Tag: Deep Purple

New Video: Dream Machine Returns with an Anthemic Heavy Psych and Proto-Metal Barnburner

As the story goes, Matthew Melton, best known as the founder, frontman and primary songwriter of well-regarded Austin, TX-based indie pop/indie rock act Warm Soda had approached Thee Oh Sees’ prolific and dynamic frontman and Castle Face Records co-founder John Dwyer with two full-length albums — Warm Soda’s fourth and final album together I Don’t Want To Grow Up, which was released last month and material from a new project Dream Machine, which prominently features Melton’s wife Doris.

Now, if you’ve frequented this site earlier this year, you may recall that I wrote about “I Walked in The Fire” off Dream Machine’s recently released full-length album The Illusion, a single that revealed a rather decided change of sonic direction for Melton and his new bandmates, as the project’s sound clearly draws from the heavy psych, proto-metal and proto-stoner rock of early Deep Purple, Iron Butterfly and RidingEasy Records‘ and Permanent Records’ collaborative compilations of similar sounds from the 1960s and 1970s, Brown Acid while also nodding at The Doors. The Illusion’s latest single “All For A Chance,” which features Doris Melton taking up vocal duties will further cement the band’s reputation for crafting a lovingly spot on take on 60s heavy psych — and in the same loving fashion that Daptone Records does for soul; so much so that you can feel tricked into thinking that you were listening to some obscure rarity that was just discovered. (It helps that the band recorded the single and the material on a Tascam 388.)

Much like the video for “I Walked in The Fire,” the recently released video for “All For A Chance” employs a relatively simple concept — the band performing the song in an empty studio and shot on what looks like Super 8 film, as the video quality possess a smoky, grainy quality.

New Video: The 60s Psych Rock and Proto-Metal Sounds of Austin TX’s Dream Machine

Perhaps best known as the founder, frontman and primary songwriter of Austin, TX-based indie pop, indie rock act Warm Soda, Matthew Melton had approached John Dwyer and the rest of the folks at renowned indie label Castle Face Records with two new albums — Warm Soda’s fourth and final album together I Don’t Want to Grow Up, which is slated for an April release and The Illusion, the full-length debut slated for a May 2017 release from a new project that Melton and his wife Doris formed, by the name of Dream Machine. And from the album’s latest single “I Walked In The Fire,” the project’s sound reveals a decided change of sonic direction for Melton as the band’s sound draws from the heavy psych, proto-metal and proto-stoner rock of early Deep Purple, Iron Butterfly and RidingEasy Records’ and Permanent Records’ collaborative compilation of similar sounds from the 1960s and 1970s, Brown Acid, complete with some early synthesizer and organ.

Fittingly, the recently released music video manages to be a spot on take on the early music videos and recorded musical segments of the 1960s — a simple yet very trippy concept in which the members of the band play in front of a screen, featuring psychedelic imagery; in fact, paired with the band’s sound, the visuals manage to evoke 1967-1972 so well that you could be tricked into thinking that the video was the promotional video for a band that time has sadly forgotten.

With the election of Richard Nixon, the hippie era had come to a screeching halt; however, just as the hippie era ended in the States, young people across what was then known as the white minority ruled Rhodesia — now known as Zimbabwe — had created a rock ‘n’ roll counterculture that drew inspiration from the hippie era’s message and ideals, as well as the sounds of Jimi Hendrix, Led Zeppelin, Deep Purple and others. And unsurprisingly, the young folks in their scene had dubbed their music “heavy” because they felt and believed in its impact — and their music began to resonate across to its neighbor in Zambia and as far North as Nigeria. And at its peak, in the mid-1970s, the country’s heavy rock scene had united thousands of young progressives across all racial and social backgrounds, openly defying the country’s harsh segregation laws and secret police, while making a bold stand for democratic changes that would benefit all.

