Posts Tagged ‘West Coast Psych’

Pacific Range – “High Upon The Mountain”

West Coast psych searchers Pacific Range have been cooling themselves on the Cosmic Americana winds for a few years yet, but their first proper LP is just now landing at Curation Records. The band’s shared the title track to High Up On The Mountain today and its radiating with silver shivers of country psych bliss. The band is bred on a cocktail of Allman Brothers sunshower shakedowns, Mountain Bus low-gear choogle, shimmers of Help Yourself and, naturally, a requisite dose of The Dead in their veins. The band’s debut, wrapped in an eye-popping Brian Blomberth cover, features Duane Betts (son of Dicky), Sam & Clay from Mapache, and Jade Castrinos among others. “High Upon The Mountain” opens up the LP, and there aren’t many better introductions to the band’s canyon cradled brand of West Coast breeze than this right here. Built on a low-slung guitar line and sweetly stung harmonies, tuck into this one and get prepped for the LP on 3/27.



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Mapache – “Me Voy Pa’l Pueblo”

Ah some warm relief to the endless crawl of winter days. Mapache release their second taste of the upcoming Liberty Street and this time they apply their layered harmonies and laconic strum to a classic song from Los Panchos. The ache that the pair bring is hard to ignore as the song lilts on the breeze, barely letting itself alight in your heart before it flutters on down the shore. They pair it with a sepia saturated video that breezes by in the same spirit of the song, directed by Laura-Lynn Petrick. Chances are if you were already easing into the band’s last sunkissed offering, this may be just the thing you’re looking for. Record is out March 20th from Yep Roc.
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Mighty Baby – At A Point Between Fate and Destiny

I’ve talked about UK garage-soul band The Action and their fairly essential slab Rolled Gold here before, but up until now there haven’t been a lot of movements in the reissue of post-Action material by the always entrancing and sorely overlooked Mighty Baby. Sundazed has some fairly straight-forward issues of their two LPs and there have been a couple of live boots and unofficial runs here and there, but this attempt by Cherry Red to gather the complete recordings may well be the most ambitious yet, not in the least because it finally gives a fair look into the band’s scrapped third album Day of the Soup, which would see the band move even further from pop song structure and into the kind of live-driven, fluid psychedelia that loomed large on the American West Coast. They may be the most accomplished British band hooked into the style and they’ve long been overlooked by fans of the genre.

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Hurt Valley – “Apartment Houses”

Can’t go wrong with a Woodsist record, but this new cut from Hurt Valley is a particularly amber-hued reminder of what makes the label great. The band is the conception of California songwriter Brian Collins and he channels the windswept, sea salt sanded vision of West Coast country-psych with a steady hand. Honestly been looking more and more to this sound lately, so the beach chair strums and wisp of twang that soak into the struts of “Apartment Houses” are just what this week calls for. While Hurt Valley are definitely nestled into that Cali sound, which always evokes a bit of unseasonable warmth, there’s something of an Autumn appeal to this song — the summer sun has long since set, with the track pulling its sweatshirt stings tight against an evening chill that even the California coast can’t fight. The new record is out Decmber 6th. Gonna want to keep that date in mind.




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KAK – KAK

Almost too perfect that alongside the new cosmic collectives releasing sunshine and shade this week there’s a classic back on the table thanks to Mad about Guerssen. I first picked up a copy of KAK at the WFMU record fair years back. That cover just draws you in, a Kodachromed vision of California utopian psychedelia. The record makes good on the visual with room to spare. The record owes a great deal to Moby Grape, but they work to make their own way. The band, formed by Gary Lee Yoder and Dehner Patten, grew out of the pair’s former roots in the short-lived Oxford Circle. They recorded their sole album, released in 1969, but as usual with very little push from their record label, which sent it into obscurity for years. The record is built on a split between bluesy West Coast rockers and some more faded folk touches that dip into the waves with the sun.

While the record is often derided as being derivative of larger names, since the band came up alongside many of them its likely they were just swimming in the same stew. The hinge the record on the huge triple medley “Trieulogy” but the rest of the record easily stands up to the might of that one. After the record’s dismal reception, the band would part ways with Yoder going on to join Blue Cheer and recording a few solo singles. Guersson does this one good with a remaster, heavy sleeve, OBI and new liner notes by writer Alec Palao and members of the band.



