If you’re looking for a good way to start off your trippy, heavy space rock record, why not do it with a song called “Blast Off?” That’s what Psychlona does on their cool Venus Skytripalbum.
The opening track builds with guitar notes sounding like a countdown clock that blend into actual rocket launch countdown recordings and rocket fuel-hot riffs and drum hits. The band’s love of Black Sabbathis evident from the opening riffs of “10,000 Volts,” which hits as hard as its namesake one moment and lulls you into a dreamy headspace the next as they sing about voices in their heads confusing their souls. “Blow” adds stadium rock riffs to the mix.
“Star” punches the accelerator the band’s starship to the floor and plunges us straight toward a red dwarf about to go nova. “Edge of the Universe” practically takes you there. You can probably guess the inspiration behind “Resin,” and it’s as trippy as you hope it will be. The reverb-laden vocals, the echoing guitars, and the cool yet heavy drums all combine to make a satisfying blend.
“Tijuana” seems to be a story about the band encountering dangerous women, dangerous drinks, and other dangerous substances and people while on a trip south of the U.S. border. The whole thing sizzles like an annoyed rattlesnake on a hot rock. The album closes with “The Owl,” a grand, thundering piece that casts a bird of prey’s shadow over you and almost makes you quiver like a mouse in an open field.
This is a cool record, and I hope Psychlona gets us more new music soon. I’d happily go on another sky trip with them. How about Saturn next time, lads?
Keep your mind open.
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King Gizard and the Lizard Wizard are one of the few bands out there who could start off an album with a song that’s over eighteen minutes long and everyone would think that’s a perfectly normal thing to do. Their new record, Omnium Gatherum, does just that with “The Dripping Tap.”
The album almost sounds like a greatest hits record, as KGATLW move back and forth between genres, time signatures, tuning preferences, and distortion levels. “The Dripping Tap” is a wild psychedelic freak-out, the kind that first got the band noticed just a decade or so ago (although it seems longer due to the massive output the band has generated in such a short time). “Magenta Mountain” starts off with soothing keyboard tones and then drops in slick beats that are perfect for a stroll or cruising on a Jet-Ski.
The funky bass on “Kepler-22b” takes you into outer space and encourages you to have a good time there (as do the lyrics). “Gaia” takes us back to Earth with re-entry burn riffs. Then, just to confuse ads, they drops “Ambergris,” a bedroom slow-jam that would fit on a Thundercat record. “Sadie Sorceress,” believe it or not, is a rap track – and it works.
“Evilest Man” is electro krautrock mixed with roaring riffs and smashing cymbals that sounds like something they accidentally left off Nonagon Infinity. “The Garden Goblin” is a fun, bouncy track that could’ve been listed on Fishing for Fishies, as could “Persistence.” “The Grim Reaper” is another hip hop track, complete with trippy flute loops.
“Presumptuous” bounces with Outkast-like pep. “Predator X” is a return to hard-hitting thrash metal, countered nicely by the trippy “Red Smoke” and “Candles,” which literally has the band singing, “Wheee!” at one point. The album closes with an instrumental – “The Funeral,” an interesting name choice for the final track, and an interesting choice to close the record with a track that only has vocal sounds and no lyrics.
Omnium Gatherum is a great place to jump on the Gizzard Train if you’re new to the band. It showcases so many styles they can play, and play well, that you’re sure to like at least a few things here.
Fort Wayne was the place to be on May 10, 2022 if you were a fan of Primus, Battles, or Rush. No, Rush wasn’t playing, but Primus, apart from playing a full set of their music, played Rush’s A Farewell to Kings in its entirety as a second set.
There was a big crowd, as it was the first time Primus or Battles playing in Ft. Wayne, and it was great to see young and older fans alike there to see the show. Battles were first up and the two gentlemen put on a math rock clinic for their set. Ian Williams doubled on synths and guitars and John Stanier, one of my favorite drummers of all time from his work in Helmet, wowed the crowd, and I lost count of how many time signatures they played in during their set.
Battles dazzling everyone with more rhythms than we could almost handle.
Primus, who’d held a Q&A with VIP fans earlier, came out next and got everyone fired up right away with “Those Damned Blue Collar Tweekers.” They then ripped through a set of classics that included “The Toys Go Winding Down” and a live version of “Mr. Krinkle” that sounded so good it was like being in the studio with them. They also played their newest single, “Conspiranoia,” which is delightfully weird and psychedelic.
