There was a nice psychedelic rock show at Fort Wayne’s Brass Raillast week. First up was Slug Love– a local act who played a good set of punk-psych. They have some stuff on Soundcloud right now and hope to have more material out soon. I look forward to it.
Slug Love
Detroit’s Sisters of Your Sunshine Vaporwere up next and they played only one previously released song (“Desert Brain”). Everything else was entirely new material, and all of it sounded great. The new material has a bit of a cosmic vibe. Guitarist and singer Sean Morrow mentioned Hawkwind to me when discussing the new stuff, so I’m hoping their upcoming album will be a spacey trip.
Sisters of Your Sunshine Vapor
Pleasures came all the way from Florida to play their wild electro-psych full of distorted robot vocals, throbbing synths, and even a weird collection of film clips projected on their kick drum head (a genius idea, by the way).
Pleasures
Ft. Wayne’s Heaven’s Gateway Drugsclosed the night with a lot of material I hadn’t heard before either. I’d learned earlier from SOYSV that this was a challenge they’d made to HGD to play new material (The two bands are all pals, by the way.). HGD played their usual sharp psych layered with almost meditative beats.
Heaven’s Gateway Drugs
It was a fun show for a cheap price. Don’t miss the next one.
“Fea” is Latino slang for an ugly girl, but Fea the band (Letty – vocals, Aaron – guitar, Jenn – drums, Phanie – bass) means riot grrl post-punk (or “Fuck ‘Em All,” according to the video below).
Opening with “Mujer Moderna,” the band comes out with chugging guitars and vocals that sound like a Be Your Own Pet B-side. The song is a slug across the jaw to those who blame sexual assault victims for the crime. “Feminazi” is a fast, fun, and fierce call for both sexes to “meet in the middle” and for everyone to know that feminism isn’t fascism.
“You Can’t Change Me” has some of Phanie’s hardest bass as Letty sings about being out and proud and not giving a damn what you think. “Tragedias” will get you moving, because Jenn’s beats will boot your booty out of your chair. Be careful if you’re listening to this while driving. Don’t blame Fea (or me) for any speeding tickets you might get as a result. “Dead End” reminds me of Lunachicks, and that’s a good thing.
“No Hablo Español” might be the loudest cut on the record, because every lyric seems shouted to the streets. “Beat It Out” warns us against succumbing to the pressures of mainstream culture, white noise TV, and crummy relationships. Aaron’s guitar work cooks on it. “Sister K” is a funny story and middle finger to a mean nun Letty had to deal with in school.
“Stuck Like You” changes up the pace a bit with a softer chorus than most of the other tracks, and it works quite well. The riffs on “Poor Little Rich Girl” are outstanding, as are Letty’s Spanglish vocals. It’s some of her best work on the record. “Veins” is a little over three minutes long, but it only seems like half that because the track is so fast. “La Llorona” (“The Crying Woman” – a legendary ghost in Latin American culture) is suitably haunting. Aaron’s guitar sounds like he dipped it in a swamp before playing it and Jenn’s drums are like a funeral dirge at first.
It’s a sharp debut and I hope it leads to more records. Punk rock needed Fea. They’re like a shot of adrenaline to the genre. I didn’t know I needed Spanglish angry Latina punk until I heard this record, and now I want more of it.
Keep your mind open.
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Does the current political landscape have you bummed? Has work turned into rote activity you’d rather turn over to a highly intelligent simian? Are you sick of TV and big budget blockbuster flops at the box office? Are you in need of a jolt to break you out of a summer funk? Why not save the money you’d spend on a couple fancy schmancy frozen coffee drinks and pick up Welcome the Worms by Bleached instead? This pop-punk album will make you far happier than any overpriced, super sweet, high fat drink you’ll regret when the sugar coma it provides makes you fall asleep at the wheel.
Bleached are sisters Jennifer and Jessica Clavin (lead vocals and guitar, respectively), Micayla Grace (bass), and Nick Pilot (drums). Welcome the Worms is a middle finger to living in L.A. when you’re not a movie star, bad relationships, and those who turn their backs on people who live on the fringe.
“Keep On Keepin’ On” bursts off the line with a cool psychedelic sound mixed with Sleater-Kinney anger. Jennifer Clavin throws down fierce vocals while Grace seems to be playing slap bass on a bass guitar. Jessica Clavin’s guitar sounds a bit like a warning siren at times, and Pilot kills it on the first song.
“Trying to Lose Myself Again” is about wanting to disappear in the chaos that is Los Angeles. “I’ve been hanging around this ugly town trying to find myself again…I’ve been getting high every night trying to lose myself again,” Jennifer Clavin sings. The glamour of L.A. hides misery for many, but Jessica Clavin’s guitar work is anything but miserable. It’s scorching.
