Quilt - Plaza

Reviewed by Dedric Moore (KC Psych Fest)

Ever have an album that stumps you? One that keeps calling you back again and again but you can't find the words to do it justice? "Plaza" gave me writer's block for three weeks. I'd put it on, get really excited and then type absolutely nothing until I went for a walk in a park and soaked it in, and that was the right combination of sunshine and musical bliss.

Quilt's return with "Plaza" comes after a relentless touring schedule which has given them a confidence in their playing that matches the charm exuding from the speakers.

On a second listen you will start to hear the myriad of layers that flow perfectly together to build these songs into psych pop perfection. And as a bonus, Quilt have gained some swagger in their musical step. The ability to ride a groove means you have to balance tempo, swing and a playfulness with keeping it loose.

The production is crystal clear without sounding too polished. You can feel the "feel" of the band really enjoying the performance as they play their parts. It sounds like they absorbed the mental approach the Beatles took for "Revolver" for songwriting and production values.

"Passerby" works a dreamy hippy vibe with guitar drones, string swells, flute melodies and an easy flow. Tension builds occasionally and then eases back down. It's only four minutes but it drifts along endlessly and could be double the length and not get old. "Roller" is the first single released from "Plaza" and it makes sense. There is no denying the bass and drum groove on this one. It's catchy and has a great vocal melody, and the scratchy guitars are the extra icing on the cake. "Searching For" gets more krautrock with a motorik beat and steady strumming and amps up the vibe. "O'Connor's Barn" starts with interlocking dual guitars that make the whole tune. The male/female vocals really work together on the chorus. "Elliot St". is an acoustic led number that has a memorable bass line and hits the Beatles vibe with shuffling drums, guitar stabs, and string quartets. "Hissing My Plea" is another groover that adds some soul vibes with its funky drums and bass and the super sing-a-long lyrics. "We've got an answer", yes, its true they do. "Something There" relaxes again and channels classic mid-tempo Fleetwood Mac with soothing harmonies and pleasant chord progressions. "Padova" is a gentle ballad that has a constant shuffle as beautiful guitar melodies intersect with slide guitar and harmony vocals. It's wistful and hopeful at the same time. "Your Island" is another slow groover that makes you sway to the beat. Beautiful vocals and wonderful dynamics make a simple guitar pattern memorable as well as sticking in your brain for days. I recommend strutting down the street to this one and smiling at everyone walking by. "Own Ways" picks it back up for the final track. Tremolo guitar pushes a "lost-in-the-wild-open" vibe. This is a great way to end the album. It touches on the more jamming feel of their first release and shows how Quilt have moved their music forward without losing track of what was their appeal.

Quilt rock as needed, jam as desired, and make guilt-free feel-good music.

Vinyl, CD & digital available here.

Al Lover - Zodiak Versions

Reviewed by Dedric Moore

Moving away from fat beats and distorted guitars, Al Lover expertly combines dub aesthetics with Krautrock's discipline and patience for long hypnotic grooves on his new long player "Zodiak Versions". Some of the songs are reminiscent of Peaking Lights' bending of the idea of dub and electronics, while others remind me of the underground dub music that embraced electronics in the 90s. Regardless, "Zodiak Versions" is a great stereo listen, as time was obviously put into psyching out your mind with stereo imaging. What is also fun to observe is how Al rides a fine line between the genres but always remembers to add in a "psych" riff or groove to balance the spaced out atmosphere and dubbed out drums.

Krautrock and dub are cited as major influences on "Zodiak Versions", and within that you can heap a bunch of electronic beats and sweeping synths. It is interesting to hear a DJ's approach to songwriting balanced against mood-building.

"Kling Klang Soundclash" and "Zodiak Version" start off the album with lots of atmosphere as electronic percussion slides in to tickle your ears with a bit of rhythm. "Studio Einer Dub" adds a complex rhythm as synths lead the charge, building layers of melodies. The track is very "dub" and spaces out at just the right times. "Jah Warble" gives a nod to the bass style of Wobble with some low, low end bass. "Neo Eno" gives a nod to Eno's ambient work, which has influenced half the globe, particularly his idea of space being as important as the melody. It sounds like watching the stars while leaning against your car on a calm night.

