Christo Mondavi firmly implanted psychedelic soul back into rock n roll with his latest single, Daisy’s Gone Electric; the hazily lofty single brings brand-new and literal meaning to the concept of dancing on the ceiling.
With the colourful melodies and Mondavi’s honeyed harmonies resonating as though they have been pulled into this atmosphere from a far higher plateau, Daisy’s Gone Electric isn’t a single you can slip into; it is a single that instantaneously reverses the laws of gravity while paying homage to the tones popularised by The Doors and The Beatles.
For an extra lick of authenticity, there are also touches of Bowie to the spacey Odyssey-esque progressions and Zappa to the zanily pure vocal and lyrical presence, which proves Mondavi has a soul of solid 60s psych pop gold. Perfection may often be seen as an unattainable ideal, but if anyone can claim to sonically come close, it is Christo Mondavi.
Daisy’s Gone Electric is now available to stream on Spotify.
Don’t be fooled by the meditative posture on the cover art, the latest single, Breathe, from the alt-rock Avant-Gardist, Buddy J Francis, is a frenetic firestorm that could give the most overzealous tracks from Oh Sees a run for their galvanising money.
With angular guitar work sent into overdrive in the electronica-infused psych-rock hit, you won’t get much time to catch your breath as you roll with the melodically distorted punches. But if your playlists are crying out for a psychedelic shot of adrenaline, which mainlines into your veins through the unique interplay of trippy vocals, synths and guitars, you will get a potent fix via Breathe.
If you can tear your attention away from the experimentalism in the bedroom recording, you will note the context of the cover art in the lyricism as Buddy J Francis establishes himself as the Eckhart Tolle of psych-rock by teaching the importance of conscious breathing to overcome sleeplessness, anxiety, and depression.
With the same fuzzy psychedelic alchemy that would be tasted in the notes of a cocktail of The Zombies, Sonic Youth, and Wire, the standout single, Witness to the Apathy Gospel / Approaching Mindfulness from Strange Things’ LP, In That Light of Fading Daywill leave you intoxicated from the first time you savour the vintage tones.
The melting pot of psych, shoegaze and experimental noise, influenced by the likes of The Jesus and Mary Chain, The Telescopes and The Stooges, ensured that the LP from the Canadian connoisseurs of sonic obscurity was far from the ordinary lockdown-born albums that proliferated the airwaves when amateur hour seemed to stretch out in perpetuity.
Beneath the sludgy swathes of effects are some serious songwriting chops, written in the way the progressions immerse you even deeper in the vintage psych outpour of grief for the victims of the Uvalde County shooting.
Closing the single on headily distorted Eastern rhythms was the cherry on the sonic dissonance cake. Stream Witness to the Apathy Gospel / Approaching Mindfulness for yourselves via Spotify.
With Groovy Shirt Club on the scene, no one can claim ‘they don’t make ‘em like they used to’. Their latest single, Electric Flowers, chiselled a modern edge into a vintage sound, captured through a live euphonically melodic performance.
The vocals in Electric Flowers are enough to give you the Chris Isaak chills, and elements of the psych originators (the Beatles, obviously) can also be noted in the kaleidoscopic soul that spills across the entire sonic landscape that you will want to visit time and time again to affirm that rock n roll isn’t dead, it’s still alive and kicking on the underground. There’s also an undeniable touch of the college radio rock sound that R.E.M. defined with their creamy chords and ruggedly sugared harmonies.
Electric Flowers is available to Stream on Spotify.
With five weeks remaining until Party in the Pews gives indie, pop, post-punk, psych, and rock fans to get pious about, the ticket supply for the hotly anticipated two-day festival in Christ Church in Macclesfield is close to running dry.
The inexplicably impressive line-up curated by Jo Lowes, who is quickly becoming Manchester’s contemporary answer to Tony Wilson, comprises two well-known headliners who need absolutely no introduction; Badly Drawn Boy and The Futureheads. As stoked as I am to hear their iconic alt-indie hits, it is the supporting artists that are making me shake off my usual levels of festival-going apathy.
The psychedelic visionaries Heavy Salad always warm the soul with their endearingly cultish stage presence, Pavement-ESQUE cruising riffs and harmonised to the nines vocal arrangements. If Stephen Street was keen to produce their upcoming sophomore LP, you should be stoked to witness their mind-altering aural conjurations live.
Sam Scherdel on the line-up affirms just how on the pulse of current breakthrough artists Jo Lowes is. It is only a matter of time before his enigmatic indie rock anthemics that amplify his ruggedly affectionate everyman blues establishes him as one of the top indie rock artists in the country.
After a series of sell-out shows and acclaim from just about everyone who matters in the industry, Dirty Laces will tarnish Christ Church with their grimy vintage rock rancour that proves the extent of their reverence to the proto-punk past and seriousness about sealing guitar music’s place in the future. They’ve got psych grooves and razor-sharp dark hooks by the execrably exhilarating smorgasbord.
