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.
Okay, so admittedly I’ve been dreading this moment… W.I.T.C.H.’s Kuomboka (Invisible City Editions). The last album before the band calls it quits. Movin On seemed to be hanging out to at least parts of the Zamrock roots that the band originally helped plant but Kuomboka basically rips them out and discards them. From the first notes of “Erotic Delight” it’s clear that not much remains of the legendary W.I.T.C.H. and it’s sad to hear. Not just because the music all but falls flat but, as I think we’ve explored the last few months, the historical context for the band’s tragic – albeit temporary – decline and demise. Beyond the disco cheese, the soft rock ballads on Kuomboka are sometimes painful to listen to. Thankfully, we have one last stop on our journey and it’s truly a triumphant return that cements their place in rock history!
Seven years after the mind-bending album Alice, Meatbodies triumphantly return with Flora Ocean Tiger Bloom (In the Red Records) and it’s a doozy. Blending their usual garage-psych punk with elements of shoegaze and Britpop, this is definitely a game changing record for the band. “Silly Cybin” is probably my favorite song from this record. Three and a half minutes of trippy pop rock that would most likely pair well with the substance they wordplay in the title.
Charles Moothart works his magic yet again with his first official solo album under his name, Black Holes Don’t Choke (In the Red Records). Apparently not counting the handful of releases released under his initials and honestly, I’m willing to give him the technicality on this one as it’s unlike any of the CFM releases. Pulling from more bluesy influences (which seem heavily influenced by his time spent in Fuzz, not to mention behind the drum kit in fellow Fuzz-maestro Ty Segall’s Freedom Band), this is an album that you feel in your gut and I love it.
Detroit still holds a special place in my heart, despite my leaving Michigan over a decade ago. The sounds that continue to echo from that city are truly special (come on Dirtbombs, just put out another record already!). Shadow Show are a high energy trio from that wonderful city and their latest album Fantasy Now! (Little Cloud) is a wonderful collection of 60s psychedelic garage rock with that perfectly added grit. “Aunt Maizy” with its rocking, march-like feel reminds me of the pop singles I’d find on 45s, hiding in boxes tucked into my family’s closets.
Elephant Stone wraps up our time this month with their latest album, Back Into The Dream (Fuzz Club) and I don’t think a better title exists for this album. Each song’s melodies have a deep, dreamy vibe to them, and when one ends there’s just another one waiting to take us to our next destination… wherever that may be. Right at the midway point, “The Imajinary, Nameless Everybody In The World” takes it from pop to a psychedelic rock dreamscape with an almost Zeppelin-esque drum beat that you can’t help but just close your eyes and nod along. The album’s brief closer “Another Year Gone” lays The Beatles influences on a bit thick, which would normally annoy me (long story) but these guys know how to do it right. It closes it all up perfectly.