Words by Andrew Ryan Fetter
Andrew Fetter has been writing about music for over the last decade and playing in bands for even longer. His latest endeavor was the radio hour, The Noise Kaleidoscope which aired on 99.1FM WQRT in Indianapolis (now on hiatus – past episodes are archived online). On it he covers his personal collection and influences of psych rock from over the last half century, starting with early influences and reaching to its modern incarnations.
1980 marks a pivotal point in time for the band W.I.T.C.H., as well as the scene they helped create. Political unrest in Zambia leads to more authoritarian rule and enforced curfews put artists in difficult positions (performing daytime concerts instead of at night is just one example). This led to longtime leader Emanuel “Jagari” Chanda leaving the band, which is a pretty heavy blow. Enter new vocalists Patrick Chisembele and Christine Jackson which then ushers in a new era for the band. Shifting from fuzzy psych rock to funky disco gives us the pretty divisive album Movin’ On (Invisible City Editions). I found myself torn listening to this album. I don’t necessarily hate disco (as an ABBA fan I simply can’t) but it’s pretty easy to see the writing on the wall with each passing minute of this album. However, simply on its own merit it’s not a bad record. It’s just hard to not hear this in its historical context knowing full well what comes next.
Keeping in a similar vibe – but executed with more subtlety – the latest album by Levitation Room is another interesting mix of psychedelic and 70s disco/funk, the difference being this one gets better with each listen. Even if this marriage of sounds isn’t your thing (it usually isn’t mine), Strange Weather (Greenway Records) – almost TOO perfect of a title – does it the right way. Julian Porte’ voice channels Anton Newcombe’s sneer on “Immortal Love” and the fuzzy guitars almost melt in your ears on “Scene For An Exit.” It’ll be hard to keep your feet in the ground when you put this one on, exercise caution.
I feel pretty fortunate (and you should too) that we get to start the year off with a new Ty Segall record. Always walking that line between dirty, noisy garage rock and trippy psych folk, Three Bells (Drag City) is a nice throwback to records like Manipulator that are right in the middle of those two worlds, evidenced by the almost schizophrenic opener, “The Bell.” After a quick beat, “Void” starts the ride all over again, rinse and repeat for the next hour or so. I’ve really enjoyed the odd turns Segall’s records have taken the last few years, but his last release Hello, Hi and this feel like a comforting homeward journey.
After two amazing experimental records under the moniker Yawning Balch, Bob Balch and Gary Arce bring us Big Scenic Nowhere’s latest release The Waydown (Heavy Psych Sounds). Balch and Arce’s particular strain of stoner/psych rock has always had more to offer than thick slow riffs and big heavy beats. There’s plenty of that to go around, especially on this newest record. But what I’ve always appreciated about this band is the willingness to push the boundaries of heavy psychedelic rock. While this album certainly is heavy in the traditional sense, there’s a melodic melancholy vibe these two create that carries even more weight. And it’s no more present than on their rendition of the Hall and Oates hit “Sara Smile.” Covers are almost always out of left field, but holy shit. And they even got Eliot Lewis, longtime keyboardist for Hall and Oates, to play on the damn song!
Slift’s latest epic slab Ilion (and their debut for indie juggernaut, Sub Pop) is just enough jazzy prog and just enough heavy sludge to give us an idea what would happen if King Crimson and Mastodon had a baby… and Pink Floyd was the baby’s godfather. The opening title-track wastes no time hooking in the listener with massive guitars and fast beats that propel the song into space. From there the rest of Ilion tells a tale full of raw emotion with a front row seat for the end of the world, plus hints of what will arrive to take its place. Any more description and I’d be spoiling it for you.