"Planetarium Rock" and "Earth People" bring more heavy groove as the beats get tougher while the synths stay chill. "Stockhausen Soundsystem" brings the beat back down but the fuzz creeps in on the synths and gets things moving. "Osbourne Ruddock vs Connie Plank" (best song on the release) hits just the right mix of dubbed out effects and hypnotic beat. The funky organ groove in the background keeps me hitting repeat on this one.

From there the album winds down into more meditative fare and ends on "Kosmiche Music in Dub", with pitch-bent keys that meld together almost like a sitar drone and spaced out snare echoes, until the groove kicks in for a dramatic ending to a diverse release.

Available here (US), or here (UK/EU).

The Pure Phase Ensemble 4 feat. Mark Gardener - Live at SpaceFest

Reviewed by Dedric Moore (KC Psych Fest)

From the press release:

Pure Phase Ensemble is an international music collective, created especially for the SpaceFest festival in Gdansk, which takes place annually in December and is organised by the Nasiono Association. The city of Gdansk plays host to this blossoming music festival each year in the first week of December, at which time numerous select musicians from Poland and abroad gather to take part in a special workshop series. They collectively compose a concert's worth of music, which they then present live to the festival-goers. Each year, this unique performance is recorded live and subsequently released as an LP.

The programme for each workshop is jointly curated by Ray Dickaty, a British saxophonist improviser and former member of Spiritualized (1997-2002), and Karol Schwarz (KSAS), who also manages Nasiono Records. Along with these two key figures, every festival involves a new musical director - a legendary, internationally recognised musician, who is invited to co-curate the workshop.

During the latest SpaceFest, Mark Gardener, the frontman of celebrated shoegaze pioneers RIDE who also recently released an LP with Robin Guthrie (Cocteau Twins), occupied this seat of honour. Past participants include Laetitia Sadier (Stereolab), Chris Olley (Six By Seven), Steve Hewitt (ex Placebo), and Jaime Harding (Marion).

"For me, this it interesting - it's perfect because it reminds me in some ways of how some of the early Ride songs came together... I didn't come in with a script, nor does Ray. There is no pre-work on this. It was just completely spontaneous," explains Mark Gardener. "Sometimes music like that is good before things get thought about too much and worked on too much. That can kill the energy sometimes. Of course some things have got to be worked and developed, but in this scenario, with such little time and to get an interesting set together, I think it's been good to keep it fresh and not over-worked." 

Albums are about building a mood. Live albums are usually a random set, designed to keep people watching. Pure Phase Ensemble 4's Live at Spacefest is about the former while achieving the latter. It's rare that I feel like I am actually at the concert while listening to a live album, but this mix takes me there and the changing moods of the tunes expertly guide me along with the band on this space journey.

Kicking off with a four minute intro, you can hear the crowd settle in for a cosmic journey. All of the pieces of the ensemble edge in on top of layers of pleasant drone. It envelopes you and reminded me of sitting on the hood of my car, watching the stars on a fall evening.

This then builds straight into "Morning Rise", as the horns build and the "song" emerges into a dreamy number that swings the beat just enough to keep you swaying. At eight minutes, there is plenty of room to patiently build up to the vocal line that comes in like a chant, which rolls in for a bit and then wanders off as the guitars stack peaceful melodies. The vocals return as the whole piece builds to a very satisfying end.

"Notaki" blends into the set, and a motorik drum pattern emerges to steady the song into a hypnotic mesh with one voice repeating a line while a second speak-sings. Out of the din comes a flute adding additional melodies and before you can focus they turn it off with a great breakdown that tricks you into thinking the song is over, but don't be fooled! We are only halfway through a fifteen plus minute jam. Turn up the guitars and soar into space as the band picks back up and continues the drive.

"Zostan na noc" is next and now that the band is warmed up we get some fuzz bass, distorted guitar and heavy sax, which comes across as a siren warning you to beware. But right when you think the song is going to go explosive it eases into another great, slow groove with female vocals, as the synths and sax take turns weaving in and out.

