Tag: psych rock

New Audio: Ghost Funk Orchestra Latest Single and Video Evokes the Awkwardness of Having a Crush

Founded and led by composer, arranger and producer Seth Applebaum, the New York-based psych rock act Ghost Funk Orchestra initially began as a lo-fi recording project in 2014. Since their formation, the project has grown into full-fledged, 11 member unit that has become an up-and-coming prescience in the city’s psych rock and soul scenes — and that shouldn’t be surprising, as their sound draws from an eclectic array of sources including salsa, surf rock, Afobeat, stoner rock and others. 

Slated for an August 23, 2019 release through Colemine Records, the up-and-coming soul acts forthcoming full-length debut, A Song For Paul was conceived as a tribute to Applebaum’s late grandfather Paul Anish, a figure, who played an immense role in the Ghost Funk Orchestra founder and bandleader’s life. While the songs reportedly don’t address Paul Anish directly, the creative process for the album and the decisions made during it were meant to convey what Anish’s presence felt like for Seth — a stern yet loving, native New Yorker. For Applebaum, accurately capturing his grandfather’s essence meant expanding the arrangements much further than what he has done in the past, including crafting more comprehensive horn arrangements, as well as working with a string section for the first time in his career. 

A Song For Paul’s latest single “Seven Eight” is an angular and awkwardly lurching song that’s centered around an unusual time signature (7/8 time), a looping Tropicalia-like guitar line, ethereal vocals, an explosive and expressive horn arrangement, which gives the song a quirky yet cinematic air. And while bearing an uncanny resemblance to Radiohead’s “15 Step” and to Gorillaz “5/4,” the song evokes the drunken swoon of having a crush. As the band’s Seth Applebaum explains “Seven Eight is a song about having a crush. When writing the song, we chose an awkward time signature because having a crush will make anyone feel a little awkward.” 

Starring Romi Hanoch, the recently released video for “Seven Eight” relies heavily on found footage from old medical films, liquid light projections from Drippy Eye Projections thrown into a visual that has a decidedly film noir-ish feel. “The music video relies heavily on found footage, specifically pulled from old medical films that depict the beauty and chaos of the human body and its internal functions,” Seth Applebaum explains. “In addition, we were fortunate enough to have our friends at Drippy Eye Projections provide us with some incredible liquid light visuals to further the narrative of chemistry.”

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New Video: Psychedelic Porn Crumpets Releases an Explosive and Trippy Visual Romp for “Hymn For A Droid”

Comprised of Jack McEwan, Luke Parish, Danny Caddy and Luke Reynolds, the Perth, Australia-based quartet Psychedelic Porn Crumpets quickly developed a reputation in their native Australia for crafting enormous riff-based psych rock. Earlier this year, the members of the Perth-based psych rock outfit made their Stateside debut — and they managed to kick ass and take names with a series of acclaimed SXSW sets.

Building upon a rapidly growing international profile, Psychedelic Porn Crumpets’ latest album And Now For The Whatchamacalit was released earlier this year, and the album which was recorded between Jack McEwan’s bedroom and Perth, Australia-based Tone City Studios finds the band with a huge, arena rock-like sound, which also manages to represent their loftier ambitions.  “The original concept was to take a 1930’s carnival that had been re-imagined for future generations, a collage of Punch and Judy, carousels and coconut shy’s that progresses in musical concepts and travels with the listener,” the band says of the album’s concept. “Then as we started traveling I was swept off into my own kind of circus, the odyssey of touring life. Large nights out, larger characters, drunken recollections of foreign cities and rabbit hole-ing into insanity.” 

The album’s latest single “Hymn For A Droid” will further cement the band’s growing reputation for crafting riff-based psych rock, as the song is centered around enormous, arena rock friendly, power chord riffs and a motorik groove within an expansive song structure. Play this one as loud as possible and rock the fuck out, y’all. 

