Posts Tagged ‘Cosmic Americana’

Garcia Peoples – “High Noon Violence”

If you’re just now finding your way to Garcia Peoples, well, then I feel sorry for you. Their last album was a true gem of Cosmic Americana and you’ve been missing out. However, I also feel excited for you, go dive through the debut and get ready for the follow-up, which is shaping up to be another heady journey through high-minded, body-buzz jam workouts. The band lets loose today with the torrent “High Noon Violence,” a knotted gem besieged with overcast harmonies and flooded with their usual unspoken imprint of The Dead – though flashes of New Riders and Mountain Bus wash over the rinds of their guitar salad as well as this track kicks into high gear. Its a definite highlight from the upcoming Natural Facts which lands at the end of March on their old stomping grounds, Beyond Beyond is Beyond.



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Ash & Herb – “Salt Lick”

Notch another win for the constant creep of Cosmic Americana and East Coast freak psych, Ash & Herb are back and things are woollier than ever. After a solid offering from MV&EE house label Child of Microtones, the duo have a new 7″ on the way from Maine label Flower Room and the A-side’ll knock you sideways. The band is gearing up for album #2, titled Dome Cookbook (channeling Buckminster Fuller’s geodesic vibes, eh) but before they go that route the band is kicking out a double shot single. “Salt Lick” ropes in a previously unfelt funk to the mix, pinning a chooglin’ beat to spacey keys and reverbed marinated vocals for a track that’s keeping pace with their circle of contempos in Wet Tuna, MV & EE, and Mountain Movers, while also feeling like a force all their own. The band’s debut owed a lot to the shrouded school of forest folk, but its clear with the release of “Salt Lick” that they have no intention of blending into the bushes by the time that second LP rolls around. This is a stacked high bonfire party track that’s begging to be blasted to the top canopy of any camp out. Too bad its January, but keep this on file for the coming spring thaw.



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Garcia Peoples – “Feel So Great”

Less than a year on from their debut this past summer, Brooklyn’s Garcia Peoples are back at the helm with another burner on the docket. Opener “Feel So Great” lightly pushes aside their penchant for Cosmic Americana to go for the psychedelic burn proper, driving a low-slung riff with the prowess of vets twice their age. The harder edge doesn’t keep the ebullience away – the song opens up to a steam-bath cooldown in the middle before hitching the groove back up for a ride out of town. Yet this is definitely a different side of the band from what was on display on Cosmic Cash. Less of the Dead at play here, replaced by shades of Neil Young’s oft-maligned (and wrongly so) ’90s output, though the band claims that The Who’s sweat-soaked live shows were the inspiration for the song. Still working overtime to make believers out of a generation of jam deniers, Garcia Peoples show no sign of flagging, slumping of sagging on their sophomore outing.


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New Rose – “Plenty of Flowers”

For an East Coast band, bound to the NYC streets, there’s a remarkable amount California salt in New Rose’s veins. Their last album tucked into alt-country with the vigor of exiles trying on a new skin, but as is evident from the first taste of the upcoming Crying Eyes, they’re now quite comfortable in that Western skin and looking to make their mark on the legacy of country-psych and Cosmic Americana. Add another name to the list of 2018 bands joyously recapturing the tipping point of psychedelia’s innocence lost. “Plenty of Flowers,” which boasts the inclusion of session legend Al Perkins on pedal steel, evokes the kind of sighed Sunday resolve that looks back on the regrets, indulgences and mistakes of the past week with a narcotic detachment that’s warmed by the late afternoon sun and buffeted by the last few beers in the fridge.

Wagner and co. have gone to lengths to outfit the record with the right totems of a bygone era and they’re capturing the Canyon’s light just right. Aside from Perkins (who played on Gram Parsons and Rolling Stones’ records) the band’s pulled in players who worked with Linda Rondstat and Kacey Musgraves alongside vocals from Anna Fox of Quilt. “Plenty of Flowers” tips its hat to their raglan and linen vibes and sets a nice tone for an album of imaginary melancholic L.A. misadventures dreamed by those born just out of time’s reach.



