Bong Wish EP

Before the end of 2017, Beyond Beyond is Beyond Records released Bong Wish’s self-titled EP on a limited-edition cassette. It’s now in its second limited-edition run.

Bong Wish is the moniker of Boston-based musician Mariam Saleh, and is enigmatic in scope, splitting the difference between the counterculture folk-rock of decades past and the modern conundrum of existence particular to the 21st century. Just take a look at the video for the wonderful cassette opener, “My Luv,” in which Miriam both wanders through nature and contemplates her smartphone.

Lyrically, Bong Wish leads listeners through universal themes, themes familiar to the genre’s followers – interpersonal relationships, loneliness and nature – but there’s mystery in the familiarity, particularly in ambiguous and beautiful lines like “When the night hasn’t left in days… The light is just a door away.”

Everything is delivered with such confidence the result sounds almost prescriptive, a cure for age-old ennui and new skepticism – and perhaps it is. With both whimsy and assurance, Bong Wish is a small dose, at four tracks, of just what’s needed now.

In just four songs, Saleh and friends cover a lot of ground, but standout track, “Conversation with Business People,” sees the most divergence from its peers. With a tight rhythm section as a background, layers come and go across its full six minutes. There’s room for some interesting experimentation and instrumentation in its middle, though its use of minimalism over maximalism maintains the earthy core that ties everything so neatly together.

I’ve sat with this review for a long time, and these songs just keep getting better.

Highly recommended.

Joseph Murphy

The Bong Wish EP cassette and digital files are available from the Beyond Beyond is Beyond Bandcamp page. Stream it all there, too.

Dead Sea Apes - Recondite

If you’re reading this here, Dead Sea Apes is likely a household name to you by now. Since 2009, the Manchester instrumental three-piece has built an impressive back catalog of heavy psych that both defines and transcends the genre, absorbing along the way adjacent sounds: lush post-rock, ambient dub, Krautrock and experimental punk – see last year’s Sixth Side of the Pentagon or their collaboration with writer and artist Adam Stone for In the Year 2039.

These latest additions on Recondite – 11 tracks, 80 minutes – represent a broad swath of their permutations, including alternate takes and covers. Tying these all together is a dedication to experimentation and musicianship. Dead Sea Apes can do heavy, but they can equally soothe and meditate.

Recondite opens with an alternate take on “Tentacles (The Machine Rolls On),” once again featuring Adam Stone. Against some serious reverb and experimentation, “Tentacles” stretches out and eases through its dub-infused rhythm, while Stone narrates like a mad preacher, unrelenting until the song dismantles itself. “Coronal” follows and builds upon a drone to a crashing outro, remodeling post-rock into psych madness. Standout track, “Lupine Wavelength,” runs the gamut of guitar styles and tones. It lacks nothing. For guitarists – and all musicians really – it’s a must-hear.

Overall, Recondite works as a summation of Dead Sea Apes’ work thus far, sprawling and heavy, but it might also be a fine introduction for new listeners who might choose a branch to follow back through their catalog. In addition, covers appear throughout, grounding the rest in a tradition: an Organisation/Kraftwerk deep cut, “Rückstoß Gondoliere;” Harmonia’s “Vamos Compañeros;“ and one of Skip Spence’s last recorded songs, “Land of the Sun.”

Joseph Murphy

Dulls - Moon Violet

Reviewed by Joseph Murphy.

On last year’s self-titled debut (reviewed here), Philadelphia’s Dulls took a lighter touch to both their shoegaze and alternative-era leanings; they preferred, it seemed, to let space between voicings develop the theme throughout. But on this year’s Moon Violet, the band puts guitar-centered hooks at the forefront, channeling their grittier predecessors of the DIY genres – even with standout-track, “New Dream,” which, in other hands, might be a slow-burner but builds, here, to a dense pay off in the chorus that’s deserving of an angry sing-along. Moon Violet is another promising step for Dulls, exploring similar terrain as their debut while taking a few risks along the way – perhaps, in part, thanks to recording and mixing by John Ceparano of The Stargazer Lilies, whose own albums value similar balances between lush passages and the very human slide of the fingers across guitar strings.

The opening track, “View,” feels familiar from the start: a single guitar, lightly reverbed though heavily strummed through the progression. The result – when the whole band comes in – refuses to crowd the song with pummel and force, rather Dulls extends the simplicity, whether through a few accent leads or a tight rhythm; further still, when the layers drop away for the verse, the space left behind still hums with strength of the intro. This serves as the model for Dulls: lean all the way in and pull back to give perfect contrast.

Both releases from Dulls have been short, but, in so few songs, the band has proven their careful consideration, curating each release to their format (in both cases, cassette) and their ideal listeners, ones looking for mature reflections of legendary acts that still resonate – and maybe more so now – and conversations with those long-standing musical heroes. Perhaps four songs is the perfect tactile experience for listening, creating a balance and natural split. This level of consideration is somehow imbued in both releases; both feel meticulously plotted while still embracing the nuances of each musician’s contributions.

