"Psychedelic Swamp" is both Dr. Dog’s oldest and newest album. In 2001, before bringing the band Dr. Dog into existence, friends Toby Leaman and Scott McMicken first wrote an album titled "Psychedelic Swamp". The original "Psychedelic Swamp", which can be heard on YouTube, was recorded in a basement and is a lot more lo fi and grungy. It’s also much bleaker and more spacious than its remake. While the original is rather sloppy, the impressive song structure and writing skills were still there 15 years ago. Now the band has revisited these tracks and made them shiny and fresh.
A concept album of sorts, "Psychedelic Swamp" is narrated by a man who starts his life over again in a new world, the psychedelic swamp, only to find it is not all he initially hoped it to be. This may also be a metaphor for a psychedelic trip; the album touches upon key features including awe, societal revelations, and paranoia. Being a swamp, the narrator and listeners become increasingly stuck in the muck of this world as the album progresses. At first everything is absolutely incredible, but eventually the narrator realizes it is not all he made it out to be; it’s like believing you’ve arrived in the Garden of Eden only to discover it’s just a distorted version of your backyard after a heavy rainfall.
The album is very pop throughout but in varying degrees. “Golden Hind”, which kicks off the album, has a bit of folk or even country twang. “Engineer Says” adds a tinge of funk. “In Love”” is a dream pop ballad, and the finale “Swamp is On” is more spaced out and electronic. Dealing with love and relationships, as well as identity, the album has serious moments but does not take itself too seriously.
“Dead Record Player” has a joyous and laid-back melody, and strong glam tendencies, despite the fact that the record player in question “sings sad songs about the dead” and the narrator notes “All my old records used to not want me dead/Now they do”. Though ominous, the narrator is clearly digging his new situation and declares, “The music is killing me/The high and low fidelities/ Are attacking my brain/And it's terrific”.
However, by “Swamp Inflammation”, approaching the album’s close, the narrator has had enough and grumbles that “swamp living is killing me”. On top of that, he has heard “too much information on the psychedelic news”. “Swamp Inflammation” transitions into “Badvertise”, a mild garage rock jam ridiculing classic advertising tropes, which also has a humorous music video that pokes fun at infomercials.
"Psychedelic Swamp" is an extremely enjoyable and well-crafted album. It's classic Dr. Dog, as this is a band known for its great melodies and fun quirks. Highlights include “Golden Hind”, “Dead Record Player”, “Bring My Baby Back”, and “Badvertise”. "Psychedelic Swamp" is a great album if you’re looking for fun, creative pop.
Dumbo Gets Mad is an incredibly talented male/female dream pop and psych duo from Italy. Unlike their first two albums, which were available as free downloads, the band is actually charging for this latest one. It’s definitely worth it though. On Bandcamp, they explain that the album’s title, "Thank You Neil", was inspired by astrophysicist Neil deGrasse Tyson and the 2014 documentary television show, “Cosmos: A Spacetime Odyssey”, which he presented and helped create. This is very fitting for such an ambient - and in spots surreal - album with song titles that include “Youniverse”, “Quasar”, and “Cosmic Bloom”.
"Thank You Neil" continues the delicate jazz and funk dabbling established in the group’s previous albums and further emphasizes the soulful aspects of their sound. The vocals are almost solely female, and highly dulcet, and in comparison to their earlier work this album is much more laid-back. “Orion Caos” in particular is a standout in the funk department with a grooving baseline and electric guitar over dainty synths. "Thank You Neil" is also similarly serene to Pure X’s 2014 album "Angel", though it has a more upbeat tempo; this resemblance is especially noticeable during the beginning of “Loosing It” which starts out very mild and meditative before gradually turning experimentally jazzy and cosmic. This track also has an excellently fuzzy and spaced-out jazz guitar solo in the middle that is somewhat comparable to Fifty Foot Hose.
"Thank You Neil" is smooth and hypnotic with an invigorating energy. Conceptual themes of the album include the confusion and seemingly arbitrariness of the workings of the universe, the limiting power of time, and a critical view of misogynist culture. References to the cosmos abound. Maintaining a cohesive sound throughout, the album’s vibe is modern yet peppered with retro flair.
