This review is based on seven of the first 7″s released in the God Unknown Singles Club Volume 1, of a total of 10. What is most apparent is the variety musical output on these tracks. No specific genre is represented, rather it seems like a selection of artists from some underground, more than half of whom I had never even heard of. They vary very much, not only in style or attitude, but there is also a bit of variety in the quality of the recordings. As a compilation, the collection of artists and tracks works quite well together, but mainly I will say something about each single individually.
The Gnod side uses mainly sax, and some additional sounds from synths or something electronic. They are gently and carefully creating an interesting track on “The World is Good” by making repetitive soundscapes. The Eternal Tapestry side sounds like an improvised psychedelic blues track. “The Dream” is well played altogether, changes tempo a bit. The guitarist is making an effort, it seems, but it feels a bit unreleased and unfortunately the mix hides the vocal parts.
As usual with Acid Mothers Temple, they give us some loud improvised psychedelic music on “Sign of Benzaiten”, with strange sounds and feedback layers. Nice track, even though the last part ends in loop turned into digital high-pitched feedback. Anthropropph slows it down on their great “Apophenia”, with drums and a slightly changing sound loop with a text or story recited along. I think I can detect some guitar. This split is the strongest release, in my opinion.
Oneida’s “The Shar Arrives at the Checkpoint” starts off with a guitar riff and loops changing slightly for the entire track. Another rough guitar is layered on top. The track is not moving very much, but sounds interesting still. The Teeth of the Sea side “Up With People” has a minimal bass beat. Guitar. Some singing. A simple, soft soundscape.
The Carlton Melton side, “Harbinger”, also starts with a guitar riff and a drum beat. There is some guitar happening, but it’s not too apparent in the mix, unfortunately. Good guitar parts at the last minute.
Mind Mountain start off “Astraeus” with a nice bluesy hard rock track which really sets me back to the ’70s; they must have been listening to Sabbath or Deep Purple. The middle part changes into something more boring organ or synth-based, but then, hey, there’s guitar again, and suddenly it is more interesting!
Cloudland Canyon’s “Vocablo No.1” is basically an electronic Duracell fast beat loop. Organ and synth mainly on this track, and it’s quite monotonous. But some chanting appears from the middle approx., making it a bit more interesting. Lorelle meets the Obsolete uses synth and noise and drums and guitar vocals on “Sea Tact” to create a very nice, slow space rock tune.
The psych-space rockers Mugstar presents the shortest track this time. “Wire To Wire” is a straight punky rock number, with some vocal mantra going on. White Hills sounds like they have been waiting since the ’80s with some electronic pop on “I Remain In”. Especially with a drum machine that must have been growing up in the same era too.
The Hey Colossus side is slow Kinks-like rock called “Numbered Out”. The longest track comes from White Manna. They go on for more than nine minutes with their lovely space/stoner rock on “Sandozn”; a fantastic track!
If you are not into 7-inch singles, the series will be available for download as well. I am a fan of physical releases, so I wouldn’t mind flipping singles from time to time. But more importantly, I really liked listening to all the varied output. Compilations are a good way to get to know different bands and artists, and usually it is never boring, and this one isn’t either; and I am certainly looking forward to hear what comes next out of this series.