Tag Archive: Black Dice


Some releases we missed in July

Eric Copeland – “Limbo” (Underwater People’s Records)

The latest solo effort from Eric Copeland of Black Dice is not exactly what you’d expect from a member of that group. True there’s plenty of lo-fi sounds and noise on the album’s six tracks but they are rendered in a pop context. There’s hip-hop influenced uses of grooves and sampling, some house/techno inspired rhythm drum machines patterns and pad textures and wonky hooks aplenty. ‘Double Reverse Psychology’ opens the album with its mix of Submerged vocals, twanging guitars and pleasantly plodding rhythm all spectacularly skewed by Copeland on one of the album’s highlights. ‘Louie, Louie, Louie’ is another highlight matching funky lo-fi wah-wah guitar and charming churning synth to create a weird pop ditty. Elsewhere Copeland is less successful with his unusual hybrid ‘Muckaluk’s Heavily filtered synths, stabbing bass and quick fire rhythm never truly coalesce or convince, ‘Fiesta Muerta’ meanders though a swinging lo-fi groove and vocal and sax samples without ever catching fire. ‘Tarzan and The Dirty Devils’ comes closest to an out and out house track with its breathy vocals and airy house style drum machine rhythm and pad textures but doesn’t reach the heights of  ‘Double Reverse Psychology’ or ‘Louie, Louie, Louie’. The album peters out with final track the sci-fi tinged ‘Lemons’. It’s seems the Copeland is coincidentally going for similar territory as PLVS VLTRA mentioned elsewhere in this post but falls short of this aim for most of “Limbo”, though there should be enough here to keep Black Dice fans happy.

Perc – “A New Brutality” (Perc Trax)

The new EP from the head of the esteemed Perc Trax label is a fantastic addition to his impressive back catalogue. The EP opens with a single ear splitting tone before thundering bass drums kicks in bringing with it resonant filter swept techno synths and a punishing bass line, the title “A New Brutality” couldn’t be more apt. The pace and heaviness doesn’t let up on ‘Cash 4 Gold’ with its clattering electro hip-hop style drum pattern, corroded synth noise and glassy spooked synth melody that dominates the second half of the track, at which point it takes on a Lynchian vibe. ‘Boy’ is an electro meets techno banger complete with heavy industrial drums. The EP rounds off with ‘Before I Go’ where things get more contemplative with crunchy field recordings backing dark reverb heavy piano chords. “A New Brutality” is an essential purchase for anyone interested in underground dance music.

Toby Dreher – “Freiluft” (Rotary Cocktail)

Working alone and as one half of Dreher & Smart, the productions of Berlin native Toby Dreher have featured on a range of German labels, including 3000°, Perplex Recordings and Dekadent Schallplatten. His debut album, “Freiluft” will be released on his hometown’s Rotary Cocktail Recordings. The digital-only record is made up of ten tracks that reflect Dreher’s skills as both a DJ and live act. Ranging from driving techno, electronica, dub-techno and hypnotic techhouse, “Freiluft” is a well crafted debut. Reflecting the moody and swirling techno of Berlin are tracks such as ‘Imagination’ with its filtered textures, low bass line, scratchy hats and thin delayed melody and ‘Spurensuche’’s rainy atmosphere, resonant bass line and metallic textures. ‘Chordhose’ stands out as a showcase of Dreher’s production abilities. It features a driving beat, tonal percussion and harsh textures that flash in and out of view. The track gradually builds in intensity with dissonant strings and drilling textures added underneath an irregular synth note. A silken vocal sample contrasts the abrasive noises.  Elsewhere is the pitch black techno of ‘Headrush’, which comprises of male voice singing melodically underneath a second distorted voice, a distant clap, an intensely resonant bass line and zinging hats. The only true misstep is ‘Shurly’. Its misplaced use of a piece of well-known dialogue from a 1980 spoof film just doesn’t make sense in the context of the track’s dark, sweeping minimal techno and feels a little like an A-level music production effort. “Freiluft”, while not a greatly imaginative or fresh album, is a solid release that will find favour with fans of Skudge et al.

