Brainbox - Dark Rose: their 45s (2012) review

Brainbox “Dark Rose: their 45s” (Pseudonym, 2012)

The persuasive buzz of 'Down Man' and the sublime rendering of Gershwin’s perennial ‘Summertime' from their eponymous debut are but two offerings that should make people acutely aware of the greatness of Dutch masters Brainbox. And if you’ve never copped an ear to the group before, then Pseudonym’s recent release of Dark Rose, a compilation of their 45s and more… is the ideal place to begin.

Jan Akkerman’s (pre-Focus) fiery-riffing that can be heard throughout the title cut is utterly superb, and will have you heaping high praise onto these guys instantly; it appears twice too, once in much shorter, delightfully crunchy demo form, while the other is a much lengthier interpretation, but with less of that particularly primal, guttural feel spewing from the guitar, that won’t be everyone’s cup of cocoa. There's also two variations of 'Sea Of Delight' on offer; the brevity, sharpness and sustained vibrancy of the first is, for me anyway, one of the standout tracks here, and indeed across the complete Brainbox canon.

Also highly impressive, and supremely melodic is ‘The Flight’, a compelling, and quite astounding piece of work that seems to want to push things - atypically for Brainbox - in the direction of the later Byrds. While I’m not overly keen on a lot of McGuinn and Co’s post-60s material, I love this track to bits and wanted to play it over and over again when I first heard it, but didn’t cos I didn’t want to disturb the record’s fine momentum. One of the group’s most thunderingly propulsive prog-psych slanted outings is ‘Virgin’, built around a heady dose of whirlwind guitar and battering-ram drums, of which the longer demo version has ex-Dragonfly man Rudy De Queljoe, and Frans Smit duelling for all their worth; not unlike the sounds frequently made by Can's Michael Karoli and Jaki Liebezeit.

There’s also a 23 minute plus demo of 'Sea Of Delight' that can, and does, get a trifle boring sometimes, but, fear not, as it also contains some seriously wiggy, and highly experimental passages. A wonderful set of photographs has been included, and informative sleevenote information flows from Mike Stax’s pen. Altogether this is a fantastic and very welcome release that you’ll need if you want to experience more of the Netherlands’ out-there sounds from the mad 60s and early 70s.

Review made by Lenny Helsing/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

The Vliets interview with Ty Bohrnstedt

Forget about thunderous drum beats. Forget about heavy distorted guitar/bass riffs. At least for now.

The Vliets, currently working on their full length debut, drink from nowadays electronic scene as much as they do from 60s psychedelia, trapped between avant-gardism and nostalgia, meandering between Austin and Chicago. Their first release, The Vliets EP, dates back from 2011 and was followed by last year’s God’s Drug EP, having both of them revealed a very mature sound as well as a band that knows how to spice up things without overdoing it.

We wanted to know more about this promising band and so we had this little chat with Ty Bohrnstedt, The Vliets’ front man and guitarist. We talked about those commonplaces like their influences and stuff but we also had some time to discuss UFOs and God’s drug.

The Vliets started out as a duo but, as far as I know, it now includes two more members. Would you like to briefly tell us your story as a band?

Right now it's myself, Daniel Gonzalez, Max Anderson and Preston Smith.  Everyone has been involved since the beginning, or before this band, just at different times.  I've been playing music with Max since we were like 14 years old, he's always been the drummer.  Preston recently became more involved in our live show production but will be contributing to the music as well, as he has some in the past.  We had some distance issues the last few years, which is why we didn't play many shows.  I live in Heath, TX, Max lives in Austin, Daniel lives in Chicago and Preston lives in Dallas so it was extremely difficult to all get together.  We've made it work though.  Daniel and I wrote and recorded our last EP over the phone and email.  We also incorporated the lap top into our live sets so we don't have to actually rehearse together before shows, everyone just rehearses on their own. 

When did you first come in contact with music? What were your first instruments?

One of my very first memories was hearing The Beatles for the first time.  Not sure how old I was, maybe 2 or 3, but I was pretty much obsessed after that.  Guitar was my first instrument, my buddy sold me his for 50 dollars when I was 12 and I played it for about 7 or 8 hours a day until I figured it out. 

Was there any major figure in your childhood who introduced you to great records like your parents or some older friend? And if you have any interesting episode that influenced you as musicians at an early age please be my guest.

Yeah my parents always made sure I was listening to quality music and not radio shit.  My grandfather was also a composer and a doctor of music, so I was exposed to a lot of classical music as well. 

In what other musical projects were you involved before the existence of The Vliets? Were you always interested in psychedelic rock?

Our first band was called Dubious Rothchild which was essentially just The Vliets.  Max and I started it and then Daniel joined.  We just didn't actually record any music.  We changed the name to The Vliets because I had moved from Austin and I didn't think Max was going to play with us anymore, otherwise we'd still be Dubious Rothchild.  I was always interested in 60's rock.  It's all I listened to as a child.  I think it pretty much goes without saying, the 1960's can't be topped, in the psychedelic genre.

