#psychfunk

[bspoquemagazine]

🌀 NEW RELEASE ANNOUNCEMENT 🌀 Get ready to "change your brains"... and move your feet! Legendary producer, DJ & psychedelic tastemaker @mrrichardnorris teams up with @eskimorecordings to deliver "Mr Norris Changes Brains", an epic 42-track globetrotting compilation of mind-expanding dancefloor gems. 🌍✨ From rare fuzz monsters to obscure B-sides, this collection is a deep dive into worldwide psychedelia – guaranteed to trip your head and shake your soul. 💿 Out May 23rd on 3x2LP, CD & Digital 📀 Pre-order now via @eskimorecordings 🎧 Perfect for psych heads and new explorers alike #MrNorrisChangesBrains #RichardNorris #EskimoRecordings #psychedelia #vinyljunkie #cratedigging #rarevinyl #obscuregems #beyondthewizardssleeve #psychfunk #globalgrooves #dancefloor #psychcollection #vinylcommunity #musicislife #nowplaying #recordcollection #AVshow #festivalvibes #newmusic2025

[funksoul]

Junior's De Santa Tecla - La Tepelcuba (CBS) - Latin psych funk jam

[votava-records]

Sroeng Santi - Dub Fai Kui Gun

Sroeng Santi (also spelled Suang Santi; Thai สรวง สันติ) was a Thai rocker who died in 1982. 

[sirenrecords]

REPRESSED: #thoseshockingshakingdays #indonesian #hardrock #psychedelicrock #progrock #psychfunk #compilation (at Siren Records) https://www.instagram.com/p/CK4u5zCsp7t/?igshid=2not2bq26sg8

[bluedreamsbeats]

Almost time for the jams with @elektra_kumpany 🔥 #argylenightmarket #exoticfunk #psychfunk (at Argyle Night Market) https://www.instagram.com/p/B0E64zXBneu/?igshid=49e5zfcy2u8e

[dethblog]

New logo done for my guitars. #fender style my name. #MykRivet #Feel2Steel #fender #jimdunlopusa #planetwaves #flextortex #gruvgear #kemper #walker_and_williams_straps #axemasters #fenderblackface #fenderprinceton #guitarfetish #wdcustompickguards #gfspickups #behringer #funk #rock #soul #psychfunk #motown #detroit #guitarist #guitar #songwriter #singer https://www.instagram.com/p/Bnh-ac7lGTt/?utm_source=ig_tumblr_share&igshid=s2xrexz1g2uc

[phonoselect]

Now Playing: Black Merda 'The Psych-Funk of...' Reissue of the 2006 compilation... OPEN EVERYDAY 12-6PM @phonoselect #phonoselect #usedrecordstore #vinyl #vinylrecords #vinylporn #LP #album #music #usedrecords #cassettes #tapes #usedcassettes #phonoselect #phonoselectrecords #landparksac #hollywoodparksac #sacramento #visitsacramento #vinyladdict #vinyljunkie #vinylcollection #vinylcollector #localrecordstore #records4sale #recordstoresacramento #recordstorecalifornia #recordstorenorcal #blackmerda #psychfunk (at Phono Select Records)

[socialsf]

#aboutlastnight #sfblackcat #Collectivity w/ @benmisterka #psychfunk #groove #livemusic #fender #knowyourmusician #sfmusicscene #livejazz #onlyinsf #alwayssf #saturdaynightfun #strayplaystay (at Black Cat)

[funksoul]

The Patriots - “Nothing Like No More” (Oxford) - Funky psych rock

[votava-records]

