psychedelia
Thomas H. Green
There is never one Glastonbury Festival. There are as many Glastonbury Festivals as there are people who attend. Thus it ever was, even back in 1992 when the capacity was only 70,000 (plus multitudinous fence-jumpers!). What follows, then, is a cross section of memories, from bands, performers, journalists, rave crews, and those behind the scenes. Some of these are drawn from extant sources (listed at the end, along with further info about participants), but most are fresh interviews, including from artists such as Primal Scream, The Orb, Shakespear’s Sister and Carter USM.The interviewees Read more ...
Kieron Tyler
Dungen’s October 2005 appearance on Late Night With Conan O'Brien was incongruous. Here was a Swedish band on an independent label, singing in their native language, playing live on coast-to-coast mainstream US TV. The show’s host making a great play in his intro of trying to pronounce their name compounded the sense that this was a band of outsiders which had been mistakenly invited to the banquet. The frazzled song they played was “Panda”, from their recent third album Ta det lugnt.This wasn’t their first brush with the mainstream. Three years earlier, their also-independently issued second Read more ...
Guy Oddy
While so many bands of a psychedelic bent treat the genre as if it has been pickled in aspic since the swinging sixties of London and San Francisco or maybe the motorik sounds of mid-70s West Germany, the Cult of Dom Keller don’t give any impression of being hemmed in by such self-imposed and heritage-worshipping rules. Flipping from harsh industrial sounds to the voodoo blues of early Velvet Underground, trippy dream pop to dark drones with weird Middle Eastern samples, They Carried the Dead in a UFO has nothing about it that suggests business as usual in Planet Head-spin. Far from it in Read more ...
Tim Cumming
It won’t be long now before concert halls and back rooms, arts centres and festival grounds fill with people again, and live music, undistanced, unmasked, and in your face, comes back to us. In expectation of this gradual reopening of the stage doors of perception, this round-up of recent, new and forthcoming music books surveys an artist roster disparate enough to grace the finest of festival bills.First up is Sam Lee’s Nightingale, a beautifully made hardback, packed with illustrations, facts, stories, lore, and more. While the focus here is avian song and the projective wonders of the Read more ...
Joe Muggs
The career of Raf Rundell has had one of the most satisfying trajectories of any in UK music – a steady process of self-realisation, from record label staff via DJing and artist management, through being a serial studio collaborator, to becoming a fully fledged artist in his own right. For a musician to only now, in his late 40s, be releasing his second full album might seem odd, but there’s something very natural about the way it’s all happened, which is expressed in the confidence of his sound which only continues to mature like fine wine.At the heart of this record sits the single “Always Read more ...
Kieron Tyler
Heard now, InnerSpeaker sounds as it did when it was issued in 2010. Tame Impala’s debut album was crisp, fizzing; a pithy collection of psychedelic rock nuggets which made its case instantly. This was modern psychedelia, infused with a dash of Sweden’s Dungen, which still sounds fresh. Despite brushing the borders of freak-out territory, it was direct. Tuneful too. Fantastic.Up to this point, the Perth-based Kevin Parker had used the name Tame Impala to release an EP and single, the second of which was recorded in 2009 at London’s prime garage rock set-up, Toe Rag Studios. Travelling there, Read more ...
Kieron Tyler
On 31 December 1966, the Daily Mail's Virginia Ironside got to grips with a new trend in pop music. Under the heading “The bleeps take over”, Jimmy Hendrix (sic) The Move and The Pink Floyd were gathered together as purveyors of something The Who had started with “feedback, violence, ripping strings from their guitars.” “New groups,” it was said “are taking it farther and farther out. Tra-la-la has been ousted by bleep, squeak pee-oing and whee.” Ironside acknowledged that her article’s hyperbolic description of The Pink Floyd came across as “trendy psychedelic nonsense.” But whatever the Read more ...
theartsdesk
Continuing our week of pieces celebrating the 10th birthday of theartsdesk’s album reviews section, today it’s time to ‘fess up! Seven of our regular reviewers reflect on occasions when, in retrospect, their writing did not correctly sum up the music in question. Yes. It happens. Even to us!The Black Keys - El Camino – by Russ CoffeyContext, in music, explains a lot: it’s why mediocre melodies heard at the right time can send a shiver down your spine, while total bangers, experienced at the wrong moment, leave you cold. That’s pretty much what happened when I received my copy of The Black Read more ...
Thomas H. Green
Ten years ago yesterday, on Monday 14th February 2011, one of theartsdesk’s writers, Joe Muggs, reviewed an album called Paranormale Aktivitat, by an outfit called Zwischenwelt. It was the first ever Disc of the Day, a new slot inserted into theartsdesk’s front page design, where it still resides today. By the end of the year, we’d introduced the now-obligatory stars-out-of-five system, keeping in the swim with other reviewing media. Since then, Disc of the Day has covered approximately 2600 albums and, before COVID, when the tube trains were running, it gave me great pleasure to see those Read more ...
Joe Muggs
It’s odd that there’s still no name for the wave of genre-agnostic British bands of the '00s. Not manic enough to be nu rave, way too interesting for the retro-guitar nu rock revolution / landfill indie tsunami, the likes of Hot Chip, Metronomy, Friendly Fires, Simian and the super-louche Wild Beasts between them mapped out a new area of psychedelic pop. And into this in 2009 came the Scottish / Northern Irish / English band Django Django, a perfect fit into this unnamed movement with their winsome melodies and ability to fold everything from psyche-folk to acid house to rockabilly into their Read more ...
Thomas H. Green
When the concept album first properly took flight, in the late 1960s, before it became slave to the bloated artifice of prog-rock, it was an extension of the LSD-soaked times: “Songs aren’t big enough, man, I need a bigger canvas!” Famed albums by The Beatles, The Beach Boys, The Kinks and The Pretty Things sum up this golden period. The second album from singer-songwriter James Wallace’s Skyway Man persona is a psychedelic concept piece, but in line with this wide-eyed period, rather than crap by Yes and the like. Wallace’s psychonaut indie ruminations are, thus, loaded with opaque visionary Read more ...
Kieron Tyler
An old saw relating to The Doors says their ambition when they formed was to be as big as Los Angeles-based garage-psych sensations The Seeds. After listening to Lost Innocence – Garpax 1960s Punk & Psych, it’s hard not to wonder where the bands heard were aiming. What’s collected is from 1965 to 1969. All these combos operated in California, generally working in and around the LA area. All were produced by music biz maverick Gary S Paxton, whose company was named Garpax. He had been behind the novelty hits “Alley Oop” and “Monster Mash”.The Buddhas, Limey & The Yanks (whose frontman Read more ...