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jacksiedanny 
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Joined: February 05 2015
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 Posted: February 08 2015 at 13:04 |
 SteveG wrote:
The post that you pompously commented on is called a satire. I will spell it for you so that you can look up it's meaning and actually improve yourself. Ready? S-A-T-I-R-E. Done. That should keep you busy for a few weeks. Cheers. |
Sometimes satire is hard to detect on the net. (Wot without the visual adjunct grimace to go along with it.  ) Still: "DSotM is listed in PA under the Psychedelic/Space Rock genre."
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SteveG
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Posted: February 08 2015 at 13:37 |
Schnauser:Protein For Everyone 2014. Think that a combination of the Skylarking era XTC, early Sauscerful of Secrets Pink Floyd, classic 10cc and Frank Zappa's output spanning the ages along with witty satire, and you just might like this latest offering from Schnauser. 2014's Protein for Everyone is a loosely based concept about people selling their body parts in order to survive in a dystopian world of the future. Self described as a Pop Psych group, Schnauser are clearly more than that. And it's not juts the loose concept that identifies them as a group that treads the grounds of Prog. This album contains seven near to full epic songs which features numerous melody and time changes and climaxes with the epic seventeen minute track Disposable Outcomes, which itself climaxes with an 11/8 time freak out coda that I can only describe as an all time rush. The four musicians that make up Schnauser do their art as a labor of love as all have full time jobs to support their music "habit". You've got to love dedicated Psych Pop and prog lovers like this group that is made up of three chaps plus one lass. The group's leader and lead vocalist Allan Stackridge bears an uncanny vocal resemblance to Andy Partridge but that's where the similarities end. While Andy pines for love On Grass, Allen is commenting on the future of humanity and what we'll do to survive. And he sees few limits. Whew!
Edited by SteveG - February 08 2015 at 13:45
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jacksiedanny
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Joined: February 05 2015
Location: Ontario
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Posted: February 08 2015 at 13:45 |
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Cool.
Will definitely look into this.
(Hope its not too much Zappa influence though)
.....
Do you know Syd Arthur two cds? Very recommended. Barrett-time Floydian pop.
The best Relics-period Floyd popsike I know is WALTER GHOUL'S LAVENDER BRIGADE. its amazing that the two guys come from - I believe - New Orleans and yet this sounds totally Brit. Carnaby-era.
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SteveG
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Posted: February 09 2015 at 10:01 |
dr wu23 wrote:
SteveG wrote:
Also, there's no cause to argue where Psychedelic rock originated. As your new to PA, I suggest you read my past posts in this thread on Psych pioneers The 13th Floor Elevators and The Moving Sidewalks, who both originated out of Texas. The same holds true for The Red Crayola, Lost and Found, and Bubble Puppy, who also hailed from Texas. I merely inferred that the 13th Floor Elevators were influential in turning the previously Folk oriented California Bay Area bands electric by there touring the area in 1966.
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That's an eye opener to me since I had always assumed it originated on the West Coast around San Fran or LA with the mixture of drugs and revolutionary ideas. I would not have thought of Texas for obvious reasons... being such a conservative state , uh... politically. |
It's always been difficult for Americans from the mid west and east coast to visualize The California Bay area as anything other than the organic birth place of West coast acid rock. It's part of the reason that I do so much exposition regarding the Texas bands that influenced and helped to convert the Bay Area bands from Folk fixtures in coffee houses into Psychedelic Rock stalwarts. (A British electric group the Beatles also had a bit an influence as well.) Just for an example, Jefferson Airplane was formed by Marty Balin out of his 1963-64 SF folk group called the Town Criers. The Grateful Dead was made up of a band that were decedents of a Folk jug band called Mother McGee's Jug Champions in 1965. They briefly became The Warlocks before becoming The Dead. Amazing! This is why I refer to the Texas groups stated above as Psych Rock pioneers. Something that people living across the pond have a hard time getting their minds around, as they' re even less knowledgeable about the origins of regional American rock styles than most Americans are.
Edited by SteveG - February 09 2015 at 10:03
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SteveG
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Posted: February 09 2015 at 10:25 |
Neil Young gets his Krautrock freak on! Trans 1982. Trans has to be the most atypical album in the Neil Young catalogue, excluding perhaps the feedback experiment of Arc. Trans was the first of five genre albums from the 1980's which provoked a lawsuit against Young by his record label Geffen, for making uncommercial music.
Rather than being purposely oblique however, Trans was inspired by Young's difficulty communicating with his cerebral palsy affected son, as well as his new fascination with Kraftwork. Young filters his vocals through a vocoder, creating an unsettling electronic effect, and to many listeners, it is sighted as the main stumbling block to accessing Young's song on this album.
