Psychedelic – Page 70 – 7th Level Music

The Dunes – Live at Soundlounge 2015

I first discovered The Dunes (Stacie Reeves -vocals and percussion, Matt Reiner – guitar, Adam Vanderwerf – bass, Jess Honeychurch – keyboards, Brett Walter – synths, Clair O’Boyle – drums) in 2014 when I was writing for Outlaw Music Magazine. These Australian psych-rockers create music as big as their homeland and trippy as the night skies above the desert there. I don’t know if they’ve ever toured the United States, but getting this fine live recording is a good appetizer for a future full course live meal.

The album opens with “When You Wake Up,” which plunges you into their deep, dark psych-rock at the first note. It’s almost induces a trance with its droning synths, fuzzed-out guitars, echoing vocals, thick bass, and drums that sound like they’re being played in a red rock canyon, so I imagine the band is referring to waking up from illusions and seeing true reality rather than waking from a good night’s sleep.

“Badlands,” the title track to their September 2014 release, is nearly ten minutes of freak-out mind-warp madness. The synths spin around you, the drums would fit in a pow-wow, and the bass buzzes like a drunken hummingbird. We get an extended cut of “A Thousand Crimes” after it, and I like how the synths sound like a sitar and the guitar work has a bit of a surf edge to it.

“End of the Beginning” is strong and bold, with great shoegaze guitars and heavy bass and percussion while the keys, synths, and vocals float along like a weird fog. The use of a tambourine on this track is both excellent and jarring. “Door to the Mind” blends shoegaze and psych-rock so well that I’m not sure where one ends and the other begins. It definitely will open your mind as it blends Doors, Pink Floyd, Jefferson Airplane, My Bloody Valentine, and the Jesus and Mary Chain. It’s an amazing track with some of the finest guitar and rum work on the record.

“Lunar Effect,” all eleven minutes and six seconds of it, ends the album on an uplifting note with vocals that rise like the sun. The band goes out on an ethereal note as they flow back and forth until the final chords.

This is a fine psychedelic rock record and one of the best live albums I’ve heard in a long while. The Dunes need to get to the U.S. soon so more can hear them.

Keep your mind open.

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Levitation Chicago artist spotlight: Faust

Legendary German kraut rock band Faust are playing a rare performance at Levitation Chicago on March 12th, closing out the three-day festival. Faust built a devoted fan base in the 1970’s with their mixture of kraut rock and psychedelic rock before breaking up and disappearing until the 1990’s. Only two of the original members remain (Werner “Zappi” Diermeier – percussion, Jean-Herve Peron – bass), but this will still be a special set.

Keep your mind open.

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Levitation Chicago artist spotlight: Night Beats

Night Beats (Danny Lee Blackwell – guitar and lead vocals, James Traeger – drums, and Jakob Bowden – bass) are a fantastic psychedelic rock band hailing from Seattle, Washington. I first saw them at Levitation Austin in 2013 and was blown away by their mixture of psychedelia and blues. They put on another great performance the following year at the Levitation Austin pre-festival kick-off party. I got to meet Blackwell there, and he signed my copy of Sonic Bloom. He was a humble, nice chap.

I’ll see Night Beats any chance I can get and look forward to seeing them again and picking up their new record at Levitation Chicago on March 12th. I’ll have my Sharpie ready.

Keep your mind open.

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Levitation Chicago artist spotlight: Ryley Walker

Ryley Walker is a singer-songwriter who is also an excellent guitarist. I hadn’t heard of him until he was listed as a performer during Levitation Chicago, and now I’m keen on seeing him live. He has a simple, elegant style that reminds me of early Yes records. He’s playing the festival on March 11th.

Keep your mind open.

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Levitation Chicago artist spotlight: Nite Fields

Nite Fields are an Australian four-piece who make hypnotic shoe gaze psychedelia with guitars that sound like they were recorded in a box canyon and vocals that sound like old Love and Rockets or Jesus and Mary Chain records.

