Tag: Ty Segall

Single Review by William Ruben Helms

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)

Single Review by William Ruben Helms

Singer/songwriter and multi-instrumentalist Ian 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.

Interestingly, his solo career can trace its origins 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 Ferguson’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 softwares. 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.  Of course, when you check out State of Gold‘s latest single, the shuffling psych blues “Worried Walk,” you’ll clearly understand why the comparisons to Marc Bolan are so uncannily apt, as the song sounds as though it could have been released on almost any T. Rex album. However, the song possesses just enough Southern twang to give it a mischievously deceptive anachronistic quality that belies the deliberate and loving attention to craft at its core.

“Worried Walk is a song about that feeling when you’re aware you are having an emotional and mental meltdown,” Ferguson explains in press notes. “It’s about that feeling when your mind takes off, all on its own. You try taking a walk to calm yourself down but you find yourself thinking more and more and continuing in a downward spiral.”

Ferguson will be embarking on a short tour to support his solo debut that will include an August 14, 2019 stop at Union Pool. Check out the tour dates below.

 

TOUR DATES

7/26 – Nashville, TN @ Grimey’s – Album Release in-store

8/2 –  Charlotte, NC @ River Jam https://usnwc.org/ian-ferguson/

8/14 – New York, NY @ Union Pool https://www.ticketfly.com/purchase/event/1864586

Video by William Ruben Helms

New Video: The Feverish and Lysergic Visuals for Possum’s “The Hills”

Comprised of Brandon Bak (guitar, vocals), Tobin Hopwood (guitar), Patrick Lefler (bass) and Bradley Thibodeau (drums), the Toronto, Ontario, Canada-based psych rock quartet Possum met within their hometown’s psych and garage scenes. And as as the story goes, the members of the up-and-coming Canadian psych rock act bonded over a mutual love and appreciation of CAN, Grateful Dead, Fela Kuti and Ty Segall — with the end result being a sound that’s a fusion of garage rock, kraut rock, psych rock, ethno jazz, complete with rapidly tempo and time signature changes, hypnotic riffs and chugging bass. Their live shows are an immersive experience which finds the band pairing pairing high energy performances and trippy sounds with lysergic visual projections by The Oscillitarium.  As a result of their high energy shows, Possum has shared stages with the likes of Ty Segall, All Them Witches, Shannon and The Clams, Bombino, L.A. Witch and Chad VanGaalen. 

Using old tape machines, the Canadian psych rock act has managed to independently record, mix, produce and package all of their music; in fact, their full-length debut, Space Grade Assembly, which is slated for a June 21, 2019 release through Garment District Records finds the band further establishing their DIY ethos with the material being recorded almost entirely live and mixed by the band’s Brandon Bak and Tobin Hopwood. Interestingly, the album’s latest single “The Hills” is an expansive and heady mix of Black Sabbath and Led Zeppelin power chord-fueled riffing, thunderous drumming, Afrobeat and Latin-tinged percussion, jowering shoegazer meets 60s psych rock production and kraut rock with a cosmic glow and a muscular forcefulness. As the band explains, “‘The Hills’ came about after our experience at the Frontier Ghost Town – an authentic wild west camp where they once filmed a Charles Manson movie. Sonically, we wanted to travel between the feel of Mylar & Haight-Ashbury era mysticism.”  

Unsurprisingly, the recently released video for “The Hills” is an appropriately feverish and lysergic affair. 

Video by William Ruben Helms

New Video: JOVM Mainstays Sextile Release Feverish Visuals for Club Banging “Hazing”

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Over the past couple of years, I’ve written quite a bit about the Los Angeles, CA-based post-punk act and JOVM mainstay Sextile, and as you may recall the act which was formed back in 2015, earned a devout following as a result of an explosive live show and non-stop touring as an opener and as a headliner with the likes of fellow JOVM mainstays A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Building upon a growing profile, the act has made appearances across the national festival circuit with sets at Bersekertown, Cloak & Dagger and Levitation.

