psychedelic

Galaxia Tropicalia

admin — Wed, 07 Apr 2010 00:00:00 +0000

Blasfemea’s Galaxia Tropicalia is a psychedelic electro-pop album that, while not made by women, is decidedly about and possibly for them. This Lisbon-based quartet of adorable, dark-haired boys makes music that, at least in theory, pays homage to women. This sort of sweeping statement is problematic, because really, when has “woman” ever been a universal label? You can easily argue that what’s between your legs doesn’t mean much anymore.

Nevertheless, all of the songs on Galaxia Tropicalia have stereotypically female names: Catherine, Lindsay, and Kami, for example. On opening track and single “Maria,” the fellas sing about hot chocolate and doodling a crush’s name. “Ida” showcases the band’s afropop influences and features British tropical music rock band Dead Kids.

Blasfemea—BLSFM for short—isn’t afraid of experimenting with various Latin sounds. That said, their sound moves from fairly straightforward pop to manic, slightly confusing afrobeat and hard rock. On one short album, it’s more confusing than interesting. Even though the band relies on Latin influences and hails from Portugal, the entire album is in English.

Their cover of Michael Jackson’s “Dirty Diana”—simply called “Diana” this time—is a tough sell. I love a cover song, but this remake doesn’t work for two reasons. It’s not only too soon to be sampling a King of Pop track; this cover is remarkably bad. The original is a gem and thus difficult to reproduce. I couldn’t even finish this version. Stick with BLSFM originals.

Written by: Brittany Shoot, April 6th 2010

Superstition

admin — Sat, 13 Mar 2010 01:00:00 +0000

By Christy and Emily

Big Print

Anyone who follows music press would agree that Brooklyn has been a hotbed of indie creativity during the past decade. The styles run the gamut from freak-folk to experimental noise, to sugarcoated pop, to singer-songwriter confessionals, to good old fashioned rock and roll. From this creative vortex emerge the duo Christy and Emily with a sound that is a pastiche of all of the above.

Christy Edwards and Emily Manzo have created a sweetly drone-y and sharply melodic record with Superstition. The vocal harmonies are pitch perfect and the songwriting, which could be classified as quietly psychedelic, is well developed. The songs, like fog, seem to creep in with plenty of reverb and quietly distorted guitar. On the title track and the lovely “Nightingale,” the mellow haze clears enough to reveal classic folk melodies. On others, such as “105 & Rising,” the buzzing thump of layered guitars and improvised instruments becomes distinctly sinister. The album’s closing track, “Tigers,” showcases the band at their more upbeat and successfully invokes folk rock vocal patterns. The track also features guest drums by Brooklyn drone master Oneida’s drummer, Kid Millions.

The world of Christy & Emily is layered and ethereal. Trying to pin them to one sound is difficult and, ultimately, fruitless. Those grasping for a comparison might point to Damon and Naomi, or perhaps Coco Rosie without the trust fund and fake, white girl rap. As its title implies, Superstition is best captured by an emotion. It is dreaming, reaching, and searching for a feeling that could be a false lead, but could a new revelation and understanding, for better or worse. The reverb drenched guitar and sunny to stormy vocals enable listeners to stretch and reach to touch with their finger tips—but not quite grasp—one strong feeling.

Written by: Eleanor Whitney, March 12th 2010

American Gong

admin — Wed, 10 Mar 2010 01:00:00 +0000

By Quasi

Kill Rock Stars

Did adding Joanna Bolme on bass somehow ruin the “purity” of the Quasi sound? I would suggest not. Although it would be impossible to argue that their music was thin before, Bolme’s bass adds a perfect oomph without taking away from the chemistry of the duo that already existed. Bolme, like both Sam Coomes and Janet Weiss, is a music veteran, playing with bands like Stephen Malkmus and the Jicks, as well as working with Elliot Smith and producing what is probably Quasi’s most critically acclaimed album, Featuring “Birds.”

A big reason Quasi never sounded thin is drummer Janet Weiss, who is absolutely and completely underrated as one of the best drummers in the business. Perhaps her drumming is bit less bombastic and intricate with Quasi than when she was with Sleater-Kinney, but her calculated triplets and chunky bass drum thumps are scaled back just enough to work perfectly with the sweetness of Coomes’ voice, and she still turns on the heat when necessary. She makes me wish that she was in the White Stripes, instead of Meg White, because as much as I love the White Stripes, Meg White’s drumming is on the lean side. I think Weiss’ style would work perfectly with Jack White, and then they could commence to form The Greatest Rock Band That Ever Existed and take over the world.

