Heaven’s Gateway Drugs – Rubber Nun

Reviewed by Timothy Ferguson

The first wave of psychedelia that came to flower back in 1967 – the Summer of Love – was amazing. An explosion of something hopeful, idealistic, experimental yet dangerous, and ultimately short lived. It came on like a hand grenade and like the politics of its time, collapsed under the weight of its own excesses. But like a flower, it was merely a beautiful device for its own replication and continuation. The seeds were cast to the winds of time.

Flash forward 50 years, and we find ourselves smack dab in the middle of the third generation of psychedelia. The seeds scattered by the wind those many years ago are still blooming, with new and unique flowers exploding in unexpected places. Picture yourself in a boat on a river, well maybe not a river, but instead the small Midwestern city of Ft. Wayne, Indiana. This is the hometown of the exceptional, sometimes sinister, but consistently entertaining Heaven’s Gateway Drugs.

On their third full length record, "Rubber Nun" (Dizzybird Records) Heaven's Gateway Drugs blend Syd Barrett’s dollhouse darkness with equal measures of clever lyricism, catchy melody and just enough weirdness to evoke that morning-after- a-trip feeling of ‘did that really just happen’?

"Thee Heathen Twist" kicks off this new collection, pulsing its eerie little heart out and setting the pace. "Copper Hill" follows with a nearly pinched Warlocks riff, but quickly establishes itself and what the Drugs do best – sing-song melodies swirling around a smoky room, drums bashing about and pulling you forward. “It’s all Fun & Games, until you get hurt”, indeed. And there’s always that thought in the back of your mind. You’re at a party where you don’t really know anyone, you’re not sure how long you’ve been here, or even how you arrived. It’s that exact mood that Heaven’s Gateway Drugs have an amazing knack for creating. It’s at once alienating and inviting, a series of doors, constantly opening themselves to the listener, but perhaps masking something secret. Is it sinister purpose or just a madcap lark – having a bit of fun with a stranger? There’s only one way to find out.

Title track "Rubber Nun" continues it’s double entendre game – "fake plastic gun/ melt in the sun/ I still got mine/ my Rubber Nun/ life on the run/ isn’t it fun?" These dudes are definitely fucking with me. "Dear Charolotte" feels like something Barrett might have written if he didn’t go quite so far off track. "The Horrible Tale of Edwin Crisp" and "Only Child" only solidify the lyricism. "Knowing" marches and stomps then dissolves into a dreamy coda, setting up the rocker "Utah Spirit Baby". By the time we reach the closer "War With June", the sky is starting to lighten and the shadows of the night before have transformed back into familiar figures. Dark figurines return to non-menacing shapes and the fun house doors open to bid you farewell.

Some drugs can cure, some can drive you mad. What you bring to the party is up to you. With "Rubber Nun", Heaven’s Gateway Drugs offer a darkly disorienting experience, but one I would definitely prescribe.

The Luck of Eden Hall – The Acceleration of Time

Reviewed by Timothy Ferguson

I’ve been a long time in putting this review together, as "The Acceleration of Time" was released by The Luck of Eden Hall way back in April. Perhaps it is apropos that a record so obsessed with time should be reviewed only after the reviewer has given this collection of songs the time it so richly deserves.

There should be no need to introduce you to The Luck of Eden Hall. After all, they’ve been around for a long, long time (time again), diligently producing album after album of premium grade psychedelic pop. Popping up again and again on those juicy Fruits de Mer compilations, now appearing on soundtracks and in Record Collector magazines. Always solid, always producing much more than mere perfect songs, but solid and well-crafted works of art. If there’s a dud in the cannon, this reviewer sure hasn’t heard it, and I’ve had my eye (and ear) on these cats since Pumpkins were mere sprouts and the Chicago scene was the last unspoiled hunting ground for a music industry that never had a clue.

However, if this IS your first foray into the work of The Luck of Eden Hall, you’ve certainly joined the party at a high point. On "The Acceleration of Time", the band goes from strength to strength, serving up their unique brand of psychedelia that features flashes of power pop adrenaline, prog virtuosity and plenty of :Lucy in the Sky..." flower power imagery. The instrumentation is confident and pristine, with not a note out of place. Best of all, LoEH write SONGS. This is no echo drone phoned-in formula psych. Instead you get verses, choruses, hooks, clever turns of phrase and actual sonic stories. This is purpose over Prozac; psychedelia for the thinking man.

"The Acceleration of Time" is an ambitious 15 song double album, and it may be the crown jewel in The Luck of Eden Hall's already accomplished recording career. Time is obviously a concern, and a growing one for The Luck of Eden Hall, as the songs on this impressive collection are haunted by the pursuit of the second hand. Throughout the work, clocks tick, bells chime, reminding us again and again that we are being pursued by our own mortality. How many songs do we have left in us? How much time is left on the scoreboard?