“Moon Violet” is available digitally or on limited-edition cassette below. This one just gets better with every listen. So, let it play through again; any good tape deck will do.

Highly recommended.

Lamagaia - Lamagaia

Reviewed by Joseph Murphy

There are few bands around now that insist upon long-form songs; still, there are fewer that absolutely require just shy of twenty minutes to really express a contained, continuous and coherent idea. Gothenburg, Sweden’s Lamagaia make long songs feel necessary and effortless – even brief, in a way, by their continually vibrant, fresh take on Krautrock-inspired heavy psych; the two songs making up their proper debut, “Aurora” and “Panorama Vju”, are both one side of a 12”, but their urgency and pace have a way of shrinking their significant lengths to quick and potent doses.

With only a 7” and a self-released 12” to their name – both available from the band’s Bandcamp – Lamagaia is slowly but surely building their catalog; in so few tracks, the band has quickly and impressively built a brand, one of balanced fervor and outrageous composure. Their eponymous debut simply tills new tracts of the fertile ground. “Aurora” is a deft and dense track that, at first, feels so complete as it builds, the vocals – straightforward as they are, though masterfully effected – come as a surprise, almost unnecessary to the song’s fullness. It’s hard to find such welcome surprises in most listens.

“Panorama Vju,” undoes all the density and frenzy of its reverse side and spirals through a hazy and atmospheric exploration. The song really gets its legs five minutes in as it vaults a skyward, delay-heavy melody, only to let loose entirely through the remainder of the song with washes of guitar noise and manipulations. Co-released by Sunrise Ocean Bender and Cardinal Fuzz, get the vinyl or digital format of your choice on their respective Bandcamp pages.

Highly recommend this one.

Dhidalah - NO WATER

Reviewed by Joseph Murphy.

Up next from the inimitable Guruguru Brain is Dhidalah’s NO WATER. At the head of the latest wave of heavy, experimental space rock is Japan’s Dhidalah, whose members masterfully balance the intense beauty of the genre with the free-form harshness. Guitarist Ikuma Nawabe – who did a stint with Church of Misery – takes lead against a tumultuous rhythm section (bassist Gotoh and drummer Konstantine) as they propel themselves through a dense, alien atmosphere.

Unlike many of their counterparts, Dhidalah – for this listener – focuses more on the sculpted atmospheres as a continuation of the funereal, pounding doom rather than a calm between heavy waves. As rewarding as each of the grinding passages can be, equally moving are the atmospheric repetitions that build organically toward heavy, sonic release. Even at their most atmospheric, with their lightest touch, the trio still manages to raze structures and wrinkle landmass, destroy and build at will.

Composed of two long tracks, NO WATER fits squarely in the established realm, yet something about its focus sounds different. Opener, “GRB” gives a soft start to a heady album, but it’s not long before it rips into a reverb-drenched heave, complete with a gritty pick slide and double bass kicks, which tirelessly presses onward until its close.

NO WATER’s eponymous track is where the band truly shows their diverse skills though. At its halfway mark, “NO WATER” percolates, wobbling around a resonating calm before returning in dense, pounding doom. The shift is natural and necessary – and when it all falls away again, that, too, is a needed reprieve before the next wave of noise. Dhidalah knows these boundaries and savors them throughout.

Despite having formed a decade ago, this is Dhidalah’s proper debut; you’ll find a demo out there and their significant contribution – a nearly 20-minute song – on Guruguru Brain’s 2014 compilation (a “Name Your Price” download).

NO WATER is available below; look for the limited edition 10” vinyl or digital formats.

Magic Shoppe - Wonderland

Reviewed By Todd Leiter-Weintraub (Hop On Pop) and Joseph Murphy

After teasing us with a 4-track EP earlier this year, Boston’s Magic Shoppe has unleashed its newest full-length, and it’s a corker. Blending together the modern psych sounds of bands like The Brian Jonestown Massacre with the full-on sonic assault of The Warlocks, it’s one of those albums that reveals more and more of itself with each listen.

The album opens with the nasty fuzztone and wah-wah riffing of “Stars Explode”—pure heavy psych a la The Warlocks. But when the arrangement shifts just a little, all sorts of nifty harmonic constructions reveal themselves, reflecting the influence of nothing so much as "Daydream Nation"era Sonic Youth. “Head On the Floor” follows, with the same kind of SY riffing, but here it’s the bassline that drives the song forward. Yeah, the guitars are front-and- center, of course. But when I find myself bobbing my head, it’s to the rhythm of the bass guitar. “Kill” explodes out of the speakers next. It’s a 12-bar blues-based vamp with super-saturated reverb-heavy vocals over a tremolo guitar—Rock, with a capital “R.” The beautifully arranged guitars are stacked on top of one another like the layers of a delicious cake made of fuzztone and rhythm. It’s easy to get lost in this one.

It’s also easy to get lost in the vocal harmonies of “Hearing Voices.” Those vocals, while intriguing, are buried in the mix, so as to beckon the listener closer. As you do get closer, the song sucks you in to its sonic landscape and wraps you up in warm, fuzzy layers of guitars and reverb. Full immersion.

