Dr. Schluss' Garage Of Psychedelic Obscurities

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

2012-01-31T02:47:00.001+09:00

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 - 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 & 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

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

2012-01-19T11:20:00.005+09:00

While we're on the topic of collaboration, here's a new set of recordings that I worked on with Andrew Bland. This is the first time we've shared space on a record since 'Paper Fences' in 2006. From what I understand, Andrew spent 2007-2010 working on his "Field Pictures of Echoes" album (which you'll find at his website http://andrewbland.net/. I took a bunch of bits and pieces that didn't end up on the album and worked them into finished tracks. I sort of assumed that we'd be working with a rustic groove (as you'll hear on his 'Cosmic Relief' album), but I guess that he'd been infected with the synth bug at the time, so I ended up adding a lot of percussion and guitar to the soundscapes in order to get them nice and warm.

I enlisted Scott Atkinson to add a bit of spoken word, and he came up with most of the song titles while flipping through a biography of Chairman Mao. I didn't touch Andrew's track for 'Sailing on the Mekong,' while 'Riptydes of Existence' is actually an outtake from the Damaged Tape album 'Ambiguous Reality.' It didn't make the cut for that one as the completed album was a little too ambient for the tune.

I do hope that you dig spending a little time in our miniature sonic worlds. I welcome any comments and if you're running another blog and like this, I'd be happy for you to repost.

Listen to Me:

Damaged Tape & Andrew Bland - 2012 - Beyond the Ghost House (mp3s)

Damaged Tape & Andrew Bland - 2012 - Beyond the Ghost House (full quality side 1)

Damaged Tape & Andrew Bland - 2012 - Beyond the Ghost House (full quality side 2)

Cosmic Relief - 2011

2012-01-19T10:58:00.003+09:00

Quality: 4.25 out of 5

Trip-O-Meter: 4.5 out of 5

Here's the latest release from one of my past, present, and likely future collaborators Andrew Bland. His musical trade has basically become creating miniature, instrumental sound paintings and the pallet on this album comes out sounding quite colorful. The instrumentation here is rustic and organic, with a variety of percussion, bass, and electric and acoustic guitars mind-melding with flute and violins. The atmosphere reminds me of the rural cult sound of A Cid Symphony, which I reviewed way back when. Really this one is better - where the A Cid Symphony tends to drone on, Cosmic Relief provides a little more melody and texture.

This music is pretty much meant to meander on in the background in its entirety, but there are a few choice cuts that you may want to explore. "Manic Gaze Rag" does a fine job of occupying the sound of a long-in-decline hippy commune in the Ozarks. Meanwhile, you'll find a groovy, lumbering Crazy Horse with violin epic in "Wetlands." And I'm always up for the percussive, Indo-pulse of "Panorama." Really, you'll find a lot of short 'sound paintings' throughout the length of this set, and different ones will probably strike you in different moods.

I"ll admit that there may be a touch of conflict of interest with reviewing this as the primary artist was my roommate in uni, but I have found this album stuck in my regular listening rotation in the past few weeks. There a very nice variety of sound permeating this album which should interest the sonic mind explorers out there. The music definitely reeks of bohemian weirdness going on behind closed doors, and albums like that tend to get the Doctor's interest. I hope you'll have a groovy journey into this forest of sound.

You'll find me in the downloads section of this website:

http://andrewbland.net/

Timothy Leary - 1970 - You Can Be Anyone This Time

2012-01-11T11:25:00.004+09:00

Quality: 4.25 out of 4

Trip-O-Meter: 4.5 out of 5

So, realistically Timothy Leary, the Ron Jesus of LSD, probably shouldn't have stretched out into the musical arena, but I'm pretty glad that he did. While his collaboration with Ash Ra Tempel, "Seven Up," is typically pooed upon, it's actually one of my absolute favorite psychedelic albums. This earlier effort isn't as good as that one, but it's still a damn entertaining slab of vinyl. This disc was issued in conjunction with his strange gubernatorial campaign in California against Ronald Reagan. Of course, Leary probably had real business entering that field either, but it's way more entertaining that Donald Trump pretending to run for president. In Leary's words, "The function of government is to get everyone high and feeling good." Of course the truly disturbing parts are when Leary makes sense.

"Live and Let Live" takes up the first side with clips of Leary on the campaign trail backed with a musical jam from Leary's buddies. Fortunately, Leary's buddies consisted on Jimi Hendrix on bass, Stephen Still, John Sebastian, and Buddy Miles. None of them are at the top of their game - I imagine part of the deal was that Leary would keep them heavily 'medicated' - but it's still pretty to hear these guys casually rocking out. And of course if you lend your ears to Leary himself, you'll probably giggle a bit at his political platform, yet dig the words of the man. Side two gives us the title track, which is probably the best thing on the album. A heavily echoed Leary rants on about Hinduism, reincarnation, and the rat race as the music continually shifts - melding R&B jamming with classical Indian music, and a touch of the Beatles and the Floyd, along with some various electronic meddling. "What Do You Turn On When You Turn On" gives Leary a chance to explain his views on astrophysics and brain physiology, I guess. We'll just have to trust the professor on this one. The music simply jams out with tribal percussion, oscillators, and a bit of piano.

I think this album is a wonderful way to let Timothy Leary brainwash you from beyond the grave. Maybe my fellow Americans will even write him in for president in November. North Korea's got a necrocracy, why not us as well? Anyway, this disc will likely put off a fair amount of you, but if you're willing to follow Leary down the rabbit hole, you may dig what you find.

Alan Hull - 1973 - Pipedream

2012-01-11T11:06:00.003+09:00

Quality: 3.75 out of 5

Trip-O-Meter: 3.5 out of 5

Hull's solo career sprang forth from Lindisfarne, the English folk-rock band that he fronted. I must admit that I know next to nothing about that band, but the music on "Pipedream" claims some very 1970's which incorporates a bit of folk-rock, a bit of prog, a shot glass of the singer/songwriter vibe and a dash of psych rock. This album doesn't really do anything that's going to knock your socks off, but it's got a few worthy attributes that make a few spins worth your time. The production here is super crisp with that early 70's analog glow. The basic tonal palette here is very groovy. Also raising this disc's stock is Hull's very good songwriting skills, running a nice spectrum from power pop to English folk.

"Pipedream" is a pretty solid listen through and through, but there are definitely a few highlights of note. The disc really gets cranking with "Song For a Windmill," which greatly benefits from a throbbing pulse from some kind of British folk drum. "Blue Murder" tests the waters of the folkier sound of Pink Floyd (best illustrated on their soundtrack for "More"). Hull does a pretty good echo of early power popsters like Badfinger and Big Star with the one-two punch of "Breakfast" and "Just Another Sad Song." As the album progresses, Hull gets even groovier with his folk side, with "Money Game" and "United States of Mind" ranking as the best of a few lightly tripped out acoustic tunes.

Hull's debut solo album is a very pleasant and infectious listen. It's sort of a musical tour of the more creative side of British rock in the early 70's. I don't know if Hull necessarily deserves a spot in the Pantheon of rock (maybe I've got to hear some Lindisfarne before I know that), but he definitely had the cohones to piece together a fine album.

Dr. Schluss' Best of 2011

2011-12-21T16:32:00.006+09:00

I never got around to publishing my best of last year, but I've heard a pretty wide abundance of tunes this year and feel like I need to take a crack at it. For whatever reason, I've gravitated towards dreamy, ambient sounds even more than usual this year, so you'll hear a fair amount of that wafting around on these tracks. Anyway, here's the rundown for you:

10. Tom Waits - Bad as Me: The Man doesn't do anything new here. but it's a perfect iteration of his bone-clanging, skid row poet vibe.

9. Jonas Reinhardt - Music for the Tactile Dome: I definitely dig Reinhardt's Berlin school vibes vibrating through this release. Will zone you out for the most part but wake you up every now and again as well.

8. Yuck - Yuck: This UK band sounds like Kevin Shields fronting Dinosaur Jr., or My Bloody Valentine covering Dinosaur Jr.'s tunes. It doesn't really matter as we've got the modern shoegazer stance perfected on this disc.

7. Dementia and Hope Trails - Parts of the Sea: Although not quite Manuel Gottsching at his best, this ambient freakfest has had my undivided attention for the past few months.

6. Paul Simon - So Beautiful or So What: Melding his sonic experiments of the past 30 years with the best of his 70's songwriting, Simon manages a classic album pretty late in the game. Dylan's the only other who could pull this off, but Simon's got the added draw that his voice isn't shot.

5. Atlas Sound - Parallax: Bradford Cox keeps pulling direct punches with his solo prokect and his main gig, Deerhunter. He's got it down to a science now, and Parallax continues to perfect his dream-rock sound.

4. Mohave Triangles - Eternal Light of the Desert Plateau: This is the grooviest ambient music I;ve heard this year. Although we'll always reserve a spot at the table for Philip Glass, this takes the yearly cup for a sonic Koyaniisqatsi.

3. Real Estate - Days: The best straight-up rock I heard this year walks a fine tightrope between early R.E.M. and Joy Division with some great songwriting keeping the balance.

2. Fleet Foxes - Helplessness Blues: I didn't buy into the hype on their first album, but the Simon & Garfunkel and Crosby, Stills, and Nash grooves shine through this disc. This mayvery well be your hillbilly Smile.

1. Panda Bear - Tomboy: Keeping Brian Wilson in mind, I'll be damned if anyone else manages to better fill the vocal space of that man in his 1966 prime than Panda Bear. Although the computerized trippiness of his last solo album is largely missing here, the stellar songwriting and insular production more than makes up for it.

Here's a sampler of some of the sounds that I've been talking about. You find the full releases of Dementia and Hope Trails and Mohave Triangles elsewhere on this site. As usual, I threw in a few previews of my new Glaze of Cathexis and Damaged Tape projects, not because I think my music is the best, just because it seems like a good excuse to run them by your ear.

1. Tom Waits - Raised Right Men

2. Panda Bear - You Can Count on Me

3. Jonas Reinhardt - To Lord Eminence

4. Atlas Sound - Te Amo

5. Glaze of Cathexis - Dream's Visions

6. Mohave Triangles - Eternal Light (edit)

7. Paul Simon - Getting Ready for Christmas Day

8. Fleet Foxes - Lorelai

9. Damaged Tape - Melted Into Angel Form

10. Real Estate - Kinder Blumen

11. Yuck - Holing Out

12. Dementia and Hope Trails - It Rung in My Ears and Still Does

Listen to Me:

Dr. Schluss' Best of 2011

Mohave Triangles - 2011 - Eternal Light of the Desert Plateau

2011-12-07T11:33:00.002+09:00

Quality: 4.25 out of 5

Trip-O-Meter: 5 out of 5

I've gone on a bit about all the strange electronic and ambient music that's been drifting around on cassette tapes over the past few years, and this is definitely one of the real winners. The truly trippy cover reflects the washes of sound that you're going to hear on this set. It's a hazy and mystical experience, with the tape hiss becoming a integral ingredient of this sound world. As a musician, I tend to pick out the instruments when I listen to tune, but I have no idea what the hell's going on in these tracks. Personally, I find this kind of disorientation invigorating.

The two tracks tend to follow a similar path of a full on drone which slowly builds in detail with small melodies slowly peaking through the haze. "Eternal Light" begins with an invocation/warning from a Mohave(?) fellow which echoes the environmental/apocalyptic vibe of the great film "Koyaanisqatsi (Life Out of Balance)." You'll hear him drift back into the track as if submerged later on. "in the Realm of the Desert Temples" build ominously, as if we're preparing for a human sacrifice before entertainingly plunging into a coda which provides release as it comes across like the tape of a new age album that's been melting in your Ford Escort since 1985.

It's been a few months since we've had a real brainwasher on the blog, but I think this'll do the trick. I've found it to be addictive listening. This kind of music requires a sort of painterly control and sweep. Mohave Triangles may very well be masters of the form.

Head to their website to download this one and perhaps a few more:

Mohave Triangles

Parton Kooper Planetarium - 2011 - Glass and Bone

2011-12-07T11:11:00.003+09:00

Quality: 3.75 out of 5

Trip-O-Meter: 4 out of 5

I'm really have no idea where these folks are from, but I'm going to guess it's a desert. I've done my psychic detective work. The first track is called "In A Desert," which seemed like a possible tip off. Also you slowly realize that this is a blooze-infected shoegazer album as the psychedelic shards of desert sands wind-blast like glass though your bones. Anyway, this album is slightly spotty, but in that positive sort of way where the good stuff is really good, and you find yourself hoping that this will be a nostalgic prelude to something even better in the future.

The opener didn't quite hook me, but I found myself diggin' the almost gothic rock of "Future Unions" quite well. Then the band floors you a bit more with the full bore shoegaze blast of "Chew Off Your Foot," before cranking the amps to 11 for the title track, which recalls the completely deranged noise-pop of Astrobrite. "Patmos" and "Voyager" also rank well in the sweepstakes for the next rockin' pop hit on Neptune, and I do hope the band expands a bit on the strange, truncated sound worlds of "Gasoline" and "Abstraction" next time around.

This isn't the best album I've come across this year, but it's got enough that I'm looking forward to hearing more from these guys in the future. The bedroom shoegazer has become a bit of a cliche (which I've admittedly fallen into on some of my own Glaze of Cathexis recordings), but this album has the meaty production and band interplay to take it somewhere a little different, and that's definitely worth your attention. They also include influences such as the blues and "More," "Meddle"-era Pink Floyd, which shoegazers typically avoid.

Head to their website for a free download:

Parton Kooper Planetarium - 2011 - Glass and Bone

Akiko Nakamura - 1968 - Hit Album

2011-12-07T10:46:00.002+09:00

Quality: 3.5 out of 5

Trip-O-Meter: 2 (plus a ghost point for surf guitar) out of 5

As you may or may not know, I'm based in Japan and as such many sounds of the island pass by my ear. Unfortunately, J-pop is pretty rotters, although there is definitely some awesome music lurking in the underground. I do did the older sounds of Japanese pop and old school enka (enka is the traditional form of Japanese popular music), and Akiko Nakamura's album has a bit of both running through her musical DNA along with a candy-coated obsession with the contemporary sounds coming from the West. I hope you dig the groovy, if a bit square, sounds on this LP. Japan didn't really have any of the 'peace, love, and LSD' revolutions we had in the West, and it shows.

Nakamura goes for a few Western cover tunes, but that's not really the place to start. The arrangements are pretty schmaltzy, and I've got to admit that I hate Peter, Paul, and Mary's "I Dig Rock n' Roll Music" with a passion - regardless of who's playing it. No, you're here for the day-glo, go-go dancing pop tune, and you'll get that in spades. "Niijiro no Mizumi (Rainbow Lake)" gets us started with an almost funky drumbeat almost drowning in an amusingly enka-like string arrangement and punctuated with a surf guitar lead (the Japanese LOOOOVED the Ventures in the 60's). "La, La, La" throws us another great surf guitar bone, and would've felt right at home in the Bond flick "You Only Live Twice." "Betsuri (Wakare) (Separation)" goes full-enka, which basically mean a depressing melody with even more depressing lyrics played melodramatically. Of course you haven't really heard enka until you've heard a drunken, middle-aged, crying salaryman belting it out at karaoke, but this will do for now. "Tokyo Flower" will pick you up again anyway with a jaunty horn arrangement. But y'know, by this part of the album they've completely stopped trying to be groovy for the kids anyway. They try to trick you by sticking the Peter, Paul, and Mary cover at the end, but that's kind of like trying to make up to your girlfriend by pooping on her doorstep.

So, this isn't really psychedelic, but it may be mind expanding, especially if you haven't spent time in Japan. Anyway, it goes well with senbei (Japanese rice crackers) and Asahi beer. Does anyone know a good blog for 60's and 70's Japanese pop? All I can find at the record store is damn AKB48.

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

2011-11-22T00:51:00.009+09:00

The title here is a true fact, although my dreams do tend to be like tripped out blockbuster films rather than nightmares, so I pretty much welcome them. The seed for this album started as I was scoring tracks for the 60's styled exploitation film, "The Erotik Castle of Dr. Humpinstein." I was going for surfin', bikin', and all around 60's crunch. I really got going when I had some work days scrapped in the aftermath of the March 11th Japan quake, and kept on recording through the aftershocks. Obviously, some of the palpable paranoia from the prospect of getting irradiated by Fukushima is quite present as well. I remember being told by my boss to wear a mask outside during the radiation spike of March 15th. Not that I was going for a depressing vibe - I want you to rock n' roll to this music. Like the last Glaze of Cathexis album, I'm presenting this in both a rockin' crunchy mono mix, and a 60's styled psychedelic stereo mix with the drum kit shoved in the left channel. I also need to give some props to Gonzoriffic Films' Andrew Shearer, who was groovy enough to serve as the drummer, and pounded away to these tunes. Here are some song notes for your perusal:

1. I Often Dream of the Apocalypse (2:28) – I had already given this album the name, but I thought a title track would be fun. This was originally recorded for Andrew Shearer’s film ‘The Erotik Castle of Dr. Humpinstein’ as a dance number called ‘The F@&k!!!’ For the album track, I felt compelled to try and match the insanity of the original track, so I did my best unhinged Roky Erikson impression on the vocals.

2. Coconut Sunstroke (1:35) – I had a few drinks and tried to record this as a sort of 60’s Marc Bolan acoustic guitar and bongos thing. It was a little short for a real tune, so I decided to use it as an acoustic interlude. It does have a vocal melody that I never bothered recording, though.

3. Nuclear Sundown (3:06) – I came up with this tune while strolling into UGA’s Russell Hall during my freshman year of university back in 1997. For this rendition, I revised the lyrics to reflect the time after Fukushima went wild and tried to give it a groovy Byrds/Velvet Underground approach. Previously I’d tried to make it a punk or soul number, but I think this one fits best.

4. Cold Fusion (3:02) – And how to solve our nuclear problems? Maybe by inventing cold fusion. This started as a surf number for ‘Humpinstein,’ but for the album version I found a list of radioactive elements and sang all the ones that ended with ‘-ium.’ Certainly it’s the best track to follow ‘Nuclear Sundown.’

5. Drifting Concepts (3:51) – I recorded the original instrumental groove about 12 years ago and made a version with lyrics around 2007 (that one can be heard on one of the compilations at the 'Homemade Lo-Fi Psyche' blog). That recording sounded like strangled butt, though, so I’m glad that I made this re-recording.

6. Nothin’ll Ever Let You Down (2:26) – This was another instrumental for ‘Humpinstein,’ but I threw in some lyrics for this version, even if they get entertainingly pretentious. I started recording around the time of the March 11^th earthquake, and you’ll hear a flaw in the recording at 1:05 that was the result of one of the aftershocks. Instead of getting under a table or leaving the building as a sane person would, I just kept recording as the room was shaking around me.

7. Technicolour Clouds (4:05) – I recorded this in Atlanta during the ‘Golden Konbanwa’ recording sessions. I recently rediscovered it on my hard drive. The track was a little more electronic and I intended it to be a Damaged Tape track, but I took out some synth parts and stuck it on this album. The tune is meant to be a bit of a palette cleanser. I really dug how ‘Treefingers’ on Radiohead’s ‘Kid A’ sort of served that purpose, and that’s what I want this to be.

8. Explosions in the Sky (2:09) – This was the title track for ‘Humpinstein,’ but a retrofitted it and it kickstarted the apocalyptic vibe, along with the apocalyptic vibes that were all around back in March. I let my Southern accent rip a bit on the vocals, and the lyrics were meant to have a bit of a ‘Major Tom’ groove, with an astronaut watching the world end from a space station. Sonically, I was going for the theme song to the ultra-obscure psychploitation film ‘Psyched by the 4-D Witch,’

9. The World is a Circle (4:03) – This is a Hal David/Burt Bacharach tune from the horribly cheesy ‘Lost Horizon’ musical from the early 70’s. You can find the original on youtube, but you’ll probably regret it. For my take, I was trying to go for John Lennon stealing Kurt Cobain’s amphetamines and recording showtunes.

10. Stream Moves On (3:52) – I wrote this for ‘Underground Sound,’ but didn’t get around to recording it until this year. It ended up a little more acoustic than I originally planned, but I through in some Moog parts to balance that out. Vocally I’m going for the lovechild of Roger McGuinn and Ira Kaplan (from Yo La Tengo).

11. The World Cannot End (3:31) – I also wrote this for ‘Underground Sound,’ and recorded the drums and rhythm guitar during those sessions. I think it came out a little like R.E.M. and Bruce Springsteen in a juke joint

12. Run Again (2:43) – This is a country ditty that I originally wrote and recorded in 2001. I used to try to sing it like Johnny Cash, but I found it was much better to go for a Roy Orbison approach.

Listen To Me:

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

Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse (full quality mono) 1

Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse (full quality mono) 2

Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse (full quality stereo) 1

Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse (full quality stereo) 2

Or you can play the stereo mix online here:

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

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

If you are groovy enough to give this a listen, I'd love to hear your comments. That's the only cost to downloading this, really.

Lee Hazelwood - 1970 - Cowboy in Sweden

2011-11-22T00:28:00.004+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.5 out 5

If you've spent any time listening to my Glaze of Cathexis recordings, then you'll know that I have an affinity for old school country and folk that slips through the psychedelia every now and then. Lee Hazelwood first crossed my radar when I was a college DJ, and his late 60's and early 70's albums definitely caught my attention. This is the best of them. Let's face it - a cowboy in Sweden is pretty trippy, and this is just what Hazelwood did in pursuit of a Swedish independent filmmaker who churned out a film of the same name. The tracks here kind of, sort of fit into a country pop sound, but there is some strange gauze informing the music here that at least sounds influenced by the wacky tabacky. The string arrangements are sometimes a touch overwhelming, but the overall effect of this album is worth your attention.

Hazelwood's road worn voice definitely takes us into the sonic labyrinth of his mind on the first to tracks, "Cold Hard Times," and "The Night Before." The well-picked acoustic guitar is well balanced by the arrangements and result in some catchy tunes. "For a Day Like Today," "Vem Kan Selga," and "Leather and Lace" serve up some fine female voices filling in for Hazelwood's old collaborator Nancy Sinatra (think of the 60's classic "These Boots are Made For Walkin'"). "Leather and Lace" in particular presents us with a great haunting melody where the string arrangement works out quite well. You'll find the orchestral arrangements cheesing up the sound a bit on "Hey Cowboy" and "What's More I Don't Need Her." Fortunately, "no Train to Stockholm" and the phenomenal psychedelic Louis Lamour vibe of "Pray Them Bars Away" balance things out.

Whereas a lot of psychedelic bands switched gears to country rock during this time period, you'll find Lee Hazelwood attempting a strange fusion of the two. You'll likely require a touch of a yearning to traverse the New Mexican wilderness by peyote-fueled horse to really get into this one, but it strikes me as a very groovy sonic prospect, and it may do it for your ear as well.

Robyn Hitchcock - 1999 - Jewels For Sophia

2011-11-12T00:14:00.003+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.5 out of 5

This is sort of the starting point for the modern day Robyn Hitchcock vibe, and it's probably the album of his I've listened to the most. I grabbed a promo copy of this one in a groovy purple case at the university radio station that I used to DJ at, although I subsequently lost it to an old girlfriend (although in full disclosure, I probably deserved it). I recently came across a copy of it again, and realized that half the songs on here have been bouncing around in my head for the past 12 years. This is Hitchcock's songwriting at it's catchiest, and the indie rock royalty groove is boosted with the jangling guitar of R.E.M.'s Peter Buck on a few tracks.

