Lake Ruth - Birds of America

I started my research for this review by listening to Lake Ruth guitarist Hewson Chen's other band, The New Lines. As I swooned to the intricacies of the fantastic song “Weatherman’s Apology”, I hear the commonalities with Lake Ruth. You see, the body of work presented herein and every other song I have heard by the marvelous Lake Ruth is glowing and gorgeous, painted with an ethereal, otherworldly light that I find it hard to describe adequately. The music transports you to a dream state infused with warmth and light that is both rare and precious. It is like stumbling upon a one of a kind gem and holding it fast lest it get away from you. While I want to share my affection for this band with the world, I also am tempted to keep it close.

Lake Ruth formed with two members of The New Lines (Hewson and Matt Schulz the drummer) and vocalist Allison Brice (The Eighteenth Day of May). They now have two full lengths and a smattering of EPs and singles. All are available from their Bandcamp page and should be imbibed as the musical crack that it is. But wait, what does the music sound like beyond the superlatives I am tossing down? I think it’s an amalgamation of all the best psych pop, folk, and dream pop you have heard down through the years, along with an almost tropical and sunny feel in spots. This band’s music listening cuts a wide swath through many styles, as I happen to know they adore Beautify Junkyards, Stereolab, Fairport Convention (they’ve covered "Tam Lin") and lots of soundtracks. They seem highly intelligent and two members love cats (Allison is allergic).

My response to "Birds of America" will be based on what I feel when I listen, rather than a technical dissection of each note, how it was recorded, and what influenced it. That is not how I operate, and I have only a layman’s knowledge of Krautrock or Hauntology. So I won’t be citing any sources, and won’t be dredging the lyrics for hidden meaning. Because you see, for me, this record is a sensory engagement, one best experienced by you the listener. Of course, the dichotomy between some of the dark lyrical elements and the sprightly melodies can be a bit startling, as is Allison’s unusually lovely, chipper vocals. So take that however it works for you, and strap in for a delicately rendered, exquisite ride through ten great tunes.

It starts off with the cool, fey strains of “VV”, meshing intricate instrumentation with what sounds like an oboe. And when Allison chimes in, the transition from the mortal realm to the hollow hills is complete. “Julia’s Call” is more immediate, and one of the first singles from this record. It reminds one of the aforementioned Beautify Junkyards, albeit with a faster pace and a care given to meticulous production and playing. “One of Your Own” veers into the same retro territory inhabited by Death and Vanilla and other purveyors of this genre. Fast moving synth lines wrap around spacey guitar and Allison swoops in between this fine tapestry of sound. “The Cross of Lorraine” is another favorite of mine, and it’s quite possibly the best song on this record. It sucks you straight in with Allison’s siren song and an appealing mesh of guitar and synths. “Radiant City” expertly combines bright, jazzy keys and guitar, and you’ll find yourself bobbing along with a smile on your face. The title track is an impressive example of psych filtered through noirish dream pop. Its expansiveness lend a cinematic air that I find greatly appealing. I can envision the Mother ship touching down as this marvel of a tune unfolds. And that unusual shading you hear on “Under the Waning Moon” is a mellotron, which melds perfectly with the somewhat unsettling but enthralling music. “Walter and the Taxi” is another favorite tune of mine, both for the Byrdsian guitar and the way it nestles around your ears like a favorite comforter. And I really dig the bubbles of synth that flit through the mix. “White Wall” is a glistening psych folk gem, and the ornate but trippy backdrop suits it perfectly. The hook at its heart will grab hold and never let go. “Westway” ends it all, and its shining jangle pop should be a hit. A fine conclusion to a magical and mystical journey through the hearts and minds of this wonderful band.

Highly recommended!

Elizabeth Klisiewicz

Vinyl and digital available here:

Living Hour - Living Hour

Reviewed by Elizabeth Klisiewicz

Winnipeg dream pop group Living Hour is surfing the big reverb wave, like so many bands before them (thinking of Best Coast here). But they do it with style and grace and an appealing laid back vibe.