Some of the strongest tracks are “Orion Caos”, “Loosing It”, “Andromedian Girl”, and “Misanthropulsar”, the album’s first single. If you enjoy this album, check out Dumbo Gets Mad’s debut and sophomore albums, "Elephants At The Door" and "Quantum Leap". "Elephants At The Door" has a similar style to "Thank You Neil" but is more uptempo, and "Quantum Leap" is the liveliest, infiltrated by dance and hip hop beats. Their sampling game is also particularly strong on "Quantum Leap", with clips of Azealia Banks on “Tahiti Hungry Jungle” and Fifty Foot Hose on “Future Sun”. Each album they have released so far is spectacular and none should be missed.
The quality and stylistic diversity on Jack Ellister’s "Tune Up Your Ministers And Start Transmission From Pool Holes To Class O Hypergiants" is what makes it a truly spectacular debut album. Its most prominently rooted in rock, space pop, and folk, with a strong sense of vintage psychedelia. Ellister’s sound brings to mind many comparable bands, such as Strawberry Alarm Clock and The Tea Company, while at the same time continuing to keep it new and fresh.
The first track, “The Man With The Biochopper”, opens with high-energy spaced-out guitars accompanied by vocals rather similar to David Bowie’s on "Aladdin Sane". The song has a strong sense of 1960s psych and also includes organs, as well as a classic lysergic guitar solo in the middle. Aspects of krautrock are apparent too. It ends with increased fervor and screaming vocals while the follow-up, “The Sun Sends Me Hails, Vic”, takes an acoustic turn with lightly strummed guitar and simple vocal harmonies. This is coupled with trumpet and ends in droning bagpipes. At many points this track reminds me strongly of a jig.
A happy-go-lucky sing-song, “Saddle Up The Horse” swirls together acoustic guitar, piano, and squiggling saxophone with whimsical electronica. Tempo and intensity pick up and a very steady rhythm sets the pace. “Saddle Up The Horse” is also a tad bit folksy. The next track, “Calm Adapter” is true to its title, calm. Slow and foggy, it features drowsy oscillating background synths.
“Wishmachine” begins by reciting the album title, “tune up your ministers and start transmission from pool holes to class o hypergiants,” in highly reverbed vocals. For the rest of this short track, which also features jazzy Eastern-inspired guitar funk, extraterrestrial voices chant “love the wishmachine”. It’s both fun and slightly eerie.
“Old South” is an acoustic piece about returning to a place that’s calling one back. Nostalgic and bittersweet, it brings to mind images of pastoral beauty. Though the vocals are mellower and Ellister sings of returning instead of escaping, this track reminds me of Led Zeppelin’s "Going to California". “Curator” is more ominous. Chilling reverb and bass vocals all contribute to a darker sound than previous tracks. Muted and highly melodic, over steady percussion, the spacing of the reverb gives it a pulled apart sort of feel. It fades out after a frolicking of what sounds like musical saws.
The finale, “A Hunter Needs A Gun”, is ethereal and chillingly beautiful. This is one of the most compelling tracks on the album in my opinion. With its spaced-out vibe and melancholic air it sounds similar to a mixture of Syd Barrett and early Soft Machine. Sparkly sci-fi feeling guitars skitter above the percussion and organ in the break and a trailing lingering of sounds gives the song a sense of great depth throughout.
While this is Jack Ellister’s first album, he has previously released covers of classics including Pink Floyd’s “Flaming”, The Beatles’ “Dear Prudence”, and The Rolling Stones’ “Citadel”, all of which are excellent, and will give you some idea of the sort of ballpark he'd like to find himself in. He’s highly creative but remains accessible through the extreme catchiness of his melodies.
Windy Bangs’ debut album, "Mind Stuff", is a nostalgic lo-fi romp. Psychedelic but not always wildly so, the Brooklyn-based band’s LP often as more of a dream pop edge, and could best be described as a conglomeration of shoe gaze and doo-wop, mixed with garage / surf rock.
"Mind Stuff" opens with “Languid Love”, a short love proclamation over oohs and ahs with gentle guitar strumming in the background: “She rose like a tide from her saltwater sea, with lips smooth as the moon’s cheeks. It was then that I knew that this was love and she was my one, the brightest pearl in my deep cocktail glass.” Then “Love at the Four Moons” takes over. This is a woozy continuation of the infatuation-laden opener and increases the energy; the acoustic strumming turns to electric guitar, still using the same chords, and the talking turns to gentle singing.
