Weird Owl Premiere “Diamond Mist” Video; New Album Wet Telepathy Available to Preorder

Posted in Bootleg Theater, Whathaveyou on July 29th, 2019 by JJ Koczan

The new Weird Owl full-length, Wet Telepathy, has been given a Sept. 20 release date through Little Cloud Records — preorders are up now, if you’re the think-ahead type — and I can hardly think of a better time than the end of summer for its shimmering orange psychedelic haze. As the nights begin to turn cool in respite from the humidity of the Northeast, to have Weird Owl belting out live-in-the-moment jams like “Phantom Physician,” “Death Necklace” and the garagedelic “Diamond Mist” — the video for which is premiering at the bottom of this post — will be nothing but welcome, as the Brooklynite outfit follow 2017’s Bubblegum Brainwaves (review here) with a likewise expanded-mind melodic wash, all “far out, man” and not a bummer in the bunch, even the 90-second organ stretch “Headless Horsemen” and the closer “Let Each Man Decompose (At His Own Speed),” which takes Help!-era Beatles — that tambourine is a tell — to dreamier places only after the more fully-fuzzed “Nailed to the Ceiling” has run your grunge childhood through a lysergic spin cycle. You put in white sheets. They came out tie-dye. So it goes.

That’s how these cats do, and they do it well and they’ve been doing it long enough at this point that their sense of space is immediate. Returning once again to the studio with Jeff Berner at Galuminum Foil means their adventure happens in familiar climes, and in some ways, Wet Telepathy feels like a strong, more song-minded sequel to Bubblegum Brainwaves, but as the maybe-sitar and definitely-keyboards of “P.U.M.P.” roll out crumbling mountain landscapes, it’s as much a fresh vibe as it is a classic one, and Weird Owl invite the listener to their wavelength at the same time they make a compelling case to undertake the journey. All I’m saying is that if you feel like maybe your blood just got awesome, it’s probably working.

Wet Telepathy is out Sept. 20. You’ll find the video for “Diamond Mist” below, but here’s art and info first, courtesy of the PR wire:

weird owl wet telepathy

Weird Owl – Wet Telepathy

New album out 9/20/19 on Little Cloud Records.

NYC psych rock veterans Weird Owl are set to release Wet Telepathy, their seventh studio album, on September 20, 2019 on Little Cloud Records. Taking off from the psychedelic yet concise songwriting established on 2017’s Bubblegum Brainwaves, this new album showcases the unpredictable and idiosyncratic nature of the band’s musical output. Songs about phantoms, psychic demons, bad trips and time travel all find a home in the off-kilter and slightly wobbly sci-fi universe created by Weird Owl. Wet Telepathy marks the fourth consecutive record on which the band has partnered with Jeffrey Berner (Psychic TV) in the role of engineer, mixer and producer. Together they have achieved a vision that is totally unlike any other band in the contemporary psych rock scene.

Preorder here: https://littlecloudrec.com/collections/frontpage/products/weird-owl-wet-telepathy-pre-order

Recorded, mixed and produced by Jeffrey Berner at Galuminum Foil, Brooklyn, NY.
Mastered by Scott Craggs at Old Colony Mastering.
Artwork by Killer Acid.

Since releasing their debut album in 2007, Weird Owl have firmly cemented their place in the international psychedelic underground. Championed by none other than legendary Brian Jonestown Massacre frontman Anton Newcombe (who released two of the band’s albums on his personal label). One of the band’s tunes, “White Hidden Fire”, has been viewed on YouTube over 2.6 million times at the time of writing. Weird Owl have performed at such renowned festivals as Austin Psych Fest, Eindhoven Psych Fest (Netherlands) and The Liverpool International Festival of Psychedelia (UK).

https://weirdowl.bandcamp.com/
https://www.facebook.com/Weird.owl.ny/
http://www.weirdowl.net/
https://soundcloud.com/weird-owl
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https://littlecloudrec.com/

Weird Owl, “Diamond Mist” official video premiere

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Review & Full Album Premiere: Los Mundos, Calor Central

Posted in audiObelisk, Reviews on April 22nd, 2019 by JJ Koczan

Los Mundos Calor Central

[Click play above to stream Los Mundos’ Calor Central in its entirety. Album is out April 26 through Cardinal Fuzz, Avandadoom and Little Cloud Records.]

Depending on how one counts, Calor Central is upwards of the sixth full-length from Monterrey, Mexico, two-piece Los Mundos, and it follows on a quick turnaround from their 2018 offering, Ciudades Flotantes. Issued through Avandadoom in Mexico, Cardinal Fuzz in Europe and Little Cloud Records in the US, comprises six tracks and 28 minutes of earthy heavy psych rock, here and there peppering in garage buzz tonality in the guitars of Luis Angel Martínez (also vocals, synth) and/or Alejandro Elizondo (also drums, bass, synth), as on “Sin Vértigo,” but making more of an impression with the subtle layering in cuts like “Olas de Lava” and the overarching spaciousness to be found across the songs. Part of that might stem from the fact that the duo reportedly recorded the drums and percussion for Calor Central in an abandoned mine outside of Monterrey, but it extends to the guitar and bass and even vocals as well, which are just as likely to be coated in cavernous echoes on the nine-minute penultimate groover “Subterráneo Mar Jurásico” as are the drums that begin the opening title-track.