PLVS VLTRA – “Pantheon” (Spectrum Spools)

The debut album from Toko Yasuda best known as keyboard player in the touring bands for Blonde Redhead and St. Vincent is chock full of genre hopping and mashing oddball pop tunes. All created with a lo-fi aesthetic the album regularly recalls the work of M.I.A., Peaking Lights and indirectly Micachu and The Shapes, in place it also reminds me of Dutch lo-fi pop artist Solex and Brazilian electro pop band CSS on the reggae referencing title track. Despite these aesthetic and sometimes stylistic similarities this record has pretty unique spin on pop music warping it into many diffuse but still tuneful shapes. Yasuda also keeps the hooks and melodies coming even on the most esoteric tracks e.g. ‘World in Words’ which is dominated by pumping bass drums that underpin delay heavy vocals and twinkling cheap synth sounds or ‘Yume’s submerged tropical sounding techno. “Pantheon” is a promising debut from an artist who I hope goes on it create many more albums and develop this fantastically oddball take on pop music.

Biggest Disappointment of the Month

The Alchemist – “Russian Roulette” (Decon)

What can I say about the new album by hip-hop producer The Alchemist? Well, it appears he set out with good intentions and an over arching concept for the album but he falls short in a year packed with quality hip-hop releases. The OTT guitar solos and overtly smooth lounge jazz instrumentation sound like something you’d have heard in an airport lounge in the 70’s and leave a bad taste in the ear. This may well be the effect The Alchemist is going for, but it’s a displeasing sound. This is all the more surprising as The Alchemist has deservedly held a health amount of respect in the hip-hop community and recently had a revival of sorts producing quality tracks for the likes of Curren$y and an excellent collaborative project Gangrene with Stone’s Throw’ Oh No. There are many better producers creating (mainly instrumental) hip-hop concept albums, in fact I’d point you in the direction of Blockhead’s “Interludes After Midnight” for an excellent recent example. Whatever you do don’t buy “Russian Roulette”.

Outer Space – “Akashic Records (Events 1986 – 1990)” (Spectrum Spools)

The second album from John Elliott of Emeralds side project Outer Space is not a bad album; however it isn’t significantly different to anything Elliott, Emeralds or any other Emeralds side project has done to date. The same elements are present here as on those releases the synth arpeggio, the dark drones, the yearning synth melodies, the occasional effect or discordant melodic riff but it’s all the same. The opening track ‘Ellipse’ is the biggest disappointment it spends five minutes building tension and gaining more and more synth elements including a purposeful arpeggio before breaking down into an ambient second half that just fizzles out. The second track ’11:30’ begins in an equally promising manner with spectral synths intertwining and then being joined by a bubbling arpeggio and deep probing bass, however it then deplorably defaults back to the Emeralds template. ‘The Fifth Column’ repeats the same formula, ‘October 27th, 1989 – Bay Village, Ohio’ repeats the structure of ‘Ellipse’ with a digital arpeggio replacing ‘Ellipse’s all analogue sounds and on final track ‘February 8th, 1990 – Ashland, Ohio’ the Emeralds formula rears its head again. If your fan of Emeralds or the original kosmiche music they are inspired by you may like this album. Having said that I’m a fan of this genre of music but find it frustrating that modern artists such as Outer Space do little to move the genre forward, happy to merely recreate it perfectly.

Aesop Rock – “Skelethon” (Rhymesayers)

