Centrum – Stjärnor (First track to be revealed from the debut album by Centrum – a new band by member of Hills...and yes, it is a bit good) Paisiel – Paisiel (Stonking album of kraut jazz minimalism...what more do you want?) Paisiel
Gal Costa - Relance (Killer Brazilian groove from 1973) Gal Costa Petbrick – Petbrick (More killer Brazilian grooves, but this time with added noise!) Petbrick
Hey Colossus – Memory Gore (Great new track by the mighty HC) Hey Colossus
Vladimir Tarasov – Atto IV (Free drumming, techno jazz from '89) Vladimir Tarasov
They say: Wait! You haven’t put your Panda Bear LP in the wrong sleeve. It’s the lovely distorted warble of singer Jussi Brightmore on opener ‘Cold Chrome Hearts’ that is playing tricks on you. Listen closer… You’ll hear the hyper-kinetic London duo revelling in their expansive new sound which is laced with shimmering keyboards, hypnotic drumming from Tom Fug and a groovy psychedelic nod to the Krautgods. It’s an oddly beautiful – if unexpected – departure from their earlier noise assaults. While it generally gets bolder and brighter as it unfolds, it also manages to conjure up an acidic and claustrophobic smog. Look no further than the frightening bass rumble of ‘Seizure’. The duo have created a wild landscape where you forget where you’ve been and can’t see where you’re going. See the full piece here: London In Stereo ---
They say: Teeth Of The Sea have produced an absorbing album that mixes electronica, ambient, dance and jazz with a splash of psych rock and even a touch of avent-garde, while managing to maintain its sense of direction throughout. On Wraith, the band is not shy on using brass to create that jazzy noir feeling but ensure it doesn’t dominate proceedings, and just when you feel that things are in danger of running aground they surprise you with a change up that pulls you back in once again. I’d Rather, Jack as an opening piece, lays the groundwork for the rest of the album, fusing a simple heavy drum line with synths, trumpet, some electronic soundscapes and electric guitars. At times it feels like a film noir set in a sweaty nightclub. That trend continues with the brooding Hiraeth, which flirts with becoming too jazzy before deep bass and grungy guitars fully redeems it. Fortean Steed explores a more atmospheric, swirling electronic motif, incorporating echoing plucked electric guitars with some folky female choral voices and effect-laden glockenspiel... Read the rest here: Album Review ---
Teeth of the Sea are continuing to take the sounds of WRAITH around the stages of Europe, this time they have added: 7 June / Glasgow / Broadcast Info 8 June / Newcastle / Star and Shadow Cinema Info ---
They say: After the slaps led by their previous albums (the seminal Silent Cenotaph then Mirrors Fold in 2015), the London duo Gum Takes Tooth continue their exploration of an electronic/noise polyrhythmic music by introducing an album with a little more restraint and atmospherics. Certainly, the articulation of the convulsive effects of the drums / machine-voice pair (Thomas Fuglesang and Jussi Brightmore) stays put, but the melancholic auras of pieces like Cold Chrome Hearts, Slowly Falling or Seizure, are their dark ambient home delineation, but with a new approach If the bubbling psychedelicism continues to lead the project (The Arrow), it may prove a little less destructive and mentally destabilising than before, even if pieces such as the acidic No Walls No Air or the more tribal Borrowed Lies still shake, like the short Dream Circe / Cloud Cycle, which starts in a minimal vibratory stripping before slipping into the nebulous noise, Gum Takes further explores his part of the unconscious here, a collective consciousness sometimes to the extent that Brightmore also sees project as an expression of typically London paranoia: a testimony on how the environment influences the group.
Bringing on this album a more metaphorical musical expression, GTT delivers several tracks of musical curiosity, such as Fights Physiology a sort of crooked synthwave rhyme crossing Alan Vega with Adult and more or more A Still Earth, parts with accents of doom-noise still noise paradoxically luminous whose multiplied vocal harmonies rather close to those of Animal Collective come as to get tangled up in the tortuous threads of a Lust bites. A new way of digging the group's colorful fusion matrix while expanding it, as evidenced by the quasi-space rock accents of the final House Built of Fire ", with its crossed frames of shoegaze tremolos and vocal pop harmonizations. Surprising, as always. gumtakestooth.com LAURENT CATALA 8/10 Buy the magazine from here: New Noise ---
They say: Great new track today from Centrum, the Swedish duo comprised of members of Hills and Weary Nous. The band’s ethos centers around meditation, and while “Stjärnor” does have a meditative thrum to it – built from sawing violins, organ drones and the slow amble of drums – the track doesn’t shy away from the psychedelic melt either. Much like contemporaries Myrrors, and by extension , Träd, Gras och Stenar and International Harvester, the band builds slow tsunamis of souund, with “Stjärnor” crawling towards the ignition of guitar that burns the track down by its close. The cheekily titled För Meditation is out April 19th on Rocket Recording. See the piece here: Raven Sings The Blues Buy the ltd LP here: Bandcamp ---
They say: Gum Takes Tooth finally gives signs of English rock life If you thought that all the English were good for the woodshed since the Brexit announcement, it may well be that the duo Gum Takes Tooth gives you something to start a temporary ceasefire.