During that same period, the act went through a massive lineup change that found the band writing, recording and performing as a duo featuring founding member Brady Keehn and Melissa Scaduto. And naturally, as a result of those lineup changes, the remaining members radically reinvented their sound — moving towards a synth-based sound with minimal use of guitar; in fact, on EP3, the Los Angeles-based JOVM mainstays last bit of recorded output before their indefinite hiatus, Keehn and Scaduto use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly 80s industrial synth sound. “Hazing,” EP3’s latest single continues in a similar vein as its predecessors as its centered around a motorik groove, arpeggiated synths and clang and clatter — and while continuing a string of singles that sound indebted to Substance-era New Order.

Directed by Gabriel Francez, the recently released video for “Hazing” is a tense and lysergic fever dream, focused entirely on the subconscious desires of its subjects. “The video is about a dream. The idea was to represent the blurriness of it, where all of the perception is altered and images come one after the other,” Francez explains in press notes. “I imagined the dream being divided into three main levels separated by the red door, representing for the boy character a sign of escape. In each room he finds himself stuck in this surrealistic thriller and look desperately for the exit as the characters try to keep him in this crazy hallucination. It’s an odyssey within the dream where the character is tested by his subconscious.”

Video by William Ruben Helms

New Video: The Murlocs Strutting Glam Rock-like Take on Psych Blues

Led by King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith and featuring Kenny-Smith’s bandmate Cook Craig, as well as Cal Shortal, Matt Blach and Tim Karmouche, The Murlocs specialize in a fuzzy and distorted psych blues. In their native Australia, they’ve played across their homeland’s festival circuit and have opened for the likes of internationally acclaimed acts like Gary Clark, Jr., Mac DeMarco, Ty Segall, Thee Oh Sees, Pixies, Stephen Malkmus and The Jicks, Wavves and King Gizzard and the Lizard Wizard. 

Building upon a growing profile, the Aussie quintet’s forthcoming Stu Mackenzie-produced third full-length effort, Manic Candid Episode is slated for a March 22, 2019 release through Flightless Records. The album’s second and latest single “Withstand” is a swaggering and strutting blues ripper that nods at classic glam rock, complete with rousingly anthemic, shout-along worthy hooks, explosive blasts of harmonica and big, distortion-filled power chords. Sonically, the track — to my ears, at least — brings T. Rex, Ziggy Stardust-era Bowie and King Bee-era Muddy Waters to my mind but with a lysergic haze. Fittingly, the Alex McLaren-created video for the song draws from classic 60s and 70s rock promotional videos, as it features the members of The Murlocs performing the song in front of a psychedelic backdrop. 

Video by William Ruben Helms

New Video: JOVM Mainstays Sextile Release an Industrial New Wave-Inspired Banger

Last year, I wrote quite a bit about the  Los Angeles, CA-based post-punk act Sextile, and as you may recall since the act’s inception in 2015, they’ve earned a devout following, as a result of an explosive live show and non-stop touring as both as an opener and as a headliner with the likes of A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Adding to a growing profile, they’ve also played sets at Bersekertown, Cloak & Dagger and Levitation Festivals.

Interestingly, over that same year period, the act has gone through a massive lineup change that finds the act writing, recording and performing as a duo featuring Brady Keehn and Melissa Scaduto. Naturally, as a result of the lineup changes, Kehn and Scaduto have radically reinvented their sound with a move towards synths with minimal use of guitar; in fact, on their recently released EP, EP3, the duo use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly industrial synth-based sound. Additionally, the duo cite futurist Luigi Russolo’s The Art of Noises as an influence on their approach, as their sound and songwriting is meant to evoke and mirror the chaos and brutality of the industrial era. EP single “Spun” was centered around explosive squealing bursts of guitar, scorching synths, thumping beats, industrial clang and clatter and a motorik-ike groove, and it some way the song found the band meshing  the aesthetics of Gang of Four and classic DFA Records (i.e., early LCD Soundsystem and Echoes-era The Rapture) while hinting a bit at Bay City Rollers‘ “Saturday Night,” thanks to its punchily delivered vocals.  “Disco,” EP 3’s latest single may argaubly be the most dance floor friendly song they’ve ever released as it sonically brings Yaz’s “Situation,” New Order’s “Blue Monday” and Ministry to mind, as it’s centered around a production of layers arpeggiated synths, industrial clang and clatter and a motorik groove — but lyrically, as the duo note,t he song’s lyrics focus on the lack of time to do anything productive or constructive, DIY spaces being shut down, gun control and constant media propaganda in a way that evokes our increasingly cynical, paranoid and uncertain world.  Civilization as we know it is collapsing before our eyes, and we might as well dance, dance, dance, dance, dance.