“Wide Eyed” continues in a similar vein with vocal flourishes and harmonies. The melody and background vocals are reminiscent of 1950s pop and have a touch of the Beach Boys as well, but the lyrics are thoroughly modern. Singing, “this is the mark of our disculturation process,” the band channels the desire to have an authentic life with a unique interpretation of the world with one’s own mind and eyes, instead of through media consumption.
The album progresses and begins to incorporate more garage elements into its previously low-key sound. “Red Pants” picks up both the tempo and the intensity of the guitar. “Pulmonary Health” takes the garage sound further and truly embodies dark surf rock with droning guitar, a bit of dissonance, and classic surf riffs. The songs begins to mellow out again towards the end and the final track, “Hymn for Bean”, is dreamy and acoustic, toning it back completely and ending the album on a relaxing note in the most satisfying way.
I’d recommend this album most if you like surf rock in the vein of Heaters and the Growlers, as well as doo-wop. Standout tracks are “Love at the Four Moons”, “Wide Eyed”, and “Pulmonary Health”.
"Brain Cream", Jaill’s fifth album, is chock-full of infectious jangle pop which often toys with surf rock. This is an interesting genre for a band that is based out of Milwaukee, Wisconsin and full of depressingly melancholy lyrics. Lo-fi and a bit psychedelic, Jaill plays in a style comparable to that of Wampire and Warm Soda. While "Brain Cream" is quite similar to Jaill’s previous albums, it has a more polished and synth-dominant sound than its predecessors.
“Got an F”, the album’s focus track and single, manages to make the experience of failing sound like a positively joyous experience, thanks to the band’s sunny, buoyant sound. The listener is left unsure of exactly what the band got an F on, but can rest assured that it was certainly not this song, which is A+ material. “Getaway” is another superb track and has a great hand-drawn music video featuring the band playing nonchalantly while aliens, hot dogs, and other objects ranging from the absurd to the mundane scroll past them in the background.
"Brain Cream:, and much of Jaill’s previous work (especially their fourth album, "Traps"), reminds me very strongly of early of Montreal (think "Cherry Peel" – "Aldhils Arboretum" era) and The Apples In Stereo (especially "Fun Trick Noisemaker"), due to its slightly acoustic nature, keyboard synths, and whimsicality. This similarity is most apparent in “Symptoms”, which, with its precise combination of sliding synths and jangly guitar and its extremely Kevin Barnes-esque vocals makes the comparison undeniable. So, if you like Elephant 6, make sure to check this out.
Jangle pop as a genre is especially well suited for summer weather, and "Brain Cream" is the perfect summer album as it is fun, substantive, and goofy. On first glance, the album art appears to be a colorful assortment of ice cream cones with the band’s name written across them in pink lettering. On closer inspection, it becomes apparent that it is not ice cream but brains (thus, brain cream) on the cones and that the lettering of the band’s name is full of tiny ants, most likely coming to lick up the delectable drips from the melting brain cream. The initially idyllic appearance of the album cover is similar to that of the songs, which are upbeat and full of poppy hooks but ultimately dark, saturated by hopelessness and self-deprecation. It’s definitely pop, but with various oddities.
RIYL: Wampire, of Montreal, Warm Soda, The Apples in Stereo
Kevin Parker takes Tame Impala’s sound in a new direction with "Currents", embracing disco and soulful electronica. As each of the four singles (“Let It Happen”, “‘Cause I’m A Man”, “Eventually”, and “Disciples”) was released this spring, it became apparent that Parker was doing something significantly different, and truly spectacular. While his transition to ethereal dance music caused concern for some enthusiasts of the band’s earlier, rock-based sound, "Currents" actually contains some of the band's best music so far. In “Yes I’m Changing” Parker invites the listener to take part in the metamorphosis; “Yes I'm changing, yes I'm gone/Yes I'm older, yes I'm moving on/And if you don’t think it’s a crime you can come along, with me.”
In a recent interview with The Guardian, Parker stated that he was significantly influenced by the Bee Gees while listening to “Staying Alive”, explaining, “The beat felt overwhelmingly strong and, at that moment, it sounded pretty psychedelic. It moved me, and that’s what I always want out of psych music. I want it to transport me.” This is exactly what psychedelic music should do, and what makes Tame Impala’s sound so powerful. It is extremely successful in grabbing your attention, drawing you in, and seriously moving you.