The album is sometimes compared to Kraftwerk, however it still features prominent guitars along with synth passages, which was supplied courtesy Young's newly acquired Synthclavier, to be exact. The album's biggest problem is that it comes across as a period record as some of the electronic effects haven't aged well, and it's hard to take Young's technological themes seriously for the same reason.
Each side of the original album opens with a familiar Young style Country/Folk Rock song. Many critics feel that if Young had adhered to this past formula, then Trans would have probably rated as one of Young's most inessential 1980's releases.
The lengthy "Like An Inca" is perhaps the most quintessential Young song here as it's reminiscent past songs dealing with the plight of Native Americans that Young has touched upon previously in the songs "Cortez The Killer" and "Pocahontas".
Electronics come to the fore in the songs "We R In Control" (that uses phone tones for percussion!), and also "Sample And Hold". And Buffalo Springfield's "Mr Soul" is reinvented electronically, although it still features the same guitar riff, while "Transformer Man" holds up well as a song on 1993's Unplugged rendition.
Trans doesn't perhaps hold up as the big statement about technology and society that Young intended, but it's a good collection of tunes that are hidden By Young's infatuation with electronics and technology, and needless to say, remains completely different from anything else Young's catalogue up to this day. Never particularly loved by Young's fans, it's still a brave departure for the king of both Folk and Hard Rock. Strangely, this album does hold a strange fascination at times. Just don't expect to go rockin' in the free world withTrans.
Edited by SteveG - February 09 2015 at 10:38
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SteveG
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Posted: February 10 2015 at 09:42 |
The Crazy World of Arthur Brown. Zim Zam Zim 2014. The sixties God of Hellfire returns with one of his best Psycho-delic albums in years that's a loose concept based on the history of the earth starting from a time before the Big Bang that he refers to Zim Zam Zim. (At least that's I think that's what he's on about.) Some highlights include the following: After listening to the jungle percussion filled title track , you will immediately notice that Zim Zam Zim is a collection of songs that are both adequate to Arthur Brown's own style as well as cleverly crafted in order to adapt themselves to the issues of the 21st century. 'Want To Love' opens this with a beautiful brass section, and Brown's flawless, ageless vocals . 'Jungle Fever''s is a simple blues stomp which is enhanced by wildlife sounds that collide with eerie Tom Waits-like vocals. The second track "The Unknown" sports a hypnotic reggae vibe that sends us straight into the familiar early New Orleans Voodoo Psych of Dr. John. 'Muscle of Love' shows again how brilliant Brown's vocals can be even at his advanced stage of his life and career and sound quite reminiscent of Captian Beefheart's lower ranges as well as an occasional old time shriek thrown in for good measure. The song itself is about the bliss and harmony the world could obtain from never ending simultaneous organisms. Album closer 'The Formless Depths of Zim Zam Zim comes as an unsettling piece of music, complete with dark, spell-like lyrics and primal, tribal sounds (more Dr. John?) that seem to come full circle with the albums opening track. The God of Hell Fire is still among us in all his insane, but musically well executed glory. And if you can't have fun listening to this album, then you might just might be dead.
Edited by SteveG - February 10 2015 at 10:43
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jacksiedanny
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Posted: February 10 2015 at 09:55 |
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"Voodoo psych of Dr John"
Right.
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LearsFool
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Posted: February 11 2015 at 16:52 |
I just reviewed this new album by Pond, a band connected to Tame Impala, and it's fantastic. Stylistically like a walking tour of the whole neo-psych era, and always a blast.
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SteveG
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Posted: February 12 2015 at 10:11 |
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^Thanks for the tip, Kev. Yes, Pond seems to really enjoy the whole Neo-psych kick even more than Tame Impala! I'll be tied up for a for week or two, but I will give it a spin as soon as I have the chance.
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Toaster Mantis
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Posted: February 12 2015 at 11:05 |
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Are Echo and the Bunnymen eligible for discussion in this thread? I've been listening to both Heaven Up Here and Ocean Rain recently, and to be honest? I must say that frankly, I prefer the former's weird spacy take on Joy Division-style noisy goth punk with more emphasis on the influence from The Doors and The Velvet Underground to the orchestrated gloomy pop of the latter. It's still psychedelic if not stereotypically so, but it does not feel kitschy to me the way that kind of Love-style "baroque pop" wedded to 1980s goth/new wave production does. I also really like that dark futuristic aesthetic a lot of music from the first half of the 1980s has.
Then again, like I said earlier in the thread I'm not sure to classify The Doors and VU as "psychedelic" because in terms of ideology they were more forerunners of the late-1970s/early-1980s goth rock movement than kindred spirits to most of their contemporary psych-rock acts. I wager that if they get in, then E&tBM should be included too however.
