JOVM’s William Ruben Helms celebrates Robert Plant’s 77th birthday.
Tag: psych rock
Throwback: Happy 86th Birthday, Ginger Baker!
JOVM’s William Ruben Helms celebrates the 86th anniversary of the birth of Ginger Baker.
New Audio: Swedish Instrumental Outfit Automatism Shares Languorous Cover of Kraftwerk’s “Neon Lights”
Swedish instrumental psych rock outfit Automatism — Hans Hjelm (guitar), Gustav Nygren (guitar), Mikael Tuominen (bass) and Jonas Yrlid (drums) — will be releasing their long-awaited fourth album Sörmland Friday through German-based label Tonzonen Records.
Five years have passed since the release of 2020’s Immersion. The hiatus wasn’t completely voluntary, so when the band reconvened in September 2023 to begin the creative process for their fourth album, it felt like a special occasion for the band — much like a family reunion. Recorded in a former chapel in the Swedish rural county of Sörmland, the building’s high ceilings and open atmosphere helped set the overall tone of the soon-to-be-released album. As they were recording, they could see the verdant landscape from the building’s tall windows, which inspired them to name the album after the province.
Sörmland‘s latest single “Neon Lights” is an instrumental take on Kraftwerk‘s “Neon Lights.” Clocking in a roughly the same time as the original, which appeared on 1978’s The Man-Machine, the Automatism rendition slows both the tempo and melody down, giving the song a languorous and dreamy, psilocybin-fueled buzz.
“Another one of those occasions when the best stuff comes out when you stop trying,” the band’s Mikael Tuominen says. “We had been working on a version of ‘Neon Lights’ for a while, even played it live, that was much closer to the original in feel and tempo. We did a couple of recordings of that version and they were okay. Then, without deciding anything, we just fell into playing the theme really slowly and softly, and again, luckily enough I hit the red button. First it was almost as if we didn’t take it seriously, but soon we entered the zone, and listening to the versions back to back there was no question of which one to choose.”
News/Announcements: FME Announces 2025 Venue Showcase Lineups
FME announces the venue showcase lineups for the 2025 edition.
Throwback: R.I.P. Brian Wilson
JOVM’s William Ruben Helms celebrates the life and music of the legendary Brian Wilson.
Throwback: Happy Belated 61st Birthday, Lenny Kravitz!
JOVM’s William Ruben Helms belatedly celebrates Lenny Kravitz’s 61st birthday.
Throwback: Happy 82nd Birthday, Jack Bruce!
JOVM’s William Ruben Helms celebrates the 82nd anniversary of Jack Bruce’s birth.
Throwback: Happy Belated 77th Birthday, Steve Winwood!
JOVM’s William Ruben Helms belatedly celebrates Steve Winwood’s 77th birthday.
New Video: DÜÜL SUNS Shares Shimmering and Expansive “Jealousy”
New York-based psych outfit DÜÜL SUNS — James Ruffino (vocals, guitar), Kevin Muenzer (bass), Nick Grau (keys, synths, vocals) and Adam Kriney (drums) — specialize in a blend of neo-psychedelic garage rock, soulful and funky rhythms and jazzy/prog rock experimentation paired with dreamy vocals.
The New York-based quartet’s debut single “Jealousy” is a dreamy yet slick mix of 60s psych rock and 70s prog rock, featuring bursts of glistening and arpeggiated keys, Afrobeat and funk-tinged rhythm guitar and jazz-meets-blues rhythms that serve as a lush bed for dreamy melodies and some remarkably catchy hooks and a blazing guitar solo. Ultimately, “Jealousy” reveals a band that has crafted a unique and self-assured take on a familiar sound while evoking a sense of unease and dread.
Directed by the band’s Kevin Muenzer, the accompanying video for “Jealousy” is fittingly lysergic while capturing the sense of dread, unease and distrust at the core of the song.
Lyric Video: MIIEN Shares Dreamy AND Meditative “Mirror”
MIEN is a psych rock super group that features some of the genre’s biggest and most accomplished artists:
- Elephant Stone‘s Rishi Dihr (bass, guitar, keys)
- The Black Angels‘ Alex Maas (vocals, bass, guitar)
- The Earlies‘ John Mark Lapham (keys, samples, programming)
- Golden Dawn Arkestra‘s Robb Kidd (drums)
Since the project’s inception, MIEN has been a confluence of diverse musical influences and shared histories: The band’s origins can be traced back to 2004 when Dihr crossed paths with Maas during a serendipitous encounter at SXSW. That meeting sparked a deep friendship and a series of critically applauded collaborations, including famously, The Black Angels’ 2008 effort, Directions to See a Ghost. Around the same time, Dihr met Lapham, whose electronic and production expertise would later become a cornerstone of MIEN’s sound. These connections led to MIEN, a band that sees its members seamlessly blending their varied musical backgrounds into a unique sound. The band’s newest member Kidd joined on in 2018.
The psych supergroup’s long-awaited sophomore album MIIEN was released earlier this month through Fuzz Club. The sophomore album marks a bold new chapter for a band known for an alchemical approach to their work. Building upon the foundations of their critically applauded self-titled debut, MIIEN finds the band and its members pushing their collaborative and explorative ethos into uncharted territories.
