Posts Tagged ‘Beyond Beyond Is Beyond’

Matt Valentine

It’s been a bang-up year for Matt Valentine, with his searing second album from Wet Tuna landing last month and now the arrival of his 8-years baking solo LP, Preserves headed down the dock from Beyond Beyond is Beyond. The latest takes every incarnation that Valentine has inhabited over his years and throws ‘em in the blender, but don’t go thinking this is a hodge-podge, unfocused affair. MV grinds those sounds down smooth and viscous – melding psychedelic folk, with electronic swamp gas and lighting it on fire with the frantic freak foam of brain-bending guitar. This is Matt as his most potent, burning from the core and set to singe. The album blends midnight séance shivers with alien radio ripples, sounding like the FM waves have been hijacked and are picking up some sorely needed psychotropic solace from across the cosmos. Songs blend into one another without seams. It’s all one big batch of Preserves, steeped and sweetened for your pre-dawn consumption, gelled together into 40-odd minutes of melt.

The record calls up every acquaintance Valentine’s brushed against over the better part of the decade with longtime compatriots like Erika Elder, Pat Gubler, Willie Lane, J. Mascis, and Samar Lubelski making their way into the psychic seep of this one. The guests siphon and out Valentine’s sonic stew, giving the record a communal careen, but at the core is simply MV communing with the quasars one more time for good measure. It’s quite possible this might be the perfect companion piece to this years’ Water Weird — a moonburned coda on that album’s smoke-soaked blues. The two fit together into an extended fever dream hunkered down in sauna surroundings, sweating out the evil ether for all the transcendental sinners out there. Don’t just take my word though, the whole album’s streaming below and you’re welcome to get a taste of it yourself.


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Garcia Peoples

I’ve already broken down both halves of this LP as track posts, but this one’s a true 2019 crusher so it deserves proper credit in the long rundown. To echo the label, two tracks doesn’t make this release an EP, so don’t do it the disservice of calling it one. One Step Behind embraces the Garcias’ prowess for improvisation (as best observed in the live setting ) and amplifies it with ventures into psychedelic jazz and slow-burn downer epics alike. The title track gets most of the focus, which seems warranted given it’s the most ambitious recording the band has ventured in the studio to date. Recorded with Jason Meagher at Black Dirt, the track times in over the half-hour mark and the band doesn’t waste a minute of it, taking the listener on a multi-part journey and employing guitarist Tom Malach’s father Bob on Saxophone to drive this one through the Cherry/Sun Ra cosmic curtain.

The band builds the beginning into a circular riff, sliding off of the jam/psych axis for a while and into a minimalist float that locks somewhere between Terry Riley and Steve Hillage’s Rainbow Dome Musick. When Mallach Sr. hits the speakers he brings the full force and nuance of his years locked in sessions with everyone from Stevie Wonder to Arto Lindsay and his sax proves dexterous and devastating in equal measures. The band exits the psych-jazz rumble with a powerslide into their expected, but always welcome vision of Cosmic Americana and it’s just as drenched in sunshine curls and verdant strums as any of their works. The track tears into its second half with a twin guitar attack but the band makes it feel like they’ve hardly broken a sweat. The song is a proper showcase of all that makes the Peoples tick – technical skill, boundless enthusiasm for elevating guitar rock, and grooves that can’t and won’t be denied. The band’s played extended and abridged versions of the track live lately and both work incredibly well, a further flex of their arranging skills.

After all that, they still have the energy for an eight-minute closer that channels the broken and beautiful excess of Gene Clark’s No Other, albeit with a good deal less cocaine dusting the edges. With a swap in songwriting duties, the band shifts bassist Derek Spaldo to the piano and new permanent keys player (and man of many instruments) Pat Gubler to flute for a late night, whiskey-soaked comedown dedicated to lost love. It’s one of the more tender moments in the Garcia Peoples songbook, and it’s good to see them shading in their edges beyond expectations. The whole record leaves the listener twisted and torn, lifted and lowered. I can’t predict where the band goes from here, but standing on the precipice of this release I can only imagine they’re going to completely tear down what it means to be a jam/psych/choogle/rock band in 2019 and rebuild it in their own image.




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Prana Crafter’s Will Sol on Terry Riley, Don Cherry, Karl Berger ‎– Live In Köln 23.2.1975

Last year Prana Crafter’s Will Sol released two vital parch-folk LPs for Beyond Beyond is Beyond and Sunrise Ocean Bender, both showcasing his mossy, forest-folk prowess mixed with a tenancy to scratch that wooded habit with the key to the cosmos. He’s pushed the cosmic tendencies even further this year with a split with Tarotplane that uses one side of a 12” to wind his folk into kosmiche delights. It seemed only natural, then to ask Will to contribute a pick to the Hidden Gems series and see what’s driven his sound. Will’s picked a ’75 collaboration from Terry Riley and Don Cherry that picks at a peirod that pushed both artists catalogs to in new and interesting directions. Check out how this came into Will’s live and what impact it’s had on his music.