“Sleepwalking” is a perfect metaphor for most of us shuffling around big cities in the daily grind. Jessica Clavin again shreds while Grace and Pilot seem to be racing each other throughout the track. “Wednesday Night Melody” is a great power-pop track that Weezer and Metric wish they could still produce.
“Wasted on You” is about the perils of dating musicians and has some of the snappiest beats from Pilot. “Chemical Air” reminds me of early New Pornographers with its bold vocals and big sound (especially Jessica Clavin’s cosmic guitar work). “Sour Candy” is reminiscent of early “bad girl” rock from the 1950’s in Jennifer Clavin’s vocals.
“Desolate Town” has appropriately desolate bass from Grace and slightly distorted vocals as Jennifer Clavin sings about the wasteland L.A. can be for those working in the non-glamorous jobs there. “I’m All Over the Place (Mystic Mama)” is part-trippy psych and part-post punk as Jennifer Clavin mourns a break-up (“I’m all over the place without you…”). It sounds like a rare Fuzzbox single.
“Hollywood, We Did It All Wrong” is the closer, and I’m not sure if Bleached thinks they screwed up living in Hollywood, or if they mean the whole town screwed up what could’ve been a cool thing. It’s a fun track either way.
It’s a fun record, too, even with some of the dark subject matter. The title comes from a weird religious pamphlet the band picked up in L.A. The title might refer to impending death, but at least Bleached is exorcising demons and having fun before they check out of here.
Keep your mind open.
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Not to be confused with techno / house giants The Orb, Australia’s ORB specialize in heavy stoner and psych-rock riffs. Their newest record, Birth, even starts with a song called “Iron Mountain,” so you know they mean business. You can’t start an album with a song titled “Iron Mountain” and not have ground-shaking rock to go with it.
“Iron Mountain” does indeed put down two-ton riffs that bring to mind Black Sabbath, MC5, and even early Pink Floyd. The groove of “Reflection” is excellent. The cowbell isn’t overdone, the skronky guitar is perfect, and the psych-bass is solid. The breakdown around the four-minute mark is jaw-dropping.
“Birth of a New Moon” is as heavy as the plunge into darkness the title implies. The song practically oozes incense smoke from your speakers and projects images of beautiful women in hooded robes dancing across hot coals onto the back of your eyelids. There’s some cool synth work in this that makes it even trippier. It’s also an instrumental, which I always appreciate.
“First and Last Men,” the shortest song on the record at just under five minutes, is a sharp fuzz-rocker with some of the heaviest bass on the album. I also like the near-funk drum groove and how the guitar almost switches to prog-rock riffs at times.
The album ends with “Electric Blanket,” which is over sixteen minutes of mind-warping psychedelia that winds from gut-rumbling guitars to early Gary Numan synths and back to more early Pink Floyd madness.
It’s one of the best psych / stoner rock records I’ve heard this year, and further proof that there must be something in the water in Australia that causes that continent to churn out so many good bands.
Keep your mind open.
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Located in a shopping center at 4615 Grape Road, Michiana Used Music & Media is exactly what you expect it to be from a name like that – a single storefront with a good selection of used CDs, DVDs, Blu-Ray discs, LPs, and video games.
There aren’t as many cult films as I’d like to find, but there rarely are in such places. The mix of CDs and vinyl is mostly newer stuff, but there are some fun gems if you dig through enough bins.
It’s worth a stop if you’re on Grape Road, and don’t miss the fine comic book store next door either.
UK label Mega Dodohas released a rare recording of John Peel live session tracks from the obscure 1970’s psych band Big Grunt. Featuring members of the Bonzo Dog Doo-Dah Band, the World, and Sean Head Showband. These four tracks (one of which, “Cyborg Signal,” was never released until now) have rarely been heard since the early 1970’s, and Mega Dodo is releasing them for download and on limited edition 12″ yellow vinyl (only 500 copies!).
Keep your mind open.
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Chicago psych-rockers The Luck of Eden Hallrelease their new single, “The End of the Lane” today. The single, a great trippy psych tune, is inspired by award-winning author Neil Gaiman’s book The Ocean at the End of the Lane. Gaiman even drew the cover art for the limited single.
The single can be purchase for download, and there are limited blue and black 7″ vinyl versions to be had as well. The B-side is the song “Blown to Kingdom Come” from their excellent album The Acceleration of Time.
Captain Ivory (Robbie Bolog – guitar and lap steel, Seth Maschari – drums and vibes, Brett Smith – bass, Jayson Trayer – vocals and guitar, Steve Zwilling – piano and organ) describe their sound on the cover of their new album, No Vacancy, as “greasy rock ‘n’ roll.” I can’t do much better than that. The whole album is full of power pop, swamp rock, and blues rock grooves that are so greasy you could fry a donut in them.