“This track reminds me of a Rhino at full charge,” the band’s Jack McEwan explains in press notes. “I was absolutely cranking it while recording. Pretty sure my housemates didn’t get a lot of sleep the week this was being crafted. The lyrics were based on the end of a relationship, those months you’re questioning where your life will end up and if you’re making the right decisions. You’re almost robotic, ticking along like a drone that repeats the same lines over and over in your head, and then you go out with your mates for the first time in ages, take a bunch of thought juice and everything makes more sense. . I wanted the chorus to come out of nowhere like an instant realisation, confusing at first and then the next time you hear it all becomes way clearer.”

Directed by Ashley Rommelrath and Oliver Jones and filmed by Rommelrath and Gareth Goodlad, the recently released video for “Hymn For A Droid” was filmed during the band’s recent UK and European tour and features live footage from sets in Glasgow, Liverpool and All Points East Festival. And while being a display of a band that has become a force of nature that destroys stages and enraptures fans, it’s a lysergic romp, thanks to animation from Oliver Jones that turns guitars into beasts, moshing fans into skeletons and so on. Live shows can be a furious, sweaty and joyous endeavor and this video accurately captures that. 

New Video: JOVM Mainstays Oh Sees Release a Trippy and Nightmarishly Animated Visual for “Poisoned Stones”

Over the past nine years, I’ve spilled quite a bit of virtual ink covering the Bay Area-based JOVM mainstays Oh Sees. And as you may recall, the act, which is led by its ridiculously prolific founder and creative mastermind John Dwyer has a cultivated a long-held reputation for wide-ranging and restless experimentation that has seen the band dabble between a variety of genres and styles including lysergic-tinged folk, furious and sweaty garage punk rippers, sci-fi driven krautrock and more — with each successive album being wildly different from its predecessor. 

Face Stabber, a 2LP album is slated for an August 16, 2019 release through their longtime label home Castle Face Records, and the album’s first single “Henchrock” was a free-flowing, skronky The Yes Album-era Yes meets Return to Forever-like expansive bit of prog rock. The album’s latest single “Poisoned Stones” continues on a similar vein — skronky prog rock but this time delivered with a muscular and forceful insistence, as the track is centered around enormous power chords and thunderous drumming. 

The recently released video for “Poisoned Stones” features 8 bit video game graphic animation by Eaten Alive Illustrations that’s a surrealistic nightmare as it follows our motorcycle riding protagonist being chased through the desert — until the bat-like creature chasing him captures him and drops him off into the lair of a cloaked magician. After killing the magician, the protagonist escapes, feeds something to a wolf, who has a mind-bending trip and allows our protagonist to ride him until they arrive at a castle that will be destroyed by an even weirder, alien-like dragon. 

Throughout the course of this site’s nine-year history, I’ve spilled quite a bit of virtual ink on the Bay Area-based JOVM mainstays Oh Sees (a.k.a. Thee Oh Sees, OCS, The Oh Sees, The Orange County Sound, Orinoka Crash Suite and other variations). And as you may recall, the act which is led by its ridiculously prolific creative mastermind John Dwyer has a long-held reputation for wide-ranging and restless experimentation that has seen the band dabble and bounce between a variety of genres and styles including lysergic-tinged folk, furious and sweaty garage punk rippers, sci-fi driven krautrock and more. Of course, with each successive album generally being wildly different from its predecessors, it makes the band incredibly difficult to pigeonhole.

Last year’s Smote Reverser found the band meshing classic psych rock and prog rock in a way that brought JOVM mainstays King Gizzard and the Lizard Wizard to mind, but with a muscular and menacing air.

Oh Sees’ latest album, the 2LP Face Stabber is slated for an August 16, 2019 release through their longtime label home Castle Face Records. Interestingly, the album’s first single “Henchrock” is a free-flowing skronky The Yes Album-era Yes meets Return to Forever-like bit of prog rock that clocks in at a little over 21 minutes and possesses a lysergic, retro-futuristic air.