I came across with your music at a time when I was starting to pay more attention to electronic music and it was a little bit strange because all of a sudden you were wrapping this laid back psychedelic rock with a hint of electronic music and it made complete sense. How did you guys come up with this sound of yours? 

Well we've all always loved electronic music, we just don't really know how to make it.  I think it came about because we were just so ignorant when it came to recording techniques and music software.  All of the music on our first two EP's was recorded through a mic and physically making the sounds, for the most part.  I think it was only natural though because it's a good mix of all the music we listen to (Grandaddy, Beck, Radiohead, John Frusciante, Neil Young, Captain Beefheart, múm, The Kinks).  I've recently started experimenting more with the lap top, I think our next album will be a little more electronic than our previous releases. 

By now you have only released two self-produced EPs and yet you managed to get some media attention, with, for example, Deli Magazine considering your band as one of the most promising bands around. How does it reflect on the attendance of your shows? Do you notice any difference? Is there more public or is it too soon to notice the effect of that exposure?

I think there has been some effect.  We were on a short tour in California a couple weeks ago and some people came up to me who were fans prior to seeing us and knew all about the music, that was pretty insane because we're virtually unknown in Texas, only our friends show up for the most part.  It becomes very political in our hometowns though, it's hard to even book a show and I'm pretty sure it's like that for all bands you know?  Unless you actively participate in the scene and be everyones friend, you kind of get left out.  We're just not that kind of band, I'm a pretty shy person anyway, networking is not my thing.  Writing and recording is what we really love to do.   

These EPs artwork feature your friend’s Edgar Cardoze paintings which complement quite well your music. How did you meet him and when did you decide that his paintings should be on your EPs covers?

Edgar is a master.  He was one of my good buddies roommate.  I was invited to their house for a party a few years ago and Edgar's paintings were hanging on their walls.  I immediately was in love with his work and I already knew I wanted real paintings to be the covers of any music we released.  When I was writing the lyrics to 'Velvet Sea' I was staring at one of Edgar's paintings.  When I finished the song, I sent it to him and asked if I could use the painting as the cover.  That's pretty much how it started, and hopefully he'll continue to let us use his masterpieces.

God’s Drug EP was your first work to see a physical release just a couple weeks ago. How can people get it? Do you intend to make other physical releases of this or other works?

It's available to order on our bandcamp page vliets.bandcamp.com.  Not ourselves, but someone did press vinyl of both of our EP's onto a single album.  It's only available through their website.  It's sort of a new model for record labels, I'm not even sure if I'm supposed to say anything actually, they don't disclose the names of the bands and it's subscription based.

You were telling that your debut album will probably be more electronic than your previous releases. What else can you tell us about it? In what stage is it?

Yeah I think it will be a bit more electronic but I can't be certain, things just sort of happen as they will.  It's still in it's infancy though.  The songs are written, and by that I mean there are melodies and chord progressions and beats.  I add in everything else as I record so there's still quite a bit to do.  I'm thinking it will be done this fall sometime.

What about The Vliets lyrics, what inspires them?

Love. Life. Experiences in general.  I usually only feel like writing when I'm in a heightened emotional state.  A lot of times it doesn't make sense to me until way later and I'm 'ohhh that's what that means'.

To some of the greatest bands ever (Pink Floyd, The Beatles, even Brian Wilson) the studio became an instrument in itself. Since you do all your recording at home do you think it influenced your sound? Does it push you to experiment more?

Oh yeah for sure.  A majority of the writing happens during the recording process so experimenting and trying different things is a huge part of our process.  I try not to think if it will translate to a live show or not because I don't want to limit our music that way.  To me the really enjoyable part of music is the actual creating and shaping of the songs.  I couldn't rent time at a studio and go in and try to record songs in a day, I'd need months in there to try different things and to really translate what the dimensions or spirits or whatever is trying to get across.

Some people claim they have seen UFOs materializing during your gigs. Do you confirm that?

Yeah!  There is a UFO that flies over the crowd during our shows.

How important is it to The Vliets to put on something more than just a concert? What other tricks do you use to enhance your audience’s live experience?

Pretty important.  It's just more fun for me as a performer to have more going on, and hopefully more enjoyable for the audience.  Preston Smith is in charge of our live production.  He built the UFO, flies it during the shows, and does live VJing through a projector.  He also setup an HD camera in the center of the UFO, where the light beam is, that sends the live video to his computer and then it's projected on stage.  So it records and projects everything the UFO sees. 

Besides recording do you have any plans you would like to share with us?

We just got back from a short tour in California but we're planning on a northern tour this winter including New York, Chicago, Toronto, Montreal and possibly Philly or Nashville. It's still in the planning stages though.

Time for some mystical stuff. What do you think is God’s drug?