Papa Wuzza Rollinston · Patrick Cowley

Album: Some Funkettes

Dark Entries is humbled to continue digging through the archives of legendary producer Patrick Cowley. While best known for his production on chart-topping cybernetic disco anthems such as Sylvester’s “You Make Me Feel (Mighty Real)” or his own “Menergy”, Cowley, who passed away from AIDS-related illness in 1982, left us with a substantial body of work. Since 2009, Dark Entries has been working with Cowley’s friends and family to shed light on the lesser known facets of this singular artist’s output. This has resulted in a string of celebrated archival albums, including Catholic (featuring Jorge Socarras), School Daze, Muscle Up, Afternooners, and the recent Mechanical Fantasy Box. Some Funkettes, the latest addition to this series, is a collection of previously unreleased cover songs recorded from 1975-1977. These raw, unembellished tributes both showcase Cowley’s early musical interests and chart the development of his production techniques. Some Funkettes opens with Cowley’s sauntering instrumental rendition of “Do It Anyway You Wanna”, the disco classic by People’s Choice. Next is a psychedelic reworking of the Temptations’ “Papa Was a Rolling Stone”, here hazily retitled “Papa Wuzza Rollinston”. Over its 7 minute runtime, the track’s metronomic, minimal groove builds to a frantic synth solo - this is pure Bay Area motorik. “Spiked Punch”, a curious riff on Herbie Hancock’s “Chameleon” follows. Cowley’s lurching, minimalist reimagining of Hancock’s opus prefigures the work he would later do on Sylvester’s masterpiece “I Need Somebody to Love Tonight”. Side B opens with a truly important historical document: Cowley’s cover of Donna Summer’s “I Feel Love”. The Moroder-produced disco anthem was a critical influence on Cowley - he would later resculpt the original song into arguably its highest form with his 15-minute-long remix. The instrumental cover version here is sparse and euphoric, brimming with classic Cowley synth signatures alongside the infectious Moroder bassline. A relatively faithful take on Bazuka’s 1975 funk classic “Dynomite” follows. The record closes with the dub version of “Spiked Punch”, which highlights developments in Cowley’s recording and synthesis techniques by way of its resonant burbles and spring reverb-laden passages. Some Funkettes was made possible with help from Patrick's brother Jim and his former studiomate Maurice Tani. All songs were mastered for vinyl by George Horn. The sleeve is a collage designed in 1975 by Cowley’s former roommate Francesca Rosa that was found covering a reel to reel box. It features a yin-yang symbol and a photograph of a scruffy 24 year old Patrick, to which we added his original handwriting. Each record comes with an insert featuring a four page essay by Francesca as well as a postcard featuring liner notes and a photograph by Cowley’s roommate and best friend, Theresa McGinley. Vocal versions of “Papa Wuzza Rollingston” and “Do It Anyway You Wanna” are included as bonus tracks on the digital and CD releases. This peek into Cowley’s formative years arrives just in time for what would have been his 70th birthday.

[sirenrecords]

NEW VINYL RESTOCKS: Czarface (2), Raekwon (purple vinyl), MF Doom (3), Cypress Hill, Big L, Ol Dirty Bastard, Run DMC (2), Pete Rock, Atomic Forest (rare Indian psych/funk), Algernon Cadwallader (2), David Axelrod (reissue of Jazz-Funk monster Seriously Deep), Augustus Pablo, Herbie Hancock #hiphop #hiphopvinyl #jazzfunk #psychfunk #poppunk #reggae (at Siren Records) https://www.instagram.com/p/B2XQYmHJndV/?igshid=172qu081rw1l3

[thesunlounge]

Reviews 218: Ed Longo & Applied Arts Ensemble

The newest release on Early Sounds Recordings comes courtesy of Ed Longo & Applied Arts Ensemble. Working across Germany, Switzerland, and Italy during 2017 and 2018, Ed Longo jammed with and recorded a host of adventurous musicians from diverse backgrounds, resulting in his debut LP The Other Fantasy. Conceptually, the record ruminates on the mental chaos of the internet age, concepts of Otherness within the collective consciousness, and our existence in a “continuous state of augmented reality, in which any concept of location, provenance, space and time fades into the ready-made world of escapist fantasies”...cerebral ideas given visual form by Riccardo Corda’s enigmatic art layout. Musically, the record feels right at home within the Early Sounds universe, as kaleidoscopic fusion jams and seaside funk journeys overflow with dazzling woodwind flights, tropical marimba cascades, scatting guitars, liquid slap bass fantasias, exotic live drum panoramas, gemstone Rhodes chords, sleepy synth orchestrations, sexual solos, heady electro-rhythms, and breathtaking vocal performances that sweep the spirit towards fantasy future lands. There are also a couple of blissed out ambient pieces closing each side, with Ed and his cohorts floating down etheric rivers of new age light and exploring sci-fi cityscapes, Blade Runner sax expanses, and noir jazz spirituals.