Aesop Rock new album sees a solid return for his long awaited sixth album, his first album exclusively devoted to his own productions, Rock having moved on and away from regular collaborator Blockhead. The album also features no guest rappers and the only other vocalist who features is Kimya Dawson (ex-Moldy Peaches). The album opens with Reverb heavy picked guitar and synth effects of ‘Leisureforce’ the chorus of which recalls TV on the Radio, in fact throughout the album Aesop Rock’s production heavily reference alternative and garage rock. This helps make sense of the collaborations with Dawson and Allyson Baker of Dirty Ghosts and gives the album a clear identity that separates it from Rock’s previous albums. The closest comparisons to Rock’s music on his album I can think of are fellow rap-alt. Rock experimentalist Busdriver and Rock’s former label boss El-P and his industrial aesthetic. The album’s highlights include the throbbing synth bass and cutting hip-hop beat of ‘Tetra’, dark head nodder ‘1,000 Clock’, ‘Racing Stripes’ with its clattering drum break, chopped up vocal stabs, funk guitar and bass and Rock flow smooth over the top and ‘ZZZ Top’ with its killer drum break, stabs and funk guitar lick. Overall this album won’t disappointment Aesop Rock fans and he his first attempt at producing a whole album is admirable, however “Skelethon” lags behind the other hip-hop releases we’ve recommended this year.

Laetita Sadier – “Silencio” (Drag City)

With her new album Sadier deliver another solid if unspectacular album. It’s solid enough and there’s the odd surprise but overall it feel very familiar. ‘Silencio’ focuses on the influence of French music on Sadier especially Serge Gainsbourg’s late 60’s output. Another influence that runs through the album (and in Sadier’s career) is that of The Velvet Underground. The albums highlights include ‘Fragment Pour Le Future De L’homme’ an upbeat French Disco track, the Latin inspired rhythms of ‘Find Me the Pulse of the Universe’, and ‘Auscultation To The Nation’ a combination of the Velvet Underground rhythm guitar and Gainsbourg style string arrangements. All of these songs show off Sadier’s new found skill for music arranging something that wasn’t present in her previous solo albums or those by Stereolab side project Monade. However, with the exception of these highlights the album never strays from the formula that Sadier established with Stereolab over 20 years ago or replicates long established generic styles and central influences. Though they aren’t bad songs or it’s hard to get away from these facts. Despite her best efforts to leave behind her past it haunts this album from start to finish.  

Beak> – “>>” (Invada)

A distinct improvement on their debut album, “>>” builds on that albums basic foundations and builds a charmingly crooked house on top of them. The central theme of album seems to be horror music and ghostly sounds as horror organ and retro delay/echo/reverb effects are a feature of a majority of the albums tracks. This is no bad thing as the bands understands these tropes and are not merely creating a facsimile or pastiche, these sounds achieve their aim. It would also be too simplistic to call this a krautrock album as though some track revolve around motorik grooves this very much a band with their sound and aesthetic, they don’t sound like Can or Neu! just obviously enjoy their music. There is a much broader and more imaginative sound palette from post-rock guitar riffs to Dub effects via Horror music organ this is a much richer sound and more developed sound while it still holds onto the energy and rawness of recording a band in a room. What’s more tracks like ‘Ladies Mile’, ‘Wulfstan II’, ‘Liar’ and ‘Yatton’ all have riffs and hooks that will stay with people for a long time after their first listen another thing that Beak>’s debut album lacked. All in all “>>” is a great album full of power yet subtle that masterful uses tension and release to create an engaging experience.

Micachu and The Shapes – “Never” (Rough Trade)

“Never” the new album from Micachu and The Shapes picks up where their debut debut “Jewellery” (2009) left off, retaining its lo-fi experimental pop sound and subtle developing it. The development manifests its self in the strong hooks that litter the album and Micachu’s previously monotone vocals finding a greater melodic range. The album gets off on the wrong foot with the first three tracks ‘Easy’, ‘Never’ and ‘Waste’ lack the remainder of albums hook and structural twists and turns. Luckily these tracks fly by in a few minutes (as do a majority of the tracks) and things pick up with ‘Slick’ and it’s swinging lo-fi hip-hop stylings. Next up is single “Ok” the melody of which recalls classic Stereolab, then ‘Low Dogg’s fat distorted synth bass crashes in and takes the listener a filthy thrill ride. ‘Holiday’ is a weird pop gem with a seasick melody. All that and were only halfway through the album. Other highlights on the album include ‘You Know’ a bouncy lo-fi pop song with Micachu’s distorted vocal dominating over the Shapes brittle shuffling backing, ‘Fall’ with its resonate melody and dark yet ethereal ambience and  the near psychedelic ‘Nothing’ the album’s most emotive and epic song. The band’s DIY instrumentation and oddball tendencies will put some people off but this an album that rewards those who decide to explore its experimental pop songs.