God's Drug refers to morphine.  Whenever I recorded that song it was just an instrumental and it felt really warm like the sensation of morphine.  To me it's a combination of things though like love, dmt, the mind of 'God', suffering, happiness, life and death.  The song is about all those things, it's not just about morphine, well really it's not about morphine at all, it just gave me that feeling.

Interview made by Hugo Pereira/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

Paul Kidney Experience with Mani Neumeier presents “Switch”

New track by Paul Kidney Experience with Mani Neumeier (Guru Guru) exclusively on It's Psychedelic Baby Magazine

After Tea - Joint House Blues (1971) review

After Tea “Joint House Blues” (Pseudonym, 2012)

This was the third outing from these Dutch soulful r’n’b ambassadors, and dates from 1970. It’s fair to say too that the bulk of what’s on offer here is mainly rooted in a much harder blues-based rock and full-on progressive style sound than any of their previous efforts. The title cut, while a little on the plodding side for my tastes, still does a pretty decent r'n'b boogie chug, coming over at times sort of like, well the mighty Cuby+Blizzards, or a more coasting Q65 readily come to mind but only as mere reference points, while the likes of ‘You’ve Got To Move Me’ will perhaps grip you the most, even after just one or two listens, due to its tough use of Hammond organ and wild, wailing wah-wah guitar.

For sheer wilful audaciousness, and also the set’s heaviest and indeed downright scariest moments, however, you need to check out the lengthy 'Trial’ / ‘Punishment’ / ‘The End' suite which will undoubtedly test the patience and endurance of, at least most casual listeners. Pursue to the end if you can though, as the reward comes in the shape of some extraordinary guitar and drum action, respectively. This newly expanded edition includes a bunch of the group’s single releases too, spanning from the late 60s and on into the early 70s, of which a different, grittier produced version (or perhaps just an edit) of the title track appears. One of the highlights for me in this section has to be the driving ‘Sunshine Eyes’ which, along with the afore-mentioned ‘…Move Me’, could almost be the work of a different band altogether, although definitely not the Tee-Set, I hasten to add, even though both groups would shared some members now and then.

Review made by Lenny Helsing/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

Wind - Sleep (2012) review

Wind – “Sleep” EP (Jansen, 2012)

“Sleep” consists of two lengthy psychedelic tracks from this Norwegian trio who seamlessly blend, psych, metal, and jazz with Eastern flavourings. Their modus operandi seems to be producing improvisational (mostly) instrumental music for relaxation and astral projection. “Throwing Stones” begins with a tasty Hendrix lick and teases our mental faculties to come up with where we may have heard it before. Stoned vocals (in English) float into the room to recite a chorus or two. There’s a faint aroma of CSNY in the air, maybe closer to Crosby’s “If I Could Only Remember My Name” community bake-off usually identified as The Pure Earth Rock and Roll Orchestra (PERRO). Things get nasty pretty quickly as Martin Van Houtum toys with some black metallic guitar destruction via razor sharp, angular lines like swatting butterflies out of midair.

“Cathedral” meanders around your head with slithering guitar lines, incessant drum rolls and rolling bass backing that all feels like you’re playing hide-and-seek with the sunlight on a gentle summer’s day. There’s a distinct krautrock vibe that harkens back to vintage Amon Düül and Ash Ra Tempel before the band switches gears mid-flight to an atmospheric soundscape that envelops the listener like a sensory deprivation tank. Hypnotically soothing and, er, highly recommended.

Review made by Jeff Penczak/2013
© Copyright http://psychedelicbaby.blogspot.com/2013

Cab 20 interview with Bert Hoover

© Joshua Shultz

Cab 20 tenders a sound that might be well tread territory in another band’s hands but they’ve dug deep and found something wholly original.  Fusing elements of garage, psychedelic and punk with a solid grounding in the blues, their new album Holy Denim Faded Vibrations is an absolutely stunning statement on the LA scene, inadvertent though it may be.  Their sound instantly conjuring images of Black Rebel Motorcycle Club and Aha Shake era Kings of Leon, Cab 20 still seem to defy logical explanation.  There’s only one real thing I can be sure of, it’s rock and roll.  Their psych, and their definitely garage, but they have this raw punk attack to their sound and come armed with enough feedback and distortion to deafen an army!  It’s not often you hear songwriting of this caliber in a band that’s so ball’s to the walls rock and roll, a band that’s so unabashedly having fun with what they are doing.  If you are like me and have been in the dark about Cab 20 until now, or just found yourself wondering who they were and where they came, from fear not fearless reader all your questions will be answered below!

What is the band’s lineup?  Is this your original lineup?

The current lineup is Bert Hoover (Guitar/Vocals), Zack Cosby (Drums), Jason Almanza (Bass) and Erik Lake (Guitar).  This isn't the original line up.  This line up has been together since October 2012.

Where are you originally from?  Where is the band located now?

We're from and currently located in El Segundo, California, right next to the LAX airport.

How would you describe the local scene where you are located?

There's no scene in El Segundo ha-ha but in other parts of LA you'll find all types of different music and little "scenes".  I guess it's cool.