Opener “Summer Smog” is a perfect example of this, as it offers up sweet female vocals (courtesy of occasional trombonist Sam Sarty) and evokes a wide-eyed innocence of times past. “Seagull” is a hazy delight, painted in watery brush strokes by the smoky voiced Sarty. “This is The Place” has some tasty guitar licks fronting it, and dreamy vocal turns from Sarty. It is expansive and reminds me a bit of Baltimore dream pop faves, Beach House. “Steady Glazed Eyes” ventures a bit off the path into widescreen, psych-pop territory, inhabiting it loosely with sun-kissed melodies and warm, gauzy vocals. I also like the harmonies on this one, though no album credits are given, so I am not sure who is harmonizing in the background. “There Is No Substance Between” has a lot going for it with tasteful singing and a shimmering melody, but it would benefit from an injection of energy. “Mind Goodbyes” is my favorite song here, from the huge reverb and expansiveness down to Sarty’s cooing vocals. “Miss Emerald Green” has trippy infusions to set it apart, and Sarty’s voice is crystal clear instead of being drenched in reverb. “Feel Shy” closes the record at close to seven minutes, and it takes a while to get going. It’s a beautiful song that I imagine is dynamite in a live setting. Sarty does a fair bit of wordless singing, and brings the listener back to Earth gently.

CD and digital available here:

Kane Strang - Blue Cheese

Reviewed by Elizabeth Klisiewicz

Kane Strang is from Dunedin, NZ and this is his first proper album, which was released earlier this year on Flying Nun in New Zealand, and Ba Da Bing Records internationally. If you’re expecting that grand sweep of Flying Nun sound (think Bats and The Clean) we all love so much, think again. Kane is certainly tuneful, though he laces jagged melodies in with the occasional pure pop rush. I am reminded of bands like Interpol and The Pixies, and even 80s postpunk. He also plays all instruments on this record, and it was recorded during two months of house sitting for his parents.

Opening track “The Web” is full of these raggedy edges, with its throbbing bass and icy keyboards. The lyrics are great, and discuss Internet dating. “Things Are Simple” follows in similar fashion, albeit with sweet harmonies to offset the slightly dour guitar welling up from the bottom. Kane is a fine storyteller, and the lyrics are engaging and interesting. “Full Moon Hungry” feels a bit lighter, and I enjoy the interplay of vocals and melody lines. “What’s Wrong” is an off kilter melody, typical of the early songs on this record, approaching melodies from different directions than expected. “Scarlet King Magnolia” has a really nice melody at its center, though to reach that oasis you must stumble over some discordant notes. I quite like “The Canyon Her River Carved”, mostly because Strang thrusts the melody in your face. “It’s Fine” is a bit trippy, with some echo on Strang’s vocals. The main melody is repetitive and the song takes an odd turn by its end. “You Think” is rather lovely, and one of the more straightforward songs on Blue Cheese. The best song “She’s Appealing” resides at the very end, and Strang channels his inner Brian Wilson. I would love to see him create more in this vein, as it hits that sonic sweet spot in this listener.

An intriguing new artist well worth checking out.

CD and vinyl available here (US), or here (UK/EU).

Streaming available here:

Pale Lights - Seance for Something

Reviewed by Elizabeth Klisiewicz

I am always glad to hear a new Pale Lights release. These Brooklyn folks have dipped their toes in the best Australian and New Zealand indie rock for influences, but add a special sparkle and shine all their own.

The songs were recorded and mixed by Gary Olson (Ladybug Transistor head honcho) at his Marlborough Farms studio, in Brooklyn. Kyle Forester (Crystal Silts/Ladybug Transistor) is featured on keys and saxophone, and Suzanne Nienaber (Great Lakes) on harmonies.

Witness the lovely opening track, “Mother Cries”, which features Hamish Kilgour (The Clean) on tambourine. It reminds me of vintage Velvet Underground and Go Betweens. I love the lilting vocals and the soft washes of organ that wrap themselves gently around your ears, all while chugging along merrily in the best Kiwi pop tradition.

“Girl in the Park” is more of the same, only this time it’s like Pat Fish has joined in. The lyrics are memorable and the lovely melody floats about like a many-hued lotus blossom.

“Alone In This Room” has that slow, dreamy cadence so prevalent on recordings by The Bats. Phil Sutton plays rhythm guitar and sings all the lead vocals, and he has a pleasant voice that perfectly suits the material. I also really appreciate the fine lead guitar work here, it provides a nice counterpoint to the main melody.

“Sweetheart” is the closing track, and with its swirling organ and twining male/female vocals, it reminds me the most of classic Go Betweens (and makes me miss them all the more). Thankfully, we have groups like Pale Lights who are as much in love with these classic bands as we all are, and who have the skills to both wear their influences on their sleeves and come up with fresh takes with their own tunes.

Fans of all the bands mentioned here will love this EP, and we can look forward to a new album later in the year.