Top Release of the Month

Nas – “Life Is Good” (Def Jam/Universal)

Nas returns with the superb new album “Life Is Good” a strong contender for Album of the Year and a top hip-hop release in a year packed full of high quality hip-hop releases. Though the album doesn’t quite reach the heights of hip-hop classic “Illmatic” the quality rarely drops over the albums 14 tracks (18 on the deluxe edition). Nas balance’s a selection of solo joints complimented by well chosen collaborations with the likes of Large Professor, Amy Winehouse, Mary J. Blige and Anthony Hamilton amongst others. He also strikes a balance between hard hitting hip-hop tracks e.g. ‘The Don’, ‘Summer on Smash’ and ‘Accident Murderers’ with lighter summer jams e.g. ‘You Wouldn’t Understand’ and ‘Reach Out’ and jazz inflected tracks e.g. ‘Cherry Wine’ and ‘Stay’. Strings and piano are the dominate instruments and compliment the mature subject matter about the recent events in Nas’ life and his new found optimism. The cinematic scope of “Life Is Good” is stunning with Nas demonstrating that he has the gravity to compete with other blockbusting rappers like Jay-Z whose similar productions can sometimes sound hollow and overblown. The album rarely lets up its relentless pace but this no bad thing and none of the tracks out stay their welcome. On his most personal album to date Nas doesn’t pull any punches is his brutally honest tales of his own past and present, matching the vivid production of No I.D. and Salaam Remi (best known as Amy Winehouse’s producer on “Back to Black”) every step of the way!

Psychedelia: The Return

Disclaimer: This post is in no way attempting to suggest or create a new  musical genre or sub genre. It is intended to observe some of the, at times tenuous, links in a burgeoning network of new psychedelic artists.

After a decade in development 2009 saw an organically grown set of artists exploring new and different ways of creating psychedelic music reaching critical mass. While the mainstream music press bangs on about ‘nu gaze’ they have missed a much wider and larger development that has and still is producing amazing, mind expanding music.

So who and what am I talking about when I refer to new psychedelic music? There are three main strands of this phenomenon. The first is the noise scene of UK and North America  where wildly oscillating colourful music has become the predominant feature for the likes of Animal Collective (who’ve come a long way from their humble beginnings), Black Dice, Fuck Buttons, Holy Fuck and 8-bit legend Dan Deacon. Animal Collective are currently earning the most column inches but they were virtual unknowns prior to the 2007 release of ‘Strawberry Jam’, which coincidently is when the band hit upon a winning formula for their music. Both ‘Strawberry Jam’ and the commercially successful 2009 follow up ‘Merriweather Post Pavilion’ showcased Animal Collective’s great musical achievements and exposed people to their contemporaries.

This scene also demonstrates that the genre is a step forward. Unlike Britpop this resurgence isn’t a retrograde movement looking through rose tinted glasses back to the ‘60s heyday of guitar and organ based psychedelic music. The employment of synthesisers, sequencers, drum machines, games consoles, toys, guitar effects pedals and circuit bending (the modification of musical and non musical toys to create new sounds) creates a digitised, corrupted version of psychedelia that is more in tune with the modern world. Occasionally these acts write lyrics with a similarly naive hippy vibe but by and large artists have shunned this in favour of a more modern post-irony lyrical slant. Much of the noise scene even avoids the use of conventional vocals. Though Animal Collective have two singers they treat the vocals as another instrument or effect in their music, veering from the disturbing and distorted to the ethereal and dub-like. Most importantly in a genre where it is difficult to establish yourself as unique and vital, to outsiders at least, all these acts have managed to achieve this, whether through a long development period like Animal Collective, Black Dice and Dan Deacon or a seemingly quick time in the case  of Fuck Buttons and Holy Fuck.