Recorded in studios between Montréal, Abilene and Austin, the psych supergroup’s sophomore album captures a unique creative process: Most songs began as a simple idea — a loop, a vocal phrase or a groove — passed between members and meticulously layered.
The band’s collaborative workflow saw each individual sketch evolving as each member contributed their distinct sonic palette. “It’s an organic process,” Rishi Dihr says. “A simple idea can become something monumental when we each put our stamp on it.”
The album’s creative journey was heightened during key in-person sessions, including an intensive recording period in Austin during SXSW. The rare opportunities for the band to work together in the same space added a dynamic immediacy to several album tracks.
Overall MIIEN represents the strength of the band’s collective vision. Each member brings their unique perspective to the table, creating music that is simultaneously personal and universally resonant. Anchored around richly textured soundscapes and fearless experimentation, the album, purportedly sees the band crafting material that actively bridges the golden age of 60s psychedelia with the cutting edge of modern music. Lapham reflects, “Working with these guys has been one of the most enjoyable experiences in my music career. Our synergy is seamless, and I’m excited to see where this next chapter takes us.”
In the lead-up to the album’s release, I wrote about two of the album’s previously released singles:
- “Evil People,” a propulsive bit of synth-driven psych rock featuring a relentless motorik-like groove paired with Maas imitable delivery and a rousingly anthemic hook and chorus with expressive bursts of reverb-drenched guitar. “‘Evil People’ has its roots in a 2015 collaboration between Alex and awesome Danish musician Trentemøller,” the band explains. “Fast forward to March 2022, when MIEN reunited in Austin for three intense days of recording during SXSW. Given how rare it is for all of us to be in the same room at the same time, the creative energy was electric—music and ideas flowed effortlessly, and ‘Evil People’ was born.”
- “Empty Sun” which features Alex Maas’ imitable vocal floating over a menacing and uneasy motorik pulse with bursts of woozy strings and complex rhythmic patterns, including a breakbeat section that The Crystal Method and The Chemical Brothers would swoon over. It’s arguably the trippiest groove the band has written to date. “Like many of our songs, ‘Empty Sun’ began as a series of loops paired with a lyric-less vocal demo from Alex” the band explains. “From there, Alex and Robb laid down the initial ideas before passing it along to the rest of us. The track sat untouched for a while until John Mark revisited it, shaping it into something new with distinct sections, samples, and layers of Solina string machine. To lock in the groove, Robb returned to the studio, recording what felt like countless drum takes to perfect the complex patterns and make them as “mean” (MIEN) as possible. As the track evolved, Rishi teamed up with Elephant Stone guitarist Robbie to layer in massive, warped guitar textures that brought ‘Empty Sun’ roaring to life.”
MIIEN‘s latest single “Mirror” is a dreamy, lullaby-like song centered around a strummed melodic figure, a shuffling rhythmic pattern, quivering synths serving as a lush, meditative bed for an dreamy and plaintive vocal turn from Alex Maas.
“‘Mirror’ is one of only a small handful of songs that started life when we were all together, which always immediately makes a song feel special to us,” the psych rock supergroup explains. “We generally record in our own separate spaces and swap files, but this one came to life while we were rehearsing for our first tour back in 2018. ‘Mirror’ is the sound of a band coming together and working intuitively rather than logically, and for that it stands out as one of our strongest achievements.”
New Video: Floral Image Shares Mind-Bending Visual for “Burning 305”
Norwich, UK-based psych outfit Floral Image — Fergus Nolan (vocals, guitar), Jack Warner (vocals, keys), Matt Kennedy (bass guitar), Mitch Forsyth (drums, visuals), and Phil Whitton (guitar, visuals) — will be releasing their highly-anticipated full-length debut Gone Down Meadowland on April 25, 2025 through Fuzz Club.
After an extensive touring schedule throughout the course of 2023, the rising British quintet spent the following winter looking both inward and outward to the wide-skied rural landscape of their immediate environs with the aim of distilling their wide pool of influences. As it turned out, once the gigs started to expand outside of Norwich, a fear of musical inertia had left the band asking themselves what their own sound even was. The long nights of their touring break were used to reassess and reconnect with a sense of play that had disappeared while spending hours driving around in a tour van.
During Friday night jam sessions, with the band wrapped in coats and warmed by homemade cocktails, Phil Whitton’s freezing living room wound up providing the cultivation for the begging of a new musical shape for the band — a sound not just intending to be big and formidable live, but one that provides a softer, more subtle recorded companion for drunken hijinks with pals and unleashed self-introspection.
More than ever, the quintet wanted to produce a brand of East Coast psychedelia that reflected the lushness of their natural surroundings and the solitude of their immediate surroundings. Over 30 songs were written, considered and arranged before the band whittled that down to 10 songs that they felt truly epitomized what they do best — vivid hued colors and harnessed live energy and power woven together with fluid, lyrical harmonies inspired by Woods, King Gizzard and the Lizard Wizard, Stereolab and others.