“Blowup” gives a bit of a respite from the fuzz. Some great staccato riffing, punctuated by tambourine reminds me a little but of what The Limiñanas have been doing on their recent albums. “Sister Burden” has some quieter moments, but those moments are more like floating in the sea of sound, before the song kicks back in and, again, you’re swirling in the whirlpool.

I’m supposing you get it, dear reader, that the operative words here are “fuzz”, “layers”, “guitars”, and “reverb.” Magic Shoppe has concocted a glorious wash of sound that envelops the listener; pulling you in, and bringing you into the band’s world. But then, less than 30 minutes later, when the album ends and you’re thrown back to reality, all you want to do is dive back in again. It’s a nifty trick, indeed. And it’s a really, really good record. (TL-W)

Boston’s Magic Shoppe has been around for a while. All that time, they have quietly released subtle, layered – and often noisy – rock albums. Yet this year’s releases – “Interstellar Car Crash EP” (reviewed here) and most recently “Wonderland” – feel like a breakthrough for the experienced group.

Since their first EP, “Reverb,” released way back in 2010, Magic Shoppe has made significant tailoring to their repertoire of sounds. While “Reverb” sampled their many branches of influences and possibilities, their most recent releases are a testament to their honing of their skillsets, which inevitably developed into what has become their singular trademark: tone-perfect rock. But, of course, some things remain the same, seeds of things apparent even on “Reverb”: on “Wonderland,” guitar still reigns, and all guitar sounds are put through a gauntlet of effects, amounting to a sprawling reverb that cavernously shimmers but grinds when necessary too.

Opener, “Stars Explode,” jumpstarts the record, pounding hypnotic rock grounded by tambourine and light-handed vocals. It paves the way for equally propulsive songs such as “Kill,” while still setting up for a few of swaying, spaced-out pop songs that really make the record great.

Standouts “Blow Up” and “Sister Burden” channel West Coast shoegazers such as Brian Jonestown Massacre or Medicine equally. Melodic, upbeat, “Blow Up” plays with standard structure – and our expectations – both in vocal delivery and a searing, dense passage of guitar between verses. While “Sister Burden” saunters across similar ground, it leans toward chilly washes of guitar sound over the warmth of its predecessor. It experiments further with structure and layered landscapes as a means of exploring mood and content; and it works quite well here.

All in all, “Wonderland” is a joy for close listeners, pitch-perfect and finely tuned. This one’s a necessity for those headphone clutchers.  (JM)

“Wonderland” is available digitally or on red vinyl.

E Gone - Advice to Hill Walkers

Reviewed by Joseph Murphy

E Gone (Daniel Westerlund of Swedish band, The Goner) released "Advice to Hill Walkers" on cassette in 2015 via Zeon Lights. Mixing electronic and traditional instrumentation, E Gone proved on this sophomore release that he well deserved a wider audience. So now, Sunrise Ocean Bender and Deep Water Acres have teamed up to make that happen; "Advice to Hill Walkers" was remixed, remastered, repackaged and expanded – and beautifully so in every way.

"Advice to Hill Walkers" sounds like an artifact, uncovered in some far-off and forgotten land, like a nomadic people lost in the skies. Instrumental, eclectic, and lush, E Gone’s music nods Eastward, upward, inward and just beyond the canny. Opening tracks find inspiration in Eastern musicians – and at least to my ear, Tuareg guitars – particularly in the wonderful “Follow Moonmilk Rivers.” Westerlund even adapts a Syrian traditional song, “Ya Bent Ehkimini,” in “You Don’t Know It yet but We are Losing You.” But “Build Your Camp Out of Alpine Moss” twists that same approach until its wrung to a few sci-fi whirs that give way to a brooding, horror film’s synth lead.

Closing tracks, “Continue Ascent while Blindfolded” and “Reach the Summit, Egg,” serve as final posts in the journey and recall the many paths to reach the pass. “Continue the Ascent while Blindfolded” blends glitchy electronics with a woozy, reverb-heavy progression, while “Reach the Summit, Egg” revisits drones, deep hand-percussion, and mesmerizing, looping string themes. At just under ten minutes, the song ends in a current of sounds that becomes a trickle, then finally silence. One can’t help feeling relief, in a way, the same relief one feels at the end of a long hike upward, where one hears the same wash of sound – and then silence. It’s a reward, and though recognizably difficult, you’ll do it again and again.

"Advice to Hill Walkers" is available on CD from Sunrise Ocean Bender’s website and Bandcamp.

If you’re not convinced, check out the video for “Record the Humming of Melodious Caves” linked below.

Highly recommended.

Sula Bassana - Shipwrecked

Reviewed by Joseph Murphy

The latest from Germany’s Sula Bassana (Dave Schmidt who is featured in the likes of Electric Moon, Zone Six, Krautzone and Interkosmos as well) departs from the bombastic guitars and thundering rhythms of 2012’s "Dark Days" or 2009’s "The Night" for subtler shades of the same fervor. For loyalists, this one shares more in common with the 2014 split with 3AM, where sci-fi synth leads reign.

