Recorded in an attic in a house where an exorcism took place and inspired by science fiction and mind expansion via psychedelic drug trip, Evolfo‘s Site Out of Mind is a pretty groovy record. I mean, how could it not be with an origin story like that?
Opening with Cure-like guitar chords that mix with thick electro-bass and reverbed vocals on “Give Me Time,” the album instantly feels far more expansive than an attic. The crunchy guitars and humming of the first single, “Strange Lights,” will make you stomp the pedal to the metal. Evolfo goes from Temples influences to Osees within two songs, which is nothing but cool to me. The warped, wobbly beats of “Zuma Loop” are disorienting at first and then hypnotic.
“Towers rise, towers fall,” they sing on “Blossom in Void” – a song that seems to be about staying present in order to emerge from sorrow and end up in a place of joy. Jangly acoustic guitars and vintage psych-synths start the funky “Drying Out Your Eyes” – a top-notch groovy cut. “In Time” parts 1 and 2 are a nice psychedelic combo – like pretzels and curry. “Let Go” is a dreamy float down a hazy river.
“Broken Hills” has this neat, weird beat that I love, and the change to a trippy Yes-like sound for the end (complete with string section) is gorgeous. “Orion’s Belt” is appropriately spacey, with guitars sounding like buzzing UFOs. The closer, “White Foam,” reminds me of Psychedelic Furs by the end if the Furs were even more psychedelic.
It’s a nice record, and I’m curious to see and hear where these chaps go next.
If you’ve been thinking there isn’t any good doom metal out there right now, allow me to use a phrase I find myself saying now and then, “Meanwhile, in Sweden…”
In Sweden, Alastor have been crafting heavy, spooky doom metal for a few years now, and their new album, Onwards and Downwards, is about (in the words of guitarist Hampus Sandell) “…one person’s gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.”
So, don’t expect a happy-go-lucky record. Expect skull / soul-crushing riffs and images of things watching you from the shadows.
Opening track “The Killer in My Skull” unleashes a fusillade of cymbal crashes, rocketing riffs, and vocals about questioning reality. “Dead Things in Jars” creeps around you like something in a secret laboratory you just found in a witch’s basement. Sandell’s solo on it is slick. “I hear them callin’, shadows are fallin’…There’s no denyin’, red eyes are cryin’…” Is it a warning or a lament? It’s probably both. The breakdown around the five-minute mark leads to heavy riffs suitable for something emerging from a cauldron.
I’m fairly certain I can hear a piano being pounded on during the rocking, reeling “Death Cult” – a song made for blasting out of the windows of your muscle car are you’re being chased (or you’re chasing) werewolf bikers. The bass groove alone is pretty damn cool. “Nightmare Trip” could be a subtitle for the year 2020. “Shadows like walls around me slowly closing in,” they sing with a slight edge of reverbed fuzz on the vocals that mixes well with the killer bee buzz guitars. The tolling bell at the end is a great touch.
Believe it or not, there’s acoustic guitar on the instrumental “Kassettband,” showing that Alastor aren’t a one-trick pony and could easily be a psych-band if they wished. The nearly ten-minute-long title track (complete with spooky haunted house organ) has vocals that seem to cry out from behind an ornate mirror that was formerly covered in a dusty crimson cloak. The guitars and drums feel like they’re rising up from the ground to become something you can’t escape (“There is no place you can hide…”). The song somehow gets creepier around the seven-minute-mark, especially with lyrics like, “Your dying heart is beating faster as you are pushing through the night.” The closing track, “Lost and Never Found,” is another heavy-hitter that further explores the descent into madness a lot of us were sensing for the last year.
It’s a heavy record, both in sound and theme, and well worth a listen. Yes, it’s about staring and walking into the abyss, but the riffs are powerful enough to give you the strength to emerge from it like a warrior.
Keep your mind open.
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It’s entirely possible that CHAI has been having more fun than anyone else in rock, Japan, or even the world for the last few years. Each of their albums, Punk, Pink, and now Wink, is pop-punk / electro perfection and all of them are brimming with positivity.