Kicking off with "Slow and Blown to Kingdom Come", fans will recognize the touchstone elements that make The Luck of Eden Hall sound so unique. Greg Curvey’s multi-headed hydra of guitars that crunch and bite or soar and attack like a psychedelic cobra, drumming by Carlos Mendoza that could hold it’s own against an artillery barrage, Mark Lofgren’s melodic yet precise bass guitar lines that add rhythmic sinew and bone and that amazing melotron washing color onto everything it touches, courtesy of Jim Licka.

"A Procession of Marshmallow Soldiers Across the Clockwork Pudding" has to win some sort of award for best song title of the year. This instrumental is the first of several, and serves as a beautiful counterpoint to the clockwork precision of the poppy openers. Although Curvey carries the lion’s share of songwriting credits on this release, Lofgren’s title track "The Acceleration of Time" is a gem, and could be a lost Eno track from "Taking Tiger Mountain by Strategy". His other contributions to this masterwork are equally spectacular, my favorite probably being "Only Robots Can Search the Deep Ocean Floor".

One of the best things about this record is how well it works as a front to back concept record. It also works as a collection of greatest hits (if one can do that on a single collection of songs from the same record). Fans of the Shuffle feature will revel at "The Acceleration of Time", as there is no way to mix this up in a way that doesn’t work. Time may move in a linear direction, but the Luck of Eden Hall have fashioned a 77-minute wormhole of a record. Rockers are paced by haunting lullabies, pop gems give way to lush instrumentals and the whole thing is well paced, hypnotic and dreamlike.

Sometimes a reviewer gets a record that is love at first sight. And like love that is more passion-based, those glowing Spring feelings may wane with the passing of time. I’m glad that I gave this record such a long gestation period before penning this review. Time itself has served as a proving ground for the intelligence, wit and depth of this sterling effort. Some loves are meant to withstand the test of Time.

Best record of 2016.

Constantine – Day of Light

Reviewed by Timothy Ferguson

I know many independent musicians who feel it necessary to comply with some bizarre schedule and release records every year. I would argue that by doing so, one can place limitations on one’s own creativity and the quality of recorded material.

With the release of "Day of Light", Constantine Hastalis has offered up an impressive counter argument to this industry-approved schedule. Painstakingly recorded, mixed and mastered over a four-year period, "Day of Light" is a fine example of what an artist can achieve when they take their time. No detail is insignificant, no syllable is beyond scrutiny; because in the end, if the vision is true, the result will justify the means.

"Day of Light" is a triumph of the modern recording process and proof positive that psychedelia can be elevated to high (no pun intended) art. From song craft to performance, through arrangement and production, "Day of Light" shines with crystalline perfection. Acid folk seems too shabby a category to assign to this record, because this is something altogether different. Instrumentation includes flute, tabla, melotron, bouzouki, vibraphone, autoharp, piccolo, harpsichord and many others. With such a rich sonic palette to work from, Constantine has crafted nothing short of a psychedelic masterpiece that stands on par and in league with Love’s "Forever Changes, The Zombies’ "Odyssey and Oracle" and Pretty Things’ "SF Sorrow".

The opening track, "(Into the Land) That Time Forgot", is a portal, similar to Alice’s rabbit hole, to a dimension where 60’s innocence still lives, where the listener can return to a place of hope that no longer exists in the waking world (but could). "The Trip (pts I & II)" follows with its subtle jazzy swing and clear-eyed warning that the listener is not in Kansas anymore. This song perfectly captures the psychedelic experience as well as the experience of listening to "Day of Light". You have entered a place of magic and beauty and no matter the outcome, you may be changed forever. "Egyptian Days" veers eastward, through the valley of good and evil, as bouzouki and sitar shine through the smoke of incense and jasmine. With "Song of the Seven Willows" and "On Through the Ages", we time shift to medieval England, where the lovely Jennifer Williams casts her siren voice through the mists of Avalon. "Voyage of the Crystal Bird" and "Forest Path" shimmer with flute and swirling vocals, further strengthening the power of this sonic journey. When we finally reach the penultimate song "Rania", the haze clears and we are left standing at the core of the dream, ready to be swept away to our destiny. This song is a true tour de force, full of power, beauty and magic, and you will want it to go on forever.

"Day of Light" closes this magnificent record with a question mark, and not the exclamation point some might have hoped for. ‘The sun goes down, the day has vanished” sings Constantine as our journey comes to an end, but he offers the following benediction:

The day of light, the day the trees grew from the earth
The day of light, the day of death and the day of birth
The day of light, the day of love and the day of hate
The day of light, of destruction and create
The day of light, the day of beauty and the day of sin
The day of light, of the power of the light within.

The dream is over, but the power of that dream is within us now. What will we do with it? Personally, I will spread the word about this essential record and hope that it inspires my fellow musicians to always reach much higher. We only have one life after all, one single day of light. Make it count.