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One Eleven Heavy

As I’ve certainly mentioned previously, One Eleven Heavy comes stacked with a considerable cache of talent – roping in members of Wooden Wand, Endless Boogie, Royal Trux, Desmadrados Soldados De Ventura, and Ryley Walker’s touring band. While the players personal geographies run the span on the Hubeadian Map, drawing in both Coasts and dipping into the UK with Nick Mitchell Maiato, the band shares a unmistakable thread of Cosmic Americana between them. That particular strain of jam-seeded classic rock seems to have sprung up from the ground again in thick ripples over the last few years, reaching full maturity in this year of our lord 2018 and One Eleven Heavy arrive baptized in its blood and spreading the gospel well.

Like the crews of their cosmic brethren (Howlin’ Rain, Garcia Peoples, Wet Tuna), they’re hitting full stride with heady jams that hearken back to the years occupying the comedown close of the Summer of Love, with the ideals of the psychedelic era already starting to fade in the rearview and the amphetamine sweat of ’72 just starting to coalesce. The band strips back the stigma of extended time stamps while they work their way through a set that feeds on Levon’s legacy and elevates Little Feat from the sidelines of drive time radio. They channel the Burritos in their unjustly ignored post-Parsons years, while scraping just a touch of Gene Clark’s breakdown brilliance from No Other.

The record tangles the subtle twang of those raised on a diet of jukebox country crooners with the salt scrub of Western air, laying songs back into a pocket that exists somewhere between chooglin’ and juggin’ depending on how deep you want to dive into your own psychedelic pockets. For a debut, the record feels remarkably lived in. Fresh out of the shrink it already assumes frays and stains that belie its vintage, as if it can’t help but come from the plant with ring wear and a hint of basement musk. The band taps the telepathy of players that have shared stages far longer than their brief tenure – a testament to the individuals assembled – and one can only assume that each of the album’s songs is given a new life on the stage. On record, though, it shines bright as Orange Sunshine, an instant classic that should hook the heads who walked the lot and open up a new era for those who only soaked in the sun through Dick’s picks and regret.

While the record’s up on Bandcamp as of last Friday, and you damn well should have bought it already, its highly likely the rest of you are hitting the three spin cap, leaving you ostensibly out of luck until the record hits Spotify this upcoming weekend. However, for the next week, before the record hits streaming proper, you can get the full view from Soundcloud below. Don’t say we never did anything for ya.




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Mixtape: Goin’ West

Been a while since there was a mixtape up, but these things take time and tenderness. For the latest mixtape I’m taking some inspiration from 2018’s slide towards Cosmic Americana. With albums from One Eleven Heavy, Garcia People, Howlin’ Rain, New Parents and Wet Tuna leading the charge back towards ’71-’72 I though it might be in order to round up some of those West Coast sounds that hit on resonant frequencies to the new crop of smooth players. While most, if not all, have already pledged allegiance to their own favorite boots of The Dead and there’s a communal love for Royal Trux, Little Feat, Crazy Horse and Levon Helm, I thought I’d scoop up some outer-stream suggestions to fit the bill. Ok, sure, I’m cheating a bit with the Flying Burrito inclusion, but despite a wealth of praise from any outlet that would let you listen, that one’s just a great song that fits the vibe.

Travel further down this roadmap of country-tinged, sun-soaked songs from ’69 on and feel the vibes slow down to a simmer for the end of summer. It’s not all West Coast -The Wizards from Kansas were actually from Kansas, Mountain Bus were from Chicago despite longing for the country – but each of these hits on that cosmic view of American psych that cropped up along the coast. It all winds down with one of the germs of the sound, The Charlatans’ “Alabama Bound,” a song that’s often been noted as being the proto-“Playing In The Band.” Artwork inspired by so many Grateful Dead bootlegs. Click below for tracklist and stream.

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