What do bands like The Coral, The Kooks, Sweden, or Echo and the Bunnymen have in common? They are all English, certainly, but most of all they have been playing for 10, 20 or 30 years and we break them small menu with varying intensity; to the point that it becomes difficult to know if this island of rednecks still shelters rockers of less than 45 years (we are aware for Shame and Fat White Family, thank you). In this global indifference, therefore, two Londoners have published since 2011 albums that have to cross the Channel in backstroke so their names will not tell you anything. The next, named "Arrow", will not bring England back on track, but it has the merit of surprising as it passes all the musical genres in the shaker. The electronic hacks of Radiohead, the side of the Chemical Brothers' ecstasy, Brian Eno, Hookworm, Snapped Ankles; in short it is the great Amazon forest in the head of Jussi Brightmore and Thomas Fuglesang. Which is good because physically, the two whites having exceeded the thirties since perpetuity will never appear in One of the magazines... Read the full piece here: Gonzai ---
As announced earlier we are delighted to introduce Centrum, the new project by one of the members of Swedish band Hills. The bands album 'För Meditation' will be released on 19 April and you can watch the video for the first track to be revealed 'Stjärnor' above. The album is a split release with our good friends Danish Psych label 'Svensk Psych Aften' and will be available in two different editions: First the Rocket Red Vinyl edition can be pre-ordered now from Bandcamp via link below. Then there will be 'Black' vinyl edition that will be available via Svensk Psych Aften' on release. Each one is ltd. Preorder Ltd Edition Red Vinyl LP: Bandcamp Stream: Centrum ---
They say: Next up, headlining The Theatre Stage and looking very civilised in comparison, it’s Josefin Öhrn + The Liberation. The Liberation are already on stage when Josefin walks to the front to the sound of a choral drone. She is arresting in black. It’s unclear, however, whether during the opener the audience are under her spell or bored. This is quickly resolved with the one-two punch of ‘Sister Green Eyes’ and ‘State I’m In’ from their Swedish Grammy winning 2017 album ‘Mirage’. Their music is lush, deep and composed. Grown-up psych.
If you live in Porto...get yourselves to the Paisiel LP launch Party: PAISIEL + OTRTORTO - Venue: CCOP Date: 22nd of March More info: Lovers and Lollypops Preorder the Paisiel LP on ltd edition Dark Blue Transparent vinyl here: Bandcamp ---
They say: If you're not afraid of being jostled and you like to take full eyes and teeth, then, any case stop, so run Gum Takes Tooth on their French tour. It will also be an opportunity to discover what the explosive tracks of Arrow , the third album of this London duo adept of an experimental noise rock transplanted in the middle of a nuclear factory itself transformed into a night club, are on stage. under acid! Gum Takes Tooth has been around for 10 years and consists of Jussi Brightmore and Thomas Fuglesang . A first album named Silent Cenotaph was released in 2011, followed three years later by Mirrors Fold . They already affirm a style of their own, somewhere between Coil and Liars most trendy electros. After a few years of silence, they finally come back to us with Arrow , a new record that goes straight to the point and brings them into a new dimension, as Gum takes Tooth is freed from all limits and constraints and rattles battery and computer with rage and explosiveness. In his best moments ( The Arrow , No Walls, No Air , Borrowed Lies or the monstrous final House Built Of Fire ), Arrow is really fascinating. As a whole, the record does not leave indifferent anyway as Gum Takes Tooth blows the hot and the cold with a cold anger and a crazy freedom. Arrow is available since January 25th atRocket Recordings, the French tour will take place at the beginning of March, passing through Lille the 06 at the Aircraft , Paris the 07 at theBadaboum, Tours the 08 at the Time Machine to finish in Lyon on March 9th. Read the full review here: Addict Culture ---
are very excited to announce 'För Meditation' – the debut album by Centrum,
the new project by one of the members of Hills from the Sweden. The album is released on 19 April and you can hear
the first track to be revealed 'Stjärnor' via Psych Insight Music The album is a split release with our good friends Danish Psych label 'Svensk Psych Aften' and will be available in two different editions: First the Rocket Red Vinyl edition can be pre-ordered now from Bandcamp via link
below. Then there will be 'Black' vinyl
edition that will be available via Svensk Psych Aften' on release. Each one is
ltd. Preorder Red Vinyl LP: Bandcamp Stream: Centrum - The press release reads: “The mantra that you’re given in Transcendental Meditation you keep to yourself. The reason being, true happiness is not out there, true happiness lies within” - so states David Lynch, a vocal proponent of this art on a twice-daily basis since 1973. It’s a maxim that holds true to Sweden’s Centrum, whose Rocket Recordings debut forms no less than a mysterious yet meaningful voyage into inner space.
