Listen To Dr. Schluss' Glaze Of Cathexis and Damaged Tape

As I review more albums, I'd love for you to check out my own music and leave some comments to tell me what you think. The Glaze of Cathexis albums are my more psychedelic rock based offerings, while the Damaged Tape recordings are my journeys into electronica. Please have a listen!

Glaze of Cathexis

Glaze of Cathexis - 2013 - A Lotus Pond in Winter EP
Glaze of Cathexis - 2012 - Neon Buddha
Glaze of Cathexis - 2012 - Canyons in the Sonic Whirlpools

Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse

Glaze of Cathexis - 2010 - Underground Sound

Glaze of Cathexis - 2009 - The Golden Konbanwa

Glaze of Cathexis - 2009 - Cloud Machine

Glaze of Cathexis - 2008 - The Visions Surround You

Glaze of Cathexis - 2008 - The Holographic Universe

Glaze of Cathexis - 2005 - Tokyo Rainbow Bridge

Glaze of Cathexis - 2003 - Visits Planet Earth

Damaged Tape
Damaged Tape - 2012 - Conflagration of Nibiru

Damaged Tape - 2012 - The Floating Existence

Damaged Tape & Andrew Bland - 2012 - Beyond the Ghost House

Damaged Tape -2011 - Nude Witchcraft EP

Damaged Tape - 2011 - Ambiguous Reality

Damaged Tape - 2010 - Beyond the Astral Labyrinth

Damaged Tape - 2009/2006 - The Erotic Couch/Cannibal Sisters Soundtrack

Damaged Tape - 2009 - Psychedelic Anthropology

Damaged Tape - 2008 - Ship of Lights

Damaged Tape - 2008 - Stone God

Damaged Tape - 2005 - Futara

Damaged Tape - 2004 - Electric Ocean

The Gateless Gate - 2013 - Heikan no Setsu

Quality: 4 out of 5
Trip-O-Meter: 4.25 out of 5

A few years back Bjork threw "Medulla" in our direction, which was a completely accapella set of tunes.  For better or for worse, this was my shark jumping moment for Bjork as nothing she's made from that point on quite got my attention as the earlier recordings did.  Now, the Gateless Gate, whose first album I absolutely dig have dared go that route with their second release.  Fortunately, my admiration remains.  Whereas Bjork seemed to use the vocal approach simply as an excuse to go "bip bip PFFEW!!!" over and over again, this album bases much of its vocals in throat singing and other sacred and shamanistic Eastern music. I don't like it quite as much as the debut, but it's a fascinating and welcome progression.  The Gateless Gate are certainly not repeating themselves (or himself if you want).

My favorite tracks are the throatier ones, which suggest wide open desert highlands of psychedelic rust.  "The Mirror of Hui-neng" presents a vocal rhythm of the slow train to Lhasa, and the one-two-three punch of  "Bodhidharma at Shaolin," "The Realization of Dogen Zenji," and "Gaki" present us with an almost fifteen minute run of a meeting with the head monk in his mirrored meditational chamber.  I'm not as hep to the approach on "Sunrise on Mount Shumisen," and "Eihei-ji," which seem to skirt on the realm of Tibetan doo-wop or something.  This is likely the danger of going all vocal with your album.  Still, it's admirable experimentation and "Interdependent Coorigination" throws some prime, melancholic Brian Wilson vocal chords in our direction, which is always welcome.  The closing "Light" throws in some lyrics, which does disrupt the vibe someone, but it's not a bad tune and continues with some fine vocal pads as 'instrumentation.'

I think the Gateless Gate  remains an Eastern-flavored act to keep up with.  This album is certainly an interesting diversion, but I'll definitely have my ears perked up for a less constrained recording.  I think the best music is created under limitations, but it's also important not to less those limitations overpower the core of the music.  Fortunately, this disc remains quite interesting over the course of its running time despite the rather extreme limitations.