Their newest album, Depersonalisation, is full of dreamy stuff that I’m sure will be good live and put the audience into a trance. They are opening Levitation Chicago on March 11th.

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Levitation Chicago 2016 mixtape now available on Soundcloud.

The good folks at the Reverb Appreciation Society have hired psychedelic DJ Al Lover to put together one of his masterful mix tapes of the artists playing at Levitation Chicago next weekend.

You can stream it here on Soundcloud.

They’ve also announced they’re setting up a record store inside Thalia Hall during the festival. My wallet is already groaning in anticipated agony.

Keep your mind open.

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Levitation Chicago artist spotlight: Vadaat Charigim

This Israeli shoegaze trio hails from Tel Aviv and only sings in Hebrew. Don’t understand Hebrew? Neither do I, but like me you won’t care because good music is good in any language. Vadaat Charigim (“Exceptions Committee” – Yuval Haring – guitar and vocals, Yuval Guttman – drums, Dan Fabian Bloch – bass) play finely crafted shoegaze that borders on dream-rock. Their stuff reminds me of early albums from A Flock of Seagulls – lots of reverb on the vocals, spacey guitar, trippy synths, and drums that sometimes hit heavy and sometimes almost seem to disappear.

I missed them at Levitation Austin last year, but they’re playing Thursday March 10th at Levitation Chicago. I look forward to the set.

Keep your mind open.

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Elephant Stone announce March tour dates and release new single.

Psych rockers (and a favorite band of my wife) Elephant Stone have released a new single, “Where I’m Going,” from their upcoming album Ship of Fools. As my wife put it, “I was hooked in the first five seconds.” The band has mixed a bit of electro into their raga-influenced psych-rock, and it works very well.

They’ve also announced March tour dates. Catch them if you can.

03/10 – Toronto, ON @ Sneaky Dees w/ Champion Lover and Bad Girls TICKETS
03/11 – Indianapolis, IN @ Joyful Noise w/ Vaadat Charigim TICKETS
03/12 – Little Rock, AR @ Vino’s Brew Pub TICKETS
03/14 to 03/17 – Austin, TX for SXSW TICKETS
03/18 – Memphis, TN @ Hi-Tone w/ R. Ring TICKETS
03/19 – Cincinnati, OH @ MOTR Pub TICKETS
03/20 – Brooklyn, NY @ Baby’s All Right w/ Las Rosas and Fascinator TICKETS
04/14 – Montreal, QC @ La Sala Rossa w/ The Mad Alcemy Liquid Light Show TICKETS

Keep your mind open.

Sisters of Your Sunshine Vapor – Desert Brain

Sisters of Your Sunshine Vapor’s (Sean Morrow – guitars and lead vocals, Eric Oppitz – bass and keyboards, Rick Sawoscinski – drums) Desert Brain is the first album from the Detroit psychedelic trio that is one flowing piece of art instead of an album of individual tracks that stand apart from each other.

“We’ve always wanted to make an album that was one continuous flow,” Oppitz told me when I saw SOYSV in October 2015. “We felt like we had the clout to do it after the first two records.”

He’s right. Desert Brain is a fine piece of work that reminds me of early Pink Floyd records that were part-rock albums, part-metaphysical journeys. “Seventh Scene” opens the album with a spacey feel SOYSV do better than most. It flows into the organ-heavy “Major Medicine,” which has become one of their wildest cuts at live shows because it dissolves / evolves into the mind-bending chaos of “What’s Your Cloud nine, 37?” and “Magic Mother’s Tongue / A Little Jaunt into the Light.” “Little” is an understatement, considering this “jaunt” is full of Morrow’s wall-flattening guitar, Oppitz’s thudding bass, and Sawoscinski’s Detroit auto factory-precision power drumming before it becomes something you might hear in a giallo movie by the end.

There’s a brief break of silence before “Girl of a Thousand Voices” when you flip over the vinyl and start the second leg of the journey. It’s a lovely track with distorted vocals and more of those guitar riffs that Morrow seems to pull out of dreams or mystic rituals, whereas the frightening follow-up, “The Prettiest Sounds of Purgatory,” sounds like something out of a Lovecraft story.