"Peter Song" has a captivating pizzicato bass line that makes the song from the first bar. It slows down the pace but doesn't lose momentum. "Doing My Head In" dreamily appears, with interlocking guitars and piano which add a nostalgic touch with a very catchy vocal melody on top. "Happy Dancing Woman" wraps up the set nicely as the pace picks up, and this is a great example of a feel good song which still feels emotionally deep and avoids any sappy sentiment. What a great way to send the crowd home fully satisfied.

Check it out here:

Pridjevi "Pridjevi"

Reviewed by Dedric Moore (Monta at Odds)

I'm always hesitant when I read that what I'm hearing is from a studio session and not a band, but I love bedroom-lo-fi solo artists like Morgan Delt. I think that what makes me anxious is when songwriters work via email, their output can become overworked and overplayed. That is definitely not the case with Croatian psych trio Pridjevi though. This release is a cohesive effort that brings to mind classic chill artists like Bonobo or Blue States or the revered early 18th Street Lounge releases, especially with the jazz overtones appearing throughout. That doesn't make Pridjevi sound dated however, merely an observation as to how they can immediately capture a vibe that is familiar but fresh, straight from the opening bars of the first song, "Ako Je".

What is especially exciting is the sense of exploration, which gives the songs an extra layer of depth. There is also a great confidence that comes through in the songs which shows that the songwriters know what they are doing is working, and you can't fake that. There are swells and builds at the right moments when things could potentially get repetitive, and they know when to end, leaving you wanting more. "Pjesma O Drvecu" is an acoustic driven head nodder that has soul and the right amount of drive courtesy of a great bassline and a fuzz guitar that bounds into the mix right on cue.

We've all heard hundreds of "psych" acts now, with revivals at least one time each decade since the 60s. "Ubila Sam Cvijet" is a perfect example with its acoustic riff, guitar drone, and skittering drum pattern that just keep on moving.

Pridjevi sounds relevant and vintage at the same time. It is also an album that demands your attention. And it earns it through a combination of reverb covered female vocals, acoustic guitars, harpsichord, pounding bass, jazz grooves and a very European-cool vibe. Though intriguing, this description realy doesn't do justice to what your ears will experience. "On Je Jesen" swings heavily with an off kilter piano chording which melds with angelic vocals to sound like a tune from the new "Twin Peaks" TV show.

The album flies by and I've gone through 8 out of 9 songs while writing these few paragraphs. That is how easy it is to get lost in listening to these gems. It's rare I come across an album that makes me stop and just wait to hear what's coming next.

Again, this album has "VIBE" that goes for miles and hypnotic vibes with excellent musical performances that drive on and on into the reverb drenched night.

LP and CD out August 7 from Trouble in Mind Records.

Moon Duo "Shadow of the Sun"

Reviewed by Dedric Moore (KC Psychfest, Monta at Odds, Gemini Revolution)

"Shadow of the Sun" kicks of with "Wilding" and it feels like Mood Duo hit pause at the end of "Circles" and waited to press play just to give us a breather. Moon Duo are experts at being Moon Duo and that makes them one of the most consistent acts around. The motorik beat fires us as organ and guitar riff and here we go again. "Wilding" jumps and keeps speeding along with plenty of room for the customary laid back vocals and space for some lead guitar to guide us along. "Night Beat" steps up next without a moment's hesitation, with a go-go dance swing beat, more organ, and an inner-satisfying groove. It just feels right and conjures visions of riding on a vintage motorcycle, cool factor to ten, and giving a head nod to people gawking on the street. "Free the Skull" is classic Moon Duo with its propulsive drums and guitar/organ riffing. The subtle synth work performs that magic trick of making the head-nod turn into the left-right head shake. "Zero" mixes up the formula with spooky drone synths that lay down some great eighties lost soundtrack melodies. It could get retro but avoids schtick and shows how Moon Duo continue to explore beyond what we've come to expect. This is my favorite song on "Shadow of the Sun". Every nuance including the subdued guitar solo are perfectly placed. The falling apart ending happens exactly when it should so we feel the need to hit rewind and jam it out again. "In a Cloud" fits its name with reverbed out snare and hippy guitar strum. We can't bounce around all night. Smoke break. "Thieves" brings it back with a proggy horror movie groove. This song is a close call with "Zero" as my favorite song. The band are locked in and you can feel the confidence in their playing. Chord changes drop in and then jump right back on the groove. I could hear this on repeat all day long. "Slow Down Low" lightens up the mood with some bouncy organ stabs and melody leads that has a bit of feel good 60's to it. "Ice" is the longest track and spends the first few minutes setting the groove with the steady kick and rhythmic layers of synths and organ so that when the guitar solo floats in you are prepped and ready to close your eyes and just "feel" it. "Animal" wraps it up with a snarling riff and punk beat to shake you out of your reverie and get back to bouncing off the walls.