Black Mountain - IV

Reviewed by Elizabeth Klisiewicz

This Vancouver psych group have been kicking around for nearly two decades in some form. Starting off life as Jerk with a Bomb in the late 90s by founder Stephen McBean, the group transformed into Black Mountain by the mid 2000s. Combining elements of heavy psych, prog, acid rock, and even folk, the band’s wholly original sound evokes the masters without ripping them off. Some of the song titles evoke classic Pink Floyd (“Mother of the Sun”, “Florian Saucer Attack”) but offer up a modern take on Floyd’s sometimes organ heavy work. “Mother of the Sun” is an eight minute opus that opens this record, and it actually reminds me of Radiohead at the beginning! It’s all about the feeling it evokes, and I really dig the organ unfolding beneath Amber Webber’s lovely voice. She is joined by McBean a bit later, and the song progresses into heavier tones with guitar solos and classic prog rock motifs. Then it recedes in the middle with a gentler cadence before heavy rock crashes down on your head again. Finally, it ebbs out the way it came floating in, with light as air synths creating a pretty space rock symphony. “Florian Saucer Attack” is much shorter and spiked with punky energy, overseen by Amber’s wailing vocals. Cool stuff!

This band is not afraid to experiment, as evidenced by the electronic beats on “You Can Dream”, which hovers somewhere between vintage synth pop and psych. “Constellations” returns the listener to a heavier vibe, and Amber channels her inner Grace Slick on this 5 minute tune.

Delicate acoustic folk occasionally flits in on gossamer wings (“Crucify Me”). “Line Them All Up” is gorgeous folk with Moody Blues synth washes, and I could seriously groove on an entire record of music this great! “Cemetery Breeding” is 80s synth pop revisited, and it is a serious spiraling trip down memory lane. “Over and Over (The Chain)” is another lengthy piece, and vocals don’t drop in until halfway through. It runs a bit too long, but has some nice progressive rock percolating through it. “Crucify Me” is another firm favorite of mine, a dappled walk through the woods on a late summer day, golden rays of sun highlighting the experience. It’s a lovely acoustic piece with pretty harmonies and tripped out guitar. “Space to Bakersfield” is the 9 minute album closer, and it is rather like some of Floyd’s work on "Wish You Were Here". It makes heavy use of organ and Amber’s airy vocals float peacefully through its sonic tapestry.

A fitting end to a really good album, definitely one of the best psychedelic albums you will hear this year.

CD and vinyl available here (US), or here (UK, EU).

Holy Wave - Freaks of Nurture

Reviewed by Elizabeth Klisiewicz

Austin’s Holy Wave straddles a stylistic line between West Coast folk rock and 80s psychedelia. You could say they’re retro and vintage, and I doubt they’d be offended, because they write, sing, and play so effortlessly that it’s like a pair of comfortable jeans that you want to keep forever. Yes, anyone who listens to The Byrds and even the great rush of music from Down Under will both recognize and enjoy the songs on this new record. And that’s a good thing, because let’s face it, so many bands fail to rework classic genres. Opening track “She Put a Seed In My Ear” is particularly striking, with warmly inflected vocals and gentle keyboard washes. It rather reminds me of the sonic territory inhabited by Beach House, or maybe even DIIV. “Wendy Go Round” resurrects vintage organ and its wayback feel is like a cool summer breeze. And ooh, “Western Playland” is like a cold drink of water on a scorching day; its refreshing, chill vibe is like a balm to these tired ears. “You Should Lie” is another great song, with amped up energy and dreamy, female vocals with cooing harmonies. The lazy, sinuous grooves of “California Took My Bobby Away” is pure dream pop without a care in the world.

“Air Wolf” mines the Byrsdian, West Coast vein that has worked well for so many bands, albeit with a modern sensibility, a motorik vibe, and better production values. “Our Pigs” sounds like a cross between The Beach Boys (vocally) and a slew of modern garage rock bands. “Sir Isaac Nukem” is a pretty tune with shiny production values, while “Magic Landing” is all about the tripped out garage psych vibe and swampy backbeat. The final tune is the luminous “Minstrel’s Gallop”, a finely honed, delicately structured song with swirling organ and the light touch of vocals. It is a great ending to one of the better psych releases of the year. Well worth checking out.

Physical copies available here (UK/EU), or here (US). Downloads and streaming available here:

Robert Pollard - Of Course You Are

Reviewed by Elizabeth Klisiewicz

Robert Pollard is an indefatigable songwriter, and this is his 24th solo album. He weaves his musical magic here, just as on his last great solo work, 2015’s "Faulty Superheroes". Pollard combines delicate chamber pop (“Come and Listen”) with the muscular power pop of opening track “My Daughter She Knows”. The production is clean and bright, unlike his earlier lo fi adventures. There is also a message behind the song on global warming, in case the song title throws you off. “Long Live Instant Pandemonium” is heavy, with prog-influenced guitar work, and Pollard and his collaborator, Ricked Wicky’s Nick Mitchell, lob it in your face like a sonic grenade. All the instruments here were contributed by Mitchell, who also recorded and produced this release. His work here elevates the material quite a bit, polishing the rough edges to a diamond hard shine. Discreet flourishes of strings, horns, and piano really evoke baroque rock classics such as Love and Cardinal.

