New Hallucinations
Nearly exactly 10 years since the inception of Jesse Webb’s improvisational project The Final Age, he returns with an absolute beast of an album, more than worthy to carry the torch for the first self-titled album released on Cardinal Fuzz in 2018.
Working with a wide range of musicians from the UK underground, Webb acts like a curator or perhaps a better take is more like a caretaker for the sounds provided by the cast of musicians involved in his albums. Like it’s predecessor, New Hallucinations is heavy on rhythmic percussion and dynamic interplay. Webb has been a drummer for over 20 years, behind the kit in acts such as Big Naturals, Anthroprophh, Faust, Gnod, Repo Man and Dame Area as well as being a frequent collaborator with Bristol collective EP/64. His funky, propulsive, hard hitting yet dynamic style is the driving force behind The Final Age and his choice of musicians and how he mixes their parts provides a cinematic experience on top of seriously funky and weird grooves. The lyrical content is written mostly by Webb while the vocals are split between Webb and Bristol based vocalist Annette Berlin of Shoun Shoun and previously of Bristol noise rock band Big Joan. Winter In My Soul touches on topics such as anxiety and isolation while Annette’s beautiful vocal on Pleasures seems like a meditation on the transcience and impermanence of existence, a never ending Final Age that never really comes yet is constantly happening at the same time. A place where horror and beauty coexist momentarily and constantly.
This album is no downer though. The music reaches ecstatic highs propelled by intricate rhythmic patterns and perfectly placed instrumentation. Each track is meticulously crafted and touches on very different styles throughout its 40 or so minutes. Nothing is sacred and no stone is left unturned in regards to exploration.
Fans of This Heat, Portishead, Beak, Normil Hawaians, to name a few, will dig this album and instantly feel the lineage to this particular UK sound found within its grooves.Â
New Hallucinations
Nearly exactly 10 years since the inception of Jesse Webb’s improvisational project The Final Age, he returns with an absolute beast of an album, more than worthy to carry the torch for the first self-titled album released on Cardinal Fuzz in 2018.
Working with a wide range of musicians from the UK underground, Webb acts like a curator or perhaps a better take is more like a caretaker for the sounds provided by the cast of musicians involved in his albums. Like it’s predecessor, New Hallucinations is heavy on rhythmic percussion and dynamic interplay. Webb has been a drummer for over 20 years, behind the kit in acts such as Big Naturals, Anthroprophh, Faust, Gnod, Repo Man and Dame Area as well as being a frequent collaborator with Bristol collective EP/64. His funky, propulsive, hard hitting yet dynamic style is the driving force behind The Final Age and his choice of musicians and how he mixes their parts provides a cinematic experience on top of seriously funky and weird grooves. The lyrical content is written mostly by Webb while the vocals are split between Webb and Bristol based vocalist Annette Berlin of Shoun Shoun and previously of Bristol noise rock band Big Joan. Winter In My Soul touches on topics such as anxiety and isolation while Annette’s beautiful vocal on Pleasures seems like a meditation on the transcience and impermanence of existence, a never ending Final Age that never really comes yet is constantly happening at the same time. A place where horror and beauty coexist momentarily and constantly.
This album is no downer though. The music reaches ecstatic highs propelled by intricate rhythmic patterns and perfectly placed instrumentation. Each track is meticulously crafted and touches on very different styles throughout its 40 or so minutes. Nothing is sacred and no stone is left unturned in regards to exploration.
Fans of This Heat, Portishead, Beak, Normil Hawaians, to name a few, will dig this album and instantly feel the lineage to this particular UK sound found within its grooves.Â
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Description
Nearly exactly 10 years since the inception of Jesse Webb’s improvisational project The Final Age, he returns with an absolute beast of an album, more than worthy to carry the torch for the first self-titled album released on Cardinal Fuzz in 2018.
Working with a wide range of musicians from the UK underground, Webb acts like a curator or perhaps a better take is more like a caretaker for the sounds provided by the cast of musicians involved in his albums. Like it’s predecessor, New Hallucinations is heavy on rhythmic percussion and dynamic interplay. Webb has been a drummer for over 20 years, behind the kit in acts such as Big Naturals, Anthroprophh, Faust, Gnod, Repo Man and Dame Area as well as being a frequent collaborator with Bristol collective EP/64. His funky, propulsive, hard hitting yet dynamic style is the driving force behind The Final Age and his choice of musicians and how he mixes their parts provides a cinematic experience on top of seriously funky and weird grooves. The lyrical content is written mostly by Webb while the vocals are split between Webb and Bristol based vocalist Annette Berlin of Shoun Shoun and previously of Bristol noise rock band Big Joan. Winter In My Soul touches on topics such as anxiety and isolation while Annette’s beautiful vocal on Pleasures seems like a meditation on the transcience and impermanence of existence, a never ending Final Age that never really comes yet is constantly happening at the same time. A place where horror and beauty coexist momentarily and constantly.
This album is no downer though. The music reaches ecstatic highs propelled by intricate rhythmic patterns and perfectly placed instrumentation. Each track is meticulously crafted and touches on very different styles throughout its 40 or so minutes. Nothing is sacred and no stone is left unturned in regards to exploration.
Fans of This Heat, Portishead, Beak, Normil Hawaians, to name a few, will dig this album and instantly feel the lineage to this particular UK sound found within its grooves.Â