Listen and download here:
The Gateless Gate - 2013 - Heikan no Setsu

Madalyn Merkey - 2010 - Please Don't Keep Me Waiting

Quality: 4 out of 5
Trip-O-Meter: 4.5 out of 5

This EP length platter of engroovied, hissing analog electronics are as if Moog pioneers Perrey and Kingsley had been down with Brian Eno oblique strategies instead of betraying their background in showtunes with tracks like "Baroque Hoedown." The music seems to exist just outside of our dimension, with the prominent tape hiss subtly mangling the music and practically serving as another instrument.  The sound is minimalist, yet impressionistic and of a decidedly different percolating flavor than the typical experiental electronic cassette.

The two sides both clock in a ten minutes and thirty seconds, as if Merkey is working under the clock.  The first half is a gently pulsing Berlin sequence, being forced and warped out of shape by the whims of a mad scientist.  It's almost like a snippet of a Boards of Canada track getting disintigration looped.  Side B is like a tiny tone generator from the 60's, wishing to be synth pop, but in fact busily shorting out along side its primordial rhythm machine and ghostly, phasing vocals.

Coming all the way back from 2010 spans several eternities in the piledriving, bandcamp present.  This means a lot of music gets unduly buried, and this is a winner for the sonic travelers looking for a jaunt through the "Logan's Run" filtered retro future.

Glaze of Cathexis - 2013 - A Lotus Pond in Winter EP

Drinking in a Tokyo hotel and randomly deciding that this is the time to release this.  There's an album on the way as well, but I'm going to transmit a bit of EP to your mind first.  I think I've been musically time traveling the past few years.  "Underground Sound" and the couple following albums fulfilled my 60's dreams, while "Neon Buddha" rolled on through the 70's.  Now there's a 80's indie sound rising bubbling to the surface on the title track of this one.  I'm trying to hit that Sonic Youth buzz, and maybe even the nirvana of the Bloody Valentines if possible.  Please share the sounds around and tell me what you think of this fun-sized batch of psychedelia.

Have a listen here, pilgrim:

Or download directly here:
Glaze of Cathexis - 2013 - A Lotus Pond in Winter EP

The Beat of the Earth - 1967 - The Beat of the Earth

Quality: 4 out of 5
Trip-O-Meter: 4.5 out of 5

Man, the surf came crawling in and swept all of the hobos, junkies, and heads into a brick-walled Venice Beach basement infused with the scent of a dying star.  These California weirdos, led by surf-rocker Phil Pearlman, is exactly what Andy Warhol could've used for his west coast happenings.  Like Pearlman's Electronic Hole, the vibes of the Velvet Underground are clearly chiming through, but with the sensibility of wild hair flowin', bongo beatin' nighttime beach bonfire in place of Lou Reed's Chelsea gutter.  With wall-to-wall psychedelic reverb, primordial flute, and the occasional vocals presenting the unholy demon child of Lou Reed and Jim Morrison, this improvised strangeness delivers the psychedelic music promised on the back cover.

Back in my review of the Electronic Hole, I noted that the band oddly didn't function well on the more conventional tunes, while they shine on the jams.  Fortunately, that's all we're getting here, with each side making a blurry, rambling artistic statement.  At least when you consider that the tunes are named "This is an Artistic Statement Parts I and II."  Y'know, I'm not a fan of jam bands in rock.  The hallowed Grateful Dead tend to try my patience, especially after 30 minutes of "Dark Star."  Some rock bands earn their licence to jam (guess we've got to mention Can again).  I don't know if the Beat of the Earth quite earns the certificate, but this record is at least under serious consideration at the City Office of Psychedelia.

Switch the brain off of "focus" and let it all come down.  This is the west coast connection for all of the nutcases who want to connect the Velvet Underground, the 13th Floor Elevators, and the Beat of the Earth into a U.S. national nutcase of the sometimes uncomfortable beyond.  I mean, the Beat of the Earth doesn't have the songwriting or vocal presence of those admittedly better bands, but they do match them in scummy, trippy grooviness.

