Skyminds

Skyminds slipped a small eponymous tape run (100 copies) out on Auasca earlier this year and its sorely deserving of more attention. The set, from members of Channelers, Ashan, and Selaroda, is ladled with the same syrupy serenity that their other outfits offer, slotting definitively into the mind melt zones one would expect. However, they also expand amiably on the synth duo dynamic with forays into desert dub, radiant high plains guitar shimmer, and meditative acoustic strum. Henning and Conrad melt their psychedelic float into a record that ripples like mountains out the window, calming as a sine wave but also rather breathtaking as the full horizon unfolds.

With a drone underpinning most tracks, the pair place delicate stacks of flutes, strings, plucks and even the occasional beat into the mix but they always return to the ether to unwind with pillowy synths as the bedrock of their sound. The album’s first half mix n’ picks some of their strengths, but the band stretches out completely as they ease into the latter tracks, “Morning Way” and “Illuminated and Warming.” The sounds become a bucolic haze washing over the listener. Each listen on the album picks out new combinations of sound that give the album shading and shape. Recommended picking this one up before the run sells through as its a nice little gem.

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The Intelligence – “Auteur Detour”

New track dropping down today from The Intelligence’s tenth album, Un-Psychedelic in Peavy City. The band’s got Tim Green behind the boards, who is always able to pull some loose weirdness out of a band, and this glimpse behind the grooves is as delightfully mangled as any in the band’s oeuvre. “Auteur Detour” was described by the band as a “No Wave Santana Exercise” but its more than just guitar grind gone polygonal. Finberg and the band rivet their riffs to the rhythm, with the bass holding down front and center, underpinning a menacing vocal that drops non sequiturs like they were new wave mantras. Then the band let loose the moorings as the track progresses and, for all the assertions of the album’s Un-Psychedelic qualities, they wind up pretty heady, sweaty, and tangled by the time the track clicks to a close. Gonna want to see what else the album has in store (and you can) when this one barrels out into the world May 24th.

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De Lorians – “A Ship of Mental Health”

Beyond Beyond is Beyond is on a crusher of a run this year. Their latest addition to the stable is Japanese jazz-psych unit De Lorians. The band’s first single, “A Ship of Mental Health” comes on like Gong trading barbs with The Mothers of Invention, hooking skronking grooves to an effervescent bubble of weirdness. The band slices the scene experimental while they drop out into interjections of psych-dipped environmental noise recorded by guitarist Soya Nogami. That’s just the first half too. Heading over the hump of the 5-minute odyssey the band proves to Nogami has plenty of guitar flash in his bag as well, melting down the mirrors of madness with a streamlined scorch. The record lands July 26th and should be sliding into your want list right about… now.



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Dommengang

On their third album Dommengang still navigate the causeway between psychedelic blues and the frayed edges of harder rock, but this time they’ve added a looseness to their sound that breaks the lash that held them to a more regimented past. While they used to bump into the bluster of metal, this time around they’re cooling their sound into something more cosmic, and it feels like the piece of the puzzle they’d long been missing. Tim Green, again at the boards, gives the album a spaciousness that floats on the air like steam n’ sweat in the crisp morning air. The album is perched in permanent golden hour hues, with the songs coming on like a third beer swagger that melts the weight of week away.

That cosmic crash doesn’t crest too early. The band opens with “Sunny Day Flooding,” which ties the knot between last year’s Love Jail and the new album’s woollier ways. Then they ease into the tangerine drip of guitars on the back end of “Earth Blues.” Just towards the last solo you can feel the band loosen. It’s a respite before they kick the crunch back on but there’s a collective sigh between the notes. Sig Wilson’s playing on this one is his best yet, burning ether and ozone, getting lost in the smoke curls for more than a moment. The last album evoked the West, and the band’s move towards L.A., but this one embraces the desert as well as the lusher confines of the coast. There’s a touch of Big Sur in the gnarled drags on “Kudzu.” It’s a relief that tumbles down in a gush of guitar, quenching the soul of the parched sounds of their past.