“Little Pigs” breaks little new ground, but it manages to insinuate itself into your brain with its skein of hooks. “I Can Illustrate” is another gem with huge hooks to suck you in, and it never lets go. I really like the organ on “The Hand That Holds You”; it lends a warmth to the proceedings. “Collision Daycare” jumps out like a spiky power pop classic, and never lets up on the energy. “Contemporary Man (He’s Our Age)” is uneasy synth pop, “Losing It” stumbles into drowsy psych pop, and album closer “Of Course You Are” is a memorable ditty that wraps the entire album in a nice neat package that is ripe for your listening pleasure.

Chalk this one up as another worthwhile album from the ever prolific Robert Pollard!

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

The Diamond Family Archive - November MMXV

Reviewed by Elizabeth Klisiewicz

The Diamond Family Archive may sound like a grand group full of storied musicians, but it’s actually a single fellow named Laurence Collyer. He hails from Brighton in the south of England, and writes, records, and produces his own songs through his own label.

He also likes to release covers, such as the ones found here on "November MMXV". You may recognize the fragile, banjo/organ driven “The Way I Feel” from the lips of legendary British folk rockers Fairport Convention, but it’s actually a Gordon Lightfoot song. Collyer definitely approaches it from a different angle, as evidenced by the dappled picking of a banjo and the warm washes of organ that paint this cover with rainbows. “Eight Miles High” is majestic in it slowness, and its pensive beauty draws you into its mystery. A classic song that is more than eight miles from its Byrdsian source, devoid of any Rickenbacker guitars. “Blues Run the Game” is a Jackson C. Frank song that’s been performed by many of the greats, including Simon and Garfunkel and Nick Drake. This is a song I feel I should recognize, and yet it escapes me. Perhaps it was Sandy Denny’s version, or I heard it in passing when I was drowning in Nick Drake. It’s lovely, what else can I say? Laurence not only has the excellent taste to pick these songs, he also has the skills to back it up with a great voice and accomplished musicianship. “Pussywillows Cattails” is another Gordon Lightfoot song, and one I do not know. It is shimmering and magical and hushed in its delivery. The final cover is from Kris Kristofferson, “Help Me Make It Through the Night”. This is simple and straightforward, with softly played organ and quietly strummed guitar.

"November MMXV" is a wonderful, satisfying EP, showing off the skills of this artist to his great advantage. He has a wonderful affinity for this material and I look forward to hearing more from him.

Check out Laurence's monthly 2015 EP releases here, available as name your price downloads.

Des Roses - Sideways, Strange Ways EP

Reviewed by Elizabeth Klisiewicz

Des Roses (who's debut EP we obssessed over here) hail from Nantes, France and inhabit the same musical space as vintage space pop/rockers such as Death and Vanilla. Their use of keyboards coupled with beguiling female vocals is intoxicating. Their Bandcamp page describes them as shoegaze and dream pop. The latter label is certainly correct, and they also occasionally trot out some ‘gazey goodness. Still, this hazy, dazey blissed out release rests squarely in the realm of space pop/rock, billowing with psychedelia and dreamy overtones.

Opening track “Tell Me When, Tell Me Where” is saturated with organ and synths, yet it also gets narrowed down at times to a single vocal with simple guitar and beats. “H.P.S” is the most like Death and Vanilla, dominated as it is by antique sounding organ. It also boasts some nice female/male vocals that float along with the other instruments. “Atlas - Marie Love” starts off with well-trodden riffs and improves dramatically as it moves forward. I especially like the keyboard work on this rather long piece, clocking in at over ten minutes. It meanders between quieter passages and soaring heights, and the band keeps it intriguing all the way through by mixing it up.

A short but enjoyable turn from this talented French duo. Available here as a name your price download:

The Besnard Lakes - A Coliseum Complex Museum

Reviewed by Elizabeth Klisiewicz

The new album from Montreal studio stars The Besnard Lakes is a pristine return, in that it is more of the same dazzling studio production you’ve experienced on previous outings. With Brian Wilson on one shoulder and bands like Grizzly Bear on the other, the music here is ambitious, gorgeous, and occasionally meanders off point. I mention Grizzly Bear, because they are also a band that thrives in the studio, employing many different instruments and textures in their sonic explorations. However, The Besnard Lakes are louder and less ephemeral, swimming in the tides of Jace Lasek’s swooning falsetto vocals and the many trippy studio techniques they employ.