"Shadow of the Sun" is the type of album that makes you want to do something. Jump around, grab a guitar or air guitar and strum along, groove like a go-go dancer, drive your car fast, something! It is about movement and momentum. Beats chug on and on while guitar and organ riff into a meditative state that is euphoric rather than contemplative. Get moving yourself. FEEL it. Moon Duo's great success is that I get this feeling every time I put it on, and that's been a lot. You need to buy "Shadow of the Sun" and experience this aural shot of adrenaline.

Available on CD, and vinyl.

Album Review: "The Reverb Conspiracy 3"

Reviewed by Dedric Moore (KC Psych Fest, Monta At Odds, Gemini Revolution)

European label Fuzz Club Records and the American Reverb Appreciation Society (Austin Psych Fest) are set to co-release the third volume of their psych compilation series The Reverb Conspiracy.

So Vol. III kicks off with exactly what you would expect with The Oscillation and Holy Science bringing the southwest psych grooves and lots of guitars. The energy is up and the fuzz creeps in. One note to appreciate is the fact that the guitars are laying down some solos that actually solo (they spent some time learning their licks, man) and the one two punch is a great start. Deathcrush jumps in and you think you might have skipped to the next playlist in your itunes. Pounding drums and distorto bass post-punk it up and then walls of guitar storm in an push the mix to overload. Then the next track makes you get up again and see if you skipped to a different playlist with The History of Colour TV giving it to you with bits of dreampop, shoegaze and a heaping of tribal drums and watery bass. It's expertly done and you'll be web searching to see if they are a new band or a lost classic.

Singapore Sling pumps up the drum machine and then smacks it sideways with garage rock guitars and "I'm Bored of Singing to You" vocals. (There might be some typos as I bounce along while reviewing). Newcandys bring us back to more familiar territory with some vintage riffing and reverbed vocals that hint at the Paisley Underground era. Sound Sweet Sound add the twang and drop some flute in the mix with a great female vocal lead that rides the groove perfectly. Undisco Kidd turns a two and half minute "rock single" into an extended jam for the last half of the song. Guitar Effects! God, I love that. Not too much and not too little and just the right amount of fuzz on everything at the end.

Camera picks up the tempo and gets a West Coast boogie meets Krautrock jam going, and it's cool so calm down. Future blast out with reverb on the snare that blasts into outer space and they add it some wiggy guitar to match. Another one of those you'll have to look up to see if this was found on a cassette in a closet or just recorded. Either way it brings the stereo wall of sound that asks, keyboard? guitar? and is great stuff to lose track of time. Mugstar bring the tempo down but not the heavy. Organ guitar bass riffage! Fat beats! Epic vibe! One Unique Signal push the tempo back up and jam stereo guitars pounding on top of a post-punk bass drum groove. Feedback everywhere at times and the band is amped up and you can hear it.

GOAT and Anton Newcombe collaborate on an Indian-tinged dirge that has ragga drones and as usual compelling vocal chanting. The mix is great. You can hear layers of acoustic instruments and percussion that sound WARM and you'll want to close your eyes and let your imagination flow to this headtrip. Lola Colt bring us a slow burner that spends its first 3 minutes unloading guitars and then pulls it back for the vocals to ring in. Don't worry they bring it all back and then some. Francois Sky wind up the release with a perfect exit song. Dreamy drone and sitar with a feel good bass and drums groove that conjurer up kaleidoscope visuals and float along into the distance.