Primus and blue collar tweekers ruling the town.Conspiranoia!
After a brief break, they came back with the Rush set. Apart from them having to do one song as an instrumental due to frontman Les Claypool having a bit of a scratchy voice (and wanting to save it for his vocals during the encore), they pulled off A Farewell to Kings without a hitch.
A king’s crown for them and us.
As if two sets weren’t enough, Primus then came back for a four-song encore that included “My Name Is Mud” (which hits even harder than an aluminum baseball bat live) and “Jerry Was a Race Car Driver.”
It was a good show. It’s sometimes easy to get lost in Primus’ weirdness and lose sense of how good they can play. A live set by them is an instant reminder of that.
Congratulations to the young man who scored this set list. Thanks for letting me take a photo of it!VIP swag! A tumbler / thermos and a signed VIP-exclusive poster!
After releasing his self-titled debut album in 2017, Dion Lunadon (The D4, ex-A Place To Bury Strangers) is set to release his sophomore album – Beyond Everything June 10th via In The Red Records. Available forpre-orderHERE.
Today, Dion shares a second track; It’s The Truth, with a video directed by Alexander Barton. “This is one of my favorite songs on the record” says Dion. “It started with the opening drum beat and the rest came together quickly. It’s about me writing songs in my little hovel of a studio and looking forward to my wife’s return home from work. A “distance makes the heart grow fonder” kind of thing.”
Alexander Barton says; “In Dion’s live performance he has a wall of sound and noise, it’s very textural and real. About 3/4 of the way through his set, he drags a chain out of a bag like a snake wrangler presenting a cobra to the audience. It’s an exciting moment of the set where he breaks the routine of the rock formula and shares his experimental interests and the audience really laps it up. The cameras pop out and feed his exhibitionism. I make films that feel and use not only the beauty of film, but welcome the noise and error that come with the raw and naive nature of my tools. The chain as an object and material is a fully loaded symbol and historical icon which is a powerful character itself. I wanted to honor the chain for all its brilliance, referencing metal, design, rock n’ roll, violence, sculpture, industrialism, eroticism, and Jacob Marley. It’s The Truth is about material and the spectacle.”
Dion continues; “The record was written and recorded sporadically between 2017 and 2019. I probably wrote about 100 songs during this period. The first album was pretty relentless which I liked, but I wanted to make something more dynamic for the 2nd record. Something that could be more conducive to repeated listens. I’d get in my studio, come up with a song title, and start working on any ideas that I had. For example, with Elastic Diagnostic, the idea was to create a hum that evokes the sound of life coursing through your body. Everything else kind of formed around that idea.”
The lead single released last month, Living And Dying With You, was accompanied by an animated video by Mexico City animator, Julián Name.
Beyond Everything will be Dion’s first release on In The Red(an ideal match for his music), as well as his first full-length since departing A Place To Bury Strangers. Written, performed and recorded by Dion, the songs tap into a raw, palpable energy that blur the line between the music and the person. Drums on the record were played by Blaze Bateh (Bambara) and Nick Ferrante (The Black Hollies).
Dion will be touring with a full band in North America and Europe/UK throughout 2022. The US tour begins in Denver (some of the dates are supporting The Black Angels), with European and UK dates in November. All dates are listed below with more TBA. Tickets HERE.