In parts of the wonderful opening track, “The Bray Road Beast”, I am reminded of French band Air. “Golden Lion” and “The Plain Moon” both dip their toes into dream pop and progressive musical forms, and are also both laced with psychedelic goodness. Bassist/vocalist Olga Goreas adds sweet melodic textures to the mix, providing a counterpoint to Jace’s soaring vocal inflections. “Pressure of Our Plans” sounds alot like “The Bray Road Beast” at its onset, but then it veers down a spacier path laden with golden harmonies. “Towers Sent Her to Sheets of Sound” is distinguished by percolating synths pushed to the front of the mix, while “Necronomicon” offers up more straightforward dream pop.

Beneath the billowing layers of lushness, the band does have a number of lyrical messages, but they are tendered so gently and lightly that they could well float past a distracted listener. I also enjoy the song “Nightingale”, which is slower paced dream pop with a cinematic backdrop.

While it's true that there is nothing truly groundbreaking here, this is another solid and enjoyable effort from these talented and reliable Canadians.

Vinyl, CD and Digital all available here (UK/EU), or here (US).

New Cardinals - New Cardinals EP

Reviewed by Elizabeth Klisiewicz

Seattle has many fine bands, and The New Cardinals are a welcome addition not only to the Northwest music scene but to the psychedelic spectrum as well. The band is the duo of Sam Rice (bass, keyboards, vocals, percussion, effects) and Peter Tilton (guitar/vocals). This is chiming jangle pop with a slight melancholy edge.

Witness it for yourself on the fabulous “Window Days”, which seems to channel Brian Wilson as well as modern artists such as Tame Impala. “Let’s Talk” surfs a prog vibe with its cool organ, perky synths, and great harmonies, all washed with a hazy psych sheen. “Hidden In the Light” revels in late 60s/early 70s pop, while the album’s closing track, the lush “Tomorrow Waiting” takes its time sucking you into its widescreen marrow, and after seven meandering minutes, leaves you completely blissed out and wanting more.

This is a treat for all fans of delicately crafted psychedelia with a late 60s sensibility.

Available as a free / name your price download here:

The Leaf Library - Daylight Versions

Reviewed by Elizabeth Klisiewicz

London band the Leaf Library takes a leaf from the page of various psych/drone/shoegaze genres and mash it all together into a fine pulp, complete with woozy melodies, cheerful female vocals, and an obvious love for Yo La Tengo, Flying Nun, and other bands who most likely revere The Velvet Underground.

Opening track “Asleep Between Stations” merges all these influences into one solid tune, and includes some fine sax playing from guest musician Ben Gates. “Tilting” has a more gentle approach, lapsing into the background but remaining present in your mind as its warmth works its magic on you. I really like the flourish of trumpet that embellishes this tune and elevates it from the norm. “Slow Spring” unfolds like the lazy meandering of a sparkling stream, revealing all its bright currents as it flows through you. The hushed percussion works well here, maintaining the laid back feel of this song. “Acre” draws from "Spirit of Eden" era Talk Talk, and channels the spooky ambience of that classic album. It is contemplative, and at times soporific music that lulls you into its perfect beauty. “Sailing Day” is another song in the same vein, though it veers off down a slippery psych path with cool synth flourishes. “Rings of Saturn” almost reminds me of Flying Saucer Attack, droning organs laced with airy vocals and restrained instrumentation. In fact, as the song moves forward, it also reminds me of classic late period Talk Talk.

Much of the music here swoons and dives between post rock, dream pop, and ambient electronic music. But I think it also transcends any of these labels and becomes less about naming the influence and more about experiencing the music as a suite of songs. “Summer Moon” is stripped back to simple instrumentation, and is delightfully pretty. “Evening Gathers” is as lovely a song as you may hear this year, with its luminous grooves that slowly rise to a percussive maelstrom and then settle gently back down.

I can come up with any number of descriptions for this lovely, cinematic record, one which evokes long, languid summers and pastoral beauty. Writers often compare The Leaf Library to Stereolab, Epic 45, and Movietone, as well as the aforementioned bands. I most often hear them evoking Yo La Tengo and Talk Talk, but they also bring their own special brand of beauty to the table. Be prepared for anything and experience this on your own, one of the loveliest releases I have heard this autumn.

Available here (UK), and here (US).

The Besnard Lakes - The Golden Lion

Reviewed by Elizabeth Klisiewicz

The new three song EP "The Golden Lion" from The Besnard Lakes is upbeat, lush, and exquisitely rendered from start to finish. They’ve pulled out all the blissful stops that a dream pop fan could want, from the ear candy of “The Motorway” to the golden-throated vocals of Jace Lasek on the title track, “Golden Lion.”