The next strand is the UK electronic and indie scenes that in recent years have received an injection of psychedelic sound. The main artists include Clark, Four Tet, The Big Pink and Maps. Over the last few years these acts have all released albums that resonate with their own unique sounds. Four Tet’s (Kieran Hebden) fourth album ‘Everything Ecstatic’ in 2005 delved into the relatively untouched worlds of late ‘60s psychedelic jazz of Art Ensemble of Chicago and Alice Coltrane and Krautrock (a German form of progressive rock) whilst retaining Four Tet’s originality. Hebden was a huge hip-hop fan and the joy he took in deconstructing and reconstructing these genres into a new sonic tapestry is indicated in the album’s title. Around this time his remix work shifted focus in the same direction and he began a fruitful relationship with Stone Throw Records and producer Madlib. The Krautrock influence would also rear its head again albeit in a colder form on the ‘Ringer’ EP from 2008. The next crucial release in this chain was 2006’s ‘Body Riddle’ by Clark on Warp Records. Though not the most obvious psychedelic album I’ve discussed it nevertheless reveals its twisted, swirling and dark heart with repeated listens. Like ‘Everything Ecstatic’ it uses modern hip-hop and R&B rhythms and production techniques to create a dense, evolving collage of sound to the extent that it feels as if ‘Body Riddle’ is the flip side of ‘Everything Ecstatic’ but where Four Tet looks backwards for his core influences, Clark uses modern sounds and electronic influenced noise to communicate a near pitch black sound of emotional turmoil. In 2007 these artists were joined by Maps (James Chapman) who released his multi-layered synthesizer heavy debut album ‘We Can Create’ to critical acclaim. The album was purely electronic music balanced with pop melodies. His sound is the most commercial that I’ll discuss but even Chapman is grounded in indie roots. Maps’ new album ‘Turning the Mind’ (2009) is true psychedelia. It takes the textures from his debut and adds new colours to what had been a very blue sound. ‘Turning the Mind’ is vividly colourful; resonating with bright reds, yellows and oranges yet there is a dark undercurrent to the sound, which is spoiled occasionally by Chapman’s naive lyrics and the odd Pet Shop Boys melody.

The latest arrival in this scene is the most hyped of the so called nu gaze bands The Big Pink. They combine electronic beats, guitar and synth sounds that owe to the original shoegaze bands like My Bloody Valentine, Slowdive, Jesus and Mary Chain and the Cocteau Twins and their sound has much in common with Maps’ debut but employs guitars instead of synths. The Big Pink recorded their debut ‘A Brief History of Love’ at Jimi Hendrix’s Electric Lady Studios in New York, stating that it helped create the vibe they wanted and ‘added a magic’ to it. Much like electronica and indie the noise scene is trying to forge a way forward instead of merely repeating past ideas and it has mostly succeeded in this aim in a time when this is near impossible.

The final strand is the underground hip-hop scene in the US andUK. The former is based around Stones Throw Records and Madlib and the latter helmed by Four Tet and Warp Records’ recent signing Hudson Mohawke. Though they are all different they have led to the creation of the first truly psychedelic hip-hop records and although the Beastie Boys and De La Soul had come close in 1989 with ‘Paul’s Boutique’ and ‘Three Feet and Rising’ and OutKast’s ‘Stankonia’ in 2002 was a brilliant tribute to classic Parliament/Funkadelic concept albums, Madlib is the first truly original psychedelic hip-hop producer. His name standing for Mind Altering Demented Lessons In Beats.

