

The bass again grips the instincts within Oracle, its Psycho Killer like coaxing backed by shiny tendrils of guitar as vocals procrastinate; its success followed by the matching triumph of Start It where PiL meets The Breeders is a good hint to the track’s melodic post punk clamour. These tracks alone show the diversity within PCPPAIWJR, The Raincoats tinged pop clang of Nevermind The Cobblestones and the Slits scented monotone shuffle of Yellow Heart Is My Sky Sign further evidence, both tracks bringing fresh greed in a healthy appetite for the release.

A healthy addictiveness is spawned by the raw swing and charm of the boldly infectious The Way The World Works, the song a dulled yet sparkling gem in the album’s jewellery box of sound and another collusion of band and listener rarely matched outside of the album though within, the minimalistic pop of Me And Nancy, a track with an echo of The Cure on their very first outing, and the dark scuzz fuelled post punk of Pretending To Bend as well as the similarly styled but oh so different Count To Ten rise to the challenge.

There are tracks on the album which explore noise and its depths of suggestion, each inciting the imagination even when they barely grasp a handful of seconds in length; times which really test  but reward the listener’s ability to compose and interpret. With further moments of never less than thoroughly enjoyable and provocative adventure across the album, songs like It Could Be Something, the absorbing and inexplicable Shiftchanger featuring Jason Jackson Wellz, and Magic January all tantalising and enthralling, things are brought to a lengthy imposingly and enjoyable close with the fuzz pop clamour of I Thought I Caught It (With You).

As suggested, every track is a fresh and rewarding twist in the landscape of PCPPAIWJR, not one of them merely filling space and all firing up ears and imagination. Not for the first time Tunabunny has provided not only a real treat to mull over and enjoy, but another new plateau in their invention and imagination.

PCP Presents Alice In Wonderland JR is out now via HHBTM Records @ http://hhbtm.com/item.php?item_id=640 and https://tunabunny.bandcamp.com/album/pcp-presents-alice-in-wonderland-jr

https://www.facebook.com/Tunabunny/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Brujas del Sol – Moonliner

9A LIME13x KR 2

Fusing the richest elements of psychedelic drone and surf rock into mesmerising and invigorating sounds with equally compelling ambience, Brujas del Sol is a band which captures and provokes the imagination with a potency that is hard to represent in words. Whether their debut album Moonliner proves to be a flame to your passions or just a flicker before your appetite, there is no escaping its rich and evocative touch. The six track release is a persuasive journey within sultry skies, colourful tides, and constantly evolving soundscapes, and ultimately a thrilling and bewitching experience.

Hailing from Columbus, Ohio, Brujas del Sol was formed in 2011 by Adrian Zambrano (guitar, vocals), Derrick White (bass), and Jason Green (drums). Recording every improvised jam session rather than pre-write songs, the trio spent months capturing ideas and sounds, elements of hypnotic krautrock, fuzz lilted blues, surf-rock, ambient, and drones all coming forward to add flavour and texture to their ideas with the result being something unique, and as the album shows quite scintillating. Entering the studio in the spring of last year the band recorded two EPs in the shape of Moonliner vol 1 and 2. The trio next brought in keyboardist Ryan Stivers to expand and add further depth to their now demanding writing process with the now quartet working on the final part of the Moonliner trilogy which had its release last December. The album is the outcome of the band reworking and re-recording the tracks which made up the EPs with the keys adding their fresh breath to them, and released via Devouter Records the album is a striking and richly enterprising treat.

The chilled yet smouldering opening ambience of Ships In The Distance brings the album into view, its magnetic touch a Moonlinerpsyched imbalance of harmonic discord and threatening atmosphere which has the strongest lure on intrigue and attention. As the enveloping breath of the song wraps firmly around the ear a fiery sonic dance from the guitar catches the eye whilst the low slung prowl of the bass engages with its distinct shadow. Into its full pace the track is a sultry rush of sweltering surf rock with psychedelic persuasion, the acidic touch of the sounds captivating and demanding of attention. At this point there is no resistance to its voice which swarms over the senses with restraint but fervour, yet when the track slips into a sudden new stance it finds another level of inciting rapture. The bass suddenly lifts its stroll with urgency whilst the surrounding sounds step into a tethered arena to allow the vocals to bring their emotive depth to proceedings. The bass and core drive of at this point is pure early The Cure whilst the rising expanse of sonic imagination sizzles with impassioned invention.

The impressive starter hands over to Satanic Surf Girls Love to Dance, a blues soaked coarsely ridged explosion of again open originality. From its abrasive but reserved beginning the song also offers an unexpected shift as it turns into a semi drone stoner grooved canter across the senses. Like its predecessor and tracks to follow, it is impossible to predict its intent or movements but everything it unveils is a seamless flow and temptation for the already enlivened passions. The repetitive bass and rhythmic spine is persistent and unrelenting yet tempered by the impressive melodic and sonic flames burning vibrantly around it. Though not as virulent as the first , the song drives deeper the now in place hook into the emotions from the album with contagious ease as does the following pair of Conquistadors and Noon On The Moon.

The first of the two drones a submission out of the senses within moments punctuated by heavy crescendos of downtuned force which finally takes a firm grip and drives the song forward with the punchy drums framing the premise like a predator. The vocals are partly smothered by the electric blues intensity permeating the air but it only adds to the lure of them and the layers of the piece. A lumbering stroll the song again fails to match what comes before in many ways but has expansive bulk of sound to explore and discovers corners within with each listen. The second of the pair emerges on a dark chilled ambience, its presence ebbing and flowing like an unlit tide until the bass steps forward with a line which echoes Psycho Killer by Talking Heads whilst treading its own shadowed path. The expressive and vivid heat of the guitars and keys sculpt imagery and emotion to soundtrack with rich invention and entrancing beauty, the brewing spellbinding mystique at the heart of the track.

The finest moment on the release comes with Baba Yaga, a dazzling surf rock seduction complete with swerving grooves and initially an exhausting confrontation which unsettles senses and thoughts for the impending melodic dance to exploit. The track has elements of The Cramps and The Bomboras to its passion inciting wonder and as always a sixties psychedelic kiss which ensures nothing is clean cut or predictable.

With Castles Upon Golden Gate just as strikingly closing up the album, Moonliner is a full on enticement with hex like mastery and temptation to its remarkable sounds and imagination. The outstanding album has plenty for all fans of surf, progressive, psychedelic and melodic rock, and just as much for those who are not sure what they want, no one should refuse its offerings without at least one immersion into its well of sonic beauty.

http://www.facebook.com/BrujasdelSol

8.5/10

 

Copyright RingMaster: MyFreeCopyright

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