Words by Jonathan Stout
When not doing freelance writing, Jonathan Stout is heavily involved in the NKY and Cincinnati music scenes as the Marketing Manager for Kentucky based venue The Southgate House Revival and founder of DIY Recording label Lo Fi City Recordings. He’s also an active musician, performing and recording with Sleepy Drums, Mutt Fuzz, Burnt Cabins and Uncle Fungus.
What can I say? The world continues to go to shit but luckily there’s seemingly always a mountain of new music to check out! So at least there’s that…
Speaking of mountains – let’s kick this thing off with Walking After Dark (Trouble in Mind Records), the newest release by The Mountain Movers. Although this band began as the intimate solo project of Daniel Green, it’s since fleshed out personnel and stretched further and deeper into psychedelic exploration- which is what Walking After Dark acutely excels at. The band lets the listener know what they’re in for by introducing the record with the sprawling 10+ minute epic “Bodega On My Mind/The Sun Shines On the Moon.” With very little percussion other than rhythmic hand drumming, the composition is mainly guided by 2-3 guitars, each providing its own distinct atmosphere. The jams go long and deep but are very rewarding if you see them through. At times it feels like walking into a vintage Velvet Underground band rehearsal- it’s got a great balance of clean melody mixed with a healthy dose of feedback, distortion and effects. The prevailing meditative quality and range of textures explored within each song warrant returning for multiple listens.
Moving onto another band who demand multiple listens, it’s time to talk about Funeral for Justice (Matador), the electrifying new release by Nigerian quartet Mdou Moctar. I always look forward to releases from this band with great anticipation, and Funeral for Justice is no exception. From the ferocious opening title track to the driving “Sousoume Tamacheq”, this album goes hard and seethes with aggression like the band never has before. After a marathon length tour for their previous album, the fantastic Afrique Victime, the band became incredibly tight. This development can clearly be heard across these 9 songs, that absolutely cook with chemistry. The band is constantly changing tempos and time signatures with such finesse that the only real explanation must be that they are, in fact, magical wizards. It’s not all aggressive though- Funeral for Justice also explores contemplative territory in “Imajighen” and get into a funk groove on “Takoba.” No matter what vibe is explored, each track is graced by searing a guitar solo, rewarding enough to please any lighter raising good timer.
And speaking of good timers, no one blends ‘70s proto metal, 80s hardcore and 90s stoner rock better than the mighty Fu Manchu, who returned this month with The Return of Tomorrow (At The Dojo Records). Honestly, I’m surprised by how much this album rips, but I really shouldn’t be. Although Fu Manchu has never tried to reinvent the wheel, they have slowly but surely honed their sound to perfection. It’s very inspiring to see a band who are so far into their career that still sound so inspired and focused. The production on The Return of Tomorrow is also tasteful and damn near perfect for what the songs require. Although the entire band sounds huge, they’re still able to achieve a rawness to the recording that maintains a natural live feeling. There are some callbacks in tone- “Hands of the Zodiac” could be tucked into Signs of Infinite Power; “Roads of the Lowly” could fit on California Crossing, etc. But The Return of Tomorrow goes further, by upping the doom and sludge with “Haze The Hides” (which could almost be a Melvins song) and the album’s title track, which blends aspects of heavy psych with surf and ‘70s blues/ southern rock. This album isn’t going to change the world, but it will soundtrack a damn good night.
Finally, we’ll close things out by traveling back to Sydney, Australia, where there seems to be an endlessly spurting fountain of psych rock. Castle in the Sky (self-released) by Magic Machine piggybacks on the reliable contemporary garage psych style made popular by Osees and King Gizzard and the Lizard Wizard. They spice things up a bit though with unique aesthetic twists- including a huge dominance of the organ which is applied much more in a classic garage rock mode than in the prog rock application employed in modern Osees fare. Although a Dwyer influence can be heard in the vocals, these songs sprawl out more than the Osees, with the implication that the jams run free in a live setting. “Into the Red” begins with psych punk energy but leans back and relaxes for a wah guitar and conga drum outro. “Sweet Creature” recalls the great era of garage punk coming out of NYC and Sweden in the late 90s/early 2000s. This is a great, fun album perfect for road trips or other kinds of trips that involve mind altering drugs. Pick your poison but make sure you also pick this record to soundtrack it.