He is hugely prolific and flits between a vast array of black music genres but his work is always under the banner of hip-hop and almost always has a drugged feel. The high points of Madlib’s catalogue include the albums he released as Quasimoto  – ‘The Unseen’ and ‘The Further Adventures of Lord Quas’ in 2000 and 2005 and his work with MF Doom under the name Madvillian who released their debut ‘Madvilliany’ in 2004. He and Four Tet use hip-hop’s main weapon to create their unique sounds: the sampler. As Quasimoto Madlib created the weird vocal effects by slowing his beats down, recording vocals on top then replaying the vocals over the original beat. He also used his sampler and drum kit to create a disorienting dark world for MF Doom’s character Madvillain to live and breathe in for their album. This created a sound more akin to jazz or stoner rock music than traditional hip-hop. It was around the time of ‘Madvilliany’ that Madlib and Four Tet struck up a collaborative relationship and swapped remixes over the next year or so, many of which ended up on Four Tet’s ‘Remixes’ album. This then extended out into remixes of other Stone Throw artists and vice versa. Madlib has also worked under the guise of Yesterday’s New Quintet, in which he plays all four fictitious musicians and explores psychedelic jazz and incorporates influences from the Beasties Boys’ organic hip-hop and the atmospherics of Jamaican dub. With YNQ Madlib achieves his dual ambition of paying tribute to the styles of the past while being faithful to the progressive nature of jazz and his own innovative music.

Since signing to Warp Records Glaswegian producer Hudson Mohawke (Ross Birchard) has released the ‘Polyfolk Dance’ EP and debut album ‘Butter’. At first his sound was difficult to pin down but a little research revealed what made this strange brew. Mohawke grew up listening to soul and funk records and the rave tapes his cousin played and as a teenager he learnt the art of turntablism (becoming the youngest DMC UK champion at 15), which explains his unique sound that mashes together the luxuriousness of modern hip-hop, the day-glo noise of rave and found sounds and samples. ‘Butter’ is an apt title for a record that is so rich and textured yet has roughness indebted to the bass and found sounds and samples, lending the album an analogue feel evoking classic mid ‘70s Parliament/Funkadelic through a very modern filter. None of these three artists live in the same country but they have contributed to and influenced a new generation of hip-hop producers who can take these new ideas and twist them into varied shapes and sounds.

As stated earlier the music examined is not a retread of old psychedelic music genres but it would, however, be naive to suggest that these artists are rootless and are creating completely new music. There are three main components of influence, some of which interlink. The first is Krautrock or kosmiche music that originated in Germany in the late 1960s continuing throughout the ‘70s and up until the present day. Though many important Krautrock artists such as Kraftwerk, Neu!, Faust and Can have been canonised for their work the new breed of psychedelic artists also take their influences from the ambient organic work of Tangerine Dream, Ash Ra Tempel, Cluster and Harmonia.

Tangerine Dream emerge as the biggest influence and indeed achieved the biggest sound and sales at their height. Their authority is detectable in the music of Animal Collective, Holy Fuck, Dan Deacon, Maps and Four Tet. Their music, which is comparable to the dense texture and melodic styles used by their successors, allowed ‘sound patterns to build up slowly and blend into one another’. The classical and silver-toned guitar of Ash Ra Tempel and Neu! can be heard on records by Four Tet, Clark and Hudson Mohawke (though they probably aren’t a direct influence on Birchard’s work). Rhythms and harmonies employed by Can are mirrored in the work of Holy Fuck and Four Tet and are closely associated with Madlib’s style with Jaki  Liebezeit’s drum breaks been a constant source for sampling for hip-hop and dance music since the late ‘80s. The colder, pre-industrial ambient sounds of Cluster and Harmonia have also found their way into the corners of material by Maps and Four Tet’s ‘Ringer’.

The next influence is closely associated with the Krautrock and kosmiche music artists discussed. It is best described as ‘70s synth music, a rough generic term bringing together the music of Jean-Michel Jarre, Vangelis, Isao Tomita (Japanese synthesizer artist famous for his reinterpretation of Gustav Holst’s symphony ‘The Planets’), Klaus Schulze (Tangerine Dream and Ash Ra Tempel) and others. These artists and their music were musically ambitious, taking  Krautrock’s expansion of the potential of synthesizers to a symphonic level. Vangelis began his career in Greek prog rock band Aphrodite’s Child and, like Schulze, managed a smooth transition to a more symphonic sound; in Vangelis’ case, to successful soundtrack work which includes ‘Chariots of Fire’ and ‘Blade Runner’ (1982). Tomita and Jarre made similarly bold synth-led, reverb drenched sonic adventures. Tomita produced his own brand of synth music and was a successor to the classical reinterpretations by Walter/Wendy Carlos. Jarre successfully turned this music into a commercially successful sound and created huge visual shows to compliment this. In 1977 Jarre hit the charts with ‘Oxegene IV’ in a breakthrough year for synth music, which finally saw Kraftwerk infiltrate the mainstream and Donna Summer top the charts with the Giorgio Moroder produced ‘I Feel Love’. This became the catalyst for Jarre’s burgeoning live extravaganzas and the proliferation of synth music worldwide in the following seven years.