Sungod - 2012 - Crash Galactic

Quality: 3.75 out of 5
Trip-O-Meter: 4.25 out of 5

Taking a few choice pages out of the krautrock playbook,  Sungod provides impressionistic, instrumental splatter paintings that aim to take you on a trip.  They aren't quite Can, but they do take aim at a variety of sound motifs, providing the listener with constantly shifting sonic scenery.  You'll get warped sounds from the planetarium peyote ceremony, to the psychedelic grime of the back alleys of Berlin (or Austin, Texas as the band hails from there) with a mixture of vintage Moogs, acoustic instrumentation that recalls Can's ethnological forgeries, and the occasional blast of full drum kit percussion.

The bookends of the album, "Constellation of Ions" and "Ion Ecstacy" work the experimental ambient tape groove with cold, celestial synth washes.  Sungod probably could've gotten away with 30 minutes of this stuff, but variety is the spice of "Crash Galactic."  Those electronic pulses seem to be fused into these guys' brains, and the more synth heavy tracks are the real winners.  "Bounded Hessians" tosses us directly into the thirty-five minute mark of a 8's cop show, right when our admittedly square hero gets forcibly dosed with the wild, newest designer drug.  "Shimmering Light (Pure Religion)" is like 70's Tangerine Dream jamming with the ghost of Manuel Gottsching (whom I should probably mention isn't actually dead).  The band yields at it's most successfully experimental, with the aboriginals of Jupiter bouncing back the sounds of Gyorgy Legeti.  A few other tracks, like "Indra's Net and Bell Theorem" may drift a little too far beyond the pale, with no destination in sight, while "The Infinite Regress" walks a groove that doesn't quite do it for me.  Still, it is a far, far better thing to traverse the knife's edge of experimentation and occasionally fail than to sound like a Belieber.

I think some of the vibrations here are kin with t
he recordings I've posted by my past collaborator, Andrew Bland.  The sea of sound is a little colder in the presence of Sungod, though, and they want to hurtle you into space.  Visit the cathedral at the end of this link:

Sungod - 2012 - Crash Galactic

In the Court of the Star Chamber

I'm not going to rant too much this time, but just to keep track I've now gotten a copyright infringement notice about Damaged Tape's "Nude Witchcraft."  Just as in the notice in January, this regards recordings that I created myself (no samples, borrowed images, or cover songs are present).  Something strange is afoot.

Masarati - 2010 - Pyramid of the Sun

Quality: 4.25 out of 5
Trip-O-Meter: 4.25 out of 5

My college roommate was quite turned on to the sound of these guys.  The interlocking wire-like guitar line caught my attention, but the synth pop infusion prevalent on this release really brought me into the fold.  Masarati melds their guitar expertise with the unfulfilled promises of post-rockers Trans Am on this release.  It's the sound of the disco in hell, and that makes for a fine experience in my book - at least if we assume that it's just a decadent visit.

There's not a ton of variation on this LP, but it doesn't matter so much with the groove that the band sets up on "Pyramid of the Sun."  The legendary Can proved it first and Masarati are acolytes of that Deutsch gospel - if you set the field with precise, metronomic drumming and have the chops to match it, you can ride it home on the second star to the right, straight on till morning.  The band finds their sharpest honing of this particular implement on the widescreen "Oaxaca."  It sounds like if Kraftwerk gave up on the robots and cranked up the amplifiers.  "Ruins" takes the groove into subterranean depths, distorting and plowing the sounds though an industrial refractory prism.

The sounds here are a shining crystal darkened with the sound of a fantastical future dystopia.  It's krautrock metronomik wailing away in a sleazy discotheque.  If Trans Am's "Futureworld" was your gospel of 1999 (as it was mine), then this is a fine piece of vinyl to serve as your "Acts."  Psychedelically biblical, man (sorry, I just finished a history book on Jerusalem).