The first vinyl pressing of "Day of Light" has sold out, but a second pressing from Greece will be available summer of 2016, and pre-orders are being taken now on the artist's BandCamp page. Eye Vybe Records has released Day of Light on cassette and a digital version is for sale via the URL below:

Album Review: Heaven’s Gateway Drugs "Apropos"

Reviewed by Timothy Ferguson (The Red Plastic Buddha)

As a practitioner and a fan of psychedelic music I am simply blown away by the reach and variety of our current psychedelic cosmos. What for most of my lifetime was a dormant seed of a musical genre, is now a vast and wondrous garden of psychotropic sonic delights. In this current golden age, one might rightly expect such historical bastions as San Francisco and Austin, Texas to be represented. But when you see a small Midwest city such as Ft. Wayne, Indiana throwing down in decided style – you know those seeds planted long ago were sown far and wide.

If you’re not aware of Heaven’s Gateway Drugs, consider yourself late to an awesome party. The band has just released their second record, "Apropos", and it’s a wonderful follow up to 2013’s "You Are Heaven’s Gateway Drugs".

On "Apropos", the band has a wonderful knack for blending both their influences and dark and light elements into a wonderful sonic trip that is at once strange and familiar. The best psychedelic music is timeless, not beholden to any stylistic rule, and Heaven’s Gateway Drugs completely understand this. The songs are at turns creepy, swinging, insanely melodic, well-crafted, innocent and perhaps even a little dangerous.

On the opening track "Read Between the Lines", Derek Mauger sounds a bit like a carnival barker welcoming us to his paisley circus. I’m a huge fan of vocal melody and I love the singsong quality of this opener. "Gone to Ground" follows up with a sinister vibe and one can’t help but be impressed with the production as the "Kashmir"-like guitar starts its ascent on the outro section. Title track "Apropos" is a great single and an excellent calling card for the group. Blending catchy with a certain subtle creepy, this level of psych pop tunefulness reminds me of what would happen if Syd Barrett took on the riff from "Ballroom Blitz". "Love/ Hate" follows with a bit of a down tempo feel that ends in a melotron swell and repeated verse. Tempo shifts again for the ever-catchy "Underwater." You’ll swear you’re at a Los Angeles party some summer night in 1968, having drinks while the West Coast Pop Art Experimental Band jams in the other room. The excellent "Six Steps" is next and that singsong vocal melody is back, riding the strutting rhythm section and a strumming guitar that sounds like an alarm clock warning you of something gone wrong. ‘When I walk away, I’ll take six steps back from you’. "Secrets" is maybe my favorite song on the record, reminding me very much of Arthur Lee and Love at their most together. 12-string guitars and reverbed drums create a beautiful mood piece. "What it’s Like to Die" is the penultimate song and it bops along with a near surf party feel. The record closes strong with "Fall Back Down Again", a triumphant crescendo of psych pop perfection that forms a perfect closer for this terrific record.

Heaven’s Gateway Drugs are the kind of band that every writer likes to take on, as they are still a bit obscure. But their music is so strong, so good that one simply cannot wait to share them with their friends. I’ve done my part – now you do yours.

Ladies and gentlemen – Heaven’s Gateway Drugs. ‘It’s so apropos.’

CD, download and full stream here:

Album Review: Plastic Crimewave Syndicate "The Golden Cage"

Reviewed by Timothy Ferguson (The Red Plastic Buddha)

If you pair the words ‘psychedelic’ and ‘Chicago’ to most serious psychedelic music fans, it won’t be Secret Colours or The Luck of Eden Hall that they think of. It will be Plastic Crimewave Sound. Formed in 1995, Steven Krakow’s dark sonic vision was a lo-fi maelstrom of distortion, thundering grooves and unintelligible vocals, alternately howling and menacing along in a reverb and delay-soaked freak out. Although not the kind of band that finds easy acceptance with the keepers of airplay, their distinctive space punk sound spawned a host of imitators and a legion of fans.

Over the years, the original incarnation morphed, shifted and finally disbanded in 2012. Fortunately Krakow (who goes by the name Plastic Crimewave) has kept the mission alive and moving forward, now as the newly christened and re-energized Plastic Crimewave Syndicate.

PCS features Krakow on guitar and vocals and boasts one of Chicago’s best rhythm sections, Anjru Kettering on bass and Karissa Talanian on drums and includes the lovely Dawn Aquarius on keyboards. On their debut release "The Golden Cage" (recorded by Ray Donato and YT Robinson of Chicago’s excellent Dark Fog), the band is joined by guests Bobbie and Jon Seagroatt (Comus) on vocal and sax, Kathleen Baird on flute and Whitney Johnson (Verma) on viola.

"The Golden Cage" hits the clouds running with "Reign Drive", a thumping little tribal piece that serves as a nice calling card for the new rhythm section. I’ve seen PCS open performances with this one and it always gets things moving. Fans of Wooden Shjips or Moon Duo will appreciate the pulsing groove established here.

"Floating Tomb" puts me in mind of a darker Assemble Head in Sunburst Sound, but Crimewave isn’t afraid to stretch a song out to its logical conclusion – six plus minutes later. The cosmic dirge of "Nagshead" follows with a dark air that carries the listener through landscapes of illusion and madness.