Pre-order available now.

E.P Review: Jorge Arana Trio "OSO"

Reviewed by Dedric Moore (KC Psych Fest / Monta at Odds / Gemini Revolution)

Math-rock meets psych? Precise time signatures and perfectly timed ups and downs with frenetic playing comes to mind. How do you psych that out without it becoming a dreadful mess? You should ask Jorge Arana Trio because they did the math and came up with the right formula (couldn't resist the pun) Add in a secret element of free-jazz and I'd call it Fuzzy Math Rock.

"Foredoom" starts off with a build and then unloads guitar, bass and drums in a heavy perfectly locked speedy rhythm. But the second half slows down to glacial speed and things get dreamy and weird as Jorge's guitar strums as effects pile on and you can feel a hypnotic sway take over your body. Once you are settled then "Kallisto" kicks in with squelchy guitar stabs and heavy syncopated bass and drums. When the Trio could have gone heavy or even metal, they choose to add a softer touch with some jazzy chords and excellently timed stutters that keep you perked up waiting to hear what is coming next.

"Crime of Passion Fruit" kicks it up to the "heavy" realm without getting into doom and gloom. The bass and drums bring on the indie rock vibe ala Tortoise or Trans Am and the guitar is pitch bent and determined to melt the strings with a twisted solo (again not metal) that gets the band going wild.

"Old Bamboo" kicks off side two of the EP with a marching groove that sounds like the Trio watched fight scenes from "Flash Gordon" and channeled Queen's bombastic soundtrack into a modern indie rock song. Josh Enyart shows off his drumming skills with complicated drum fills but matches it with dynamics to build up the song from medium to scorching. Then the songs dials it back to show off Jason Nash's bass virtuosity as he adds runs and grooves in the empty spaces.

"Banished to Siberia" finishes off the EP with a bouncing post-rock tune that punches yet has a lot of swing in the groove. I wish the TV on the Radio LP had a track with this energy. And then at the end the song crashes down to a guitar stab and ride cymbal as the Trio add in an ominous vocal chant that carries on through to the end.

It's a short EP at 15 minutes or so but you feel like you got a heavy dose of listening in. It comes in translucent purple or black with a silk-screened cover. The package is impressive inside and out.

Available here:

E.P Review: French Boutik "Mieux Comme Ca"

Reviewed by Dedric Moore (Monta At Odds)

"Mieux Comme Ca" kicks off with a Krautrock groove with bouncing piano and organ that quickly gets accented by soaring female background vocals as the male lead delivers a straight-forward melody in French. Do I know what they are singing about? No. Does it matter? No. It’s catchy and infectious and shame on me for having poor French linguistics, right?

"End of the Line" is a mid-tempo indie-rock song that has hints of British Invasion but keeps its sonic qualities modern. Lots of strumming guitar and a great bass line on the breakdowns of the verses keep the song moving along gracefully. This leads to a very satisfying end to the song which rides the groove that keeps things simmering without wearing it out.

"La Vie En Couleurs" fits perfectly into my guilty pleasure of loving French Beat music. Hints of Stereolab are strongest here. But French Boutik skirt the synths and random chord pattern shifts that appear in a lot of Stereolab’s work. Guitars and vibes are front and center adding to the strong vocal melody that lends a lounge vibe to the mix.

"Tiptoes" is another French Beat groove that proves to be one of French Boutik’s strong points. The piano, organ and guitar lock into the groove with just enough groove to allow the bass and drums to swing heavily. "Tiptoes" builds nicely as the vocals climb above the mix and then ease back to let the horn stabs at the end finish off a great EP.

Pre-order here for a discounted price.

Airbag "The Greatest Show on Earth" Review

Reviewed by Dedric Moore

Airbag spent two years making "The Greatest Show on Earth" and you can tell they spent quite a bit of time working on the little bits and pieces. All of the instruments have a pristine recording quality that lets you hear every note, every kick, every delay and reverb. The album flows from one song to the next in a practical order for the ear building swells and then dropping down to near silence.

"Call Me Back" is the centerpiece that shows the patience Airbag has to let a song grow beyond simple songwriting structure. 