The members of Oh Sees will be embarking on a lengthy tour throughout the summer and fall months that includes a three night, October run at Warsaw — October 18, 2019 – October 20, 2019. Check out the rest of the tour dates below.

Tour Dates:

July
11-13 Carnation WA Timber! Festival

August
 9 Pioneertown, CA Pappy and Harriet’s

23 Charleville Cabaret Vert festival

24 Guéret Check-in Festival

27 Ravenna Hana-Bi (Free)

29 Vienna Arena

30 Munich Strom

31 Berlin Kreuzberg Festsaal

September
Brussels Les Botaniquesen

Bordeaux BT 59

Toulouse Le Bikini

Paris Le Bataclan

London Troxy

Amsterdam Paradiso

30 San Francisco, CA The Chapel

October
San Francisco, CA The Chapel

San Francisco, CA The Chapel

4 Portland, OR Crystal Ballroom

7 Vancouver, BC Rickshaw Theatre

10 Minneapolis, MN First Avenue Ballroom

11 Chicago, IL Thalia Hall

12 Chicago, IL Thalia Hall

14 Toronto, ON Danforth Music Hall

15 Montreal, QC Le National

16 Cambridge, MA The Sinclair

18 Brooklyn, NY Warsaw

19 Brooklyn, NY Warsaw

20 Brooklyn, NY Warsaw

22 Philadelphia, PA Union Transfer

23 Carrboro, NC Cat’s Cradle

24 Nashville, TN Mercy Lounge

25 New Orleans, LA One Eyed Jacks

26 Austin TX Hotel Vegas

27 Austin, TX Hotel Vegas

29 Albuquerque, NM Sister Bar

31 Los Angeles, CA Teragram Ballroom

New Video: JOVM Mainstays Flamingods Release a Lysergic and Feverish Visual for “Olympia”

Over the better part of this year, I’ve written a bit about the acclaimed multi-continental-based psych rock act Flamingods, and as as you may recall, the band’s Bahraini-born founder and frontman, Kamal Rasool has traveled widely to collect rare 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. Their first live show together was a highly praised, attention-grabbing set during 2010’s 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. 2013’s full-length debut Sun was 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 Sun’s release, the British government enacted new visa laws, which forced Rasool to return to Bahrain after finishing school. He then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were rising on different continents and unable to play together, they managed to find a way to continue working on new material, which would eventually become their critically applauded sophomore album, 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 with Rasool. Shortly after Prest’s relocation, the band 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. The album was released to generally mixed reviews, but 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 finally 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. The band toured to support the effort, which included 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. They also released a Dan Carey-produced live version of “Hyperborea.”

The band’s fourth album Levitation was released earlier this year, and the album was largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s — but filtered through mysticism, positivity and sun-drenched imagery. More importantly, the Levitation recording sessions found the band living and working together on the same continent for the first time in about four years. And as a result. the album’s material may arguably be the most unified effort they’ve written and released to date. 

The album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream of the entire album.  Interestingly, the album’s latest single is the breezy, Sgt. Pepper-like “Olympia.” Centered around fluttering synths, fuzzy and distorted guitars, a propulsive rhythm section and Rasool’s dreamy vocals the track is a seamless and brightly colored synthesis of 60s psychedelia and Brit Pop. 

Directed by Andrea Mae, the recently released video for “Olympia” is a lysergic fever dream, featuring the members of the band having wild visions while in a sauna. “For this video, I was inspired by the ghosts that haunt each of us human beings. I chose to have one of these as a central character of the narrative and to give it a place filled with light, positivity, or perhaps a touch of humour,” Mae explains. “The sauna was an addition to this concept because it is purifying place, a room where you are in company and in a state of peace. I wanted something that looked like a modern day psychedelic cartoon, but mixed with some vintage, experimental footage to try and create a hybrid that looks part 60’s and part now.”​

New Audio: JOVM Mainstays Here Lies Man Releases a Cinematic and Lysergic Single

Over the past couple of years, I’ve written quite  bit about the Los Angeles, CA-based JOVM mainstays Here Lies Man, and as you may recall, the act which was founded by Marcos Garcia and Geoff Man has received attention across the blogosphere for a sound that seamlessly bridges Fela Kuti Afrobeat grooves with classic Black Sabbath and Led Zeppelin-era, power chord-fueled rock.  

