#SURFADELIC

[renerox]

GIRLS! GIRLS! GIRLS! vol.5 (60’s Garage Songs About Chicks)

. “Well, I’m gonna tell you about girlsThey’re all over this worldSome have beautiful shapesI wanna live to be 98″(Iggy Pop) Let’s Talk About Girls! She Comes in Colors, She’s Got The Action, She’s Got Eyes That Tell Lies, She’s Coming Home, She Does Everything For Me, She’s Got What It Takes, She’s Not Just Anybody… She She She! Even more 60’s garage “Chicks” songs for your listening pleasure.…

[greensparty]

Concert Review: The Breeders

Sunday September 24, 2023 @ House of Blues (Boston, MA)

marquee at House of Blues

Like a lot of people I first discovered The Breeders in 1993. They began as the side project of Kim Deal of The Pixies and Tanya Donnelly of Throwing Muses in 1989, but after the debut album Pod, the lineup changed (Tanya left and Kim's twin sister Kelley was in). When the album Last Splash dropped in late summer 1993, I was getting heavy into indie rock and they were all over WFNX at the time. “Cannonball”, the first single, was unlike anything else at the time. A surfadelic pop nugget about “the bong in this reggae song”. The music video was directed by a young Spike Jonze and Kim Gordon of Sonic Youth and we actually played it on my cable access show The Eric and Mike Show. At school, I traded a CD I didn’t like (can’t remember what) with a kid who had Last Splash and only liked “cannonball”. The album knocked me out. “Saints” is the perfect Summer song start to finish. “Do you Love Me Now?” was a great love song. “Drivin’ on 9” was a great country song in the old-school vein. The whole album is all killer, no filler. Last week I got to review the 30th anniversary Original Analog Edition of the album and it truly is one of the great albums of the 90s. Kurt Cobain wasn't just a big fan of The Pixies, but of The Breeders as well (Pod was one of his favorites) and The Breeders were the opening act on the In Utero tour. Unfortunately I didn't attend that concert when it was in the Boston area. Although I did get to see MTV's broadcast of Nirvana's Live and Loud concert in Seattle, where it showed The Breeders performing a few songs. I was lucky enough to see them perform on a taping of Last Call with Carson Daly in Aug. 2002. Then I got to see them do a free concert at McCarren Pool in Brooklyn in July 2008 and it was awesome! In 2013 to celebrate the 20th anniversary of The Last Splash the line-up on that album including drummer Jim McPherson and bassist Josephine Wiggs toured and I'm kind of kicking myself for having missed it. Fortunately the band is touring to celebrate the 30th anniversary of Last Splash and playing the whole album.

Kelley, Kim and Josephine onstage

The band came out and played the entire album start to finish. They were joined by Sophie, a multi instrumentalist who did a great rock violin. I knew every note of this album having listened to it thousands of times but it felt new and fresh hearing it all live. “Cannonball”, “Do you love me now”, “Divine Hammer”, “Saints”, “Drivin on 9” and countless others sounded so good. On a few songs, Jim and Josephine switched and she drummed while he played bass. The Breeders have had various lineups over the years but this lineup is super tight.

Kelley, Kim, Sophie, Josephine and Jim onstage

After the album was done they did various other songs especially ones from All Nerve (read my album review from 2018 here) like "Nervous Mary" and "Wait in the Car". But the big mind blowing moment for me was seeing the band do “Gigantic” by The Pixies. I don’t know how many times they do Pixies songs as they are two autonomous bands Kim Deal was in, but seeing them do this was super special and I can’t help but wonder if they did it especially for this show in Boston, where The Pixies got their start. The whole show was spectacular since they don’t tour that often. And I got to see this album after not seeing them in 1993! Hope I don’t have to wait another 30 years to hear the whole album.

the band in all their glory!

