The Fat Angel Sings

The Citradels are a band of Melbournites who defy time and space. Sitars, handheld shakers, rattlers and rollers, open-D fuzz jams and unstoppable feedback driven 3 guitar odysseys that force unwary listeners to stare deeply into the depths of an infinite nothingness, The Citradels make some of the darkest, most intense drone music I’ve heard in a long time and make The Black Angels look like a pop group. The latest release from the Geelong five piece, drawing on all the regular spaced out influences from The Velvet Underground to JMC.

Drone music uses the interplay of different musical tones and timbres to create interesting music. In doing so, it fervently avoids things like key changes, melodic riffing or even chord changes in some instances. This means that listening to a drone album is like stepping into a black hole.

Tracs is the 10th album the band has produced in 7 years. Recorded over the space of a year in their home studio in rural Victoria, this album we have stripped back a lot of the instrumentation of our previous releases, taking songwriting and arrangement inspiration from the likes of Neil Young, The Band, The Byrds, Big Star and Cut Worms. We hope you find enjoyment listening to it.

The dark themes and hymn-esque vocals of the beginning of the album, this time revisiting the musicality of the entire album in one short mix. By short, I mean 8 minutes. There’s sweet atonal organ licks, some bent, screaming lead guitar and splashy, cymbal heavy percussion –

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The band have been launching their LP relentlessly all over the east coast and have already cracked out the 12 string acoustics, the teardrops and the sitars to start production on their fourth album. If you’re into prolific psych jams, check em out and pay some money for their album – lord knows they deserve it.

The birthplace of Where’s One was a dilapidated Californian bungalow in Melbourne’s Western suburbs. Recording began just hours before the tragic death of The Citradels‘ former drummer and friend Connor Tolson, which set the tone for what was to come. Drawn out over nine months, layers and fragments were meticulously arranged. Most songs were conceived individually, though their form significantly adapted over time with shared input. In spite of this, the album retains an introspective and highly personal quality.

The Citradels’ trademark early sound is referenced with opener ‘Barnyard’ yet descends into something much darker and more repetitious. Sweet relief comes with ‘Piscine’, which straddles the strung-out yet playful arrangements of an increasingly paranoid Brian Wilson. The earnest ‘Pets on Fire’ has the emotive subtleties of Galaxie 500 in mind. ‘Already Gone’ bubbles away with angst and indecision while the otherworldly and uncomfortably dark love song ‘Pelican’ closes side A.
‘Sugarplum’ conjures the playful 60s, mixing in slices of attention deficit musical changes. ‘Sunflower Man’ plays with time and repetition to coax the listener down the rabbit hole. ‘Goosestep’ begins life as a slow burning Lennon-esque piano ballad with acid folk and feedback gradually creeping in. ‘Riding with Him’ is an optimistic ode to a friend now gone which bleeds into ‘Dumb Angel’, closing side B with a reverb drenched farewell.

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