How and when did you all meet?

I've known Zack since 5th grade but we didn't start playing together till 8th grade.  He was drumming when we first started the band in high school but we sort of went our different ways and he rejoined in October.  Erik runs this amazing label, Mock Records, and we met back in 2011 but he didn’t join until October of 2012.  We found Jason through the internets back when our old bassist left for school back in 2011.

What led you to start Cab 20?

It just kind of happened.  I like playing music with my friends so we started a band.

What does the name Cab 20 mean or refer to?

It's quite a boring story but here's the gist: I was in Austin Texas with family and Austin City Limits was happening, so everything was a little crazy.  We got in a cab on our way back to the hotel when over the radio we heard "All cabs be weary of pedestrians.  Even you Cab 20.” don't know what that means but we thought it sounded cool so we went with it; pretty anti-climactic.

Are you very involved with the local scene there?  Has is played a large role in the history or evolution of Cab 20?

We're not really a part of scene nor do we really have the desire to be a part of one.  Everyone is in sort of a clique, like high school.  The scene in LA hasn't really affected us, except that it’s harder to book shows in certain places.

I don’t like to label or classify music, how would you describe Cab 20’s sound to our readers?

Rock and roll.

Your music seems like it’s bubbling with influences, familiar and totally originally at the same time.  Can you talk a little bit about who some of your personal musical influences are?  What about the band as a whole?

We all listen to different things ranging from Kyuss to The Flying Burrito Brothers.  My personal influences recently have been Nick Cave and Johnny Cash.  I've always been a huge fan of Black Rebel Motorcycle Club and Queens of the Stone Age.

Can you talk a little bit about Cab 20’s songwriting process?

Most of the time I’ll write a song and we will use it as a blue print and work it out together as a band.  Sometimes things come out of a jam or someone has an idea.  It's a sporadic process.

Do you enjoy recording?  Some bands love it and other bands run screaming into the night ha-ha!

I love recording.  Songs take on a different life in the studio.  It can be stressful though.

You released Holy Denim Faded Vibrations in February, can you tell us a little bit about that record?  Where was it recorded?  Who recorded it?  What kind of equipment was used?

Holy Denim was recorded in a small grey somewhere off of Santa Monica Blvd in Hollywood.  Krish Sharma produced it.  We got to use all sorts of equipment.  Weezer recorded a couple albums there and they had a custom fuzz pedal lying around so we tried to use that in a song.  It didn't sound as good as we we're hoping hah.  Most of Holy Denim consists of old songs we had that we wanted to put out before they were forgotten about.

Who released it?

Mock Records, a great Indie label, genuinely, good hearted people.

What does the name Holy Denim Faded Vibrations mean or refer to?

It's sort of making fun of the scenester kids that put looking cool and being seen at a place before the actual music.  Those kinds of things frustrate me.

What about your first album Dirty Smiles?

Ha-ha that's an old one.  Dirty Smiles was the name of our old drummer's dad's old band, we actually almost changed our name to Dirty Smiles.  Thankfully we were talked out of that.

Can you talk a little bit about the recording of the Dirty Smiles album?

We recorded Dirty Smiles on a shitty boss electronic mixing board thing in my garage when I was a junior in High School.  I wrote most of the songs when I was sixteen.  We had no idea what we we're doing ha-ha.

How was recording Holy Denim Faded Vibrations different than Dirty Smiles?  Was it easier the second time around?

Holy Denim was recorded in a much more professional fashion.  Dirty Smiles was very "do it yourself".  It was easier working with someone who knew what they were doing, but you learn a lot more when you do it yourself.

What other music has Cab 20 recorded?

We recorded an EP with Krish Sharma that we put out in the summer of 2011.  We've had songs in compilations that you won't be able to find on anything else.

Are there any releases planned for this year beyond Holy Denim Faded Vibrations?

We recently recorded two songs for a 7".  Not sure when that’s coming out.  We also are about to begin recording a new EP that will hopefully be out in October.  It's going to sound a little different.

Where’s the best place for our readers to purchase copies of your albums?

Probably iTunes or Bandcamp for digital copies, for physical copies the best place to look is our website (http://www.cab20music.com) or certain record stores.

What do you have planned as far as touring goes this year?

We are going to be touring through the south and Midwest this July.  Dates are on our website.  We may be headed up north later this year.

© Joo Joo Ashworth

Do you have a funny or interesting story from a live show that you’d like to share?

I guess Craig Fox from the Greenhornes was at one of our shows, at least that’s what I was told.  Who knows.

You have played with some of my favorite musicians out there including Black Rebel Motorcycle Club who are just insanely talented!  Who are some of your favorite artists you’ve shared a bill with?

Opening for Black Rebel Motorcycle Club was hands down one of the coolest experiences I've ever had.  We got to play with Hacienda, they're an amazing band from Texas and playing with The Spyrals from San Francisco is always a good time.

Where is the best place for our readers to keep up with the latest news from Cab 20 like upcoming shows and album releases?