Quest For Fire - 2010 - Lights From Paradise

Quality: 4 out of 5
Trip-O-Meter: 4 out of 5

The band rides on the psychedelic side of the metal highway.  Quest For Fire trades in symphonic psychedelic jam outs, but they're not afraid to crank up the amps when the need arises.  The sound of this album gives us a grungy garage glow with the tube amps shining a warm brown; it's like a hazy recollection of classic rock informed by the indie rock buzz of prime Dinosaur Jr. (we're going to give that band's prime a nod both toward their 80's SST heyday as well as their recent albums with the return of prodigal son Lou Barlow).  This album probably won't rocket towards your top 10, but it's got a nice lived-in feel that may very well keep you hitting the repeat button.

There are plenty of highlights lurking around on this EP, but the opener "The Greatest Hits By God" is the most sublime aural hit.  With a plaintive violin suggesting a hint of prog rock, the band churns on slathering multicoloured paint onto a black canvas.  "Strange Vacation" puts on a pair of Beatle-boots, but planting the soles firmly in the 1967 London club underground, while "In the Place of a Storm" blasts the hinges of of a well-worn garage door.   Meanwhile, "Psychic Seasons" takes a cosmic Americana tilt into strangely wavering purple waves of grain.  "Seasons of Light" takes a loping beat and plunges it into some full tilt rock and roll noisemaking.  It almost reaches the epic, but the true source of that signifier is still best experienced on the first track.

I've had several bouts returning back to these tunes since their release in 2010.  Although they may not be the best at what they do, the great convergence of warm production, well-written tunes, and true blue psychedelic hard rock hit a definitive sweet spot.  This is the sound of the desert slowly being overcome by go-go dancing fluorescent paint and fractal flora.  I'm in for their weird primordial ceremony to bring on the fire should it occur.

Appalache - 2012 - Fue

Quality: 4.25 out of 5
Trip-O-Meter: 4.5 out of 5

Another platter of reverb'ed ambiance from the primordial nighttime of the soul.  Fortunately, I haven't gotten tired of that sort of thing.  The faux-Deutsch Grammophone logo suggests something 'Sting orchestrating his old songs' pretentiousness, but the dreamcatcher in the background is a better portent of sounds to come.  There's a lot of cavernous, echos from electronic tones filling in the space on this release, but the glue that holds it all forever is some sparkling guitar (mostly electric).  This is the transcendental moment of the late night, delirious pow wow when all the ghosts come out.  In France, at least.

Let's talk about surf guitar for a minute.  As you may have noticed from my own recording I absolutely love a good, twangy surf guitar, but the eponymous genre can easily become a retro-fluff dead end.  This is far from surf music, but I'll be damned if we don't have some mighty fine surf guitar lurking around here.  "Dimensions of Truth" is Dick Dale once that wave has slammed him underwater, and the subsequent concussion leads him to a philosophical conversation with Dennis Wilson, Jimi Hendrix, and Chief Seattle.  And that's how I shall go about describing my favorite track here.  "R55R," "Somewhere to Disappear," and "Mortality" also tie the whole room together with splashes of the lost dreams of surf guitar. "F.A.1999" pulls back the veil of sound for an unplugged ceremony, while "Disillusioned Infinity" features a collaborator who I believe is there to super-saiyan the sounds into a fusioned powered ball of dark energy.

Let me reiterate: this is by no means a surf album.  This is the dark, yet relaxing sounds found deep inside the spirit quest.  Sort of a modern iteration of the better new age sounds.  I hear a lot of this kind of stuff, however.  The guitar is how this set got its hooks into me, and upon reviewing it I'm catching the final rumblings of a early 60's Fender Combo Amp turned up to 11.  Appalache have taken the sunny California yin and slammed it headfirst into the yang of dark ambiance.

