Tag Archives: psychedelic

Moonstrips : We Love You, Yeah, Yeah, Yeah, LP released January 2019

A recently released album from Cambridge quartet Moonstrips; a follow up to ‘Glimpses’ from 2016.

1. Heading For Dust Kicking off the collection is this riff-driven burst of rock energy, motoring along like a late 60s Who single. A brilliant effects drenched guitar solo kicks in near the end.

2. Suzette Previously released as a single this sublime two and a quarter minutes of garage rock has the constantly frustrated narrator detached from the mysterious Suzette ‘….you have so many faces, I always see them in many different places…’. There are plenty of instrumental and melodic twists and turn crammed into this compact track.

3. Ride To The Centre The original trio has now added a saxophone to the line-up and on this medium-paced track its plaintive theme line punctuates the vocal and threads effectively through the whole song, finally letting loose at the end.

4. Out Of Phase A lyrically dense, thoughtful piece with a riff reminiscent of Bryan Ferry’s twisted version of ‘The In Crowd’. Lounge music with sharp edges as the sax snakes subtly into the song.

5. Had To Find Out This is my favourite song; heard live it is a tour de force as the slow waltz time is pushed to its limits. Starting with just guitar and sax and a suppressed drum beat, the bleak lyric gradually builds up the tension of the narrative. Finally the guitar jumps to the front of the mix with a strident solo, counterpointing with the sax.

6. WLYYYY
The title track is as strange and striking as the cover art, where a giant hare bestrides a motorway blocking the transit of an ice cream van following a sign directing it to moonstrips airport. It is an instrumental spectacular; busy bass and drums, yearning saxophone notes and guitar using all the tools and noises in the box to thunderous effect.

7. Reasons To Be Fearful Back to basics riff for this one, the faster tempo giving it a lighter, funkier feel than the rest of the album. Enigmatic lyrics keep an atmosphere of paranoia ‘…don’t read that book, throw it on the fire, its message hurts you and the author is a liar….’ The sax punctuates the track with a jazzy solo, before the big finish.

8. Think Happy Thoughts
A pastoral, relaxed end to the album, built around a repeating guitar figure and pedal bass note. Never straying far from this structure the track eventually drifts off into the ether.

A formidable live band, Moonstrips have attempted to crystallise the energy and intrigue of their stage performance into these grooves. I think they have succeeded…

https://www.moonstrips.com/

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BansheeVa : debut album, released February 2019

The debut long player from BansheeVa, one of Cambridge’s premier live psychedelic bands finally arrives. The album starts with the pacey fire of ‘F.O.Y.C’, a short burst of instrumental power built around staccato drums and a stop-start guitar figure. Clocking in at less than two minutes ‘Woman From Mars’ is more of a retro piece with full-on late 60s sound. It is ‘Space Invaders’ when the trio go into controlled power-drive with a full band propulsive riff and the welcome appearance of some indecipherable shouted vocals blended into the mix.

‘Janus’ is the god with two faces, looking into the future and back into the past and so represents a perfect manifesto for the psychedelic genre; on this track the core musical idea is a repeated single note but adorned with complex drums, a manic guitar solo and ultimately bludgeoning the listener into submission. In a good way.

Every Cambridge band that inhabits this musical territory is going to be aware of the ghost of Syd Barrett and Pink Floyd and I have seen BansheeVa play ‘Interstellar Overdrive’ as a feature of their live set. I sense that the languid ‘Sleep When I’m Dead’ is a spot-on tribute to mid-period Floyd with its laid-back instrumental colours, distant vocal and loose but always interesting guitar touches.

The final fourteen minute track is a widescreen, cinematic epic – the solo guitar arpeggios introducing the piece are gradually blended with a stately bass then the thunderous laying down of solid metal chords builds an effective platform for some more otherworldly vocals. Over this first third we get a guitar solo and dive-bombing synchronised with the bass. The track does not let up; the doom-laden bassline sounds like a portent to Armageddon and a deceptively quiet section allows some contemplation before it all kicks off again.