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Dire Wolves – “I Control The Weather”

If, for some reason I couldn’t possibly fathom, you haven’t already slid a copy of Dire Wolves essential LP from earlier this year onto your shelf, perhaps this disorienting new video for the band’s standout “I Control The Weather” might sway ya. Their verdant collection of cosmic psychedelia is one of the year’s best and the otherworldly croon of Gerogia Carbone and the guitar drip of Jeffery Alexander might just be more convincing than I could ever hope to be. Check the Sheila Bosco directed video above and don’t hesitate to nab that LP from the Beyond folks.

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One Eleven Heavy

No time was lost between One Eleven Heavy’s debut, which landed about a year ago and their latest platter this month. That debut found the band winding their way through deep seated loves and musical roots that were etched in their formative years only to be embraced in the face of critical naysayers as the new dawn rose over 2018. They came together to exhume something cosmic buried in the delta soil and let it fly once again, finding themselves lost in the segue symbols on setlists until they emerged infused with Little Feat, late ‘70s Neil Young, New Riders, The Dead, The Burritos and other choogle-chapped visions of Southern and Western rock that refused not to ramble. Jam might be a barbed word in some mouths, but not these. They pick those handles right back up and expand on the depth of the dive into that push-pull between the cosmic and the concrete.

The dark furrows are more ingrained on Desire Path. “Hot Potato Soup,” seethes, never turning sour, but boiling to the point that the riffs scald the soul. “Chickenshit” has some bite, and a defensiveness thats rubs against the chill, but that’s just their Trux ties showing through. Not all the skies are blue, but that doesn’t dim the party here. Not all trips are serene either, and that’s reflected in the new album as much as their continued sense of the sublime. The Heavies find a home in harmony this time around as well, citing some Allman’s inspiration, and that’s on the mark. Maiato/Toth/Chew form a backbone that melds three distinct voices into a wave of twang that rolls off the guitar gnarls with a touch of ash and bourbon burn. The twined croons add a new dimension to their ‘70s streak, pulling them out of the Stars and Bars they’d been haunting and into a more verdant valley.

Hans Chew makes his first writing contributions (“House of Cards,” “Fickle Wind”) and as a whole the record embraces his keys with fuller-bodied enthusiasm than before. He’s layering down Nicky Hopkins sparkle that glints off of the songs, adding a few stepping stones into the clouds they perch on once the stringed solos get going. The peak of that cosmic float winds up the closer. On “Three Poisions” the band lifts off into the kind of glow that they perennially seek to embody. The ‘in the room and on the tape’ sound that’s always been at their core finds it’s lift into the atmosphere as the album comes to a close and Maiato’s guitar is playing somewhere between the notes here. They’re still playing against the grain of what’s cool, but they’re making it sound like a fight already won. This isn’t an album for revivalists (but I’m sure they’ll find a foothold if need be.) This is an album for those seeking to extend the groove forever into the horizon and melt right back into the wet soil, wood and concrete that vibrates under us all.






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Garcia Peoples – “Heart and Soul”

The other half of this new Garcia Peoples platter found its way out yesterday and it’s a damn fine shade on them. Unmoored from the band’s usual groove, the flip to their epic One Step Behind finds the band whiskeyed down in the pre-dawn light, feeling out the bottom of the soul under the flickering bare bulb of yearning. Putting Derek Spaldo’s keys front and center, the song takes the band through country-scarred territory they’ve only hinted at before. The song dives into the large statement sadness of No Other-era Gene Clark in a way that most contemporary artists could only hope to scratch. While the band has cemented their status as kings of the stage — no matter how big or small — with this record they’re proving that the studio is just as much a home, and a place to carve out ecstatic highs and crushing lows that forever reverberate in their two-inch loop around the soul. If this one isn’t already on your wishlist for 2019, this damn well better seal the spot.



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Matt Valentine – “Light Speed>”

Well this one’s been on rotation for me for a while, so good to see that the rest of the world is getting a listen. Matt Valentine’s already got a heady burner on the dock with Wet Tuna, but this solo LP wraps up 8 years of pre-dawn jams into one handy collection to cook yer noodle. The opener, “Light Speed>” lays down the operating parameters for the rest of the platter – thoroughly cone-fried psych shot through the outer rim, bounced from quasar to quasar and back through the low-band AM ripples of your transistor soul. The album’s full of mind mel(t/d) mercurial moments and they all start here like a slow-motion explosion triggered by battery acid and sweat. Get into it! The record is out November 8th, from Beyond Beyond is Beyond.




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Kendra Amalie

The Beyond Beyond is Beyond debut from Kendra Amalia is a multi-headed monster of guitar, shifting styles as needed from pointilliste string runs with a metallic bite to soft-hearted country ramble. She dabbles with indie-psych, but more often than not, Amalie lays back into the bed of fingerpicked folk. The guitarist has created several offerings in her own name, though this remains the most polished. She’s worked with Wisconsin outfits Eleven Eleven, Names Divine, and Guitar Hell over the years and remains a fixture of the state’s scene. Intuition, however, is the sound of Amalie breaking forward into her own form. The patchwork approach works in her favor as a nuanced spread of her talent, and while sometimes the seams show, she makes it all fit together into a fairly ornate tapestry.