"Shipwrecked" (released on Schmidt’s own Sulatron Records) feels, from the very start, like a soundtrack, a concept album perhaps exploring the world of the wonderful cover art (by Frank Lewecke), linked by the nearly all electronic instrumentation and propulsive, Krautrock-inspired programmed rhythm. So, if you’re looking for those searing guitar solos, "Shipwrecked" lacks those; instead, it meditates upon often unnerving drones and several beautiful, cinematic passages (see the eponymous track for evidence).

“Moonbase Alpha Alpha” begins with what sounds like a breeze across an alien landscape, or perhaps it’s rocketry in the air. Then there’s a voice, heavily delayed, over the phasing atmospheric tones. It’s a promising start to the record, which continues to illustrate a futuristic, alien world. “No Time : No Eternity” sounds down-right other worldly as it plods through a menacing, cavernous beat and pulsates all the way toward the melancholic string accompaniment – a sentiment closing track, “No Way,” picks up, leaving listeners with a beautifully ambiguous close to the concept.

Sula Bassana has garnered enough respect in the psych listening community that Schmidt can really do what he pleases. This is a carefully constructed and interesting turn in his solo career, one that, for this listener, invigorates fandom and keeps the Sula catalogue as interesting as it first was upon first listen.

Digital versions of Shipwrecked are available on the band’s Bandcamp page linked below, where you’ll find links, too, for CDs and the few remaining vinyl.

Mt. Mountain - Cosmos Terros

Reviewed by Joseph Murphy

It seems that in recent years Australia has been steadily ahead of the curve in regards to musical trends, so much so that I can almost pick up on motifs that are distinctly Australian.

And now Mt. Mountain is among those pace setters, performing adept heavy psych on “Cosmos Terros” that cultivates those expansive, open passages and dense, behemoth riffs. For a debut full length – after a string of EPs and a 7” – Mt. Mountain comes out strong just four years after their formation in Perth. Consisting of 6 long-form songs, “Cosmos Terros” heralds the arrival of a forceful and finely tuned outfit. Equally meditative in their song structure and tumultuous in their execution, Mt. Mountain is a worthwhile excursion into a melding of heady doom, thunderous rhythms and shimmering landscapes.

As an intro, “Seek the Sun” provides counterpoint in some ways to what follows. It lulls the listener – perhaps falsely – while the following songs shake anyone within a wide radius awake.

The core of the album consists of three heavy tracks: “Freida,” “Elevation” and “Moon Desire.” Each song develops differently their paths, but the effect, in the end, is an unabashed, cosmic jam when they each come to a close. “Freida,” the lead single of the album, builds to fervor before “Elavation” introduces a propulsive beat and warbling guitars. The conclusion here feels natural and inevitable, so that, as “Elevation” crashes through the wah-wah heavy outro, “Moon Desire” provides the release – a head banging slow-burner that channels the shamanistic side of metal that’s come to the forefront in recent years.

Already laurelled and revered – named 2014 Breakthrough Artist of the Year at the WAMi Awards – Mt. Mountain will only gain tread in the years to come. Having shared stages with the likes of Sleep, Mono, Thee Oh Sees, Earthless, King Gizzard and the Lizard Wizard and Boris, Mt. Mountain has carved a niche for themselves as a furious and dedicated live act. If you get a chance to see them, do so and pick up a record while you’re there. Otherwise, “Cosmos Terros” is available digitally or on variously colored vinyl from their Bandcamp page linked below.

Highly recommended.

Mayflower Madame - Observed in a Dream

Reviewed by Joseph Murphy

Oslo, Norway’s Mayflower Madame recently put out their debut full-length, "Observed in a Dream", on their own label Night Cult Records and on Custom Made Music in the U.S. Equal parts post-punk, shoegaze, and dark psychedelia, Mayflower Madame has made a name for themselves through their frenetic live shows, which include the festivals Norwegian Wood and Oya Festival as well as support for Crystal Stilts, Night Beats, the Cosmonauts, Crocodiles, Disappears and Moon Duo. At first listen, the band recalls most obviously new wave/post-punk legends Echo & the Bunnymen or the Chameleons, both of whom – as does Mayflower Madame – borrowed a heap of menace and swagger from the Doors. As follow-up to their 2013 EP "Into the Haze", "Observed in a Dream" makes leaps forward for the band.

Turn to “Lovesick,” which assembles itself around a catchy, new wave-inspired progression; however, it’s everything that’s happening around that progression that sets Mayflower Madame apart. Beneath the clunky, propulsive chords, there’s a whole other thing altogether. I can’t help but wonder what the track would sound like without the rhythm guitar, which, don’t mistake, is perfect tonally, for there are layers of ambient leads, walking bass lines, and a snappy rhythm. Then there is guitarist & vocalist Trond Fagernes’ voice atop it all to masterfully lure one in.