Introspection and the continually fluctuating dynamics of oneself are major themes in "Currents", though this is not an album based on, or intended for solitude in the way that "Innerspeaker" and "Lonerism" were. "Innerspeaker", Tame Impala’s first LP, hinged upon seclusion and the celebration of introversion, summed up in the title of “Solitude Is Bliss” and its triumphant line, “There’s a party in my head and no one is invited”, while "Lonerism" focused on the often distressing sensation of being an outsider. "Currents" on the other hand is an album you could play on the dance floor without it emptying out, though the lyrics continue to be highly melancholy. In "Currents", introverted Kevin makes music equally well suited for introverts and extroverts alike. This album has the potential to open Tame Impala up to a much larger audience.
The highlight of the album for me, is the opener, “Let It Happen”, which is incredibly catchy and transformative and has been making many “best tracks of 2015” lists already. Its mantra-like quality strongly parallels “Be Above It”. In both songs Kevin confronts his anxiety, urging himself to persevere through life’s struggles, though “Be Above It” is more defiant while “Let It Happen” accepts change and goes with it. “Let It Happen” is nearly eight minutes of ebbs and flows through meditative synths and disco funk. The stuck CD effect in the middle catches the listeners’ attention, briefly putting them on edge, and causing a pang of nostalgia; just like the classic broken record skip, CDs and their malfunctions are sadly on their way to becoming objects of the past. I’ve been listening to “Let It Happen” over and over since it came out this March, and like it increasingly more with each listen. It covers so many emotions; joy, uncertainty, sorrow; and can be empowering regardless of your mood.
“The Moment” is also quite mantra-like. Though very different lyrically and in intensity, it has a beat similar to “Elephant”, just more toned down. The reverb in “The Moment” is also spectacularly effective. “Eventually” laments a failed relationship of some sort, longing to be only strangers again and hoping everyone will feel alright in the end. It’s slow and drawn-out, both sorrowful and hesitantly optimistic about the future. “‘Cause I’m A Man” is simple and satisfyingly catchy; it’s
the sort of song you could easily sing along to, and a perfect song for summer. Even as one of the simpler songs on the album, it’s deeply complex, with numerous layers of background synths and impressive percussion, as well as a soaring guitar break towards the end, creating a highly textured and glorious wall of sound.
Tame Impala could easily have made another album like "Lonerism", which was adored by both critics and fans, and it would have been guaranteed to go over well. Taking a different route with "Currents" further proves Kevin’s song writing skills and pure talent. I truly believe we’ll look back on him in the future with the same respect we do Syd Barrett, Eric Clapton, Jimi Hendrix, and other psych rock idols. Another plus about the change in Tame Impala’s sound is that people will hopefully stop suggesting that the band is an emulation of classic 1960s psychedelia, from which they’ve always differed significantly thanks to their tremendous innovation. Though noticeably less traditionally lysergic than their earlier releases, this latest album is no less psychedelic, and numerous sonic elements of previous Tame Impala releases continue: the reverb, beautiful falsetto, incredible transitions and layers, and simple yet highly contemplative lyrics. "Currents" is smoother than its predecessors, as it’s centered more around synths than fuzzy guitars, and the frequent use of synthesizers also fits Parker’s falsetto incredibly well. The falsetto in “New Person, Same Old Mistakes” in particular is heart-wrenchingly beautiful.
Each of Tame Impala’s three full-length albums so far has its own unique and absolutely incredible vibe; it has been exhilarating to watch the band evolve over the years. From the rock and roll-driven sound of "Innerspeaker" (and their self-titled EP), to the space pop of "Lonerism", and now the dreamy disco of "Currents", Tame Impala always delivers a very distinct sound. Being a young musician, still climbing to the peak of his career, it will be incredibly exciting to watch Kevin and the band continue to grow. Tame Impala’s sound is unique, and their ability to change styles, while still retaining the elements that made previous releases so powerful and compelling is what makes them exceptional.
