Beautifully Heavydelic
This San Francisco ‘Heavydelic SuperRock’ group remind of
quite a few bands, but as I listen to third track Xanana now it is Smashing Pumpkins, whilst next Galaxina begins like Thin Lizzy – yeah,
I know it’s just the dual guitars – but that SP sound is still a sustained
reference point, especially into fifth Bellisima.
This has come as a little bit of a surprise as second 67 Dreams is more of a riff-driven
number, but sixth Oh My God it’s Filled with
Stars reasserts the vocal harmony-drenched sound of that late 80s/early 90s
rock renaissance. Whatever this perfunctory history lesson of echoes, it is
excellent at what it does, many of the 22 tracks not surprisingly little
musical vignettes linking others, so, for example, we move from one of these Child in the Sunburst Pyramid to the
more languid psychedelia of Spiral
Marilyn, a more Beatle-esque musical touchstone sound-wise [in their
psychedelia touchstone days].
Ninth Take a Stress
Pill is a loud instrumental drowning-out of what I think is a sampled
recording of the intended softly-spoken anti-stress narrative from a
tape/similar. This and next Daisy
with its laid-back fuzz and effects could seem fillers to make up the 22 songs where
a judicious edit might have been a benefit, though the T-Rex vocal two-thirds
into Daisy, with more fuzz and
effects, has a wildness that attracts over the calmer-by-comparison languor of
the other spacier rock. Indeed, the vocal effects near the end of this latter
track make it one of the more interesting overall. It’s a learning aural curve.
In fact, I think the album is hotting up as we progress
through. Twelfth The White Witch has
pulsing riffs and pulsing vocals and is a relative scorcher; thirteenth Molecules is another instrumental
interlude; next Beatle George is as
the title suggests another B-esque pop-psychedelic number, and fifteenth The Kingdom makes a great noise with
looping guitars and crashing cymbals.
Then comes sixteenth Cyclops
[Dedicated to the One I Love] which is heavy metalish so the heat is now on
high, and follower Astrophobia
continues the flirting with Sabbath riffs and the ghost of Marc Bolan.
Eighteenth Wondermint is a raga of
sorts, whilst its follower Girl Coloured
Sky reverts to the SP sound of before.
Penultimate Tiny Gods
foregrounds some more of that excellent dual guitar work, and you realise that
by the end of listening to it and all 22 tracks this really is quite a dense
and richly atmospheric album of the genuinely ‘heavydelic’ kind, with closer Babes of the Abyss beautifully so.
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