Toward the close of the album," Observed in a Dream" plots similar terrain but shifts the focus to a more ambient instrumentation, letting notes trail and spiral while the bass holds down the riff. As a whole, this is a strong debut from a band with obvious mastery and inventive songwriting. This one has enough for those needy listeners after depth and invention while remaining more than friendly for all.

"Observed in a Dream" is available now through Mayflower Madame’s Bandcamp page digitally or on vinyl and CD as well as through Custom Made Music if you’re looking for a cassette.

Sir Robin & the Longbowmen - S/T

Reviewed by Joseph Murphy

The self-titled debut from Dresden, Germany’s Sir Robin & the Longbowmen begins with a dense and atmospheric drone that sets the tone for the entire record. This is one of those records that oozes with experimentation and follows its own internal logic while looking outside of itself – and this case often far, far outside of itself.

As “Sissi’s Harp” continues, led by a sitar’s melody, its loose rhythm and organ-heavy sprawl builds into a trance-like tumult that saunters at a quick pace rather than runs. But it’s not until second track, “Sick Bang,” that the band really reveals itself – like pulling away a bejeweled curtain; they sound like a garage band whose practice room is in a drifting space capsule.

Sir Robin & Longbowmen seem to operate at high speed and operate in complete unity and sync. There’s a lot of action in each song, so whether you focus upon Konrad Reichel’s voice, Stefan Hühn’s mesmerizing sitar, or the dual rhythm force of David Humphrey and Robin Heller – along with some guests – who push everything forward there’s complexity and fervor that inevitably intuits you to whole work, a kind of clockwork that bends in on itself; one element might be followed a bit before another comes to the forefront, different every time and signaling a truly interesting recording.

“I Would Like” is a standout among the many fine tracks offered. At the forefront here is the staccato organ work and dynamic rhythm. Fluctuating between two tones for its intro’s base, the band provides layers upon layers in varied time signatures recalling the hey-day of that sound with a nod, while pressing forward with nuanced production and arrangement. Over the course of its five minutes, “I Would Like” takes you to some unexpected places. For this listener, this particular track acted as a key to understanding and better appreciating all that Sir Rob & the Longbowmen are up to on their debut.

While the band is certainly influenced by bands of decades past, their pastiche of those trends lends them a more worldly quality than many of their peers. Especially in moodier and slow burning acoustic ballad “Familiar Misery,” the natural, raw abilities shine through, revealing a capable and promising band that joins the ranks of the best psych revivalists.

Get this excellent album digitally or on 12” or cassette from the band’s Bandcamp page linked below.

Sons of the Void "ST"

Reviewed by Joseph Murphy

Whether David Max is a familiar name or not, many of his past projects certainly are or should be: Psychic TV, Tadpoles, and – under his own name – the excellent “Simple Psychedelic Pleasures” (2009, from the highly-regarded Mind Expansion Records). This year marks a new entry, pressed this time by the increasingly venerable Sunrise Ocean Bender.

After their partnership during the “Simple Psychedelic Pleasures” tour, Max and Nick Nobody (who toured with Max in support) reconvened in Basel, Switzerland, where they began Logical Magic Recordings and wrote/recorded and re-recorded over the course of three years what would become the self-titled debut of Sons of the Void. What resulted is an epic, aural experience that blends – almost deliriously so – dream soundscapes, field recordings, psychedelic obscurities and off-kilter pop.

First track, “Leichenblume” begins with – at least to this ear – the opening of a door; beyond is a far off chant then tentative guitar work and odd, woodwind accents. It all accumulates and gives way to a lush, patchwork of bright, otherworldly sounds, all with Max’s steady voice guiding us deeper inside.

Follow-up, “Don’t Forget to Pray” got a wonderful video treatment a while back, and it’s a perfect beacon for the album, continuing along the path previously set for densely-layered, mature and immediately-classic experimental pop.

Sons of the Void is a dramatic step away from Max’s previous projects (see Tadpoles and Psychic TV), both of which wrangled some harsh noise, albeit in often beautiful ways. For Sons of the Void, there will be no credit given for feedback guitars; “A Kick Like That” gets closest with some excellent fuzz, and “Hope I Don’t Miss” makes room for a wall of sound passage. Instead, Max and Nobody weave layers of melody into pleasant, sunshine-dripping pop songs as maximalists of musical subtlety. This is a masterwork by musicians for, in many ways, musicians – or, at least, music lovers unafraid of headphone worthy acts. As a whole, It’s well worth the solitary experience and close listen.

“Sons of the Void” is pressed on a limited-run, cyan vinyl and includes a download. Orders can be made through Sunrise Ocean Bender’s store or Bandcamp page below, where you can also preview a few tracks.

Hexvessel - When We Are Death

Reviewed by Joseph Murphy

Finnish psych rock outfit, Hexvessel, have just released their third full-length, “When We Are Death,” – their first for Century Media Records – after a string of EPs in recent years. Predominantly, Hexvessel has been – and still is – identified as players within the psych folk scene, but, this time around, there’s a definitive and propulsive rock element taking forefront, channeling prog and classic rock, much more so than, for example, 2012’s “No Holier Temple.”