Jackson Scott’s "Sunshine Redux" channels both new and old vibes, bringing to mind Ty Segall, Foxygen, Syd Barrett, and Mac DeMarco. His sound however, is totally new. Sonic experiments are liberally used and styles are creatively blended, yielding fantastic results. Transition-filled tracks laden with key changes, intensely ranging dynamics, and space rock distortions make this album a constantly surprising delight. Scott’s vocals are incredibly unique; pitch shifted and rather feminine, mellow, and slightly nasally. From creepily haunting in “Merry Nightmare” to energetic rock and roll in “Broken Record Repeat”, this album is widely diverse throughout. A recurring thought I had upon listening was that it feels both familiar and comforting yet highly strange.
Sunshine Redux is Scott’s second album. Now 22 years old, he released his first LP, "Melbourne", when he was only 20. On starting "Sunshine Redux", Scott wrote on his tumblr:
“never is the future. going to make another record now. will be influenced by Nas’s "Illmatic". will be influenced by Kubrick. will be influenced by nihilism and a whole mess of other things. will attempt not to give fucks about the outcome, we’ll see how that goes. what i do know is there is lots of optimism/hope/love in store so try not to get cynical on me. think i will start a band too.”
And it looks like he achieved exactly that.
“Ripe For Love”, one of the standout tracks on the album, commences with a baroque jangle evocative of the Kinks. The song then transitions to a percussion driven rock jam until it returns to its beginnings, sounding more like a space orchestra at this point and with the addition of dreamy vocal ohs that glissando down and away.
“Dissonance” is my favorite track. It starts with a droning Eastern-inspired guitar riff and spaced out heavily reverbed vocals, the kind of reverb that just melts you away. Then the song takes off; a dizzying chattering chaos of talking and laughter takes over, and only the question “How does that make you feel?” really stands out. Next decrescendo, minimalism, and dissonant guitar notes bridge the gap as the song returns to the original melody.
“Ripe For Love II” ends the album, shifting from an acoustic intro to a fuzzy fade out string outro.
I can’t recommend "Sunshine Redux" enough; it’s one of the most exciting albums I’ve heard so far this year. If you like catchy pop melodies coupled with cosmic effects you’re in for a treat.
Charles Howl blends driving rock and acoustic sentiments with a feel-good vibe and nostalgic dreaminess in their latest release, and first LP, "Sir Vices". Originally started as a side project of The Proper Ornaments, Charles Howl certainly stands out now with its own unique sound. Subtly psychedelic, Sir Vices contains hints of diverse genres ranging from West Coast 1960s rock and jangle pop to 1980s British rock, shoegaze, and folk. Baroque instrumentals and orchestral splendour are also prominent and certain parts of the album really remind me of Jacco Gardner, especially on the opener, “Going Down With A Hi”, and “Sky Birds Blue”.
"Sir Vices" is both laid-back, with relaxed vocals and a chilled overall feeling, and highly dynamic. Instrumental interludes and backdrops including twangy guitars, sitar, zealous riffs, and airy reverb keep the album fresh and exciting and keep listeners on their feet. “Lunacy,” one of my favourite tracks, is a perfect example of this union; it’s relaxed but also has a great beat and powerful bass riff, and even reminds me a bit of the Beach Boys with its warm energy, upbeat chorus and lively vocal harmonies, and the theme of the insanity of being in love. “I Love You 47” is more energetic and gradually incorporates a slight drone as it progresses, adding yet another style to the diverse mixture. “Sighed At Me” is my overall favourite and I actually cannot stop listening to it. It’s dreamily melancholic with a gently ebbing and flowing background of sound and a touch of falsetto. “Peace and Quiet”, verging into dream pop with its simply vocals and bright and reverbed guitar jabs, is reminiscent of Fenster, especially their album "The Pink Caves". “The New Shade” has an intense, uplifting crescendo, which along with a pick-up in tempo really shows off the invigorative power of the band.
I especially recommend Charles Howl if you like The Byrds and Love. If you enjoy "Sir Vices", check out the band’s self-titled 2013 EP as well, as it is also excellent.
Black Fruit/Factotum "Split 2" is an energetic, diverse garage record, second in Stolen Body Records’ split LP series. Black Fruit opens up the album, delivering a dark mutation of high-energy surf garage punk. They are a great example of an awesome surf-inspired band coming out of Grand Rapids, Michigan, as are Heaters whose album "Solstice" I reviewed a couple weeks ago. Black Fruit’s spooky, vibrato–tinged baritone vocals really remind me of The Wytches, and are simultaneously wistful and vivacious. A touch of blues is felt in the band’s strong walking bass lines and infectious rhythms. “Letter” is a particularly well-crafted track about lost love with a rough yet catchy guitar jangle, a mournfully sung, melancholic melody, and pounding percussion. The song even has a bit of a 1950s pop feel to it, though it is certainly much darker.