This, along with the Crazy Horse burn that permeates and pounds through the heart of “Jerusalem Cricket,” gives the band a wild-eyed, crooked grin gravitas that they embody with ease. As Dommengang crunch into the loose gravel groove of the latter half of No Keys they position themselves to embrace the crux between David Nance, Chris Forsyth, and Endless Boogie. It’s a welcomed shift and one I hope they continue to mine for more material. That said, even with No Keys acting as an album in transition, the moments that burn bright tend to light up the horizon with a most inviting glow.



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Kandodo – “King Vulture”

Bristol trio Kandodo, which features Simon Price (The Heads) and John McBain (Monster Magnet, Desert Sessions), return to the fold this week with the announcement of their latest album, K3. The first cut is a floating bit of drone shimmer that’s buoyed by a serene video by Sanae Yamada (Moon Duo, Viva La Void). “King Vulture” builds on a slow creep of quasar-crusted euphoria that crushes itself slowly over the course of six and a half minutes of bliss. Check the video above and keep an eye out for the band’s latest on Rooster Rock June 21st.

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RVG – “Alexandra”

Skidding into a US tour, Aussies RVG are back with a new single that finds them comfortable in their velvet cushion of sound that wavers between Echo and the Bunnymen, The Church, and Love and Rockets. “Alexandra” retains the band’s emphasis on sweeping drama, mirroring Echo’s knack for riveting swells and invoking anguish as a genre unto itself. Amputated from a larger narrative of an album the song’s more of a primer for those who might have missed out on their excellent, and still underrated debut. If this one catches your ear, its recommended you go back to the crushed eyeliner and rain of that eponymous gem.

The b-side sees the band take on mid-period John Cale, giving a dose of urgency to his ’85 deep cut from Artificial Intelligence. Vager’s vocals do well for the song, perhaps taking a bit of license with the original’s more buttoned-down approach, but she’s does plenty to make it her own. The band pumps the song full of the same sense of urgency that they employ in their own works. With all due respect to Cale, its actually a great argument for covering your heroes, as they give the song quite a bit more gravity than the original ever had. Nab this double cut, definitely see the band if they swing through your area.




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Les Rallizes Denudes + BE – ‘There’s No Heaven Like Hell’

Among the ranks of Japanese psych, one of the top takers for mythical status is Les Rallizes Denudes. Pinning down just what they were and how the noise unit operated is tricky. The band issued no official albums, though they played live for decades starting in ’67 at Kyoto University and centering on the works of enigmatic frontman Takashi Mizutani. Drawing inspiration from The Velvet Underground they took up originally as an accompaniment to theater performances, but quickly outgrew that status due to the volume and ferocity of their works overshadowing the performers. Like VU they aren’t a band that operated in one given box, and depending on the era and configuration they’d range from strummed and serene to amplifier fried chaos. The band’s status grew mostly outside of their country with stories of their intangible performances, members gone rogue (original bassist Moriaki Wakabayashi was involved in a Red Army plane hijacking in 1970) and their subsequent self-exile until the ‘90s.

The band’s catalog is mostly live performances that tumbled out of a rogue’s gallery of labels over the years, each in odd quantities that made them enviable to come across in the ‘90s and ‘00s. The pinnacle of their output might arguably be ’77 Live, but other great pockets in their catalog exist to be pored over as well. One such inclusion is a collaboration with experimental collective Be (also known as Yellow) who were headed by keyboardist/guitarist Taisuke Morishita. The original 2xCD issue included more material, but this LP on Alternative Fox centers on the two versions of the title track recorded at the band’s house in Fussa, outside of Tokyo. The first version is a pulsating drone of guitar and synth, zoned out and dropped via VHF to furthest reaches of psychic caverns of the mind.