For info on The Breeders: https://www.thebreedersmusic.com/

[kvltklvb]

[pedaloftheday]

NEW DEMO VIDEO Surfadelic Soundwaves MindFuzz Fuzz (Compact)

[tomazsantl]

Vitja Balzalorsky Surfadelic Soundwaves, 2016

[thesunlounge]

Reviews 353: Island Sounds from Japan 2009 - 2016

The newest release from Time Capsule carries the completely irresistible title of Island Sounds from Japan 2009 - 2016 and finds label co-founder Kay Suzuki curating a miniature compilation aiming to present a personalized window into modern Japanese music. I say personalized because, rather than seeking to reflect what is contemporaneously popular, this release celebrates what Kay calls the “Island Sound,” which comprises a sort of loose and tropically-minded ideology dedicated to expanding genre boundaries and fusing musical traditions from all around the world. Thus across the vinyl’s five tracks, we are treated to a Caribbean-tinged reggae rewrite of a legendary jazz classic, a polychromatic surf slide and Hawaiian psych groove out, a fried and freaky mutant disco stomper led by chugging funk basslines, slashing fuzz riffs, and southern blues slide guitars, and an elegiac fusion of Aino folk, Afrobeat, and dub exotica made in tribute to the profound grief experience by both Syrian refugees and oppressed indigenous cultures within Japan’s own borders. As well, Island Sounds from Japan 2009 - 2016 sits nicely alongside the recently released Oto No Wa: Selected Sounds of Japan 1988​-​2018 in the following sense. While many reissue labels have their sights set on Japan’s musical past, with most of the focus being given to the rare groove, jazz, city pop, and environmental ambient music of the 70s and 80s, the curators of both Island Sounds of Japan 2009 - 2016 and Oto No Wa: Selected Sounds of Japan 1988​-​2018 choose instead to spotlight lesser known and ever more modern corners of Japanese music, thus collecting together the kind of leftfield oddities and impossibly creative genre mashups that will inspire future generations of obsessive crate diggers, balearic minded DJs, and visionary producers.

Island Sounds from Japan 2009 - 2016 (Time Capsule, 2020) Saxophonist Akira Tatsumi made his name with The Determinations, an Osaka-based ska band operating throughout the 90s and early 00s. Following the group’s dissolution, Tatsumi dove ever deeper into Caribbean musical forms such as calypso and soca and following a solo album in 2013, he began to brainstorm ways he and his fellow musicians could develop a more distinctive musical identity…something “they could export to the world instead of merely following their influences.” Thus a regular jam out called “Akira Tatsumi presents Island Jazz Session” was born, featuring an ever-shifting collective of jazz and reggae musicians who eventually recorded an EP under the name Speak No Evil, the centerpiece of which is an inspired re-interpretation of the Wayne Shorter classic of the same name. Stabbing piano chords bring in a throbbing riddim, with hi-hats guiding the flow, snare rimshots cracking, piano chords skanking on waves of tropical sunshine, and Shinichiro Akihiro’s palm-muted guitars scratching on the beat. Tanko’s sensual basslines bob the body and work through zany high note accents as familiar horn themes flow over the mix, with Tatsumi’s alto and Motoharu’s tenor and soprano singing together through moaning reveries, descending through cinematic refrains, and bleating in bombast as Pablo Anthony’s martial snare rolls and proto-fusion drum fills break free from the riddim glide to bash and crash towards the sky. Eventually, we settle down into a deep reggae zone out while the saxophonists alight on dizzying solos, with hyperkinetic blues spirals and circular marathon cascades intertwining and occasionally shrieking towards free jazz desperation. Then comes a dreamy piano solo from Tetsuya Hataya, which intersperses blazing runs and percussive cluster chords as the entire length of the keyboard is explored. After these solo passages, we return to Shorter’s classical horn themes, with pleading blues melodies and soar ascents married to a sun-soaked Kingston skank. And following a false ending, everything drops back in heavier than before…the bass now locked into a sinister pulse while ghostly dub pianos underly a panning panorama of alien saxophone mesmerism.