American Gong basically continues with the Quasi sound of the last two decades, which is part Beatles, part country blues, and even part Flaming Lips. They’ve still got some of that country-blues-rockabilly on songs like “Rockabilly Party,” but are a tad more Sonic Youth and a smidge less Reverend Horton Heat overall on this album than on some of their others.

There can be no question that their music references other bands; I had to smile at the song “Black Dogs and Bubbles,” which has a lick that sounds quite a bit like the Beatles' jam session that is “I Want You (She’s So Heavy).” And just to make sure you didn’t miss the suggestion, it cuts off abruptly at the end just like the Beatles’ song does. It’s just reminiscent enough to be a happy homage rather than a cheap rip-off.

Quasi still writes songs that are sneakily catchy. I get “It’s Hard to Turn Me On” stuck in my head every time I listen to Featuring “Birds,” and I’ve had “Bye Bye Black Bird” and “Repulsion” repeating in my ears since the first time I listened to American Gong. Their classic rock and country riffs are perhaps less apparent on this album than on The Going Gets Dark or Hot Shit!, but Quasi is still there, writing happy-sounding songs with sadly psychedelic lyrics that still somehow manage to laissez les bon temps rouller.

Written by: Emily S. Dunster, March 9th 2010

Tidings

admin — Mon, 15 Feb 2010 01:00:00 +0000

By Wolf People

Jagjaguwar

The first Wolf People album released in the U.S., Tidings is comprised of three years worth of psychedelic, folksy Brit rock recordings, some of which were composed before the formation of the current lineup. The tracks often blend together, and multiple interludes—one appropriately titled “Scraps”—stitch together thirty-second banjo solos and full-length songs about darkness and friendship.

Single “October Fires” is a catchy tune, the best produced of the slightly haphazard bunch. With an infectious guitar riff repeated throughout, it sounds as though it could have been written any time within the last thirty years—and that’s quite a compliment, as it would have stood the test of time were it a vintage track. “Black Water” follows in close second place, a song that feels reminiscent of a British brewpub full of smokers in leather jackets.

I’m admittedly torn about the resurgence of wolf popularity. While other similarly named bands—Wolf Eyes, Wolfmother, Wolf Colonel, Sea Wolf, even the forerunner, now-defunct Wolfie—may have long ago signaled the popular rise of ugly kitsch, I’m one of those girls who grew up with kids in the wolf t-shirts. You know the ones I mean; every hipster boutique is selling them these days, complete with the terrible blue-gray tie-dye and moon shining on the gray wolf silkscreen. Even Shakira has a song out about how she’s a “she wolf.” (Why must gender be assumed male unless otherwise stated?)

In the past, Wolf People have supported the likes of Dinosaur Jr. on tour. Hit up the Jagjaguwar site to see when they might roll through your region to promote Tidings.

Written by: Brittany Shoot, February 14th 2010

Letter from New Virginia

admin — Mon, 26 Oct 2009 23:31:00 +0000

By Donny Hue and the Colors

Kora Records

Did you know that one of iTunes musical categories is “unclassifiable”? Such a description is apt for the music of Donny Hue and the Colors. The group uses many unusual instruments, including autoharp, melodica, glockenspiel, and theremin, as well as guitar and organ on an album that can alternately be described as psychedelic, minimalist, and orchestral.

The instrumental “Into the Woods” plays like the opening of a movie, setting the tone for the album. It is pleasant sounding yet laid back until the music stops abruptly and we hear a very very quiet sound resembling wings. Both the emphasis on melody and the bizarre use of ambient sound carry over as the album progresses.

“You’re On Your Own (We Could Help)” is a bit left of center, but whimsical in a Beatles-esque way. The lyrics make little sense: “Mr. Romo, how do you so elegantly bow?” “I Speak of the Hayseed Cousins” sports a country vibe with jangling guitar and laconic vocal while “Callidope” has a bluegrass feel and is marked by prominent harmonica and a fast-paced rhythm. We then have “Fairlady of the Springboard,” a waltz on which we hear piano and violin, and as with many other songs, the music obscures the vocals. It’s not that you can’t hear them, but that they don’t seem to be saying much, and the music is more the focus. The band gives a Southern rock feel to “Woods,” which has drawling vocals, ambling solos, and piano and horns that add to the crescendo finale.