The Los Angeles-based JOVM mainstay’s sophomore album, last year’s You Will Know Nothing found the band refining and expanding their sound. “We’re very conscious of how the rhythms service the riffs. Tony Iommi’s innovation was to make the riff the organizing principle of a song,” the band’s Marcos Garcia explained in press notes. “We are talking the same approach but employing a different organizing principle: For Iommi, it was the blues, for us to comes directly from Africa.” The album also found the band focusing on writing catchier, much more anthemic songs with thematically conceptualized lyrics focusing on states of being and consciousness. Additionally, they aimed for slicker production values than its predecessor. “We wanted to go deeper with the sonic experience. Even though it sounds more hi-fi than the first record, it was important that it didn’t sound too polished,” Garcia added. 

Sonically, the material was composed with music theory in mind — interludes between songs were written and recorded with them specifically being 2/3rds to 3/4ths of the tempo of the song proceeding it. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa,” Here Lies Man’s Geoff Mann explains in press notes. 

Slated for an August 16, 2019 release through RidingEasy Records, the forthcoming mini-album No Ground to Walk Upon finds the band continuing the aesthetic they’ve developed through their first two albums but conceptually the material is essentially the soundtrack to an imaginary movie with each song being the score for a key scene of that movie. The mini-album’s swaggering and strutting, first single “Clad in Silver”  is centered around buzzing power chords, propulsive Afro-Caribbean rhythms and punchily delivered lyrics within an expansive, hallucinogenic song structure. As the band explains in press notes, the mini-album’s lead single “is the soundtrack snippet of a  journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, bu it is a hallucination that fades in and out of perception.” 

New Video: Ian Ferguson Releases a Trippy and Lo-Fi Tribute to Godzilla-like Movies in Visual for “Tyrants Waltz”

Late last month, I wrote about singer/songwriter and multi-instrumentalist Ian Ferguson, and as you may recall Ferguson is a high-school dropout from a one stoplight town outside of Nashville, who started his music career in earnest when he formed and broke up his high school band Kingston Springs just as they were on the verge of a success; in fact, the band had a major label deal on the table, when he decided to walk away from the band.  

Ferguson can trace the origins of his solo career to when he accidentally locked himself in his mother’s basement. I was in my basement, working on some demos,” Ferguson recalls in press notes. “I hadn’t put this idea of ‘making a record’ together in my mind just yet. And there was this faulty door at the top of the stairs that would lock itself and you had to have a key to get out, which of course I didn’t have. I’m messing around when all of the sudden I hear it shut. To this day, I’m not sure what happened. It might’ve been my dachshund Hannah or just some crazy occurrence. I was home alone at the time so I started to freak out, but eventually decided to make the best of it. I had this old HP computer from the 90’s down there and I just went to town.” The end result is the Nashville area-based singer/songwriter and multi-instrumentalist’s forthcoming solo debut, State of Gold.

Slated for a July 26, 2019 release through County Fair Records, Ferguson’s debut effort was self-engineered with the up-and-coming singer/songwriter and multi-instrumentalist performing all the album’s instrumentation and arrangements. With no formal training as an engineer, self-recording and self-mixing were initially challenges. ““I ended up teaching myself how to record and mix records, using some goofy computer software. I actually mixed the record on that old HP computer from the 90’s using a very impractical way of recording that involved burning 16 CDs for each song. It took me a long time to make the record, but after I got ripped off $1k from an audio engineer for a mix that didn’t sound right, I knew I had to take it on myself and I hope you can hear the love in the labor,” Ferguson says in press notes.