"Redemption" comes closest to riffing guitars as it is pushed along by a bass and drum groove that keeps percolating as guitars explode occasionally and then lean back and allow the organs to add their menace.   

"Silence Grows" is a piano-filled slow rocker that shows a gentler side to Airbag, and then they throw in a massive dual guitar solo so you don’t think they forgot about adding the guitars. 

"The Greatest Show On Earth" is another mid-tempo piece that shows off Bjorn Riis’s guitar shredding ability, which is capable of performing extended solos over a 7-minute jam.

This leads us to "Surveillance" and the three parts involved.  Part 1 acts as an intro to the mood and sonic environment that Airbag are going to present. Part 2 and 3 are mixed together for an album side length of nearly 17 minutes that sum up all of the comments I made earlier; soaring guitar builds, mid-tempo contemplative grooves and did I mention lots of guitars?

Airbag admit on their website that they’ve been compared to late era Pink Floyd. As a listener I can say that I haven’t found a band that has tried to capture Gilmour’s tone or the tempo pace of Pink Floyd as heard on "The Delicate Sound Of Thunder" as much as Airbag has been able to. Airbag are able to take those references and then add in their own style that will have you agree that yes, you too, do like Gilmour’s solos but Airbag are able to touch that sound but still bring in their focus on songwriting with a modern sound that emits emotion and makes for a good listen. 

Available here on vinyl, and here on CD.

Alpha "Alpha.Blueneck" Review

Reviewed by Dedric Moore

Everyone says “this music sounds cinematic” to the point of uselessness as a descriptor. So I won’t call Alpha.Blueneck cinematic but it would be perfect for the cinema. You know what else? It’s perfect for headphones and large speakers.
Alpha has been part of the electronic community since the 90’s but in all this time they have never sounded so ominous, so intense, so heavy. This isn’t angst we are discussing but there is a weight to the music that makes the listener FEEL that what is happening in their ears is important. In today’s grab and go music environment, putting out a full-length album of remixes and making it feel like a musical statement is rare. Most remix albums are a grab bag of styles and or artists so to have Alpha spend an album remixing one artist is a bold musical statement. It pays off for Alpha. The amazing feat is how much it sounds like an Alpha album of originals.
On to the music then, shall we?
First, here is a little history for those just finding out about Alpha. Alpha were signed to Massive Attack’s imprint on Virgin Records. Come From Heaven was released in 1997 and blew our collective minds by taking the essence of trip-hop and expanding it beyond the basic funk beat with female singer status quo. Alpha became critical darlings but they always stayed more on the psychedelic side of things with spaced-out samples, layers of atmosphere and really accented the trip part of trip hop. While most of the bands from that era disappeared or stagnated, Alpha kept moving branching out to include new singers, new tempos, new effects, dub, but always kept the core of stellar songwriting and performance bolstered by lushly arranged string sections.
Excited yet?
Alpha.Blueneck is the twelfth official release and is starts off with Sawbones. This song ebbs and flows from quiet musings with electronic bleeps that jump to a head-nodding groove and back again. Strings swell, intensity rises, vocals reverb and delay from ear to ear, and then build it up again. Armando is classic Alpha. Picking acoustic guitar, dreamy vibes, slow BPM, buzzsaw synths growling in the background threatening to take over the song but are kept at bay by vintage synth tones holding their own as the vocals mediate as the centerpiece.
Elipse and Le:465 move into glacial territory with slow-motion vocals and piano and then with atmosphere and synths respectively.
The Guest starts again with synths and vocals but then surprises with a big full-band build that Coldplay should probably listen to for inspiration because this is how dramatic music should be done. 
Industrial Junk is an instrumental jam with heavy synths and guitars riding a swinging funk beat. HEAVY VIBES but not metal thankfully. Lilitu steps up next and adds in nine minutes of steady build. Revelations continues the focus on guitar and synth steady swelling and holding the groove. Follow that up with Low at just over ten minutes and the guitar amps are now proudly hot with glowing tubes. The Last Refuge calms things down and adds in a mellow Burt Bacharach vibe sans cheese and makes the album a complete listen from start to finish.

Available on CD here.