"Unblinking Orb" continues the trip, riding maybe the records most infectious groove. At some point, I became aware of some really nice panning guitar, seemingly mixed to match my head that was involuntarily nodding up and down. It was at this point in the record that I realized this was music was inside my head.

Perfect timing for the closer and title track "Golden Cage" to float into the room, like the true message that comes late in the experience. A steady droning guitar creates a home for the siren song female voices. The drums roll like distant thunder and viola opens the sky for a brief moment. The vocals are delivered as a spoken word piece and the fragments that break through the music offer a condemnation of the glittery cage in which modern man resides. This could be what the Velvets were aiming for with "European Sun", but this is a better-realized piece. In my opinion, "Golden Cage" is one of the best things the band (in any of its incarnations) has ever done. Eleven plus minutes feels hardly long enough.

Fans of Hawkwind, Can or any of the groups name-dropped above will find this latest Plastic Crimewave a welcome addition to their stoner rock collection. You can pick up "The Golden Cage" on cassette only for now (Priority Male) but expect to see this fine debut on vinyl (Prophase) in early 2015.

You can also stream several tracks below, which can also be purchased digitally.

Album Reviews: The Red Plastic Buddha "Songs For Mara"

Reviewed by Nathan Ford

Today I've got a release that is very near and dear to me : the latest album from The Red Plastic Buddha, the chief protagonist of which (Tim Ferguson) is a scribe on this very site. This being the case, I've delayed writing this review endlessly, fearing that I would struggle to remain impartial, but screw that; I asked Tim to write for me because he has excellent taste and because I enjoy the music that he creates, so it seems ridiculous that those very qualities should stop him being featured here.

"Songs For Mara" is the third album from Chicago's Red Plastic Buddha. I'll assume that you're not familiar with their first two albums, and if that is the case, you certainly should rectify that ASAP- they're excellent. Squarely centred in neo-psychedelic territory, the current line-up of the Red Plastic Buddha have a far gutsier, and much more layered sound than the recorded output from previous line-ups suggests that they had, and the added muscle suits their sound very well.

Ferguson's songs are laced with hooks, and those hooks often betray the influence of other genres, particularly "She's An Alien" and "A Girl Like You", which have glam and new wave undercurrents lurking underneath their shiny, neo-psych exteriors, with Bowieish tendencies surfacing elsewhere on the album too, notably on "Being Human". This willingness to embrace lessons learned from other genres gives Ferguson and his fellow travelers a much broader palette to paint from, and "Songs For Mara" is all the better because of it.

Don't worry - there are some nice vintage psych touches too, in the shape of some really nice mellotron, and intricate, Manzarekian organ work, which shines whenever it's given centre stage. The guitar work (some of which is courtesy of The Luck of Eden Hall's Gregory Curvey, who also provided the sleeve - clever boy!), sizzles, whether it's creating a rich latticework of textures, soaring elegantly or being subjected to ridiculous levels of whammy abuse (as heard on the garagey standout "Stuck On Zero).

Overall "Songs For Mara"shows nicely that modern psychedelia need not be a rehash of past glories, and by embracing the present as well as the past, it fits smoothly into a lineage of excellent neo-psychedelic albums stretching back to the Church's "Heyday" and beyond.

You can stream the whole album and buy it digitally below. CD and vinyl release to come in the future I'm told.

Frantic Chant "Ride it Like a Shark"

Reviewed by Timothy Ferguson (The Red Plastic Buddha)

Sometimes I get an assignment that completely knocks me out of the saddle. There are SO many great bands out there, that no matter how dedicated one is to the search for quality music, you’re bound to miss some giants.

Such was the case for me when stumbling over Edinburgh Scotland’s Frantic Chant. "Ride it Like a Shark" is their sixth full length record, and is an amazing and full listening experience. Expertly produced, with solid song-craft matching perfectly with sonic sheen. Instruments are effected, gated or transformed into organic beasts from another dimension, blending perfectly with melody and color into sentient beings with lives and histories all their own. Part Lovetones, part High Dials, Frantic Chant delivers an altogether new experience. This is magic.

The first thing you’d notice about this band is that they do not follow pop music convention, although they certainly have an extremely radio-friendly sound. Songs serve as setups and introductions for the next, one sound concept flows into the next and there is a very much big-picture concept going on at all times. Although it’s certainly possible (and desirable) to pluck single songs out to hear on their own, listening to Frantic Chant records as entire pieces is the optimal way of approaching them.

"Ride it Like a Shark" starts off with a spoken word piece "The Meditation Garden", full of orchestral underpinnings and paranoia. “I’m in trouble, because I know too much”, this final sentence leads us into the eleven plus minutes of groove pop majesty - "The March of the Electric Hands". Most bands wouldn’t have a clue as to how to handle eleven minutes of sonic space, wandering off into wankery or losing the integrity of the tune in drone or groove, but Frantic Chant shows early that they have this thing sorted. There’s a real confidence in their sound, and the enchanted listener can’t help but ride along.

The lovely arpeggiating guitar of "Great Orators of the Public Houses" blends effortlessly into "Heavy Delusions (Parts 1 & 4)". At this point you’ll notice that Frantic Chant has no pretentions about fitting into one genre or another. They’re not sitting there in the studio with vintage gear saying ‘this fits, this doesn’t’. Quite the contrary, they are making full use of sounds, from every era available, to create an intricate tapestry of sound. There is a great sense of care being given to every detail, and this is a listening experience that demands your attention.

"The Hit" is a highpoint in a series of highpoints. We’re trekking the sonic equivalent of the Alps, though, so there are no comedowns in quality, only beautiful places to rest and reflect. "Surf Draft (Uproar at the Hipster’s Convention)" channels early Dandy Warhols, and coasts seamlessly into "What Lies Beyond". "Higher Than Arthur’s Seat" is a soaring gem and the title track "Ride it Like a Shark" delivers more lyrical psychedelic imagery than ten acres of Strawberry Fields.

The journey finally ends with the coda "Broken Biscuit Head," chock-a-block full of backwards masking, reverb soaked vocals and a sweet farewell to a perfect dream. The repeating final verse ‘I’m not high enough’ seems like a challenge not only to the listener, but also to the band. Despite the opus they’ve created here, the path leads onward.

Frantic Chant will return and I will be waiting to take that ride again.

Slow Motion Rider "Slow Motion Rider"

Reviewed by Tim Ferguson (The Red Plastic Buddha)

Slow Motion Rider hail from Los Angeles and there is a definite Californian quality to their blistering stoner rock vibe. This is not the sunny surfer sound of the Beach Boys or any of that Laurel Canyon, hippy folk crowd. This is the sound of blasting through the desert at night in a black primered Chevelle - blind drunk and raging on amphetamines and something evil the biker dude claimed was cocaine. This is the sound of consciousness strobing, served up with blurred vision and the smell of gasoline.

"Hold Your Hand Out to the Sun" kicks off the dream and to my ears, I feel like I’m entering into a story already in progress. Walls of guitars and bass establish a groove and serve as a perfect introduction. "I Can’t Feel Anymore" (with its fuzz bass and reverbed up guitar and vocals) rides a Hammond B3 chord into inner space. By the time they get to the guitar solo outro, I’m sold.

"Ride You Purple" (nice, Alan) lives up to its title and slinks along in its denim and leather majesty, suggesting Blue Cheer at times and setting the table for the Hendrix inspired "Love Will Find a Way". One can almost see brother Jimi stepping right into this song at any moment to take his solo. The Hendrix vibe is even stronger in "Wondered Why", but the band wisely brings the pace down for the excellent "Destination Nowhere".

"You’ll Never Know" is my bet for best track played live. The song has an awesome driving beat and the energy that throbs along in earlier songs finally has a chance to get out into the mosh pit. "The Key" is ushered in with a surprising mellotron, which works incredibly well to set up the big guitars and echoed out vocals of the chorus of the song.

"I Like The Way You Look" has a very late night feel to it. The staccato kick drum and arpeggiating guitar create an almost mournful feeling for another night lost to the abyss. "The Kids Ain’t Got No Soul" closes out this fine debut, and it’s a fitting exclamation point on this long day’s journey into night.

Stoner rock is one of the most overdone sub genres of psychedelic music. It’s a guitarists dream, but too many bands forget that all the wanking in the world won’t cover up poorly crafted songs. Thankfully, Alan Stone and company learned that lesson long before taking us on this trip. This is stoner rock done RIGHT.

I have to give credit to the Committee to Keep Music Evil. They’ve scored another direct hit with the addition of Slow Motion Rider to their roster.

Available directly from The Committee to Keep Music Evil.

Three Dimensional Tanx

Reviewed by Timothy Ferguson (The Red Plastic Buddha)

Hailing from Lancaster, UK, the fabulous Three Dimensional Tanx are back with their first proper release since 2011’s "Archive". Long revered for their incendiary live performances, Three Dimentional Tanx have a sound that is the essence of garage psychedelia, a heady mixture of freak out and manic energy delivered via a kick ass rhythm section, lysergic wah wah guitars, krautrock synths/ 60s organ and a lead singer who may very well have lost his mind. If you need comparisons, try early Who or Sonics dropping cheap speedy acid with the Television Personalities. No, on second thought, that doesn’t even come close. These guys are great.

Boasting a new five-piece lineup, the Tanx waste no time leaving the launch pad as opening number "I Am Go" explodes in a vintage Philacorda keyboard fury. The Tanx drop back a pace for "Caterpillar", a confident vintage groove piece. The cleverly titled "Loose Id Syd" follows, and you start to get a feel for one of the strengths of this band. They completely get the concept of pacing.

"Here Come the Flies" is a menacing, pacing rocker that John Lydon wishes he wrote. "Canned Beat" would have fit well on the Feelies "Crazy Rhythms", and "King of the Country" starts building the energy for which the Tanx are famous. "Backwards Telescope" has the listener yo-yoing through a sonic black hole, and "Clark’s Momentum" is a synth and drum-machine fun house that slowly builds in intensity, but never once loses its groove.

The final song, "Canned Beat (Reprise)" is vintage Three Dimensional Tanx. Beginning with front man Spacey Tanx performing a Zombie-like hymn, then unleashing the full band in blitzkrieg mode to finish the song and put an exclamation point on one hell of a record.

From the beginning, Three Dimensional Tanx were born and bred to play live, and to absolutely knock the bottom out of any stage they take. There are a lot of bands that record absolutely amazing records but are as boring as piss live. There are still others who are brilliant live but who can’t quite capture their live intensity on record. Three Dimensional Tanx are a band that has mastered the most difficult form of musical cross-training – being able to light your hair on fire by performing live or via your home stereo speakers.

These guys have a great reputation all over the UK, and I’m hoping that this new record gets them the international attention (hello Austin Psych Fest ) that they truly deserve.

Available here on CD or digitally.

Editor's note: We'd also like to make it known that Sunstone Records have a limited edition 7" of "I Am Go" and "Loose Id Syd" for those of you who prefer the vinyl side of things.
You can order that directly from Sunstone Records.

Hurricane Heart Attacks "Happiness Revisited"

Reviewed by Timothy Ferguson

From their name alone, you might guess that Hurricane Heart Attacks would sound like modern psych giants the Warlocks. Although I know HHA leader Jota Humada is a huge fan of the LA based Warlocks, admiration seems to be where he draws the line.

Happiness Revisited is the second Hurricane Heart Attacks release, following the sterling debut "Hurricane Love" (2011). Where the Warlocks offer a darker worldview, where grey skies prevail and hope dies a lonely death every Saturday night, Hurricane Heart Attacks feel more and more like spiritual salvation.

Indeed, the opening track from "Happiness Revisited", "Reverend C. L. Franklin’s Prayer Hymn" wastes no time in drawing that distinction. Every time I listen to this CD, I feel like I’m waking up in church after another debauched night. There is a sincerity and steadfastness in this opening that has a palliative effect, cleansing away the cynicism of the night before. Here you are safe. Here you are loved. Here you are good again.

When title track "Happiness Revisited" hits you, with it’s beautiful chiming guitars, church organ, big bass guitar and thundering drums, it’s what I imagine the house band in heaven is going to sound like. This is sincere. This is real.

Putting Hurricane Heart Attacks in a box is a difficult task. Is this neo-psychedelia? Maybe. There’s a definite 60s vibe at work here, but drawing comparisons seems a difficult task, made silly by tossing around the typical reference points. Their music seems more influenced by folk psych, and takes a more natural approach. Hurricane Heart Attacks don’t need to fool your mind with a ton of effects or studio tricks. They come at you with an honest sound that is spiritual and pure – like a mantra. Part Stevenson Ranch Davidians, part Dolly Rocker Movement, but in reality, a very unique and wonderful sound all their own.

Whenever the excesses of modern psychedelia (or modern life, for that matter) get you down, give yourself over to Buenos Aires’ beloved sonic export Hurricane Heart Attacks. They will set you right.
 

Habibi

Reviewed By Timothy Ferguson

With so many bands popping up all the time, I really hope I can be forgiven for having never heard of Habibi before accepting this assignment. Led by the Detroit born duo Rahill Jamalifard and Lenny Lynch, this Brooklyn based quartet is a refreshing and whip-smart re-tooling of the classic girl group concept. It’s a very mid-60s sound, with surf beats, reverb in just the right amounts, cool vocal harmonies, and sing along choruses.

I think we’re all intrigued by the girl group. Pretty young women playing electric guitars, wearing leather jackets and boots? Well, of COURSE I’m going to give them a listen. Habibi check all the right boxes, but there is much more to them than just the highly appealing physical image.

Opening track "Far From Right" sets the mood for the rest of the record, and it’s a standout track on a record FULL of standout tracks. This is also the song where the Detroit influence comes through strongest. "Sunsets" is a particular fave, with perfect harmony vocals and even a catchy little chorus complete with the call and response ‘his name was Joe’. "Sweetest Talk" is a groovy little surf number. "She Comes Along" strikes me as a bittersweet lullaby. The main arpeggiating guitar gives way to a perfect guitar lead with perhaps a slight Middle-East influence. The driving "Siin" has an almost Joy Division energy to it, but it’s an energy born less of angst and more of heartbreaking sexuality. ‘If he hurts me slow, I’m going to let him go’. "Tomboy" is a very self-aware choice for the band, and one that really works. Here, Habibi really reminds me of the Marine Girls, made ten times better because Habibi are far better musicians. The album closes with "Wrong to the Right People", an excellent closing track that leaves me wanting more. Again, smart.