Bristol, UK garage punk Factotum’s contribution is heavy, often verging on metal while covering an incredible range of genres and styles over the course of their five songs. “All My Friends Like Garage” combines intense vocals over a space rock wall of sound interjected with guitar feedback. The track closes with an upbeat, music box-esque melody. There’s a bit of jazz in “The Place I Go,” which alternates between smooth guitar, intense percussion, and metal vocals, with electronic instrumental chaos at the end. “The Place I Go” has a touch of funk, fluctuating between frantic guitar shredding and experimental instrumentals and percussion. The finale, “Loose Cannon Cops With Big Fat Heroin Hands,” is calm and delicate with eerie yet comfortingly dreamy reverbing kazoo swoops, soft female vocals, and guitar plucks. “Loose Cannon Cops With Big Fat Heroin Hands” is extremely reminiscent of Gong, especially their song “Glad to Sad to Say” from "Magick Brother". Though way more laid-back than the rest of the album and highly ethereal, it perfectly fits the mood as it brings the album to a close.
If you have even the slightest liking for garage rock, I highly recommend checking out Black Fruit and Factotum; both bands are impressively innovative and deeply satisfying.
"Solstice", Heaters’ first 10” after several EPs, is a fresh, enchanting surf twist on garage rock. Though the band members are residents of land-locked Grand Rapids, Michigan, this is pretty much as beach goth as a group can get. "Solstice" is a psych-surf album that screams early Growlers and reminds me especially of the Growlers’ album "Are You In Or Out?"
Heaters are self-described as “psychotropic/buttermilk” on their Facebook page, which is certainly intriguing, and this proves to be a very good thing. Of the trio; Joshua Korf, Andrew Tamlyn and Nolan Krebs, two (Tamlyn and Krebs) were high school friends who met the third (Korf) as he happened to be their neighbour.
The jangly, echoing guitar that is omnipresent throughout the album really creates the surf rock vibe, which is further enhanced by the liberal use of hi-hat and tight percussion. Each song gives off its own unique lo-fi sound and all are expertly constructed. One of my personal favourite tracks is “No Fuss”. With a spiraling guitar background, “No Fuss” is deliciously reverb-laden and has the strongest space rock essence of the album. There is a sorrowful moan to the vocals and each note is held onto, drawn out in an almost drone-like way until it is released to softly fade away. The melancholy is almost tangible. “On A Whim” is another standout track, with more energetic guitar riffs. A bit of twang is also apparent throughout the album, though it is definitely far from country. Despite its laid back and often sorrowful vibe, "Solstice" also has irresistible dance appeal thanks to some great hooks, and it’s easy to imagine this album being played at an angsty sock hop.
I especially recommend "Solstice" if you like The Growlers, The Black Angels, Allah-Las, Gringo Star, or The Wytches.
"Solstice" is available in digital and on vinyl here:
Anthroprophh’s latest album, "U.F.O", is an experimental, instrumental trip through the extraterrestrial. This Bristol based trio is comprised of Paul Allen of The Heads and Jesse Webb and Gareth Turner of The Big Naturals. Ambient but heavy, "U.F.O" is mainly comprised of percussion, guitar, and electronic freak out. Each song is named after the date and location of a specific UFO sighting in the United Kingdom between the 1950s and 1970s. I highly recommend looking up summaries of each UFO encounter, as this can really increase appreciation of the album and help induce a sense of the supernatural.
"U.F.O" begins ominously with “14.10.54 Southend On Sea.” A light warble drones while a voice in the background repeats numbers and the word “bravo” from the NATO phonetic alphabet. Intensity slowly increases throughout with the addition of a humming, as one would expect from an aircraft, and the interjection of sudden guitar jabs. “17.7.55 Bexleyheath” continues seamlessly from “14.10.54 Southend On Sea,” amping up the tempo and greatly increasing intensity and feedback. Soon, extreme scratchiness and wailing guitar distortion reign.