As of right now Facebook, but we're working on revamping our website to make that the go to place.

I love having a digital copy of an album to listen to whenever I might wish but there’s something about having an album to hold in your hands, liner notes to read and artwork to look at.  It all makes the music listening experience seem more complete somehow to me.  Do you have any such connection with physical releases?

Having a physical copy of an album is such a rewarding feeling.  I like to own albums and create my own library.  Things like Spotify are turning people away from that.

Do you have a music collection?  If so can you tell us a little bit about it?

like to own and listen to bands old and new on vinyl.  I own all the Desert Sessions on Vinyl.  I'm pretty stoked on that. 

You guys have released several CDs as well as two albums on vinyl at this point and I’ve seen you discuss the possibility of a cassette tape release.  With the wide array of mediums available to musicians today I’m always curious what people think about various mediums and why they choose the specific mediums that they do, can you tell us a little about the choices you’ve made in those regards and why they were made?

Vinyl has the best sound quality.  It's real.

Digital music and distribution is rapidly changing the face of the music industry.  On one hand it exposes people like me to a myriad of music that we would never otherwise have heard of, and on the other it’s undermining decades of infrastructure and work.  What is your opinion on digital music and distribution?

Digital has made it easier to do things yourself, whether that is touring, producing, etc.  It has made people less dependent on managers and industry folk who don't know how to adapt to the times so it's not all bad but there are still things like dub step or whatever it's called now.  As for distribution, I don't think the physical release will ever die.  The real thing will always prevail.

I ask everyone this question to try and keep up with the never ending torrent of amazing bands out there today; who should I be listening to from your local area or scene that I might not have heard of?

Dahga Bloom's amazing go check them out.  Jesus Sons are about to blossom too.

What about nationally and internationally?

Nationally: The Spyrals from San Francisco are like Credence with a psychy edge, Max Pain and The Groovies are rad dudes from Salt Lake City, Long Shots from Fort Worth, Texas. 

Is there anything that I didn’t ask or that you’d like to discuss?

Our next show is at Harvard and Stone in Hollywood, California with Blac Jesus & The Experimentalists June 11th 2013.

© Joshua Shultz

DISCOGRAPHY

(2010)  Cab 20 – Dirty Smiles – CD, 12” – Slaughtered Lamb Productions

(2011)  Cab 20 – Cactus EP – CD – Slaughtered Lamb Productions

(2013)  Cab 20 – Holy Denim Faded Vibrations – 12', CD – Mock Records

Compilation Appearances:

(2012)  Various Artists – Lolipop Compilation – Digital – Lolipop Records

(2013)  Various Artists – Sounds From Your Friends (Record Store Day Compilation) – Digital, CD – Mock Records

Live Sessions:

(2012)  Cab 20 – Doom, Gloom & Happier Things: Live at KXLU 11/16/12 – Digital

Interview made by Roman Rathert/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

Hollis Brown interview with Mike Montali

“We are artists and we want to make music that comes from within us.”

The band Hollis Brown, that shakes stages around USA for many years, released their first “big” album. Their single “Ride on train” was published on Uncut`s magazine CD, Their second album, but first “on a real record label and not self-released” as stated by band`s front man Michael Montali, got great response from music critics and the crowd. “Ride on train” is the album that announces a big step forward for this NY based gang and obligates them to maintain high standards in their music, lyrics and creativity, in order to enthrone themselves among the top rock bands in the close future. Band`s members are: Mike Montali, Jon Bonilla, Mike Graves and Dillon DeVito. Montali answered a couple of questions for “IPsychedelic Baby”, spoke about their music, idols, current rock`n roll scene, announced band`s first European tour and stated his point of view about bourbons.

Hi Mike. To start, please tell us why you chose this Dylan`s song character as the band`s name?

I honestly am not sure seemed like a good idea at the time. We were really high.

First of all congratulations on great album “Ride on train” that brought a big attention. This is actually your second album, after the self-titled debut? Have you expected that “Ride on train” will attract this much attention? The “Uncut” magazine CD probably helped you big time in promoting the “Ride on train” single?

The album has gotten a great reception so far and we are proud of it. We are thankful that people are listening. We feel in our hearts like this is our first album, because we put it out on a real record label and not self-released it ourselves. We also have different band members too, so we feel like a brand new band.

In “Ride on train” you sing about life on the road. Is it hard for you as artists to travel and live life on wheels, plains and trains?

It's like everything else. Highs and lows. Except in this profession, the highs tend to be really high and the lows tend to be really low. We love what we do, and we want to play music together as long as we can.

As I understand, you guys play together for a long time. You started as cover band or no? What where the first songs you started playing?

No we never were a cover band. Jon and I have been playing since high school, so it has been a little while. It took us time to get our shit together, we just loved to play, and to write, but we never had anything planned for a career. Now we feel more professional, we feel like a real band for the very first time, it's exciting.

Do you play any covers live now?