Opening track "Mexican God" gets a prime spot in the top of the pops of my head, and the fine lyrics ("Time will destroy you like a Mexican god.") are shored up with an acoustic arrangement backed by a slowly pounding beat. My band at the time of this release seriously considered taking on the name of this track - that or the absurdly referencing 'Sexxxican Gods.' 'Viva Sea-Tac' is a mildly dopey, but infectious stomping ode to Hitchcock's adopted home base. 'I Feel Beautiful' and the closing title track pretty much own the psychedelic ballad, while 'Sally Was a Legend' and 'Elizabeth Jade' are endlessly catchy rockers that suggest what Syd Barrett would have sounded like fronting an indie band. And I'd be remiss not to mention the infamous hidden bonus track paranoidly ranting on about Gene Hackman.

I don't think that this one typically tops most people's list of Robyn Hitchcock albums, but it's pretty near this top of mine. With some wonderfully crisp production and some lyrics that sound hit in the head with a psychedelic paddle, it'll at least keep you entertained for three quarters of an hour. We'll give a pass to the already dated album cover, which would probably be a fitting one for the worst of Sarah McLachlan.

The Mojo Men -1966-1967 - Sit Down...It's the Mojo Men

2011-11-02T11:15:00.004+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.75 out of 5

This compilation covers the second iteration of the Mojo Men, who sprang forth from the primordial San Francisco scene. They started off as a more garage rock affair, but had added singer/drummer Jan Errico and ambled off into fields of folk-rock and sunshine pop. The other big early San Francisco band, Autumn Records labelmates the Beau Brummels, were arguably a little better, but the Mojo Men throws out more sonic signposts to the later explosion of Bay Area rock n' roll. Jan Errico comes across like a less intense version of Grace Slick (who was of course the legendary Starship vocalist), and the folk rock strut here is not too far removed from the Jefferson Airplane's first album with Signe Anderson. You'll also hear some very groovy early touches of psychedelia, and a sunshine pop sheen borrowed from the Mamas and the Papas. It may be heresy, but I think I dig the Mojo Men a little more than that particular musical (kinda) family. There's a touch of the Buffalo Springfield lurking around as well, which makes sense since Steven Stills penned their hit, "Sit Down, I Think I Love You." Round two of the Mojo Men never resulted in an actual album, but we get their awesome singles, some of which include the arranging talents of Van Dyke Parks, and a few tracks from an aborted album.

The production here is nice and chonky, and the sound makes most of this sound like a coherent even though the music is sources from several different places over a two year period. "Whatever Happened to Happy" is a prime sunshine pop singles, with some space echo adding just the right of trippiness to a fine melody. Of course "Sit Down, I Think I Love You" did make it to the charts, and it's a classic folk-rocker. Most of the tracks here are pretty stong, but I really stand up and take attention to "What Kind of Man," which evolves into a full blown psychedelic raga jam. I typically don't dig horny rock (y'know, of the brass kind - am I just digging my hole deeper?), but the arrangements on "Flower of City" does set the song on fire, and if you pay attention, there are also some nice pizzicato strings. The band occasionally threatens to ring the cheese alarm, but they only manage to do so on "Do the Hanky Panky." Really, though, I can't blame the band. Not even musical Jesus can save that song (along with "The Hippy Hippy Shake," which fortunately does not appear on this album).

This is an essential collection for a variety of you seekers. Historically, it's a not-so-missing link on the road to San Francisco rock. It's also prime rib for those that are squinting for sunshine pop. But most of all, it's a catchy set of lite psych, where all of those light touches are primed for maximum grooviness.

Seventh Sons - 1968 - Raga (4am at Frank's)

2011-10-27T00:43:00.006+09:00

Quality: 3.75 out of 5

Trip-O-Meter: 4.25 out of 5

The somewhat unverified claim behind this album is that it was actually recording back in 1964, making it one of the first (if not The first) white boys ragas put to tape at a time when the Beatles still just wanted to hold your hand. If this is true, then these boys certainly deserve some props, although later folks of various colours would certainly top the achievement of sound found here. Still, this is a very groovy raga and coasts along nicely as it bops through your brain. It makes me think of that time about ten years ago when I visited San Francisco and jammed with a bunch of hippies in a century old house. If nothing else, this rather short album will likely send you into that psychic zone as well.

We've got two tracks here, although it's a casualty of a vinyl split and really amounts to one tracks. Really, the whole thing is a sonic mantra and pretty much stays in the same groove with some cycling instrumental and vocal parts wafting in and out of the mix. You've got your trance-like acoustic guitar augmented by bongos permeating the entire thirty minutes. There's also plenty of bohemian flute cropping up competing for time with some stoned, wordless chanting vocals. Honestly, that pretty much constitutes the beginning and end of this release. There's really no variation, but the gentle floating, western raga will transport the minds of those of you inclined to follow this thing.

Really, after the first thirty seconds, you'll have a pretty good idea if you're into this or not. I find it a pretty enjoyable affair, but it all comes down to a question of taste. Are you down with the manically strumming hippies or aren't you? Fortunately, the smell of this thing is more of the nag champa variety, and not that patchouli scent that makes me run out of the room in terror.

Dr. Strangely Strange - 1970 - Heavy Petting

2011-10-16T09:24:00.003+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.75 out of 5

I suppose one of the strangest things about this collection is how addictive it is. This a relatively above average set of Irish folk rock. Typically, that wouldn't interest me too much, but this album does have a few aces in the hole. While it's squarely rooted in Irish folk, a few San Fran psychedelica hallmarks make an impact, with some of the male/female vocal leads coming across like Grace Slick and Martin Balin, as well as a few great acid guitar leads hiding away on the disc. It probably doesn't hurt that psychedelic/folk deity Joe Boyd was behind the boards as the producer. The drums in particular have an awesome, crisp sound.

While the band does stick mostly within the folk millieu, they do manage quite a few diverse sounds in that context making for a fine variety of sound on this album. 'Ballad of the Wasps' will likely become stuck in your head forever with its great melody. There are some distinct echoes of the Incredible String Band on 'Kilmanoyadd Stomp.' Although Dr. Strangely Strange doesn't quite match the manic minstrel vibe of the ISB, their result does seem more 'groovy' to me. The mostly instrumental 'Sign On My Mind' gives us a fabulous folky space rock jam. Maybe this is what mid 70's Floyd would have sounded like if they'd stuck with the folkier tunes from "More" or "Obscured By Clouds." I really dig the very pastoral instrumental of 'When Adam Delved' as well. The band finally blasts out some full-blown rockin' on "Mary Malone of Moscow,' which is punctuated with some fine acid rock guitar leads and a billowing organ.

This is definitely a top-self set of folk rockin' Irish style. I'd claim this as one of the highlights on Joe Boyd's resume. Come to think of it, I'd wager that this is more or less what the Essex Green (whose early albums we covered on this blog some time ago) was using this album as a template, especially as their sound and album cover wasn't too far removed from "Heavy Petting." Here's the gold though - it's more authentic and very groovy.

Various Artists - 2000 - Stone Fox

2011-10-13T11:14:00.003+09:00

Quality: 4.25 out of 5

Trip-O-Meter: 4.25 out of 5

When this compilation came out, I was DJ'ing at the University of Georgia and had some serious label love for Emperor Norton Records. They specialized in quirky, rubbery electronica and reissuing some of the albums that inspired it. I always tended to grab the CDs with their mark, and this one just happened to be in the free bin. I'm usually not a huge fan of the 'various artists' sort of set, but this one has always done it for me.

Arling and Cameron has the greatest presence here, They'd recently released an album of fake soundtrack music, which is represented by the Esquivel-by-way-of-Paris "Le Flic Et La Fille." Some remixes of tracks from that album also appear here, with Fantastic Plastic Machine's original mix of "Take Me to the Disco" trumping the album version, while the remix of "1999 Spaceclub," while entertaining, does not match it's album brother. Speaking of fake soundtracks, you'll hear a bit of the non-existent 'Logan's Sanctuary' with "Metropia." In the 'real soundtrack' department, there's an alternate version of Air's great "Playground Love," recorded for 'The Virgin Suicides,' lurking around here. For playful blasts of retro-electro-psychedelia, DJ Me DJ You's "Set the Controls" should hit the spot, and Takako Minekawa gives us a nice image of Bjork passed out in a Shibuya gutter with "Fantastic Voyage" while simultaneously referencing Lou Reef's "Walk on the Wild Side." Some oldies but goodies show up with a bit of homemade synthesizer guru Bruce Haack in the form of the kids' song "Upside Down," and Walter Murphy's "Dancin'" is ambiguously destined for an educational film of a sort-core adult movie- it's really hard to tell. And let's not forget, "Citroens 'n' Sitars" has sitars! Yay!

The Emperor Norton story is a tale that I think everyone might have forgotten. But I remember it, dammit! It's a little goofy at times, but I find it charming. In the top 40 of my mind, Arling and Cameron, DJ Me DJ You, Fantastic Plastic Machine, and Takako Minekawa were superstars!

Dementia and Hope Trails - 2011 - Parts of the Sea

2011-09-29T11:10:00.007+09:00

Quality: 4.25 out of 5

Trip-O-Meter: 5 out of 5

Here's a tripped-out set that I stumbled on one of the many, way underground cassette tape releases than seem to be all the rage with the bedroom studio hep kids these days. This is a guitar drone album whose press release gleefully states that all the sounds on this recording were made with a guitar. Now, as a musician I tend to be a bit of a synth geek, but I do very much appreciate guitarists who are interested in melting and mangling the sounds of their guitar as you'll hear here. It's sort of like the trippier, medatative moments of Slowdive or Godspeed You Black Emperor, but, y'know, without all of those annoyances like the rest of the band or songs. I swear I meant that last sentence as a complement.

It's almost useless to discuss songs here, as the tracks are all guitar drones and simple but effective riffs sometimes extended to insane proportions. What you're looking for here is texture - choosing the track you're going to play is like choosing the your ice cream flavor. Maybe it's a bigger decision as several of the tracks here will last far longer than it takes for you to eat your 'squid-flavored' ice cream (if you want to try that flavor, head here and look for the Ice Cream City:http://www.namja.jp/):. Anyway, I find myself typically going for the marathon sessions on the second disc where "Sunflower" and "I Miss You, Don't Fall Asleep Yet" space out for around a half hour each. It suits me well as I screw around on the internet, make trippy marker art drawings, and so forth. That said, the first disc does present more of those hardcore drone-y sounds that are akin to sticking your head in the cosmic freezer.

Most of the music labelled 'new age' seems to sort of blow. I don't think anyone's slapping this set with that label, but it's much more likely to teleport your brain to the calm, intergalactic cloud that so-called new age music tends to imply. At any rate, this is not a bad introduction to the strange world of underground cassette tape drones if you haven't already made the plunge.

Head over yonder to download a copy:

Rainbow Bridge

Gorky's Zygotic Mynci - 2003 - Sleep/Holiday

2011-09-22T10:38:00.004+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.75 out of 5

Gorky's Zygotic Mynci had very much fallen into a relaxed Brit folk rock groove by this point, and they were pretty much coasting on it. Fortunately, this wasn't so much a dip in quality as in avant garde ambition, and as this ended up being their last album, the band gets an easy pass. Euros Childs great crooning vocals makes up a fair portion of the glue that holds this disc together, but the crisp, warm production and Megan Childs' violin certainly pull their weight as well. For the most part, this is a very relaxing and dreamy set of psychedelically tinged folk rock.

This band had no problem cranking out a bunch of quality tune, and there are definitely some fine examples stowed away in the grooves of this disc. The first two tracks ('Waling for Winter' and Happiness') and 'Eyes of Green, Green, Green' have the band's brand of folk rock down to a science, while the band takes a fine detour into their older, rockin' sound on 'Mow the Lawn.' I hear some serious Beach Boys influences creeping into some tunes as well. 'Leave My Dreaming' comes across like a Beach Boys session at Stax Records at 3am, and 'Pretty as a Bee' goes for the often ignored Dennis Wilson approach, although it's kind of like Dennis trying to record 'Dark Side of the Moon.' 'Single to Fairweather' doesn't have so much of a Beach Boys vibe musically, but its sweet ballad awesomely ruined by a left field punch line reminds me of Brian Wilson's 'I'd Love Just Once to See You.' You'll also have a ball droning out to the extended instrumental coda of 'Only Takes a Night.' The only tune that I could do without is the overly obvious 'Country,' which is trying a few bits to hard to live up to that title.

Gorky's probably could have gone on for years cranking out records like this one, but this one retains just enough freshness to take up a solid place in the band's discography. As this appears to have been their last album, it's a nice way to keep the band's reputation solid. I don't see many references to these guys anymore, but maybe a few of you can rediscover them and spread the word.

Gorky's Zygotic Mynci - 1999 - Spanish Dance Troupe

2011-09-21T11:14:00.002+09:00

Quality: 4.5 out of 5

Trip-O-Meter: 4 out of 5

I believe that this was Gorky's American debut and it's certainly the first time I came across them as I was spinning discs at my college radio station. By this time, the band had toned down quite a bit, and had developed a sort of 'twilight' haze to the music. Things are much folkier and violinist Megan Childs has far more to do. Typically, I would not see this as a plus. I'm a conceited cellist myself, and violins typically don't do it for me (especially in rock and jazz), but Child's violins parts are well thought out and irreplaceable bits of the tunes. While not quite as exuberant as their earlier material on average, their mature sound presents a band that really has grown into their own thing and this is probably their best album.

Now, after going on a bit about the quieting down of the band, the rockers on this disc do put in duty of some of the highlights. 'Poodle Rocking' is just as entertainingly dumb as it's title and will end up stuck in your head forever. It's the only spot on this album where the band rips into the tune with wild abandon. The amps crank up a bit on 'Desolation Blues' as well, and the awesome crunch guitar riff fits along with Euros Child's crooning vocals. The rest of this disc is chock full of folkier tunes, and they don't disappoint. I'm particularly enamored of the blissfully melancholy 'She Lives on a Mountain,' the country folk sound of 'Faraway Eyes,' and the burned out in the Spanish countryside vibe of the title track. The band fares well with some brief instrumentals as well, with the textured 'The Fool' leading the bunch.

This is a pretty subdued collection, but is a top flight set of acid folk. The influences stick mostly to the late 60's and early 70's here, and if the Soft Machine had been more into folk than jazz, they might have comes out sounding a little like this. It'll do you well for your listening late at night or on a particularly golden sun-bleached day.

Gorky's Zygotic Mynci - 1996 - An Introduction to Gorky's Zygotic Mynci

2011-09-21T10:46:00.002+09:00

Quality: 4 out of 5

Trip-O-Meter: 4.25 out of 5

Technically, I suppose that Gorky's Zygotic Mynci was part of the mid 90's Brit pop explosion, but happily they make up part of the freaky branch that includes their Welsh countrymen Super Furry Animals. , This music is clearly echoing the psychedelic jazz/folk lens of acts such as the Soft Machine and Kevin Ayers, although the band rocks out with some full-blast punkish guitar as well on this compilation of their early material. The band's not-so-secret weapon is the vocals of frontman Euros Childs, a great vocalist who finds a great warm balance between youth-like wonder and psychedelic knowing, without sound quite like any of his musical forebearers.

This isn't a particularly long compilation, but it is well stocked with awesome tracks. The opening clutch of tracks is great, great stuff, with 'Merched Yn Neud Gwallt Eu Gilydd (Girls Doing Each Other's Hair)' leading off with kind of an acid-fried version of the Pixies loud/soft thing, while 'Methu Aros Tan Haf (Can't Wait Till Summer)' is first rate psych folk and 'Bocs Angelica' contains a really amusing chorus which comes across a little like the doom metal Beach Boys. Later on, 'Why Are We Sleeping' does a pretty fair update of the early Soft Machine sound, and 'The Game of Eyes' earns kudos just for being so damn strange. Only 'Miss Trudy' strikes the twee alarm a little to much for my liking, although it does remain perfectly listenable. 'When You Laugh At Your Own Garden' is probably disposable since it is basically a short, stoned psychedelic experiment. I imagine it worked better on a proper album.

Gorky's made their (still somewhat small) American impact a few years later after they'd upped the acid folk ante and dropped some of the louder bits. Some of this set may come as surprise as it's the sound of a band still thrashing about in their sound, but having a fine time of it. I believe there are a few different versions of this compilation drifting around, with somewhat varying track listings. For better or for worse, I believe this version is the briefest of them, but you'll still have a rollicking good time.

Damaged Tape -2011 - Nude Witchcraft EP

2011-09-07T00:43:00.004+09:00

This is the soundtrack for a film that doesn't exist. I made these tracks for Gonzoriffic Productions ringleader (and Glaze of Cathexis drummer) Andrew Shearer. He was on his way to a filmmaking vacation in Hollywood, and I made these with the intention of providing him with some Michael Mann sleaze for his endevours. Somewhere along the line, he had a dream about making a film called 'Nude Witchcraft.' While he didn't make the film, he did come up with a trailer and I couldn't pass up the opportunity to make a tune for that as well.

The tunes are very much focused through the analog early 80's. In fact, except for a vocoder on the title track, everything here is 100% analog electronics. I applied a bit of Scott Atkinson's poetry to 'Light's Passage.' Meanwhile, 'Harp of the Triple Goddess' comes from some tracks I've been working on with Andrew Bland, whom I worked with several years ago on the 'Paper Tigers' LP (the rest of the tracks will appear soon). None of the original track remains, but I did recreate some of his melodic contributions for this cut.

I considered putting these with some other tracks for an LP, but they work so well together and are so much cut of the same cloth that I decided to keep them as a shorter length collection. I hope you dig what you hear.

Track List:

1. Nude Witchcraft (2:54)

2. Musings of the Horned God (4:35)

3. Raindrops in the Waterfall (5:01)

4. The Molten Universe (3:05)

5. Light's Passage (4:45)

6. Harp of the Triple Goddess (3:22)

Listen to Me:

Damaged Tape -2011 - Nude Witchcraft EP (mp3s)

Damaged Tape -2011 - Nude Witchcraft EP (full quality wav)

This isn't especially out of bounds, but you do get at least some of what you clicked for when you click on 'Nude Witchcraft':

Jaim - 1969 - Prophecy Fulfilled

2011-08-31T11:20:00.003+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.25 out of 5

This blinding blast of sunshine pop arrived from parts unknown (to me at least) back in 1969. Although it's a private pressing extreme obscurity, the squeaky clean sounds found here do rank up the big boys. The production has a nice snap, crackle, and pop, and at least fits into the same ballpark as yr. Brian Wilsons or Curt Boetttchers, even if this album doesn't quite touch that upper pantheon. The songwriting is a fair sight cheesy - but that's really the norm for sunshine pop and most of these tunes are solid constructions. As a warning, though, this is one of the 'whitest' albums that you'll ever hear. Don 'No Soul' Simmons and his brother from the Methodist commune (this is only a guess - I have pretty much no infor on the background of this set) hit all the right notes, but in an extreme 1910 fruitgum company barbershop quartet sort of way. I recommend chasing this album with some early Funkadelic or something.

The songs are pretty much custom fitted for the sounds of late 60's AM radio, we're in the twilight zone between the Grass Roots and Sagittarius on this one. "Your Loving Voice" is a catchy, blue-eyed, porcelain doll, soul ditty that is practically repeated at the start of side two as "Back in Circulation Again." Oops! "Pretty Woman" (not by Roy Orbison) and "Sunday Dawning Morning" are some gleaming shards of sunshine that much be in some parallel universe's top 40, where Jaim still play Vegas and have middle-aged panties thrown at their heads nightly. They nail the lyte-psych pop ballad twice with "Running Behind" and "Ship of Time." These are the sort of tunes that Greg Brady could have chased the girlies with as Johnny Bravo. The not-particularly-authentic-touch of bossa nova on "As the Sun Meets the Sea" does manage to brand the tune as an album highlight nonetheless. Only on "Sparkle In Her Eyes" does the cheese level rise to the point where I end up vomiting on my record player (not that I actually have this on vinyl).

If you've got the stomach for hardcore sunshine pop which comes from a land where 'R&B' only stands for 'recreation and bicycles,' then you'll find that this is a lost classic of the genre. Despite the albums obscure and vague origins, it does have the professional-sounding spit and polish that this kind of music needs to really work. It's still funkier than Harper's Bazzar. Don't you dig the cover shot, too? It's like they're about to include you in their satanic, death-cult ceremony. That's not what this music sounds like.

Staff Carpenborg's Electric Corona - 1969 - Fantastic Party

2011-08-30T11:40:00.002+09:00

Quality: 3 out of 5

Trip-O-Meter: 4 out of 5

Although I believe that the intention of this band was to knock out some psychedelic free jazz with a dose of teutonic 'Firesign Theater' thrown in for giggles, in retrospect this album serves as some of the primordial ooze of krautrock. Really, these audio freakouts barely qualify as songs. On the plus side, most of the tracks feature some killer breakbeats (really, if no one's sampled this album someone needs to), perhaps a groovy bassline, and some completely aimless noodling on guitar and organ. It's unfortunately the organ and guitar that really stops this set from being particularly good - that and the horribly annoying vocals when they appear.

As I mentioned, this are more like half-assed studio jams with a great drummer more than tunes than you'll whistle while strolling down the street. 'Lightning Fires, Burning Sorrows,' and the last track I suppose do this best job of recreating an evening at London's UFO Club, although it would have admittedly been a substandard evening there. Avoid 'The Everyday's Way Down to the Suburbs,' 'P.A.R.T.Y.,' and 'Let the Thing Comin' Up' as the vocals will drive you to take out everyone in your neigborhood and finally turn the flamethrower on yourself.

No, this isn't a particularly good disc, but it is interesting for the armchair music historian as an early example of Germans going completely nuts. And there is definitely some fodder for the sample junkie here as I think electronic and hip hop producers have picked the corpse of David Axelrod's music clean.

Glaze of Cathexis - 2010 - Underground Sound

2011-08-25T00:35:00.011+09:00

My original intention for this album was to create mono and stereo mixes to bring out the 60's style grooviness for this album, but some technical difficulties got in my way last year and I just released the mixes that I had. In fact, my work folder for the album was titled 'Mono/Stereo Album.' Fortunately, I found some ways around those problems last month and got these mixes together. The stereo mix is my attempt at a psychedelicized early 1968 vibe complete with ridiculous stereo separation, while I tried my best for an old school mono punch on that mix. If you've already downloaded the album and dig it, take a chance with these versions. If you're new to this and really want the first mix, they remain linked at the original post. Here are the notes I posted last year for the collection:

Here's the new set of Glaze of Cathexis recordings, which has been percolating since May 2009. It was originally going to be a sort of stoner metal thing, then a folk rock affair, and finally I just went straight for the marrow of my favorite 60's bands. 'Pala Ferry' has some elements of all three of those mindsets. This is a lot more guitar heavy than the last set. Every track here is anchored by guitar, and I just went to the Moog synth a few times to add some rubbery density. For once I had the opportunity to record some actual drums, so you get my spazzy drumming all over this album as well as a little bit of drumming from Gonzoriffic filmmaker Andrew Shearer. Hopefully you'll dig these psychedelic rock sounds. Here's some song notes for those of you who have the yen to listen:

Pala Ferry - At various times I was aiming for R.E.M., mid-period Byrds, and Dennis Wilson on this track. I think the Beatles 'Rain' was stuck in the back of my head as well. Lyrically, this is an invitation to join my cult, which doesn't actually exist. I always got that sort of vibe from the Millennium's Begin, which was my first post on this blog and is one of my absolute favorites.