Appalache - 2012 - Fue

My Bloody Valentine - 2013 - mbv

Quality: 5 out of 5
Trip-O-Meter: 5 out of 5

Well, it's not exactly obscure, but I'd be remiss not to acknowledge this psychedelic supernova.  I downloaded this in full quality audio, but hit the play button with a bit of trepidation, half expecting a shoegazing bout of "Chinese Democracy."  Fortunately, I discovered an album that I'll have to break taboo on, and outright state that I like better than "Loveless."  I'm not trying to slam that classic at all - it's still a sublime blast of psychedelia echoing from the peak of the musical Mount Olympus.  "mbv," though, is a quantum distillation sent straight through the galactic core.  First off, the production is warm and fuzzy, with the walls of sound enveloping and warming your cerebral cortex.  I could never get through the CD copy of "Loveless" without acquiring a bit of a headache (although I never had this problem with my 180 gram vinyl copy).  I've read a few folks that wanted a bit more treble on this new release, but let's give Kevin Shields the benefit of the doubt - this slacker king has had 22 years to refine his production approach.  The guitars are thicker than ever before and the drums, both real and synthetic, take on a tribal thunk that guards the gates of the ethereal.  My first thoughts were that the songwriting wasn't as solid as "Loveless," but "mbv" moves past conventional rock motifs and is fully impressionistic rock.  Before we get in too deep, let me also express the glorious vibes of Colin O'Ciosoig, who remains at the top of his game with his trademark "falling down the stairs" skittering beats.

Many have already noticed that this album is best considered in thirds.  The first three tracks present themselves as the logical continuation of "Loveless."  "who sees you" dovetails from "only tomorrow," and may be the definitive ball of warbling sound from these aural psychonauts.  The band is lost in the wilderness of time in the middle third, but the results are nothing less than fascinating.  "is this and yes" strips down the sonic cathedral of the band to the core, exposing the divine glide of Belinda Butcher's vocals with the backdrop of only a light percussive pulse and an organ that takes the best from the explorations of Terry Riley.  I think the minimalist influences of Steve Reich and Riley may confound the uninitiated, but push "mbv" directly into the Om.  Meanwhile, "new you" is an enjoyable dead end wherein the band breaks down their essence into a reconstruction of the pop edge of Swing Out Sister or Everyone But the Girl.  On it's own, it would be a disappointment, but it heralds the shift into new territory, wherein the Valentines blow out the core of your mind on the final three tracks.  "in another way" sets up the electronic-fused journey of the future Valentines, while :nothing is" is a punk rock, full throttle take on Steve Reich's phase experiments.  I'm sure experiencing this tribal pounding live would count as a brainwashing.  The best is saved for last, though, on "wonder 2."  This strange drum and bass rupture takes the already monumental "Soon" from "Loveless" 1,000 years in the future.  Fusing drum and bass and rock has never worked particularly well, except maybe for Radiohead's "Idioteque" (and my soft spot for Bowie's "Little Wonder").  "wonder 2," though, pushes into the transcendental, presenting the guitar as a warped, cosmic whale seeking the whole of the universe.  It's instantly one of the band's best tracks ever.

We don't need to compare "mbv" with the band's peak - they are clearly still there.  Honestly, I tried my best to find fault with this album as best I could through the first few listens, trying to convince myself that Shields and crew couldn't possibly match their legend.  The power overwhelmed me, though, and I've kept spinning it in longer and longer loops, cranking the volume to come closer to a true nirvana of sound.  I'll keep Tame Impala in the role of the best straight up psychedelic band in action today, they're still mortal while the music on "mbv" comes to us from another dimension.  I think it's very groovy that age is slipping away as a prerequisite of rock n' roll - Neil Young, well into his 60's, managed some of his best last year on "Psychedelic Pill," and My Bloody Valentine has thrown down a masterpiece without missing a step from their heyday after 22 years.

