Tag: psych rock

Last month, I wrote about the Chicago-based psych rock act Lucille Furs, and as you may recall, the act comprised of Patrick Tsotsos,  Nick Dehmlow, Brendan Peleo- Lazar, Trevor Newton Pritchett and Constantine Hastalis initially formed in the Logan Square section of Chicago and in a relatively short period of time, the band added themselves to a growing list of attention-grabbing indie acts from the Chicagoland area, thanks in part to a sound that borrows liberally from the likes of The Zombies, West Coast Pop Art Experimental Band, Temples, Love, Diane Coffee, Charles Bradley and others.  Interestingly, since their formation, half the band has relocated to Los Angeles, and as the band mentions, listeners will likely hear the sounds of their new home within some of their work.

Recently pushed back to a March 15, 2019 release through Requiem Pour Un Twister Records, Lucille Furs’ forthcoming sophomore album Another Land was written back in September 2017 and was recorded direct to tape before being completed at Treehouse Records. Rather than being topical, the album’s material is rooted in the surreal and esoteric — perhaps sin a way to aim at the timeless. The bouncy early 60s-inspired stomper “Paint Euphrosyne Blue,” was centered around jangling guitars, twinkling organs and infectious and soaring hook that recalled The Monkees and The Doors. And while a perfect soundtrack for a road trip, the band noted that the song referenced the goddess of mirth, with the song being about the human need to adapt to the point of becoming unoriginal.

Another Land‘s latest single is the shimmering Sgt. Pepper-era Beatles and The TurtlesHappy Together“-like “All Flowers Before Her” and much like its predecessor, the song is centered around a bouncy and buoyant hook and lysergic, 60s vibes — but with a blazing guitar solo and a subtly modern touch.

 

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Earlier this year, I wrote about the Rutherford, NJ-based indie rock act Garcia Peoples, and as you may recall the act, which is comprised of founding members Danny Arakaki (guitar) and Tom Malach (guitar), Derek Spaldo (bass) and Cesar Arakaki (drums) and newest member Pat Gubler (keys) can trace their origins to sometime between 2011 and 2012 — depending on who you ask and when you ask them. Interestingly, since the release of last year’s full-length debut, Cosmic Cash through Beyond Beyond Is Beyond Records, the band has been ridiculously prolific, reportedly writing and composing several albums’ worth of material at a rate too quick to set time aside to record it; in fact, during an attention-grabbing weekly residency at Brooklyn’s Wonders of Nature, the band barely repeated a song with some local tape recorders noticing newly evolving material.

Slated for a March 29, 2019 release, Garcia Peoples’ sophomore album Natural Facts purportedly serves as an extended introduction to their unique, cosmic take on Americana that finds the band bridging indie rock, jam band rock and classic rock — with the band’s sound and approach evolving quite a bit. Natural Facts‘ first single was the shaggy, psych rock scorcher, “Feel So Great.” Sounding as though it coulda have been released around 1974, the track was centered around Arakaki and Malach’s impressive two guitar approach, thundering drumming and an expansive and trippy jam-band like song structure, capturing a bunch of good friends, who have spent years jamming, bullshitting, playing records, catching bands and coming into their own — with a passionate, muscular, urgency.

Continuing on a similar vein, Natural Facts‘ second and latest single is the Southern fried rock-inspired “High Noon Violence.” Featuring an Allman Brothers and Lynyrd Skynyrd-like, shimmering two guitar attack, twinkling keys and a propulsive rhythm section within a trippy and expansive song structure, the track has a slow-burning yet lysergic vibe with a free-flowing, bunch of good friends jamming together feel; however, unlike its predecessor, it has a darker, murkier undertone.

The band are currently in the middle of a tour to support their forthcoming sophomore album, and it includes two NYC area dates — March 1, 2019 and March 2, 2019 at Brooklyn Bowl. Check out the tour dates below.