Musically, Donny Hue and the Colors know their stuff, and while the album is interesting to listen to once, it doesn’t get any less strange or chaotic the second time around. Until the group learns to focus their talents more, I won’t be adding them to my playlist.

Written by: Karen Duda, October 26th 2009

Fabric 47

admin — Thu, 08 Oct 2009 17:10:00 +0000

By Jay Haze

Fabric Records

For the thumping album Fabric 47, Jay Haze, the Pennsylvania-born and Berlin-based teamed up with the series of compilation albums produced by the legendary London nightclub of the same name. Haze is the quintessential renaissance man with experience in running multiple record labels and starting up the online electronic music magazine Textone in 2003, all while producing both collaborative and solo albums. His music has been described as psychedelic, but I didn’t get psychedelic so much as I did sultry and subtly climactic. For instance in “Mellow Dee” Haze (featuring Ricardo Villalobos) takes a melody that, when removed from its down tempo context, would seem almost creepy and ominous, but he turns out a track that slowly builds the musical equivalent of an orgasm. My favorite track is “An Hour to Fly” by Lil Dirty Ghetto Bastard, this kind of galloping tempo is definitely a personal favorite of mine, but when simple piano notes and a drum n’ bass beat are merged, Haze creates one of the most sensual tracks on the album.

Fabric 47 is much less lumbering than the last Fabric album to which I listened. It has natural transitions and is an exceedingly cohesive album with a much bouncier and more accessible recurring rhythm. It was most definitely more danceable, and less exhausting; it could just as easily be played at a low volume for more ambient sound than it could being pulsed through massive speakers in a club. I found it to draw much on creative transitions and other genres and less on heavy-handed electronic clichés.

Haze’s album is welcoming and versatile, a compilation that I imagine even people with rather narrow ideas of music would respond to. One can’t help but react to the throbbing sensual beats with, at the very least, a tap of a foot or the bob of one’s head. His sound could easily be compared to French house DJ Stéphane Pompougnac's Hotel Costes series which cleverly mixes tempos and genres in an inspired and refreshing way.

Without a doubt, in my future I see more Jay Haze. This compilation indicates an aptitude of what makes people move and a mastery of musical devices that make listeners yearn for more.

Written by: Erin K. Murphy, October 8th 2009

Rotting Slowly

admin — Mon, 06 Jul 2009 00:08:00 +0000

By The Curious Mystery

K Records

Their name, Curious Mystery says so much. Curious instrumentation crossed with a mysterious sound as they fearlessly cover the gamut—a grab bag of indie noise rock, folk, psychedelia, country, and blues. It all works whether it’s attributed to their experimentation of sounds, or that they are just an experimental bunch, a breath of fresh air in an arguably stale climate. Trying to describe their genre to potential fans is like reciting a Last.fm blogroll; they would certainly reign with the most listings.

The title of their debut album, Rotting Slowly, makes sense too. Upon first listen, you can picture the moldy deterioration of Seattle area homes amidst damp cold oblivion. You feel the frigid night air as it travels to the bone, yet the shock is so invigorating that you’re ultimately left pining for more.

This four piece band includes Shana Cleveland and Nicolas Gonzales on vocals and guitar, along with Bradford Button on bass and Faustine B. Hudson on percussion. It’s the booming percussion and sedate vocals that drive the idiosyncrasies in their overall sound. The band does happen to call Seattle their home and you hear the influence of fuzzy guitar garage rock with languid apathetic vocals. But what makes it all compelling is their intoxicating love of roots music with an added country twang peppered with an array of homemade instruments.

The song structures are chaotic, heavy and rival label-mate Deerhoof with obscure time changes. Shared vocal duties between Cleveland and Gonzales are countered with bluesy instrumentals, all delightfully erratic and somewhat out of tune. “Dragon’s Crotch” and “Nicaragua” both automatically earn kudos for creatively awesome song titles, but also propitiously envelop these complex sonic textures with the help of an autoharp and a bluesy slide guitar. “It’s Tough” begins with a poppy blues riff, then jumps ship and evolves into an alluring almost cinematic chant. Cleveland’s coughing just out of the mic’s reach is an endearing addition to the organic edginess. “Black Sand” displays her inner Cat Power: beautifully brooding, stormy and tempestuous. The jam session between Hudson and Cleveland is a tousled impromptu alliance emulating the Memphis soul/rock grooves effortless honed by Steve Cropper and Al Jackson Jr. The beginning of “Outta California” makes you want to jump in your car and head up the interstate at suicidal speeds; it then shifts gears unexpectedly with slow slide guitars and longing, impervious vocality.