“Broken Light” introduces you to Trayer’s fine vocal style, which is somewhere between Kings of Leon, Howlin’ Wolf, and Jethro Tull. Maschari’s vibraphone work on the title track takes the song to a level above garage rock that other bands are still trying to reach. Zwilling’s keys take us into psychedelic territory on “Skinning the Hand,” and the rest of the band puts down a great blues groove while Trayer sings a fun song about a desperate man in a desperate card game that could put him on Easy Street or kill him.
“Cascades of Spain” is a lovely song about a man’s journey through old Europe. “Paper Towns” has excellent guitar work throughout it. “Hello Love Goodbye Fear” is a vicious attack on the current political landscape. “Every time I think about the western dream I let loose ‘cause I know it’s a lie,” Trayer sings. Zwilling’s keyboard work is jaunty, despite Trayer’s angry lyrics, and those stadium rock riffs are great. “Never Mind” is a classic rock song about heartbreak, and the breakdown in the last minute is outstanding. I love the way “Come Down” switches from a rock ballad to a sweaty, gritty blues-powered rock cut. The closer is, fittingly, “Epitaph,” which brings in some delightful soul touches.
I discovered these guys when my wife and I saw them play at a street festival in Ann Arbor, Michigan earlier this year. They are a crackerjack live band and worth your time if you enjoy greasy rock ‘n’ roll.
File this one under: Bands I Like Who Slipped Through the Cracks. I’d heard a few tracks from Royal Blood’s self-titled debut album two years ago on the Out of the Black EP, but kept forgetting to buy the full record. I finally found it at a Target two months ago.
It’s one of the best rock records to come along in recent memory. Royal Blood is Mike Kerr on bass and vocals and Ben Thatcher on drums. That’s right, no guitar. They bring new meaning to the term “drum and bass,” because that’s all there is (apart from vocals). It’s all bass – wonderful, cranked-up, fuzzed-out, wall-flattening bass – and drums – excellent armies of Mordor-marching, Jason Bonham-honoring, avalanche-producing drums.
“Out of the Black” was their first big hit, and rightly so, as they belt out a rocker about an angry break-up. It’s a common theme on the record. The lads are angry, lonely, and frisky, but there isn’t a damn thing they can do about it except pour it all out on this record. The follow-up to the “I’m so pissed I could kill you” anthem of “Out of the Black” is “Come On Over,” in which Kerr has dropped belief in God (“I went to church and stopped believing.”) and thus the religious dogma that held him back from engaging in naughty sinful behavior. We go from bad break-up to sinful sex in the span of two songs.
“Figure It Out” has a wicked drum groove that barely touches on pop-punk as Kerr struggles to determine why his girl won’t talk about what went wrong in their relationship (“I said I’d go, ‘cause I won’t see you later and we’re not allowed to figure it out.”). It makes sense that the next song is “You Can Be So Cruel,” which has Kerr standing outside his lady’s door thinking of her (in his stalker-like eyes) loneliness and his depression.
His lady’s continued distance from him leads to more anger on “Blood Hands.” “I’ll curse the ground where you kneel till I grow my hair to my heels. Spike your water, your wine while you waste my precious time.” Kerr’s bass work on it sounds like he’s playing two guitars at once.
Kerr tries to move on to another romantic conquest on “Little Monster,” but still borders on creepy as he sings, “I’m gonna love you no matter what you say.” and “I say run little monster before you know who I am.” The song was another big hit for them, and it couldn’t miss. Thatcher’s drums are like something from a Mad Max movie and Kerr’s bass work on it is pure stoner metal.
The subject of “Little Monster” must have taken Kerr’s advice of running away, because Kerr sings about “Shouting through your letter hole like there’s nobody home.” and referring to her as an “ice queen licking on a guillotine” in “Loose Change,” which has Thatcher putting down a groove so nasty it should be twiddling its moustache.
Kerr admits he’s screwed up everything on “Careless.” “I wish I could care less, but I’m afraid I don’t. You couldn’t care less, so I guess you won’t change your mind again.” In “Ten Tonne Skeleton,” he knows his ex-girlfriend has moved on, and now he regrets the way he screwed up his chance.
The final cut is “Better Strangers,” and Kerr realizes he has to get far away from this woman before he gets flattened again (“I’m a thousand miles from danger if I make a better stranger of you.”). He repeats the word “hollow” to echo the empty feeling in his gut, but he fills it with scorching bass work.
This easily would’ve been in my top 5 records of 2014 if I’d kept track of such things then. Royal Blood were in the process of writing a new album when they toured with Foo Fighters in 2015. I hope they release it soon.
Keep your mind open.
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