Further Instructions - Here I'm commanding you to do abstract and impossible things. In my head it was going to be a fireside, smelly hippy folk rock chant, but then some Talking Heads style beats, Chuck Berry guitar riffs, and the goofier side of the Beach Boys backing vocals invaded my muse as well. This comes in second as I wanted to continue laying down the groundwork for my meaningless cult.

Launch - I'm not sure what this one's about lyrically, but I wanted to go for a Black Sabbath sort of riff heavy song. Some Cream found its way into the wah-wah'ed out lead guitar as well. Apparently my attention span ran out as the coda takes a sudden and strange turn into electronica.

Sign From Your Face - This is another one from my folk rock phase, and I was going for a Rubber Soul sort of vibe here. One with the Harrison parts being beamed in from the early 70's. My original vocal take tried to emulate Lennon and Dylan all at once, but it sounded ridiculous so I ended up dialing it back for this finished version.

Blues For A Red Planet - This is from a basement jam with Andrew Shearer on drums and myself on rhythm guitar. For the overdubs, I ran my Moog for a vacuum tube for the first time, and I kind of got off on it. I couldn't find my guitar slide for the lead guitar overdub and ended up using a plastic ear cleaner instead. The title is from an episode of Carl Sagan's Cosmos, which you should all watch right now.

Sometime With You - This song has been bouncing around in my head since my university days ten years ago, so I had to record it just to get it out of my damn head. Actually, the lyrics in my head were far dumber, but I was able to get away from those.

My Little Utopia - I wrote this sitting on a 50 meter cliff on a small Canadian island about seven years ago. I re-extrapolated the melody of the Dean Martin standard 'Melodies Are Made of This' for this track, but if Brian Wilson can get away with turning 'When You Wish Upon a Star' into 'Surfer Girl,' I might be safe.

City of the Domes - My buddy had just put a bunch of Iron Maiden onto my ipod, and I got the urge to write that kind of guitar riff and meld it with a tacky sci-fi reference. When it came time for the vocals, I found that I couldn't do a convincing metal growl, so I defaulted to glam Bowie instead. The electronic coda here has a little more relevance if you've spent some time with the strangely awesome film 'Logan's Run.'

Cliffs - I wrote this one back in 1999 on a bit of a bender in my college dorm room. I had recently been introduced to Syd Barrett's music at that time, so this is one of the Barrett-iest tracks I've come up with. I could never get quite happy with a recording of this, but it turned out that it needed those swinging Soft Machine-style drums.

Visions of the Unreality - This is another basement jam with Andrew and myself. My frequent collaborator Scott Atkinson crops up here with a bit of visionary poetry. It's actually the first time we've worked on music together while in the same room (or same country for that matter).

It Means a Lot - Ironically, the lyrics pretty much mean nothing. I set out to rip off "Yur Blues," but got sidetracked by another period of obsession with the Doors, and then decided to top it all off with my Dylan vocal impression. I guess I was getting into that whole Dukes of Stratosphear 'be your favorite band' sort of vibe.

Centrifugal Bumble Puppy - A gold star for those of you who get the title reference. I set out to write a song of my surreal and false triumphs, with each line starting with "I" and then a different verb. Music wise, I wanted to do a 'dude' version of the dronier and harder rocking Stereolab tracks.

Taking the Time Out - This one kept popping up in my head as a crappy emo punk song, but I think I successfully guided it into 'Who' territory instead. If I ever make it onto a neo-Nuggets compilation, I could imagine this being the one.

Hope you dig this stuff. I'd love to hear your comments and impressions, even if you end up thinking that this is a steaming pile of poo.

Listen to Me:

Glaze of Cathexis - 2010 - Underground Sound (mono mp3s)

Glaze of Cathexis - 2010 - Underground Sound (stereo mp3s)

Glaze of Cathexis - 2010 - Underground Sound (mono full quality wav 1)

Glaze of Cathexis - 2010 - Underground Sound (mono full quality wav 2)

Glaze of Cathexis - 2010 - Underground Sound (stereo full quality wav 1)

Glaze of Cathexis - 2010 - Underground Sound (stereo full quality wav 2)

And you can listen to the 2011 stereo mix here:
Glaze of Cathexis -2010 - Underground Sound by Glaze of Cathexis

Iasos - 1975 - Inter-Dimensional Music

2011-08-18T10:47:00.003+09:00

Quality: 4.5 out of 5

Trip-O-Meter: 4.75 out of 5

Here's an album that I know almost nothing about, but have found myself listening to incessantly. I imagined that Iasos was some kind of new age commune. If you visited their home, I thought you'd find them doing yoga while wearing tight pastel yellow tights and tank tops and frizzy hair, after which then insist that you join them for a trip to the wood-paneled vegetarian supermarket. I didn't want to spend time with them, but I was infatuated with their sounds. Then I look at the All Music Guide, and it said that Iasos is actually one guy who is considered one of the first artists of the new age musical genre. It kind of deflated my vision behind this album, but fortunately the music is still great. Yes, it is new age, but of the 70's variety with analog synthesizers and hazy, groovy taped production (as opposed to the Great Digital Recording Terror of the 80's). Yeah, it probably would have played in that wood-paneled health food store in the 70's, but you would have enjoyed the music and maybe you could have found that awesome Panda cherry licorice somewhere in the aisles of the store.

This is another one of those albums that really works as a continuous whole. It loses quite a bit of its vibe if you isolate the track. That said, when I'm particularly enamoured with a tune and take a look a the track listing, I've found that it's usually "Formentera Sunset Clouds," "Rainbow Canyon," "Angel Play," or the closing "Maha Splendor." The first half of the album tends to be the more tuneful half. Once Iasos 'gets you in the mood' so to speak, the music becomes far more ambient. This does end up making the second half a little more murky sounding (although "Angel Play" shines quite well) and "The Bubble Massage" ends up being just five minutes of percolating bubble sounds, which I could achieve on my own by sticking my head into a jacuzzi.

Really, though, this album is quite a trip and a very groovy musical time capsule of its era. It's on a slightly different plain of existence than Berlin schoolers like Tangerine Dream or Klaus Schultze, but these sound would actually complement those artists very well. So light your opium scented candles, recite a few verses you've memorized from the Bhagavad Gita, jump into your giant round hot tub with several big-haired sexually liberated women (or hairy chested, medallion-wearing men), and give this a play.

Helium - 1997 - The Magic City

2011-08-17T10:54:00.006+09:00

Quality: 4 out of 5

Trip-O-Meter: 3.75 out of 5

I have a bit of a strange history with this band. I was introduced to Helium by a show in Atlanta back in 1998 while under a, uh, somewhat altered state, and then never got back to listening to them again until a few weeks ago. Still, they stuck around in the back of my mind and I probably should've returned to them earlier. The band, led by singer/guitarist Mary Timony, is basically a mid 90's indie-rock affair, but they distinguish themselves quite well with touches 70's prog and a few echoes of shoegazing. Honestly, this is far from outright psychedelic rock, and several steps away from the music I typically rant and rave about on this blog, but I dig it.

The satellite pulsin', girl-group-of-the-future-sound of "Leon's Space Sound" is a pretty hooky place to get acquainted with this album. There's a very groovy string synth riff bubbling just under the surface. "Medieval People" is a standout instrumental, although I imagine that the people in the title are heading for some kind of day glo, Authurian rave or something. Actually, I think they mixed up the titles with the also fine, short instrumental "Blue Rain Soda." Just swap them and it makes far more sense. "Lullabye of the Moths" sort approximates something that might have sprung forth from the late 60' UK psychedelic pop/folk scene, while "The Revolution of Hearts Pts. I & II" really does run too long at eight minutes, but sort of makes up for it with an array of insane sound effects later in the track.

This album probably requires a strong tolerance with some of the more stereotypical sounds of 90's rock, but having said that, it's one of the better albums I've heard that functions within those perimeters. I'd certainly place this far above most of Juliana Hatfield's or Liz Phair's discography (although I'll give Phair's first album a 'get-out-of-jail-free' card). There are some nods to vintage psychededia lurking in the production that really do enhance the songs and for me qualify this set for a mention here at the Psychedelic Garage.

The Incredible String Band - 1968 - The Hangman's Beautiful Daughter

2011-07-27T10:59:00.004+09:00

Quality: 4.75 out of 5
Trip-O-Meter: 4.5 out of 5

The Incredible String Band and their producer, Joe Boyd, managed to bottle up everything that was groovy about their previous album and lace it with some prime Supercool. The sound of the recording is notably beefier and more nuanced, and both Robin Williamson and Mike Heron's songwriting and actual singing voices seem to blend together a bit better here. Although the album cover can't touch "5000 Layers of the Onion," this is arguably the sonic apex of acid folk in general.

With the musical synergy seemingly in full effect, this album lacks the ping-ponging song credits of the last album. Instead, we start off with a clutch of Williamson's songs. "Koeeoaddi There" is likely the group at its catchiest (although I doubt this could manage much radio play), although Williamson does amusingly randomly bounce around from one theme to the next, but it's balanced by the great trancey guitar work. There's some really entertaining vocal affectations and call-and-response on "The Minotaur's Song," and it ends up sounding like something the villagers from "the Wicker Man" (the Christopher Lee one, not the Nick Cage one) would have rocked through in the pub on a Saturday night. Heron clocks in with the first of the band's epic length tracks, "A Very Cellular Song" (unfortunately, I can't help but think of mobile phones here in the future). I'm not sure it really justifies its 13 minute length, but the various, droning sections and oddball sound effects remain entertaining. Personally, I dig Heron's percussive and concise "Mercy I Cry City." Williamson is a little more tentative with his epic track only clocking in at eight minutes, but his sitar infused "Three is a Green Crown" ranks as one of my favorite tracks here. "The Water Song" provides some very groovy pads of woodwinds, but do they really fit with the Incredible STRING Band?...... yes, they do.

If you have any need for some acid folk in your life, this very well be the best place to go. This is the ISB at their best as an acoustic unit. After this, they'd start mucking around with a few electric instruments, and eventually end up as more folk-rock sort of band. They never really did the electric thing as well as Dylan, however, and this album stands tall as their masterpiece.

The Incredible String Band - 1967 - 5000 Layers of the Onion

2011-07-27T10:31:00.004+09:00

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

First off, this is one of the most awesome albums ever. I first picked this up while in high school in the mid 90's as it looked to be a notable freak out and I'd heard the band's name spoken of in reverent tones. Unfortunately, I hadn't even gotten to electric freak outs like 'Piper at the Gates of Dawn' yet, and have to admit that I didn't really 'get' this one for years. This is straight up acid-folk, without any electric embellishments. Of our main duo, Mike Heron tends to walk more the Dylan/Donovan continuum, although with his own voice very loud and clear, while Robin Williamson is more like the crazed minstrel hopping out at you from atop a tree in a fog-filled primordial forest (although they admittedly do drift into the other's role on occassion). Both of the excel in writing completely tripped out whimsically British lyrics that make Syd Barrett look like a rank amateur - not that Barrett isn't awesome, but the lyrics of "The Gnome" don't do well when placed next to "The Mad Hatter's Song." Williamson had also recently taken the hippy tour to North African, and sounds from that area abound as well as the sounds of other incredible stringed instruments such as the sitar.

If your ears are open to the folk scene, you'll find this album is packed with absolutely top-notch songwriting. In fact it's far easier to talk about what doesn't quite do it for me. "Blues for the Muse" tries really hard to stretch the 12-bar blues somewhere interesting, but this group still fares much better with the British Isles folk template than the blues. "My Name is Death" take the 'death' concept a bit too literally sonically, and it sort of drags the song down. Although it's only 2:46, it is the longest song on the album (despite some tracks running 5:40 or 4:05 or something; I can type more numbers if you like). Fortunately the list of winners pretty much includes everything else on the album. I particularly dig the first four tracks, "First Girl I Loved," and "You Know What You Could Be." If I ever ran the Renaissance Fair, you'd eat mushrooms instead of a turkey leg, and then you'd listen to this band. There'd also be giant, iron robots there.

Just for a bit of name checking, this set had psych/folk guru Joe Boyd in the producer's chair, and the legendary string bass player Danny Thompson shows up on several tracks. Basically, as far as acid folk goes, this album is setting your rear in the middle of the royal court. And let's just mention that phenomenal album cover one more time. I should get it tattooed on my brain or something. Huh, huh... yeah!

Kimio Mizutani - 1970 - A Path Through Haze

2011-07-11T11:51:00.002+09:00

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

I'm a little hesitant when I come across the term 'prog rock.' When musicians can work it towards a spacey groove rather than multi-suite wankery, though, that form of music does get my attention. With that in mind, we'll peg this one as a 'prog rock' classic. Kimio Mizutani was a psych rockin' session guitarist who created this album for his solo debut. He's got pretty awesome chops, and collaborated with some classical chamber groups on this album. Typically, the classical prog turns me away as well, but the band is smart enough to respond to the more orchestrated moments with a jazz vibe. Even Frank Zappa, who often recorded this way as well, tended to miss the point when he'd have his guitarists play rapid-fire walls of intricate guitar when a melodic solo would have done nicely. Mizutani doesn't make this mistake.

This set starts with several awesome tunes. The opening title track does indeed provide some nice jazzy haze, cut straight through with a monster riff from Mizutani's guitar supported by some groovy, Ginger Baker-like drums and streams of strange electronic noise. Once "Sail in the Sky" gets going, we're treated to a fusion vibe which features a very complementary woodwind arrangement. "Turning Point" sounds surprisingly like the post-rock band Tortoise, who wouldn't start recording until about 25 years after this album was released. "One for Janis" might not be the best tune for Janis, but it does give us another riff monster which is pretty fun. On the lesser side "Tell Me What You Saw" veers into hamfisted atonality which actually sounds pretty much the same as Phish jamming (although I'm sure that's a positive point for some of you), and "Way Out" doesn't tend to fit in very well as the only track with vocals. It comes out sounding like early-Return to Forever's vocalist stumbling into a funeral as the music is rather dirge-like.

Yeah, so this is prog-rock that I can be down with. The jazz vibe seems beamed in from the Canterbury scene, while the construction recalls Zappa, although without the 'too many notes' problem. Also, Mizutani is more than sharp enough to have a few of his own tricks up his sleeve and his guitar playing is psychedelically impeccable.

Kalyani Roy and Ali Ahmed Hussein - 1968 - Soul of India

2011-07-11T11:23:00.002+09:00

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

I'm going to go ahead and guess that this release was intended to latch onto the coattails of Ravi Shankar's appearance at the Monterrey Pop Festival (in fact, Ravi's 1968 release was 'Spirit of India') along with a general interest in Eastern mysticism. Fortunately, this is no exploitation release, but legitimate Indian musicians doing their thing. Kalyani Roy was one of the few female sitarists at that time, while Ali Ahmed Hussain is wailing away on a shehnai, which is a wind instrument that sounds somewhere in between a violin and a horn. You'll get the needed dose of tabla pounding as well. Expect a completely traditional affair, with no postmodern touches or anything.

There's only three tracks here, so you're either 'in for another long raga' as Krusty the Clown would say, or you're not. If you're down for this kind of thing, this album is an affair with lots of color added to the general raga vibe courtesy of the shehnai. I enjoy the whole thing, but honestly, I don't know enough about classical Indian to really distinguish much between the tracks. They all seem to more or less go down the same sonic path - but the trail is clearly being led by master musicians.

I've played this collection often, and I've sort of considered it one of my 'mind bubblebaths.' I don't tend to fixate or concentrate on the actual music much, but it creates a cloud of sound that I find very appealing. I'm sure there are some major musical point or accomplishments that I'm totally missing here, but something about the spirit of the recordings has definitely burrowed in my brain.

Tim Hollier - 1970 - Tim Hollier

2011-06-24T10:46:00.003+09:00

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

Tim Hollier clearly dug Tim Buckley's early records. This disc is sort of a slightly psyched-up 'Tim Buckley-lite" affair that manages to hold one's attention pretty well. Hollier's voice is very pleasant and tuneful, although he can't really touch the wild dynamic range of Buckley's voice. The production is is a little muddy sounding, but in a fuzzy way that complements the music pretty well. Although folk-rock is clearly the order of the day, the band does work up a groovy head of steam to give the songs a nice sonic push when needed.

Most of the tunes here are pretty solid, though only a few really stand out. Despite some really clunky, cliched lyrics, "Seagull Song" worms its way into your head with a fine folk melody and some groovy guitar and flute leads bouncing about in the background. "And It's Happening to Her" and "Love Song" are very catchy ballads, with some guitar leads that seem to echo the late night soul vibe of the guitars on the Velvet Underground's third album. "Evolution" is the longest tune here, and finds a pretty fine sweet spot between Buckley, the Byrds, and a touch of Dylan. "Evening Song" is a fine tripped out coda with Hollier's ghostly vocals searching through a forest of tremelo guitar.

I keep referencing American artists, but Hollier is a Brit and the echoes of that islands folk traditions are on display here. Still, it's clear that Hollier likely had a large pile of L.A. folk-rock vinyl taking up space in his 'flat.' This set isn't really a mindblower. It's probably not going to change your life, but it's a very groovy concoction while it's playing - although I do occasionally wonder why I'm not just listening to Tim Buckley's "Goodbye and Hello" instead.

Rex Holman - 1970 - Here in the Land of Victory

2011-06-23T11:08:00.004+09:00

Quality: 3.5 out of 5
Trip-O-Meter: 3.5 out of 5

This album is a reasonably entertaining set of sort of mellow, singer-songwriter light psych. The production has a nice think woodsy sound, and the songwriting is rarely embarrassing. Holman has a pretty strong 'dude-with-a-mustache' voice, although his vibrato often gets a little out of control - it's like he's singing in a fan or something. Still, this music sits in a strange grey area between Kris Kristofferson and Donovan that should hold your attention for a bit.

The best tracks here blend Holman's 'manly-hippy-on-the-moors' sound with a bit of an Eastern vibe, which basically means a few bongos and a sitar. "Rowin'," "Sit and Flatter Me," and "Debbie" all ride this sort of groove pretty well and are probably the best tracks here. "Debbie" especially has a cool shuffling rhythm and makes me think of Scott Walker before he started using slabs of meat as percussion. I also dig the twilight psych of "Copper Kettle" and "Come On Down." Yeah, for some reason side two seems to be the superior side. Well, the opening title track is pretty solid as well, adorned with chimes, flute, and a catchy Brit folk melody. It's also worth mentioning that Rex doesn't rock. He sort of, kind of gives it a shot on the bluesy "Red is the Apple" and the 'Dylan as bubblegum pop' "I Can't Read My Name," but, y'know, they're both still pretty mellow when you come right down to it.

In full disclosure, this isn't quite up my particular musical alley. I'm definitely cool with the psych and Eastern touches, as well as the general British folk underpinnings, but this really is halfway down the Wonder Bread, 70's singer-songwriter hallway. If you've got a 'thang' for that sort of thing, then you'll probably have some additional appreciation for these recordings.

13th Floor Elevators - 1968 - A Love That's Sound

2011-06-10T00:51:00.004+09:00

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

The third 13th Floor Elevators album, "Bull of the Woods," has always been somewhat of a disappointment. The band had pretty well disintegrated from legal troubles, insanity and various other pressures. With vocalist Roky Erikson and lyricist/electric jug player Tommy Hall pretty much out of commission, guitarist Stacy Sutherland did the best he could and he did manage to pull off a pretty good psych rock album. The problem was that it didn't really deliver as an Elevators album. This collection gives us a much groovier view of what a real third Elevators album could have been. Rocky Erikson sings on all of the tracks that feature vocals, even if a few of them are likely just guide vocals, and the band rocks a lot closer to their signature sound. The monoural sound quality is somewhat muddy, but us longtime Elevator fans should be used to that from years of substandard versions of their first two albums. The electric jug only shows up on one track, but let's face it - the jug was always a bit of a novelty and the band does pretty well without it. Also, we get to lose those damn horn overdubs which marred "Bull of the Woods."

The first six tracks here are first rate, if a bit rough, 13th Floor Elevator rockers and stand up pretty well in comparison to the classics on the first two albums. "It's You" is a fine display of the poppier side of the band with a chorus that will end up stuck in your head forever, while "Livin' On" and "Never Another" serve up a tighter version of the psychedelic guru vibe that the group pursued on "Easter Everywhere." Erickson's version of "May the Circle Be Unbroken" is one of the group's absolute masterpieces, although it does admittedly come across a little better in its stereo version on "Bull of the Woods." Since the first six tracks only clock in at about 22 minutes, the disc is filled out with some instrumental takes called "Sweet Surprise" and "Moon Song." They're relatively dispensable, with the former coming across like a blues based jam and the latter sounding like a rocked up version of "Postures (Leave Your Body Behind)." Still, they're a nice momento of the prime Elevators sound just before it was lost forever.

I typically shy away from recent releases, but I imagine many of you may stay away from this release due the somewhat poor reputation of "Bull of the Woods." Surprisingly, this document of the band is almost as essential as the first two albums. If you have any doubts, note that this is actually the first disc of the set while "Bull of the Woods" is relegated to the second disc. There are some pretty interesting liner notes included as well. Buy it - Roky deserves the royalty checks.

Buy Me:
13th Floor Elevators - 1968 - A Love That's Sound

We're Late For Class - 2011 - Music of the Spheres

2011-06-03T01:21:00.002+09:00

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

These psychedelically-minded musical bloggers have been blasting a few tunes our way every now and again for a few years now, but I think this is one of the better efforts I've heard from them. We're Late For Class is a rather free-form grouping that records whatever abstractions fits their mood at the moment, and it seems that they were in a jazzy, space rock mood for this one. The production quality here is also a nice step up, with a hazy, crisp vibe propelling the sounds into interstellar space. I'm also a sucker for the kind of cosmic cover art that this one sports, and the music reflects it pretty well.

We've got two tracks here that almost form a bit of a musical suite. "Blood Queen of Sun Ra" shuffles along the rings of Saturn, and includes some groovy samples from god knows where. "SOL's Time and Space" drifts along a more conventional, but well played Floydian strut. There's some vibraphone, or xylophone, or somethingmaphone that brands the track with a nice, unique musical identity.

When you need a quick fix of modern psychedelic jamming, We're Late For Class serves well as your sonic dealer with almost 60 shorts sets to tickle your ear. Have a gander at their offerings here: We're Late For Class

Listen to Me:
We're Late For Class - 2011 - Music of the Spheres

Sister Waize - 2011 - Realignment Series

2011-06-02T01:07:00.005+09:00

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

To many, it may seem that creating a drone is a simple procedure - just sit on one note of your synthesizer for 20 minutes or so and let 'er rip. I've given it a shot on several occasions, though, and getting it right is not so easy. This album, happily, gets it right. Sister Waize's latest release isn't so much music as a set of experiences for you to enter. David Mekler, the fellow behind these, calls his recordings 'folding drone music.' I don't quite get that concept, but put these on in the right frame of mind and the visions will surely come.

I typically like to ramble on a bit about the songs, but the tracks here pretty much defy description. Even Mr. Mekler doesn't suggest playing more than one or two of these at a time. In fact, he's created a set of instructions to go along with these albums. I can't write anything better than the man himself, so here's an extended quote to get you ready for this psychedelic dark ride:

"1. Listen at night, before going to sleep. Make sure you are not too tired though because it will be very easy for you to just fall asleep.

2. Be in total darkness, pitch black.

3. Lay in your bed, on your back and make yourself as comfortable as possible. Lay for a minute or two until you've settled into your bed before you start the track.

4. Make sure there will be no interruptions that will take you away from the track before it ends, the whole thing must be listened to in one sitting without interruption (this is extremely important, think about it as losing your train of thought and then trying to continue).