This is a loud and louder unrestrained debut, well worth the wait.

https://www.facebook.com/BansheeVa

Astralingua : Space Blues, single released January 2019

A new single from acoustic dreamy duo Astralingua, a forerunner of their new album to be released in March (see excellent cover artwork below). They use a broad canvas of strings, woodwind and gentle effects as a platform for the distant but compelling vocals.

Composer Joseph Thompson and vocalist Anne Thompson sing all the lines as two-part harmonies and make the whole piece into many strata of gorgeously textured ethereal musings. Beginning with awe and wonder at the cosmos ‘… staring through a polished glass…all the shining stars…wonder could I truly grasp….’ the narrator soon becomes overwhelmed at the prospect of the scale of things ‘…endlessly vast…aeons roll past…’ and as happened in the most famous celestial song of all (Bowie’s Space Oddity) it ends badly ‘…the silence roars…I want no more…of life behind these doors…’

We don’t know if there is a way back from oblivion for the astronaut but this beautiful song ends wistfully as the instruments beam out into the distant galaxies. With a calm psychedelic insistency that recalls Pink Floyd’s ‘Set The Controls For The Heart Of The Sun’ this is as good an evocation of the mysteries of the cosmos as you could hope to hear.

http://www.astralingua.com/

Sun Scream : Take It Easy, EP released April 2018

I first encountered four-piece band Sun Scream when they contributed the sparkling lead-off track ‘She’ to renowned compilation ‘This Is The Sound Of Sugar Town, Vol 2’ celebrating the riches of music produced around the Bury St Edmunds area. Now they have released their debut EP, complete with distinctive artwork drawn by band guitarist Emily Wallace. Over this four track collection these psychedelic adventurers create their own collage of depth and subtlety.

1. Extract Sinister introduction soon gives way to some heavy fuzz guitar and a mind-bending lyric about putting a piece of a soul in a hole. This of course fits perfectly with the variant structured sections of the music, eventually loosening into an textured onslaught of lead guitar and bass lines, some synth-type bubbling and a general good-time vibe.

2. Marmalade A short instrumental meander, extreme echoing guitar creating almost a harp-like feel.

3. Samsara ‘…The Sanskrit word samsara means “flowing on” or “passing through”…with the connotation of cyclic, circuitous change’, it is a title which gives a broad canvas to this epic track. Mainly based around a stately descending guitar figure, the mobile bassline and fluid drumming weave around to great effect. This is a proper psychedelic workout, with words of rivers, skies, life and death to add to the heady mix.

4. Take It Easy The title track is a brooding delicacy, built around a repeated bassline and counterpoint guitar. The vocal is more forward in the mix for this one and the sparser sound has the required addictive atmosphere of weird menace.

With a growing live performance reputation too, this is a band to watch…


https://sunscreamband.bandcamp.com/
https://cambridgemusicreviews.net/2017/07/29/various-artists-this-is-the-sound-of-sugar-town-vol-2-released-july-2017/

Psychic Lemon : Frequency Rhythm Distortion Delay, CD released January 2018

Psychic Lemon continue to challenge the senses with this new long-player; their sound has moved on substantially from their first album which now seems almost light and song-based in comparison.
It is an accurate recording of their live sound; as when I saw them perform this album at the Portland in Cambridge last year, comfortably holding their own against headliners Scandanavian psych behemoths Flowers Must Die. In December they were enthralling a freezing crowd once again at Cambridge’s Mill Road Winter Fair, and now here at last is the new album release.

‘Exit To The Death Lane’ begins with moody ritual drums then the layers of guitar and bass creep stealthily in, including some incomprehensible vocal chants. A jarring guitar solo ensures the vibe does not become complacent and at eight and a half minutes there is time for the groove to be fully explored.
The establishment of the rhythmic shape of ‘Hey Droog!’ (the slang term for friend in cult novel ‘A Clockwork Orange’) is pile-driving drum and riff, a distant choir fills in the texture and the effect-laden guitar does the rest before ending the piece in a solo riot of feedback.

