And Icelandic pop act based in Liverpool and revelling in ambient psychedelia and soulful, chilled R&B. As back stories go that is a pretty intriguing one and consequently the music that they make is also an enticing property. Walking in Circles just drips with old school integrity, harking back to a time when Philly Soul turned on to acid and began an all together different musical trip but it is also the sound of Prince’s more balladic moments and sits easily beside current artists such as Corinne Bailey Rae.
The music is at once weightless and captivating, seeming to exist in a slightly less tangible place but still having more than enough substance to beguile and intoxicate the listener. It is heartfelt and dripping with longing and emotion yet, in keeping with its old-school integrity, never lowers itself to play the obvious cards or go for the quick pay off. Whereas many artists today are happy to plunder the past, the 60’s in particular to build a new take on the eras defining sounds, Walking In Circles feels like the decade never actually ended.
I recently attended a De La Sol set at a festival in Queens. I enjoyed an interlude in which a voice from the trio said that sometimes you just need to let the beat play. It’s always nice to hear how artists feel about the things they make and how they make them. It’s also nice to see how artists whose styles vary greatly can agree on certain sentiments. Such is the case with Crow Quilled Confessions. Their track A Human Being on the Planet Earth perfectly demonstrates a group who know how to let the beat play when it needs to.
For the first half of the song, there are several elements introduced that seem to orbit around the catchy, strongly-mixed beat. You might miss some details along the way if you aren’t careful, but one thing is for certain, you will feel that beat. It doesn’t seem like a drum part that needs much elaboration. It may not have much to say. This doesn’t stop Crow Quilled Confessions from letting it lead the charge into the second half, which quickly but organically reinvents its status quo with fuzzy guitars and a bass that triumphantly makes its presence known.
From here, the track becomes a ride. Suddenly the beat has taken a backseat for the exploration of all the other themes that had previously been allowing it to lead. For such a dramatic change in priority to occur while holding onto the mood and tone of the song is a major challenge. Even as the song fades out in its last 30 seconds, you can’t help but feel the beat play on in your mind. This is a song that leaves the speakers and really does affect your mind for moments at a time. It’s not overly complicated, but it’s certainly a fascinating track.
Lucille Furs is one of those bands who managed to accomplish the difficult task of combining interesting sonic textures with honesty and intimacy. People don’t really think about it a lot, but one of the hardest things for an artist in any genre, in my opinion, is to create music that can remain simply, while having many layers and really appealing to listeners with tons of personality and character.
With their recent release, Our Lady of Perpetual Frustration, Lucille Furs set out to accomplish just that. The talented psychedelic rock combo set out to fill up their music with strong doses of personality and character, going for a very intimate, yet deeply textural tones.
The sounds featured on this song are really well-calibrated and tastefully produced, reminding me of the work of artists such as The Kinks, Tame Impala, and The Beatles, only to mention but a few.
This song has a really charming 60s tone, and it feels like a wave crushing on the sand: its energy is unstoppable, yet there are many subtle layers to it, such as the depth of the currents below and the white foam above…all elements that add a lot of color and personality to the song.
It comes as no surprise to find that The Cubby Creatures hail from San Francisco, the city that was the focal point of the beatnik, hippy and psychedelic movements in the past. They seem to have somehow tapped into the ghosts of those broadminded musical experiments and used them as the basis for their own strange sonic adventures.
Jesus Christ You’re Crazy is a wonderful collection of trippy and sonorous vibes, soaring violins and chilled beats, sitting like a wonderful bridge between the psychedelic scene still happening in the back street clubs and underground venues of the city and the whale noises to be found just off of its coast. Their references are often literary, their scope unbounded and their music is like a stoned celestial choir. In my head this is exactly what San Francisco would sound like if its bricks and mortar could make music.
Epic Rain is a project with a fresh, energetic and personal attitude. The sound blurs the lines between various musical styles,ranging from experimental alternative rock, to electronica, math and progressive. The act recently published a new single release, “Dream Sequence 1”, a great taste of their sound and an example their commitment to unapologetic musical experiments! The song is going to be featured on Epic Rain’s upcoming album, “Dream Sequences”, slated for release later this month.
This track is built on an intricate pattern of beats, chopped up melodies and interesting synth tones with a lush, deep atmospheric tone. In spite of the sophisticated sound, the energy of the arrangement has a very instinctual feel, allowing listeners to immediately connect with the track.
This release certainly marks an important step for this band, who certainly worked hard to affirm their sonic aesthetics and vision for this particular work.
The music has a very organic atmosphere that has a very psychedelic vibe to it, and although psychedelic music has a long history, which could be traced back to the 60s (or even earlier), Epic Rain’s approach is more modern and unpredictable, with oneiric textures and hypnotic grooves.
IDK’s moniker might stand for “I Don’t Know”, but this talented act sure knows a thing or two about great psychedelic vibes. Their recent single, Empty Pits is a phenomenal indie song with gritty vibes and psychedelic textures that make me think of artists as diverse as The Black Angels or The Flaming Lips, just to mention a few.
“Empty Pits” has a nice vintage feel to it as a single, yet it encompasses a modern vision with a largely eclectic feel.
On “Empty Pits”, IDK set out to find the right balanced compromise between chunky guitar riffing, catchy hooks and great song-writing, with a particular focus on the sound and feel of their performance as a whole.
From psychedelic vibes, to folk and indie rock, IDK showcases a wildly diverse discography, originating from the experimental and innovative mindset of this project
L.A. and Nashville are arguably two of the most important cities in the United States to the music industry.
Los Angeles is home to a kaleidoscopic music scene under the California sun, with a particular emphasis on rock music. Nashville is known for its country music scene and references to timeless Americana.
Die Blonde set out to combine these two musical philosophies and bridge the gaps between alternative rock and folk with their new compelling single, “L.A. and Nashville”. This song defies genre definitions and blurs the lines between the usual cliches, going for something edgy and refreshingly unpredictable.
The song immediately kicks off with some warm and bright acoustic guitar and an engaging stomping groove. The vocal harmonies are laden with beautiful reverb effects, going for a cool 60s feel – Think Mumford and Sons jamming with Tame Impala!
On “L.A. and Nashville”, Die Blonde set out to create a hazy and dreamy production aesthetic with psychedelic overtone. Their ability to create memorable melodies and poignant lyrics seamlessly blends in with their tasteful production value, making for a very organic and personal sound.
Blending some West Coast psychedelic vibes through some solid and sleazy rhythm and blues, Leopardo is like a time machine that takes you back to the dark underbelly of the hippy dream. Whilst day-glow flower children were painting kaleidoscopic music across the 60’s sky, elsewhere in dark corners an alternative vision was being woven, acid laced and menacing and it is this that beats at the heart of Revolucao Interior.
Doorsian dystopian blues and hazy psychedelic grooves drive the song as the vocals drift half out of earshot, dreamlike and drifting. But this is less an exercise in retrospection more a journey through timeless reflection and exorcism as the music seems to tap into the primal heart of mankind and unleashes the dark urges that can be found lurking deep within music.