5. Only use decent headphones/good headphones. Do not use earbuds by any means, you will just be wasting your time. Sennheiser is my personal brand of choice, you can easily get a great pair of headphones from them for less than $50.

6. While listening try your best to keep your eyes closed and body still as much as possible. It's very difficult to avoid fidgeting for 20 minutes or so, but try your best. This is so you can give complete attention to the sound as it moves.

7. Keep your mind on the sound and let your mind ride with it. Letting your mind wander is fine, but don't get hung up on anything specific for too long. Just try and let go.

8. If you can, stare at the back of your eyelids while you listen and focus on the colors. This is where the inner eye hallucinations can usually come from, don't stress it too much though, keep most of your attention on the sound.

9. Most songs that I've made which are applicable to what is being talked about here are shorter than a television show... keep this in mind before listening. Understand how long the track is exactly so that you know ahead of time. I say this so that you won't start to think about when it will be over while the song is in progress. I promise you, it will end eventually. They are as long as I feel they need to be, and as short as possible."

I followed the instructions and ended up with a pretty surreal meditational experience. It's certainly far removed from typical music theory, but it serves its intended purpose quite well. It's sort of like what Lou Reed's "Metal Machine Music" could have been if Reed wasn't so busy trying to stick it to the record company. Give it a listen when you're ready. In fact, it's pretty late at night here in jolly old Japan, and I do believe I'm going to go ahead and trip out to a track or two right now. For more of Sister Waize's sonic world, head for this website:
Hidden Dojo

Listen to Me:
Sister Waize - 2011 - Realignment Series I
Sister Waize - 2011 - Realignment Series II
Sister Waize - 2011 - Realignment Series III

The Nirvana Sitar and Strings Group - 1968 - Sitar & Strings

2011-05-31T11:26:00.004+09:00

Quality: 3 out of 5
Trip-O-Meter: 3.5 out of 5

I'm always up for a psychsploitation album early in the morning (oh crap! it's 11:30am), and this one can certainly fill in for the cheese missing from my eggs. Just as the title sort of suggests, we've got a bunch of late 60's hits with the melody lines played on a sitar while 101 Strings-style orchestrations lumber on in the background. You're either in for this ride or you're not.

There's not a whole lot to say about most of this album. These aren't going to replace the revered versions of "House of the Rising Sun" or "The Letter," but they'd make for a wonderful bit of ironic film soundtracking. They did throw the sitar player a bone, however, and let him run wild in the studio for a few original tracks. "Crashing," "Mind Waves," and "Head" all ditch the strings, throw in a few tabla, and give us sort of the Whisky A-Go-Go, L.A. Strip sort of Indian meditation. As you probably know, I'm a sucker for this kind of thing, and those tracks kick up my appreciation of this monstrosity a bit. They actually sort of, kind of match the very groovy cover art, which you can't really say for the rest of this album.

This is a sort of a 'for connoisseurs only' type of release. If you're on the fence about it, you'll find far groovier things hanging around in the Psychedelic Garage,' but I know a few of you are going to dig this (even if mostly ironically).

A Large Chonker of Daevid Allen's Legacy

2011-05-31T11:17:00.006+09:00

Linking guru srecko ujka has been busy adding links for a bunch of obscuro releases from Gong kingpin Daevid Allen in the comments section for Pierre Moerlin's Gong - 1979 - Downwind. I guess it's an inside joke that he put the links on the post for a Gong release that doesn't feature Mr. Allen - the fellow is definitely up on his Gong history (more than myself, really). Thanks for all the links!

Damaged Tape - 2011 - Ambiguous Reality

2011-05-19T11:03:00.005+09:00

I'm always trying to keep from stagnating in my own music, and I think this new set of Damaged Tape recordings takes a step in a notably different direction. The first Damaged Tape album, "Electronic Ocean," was recorded with a very different set up than I have now, and I've been trying to return to the hazy, moody atmospheres of that album ever since unsuccessfully. I think I've finally managed to do so here. There is very little drum programming, and many tracks are based on arpaggiator riffs from my various synthesizers. I often start to make an ambient type track, but eventually find myself drifting in a different, more elaborate direction, yet much of this music makes for what I think is very groovy, shapeshifting psychedelic wallpaper. I had also been listening to a lot of 70's Vangelis during these sessions, and I think "Mathematics of the Genome" and "Sandcastles of Paraguay" hit upon that vibe quite nicely. I've also accepted that I play guitar a lot better than synthesizer, and I tried to mix in plenty of guitar work with the electronics - in fact, "Wheels of Vishnu" barely has a synthesizer in it. I've also been trying to live up to the Damaged Tape monkier a bit more, and have been trying to record with a little more warped sound and grit. While I'm still happy with albums like "Futara" and "Stone God," they sound a little more sterile and polished than I really wanted.

While I do the instrumental heavy lifting, this music would not be the same without the contributions of Scott Atkinson. I always dig his cosmic poetry, and his guidance as I'm recording is invaluable. He's also the fellow who comes up with the song titles (except for the last one), which I think gives the recordings their identity.

A couple of these tracks were recorded with my old roommate Devin Carlen in a late night, wasted recording session. I gave them a listen recently, and a few had a very freaky experimental edge that I still found entertaining six years later. Just as a warning, if you listen to "Waiting in a Time Capsule Trapped in Outer Space" on headphones, it may actually drive you insane - that or make you vomit from disorientation. Either way - you have been warned.

Ah yes, and the fellow you almost see on the cover is Mark Malek, a good friend of mind who I've played in bands with over the years and made a few entertaining Glaze of Cathexis remixes that I'll need to post eventually. We were in downtown Atlanta on our way to Mai Tai night at Trader Vic's when that was taken.

Anyway, here's a track listing for "Ambiguous Reality." I'd love to hear your comments about the songs:

1. The Fluorescent Darkness (2:19)
2. Pilgrimage of the Cosmic Warrior (4:32)
3. Victorian Era Phantoms of the Ganges (2:00)
4. Wheels of Vishnu (5:42)
5. Dance of the Stained-Glass Shamen (4:32)
6. The Tryps to Saturn (2:19)
7. Mathematics of the Genome (3:24)
8. Sandcastles of Paraguay (4:17)
9. The Tropical Glacier (4:07)
10. Ambiguous Reality (8:57)
11. Waiting in a Time Capsule Trapped in Outer Space (4:20)

Listen to Me:
Damaged Tape - 2011 - Ambiguous Reality (256kbs mp3)
Damaged Tape - 2011 - Ambiguous Reality (full quality part 1)
Damaged Tape - 2011 - Ambiguous Reality (full quality part 2)

Hawkwind - 1971 - In Search of Space

2011-05-19T10:43:00.002+09:00

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

Hawkwind has a giant, intimidating discography, and I have to admit that I haven't delved too deeply into it. I do know that I dig this album quite well. The live "Space Ritual" typically gets the love, but I find the sound on that one a little muddy, and Lemmy's bass seems to be out of tune for most of the album (not that this detracts from the awesomeness of Lemmy). I dig the slightly more focused, and better recorded intergalactic musings found here. The band has no problem entering a full on psychedelic heavy metal groove, and there are plenty of wild early synth sounds to keep my attention.

The album opens with the punk rock stomp of "You Shouldn't Do That." It's an absolutely essential track with plenty of wah-wah acid guitar, wild saxophone madness, and some electronic tones to penetrate into the deepest recesses of your brain. This is all capped with some great breathless vocal 'harmonies' making the song's title a mantra. Yeah, it's 16 minutes long, but that may very well be too short. The other classic on this disc is "Master of the Universe," which I suppose is the band trying to usurp Black Sabbath's claim of the title "Master of Reality." I don't know if they quite take down Ozzy, but the psychedelic sludge is a pretty even match and Tomy Iommi probably would have killed all of Hawkwind to steal the guitar riff if he had had the chance (dammit, I need to write about heavy metal more often). "We Took the Wrong Step Years Ago" is a meditation on if the band had focused on progressiv bluegrass I suppose, while "Adjust Me" is a wandering experiment that doesn't quite pay off.

At this point Hawkwind was sitting a point right in the middle of progressive rock, heavy metal, and psychedelia, and it was a pretty groovy place to be. I don't know if this is really Hawkwind's best effort, but it is the one that I find myself listening to over and over again.

Parson Sound - 2001 - Parson Sound

2011-05-19T10:21:00.003+09:00

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

A fellow sent me this a few months ago saying that it was the most psychedelic, mind-blowing thing he'd ever heard. While I'm not sure I'd give it that superlative, Parson Sound is a monolith of an album that certainly ranks in the upper tier of the 'trip-o-meter.' The date on this set is 2002, but the recordings of this certifiably insane Swedish band actually date from 1967-1968, during which time these guys rubbed elbows and picked up some pointers from avant-garde royalty like Terry Riley and Andy Warhol. In fact, a lot of this music does recall the Velvet Underground (which is actually a pretty impressive influence for 1967-68) playing krautrock. Most of the tracks are long form, noisy, psychedelic brain busters that will enjoyably test your endurance.

The slightly misnamed "10 Minutes" (it runs 10:30) introduces the band basic sound well, moving from an in your face acid rock and viola barnstormer to a more jazzy Canterbury-like vibe. To really test your mettle, though, head for the 20 minutes of full voltage insanity on "From Tunis to India in Fullmoon (On Testosterone)" or the 30 minutes of acid rockin' blues on "Skrubba." I'm sure Acid Mothers Temple has this hanging around somewhere in their record collection. This is a full blown experimental rock album, and there are some nice deviations from the seemingly endless sonic storm. "A Glimpse Inside the Glyptotec 66" is a cool, tape manipulated track of guitar feedback and maybe some viola - it certainly beats Brian Eno and Robert Fripp's collaborations to the punch. These a fun flute and percussion piece with "On How to Live," and "Blaslaten" goes full Terry Riley style, with of bunch of blaring woodwinds playing cyclic, interweaving parts.

This album really does require a lot of your attention, but it's very rewarding for those who dare to tread upon this sonic ground. It's really unfortunate that it took more than thirty years for this stuff to see the light of day - it would have been amazingly groundbreaking at the time. But at least we've got an awesome psychedelic confection for the ear of the modern listener.

*Hmmm... after taking a look a the All Music Guide, it seems that we're hearing a lot of cello - not viola. That's kind of embarrassing since I actually am a cellist.

Glaze of Cathexis - 2003 - Visits Planet Earth

2011-04-24T19:33:00.006+09:00

Once upon a time, Glaze of Cathexis was an actually gigging band in Athens and Atlanta, Georgia. These recordings pretty much sum up the recording legacy of that version of the band. Although I've always been psychedelically inclined musically, I tried to keep the democratic vibe working and there's a definite indie rock vibe to this music that I don't tend to go for these days. Bassist (and occasionally guitarist) Devin Carlen picked up on the fact that I didn't want to be the band dictator and was a major musical contributor to the arrangements and production; he's now part of the ghostly Americana band Gunstreet Glory - based in Seattle ('Dark Alley' is a clear indicator of where he was going).

We headed for the studio with our live set and a few more mellow tracks ready to record and bashed out the recording in a day-and-a-half, with another two-and-a-half days devoted to mixing and mastering. I'd say we did a pretty decent job in the time crunch. I didn't have any real production experience, but we chose Radium Recording because they recorded to half inch tape. I handed the engineer, Chris Bishop, a copy of the Jam's 'Sound Affects' and told him to make the recordings sound like that, and I think he more or less hit the mark. I hadn't really mixed anything at that point either - if I did it today I'd definitely crank up the vocals and the 12-string Rickenbacker (which I've now unfortunately sold), but when you're in the studio for the first time, you definitely feel like a bastard telling the engineer to crank up your own parts. With money and time a concern, I didn't have too many passes at the vocals, so the main thing that makes me cringe nowadays is that some of the vocals aren't quite, uh, in tune.

While I was pretty happy with the finished results, I couldn't resist but do a bit of 'Lucas-ing' to the recordings. I've added tambourine to several tracks, and added just a touch of Moog to three of them. My most drastic recording, though, was to the track 'Folk Hero.' I added some vocals to the instrumental bridge (I didn't have the balls to do Beach Boys harmonies with the guys around in the studio, y'know), along with a double tracked vocal to the chorus as I could barely make out the original vocal. In full disclosure, we also played under the name 'Rocket Number Nine,' but when myspace came around a few years later I realized that there were, like, 27 bands with that name. Thus, we're going to file this as a 'Glaze of Cathexis' recording.

I've added a few bonus lives tracks to the album as well. Devin and I tended to get rip roaring martini drunk live and do our best Replacements impression. Plus, this is about the only way you're going to hear Dr. Schluss in a live setting - in fact, I haven't played a live show since this 2006 recording. I don't have too many gigging opportunities out here in the mountains of Japan.

Listen to me:
Glaze of Cathexis - 2003 - Visits Planet Earth

Oneida - 2009 - Rated O

2011-04-18T20:08:00.003+09:00

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

The second album in Oneida's as-yet-unfinished album triptych makes me think that there's nothing other than the artwork to tie them together. Not that that's a bad thing. Oneida gets prolific here and churns out a triple album. It's probably a good rule of thumb that no one should go for the triple album (ask the Clash), but here it seems more of a matter of organization. Each disc is extremely distinct. The first is an electronic fused ball of experimental sounds, while the third is devoted to the band drone jamming to more live grooves. These two discs are probably better than 'Preteen Weaponry' and for me positions the band as the most deserving heirs to krautrock making music today (we'll ignore the fact that Oneida is from the NYC area). The second disc doesn't hold my interest nearly as much, as the band ads vocals and goes for a more standard indie rock sound - granted it's droning, intense indie rock, and it probably works well in a concert setting, but it's by far the disc I play the least.

Just to screw with your mind, the first disc makes me think of a modern update of Can's "Tago Mago," although I'd certainly say that that particular album does remain far ahead of its time. "Brownout in Lagos" definitely fits its title, with a low rent booming bass sound vying with claustrophobic, mildly dangerous sounding electronic squiggles. "Story of O" gives us the unprocessed band's first trip out with Kid Millions providing another amazing drumming setpiece. Of the late space jams, "O" is about as peaceful as this band gets, with some sitar sounds trying to scale a mountain of tribal drumming and electronic drones. "Folk Wisdom" is a long trip through the psychedelic battleground, and could probably be substituted for a side of an Ash Ra Tempel album without anyone knowing the wiser.

Oneida tries out a whole like of different masks on this monster of an album, and typically manages to pull it off. I'll be the first to admit that I far prefer the wild excursions through interstellar space as opposed to the more grounded tunes found on the second disc, but the bands chops shine through the whole thing (well, except those damn indie rock vocals). If you've warn out the grooves on all those vintage Can albums, this isn't a bad place to go.

*Note: Part 3 was released on Jun 6, 2011 under the title "Absolute II"

Oneida - 2008 - Preteen Weaponry

2011-04-18T19:30:00.003+09:00

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

Oneida has been rocking insane noise drones for years, but I had never come across their music until a few years ago. This release is supposed to be the first of a three album concept (we've seen the second as of this writing as well), but I don't think that really matters when you give your ear over to the music. The band jams with wild, krautrock style abandon while also channeling the punkish sonics of fellow NYC bands like the Velvet Underground, Suicide, and Sonic Youth. It'll pummel you into a musical trance instead of gently nudging you into one as Indian or ambient music tends to do. I'd be remiss not to note strangely named Kid Millions, who serves as the bands drummer. Although always in control, he tends to take the point, pounding the holy hell out his drum kit as the rest of the band grooves on a drone.

There are only three tracks here, all bearing the album's name. Part One lunges into an insane tribal beat, with the guitar and a keyboard occasionally suggesting a bit of melody while the bass serves as an anchor. The second part is a slower drone that suggests a bit of the stranger side of space rock, although it's a space stuffed with fuzz. A electronically processed (but clearly performed) motorik beat grounds the third part as odd electronic sounds float above the surface.

Perhaps not as wildly groundbreaking as the best of the 70's krautrock bands, Oneida certainly knows how to pack a sonic punch. For me it's mostly one hell of a drum performance while the rest of the band does a fine job adding the icing on their, uh, cake of sound.

Faine Jade - 1968 - Introspection

2011-03-31T11:16:00.004+09:00

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

I've had this album lying around for a few years now, but I never really got around to listening to it- I think I found the band's name somehow unappealing. Anyway, that was my loss as this is a first rate collection of sun-drenched psychedelic rock. Faine Jade isn't a band either as it turns out this is a solo LP and that's the feller's name - sort of an opposite version of the Lynyrd Skynyrd - Jethro Tull - Pink Floyd conundrum. As often crops up on this blog, Pink Floyd is also a notable signpost for the music here as Faine Jade's songwriting and vocals were definitely taking notes from Syd Barrett, and he does a damn fine job of it. Still, the thing that really makes this a notable release is that Jade takes the sound of British Psychedelia and executes it as a garage-rocking, awesomely low rent version of the L.A. studio sound. A very groovy sound indeed.

There's not a bummer among these tracks - I try to not just throw around my 5 ratings. If you're looking for a straight up Americanized Barrett fix then you can't go wrong with the great "Games People Play," or "In a Brand New Groove." For straight out rocking, Faine Jade gives you the one-two punch with "I Lived Tomorrow" and "Ballad of the Bad Guys." "Cold Winter Sun" manages to sound like Galaxie 500 20 years before that band even started recording. You'll also find some strong psychedelic ballads on the title track and the "All You Need Is Love" echoing closer "Stand Together." I also find that "On the Inside" comes across as a nice extension of David Crosby's freaky later work with the Byrds. The only track here that might try your patience is the freak-out jam/sound collage "Grand Finale," but if you've got a soft spot for "Revolution #9" (as I do), then it'll all be groovy, yeah?

Really, this album belongs in the Pantheon of top rate, obscure psychedelic rockers like Rainbow Ffolly, July, or The End. In fact, it may be the best of that particular bunch. Faine Jade somehow managed to take pretty all of my favorite stylistic touches of 60's psychedelic rock, and get them all in the same place. It's like he was reading my mind eleven years before I was even born!

Afterglow - 1968 - Afterglow

2011-03-31T00:39:00.003+09:00

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

Coming out of Oregon, this band doesn't have any particular innovations to offer, but they do have a groovy, listenable sound. They often skirt the boundaries of sunshine pop, all anchored by a wonderfully cheesy Farfisa organ sound. The band doesn't really have a ton of originality - much of this is aping more established acts like the Byrds and the Mamas and the Papas. Still, they were able to create a very consistent album that would swing at your retro-party.

None of the songs here are particularly bad, even if many of them do go sailing on the seas of cheese and nothing stands out to strongly. "Susie's Gone" is the most notable freak out on display here with acid-soaked vocals, and oddball beat and a melting, twangy guitar sound. "Chasing Rainbows" got stuck in my head for a few days, while "It's A Wonder' sports a pretty nice guitar riff alongside its sunshine vocals. I can't help but notice that "Mend This Heart of Mind" sounds suspiciously like the Byrds "Here Without You." It makes me think that Afterglow may be coming a little too close to some other songs that I'm just not catching at the moment.

There's nothing here that's going to blow your mind, but this is a pretty groovy slab of garage band sounding late sixties sunshine pop. While the date on this album is 1968, I think this music would have been a lot more at home about two years earlier. Still, most of this album will at least put you in a pretty good mood. Let's call it brain Jell-O.

Beachwood Sparks - 2002 - Make the Cowboy Robots Cry

2011-03-10T15:44:00.003+09:00

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

Although Beachwood Sparks never came through with a proper third album, they did crank out this wonderful EP, which probably contains their best music. While maintaining true to their borrowed credo of 'cosmic American music,' the band modernizes it's sound somewhat with some synth runs and stylistic acknowledgement of the indie scene as of 2002. Along with the now expected nods to the Byrds, Gram Parsons, and the Buffalo Springfield, there are also echoes of peers such as Gorky's Zygotic Mynci and Grandaddy. This is especially good news for Chris Gunst - the music here is a much better fit for his vocal style. I'd say the band found their niche here - it's too bad that this is the end of the line so far for Beachwood Sparks.

The EP is bookended with the band's absolute best songs. "Drinkwater" is a trip-and-a-half, taking an awesome guitar part and dreamy vocals through sections of hazy reverb and full blast guitar buzz. "Ghost Dance 1492" is like the late 60's, tripped out Beach Boys moving their operation to an Arkansas hippy commune while simultaneously cranking up the amplifiers and drafting an insane acid guitarist into the band (not like that band's turdish 'Bluebirds Over the Mountain'). The meat inside the sandwich is pretty groovy as well. "Hibernation" is a very creepy ballad with a hint of crazy Roger Waters' era Pink Floyd wafting around in the mix, while "Sing Your Thoughts" brings in a fine mellotron-like part. Every track here has something interesting to offer.

Even as a 30 minute EP, this clocks in longer than some classic LPs that these guys were definitely listening to like the Byrds The Notorious Byrd Brothers and Younger Than Yesterday, or the Beach Boys' Friends, so I think it's safe to think of it as a proper album given the band's slim discography. And what an album it is! It jettisons some of the authentic sounding 60's sounds that the band previously did so well, but the modernist touches create an full-blooded identity for Beachwood Sparks that is surely worth your ear.

Beachwood Sparks - 2001 - Once We Were Trees

2011-03-10T11:39:00.003+09:00

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

For their follow-up full-length album, Beachwood Sparks decided to take the old school double LP route. The band has made a few alterations to their sound, which end up pretty much being a zero sum game, but at least keep things sounding different. The songwriting has definitely matured since the debut album, but it doesn't always have the hooks that penetrated your brain on that one. I think the band probably realized that Chris Gunst's unadorned voice wasn't always the best idea, and they slather a bunch of reverb on much of this music. It does sound psychedelically groovy, but it's at the cost of some of the crisp late 60's L.A. sounds that the band recreated so well on their self-titled album.

The band front loads this album with their most hooky material - the rockin' psych hoedown of "You Take the Gold" will become stuck in your head forever, while the band nails their Byrds and Buffalo Springfield homages right of the bat with "Confusion is Nothing New" and"The Sun Surrounds Me," respectively. Later on, the band presents their best echo-chambered ballad on "Close Your Eyes." On this disc, the band ventures a little more into psychedelic freak out territory with some awesome wall of cathedral sound passages in "Let It Run," some full blooded weirdness on "Juggler's Revenge" and the properly epic title track. But this album got attention upon its release due to the left field cover of Sade's "By Your Side." Really, it's not the best thing on this album, but it is nicely appropriated to the band's sound and pretty entertaining.

Beachwood Sparks managed to both mature and find some new sonic territory on this LP - at the end of the day it stands on a pretty even keel with their debut. It seems that in 2011, this band has been all but forgotten, but there are plenty of sounds that will make this a welcome surprise.

Beachwood Sparks - 2000 - Beachwood Sparks

2011-03-10T11:14:00.002+09:00

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

Beachwood Sparks took Gram Parsons' concept of 'cosmic American music' very seriously. As much as I like Gram Parsons, I was always a little disappointed by his own execution of this idea - I wanted more 'cosmic' sounds in the music. The Sparks apparently agreed, and this album is a wonderful fusion of the songwriting and vibes of the Byrds' Sweetheart of the Rodeo and the psychedelic pyrotechnics of that bands previous three LPs. To sweeten the deal a little, there are some stylistic touches borrowed from the Beach Boys and the Buffalo Springfield as well. That said, Beachwood Sparks does have a bit of an unfortunate Achilles heel - the voice of lead vocalist Christ Gunst. He's afflicted with the same problem that plagued so many indie bands around the year 2000, a sort of over-warbly, sad, whiny tone. The lonesome reedy tone of a Gram Parsons or the confident warble of a Roger McGuinn or Neil Young would have put this album over the top as an absolute classic, but I often find myself wanting to slap Gunst's voice and tell it to pull itself together. Fortunately, Gunst is often in a mix of harmony, where it works much better.