Get your tunes here:
My Bloody Valentine - 2013 - mbv

Or have a sampling here:
My Bloody Valentine on YouTube

Golden Brown - 2012 - High Tide at Gold Beach

Quality: 4 out of 5
Trip-O-Meter: 4.5 out of 5

And here's another ambient voyage to soothe your soul.  Golden Brown breaks a bit past the bounds of the experimental 30-minute cassette tape release, but you've got a bit more time to drift downstream and a bit more of a hi-fi production sound than the thin hiss of a tape provides.  Gently picked guitar and echoing sounds are guided by the steady pulse of a well placed delay pedal.  It's not quite genius at work, but the goal of fusing the oceanic and the coast come through quiet and clear.

"High Tide" and "Low Tide" take up the bulk of this release.  In many ways, they are of a single piece, but there is an effect of yin and yang, push and pull as the former provides just touch more power while the late slowly recedes away.  A few ancillary pieces fill out the 36 minute running time.  The opening serves an overture, while the similarly short "Cycles" flirts with the idea of a beat with the twangy, eponymously cyclic sound of plucked banjo strings.

Graced with some fantastically psychedelic cover art work, this music seeks to center your soul.  While not quite entering the pantheon of the new age of Earth, the sounds here are worth serving as your new, ornate aural wallpaper for more than a few plays of the media player.

Time to visit another Bandcamp page:
Golden Brown - 2012 - High Tide at Gold Beach

Sister Waize - 2011 - A Dawning of Wonder

Quality: 4.25 out of 5
Trip-O-Meter: 5 out of 5

I'm still not sure where this feller ends up calling himself a sister, but y'know, I'm down with a feminist angle and such.  Maybe the music is a nun's fever dream - with the secret psychedelic sacrament or something.  Although the first work I heard from him was the halycon vibe of a 16-bit video game, the more recent work is triumphantly drifting through a drone vortex.  The sister himself describes the music as folding drone.  I don't really know what that means, but it does spur on the hallucinations.  Sister Waize's instructions state that this music is not intended to be listened to as a giant block, but rather one at a time.  If you're hardcore, though, strap a pair of clamshell earphones upon your head in a darkened room and let the geometric patterns piece into your cortex upon the void of darkness.

As I said with the "Realignment" series, we're not dealing with tunes here, but experiences.  The opening track, "Side Time Down," does plunge into the depths, with calming but dark visions taking you there.  For the afternoon explorer, "A Tome for the Boneless" perhaps provides a more pleasing drone, plunging you mind into a pool of liquid nitrogen.  Still, you've got to earn the wonder than the album title suggests.  The two sides are fused in "Dark Mountain Crown," with the industrial grit becoming more and more apparent as the title progresses.

Really, I'm not quite sure what to say in the presence of such etheral music.  I've just tossed a few drinks down and let the impressionistic writing take over.  This is music of the subconscious.  Those devout mind explorers and meditational explorers will take flight here, but there's not even a hint of the mainstream peeking through here.  It's your graduate thesis in the heart of trippiness.

Your voyage starts here:
Sister Waize - 2011 - A Dawning of Wonder

A Bit of Venting

In interesting news, my Mediafire account has been shut down due to a DCMA copyright claim on, uh, ... Glaze of Cathexis?  For those that don't know, that is the music that I write and record myself.  That means that I've been banned for committing copyright violations on myself.  I definitely didn't sell the rights to Fox.  Anyone else having similar problems?

Dear MediaFire User:
MediaFire has received notification under the provisions of the Digital Millennium Copyright Act ("DMCA") that your usage of a file is allegedly infringing on the file creator's copyright protection.

The file named Glaze of Cathexis - 2012 - Canyons in the Sonic Whirlpools (stereo wav1).rar is identified by the key (8k1aj8viaz5geu4).