The second track comes from AQATUKI, a group formed by “two guitar kids” Taaki and Chen who, together with a fluid collective of musicians, have been developing their own strand of psychedelia since the late 90s, one equally influenced by 70s space rock and 90s rave. However, for “Wakanoura,” Taaki, Chen, and friends are in bathing in rays of tropical sunshine, as the track is based around a Chen’s gemstone guitar harmonics, which themselves take inspiration from the junkyard-sourced idiophonics of Konono Nº1. As the prismatic guitar layers spread out across an infinite ocean surface, tight psych rock beats from Toda3 and Moro enter to sway the body while Taaki’s slide guitar glides between textures of Hawaiian rock and surfadelic splendor. Aknee’s bass chugs along and brings atmospheres of 50s pop romance as Chen’s crystalline harmonic webs flow into shimmering seaside arpeggios…the whole thing bringing visions of sunset skies and dolphins dashing through coral reefs. In fact, the liner notes explain that, in addition to taking inspiration from Konono Nº1, “Wakanoura” in finds the band lost in nostalgic revery as they collectively remember a beautiful sunset bar they played in the titular location. At some point, the track erupts in small scale as rimshots rain over the stereo field, basslines move down low, and double-time hi-hats add further propulsion to the rhythmic flow, with my mind drifting to the drug-induced balearica of Pharaohs and the post-rock exotica of Cul de Sac…especially as shimmering webs of polyrhythmic six string harmony support increasingly far out slide guitar explorations. Descending surf chords signal another transition, with the rhythms evolving into a sort of equatorial breakbeat while basslines dance on sunbeams, fuzzy slide hooks refract rays of tropical light, and distorted surf-psych licks hold down the groove. Elsewhere, we lock into a sort eternal two-note loop of tropical island fantasy…with everything breathing in unison and seeking out an eternal horizon…all before the cycles are broken by a glorious guitar solo, which rides high in the sky as tapped ride cymbals spread golden wavefronts in every direction.

Just as Aqatuki found themselves backpacking to India and Southeast Asia in the 90s to bathe in psychedelic radiance, so did Altz, who also took inspiratios from “Japanese punk originator[s]” Murahachibu and a host of other avant-rock bands discovered in his youth. Around the turn of the millennium, the artist began producing on his own via a computer and MPC, and has since enjoyed a prolific and eclectic career, with releases appearing on well known labels such as DFA, EM Records, and Bearfunk. “Orympia Rocks,” which comes from Bear Funk’s Hibernation (Vol. 1) sampler, slams right away into crushing disco kicks and ringing cymbals, with strange reverb effects spreading outwards into exo-planetary caverns. Chugging punk funk basslines cut in and out alongside chopped and mangled fuzz guitar riffs, which drop in and out from all sides of the mix or suddenly rocket across the spectrum while everything else flows and transforms through dub delay chains. After a surprising cut to silence, we drop back into the groove, with stoned basslines and muscular disco house freakbeats stomping beneath a grease-soaked cascade of country-fried slide guitar…a completely strange and inspired mash up that, as told by the liner notes, was inspired by Altz spinning southern rock classics such as The Allman Brothers and Lynyrd Skynyrd. The result comes off like something from the wildest reaches of the Mind Fair universe…with everything anxious, unsettled, and stubbornly refusing to lock in, preferring instead to tease out various elements while maniacally subverting well known forms of disco, house, funk, and stoner rock into a maddening dancefloor fever dream. Bleeping and blooping synthesizers beam in from faraway galaxies, crazed whistles zoom skywards, and occasionally, the slide guitar flies solo over the drums...its tremolo-soaked blues meditations fly solo before everything devolves into a storm of dubwise chaos. Later, laughing children induce LSD visions that obscure the mutant disco rock groove out and towards the end, after the drums disperse, the southern rock slide guitars transform towards Hawaiian tropicalia as calming ocean waves crash to shore.