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"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
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LearsFool
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Posted: February 12 2015 at 11:11 |
^ The Bunnymen certainly were part of the whole '80's neo-psych movement, and happened to be very much welded to the post-punk/alt rock of the time in a way most others in Britain weren't quite.
I'd say that The Bunnymen's connection to psych is much the same way that The Doors are connected to it, just different times and mixed genres.
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SteveG
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Posted: February 12 2015 at 11:12 |
^Absolutely. The Game by Echo & The Bunnymen is a psych classic to me!
I might have been under the influence when I heard it, though! 
Edited by SteveG - February 12 2015 at 11:16
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Toaster Mantis
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Posted: February 12 2015 at 12:54 |
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There also happened to be a lot of psychedelic influence in the post-punk movement not just through The Doors and Velvet Underground but also Can, Captain Beefheart, David Bowie's collaborations with Brian Eno etc.... it just gets overlooked because of the somewhat more "modernistic" aesthetic of that lot.
I'm under the impression quite a few of the 1980s neo-psych bands tried to leave the more obvious visual aesthetic cues of the 1960s/1970s psychedelic movement behind, partially in order to announce they were doing something new with the style but also to not be seen as nostalgia acts focused on style above substance. According to that book Turn on Your Mind that was linked to earlier, the 1980s psychedelic bands (also the Paisley Underground, dreampop/shoegaze and the noise-rock movements) were reacting as much against commodification of "spirit of the sixties"-type nostalgia aimed at the Baby Boomer generation as against the bleak conformism of the Reagan/Thatcher era. (did that kind of nostalgia exist yet in the 1980s? I weren't around then to be honest and I'm not sure, my parents were both born in 1950 but didn't keep tabs on popular culture during the eighties at all)
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"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
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SteveG
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Posted: February 12 2015 at 14:24 |
^Yes. I think that a lot of the so called noise bands, like the Shoegazer trend, is a post punk reaction and reformation of Psych in order to fit the (relatively) modern world of the 1980's. As a musicologist friend of my once opined, while spinning My Bloody Valentine, "This isn't the Psychedelic music your parents listened to." I thought he was joking at the time. In retrospect, I think he was correct. What would have been sense in Post Punk bands rehashing Psych clichés from the sixties? In time, his view that all revolutionary rock music must by means rewrite the rules of what constitutes old Psych, or any other genre, is what I feel has given me a new set of ears to listen with. Whatever is vital to that generation, and newer generations, has now become musically interesting to me. Again, this is due to my friend's insights and views that musical styles can never remain static and have to change in order to identify with it's particular generation. if not, it can only be reproduced purposely, as is the case with the so called modern Neo-psych bands.
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Toaster Mantis
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Posted: February 12 2015 at 14:35 |
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Most of the shoegaze I've heard has a kind of new age ambient feel to it, also in the way the soundscapes are constructed, just filtered through the context of 1980s indie rock. The post-punk/new wave bands that probably were the closest to 1960s psychedelia in surface aesthetics I'd wager were The Soft Boys and The Teardrop Explodes... not to mention Robyn Hitchcock and Julian Cope's bands afterwards.
Edited by Toaster Mantis - February 12 2015 at 14:49
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"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
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SteveG
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Posted: February 12 2015 at 14:46 |
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^Yes. I agree with that. I didn't make clear that I think shoegaze is also a reaction to bands like The Teardrop Explodes who maintained more of 60's Psych rock vibe even though they progressed greatly. Perhap's TTE was a bit too close to "your parent's Psych", causing noise effects pedals came to the fore.
Edited by SteveG - February 12 2015 at 14:47
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Toaster Mantis
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Posted: February 12 2015 at 14:57 |
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Didn't The Teardrop Explodes at some point attempt to draw none other than Syd Barrett out of retirement, because they wanted him to do a guest spot on one of their albums? (would have been easier to get Roky Erickson!)
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"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
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SteveG
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Posted: February 12 2015 at 15:04 |
^I've heard that before but never bothered to confirm it. Can you imagine Roky and Syd in the same room? Something strange would happen to the universe!
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Toaster Mantis
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Posted: February 12 2015 at 15:09 |
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The real missed opportunity is a collaboration between Roky Erickson and Sun Ra if you ask me, what with both being alien contactees! Though I'm not sure they'd have that much music taste in common, whereas Syd Barrett was at least a Sun Ra fan.
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"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
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SteveG
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Posted: February 12 2015 at 15:15 |
^Agreed. Roky and Sun Ra would have been like a black hole colliding with a star. Syd just seemed to be on a peaceful orbit in his own world. Not too much drama.
Edited by SteveG - February 12 2015 at 15:16
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