As a result of this notice, pursuant to Section 512(c)(1)(C) of the DMCA, we have suspended access to the file.
The reason for suspension was:

Notice of Infringement via EmailTwentieth Century Fox Film CorporationP.O. Box 900Los Angeles, CA 9003501/17/2013mediafire.com http://www.mediafire.comAttention mediafire.com:I am writing to notify you about violations of the intellectual property rights ofTwentieth Century Fox Film Corporation and/or its subsidiaries and affiliated companies("Fox") on your service and to demand that you take immediate corrective action to ceasethis infringement and prevent further violations of Foxs rights.Fox holds copyrights and/or exclusive online reproduction, distribution, and publicperformance rights in the titles listed below, which are a representative list of thecopyrighted works owned by Fox that are being infringed on your service.We have included below examples of locations on your service where infringing copies ofthe Fox titles are available. As you know, you are not authorized to host, distribute, orotherwise make available or facilitate the making available of any copies of Foxs titleson your service.Fox demands that you immediately and permanently remove from your service all copies ofthe Fox titles listed below. This includes the copies available at the links below aswell as any other copies of these same titles that you are hosting.You can take simple steps to avoid the continuing violation of Foxs rights by usingreadily-available, industry-standard content recognition technology to prevent infringingcontent from being made available by your service. This technology both can preventunauthorized uploads of copyrighted content and can ensure that the same content that hasbeen removed from your service at the request of a copyright owner is not re-ingested byyour service. See Metro-Goldwyn-Mayer Studios Inc. v. Grokster, Ltd. (2005) 545 U.S. 913,939 fn.12 (failure to use available filtering technologies to diminish infringement isevidence of intentional facilitation of infringement).Furthermore, we expect that you are keeping track of subscribers/account holders thatengage in copyright infringement and are taking appropriate action to terminate theaccounts of repeat infringers.This email is not a complete statement of Fox's rights in connection with this matter, andnothing contained herein constitutes an express or implied waiver of any rights, remedies,or defenses of Fox in connection with this matter, all of which are expressly reserved. Ihave a good faith belief that use of the works in the manner described herein is notauthorized by Fox, its agent, or the law, and confirm under penalty of perjury that I amauthorized to act on Fox's behalf in connection with this notice. The information in thisnotice is accurate.Sincerely,MarkMonitorAsta Jasnait2600 W Olive Ave.Suite 910Burbank, CA 91505(800) 605-4853Email:antipiracy@dtecnet.comReplies to no-reply@dtecnet.com will not be received.Addendum to Notice of InfringementRepresentative List of Titles:HOW I MET YOUR MOTHERExamples of Locations Where Infringing Materials Can Be Found:http://mediafire.com/?8k1aj8viaz5geu4http://mediafire.com/?04uwi269dgi1wkdhttp://mediafire.com/?x1k46anpn36t16phttp://mediafire.com/?amtmowydgnfhttp://mediafire.com/?pytx0q0dvbl8xg9http://mediafire.com/?zz0iu26c33mg7xlhttp://mediafire.com/?72e32ree7cl77w3http://mediafire.com/?24u5849mb47kt94http://mediafire.com/?sv5a6ba8v2k91zyhttp://mediafire.com/?uaklwwhf6lp1t2zhttp://mediafire.com/?t1unemmnmgyhttp://mediafire.com/?uml312in46x04kb

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Dr. Schluss' Best of 2012

Here's a rundown of the grooviest music I came across last year.  You'll find that my tastes tend to veer towards the poles of the dreamy and fuzzed-out bliss, but what else do you expect from the author of a psychedelic blog?  Here's the rundown:













12.  The Sword - Apocryphon  The Sword takes the stoned out buzz of early Black Sabbath and splatters it on an Iron Maiden-sized canvas.  This is both their most confident and tripped-out record at the same time.









11.  Lee Ranaldo - Between the Times and the Tides  Sonic Youth's future may remain in doubt, but it's clear that the members can dish out pretty fine albums on their own.  Ranaldo only has a track or two on most Sonic Youth albums, and they're usually highlights.  So it's nice to get ten in a row.