In the liner notes, Kay Suzuki presents a beautiful and personal meditation on Keiichi Tanaka’s unique talents as well as his tragic passing. Indeed, Tanaka was a world traveller, having ventured as far as Mali, Senegal, and Morocco to learn a wide swath of rhythmic folk traditions. Coupled with a private lesson from Afrobeat legend Tony Allen, these experience established Tanaka as a distinctly skilled and diverse drummer…something that was on full display in his band Kingdom Afrorocks. After Kingdom Afrorock dissolved in 2014, Tanaka relocated from Tokyo to Hokkaido and reconnected with deep dub and Ainu folk fusionist OKI, who encouraged Tanaka to record a solo album, which eventually led to Keta Iicna Hika. However, Tanaka passed before seeing the LP’s release, which is all the more heartbreaking given how incredible the music is, with the record hinting at a deeply creative musical mind who was only just beginning to explore the full reaches of his artistic imagination. Taken from Keta Iicna Hika, “City of Aleppo” sees Tanaka and OKI creating a unique sort of blues inspired by the bombing of Aleppo, wherein mystically aligned basslines snake up and down through Afrobeat and tradition folk drum accents led by urgently tapped hats, four-four kicks, and sparse snare smacks. Sawing scrapes background kaleidoscopic layers of Ainu folk psaltery, with buzzing spiderwebs and psychotropic spirals woven from OKI’s tonkori and mukkuri. And the whole thing ebbs and flows in intensity to evoke the way sorrow hits in waves…as moments of apparent calm give way to dense cascades of pain and anguish, with the exotica drum gallop erupting into climactic flamboyance while infinite string webs evoke the spiritual suffocation of Aleppo’s occupation, as well as the historic oppression of the Ainu people at the hands of Japan’s government. OKI’s dub version of the track from Keta Iicna Hika is also included, which brilliantly deconstructs everything into miasma of oscillating echo and prismatic future folk. Basslines dance over beatless stretches, dubwise fx chains mutate and morph the Afro-Aino rhythms amidst echoing bursts of plucked string violence, and the mix is increasingly overwhelmed by psychedelic editing, with elements dropping unexpectedly, black smoke drone clouds cycling through chasms of silence, and cavernous drum fills ricocheting beneath waterfalls of fractalized psaltery.

(images from my personal copy)

[klangspot]

Added to Surf Rock Radio on Spotify: "The Long Ride" by Crazy Aces https://spoti.fi/2HFhzU8

[renerox]

ATTACK OF THE PSYCHO SURFERS !!!

. Think Ya need more SURF, alright! This is brand new volume in Surfadelic series of modern surf comps, and this time it features many new bands as Intoxicos, The Chukukos, Dr.Triton, The Aquaholics, Psycho Surfers, The Phantom Dragsters, Goggle-A, El Supernaut, The Panteras, Secret Agent, Hypnotide, The Terminators, Jussi Pohjanen, and some you know already as The Kilaueas, Davie Allan & The…

[bestfrozentreats2]

[ch-dld-bft-brit-omm]

[discos2012]

#2017

• Pet City de EEEKS: la banda de Paraguay sacó un discazo que seguramente va a estar en mi Top 10 de favoritos al final del año. Pop surfero para poner mientras flotas en una pileta. En un futuro cercano los veo tocando en KEXP y ese tipo de maravillas yankees https://eeeks.bandcamp.com/album/pet-city

• Nothing Yet de Surf Curse: más indie playero para flotar en piletas aunque con letras bastante depres. Para tomar Campari mientras miras por la ventana como Trump destruye el mundo https://surfcurse.bandcamp.com/album/nothing-yet

• Roman Lips de Omar Rodriguez-Lopez: después de un año tranquilo (?) donde sacó 13 -trece- discos y se volvió a juntar con At The Drive In el portorriqueño mas prolífico de la galaxia arranca el año con un disco nuevo de rock hitero. Ademas anuncio el titulo de 10 -diez- discos más que supongo saldran a lo largo del año. 23 discos en dos años, que pedazo de gede https://orlprojects.bandcamp.com/album/roman-lips

• Surfadelic Dreams de Paquetá: otra vez sonido surfero, pero en vez de tomar Campari en la playa tomaron pepa en un sotano. Surf psicodelico con alma de punk. Para escuchar escapando de la poli. Edita Banana Records, alto sello de Brasil que deben conocer https://bananarecords.bandcamp.com/album/surfadelic-dreams

