Where to begin? Something To Get Over by Peace of Mind is a strange piece, there is no denying that. But strange is good, strange is mercurial, unique, original, boundary defying and there is no shortage of that here. At turns it wanders 60’s psychedelic landscapes, alt-rock noise, retro-pop melodies and post-punk swagger which takes some doing in just over three and a half minutes. But music isn’t always about following rules, much of the best of it comes from discarding them and beating your own path along whichever musical route takes your fancy not to mention taking tangential journeys of your own making, hopping fences and short circuiting convention.
Something To Get Over does all that and more, it sits between music and art, art and exploration, exploration and academia, it is blissfully unaware of genres, or more likely wilfully ignorant of their purpose and as such the result is unique. And if the choice is between the tried and tested and the odd and challenging, I’ll take the latter any day of the week…and twice on Saturday.
Sam Saint Jones track “You” helped me to forget everything that I thought I knew about music.
His sound can’t be confined to a genre, it’s much more of a feeling, and experience that you’re dragged along on through the power of his Swampy Psychedelic love song. The soothing sound guides you through the arrangements that lead you into warmth and uncertainty as the track unfurls in a Shoegaze way, that Mercury Rev, Slowdive & My Bloody Valentine would be proud of. The reverberation on the instrumentals is resonant and reflective which set the perfect stage for the melancholic flow of the vocals to create a cacophony of ambience.
The Sydney, Australia based artist defines style as Indie Swamp, Psychedelic, but that doesn’t even come close to hitting the nail on the head of this awesome instrumental mix, that’s been painstakingly polished after the heavy production.
Jones doesn’t have to tell you that his heart and soul went into this track, you can feel it through the sonorous vibe.
If you discover one more artist in 2017, make it Sam Saint Jones, check out his debut track You using the SoundCloud link below:
There aren’t many tracks that can get me to proclaim feelings of love before the chorus even begins. But Handmade Amigo’s second debut single “Let it Roll, Or the Whale” hit the spot like no other musical collective have before. The Psychedelic Soft Indie Rock & Roll Jam is a carnality of uplifting pleasures that reminded me of the sweet melodies of bands such as Dinosaur Jr.
They teased the introduction with a lullaby of sonorous sound before crashing into the verse with a raucous ensemble of percussion headed by a bass soaked atmospheric beat. Attempting to deconstruct this track is ion impossible. The complexities and melodies fuse themselves so tightly together, it’s just best to sit back, relax and enjoy the cacophony on offer from The Orlando, Florida based quartet.
The Handmade Amigo’s switch from rattling guitar riffs with an adequate pinch of moody reverberations straight through to piano sweeps to reincarnate the song through every second of the 04:26 duration.
Judging by the innocently charming music video, they’ve got a long way to come in the industry, but I’m most definitely sold on what they have to offer.
Ever had the pleasure of listening to listening to Welsh lyrics over an undercurrent of surf styled psychedelic rock? Nope. Neither had I until I pleasantly stumbled across The Routines latest hit ‘di Arfar. The only way to some up their sound is to imagine a cross between The Manic Street Preachers and the Arctic monkeys.
The Routines are made up of 3 extraordinarily talented musicians who implore their working class oppression to create an infectious sound that you can’t help but get behind in raucously euphoric ecstasy. No review of The Routines would be complete without mentioning the mesmerizing talent of the guitarist and his delectable power he has over his riffs that have the power to suck you in until you’re completely immersed in the charismatic cacophony of sound that is being bestowed upon you.
The Routines are certainly not a band that likes to take themselves too seriously as you can gather from the video in ‘di Afar. Their rat race malaise is something that has the power to resonate within everyone. Even though I couldn’t make out a word of the lyrics, their energy conveyed the message and the evocative emotion behind the track poignantly. Their other tracks incorporate English lyrics such as ‘Christening’ however there’s something quite special and refreshing about listening to lyrics in a foreign language.
Check out their new track on Youtube via the link below.
The days of storytelling may be a lost art, lyricism, and genuine songwriting may be all but extinct these days; and while we sit and scratch our heads over today’s music we have to ponder of what or who exactly is up next? Enter Etches’ and their single “Human Façade,” a strumatic instrumental with very little instrumentation but a very strong bassline. A pivotal story of sexual exploitation and the effects of being viscerally reactive versus proactive.
It’s a good track, actually it’s a great track with a somewhat skeletal bass that slowly rises to a climatic progression. The lead singer is impassioned and embodies a sound of true artistry; couple that with the musical score they have managed to create – and this may be one of the best culminations of simplistic sounds and musical elements I’ve heard in a long time. Their sound is progressive rock, psychedelic harmonies, and electro/pop bass lines and to be honest they remind me of a modern day, Tears for Fears. Their sound is infectious and can’t wait to hear more of the musical ear-gasm that for now we know as Etches.
Anyone who begins in Damien Rice’s minimalistic territory, slowly shifts up a gear into psych driven, cosmic Americana and finds room for blistering alt-rock guitar work outs, all in the space of three and a half minutes is someone that you really need to keep on your “ones to watch” list. Eli Smart’s Pretty Words, No More Words is a song built on simple lines and hypnotic and repetitive phrases, but it is the continuous layering up, texturising and dynamic growth of the song that is the real joy here.
By twists and turns it offers something new at every step, you can feel the weight of the song gradually growing but doing so organically, a gentle blossoming rather than being forced anywhere against its will. There is something wonderfully detached and remarkably loose about the sound Eli Smart creates here but it is also flooded with acid tinged psychedelic waves washing in from the darker underbelly of California’s lost hippy dream. Very smart indeed!
The word psychedelia means a lot of things to a lot of people. Some find the subtle swoosh of a well-tuned flanger to be enough to make them see colors. Some require layers of dissonant chanting, calls and response vocals, a guitar melody that would do well on its own pushed to the back of the mix, some classy strings placed in just such a way in song structure to cause further disorientation and maybe some of that flanger modulation while we’re at it. The latter type may rejoice in their new anthem, (Incorrectpassword) by Eric Leonhardt Brown.
Appropriately, a song that will make your senses fizz like the proverbial egg representing your brain on drugs starts with two words that you wouldn’t find in your old sixties vinyl’s, “trigger warning.” This is probably the only element of the song other than the title that proves it isn’t from another time. It’s very welcome to hear some warm, psychedelic recordings that absolutely embrace the ways of old without being cheap knockoffs of their better inspirations. If you ever wanted to get into a scene that didn’t age well, find those who carry the torch forward. Find Eric Leonhardt Brown and enjoy the trippy goodness.
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.