We do play covers but we are trying to get our original music heard more and more. I love playing covers though.

How often do you play? Are everybody in the band committed only to the music, or is it still hard to make money only of rock n roll?

We just did a 33 day tour of the United States, we are doing a 3 tour in July and probably 2 weeks in August then we are trying to get over to Europe for a month in the fall. We have been playing a lot.

Is there enough radio and TV air space for music like yours? How are you promoting your album?

I think there is space for anything, but I can't worry about that shit, it will just drive you crazy. We are artists and we want to make music that comes from within us.

I read that you are a big “singers-songwriters” fan like Joni Mitchel, Carole King and others. What about new songwriters? Is there a new scene in the USA of young artists and performers that inspire you? How would you describe modern rock n roll scene? Do you feel any positive changes, regarding new movements that came with some new influenced artists?

There are a few songwriters today that I do admire. Kurt Vile, John McCauley, Taylor Goldsmith to name a few. But honestly the state of rock n roll and music in general is in trouble in my mind. Most of the music today sucks. I don't know if it's because anyone can make a record in their basement so most of them sound like garbage or what. There's a lot of over-saturation. It used to be you had to work for years to even get a chance to get into a studio. Now anyone can do it. So while there's still a lot of cool stuff, you have to look deeper.

Tells us a little bit about the recording process. When were the songs written? How long have you been recording them and where?

We have been writing these songs for our whole lives it seems. This was our chance to make a real solid album so we recorded everything we could think of. We did in Nashville with a wonderful producer named Adam Landry. We recorded everything live a the same time in the same room, straight to analog tape.

Have you played with older colleagues and artists? Have you met some of your idols and who?

We have played with all types of people. Some very successful. They seem to be the nicest a lot of times.

What was the best and worst place, where you guys played?

Best place for me is always New York City. There's nothing like it. We have done some really shitty shows so the list on that is a long one.

In order to conclude, tell me please – Jack Daniels or Maker`s Mark? With ice or without ice?

Maker's on the rocks.

Mike thank You very much for the interview. 

Thank you Andrija...

http://hollisbrownmusic.bandcamp.com/

Interview made by Andrija Babovic/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

On the Cusp by George Kinney

               Remember when everybody was all excited by astrology? Mainly during the 60s but before and after that time span, people have tried to focus on some non-tangible source of influence an direction that will save them from all kinds of negative things, from burning in hell to avoiding poison ivy. I have studied extensively every imaginable system by which to progress in our evolutionary development. My library is cram-packed with books and essays looking at the various pathways and modalities available to mankind to further evolve in the most beneficial way. I have read the writing of many, many wise people who have devoted their lives to this kind of investigation, many of whose writings I have had to really concentrate on due to my fundamental lack of technical understanding of higher mathematics and biology.

               However, being a good and curious soldier, I have managed to muddle on through the fog, and I have, at age 66, come to some interesting temporary conclusions that I would like to share with readers. I am not inviting debate on these ideas, I am just throwing them out there for readers to debate within themselves. I don't have time anymore to argue my points, just to offer them for inspection in the hope that some of them might prove beneficial.

               My latest quasi-epiphanal concept deals with a general level that I believe us humans have achieved and from which we must evolve past in order to fulfull our most beneficial evolutionary set of possibilities. This is not really a new idea at all. Generations have always thought they were on such a cusp of historical significance, right on the brink of some scientific, spiritual, or social breakthrough. But I think our current cluster of generations have reached a major, extremely important plateau of being. I justify this belief in the uniqueness of our situation on two primary ideas. The first is simply the arrow of time, i.e, it is most natural that we would develop over time and gain from our past experiences the knowledge to aide us in prospering as a species in the future. But that fact alone would not explain any particularly unique aspect of our current era. Looking a fossil records assures us of progression of a physiological nature, so too, improvements in the complexity of social and psychological systems and modalities. In other words, we can tell by examining the fossil records that what is termed the theory of evolution is sound and in fact, we did derive from previous species. But there are other very important aspects of our evolution that are not explained by examining the bone records and though anthropologists strive to answer many of the questions that arise regarding those more psychological elements of our evolutionary pathway, there are many fundamental questions or areas of investigation that remain vague and without much practical investigation and have not resulted in much in the way of tangible or documentable evidence.

               I have written extensively about what I and others have termed psychological evolution. For a most informative account of the latest in the scientific discoveries regarding this fascinating subject, I refer the reader to Amit Goswami's book, Creative Evolution, available through Amazon and most established book sellers. My point in this brief essay is to convey a kind of synopsis or synthesis on this subject that may lead the reader to further explore the significance of this subject.

               The idea is that to progress toward more beneficial solutions to our problems and challenges as a species, we most definitely need to clarify our fundamental understanding of what kind of thing we are and what are the parameters within which we operate and if those parameters, once discovered, are stationary or modular, that is, if we can modify the parameters to accommodate an enlargement or clarification of our awareness, that is, is it possible to self-evolve and continuously expand our potentials for conscious experience?