“13.8.56 Lakenheath” is more whimsical than the previous songs, though no less eerie. Fluttery flutes and technological beeping dominate the soundscape. A driving, march-like drum beat picks up towards the end. Through the transition to “4.4.57 West Freugh” the tempo becomes frantic. The rising cadence creates a sense of desperation and evokes a feeling of approaching extraterrestrial invaders.
Subdued and spacious, “19.5.65 Warminster” could be the calm before the storm. Simple drone space rock, with a whistling, jingly background, the peace is soon broken by a deep humming and sudden cymbal crashes. The landing of alien vessels? Perhaps. “19.5.65 Warminster” fades out and “28.4.67 Brixham” begins with several quartets of stark guitar notes, reminiscent of those in Pink Floyd’s “Shine On You Crazy Diamond,” only more desolate and jarring. A steady, driving bass line picks up and is soon accompanied by a warbling guitar. Static and jarring screeching with a wind-like whooshing soon take over, but the song returns abruptly to a more conventional, though highly creepy, steady rock rhythm.
“26.10.67 Owermoigne” is frantic and highly rhythmic, while “23.1.74 Berwyn Mountain” is a quirky electronic mash up of telephone-like beeps. The finale, “22.9.78 Weedon BEC,” ends the album on a heavy, garage rock note with droning guitars and mild distortion.
I suggest exploring "U.F.O" in a comfortable environment where you can give it your undivided attention. Please listen to it all the way through; the transitions are perfectly seamless, and the album is way more powerful as a whole. I also wouldn’t suggest listening to this while driving in the dark on the roads of the United Kingdom; this would probably be unsettling.
Ancient Cities’ self-titled debut LP is a fun pop romp with a moderate dose of psychedelia, and a hint of electronica. In parts, Ancient Cities is reminiscent of Love’s "Forever Changes". Hailing from Charlotte, North Carolina, there is a folk element to the band’s sound as well, with lead singer Stephen Warwick having previously released a solo folk album, "Talking Machine", which is also worth checking out. Throughout, Ancient Cities blends a variety of instruments and effects, and expertly manipulates dynamics through thrilling use of crescendos, harmony, and key changes.
"Ancient Cities" starts with driving percussion, a boisterous guitar beat, and cheery piano chords in “Juice.” “Novella,” laden with hand claps, keeps the energy going and psychedelia makes an appearance with a dreamy, lysergic bridge in the middle. Banjo also makes its first appearance towards the end. “Novella” fades out with a round of "oh"s, a fog horn, and more hand claps.
“Station” tells a tale of destruction and hardship in our everyday lives over an incredibly catchy, buoyant melody. The juxtaposition of the melody and lyrics is striking and compelling. “Station” is ballad-like and parallels the job of an emergency responder to that of a DJ taking requests surrounded by screaming fans, “children trapped in a burning building.” Through “Ostinata in D Major,” a stately brass fanfare that lends a dramatic, regal flair, we transition to “Edie Sedgwick.” A Queen-esque piano ditty, full of synth, cymbal, and horns, and named after the Warhol film star. The synth solo in the middle is positively euphoric. “And you wish you were the poster girl for a decade gone by.” This is a narrative of the inevitable changes of growing older and perfectly conveys that feeling of bittersweet longing for the now intangible past.
The nostalgia continues with “Werewolf,” looking back on youthful relationships and exploring the concept of loneliness. A short bridge with a thumping bass and playful electronic solo invigorates, and then the song strips down to percussion and vocals before returning to the lush soundscape of the beginning.
Sweet melancholia prevails in “LASR”, a song of unrequited love. Darkly cinematic, it is similar to Queens of the Stone Age and The Growlers’ earlier albums. Or The Limiñanas with male vocals. “Voices” begins where “LASR” left off. A highly layered, sorrowful chorus of "ooh"s and "ah"s, “Voices” is reminiscent of a church choir. “Velvethead” is a more minimalistic tune, with a dramatic swelling of strings and vocals at the end. “Baby are you happy or are you playing charades?” “Wild” begins with simple guitar strumming, adds some violin, and remains a simple pop tune until a crescendo and a soaring solo in the middle stir things up.
"Ancient Cities" is a delightful album with substantive lyrics and exquisite instrumental arrangements. It’s jubilant throughout, though covering darker themes. Energetic and cheery without becoming cloying, this is an album you can listen to over while discovering new intricacies each time.