Indeed, on ‘För Meditation’ these sometime members of Hills and Weary Nous explore a soundworld that demonstrates all too adeptly that true heaviness of intent need not be the preserve of demonic riffs and highly cranked amps. Weaving a dense and beguiling tapestry of drone-based hypnosis, mantric vocal chants and ritualistic folk along with field recordings from a trip the members made to India, this band also inadvertently plots our a map from the experimental music of the early-‘70s to the present, alighting on a myriad touchstones on the way.
Yet tempting through it may be to place ‘För Meditation’ amidst the uniquely Swedish lineage of primal and arcadian Psychedelia that began with artists like Arbete Och Fritid, Träd, Gras och Stenar and International Harvester, the band are keen to emphasise that inspiration arrives at Centrum from all quarters. “From Pandit Pran Nath to Trees, from Velvet Underground to Popol Vuh, anything and everything.
“We had a curiosity to create a space where the listener would get a chance to just relax and be part of the journey. It was definitely a plan to make it a kind of meditation aid. Life today is so very fast in many aspects, so we wanted this to be a contrast to that.” Recorded and mixed by Centrum on 16 track tape the band wanted to make an imprint, in this case through the use of traditional instruments like the Harmonium as well as singing in their native Swedish tongue, their aim would be to imagine music as a homage to the beautiful oneness, a celebration of life and death that one can sometimes glimpse as humans.
So lay down relax, turn off your phone and let Centrum be your guide!
They say: ...Tonight we have the heavier sound of GNOD, literally ear piercing. Throughout the entire set, I think they may have only played three songs. However, this is not a criticism. The band scream and shout; paving a way of true originality in a field of modern plagiarism. They are unlike anyone that will come before or after. The double drummer lineup proves to devastating attack on the senses, giving a visual stimulation that is retorted by the ears; two bass players, create nothing but a cacophony of inebriating noise, alongside a singer/guitarist that mutilates any definition of a stereotypical role. There comes a point where singing is no longer necessary (if it was in the first place), as the microphone is handed to the crowd, as we are told that our voices matter. We are the ones that should be heard. The noise heard is incessant rhythmic screaming and chanting, providing a therapeutic outlet for anyone who dares take the chance of being listened to. Brain the freakout dancer of yesteryears is in full swing, taking to the mic to express his wonderment of what he bares witness. A member of Errant Monks eventually takes it upon themselves to create a verbal soundscape that intertwines every outcast member of this freakish audience.... Read the rest here: The Blue Jam ---
This weekend GNOD played two brain shattering shows – at the Peer Hat in Manchester and at Hebden Bridge Trades Hall. Both were killer nights and once again proved that they are one of the most ferocious bands in the UK right now... ---
Afghani Scan has created this great little Gum Takes Tooth video for the track Borrowed Lies using footage recorded at the bands recent Cork show, part of their Arrow tour. Arrow is out now and can be bought from all record shops or direct from us here: Bandcamp ---
Teeth of the Sea's epic new album WRAITH is released today in all good record shops on ltd fluro green vinyl, housed in a gatefold/spot varnished sleeve and ltd CD also in mini LP gatefold/spot varnished sleeve. You can also buy direct from us at: Bandcamp
– “Expansive” 8/10 Uncut “Their most sophisticated record yet” The Quietus
“Genre defying” 4/5 MOJO“The best the band have sounded" Loud & Quiet "Masterful" 10/10 Soundblab “Their definitive statement" 5/5 Narc Magazine“A bold return” Clash
“Best album to date” 8/10 Drowned in Sound
– The band are heading out on for some starting tomorrow: 23 Feb / FR / Rouen / le 3 Pièces 24 Feb / FR / Liège / Le Garage 25 Feb / FR / Paris / Supersonic 26 Feb / FR / Nantes / La Schene Michelet 27 Feb / FR / Lille / La Malterie 28 Feb / BE / Gent / Charlatan 01 Mar / UK / Leicester / Soundhouse 02 Mar / UK / London / Moth Club (ALBUM LAUNCH SHOW) 12 Apr / UK / Todmorden / Golden Lion 13 Apr / UK / Manchester / Soup Kitchen 26 Apr / UK / Ramsgate / Ramsgate Music Hall 27 Apr / UK / Bristol / Rough Trade 26 May / UK / Cardiff / Cardiff Psych & Noise Fest ---
Much of the album does indeed give off distinctly ghostly vibes, fit for soundtracking uneasily spooky yet beatific transmissions from limbo by the recently departed.
