psychedelia
Kieron Tyler
The Bevis Frond: MiasmaMiasma wasn’t meant to have an afterlife. The Bevis Frond’s debut album wasn’t even by a band. Its creator, Nick Saloman, wrote all the songs, played every instrument and recorded it in a Walthamstow bedroom on a 4-track system which used cassette tapes. Saloman pressed the album in 1987 and had few expectations beyond, as he says in the liner notes included with this reissue, “giving it to friends and family and sticking the rest [of the copies] up in the attic forever.”Today, The Bevis Frond are still a going concern and a Saloman-fronted band as such. Their Read more ...
Guy Oddy
Goat are the Swedish psychedelic rock band that made themselves known to the world in 2012 with their sublime debut album, World Music. Much critical acclaim was piled upon their gumbo of psychedelia, motorik and afrobeat and most of these influences are present in Commune. However, things in Goatworld have not stood still and now there is even more emphasis on dancing into a frenzy to fuzzy and repetitive grooves, while more straightforward songs, like “Run to your Mama” or “Let it bleed” from their debut, take a backseat.If the term “psychedelic rock” brings to mind the spaced-out US West Read more ...
Kieron Tyler
Tulegur Gangzi describes his music as “Mongolian grunge” and “nomad rock.” Thrashing at an acoustic guitar, the Inner-Mongolian troubadour is singing in the khomei style, the throat-singing which sounds part-gargle, drone and chant – or all three at once. His approach to the guitar is just as remarkable. With his left hand sliding up and down the neck, the open tunings he employs set up a sibilant plangence nodding to the trancey folk-rock of Stormcock Roy Harper. The slashing, descending guitar which kicks in near the close of Led Zeppelin’s “Stairway to Heaven” appears to also be in Read more ...
Lisa-Marie Ferla
Five albums down, and it seems that The Pierces are yet to stop dressing up their music in different, albeit recognisable, clothes. If 2011’s You & I was the big pop album that with any justice would have made Allison and Catherine household names, then its follow-up finds them going full Stevie Nicks. The sisters have made much in interviews of enlisting the help of a shaman and the hallucinogenic tea ayahuasca to get them in touch with their “spiritual” sides before recording Creation – and certainly these compositions make for a heady brew, even if the basic premise of the musings Read more ...
Kieron Tyler
The 13th Floor Elevators: Live Evolution Lost“I lost control of my body. I looked up and Tommy and Roky were turning into wolves, hair and teeth. And in my mind I was hearing the echo of space, and rays of light were shooting through the roof. All of a sudden there was a vision in light that we were wolves and we were spreading drugs and Satanism into the world. These angels walked into the room and they had light shining on them.”Stacy Sutherland, The 13th Floor Elevators’ guitarist’s subsequent memory of the events surrounding the live show caught on Live Evolution Lost were vividly Read more ...
Kieron Tyler
The United States of America: The United States of America – The Columbia RecordingsNothing sounded like The United States of America. The release of their only album in March 1968 must have been greeted with a lot of head scratching. Although at one with the questing spirit of psychedelia, they clearly weren’t brimming with love, peace, gentle vibes and the burgeoning back-to-the-roots movement. Their music incorporated jarring electronics and the deadpan voice of Dorothy Moskowitz, a singer even more dauntingly distant than the Jefferson Airplane’s Grace Slick.Joseph Byrd was the USA’ Read more ...
Joe Muggs
Chris Carter and Cosey Fanni Tutti are a living lesson in the rejuvenating power of remaining experimental in art. Their music holds its own alongside the young guns of electronica, who indeed frequently idolise them, and in person they frequently seem as excited about possibilities and open to new ideas as artists just starting out.The set they played at Sónar festival in Barcelona last weekend was based on the Chris & Cosey songs they wrote throughout the 1980s and 1990s, but deliberately done in the more abstracted electronic style they took on as Carter Tutti from 2000 onwards – Read more ...
Kieron Tyler
Although the trademark aqueous shimmer is still recognisable on Life Among the Savages, the sound of San Francisco’s Papercuts has changed since 2011’s Fading Parade. On his fifth album as Papercuts, Jason Quever has kept arrangements more sparse than ever yet everything has a distance. His world appears to be one of permanent dusk, when melancholy is inescapable. Life Among the Savages is the sound of outside looking in.The song titles lay it out: “Still Knocking at the Door”, “New Body”, “Staring at the Bright Lights”, “Afterlife Blues”, “Tourist”. Quever’s sense of isolation brings to this Read more ...
Kieron Tyler
Social mores and the nature of what’s taboo change as time passes. The once acceptable or abhorred can become the opposite. The psychedelic-era British film Wonderwall is a case in point. Its storyline is built around a man who finds a hole in the wall between his and his neighbour’s flat. The wall becomes the wonderwall of the title as he looks through it to a naked, or near-naked, woman.And yet this was not a film about the unpleasantness of a peeping tom. It was a fantasy, a whimsy from an era when free love was a bandwagon for jumping on. It had an unexpected afterlife as Oasis’s Noel Read more ...
Joe Muggs
It's hard to countenance sometimes that there was an era where Marc Almond could have been a bona fide, chart-smashing pop star. His ability to parlay the archest of high camp and the most grotesque of low life into something digestible by genuine mass culture was, from the very beginning, quite uncanny.There was always a sulphurous whiff of something downright Luciferian about him, yet enough fragility to make the act seem all too real – an infinitely more convincing and intriguing character than more recent more self-conscious attempts at “transgressive” pop like the gallumphing vaudeville Read more ...
Kieron Tyler
Michael Bloomfield: From his Head to his Heart to his HandsMike Bloomfield was undoubtedly one of rock’s greatest and most distinctive guitarists. He was also wildly erratic and did much to undermine what others saw in him. He died at age 37 in 1981. He had been a drug addict and self-mythologist. The records he left behind were many, and he never landed in one band or place for long. Crucial to Bob Dylan turning his back on the acoustic, he was on stage with him when he went electric at Newport in 1965. His stinging tones helped define “Like a Rolling Stone”. Dylan told Bloomfield not Read more ...
Kieron Tyler
The Seeds: Raw & Alive / The Dream Syndicate: The Day Before Wine and RosesTwo live albums. Both by bands rooted in psychedelia and based in Los Angeles. Each recorded in a studio rather than on stage. One, by The Seeds, from 1968. The other, by The Dream Syndicate, from 1982. The links between these two releases – coincidentally issued a week apart – are about more than the circumstances of their creation, geography and musical style. Both bands had brushes with the mainstream and in the form captured here both proved too raw, too unstable and too wilful to last the course.As 1968 Read more ...