“Long Lovers Sun” shows the band’s Doors influences with jangly guitar, ethereal synths, and cryptic vocals about a beautiful woman. The title track showcases Sawoscinski’s drumming as he lays down beats fit for Apache warriors charging on horseback and then switches to near silence just before the song almost spins out of control and drops into “Like a Forest Runs” – a near-shoegaze cut that would be great for walks through bleak Detroit streets or while gazing across a frozen lake with your “Highly Enchanting Eyes.” This last track is something you might hear on a Captain Beefheart record – guitars and synths that mesh so well that they’re often difficult to tell apart, drums that sneak up on you, and slightly skewed vocals that intrigue you almost to the point of giving you the creeps.

I’m a big fan of SOYSV, so it’s no surprise I love this record. It’s a great move for the band as they get weird and pull us down the rabbit hole with them. They are on the verge of being one of the “Next Big Things,” so don’t miss any chance you get to see them. They’re also good chaps, so give them your support.

Keep your mind open.

King Gizzard and the Lizard Wizard – Paper Mache Dream Balloon

Australian psych rockers King Gizzard and the Lizard Wizard (Stu Mackenzie – piano, vocals, bass, sitar, flute, Lucas Skinner – piano and bass, Joey Walker – guitar, vocals, and bass, Cook Craig – percussion, guitars, vocals, Ambrose Kenny-Smith – vocals and harmonica, Michael Cavanaugh – percussion, Eric Moore – “Nothing.”) have returned with perhaps the hippiest record I’ve heard in years – Paper Mache Dream Balloon.

“Sense” almost sounds like a modern rap track at the beginning until it slides into a mellow plea to take care of Mother Earth. “Bone” is a clever song about the afterlife with lyrics like “If heaven is a place I know, I won’t be taking my bones. Will all my stitches be unsown? And when I’m gone and I’m dead, what will be inside my head?” Mackenzie’s flute carries the track and makes it fun instead of maudlin. “Dirt” is about ditching a relationship that’s toxic for both involved and it sounds like something you’d hear strummed in a southern California park on a summer day.

The title track encourages us to let go of troubles. They aren’t worth it. The song walks along at an easy pace before jumping up to a happy dance tune best suited for waving a bubble wand and hugging whoever gets close enough to seize. “Trap Door” is a quick, weird rocker about keeping our anger under control. “Cold Cadaver” is another tune about death and trying to keep the Grim Reaper at bay. The vocals are distorted just a bit, but to good effect, and the background harmonica and sitar add nice touches.

Then comes “The Bitter Boogie,” a song about the pain of drug addiction that dives headlong into the great subgenre of blues-psych. The whole band lays down a groove best suited for dry Arizona roads and sexy, possibly demonic hitchhikers. Kenny-Smith’s harmonica is particularly good here, as is the acoustic guitar work and the slithering bass line. “N.G.R.I. (Bloodstain)” seems to be about a man waking up to find himself in a crime scene, but the song is jumpy and toe-tapping instead of dark and brooding.

The next two songs mirror each other. “Time = Fate” is about the importance of living in the present (“Pondering things in the past makes you blind.”). “Time = $$$” is a trippy psychedelic track with blues lyrics (“Why is time money? ‘Cos it sounds funny to give me so much time and no money nearby.”).

“Most of What I Like” is both a ballad and a song of lament. The lyrics speak of a man who can’t live without his lover (“Most of what I like is given to me by the one that I love, bears the onus every time.”), but knows that his dependency is killing the relationship (“You always shut your eyes when you look me in the eyes.”).

The whole album is full of these neat combinations – psychedelic rock and blues, death and life, love and lament. King Gizzard and the Lizard Wizard will be returning to the Levitation Austin music festival this year, and I look forward to seeing them again. I was lucky enough to see them two years ago when they played their first U.S. gig there. They came to rock and didn’t disappoint. I’m sure they’ll knock it out of the park again.

Keep your mind open.