The first song, while well written, is also the worst case of Gunst's unadorned voice muddling up the proceedings. Head for "Silver Morning After," a great harmony-laced, cosmic country pop to get you in the mood for this album. "Sister Rose" takes the sound of Parsons' "Lazy Days" into interstellar space, while "This Is What It Feels Like" takes a brief detour into rockin' Beach Boys territory, while the band goes for a countryfied Smile sound on "Old Sea Miner." The best track here, though, is "Something I Don't Recognize," which detours much of the country sounds to head straight for the core of 1967 L.A. psychedelic rock. You'll also head several well done psychedelic country ballads which are generally well done, but didn't leave as much of an impression on this listener. I do have a soft spot, though, for the short experimental pieces like "Ballad of Never Rider," "Singing Butterfly," and "Sleeping Butterfly."

Coming annoying short of hitting all of their marks, Beachwood Sparks' debut LP still makes for some mighty fine listening. Give enough time to really get into this fine realization of a 'cosmic Americana' sound and you'll find yourself putting this into your rotation.

Dr. Schluss - 2011 - Reprograms Your Mind

2011-02-25T01:01:00.002+09:00

This is the music that I tend to listen to while hanging around on my balcony, waiting for inspiration. Quite a bit of it is sort of ambient and drone filled, but it's the kind of stuff that I really dig. I often hang around listening to the sounds around me and looking for glimmers of light while listening to this stuff, predicting the chance that a train will soon pass by. I don't live quite as close to the train tracks as Elwood Blues, but I'm plenty close. Since I'm lazy, I never got around to making a compilation of my favorite albums from 2010, but if you read into this tracklist, you'll get a good idea about what I got into. For the record, Tame Impala's "Innerspeaker" was my number one album last year. There's plenty of other tunes milling about here as well - most of it can qualify as psychedelic, but I've got to give space for musical dieties like Charlie Parker as well. Give it a listen - I hope you'll find it as groovy as I do.

Track List:
1. Desire Be Desire Go - Tame Impala
2. Double Helix - Emeralds
3. Divergent Paths - Panabrite
4. One With the Sun - Santana
5. In Motion - Trent Reznor & Atticus Ross
6. Please Take - Wire
7. Counting Sevens - White Hills
8. Synesthesia - The Electric Flag
9. Fireflies on the Water - Arp
10. Wasting Time - This Love is Deadly
11. Same Dream China - Gold Panda
12. Bongo Bop - Charlie Parker
13. The Game Has Changed - Daft Punk
14. Chariot of the God - Deodato
15. We Got the System to Fight the System - Maserati
16. Alice et Simon - Sonic Youth
17. Sun Demon - Stereolab

The Electric Flag - 1968 - A Long Time Comin'

2011-02-24T00:19:00.003+09:00

Quality: 3.5 out 0f 5
Trip-O-Meter: 1.5 out of 5

With the name 'The Electric Flag,' a great psychedelic album cover, and the fact that the band's previous work was the soundtrack to "The Trip," you'd be forgiven for assuming that this album was a prime psychedelic work. For better of for worse, that's not the case. This is very much an album of horn-driven blues rock, although I certainly dig it more than what Chicago or Blood, Sweat, and Tears ended up doing with their horn sections. We've also got the phenomenal guitar of Mike Bloomfield and Buddy Miles' awesome drumming to tide us over, but it's not really a psychedelic affair. It's really more of a legitimate take on what the Blues Brothers were humorously aiming for.

There is a pretty groovy version of "Killing Floor" on display here - it's not quite up to the level of Hendrix's cover or Howlin' Wolf's original, but it's pretty groovy. For you psych spotters, the extended "Another Country" is your best bet, although it eventually does settle into blues jam territory - but again, the musicianship makes it worth your time. "Over Lovin' You" also hits a few trippier spots with its harpsichord passages.

Yeah, this is very much a blues rock sort of affair. I'd wager that it's the least psychedelic thing I've covered here at the garage, but if you're in the right mood, it can certainly find a few musical sweet spots.

The Electric Flag - 1967 - The Trip

2011-02-17T10:51:00.005+09:00

Quality: 3.75 out of 5
Trip-O-Meter: 4.25 out of 5 (but varies greatly by track)

Way back in days of legend gone past (aka 2007), I did a review of the awesome psych-sploitation film "The Trip," which you'll find by clicking "The Trip." I tried to be as objective as possible, and I don't disagree with my old review. Yet despite (or maybe because of) its flaws, it ranks as one of my all-time favorite films and one of the few that I watch at least once a year. This soundtrack, by the Electric Flag, mirrors the film in terms of quality. It has moments of pure, yet manufactured psychedelic brilliance along with a few charmingly dumb sounds. The credits that I tracked down say that blues guitar god Mike Bloomfield wrote all of the music here, which I have trouble believing (and drumming deity Buddy Miles didn't write anything?). Maybe he just did a lot of tripping while working on this one - I guess the whole band did - this sounds absolutely nothing like their proper albums. While there very little horn driven blues rock, there are plenty of great psychedelic tapestries on display, goofy vaudeville inspired tunes, and aimless jamming. Fortunately, when Bloomfield is playing on top of the aimless jams, it remains pretty entertaining. It's even more entertaining in the movie when Bloomfield is wailing away on the soundtrack, yet we see Gram Parsons (who had absolutely nothing to do with the Electric Flag) playing something entirely different on screen. There's also a little bit of early Moog usage scattered about for all of you synth geeks out there.

The real 'money' on this disc musically are the phenomenal Hollywood psych instrumentals. Since we all live in the future, and can program albums however we want now, stick "Peter's Trip," "Joint Passing," "M-23," "Synesthesia," "A Little Head," "Inner Pocket," "Fewghh," and "Flash, Bang, Pow" all together and you'll get one of my personal favorite 15 minute blocks of music. Feel free to add the more traditional jams that actually sound like the Electric Flag from the latter half of the album - you can basically start at "Home Room" and go until the end of the album - but take out the goofy, fake dixieland of "Senior Citizen." You can program that with the equally ridiculous "Psych Soap," "Hobbit," and "The Other Ed Norton," play it in an endless loop, and drive yourself insane. "Green and Gold" is sort of an outlier. It's a pretty groovy fake Tex Mex track. Realistically it probably fits in with the "Senior Citizen" camp, but I like to program it along with the "Peter's Trip" clutch of tracks.

If you're already a fan of this movie, there's no way that you won't absolutely dig this soundtrack - warts and all. For those of you coming in from the outside, there are some treacherous waters, but you'll likely find some psychedelia or blues jamming to your liking. And for that guy out there who considers Harper's Bizarre his number one favorite band - you'll fall in love with the other tracks.

The Electric Banana - 1967-ish - Blows Your Mind

2011-02-10T11:36:00.002+09:00

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

Unfortunately for the Pretty Things, they weren't quite in the top tier of moneymaking British rock bands and had to moonlight recording film soundtrack music under the psuedonym The Electric Banana. Fortunately for us, this means that there are a bunch of other songs recorded by the band around their S.F. Sorrow prime. If S.F. Sorrow is the Pretty Things' Sgt. Pepper, then this is their Magical Mystery Tour. This collection doesn't hold together as an album the way S.F. Sorrow does, nor does the production sparkle quite as much, but it doesn't really need to. You can take these on a song-by-song basis, and on that criteria you'll find quite a few gold sonic nuggets.

I love the tribal pounding "Alexander," which repurposes a short bass riff from "Defecting Grey," and build onto that to make a first rate psychedelic rocker. "Blow Your Mind" and "Rave Up" do just what they promise to do, with the band a full tilt and giving the Yardbirds a run for their money. Elsewhere, "Eagle's Son" is a great anthemic sounding track which the band probably could of used as a single. "If I Needed Someone" is not a Beatles cover, but a horn-laced ballad that shows off the band's softer side (which is good, but admittedly not as awesome as their balls-out rocking side). "I See You" is a rerecording of the S.F. Sorrow track - it's not as good, but it's still an interesting take of a great song. They do drift a little too close for comfort into pop cheesiness on the twee "What's Good For the Goose," while "Danger Signs" goes for the Motown sound and misses the mark. But since there's not really much flow to this collection to start with, they are easily ignored.

You'll hear some of the Pretty Things at their best and worst as the Electric Banana, but the balance definitely tilts to the positive side and this serves well as a companion disc to S.F. Sorrow. I only recently became aware of this set recently, and it was certainly a very groovy surprise.

The Pretty Things - 1968 - S.F. Sorrow

2011-02-10T11:03:00.002+09:00

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

A full-length rock opera that predates the Who's Tommy, S.F. Sorrow is also a prime slice of British psychedelia that works just as well as the best of the early Pink Floyd, or psychedelic-era Beatles or Stones. In fact, this album is a third sibling to the better known Sgt. Pepper's and Pink Floyd's debut. These tracks were recorded at Abbey Road studios around the same time, with Beatles engineer Norman Smith serving as producer. The Pretty Things were a grungier, R&B sweating group, however, and this is by far the crunchiest of the three albums. Fortunately for you psychonauts out there, this is not at the expense of great songwriting and psychedelic flourishes. The lyric aren't quite as transcendent as the best of Bob Dylan and John Lennon, but they are good enough to be a reference copy for tripped out 60's psychedelic lyrics. As far as the rock opera story goes, I have no idea what the hell is supposed to be going on, but just as on Tommy, it doesn't really mater when the songs are this good.

There is no lack of phenomenal songs on this recording. While the opening track is very good, the creepy chanting vibe of "Bracelet of Fingers" is the first sign of perfection. It like the ghosts of the 1967 Beach Boys alternating with a whimsical Syd Barrett punch. I'm also a big fan of the insistent beat and sound effects of "Balloon Burning." My favorite thing here, though, is "Baron Saturday," which somehow sounds like a mid-70's Bowie track on the verses, while vocalist Phil May does a dead-on Lennon impression on the majestically psychedelic chorus. We also get a wall of delayed, Sun Ra-like percussion and short trip into an acid-fried happy land before blasting back into the chorus. Great stuff! For the big finally, there's a bit of full-blown, proto heavy metal on "Old Man Going." An amazing thing about this album is how often the Pretty Things managed to anticipate future styles of music. And before we move on, let me give a quick shout out to the criminally underrated guitarist Dick Taylor, who rattles off one awesome lead after another throughout the album.

We have a few fine bonus tracks here, but I'd be remiss not to address "Defecting Grey." This was a single, presented here in an unedited, five minute version. It's one of the best 60's psychedelic singles, period. It juxtaposes wildly demented psychedelic music hall sounds with wild acid rock rave-ups and pop bridge sections and ties it all together with noise and entertainingly jarring shifts. It's sort of like scanning through the 1967 radio dial from beyond the psychedelic curtain.

Like the other psychedelic Abbey Road albums, the mono mix is by far the superior mix. The stereo suffers from ridiculous stereo panning that dilutes the power of the band and a lack of skill in creating a proper psychedelic soundfield. Chances are a fair amount of you reading this are already perfectly familiar with this album, but it always a nice disc to revisit. If you haven't heard this, you're in for quite a treat - this could be your new favorite album.

Ulrich Schnauss - 2007 - Goodbye

2011-01-26T11:13:00.004+09:00

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

This is the end result of Schnauss' obsessions with icy style electronic sounds and shoegazing aesthetics. Here we have a digital shoegazer classic that I feel ranks only a tiny cut below the best of My Bloody Valentine or Slowdive. A big development here is that Schnauss seems to have really focused on pure songwriting. His earlier album featured fine melodies and a few nice vocal hooks, but they still had the 'sound sculpture' feel that often shapes straight up electronic music (not that I dislike it - I typically take the 'sound sculpture' approach to my Damaged Tape compositions). Here, several songs are fully formed as a good rock band would do, or in Schnauss' case a good shoegazing band. In fact, while close scrutiny does reveal the hand of a skilled electronic producer, Goodbye often has the feel of a band recording - of course a very trippy band.

"Never Be the Same" is a nice announcement that Schauss will be going for a purer shoegaze sound with some fine female vocals and the trippy walls of echo in full effect. Schnauss typically appropriated the textured clean sounds of the quiet side of shoegazing, but on "Stars" he finally tackles the full on distorted guitar roar of My Bloody Valentine, and it results in one of his best tracks. Schnauss then indulges in several great, more ambient tracks - he is a master of this kind of tune - before opening the sonic gates of distortion once again on "A Song About Home." The guitar riff is a little reminiscent of Slowdive's "When the Sun Hits," but I'll give Schnauss a pass as that Slowdive track is one of my favorite songs in general. "Goodbye" is a nice crossroads of all of the styles Schnauss typically mines - perhaps he's suggesting that his next original album (which we're still waiting for in 2011!) will try something entirely different.

If this is 'goodbye' to Schnauss' shoegazing obsession, then this album is a fine send off. I just hope that he didn't mean 'goodbye' from music as we're still waiting for more (Schnauss did release a remix collection a year or two ago). But for you aging hipsters out there that can't get enough of these sorts of sounds (and hopefully a few of you young pups as well), then Goodbye is one of the best recent showcases you're likely to find.

Ulrich Schnauss - 2003 - A Strangely Isolated Place

2011-01-26T10:57:00.004+09:00

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

Ulrich Schnauss doesn't make a drastic change in his sound on A Strangely Isolated Place, but he mixes up the details just enough to keep things interesting while generally maintaining quality control. Whereas his debut album was very cold and clean sounding, he grunges up the production a little bit for many of these tracks. They're still chilled out electronica with a shoegazing aesthetic, but the atmospherics end up much more varied with some distorted drums and high altitude crackling.

"Gone Forever" is the poppiest that Schnauss had gone up to this point, with an ethereal vocal hook serving as the signifier of the track. A propulsive bass line and a buzzsaw synth pushes "On My Own" a little harder than Schnauss had attempted up to this point. "Monday - Paracetamol" has a dirty, underwater sound that I suppose perfectly rflects the title, while "Blumenthal" has some huge synth that ramp up the ambient aspects. In fact, I would have been happy if the track never developed into a full blown production, although I have no complaints about the chiming melody in the second half. The title track is a multi-part affair which also does a fine job with ambient sections while also managing a spot of grungy shoegazing in the middle.

This is often cited as Schnauss' best LP, although I'd have to say it's actually my least favorite of his albums so far. That's not to say I don't like it - I do - but these tunes don't quite burrow into my brain the way some of his other efforts do. You may have a different reaction to this sonic narcotic.

Ulrich Schnauss - 2001 - Far Away Trains Passing By

2011-01-26T10:28:00.002+09:00

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

I think Ulrich Schnauss is one of the more underrated musicians of the past decade. Along with his German countrymen (and women), Guitar, Schnauss has been taking aim an a great Euro-brand of shoegazing and electronic fusion. It's not the most original musical idea, but Schnauss' production talent allows him to work it into a state of near perfection. I think Schnauss is much better playing to his own strengths as his discography is wonderfully consistent, whereas Guitar got pretty hit-or-miss after their phenomenal first album. But we're here today to give a listen to Schauss' also great debut. The electronic quotient here is a little higher than his later albums, and while rarely lapsing into simple copying, the sounds here often evoke Air, Boards of Canada, and the quieter moments of Slowdive.

The album sets tone with the perfectly chilled out sounding "Knuddelmaus," and the album more or less hew closely to that sonic template. Some 'delayed to infinity ' guitars make their way into the sonic mix for the great "Between Us and Them." In fact, I feel like this does a better job of nailing down the electronic shoegazing sound of Slowdive's final album better than that band was able to do itself. "Molfsee" is the most derivative sounding track on the album, but it would fit perfectly well on a Boards of Canada album without anyone noticing that it was by a different creator. "Nobody's Home" brings the sound a little more above ground than the rest of the album, but it still features some wonderful dream pop textures.

My copy of this album came with a bonus disc which is good enough to make this qualify as a double album. These singles and B-sides fit in perfectly well with the rest of the album. The highlights include a great cover of Slowdive's "Crazy For You" and "Wherever You Are" ramps up the energy, which seems to be a signpost for where Schnauss would go on future releases. You'll even get a touch of vocals on this otherwise instrumental collection. In fact, the only dim spot on this bonus set is "As If You've Never Been Away," which comes a little too close for comfort to U2's "With or Without You."

This is a very modern sounding album, and definitely mining strains of psychedelia developed in the past couple decades. As I'm sure many of you do, I love vintage krautrock, but Germany has definitely shown a propensity for great electronic music over the past 15 or so years, and this is a great calling card for that.

Black Moth Super Rainbow - 2007 - Dandelion Gum

2011-01-19T10:42:00.002+09:00

Quality: 4.5 out of 5
Trip-O-Meter: 4.75 out of 5

I've been digging this one on a pretty regular basis for the past three-and-a-half years. This very psychedelic synth loaded band hails from Pennsylvania and can rightfully lay claim to one of the trippiest pop albums of the past decade. There's plenty of novelty on this record with all of the vocals being run through a vocoder and plenty of goofy analog synths sounds often competing with mellotrons (or a good approximation of one). Still, the band steps up to the plate with some great songwriting and top rate psychedelic atmospherics.

This is an album that washes over you entirely, and there's not a bum track among the bunch. Even some of the experimental tracks rise above the 'filler' status as they do a fine job of transporting the listener through the album. I will give you a few starting points, though, to get you hooked. "Jump Into My Mouth and Breathe the Stardust" comes across as Beck on quaaludes with it's crusty acoustic guitar riff occasionally becoming overpowered by huge washes of mellotron, synth, and strange sound effects. "Lollipopsichord" seems to physically twist your mind with its reality bending synth riff. Actually, I think this would have been a fantastic album opener. The band does a fine job of building off of French electronica bands like Air and Mellow - "When the Sun Grows on Your Tongue" definitely would have fit well on one of Mellow's albums as a standout track.

This is an album that begs for plenty of repeat listening. Although many of the influences are clear, Black Moth Super Rainbow certainly appropriates them into a very groovy sound trip. If you have the opportunity, I'd recommend picking this up on vinyl. The trippy cover art is also bubblegum scented and the discs themselves of printed on strange bubblegum coloured vinyl.

Buy Me:
Black Moth Super Rainbow - 2007 - Dandelion Gum

Ravi Shankar and Ali Akbar Khan - 1995 - Master Musicians of India

2011-01-19T10:12:00.003+09:00

Quality: 5 out of 5
Trip-O-Meter: 4.75 out of 5

One would expect much from a collaboration between Ravi Shankar and Ali Akbar Khan, two of India's most revered classical musicians, and this album does not disappoint. Shankar is probably the most visible Indian musician to westerners, and of course has done much to bring that music to the West. Khan is the 20th century participant in a family chain of master sarod players (the sarod is a sort of Indian lute) which stretches back to the 16th century. This music is firmly grounded in Indian musical traditions, and manages a rarified mystical aura that only the best musicians can achieve. I'm not sure on the particulars of this set (1995 is simply the tag on my files), but I believe that the first two tracks are from concert recordings in the early 70's, while the third track is a bonus track. Feel free to correct me.

Both the recording quality and the intensity of the music seems to build throughout this album. "Raga Palas Kafi" evokes primordial awakenings, with the string players weaving around each other mostly unaccompanied (some tabla begins pulsing in the last few minutes). There is far more tabla in "Raga Bilashkani Todi," allowing the music to ground itself a little more after floating through the vapors of the first track. It's worth noting that Shankar and Khan manage a perfect synergy, with neither pushing forward too much, but both making their musical identities clear. The third track, "Bangla Dhun," has a much more festive, lively sound, with very defined melody lines and a jolly roll to the tabla beat.

Regular readers of this blog are probably aware that I consider Indian music to be just as, if not more psychedelic, than the freakiest of 60's rock. This album has nothing but the ethereal sounds of Indian classical music, but it is definitely music that speaks directly to your mind's eye. It doesn't get much better than this with two masters performing at the top of their game, so I can recommend it without reservation.

Gary Lewis - 1967 - Listen!

2010-12-23T19:45:00.004+09:00

Quality: 4 out of 5
Trip-O-Meter: 3.75 out of 5

Gary Lewis was the leader of the Playboys, a group I have to admit I know absolutely nothing about, but it's clear from this LP that the man knew how to make some great sunshine pop on his solo outing. Lewis' voice belongs to the A-list, the musical side of the songwriting is generally top notch, and the better tracks here rival the work of Curt Boettcher or the Beach Boys. I'm sure it doesn't hurt that the legendary Jack Nitzsche was on hand for the arrangements. That rarefied late 60's L.A. pop-psych production sheen is on full display here as well. It's a shame this album didn't share the charts with folks such as the Mamas and the Papas or Spanky and Our Gang - the chops are certainly present and I'd be willing to say that this is a stronger album than those groups typically managed.

There are many fine tracks present here. A few of my favorites are the opening widescreen pop blast of "Jill," "Look Here Comes the Sun," which managed to rip off the Beatles' title before the Beatles had even written their Abbey Road song, and "Angel on the Corner," which could have fit perfectly onto one of the Beach Boys' late 60's LPs. There's an early attempt at country rock with "Reason to Believe," and a bit of a doo wop vibe on "Young and Carefree." Only the bubblegummy "Happiness" comes across as particularly annoying, and the production sheen almost makes me want to give it a 'get out of jail free' card.

I don't typically see this album trumpeted as an A-list sunshine pop LP, but it really is one of the better ones I've come across. Be prepared for an overdose of happy vibes, but that's almost always a prerequisite for this sort of album anyway. Truly I say unto you... Listen!

David Hemmings - 1967 - Happens

2010-12-23T19:17:00.005+09:00

Quality: 3 out of 5
Trip-O-Meter: 4 out of 5

Actor David Hemmings, best known for his starring role in the classic Blow-Up, accepted the call that many other actors have heard, and attempted to cut an album. Fortunately for us, it's a psychedelic folk-rock oddity - certainly of more interest to my loyal blog readers than the musical rantings of Bruce Willis or David Hasselholf (although the latter's drunken video rantings are worth a listen). The main thing holding this album back from greatness, however, is Hemmings voice. Actually, his tonality and expressiveness are pretty solid, but I'll be damned if the man ever managed to sing a note in key. But this album fortunately has a few perks to get your attention. Hemmings enlisted Byrds Roger McGuinn and Chris Hillman to help out along with their manager Jim Dickson, along with a pretty fine outtake from former Byrd Gene Clark.

This album basically carves up into three slices. We get a cover of Gene Clark's "Back Street Mirror," which is a great track, and some pretty good folk-rockin' takes on Tim Hardin's "Reason To Believe," and Bill Martin's "After the Rain." There are then a few versions of tradition folk songs, which are perfectly listenable save for the fact that Hamming can't quite hit the right note. They definitely don't compare to the Byrds' takes on traditional folk. When a few of the aforementioned Byrds do show up on "Good King James," "Talking L.A.," and "War's Mystery," they seem to being trying their best to recreate Tim Buckley's Goodbye and Hello, which would have worked out much better if Hemmings had perfect, or even ok, pitch. Well, maybe "Talking L.A." is more like Hemmings trying to sound like Jim Morrison if he woke up one morning and found himself Bob Dylan. On the plus side, you do get a large serving of McGuinn's 12-string Rickenbacker playing in its prime. You probably won't feel the need to append these tracks to Younger Than Yesterday or The Notorious Byrd Brothers, but they do make for a nice curio.