10. Torche - Harmonicraft  The key for me on this one was another reviewer's comment that this sounds kind of like a metal Guided By Voices.  That works for me and it turns out that I dig this more that GBV's 2012 resurgence (which is still pretty good on its own terms).








9. Melody's Echo Chamber - Melody's Echo Chamber  With Tame Impala's Kevin Parker handling production duties and a lot of the instruments, this is like a very solid stealth album from his day job.  But without Melody Prochet's stellar songwriting and vocals, which also touches on Stereolab and oddball psych influences like the Stone Poneys, this album wouldn't be what it is.






8. The Orb and Lee "Scratch" Perry - The Orbserver in the Star House  Easily one of the Orb's better latter day efforts, this set often comes across as a more rustic take on their great early records.  Perry's fine present doesn't come in so much with a Black Ark sound, but with his trippy rambling.  I see Perry pontificating through the park forest as Alex Patterson and Thomas Fehlmann train him with knowing, deranged smiles.





7. The Gateless Gate - Xinjiang  An obscure first release that really captures the fire of the transcendent.  I reviewed this one on the blog, but I must reiterate that this meditative music is a sublime fusion of the best of 70's Mike Oldfield and the tripper vibes of the highland Asian spiritual planes.









6. Grizzly Bear - Shields  I must admit that I didn't catch the critical fire that this band's previous releases ignited.  This one, however, is definitely a keeper - extolling the sound of the Band hopped up on an ipod-ready multidimensional tapestry.









5. Wild Nothing - Nocturne  Striking directly into the vein of late 80's dream pop, Wild Nothing conjures a mind expanding vision of echoic sonic landscapes.  The Cure and Echo and the Bunnymen weren't quite the same when utilizing this kind of production, but 'Nocturne' shows us what it should have sounded like.

 4. Beach House - Bloom  And yes, this dude-chick duo truly blooms on this release.  The tunes here will snatch your spirit and spirit you away on plumes of blue-smoke clouds.  Shoegazing never quite died, it just mutated as this album proves.








3. Neil Young - Psychedelic Pill  "Americana" suggested that the man might finally fade away, but Neil Young always bounces back with a masterpiece.  This one yolks Crazy Horse back on board for the ride and blasts away will genius garage skronk for some epic-length tracks.  28 minutes seems too long for "Drifting Back," but not when Young's guitar successfully ensnares the psychedelic snake.





2. Tame Impala - Lonerism  Ten years ago, I considered the Flaming Lips to be at the vanguard of modern psychedelic rock, and Animal Collective threatened to claim that title a few years back, but I think this group from the strange outpost of Perth has run away with the mantle.  This sophomore effort ups both the trippiness and the catchiness, with mastermind Kevin Parker basically going it alone as the album title suggests.

1. Sigur Ros - Valtari  Evoking the stark wildernesses of their native Iceland, Sigur Ros stay pretty quiet on this release, but come out more epic sounding than ever.  This is widescreen, hallucinogenic music to bore into your soul.









I've got a little a sampler for your ear.  In my bid for shameless self promomotion, I've included a couple tracks from my own endeavours, Glaze of Cathexis and Damaged Tape.  Here's the tracklist:

1.  Off the Wall- Lee Ranaldo
2. Sky Trials - Torche
3. Lazuli - Beach House
4. Psychedelic Pill - Neil Young
5. Golden Clouds - The Orb and Lee "Scratch" Perry
6. Feels Like We Only Go Backwards - Tame Impala
7. Out of Your Mind - Glaze of Cathexis
8. Dunhuang - The Gateless Gate
9. Yet Again - Grizzly Bear
10. Cloak of Feathers - The Sword
11. Varuo - Sigur Ros
12. Some Time Alone, Alone - Melody's Echo Chamber
13. Only Heather - Wild Nothing
14. Spectrum of Realities - Damaged Tape