Because of his wild-eyed falsetto, use of layered vocal harmonies, greasy guitars and conversational lyricism, Ferguson’s sound has gained comparisons to the likes of Ty Segall, The Nude Party, David Bowie, Marc Bolan/T. Rex and psychedelic era Beatles — and as a result, some of his fans include a who’s who of contemporary Nashville-based acts including Alabama Shakes and JOVM mainstay Ron Gallo among others. Interestingly, album single “Worried Walk” is a shuffling bit of psych blues that made it rather easy to understand why early comparisons to Marc Bolan’s work are so uncannily spot; in fact, the song sounds as though it could have been released on just abut any T. Rex album. However, the song possesses just enough Southern twang to give it a mischievously deceptive, anachronistic quality.  

State of Gold’s latest single is “Tyrants Waltz,” a shuffling and bluesy waltz that’s one part Sgt, Pepper-era Beatles, one part The Band and one part Southern rock, centered around an arrangement featuring twinkling keys, jangling guitars, a lysergic guitar solo and a soaring hook. “Tyrants can exist in many forms, under different guises. Sometimes they’re obvious and sometimes they surprise you,” the up-and-coming Nashville area-based singer/songwriter and multi-instrumentalist explains in press notes. “Often times, they seem to represent the exact thing they’re working to dismantle. I wrote this song years ago, before the current state of affairs. However, seeing as how the song represents the disconnect between the masses and those in power, it seems more relevant now than back then.” 

Directed, edited and animated by Pam Detrich, the recently released video for “Tyrants Waltz” features edited footage from knock-off, Godzilla-like monster movies. Just like the real Godzilla monsters, the knock-offs destroy everything in their paths through fire, lasers and stomping everything to bits — and oddly, everything occurs in almost exact time to the accompanying music before ending in feedback and static, with the monsters seemingly laughing in triumph. 

Last month, I wrote about the Toronto, Ontario, Canada-based psych rock quartet Possum, and as you may recall the band, which is comprised of Brandon Bak (guitar, vocals), Tobin Hopwood (guitar), Patrick Lefler (bass) and Bradley Thibodeau (drums) met within their hometown’s psych rock and garage rock scenes. The members of the band bonded over their mutual love and appreciation of acts like of CAN, Grateful Dead, Fela Kuti and Ty Segall — but the end result is a sound that can be loosely described as a fusion of garage rock, krautrock, psych rock and ethno jazz, complete with rapid tempo and time signature change, hypnotic riffs and chugging, motorik grooves.

Live, their shows are an immersive experience in which the band pairs high energy performances and trippy sounds with lysergic visual projections by The Oscillitarium. And as a result of their live show, the members of Possum have shared stages with the likes of the aforementioned Ty Segall, All Them Witches, Shannon and The Clams, Bombino, L.A. Witch and Chad VanGaalen.

Interestingly, the Canadian psych rockers have maintained a steadfast and ardent DIY ethos in which they’ve independently recorded, mixed and produced their material using old analog tape machines — and they’ve packaged their music themselves. In fact, Possum’s full-length debut, Space Grade Assembly, which is slated for release later this month continues the band’s DIY ethos with the material recorded almost entirely live and mixed by the band’s Brandon Bak and Tobin Hopwood. Album single “The Hills” was an expansive and heady mix of Black Sabbath and Led Zeppelin power chord-fueled riffing, thunderous drumming, Afrobeat and Latin-tinged percussion that found the band’s production nodding at shoegaze, classic psych rock and krautrock simultaneously.

Clocking in at a little over eight minutes, “Worms Hollow,” Space Grade Assembly‘s latest single is a mind-altering and expansive track that’s one part 60s inspired garage psych, one part motorik groove-driven krautrock and one part space rock centered around a focused and urgent performance.

Possum is currently on a lengthy North American tour. Check out the remaining tour dates below.

