Tag Archives: psych

Here’s Some of Our Favorite Tracks of the Last Few Weeks

In the latest installment of thegrindinghalt.com‘s ongoing  series, “oh crap, we’re behind on a lot of writing”, please enjoy our musings on several of the tracks we’ve been loving these past few weeks (or so…stop judging!). F

Sink Ya Teeth, “Substitutes” (Hey Buffalo)

We love, love, love Sink Ya Teeth, the dynamic duo of Maria Uzor and Gemma Cullingford. “Substitutes”, their latest dancefloor megablast, is a cowbell- propulsed tour d’angleterre. Hypnotic vocals soar above Detroit techno ‘dugga dugga’ synths and a rough and rugged bass line that reminds a bit of Timezone. The 80s electrofunk influence paired with the insouciant cool of peak Ladytron. Taken from Sink Ya Teeth’s debut album on Hey Buffalo. Divine. De-lovely. Diva voce. 

Innocence Mission, “Green Bus” (Bella Union; Badman; P-Vine)

Taken from Sun on the Square, the most recent long-player from long-running dreamy folk-pop group the innocence mission, “Green Bus” is a beguiling new track. Karen Peris’ vocals play like dappled sunlight through an intricate canopy woven by heavily arpeggio’d guitars and lush strings; the overall effect spiritual. Absolutely lovely. Sun On the Square is out now on the veritable Bella Union, Badman Recording (US) and P-Vine Records (JP).

Free Love, “Synchronicity” (Full Ashram)

Free Love – the band formerly known as Happy Meals (we loved their 2014 debut, Apero, via 2016’s glorious Fruit Juice EP) – graced us with “Synchronicity”. Following a detour into trance-like meditiative music, the track – happily, not a The Police cover –  sees the duo of Rodden and Cook return to the wellspring of divine, club-friendly new wave/late disco/electric r&b. Rubber bass, squelched keys and breathy vox.  Out now on the band’s Full Ashram label.

Totally Mild, “Take Today” (Chapter Music)

“Take Today” features on Her, the latest release from Melbourne’s Totally Mild. Opening with the strummy charm of early Ocean Blue dreampop, vocalist Elizabeth Mitchell’s halcyon lilt incorporates a bit of a Gallic touch, bringing in hints of St. Etienne or the poppier side of Stereolab.  A warm embrace of a song, blooming into a veritable endorphin rush of a chorus. “Why wait for a slow decay/take today”. Her is out now on Chapter Music.

Oh Sees, “Overthrown” (Castle Face)

My youngest enjoys the components of a burrito, but not wrapped up together.  In a bougie/“we watch a lot of Cooking Channel so I can” reaction to this, we’ve come to refer to this dish as ‘deconstructed’. Queue hard segue to the latest track from John Dwyer’s mighty Oh Sees (f/k/a Thee Oh Sees), “Overthrown”. The track’s raucous, main portion slashes and burns like a deconstructed thrash opus – the parts are there (jigga-jigga guitar, intense vox pitched up to a scream), but freed from a traditional thrash metal tortilla, er, song structure by virtue of a swinging beat and shards of hazy psych. New album, Smote Reverser, was released last week, courtesy of Castle Face.

The Sueves, “Stare” (Goodbye Boozy)

The lastest from Chicago’s The Sueves, who never fail to disappoint. “Stare”, the a-side to new 7” on the Goodbye Boozy label, is another storming slice of razor-sharp, earworm-worthy garage/punk/rock ’n roll. Vocalist Joe Schorgl sounds a particularly incensed Bon Scott, strangled shouts over brutally downstrummed guitars and a watertight rhythm charge. It’s a fantastic follow on to the band’s spring ’18 full-length, R.I.P. Clearance Event.

Fröst, “Record Still Spinning” (Lost Room)

Fröst is the duo of vocalist Johanna Bramli (who also sang with Stereolab offshoot, Imitation Electric Piano) and Fujiya & Miyagi’s Steve Lewis. Taken from their debut long-player, Matters, “Record Still Spinning” is the first taste, and the influence of the principals’ other projects is evident. The heady mix of a steady, motorik beat augmented by urgent driving bass, minimal synths and breathy vocals call to mind the aforementioned bands, as well as Broadcast and Hooverphonic. Matters releases September 28, courtesy of Lost Room.

Exploded View, “Raven Raven” (Sacred Bones)

Exploded View is an intercontinental project comprising Annika Henderson, Hugo Quezada, and Martin Thulin. “Raven Raven”, taken from the group’s forthcoming sophomore release, Obey, is a vertiginous slab of shuddering, danceable (read: swaying) psych. The lyrical flow reminds a bit of Suicide’s “Cheree”, though here the watcher has become the watched, the titular bird sitting on Henderson’s shoulder, eyeing her ‘every move’. Obey is due for release September 28, courtesy of Sacred Bones. 

 

Sweat Out the Jams with Our New Playlist!

Check out our new playlist, featuring current faves (per usual, only the ones we could find on soundcloud – others to be shared). Enjoy!

A New Playlist for Your Ears!