One is often reminded of Brian Wilson, only elevated to another sonic level with many glistening layers of guitar and vocals. “The Forest” is more laid back and less 'in-your-face' with its musical arrangements, allowing the sound to expand around the listener’s headspace. Keyboards are employed smartly, never overwhelming Lasek’s angelic falsetto, and married to the orchestral arrangement, it works its charm on anyone who takes the time to queue up these three songs.

It bodes well for the new album "A Coliseum Complex Museum", out on January 22, and is quite the treat for longtime fans as well as new listeners who enjoy chamber pop with dreamy overtones.

Available here (UK), and here (US).

Brian Jonestown Massacre - Pish / Mini Album Thingy Wingy

Reviewed by Elizabeth Klisiewicz

It’s business as usual for psych veterans BJM on this new seven song EP which is chock full of droney goodness and sublime trippy pastiches.

Opening tune “Pish” is a collaboration with Tess Parks, and is almost orchestral, containing all the requisite majesty one could expect. Perhaps it is chamber psych, a new genre? Employed throughout the record are fuzzed out guitars, programmed strings and horns, flute, and a Slovakian pastoral bent (“Prsi Prsi”, sung and co-written by Vladimir Nosal) which suits the band well. There's a 13th Floor Elevators cover, “Dust”, which retains the 60s flavor of the original and also includes a guest spot from Alex Maas, frontman with Austin psych outfit The Black Angels, who contributes jug playing in tribute to the Elevators’ electric jug player, Tommy Hall. “Leave It Alone” is classic BJM toking with some shoegazey Verve smoke tossed into the blend. “Mandrake Handshake” is another prime slice of acoustic psych beauty, and one has to wonder if writing these songs is as natural as breathing to Anton Newcombe. “Here Comes the Waiting For The Sun” comes off as a great lost Velvets classic, complete with cool phased vocals.

Another worthwhile outing for this longtime California-by-way-of-Berlin psychedelic collective then.

Available here (US), and here (UK).

 

The Fresh and Onlys - Early Years Anthology

Reviewed by Elizabeth Klisiewicz

San Francisco garage rockers The Fresh and Onlys have unearthed a collection of oldies for our listening pleasure, Recording now on Castle Face, fans should know what to expect with this release. Lo-fi garage rock with trippy elements and a wall of reverb, along with well-executed and fun songs. The band refers to this as a collection of basement tapes, so let’s run with that. I have enjoyed the past few albums from these guys, but have not delved deeply into their catalogue. I suspect you can drop the needle anywhere, play spot the influence, or point to another song that resembles these early recordings. Or, like me, you could just enjoy it as a standalone release without a frame of reference.

Starting with “Tongue in Cheek” with some bottom dwelling guitar, it morphs into a cool garage riff on the bridge. And then we have the organ-driven “Don’t Look Down”, which is one of my favorites here. “Seven Directions” is joined by harmonica a few minutes in, along with some fun harmonies, and must be a treat live. “Summer Wheels” sounds like a great lost 60s tune from a Nuggets collection, while “Sunglasses” beckons us down to the beach. “I’m a Puppet” has some way cool harmonies and some trippy elements, and “Deviants Within” is even crazier, with all sorts of studio trickery and slightly creepy voices streaming through the mix. “Ooh I Got Got” actually reminds me of Spirit, mostly due to the similarity to Randy California’s playing. “Stranger In My House” is also great fun, which leads up to the final track, “Pile of Bones”. It moves a bit slower, with some hazy psych blues throughout.

Recommended for all fans of garage rock who enjoy a bit of silliness thrown in.

Available here (US) and here (UK).

Wanna hear it? You can stream the whole thing here at COS.

Daniel Wylie’s Cosmic Rough Riders - Chrome Cassettes

Reviewed by Elizabeth Klisiewicz

Many people (although not me, sadly) are familiar with Daniel Wylie’s early foray with the Cosmic Rough Riders, the celebrated album "Enjoy the Melodic Sunshine". That vaunted album was released on Alan McGee’s short lived Poptones label, and was followed by two top 40 UK singles, an appearance on Top of the Pops, and sold out tours of the UK, Europe, Japan, and the US. Daniel Wylie has reactivated his original band name for this fabulous new release, "Chrome Cassettes". Not only that, but "Enjoy the Melodic Sunshine" has been reissued digitally on November 6th with 25 extra tracks which include the "Deliverance", "Panorama" and "Pure Escapism" albums plus B sides. But let’s focus on this brand new release, which was co-produced by Johnny Smillie and recorded on a shoestring budget.