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Allah Las – “In The Air”

Allah Las already made a nice divot in 2019 with their instrumental contributions to MexSum’s Self Discovery for Social Survival soundtrack, and if they’d stopped there I’d have called it a win for the band all around. Seems they have more in mind for the year, though and the band is springing off of that project to get back into the album game with their fourth album LAHS which finds its way out October 11th. The band is back in the breezy swing of West Coast jangle with salt in its beard on “In The Air. Calico Review saw the band darken their sound just a touch, putting an overcast air on their beach-bound sound, but the first taste of LAHS is little less than sun dappled and sand swept. The band’s making light with a Weekend At Bernie’s leaning video that makes good use out of their budget — hopping from hot air balloons to helicopter rides with comatose (or dead, you never know) band member in tow. I’m excited to see how the sand shakes out of this one when it lands in October. Check it above and catch the band on a full US tour this Winter.

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Monarch – “Beyond The Blue Sky”

Adding yet another voice to the current wave of Cosmic Americana, the sophomore LP from SoCal psych five-piece Monarch wafts in on canyon breezes. “Beyond The Blue Sky” is faded in that Kodachrome sunburst hue, worn-in just the right amount but still with a bit of burn. The band makes the most of a six-minute tumbler – entwining twin guitars with the sun-in swagger of their ‘70s forebears and lighting up the solo like fellow West Coast CA toasters Howlin’ Rain. The track comes as a warning shot from their upcoming LP, also titled Beyond The Blue Sky, out later this summer on Denmark’s El Paraiso Records. If you missed out on their first LP, this one threatens to eclipse it nicely, so there’s time to catch up and crack in.


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New Rose

Its been a solid year for country hued indie. From Aussie exports to homegrown US acts, there’s been plenty of mournful slides and a ton of twang among the best of 2018. You can now add to that clutch of releases the latest LP from New Rose. The Brooklyn band embraced country’s cradle on their previous album, Morning Haze, and they’ve settled nicely into the valley of the bittersweet bend for Crying Eyes. Recorded between Nashville and two visions of New York – the city and various upstate locales – the album is an autumnal comedown that’s seasonally adept with its heartache hues and mournful sighs. Where their last album found them in a state of transition, they’re now on a clear path to the depths of the human condition as rendered in the sunset’s golden glow.

On the new album the band taps into a ’70s vision of California as their core of inspiration, more-so than any Texan tropes or Nashville niche. While they pick up a bit of the latter from their studio time in country’s capitol city, essentially they’re drawing their grey skies from the Western whiles of the West Coast class this time around. There’s a languid approach to their drawl, unhurried, unfussed, but not unaffected. There’s a sense of loss and a resigned sigh to the band’s approach. The world has ground them down but not out and they’re here to give solace to others in the same sling of damnation.

While it might be hard to give the Laurel Canyon cred to a bunch of East Coasters who skewed closer to Gun Club than Gram Parson just a few short years ago, it has to be said that the band has put in the work. With their second foray into the cradle of croon they’ve smoothed out the kinks and found a buttery soul that’s hard to ignore. The record comes across more than just ten gallon dress up and nickle bourbon charms. They’ve spent some time wallowing in the sorrows of their ’60s country-psych predecessors and, even if its just osmosis working its magic, New Rose seem to have found sweet relief on Crying Eyes.



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Fapardokly – Fapardokly

California songwriter Merrell Fankkhauser touched down in severally ‘60s groups, beginning with the surf-bent Impacts before forming the psych group Merrell & The Exiles in 1964. The Exiles would eventually shuck that name to become Fapardokly. The thorny name was the result of combining letters from each of the members’ names, something that probably seemed a better idea at the time. The band held down a residency at the Pismo Beach venue The Cove while laying down songs over a number of years at Glenn Records’ founder Glen F MacArthur’s nearby studio. One of the tracks the band recorded, “Tomorrow’s Girl,” found its way onto Dick Clark’s American Bandstand, which helped turn their hodgepodge of studio tracks into an album for the hometown label.

Since it was recorded over several years, the style on the record evolves alongside the trends that transpired between ’64 and ’67. There are straightforward janglers, baroque ruminations and psych standouts peppered all over their eponymous LP. The record has found its way out before, but rarely in an authorized version. Sundazed worked out a CD a few years back, but this marks the return to vinyl and even boasts some archival photos and liner notes from Fankhauser himself. Its also returns the album’s original cover art, which had been degraded to lesser versions among bootleg issues of the record.

Though it would comprise his most essential recordings, Fapardokly didn’t mark the end for Fankhauser. He’d go on to have some nominal psych success with H.M.S. Bounty, a band that shared much common ground with later period Fapardokly. He’d wander towards a fractured blues in the ‘70s with MU, which saw him reconnect with Beefheart band member Jeff Cotton. Notably, Cotton was also briefly in Merrell & the Exiles, but wouldn’t become a member of Fapardokly proper. Nice to see this little gem back in print. Its probably not the most essential piece of the puzzle from the ‘60s but Fankhauser’s talent deserves a bit of a showcase. Well worth the time for Nuggets aficionados.



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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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