The second version breaks the seal on bucolic peace for some heavier froth and fizz from the outset, sweeping across the speakers in extraterrestrial pulses. While the first version remains rooted in guitar and keys, droning into the ether, the second brings in the full band. Mizutani and the band lock in the rhythm, tearing at the fabric of reality in the way only LRD could. Though there are no official versions of the band, this setup was one worthy of documentation and its nice to see this pop up on vinyl. Its not always easy to get a hand on an LP of Denudes’ work so I’d say when you see it, it’s best to cop one.



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Taiwan Housing Project – “Toxic Garbage People”

If you missed out on Taiwan Housing Project’s KRS debut in 2017 then you’re probably not ready for their next slice of noise heaven, but you might as well buckle up and brace anyhow. The band picks up where they dropped the din prior, with singer/guitarist Kilynn Lunsford’s strychnine-laced vocals acting as the centerpiece as she thrashes, lashes, and howls herself hoarse for our benefit on “Toxic Garbage People. The song is propulsive and primed, set to blow at any minute, and that volatile nature gives the band their draw. Lunsford’s previous band, Little Claw, will remain a forever favorite around here, but she’s no less vital and vicious at the helm of THP. The new album, Sub-Language Trustees lands June 21st from NYC’s Ever/Never and it should find its way onto your ‘need’ pile based on this song alone. 2019 has been a good year for music, but it needed a little push towards bile-soaked brilliance.


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Modern Nature – “Peradam”

Jack Cooper’s (Ultimate Painting, Mazes) new haunt Modern Nature announces an album to follow up their stellar 12” from earlier this year. First offering “Peradam” isn’t quite as rooted in the motorik mindset that held sway on “Nature,” but its still got rhythm on its mind and a sweeping sense of motion beneath the autumnal croon of Cooper and the soft scuttle of sax. How To Live is being billed as a halfway hideaway between Neu and Can’s German Progressive patter and the more lilting folk of Caravan. Honestly, I’m all in on the prog-folk permutations that Cooper’s tumbling through, and while this track has some fine charms, I have a feeling the key’s going to be locking the whole album together into a tapestry of propulsion and strum. The record employs some fine extended bench, with Cooper collaborating mainly with Will Young of BEAK> with contributions from Aaron Nevue (Woods) and Jeff obias (Sunwatchers). Check out the first video above and look out for the new LP August 23rd on Bella Union.



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Djinn

Formed by members of Hills and Goat, and adopting the latter’s proclivity for obscuring identities, Djinn inhabits a style that’s no less psychedelic than its member’s usual haunts, but winds up more experimental than either. Djinn’s debut embraces the free jazz pyrotechnics of Albert Ayler and Don Cherry while also finding solace in the more meditative and serene end of the freeform universe – echoing the haunted ashram of Alice Coltrane and the metaphysical forces of Sun Ra. The band is named after mythical beings – not quite angels, not quite devils – but rather forces of mystery that confuse the senses and play upon the mystical nature of reality. This gives the spirits a bit more agency than their one-dimensional counterparts with qualities that can work towards evil or good. Its as apt a moniker as any for a band that’s cloaked in mystery and seeking to work through noise and nature alike.

The pair weaves through this blend of abrasion and bliss without finding the poles at odds with one another. They achieve a groove that approaches infectious on “My Bankaccount,” then burn down the buoyancy with the following five minutes of improv float and free-associated mumbling of “Rertrand Bussels.” If anything, that track name might be indicative of the only real downside here, the cheeky nature of the titles is sometimes distracting from the disquieting din. Then again, taking oneself too seriously has just the same off-putting effect, so why not slap “Djinn and Djuice” on the title of a song built on sax skronk, a menacing piano totter, and skittering percussion? The record works well in the abstract styles the band seeks to emulate, and while not necessarily coming close to the masters themselves, it serves as more than just mere distraction from the players’ full-time tenures. I’m hoping this isn’t just a passion piece one-off, because it feels like there’s more to grow on here. For now, fans of the freer end of the psychedelic spectra have something to dig into all the same.



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