For this outing, the band held a successful Pledge Music campaign, which, in addition to inherent costs, raised awareness and donations for the Finnish Natural Heritage Foundation and the organization’s on-going forest preservation project. That should tell you a bit about the band, whose imagery and aesthetics often recall the ancient, mysterious and esoteric – not to mention black metal; their campaign rewards included amulets and elixirs – but it’s not, perhaps, as curated as other acts who present the same tropes. It’s clear to listeners – at least this one – Hexvessel cherishes atmosphere in their recordings, one that mirrors their surroundings, however you might interpret the word. It makes sense to keep those things safe: history, open spaces, culture, and natural environs; all of those things inform Hexvessel’s sound, which is sprawling, resonating, and – for lack of better words – earthly. Even as they explore new sounds – or bring new sounds to the forefront – at their core, this is still true. See the exceedingly atmospheric “Mirror Boy” or the shadowy and plaintive “Green Gold.”

The change of tone is immediately set with “Transparent Eyeball,” which, on top of its catchy, simple melody, a frenetic organ works alongside heartfelt vocals. “Earth Over Us” works similarly, though taking a searing surf-vibe as its launching point.

The lyrical content of “When We Are Death” holds the sometimes-disparate sounds here together well. Weaving together varying images of “stars spill[ing] on the forest floor” and “teeth of the mountain/body of the river,” singer Mat ‘Kvhost’ McNerney masterfully keeps listeners enthralled once again.

CD, Vinyl and Digital available here (UK/EU), and here (US).

Dulls - Dulls S/T EP

Reviewed by Joseph Murphy

In recent years, psych, shoegaze and 90s-era indie rock have all been revisited, dismantled, and rebuilt but, every now and then, a band emerges from the wash with a refreshing take on the sound, recalling more than their idols’ guitar tones and teen angst. With their self-titled EP, out on limited tapes this past January, Philadelphia, PA’s Dulls treads some new ground over the course of four long-for-pop songs – hazy, doleful rock that recalls some current favorites and many past heavy rotations.

Though peers have often taken alternate routes, Dulls explores the subtler side – minimalist rather than maximalist (think Galaxie 500 or Black Tambourine) – and it works well for them as they, in turn, favor inventive structure and the natural voices of their instruments over oblique noise washes. Of course, Dulls is still willing to unleash a lead that drips with reverb and delay, but, as a whole, they pace themselves, welcoming punk bite and psych overtones into the fold, too. Throughout, they’ve stripped dark, atmospheric pop songs to their necessary parts. The four songs are rough in all the right ways – lo-fi, gritty, experimental – but prove themselves over continued listens with depth and warmth too.

The EP hinges upon a dynamic, explored between songs but also within songs or passages. The light, impressionist progressions are often off-set by hard-working bass lines; blissed, psych leads by lush, dream pop. Starter, “Clay” builds upon a hazy, melody with sonorous bass and drums but takes an interesting turn during its middle passage, utilizing drones to sustain the progression before returning in full force. Alternately, “Glow” strikes a different stance, immediate and direct from the start, almost dripping with punk swagger. Within this range, Dulls has found their balance, creating an impressive and promising debut.

“Dulls” is available digitally or on limited edition cassette (with download) from their Bandcamp page, where you can preview three songs.

Look for more from Dulls – and hopefully soon.

Mystic Brew - Something More Than Dream

Reviewed by Joseph Murphy

Hopefully I’m not the only one who had to look up the exact location of Russian city, Samara, whose well-over a million residents include psych pop act Mystic Brew. Today – as I write this review – the weather in Samara, at least according to the internet, is 21° C and sleeting, despite the predominantly pleasant and autumnal landscape photos that populate an image search.

Listening to Mystic Brew’s upbeat brand of psych stands in stark contrast to their home city’s current weather. Their sound escapes from a beachfront garage a few decades gone. Still, there’s a clear influence from their industrial city – and their more urban idols like the Velvet Underground, early Pink Floyd, the 13th Floor Elevators, and (the band has noted this influence elsewhere) Sun Ra Arkestra – along the way. This is a record full of oddities and psych weirdness while remaining entirely listener-friendly – and, beyond that, highly enjoyable for long-time fans of the revivalist genres.

Ambitiously, Mystic Brew has wrangled enough feel-good vibes into these seven tracks while pushing a bit against the grain, particularly with the twelve minute epic “Through the Haze,” which despite its length never drags. In fact, the song is a propulsive, pop gem, relying on the same warbling guitar tones and snappy rhythms for its entirety. Followed up by the significantly shorter “Belaya Bol’,” the two songs round out an impressive set of songs. “Belaya Bol’” plays with delightful lethargy, nearly delirious – sonically, the take is challenging the boundaries of speakers and toys with rise and fall within the instrumentation – as it concludes this entry in the band’s dazed pop catalogue.

Before Mystic Brew, members spent time in several cover bands, focusing their talents on the Who, Chocolate Watch Band and the like. Their love for the greats of the era is still readily apparent, but they’ve established themselves as well-tried songwriters throughout their discography. “Something More Than Dream” is an accomplishment in its mastery of vintage sounds, instrumentation, and musicianship; it moves far beyond homage, tapping the same current of their heroes and channeling a timeless vibe.