               I have determined that such an increase in conscious awareness is not only possible, but is a requirement for further evolution. But that is all fairly well-known among serious seekers of scientific, spiritual, and metaphysical truth. What I wish to emphasis here is that it is high time we saw things for what they are and what the can be...ourselves specifically.

My premise for you to think about is a speculative scenario, if you will, regarding our current place in our long line of evolution. I believe it is necessary to understand our present location in order to choose the correct direction in which to proceed in order to achieve the most beneficial evolutionary results. Fair enough?

 So here it is: We are on a major cusp in our evolution, just like being born on a certain day might place you on a cusp Astrologically. That means we are right between two primary places or areas of influence. Our past anthropological progression has come to fruition in the material sense (perhaps not completely, but primarily) and we have yet to fully embrace the next level, the psychological level, of our next phase, the next level of our potentiality.

               I offer that that is why things seem so up in the air, our problems so unsolvable. We are on a cusp...on the edge afraid to fly...not yet able to fly. We can't stay in the nest, but our wings are as yet not sufficiently developed to render us safely airborn. That's a pretty scary place to be. But isn't it better to know?

Column made by George Kinney/2013

© Copyright http://psychedelicbaby.blogspot.com /2013

Bushman's Revenge - Electric Komle: Live! (2013) review

Bushman's Revenge - Electric Komle: Live! (Rune Grammofon, 2013)

Marrying a motorific, driving rhythm section to angular, Townshendian guitar pyrotechnics, this Norwegian jazz/rock hybrid pulls out all the stops on this ferociously hot live set, recorded last year at Molde’s Storyville jazz club. Your jaws will sink ever downward as guitarist Even Helte Hermansen effortlessly channels Franks Marino, Gambale, and Zappa in an onslaught of showmanship that is never ostentatious, yet still manages to explore the breadth and depth of his instrument with the acumen of a master craftsman. Drummer Gard Nilsen and bassist Rune Nergaard come on like a freight train unleashed and bound for glory (or hellbent for leather, depending on the track!), easily forging one of rock’s finest rhythm sections. These guys have been playing for over a decade and they’re as tight as any act on the live circuit today.

The six tracks captured here (from each of their four previous Rune Grammofon albums) find them at their sharpest – no stage banter or even gaps between tracks – just 45 minutes of unbridled, non-stop energy piledriving your senses until your heart’s in your mouth and your chest is gasping for air. Even the much-dreaded drum solo during the “Ginsgerg”/”King of Hello”/”Professor Chaos” medley manages to capture the spirit of the godlike  Buddy Rich before mercifully getting out of the way. And just as “Lonely Woman” fades off into dreamsville and you think you can go back to your mundane lives, Bushmen’s Revenge pull the rug out from under you with the firebreathing finale, “No More Dead Bodies for Daddy Tonight”, a stomping, stalking riot of metallic sludge that’ll have Jason, Michael Myers, and Leatherface cowering in terror in the corner! I can almost feel the blood dripping from the band’s collective fingers!

This will equally impress fans of speed metal, avant skronk jazz, and hard psych and belongs in your record collection alongside those dusty old Mahogany Rush, Frank Zappa, Kiss, Motorhead, and Coltrane albums.

By the way, as far as I can make out, a “komle” is a traditional Norwegian potato dumpling!

Review made by Jeff Penczak/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

Portugal's Finest

SUNFLARE

Everybody knows the sun has outbursts of energy. Violent eruptions that can even disrupt Earth's magnetic energies. What most people do not know is the sound it makes. Unless you are one of the persons who ever witnessed Sunflare live. I, for one, survived to tell the tale...

Sunflare are a Lisbon power trio with emphasis on power and their instrumental monster jams are delivered with ear piercing volume, either on record or live. They already have three recordings under their belt and if Japanese psych rock noise abuse is your thing, then look no further.

Personally, live is the best place to catch Sunflare and their mind melting, eardrum blowing, non-stop stampede of driving rhythm, heavy bass and free form feedback soloing. If you ever catch them live, you will witness a blazing eruption of sound emerging from the amps. Hell, they were even better than Oneida when I saw both bands on the same bill! On that particular show they were fronted by none other than Mr. Damo Suzuki. The Japanese veteran had to return two or three times because there was no stopping Sunflare’s solar eruptions and outbursts.

http://www.myspace.com/sunflarefuzz

http://www.youtube.com/watch?v=dkJvEzrEmIY

http://www.youtube.com/watch?v=SNjtPlSTw-Y

http://www.youtube.com/watch?v=m65O-QXHCbU

THE QUARTET OF WOAH!

More traditional in sound, The Quartet Of Woah! hail from Lisbon as well. They just released a record filled with classic psych prog rock without ever indulging in the sometimes silly  pomposity of prog rock.