• Otro Lugar de Entidad animada: gran arranque de año para Fuego Amigo Discos. Melodias electrónicas y bocha de reverb para viajar. Siento que a oscuras se disfruta más https://entidadanimada.bandcamp.com/album/otro-lugar

Bonus track: Santiago Moraes saco un EP con dos covers (Los Boliches de Yamandú Palacios y popularizada por Alfredo Zitarrosa y Los Caminos de Tierra de Las Edades y no tan popularizada por ellos mismos) y El Día un tema propio que es mi hit del verano https://santiagomoraes.bandcamp.com/album/los-boliches

[thesunlounge]

Reviews 322: Aporia

I discovered the music of Aporia and Mitchell James O’Sullivan by way of Dub Disco, a beloved label who released Dub Disco Presents Aporia + Remixes back in 2018. One side of the 12” highlighted tracks from Aporia’s debut release Almost Tropical alongside an exclusive new track featuring Fazerdaze, while the other saw Dub Disco head Aussteiger and associated artists such as LITS801, Cosmic Palms, and S&W applying their balearic remix skills to to O’Sullivan’s tropically-tinged psych pop fantasies. The whole thing was a revelation and in the time since, both Almost Tropical and Dub Disco Presents Aporia + Remixes have worked themselves deep into my heart and now comprise some of my favorite music ever. So as you can imagine, there was considerable anticipation for an Aporia follow-up, which finally came during fall of 2019 in the form of Hotel Aporia, released by Cosmic Compositions and Fantasy Fiction Records. The LP sees O’Sullivan expanding the band’s line-up to include Nick Petricevic and Alia Seror-O'Neill, while also featuring a host of guest musicians providing additional guitar, synth, and woodwind treatments. And conceptually speaking, Hotel Aporia seeks to transport the listener to the titular hotel…an imagined beachfront resort existing in a sort of Lynch-ian dreamspace, one used by the band as a means to “navigate their South Pacific identities” and that is seemingly only accessible via exotic amalgams of library psychedelia, 50’s pop, Hollywood noir, sci-fi surf rock, and Hawaiian tropicalia.

Aporia - Hotel Aporia (Fantasy Fiction & Cosmic Compositions, 2019) After an introduction of mysterious orchestrations, operatic hazes, and chirping birds and insects, “Psychic Driving” sees a psychedelic surf beat riding alone before being joined by swinging bass thumps, tambourine jangles, piano chord splashes, horror film Moog leads, and spaceage theremin choirs. As the noir atmospherics recede, multi-tracked narcotica whispers flow above a sparse groove...as if O’Sullivan is scatting forbidden secrets while glowing synth hazes hover just out reach, with his voice sometimes backed by wordless feminine magic. During mesmeric choruses, cinematic strings and ghostly synth leads flow beneath Seror-O’Neil’s fantasy hooks and at some point, the whole thing gives over to a delirium jam out…like a trippy 60s happening taking place in the Red Room from Twin Peaks, with strobe lights flashing and enigmatic masked figures executing the batusi and the swim amidst melting layers of orchestral exotica. “South Seas Beijing” follows with seagulls and crashing waves surrounding liquid chord slides that recall nothing so much as “Breathe in the Air”. A lazed beat snaps amidst maraca rattles and chime strands as a Roger Waters style bassline drops, giving the whole thing the distinct feel of Pink Floyd scoring a South Pacific sunrise. And after an outro of moonlit wave motions, echoing loon modulations, and galactic synth flourishes from Lawree Goodwin, we flash into “Moon Taxi” and another solar surf rhythm glide. Seaside guitars glimmer in the sunlight and basslines sing beneath equatorial electronics as a vocal duet emerges, with O’Sullivan’s and Seror-O’Neil’s voices blurring together into heavy-lidded splendor. Cooing wordless refrains alternate with a fantasy chant of “the moon is watching” as flower power breakbeats are guided by bouncing bass guitar warmth, with lines occasionally sliding through lyrical romanticisms. There are moments where the mix reduces to an ambient blur, with aquamarine guitar vapors flowing through underwater vibrato fx, and towards the end, we flow into instrumental psych pop perfection as yearning voices suffuse the background…like sirens singing out from a hidden island paradise.