Ed Longo & Applied Art Ensemble - The Other Fantasy (Early Sounds Recordings, 2019) In “Love On the Line,” the energetic drums of Fabio Giannotti intertwine with electro-cymbal bells and golden hued tambourines. Domenico Andria’s slap bass pushes huge columns of air with its sorcerous funk movements while echo-smothered Rhodes flows, riffing guitars, and wavering cosmic synths background Daniele Lacava’s springtide flute adventures. The acoustic piano of Joel Holmes flows through the mix with dashing atonal runs and rainfall chordscapes before giving way to a wiggling synth solo that sets the air afire. At some point, we transition into a super hip vocal passage as cooing feminine voices and sultry whispers from Manon Girault and Zoé Perko fly over a sunset fusion jam out. Flanged bass explorations sit aside Floydian psychfunk riffs as Daniele alights on further flute solos, all while starshine synths and sci-fi squelches work against explosive drum fills and sizzling hi-hat patterns…everything eventually giving way to a coda of wavering keys, fluttering woodwinds, and pianos dancing on sea blue wave crests. “Arcadian Dream” follows with some of the softest textures to appear across the Early Sounds catalog. Seabirds converse above atmospheres of ocean romanticism and new age clouds billow in alongside acoustic guitar wanderings. Fabio Giannotti now appears on marimba and dances through the sea foam haze with crystalline note trails and gemstone fairy melodies and Nicola Galgari’s lush saxophone layers float amidst heavenly organ swirls…the whole thing evoking Finis Africae and Ariel Kalma as it transports the listener to a mystical forest of light.

“New Life” revels in lush romance vibrations while glassy Rhodes pianos flow above Steven Boreham’s liquid bass grooves and Ivan Ciccarelli’s midnight breakbeats. Congas enter and echoriffing guitars bubble up from underwater depths as celestial string orchestrations hover in the starry sky. Delicious g-funk slides bring it all together for a sensual glide through an equatorial paradise, with scatting synths transitioning into slow motion chime arpeggiations. The interplay between the bass and Tatum Rush’s guitar is pure intoxication, with interlocking riff webs and fiery funk accents playing off of rainbow keyboard atmospheres. Blistering fusion synths trade of solos with LSD-morphed e-pianos while gaseous strings move through the mix and at some point, soft outerspace vapors fly untethered above airy island rhythms. Then, a spellbinding Rhodes descent flutters over Ivan’s anthemic tom fills as we glide back into the sexual funk paradise, now drifting along on sea breeze vibrations and tropical palm frond flutters while Cristiano Pomante waltzes in with an ultra-cool marimba solo…the kind of thing that might waft through Haruomi Hosono’s Paraiso, full as it is of beachside jazz strolls and sunbeam solo dances. And the vibe is pushed even further towards exotic AOR perfection as Björn Magnusson melts over the mix with a radiant guitar solo built from smooth harmonizing descents and swooning sunset slides, even working at times into David Gilmore-esque psych blues screams that are tracked perfectly by the west coast hip-hop slides.

Dub claps refract in “A Palm in the Closet” while euphoric melodies of ocean glass flow forth from Joel Holmes’ Rhodes. Stuttering beats and morphing timbales underly guitar riffs swinging through starsea ripple worlds and Domenico Andria returns with more jaw-dropping slap bass fluidity…that same kind of mesmeric funk bass mastery that he delivered on Pellegrino’s Zodyaco…just pure 70s magic right down to the hot and biting production. Daniele Lacava’s ethereal flutes move between longform dream melodies and city-funk scats and are backed by wigged out theremin synths and hollow square-wave leads, all while Tatum Rush’s jangling guitars effervesce through colorful echolayers. As well, Tatum drops dreamy 90s R&B vocals over the exotic 70s lounge grooves while glistening piano adventures and schmaltzy flights move through the bewildering background fx layers. Closer “Trouble in Paradise” features dopamine cymbal taps and guttural bass guitar drones from Steven Boreham…the recording so deep and physical…as if you can hear the dust popping off of the roundwound strings. Nicola Galgari’s noir-soaked saxophones melt over oceanic Rhodes tapestries and once again the recording is very intimate, showcasing the sounds of warm breath flowing  over reeds. Beneath everything moves a euphoric haze of vibrato hallucinations and tremolo motions and there are vibes of Bohren and Der Club of Gore, Angelo Badalamenti, and John Coltrane at his most narcotic as the song develops into midnight heroin jazz for a sci-fi futureworld, one colored by haunted synth gases and dreamclouds of dark magic.