The strongest standpoint in their sound are the vocals. Richly flavoured harmonies that intertwine around the music, they hand out organ driven songs like Ken Hensley's finest hours. All four members sing with Gonçalo Kotowicz and Rui Guerra delivering most of the main vocals. Imagine Jimi Hendrix playing with Deep Purple and you will start to get the picture. Though some could lump them into the QOTSA pile, The Quartet Of Woah! have a rootsier feel to their sound that makes them stand out from the herd.

Live they are like a living breathing monolith with a rock solid swinging groovy tight heavy lightness sound that can make you groove and headbang like there’s no tomorrow.

https://www.facebook.com/thequartetofwoah

http://www.youtube.com/watch?v=sBikOKiFM64

http://www.youtube.com/watch?v=P8YCbg4hoZQ

BLACK BOMBAIM

Coming from the unlikely psych stoner garage capital of Barcelos in the North of Portugal where Earthless and Karma To Burn are household names for all the youngsters, Black Bombaim are one of the 'oldest' Portuguese acts of pure stoner rock jams. Highly influenced by the forementioned Earthless, Black Bombaim’s sound rises slowly like the smoke of a small dry leaf before a forest fire. The bass comes on, the drums emerge and the guitar wails out there in the distance and before you know it, you have to call the fire department. The trouble is, everyone's a pyromaniac when these guys are playing.

Also a power trio, Black Bombaim have an EP, two LP’s under their belt (the second being a double vynil psych bonanza) and also a split with The Notorious Hi Fi Killers. When they venture into Lisbon, they are happily joined by an audio generator delay freak theremin master that adds a Hawkwindesque feel to their whole sound and makes the flames rise even higher into the sky, with it's smoke so thick it can block the sun like an eclipse.

Catch them before the fire brigade does and ruins the fun for all the pyromaniacs out there. Out there in space, I might add...

https://www.facebook.com/blackbombaim

http://www.youtube.com/watch?v=WagOU4ApEZc

http://www.youtube.com/watch?v=slMi-Qsq0Is

Also worth checking out:

Alto! (garage psych)

The Glockenwise (punky power pop)

Dirty Coal Train (sci fi garage rock and roll)

Fast Eddie Nelson (dirty blues rock)

Article made by Carlos Ferreira/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

The Fraternal Order of the All - Greetings From Planet Love (1997) review

The Fraternal Order Of The All “Greetings From Planet Love” (J-Bird Records, 1997)

Best remembered for late seventies hit singles like “Lonely Boy” and “Thank You For Being A Friend” as well as session work with a handful of notable performers, namely Linda Ronstadt, Andrew Gold is actually the face behind The Fraternal Order Of All. Graham Gouldman, whose stunning resume includes penning tunes for the Hollies, the Yardbirds and Herman’s Hermits, not to mention membership in 10cc, also contributed a couple of songs to “Greetings From Planet Love.” Although the album was intended to be a tongue-in-cheek affair, it is so great that it’s too bad Andrew didn’t pursue such psychedelic fantasies. Claming to be recorded between August 1967 and August 1968, “Greetings From Planet Love” weighs in as a flawless reflection of the flower power era, right down to the trippy sound effects to the weird, wiggy and whimsical lyrical content.

Robbing every trick from the freak machine imaginable, but doing so with a grin as wide as the Cheshire Cat, The Fraternal Order Of The All channels the soul of the paisley-poised Beatles on the irresistibly hooky “Rainbow People” with shameless verve, while both “Love Tonight” and “Tuba Rye And Will’s Son/Balloon In The Sky,” with their pastoral textures, goose-pimply harmonies and complex arrangements say hello to the Beach Boys. Slathered with reedy keyboard fills, a cotton candy and ferris wheel ambience worthy of the Strawberry Alarm Clock pervades the cheesy instrumental doodles of “Swirl,” and the chugging “Freelove Baby” blends acid-laced raga rock riffs with funky rhythms. Drenched to the bone with jangly licks, the gorgeously melodic “Space And Time” does the Byrds better than the Byrds themselves, which is indeed an accomplishment considering how utterly remarkable the Byrds are.

Assembled of angelic choruses and a production so sparkling that it is blinding, “Time Is Standing Still” is a spellbinding slice of pure pop magic, and the eerie expressions of “Ride The Snake” pays obvious lip service to the Doors. Croaking vocals, clearly modeled after those of Bob Dylan, cap the  sarcastic “Mr. Plastic Business Man,” where the rousing “Tomorrow Drop Dead” is more or less the cousin of “Tomorrow Never Knows,” as it squeaks and squeals with backwards guitars. Created strictly for fun, “Greetings From Planet Love” may be silly, but the quality of the material is excellent and the songs are played with an earnest feel and understanding of the music The Fraternal Order Of The All so accurately imitates. Had the album been released at the height of the psychedelic craze, there’s no doubt it would have reaped praise. In June of 2011 Andrew Gold departed the earthly realm, but you bet your bippy he’s now in rock and roll heaven, hopefully jamming good to a day-glo beat!

Review made by Beverly Paterson/2013

© Copyright http://psychedelicbaby.blogspot.com/2013