You might want to dress up warm for the Manchester-based supergroup, Sea Fever. There will be an atmospheric chill in the air when they spill their scintillating darkwave synthetics into the venue. Members of the five-piece banding together after working with Johnny Marr, Section 25 and New Order is infinitely less exciting than the coldly transcendent tones they subject their live audience to through their pulsating beats and hypnotic strings.
The final few full weekend tickets are available via Skiddle.
Check out the Party in the Pews event page on Facebook.
Few Manchester music fans are strangers to the disquiet deliverances of The Dirt’s wordsmith, Jack Horner, who has been storming stages with his abrasively arresting recitations of the tolls of PTSD and orations of the graffiti on the toilet walls of iconic Manchester venues.
Standing alone, Horner’s words in his solo spoken word project, Leon the Pig Farmer, carry enough metaphoric weight to leave a bruising mark on the psyche. The curveballs in his conceits open a collective of wormholes for the mind to venture down before perceptions shift around his vindicating socialist manifestic narrations. As a part of the dualistic powerhouse, the juxtaposition between his no-prisoners poetry and effect-layered guitars is enough to tear the rug from beneath you and plateau you on a new kaleidoscopic tapestry.
The Dirt’s debut LP, Agitator, starts with a true-to-form snarled spoken word piece, which prises your eyes open in Clockwork Orange style to the systematic failures of our belligerently nefarious government. Right off the bat, the strength of the dystopic imagery sends you into a spin as the psychedelic guitars, courtesy of Sachiko Wakizaka, whirl around the repression rebellion.
From definitively Madchester instrumentals to desert rock droning originations, the soundscapes psychedelically curtail the spoken word conviction just enough to make each of the eleven tracks a palatable mind-altering cocktail. It’s hard to name a favourite, each single has its allegorical merit, but being driven to tears by the existentially delicate single, What’s the Story, had to be a personal highlight before the euphoria surges through Ignorance is Bliss, which transgresses entropy into rapture.
Miami psych rock pioneers Psychosomatik warmed up the vintage overdriven tones to match their sun-bleached climate in their latest progressively surfy single, Roots.
If Pavement saw a little more sun, I’m entirely convinced that Brighten the Corners would have emanated the same colourful radiance of Roots, which hit the airwaves on March 13th. The influences of The Doors and The Beatles are also easy to note in the kaleidoscopic grooves of the release from the independent duo, which amalgamates influences from a wide range of artists and genres to orchestrate a sound that couldn’t be more authentic.
Experimentalism and accessibility don’t always come hand in hand; it stands as a testament to Psychosomatik’s songwriting chops that Roots is a hit that you’ll want to dig deep to immerse yourselves in from the first hit. The vibe couldn’t be sweeter.
Roots is now available to stream and purchase on Bandcamp.
Take a psychedelic trip with the single, And You, from DETHHAUS’ double A-side, deathaus 2. Every time you think you’ve got their sound pinned down, there’s another aural curveball to broadside you and deliver you from the sonic monotony of easily pigeon-holed music.
if you can imagine what it would sound like if you slipped a tab of acid under the tongue of surf rock, implanted a few polyphonic grooves under the waves and threw in the crux of Zappa’s eccentricity, you’ll get an idea of what alchemically awaits when you hit play on this murky mesmeric feat of experimentalism.
After starting as a bass-centred surf rock duo, consisting of Johnny Void (X-Ray Youth) and Justin Welsh (Elastica), DETHHAUS indoctrinated Raiko Mud and his keys to start a new venture that would take the outfit across borders as they recorded this new single between Central Florida and England.
After we rolled with the punches in Lucifers Beard’s single, The Guy with a Black Eye, we’re stoked to sink our teeth into the conceptual follow-up, Lady Loser, which takes place years after the antihero’s skirmish, where the arrogance has subsided to themes of loss, regret, forgiveness, and hope.
Until the outro, the brashy tumultuousness has been dialled back to give way to the crooned vocals that envelop you over the theatrically psychedelic rock opera-Esque score that still emits electrifying energy, but there’s a remorsefulness spilling from the thespian rock arrangement, mastered by Ed Ripley (NOFX, Frank Turner, Goat Girl).
As the song concludes, after the swan song-ish ensemble, we hear Lucifers Beard’s maniacal charisma get a last burst of juggernautical creativity. It is enough to make you desperate for the story to become a trilogy.
Lady Loser will officially release on December 15th. Hear it on SoundCloud.
“( Here ‘N’ There ) ‘N Anywhere” is the latest simmering feat of groove-heavy rock n roll from OneSelf Featuring Mario Deschenes. With the pop motifs beside the bluesy piano riffs and plenty of overdrive behind the raucous guitar lines, it is hard not to get swept up in the upraising momentum of the infectious earworm led by Mario Deschenes.
With touches of The Beatles written into the production and an element of 70s era Elton John in the frenetically galvanising hit, any true rock n roll fan won’t be able to resist the garagey electrifying energy within ( Here ‘N’ There ) ‘N Anywhere, which contains equal parts swagger and soul.