Take the epic "Hiraeth" as an example. Fuelled by a mournful trumpet and a sense of impending doom that's somehow triggered an outbreak of serene contemplation rather than screeching panic, the impressively majestic epic could well pass off as Ennio Morricone soundtracking an apocalyptic sci-fi flick (something along the lines of Blade Runner) set in a perpetually twilit, acid rain-splattered metropolis of ruins, were it not for a restlessly spluttering drum machine. There are further moments of similarly uneasy ambient that are strongly evocative of a danger-laden stroll through a ruined landscape of the worst possible future: unexpectedly, many of these, including the apparition-like, foggy "Fortean Steed" - helmed by otherworldly vocals that bring to mind the late-hippie era introspection of, say, Judee Sill or Linda Perhacs - turn out to be seriously beautiful stuff.
Yet Wraith also packs a spikier side. Propelled by a skittering, hyperactive drum machine that seems to teeter on the brink of collapse (whilst giving off some faint fumes of Radiohead's "Idioteque"), the opener "I'm Alright, Jack" is a fearsome burst of barely contained energy and more hooks than most bands manage across an entire album (if they're lucky). The closing "Gladiators Ready" builds into a massive release of industrial electronic sensory overload from an initial sense of anxious expectation, creating a powerful impression of the exact moment the hungry, riled-up lions are released to battle it out with desperate contestants armed with only their bare hands in some grotty coliseum of a dystopian future......
They say: Wraith, the fifth album from Teeth of the Sea is another one to straddle musical divides, channelling prog-inspired soundtracks, jazz, minimal techno, rock and ambient into a multi-faceted soundstage that delivers what can only be described as a cerebral head-fuck of sound. Much of Wraith’s awesome pull comes from the capacity to restrain those elements; to programme the listening experience into equal parts awakening and plaintive rumination. The muted trumpet that you hear throughout the album plays like Miles Davis’s more solemn improvisations on In a Silent Way, or even earlier on the Gil Evan’s collaborations, Quiet Nights. Which isn’t to say that Teeth of the Sea’s music soothes the soul as those albums do, but rather the trumpet as used here is palliative, gentle but backgrounded by violence. Violence in the form of a serious room shaking bass drops, or violence in the suggestion of misfeasance. Like a Goblin soundtrack for instance. What fascinates, as much as entertains, is the music's brilliant way of inculcating, making you wonder, working its way into your mind. I’m not usually one for an album that jumps about in mood, but Wraith works, and I think it comes down to some astute groundwork. The album sits well chronologically, arousing moods and referencing the past so brilliantly as to produce nostalgia for the great music of yore... 10/10 Read the full review here: Soundblab ---
They say: Teeth Of The Sea release their eagerly anticipated new album this Friday via Rocket Recordings. Simon Tucker reviews. Teeth Of The Sea have been an adventurous and playful band since their inception. A rare breed of group that you genuinely don’t know how their next album will sound. This can result in an output that is a bit hit and miss. Back in 2013 I reviewed their album Master and was of the opinion that if the band settled on one style and examined it for the length of a full LP then they may produce a stone cold classic. Fast forward to 2019 and in Wraith the band have their most accomplished and coherent album to date. Wraith flows seamlessly and is a dense yet uplifting affair. The band talk about the spirits (wraiths…of course) that were supposedly keeping them company from the beginning of the writing and recording process. Whether you believe in that kind of thing is your own business but what is clear when listening to Wraith is that the trio plus producer Erol Alkan, percussionist Valentina Magalett, Chlöe Herington and Katharine Gifford certainly tapped into some unique inspiration helping to create an atmosphere that is both eerie and all consuming yet with enough propulsion to keep you locked and enamored. From the driven opener I’d Rather, Jack (think Radiohead’s Idioteque with added discord and brass) to the shattered fuzz of closer Gladiators Ready, Wraith is an album built for the core. Feet, gut, heart and head are all serviced throughout its running time. The brass that swirls through the album is the wraith of the title. Its appearance serves as a ghostly hymn to the past. The switch into the grimy and desolate on Hiraeth is but one example of how the brass and electronics combine to make a joyously unsettling listen. On Wraith, Teeth Of The Sea sound like a band fully in sync with a clear idea of how the narrative of the album will play out. Wraith is coherent, immersive and incredibly well structured with beautifully placed changes in pace and atmosphere making it not only their best album to date but one of the best releases of 2019 so far. Read the full piece here: Louder than War ---
