Ahead of the band’s first full-length later this spring, we take a look at Goldray’s self-titled debut mini album which was released earlier this year. Consisting of four mesmeric and dramatic soundscapes bred in early seventies psychedelic temptations within fiery rock embraces, the release is an enthralling encounter fuelling the imagination and emotions whilst laying down the most compelling bait for the upcoming album.
Goldray is the project of Reef guitarist Kenwyn House who formed the band in 2010 when teaming up with vocalist Leah Rasmussen (Hydrogen, EMI, Bedrock, Renaissance). Sharing the vision to create music ‘blending psych and prog experimental arrangements resulting in a dynamic that took them towards psychedelic rock’, the pair enlisted Kula Shaker drummer Paul Winter-Hart and bassist Sinah Blohberger in 2010 and 2011 respectively. The band’s second year saw Andy Treacey (Faithless) take over the sticks whilst in 2012 Geoff Laurens (The Resistors) joined the band to take over bass duties. Financed via Pledge Music, the mini album features performances from both the previously mentioned drummers as it revels in the inspiration of the psych rock tradition of the late-sixties and early-seventies. House has commented on that influential period by saying “That era is so avoided by most of the media and the musical orthodoxy which is strange considering how powerful that time was for music and culture. Much of what was being said then – freedom, war, environment – is just as relevant, if not more relevant, today. It’s such a rich area to draw on.”
Co-produced by Clive Martin with House and Rasmussen, with final touches provided by Brit Award-winning producer Pedro Ferreira, the 
mini-album saw its first ‘soft’ release to pledgers last November with an official release on the band’s own Akashic Records late January. It is a proposition which washes over the senses with melodic flames which seduce as potently as the almost siren like voice of Rasmussen, though she only leads the imagination into inciting adventures of sonic invention within evocative landscapes rather than any destructive intent. Opening song Outland instantly transfixes attention with an initial caress of thick sonic coaxing, a firm and strong yet gentle beckoning. With a darkly resonating bass tone joining in with the celestial caresses of Rasmussen’s delivery, a sultry air and heat envelops the senses as the band paint its intensive canvas. The track continues to drift and entwine around thoughts and emotions but with a bordering on exhaustive intensity and drama which enflames ears to imagination, passions to appetite. It is an immersive flight which challenges and seduces with equal strength before leaving the psyche in the hand of the closing glance of Instrumental: The Arrival, it a lingering spice which only increases the already awoken anticipation for the album as it closes the first song.
The following Calling Your Name emerges from dark imposing shadows and a menacing rhythmic stalking, a discord kissed surface to the guitars an additionally sinister taste to the portentous entrance. The voice of Rasmussen provides a beacon through the darkness, holding back the dark nightmares and drawing in breaking shafts of melodic warmth and magnetic beauty. It is a glorious evocation soon surpassing the potency of its predecessor. Its towering and slightly threatening walls frame an unpredictable and transfixing waltz, rhythms and bass continuing their heavy persistence whilst vocals sublimely entrance within their cage. The best track on the release it is a delicious danger and seduction rolled into one.
Indigo Sky courts a warmer climate though shadows and intensive incitement are no stranger to the soundscape either. As Rasmussen soars through the evocative textures and expansive sonic painting, guitars and rhythms unveil rich provocative hues and inventive temptations to bewitch and push the senses whilst the bass again lays down a dark lure which only adds to the engrossing call of the journey.
The closing Diamond Road is in many ways the most strongly sixties influenced offering, its body and melodic soul seemingly more impacted by those evocative flavours of the time especially with the delicious Doors like keys, though just as boldly it embraces a richly coloured modern sonic fire. Completed by the brief Instrumental: The Busking Magician, the track is an epically enthralling conclusion to a similarly compelling release. Goldray’s first official offering is a strikingly full and fulfilling encounter which if a hint of the upcoming album provides the strongest enticement possible.