David Hemmings solo LP is far from an embarrassment, and serves as a hip signifier of the Summer of Love, but I would like to send him Auto-Tune through some kind of time transportation machine (and this is coming from a man who typically loathes Auto-Tune). Byrds historians of course must hear this, and they won't necessarily have a bad time either. That said, for Hemmings at his best, go rent Blow-Up.

Daevid Allen - 1976 - Good Morning

2010-12-23T18:53:00.004+09:00

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

This solo album from Gong luminary Daevid Allen date from about the time that he originally left that band. Unlike the earlier solo album Banana Moon, this album has more of a stylistic consistency, focusing on a kind of pastoral space folk-rock. Granted that description has enough adjectives to make listening to this worth anyone's attention, and as usual Allen does make a few detours. Gillie Smyth of course contributes some vocals, and I'm pretty sure percussion whiz Pierre Moerlin is artfully banging around on the vibraphone at a few spots.

The opening duo of tracks does a phenomenal job of establishing the space folk groove. Allen does sound a little reigned in here, and the atmosphere reminds me a bit of the quieter tracks from Pink Floyd's Meddle. "Spirit" starts out sounding like an outtake from the Beach Boys' Smile before shifting into another section that features some entertainingly menacing vocals from Allen. "Have You Seen My Friend" and "French Garden" return to more pastoral fields, but this time with a healthy dose of freaky 70's analog synthesis. "Wise Man In Your Heart" goes for the epic vibe of the more relaxed extended tracks on Gong's You. It's not as good as those classic tracks, but very few psychedelic prog songs are. After a brief slough through music hall kitsch on "She Doesn't She...," we get CD bonus track "Euterpe Gratitude Piece." It's a foray into Berlin School electronics that doesn't quite fit with the rest of the album, but I like it and it does provide a nice sonic mindbath to close things out on.

Although Gong's early to mid 70's albums are the main event for fans of Caterbury psych-prog, Daevid Allen did a fine job of staking out a little patch of personal sonic space on his solo albums. Good Morning is no exception. There's no doubt that this is the same man that fronted Gong during their golden years, but it's definitely not the same thing.

Daevid Allen - 1971 - Banana Moon

2010-12-16T11:07:00.004+09:00

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

Daevid Allen is best known as the ringmaster of Gong's more psychedelic periods (as opposed to Pierre Moerlin's jazz-rock version of the band), although this LP dates to a period before Gong had really coalesced as a band. As such, the sound is very much in transition between Allen's involvement with the psychedelic ballroom sounds of the early Soft Machine and the prog freakout of Radio Gnome-era Gong. In fact, Robert Wyatt of the Soft Machine makes a few appearances here as does Canterbury scene standby, Pip Pyle and Allen's special ladyfriend and Gong fixture, Gillie Smyth.

Side one of the album seems to reflect some of the more 60's forms of psychedelia, while the second side anticipates what Gong would be doing in a few years. "Time of Your Life" is an awesome, full-tilt acid rocker, propelled by what is some of the best drumming I've heard out of Robert Wyatt (who also sings lead on "Memories"). "All I Want Is Out Of Here" makes me think of the Muppets' Dr. Teeth and the Electric Mayhem after Animal made them all take the brown acid, an "Fred the Fish" is the only track on this album that I'd like to take out back and execute. I can't find anything saying that Kevin Ayers is taking on the vocal for "White Neck Blooze," but if that's not him, then Daevid Allen must have a Kevin Ayers aping superpower or something. It would have fit seamlessly on Ayers' similarly titled album, Bananamour. The end of this song also engages in some entertaining, stoned-out absurdity. "Stoned Innocent Frankenstein" and "I Am A Bowl" would not have been out of place as poppy highlights on a Gong album - although 'pop' is a relative term here as the songs are still pretty far out there. For the total freakout mirror of Gong, we get the twelve minute long "& His Adventure in the Land of Flip," complete with Gillie Smyth's cosmic bellowing and Allen speaking gibberish. I think it comes close to the deranged level of Frank Zappa's "The Return of the Son of Monster Magnet."

This is every bit as essential as Gong's early albums such as Magick Brother and Camembert Electrique. Actually, I prefer this album to the latter - it also gets bonus points due to Robert Wyatt's drumming contributions. So yeah, stick this one in your ear.

Sagram - 1972 - Pop Explosion Sitar Style

2010-12-16T10:38:00.004+09:00

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

...And so my sitar obsession continues. Here we have so British boys coming together to play with the sounds of India. Sagram consisted of a sitar, guitar, and tabla combo, and sitarist Clem Alford apparently spent time in India receiving some proper training. I'm sure an Indian musicologist could find some fault with this music in respect to formal structure and such (I did notice that "Morning Glory" pretty much directly quotes the Beatles "The Inner Light"), but it all sounds pretty good to my ear. The cover art suggests straight up psychedelic exploitation, but the music is something entirely different. There's not many pop or rock sounds on this LP, if any. I love psychedelic exploitation art, but usually find the music included to be crap, so I consider this a nice surprise even if the art and music don't match. And no, the well-mustached harem king on the cover is not a member of Sagram, although it would be kind of awesome if he was.

While the music here is very well performed and pleasant, the sounds are pretty uniform. You certainly won't hear the variety you might expect from someone like Ali Akbar Khan or Ravi Shankar. It sounds kind of like the house band at a groovy Inidan restaurant in London, with the music floating on well-played, but non-confrontational table grooves - the better to digest your curry, y'know. "The Universal Form" does manage to take a different direction, propelling itself on a much airier, ethereal sound.

While there's nothing here to write home about, this is a very enjoyable album for you sitar fans to explore. As a side note, the musicians here also made up the backing band on the Magic Carpet LP, which you'll find here. There's a lot more Western influence on that one, but Sagram finds a more comfortable home on my turntable (well, mp3 player really).

File Hosting Services

2010-12-14T11:36:00.002+09:00

Ok, my Rapidshare account is expiring, so I'm very open to using a new hosting service. I know a few of you have mentioned some others to go with, but if you could comment here, that would be most useful. Thanks!

Pisces - 1969 - A Lovely Sight

2010-11-30T11:14:00.003+09:00

Quality: 3.25 out of 5
Trip-O-Meter: 3.75 out of 5

By 1969, a lot of the sounds presented on A Lovely Sight were already becoming cliches. You'll get a plethora of various West Coast sounds speeding towards your ear, along with the vaudeville music urges that a few too many of the hippy bands indulged in. Fortunately, the musicians involved in Pisces play pretty well, and while they're song writing is no great shakes, there are a few aces up their collective sleeve. Pisces' drummer in particular hits upon a few breakbeats that someone needs to sample if it hasn't been done already. Also, occasional vocalist Linda Bruner does a pretty good job of putting forth a depressed Grace Slick vibe, which does work better than my description probably suggested. The production is also generally clear with a bit of amusing 60's experimentation, which I see as a pretty good thing.

Now the big stand out here is 'Mary,' an awesome psych track that could open up any Nuggets style compilation. The beat is phenomenal, which the fuzz guitar and disembodied sounding vocals float perfectly on top off. It's almost like a precursor to the shoegazer vibe that the Brits would dig 20 years later. There is a slightly disjointed middle section complete with sampled radio announcements, but it still has a fun retro charm. The spare "Motley Mary Ann" managed to get stuck in my head despite the terrible song title, and I swear the pretty good "Children Kiss Your Children Goodnight has something that sounds like a digital synth in it. "Sam" has a pretty cool drum delay, although the track is basically an average sounding San Francisco style slow rocker. "Are You Changing in Your Time" is a nice acid folk track, while "In the Dreams of Paula" sort of takes the acid folk idea and tosses in a bunch of fuzz guitar to mix it up a bit. "Circle of Time" works up a nice head of steam in the instrumental, even if the rest comes across like a second tier Jefferson Airplane. Really, nothing here is particularly bad, although very little stands out as very original.

By no means a classic, A Lovely Sight is a fine listen for those already indoctrinated into the San Fran scene and/or acid folk. For the rest of you, you'll at least want to give "Mary" a try, as I see it as the one completely classic track on an otherwise pleasantly average album. Truthfully, this album is more or less just a compilation of everything the band recorded, and not so much of a coherent album anyway. If this had been my musical legacy from Illinois in the 60's, I'd feel perfectly groovy begin associated with it.

Susumu Yokata - 1994 - Acid Mt. Fuji

2010-11-30T10:46:00.003+09:00

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

The title of this makes me think that we're supposed to slap it with an 'acid house' label. Certainly, many elements of that genre are present and accounted for her, but the music presents these beats with a pretty light touch. There is a strong pull towards ambient sounds present as well, and it comes in a flavor not too dissimilar from the early Orb albums. Really, it's an approach that saves this music from the glossy sound that accompanied much of the acid house of the 90's. Yeah, that production sheen is there, but this music is much more of a mind trip than the gritty dance-floor freak out that acid house often aims for.

The tracks are pretty well sequenced, with a notable build up throughout the album. The first couple of songs feature fine soundscapes punctuated by some light beats. They come across like a slightly more in-your-face version of the electronic sounds of Gas. "Meijijingu" pushes the BPMs a little faster, and the flavor of ambience takes on more colours from the Orb. "Saboten's" late night dance floor vibe is definitely one of the highlights of the album. The mid section of the album gets a little too involved with clanging noises and long stretches of programmed percussion, but "Akafuji" brings back some focus with it's dark soundscape, and "Tanuki" is a fine world music groover, even if the world music elements sound a bit like they took a trip through the Nature Company store. On the other hand, "Alphaville" comes across almost as insistently annoying as the computer voice from the movie I assume the track is titled after.

While this is not top flight electronica, and does offer quite a bit of trippy sounds and should be appealing to those of you who dig stuff like Gas or the early Orb. There's definitely a nice 'art' vibe here - Yokota was clearly trying to create some textured, visual sounds, and some of the results are quite beautiful.

Bruce Haack - 1970 - The Electric Lucifer

2010-11-12T10:09:00.005+09:00

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

Bruce Haack expended a lot of his efforts on children's and novelty music. Here, he tries to make a more 'adult' album, although the insane concept and sounds keeps it charmingly goofy. I guess you could say that this album sits at a crossroads among the Jefferson Airplane, the easy listening Moog stylings of Perry and Kingsley, and wacked out mysticism. No, that combination doesn't really make sense, but that's probably a good thing for this album. The album's concept has to do with 'Powerlove,' a force that is supposed to bring humanity together and reunite it with the forgiven Lucifer. Word up!

Despite the concept, this album comes across best as a series of great, and very out there, tunes. My favorite here is "Program Me," which really does come across like alien doppelgangers of the Jefferson Airplane playing rubber instruments in a glass moon dome. "National Anthem to the Moon," meanwhile, has a great minor-key melody and "Electric To Me Turn" features some awesome homemade vocoder. "Word Game" is sort of an even more deranged version of what Haack was doing with Miss Nelson. For a dose of pure psychedelic madness, I direct you to "Super Nova." You get your 'powerlove' anthem with "Requiem," although it entertainingly loses focus after each verse, and then ends with a bit of "The First Noel."

This is a pretty phenomenal album. It's certainly unlike anything else that you'll come across. Bruce Haack really was a mad genius. Although his approach and music was extremely different, I feel that Haack must have shared the same astral plane as Sun Ra (I like to think they still do). When I bought this one on vinyl, the fellow at the record store gave me a discount for the simple fact that I was buying The Electric Lucifer.

Bruce Haack - 1968 - Way Out Record For Children

2010-11-12T09:39:00.002+09:00

Quality: 3.5 out of 5
Trip-O-Meter: 4.5 out of 5

Bruce Haack was an early electronic music pioneer who went to the trouble of creating his own electric noise makers and synthesizers. He also had a serious whimsical streak, which must have brought in contact with Miss Nelson, his collaborator for this and a few other albums from the period. I believe Miss Nelson was a bona fide kindergarten teacher, and this is a bona fide children's album. Granted, I get an image of the kids in Huxley's Brave New World dancing to this just after their first hit of soma, but that's still children's music, yeah?

For the most part, these are more chants and stories than proper songs, but Haack's musical insanity often comes springing out of nowhere for a passage or three. 'Motorcycle Ride' doesn't have much more than a (sampled?) drum loop going for it musically, but the strange affectations of the vocals make me think of tots rolling down the street in a bike gang. 'Mudra' is probably the most mind bending of the tracks here, with the structure of a basic kindergarten activity, but the synthesized faux-Eastern sounds making the whole thing far stranger. "Accents" will just hurt your brain, but I suppose that it is somewhat educational. "Nothing to Do" is just waiting for a Yo La Tengo cover - maybe they've already gotten to it.

There aren't many psychedelic children's albums out there, and it's perfectly possible that all of them were made by Bruce Haack and Miss Nelson. Should you actually play it for your kid? Probably not - but I did. She seems to like J-pop better, though.

The 13th Floor Elevators - 1966 - Easter Everywhere (mono)

2010-10-30T22:52:00.005+09:00

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

The mono mix of Easter Everywhere isn't quite as essential as the mono mix of the 13th FLoor Elevator's first album, but it's still worth a good listen. The production muddiness of the first album is not present on this one, and the stereo mix has a nice crystaline sound. That sound is replaced with the characteristic 'in your face' assault of a mono mix, so it's definitely better for a party and the rockers shine in mono. Still, highlights like the opening "Step Inside This House" and "Baby Blue" suffer a little from the loss of texture. I've also tacked on a mono mix of "May the Circle Be Unbroken," the only track from their third album with Roky Erickson in full flight and by far the most essential track from that LP. Here's my review from a few years ago:

On Easter Everywhere, the 13th Floor Elevators managed to refine their sound without sacrificing the things that made their first album so great. Roky Erickson still sounds like a madman, but here he also comes across as much more intelligent and focused. Additionally, while still a little on the low-fi side, the production of Easter Everywhere is much clearer and helps to accent the band's interplay (although the rhythm section on this album is different from the first).

Although they still qualify as garage rockers, the 13th Floor Elevators have a much more noticable folk rock sheen on Easter Everywhere. They even go as far as to include a damn good Dylan cover with "Baby Blue." On "Slide Machine," "Nobody To Love," "Dust," and "I Had To Tell You," the Elevators find a happy middle ground somewhere between the Byrds crystaline sound and Forever Changes-era Love. Fortunately for the garage rock afficianado, the Elevators pull out on the stops on "She Lives (In A Time Of Her Own),"Earthquake," and "Levitation." These helps to give Easter Everywhere a lot of diversity and make it an interesting listen from beginning to end.

Easter Everywhere provides plenty of improvements over the first LP. Tommy Hall's jug can no longer coast as a strange novelty. It appears less often on Easter Everywhere, but when it is present serves more to create an distinct atmosphere. For me it's like quantum jitters in the typical tapestry of rock music. Stacy Sutherland leaps over his already strong playing on The Psychedelic Sounds Of... His solo on "Step Inside This House" manages to inspire awe and his accompaniment on many of the tracks, especially on "Baby Blue," is graceful and impressive. He is not a flashy guitarist at all, but extremely tasteful and Sutherland always seems to choose just the right notes.

The lyrics are also much better on Easter Everywhere. Hall takes on the lion's shares of the lyrics, and while his worldview is certainly demented, he successfully sidesteps most psychedelic cliches and gives the listener something unique. It doesn't hurt that Erickson's all-for-broke singing usually complements Hall's vision perfectly. This synergy is best sampled on the opening track "Step Inside This House." It rarely makes logical sense, but it's never less than riveting.

The only misstep on Easter Everywhere is the closing track "Postures (Leave Your Body Behind)." While not a terrible mistake by any means, it does overstay its welcome at six-and-a-half minutes. I guess the Elevators had already spent their long-form song capital on "Step Inside This House," which may even be too short at eight minutes.

Easter Everywhere and The Psychedelic Sounds Of... basically comprise the 13th Floor Elevator's essential catalog. The "live" album is not as advertised and not recommended. There is also a metaphoric pantload of studio alternate takes and other live tracks on a string of compilations only recommended for those completely obsessed with the 13th Floor Elevators. The final studio album, Bull Of The Woods, is missing Hall's electric jug, and his presence as lyricist is much less. Even worse, Erickson's drug use landed him in several kinds of institutions and he is mostly absent from the album. That said, he is fully present for a mysterious and great take on "May The Circle Be Unbroken." This means the band is mostly dependent on Sutherland. He took on the challenge respectably with increased songwriting and great guitar playing, but it's still just not the same as the magical first two albums.

The 13th Floor Elevators - 1966 - The Psychedelic Sounds of the 13th Floor Elevators (mono)

2010-10-30T22:45:00.007+09:00

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

Here's a mono mix of the 13th Floor Elevators debut LP. While not a perfect set, it is one of the best insane garage rocking discs you'll hear from the 60's. I find myself appreciating the insane wail of lead singer Roky Erickson more and more with each passing year. It truly is a singularity. The mono mix is in my opinion superior, with the freakish pummel of the band at full display and the strange electric jug of Tom Hall better integrated into the mix. As I mentioned in my original review, the production on this album is a little muddy, but it's more of an asset here, contributing to the otherworldly atmosphere of the proceedings. Here's my scribblings from a few years ago:

Although the San Francisco, Los Angeles and Carnaby Street psychedelic scenes of the 60's are well documented and revered, some of the also-enviable microscenes are left out in the cold. Chief among these is the Austin, Texas scene from which sprouted a just-starting-out Janis Joplin, the Red Crayola, and the infamous 13th Floor Elevators.

Although a proper band, the most notorious member of these garage-psyche rockers is Roky Erickson, sometimes regarded as America's own analog to Syd Barrett. Like Barrett, Erickson shined with the band for a few albums before embarking on a fractured solo career. Fortunately for Erickson, despite his questionable grasp on sanity, he continues to occasionally pop up to make music to this day. Even better, Erickson possesses perhaps the finest voice ever heard in garage-psyche, a wildman yelp that whcih always sounds obssessed, and manages to make even more half-baked sounds worthy. On the album in question, Erickson is at his finest.

But the 13th Floor Elevators were not a one trick pony. Lyricist Tommy Hall wanted to double as a true member of the band and brought in something called the electric jug. It produces a truly odd, bubbly sound that permeates most of the band's songs. In full disclosure, you'll either love it or hate it, and if you hate it, it will be difficult to get into this band. The real secret weapon here, however, is lead guitarist Stacy Sutherland. His winding and often stately leads compare favorably with even such notables as Jorma Kaukonen of the Jefferson Airplane.

The Psychedelic Sounds Of The 13th Floor Elevators is often cited as the first psychedelic album. Although that's more than up for debate, I do believe it was the first album to actively use the word "psychedelic." The still eye-catching sleeve was definately among the first of its kind.

The Elevators seeked to expand their music making into a strange, acid-drenched form of philosophy. Judging by the rantings on the back cover of the record jacket, they didn't really think out this philosophy, but it does seem to bring a certain level of conviction to the music. It also makes the lyrics a notch above the norm of most of the band's contemporaries. Even when they don't make sense, they seem to being saying more than just the typical boy-meets(or loses)-girl love songs.

Leading off the album is what I consider one of the best rock songs ever, "You're Gonna Miss Me." At heart the tune is a typical mid 60's stomper, but with the electric jug wildly perculating and Erickson sounding truly possessed, the whole track turns to gold. Soon the Elevators start to bring out the truly psychedelic riffs. "Roller Coaster" provides a trance-like guitar part that eventually erupts into a rave-up that rivals those of The Yardbirds. Later we hear a speaker-busting bassline that can consume your mind on "Reverberation (Doubt)." Although arguably at their best on the full-blast psych-rockers on this album, the Elevators churn out some more-than-respectable folk-psych ballads on "Splash 1," "Don't Fall Down," and "You Don't Know." These tracks hint at the path that the band would follow on their next album Easter Everywhere.

The chief problem on The Psychedelic Sounds Of The 13th Floor Elevators is the often-muddy production. I'd imagine that the culprit for this is the recording budget rather than the band or producer Leland Rogers (Kenny's brother!). Still, it makes obtaining a copy of this album worth a little research.

Ravi Shankar and George Harrison - 2010 - Collaborations

2010-10-21T00:03:00.011+09:00

I happened to get a chance to review the Amazon exclusive release of this set, and couldn't pass up the opportunity. Chants of India is one of my top 10 albums of all time, and the other collaborations of Ravi Shankar and George Harrison definitely do not disappoint. That said, those of you looking for a quasi-Beatles fix may find themselves disappointed - this is very much a product of Harrison serving a student to the master musician that is Shankar, but have no doubt that this is music of the top order. Harrison provides a firm western insight, but he was still on the right spiritual plain to perfectly complement Shankar's vision of Indian music. It's certainly a better fit than the often awkward East Meets West and West Eats Meat collaborations Shankar had with western orchestras. Here's some observations on the set:

Disc One - Chants of India - 1996
Quality: 5 out of 5
Trip-O-Meter: 5 out of 5
Despite the marquee names, you won't hear Ravi Shankar's sitar or George Harrison's voice or lead guitar. Still, this is one of the best things that either recorded in their careers. Shankar took it upon himself to arrange a number of ancient Indian chants, while Harrison took on the role of producer and contributes some acoustic guitar parts as well as some instrumental textures such as the vibraphone. This is truly transcendent music - all this album needs to take you on a trip is a ray of sunlight piercing through your window.

A track-by-track review doesn't really seem appropriate when dealing with deeply religious music, so I won't bother. I will say that the chanting is top notch to my ear, while Harrison's instrumental contributions adds a little incentive for the modern rockers among us. Shankar's arrangements do include much of the East with the chanting and drones, but a fair amount of western sounds show up as well with acoustic guitars and some string embellishments wafting over the music. One session of this was recorded in London, while the other two took place in Mumbai. As such, it's not an entirely authentic Indian experience, but it is as near a perfect musical and spiritual experience as you're likely to find on a physical slab of media.

Disc Two - Music Festival From India - 1976
Quality: 5 out of 5
Trip-O-Meter: 4.5 out of 5
These tracks are recordings taken from a European tour produced by George Harrison. Shankar arrived with a chamber orchestra of 17 musicians and serves as conductor rather than sitar player for much of the music. This is definitely the most traditional Indian music of the box set (along with the accompanying DVD) in terms of both song selection and arrangements. Harrison does not play any of the instruments here and there is absolutely no attempt to mix in western influences. The sound here is extremely good even by modern standards - while the press release seems to suggest that these were concert recordings, they sound extremely crisp, clear and well defined.

While Chants of India focused exclusively on Vedic hymns, this set works in a few different styles of Indian sounds and provides space for more traditional instruments than that later collaboration. Most of the tracks do feature often chanting vocals, although there are a few instrumental passages in the middle of the album. As much as I enjoy Indian music, I'm not a scholar of it or even particularly qualified to intelligently comment on specific songs - I'll just leave it at the fact that everything on this disc is superior music. If you're used to hearing Shankar backed by only a small ensemble, you may find yourself surprised by the opulent sound of this larger group. It definitely evokes images of a lush, royal court in the mountains of northern India.

Disc Three - Shankar Family and Friends - 1974
Quality: 4.25 out of 5
Trip-O-Meter: 4.5 out of 5
This was one of the first releases on Harrison's Dark Horse imprint, and he's serving here as producer as well as picking up a few of the instruments. Luminaries such as Ringo Starr and Billy Preston also make appearances on he along with the cadre of Indian pros. The first side of the album is a collection of mildly to majorly pop-infected songs. "I Am Missing You" isn't a bad track, but I feel that it's All Things Must Past filtered through Mumbai sound sort of misses the spiritual bulls-eye that so much of this set hits. I prefer the three other lower key tracks presented one the first side.