Teeth of the Sea's new album WRAITH is released tomorrow (22nd) & to celebrate the band will be heading out on tour and be taking theses excellent T-Shirts that includes an amazing 'War of the Worlds' T-shirt, so get out to your local show & grab them quick from one of the following dates: 23 Feb / FR / Rouen / le 3 Pièces 24 Feb / FR / Liège / Le Garage 25 Feb / FR / Paris / Supersonic 26 Feb / FR / Nantes / La Schene Michelet 27 Feb / FR / Lille / La Malterie 28 Feb / BE / Gent / Charlatan 01 Mar / UK / Leicester / Soundhouse 02 Mar / UK / London / Moth Club (ALBUM LAUNCH SHOW) 12 Apr / UK / Todmorden / Golden Lion 13 Apr / UK / Manchester / Soup Kitchen 26 Apr / UK / Ramsgate / Ramsgate Music Hall 27 Apr / UK / Bristol / Rough Trade 26 May / UK / Cardiff / Cardiff Psych & Noise Fest ---
They say: This Ghostly Age: Teeth Of The Sea’s Wraith Reviewed The fifth album from genre-undermining outfit Teeth of the Sea is the latest in a progression, from the multi-layered kosmic grooves and flourishes of their 2009 debut Orphaned By The Ocean to the techno-influenced Master and the crisp, filmic beats of Highly Deadly Black Tarantula. Wraith takes their soundtrack tendencies to a new place where the synths are even more sonorous, the brass extra melancholy, the beats exceptionally crunchy and the scale epic and wild. Since their last album, the band has slimmed to a trio – Sam Barton, Mike Bourne and Jimmy Martin – but the sound is, if anything, more surprising and more accomplished.
Wraith seems to reflect on cultural turbulence and change, with music that mixes elegy with elements of disaster movie and failed futures. Yet as well as chaos there is reflection, stillness and redemption. Teeth of the Sea are now almost veterans of a UK alternative music scene that, over the last couple of years, has delivered some exceptional responses to increasingly disturbed and disturbing times. Albums such as Gazelle Twin’s Pastoral and Gnod’s Just Say No to the Right Wing Capitalist Fascist Industrial Death Machine have set the standards for engaged music. Teeth of the Sea are far from an overtly political band, but how do you retain a sense of purpose without relating your music to your times. How to do this with music that’s largely instrumental? Wraith takes on the challenge with tracks that explore their concerns through titles and illustrative qualities, as soundtracks to events we cannot see, but lurk on the edges of our fears. The vivid, evocative qualities to Teeth Of The Sea’s music makes space for the mind to roam... Read the rest here: Techno UK ---
They say: Wraith is the fifth album from Teeth of the Sea, the gene-bending London outfit that – to focus on film soundtrack references – have been blending the widescreen grandiosity of Ennio Morricone with the punishing giallo-prog of Goblin and the cosmic synth wizardry of Tangerine Dream for over a decade now. As such touchstones may suggest, Teeth of the Sea’s music is, like that of all the best contemporary ‘psychedelic’ bands, a glorious collage of styles and approaches. Techno, noise, metal, prog, and jazz all battle for the most prominent position, resulting in music that is pleasingly un-self-conscious in its freewheeling commitment to maintaining its own identity at the expense of easy categorisation. Such an attitude is applaudable, but in hindsight there were perhaps signs on 2015’s Highly Deadly Black Tarantula that it had its limitations. Did a pair of brilliant (but rather jarring) power electronics diversions – replete with vocal shrieks from now former drummer Mat Colegate – really belong on the same album as the electronic-tinged post-rock of ‘Love Theme from 1984’? After all, if the record before that – 2013’s Master (their finest work) – had proved anything it was that Teeth of the Sea’s many influences could slug it out most effectively when placed in cohesive sonic context. There’s a lot to be said for eclecticism, but there’s even more to be said for bringing eclectic themes together into a convincingly focused whole with a shared sonic template... 8/10 Read the rest here: DIS ---