Here’s a sampling of some artists we’ve been enjoying of late (yes, some tracks are older – blame soundcloud). Enjoy!

Ride Along with Thigh Master and Dag on Their Split EP


Thigh Master/Dag, Euro Tour Split EP (Bruit Direct Disques)

We here at tgh stumbled upon Thigh Master, a merryish band from Brisbane, AUS, last year when they released the excellent “BBC” 7” single on 12XU. More recently (February, to be precise – we’re nothing if not punctual), the band released a new, split EP with Dag (also from Brisbane; each band sharing players) in connection with their tour of Europe. 

The EP is chock full of woozy jangle of the highest order. Side Thigh Master features personal fave “Exodus”, the track’s gritty, delightfully ramshackle veneer belying some serious chops and a shit-eating grin worthy melodic refrain. Side Dag (a band new to us) is a more languid affair, highlight “Up the Wall” recalling a bit of early REM with its warm melancholy. There’s movement in the tracks and the lyrics – escapes, time passing, perhaps through the open window of a tour van – that make this EP well worth repeated listenings on a long car trip. Or sitting on a couch. You do you. 

The EP is available now, courtesy of Paris-based Bruit Direct Disques. Follow…

Thigh Master:  

https://www.facebook.com/thighmastermaster/

https://thighmaster.bandcamp.com

Dag: 

https://www.facebook.com/abandcalledDag/

https://dagdagdag.bandcamp.com

Spiritualized Return With “I’m Your Man”

Spiritualized have announced a new album, And Nothing Hurt, by sharing opening tracks “A Perfect Miracle” and “I’m Your Man”. Herein, I focus on the latter.  

“I’m Your Man” builds like a slow-burning lullaby, Stones/Stax/Floyd/gospel excess dropped to earth by the shuffling guile of Pierce’s lyrics. Listening, one imagines a scene: Las Vegas, early summer, 1977. The air, shimmering and oven-like but not quite yet at broil. In the near distance, a jumpsuited Elvis embarks on a spirit walk amidst the desolate barrens outside the desert city. Returning to the Hilton, chastened and mind dutifully expanded, he stuns a crowd of bouffanted housewives by excising the sorry/not sorry of “Always on My Mind” from the setlist, crooning instead…

“I could be …/dependable, on down the line/devoted, all the time/but if you want wasted, loaded/ permanently folded/I’m your man”.

And Nothing Hurt is due September 7, courtesy of Bella Union and Fat Possum. Spiritualized also have a few upcoming tour dates, which can be found here.

Pull Up a Chair and Listen to Some Tunes We Think the Young People Will Enjoy

Check out our latest playlist, featuring songs and artists we’ve been enjoying lately (at least, the ones we could find on Soundcloud). Enjoy!

Fayetteville’s Ten High Announce Debut Full-Length, “Self-Entitled”

Ten High, Self-Entitled (Rare Plant Records)

Ten High are a new (to me) four piece based out of Fayetteville, AR.  To date, the group has released three EPs, played shows will tgh faves like Aquarian Blood, and have name checked as inspiration several others, including the Blind Shake and Ex-Cult.  Recently, drummer/vocalist Devan Theos was kind enough to pass along a link to their debut full-length, Self-Entitled (get it?), and I’m glad she did.

Self-Entitled finds Ten High tearing through an eleven-song set chock full o’ straight up r’nr, hints of psychobilly, 60s beat, hardcore, garage, psych – basically anything that sounds great played loud – all chewed up and spit out on a platter.  Primary vocalist Cat Owens’ shredded pipes recall Reverend Beat Man’s gruff screed, pairing like a fine ripple with the jagged-edged guitar and short/sharp drum and bass combination of Theos and Aaron Smith (as a former – terrible – bassist, I love the thick, rubbery bass sound).  Theos takes the mic sounding like a young Kate Pierson on the stomping “Skin Crawlers”, which comes off like a psychobilly take on Walk Among Us-era Misfits.

As with the best of so-called ‘noise’ rock, these tracks come based on infectious melodies residing dead center in the maelstrom.  “Royal Blood” employs a bit of blues boogie, while “Fakers” had my brain checking to Three Dog Night, for fuck’s sake.  Brilliant, even though I blame them for having “Mama Told Me Not to Come” for a full day…bygones.

Self-Entitled is available digitally and on cassette on April 5, courtesy of Rare Plant Records.  Ten High will be on Greenway Records’ upcoming showcase at SXSW, for all you lucky mallards heading to Austin.  There’s also a few dates before that, as well as a west coast US tour planned for the summer – check out the Ten High fbook for the dates.

Highlights include: “User’s Choice”; “Skin Crawlers”; “Fakers”; “The Trouble”.

New (To Me!) Band of the Day: Britain

 

First things first: I count myself a massive Cocteau Twins fan.  So much so that when I read/hear bands compared sonically or otherwise with them, it’s met with a healthy skepticism.  Few, either during the contemporaneous rise of dream pop and shoegaze or during their more recent revivals, seem to match the visceral thrill, the desolate euphoria, gleaned from the original.  While I grew to like many of these bands over time it was in spite of, rather than due to, their supposed level of “Cocteausiness”.