Keehn and Scaduto directed the video and as they mention in press notes, visually and aesthetically, the slickly shot black and white treatment was deeply influenced by the New German Wave.

Single Review by William Ruben Helms
Over the course of last year, I wrote about the  Los Angeles, CA-based post-punk act Sextile and since its formation back in 2015, the band has earned a devout following thanks to a reputation for an explosive live show and non-stop touring as either a headliner or opener with the likes of A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others — and they’ve played sets at Bersekertown, Cloak & Dagger and Levitation Festivals.
Now, since I’ve last written about them, the act has gone through a massive lineup change that finds the act as a duo featuring Brady Keehn and Melissa Scaduto. And as a result of the lineup changes, the project has shifted towards a decidedly minimalist approach with the duo of Kehn and Scaduto favoring the use of synths over guitars — although with their forthcoming self-recorded, forthcoming EP3 the duo employ the use of a KORG MS-10, a sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments. The duo also cite futurist Luigi Russolo’s The Art of Noises as an influence on their approach, as their sound and songwriting is meant to evoke and mirror the chaos and brutality of the industrial era; in fact, the EP’s latest single “Spun” is centered around explosive squealing bursts of guitar, scorching synths, thumping beats, industrial clang and clatter and a motorik-ike groove, and it some way the song finds the band meshing the aesthetics of Gang of Four and classic DFA Records (i.e., LCD Soundsystem and The Rapture) — although the song subtly hits at Bay City Rollers‘ “Saturday Night,” thanks to its punchily delivered vocals.  Sonically, the song manages to evoke a civilization gone absolutely mad, inching itself closer to apocalypse — but dancing on its way to the end.

 

The duo of Kehn and Scaduto will be on a lengthy tour to support their new EP. Check out the tour dates below. .

Tour Dates
09.13 Glasgow, UK @ Broadcast
09.14 Newcastle, UK @ Underground
09.15 Manchester, UK @ Soup Kitchen
09.16 Birmingham, UK @ The Cuban Embassy
09.18 London, UK @ Electrowerkz
09.19 Brighton, UK @ The Hope & Ruin
09.20 Portsmouth, UK @ The Edge Of The Wedge
09.21 Le Havre, FR @ Mc Daids
09.22 Angers, FR @ Levitation Festival
09.23 Lyon, FR @ Le Farmer
09.24 Limoges, FR @ El doggo
09.25 Landgraaf, NL @ Oefenbunker
09.26 Antwerp, BE @ TRIX
09.27 Paris, FR @ La Station
09.28 Hamburg, DE @ Karatekeller
09.29 Berlin, DE @ Urban Spree
10.02 San Francisco, CA @ Great American Music Hall ~
10.03 San Francisco, CA @ Great American Music Hall ~
10.12 – 14 Moreno Valley, CA @ Desert Daze

 

 

Video by William Ruben Helms

Live Footage: Copenhagen’s Baby in Vain Performs “One Feather” at Tapetown Studios

Formed back in 2010, the Copenhagen, Denmark-based indie rock trio Baby in Vain, comprised of Lola Hammerich, Benedicte Pierleoni and Andrea Thuesen have received attention across Scandinavia and elsewhere for a sound that features elements of stoner rock, grunge rock, the blues and noise rock; in fact, the trio have been written about in Mojo, Vice and Intro Magazine — and adding to a growing the profile, the trio has opened for Ty Segall, Thurston Moore’s post Sonic Youth project Chelsea Light Moving and The Kills during their Stateside and European Union tours. Additionally,  they’ve made appearances across the European festival circuit, playing sets at Reading, Leeds, Great Escape and Roskilde among others. 