Sat May 14 – Bethlehem, PA – National Sokols + Thur Jun 09 – Denver, CO – Ogden *Fri Jun 10 – Salt Lake City – Metro Music Hall *Sat Jun 11 – Boise, ID – Knitting Factory *Sun Jun 12 – Seattle, WA – The Crocodile *Mon Jun 13 – Portland, OR – Hawthorne Theatre Lounge Wed Jun 15 – Arcata, CA – Miniplex Thur Jun 16 – Petaluma, CA – Phoenix Theatre *Sat Jun 18 – Oakland, CA – Elbo Room Mon Jun 20 – Los Angeles, CA – Moroccan Lounge Wed Jun 22 – San Diego, CA – Music Box * Thur Nov 03 – Reignier, France – La Poulpe Fri Nov 04 – Gigors, France – Gigors Electric Sat Nov 05 – Torino, Italy – Blah Blah Sun Nov 06 – Zürich, CH – Safari Bar Mon Nov 07 – Fürth, Germany – Kunstkeller 027Wed Nov 09 – Hamburg, Germany – Hafenklang Thur Nov 10 – Berlin, Germany – 8mmFri Nov 11 – Regensburg, Germany – VOID CONCERT @ Alte Malzerai Mon Nov 14 – Bristol, UK – Crofter’s Rights Wed Nov 16 – Nottingham, UK – Chameleon Thur Nov 17 – London, UK – Shacklewell Arms Wed Nov 23 – Paris, France – Supersonic Thu Nov 24 – Rennes, France – TBA Fri Nov 25 – Nantes, France – Duchesse Sat Nov 26 – Lyon, France – Le Sonic * with The Black Angels+ with Haldol and Death Bag
The Black Angels have announced a cool tour through the western United States starting June 02nd in Denver and wrapping up twenty-three days later in Las Vegas. Bass fuzz maestro Dion Lunadon is opening for them, and eight of those shows (including the finale in Las Vegas) has The Black Angels and Mr. Lunadon opening for Primus, no less. Tickets are already on sale for these dates, so don’t miss out on them.
For nearly a decade, Death Valley Girls have made it their mission to remind the punks, psych rockers, garage aficionados, and desert mystics of the communal, transcendental, and triumphant power of music, as evidenced most recently in the riotous affirmations of their 2022 track “When I’m Free.”
The song fuses Bonnie Bloomgarden’s passionate vocals, Larry Schemel’s anthemic guitar chords, rousing sing-along choruses, and feverish organ lines into a perfect three-minute shot of adrenaline and dopamine. Despite the old-school nature of their instrumentation, Death Valley Girls are well aware of the revolutionary power of the dance floor, so they approached one of their heroes — Peaches — to help re-envision “When I’m Free” for the club crowd.
What better way to reinforce the liberating spirit of the song than to give it to Peaches, an artist who continues to push boundaries in a career that spans over two decades, and who has helped so many people navigate sexuality, gender, identity, and being comfortable in one’s body in the new millennium.
Under Peaches’ meticulous care, “When I’m Free” transforms from a scrappy rock song to a throbbing, minimalist club banger. The musical key switches from major to minor, taking the song from celebratory mode into a leaner and meaner message of empowerment. Bloomgarden’s impassioned vocals remain in place along with a few organ glissandos, though the rest of the original is excised in favor of stark four-on-the-floor beats and pulsing synth bass. The sound may prompt a different type of gyration than the original, but the spirit of freedom and revelry remains and takes on a whole new angle under Peaches’ masterful manipulations.
King Gizzard & The Lizard Wizard have released “Magenta Mountain,” a new track/video from their forthcoming album, Omnium Gatherum, which will be released April 22nd via the band’s KGLW label, and is available for pre-order now. It follows the majestic lead single, “The Dripping Tap.” Some tracks on Omnium Gatherum return to the synth-psych visions of Butterfly 3000, like the neon pop of “Magenta Mountain.” King Gizz’s Ambrose Kenny-Smith elaborates on the track: “You know when you have a really weird vivid dream and it sticks with you like glue? One day I came into the studio and Stu was trying to write one of them down. He kept banging on about this paradise called Magenta Mountain that he had seen but none of us believed him. Every day since then he’s been still trying to convince us all that it’s real and one day he will.”
The band has played the track at their shows before, but this is the official studio recording release. This video, directed by John Angus Stewart, is synched to one of the band’s live performances in Melbourne. “‘Magenta Mountain’ is a new track, which can always be a tricky one to film live as people are yet to have digested the song on their own,” says Stewart. “So we decided to use the normally unseen infrastructure of a gig to guide us through the performance. Giving the audience a ‘protagonist’ for a live show, in this case the watchful and sometimes forceful eye of a security guard. The brute in hi-vis clearing a path through sweaty fans is a beautiful thing to behold.”
