On the 5th the Los Angeles (USA) trippy-rock project Psychic Love centred around Laura Peters (Vocals / Various instruments / Keys / Electronica) released the single Go Away Green.
Psychic Love – photo by @oh_jay
Perhaps perspicaciously, in light of the long lasting effects of the psychedelic wash of the previous articlePsychic Love does too deliver tripped out compositions.
Go Away Green unifies, grungy footstep, chanson and dreamwave to create a song that has an almost tangible creamy richness to it which finds the listener futilely reaching out to embrace as it flows through the room.
The unhurried phrases of the composition affords the music the mystical, alluring beauty which holds the audience entranced through the four and a half minutes duration.
The Scottish psychedelic-rock quintet Domiciles released the single Only You on the 29th of September.
Though lasting a smidgen under six minutes the effects of Only You lay with the listener for some considerable time after the event with the synapses having slowed to syncopate with the trippy washes of the echoing guitar and finding little reason to fire back to normal speed in a hurry.
Domiciles are able to immerse themselves and the listener completely in ’60s and ’70s hallucinogenic-rock without sounding out of kilter with the ’10s with their music embracing both the past and the present.
BLIGH, an alt-rock band from Gold Coast (Australia), is the quintet of James Martin (Bass), Luc Saint Clair (Guitar), Jaidyns Blayde (Drums), Zahra Whyte (Keys) and Elliott Baylis (Vocals) who released the single Mrs. Jones on the 27th of September.
Their smartly constructed compositions often emerge as dramatic vignettes. Mrs. Jones continues in that vein with a swing-blues one act murder mystery which displays, in full glory, their ability to create songs which disport not only musical dexterity and arrangement but also clever lyrical construct, yet can equally deliver to the audience music that is easy to engage.
A couple of years in to their journey, Mrs. Jones will, with fortune, exponentially expand the BLIGH audience.
Unchanged in line-up since last featuring back in 2015, the US indie-rockers The Very Small, do however have a different sound in their latest track – Bad Ship, Good Ship.
The Very Small – Photo by Melissa Drake
The rich seam of deep texturing which has always been a feature of their music has cloaked itself with a more sadcore melancholia than music previously featured. Bad Ship, Good Ship, which was released earlier in the month, takes the listener to the Manchester (England) scene in the early ’80s.
The sweeping changes in pace, blurry edging of guitar with vocal lost in introspective contemplation delivers an approaching six minutes ever shifting soundscape in to which the listener becomes ever more immersed.
The compositions throw, what is seemingly a random variety of, electronica, instrumentation, effects and loops in to the blender which are melded in to engaging threads of music.
The most recent track to surface (which is available on bandcamp), San Graal, fuses vocoder, synth, guitars and perhaps as an even more indicative nature to the intricacies and detail of the creations, three different recording locations, to deliver a song that has a science fantasy outer space trippiness to it, which scatters through the room in darting threads of addictive articulation, that finds the listener instinctively immediately hitting replay.