“Sweep Me Off My Feet,” is the first bit of new material from the band since last year’s Man, It Feels Like Space Again and interestingly enough the single sounds as though it could have been a Tame Impala B side — and that’s not a terrible thing, really. Sonically speaking, the band pairs boom-bap like drums, layers of buzzing synths, chiming percussion, plaintive falsetto vocals, buzzing yet bluesy guitar solo and an anthemic hook in a slow-burning and trippy bit of psych pop that possesses an urgent, carnal need and vulnerability underneath it’s arena rock swagger. Unsurprisingly, “Sweep Me Off My Feet” is also the first single from the band’s forthcoming, Kevin Parker produced, untitled full-length album slated for release in early 2017.
Category: psych pop
Comprised of Phenomenal Handclap Band‘s Daniel Collas (keyboards, production) and Morgen Phalen (vocals guitar) and members of Stockholm, Sweden-based bands Dungen and The Amazing, indie psych pop act Drakkar Nowhere can trace their origins to when Collas and Phalen had been making music in the kitchen of a rented apartment in Stockholm. And in a relatively short period of time, Collas and Phalen’s kitchen-based music project caught the attention of the members of Dragen and The Amazing, who then joined the project to flesh out its sound, a sound that’s largely influenced by cosmic jazz, soul, jazz fusion, prog rock and psych pop among others — and by their direct surroundings, including the forests that surround the Bagarmossen and Midsommarkransen neighborhoods of Stockholm.
Now you may recall that I wrote about “How Could That Be Why,” the first single off the band’s forthcoming self-titled debut, and the shuffling and trippy single has the band pairing twisting and turning synths and keys, a sinuous bass line and an infectious sense of melody to craft a song that sounds as though it could have been released in 1973. The album’s second and latest single “The Line” continues on a similar vein although it has the band pairing slow burning psych pop and psych rock with 70s AM rock — and in a fashion that nods at America‘s “Horse With No Name” and Dark Side of the Moon and Wish You Were Here-era Pink Floyd but with a plaintive ache just under the song’s cosmic glow. Interestingly, the song may arguably the prettiest song the band has released to date.
New Video: JOVM Mainstays La Femme Return with a Cinematic and Decidedly French Take on Psych Pop and Art Films
The Parisian collective’s highly-anticipated sophomore effort Mystere will officially drop today and you may recall that I’ve written about two album singles “Sphynx,” a track that manages to evoke a lingering fever dream — while cementing their growing reputation for boldly defying categorization, while the album’s second single “Ou va la mode” was a more stripped down, as though the Parisians were returning to the breezy and decidedly French take on surfer rock of Le Podium #1; but with warped, carnival from hell-sounding organs — and in some way it would force the listener to think that both songs would be heard as part of the soundtrack of a surrealistic French arthouse film. Now the album’s third and latest single “Septembre” continues along the same veins of the preceding single as the band pairs swirling and soaring organ chords, propulsive and steady drumming, whirring background noise and dreamily distracted vocals to craft a song that sounds deeply indebted to 60s psych rock and psych pop; but interestingly enough, just under the surface is a mournful and bittersweet air.
The recently released video was shot on old, grainy Super 8 film and features some of the members of the band broodingly walking on the beach — but spliced and superimposed over old home movies, which further emphasizes the song’s mournful and bittersweet air.
New Video: The Trippy and Psychedelic Visuals and Sounds of Vinyl Williams
Brunei’s latest single “Feedback Delicates” is a gorgeous and trippy bit of psychedelia that has Williams and company pairing wobbling bass lines, four-on-the-floor-like drum patterns, ethereal vocals, shimmering synths and guitar chords to craft a song that sounds as though it were equally drawing from jazz fusion, psych rock and psych pop, all while sounding otherworldly and retro-futuristic.
The recently released music video is a mind-expanding interactive video that allows the viewer to experience the brightly colored psychedelic visuals in a 360º fashion. To truly capture the 360º effect, view the video though Google Chrome — or if you’re viewing it on a smartphone, make sure you’ve downloaded the most current version of the YouTube app.
Comprised of Phenomenal Handclap Band‘s Daniel Collas (keyboards, production) and Morgen Phalen (vocals guitar) and members of Stockholm, Sweden-based bands Dungen and The Amazing, indie psych pop act Drakkar Nowhere can trace their origins to when Collas and Phalen had been making music in the kitchen of a rented apartment in Stockholm. And in a relatively short period of time, Collas and Phalen’s kitchen-based music project caught the attention of the members of Dragen and The Amazing, who then joined the project to flesh out its sound, a sound that’s largely influenced by cosmic jazz, soul, jazz fusion, prog rock and psych pop among others — while being influenced by their direct surroundings, including the forests that surround the Bagarmossen and Midsommarkransen neighborhoods of Stockholm.