 

Tour Dates:

02.26.19 – Boston, MA @ ONCE Ballroom#
02.27.19 – Port Chester, NY @ Garcia’s#
02.28.19 – Washington, DC @ Gypsy Sally’s#

03.01.19 – Brooklyn, NY @ Brooklyn Bowl#
03.02.19 – Brooklyn, NY @ Brooklyn Bowl#
03.03.19 – Philadelphia, PA @ Ardmore#
#w/ Grateful Shred

New Video: Flamingods Release Trippy Visuals for Their Motorik Groove-Driven New Single “Marigold”

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods traveled widely and collected rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile. 

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away and 2013’s full-length debut Sun, a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail’s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school.  

Rasool moved to Dubai, where he worked for an independent magazine and coffee shop. Although the members of the band were on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.” 

During the release of Hyperborea, Prest relocated to Dubai to work closely to Rasool. The band quickly began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. Although the album was received mixed reviews, it was championed by BBC Radio 6’s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival. 

In February 2017, the band signed with Moshi Moshi Records, who released that year’s Kewali EP and the band toured to support the album, making their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and Oasis’ Andy Bell. Additionally. the band released a Dan Carey-produced live version of “Hyperborea.” 

The acclaimed act’s fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and interestingly, the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but channeled through mysticism, positivity and sun-drenched imagery. Interestingly, the album’s recording sessions found the band living and working in the same continent for the first time in about four years — and as a result, the album’s material has a unified feel. Levitation’s first single “Marigold” is a trippy and sunny bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths and while delivered with a self-assured swagger, the song sonically reminds me of Evil Heat-era Primal Scream. 

Directed by Barbu.TV, the recently released video was shot during a trip the band made to Oman — in particular, the remote city of Nizwa, known for a gang of vintage motorbike riding youths — and the trip involved hazardous border crossing, self-made ornate, denim jackets. Additionally the video features some innovative camerawork and some appropriately hypnotic animation. As the band’s Kamal Rasool says of the video, “We had heard about this gang of motorbike riding youths through our friend [photographer] Ali Al Sharji and knew immediately that we wanted to make a music video with them. They live in a remote city in Oman called Nizwa and have had these vintage bikes passed down from generation to generation. The police aren’t so fond of them but they are some of the nicest guys we’ve ever met.  We joined them riding through the city and had a proper road trip along the way with the Barbu. TV guys, exploring through deserts, mountains, skate parks, palm groves and old monuments. I think the motion of them riding the bikes melded with the motorik groove of the song perfectly and the sun-soaked environment was just what we needed to capture the song’s themes”

New Video: JOVM Mainstays King Gizzard and The Lizard Wizard Release a Wild Disco Synth Boogie Track

Over the course of an incredibly prolific 2017, the Melbourne, Australia-based psych rock septet and JOVM mainstays King Gizzard and The Lizard Wizard, comprised of Stu Mackenzie (vocals, guitar, and flute), Ambrose Kenny Smith (synths, harmonica), Cook Craig (guitar), Joey Walker (guitar), Lucas Skinner (bass), Eric Moore (drums) and Michael Cavanagh (drums) released an incredibly prolific five albums — with each album consisting of material in a wildly different genre and style from the other, further cementing the band’s reputation for being restlessly experimental. In fact, some of their earliest output found the band blending elements of 60s surf rock, beach, rock, garage rock and psych rock with later albums being blends of film scores, prog rock, folk and soul — although two albums Flying Microtonal Banana and The Murder of the Universe found the acclaimed Australian act pushing their thematic concerns and sound in new, and darkly trippy directions.

Now, for a band that’s been as wildly prolific as King Gizzard and the Lizard Wizard, not having much in the way of new music during 2018 is a bit strange; but the band was busy relentlessly touring, including a headlining set at Desert Daze and three sold out-dates at Brooklyn Steel, the largest venue they’ve played in the States to date. Additionally, the band re-issued their first five albums on vinyl for the first time ever, and it created such a frenzied demand that the Flightless Records website crashed from the traffic. 