The album is chock full of power pop, psych, and folk goodness, replete with chiming guitars, stunning harmonies, and all the best elements of these genres that a fan would expect. The opening salvo, “Yesterday’s a Waste of Time” is six and a half minutes of blistering power pop and a searing guitar solo from Johnny Smillie. The beautiful “A Beautiful Sunrise” starts out like a long lost Love song, before meandering into Jose Gonzalez territory, with gorgeously plucked guitar and a sterling vocal. “I’m Out of My Mind” is upbeat, sunshine pop (can anyone say hit?), while “Misty Dreamer” is more downtempo and contemplative. “Dark Forest” slides into your senses, entrancing you with its inviting main melody in waltz tempo. Fuzzed out guitar joins the acoustic guitar and leads you out on a high note. “You’re Predictable” has an in your face melodic punch with a psych backdrop, leading into the Byrdsian pleasure of “Another Wasted Day”. If this is your cup of tea, then you’ll be delighted not only with this song but the entire record. There are hints of many 60s and 70s artists, but Wylie puts an original spin on what could be a tired genre with extremely well-written and played songs, coupled with a really great voice. “Some Great Messages” slips into autumnal folk territory, a realm which Wylie should visit more often as he does this so well. “I Follow You Home” sews together exquisitely crafted melodies with great harmony vocals. “I Should Disappear” closes the album and marries psych folk elements seamlessly together.

All in all, this is a great release that should not be missed by fans of 60s psychedelic and folk music.

Available directly from Daniel via the Cosmic Rough Riders Facebook page, or digitally here.

Elyse Weinberg - Greasepaint Smile

Reviewed by Elizabeth Klisiewicz

Californian folk troubadour Elyse Weinberg has been someting of an underappreciated musical gem until recently. Elyse only released one record under her real name, her self-titled debut album, which hit # 31 on the Billboard charts, prompting an appearance on the Tonight show. Cher even recorded one of Elyse’s songs (“Band of Thieves”) for the 1969 film "Chastity", but the song was mistakenly credited to Sonny. This led to only minor success in the years that followed before Elyse decided to change her name to Cori Bishop.

Fast forward 30 years and the discovery of her music by Andrew Rieger of Elf Power. He brought her music to the attention of important people, and along with that attention came critical acclaim, with bands such as Vetiver and Dinosaur Jr. covering her song “Houses”. And now we have a first ever release of her unreleased 1971 album "Greasepaint Smile". The album was produced by Neil Young’s engineer David Briggs and features a very young Nils Lofgren on guitar. Hearing Elyse’s accomplished singing and playing, very much in the vein of Jefferson Airplane and Fairport Convention with a bit of honky tonk and dancehall vibe, it’s hard to imagine this not being a hit back in the day, had it been released.

There are wonderful songs like the aforementioned “Houses”, where Neil Young plays guitar and where Elyse channels the late Sandy Denny. Or how about “City of the Angels”, which is prime late 60s folk rock with a backing band that almost sounds like CSN? “What You Call It” is more in the confessional, Joni Mitchell vein so prevalent back then, but Elyse rises above it with good lyrics and a hint of blues behind her folk. “It’s Alright to Linger” might well be a lost classic from The Band and has that honky tonk piano I enjoy so much. “Collection Bureau” is a nice slice of bluesy folk with tasteful guitar licks, while “Gospel Ship” trips down the country blues lane frequented by the Stones (“Sweet Virginia”). “Nicodemus” is another fine bluesy number with harmonica and piano tightly winding around Elyse’s husky vocals. The remaining songs, including the title track “Greasepaint Smile” dwell in the same musical vein and underscore what a fine talent this singer/songwriter is. It's great to see this become available finally.

Recommended for all fans of late 60s folk and blues.

Available here (US), and here (UK, EU).

The Sonic Dawn - Perception

Reviewed by Elizabeth Klisiewicz

The Sonic Dawn (formerly The Mind Flowers) is a Copenhagen-based psychedelic blues collective with occasional folk flourishes. They seem to be channeling that cool West Coast sound from the late 60s on their latest Nasoni Records release "Perception", combining obvious Hendrix and Love influences. At least, I am reminded of those groups as I comb through the ten tracks here. They are just shy of being a jam band, but the songs aren’t really long enough (thankfully) to merit that label. Can anyone tell I am not a big fan of jam bands? No matter, what we have here is a really nice example of this genre, with accomplished musicians playing their hearts out.