Wink continues the trend and starts a new one for the band – collaborations. Ric Wilson, YMCK, and Mndsgn all appear on the album to join the fun. The first track, “Donuts Mind If I Do” is a song about aging gracefully and eating donuts. What’s not to like (especially with that Earth, Wind & Fire-like groove)? “Maybe Chocolate Chips” (featuring Mr. Wilson, whom they met at Chicago’s Pitchfork Music Festival) posits the theory that a birthmark on your body might be a tasty treat.
“It’s okay. Everything is okay.”, CHAI sings on “ACTION” – a sharp dance track inspired by the Black Lives Matter movement that lets us know that we can change dour circumstances by, if nothing else, getting up and deciding to do something. The electro-bass slides into near-goth industrial territory for a great effect. Speaking of dancing, just keep at it during “END” – a bouncy, dance-punk cut with the band yelling “Shut up!” at their doubters and haters and throwing in rap verses because they damn well can.
“PING PONG” (with YMCK), with its video game sounds and aerobic workout beats, is one of the best dance tracks of 2021 and is a song about playing ping pong after spending a day at a spa. The world needs more songs like this, not to mention a day at the spa. I beg to differ with “Nobody Knows We Are Fun,” a song in which CHAI claims no one realizes they’re cool and worth inviting to the party, because (as I mentioned earlier) CHAI are having more fun than 90% of the planet.
“It’s Vitamin C” has a bit of a slow-jam groove to it as “It’s good for you, it’s good for me, it’s good for the body,” they sing, and I have a feeling that their lyrics about orange juice are a metaphor for…ahem, something else. “IN PINK” (with Mndsgn) blends electro-pop with P-funk. The lazy beat of “KARAAGE” is hypnotic and, let’s face it, sexy.
“Miracle” has some thick bass to go along with its booty-shaking beats and sunshine lyrics. “Wish Upon a Star” is another R&B-like jam with soft organ tones and subdued beats. The closer, “Salty,” is about fond memories – sometimes rediscovered through food (one of CHAI’s favorite subjects).
Wink is a bit stripped-down compared to CHAI’s first two records, but is no less fun than them. As always, CHAI deliver uplifting music when we need it most.
Imagine being in a relationship with someone for almost two decades, as well as being in band together, and then deciding to end the relationship but continuing on as a band. How would that affect the writing and recording processes, let alone touring?
If you’re Remington Super 60, and if you’re songerwriter / producerChristoffer Schou and singer Elisabeth Thorsen, you realize that the end of a relationship doesn’t have to mean the end of a friendship or an artistic collaboration, and, along with Magnus Abelsen, you make a fine EP like Nouvelle Nouveau.
Perky, poppy “Talk with You” instantly makes you feel warm and nostalgic for quiet European cafes and mellow afternoons with your lover. The EP is full of references to Schou and Thorsen’s break-up, of course, and the first track alone has lyrics like “All I want is to get close to you so I can talk with you.”, but the EP isn’t gloomy. It’s too bright to be a downer.
The Cure-like bass and guitar on “I Won’t Change My Mind” backs up Thorsen singing, “I don’t know what I can do to make this easy for you…I tried to tell you, but you never understand, but it’s too late now.” The song is a sad tale, but one of shared grief. Both she and Schou know they have to move on from what they had and both know that being okay with it is far better than being spiteful or bitter. “All I Want” has a neat acoustic guitar sound that seems to blend country and psychedelic folk.
Electo-lounge keyboards (vintage ones, no doubt, as Schou loves using and collecting them) start “Still Near,” with Thorsen claiming, “I don’t want to see you again. It hurts when you’re around.” and “I just want to disappear even though you’re still near.” “See This Through” has a bit of a bossa nova flair to it with Schou and Abelsen’s synths and beats and Thorsen’s vocals that are somehow sad and upbeat at the same time. I don’t know how she does it.