Side two is significantly more ambitious, and is a (still unperformed) ballet. The structure of the suite is a little more western in nature and some of the percussion is also from the West (timpani and drum kits), but the sound remains distinctly grounded in Indian sounds. Still, "Lust (Raga Chandrakauns)" drifts into some kind of strange fusion groove, while "Disillusionment & Frustration" finds an interesting way to fit a Moog synthesizer into the Indian aesthetic.

While this is probably my least favorite CD in the set, it's also the most fascinating with plenty of experiments in fusing western and eastern sounds. It's actually probably the best place to start for those getting this set because of Harrison's name on the set. While Shankar is definitely still the main signifier for this music, some of the sounds do reflect what Harrison recorded on his own and with the Beatles and may be more comfortable for the uninitiated western listener.

Disc 4 - Music Festival From India DVD
Quality: 4 out of 5 (3 for video/5 for sound)
Trip-O-Meter: 4.5 out of 5

This is the first release of this recording from the Royal Albert Hall in 1974, which features the same ensemble as disc two of this set. Unfortunately, some of the footage has been damaged and/or lost over the years, so we're not looking at a pristine visual presentation. The 4:3 aspect ratio does look a little mushy and it's clear that we're missing footage. Musicians often appear playing something completely different than what you're hearing on the soundtrack, and they sometimes go for the 'slo-mo' shot, which is a little silly in a live context. Still, I haven't come across much video of classical Indian performances, and it's fascinating to see what the musicians are doing physically.

There are certainly enough positives to give this disc your attention despite it. Harrison is not serving as a musician here, but he does appear giving a noticeably nervous and highly entertaining introduction for Shankar and the group (and admits as much). Shankar is once again serving mostly as conductor for the group, although he does join the sitar section of a bit. The real star of this disc, however, is the soundtrack, which sounds great (especially in 5.1) and features much more music that the album does as this runs at an hour and a quarter.

Final Thoughts
This set is an Amazon exclusive and supposedly limited, so jump on it fast. It's too bad this hasn't seen a wider release and promotion as it really is one of the best music releases of the year. As a musical experience, it's impeccable and the spiritual strain of much of this music is strong and inspiring.

Buy Me:
Ravi Shankar and George Harrison - 2010 - Collaborations

Guitar - 2006 - Saltykisses

2010-10-20T11:02:00.006+09:00

Quality: 3.5 out of 5
Trip-O-Meter: 4 out of 5

Unfortunately, Guitar's "saltykisses'" aren't really as awesome as their "sunkisses." It's a little hard to get a grip on Guitar's discography, but I believe that this qualifies as their 'sophomore slump.' Group mastermind Michael Luckner was clearly trying to expand his palette or sounds, but seems to have abandoned a bit of his muse in doing so. This album takes aim at including more acoustic sounds and touches of indie rock without quite hitting the mark, but tends to sideline the immaculate walls of tripped-out sounds found on Sunkissed. Still, there are a few definite winners on this disc.

"At the Seaside" features male vocals, which the previous album did not, and actually manages to best the tracks found on Sunkissed. The songwriting is sharper, and the production is a little more gritty, which serves to make this come across as sounding like a great, lost Loveless outtake. "If I Didn't Meet You" is the best of the more stripped down/downbeat flavored tracks and is one of several tracks to feature vocalist Ayako Akashiba. "Saltyme & Saltykisses" serves up the best psychedelic, shoegazer sound trip on the album, while the instrumental "I Dream the Sand" is a fun backward looping ambient track, although it's not as great as "Hot Sun Trail" from the previous album. The other tracks tend to be a little bland, but the only one that I absolutely need to skip is the folk misfire "Jodelei," which actually features yodeling.

Definitely begin your exploration of Guitar with Sunkissed. I bought this album four years ago due to its entertainingly Loveless-aping cover, but it took me four years to give another album of theirs a shot (and that one turned out to be fantastic). Still, you'll find a few songs here that nicely supplement their first.

Buy Me:
Guitar - 2006 - Saltykisses

Guitar - 2002 - Sunkissed

2010-10-19T11:10:00.005+09:00

Quality: 4.5 out of 5
Trip-O-Meter: 4.75 out of 5

While it's not really a match for the prolific quality of krautrock, folks like Ulrich Schnauss, Thomas Fehlmann, and Michael Luckner (responsible for Guitar) have certainly been bringing on a surge of awesome shoegazing-ambient-electronica sort of stuff. The album is pure aural honey, sort of like crossing My Bloody Valentine with some of the better downbeat albums. No, "Sunkissed" doesn't get any major points in originality, but the execution is so well done and the sound so tripped-out that it really doesn't matter.

Most of the tracks feature the vocals of Donna Regina and Ayako Akashiba. Both fit the shoegaze dynamic quite well, although I slightly prefer the strangely pronounced, almost cutsey vocals of Akashiba (although I live in Japan with a Japanese wife - so I admit there may be a touch of bias). Usually I'm not a fan of 'cute' vocals, but they do extremely well against walls of psychedelic distortion and backwards loops. Regina definitely manages to shine, however, on "House Full of Time," which pits her against squalls of amazing guitar distortion. Akashiba's best spots are on the gently floating "See Sea, Bee, and Bee," and the almost club-ready "How So Bright of Universe." There's one instrumental in the presence in the form of "Hot Sun Trail," which ends up being a highlight due to its production showcase of what Luckner can do with thick slabs of backwards sound.

Although I've only recent come across this album, I it's made a quick line to my top ten albums of the past 10 years. It's certainly not a perfect disc, but it's easily found itself in constant rotation on my stereo and there is much to explore within its dense grooves.

Damaged Tape - 2010 - Beyond the Astral Labyrinth

2010-09-29T11:36:00.006+09:00

These electronic tunes had a nice, long gestation period, and I'm pretty happy with the final results. I wanted to get away from the 'four-on-the-floor' house sort of beats that I used a lot on Psychedelic Anthropology and focus more on the 'sonic sculpture' concept that I had back with Electric Ocean. Of course, with a completely different set of instruments and recording equipment, this music is hopefully its own entity. Although several of these tracks were quick and painless, several of these tracks (especially the instrumental ones) were originally intended to be part of a collaboration and intentionally left half-finished. But after more than a year and a few shifts in perspective, I finished them up mostly with the help of my Juno 60 synthesizer.

The concept for this album originally involved Scott's (the other feller in Damaged Tape) exploration of Japan's Izu peninsula. Unfortunately, I didn't necessarily get around to finishing all the tracks that involved those ideas, plus the cover to Glaze of Cathexis' The Golden Konbanwa already sort of got that idea down visually. This means that Scott is far better equipped to talk about the conceptual nature of these recordings. Here's what he has to say:

Inspiration for this spoken word came from free-associative thoughts in quiet times of

the night and day, and the only necessity was to just listen and be receptive to

our innate intuition.

Of this I feel-

delving into the collective subconscious is like descending into a deep well within a well,

accessing information from those shimmering purple-black waters reflecting

the glints of diamond-chip stars endlessly beyond. In this journey of metamorphosis

and transcendence, the wisdom and insight gained belongs to all, as this wisdom

and insight, shrouded in profound, sacred mystery, is an innate and inseparable part of us.

Anyway, I'd love to hear your comments concerning these songs (good or bad), and if you want to repost, please let me know! It always makes my day.

Track List:
1. Dimensions Untold Of (5:12)
2. Bamboo Hollow (4:08)
3. Amphibians of Time (4:03)
4. Lexicography of the Universe (2:41)
5. Crystal Forge (4:15)
6. Conflux of Reality (3:53)
7. Infinity's Quest (5:14)
8. Mind if the Vortex (2:28)
9. Endless Ocean (4:48)
10. A Desert of Cobalt (5:19)
11. The Cosmic Election (2:35)

Listen to Me:
Damaged Tape - 2010 - Beyond the Astral Labyrinth (full quality)
Damaged Tape - 2010 - Beyond the Astral Labyrinth (256kps)

Rust - 1969 - Come With Me

2010-09-29T11:14:00.003+09:00

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

Although hailing from Germany, Rust definitely does not fit under the krautrock umbrella. This is full blown psychedelic garage rock in the vein of the Electric Prunes with a bit of British psychedelic production madness thrown in for good effect - it's very much in a 'summer of love' sort of mindset. I'd say early Traffic is another good comparison of the sounds found here. The performances are pretty top notch, but the real ace in the whole is the songwriting. Rust's tracks are extremely well written and pretty catchy overall. If these guys had been from the States or Britain two years earlier, I bet they would've become a major concern.

This album stays pretty strong throughout. My favorites include the west coast garage rock blasts of "You Thought You Has It Made" (complete with ridiculous vocals effects!) and "Delusion," while "Please Return" and the title track do the best job of going for that early Traffic vibe, and "Find A Hideaway" actually finds a very groovy balance between the Byrds, Love, and the Jefferson Airplane. It may be the best track here.

Despite the creepy, gothic, and somewhat terrible cover art, Come With Me is a pretty technicolour slab of psychedelic rock. Although it doesn't quite bat with the A-list, it certainly is undeserving of obscurity and plays better track-by-track than a typical album by the Electric Prunes or Chocolate Watchband (not to slight those still great bands).

Don Cherry - 1972 - Organic Music Society

2010-09-29T10:47:00.005+09:00

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

Don Cherry was one of the more notable jazz trumpeters, often appearing as a collaborator or sideman to jazz greats like Ornette Coleman and John Coltrane in the late 1950's and 1960's. On this album as bandleader, Cherry guides the music into world music sounds on the first LP while working on the more avant-garde side of acoustic jazz on the second. You'll hear echoes of Sun Ra, Pharoah Sanders, and Albert Ayler among others on this album, but Cherry is still able to bring together a singular and fascinating vision of his own.

The opening track claims to be a northern Brazilian ceremonial hymn, but there are plenty of other world music hints here as well such as Indian drones and Tibetan percussion. The track is a slowly building chant which is supported by a growing percussion section and the 'ceremonial' claim of the title certainly comes across as accurate. "Elixir" gives us a full blast of tribal percussion framed by a flute solo and Indian-inspired violin (although the violin playing does comes across as a little scratchy). "Relativity" is a two part suite which unfortunately repeats the basic bass line of "Elixir," but does continue with awesome percussion and adds in some chanting that finds space between the contemporaneous chants of Pharoah Sanders and Sun Ra, and a bit of speaking in tongues.

You really don't hear a whole lot of Cherry's trumpet on the first LP, but the more jazz-oriented second disc features more of his playing (and I'm guessing that's him on the flute as well). For most of this disc, the band drifts in and out of several tunes, coming across as a group of far-out jazz cats having a 3am jam in an opium den. Although not quite free jazz, this music is very improvisational sounding, but in a very gentle and drifting way as opposed to the harsh, confrontational sound that 60's and 70's avant-garde jazz can often dish out. The closing track, "Resa," is separated from this motif. It sounds like a live recording (although a perfectly listenable one), and edges a touch in spots towards Albert Ayler's free jazz swoon.

This is a fine late night record for those of you interested in the trippier side of jazz. While not an absolute classic, there are some wonderful sonic colors to discover on this LP, and the cover art definitely puts a nice bow on this package.

Khan - 1971 - Space Shanty

2010-09-10T11:02:00.003+09:00

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

I've always let Steve Hillage be my primary constant for exploring the Canterbury scene, and the short lived band Khan is another very groovy step on his musical journey. This plays pretty much like a Steve Hillage solo album with Hillage handling the vast majority of the songwriting and most of the vocals. Of course I'd be remiss not to mention organist Dave Stewart, who also played with Hillage on the Arzachel album and never had any thing to do with the Eurythmics (that's a different guy). His organ playing is a perfect foil for Hillage's crystaline leads and he gets a few moments to shine on his own as well. The sound does recall a fair amount of Khan's jazzy prog peers, but I always appreciate Hillage's 'new age Jesus' vibe, and the production here is very crisp and meaty.

Truthfully, the band pretty much fits a comfortable jazz-rock groove and sits on it for most of the album. It all flows very well, but certainly doesn't come across as groundbreaking. Yeah, it sounds sort of like an early 70's Pink Floyd albums, but it has a more positive vibe than those titans of the album charts usually managed. Besides, Hillage's guitar playing makes Gilmour sound like an amateur (although a very passionate one), and Dave Stewart hit some precise organ runs that I don't recall hearing Rick Wright manage. I dig the vocal part of "Space Shanty," as it reminds me of Cheech and Chong's performance at the end of Up In Smoke. "Driving to Amsterdam" and "Hollow Stone" pretty much sound like the same Meddle outtake, but this is a band that you can pretty much just float downstream with anyway. I also dig the acoustic glaze that permeates "Stranded."

While this album gets a D- for originality, the quality of the performances, production, and songwriting make it worth a few listens. Steve Hillage fans especially need to check it out. You would probably be accurate by slapping a label on the front of this that says 'Generic Canterbury Album," but that's not necessarily a bad thing when you could end up with Grand Funk Railroad or the new Justin Beiber album instead.

Buy Me:
Khan - 1971 - Space Shanty

Arzachel - 1969 - Arzachel

2010-09-10T10:27:00.004+09:00

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

This is an interesting early effort from the soon-to-be members of Egg and 70's space guitar diety, Steve Hillage. Apparently, the musicians more or less threw this together from only a day in the studio, but the musicianship is at such a high level that it comes out sounding far more thought out than its origins imply. They'd also been playing gigs together a year or so earlier under the name Uriel. Still, for a lark this is pretty solid stuff. The music here is right on the cusp between 60's psych and prog, infused with the vibes of the Canterbury scene.

The album begins with several shorter form tracks, the best of which is the opening "Garden of Earthly Delights." It comes across very much like one of Traffic's better psych singles and the balance between Mont Cambell's psych-folk crooner vocals and Steve Hillage's happy, but never quite on key, singing is fun. You also get a pure blast of Hillage's lead guitar work at the end, although you'll find plenty of that on this LP. "Azathoth" starts out sounding like a more gothic Procol Harem before becoming far more unsettling near the end. "Queen St. Gang" and "Leg" are the lesser tracks, with the former being a pleasant but unassuming psych-jazz rocker and the latter sounding like a Cream outtake, although Hillage's attempt to nail a Jack Bruce-style vocal doesn't really hit the mark. This causes the band to de-evolve into insane echoing feedback for the last few minutes of the song.

Side two brings us two, long jammy tracks. The first one, "Clean Innocent Fun," carries on the Cream vibe, but with lots of organ. It's a little derivative, but I'd honestly rather listen to Hillage rip out wild leads on his guitar than Clapton, and the band works up a proto-punk head of steam that Cream was never able to do. "Metempsychosis" is the better of the long form tracks, with the band serving up a sixteen minute psychedelic freakout that would have captivated the heads at the UFO Club in the 60's. Yeah, they recycle a few tricks from early Floyd and the Soft Machine, but I think that these top-notch musicians are able to pull it off a little better (not that the Soft Machine didn't have top-notch musicians too - and the Floyd charming ones). Along with the album opening, this is the one that you need to hear.

Here at the Psychedelic Garage, I often get distracted by ambient and krautrock tangents, but if you need a dose of straight up, pure psychedelic rock, this is a pretty good album to shove into your earhole. It's got a couple of great songs in its grooves, and plenty of full on attacks from one of the better psychedelic guitarists around.

Vangelis - 1985 - Invisible Connections

2010-09-09T09:38:00.004+09:00

Quality: 3.5 out of 5
Trip-O-Meter: 4.25 out of 5

Vangelis went through the 80's best known for his blaring fanfares and creating records that sank deeper and deeper into flashy new age. This collection, however, is extremely ambient and an entirely different creature. Do not come to this album expecting any of Vangelis' trademark melodicism. The sounds of the mostly digital synthesizers are very representative of 80's technology, but Vangelis manages to use these tools in a very tasteful way. I'd be lying though if I say I didn't miss the analog opulence of his 70's work.

While the first half is pretty abstract, the second half of "Invisible Connections" is exactly what you would expect to hear walking into a planetarium around 1987. I mean this as a compliment as I thought planetariums were awesome as an elementary school student at that time. There are plenty of lush pads layered into the track and there were at least five moments where I thought the music was about to shift into the opening music of "Star Trek: The Next Generation." This works for me as well since I still like watching that show. The second two tracks, "Atom Blaster" and "Thermo Vision" are more like a digital update of what Vangelis was doing on Beauborg. I don't like them as much as Beauborg, nor are they as groovy as the opening track. I guess when you're trying to create chaos, the binary 0's and 1's of a digital instrument simply don't work as well as analog unpredictability. Still, both tracks are fine as background music to slowly drive you pleasantly insane.

I don't think that this is quite up to the standard of Vangelis' 70's work, especially when compared to the like-minded Beauborg, but this album is worth a listen for fans of this synth master. The second half of the title track is definitely a great one - it's just too bad that Vangelis couldn't keep my attention fixed quite as well for the other three quarters of the album.

Glaze of Cathexis - 2010 - Underground Sound (first mix)

2010-08-18T23:17:00.014+09:00

Vangelis - 1978 - Beaubourg

2010-08-07T00:20:00.003+09:00

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

I've heard of this album being likened to Vangelis falling on the keys of his Yamaha CS-80 synthesizer while taking a nap. This is very abstract music and there may very well be some truth to that. But hey, if you're going to fall on a synthesizer, the mammoth, horribly expensive, and analog CS-80 is probably a good one to go for. Really, I feel like this is comparable to some of the stuff that Morton Subotnik has been hailed a genius for. Even with the avante-garde instinct at full throttle, hints of Vangelis' melodic instincts shine through. Beaubourg is far from a fan favorite, but I think it ranks as one of Vangelis' best outings.

This is basically one piece of music, split into two album sides. It's not really music to be listened to with a full attention span, nor does it serve as background music. This is simply music that has to be experienced. The esoteric is at center stage here as the music shifts from mood to mood without a comfortable reference point. Otherworldly synth tones attack your ears and evoke a truly alien landscape.

I'll easily admit that this is not for everyone. Much of Vangelis' 70's works aim for grandiose cosmic tones, but this is a different creature entirely. You have to shut off the logical centers of your mind and let the sounds take you where they will. This is late night music to prime your subconscious for the surreal. It's far from perfect, but it contains a visceral wallop that more conventional musics do not. This is what the music of the spheres sound like as they come crashing through Earth.

Buy Me:

Vangelis - 1978 - Beaubourg

Vangelis - 1977 - Spiral

2010-08-05T21:53:00.002+09:00

Quality: 4.75 out of 5
Trip-O-Meter: 4.75 out of 5

As far as I'm concerned, Spiral is Vangelis' masterpiece. Much of the prog and rock influences from his past couple albums are minimalized in favor of trance-like sequencing and a wide stage for the spacey synthesizers. It's a little more of a minimal approach, but it allows for Vangelis' melodies to shine through without coming across as cluttered and pompous as my least favorite parts of Heaven and Hell did.

The opening title track has a massive sound backed by a properly spiraling sequencer. This is more like the sound of opening up the gates to Heaven or Hell - your choice which. "Ballad" employs some early vocoding while the grooving "Dervish D" is a perfected form of the electronic groove that Vangelis was playing around with on much of Albedo 0.39. You may note that "To the Common Man" is awfully similar to Vangelis' later Oscar-winning "Chariots of Fire" theme. This more understated track is far superior, though. The album closes with a track somewhat similar in structure to "Spiral," but ends up sounding more like the Electric Light Parade at Disneyland and is the only mild misstep on the album.

Although he doesn't quite make it all the way, Vangelis comes within spitting distance of the rarified electronic air of Klaus Schultze on Spiral. Still, Vangelis' melodic gifts come across well and make this a must hear for fans of 70's electronica.

Buy Me:
Vangelis - 1977 - Spiral

Vangelis - 1976 - Albedo 0.39

2010-08-05T15:26:00.004+09:00

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

After his journey through Heaven and Hell, Vangelis saw it fit to launch himself into space. I think it suits him a lot better. This sounds an awful lot like the music that Tangerine Dream would make in the mid to late 80's (as well a Vangelis himself), but the funky, clunky analog sounds and 70's production makes this sound far better. The live drums that show up here and there help a lot too. Let's face it, music of this sort walks a fine line between 'awesome' and 'cheesy,' and the digital sheen of the 80's sent these sounds careening over the edge into a new age abyss. But we're looking at Albedo 0.39 for now, and it's the real deal. As far as the orchestral synthesized sub-genre goes, this is space music at its best.

For you Carl Sagan junkies, "Pulstar" and "Alpha" were a few of the tracks that were used in the phenomenal score for Cosmos. There might be some more here as well, but those two were distinctly burned into my head. "Pulstar" features some brains piercing synth stabs while "Alpha" is a perfect crescendo. The other major tracks here are "Main Sequence," which sound like a band of robots playing fusion, and the two part "Nucleogenesis," which most recalls "Heaven and Hell Part 1," except that it's rocked up and sounds far superior to my ears (was this one in Cosmos as well?). There are some enjoyable shorter pieces as well. "Freefall" has a touch of world percussion added to fine effect, and the star chart recitation on the closing title track is fun as well. I think most of my trance music listening is at least in part my trying to recapture the vibe of sitting in a planetarium at age 8, and this one does a fine job of doing that.

Yeah, this music is on the cusp of 'new age,' but I think that term usually applies to failed space or spiritual music. This album definitely gets the space dynamic correct. Vangelis certainly beat both 80's Tangerine Dream and his future self at their own game ten years before the fact.

Buy Me:
Vangelis - 1976 - Albedo 0.39

Vangelis - 1975 - Heaven and Hell

2010-08-05T11:39:00.004+09:00

Quality: 3.25 out of 5
Trip-O-Meter: 3.75 out of 5

The way I see it, Vangelis has had four major periods in his career. There's of course his mostly awesome stint with the psychedelic rockin' Aphrodite's Child, his insane experimental/prog period of the early 70's, his 'golden artistic period' of the mid 70's and the new age drivel period he's been often stuck in since about 1979 (there are things like the Blade Runner soundtrack which definitely get a pass). This album is often seen as the start of his most artistically valid period, but to tell the truth I'm not that enamoured with Heaven and Hell. The are some touches of synth and melodic genius sprinkled throughout this record, but Vangelis was going for an orchestral prog vibe that tends to turn me off. If you're into that sort of thing, expect to add another point to the 'quality' meter.

This appears to be a side-long track sort of affair, but I think it would have been a much better for the big 'Heaven and Hell' suites to be split up, or at least given names. It hard for me to conceptualize what's here and separate the wheat from the chaff, so to speak. "Heaven and Hell Part One' starts of well, but the choral vocals get pretty silly a few minutes in and it veers a little too far towards the orchestral prog vibe for my taste. That said the last few minutes of the 15 minute long suite is the music used for the theme to Carl Sagan's Cosmos, and that stands out as one of my favorite pieces of music in general. It's just too bad that I either have to fast forward or listen to pompous choruses and synth themes bellowing into my ear. "So Long Ago, So Clear to Me" doesn't appeal to me at all. Word on the street is that Jon Anderson of Yes and Vangelis were an inspired pairing, but it seems like the most hellish thing here in my view. "Heaven and Hell Part Two" fairs a little better with it's ambient vibe, but there are still a few sections where I see happy elves dancing in the shire or Lord of the Rings pomp instead of the more tripped out soundscapes that I look for in the best 70's electronic records. Like part one, the final section is the spaciest and the best.