Following 2020’s KG and 2021’s LW and Butterfly 3000, Omnium Gatherum was the first time King Gizzard recorded together as a band since the COVID pandemic hit, and Melbourne placed its citizens under a series of prohibitive lockdown measures. Omnium Gatherum’s sprawling 16 tracks of gonzoid prog jams, dizzying pop nuggets, rubber-legged hip-hop odysseys and passages of pure thrash-metal abandon offer plenty for Gizzard fans and neophytes alike to chew on. Typically, Gizzard albums pursue a single theme or style – for example,Infest The Rat’s Nest’s eco-themed metal barrage, or Butterfly 3000’s new age trance-pop, or Nonagon Infinity’s endless garage-prog contortions – and part of the thrill of Omnium Gatherum for the group was the opportunity of new ideas without committing to deliver an entire album in that vein. It’s the perfect entry point for newcomers, and a solid treat for the faithful as well.
Omnium Gatherum feels like a Greatest Hits album, in its variety and the strength of the songs – only you’ve never heard any of these tracks before. It’s the sound of a group operating at their absolute peak, a group motivated by a deserved confidence that they could try their hands at anything. It’s also the sound of a group ready to return to the road after two fallow years – a handful of live shows in Australia, performed in the brief windows between lockdowns, has reawakened King Gizzard’s taste for live action.
They’ll kick off their North American tour next month. Following, they’ll play shows across Europe and then return to the states this fall. Tickets are on sale now and a list of shows can be found below. To say that they’re “up for it” would be a dizzying exercise in understatement.
OMNIUM GATHERUM TRACKLISTING: 1. The Dripping Tap 2. Magenta Mountain 3. Kepler-22b 4. Gaia 5. Ambergris 6. Sadie Sorceress 7. Evilest Man 8. The Garden Goblin 9. Blame It On The Weather 10. Persistence 11. The Grim Reaper 12. Presumptuous 13. Predator X 14. Red Smoke 15. Candles 16. The Funeral
KING GIZZARD & THE LIZARD WIZARD TOUR DATES
Fri. April 22 – Indio, CA @ Coachella Valley Music and Arts Festival Sun. April 24 – San Luis Obispo, CA @ Madonna Inn $ SOLD OUT Tue. April 26 – Sonoma, CA @ Gundlach Bundschu $ SOLD OUT Wed. April 27 – Petaluma, CA @ Phoenix Theater $ SOLD OUT Thu. April 28 – San Francisco, CA @ Bimbo’s 365 Club ? SOLD OUT Sat. April 30 – Atlanta, GA @ Shaky Knees Festival Wed. May 4 – Monterrey, MX @ Showcenter Fri. May 6 – Mexico City, MX @ Quarry Studios Sun. May 8 – Ixtapa Zihuatanejo, MX @ Loot/Musa Sat. May 14 – Queretaro, MX@ Jardin Hercules Sun. May 15 – Guadalajara, MX @ Teatro Estudio Guanamor Fri. May 20 – Cleveland, OH @ Agora Theatre & SOLD OUT Sat. May 21 – Columbus, OH @ KEMBA Live! Outdoor & Sun. May 22 – Millvale, PA @ Mr. Smalls Theatre & SOLD OUT Tue. May 24 – Rochester, NY @ Water Street Music Hall & SOLD OUT Wed. May 25 – South Burlington, VT @ Higher Ground & SOLD OUT Thu. May 26 – South Burlington, VT @ Higher Ground &SOLD OUT Sat. May 28 – Boston, MA @ Boston Calling Music Festival Tue. May 31 – Athens, GR @ Gagarin 205 Wed. June 1 – Athens, GR @ Gagarin 205 Fri. June 3 – Barcelona, ES @ Primavera Sound – SOLD OUT Sun. June 5 – Barcelona, ES @ Primavera in the City SOLD OUT Mon. June 6 – Barcelona, ES @ Primavera in the City SOLD OUT Tue. June 7 – Barcelona, ES @ Primavera in the City SOLD OUT Thu. June 9 – Barcelona, ES @ Primavera Sound – SOLD OUT Sat. June 11 – Mannheim, DE @ Maifeld Derby Festival Sun June 12 – HIlvarenbeek NL @ Best Kept Secret Tue. June 14 – Berlin, DE @ Tempodrom Fri. June 17 – Manchester, TN @ Bonnaroo Music & Arts Festival Sat. June 18 – Miami, FL @ Space Park & Sun. July 31 – Waterford, IE @ All Together Now Tue. Aug. 2 – Šibenik, HR @ St. Michael’s Fortress √ Wed. Aug. 3 – Šibenik, HR @ St. Michael’s Fortress √ Fri. Aug. 5 – Prague, CZ @ Archa Theatre √ Sun. Aug. 7 – Vienna, AT @ Arena Wien (Open Air) √ Tue. Aug. 9 – Leipzig, DE @ Parkbühne √ Wed. Aug. 10 – Munich, DE @ Tonhalle √ Fri. Aug. 12 – Sion, CH @ Palp Festival Sun Aug 14- Helsinki, FIN @ Flow Festival Wed. Aug. 17 – Paredes de Coura, PT @ Paredes de Coura Festival Fri. Aug. 19 – Gueret, FR @ Check-In Party Festival Sat. Aug. 20 – Saint-Malo, FR @ La Route du Rock Festival Sun. Aug. 21 – Hasselt, BE @ Pukkelpop Tue. Aug. 23 – Cologne, DE @ E-Werk √ Wed. Aug. 24 – Hamburg, DE @ Markthalle √ Fri Aug 26- London, UK @ All Points East Sat. Aug. 27 – Málaga, ES @ Canela Party Sun. Oct. 2 – Berkeley, CA @ Greek Theatre * SOLD OUT Tue. Oct. 4 – Portland, OR @ Roseland Theater* SOLD OUT Wed. Oct. 5 – Vancouver, BC @ PNE Forum* Thu. Oct. 6 – Seattle, WA @ Paramount Theatre * Mon. Oc. 10 – Morrison, CO @ Red Rocks Amphitheatre* SOLD OUT Tue. Oct. 11 – Morrison, CO @ Red Rocks Amphitheatre* SOLD OUT Fri. Oct. 14 – St Paul, MN @ The Palace Theatre* SOLD OUT Sat. Oct. 15 – Chicago, IL @ RADIUS* SOLD OUT Sun. Oct. 16 – Detroit, MI @ Masonic Temple* Tue. Oct. 18 – Toronto, ON @ History* SOLD OUT Wed. Oct. 19 – Montreal, QC @ L’Olympia* Fri. Oct. 21 – New York, NY @ Forest Hills Stadium* Sat. Oct. 22 – Philadelphia, PA @ Franklin Music Hall* SOLD OUT Sun. Oct. 23 – Washington, DC @ The Anthem at The Wharf* Mon. Oct. 24 – Asheville, NC @ Rabbit Rabbit* Wed. Oct. 26 – Atlanta, GA @ The Eastern* Thu. Oct. 27 – New Orleans, LA @ Orpheum Theater * Mon. Oct. 31 – Oklahoma City, OK @ The Criterion #
^ w/ Mildlife ~ w/ Mildlife, DJ Crenshaw % w/ Amyl and the Sniffers, SPELLLING, DJ Crenshaw ! w/ The Chats, SPELLLING, DJ Crenshaw $ w/ SPELLLING, DJ Crenshaw ? w/ SPELLLING & w/ Jess Cornelius * w/ Leah Senior # w/ The Murlocs, Leah Senior √ w/ Grace Cummings
I don’t know what I can write about Black Sabbath‘s classic sophomore album, Paranoid, that hasn’t already been written. It’s a metal classic, a doom classic, a rock classic, and a British classic. I think the only thing I can write about regarding the album is how, until I finally got around to listening to it in its entirety, it’s also a psychedelic classic.
I mean, the opening track, “War Pigs” (originally titled “Walpurgis” – a song about witches but later altered to reflect the horrors of the Vietnam War), is a doom anthem, of course, but the opening riff and air raid sirens are an instant mind trip. Tommy Iommi‘s solo in the middle of it is the glint in the eye of doom metal’s father, but all of his work on the track has a trippy quality to it that’s hard to define.
The title track is the start of thrash metal, and, as the story goes, came about from the band goofing around in the studio. Little did they know it would become their first mega-single. Ozzy Osbourne‘s slightly fuzzed vocals balance well with the cranked fuzz of Iommi’s guitar and Terry Butler‘s bass and Bill Ward‘s relentless, yet precise drumming.
“Planet Caravan” then does an abrupt left turn into full-blown psychedelia. Osbourne’s vocals are barely perceptible, and the whole thing sounds like it was somehow sung and played through a lava lamp. Everything about it is warped and weird. I thought, “Why isn’t this song considered one of the classics of the psych genre?” when I first heard it. Mind you, I’m sure it is, but it seems like it’s a sadly overlooked Sabbath gem.