Amongst my favorite cuts here is “Helium,” which lets dense layers of fantasy synthesis guide a futuristic 50s pop epic. Slow motion drum beats glide beneath birdsong, with snares splattering through dub echoes. The classical ice cream chord progression rushes over the mix via lush pad orchestrations, angel choirs, and sparkling chimes while subsonic body grooves are generated by buzzing waves of analog warmth. Eventually, everything recedes save basslines, beats, and O’Sullivan’s and Seror-O'Neill’s vocal lullabies, which surround the heart with narcotizing threads of Roadhouse style synth-pop that strongly recall Angelo Badalamenti's and David Lynch's collaborations with Julee Cruise, as well as Chromatics. Gemstone piano mirages swim through the mix and during feverish choruses, the soul rushes towards a cinematic paradise aglow in tropical warmth. As the track progresses, multi-tracked string machines and droning polysynths subsume the singing…though hushed vocal incantations are still heard deep in the ether. Galactic lasers wiggle and cosmic tracers squiggle while fuzz guitars (or synths?) climb towards a molten summer sky, and during a moment of psychosonic mystery, the mix devolves into tremolo chordscapes and filtering trap kit rhythms, only to explode back into a stunning climax of “Heart and Soul” romance. A-side closer “Hawaiin Noir” continues exploring realms of 50s pop ethereality, though the vibe is pushed ever further towards South Pacific fantasy. Seed shakers keep a sparse rhythm while surf-stye guitars play doo wop progressions. A gorgeous voice calls out over the crashing waves with ecstatic abandon…like a goddess of the sunrise beckoning the spirit towards a paradise yet undiscovered…the effect so powerful as to literally take your breath away. Another guitar glides into the picture with soft motion solos, starshine electronics twinkle amidst a universal string synth hum, and nearing the end, everything fades into a mirage of meditative metal resonance, wherein Tibetan bowls sing over cricket chirps and crashing waves.

“Cloud Lodge” opens with insects and bongo rhythms surrounded by bubbling liquids. Bell trees flutter and stoner basslines pulse through ethereal shadows as O’Sullivan’s doped out lyricisms ride on sci-fi synths and spaghetti western guitars. New age melodies swim through the cosmos and further six-string accents melt into golden shimmer…all while dub chords delay towards the horizon. Next comes “Moog in Cairo” and its atmospheres of classical jazz meeting otherworldly exotica. There are touches of Omar Khorshid, Diminished Men, and Hosono’s, Suzuki’s, and Yamashita’s Pacific in the surfadelic guitar leads and as Fabien de Menou’s clarinets intertwine with mystical choral cloudforms, hand drums guide the body towards a hidden oasis. Twanging baritones decay towards a blood red sunset and child-like choirs sing songs of forbidden ecstasy amidst guiro scrapes and starshine chime descents....the whole thing like The Ventures tripping acid through a dramatic Hollywood rendering of an Arabian desert landscape. Rainforest percussions filter and pan over kick drums and ethereal gas clouds in “News from Nowhere” before we drop into the main groove, which sees basslines dancing and Peter Magnum’s sci-fi funk riffs crawling across the fretboard while drum machines sketch out robotic exotica patterns. Interstellar hazes blow across the spectrum, carrying with them outer-dimensional orchestrations that again evoke Arabian sunrises as well as the sensual dances of tango, and O’Sullivan’s double tracked vocalisms marry sonorous sensuality and falsetto radiance. Synthesizers gleam like diamonds and noir guitars melt down as ecstatic children sing in support of the increasingly desperate lyricisms…their voices only adding to the sense of haunted disorientation. Elsewhere, the mix reduces to hand drums and static oscillations while vibraphones sparkle like oceanic crystal. And at the end, wave sounds and prayer bowl drones return us to the fourth world environments of “Hawaiian Noir.”