The first bit of new material from the Aussie JOVM mainstays, “Cyboogie” finds the band stepping in a wild new direction with five of its seven members playing synths in a funky and strutting disco boogie woogie paired with heavily vocoder’ed vocals that brings From Here to Eternity . . . And Back-era Giorgio Moroder, The Man Machine-era Kraftwerk and DEVO to mind, as the song is actually about a dancing cyborg from the future — viewed with a decidedly retro-futuristic and prog rock-leaning. ” 

“Cyboogie,” is accompanied by a visual from longtime collaborator Jason Galea shot in a grainy VHS that has the band’s Mackenzie as a half-man, half-synthesizer who essentially plays himself (no pun intended here), along with the bandmembers. The visuals seem to undulate and pulsate with the synths, which is a wildly hypnotic and hallucinogenic effect. By the way, “Cyboogie” will be released on a limited-edition 7″ inch along with another new track “Arcane.” 

 

Last year was a breakthrough year for the rather mysterious, up-and-coming Montreal, Quebec, Canada-based psych rock act Venus Furs as they opened for JOVM mainstays The Horrors, The Twilight Sad and Michael Rault. Building upon a rapidly growing profile, the Canadian psych rock act plan to tour during the spring, which they’ll follow up with a full-length album slated for release sometime during the later half of this year; but before all of that, the band released the second single from their forthcoming album, the jangling, and anthemic “Chaos and Confusion.” And while the band says its inspired by Cat Power, The Brian Jonestown Massacre and TV on the Radio, the song to my ears sounds much older, as though it were simultaneously influenced by jangling 120 Minutes New Zealand art rock,  guitar pop, 80s post punk 60s psychedelia, complete with a rousingly anthemic hook, layers of lush guitars and a propulsive rhythm section — with the end result being a brooding and wistful air.

 

 

 

 

 

Comprised of Patrick Tsotsos,  Nick Dehmlow, Brendan Peleo- Lazar, Trevor Newton Pritchett and Constantine Hastalis, the up-and-coming psych rock act Lucille Furs initially formed in Logan Square section of Chicago — and in a short period of time, the band added themselves to a growing list of attention-grabbing psych rock and indie rock acts in the Chicagoland area, thanks in part to a sound that borrows liberally from the likes of The Zombies, West Coast Pop Art Experimental Band, Temples, Love, Diane Coffee, Charles Bradley and others. Since the band’s formation, half the band has relocated to Los Angeles, and as the band notes, listeners will likely hear those influences within their work.

Slated for a February 15, 2019 release through Requiem Pour Un Twister Records, Lucille Furs’ forthcoming sophomore album Another Land was written back in September 2017 and was recorded direct to tape before being completed at Treehouse Records. Rather than being topical, the album’s material is rooted in the surreal and esoteric — perhaps sin a way to aim at the timeless. Interestingly, the album’s latest single is the bouncy and stomping “Paint Euphrosyne Blue,” a track that sonically sound as though it could have been released sometime between 1964-1968 as the track is centered around jangling guitars, twinkling organs and an infectious and soaring hook that recalls The Monkees, The Doors and others. And while arguably being a perfect road trip song, the band notes that the song references the goddess of mirth — and that the song is about the human need to adapt to the point of becoming unoriginal. It’s about chasing Van Gogh’s depression because it makes you feel like a better painter.  So at its core the song is rooted in a bitter yet hilarious irony.

 

 

 

 

Comprised of founding members Danny Arakaki (guitar) and Tom Malach (guitar), Derek Spaldo (bass) and Cesar Arakaki (drums) and newest member Pat Gubler (keys), the Rutherford, NJ-based indie rock act Garcia Peoples can trace their origins back to about 2011 or 2012, depending on who and when you ask them. Since the release of their debut, last year’s Cosmic Cash through Beyond Beyond Is Beyond Records, the band has been ridiculously prolific, reportedly writing and composing several albums’ worth of material, too quickly to record; in fact, during a weekly residency at Brooklyn’s Wonders of Nature, the band barely repeated a song with some local tape recorders noticing newly evolving material.

