Posts Tagged ‘Reverberation Appreciation Society’

Hoover III – “Control”

Hoover III return to the fold, moving from Permanent records to the similarly psych-minded crew over at Reverberation Appreciation Society. With a heavier lean into prog (cut wit a dose of psych-pop) the band enters a quivering headspace that’s been occupied by Secret Machines, Spacemen 3 and Loop. The first single, “Control” pulses along on a chugging rhythm slashed by thick ropes of guitar and pillowed organ plumes. The band spent some time absorbing the air of Berlin before writing the album and there’s a legacy of the German Progressives in the bones of the album that rears its head here as well. Hoover and his crew continue to refine their space rock ruckus and “Control” ought to whet the appetite for what’s to come on 4/9 when “Water For The Frogs” lands on shelves.



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Kikagaku Moyo

Last year was a banner year for live recordings (check out the list of favorites here) and it’s good to see that the folks over at Reverberation Appreciation Society are starting things off right this year as well. While the label has been releasing some great live sets in their Levitation Sessions series of lockdown live performances — roping in everyone from Osees to Ringo Deathstar and Frankie & The Witchfingers — now they’re beginning a new LP series of bands captured live at their Levitation festivals over the years. While there are a few meccas for live psych each year, it’s pretty safe to say that Levitation boasts one of the most stacked lineages of lineups over its tenure. The first entry in the series pairs up two monumental performances from Kikagaku Moyo, with the A-side capturing the band’s debut at the festival back in 2014 and the flip representing their return in 2019.

In 2014 the band was hardly on the US map, just beginning to release some US versions of their LPs through Beyond Beyond is Beyond before Guruguru Brain would become more of household name. They don’t waste any time introducing themselves with a blistering jam before tearing into inspired versions of songs from Forest of Lost Children and their eponymous LP. The b-side / 2019 performance culls entirely from Masana Temples so, sadly there’s no live burndowns from House In The Tall Grass here, but the live takes on Masana favorites “Dripping Sun,” “Gatherings” and a final cooldown into a luxurious “Nazo Nazo” are certainly worth the wax they’re pressed in. Sadly, the colored vinyl versions are now spent, and I’m not entirely certain if a standard black edition is on the way. Hoping a few of you picked this up when I first discussed it in November. Digital edition will give you a way to experience the sets as well, so however you get into it, this is peak Kikagaku Moyo that needs to be heard. Keep your heads up for the second entry from Black Angels as well in March.




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Kikagaku Moyo kick off Live at Levitation LP series

Levitation has long been a destination festival for excellent psych acts and it should have been no surprise that it served as one of the entry points for Kikagaku Moyo into American hearts. One of the band’s first shows was at the festival in 2014 and they returned again much higher up the bill in 2019. The band’s performances at both with grace the inaugural edition of the Live at Levitation series issued through the festival’s label arm, The Reverberation Appreciation Society. Both sides are heavy reminders of why the band is excellent in the studio, but also an animal on the stage. The energy that they bring to their first set helps cement them as heirs to the PSF legacy in the new age and the label’s got it up on ltd vinyl with a t-shirt in tow. Check out a video of the band performing “Smoke & Mirrors” at the fest in 2014. It’s been a good run on live albums of late and this official boot is a pretty essential extension of the current crop.

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Frankie and the Witch Fingers

I’ve had this new platter from Frankie and the Witch Fingers rolling around my brain for a little while now and its certainly among the best they’ve ever battered into our collective brains. A lineup change finds the band fresh and foaming, ready to embrace the concept album and chomp down on the ragged strands of rhythm at the same time. There’s a renewed sense of movement, imparted both by the band’s live to tape take in the studio and some time with a toy box full of percussive augmentations that give the album some shimmy between the shred. As we enter the alternate reality of Monster Eating People Eating Monsters… the band takes hold of the listeners’ psyche with both hands and shakes the soul like a gourd, pounding out polyrhythms in morse code warnings that reverberate through the temporal plane. Ozone crackles in anguished thick plumes from sweat soaked amps and a mantra of metamorphosis glows from the walls in blacklight brilliance.

There’s a sense of menace at work taking over for the euphoria and grind from past albums. It’s creeping through the bottom-end burnout and permeating the guitar scorch. The band comes as hard as they ever have but this time the turbulence is unrelenting, slipping from one song to another in seamless careen. The band’s been leading up to the album with a bevy of visuals that chew at altered states and consciousness evolution, a constant theme throughout the LP. Should we ll be so lucky to be rendered through the simulator in the Witch Fingers’ world. Sadly we’re all stuck here on the most malevolent time line waiting for the escape hatch to blow. Until then, it’s a fine time to let the cycle of scorch that the Witch Fingers lay down here lead the way into some sort of sonic oblivion. I recommend a few repeat rides on this one.



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Frankie and the Witch Fingers – “Sweet Freak”

Another mind bender vid from Frankie and the Witch Fingers is out today and the accompanying Spaghetti Jesus video is taking your childhood memories of claymation and running them through a Dario Argento filter. Aduction, dissection and uncertainty all build to a fear that I haven’t felt since Clay Fighter hit the Sega Genesis back when I was a kid.Themes of altered states and dimensional slip find good company as the band also lets on that the single accompanies announcement of their reality shattering cycle of psychedelia, Monsters Eating People Eating Monsters… (repeated infinitely). Having taken the trip I can assert that the LP flings open the folds of reality, and this here is just the beginning. The new LP is out October 2nd from Greenway and Reverberation Appreciation Society.


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Frankie and the Witch Fingers – “Cavehead”

Always excited when new nuggets roll out of the Frankie and the Witch Fingers cabal, and they don’t pull any punches with “Cavehead.” The song pounces on their smoke-choked psych end of the spectrum while adding in a delightful dose of playful rhythm. The guitars push far past the Hawkwind-huffer end of the bag of tricks — a leviathan letdown of face-melting space that tears through the wormhole at irresponsible speeds. The embrace of woodblock rhythms push the band as close to post-punk as they’ve ever been, but they’re not going angular just yet. There’s a dance in the DNA here but along with the psilocybin-induced visions of the video this one’s aiming for a higher echelon of disjointed shake. The build lulls the listener into the arms of trance before the Witch Fingers pop the accelerator and fuel their burn with a half-ton payload of amp-fried fury.

The band’s Dylan Sizemore sums up “Cavehead” for the curious “For us, the intention behind this song was to whittle down a 30-minute pattern we had been vamping into something a little more digestible and succinct. The pattern had a neat polyrhythmic nature to it that we really wanted to explore deeper to give it a lively (David) Bryne kind of World Music feel. While we were in the studio listening back to the main tracks, Shaughnessy [Star] and Josh [Menashe] started messing around with these Thai wooden blocks and playing a sort of call and response pattern in this perfect little tight pocket. We were all so excited to add that last little finishing touch that really brought it all home! 

Lyrically the idea behind this song is about everyone being a process rather than a person or persona. You’re not Martha, you’re Martha-ing. With the right type of entrancing groove, sometimes you can get sucked into the essence of what Martha-ing is all about.” The 7” is the band’s first release split between their familiar harbor at Greenway Records and Austin’s Reverberation Appreciation Society.



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