In “Isles in Motion / Shipwreck Bay,” chime strands flow over seaside field recordings while vibraphones and islander hand drums establish a loose exotica groove. Synthetic harps are plucked, morphing fourth world crystals decay into the mix, electronic zithers execute zany runs across a virtual fretboard, and basslines thump through tropical jungle growth while tambourines shake out golden glitter. Eventually, the stereo field washes away as an abstracted voice lectures above the sounds of the sea, presumably signaling entrance into “Shipwreck Bay.” Guitars smear into paradise mesmerism, with touches of Hawaiian psychedelia intermingling with oceanic new age, and ambient angels sing through bodies of cosmic-aquatic light. And as rainbow colorations surround the body in amniotic warmth, tribal drum rolls flow forth from bubbling pools of neon. Helicopter oscillations and mirage guitar shimmer introduce the climactic drum beats of “Secret Fields”…a sort of slow pounding ritualism accented by e-piano chordscapes. Rolling tom fills introduce dirgey basslines while synthesizers howl into the night, bringing touches of progressive rock, only as if slowed to the speed of heroin mesmerism. Vocals flow through lush vocoder fx and evoke a sort of balearic leaning Black Sabbath, though that band’s funereal doom energies are here subverted by Callum Fairely’s dreamscape guitar ascents and these ethereal orchestrations that radiate hues of a Hollywood sunset. Shakers and ride cymbals splash through tide pools while e-pianos sparkle and during a moment where the rhythms fade away, aqueous dolphin songs and mermaid pan-pipe melodies swim across the sky. As the drums return, they stomp unencumbered, although barely-there guitars trace out haunting themes of paradise majesty. Then, after returning to the Sabbath-ian psych rock dirge, the vocals eventually fade away, leaving space for increasingly hallucinogenic tapestries of synthesized symphonic wonderment.

(images from my personal copy)

[renerox]

GIRLS! GIRLS! GIRLS! vol.2 (60’s Garage Songs About Chicks)

. More Surfadelic favorite 60’s garage songs about bimbos, chicks, dames, babes, dolls, doxies, gals, honeys, ladies, lassies, sweet things… Call ’em what you like. Dig! .

[kuci-madsounds-blog]

Mad Sounds #15 "Soul Surfin" 1/17/15

An hour of surf/psych + an hour of funk/soul/R&B = A celebration of creating art through sound!

The Chantays -- Banzai -- Pipeline The Chantays -- Killer Dana -- Next Set The Surfadelics -- Surfadelic Affair -- Run Chicken Run Vol. 1 13th Floor Elevators -- Levitation -- Easter Everywhere

Nanker Phelge -- 2120 South Michigan Ave. -- 12x5 Ultimate Spinach -- Ballad of the Hip Death Goddess -- Ultimate Spinach

Pond -- Zond -- Man it Feels Like Space Again**  Gum -- Delorean Highway -- Delorean Highway** King Gizzard and the Lizard Wizard -- Hot Wax -- Oddments** Mink Mussel Creek -- They Dated Steadily -- Mink Mussel Manticore

Instant Funk -- Slap Slap Lickedy Lap -- Instant Funk Dion and the Belmonts -- Teenager in Love -- YouTube +  Aurra -- Are You Single? -- Send Your Love

Pucho & his Latin Soul Brothers -- Chitlins con Carne -- YouTube Harold Alexander -- Mama Soul -- YouTube + Wah Wah Watson -- Goo Goo Wah Wah -- Elementary Blood Orange -- Chosen -- Cupid Deluxe + 

Theophilus London -- Flying Overseas (feat. Devonte Hynes and Solange) -- Lover's Holiday Ghost Town DJs -- My Boo -- So So Def Bass All-Stars Kindness -- House -- World, You Need a Change of Mind 

** - NEW RELEASE + - REQUEST