Natural Facts, which is slated for a March 29, 2019 release through Beyond Beyond Is Beyond is the second album from the New Jersey-based act in a year, and the sophomore effort purportedly serves as an extended introduction to their unique and cosmic take on Americana, a take that bridges indie rock, jam band rock and classic rock — but the album also finds the band sound and approach evolving. Interestingly, Natural Facts‘ latest single is the shaggy, 1974-like psych rock scorcher, “Feel So Great.” Centered around Arakaki and Malach’s impressive two guitar approach, thundering drumming and an expansive and trippy jam-band like song structure, the song captures a bunch of good friends, who spent years jamming, bullshitting, playing records, catching bands and coming into their own — with a passionate, muscular, urgency.

 

 

 

 

Tour Dates:

01.10.19 – Bellingham, WA @ The Firefly Lounge*
01.11.19 – Seattle, WA @ Sunset Tavern*
01.12.19 – Portland, OR @ Doug Fir*
01.13.19 – Bend ,OR @ Volcanic Theater*
01.14.19 – Reno, NV @ The Loving Cup*
01.15.19 – Sacramento, CA @ Harlow’s*
01.16.19 – San Diego, CA @ The Casbah*
01.17.19 – Los Angeles, CA @ The Echo*
01.18.19 – Santa Cruz, CA @ The Catalyst*
01.19.19 – San Francisco, CA @ The Independent*
*w/ Howlin’ Rain

02.26.19 – Boston, MA @ ONCE Ballroom#
02.27.19 – Port Chester, NY @ Garcia’s#
02.28.19 – Washington, DC @ Gypsy Sally’s#

03.01.19 – Brooklyn, NY @ Brooklyn Bowl#
03.02.19 – Brooklyn, NY @ Brooklyn Bowl#
03.03.19 – Philadelphia, PA @ Ardmore#
#w/ Grateful Shred

Tessa Rose Jackson is an Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, best known among indie circles as Someone. Her debut EP Chain Reaction was an ambitious creative undertaking that involved an accompanying short film. Jackson’s forthcoming EP Orbit finds Jackson exploring the intensity with which art and music can be fused, and how they can fully enhance themselves. And interestingly, the Amsterdam-based multi-instrumentalist, producer and multi-disciplinary artist crated an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which use elements reminiscent of space and planets. The exhibition will be presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or smartphone, the artwork comes to life and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

The EP’s material thematically comments on our overstimulated, digital age, suggesting that we spend so much time on our phones and on social media being constantly exposed to external distractions that we’re essentially orbiting around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.

Orbit‘s first and latest single is the dreamy and ethereal “Get It Together,” a track that’s centered by shimmering and arpeggiated synths, thumping hip hop-like drumming, buzzing power chords and a soaring hook. And while clearly being indebted to Tame Impala and Air, the track also nods at classic, bubblegum pop and 60s psych pop — but with a soaring and infectious hook.

 

 

 

 

 

 

 

Live Footage: Les Big Byrd Perform “A Little More Numb” at Tapetown Studios

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult Teddybears with his brother Klas in 1991. Åhlund went on to play guitar in Caesars — and formed Smile, with Peter, Björn and John’s Björn Yttling. And in that insanely busy period, Åhlund managed to find time to write for and produce the legendary Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, was a bassist in Swedish Grammy Award-winning act Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives.

As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup. 

The band’s debut, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. Interestingly, with a growing national profile. the members of Les Big Byrd ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after the release of They Worshipped Cats, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Sonic Boom (a.k.a.Pete Kember) to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  The initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

Now, if you’ve been frequenting this site over the past couple of years, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios in partnership with Sound of Aarhus have been inviting national, regional and internationally recognized touring bands to come into their studios for a live session, which they film and distribute through all of your favorite social media sites. So far they’ve inited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, and up-and-coming, Los Angeles-based post punk rock act Moaning.  Recently, the members of Les Big Byrd stopped by Tapetown Studios to perform the bittersweet lament “A Little More Numb.”