Posts Tagged ‘Jam’

WEEED

On the sixth LP from Portland’s WEEED, the band is again wrangling longform jams and pristine fingerpicks into a record of psychedelic transcendence. Given the name they hung on themselves, that’s probably not too great a shocker, but they’re still finding room to maneuver in the genres without wearing the fabric thin. The record eases into view with the gorgeous, opalescent strains of “Opening,” which finds itself in the band’s instrumental bag. The song is a welcome pre-dawn crack into WEEED’s worry-free soundscape and they dive off the precipice into knotted whorls of guitar and percussion interplay that’s clearly built to stretch out in the live setting.

WEEED seems like they might tender some crossover with the current wave of Cosmic Americana, and in the sense that they’re indebted to the freeform ‘70s school of letting the groove dictate the terms, they have plenty in common with the winding cascades of Garcia Peoples, One Eleven Heavy and Howlin’ Rain. They embrace a similar sunny-skied, bliss-blistered shakedown but they’re not hitting the Dead/Little Feat/Mighty Baby triangulation that’s been so prevalent of late. In fact, they wander into some of the creeping dread of King Gizz’ motorik mayhem on the album’s hinge point, “Open Door.” And the track has the effect of feeling like the trip might just turn bad – the blissful skies from the first couple of tracks grow grey streaked and threatening.

Its almost enough to pull the listener out of the pocket, but they don’t let it dive down to the inky depths for long, swerving back to a golden luster on “Carmelized,” which acts as a true highlight of the album. On the back half they find their element in a couple of 10+ heavy-hitters that exemplify the band’s want to let the mind and meter wander while also toughening their sound just up to the edge of heavier Stoner-Rock territory. The band had sidled up to Important record for their last album, but this finds them again at their outpost of Seattle’s Halfshell, perhaps feeling free to wander as they choose on familiar grounds. This hadn’t gotten a whole lot of shouts this year, but if you’ve been locked into the Cosmic-core I’d mentioned previously, then there’s plenty of zone to float in here.



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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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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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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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Garcia Peoples

As I’ve mentioned previously 2018 seems to be coming into its own with an embrace of the oft scorned jam band. What was once the butt of jokes among the more pretentious contingent of music cognoscenti has been given a legitimate platform. It helps that the genre has been rescued from some of the bro-y trappings that typically kept it down. While the new class still embraces the jam proper, they lean into the free boundaries aspect of the original rumblings of The Dead, rather than, say, the Guitar Center chest puffing and puca shell shambles of bands like Moe or Government Mule. In fact, it’s the embrace of the magic years of The Grateful Dead that seem most prescient, especially in a band named Garcia Peoples.

The New Jersey unit, naturally at home in the live setting, brings their sense of immediacy and experimentation into the studio. The record flickers like a living flame – warm and inviting, but able to scorch if given the chance. They’ve nailed the liquid runs of guitar that defined the Dead’s unifying embrace, while also bringing to mind the second-tier stunners like Mountain Bus, Mighty Baby or Fat. On Cosmic Cash’s centerpiece suite, though, they barrel out of the gate with guitars set to Trux and burn down the barn with little regard for the bystanders. Of course, it all smooths out to a buttery soul by the time they get to the end, with just a bit of a lyrical turn towards cringeworthy on “Cashing Out,” but if anyone was looking to elevate the legacy of Jam to something other than college freshman phase territory, its these guys.

The record is sun-streaked with positivity, and that feeling is utterly infectious. You’d be hard pressed to find a band working in the genre that would be called dour, but Garcia Peoples feel like they’re happiest spreading love via rippling riff. Their debut stands central to the new wave of American Jam and given time they’ll likely go down as a pivotal spark in new attitudes towards Cosmic Americana. For now, though, this is just the perfect companion to ride out the tail of Summer. Drop the needle, fill your drink and let the cooldown shake of Garcia Peoples free your soul.



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Garcia Peoples – “Show Your Troubles Out”

2018 is proving to be something of a renaissance for the typically shunted “jam band.” The term inspires revulsion in so many, but to those with crisper memories of prime-era Dead shows there exists a pang for a higher level of improvisation than wading into the bottom rung puca necked garden variety jammers that clog up college campuses. To that effect, there are quite a few records that nail the good and scrap the bad connotations associated with the term (see One Eleven Heavy, Wet Tuna, Weeping Bong Band, and the return of Howlin’ Rain). Add NJ youngbloods Garcia Peoples to that roster. The band might not have the age range to have had firsthand experiences with the parking lot set but they’re clearly versed in the wealth of prime live boots that float around the internet and given the ability to hear the best of the best they may well have used them as a primer and style guide to the cosmic float.

The band has recently added P.G. Six on keys, who gives a further seal of approval (and enters into a contest with himself for excellent psych jammer of the year with his work in Wet Tuna). What works best about Garcia Peoples is that they feel unrestrained by the walls of the studio on their debut and that shines through on “Show Your Troubles Out,” a track deeply indebted to the groove and stretching out for the highline haze with each starburst jut of guitar that slaloms through the cut. Of course, this one has to have longer legs on stage, but it’s a damn fine argument for Garcia Peoples upcoming stunner on Beyond Beyond is Beyond.



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