I suppose I'm being a little harsh with this album, but it's often held up as Vangelis' masterpiece whereas I prefer pretty much all of his other 70's albums over this one. Still, there are some spots of really great music to be found here, and if you dig Jon Anderson, then you'll have a nice treat under your pillow instead of the turd I found.

Buy Me:
Vangelis - 1975 - Heaven and Hell

Ravi Shankar - 1997 - Chants of India

2010-07-30T00:49:00.007+09:00

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

I'm still having some problems with my internet connection, but I went out of my way to share this one with you as I've been listening to it regularly for the past five years (and almost daily for the past month or two). Ravi Shankar and George Harrison are certainly not obscure fellows, but this is apparently out of print, so here we are. Despite the marquee names, you won't hear Ravi Shankar's sitar or George Harrison's voice or lead guitar. Still, this is one of the best things that either recorded in their careers. Shankar took it upon himself to arrange a number of ancient Indian chants, while Harrison took on the role of producer and contributes some acoustic guitar parts as well as some instrumental textures such as the vibraphone. This is truly transcendent music - much of the music on this blog may take on additional layers after ingesting a few psychedelic substances, but all this album needs to take you on a trip is a ray of sunlight piercing through your window.

A track-by-track review doesn't really seem appropriate when dealing with deeply religious music, so I won't bother. I will say that the chanting is top notch to my ear, while Harrison's instrumental contributions adds a little incentive for the modern rockers among us. Shankar's arrangements do include much of the East with the chanting and drones, but a fair amount of western sounds show up as well with acoustic guitars and some string embellishments wafting over the music. One session of this was recorded in London, while the other two took place in Mumbai. As such, it's not an entirely authentic Indian experience, but it is as near a perfect musical and spiritual experience as you're likely to find on a physical slab of media.

This would easily make my list of ten 'Desert Island Discs' for those of you that used to peruse the pages of Tower Records' "Pulse" magazine. I've been playing this a lot around my one-year-old daughter as what I hope is mind expanding children's music. This album is truly a part of my life and a very welcome gift from Shankar and the departed Harrison. I hope you will dig it as well.

Agitation Free - 1972 - Malesch

2010-06-29T11:19:00.006+09:00

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

Poor Agitation Free, having their members continually poached by better known krautrockers like Tangerine Dream and Guru Guru - and all before their debut album! Fortunately some travels through Egypt helped them get it together, and this album is pretty sweet. Featuring echoes of Middle Eastern music along with touches of the glacial sounds of Tangerine Dream and Klaus Schultze and some prog rock grooving, Malesch makes for a fine 40 minutes. The drumming here is well played and recorded, and the organ riffs sometimes recall something Terry Riley would target.

With a touch of early sampling, "You Play For Us Today" does a fine job setting the gliding groove that the album pretty much sticks to. "Sahara City" serves up a full blast of the Middle Eastern sounds before turning into a full-fledged freak out. Then it all comes together for the album's best track, "Ala Tul." That one makes me picture a wild solar medina (Arabic marketplace) orbiting Neptune. It's even a little groovier than the Star Wars cantina - at least in my head. The rest of the album is no slouch. The title track is only a shade under "Ala Tul" while striking a similar vibe, and "Rucksturz" sends us off with a final though of glammy, acid guitar.

While there are plenty of elements on this disc that some of the other 70's German musicians pulled off even better, Agitation Free hits their marks well and the Egyptian sounds help set this one apart. With clean production and fine playing, this is a necessary listen.

Amon Duul - 1970 - Para Dieswarts Duul

2010-06-29T10:44:00.004+09:00

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

Please note that this group of krautrockers are Amon Duul, and not Amon Duul II. The original Amon Duul was a communal group of freaked-out German hippies of which being a band was only one facet, whereas Amon Duul II was an offshoot of the more musically inclined members of the commune. Although Amon Duul II is by all rights more musically accomplished and focused (while still retaining a strong avant garde edge), I tend to find myself listening to the spacey ramblings of the commune's recordings far more often. This album is the final set from the original group.

The album begins with an extended side-length jam out, which starts off with a minimalist, proto-Spacemen 3 drifter which features vocals about time machines, and ends with a long acoustic guitar driven jam. They're both well and good, but my favorite part is the echoing guitar scales and noise in the middle of the track that stitches them together. The proper album contains two fully separated tracks on side two. While it's pretty primitive sounding, I'm charmed by the chiming guitars and probing bass of "Snow Your Thirst and Sun Your Open Mouth." Paramechanische Welt" isn't bad, but it does reek a little more of screwing around in a drum circle than I'm usually happy with. The reissue contains a couple bonus tracks that make a nice addition. "Paramechanical World" sounds almost like one of the early tracks that Damo Suzuki recorded with Can.

Although not quite an ultimate krautrock classics, Para Dieswarts Duul is one of the better early entries in the genre. I'm usually not particularly attracted to jammy rock unless played by top notch musicians, but Amon Duul manages to create some very cool atmospheres even if they don't always sound completely in control of their instruments. For those of you that grab anything with an Ohr Records label, this will be a most satisfying listen.

*Note - My internet connection is still pretty screwy. I'll post when I can.

Far East Family Band - 1976 - Parallel World

2010-05-28T11:00:00.003+09:00

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

Far East Family Band was one of the absolute best psychedelic/prog bands from Japan, while producer Klaus Schultze was (and is) at the top of the electronic krautrock pile. Even with such strong credentials from the outset, this album is more than the sum of its parts. The two musical forces meld perfectly, with the best parts of their musical identities at the forefront without obscuring the other. Parallel World is how every collaboration would go down in a perfect world (a perfect world that is parallel to ours I would suppose).

"Metempsychosis" is sort of a prelude track, working a tribal groove not too far removed from Schultze's "Moondawn." Schultze's presence is felt even more with his cascading Moogs on "Entering," which eventually crashes head on with the full blast of the Far East Family Band on "Times." Yeah, they're probably echoing Pink Floyd's "Set the Controls For the Heart of the Sun" a bit too much, but I'll forgive them as I think "Times" is ultimately a superior track. We then get an extended 'sad Japanese man' psychedelic ballad with "Kokoro." It's my least favorite track here, but the quality of this album is so high that it would be a highlight on a lot of other albums. Side two consists of the "Parallel World" song suite, and of course is not to be missed. "Amanezcan" provides some modular Moog haze, while the band cranks up the voltage into some fine psychedelic funk beats on "Origin" and "Zen." The rest of the album lets the sonic DMT kick in as we're treated to some cosmic sounds that rival those on Tangerine Dream's Alpha Centauri.

Parallel World is one of the best psychedelic/prog albums of the 70's. It's definitely the best the Far East Family Band ever sounded, and it's a high point for Klaus Schultze as well. This reaches farther out into the space rock aether than most of the space rock luminaries ever managed, and deserves the ear of all the heads out there.

Gaa - 1973-1987 - Alraunes Alptraum

2010-05-28T10:35:00.007+09:00

Quality: 3 out of 5
Trip-O-Meter: 4 out of 5 (for the first three tracks)
-268 out of 5 (for the rest of the album)

Gaa was one of the more obscure krautrock bands, which I suppose is already a somewhat obscure genre. The first three tracks were earmarked for their never completed second album, while the rest comes from their "second wind" in the 80's. They don't sound like the same band at all. 70's Gaa has a smooth psychedelic jazzy sound while the 80's stuff is more like manna for leather-clad eurotrash neon-lit club dwellers of the period.

You'll want to give this a listen for "Autobahn" and "Morgendammerung." The first has nothing at all to do with the Kraftwerk tune, but sounds sort of like if Roger Waters had taken his World War II obsession to the next level. I'll admit that it could just be because they're singing in German. Either way, it's got a pretty awesome spacey groove. "Morgendammerung" is a lengthy jazz-rock instrumental that has a great flow, even if the bass player seems to have trouble holding the beat a few times. "Heilende Sonne" is a perfectly listenable track, but the rest of the album is ridiculous. I don't necessarily want to dismiss the rest of the album as the inspiration for David Hasselhoff's musical career, but I can help but get an imagine of the Hoff himself working his way through a no-budget karaoke video as this stuff plays. I bet seeing the 80's Gaa in concert would have been a memorable experience, but it sound silly on your sound system.

So we have the memory of a pretty decent 70's krautrock band side-by-side with a bit of the absurd. At least the last four tracks are jaw droppingly bad in a 'I can't believe this is happening' sort of way. That's got to make it worth one listen during which you can pump your spikey bracelet-lade fist. It also a fine album for you to subtly end your next party.

Note: Yes, I know that the first "a" in "Gaa" has an umlaut, but I'm too lazy to figure out how to type that out.

Note 2: While I do enjoy the bug green on the cover, the rest of the art work makes me extremely unhappy and I think gave me a nightmare last night. Fortunately, the other dream where I went skydiving is the one that I remembered well.

Gandalf - 2007 - Gandalf II

2010-05-08T08:21:00.005+09:00

Quality: 3.5 out of 5
Trip-O-Meter: 3.75 out of 5

If for not other reason than the spectacularly psychedelic cover art, I'd wager that a fair amount of you psych-heads out there know Gandalf already. The thing is that the baroque popsters had already broken up by the time that first album came around in 1968, and these recordings are mostly from 1968-1970. No, this is more of unearthed odds and sods from Gandalf luminary Peter Sando - but this is not a problem at all. Sando wrote the two original songs on the first Gandalf album, and I lamented in my review that there should have been more. I was very happy to find that we get eight more Sando tunes on this disc. Now, fans should come forewarned that the organ sounds and endlessly echoed vocals that formed the band sound is not often present here. In fact, these songs are pretty much all over the place stylistically, with acid-folk, psych rock, and pop rock along the lines of the better early 70's Beach Boys recordings representing a few of the genres bouncing around the grooves of this album. The recording quality varies a lot as well from full production numbers to sputtering demos.

We get the best tunes at the beginning and the end of the album. "Bird in the Hand" is a great opener and could have slipped in nicely on the Beach Boys' Sunflower. "Days Are Only Here and Gone" and the cover of "Ladyfingers" do drift a little closer to the more recognizable Gandalf, so you don't get left completely high and dry with this collection. The tail end of the album has some live tracks that are not of the best recording quality, but they do rock out. "Golden Earrings" is arguably better than the studio version and they make a nice Yardbirds' style rip through "Downbound Train."

I don't think this really qualifies as a real Gandalf album, but there are lots of groovy sounds for you to pick and choose from. Besides, when dealing with a good band that only released one album, there's something to be said for any attempt to scavenge for some more tracks. It certainly plays better straight through than Syd Barrett's Opel.

Buy Me:
Gandalf - 2007 - Gandalf II

Mike Mainieri - 1968 - Journey Thru an Electric Tube

2010-04-21T00:24:00.004+09:00

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

If you're a regular reader of this blog, you're probably aware that I'm a sucker for sitars. I don't think I've quite let readers on to my obsession with the sounds of the vibraphone (I've got a shrine to Roy Ayers in the closet of my mind), but we've got a fine album here to scratch that itch. Mike Mainieri may not be on the A-list of jazz vibraphonists, but he definitely manages to work out some great grooves on this LP. Helping out immensely is flautist Jeremy Steig. His contributions should erase that image of Will Ferrell rocking the jazz flute in Anchorman. This will be in regular rotation on the sound system when I open my chain of opium dens.

On Journey Thru an Electric Tube, we've got several groovers and ballads. All of the groovers are top notch - "It's All Becoming So Clear Now" and "We'll Speak Above the Roar" glide through time and space quite well, with the rhythm section providing a nice platform for Mainieri, Steig, and some fuzz guitar to train off from. "The Bush" makes me thing of early Allman Brothers if you're up for that sort of thing. I'm not quite as hep to the ballads here, but they are perfectly listenable. "I'll Sing You Softly of My Life" fares the best of those tune. But for all of you psychonauts out there, we have the extended "Allow Your Mind to Wander" for your discerning ear. This track has some wild improvisation, strange echoing effects, and is firmly planted in the more avant guard realm of existence. You'll be best of following the instruction of the track's title.

Once you've played out your Cosmic Brotherhood from Bill Plummer, this is a nice destination for your fix of psychedelic jazz. Several of the tracks here have the ability to launch your mind straight through a psychedelic basement club at 3am (well, that's where the electric tube took me), and the rest are perfectly listenable affairs.

Colours - 1968 - Colours

2010-04-20T23:47:00.006+09:00

Quality: 4 out of 5
Trip-O-Meter: 3.75 out of 5

Here's a distinctly American take on the more psychedelic, orchestral sounds that the Beatles were known for. The project was initiated by songwriters Jack Dalton and Gary Montgomery and features fine session players that also played with A-listers like Derek and the Dominos and Taj Mahal. Besides the obvious Beatles influence, the music here is crossbred with the sounds you'd find with Three Dog Night or hippy musicals like Hair, but this one immediately scores an extra Twinkie on the totem pole of psychedelic sounds as I much prefer this to Hair or Three Dog Night. The production is meaty and top notch, and the vocals are of high quality, both with the singer's Lennon-on-quaaludes sound and the Brian Wilson-worthy back ground harmonies. My only major critique with this one is that a fair portion of the lyrics sound like they were written by a 12-year-old ("Smoke a while, think a while - I feel I'm getting mighty bored - I know what I can do - I think I'll rob a liquor store..." FAIL!!), while the rest don't make much of an impressison. Fortunately, the music half of the songwriting more than makes up for this problem with some top notch psychedelic/sunshine pop melodies.

It's hard to pick out the choice tracks here as the album almost plays like a 'best of' collection, which serves to illuminate the quality of the songs. I could live without the music hall/vaudeville schtick of "Don't You Realize," but I have a bias against that sort of thing on rock albums and it's not as bad as the typical late 60's journey into that territory. My favorite tracks are stuck in the middle of the album, although everything here is pretty good. "I'm Leaving" benefits from a groovy beat and a fine fuzzy guitar solo, while "Brother Lou's Love Colony" brings out the sitars and has what I believe is the most memorable. "Love Heal" veer the closest towards Hair territory with it's call-and-response chorus, but the perfect Magical Mystery Tour emulation (the drums and bass are spot on) makes it awesome. "Where Is She" and "Rather Be Me" start off with pretty lame intros, but stick with them for 10 seconds and you'll find some very groovy tunes.

If you frequent the Psychedelic Garage for psychedelic pop, then this album is what you're looking for. No, it's not perfect, but I would say that the flaws here are more endearing than annoying. Yes, they probably borrow a bit too much from the Beatles, but they do it well enough that it's not a problem. At least this makes for a better faux-Beatles album than those of Klaatu or ELO.

Buy Me (this includes a bunch of bonus tracks and their second album):
Colours - 1968 - Colours

Brad Smith - 2010 - Moon8

2010-04-13T03:13:00.009+09:00

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

I have to confess that I really don't like Dark Side of the Moon very much. Maybe I've just heard it too much. I tend to stick to left of the dial stations on my radio, but I feel like whenever I venture into the higher frequencies, I end up hearing "Money." Yet I can't deny that there is some fine artistry behind the Floyd's efforts, and fortunately the last couple years have seen a strange cottage industry of folks covering the entire album. I dug the Flaming Lips faux-krautrock take on the album last year, and I'm a fan of the reggae version that the Easy Star All-Stars cranked out. Here's another one that's gotten my attention. Brad Smith is a video game programmer and musician out of Canada who has managed to make an 8-bit rendition of the music. For those of you who are not retro gaming geeks, these are the sounds that populated Nintendo's FamiCom system back in the 80's, so all of the sounds have to be programmed to fit on a chip set on a game cartridge. I'd say that the man has done his job quite well.

Now, I'm not one to listen to retro game music outside of a game. 8-bit tones can wear on your ears pretty quickly, and they don't make you feel very cool while gliding down the highway. That said, Mr. Smith has managed to stuff in most of the arranging quirks and harmonic tones of the original album using a very small set of musical resources. I think it's fun to hear the saxophones, soul singer, and Roger Waters reduced to simple square waves. Of course with the self-imposed limitations, this is all instrumental.

While this may not be the best album as seen out of context, I would proclaim it the best retro video game soundtrack ever were it actually in a video game. Still, I think that there is something a little more than just novelty value behind Moon8. This is a fine place to try and hear the ghost in the machine. I'd suggest giving this one a listen while running your emulation (or Famicom if you've still got one) of something like Metroid or the first few Final Fantasy games. That would make this one sound like an utter classic.

Note: The files for this are only listed as "Side One" and "Side Two." This is the artist's preference. Head here to take a look at Brad's website:
Moon8 Website

Listen to Me:
Brad Smith - 2010 - Moon8

Drum Circus - 1971 - Magic Circus

2010-04-08T05:10:00.007+09:00

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

Something pretty strange must have been seeping into the Germanic water supply in the early 1970's. This uber-freakout involves Swiss drummer Peter Giger, some folks from Brainticket including Joel Vandroogenbroeck playing flute and sitar, and apparently Timothy Leary sending some of the lyrics their way. The sound here is definitely follows a firm trajectory through the outer reaches of the krautrock universe, but there's also a notable jazz influence that sets this one apart.

The main event here is the twenty-four minute long track, "Magic Circus." This tune offers several distinct sections, with percussive walls of sound, clouds of flute, sitars, modal jazz passages, spoken word, and odd chants. The chanting in particular makes me start thinking about the Firesign Theatre or the Monkees' oddball chant from their film Head. It's a first rate musical trip and chances are that even if you don't dig all of it, some of it will get your attention. Side two brings us some shorter form pieces, with "Papera," "Groove Rock," and "All Things Pass" putting on a convincing jazz and/or funk hat on pretty convincingly, and "Now It Hurts" and "La-Si-Do" recalling the lysergic sounds of Brainticket.

If there's nothing else you can say about this album, it's pretty diverse. But I can say a lot more in favor of it and I'd be willing to toss it at least in the "underrated minor classic" category. Drum Circus is very ambitious in terms of their sonic targets, and I think you'll find that they mostly hit the mark. I just wish that someone had made some groovy psychedelic artwork for the cover instead of the 'I just learned Photoshop yesterday' look (I'm assuming this art is for a more modern release).

Steve Hillage - 1979 - Rainbow Dome Musick

2010-03-31T00:14:00.006+09:00

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

I originally picked up this album with no knowledge of Steve Hillage or Gong. The cover art simply grabbed my attention, as did the title. Rainbow Dome Musick sounds like a psychedelic planetarium to me, which is very appealing to my sensibilities. Fortunately, that description fits the actual music quite well. While Steve Hillage's space rock albums may have had some clues towards this sound, Rainbow Dome Musick is worlds away from those earlier albums. This is an ambient chill out album, with sliding sequencers, watery noises, and glissando gliding guitars. 1979 may seem earlier for an ambient chill out album, but Alex Patterson of the Orb famously DJed his late 80's chill out room using this, and once it caught Hillage's attention, the guitarist ended up both working with the Orb and founding the fine electronic group System 7. It's not a stretch to say that this album is ground zero for an entire genre.

This is music that must be experienced - you will not find yourself humming it as you go down the street. As such, we are presented with two side long tracks. With Tibetian bells, spacey sequencers, Hillage's restrained guitar playing, and the sounds of flowing water, it's difficult to focus on these sounds. But that's the point. If these album clicks with you, it will likely shirft your brain into a more zen state. All I can say specifically is that I'm always disappointed hearing the ting-sha at the beginning of "Four Ever Rainbow" as that lets me know that the album is now half way over.

Those that read this blog regularly are probably aware that I have a soft spot for trance inducing records, and this is one of the best ones to come from a rock background (not that you'll find anything resembling rock here). I would go as far to say that this is one of the albums that got me motivated to start writing this blog. Why it took me three years to actually write about it is beyond me (probably laziness).

Note: The vinyl pressing of this is on clear vinyl. It looks awesome and fits the sounds found in its grooves.

Buy Me:
Steve Hillage - 1979 - Rainbow Dome Musick

Steve Hillage - 1979 - Live Herald

2010-03-30T23:47:00.003+09:00

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

First off, I'm taking a look at the CD-era version of this album, which is completely live. The original issue of the album boasted a side of studio tracks, which have now been ported over to the Open album. Anyway, this is one of those live albums that sort of double as a greatest hits collection. Your favorite track from Hillage's first four albums may very well not appear here, but what's here are still fine tracks. The performances definitely benefit from Hillage's road worn band, and Giraudy's electronics add a nice new dimension to the tracks from the first few albums. The cover of Donovan's "Hurdy Gurdy Man" is even better here and the "Lunar Music Suite" contains an energetic tear through the always welcome "Om" riff.

The sound quality on this disc is not quite as clear as I'd like, but it is a live album and it is certainly listenable. This is not to rip on the remastering; the Hillage reissues are one of the better sets of reissues I've come across.

When you get right down to it, this isn't a bad place to start if you're unfamiliar with Hillage. Those who are already fans will find a lot to love here as well. As with Green or L, this is about as good as British space rock gets (I have to give the Germans the win in the end).

Buy Me:
Steve Hillage - 1979 - Live Herald

Steve Hillage - 1978 - Green

2010-03-30T22:11:00.007+09:00

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

Golly! I started with these Steve Hillage reviews more than two years ago and never really got back to them. Well, here's Green to continue the tale. As you may or may not be aware, Steve Hillage was one of the more notable guitarists to spend time with the freaky psych-prog band Gong and I would count him (along with Manuel Gottsching probably) as the premier space rock guitarist of the 70's. This album includes some extra space rock royalty as Nick Mason of Pink Floyd served as this album's producer. His presence and the 1978 date on this album do push the sound into the territory of Animals or Wish You Were Here. Hillage's endearing new age Jesus vibe helps to distinguish the affair, and with top rate instrumentalists backing him up (especially his 'life partner' Miquette Giraudy handling the electronics), I'll go ahead and say that I prefer this to the sounds of 70's Floyd.

The songs on Green don't really slap you with an aura of instant awesomeness, but they definitely grow on you. A few songs like "Sea Nature" and "Unidentified (Flying Being)" have an entertaining slight funk edge. The P-funk style bass in the latter probably takes it a step further. "Ether Ships" and "Leylines to Glassdom" focus on the tranced out electronics and guitars that Hillage and Giraudy would focus on more and more over the years (the two are still active and producing fine electronic albums under the monkier System 7). "Crystal Ships" shares an affinity with the music that Bowie and Eno were releasing around this same time period. The proper album closes with "The Glorious Om Riff," which was originally recorded as "Maser Builder" on Gong's You. I'm hesitant to say this one is better, especially with the bias of considering You as one of my favorite albums, but I will say that this track is at least as good as the original.

The reissue of Green also features four bonus tracks. Three of these are contemporaneous live tracks (the studio version of "Not Fade Away" is on Motivation Radio). Hillage has a fine live album with Live Herald, but you can make a pretty fine live set by compiling the tracks from these reissues. There's also an alternate mix of "Meditation of the Snake," which is a little odd since that track is from Fish Rising, but whatever.

This doesn't bug me too much, but it's probably worth noting that Hillage doesn't have much of a singing voice. Space rock bands don't seem to put a lot of stock into vocals (Gong's Daevid Allen doesn't have much of a voice either), and I would describe Hillage's golden throat as a slightly more unhinged Roger Waters. Perhaps Hillage figured this out, and that's why he doesn't sing on the System 7 recordings.

My first impression of this was not the best, but after some time I feel that this is a competitor with L for the title of Hillage's best rock album. It's got a bit of a sci-fi nuance to the sound which always gets my attention. This is also the happy point where Hillage's album artwork switches from 'embarassing' to 'awesome.' Green should go straight to the top of your space rock heap.

Buy Me:
Steve Hillage - 1978 - Green