Now, if you’ve been frequenting this site over the past year or so, you may recall that the Aarhus, Denmark-based recording studio  Tapetown Studios  along with Sound of Aarhus have developed a live video series in which they invite national, regional and internationally recognized touring bands to come into their studio during their free time to record a live session. And over that period of time, Tapetown has invited British indie rockers Ulrika Spacek, the Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, and the renowned British psych rockers The Telescopes. Recently, Tapetown and Sound of Aarhus invited the Danish indie rock trio to the studio, where they performed a slow-burning dirgey blues number “One Feather.” 

Video by William Ruben Helms

Lyric Video: Portland’s Hemmit Captures Youthful Passion in “Friends”

Keith Fleming is a Portland, OR-based multi-instrumentalist, producer and singer/songwriter, who as a drummer, has had stints touring and recording with The Jonny Cohen Love Machine, John Stabb’s Weatherhead and and others, and for being one-half of highly acclaimed indie rock duo Hemmit, with his longtime collaborator, producer, engineer, songwriter and highly sought-after guitarist Adam Rohosy. Interestingly, Hemmit has had their music featured on MTV, Surfline, Bike TV and have received radio airplay from a number of radio stations across the world; in fact, their fifth album Straight Outta Nowhere saw heavy college radio airplay and attention from critics and fans. 

With the six-song EP One Ultra, the long-awaited follow up to their buzz worthy fifth, full-length album, Hemmit has become a solo recording project featuring Keith Fleming, and the EP reportedly consists of indie rock and guitar pop that blends elements of lo-fi garage rock, power pop and 80s synth rock, largely influenced by Ty Segall, Best Coast, Guided by Voices and Sloan; however, the EP’s first single “Friends” sounds as though Fleming was drawing from 90s alt rock — in particular My Vitriol, Blur, Foo Fighters and others, as the song is centered around enormous power chords, a guitar pyrotechnic-fueled solo, thunderous drumming and a rousingly anthemic, arena rock friendly hook. And while swaggering and self-assured, the song is a breakneck, swooning, “you-were-there”-like recollection of youth and youthful passions 

The recently released lyric video for “Friends” is essentially a time capsule, featuring found footage of young people over the course of the past 30 years or so, being young and seemingly carefree. 

Video by William Ruben Helms

New Video: King Tuff Releases Surreal and Meditative Visuals for Shuffling and Cosmic Album Single “Psycho Star”

Kyle Thomas is a singer/songwriter and multi-instrumentalist, who’s the creative mastermind behind the critically applauded indie rock recording project King Tuff. And much like countless other musicians, Thomas grew up in a fairly musical home, where he was encouraged to play several different instruments — particularly guitar, keyboard and drums; but interestingly, it was a Fender Stratocaster that his father brought for him when he was 7 that served as a constant source of inspiration. After high school, Thomas spent his time writing songs and playing with a number of bands. “I would go on tour, but i never really took it as a serious job up until a couple years ago, when I decided to really make an effort at it. It’s been a real long, slow practice,” Thomas once publicly said. 

Thomas’ first release was a self-made CD-R distributed by Spirit of Orr Records, and the album consisted of rough version of songs, white he later released on his official debut 2008’s Was Dead, which was released through Tee Pee Records’ sister-label The Colonel; however, after not receiving much attention for his work as King Tuff, Thomas went on to other creative pursuits including stints in bands like Witch, Happy Birthday and Ty Segall’s backing band, The Muggers. Thomas’ 2012 sophomore, Bobby Harlow-produced, self-titled, full-length effort was released by Sub Pop Records and charted at #21 on Billboard’s Heatseeker Albums chart while debuting at #14 on CMJ’s charts, before eventually climbing to #2, knocking Jack White’s Blunderbuss from its top charting position. 2013 saw the re-ssiue deluxe edition of Was Dead, which charted at #8 on Billboard’s Heatseeker charts. 