Tour Dates
June 7 – Chicago, IL (Emporium)
June 8 – Kansas City, MI (TBA)
June 9 – Denver, CO (Second City Music Collective)
June 11 – San Francisco, CA (Knockout Lounge)
June 13 – Portland, OR (Post 134)
June 14 – Seattle, WA (Clock Out Lounge)
June 16 – Vancouver, BC (Static Jupiter)
June 17 – Victoria, BC (Copper House)
June 18 – Nanaimo, BC (Nanaimo Bar)
June 19 – Kelowna. BC (Fernando’s)
June 20 – Kamloops, BC (Blue Grotto)
June 21/22/23 – Calgary, AB (Sled Island Muisc Festival)
June 24 – Regina, SK (TA Vinyl and Fashion)
June 25 – Winnepeg, MB (Handsome Daughter)
June 26 – Minneapolis, MN (Terminal Bar)
June 27 – Milwaukee, WI (Cactus Club)
June 28 – Detroit, MI (Kelly’s Bar)

New Video: JOVM Mainstays King Gizzard and the Lizard Wizard Release Insane Visual for Thrash Metal Ripper “Self-Immolate”

Over the course of 2017, the Melbourne, Australia-based psych rock septet and JOVM mainstays King Gizzard and The Lizard Wizard released five albums — with each album being in a completely different genre and style from its predecessor, further cementing the band’s reputation for being restlessly experimental and prolific.   

For a band that has been as wildly productive and prolific as the Melbourne-based JOVM mainstays, not releasing new music last year was extremely odd; however, they were busy with other things, including — a relentless tour schedule that featured 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.

Now, as you may recall, the band released their 14th album Fishing for Fishies earlier this year, and the album found the band creating a sonic world in which the organic meets the automated; where the rustic meets the robotic; where the past and future collide in the beautiful present with the band crafting material that’s essentially boogie blues that struts, shimmies and stomps through several different moods and terrains. “We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it – or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

Interestingly, the acclaimed Aussie JOVM mainstays have written, recorded and released a couple of standalone tracks that simply don’t fit on their most recent album because they’re on a completely different tack — one of those tracks is the thrash metal ripper “Self Immolate” which finds the band piling power chord riff upon riff upon riff, thunderous drumming and McKenzie taking on a growling vocal delivery reminiscent of Slayer’s Tom Araya and Sepultura’s Max Cavalera. Interestingly, the track is a reminder that they’re not dabbling dilettantes when it comes to thrash and thrash metal — and that they can pummel eardrums with the best of them. 

Directed by frequent visual collaborator John Angus Stewart, the recently released video for “Self-Immolate” sees the members of the band burnt alive in a Satanic ritual in the middle of nowhere. 

Comprised of Jack McEwan, Luke Parish, Danny Caddy and Luke Reynolds, the Perth, Australia-based quartet Psychedelic Porn Crumpets quickly developed a reputation in their native Australia for crafting enormous riff-based psych rock. Earlier this year, the members of the Perth-based psych rock outfit made their Stateside debut — and they managed to kick ass and take names with a series of acclaimed SXSW sets.

Building upon a rapidly growing international profile, Psychedelic Porn Crumpets’ latest album And Now For The Whatchamacalit is slated for release on Friday, and the album is reportedly a culmination of the experiences they’ve lived while on the road — and a gradual refinement and evolution of the band’s sound. Interestingly, the album’s latest single “Hymn For A Droid” will further cement the band’s growing reputation for crafting riff-based psych rock as the song is centered around arena rock friendly riffs and a motorik groove within an expansive song structure. Play it as loud as possible and rock out hard, friends.

“This track reminds me of a Rhino at full charge,” the band’s Jack McEwan explains in press notes. “I was absolutely cranking it while recording. Pretty sure my housemates didn’t get a lot of sleep the week this was being crafted. The lyrics were based on the end of a relationship, those months you’re questioning where your life will end up and if you’re making the right decisions. You’re almost robotic, ticking along like a drone that repeats the same lines over and over in your head, and then you go out with your mates for the first time in ages, take a bunch of thought juice and everything makes more sense. . I wanted the chorus to come out of nowhere like an instant realisation, confusing at first and then the next time you hear it all becomes way clearer.”