As I’ve mentioned frequently on this site, including as late as yesterday, the technological advances brought forth by computers and the Internet have made discovering new and extremely rare, lost music from known and little known artists much easier. And it’s also contributed to a proliferation of extremely niche-based labels, who are willing to take careful, thoughtful and taste-making risks. As a result, a number of these labels have spent at least a portion of their time introducing and re-introducting artists, whose work was either so far ahead of its time, that audiences at the time just couldn’t grasp it upon its initial release — and yet, now has proven to fill in a historical gap; or the work of regionally favored artists, whose work should have seen a bigger audience but somehow just never broke out; and in the case of “world music,” releasing work from artists based in regions and countries that Westerners being biased Westerners hadn’t been paying attention to and really should have been. To add to my point, at the time of Zimbabwe’s heavy rock scene’s existence, a quartet by the name Wells Fargo was at the forefront of their homeland’s scene — and for the first time ever will be released the band’s renowned album Watch Out outside of Zimbabwe.

Interestingly, Watch Out‘s first single, album title track “Watch Out” was largely considered their counterculture’s anthem and while clearly drawing from Axis: Bold as Love and Electric Ladyland-era Hendrix, there are hints at 60s garage rock and folk-leaning blues and while pointing out the dangers of what was clearly uncertain and fucked up times for them, there’s clear sense of hope and possibility; after all, the storm that’s coming over the horizon will inevitably end. But with some strange days ahead for us here in the States, let the example of these Zimbabweans be a reminder that music and art are weapons — and when you have them on your side, you wield incredible power, the sort of power that wannabe autocratic demagogues like Donald Trump actually do fear. So artists, go out and lead the charge!







Although they derive their name from a mischievous pun based off Stephen King‘s stark, vampire novel Salem’s Lot, little is known about the mysterious Swedish psych rock act Salem’s Pot — except for the fact that their sound and aesthetic seems to draw from old horror movies like The Last House on the LeftEl Topo and Blood Feast, as well as The Cramps, Pentagram, Roky Erickson, The Stooges, Deep Purple and others; in other words, murky psych rock with an unsettling sense of menace just underneath the surface. Interestingly what is known is this:  between the release of 2014’s Lurar ut dig pa prarien and the forthcoming album Pronounce This! the band has gone through a lineup shuffle in which their previous drummer took up guitar, allowing the band to recruit a new drummer — and with the release of album opener and latest single “Tranny Takes A Trip,” the lineup shuffling has allowed the band to expand upon their sound as layers of scorching and acidic guitar chords played through copious amounts of wah wah pedal and other effects are paired with soaring organ chords, arena rock-friendly hooks and ironically snarled vocals. Sonically and structurally the song seems to equally draw from Black Sabbath and much more contemporary fare including Ecstatic Vision, Slow Season and others; in other words, much like those bands the mysterious Swedish act specialize in mind-altering songs consisting of several different sections held together by a propulsive rhythm section.


With the release of their 2012 self-titled debut and its follow up 2014’s Mountain, the Visalia, CA-based quartet Slow Season, comprised of Daniel Rice (vocals, guitar), David Kent (guitar), Hayden Doyel (bass), and Cody Tarbell (drums), the Visalia, CA-based quartet Slow Season quickly developed a regional profile for a bluesy and heavy rock sound that’s heavily indebted to Led Zeppelin, Black Sabbath, Deep Purple and others — but without the being soulless mimicry. RidingEasy Records released a remixed and remastered version of their self-titled debut at the end of last year, and while working on their third full-length effort, the Visalia, CA-based quartet released a 7 inch featuring covers of Black Sabbath and Cactus; however, the band released two singles from their debut — the Led Zeppelin “Immigrant Song” channeling guitar line, thundering drums and howled drums of “Heavy” and the slow-burning, bluesy, harmonica-led “Bring It on Home” meets Howlin’ Wolf channeling “DayGlo Sunrise.”

Certainly, if you didn’t know that the band was contemporary, you’d probably think that these two singles were recorded in 1967 and were recently re-discovered by someone who had been digging through the crates of a used record store somewhere.

The band is playing a couple of live dates across Southern California. Check them out below.

02/19 San Diego, CA @ The Merrow  w/ JOY and OVVL
02/20 Visalia, CA @ The Cellar Door  w/ Beastmak

New Video: The Classic Rock-Inspired Sound of Umea, Sweden’s Old Man’s Will

Deeply influenced by Deep Purple, Free, Stray Dog and 70s classic rock among others, the Umea, Sweden-based quartet Old Man’s Will, comprised of Benny Åberg (vocals), Klas Holmgren (guitar). Tommy Nilsson (bass) and Gustav Kejving (drums) quickly received attention […]