Opening track “An Easy Heart to Break” has cool, vintage organ and tasty blues licks, while “Lonely Parade” is a blissed out sonic “mind flower”, unfurling as the song progresses, with some licks reminding one of Thievery Corporation. “All the Ghosts I Know” is your standard blues outing, while “The Mustang” is classic garage rock with handclaps, surf guitar, and even a sitar! The band somehow make all these seemingly disparate elements meld together effortlessly. Definitely a standout tune!

“Wild at Heart” starts off in fine spaghetti western form before it morphs into a bluesy stomp. What is cool is that the band dips back into Ennio Morricone territory a few times. “It’s Tomorrow” is a cool tune with a fast moving riff, and I can’t really put a finger on who it reminds me of. But I do appreciate the sonic heat shimmers thrown in, plus the 12-string guitar! “Howlin’ Moon” sounds like its title, and is a well-executed slice of bluesy rock. “Watching Dust Fall” has a special vibe, cool and mysterious and I just love the light cymbal work in the background. “Fading Soul” closes out the album, and this is the tune where the guitar seems influenced by Jimi! Maybe it’s just the feeling I get when I hear music like this more than an actual influence, but the band could do a lot worse than having Hendrix among their musical heroes. I enjoyed this record, and think fans of the genres mentioned herein will as well.

Out late October on lovely, yellow vinyl as well as digitally. Pre-order or stream here:

The Chills - Silver Bullets

Reviewed by Elizabeth Klisiewicz

It’s been nearly two decades since Martin Phillips and his band have released any new music on an international scale, and I am happy to report that the wait was worth it. This is their best album since 1987’s "Brave Words", one of my favorite albums of the past few decades. The album starts off oddly, with the symphonic “Father Time”, which quickly jumps into classic Chills with “Warm Waveform”. I love its almost casual air, with swirling keys and warm guitar lines, paired with Martin’s wonderfully familiar voice. The title track hearkens back to the "Kaleidoscope World" era, with moody organ washes and Martin’s penchant for great lyrical content. “Underwater Wasteland” is the album’s masterpiece, pensive and full of messages about how humans are ruining the planet. As with classics like “Pink Frost”, Martin manages to evoke the same emotional feel as that long ago song, sounding sad and angry all at once. It is easily my favorite track here, with its warm waves of organ, and sentiments I agree with entirely.

“America Says Hello” is another great psych pop song, somewhat political but also filled with the wonders of the world. I really enjoy the ability Martin has to lay down scathing words that are tempered by sumptuous melodies. The band really rocks out on this one as well, revealing themselves to be a tight knit unit. “Liquid Situation” is a short tune, drawing you in just when it ends, leaving the listener wanting for more. “Pyramid Moon” starts off with ominous bass that is softened by chiming keyboards and Martin’s whimsical lyrics. It almost reminds me of a lullabye gone dark! Again, this one is strongly reminiscent of Martin’s very early material, and the band strings it out to an epic eight minutes. I love the subtle way that the drums were recorded here, and also the way the song shifts gears at the five minute mark. “Aurora Corona” follows on in splendid fashion, once again reprising the theme of nature rebelling against mankind. “I Can’t Help You” is pretty and catchy and moves through swiftly, while “Tomboy” swells with lush harmonics. “Molten Gold” is reworked here from their earlier single, and this version is just as swell as the original. Martin’s charmingly accented singing works well throughout this new release, and the entire album is a musical triumph for one of New Zealand’s favorite songsmiths. Look for the band to tour following the album’s release in late October.

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

Shinkiro - Ceremonial Ride

Reviewed by Elizabeth Klisiewicz

Shinkiro is a Barcelona based trio consisting of Arnau Obiols (beats, vox), Tony Laming (strings, vox), and Andres Perez (keys, vox). They released this EP in the summer of 2015, and it only has only just come to my attention. Their brand of psychedelic space rock also has glimmers of Krautrock. Vocals are buried deep on some songs (“The Formula for Eternal Life”), beneath many layers of gauzy keyboards and feel good 60s influenced music. “Winter Dreams” is classic 60s, sun-drenched pop and has a timeless feel. “James Was There” is mostly instrumental with some chanting, reminding me slightly of Black Sun Ensemble. “Daisy Cannot Hear” is pastoral and peaceful, while “Secondary Effect” is more straightforward, pretty psych pop. The title track hearkens back to 70s prog with a dash of space rock thrown in to liven things up. There is a lovely guitar interlude part way through, and a deeply echoing sonic backdrop. Then the song switches gears several more times, drawing the listener through complex loops of sound. The final song “Collapsing” starts off with what sounds like an electronic version of a trumpet, and is then joined by a kaleidoscope of programmed sounds.

This is a mildly experimental psych album from a group of talented musicians. Well worth checking out for fans of any of the genres mentioned herein, and available as a free / name your own price download here: