At the close of a year in which live performance overtook album sales in terms of revenue for the first time in many years, and a decade in which ‘indie’ has become very much the mainstream, truly alternative artists have continued to look for different ways to write and record, both delving into the past and innovating with new ways to alter the boundaries of their output.
With the seismic shift away from major labels spending major money in the industry, a path has been paved for a whole plethora of DIY imprints, often run by the artists themselves, willing to test just how far they can push their art form, and with this the outlook for a decade has never looked so promising.
Although many may question the labeling of certain albums in the following list as ‘psychedelic’, the phrase has come to mean much more than its 1960s counterparts. Psychedelia has influenced so many things in 2009—whether the band is labeled freak-folk, psych-pop, or garage psychedelia to name a few—that the creative approach to songwriting has influenced and been adopted by so many genres that barely any independent label has remained untouched by its reaches.
Brooklyn has arguably been the decade’s ‘taste maker’, and its lo-fi boom of late is heavily entwined with psychedelic tinges. The aesthetic has been expanded further, influencing a wave of psych-artists that have enjoyed success on both the American and European scenes. The weird and wonderful worlds of the likes of Takeshi Murata and Jim Drain serve as a perfect visual that will immortalise what is going on in the creative worlds right now for years to come.
With penned release dates in 2010 for the likes of Yeasayer, psych looks like a genre that may run strong into next year, and the freedom with which artists are approaching their music makes for what could quite possibly be one of the most exciting and innovative decades the art form has ever seen.
Since their self-released debut EP last year, Crystal Antlers were, unsurprisingly to many, snapped up by Touch & Go and, well, quite frankly haven’t looked back since. As with their live shows, on Tentacles Crystal Antlers can often sound like numerous bands all playing at the same time, with each individual getting their own way, but each is so tightly locked to the that other the mayhem sounds at no stage off kilter. Alongside the machine-like drumming of Kevin Stewart, second percussionist Damian Edwards adds a great deal towards the chaotic sound, but this is not done in any way to cover flaws in any of their musicianship, but rather highlights the amount of immense individual talent there is on show: this is snarling psych-rock music as boys will play it.
After the initial prog-rock, the organ in “Andrew” lays the first discernable melody to break through from under the guitars and layers of instrumentation with the record, then transgresses back to these psychedelic type ballads at numerous stages, and as you listen, aspects manifest themselves as way more melodic than you might originally think.
Tentacles further displays the immense talents of Johnny Bell on bass, as previously seen on the EP’s monumental closing track “Parting Song for the Torn Sky”, and although no track probably stands out on its own quite as much as this, the record seems to have been built more as an LP, and as accomplished as it is from the offset, you can’t do anything but think it was supposed to be this way.
With Bell’s voice largely inaudible amongst the screaming guitars, organs, and other layers, what initially strikes you as angst in the lyrics quite quickly reveals itself to be desperation, and although you cannot make out exactly what he’s saying, you sure as hell know he means whatever it is he’s singing about. As the last track closes with the line “Lonely again”, it completes what is, as a self produced album, dazzlingly accomplished, and seems a sure signal of even greater things to come.
After what seems like an infinite list of collaborative projects, the colossal drone duo from Seattle returned with the career-defining Monoliths & Dimensions. For those that don’t know Sunn O))), they are a pair that test the limits of altered instrumentation with explorations of experimental minimalism, often with no discernable drumming or beat, less replacing music with feedback than creating music with it. For those that do know their past works, the record manages to push the format in new directions that are even further beyond what was previously imagined. Prior to its release, the band stated that it is “the most musical piece we’ve done, and also the heaviest, powerful and most abstract set of chords we’ve laid to tape.”
First track “Aghartha” bears the expected abrasive noise of previous epic death drone and possesses the same kind of beauty as an art house horror movie, where distinctly vivid images are painted as an awe inspiring visual. Listen to the opening 20 minutes to the record and you can’t help but be spooked.
The band have always put an emphasis on collaborative practice, after an abundance with the likes of Gravetemple, Merzbow, Julian Cope, and experimental cellists Aaron Martin and Alexander Tucker, to name a few, and the pair haven’t changed on Monoliths, with the record moving well into double figures of contributors by its close. The influence of Dylan Carlson, considered by most a pioneer of the style with Australian band Earth, can be heard all over “Alice”, a track that also uses jazz composer Eyvind Lang to arrange trombonists Julian Driester and the improvisational Stuart Dempster. It is an entirely new sound for the band, pushing the compositional formats of Sunn O))) further, and although it may have been hard to swallow for the doom metal hardcore, Stephen O’Malley and Greg Anderson’s dedication and contribution to experimental music is unsurpassed in their generation.
Earlier this year, Ganglians released two records, both their eponymously-titled Ganglians EP, and this, Monster Head Room, almost simultaneously. And although this is the stand out of the two records, the contrast in styles seem entirely intentional, as Ganglians is a far less cohesive affair than the lo-fi surf rock of Monster Head Room.
“Lost Words” epitomises much of the LP, with its psych-drenched lackadaisical acoustic guitars weaving distant melodies, and the wandering echoes creating a removed form of dream pop with a distinctly laissez-faire feel. “Valiant Brave” portrays the contrasts on the album, beginning with the previous indolent acoustic strumming, but this time with chant-esque vocals breaking into a ‘60s pop riot much in the vein of a new age the Seeds.
The record shares the Californian haze of the Beach Boys with the final product far sweeter than many across this list, with “The Void”‘s gibbering vocals underpinned by a delicate backtrack serving as a prime example, yet it maintains the record’s loose structuring, split into two sugar-coated parts that are separated by a general freak-out sour centre midway through.
Laden with seemingly hastily applied field recordings and echoing harmonies, Monster Head Room has thick psych borders running around every edge that blend in an out of the main picture as Ganglians see fit. Whilst many artists in their stable are busy covering up their bedroom recording techniques, Ganglians leave theirs plain to see, and although it may not seem the most original record on the list, “100 Years” is reminiscent of the psych-blues of the Black Lips at their most immersive selves, and it’s so damn listenable you might just not care.
Often disregarded as nothing more than mindless noise krunk, with little to no real creative stimulus beyond total destruction of all that stood before it with the kind of music your parents would ask you to turn down, Get Color‘s industrial noise pop proved to all those doubters that HEALTH are merely carving out their own style with their DIY approach. The band harnesses this to produce a record that, surprisingly, takes a turn towards affairs with much more melody amongst the madness, with “Die Slow”—probably the band’s finest work to date—being one of the biggest crossover successes of the year.
In the time between records, HEALTH have been working in a collaboration with fellow purveyors of noise Crystal Castles, and this influence is certainly prominent, as you can’t deny the infectious techno-punk of “Nice Girls”. HEALTH share in the same alien structures as bands like Deerhoof, and the same mental melting pot of tension that refuses to give the listener a moment, and, despite its more melodic turns, still sounds like music being beamed in from another, more sinister, dimension.
The record does wander off back into the same caustic noise experimentation of their self-titled debut, but in tracks like “Before Tiger”, the band manage to build a surprising level of atmosphere for the genre, as the record is held together at all points by the incessant AK-47 drumming of Benjamin Miller. My initial reaction to writing a review of the record earlier this year was to pen a work on a noise-rock band that has predecessed them, such as Liars, then change all the words in each sentence around in order to make little to no grammatical sense, but still maintain the same overall structure.
HEALTH have established themselves as one of the live acts of the year with performances as intense as Get Color itself, and you have to feel this makes them destined for a string of monumental festival appearances in 2010.
A Monstrous Psychedelic Bubble Exploding in Your Mind Vol 2: Pagan Love Vibrations
UK: 21 Sep 2009
Although strictly a mix CD rather than an album, given the fact that the double record epitomises all that is going on within this list and beyond in psychedelic music right now, and after 2005’s Alice in Ultraland went largely unnoticed by press and public alike, I feel the Amorphous Androgynous deserve all the exposure they can get.
Pagan Love Vibrations, the second Psychedelic Bubble from the men behind one of the most innovative and groundbreaking production partnerships of the dance generation, Future Sound of London, reminisces of a time when the hippy was considered as more than a wacky ideal, as opposed to the experiment of psychedelic proportions that was Vol 1. Harking back to a time when incense, amongst other fragrant forms, burnt long and free, Vol 2 will have you reaching for the hemp quicker than you can say Pagan Love Vibrations.
Rumour has it that the entire Amorphous Androgynous moniker was inspired after one half of the duo, Garry Cobain, spent some extended time in India, and these influences show, the album seeming to get in touch with some sort of spirituality akin to that of psychedelic maverick Donovan.
After releasing some of the most sonic sounding records of the past decade, the pair now seem to have set out to illustrate their influences, with the track list reading like a who’s who of psychedelia over time, with the original artists alongside those they have come to influence. The ‘60s sound of Sunforest’s “Magician in the Mountain” sits alongside the all out Hendrix-like groove of Bo Diddley’s “Elephant Man”, followed by the altogether out there-ness of Electroid 2000. Pagan Love Vibrations is littered with tracks that will have you reaching for the history books: Comus? Faust, anyone?
The mixes are often separated with recordings that romanticise the spirit of the ‘60s, speaking of things such as “the magic regions of your mind” and free living amongst sun drenched beaches. The Eastern influences are strewn across the record with sitars and other world instrumentation that, once so popular, has often been lost from the genre, coming from the likes of Ananda Shankar (Ravi’s nephew) and the beautiful Dzyan. This is all seamlessly blended with music from new artists such as Animal Collective. CD1 contains part 4 of the Amorphous Androgynous’s remix of the late Oasis’s “Falling Down”, where Liam is all but replaced by the beautiful eastern vocal styling of Alisha Sufit. This is music that will put a bounce in your step and a spring in your groove.
// Sound Affects
"The man whose songs were recorded by Johnny Cash, Alan Jackson, Ricky Skaggs, David Allan Coe, The Highwaymen, and countless others succumbs to time’s cruel cue that the only token of permanence we have to offer are the effects of shared moments and memories.READ the article