Which leads me to Britain, the duo of Joey Cobb and Katie Drew that I recently stumbled across (thanks to an email blast from the good folks over at Heavenly).  They come bearing Cocteau comparisons – and it’s easy enough to see why on first listen to the demo for track, “Day by Day”:  the glistening guitar cascades, crisp drum machine patter, even an ending that sounds as though the song’s been suddenly unplugged – it’s all there.  Yet, in spite of my decidedly caveat emptor approach to such things, I was immediately swept up and carried off by “Day by Day”.

Much of this is down to Drew’s vocal performance, which matches not only the wispy end of Elizabeth Fraser’s delivery but, more importantly, its soulfulness.  So, yes, it does sound like the Cocteaus – but “Day by Day” is no mere pastiche.  The light and dark in the track’s woozy melody gives a feel like the reveal of sun through a slowly lifting fog.  It’s also incredibly fully-formed for a ‘demo’ – so hopefully, if included on their forthcoming debut, it won’t be messed with.  A second track, “Tried to Call”, can be heard by watching their “Stay Fresh” session over at theskinny.  Building from a similar 4AD building block, “Tried to Call” ratchets up the psych in a way that reminds of Lost Souls-era Doves (a band Britain name check as an influence in the corresponding interview).

Per the bio on fbook and the twitt, Britain are currently working on their debut, which will be released on Heavenly.  Stay tuned, and catch them out on tour with Jane Weaver this autumn in the UK (dates here).

Check Out the Phenomenal Debut from Brooklyn’s Rips

Rips, Rips (Faux Discx; Wharf Cat)

Rips is a four-piece based in Brooklyn.  According to their bio, they’ve developed quite the following through “virtuous melodies and sheer ferocity amidst an endless flurry of shows” (crikey!).

Not situated in the Tri-State area, I had not run across the band until hearing their self-titled debut, and was hooked from the off.  It’s fantastic, start to finish, showcasing a host of styles and incluences – the ‘artier’ end of the early CBGB days, post-punk, 70s power pop and rock, 60s via 80s jangle, 90s psych-slack – blended in such a way as to make them new again.  “Break” is like REM covering Tom Petty; “Malibu Entropy” a woozy elegy to a relationship; “Save Room” as instantly familiar as the proverbial open road.  The arrangements are sharp and taught, vocals recalling, to these ears, Love Battery’s underrated Ron Nine or Pete Doherty in their ability to seem both plaintive and beyond caring.

While much seems to have been made of the NYC/‘downtown’ feel of the band’s compositions, using as exhibit ‘a’ the involvement of Parquet Courts’ guitarist Austin Brown as producer, it rings too limiting.  For me, the funneling of disparate eras and sounds into something so cohesive and, frankly, catchy gives Rips the feel of one of those ‘lost classic’ platters missed by many and later held up as a landmark.  Let’s not wait.

Rips is out now, courtesy of Faux Discx (Wharf Cat handling distribution in the US).  Follow along with the band Rips on fbook and their site, where you can find their current slate of upcoming gigs.

Highlights include: “Malibu Entropy”, “Save Room”, “Vs”, “Psychics”.

Obnox Return with a Niggative Approach

Obnox, Niggative Approach (5/30/2017, 12XU)


Obnox is the musical alter ego of vocalist and multi-instrumentalist Lamont ‘Bim’ Thomas (pictured).  Having released five long-players under this moniker in the last 3 years, the word ‘prolific’ seems apt.  I must admit that new release, Niggative Approach, is the first one I’ve fully sat down with – and now I’m both damn glad I did and in a hurry to dig deeper into the earlier material.

The title might be a wink and a bow to Detroit hardcore godheads Negative Approach (whose singer, John Brannon, makes an appearance on the album’s intro and outro), but the album is far too diverse, dense and interesting to damn with the faint praise of a hyphenated ‘punk’ or other descriptor.  Frankly, there’s so much going on in this record, it can be giddily overwhelming.  Jazz, psych, garage, soul, blues, punk, funk, r&b, hip hop, Beastie Boys, Funkadelic, Rudy Ray Moore, Kid Congo, D’Angelo, Shabazz Palaces, Sun Ra, War, Curtis Mayfield, MF Doom, sky high riffs, heavy funk bass, kick drum grooves, eye of newt and a partridge in a motherfuckin’ pear tree – all this and more await across the album’s 14 tracks (excluding intro-/outro).

I found it best to just strap in, give in, and let it all wash over me, repeated listens bearing ever sweeter fruit.  The spy theme raga of “You”.  The hot, humid synth feel of “Hardcore Matinee”.  The wide lapel groove of “”Beauty Like the Night”.  The diamond amidst the rough of the beautiful “Carmen, I Love You”.  Exhale.

Niggative Approach is out now, on 12XU.  Monitor M. Thomas’ (social media) movements on fbook and the twitt.  No tour dates as yet, but here’s hoping.

Highlights include: “Audio Rot”; “Afro Muffin”; “Carmen, I Love You”; “You”; “Niggative Approach”; “Beauty Like the Night”.