Songs are hooky, well crafted and clever, with intelligent lyrics, flawless vocals and understated yet period-perfect instrumentation. Don’t expect blazing guitar solos or any single musician putting themselves before the integrity or the mood of the song. In this age where the typical music consumer is served up a tasting menu via the shuffle feature, Habibi has figured out the value of making every song a potential single. There is absolutely zero filler here, and each song is strong enough to stand on its own.

Habibi has been around since 2011, but I think they are only now getting their legs under them. Their recent trip to SxSW opened eyes and ears, I’m sure, so I am hopeful that they will soon be getting more opportunities to tour and record. If you’re a fan of smart pop groups with a 60s flavor, you are really, really, REALLY going to fall in love with these young ladies.

Available from Burger Records.

The Warlocks "Skull Worship" Review

Reviewed by Timothy Ferguson

"Skull Worship" has been on my personal radar since seeing the band blow the lid off the Levitation Tent at Austin Psych Fest in April of last year. The opening track "Dead Generation" was one of the highlights of their set and I simply jumped at the chance to review this record.
The Warlocks have been one of the bands leading the neo-psych revolution since their self-titled first record in 2000. Despite an ever-changing lineup, chief Warlock Bobby Hecksher has maintained a constant upward path, with each release building on the strength of the previous and never slipping an inch. This consistency in quality despite such a chaotic inner circle is as much a testament to both Hecksher’s song craft as his gift for managing personnel and maintaining a consistent vision. And that vision is indeed a dark one.
Since the LSD drenched pop of "The Phoenix Album" of 2002, Hecksher and company has been following a more dangerous path, begun with the release of "Surgery" in 2005. The subsequent "Heavy Deavy Skull Lover" (2007) and "The Mirror Explodes" (2009) seem to have been leading up to the dark majesty of "Skull Worship". In this, the form seems to have finally been perfected.
"Skull Worship" is a mournful, droning epitaph of a record full of broken glass and broken hearts, the soundtrack for a land where the pale sun only rarely illuminates a slate colored sky. Multiple guitar tracks layer one upon the other, like oils in the portrait of a dying man. From the aforementioned "Dead Generation", the band moves from one dark dream to the next.
"Chameleon" comes on like a persistent memory of personal disaster, with it’s pounding toms and hornet-in-the-ear guitar. Organ and bass introduce "Endless Drops" and give way to huge walls of guitar. "Silver & Plastic" paces through with the help of acoustic guitar and viola. "He Looks Good in Space" utilizes mellotron and synths and serves as a perfect lead in to the guitar overdose of "You’ve Changed". "It’s a Hard Fall" follows with its refrain of “You’re sick, when I need you. You’re sick.” "Eyes Jam", the final song, is a backwards-masked drone reminiscent of Spacemen 3 by way of the Velvet Underground. It completes this dark journey, but somehow leaves one with the impression of the darkness retreating back into the void, or the feeling of having survived the dark subway journey and of climbing that long staircase once more into the light of day.
Throughout "Skull Worship", Hecksher’s frail vocal seems like at any moment it could break. Instead he perseveres, which is probably the message The Warlocks would wish to impart. We live in a world that is sometimes shrouded in darkness, but we somehow get through. Maybe the purpose of art is to give us an understanding, or a tincture of the void so that we might grow accustomed to it, and in so doing lose our fear.
The Warlocks dark vision is a glimpse into madness and despair, but one that leaves us somehow stronger for having taken the journey. Highest recommendation.

"Skull Worship" is available on vinyl, digital, or CD.

The Hawklords "Dream" Review

Reviewed by Timothy Ferguson

We are currently experiencing an embarrassment of riches, we fans of all things Hawkwind. Currently there are two versions of the legendary space rockers touring and the late Robert Calvert’s spin-off Hawklords have just released a new record called "Dream". Hell, it’s 2014. This must be a dream.
Since the passing of Mr. Calvert in 1988, many were surprised to see the Hawklords brand reincarnate, with Martin Bainbridge, Ron Tree, Adrian Shaw & Co. bringing the band back to life with the release of "We Are One" (2012). Maybe one of the things that always frustrated me about Hawkwind (the constant turn over of members) has finally turned out to be a real strength. After all the incarnations/ reincarnations of the group and spin offs there are now a league of former members who can step in to fill roles. Perhaps Hawkwind (or for this review) / Hawklords have become a self-perpetuating entity.
"Dream" is an interesting record, and I think it carries on quite nicely from the original Hawklords sound (1978’s "25 Years On"). This is not the heavy, chugging freak-out space rock of Hawkwind, but more of the shorter form, space prog pop that the original ‘Lords specialized in. Although they are definitely related, one must see the Hawklords as a separate entity, because they always were.
Right out of the gate, "Dream" impresses with the song "Dream a Dream"; whirling sound waves give way to acoustic guitars and Bainbridge’s melodic bass lines on a song that is a perfect primer for the record. There’s that sonic space gloss that comes with the best moments of all things Hawk, but Hawklords provide this in more bite sized, melodic packages. "I.D. Man" recalls such Hawkwind classics as "Urban Guerilla" or even "Days of the Underground" and seems a fitting, if not conscious tribute to the late Mr. Calvert.
"DNA", with it’s lovely violin and acoustic arpeggio-laden melody lays a foundation for lyrics that suggest a requiem for our modern culture. This is in fact a recurring theme on "Dream". Songs like "Nature’s Dance", "White Rag" and "Psychic Eyes" follow this message of a world growing weary with mankind.
Overall, there is a pervading sense of melancholy on "Dream". Perhaps it is the hindsight of a group of songwriters who began their mission in the hopeful times of the late 60s, finding those dreams of a spiritual rebirth left unfulfilled. There is something comforting to me in having the Hawklords back, and in having Hawkwind continuing to blaze along, full of sonic attack and personal recrimination. The fact that these guys were never as big as they should have been is a testament to the frailty, joy and pride of humankind. I’m glad I live in an age when aging rockers are still our best spokesmen. Long live Hawkwind. Long live Hawklords.