(images from my personal copy)

[dethblog]

Almost perfect. Waiting on pearloid pickguard and it will be great. Had the white strat I didnt like neck and blue strat didn't like body so took the best parts off the two and made this. Fixed roller bridge,locking tuners,roller trees,strap locks,#emgpickups 85 in bridge and sv in neck. Master volume. Simple and everything I use nothing I dont. #MykRivet #Feel2Steel #fender #emgpickups #jimdunlopusa #planetwaves #maxgripjazziii #gruvgear #kemper #behringer #funk #rock #soul #psychfunk #motown #detroit #guitarist #guitar #songwriter #singer https://www.instagram.com/p/BnOHG7DFetY/?utm_source=ig_tumblr_share&igshid=3zetlb9z19jp

[plungermusic]

Thrust propels DeWolff towards cruising height …

... Dutch psychedelic rock trio DeWolff (Pablo van de Poel guitar & vocals, Luka van de Poel drums & vocals, and Robin Piso Hammond organ & vocals) have been flying beneath the radar of all but a few cognoscenti since their formation in 2007, but their first release on Mascot Records should get them the attention they deserve.

A huge weight of expectation hung over the arrival of this album: after being recommended by no less an authority than Rosco Levee we were waiting for this with our collective tongue hanging out… and we nearly bit it off when we were utterly blindsided by the first two tracks: jagged kill-switch guitar and blistering drums drive the dance psychfunk of Big Talk, with its Outkasty high-to-falsetto vocal and the urgency continues in the off-kilter time signature and riff of California Burning, that somehow manages to combine Funkadelic Crimson and the Stones in one high-energy cocktail.

A similar amped-up tension underlies the furious philippic written for Trump’s inauguration Deceit & Woo: a juggernaut of pile-driving drums and mesmeric overdriven riffing with blaxploitation harmonies (neatly bisected by a seconds-long echt slow blues interlude at the mention of the word ‘blues’) topped in a tricksy-rhythmed cymbal blizzard coda drenched in howling freakout guitar. Equally out of left field is the dubtastic staccato organ and reverb laden guitar and vox of Sometimes, that affords space for a superb swirling organ break and closes in a blink-and-you’ll-miss-it snatch of full-on John Peel Show dub proper.

Double Crossing Man and Tombstone Child are more what Plunger had expected from DeWolff: the latter a Black Crowesish funk/rock swagger with trippy undercurrents, the former a raucous boogie evoking The Band and Delaney & Bonnie (with an acidic splash of late-Lennon), with fun multi-voice harmonies and a killer trenchant organ break, cramming in more variation and intricacy in a sub-three minute track than in some whole albums. Tragedy? Not Today opens with an eastern-tinged noodle before exploding into a boisterous Joe Walsh 70s rock anthem while Swain returns to CCR/Band bouncy danceable loping southern soul, with gritty vox and acerbic harmony guitar lines.

More than Plunger could have hoped for comes in three more laid-back tracks: Once In A Blue Moon conjures a mellow late-Beatles-meets-Atlanta-Rhythm-Section vibe, smooth soulful vocal and lush harmonies spiced with flaring organ and Harrisonesque bittersweet guitar, and an impassioned vox, piano and mellotron coda; Outta Step & Ill At Ease mines a plangent Parsons-meets-The-Eagles country seam with piano and sublime vintage twin-guitar harmony lines as well as lovely a cappella harmonies; and the exquisite Freeway Flight sees fragile vulnerable vox backed with more thrilling harmonies and twangsome baritone guitar in a reds-haze Gram-style waltz, before blossoming into slick jazzy ABB swing, complete with unison organ and guitar phrases à la Les Brers, and a brief psychedelic wig out to close. So luckily we haven’t covered our keyboard in drool in vain.

Although DeWolff are still only in their twenties, playing together for eleven years means they’re synchromesh tight (seeing them live should be a treat!) And they’ve acquired the maturity to combine their disparate influences into a cohesive whole: for all the references above they take those elements and make them their own (apart from Tragedy? Not Today which really is pure Joe Walsh…) Hats off to Mascot for signing a band that probably doesn’t have the immediate mass market appeal, tattoos or ironic trilbies of some others: it’s almost like the good old days of labels taking a punt on quality!

Thrust is released through Mascot Records on 4th May. [pre-order https://www.mascotlabelgroup.com/dewolff-thrust-cd.html]

DeWolff play Camden’s Black Heart on 15th May [tix: http://www.ourblackheart.com/events/2018/5/15/dewolff]