8.5/10
RingMaster 27/03/2014
Copyright RingMaster: MyFreeCopyright
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Superfood, Kobadelta takes little time to excite ears whether new or old with the opening seconds of first track Supernatural Cause. Drums and bass cast the initial temptation to excite senses with the guitar soon adding its melodic lures to the coaxing. It is an instant web of persuasion which seemingly draws on The Doors and Echo & the Bunnymen, an embracing enticement which smooches and dances with the imagination whilst the vocals of Dom Noble croon with expressive strength. Throughout its heated narrative and melodic climate, the song sways before and leans bewitchingly upon the emotions, the tangy sonic design by guitarist Alex Malliris and mesmeric charm of the keys from Jordan Robson a potent spice for thoughts and passions. The track is an exceptional entrance, one which simply gets stronger and richer over time marking the band out alone as something potentially special.
the atmosphere casting keys. Immediately ears and imagination are led into a shadow clad mausoleum of blackened intent and demonic provocation, an evocative and expressive caress darkening the soul. Into its steady gait the track expands with strong vocals, singular and as a dual persuasion, and a sonically hued guitar enterprise ripe with acidic colour, all adding greater adventurous intrigue to the narrative. It is a magnetic start, an infectious lure setting up album and appetite impressively.
distinct tones of Noble begins the expressive narrative. As anthemic beats from Cox join the richly coaxing emergence of the song, its atmosphere and seduction intensifies becoming irresistible as the striding dark bass tones delivered by Healy and the equally eager guitar strokes from Falkous and Noble join the transfixing suasion. The song transports the imagination into imagery of chain gangs, passionate resistance in the face of oppression, and simply lives making their way through unavoidable trouble and suffocation, the power of the song inspiring thoughts to go beyond its own theme and intent. The song is a delicious blaze of sultry, smouldering drama punctuated by those striding rhythms, a bold drama soon matched by its successor.
Coheed And Cambria into their sound though again certainly they are spices heard but only a slight flavour of what …Of Darkness and Light feeds the senses within. The title track opens up an imaginative and intimidating flight, the track a venture through the dark side of the release’s theme, an exploration of the darkness and light in human reality and state of the mind. Opening female torment within a cloud of pestilential breath coaxes in a shadow drenched bass and guitar incitement, the former heavy and respectfully imposing and the latter a melodic tender heat wrapped in spoken whispers. It is an intriguing and imagination probing invitation which flows into an aggressive and tempestuous oppression of noise and intensity. Merging mellower caresses with menacing sonic rapaciousness the song weaves and entrances the senses with a blend of progressive, nu, and psyche metal for a potent and riveting start.
that is impossible to move away from, but it is when the songs, their melodies, and those impossibly addictive hooks return on their own with a beckoning potency far away from the record that you know there is something extra i and long term about the release. Opening track Imprisoned is a prime example, a song which in its company is a sizeable temptation but one laying seeds within which blossom and seduce all over again whenever they want at any unpredictable moment away from the record and music. The song emerges from a small and enticing sonic web with a great bassline coaxing which is almost gnawing the senses. As with all the instruments, the delicious bait is provided by Lewis’ collaborator Ben Haynes who also produced the EP, as well as previous albums. The trap is soon snapped shut as an immediate appetite for the thick heavy tones and punchy rhythms is further lured by flames of guitars and the distinct tones of Lewis. His voice does not jump out but there is a quality which defines it and works well with the melodic harmonies which join him throughout. A definite early U2 feel to the track breaks out to add a further vein of strong suasion but it is the hypnotic rhythmic enticement which grips the deepest whilst making a virulent canvas for the melodies and infectious charms of the song to work their rich attraction.
worldwide release via Heist or Hit Records, not only to itself but in preparation for the band’s debut album currently in the preparation. Currently working with Local Natives producer Raymond Richards all signs point to the year being an extensive awakening towards the band’s enveloping sounds, the single the initial provocative melodic climate to drift over the passions. A release which like the summer sun seduces and heats the senses more the longer you remain in its gaze, Wander emerges as a lingering suasion which will be taken close attention of.