All in all, _Rotting Slowly _leaves you in a haze as you decipher the eccentric song structures with a mishmash of influential genres. Through the dismal landscape, Cleveland and Hudson take command of this outfit as their ingenious styling effortlessly support and drive the other. One can only wonder just how many more genres they can effortlessly weave into their aforementioned grab bag.

Written by: Cat Veit, July 5th 2009

This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That

admin — Fri, 16 Jan 2009 12:02:00 +0000

By Marnie Stern

Kill Rock Stars

Marnie Stern was brought to my attention by one of my favorite shredders, Marissa Paternoster of Screaming Females. This could not be more appropriate as Marnie Stern is also a shredder. I could not help but be intrigued by this album. The cover art (by Bella Foster) grabbed me immediately with its watercolor and pencil styling of dreamy forest imagery recalling Henry Darger. The album’s curious title, This Is It & I Am It & You Are It & So Is That & He Is It & She Is It & It Is It & That Is That comes from a 1960 Alan Watt piece, This Is It.

This Is It... begins with just a nondescript clicking and Marnie Stern's elfish voice repeating eerie phrases "defenders get on to your knees..." in "Prime." On first impression, Stern’s voice is can be compared to Joanna Newsom's quirky vocals. At forty-two seconds in, the beat drops and the song really begins, exploding into a panicky cacophony of guitar and drums.

The album is definitely a psychedelic freak out. Stern pairs up again with Zach Hill of Hella, who also appeared on Stern’s 2007 debut album, In Advance of the Broken Arm. Stern's intricate and erratic guitar riffs can only be followed by someone with the impeccable timing and precision of Hill. I would argue that he is the most appropriate drummer for this album.

Bassists John Reed Thompson and Jonathon Hischke demonstrate the ability to follow through on Stern and Hill's compositional aesthetics. Stern’s creative riffs and unique voice call to mind Deerhoof and Erase Errata, in the best ways, which should be extrapolated to mean you can definitely dance to this. At times I am even reminded of The Beatles' more trippy songs. Tracks like "The Crippled Jazzer" are super-driving, making it clear that Stern is well-versed in the art of inducing head-banging as well.

This Is It... will definitely satisfy your need for weirdo psychedelic jams. It is exciting to hear someone going down a completely original route with what seems like no pretense at all; this is hard to find especially in New York. And I'd also be lying if I said I weren't excited that Marnie Stern recorded this album herself.

Written by: Kate Wadkins, January 16th 2009

Inventions for the New Season

admin — Wed, 01 Aug 2007 20:15:00 +0000

By Maserati

Temporary Residence

For the last decade Athens, Georgia has been a hotbed for bands that stray away from highly stylized music in favor of showcasing their art outside the boundaries of conformity. The psychedelic instrumentalists in Maserati exemplify this mindset with a unique brand of music they call “Pink Floyd for hipsters” and “stoner rock for the working man.” Seven years since their conception, the quartet who bucks the idea of having a vocalist, is back on the scene with a new full length album, Inventions for the New Season, released in the states on Temporary Residence.

Chock full of beat-heavy instrumentals, Inventions comes across as highly experimental without being overtly eclectic. To highlight one specific track on Inventions would underestimate its assumed purpose, as this concept album invokes an elevated emotional state that’s best attained by listening from start to finish. Maserati uses basic instrumentation (guitars, drums, bass) in place of the bells and whistles incorporated into most of today’s production to create lengthy songs (often 7-9 minutes) that are fundamentally primitive. While Inventions might not make it into your iPod playlist for your commute to work, it is a “place and purpose” album that very well may provide the soundtrack to your next house party or substance-induced journey.

