About Prism Tats, The Fading Sound
The sophisticatedly melodic self-titled debut from Prism Tats is available in stores now. For the newly acquainted, Prism Tats is the rock 'n roll creation of musician Garett van der Spek; a project that pulls from various visual and musical inspirations to create waking dream sub-realities that devastate and elate. The debut album is a culmination of a creative life spent on the grind, honing instincts and eventually going all-in on a singular dream.
Prism Tats was written and recorded in its entirety by van der Spek, featuring his own extraordinary vocals, drum machine, guitar, and bass synth - the work of a true one-man rock 'n roll machine. He grew up in Durban, South Africa listening to his father’s collection of rock records from the U.K. and U.S.: Beatles, Bowie, Hendrix, Kinks, Sabbath. The unique influence of his homeland burns deeply, too. “My earliest memory of being affected by music was when I was six years old, seeing a man busking by the side of the road,” van der Spek recalls. “His name was Elvis, a self-styled African ‘rock star’ who played a hybrid brand of rock and roll on a homemade guitar. I was hooked.”
The album displays van der Spek’s unusual blend of rock-and-roll chops (reminiscent at times of Spoon’s Britt Daniel), and combines real shades of steam and heat with comparatively-meditative reverb-laden tracks, recalling at times the ghostly throwback groove-stomp and fuzzy warmth of bands like The Jesus & Mary Chain, The Kills and The Raveonettes.
Prism Tats was written and recorded in its entirety by van der Spek, featuring his own extraordinary vocals, drum machine, guitar, and bass synth - the work of a true one-man rock 'n roll machine. He grew up in Durban, South Africa listening to his father’s collection of rock records from the U.K. and U.S.: Beatles, Bowie, Hendrix, Kinks, Sabbath. The unique influence of his homeland burns deeply, too. “My earliest memory of being affected by music was when I was six years old, seeing a man busking by the side of the road,” van der Spek recalls. “His name was Elvis, a self-styled African ‘rock star’ who played a hybrid brand of rock and roll on a homemade guitar. I was hooked.”
The album displays van der Spek’s unusual blend of rock-and-roll chops (reminiscent at times of Spoon’s Britt Daniel), and combines real shades of steam and heat with comparatively-meditative reverb-laden tracks, recalling at times the ghostly throwback groove-stomp and fuzzy warmth of bands like The Jesus & Mary Chain, The Kills and The Raveonettes.
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