Along with several choice other similarly priced EPs and singles, “Something More Than Dream” is available at a “name your price” cost now or on vinyl from their Bandcamp page.

Astrodome - S/T

Reviewed by Joseph Murphy

On their first full length, Porto, Portugal’s Astrodome brandish their instruments with a ferocity that makes them akin more to the forefathers of heavy psych, stoner rock and doom than the more-recent uptick in those genres. From beginning to end, their self-titled debut sounds well-worn and perfected by age. This is an incredible feat for a relatively new band with only a live demo to their name previously.

Only six songs – albeit long: three all new, three re-recordings from their earlier demo – “Astrodome” clocks in at about an hour, and each track makes fine use of the long form, containing movements and jams that don’t necessarily always add up to blissed out leads (though it’s just as good when they do). Closer, “Coronation,” includes an extensive drum solo, which is refreshing. Astrodome is doing a lot for the genres they inhabit, proving their worth, while also seeing beyond the limitations of their idols and peers. I haven’t heard Astrodome’s name around too much yet, but I think it’s only a matter of time.

The opening bass line of “High Spirits” is an artful feint; the track could, with the fast-paced riff, take any direction, but the one it chooses is less-traveled – a crisp, atmospheric progression against thundering drums. By the time the song changes pace – about five minutes into the eight minute song – it’s perhaps a little closer to what you expect from a track named “High Spirits.” It’s all searing guitar leads and gritty grooves. But the juxtaposition of the song’s halves is what sets Astrodome apart.

The first of three re-recorded songs from their earlier demo, “Into the Deepest Space” again matches atmosphere (warbling feedback and dense, reverbed chords) with heavy blues, living up to their “ϟ PRAISE IOMMI ϟ” website title. At nearly seventeen minutes, the track has plenty of room to breathe and explore the permutations of the progression, play a bit with the rhythm, and generally space out – well, way out. Considering Astrodome’s obvious love for fuzz, they manage to work some beautifully clean, almost pristine moments throughout the record. If for any reason you’re unsure about an instrumental album – though I don’t think many readers here will be – this one will make you a convert.

Stream all of “Astrodome” on their Bandcamp page – or get it in digital formats or on cassette here.

Harsh Vibes - You Left Me Far Behind

Reviewed by Joseph Murphy

The discography of Philadelphia’s Harsh Vibes is relatively small considering the band formed in 2010, but the limited run releases we do have – two cassettes and a new EP, “You Left Me Far Behind” – showcase the band’s hypnotic meditations and frenetic jams, making each long-form song invaluably dense and deserving of repeated listens. The latest from Harsh Vibes – a two side-long song 12” – is no different. Like their predecessors, these songs are unrelenting and without filler – full, at that, of genre-mixing heaviness.

Though like-minded, “You Left Me Far Behind” has a slightly different feel than Harsh Vibes’ earlier cassette releases (2013’s “Dead Collective Soul” and 2012’s “Psychedelic Gin Blossoms), both of which were culled from hours of recorded practice sessions. This year’s EP provides another balanced pairing of songs that are equally as experimental as they are listener-ready, but the five-piece has also managed to expand their already diverse genre-mixing repertoire so that where “Reds Under the Bed” and “Jam Forever” from “Dead Collective Soul” parse wall-of-sound style shoegaze and Neu!-inspired grooves, side A’s “You Left Me Far Behind” explores a darker edge, melding darkwave and heavy psych. The track closes in a froth of atmospheric synth crescendos, searing leads and a trudging stoner-rock riff. What more could you ask for – other than a reverse side?

“I Will Follow You Down” stokes the same fire of dark psych, using just about every other genre for kindling. If not before, the second half of side B strives to capture the feel of the band’s live show, assembling and disassembling noisy riffs with ease. Here is proof of the living band, one that, like the ideal band should, willingly mutates, absorbs and adapts.

Available digitally or on vinyl from Harsh Vibes’ Bandcamp page.

Highly recommended.

PAUW - Macrocosm Microcosm

Reviewed by Joseph Murphy

Since their formation in 2014, Netherlands based PAUW has been in high festival demand, playing everything from the Liverpool Psych Fest, VOID Fest, Lisbon Psych Fest, and PLAY as well as opening for Temples, Elephant Stone, and Kasabian. Like Elephant Stone, PAUW is putting out positive, upbeat psych, but it’s clear from first listen how they’ve managed to climb so quickly. So in late 2015, the band offered up their studio debut, “Macrocosm Microcosm,” and it’s proven worth the wait. For a relatively young band, PAUW is impressively tight and dynamic, and “Macrocosm Microcosm” is flush with layers upon layers of prog-infused psych. They sound like they’ve been playing together since their influences reigned – namely late ‘60s and early ‘70s. Of course, they picked up a few modern trends, channeling vocally dream pop airiness and falling into heavy fills.

