Vomit Heat debut album out on February 26

LP/Digital | Distribution by Cargo Records

► Pre-order Spirit Desire
► Release Party

Besides Heavy Metal and Punk, the western german Ruhr Area does not shine too bright musically. But searching hard enough will let you find some musical rarities even between Duisburg and Dortmund, whose output doesn’t have anything in common with the realms of omnipresent trash.

One of these rarities is Nils Herzogenrath from Essen. Indie-Connoisseurs know him as part of the psychedelic pop wonder Ωracles. In the lo-fi and shoegaze scene he is better known for his solo alias Vomit Heat. Everyone familiar with both projects might think there are (at least) two hearts beating in his chest. Additionally putting his neo-Krautrock band Transport in the mix shows, there is a bigger concept at work – fusing experimentalism, kraut and psychedelic, no fear of melodies and a heart for noise.

All this comes together in Spirit Desire’s opener Little Love – Little Light, an exotic, catchy stringloop. Dub reggae vocals under countless layers of echo as a manic and hypnotic mantra, with unexpected melodies rising. Miriam utilizes the drumbox and borrows not only The Jesus & Mary Chain’s leather jackets. In In Levitation Nils drafts his first pop song – just to replica patek philippe let it fade out in a soft swell. Pretender cites TJ&MC again and buries his cheesy melody under miles of fuzz effects and a stoic beat. Booting up the Daydream Machine throws the listener into an endless loop on the beach only to send him through the colorful video game world of Broken Heartscape via drum computer and a fuzz guitar then.

His Wrong Place is merely this exactly, if you cannot find a pop song under all the guitar noise and distorted vocals. And with Rotten Nils will throw you back into reality, which appears as a hallucinatory nightmare, because: after a while the silence will make you lose your nerves.

»A number of the latter descriptors pepper the tracks, as shoegaze-y static washes over fuzzy guitars and some barely there drums, muffling Nils‘ mega-echoed vocals« (Pitchfork)