“Misconception” has Thorsen tells us (and, let’s face it, Schou) that she doesn’t need saving. Schou and Abelsen’s synth work on it is great, mixing synthwave with dance-pop grooves. Believe it or not, “All Alone” was written many years ago, long before Schou and Thorsen’s break-up. Schou sings lead vocals on it, and one can’t help but marvel at its predictive nature. The acoustic guitar and hand percussion on the track mix well together, and it’s a dreamy send-off.
I don’t know if Remington Super 60 will continue to make music together, but Nouvelle Nouveau is a good sign that they can still create lovely, dreamy art and embrace change. The world would be a better place if we could all have that presence of mind.
Keep your mind open.
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Bloc Party‘s 2008 album, Intimacy, is perfectly named. Every song on the record is about love – new love, lost love, dying love, old love, hopeful love, desperate love, and probably another five or six variations that I’ve forgotten. The album is loaded with Bloc Party’s signature heavy guitars, stadium rock drumming, prog-rock switches, intricate lyric stories, and passionate vocals.
Opening track “Ares” has the band wanting to declare a war and expressing anger and rage in the only way they know how – through warning alarm guitars and car crash drumming (instead of breaking things with their fists). Lead singer / guitarist Kele Okereke wants to punch something, but would rather use those hands that “could work wonders, with their touch listening to dead singers in your room in ’98” for more intimate matters.
“Mercury” brings in electro-beats as Okereke warns “This is not the time to start a new love, this is not the time to sign a lease.” He wants love, though. He’s tired of “sleeping with people I don’t even like,” but “Mercury’s in retrograde” and everything is fucked up beyond belief.
Gordon Moakes‘ bass licks are on fire throughout “Halo” – a powerful rocker that tells a tale of two lovers desperate for a connection (“I ask you for the time, but I am asking for so much more.”). “Biko” is a tragic tale of a lover’s impending death and how there’s nothing Okereke or anyone else can do to stop it. “Was my love strong enough to bring you back from the dead? If I could eat your cancer I would, but I can’t.” The song is a beautiful gut punch.
“Trojan Horse” has Okereke trying to understand his lover’s depression (“You used to take your watch off before we made love.” / “Just take me back to the start, when your earthquake was just cracks.”). Russel Lissack‘s lead guitar sounds like angry hornets during his solo on it. “Signs” is another sad tale, with a ticking, chiming music box as its backdrop, of another lover who has passed from this world (or perhaps the same from “Biko”) and Okereke not quite being able to make sense of it.
Matt Tong‘s percussion and sizzling cymbals mix well with programmed beats on “One Month Off” – a tale of a cheating lover and Okereke claiming “I can be as cruel as you,” but by the end telling her, “If you need time…” Okereke admits his own faults on the choir-backed “Zephyrus” with lyrics like “Baby, I’m ashamed of the things I put you through. Baby, I’m ashamed of the man I was for you.”
“Talons” is story of impending death, but Okereke isn’t afraid of it (“When it comes, it will feel like a kiss.”). “Better Than Heaven” has Okereke settling down a bit and trying to seduce his lover as she becomes more and more tired of him (“You get sadder the smarter you get, and it’s a bore.”). Tong’s drum work on the track is outstanding. Okereke keeps up the sentiment of growing old in love together on “Ion Square,” with lyrics like “Let’s stay in, let the sofa be our car…All the bright lights do is bore me.” The synth-heavy track send the album out on an uplifting note.
Some versions of the album include extra tracks and remixes. The copy I own has four bonus songs and remixes of “Mercury” (by CSS) and “Talons” (by XXXchange). The bonus songs include a sharp post-punk track (“Letter to My Son”) and three electro dance-rock cuts (“Your Visits Are Getting Shorter,” the rave-ready “Flux,” and the slightly gothic “Idea for a Story”), and the remixes are top-notch.
Roaring in from London, Squid combine post-punk, art-punk, straight-up punk, no wave, jazz, and probably five other genres they enjoy into a cool, quirky record – Bright Green Field.