At its core Intuition sounds like an artist finding her brightest beams while still leaving room to experiment, always rolling away from being pinned down. That said, there are a couple of songs that seem to embody the light more than others. Corralling her fingerpicked prowess alongside a slow simmer vocal that’s just shy of Espers territory on “Stay Low,” Amalie adds in the pained cry of slide guitar and the song becomes a vital pivot point for the album. Likewise, the airy, haunted ripple of “Become the Light” fashions her heavier psych into a stunning explosion of folk put through the fire. With songs like these in her roster it seems only certain that she’ll work alchemical magic to craft an album that rides powerful winds of anguish and awe. Intuition will quite likely wind up the spark that lights the fuse.



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Prana Crafter & Tarotplane

The run of great LPs from Beyond Beyond is Beyond doesn’t let up this month as we’re all treated to a new split from Prana Crafter and Baltimore psych unit Tarotplane. Each band is given a sidelong séance and they both use their groovespace wisely. Coming off the double diamond release of Bodhi Cheetahs’ Choice and Enter the Stream, Will Sol taps deep into the cosmic consciousness with “Jagged Mountain Melts at Dawn.” Moreso than ever, this vision of Prana Crafter owes a debt to the German Progressive and Swedish psychedelic scenes. The track picks at some Träd Gräs before tumbling through Ash Ra Temple touches and finally getting stuck in the web of sound that Achim Reichel wove under the banner of A.R. and Machines. Guitars echo and drip from the porcelain walls of Sol’s world with a disconcerting calm that slowly creeps up the legs like ice in the nerves. Its as expansive as he’s gone and its great to hear him spread out to such a large sonic canvas.

Likewise, the flip, featuring PJ Dorsey’s Tarotplane explores similarly Kosmiche terrain, divining mercurial guitar ripples that have traversed from the Atom Heart of the sun. “We Move Slowly Through the Past” slinks through the dreamtime on iridescent scales. The song unfolds slowly, building to a finish that strips away the calm, crashing with percussive touches and silver-flashed synths. Dorsey plays with echo in a similar manner as his compatriot, though his impulses tend to radiate more than drip. Both pieces inhabit the listener and grow outward until molecules loosen and the consciousness begins to touch the yawning of the ethers around. Any fans of Space Rock, Prog, and Psych-Folk oughta find a foothold in here. Double stunners from both artists and just one more reason you should be wading into the Beyond-verse.

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Garcia Peoples “One Step Behind (Single Edit)”

It would be disingenuous to say that Garcia Peoples rise over the past year has been anything short of impressive. Following their sophomore LP for Beyond Beyond is Beyond in February they’ve become staples of the live circuit in NYC (a quick dig through Archive.org or NYC Taper will confirm their prowess in the room). They’ve opened a slew of dates with Chris Forsyth and Kurt Vile, fleshed out their sound with the help of new permanent member Pat Gubler (Wet Tuna, P.G. Six), cut a lightning crack studio session with Hans Chew, and now they’re onto their second album of the year. Some might think the second helping would leave the band wanting for material, but it’s a goddamned smorgasbord at the Garcia’s house and we’re all invited. Taking their improvisational prowess from the stage to the reels, the band is issuing a 32-minute epoch of a title track that brings Guitarist Tom Malach’s father, Bob on board for a deep dive through space jazz that upends everything you’d expect going into a new Peoples record.

Diving deeper into the mercurial depths than they ever have before, the band eschews their usual groove to get lost in a bit of the cosmic wilds for a patch. Malach, the elder, used to knock down sessions with everyone from Miles Davis to Arto Lindsay to Stevie Wonder so this is no nepotism knockout, this is a familial team-up for the ages. Ah-ah, but you’re gonna have to wait until the full platter’s out of the oven to hear Bob’s double overdubbed sax goodness. Right here is the radio edit, a line closer to what they’ve been playing live for the track. Heard this the other night when they opened for KV and it hit just as hard — the band workin’ up their own “Playing in the Band’ alchemy. They sync up in full symbiosis, playing off of one another with the veracity of players with twice as many trips ‘round the sun and its a delight to watch.

The band’s Danny Arakaki peels back the curtain on One Step Behind’s origins. “We had a great time recording this track,” grins Arakaki. “Many highlights involved. One being, Tom’s dad, Bob Malach, coming to the studio to lay down the sax tracks (which you’ll hear later on the full-length album version of the song) and after killing it, casually saying, “fooled em’ again.” Great to see Tom and his dad work together. Every time we make the trip out to Black Dirt Studio we end up finding new sounds too. That has everything to do with the way Jason (Meagher) works with us. Positive vibes all around. Enjoy the changes and ride the tune.” The record lands October 18th on Beyond Beyond is Beyond. Best be ready.

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