Schulze represents a darker, more contemplative and less grandiose sound but no less layered. He came from what is now referred to as the Berlin School, an experimental selection of  Berlin-based artists determined to discover the very outer limits of what a synthesizer and music could do.

The multi layered, ambitious and synth heavy material of the acts listed above has had an influence on the similarly layered and luxurious sounds of Maps, particularly ‘Turning the Mind’, which explores interesting sonic and emotional depths, Four Tet, Holy Fuck, Hudson Mohawke, Fuck Buttons and Animal Collective.

The last strand of influence on new psychedelic music is the ‘90s shoegaze scene which featured the heavily processed guitar sounds of the recently reunited My Bloody Valentine (MBV), Slowdive, Ride and their predecessors the Jesus and Mary Chain (JMC) and Cocteau Twins. This scene varied from the feedback driven sound of MBV and JMC to the ethereal ruminative guitar sketches of the Cocteau Twins’ Robin Guthrie. The mainstream media have focussed on the ‘nu gaze’ scene but the influence of these acts has been evident for a while now. LCD Soundsystem covered ‘Slowdive’ by Slowdive in 2005; Black Rebel Motorcycle Club’s verbatim theft of JMC’s sound and image; and the constant comparisons of Jonsi of Sigur Ros’ vocal style with that of Liz Fraser of the Cocteau Twins. Although it was the reformation of My Bloody Valentine that really thrust the spotlight on those that were obviously influenced by shoegaze’s brand of guitar pedal  noise. This ‘nu gaze’ scene is led by The Big Pink, No Age, School of Seven Bells, Atlas Sound however many of these acts are merely derivative. The really interesting manifestations of the influence are mainly on the noise scene. Holy Fuck, Health, Animal Collective, Dan Deacon and Fuck Buttons all take something from shoegazing even when they’re not using guitars. Health are the most indebted to MBV and the other shoegaze bands but they have managed to create a more obtuse take on the original sound that has more common with noise’s roots than most shoegaze acts. The density of the music by Animal Collective and Dan Deacon has the feel of a less attack oriented version of MBV, JMC and Ride. You’re not being abused but there is enough edge that it’s not merely background music. As I mentioned in paragraph three, the use of vocals as another layer or instrument can be traced back to Liz Fraser’s vocal techniques and are present  or rather deeply buried in the music of Holy Fuck, Fuck Buttons, Animal Collective, Four Tet and Hudson Mohawke . The fetishisation of guitar pedals and their analogue sound is also evident in the sound of the modern psychedelic acts that I’ve discussed and is another tie to the original shoegaze bands.

Though all the artists I’ve discussed are in themselves unique and individual, this article demonstrates that the artists that influence them and the techniques used to achieve their sound interlink in various ways to show a broad landscape of sub genres and artists that make up a reinvigoration of psychedelic music. In a time where the majority of bands and artists struggle to free themselves from commercial pressure or the inevitable repeating of what they’ve been influenced by these artists are attempting individually and collectively to direct us forward and to expose us to experiences and music that we may not have heard or felt before.

The influence of Krautrock and synth music is keenly felt but unlike previous artists who have just taken on these influences e.g. Stereolab and Muse these artists have discovered ways of creating something of their own in the spirit of those who had gone before. Their influences all ploughed their own furrow and it is difficult not to fall under their shadow so I salute the work of the extraordinary artists who’ve taken the risk on making something even more adventurous and exploratory.

Here’s a Spotify playlist (HTTP links, then Spotify URL) so you can check out the bands mentioned in this post:

Psychedelia: The Return

Psychedelia: The Return

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