After a brief instrumental opener (“Resolution Square”), the album bops and funks with “G.S.K.” Saxophone honks, psychedelic bass, bright synths, and processed drums mix as Ollie Judge sings about the travails of staying up all night and getting into a car wreck. “I tried real hard. I think I made it up,” they say at the beginning of “Narrator.” The bass and guitar on it dance all over the place in it as the song explores taking control of one’s life amid external forces trying to control every aspect of what we consume. The song evolves into a wild, Pink Floyd-like psychedelic freak-out complete with Martha Skye Murphy screaming like she’s in a horror film one moment and in orgasmic throes the next.
You’re completely impressed with Laurie Nankivell‘s bass work by the time you get to “Boy Racers.” He has a way of playing that almost sounds like he’s doing whatever the hell he wants but yet fitting in perfectly with what the rest of the band is doing. The song becomes a weird, psychedelic, synth-heavy trip about halfway through its length, and I’m all for it. The build-up at the beginning of “Padding” is outstanding, as the band sings / chants, “Patient and in control…Dig holes like a mole…Patient and oars in stow…Just do what you’re told.” Louis Borlase and Anton Pearson chug out post-punk guitar stabs over Judge’s racing heartbeat drums when the song kicks into high gear.
“Documentary Filmmaker” has strange, warped horns and is pretty much a free-flow jazz tune, which makes sense when you consider that the members of Squid bonded over ambient jazz. “2010” is a crazy, prog-rock-inspired track that bounces back and forth between Arthur Leadbetter‘s spacey jazz keyboards and the rest of his bandmates playing proto-funk to wild cymbal crashes from Judge and crazy guitar swells from Borlase and Pearson.
“Where were you when the ice came to town? Where were you when the ice came around? You don’t remember? You don’t remember!”, Judge sings / yells on “Perry St.” – a song that could be about turning a blind eye to bigotry, but don’t quote me on that. I can tell you for certain that it’s a rocker, however. They don’t hold back much, even when the song hits the brakes and becomes a simmering pot of jazz / prog / post-punk stew. “I’m so sick and tired of dancing,” Judge proclaims on “Global Groove.” It’s interesting that he would write that lyric in the last year or so, when none of us could go out dancing and were doing all our dancing in the kitchen, while doing laundry, or with our pets as somewhat-reluctant partners. The song samples canned laughter and the guitars seem to be crying one moment and yawning the next – summing up the groove the entire globe has been in for a long time. Judge acknowledges this pandemic funk further on the closing track, “Pamphlets.” He growls about not wanting to leave the house, or even needing to thanks to all the pamphlets left on his doorstep claiming everything can be brought to him – food, entertainment, you name it. He’s become a hermit due to forces beyond his control, but he’s not sure if he wants to re-emerge into the world (“Legs still, but the herd is in motion.”). Squid predicted “re-entry anxiety” before it became a buzzword.
Squid predicted, and confronts, a lot of 2021 angst on Bright Green Fields. It’s one of the sharpest albums of the year so far.
Keep your mind open.
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Hailing from Argentina, Mephistofeles emerged onto the doom metal scene in 2016 with Whore– an album that feels and sounds as heavy as a war hammer being dragged through a blood-soaked battlefield by a lone warrior approaching a wounded lich. Oh yes, and a lot of it is inspired by lead singer and guitarist Gabriel Ravera‘s ex-girlfriend – a drug addict who made him miserable.
“Black Sunday,” the opening track, alone has enough heavy doom riffs for two albums. The band’s love of Black Sabbath, Uncle Acid and the Deadbeats, Salem’s Pot, and Electric Wizard is evident from the first chords and vocals. Ismael Dimenza‘s bass is as thick as molasses, and Iván Sacharczuk‘s cymbal crashes become hissing, whispering spirits after while. The title track cranks up the fuzz and increases the tempo to an undead army’s marching beat.
“Your life is nothing,” Ravera sings on the cheerfully titled “Kill Yourself,” which feels and sounds like another homage to doom giants Electric Wizard. I like how it turns into a bit of a psychedelic trip for a little while with Dimenza taking his time on the bass,. “Cursed to Death” has a sweet (leaf) groove to it. Ravera’s guitar takes on a bit of an early ZZ Top (or, perhaps, Moving Sidewalks) sound, and Dimenza and Sacharczuk are locked-in on their groove.