Probably because the next track is “Iron Man,” which has been featured in everything from Marvel movies to The Simpsons by now. Everyone remembers the riffs, but how many remember the song is about an astronaut who sees the Earth’s future, returns to warn us about it, is ridiculed by humanity for doing it, and then decides to trash us for mocking him?
Iommi makes full use of his effects pedals on “Hand of Doom,” which again has heavy riffs but part of their weight comes from the psychedelic touches the band puts on it. It’s creepy, sure, but also mind-altering – especially when they get to the bridge and it almost turns into a prog-rock track. The slick “Rat Salad” continues the brain-melting effects by starting off with adder-like slithering bass from Butler that explodes into a panther pouncing on you when the whole band kicks into gear. The song does this over and over, leaving you unsettled and somehow exhilarated. The closer, “Fairies Wear Boots,” is a dig at Nazi skinheads who were coming to their shows, is chock-full of great hooks, and even has a groovy intro (known as “Jack the Stripper”) with a somewhat bonkers Ward drum solo.
I know many fog hats were worn while listening to Paranoid and many “left-handed cigarettes” were rolled on its cover. I know I shouldn’t be surprised that it’s an album that easily moves back and forth between doom and psychedelia, but yet I still am. That’s a testament to the album’s craftsmanship.
Keep your mind open.
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Blending words from Phillip K. Dick, Kurt Vonnegut, Edgar Allan Poe, and other famous authors and thinkers with shoegaze, synthwave, and fuzz-rock, Alien Lizard‘s Lucid Dream Machinehas a perfect name for its effect on you.
The instrumental “Terminal” starts off the album sounding like it was recorded in a steel mill owned by My Bloody Valentine. “Lotus Eaters” is eastern-tinged psychedelia with guitars that sound like bees working in the aforementioned steel mill. “Obserwacja Obserwatora” is even trippier, bringing Brian Jonestown Massacre tracks to mind as it winds around you like a sexy snake.
“Los Naranjos” loops acoustic Spanish guitar riffs around synths that remind me of fog horns. I can relate to “Sympathy for the Luddite,” as I am a bit of one, and I love the dreamy, hazy vocals. They remind me of some Love & Rockets tunes with Daniel Ash‘s vocals. “Eyes Eye the I in You” is a smoky instrumental, and “The Bird” is a slow, almost languid, track that could’ve been a Black Rebel Motorcycle Club tune in a previous life.
“Romantyczność” takes you into a strange headspace with strange, droning guitar chords, and the closing track, “Wombat 9,” takes you out of that headspace and into a dreamspace for over seven minutes- thus, the title of this album. The whole thing is like a dream that leaves you thinking about it for the rest of the day.
Released in the middle of the pandemic and when everyone needed to just crank some psych-garage rock and let out a bunch of pent-up energy in their living room, Frankie and the Witch Fingers‘ Levitation Sessions is a great slice of the band’s always-solid live sets and bursts with energy for its entire length.
“Activate” is perfectly named and played to start off the set with beats that get your feet tapping right away and riffs to knock you back on your heels. “Reaper” is always a standout with its dreamy build-up to crushing power. “Sweet Freak” has this cool, looping groove to it that evolves into wild, frenetic, psychedelic guitar solos that are like a crow calling from a high tree when you walk by.
“Where’s Your Reality?” is another FATWF that absolutely cooks live or otherwise. Something is wrong with you if it doesn’t get you jumping and / or crowd surfing. The song melts into “Michaeldose,” a trippy and funky instrumental. The driving, hammering beats and bass of “Realization” are likely to induce you to bounce around your living room so hard you’ll be knocking over lamps and freaking out your pets.
The drums on “Dracula Drug” are especially sharp. All respect to Caster Black, who recorded and mixed the whole session. Another good example of the mixing is how well “Can You Hear Me Now?” eases into the rocking “Simulator” – another cut that always floors any audience. Likewise, “Cavehead” blends perfectly into the peppy, trippy “MEPEM…” – which is over eight minutes of thumping, bumping garage-psych.
Levitation Sessions is a great taste of a live FATWF show – a taste that leaves you wanting to dive face-first into their psychedelic buffet.
Keep your mind open.
[Why not levitate over to the subscription box while you’re here?]