‘You’re No Good’ is definitely not the early sixties hit for the Swinging Blue Jeans, but it does have a more sprightly pop touch than what has come before, also with the bonus of a manic saxophone and a bit of singing at the end; this is the nearest they get to their debut album sound. The last two tracks are nine minutes plus; the band have been opening their live sets recently with the paradoxically named ‘Interstellar Fuzz Star’, the fuzz of this celestial object being the guitar effect inextricably pulling the listener towards its gravitational centre. Some impressive bass playing on this track too.
The final track is ‘Satori Disko’, a reference to a state of spiritual awakening, in this case waking to the sound of a hypnotic undulating drum pattern, rock solid bass and a guitarist ripping up the effects pedals and reassembling them randomly.

Overall, listening to this is a unique sensory experience, a combination of you feeling like you are weaving amongst the buildings in a flying car as part of Fritz Lang’s Metropolis or being plugged into the endless pulse of primal signals emitted by distant galactic objects…

Frequency Rhythm Distortion Delay Space Rock Power!

http://psychiclemon.co.uk/

Flowers Must Die, Portland Arms, Cambridge, 19 June 2017

On the hottest day of the year so far and as the summer solstice approaches a double header of psychedelia featuring Swedish collective Flowers Must Die and Cambridge band Psychic Lemon.

I have followed the career of Psychic Lemon and reviewed them several times, hearing them satisfyingly evolve into the mighty trio on show here tonight. If ‘psychedelic’ conjours up images of trippy acoustic interludes and 60s keyboard solos the band are well removed from that, instead we are hearing space-rock power; relentless drums and slicing bass lines with unpredictable raw guitar and the effects pedals becoming instruments too. There are occasional vocals (and some keyboard too), a contrast with the songs on their debut album. The four extended tracks played tonight presumably form the substance of the highly-anticipated second long-player due later this year.

This band are totally immersed; it is like they are a conduit for pre-existing natural and technological sounds somewhere in the ether. They have tapped into the source and the audience are completely pulled in too. Enthralling, primal and hypnotic!

Flowers Must Die
show a similar no-compromise approach to their music, from the stage setting with a single backlight and revolving colour dome keeping the six members as outlines and shadows for the whole set (not quite sure how they could see to play, but it all sounded fine!) to the build-up of musical ideas within the tracks. The two guitars, bass and drums line-up is enhanced by added electric violin, keyboard and the extensive use of that always fascinating electronic marvel the theremin!

‘Don’t You Leave Me Now’ was a standout song, with impressive vocals over a mutated disco-funk backing. ‘Hit’ was a complex groove, another track from their 2017 album titled ‘Kompost’ with its enigmatic mixture of Swedish and English titled songs.
Flowers Must Die have finely honed their live sound but they have still retained an effervescence and sheer enjoyment in their performance.

http://www.flowersmustdie.com/
http://psychiclemon.co.uk/

Moonstrips, Blue Moon , Cambridge, 19 November 2016

A free psychedelic rock spectacular to celebrate the release of the new album from Cambridge trio Moonstrips. Supporting band BansheeVa were noisy and relentlessly hypnotic, pulsing bass lines and power drumming with biting guitar and occasional vocals. Very appropriate to see the backdrop bubble projections and always good to hear a lengthy cover of ‘Interstellar Overdrive’, the definitive Pink Floyd consciousness-expanding opus. Heavy and spaced out.

Moonstrips had a sharp and addictive EP out earlier this year and they opened with two of the tracks; ‘How Do You Do?’ an insistent rocky riff with distant vocals dissolving into a noisy workout of echo and effects, a short-form song that crams a lot in. ‘543’ is a slice of pop reminiscent of 60s Who-ness with good hook phrases and a neat descending line driving through the whole piece. Heavier guitar eventually arrives on top for the finale.

I really enjoyed the newer tracks from the album ‘Glimpses’; the band are not afraid to allow time for the songs to develop, establishing mood and style with a variety of guitar effects at the fore. The twelve minute ‘Silver Screens’ closed the show; a psychedelic manifesto of epic proportion.

Mind-expanding stuff, live and loud in an intimate, packed venue, a perfect Saturday evening for Cambridge music fans?

https://moonstrips.bandcamp.com/