“Drug Addict” brings back the heavy stoner rock riffs (How could it not with a title like that?), as Ravera’s vocals take on sounds of desperation, near-panic, and then anger. Meanwhile he and his bandmates pound out some of the heaviest riffs on the album. “Evil Beauty” saunters around the room like a deadly panther that’s actually a transformed sorceress from a hidden temple in an Argentinian jungle who seeks human hearts to complete the ritual that will restore her to human form. “Wizard of Meth” closes the record, complete with weird samples about being torn to shreds and scattered across the universe and sludge riffs that seem to crush you with their mass.
It’s an impressive record, and there’s a punk undertone to it with its attitude and sheer shock value. I can’t help but think some of it is played with a wink, which is cool Doom metal is a serious genre, but it does need to be able to chuckle now and then.
Keep your mind open.
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Released not long after their first EP, Sweet Princess, Dry Cleaning‘s Boundary Road Snacks and Drinksfurther intrigued post-punk fans in the United Kingdom and around the world with its hypnotic, mostly spoken-word lyrics and wild, angular sounds.
The Cure-like bass of “Dog Proposal” gives way to jangly guitars and vocals about working one hundred-hour weeks and trying to break out of the daily grind (“I’ve joined a gym near the office!”) seem to come from a different place, physically and mentally, than the instruments. “Viking Hair” is a story of a stunning woman who’s “a tragic heroine” when it comes to her love life. The band throws Joy Division guitars at you while the lyrics grab you by the back of your brain.
“I’m cool with spoils,” sings Florence Shaw on “Spoils” while Lewis Maynard lays down a great, heavy bass line and Tom Dowse‘s guitar tilts back and forth between buzzsaw and police car siren. “Stream, stream, stream my favorite shows. Just tell me who dies and who finds love,” Shaw sings / speaks. Even she is tired of the endless scrolling of streaming TV.
“Jam after School” is a weird and cool mix of school gossip and what sounds like a clinic on how to create a good post-punk single. “Sombre One” has an appropriate title, as it’s just Shaw’s sparse vocals (“Can’t seem to get out of bed easy.”, “Snacks and drinks, closed space, get rid of photos.”, “Move into the caravan park and be done with it.”), Dowse’s sparse guitar notes, Nick Buxton‘s hand percussion, and strange samples. The closer “Sit Down Meal” has Shaw stating, “You’re nothing but a fragrance to me now.” I’m not sure which is harsher: Her verbal smackdown or the band’s killer, almost swaggering hooks and chops.
It’s a sharp EP that left everyone clamoring for more material from Dry Cleaning. Thankfully, New Long Leg came out earlier this year.
Keep your mind open.
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Written over the course of 2019, when COVID-19 was emerging, claiming lives, canceling plans, and changing the world by forcing all of us to look impermanence square in the face, the album is a stunning piece of work. It’s even more impressive when you consider that frontman Jace Lasek‘s father also died the same year. Processing his grief, and visions his father spoke about on his deathbed, led to Lasek confronting the Grim Reaper head-on. The band also paid tribute to two legendary musicians and songwriters – Mark Hollis (who also died in 2019) and Prince (who had died three years earlier).
The album’s four sides are titled “Near Death,” “Death,” “After Death,” and “Life.” It is an album of sadness, grief, love, and peace. The opening track, “Blackstrap,” brings Pink Floyd‘sDark Side of the Moon to mind with its echoing guitars and sampled telephone busy signal. The title might refer to a type of molasses, and how sadness might feel like being stuck in it. The song crawls along like an old but happy cat with its thumping bass and psychedelic synths.
“Raindrops” has the kind of cool bass groove that only Olga Goreas seems to be able to create, and Lasek’s vocals move back and forth between dreamy simplicity and falsetto flashes that he seems to do with ease. The warped, distorted “Christmas Can Wait” is one of the tracks honoring Lasek’s late father. The song melts and reforms into a mix of psych and synthwave that is so good that it’s almost unbelievable.