Written by: Claire Ashton, August 1st 2007

Ladycop

admin — Sat, 16 Jun 2007 12:36:00 +0000

By Ladycop

According to their Myspace page, Ladycop is known for their live show; the trouble is I haven’t seen it. Based in Brooklyn, their self-released and self-titled EP, showcases a band that isn’t easily captured second-hand. With layers upon layers of sound, rattling guitars, and mystic vocals, I’m aching to hear more from this indie rock four-some, preferably at a small, dark club in their hometown. I just want more!

Similar to The Arcade Fire, Ladycop are serious musicians. Their music is as dark and complex as it is driving, but remains fresh - as if I’d stumbled upon a secret that I had heard before, but never really noticed. This isn’t your mother’s Pink Floyd, but their influence is unmistakable with their trademark long, stringing guitar notes (acoustic and electric) and seamless ends and beginnings. I highly recommend this EP. Ladycop tours this summer.

Written by: Courtney Ham, June 16th 2007

Hissing Fauna, Are You the Destroyer?

admin — Mon, 23 Apr 2007 11:42:00 +0000

By Of Montreal

Polyvinyl Records

Hissing Fauna, Are You the Destroyer? the eighth album from Of Montreal, is trippy, offbeat, and terribly infectious. With their quirky brand of psychedelia, Of Montreal (who are actually from Georgia) manage to somehow combine upbeat, catchy, pop music with incredibly depressing lyrics. In the song “A Sentence of Sorts in Kongsvinger,” a cheerful, dancable beat provides the backdrop to this opening line: “I spent the winter on the verge of a total breakdown while living in Norway.” Bizarre but always melodic, I really enjoyed how Of Montreal are experimental, but still structured and musical. This album brings out all of the good points of psychedelic pop without droning on endlessly or making me feel like I would only understand it if I had taken acid first. My favorite track on this record is “She's a Rejector” because of its warm, '60s-inspired guitar sound. This is a band I shall look forward to hearing more from.

Written by: Beeb Ashcroft, April 23rd 2007

Book of Bad Breaks

admin — Wed, 18 Apr 2007 19:16:00 +0000

By Thee More Shallows

Anticon

A wildly irreverent trip into your own mind is all this entire review can say about both the band and their album, [Book of Bad Breaks](http://www.amazon.com/gp/product/B000O5AYD4?ie=UTF8&tag=feminrevie-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B000O5AYD4). With driving rhythms and a smoky, erotic lead singer, Thee More Shallows has a sound unique to any I have ever experienced. In their song “Night at the Knight School,” you are taking on a strange head-trip only reminiscent of Pink Floyd. They also take the time out to include verbal riffs amongst the members so you actually feel like you are there at the recording session.

“Fly Paper,” a song aptly named for the feel you receive when you listen, is haunting and yet alive. You get swept into the sway of the downbeats with each squeal of their majestic guitar working. Thee More Shallows presents genre-defying music that is talented, majestic and ethereally addictive. I give this one a definite thumbs up and a must buy!!

Written by: Karen Morris, April 18th 2007

Acceleration

admin — Sun, 15 Apr 2007 01:15:00 +0000

By Tom Gavornik

In his latest double disc release, Acceleration, Tom Gavornik continues on with his forty-year, six-string love affair and creates a welcoming modern jazz space, always hospitable and graced by the spirits of many of his own musical icons. This is his eighth release and follows the double disc, Soul Cry, which topped many U.S. and Canadian jazz charts in 2005. Disc one gently rolls from the light "Breeze in a Bottle" through to a mellower "One Small Cup of Water," showcasing his skills with a Telecaster, and echoing the great Les Paul as well as many of the rock groups of the sixties. His more psychedelic side turns up in the track "Six String Child," where he is accompanied by his wife's vocals and lyrics. The collaboration is similar to one they did on Soul Cry's track "Anger," but I think that both of these tracks ultimately were an indulgence that I could have done without. As beautiful as her voice is, the effect of his wife singing his praises takes away from the musical dialogue of the rest of the work. I just couldn’t listen to the phrase, "a gypsy six string boy child so different from the rest" without wanting the track to end, quickly. And it did.

Soon enough the four part tribute to The Beatles began, and before I knew it we were entering the “Cream Suite.” These tributary sketches are interesting to listen to and are each composed with skill and enthusiasm. Always known for an eclectic sensibility, Gavornik is not shy about fusing the old with the new, and this pioneering spirit is what helps to keep jazz music alive and adds to the universal conversation of the art.

Written by: Jen Wilson Lloyd, April 14th 2007