Tag: Acid Dad Take It from the Dead

Top 30 albums of 2021: #’s 25 – 21

Let’s not waste time. Here are the records that cracked my top 25 (of over 60) that I reviewed last year.

#25: The Beths – Auckland, New Zealand, 2020

This delightful live album from The Beths is full of joy. The band was over the moon, the crowd was ecstatic, and daring to open with “I’m Not Getting Excited” was a gutsy move when everyone in the place was bursting with energy.

#24: Acid Dad – Take It from the Dead

Acid Dad were a band I’d heard a lot about, yet didn’t know much about them. I caught them live about an hour from my house and was sold within two songs. Take It from the Dead is a fine psych-rock record with touches of surf that make it a standout.

#23: Ty Segall – Harmonizer

Ty Segall added a bunch of synths and electronic beats to his already heavy fuzz rock, and the result, Harmonizer, was impressive. He showed his love for krautrock and even dance rock, and that he could pull off both genres as easily as psych jams.

#22: Morly – Till I Start Speaking

Easily one of the loveliest and sexiest albums of 2022, Till I Start Speaking is a great mix of Morly’s vocals, electro-beats, and synths. I hadn’t heard of Morly until this record was sent to me, and it was a pleasant discovery.

#21: Pearl & The Oysters – Flowerland

Speaking of lovely records, here’s another one. Bossa nova, disco, ambient, and house all merge together for an album as pretty and trippy as its cover.

Who makes the top 20? You’ll learn tomorrow!

Keep your mind open.

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Review: Acid Dad – Take It from the Dead

I don’t know if the title to Acid Dad‘s record, Take It from the Dead, refers to taking a physical object from the deceased or heeding their advice. It could be both.

The record, with its blend of psych-rock and post-punk, is a good time. The first track, “Searchin’,” lends some credence to the idea that the album’s title might be about imploring the dead for answers. “I’m lost, and I’m found. I’m still searchin’ for a sound,” sings co-guitarist Vaughn Hunt amid shiny synths and drum licks that are happily “stuck in the 70s.” “BBQ” brings in some heavy guns on the instruments and cool reverb on the vocals. It reminds me a bit of early Failure tracks.

“RC Driver” begins and ends with enough guitar for two albums. “She Only Eats Organic,” apart from having a fun title (and a not-so-hidden oral sex joke?), is a bit of a barn-burner with beats from Trevor Mustoe that barely rest for the entire track. Sean Fahey‘s vocals have a bit of a post-punk snarl to them on it. The psychedelic “Good Time” is as trippy as the album cover.

“Smile You’re on Camera” builds on a Peter Hook-like bass line and then drops in melting wax vocals. The cranked fuzz on “2 Face” boosts Hunt’s lyrics about wanting something more from a potential lover, but knowing he should tread lightly. The closing track, “Djembe,” with its Cure-influenced bass and Jesus and Mary Chain-influenced guitar, is a killer ending. It somehow oozes and shimmers at the same time, resulting in a space-rock guitars that blaze past you like a comet.

Take It from the Dead is one of those albums that will probably reveal more layers of itself every time you listen to it, which is a testament to its craftsmanship. We could use more bands making music this intriguing.

Keep your mind open.

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