Written and recorded over across a string of at-home recording sessions during a six week period of last summer, Gone Down Meadowland‘s material is anchored around a sense of mischief and dreaminess, informed by the band member’s own playful and loving friendship. Sonically, the material bends, grows and shifts between light, dark, malaise and excitement. There are moments of head-down ferocity, punctuated by moments of pulsing awe and wonder.
“Barns, basements and boxrooms across Norfolk were all utilised to unearth the songs from the soil of our collective minds. We practically lived with each other and buried ourselves in the music for what was almost a whole half year,” Floral Image explains. “We would cook for each other, learn from each other and laugh like we never could elsewhere. Even ‘that’ tricky period of cutting songs off went by with all of us in complete faith that the album’s needs seemed greater than our own. If it wasn’t for the fact that recording had almost become secondary to getting actually quite good at Frisbee, we might have been able to release a double LP.”
“A lot of themes are anti-establishment commentaries on the state of the modern world,” the band adds. It can feel isolating being bystanders of global concern in sleepy Norfolk, even though it’s easy to slip into a false comfort when you’re surrounded by vast space, natural beauty and friendly folks down the market. Gone Down Meadowland is that egoless escapist fantasy that still can’t escape the world caving in on itself; Norfolk isolationism.”
“Burning 305,” Gone Down Meadowland‘s latest single is a is a trippy and hook-driven mesh of 60s and 70s psych rock, krautrock and shoegaze, featuring a relentless motorik groove, swirling and painterly guitar textures paired with dreamy falsetto melodies and an arena rock friendly sense of bombast.
Directed and featuring animation by M. Forsyth and live-action camera operation from Alistair Nicholls, the accompanying video for “Burning 305” follows a bored janitor, listening to music on his phone while on the late night shift, when he encounters a discarded virtual reality headset. Once he puts the headset on, he’s transported to a mind-bending, surrealistic, psilocybin-fueled virtual reality world that’s first bright and sunny before quickly turning hellish.
New Audio: Population II Shares Ripping “La Trippance”
Acclaimed Montréal-based psych rock outfit and JOVM mainstays Population II — Pierre-Luc Gratton (vocals, drums), Tristan Lacombe (guitar, keys) and Sébastien Provençal (bass) — will be releasing their highly-anticipated, Dominic Vanchesteing-produced third album Maintenant Jamais on Friday through Bonsound.
The 14-song album reportedly sees the band drawing from their formative influence with a deep, sense of sophistication. The album will feature the previously released “Le thé set prêt,” and “Mariano (Jamais je ne t’oublierai)” a krautrock/prog rock-like take on psych rock featuring pulsating drum patterns paired with glistening synths and fuzzy power chords serving as a lush and languorous bed for Gratton’s dreamy cooing that sees the band subtly — and perhaps playfully — expanding upon their sound while reminding listeners of their adroit musicianship and songwriting.
Just as they were about to embark to Austin to play this year’s SXSW, the trio shared the Dominic Vanchesteing-directed live short film, Carillon — Population II in concert. Shot among the massive, brutalist-inspired concrete monoliths of the Monument québécois à la mémoire des héros du Long-Sault. Recalling Pink Floyd‘s Live at Pompeii, the live footage features the band performing songs in front of a camera eye that languorously floats and circles around the band and the enormous monoliths around them.
Just before the album’s Friday release, the French-Canadian trio shared the album’s third and latest single “La Trippance.” Beginning with a brooding intro that features buzzing Farfisa organ and buzzing synths, the track quickly morphs into arguably one of the album’s heaviest and hardest hitting tracks with Gratton’s drumming merging with staccato guitar bursts and a blazing proto-punk-meets-metal guitar solo before closing out with a brooding and buzzing coda.
Much like the album’s previously released singles, “La Trippance” showcases the French-Canadian trio’s uncanny tightness and musical prowess, while serving as a reminder that they are crafting some of Canada’s hardest hitting and trippiest material out there right now.
New Audio: JOVM Mainstay MAGON Shares Freewheeling “Good Song”
Wildly prolific Israeli-born, Costa Rican-based singer/songwriter, musician and JOVM mainstay MAGON recently released his 11th album Tales of a Mountain Child.
In the lead-up to the album’s release, I wrote about two of the album’s previously released singles:
- Album title track “Tales of a Mountain Child,” a track that possesses the same sort of freewheeling, restless nature reminiscent of early Bob Dylan, Harvest-era Neil Young and Inner Journey Out-era Psychic Ills. And while continuing upon the JOVM’s mainstay reputation for his uncanny knack for catchy hooks, the song captures a familiar feeling for me — the seemingly irresistible push and pull of a life on the road.
- “Outer Darkness,” a track that continues a run of material seemingly indebted to 60s psych rock and 70s album rock, with a dreamy yet introspective air. The result is a song that evokes nostalgia while anchored around a modern sensibility.
Tales of a Mountain Child‘s latest single “Good Song” continues upon the album’s freewheeling nature – and his penchant for catchy grooves and hooks. And much like its predecessors, the song’s lyrics are surrealistic yet paint a vivid picture of late-night musings, fleeting thoughts and playfully odd imagery.