“Our Heads, Our Hearts on Fire Again” brings brightness breaking through the clouds with vocal styling that reminds me of The New Pornographers, a string section, a brass section, and possibly a Venusian choir for all I know. It’s a tonal shift on the album, and a brilliant one (on an album that’s already brilliant up to this point).
“Feuds with Guns” is the shortest track on the album at a little over four minutes, but it doesn’t feel any less expansive. The organ and drums seem to rise up from a desert canyon, and Lasek’s vocals seems to glide down with a setting sun. “The Dark Side of Paradise” again brings Pink Floyd to mind, but adds shoegaze elements to the psychedelia for a trippy brew. Lasek’s vocals sometimes disappear into the synths and guitars, blurring the line between which shadows the other until the song transforms into a beautiful instrumental.
“New Revolution” breaks through the pallor of death with bright guitars, healthy heartbeat drums, and vocals brimming with hope and joy. “The Father of Time Wakes Up” in the band’s tribute to Prince. It’s a lovely one that doesn’t overdo it with wild guitar solos or funk jams. It keeps the psychedelic riffs and hypnotizing bass and uses a simple, but effective guitar solo as Lasek sings, “You’ve been hurting since the father of time woke up.” (and moved onto another plane). Haven’t we all? The chorus of “With love, there is no time.” is a wonderful reminder of a universal truth that is easy to forget.
“Last of the Great Thunderstorm Warnings” takes up the entire fourth side of the album. It’s a glorious track of nearly eighteen minutes with The Besnard Lakes helping us get up from the ground, to walk out of the dark, and to let go of attachments so we won’t be dragged by them. The horn section returns and drums blend with real thunder to bring a cleansing sound. The song drifts into the sounds of wind and simple synths to become a meditative experience (doubly so, as I discovered, if you play it while next to an open window and birdsong naturally blends with it).
It’s a gorgeous record by a band operating at the height of their powers, and an uplifting album as we emerge from a pandemic and a divisive election (here in the U.S., at least), and strive to move forward from anger and fear.
Keep your mind open.
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Moon Safari, the classic ambient / house / lounge album by Air (Jean-Benoît Dunckel and Nicolas Godin) was pretty much an instant classic as soon as it was released. I remember reading reviews that more or less called it “cool elevator music.” It’s far beyond such a label. It’s a “mood change” record, as in it can change the mood you’re in or the mood of any room in which it’s played.
The opener, “La Femme D’Argent,” with its ultra-smooth hand percussion and keyboards, immediately shifts your brain into a meditative space and should be played in dentist offices around the world. The song is never in a hurry. It’s about a seven-minute groove beamed into your brain from aliens who might be high. The slightly menacing “Sexy Boy” tells a tale of hyper-masculinity and wanting to be “as beautiful as a god.”
“All I Need,” featuring Beth Hirsch on vocals, brings in lovely, almost Spanish, acoustic guitar as Hirsch sings to a perspective lover to let her be a light to him. “Kelly, Watch the Stars!” is mostly an instrumental (the title is repeated multiple times) that combines thick bass, Theremin, and robot vocals. “Talisman” belongs on a movie soundtrack, be it a spy thriller, a sexy comedy, or a sci-fi film.
“Remember” has electro-beats surrounded by ghostly synths as Dunckel and Godin sing about a day in the past. You can’t tell if the day was good or bad or somewhere in between, but I think that’s the point. Ms. Hirsch returns for vocals on “You Make It Easy,” a song with bossa nova touches that tells a lovely tale of love.
“Ce Matin La” reveals Air’s love of Ennio Morricone with its harmonica riffs, subtle trumpet, and, of course, guitar work. “New Star in the Sky (Chanson pour Solal)” is a mellow head-trip and perfect for relaxing on the international space station while you’re circling the Earth every ninety minutes. “Le Voyage de Penelope” closes the album with sultry synths that almost sound like a warped trumpet at first and then become a lush groove track to send you off into euphoric bliss.
Moon Safari is perfectly named because this whole album sounds like it was made in such a place – a hidden jungle deep inside the moon ruled by sexy women and weird creatures.