They say: In the four years since their masterful fourth album Highly Deadly Black Tarantula, Teeth of the Sea have shed a member and receded into the backdrop of Britain’s fertile underground and experimental music scene. On Wraiths however, the core trio of Sam Barton, Mike Bourne and Jimmy Martin return with what feels like their definitive statement, a record whose wild eclecticism and cinematic ambition still feels entirely cohesive. I’d Rather, Jack and Gladiators Ready are the pounding rave-ready bookends, but between them lie the spectral noir of Hiraeth, the clamorous percussions of VISITOR and the extra-terrestrial dream pop of Fortean Steed. Forget post-rock or any other convenient pigeonhole: Teeth of the Sea are now operating in a genre of one. Read the full review here: NARC Magazine ---
They say: It is a difficult task to alter one's musical identity from one record to the next. But still, there are some bands that have been able to achieve such magical results, like the Melvins or the noise powerhouse Wolf Eyes. Teeth of the Sea, the psychedelic, experimental band from London, appear to take a cue from such acts, and throughout their discography they have been able to evolve and mutate. Their works have found them experimenting with straight psychedelic rock motifs, noise elements, jazz, and free improvisational characteristics all the way to electronic and dubstep and a touch of post-rock. This demeanor of not standing is what depicts the core attribute of Teeth of the Sea, their utter unwillingness to be pigeonholed. In this same manner, the band's new work sees them performing their alchemical experiments in pursuit of another distinct and unique manifestation. In order to achieve that end goal, the band puts together an impressive array of mismatched elements, starting from the electronic and industrial qualities that forge the backbone of Wraith. "I'd Rather, Jack" sees this mechanical motif present itself, creating a colder and more detached foundation. Even further within the electronic groove and theme, the band unleashes "VISITOR", a transcendental electronic track, that unravels the colder industrial touch and immerses the listener into a Vangelis-like mesmerizing trip... Read the full review here: Pop Matters ---
We are extremely delighted to share with you via the good people at CLASH the stream of Teeth of the Sea's new album WRAITH. Visit the CLASH website for the full album stream & hear what the band has to say as they breakdown each track.
This is what CLASH had to say:
Teeth Of The Sea know that genuine progression rarely goes in a straight line.
So their music doesn't exactly follow logical paths either; influenced by post-punk, dub, techno and more, new album 'Wraith' is a striking, crunching, titanic return.
Out on February 22nd, it finds the group expanding from their core disciplines, welcoming new collaborators in the process.
As a result Erol Alkan assists on 'I'd Rather, Jack' while the album also features Valentina Magaletti (Tomaga/Raime/Vanishing Twin) supplying Reichian percussion, alongside Chlöe Herington (ChromeHoof/Knifeworld/Valve) and Katharine Gifford (The Wargs/Snowpony/Stereolab).
Out in just a few days, Clash has obtained the full first play of 'Wraith', and it's a sterling aural achievement, a real feast of complex ideas iterated in true clarity.
Check it out now, then find a Track By Track guide penned by Teeth Of The Sea.......
They say: Ten years have passed since Orphaned by the Ocean, and Teeth of the Sea is still going strong. (Having formed in 2006, the band is now a teenager ~ look out, world!). So why don’t the musicians look happy? It’s partially due to the spectral presence felt throughout the recording of what would become their fifth album proper. Whether reality or fiction, the haunting persists throughout the set, starting with disjointed voices in the opening track and continuing through the final bells.
Teeth of the Sea is self-defined as a psychedelic rock band, but the truth is a bit more elusive. In their early years, the band leaned more to the side of post-rock, while in the middle period (2013’s MASTER), the synths took control. The band’s consistency is in its signature sounds, its variations in the amount used. Trumpet has always been the primary distinguishing factor, followed by electronic beats and a combo of guitar and synth. If TotS were a wine, one might detect hints of ambient, industrial and even screamo (thankfully dropped here, but present on 2015’s Highly Deadly Black Tarantula). Presentation is important, as vinyl collectors will attest, the releases each sporting a different shade ~ orange, magenta, white, teal and now fluorescent green ~ each enhanced by the sporty Rocket Recordings label... Read the full right-up here: A Closer Listen ---