Thomas’ third, full-length effort, 2014’s Black Moon Spell continued his ongoing collaboration with Bobby Harlow and featured Ty Segall as a guest drummer on the title track — and the album continued a run of critical and commercial success, with the album debuting at #1 on Billboard’s Heatseeker charts, and was once #1 on the CMJ College Radioplay chart. 

Last week, Thomas released his first single in four years, “The Other” the album title track off The Other, which is slated for an April 13, 2018 release through Sub Pop Records. And while his self-produced effort will continue his reputation for hook-driven rock, the material reportedly finds Thomas ditching the goofy, rock-‘n’-roll bacchanalia for much more expansive arrangements, a diversity of instrumentation with lyrics that also reportedly straddle the fence between painful rumination and reconnecting with the childlike and innocent aspect of yourself. Additionally, the album features guest spots from Ty Segall (drums), Jenny Lewis (vocals), Greta Morgan (vocals) and Mikal Cronin (saxophone).  And while being a decided change in sonic direction, Thomas views the album as a psychic reset of him. “I let the songs lead me where they wanted to go, instead of trying to push them into a certain zone. King Tuff was always just supposed to be me. When I started doing this as a teenager, it was whatever I wanted it to be. King Tuff was never supposed to be just one thing. It was supposed to be everything.”

“Psycho Star” is The Other’s first official single is a funky and soulful track based around an arrangement of arpeggiated keys, sinuous bass line, shuffling drums, wah wah pedal effected guitars and a disco-like hook but lyrically the song finds its narrator musing about his place in an indifferent and mysterious universe. It’s obvious that the viewpoint on the album is to look upward and outward towards the cosmic, the infinite.  

Directed by Cameron Dutra, the recently released video for “Psycho Star” is a surreal concept that follows the video’s director, King Tuff and backing dancers as they’re about to shoot their video but pulls back to focus on some of the random passerby, a roller skater lost in her music, and a paranoid truth-teller and psychic. At times, the visuals are gloriously lo-fi, nodding at VHS video and cheap car dealership commercials while at other points, being remarkably slick, as well as a mediation on life and death. 

Single Review by William Ruben Helms

Over the past 13-15 months or so, JOVM has managed to catch the up-and-coming Brooklyn-based post punk/psych pop act Monograms on a couple of bills around town. And as you may recall, the band initially began as the solo recording project of its founding member Ian Joseph; however, since expanding into a full-fledged band, Monograms has received a growing profile, as they’ve opened for Clap Your Hands Say Yeah, GøGGS (a side project featuring Ty Segall and members of JOVM mainstay Ex-Cult) Ezra Furman, Sunflower Bean, APTBS‘ Dion Lunadon, Quilt, Dreamers, Spires and others.

The band’s latest single “Sleep Cycle” finds the band experimenting and expanding upon their sound, with the single briefly nodding at 90s grunge rock and Gang of Four-like post punk as they pair fuzzy power chords with a propulsive and angular bass chords, forceful drumming and an anthemic hook, creating an ambitious and arena rock friendly song that manages to retain a sweaty, mosh pit worthiness.

Monograms has an upcoming show on Monday night at Brooklyn’s newest venue Elsewhere with Journalism and Obliques.

Check out the Facebook event page for more info: https://www.facebook.com/events/1450449005069867/

 

 

 

Single Review by William Ruben Helms

Perhaps best known as the frontman of Bay Area-based indie act Sic Alps, Mike Donovan’s latest project Peacers initially began as a solo recording project but has since expanded to feature members of Thee Oh Sees and The Fresh and Onlys. Interestingly, with the release of the project’s Ty Segall-produced, self-titled 2015 debut,  Donovan cemented a reputation for wobbly and scuzzy, outsider psych rock that draws from his hometown’s storied, psychedelia-fueled counterculture as you’ll hear on the jangling,  boogie woogie, Marc Bolan-like single “R.J.D. (Salam)” off their debut.

The band is playing a May 13, 2017 set with Ganglians at Sacramento‘s The Red Museum. Catch them while you can, eh?