"Dream" is available here.

Lord Buffalo "Mene Mene Tekel Upharsin/ Black Mesa" Review

Reviewed by Timothy Ferguson (The Red Plastic Buddha)

A new group from Austin, Lord Buffalo, has a new 7” out on Black Castle Collective.
Unlike many of the neo psych groups hailing from Austin, these fellows compliment the standard instrumentation of guitar, bass, keys and drums with a more folk- friendly selection of instruments (banjo, pedal steel and violin). The result is a more cinematic listening experience. Maybe it’s a Texas thing, but this is the sound of huge vistas, big skies and the vast emptiness in the pit of a condemned man’s soul.
The two songs on their new single are called "Mene Mene Tekel Upharsin" and "Black Mesa"
Comparing this to the groups 2012 EP, the new single seems a far more concentrated affair. Although their sound certainly still evokes dark desert nights, there’s something less personal in the intent of the new material. It’s like the sun is rising at long last and the introspection of the previous songs has turned outward to face the coming battle.
The title "Mene Mene Tekely Upharsin" comes from the Book of Daniel in the Bible, referencing the message written on the palace wall the night Babylon fell. There is a definite sense of foreboding here, delivered over a pounding war dance rhythm. In the words of singer Daniel Jesse Pruitt, the song is about that moment of no going back, when “the shit’s about to get real”. One might get a sense of The Black Angels here, but the sound feels far removed from the new lords of psychedelia. Perhaps that is a result of the band focusing on creating moods based on live performances and short form releases. Both the EP and this new single have consistent themes running throughout and have no problems standing on their own merits.
On the B-side, "Black Mesa", Pruitt’s Bono-esque vocal delivery is complimented by a very unexpected violin and slide guitar sweep that (oddly enough) reminds me of Gordon Lightfoot’s "Wreck of the Edmund Fitzgerald" or even something Celtic in origin. It seems odd to reference both the U2 front man and the Canadian troubadour Lightfoot in the review of a talented modern band, but I think that the fact that Lord Buffalo even suggests these two sounds is a testament to their strength and potential. There’s a definite intelligence and courage to this music, and I for one am encouraged for their future.

Available as a 7" or digital download here:

The Orange Drop "Catharsis" Review

Reviewed By Timothy Ferguson (The Red Plastic Buddha)

Hailing from Philadelphia, the launching pad for many great neo-psych groups, we now get The Orange Drop. This band is the soul-child of Marc-Andre Basile, whom you’ll remember from his stint as the bass guitarist in the wonderful House of Fire. The new record is called "Catharsis", a wonderful and introspective ten song effort that blends dreamy psychedelia with some darker, acid-laced sounds of the sixties.
The well-named "Catharsis" suggests a very personal record, and there’s a softness and introspective quality that often comes through. Washed out effects predominate the vocals, but there’s just enough there to give you a sense of earnest longing and heartfelt passion. Acoustic guitars lay a foundation for this dream-induced approach to vocal takes, and when the organs and electric guitars come in, the end result is a very evocative experience – like wandering the streets of Paris with a head full of mushrooms.
Brian Jonestown fans (particularly the early records like "Methodrone" and "Take it From the Man") should appreciate The Orange Drop’s approach that is at once lo-fi and polished. If this is garage rock, it was made in a garage that conceals an amateur LSD lab. There’s a definite feeling of late sixties California here as well, and even during the moments of darkness ("Mind Honey", "Soul Cleanser") there is always a sense of distorted sunshine getting through.
Stand out tracks include the brilliant "Ginger Girl" (with its wah guitar solo / outro that I want to go on for the rest of my life), "Qui es-tu?", "Marshmallow Fluff" and "Soul Damage". There is also a rocking little number called "Shotgun Alley", featuring the vocals of Lara Allen that breaks the mood a bit, but stills feels very much of a piece. Perhaps my favorite song on the record is "More Fire", with it’s distorted guitar and driving rhythm.
The Orange Drop have created a beautiful dream piece with "Catharsis", and it’s a dream from which you may not wish to wake.

The Orange Drop on Facebook.

Available here from Bandcamp.