Upon first listen, I was struck most by the positive vibes that PAUW puts out there; despite the sometimes baroque passages, PAUW is incredibly upbeat, even lyrically. Perhaps, it’s more a reflection of my usual listening, but the overall attitude is refreshing and infectious. Standout track, “Today Never Ends,” grooves around a lush progression and wandering synth line, complete with snappy rhythm-work and chimes. All of which ebbs nicely toward “Visions,” which showcases the band’s ability to create interesting and catchy songs, a skill, especially here, akin to their former tour mates Elephant Stone.

“Abyss” is a bit of the shift for the album; the six-minute song takes its time to build and, arguably, continues to build throughout the first verse. While still propulsive in its rhythms – notably, the bass carries everything here – “Abyss” is more inclined to minor resolutions, as opposed the distinctly major-sounding tracks surrounding it. Toward the end of the album, it’s a welcome reminder that PAUW is not a one-trick act.

For vinyl or digital copies, there are a few links from the band directly for EU buyers. As for the US or elsewhere, check good record shops – or Amazon at a pinch. And if you’re in or near the Netherlands in the coming months, they’re playing several shows; see them!

Highly recommended.

Lunar Grave - Mirror of the Woods

Reviewed by Joseph Murphy

Portland, Oregon’s Lunar Grave is purposefully mysterious; the little social media they use will testify to that, if the album art or names of their albums and songs don’t imply it strongly enough. Rarely is the purposeful mystery equal to the listening experience, but, since my first listen a few years back, Lunar Grave has only deepened the intrigue; I know little more about them now than I did then – and not for lack of looking.

Almost entirely instrumental throughout their catalog – “NAGRA 2” has sparse vocals on a track or two – Lunar Grave has thrived since 2010 at building frenetic, free form communal rock that feeds directly off the fervor with which its rotating members strain their instruments. Currently, Lunar Grave boasts only two members and a long list of past members – which only adds to the mystery – but, no matter how many are or were involved, they’ve never disappointed. Their latest, “Mirror of the Woods” is no different. However, it is their longest release (considering number of tracks, at nine) and one of their most dynamic.

The songs here feel a bit different from earlier works, more coherent and aware of the arc of each composition while still holding onto that ambiguity between polished and improvised. There’s a sense of immediacy, too, when album starter, “House of Domber,” kicks in. The players waste no time building to the leads; so by that notion, their implied improvisations take on a more polished and edited feel. Whether song or album came first, the eponymous track is a telling track choice to summarize (if that’s what eponymous track are supposed to do) the scope and goal of this particular album. The song spends its last half meditating upon a comparatively simple riff with muted flourishes. It could merely be coincidental, but the lull is central – at half the album’s length – I think, to the album’s success. Lunar Grave is very much a tailored, improvisational band. Songs often seem to start in medias res – and, so, this calm, meditation must be there for a reason. Whatever its purpose, it serves as respite to the album’s exuberant halves.

Lunar Grave rides high upon the same wave of behemoths like Carlton Melton, Dead Sea Apes, Evening Fires and the Cosmic Dead, but, especially in their early albums, they have favored a rural, lo-fi and experimental element that rarely appears in the heavy psych genre.

Most of Lunar Grave’s releases appear in digital or tape format only, but you can get a recently pressed CD copy of the excellent “Prismatic Earthship” (2013) from Paradigms Recordings. “Mirror of the Woods” is available from the band’s Bandcamp page, where you can listen to and purchase their entire catalogue – all of it at once for a very fair price.

Highly recommended.

Baron - Torpor

Reviewed by Joseph Murphy

While not the first full length release for British four-piece Baron, “Torpor” for many, will be an introduction. And it is quite the handshake. Self-described as “Neo-Monastic Byzantine Pastoral Kraut-Drone-Lettuce Rock” – at least in part, seriously – Baron is a powerhouse of sprawling, long-form songs, each tinged with a brand of old world gothic and baroque arrangements. There’s a peculiar tinge to each track here that simultaneously sounds contemporary (think post rock, prog, and doom) while channeling an older philosophy, classicisms.

In everything I’ve read around this album, the reviewer or promoter mentions Talk Talk, who in much the same way maintained a balancing act between the old and the new. Likewise, Baron has done so incredibly, maintaining a rigorous standard of full builds and orchestral arrangements.

The longest track on “Torpor,” “Stry” (which features Wolf People’s Joe Hollick on guitar), is a masterpiece of atmospheric rock. Free form and ambient at first, “Stry” culminates in unabashed heaviness that retains its logic and melody. Alex Crispin’s ghostly, baritone vocals recall a devotional hymn in its simplicity and plaintiveness. The balance of impressionism – airy organs and light rhythms – and spaced out riffs is precise, coming on perfectly near the album’s middle.

In part secretly record in Purton Green, one of the few standing medieval halls in the UK, Baron has certainly tapped into a timeless eeriness that can only be present in old buildings, ruins and graveyards. 

After so many wonderful listens, I cannot withhold a high recommendation here. Highly recommended.

Available here (UK/EU) or here (US).