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This is the seventh release in the Fuzz Club 10" split single series featuring Arizona experimental psychedelic rock band The Myrrors and Nottingham DIY sound experimenters Cult Of Dom Keller. The Myrrors began as something of an underground phenomenon via YouTube with their first album ‘Burning Circles in the Sky’ finally getting picked up for release over five years after it was recorded. Cult Of Dom Keller have had a recent lineup change/power up having been joined by Jason Holt, of Spectrum on bass and Al Burns on drums.


10" £13.99 FUZZ7LP

Limited white vinyl 10" on Fuzz Club. Edition of 500 numbered copies.

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REVIEWS

Fuzz Club 10" Split Single No. 7 by The Myrrors / Cult Of Dom Keller
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8/10 Robin Staff review, 29 July 2015

If you are reading this please feedback it. It’s The Fuzz Club, friends, back to spoil us for the seventh time with another one of those slightly smaller inched but no less waxy records. This one brings together the culprits of much slow-roasting psych rock, the Myrrors, with the extremely fussy and uncompromisingly experimental Cult of Dom Keller. Together at last! If you like your psych rock taking the scenic route and then just deciding to live there instead of going home, this split couldn’t be anymore perfect: it treats the genre like a building block.

The Myrrors’ side of proceedings moves lethargically, aesthetically caught between a dizzy downtown drone and the intro to a stoner metal album. The drums keep time sluggishly but precisely as noise creases in and out with tickles of flutes, abstracted guitars and yawned distortion. There’s no endgame in sight, for these dudes: rather, the piece writhes through pastiches of jazz, psych and avant-garde before fading hopelessly into the black.

Flip it over and Cult of Dom Keller honour their pals’ with a soundscaped bit of psych that does the record’s conceptual symmetry justice: it’s measured and heavy, but also forceless, its drums crashing onto a shoegazed seabed. Both sides of this split have a woozy beauty, but the Cult go one better by trading distorted vocals with short, sweet backing refrains -- you know, because everyone secretly wants to make pop music. It’s just that the Pop Club sounds kinda rubbish.


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