“How Could That Be Why?,” is the first single off the band’s forthcoming self-titled effort slated for a September 23, 2016 release through Beyond Beyond Is Beyond Records — and the shuffling and trippy single has the band pairing twisting and turning synths and keyboards, a sinuous bass line, an infectious sense of melody to craft a song that sounds as though it could have been released in 1973. And in some way, the song naturally reminds me a bit of Collas and Phalen’s work with Phenomenal Handclap Band as well as Shawn Lee‘s collaborations with AM and Tim “Love” Lee with a subtle nod to Afrobeat — but with a subtle, cosmic glow at its core.
New Video: The Gorgeous and Psychedelic Visuals and Sounds of The Galaxy Electric’s “Please Come Home Soon”
Last month, I wrote about “Temporal” off their recently released full-length everything Everything Is Light and Sound, a single that had the duo pairing Caruso’s gorgeous vocals with twisting and turning synth chords, bop-era jazz syncopation and a sinuous bass line filtered through gentle layers of reverb and echo. And as I wrote last month, the single simultaneously focused on both the nature of time and our experience of it while evoking a similar vision of the future presented by the 1964 World’s Fair — a hopeful world that has used science and technology to solve humanity’s greatest problems in an efficient and timely fashion. The album’s latest single “Please Come Home” continues in the same path as its preceding single — although it’s slightly less jazz-leaning; however, more importantly, the song manages to possess a plaintive longing and heartache, as its narrator is begging her lover to come home because they’re so desperately needed.
New Video: The Mournful Sounds and Surreal Visuals for Stefan Weich’s Latest Single “Louie”
Stefan Weich’s second and latest single “Louie” continues on the same vein as “Holy Night” as swirling and ambient electronics are paired with soft padded drumming, bursts of bluesy guitar chords and Weich’s plaintive falsetto crooning lyrics about a relationship in which both people are slowly drifting apart. At the heart of the song is the unspoken and built up resentments that can cause people to slowly drift apart over time, and a lingering sense of regret of what happened — and how it happened.
The recently released music video for the song also fittingly featured some warped and kaleidoscopic, psychedelic imagery — in some way, it evokes what I would imagine tripping on hallucinogens would feel like as you were wandering around a lonely and surreal city landscape.
Comprised of Jacqueline Caruso (keys and vocals) and Augustus Green (bass, synth, production/beats and sound design), Washington, DC-based psych pop duo The Galaxy Electric specialize in a sound and aesthetic that mixes Brazilian bossa nova and Tropicalia, 60s psychedelia and early synthesizer experimentation; in fact, adding to that aesthetic, the duo utilizes old-fashioned, lo-fi recording techniques, as well as the use of sound design-inspired arrangements and old-timey reverb and echo devices to craft a trippy and immersive sound that seemingly comes out of 1967.
“Temporal,” the latest single off the duo’s forthcoming Everything Is Light and Sound consists of Caruso’s gorgeous vocals paired with twisting and turning synth chords, bop-era jazz syncopated drumming and a sinuous bass line filtered through gentle layers of reverb and echo, and the result is an ethereal and trippy song that focuses on the both the nature of time and our experience of it; all while evoking a similar vision of the future presented by the 1964 World’s Fair — a hopeful world that has used science and technology to solve humanity’s greatest problems in an efficient and timely fashion.
Formed by Moon Magnet Studios founder and ringleader Reed Fuchs back in 2009, Denver, CO-based collective deCollage features members of several locally and regionally known bands including Rose Quartz, Sound of Ceres, Candy Claws, Rubedo and others. Since their formation, the collective has developed a reputation for an immersive and interactive live show – and for material that sonically employs the use of synths, accordion, glockenspiel, found sounds such as typewriters, trains, crunched leaves, zippers, cirtcut bending among others and for material that lyrically focuses on metaphysics, surrealism, abstraction, wonder and navigating the fragmented post-modern world we live in.Unsurprisingly, as a result of their growing reputation in psych music circles, the members of the collective have opened for the likes of Animal Collective, of Montreal, Zammuto, Fever The Ghost and Linear Downfall among others.
“Crystal Choir,” the latest single off the collective’s soon-to-be released, new effort Magnetize is a hazy and swaggering bit of psych pop that possesses elements of contemporary electro pop and R&B as enormous boom-bap drums are paired with layers of shimmering synths, and layers of harmonized vocals in song that reminds me of In Ghost Colours-era Cut Copy — but with a mischievous and playful sense of hope.