Indeed, for a sound that holds so much grit, space plays a large part in what Los Mundos do, the band creating and populating a context for their songs to inhabit across the relatively short LP, holding to an experimentalist feel while staying true to a foundation in heavy rock and psychedelia. They’ve had time to develop this approach — their self-titled debut was released in 2011 — but even that release and the subsequent 2012 EP, Mi Propia Banda Quiero Ver, have a clear forward-thinking intention at their root. A heavier overall result suits them throughout Calor Central, such that even shorter tracks like the fuzz-blasting second cut “Apertura” or the strut-right-out-of-here closer “La Salida” land with considerable impact and are able to play off the open sense of creativity both within themselves and in the pieces surrounding. If this is their journey to the center of the earth, then the core is indeed molten.

Though, again, Calor Central is relatively brief, it sets an immersive pattern from the outset. Vibe is primary. Ringing bell begins “Calor Central” like a call to prayer and echoing drum thud follows soon after, joined by guitar that only adds to the breadth of sound. More than two minutes have passed before the vocals enter in chanting layers and semi-spoken forward lines that shift between half-singing and all-out narration, guitar strums accompanying in a mood of defiance. It’s the drums at the bottom of the mix holding everything together as keys and backing voices and guitar ooze out overhead, and the title-cut feels its way forward until essentially the drums stop, and it’s as gentle as it could possibly be — that shift to silence — but still somewhat jarring. “Apertura” plays off that gracefully with the suckerpunch of its own percussive start, a churning progression more immediately greeted by airy guitar arriving in waves and seemingly intent on blowing every tube in whatever amp is being so cruelly tested.

los mundos (Photo by Victoria Orozco)

The shift to “Sin Vértigo” is direct and smoothly done, but the impact of “Apertura” goes beyond its own two minutes to the album as a whole. Its departing from even the loosest of verse/chorus structure, which “Calor Central” had, gives Martínez and Elizondo free reign to go where their whims take them, and they do precisely that with the command of a band on their sixth record. Foreboding guitar lines open to full-on fuzz roll in “Sin Vértigo” with a return of the spoken word of the opener to come and a guitar line that seems to answer back and beckon the song forward into its tonal bliss and semi-hook, a solo in the second half giving way to a last verse before the devolution to rumbling amplified noise takes hold and fades out slowly to end side A, only to let the immediately dreamy “Olas de Lava” lead off Calor Central‘s back half in surprising fashion.

Perhaps the most outwardly psychedelic inclusion on the record, “Olas de Lava” gives its guitar line a sitar treatment and an according backwards layer during its initial verses, the title line serving as the chorus in the midsection as forward momentum is built and maintained. From there, there’s no return to the verse or hook as “Olas de Lava” spaces out and a synth drone rises from out of the mix to consume the guitar even as the whole affair fades out slowly to let a troubling wash of distortion act as precursor to “Subterráneo Mar Jurásico,” which as it takes up almost a third of the album’s runtime on its own is an obvious focal point. The rhythm is relatively straightforward early on — though that might just be Los Mundos doing well in adjusting the listener’s frame of mind/expectations for “normality” — with a tinge of grunge in the verse riff, but after the second chorus, the switch flips and the guitar freaks out with a noisy lead that shifts into surf-rocking echo only to itself be consumed by the next verse, with effects swirl, drums and percussion coming forward to meet the guitar buzz head on, and a outbound progression that sure enough shows no interest in making its way back.

A noisy jam ensues to provide a satisfying apex to Calor Central as a whole in terms of the band doing whatever the hell they want and making it work, and along with some residual percussive tension and guitar ring-out, there’s a kind of vocal echo test at the end that seems to be there just for extra weirdness. Right on. On their way out, they tap garage-doomgaze with “La Salida,” swinging all the way and seeming to build to a grand finale but cutting off before they get there because, once more, they’re by no means beholden to the traditional tenets of genre. That’s not to say they don’t put them to use when they so please — there’s no shortage of fuzz or nod-ready groove throughout — just that their intention is broader than general stylistic confines can generally hold. Of course, that only makes Calor Central all the more righteous in its position.

Los Mundos on Thee Facebooks

Los Mundos on Bandcamp

Cardinal Fuzz webstore

Avandadoom on Bandcamp

Little Cloud Records on Bandcamp

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Magic Shoppe Release High Goodbye EP

Posted in Whathaveyou on July 4th, 2017 by JJ Koczan

magic shoppe

Fuzzy, space-driven Boston rockers Magic Shoppe are headed to the UK in September to take part in the Liverpool International Festival of Psychedelia. As a precursor to the trip abroad, the four-piece have aligned themselves to release a new EP in the form of High Goodbye, a four-tracker of reverb-washed psych garage that’s only about 15 minutes long but — as the full stream featured at the bottom of this post can tell you — seems to range much further on a sonic level. The band issued their debut long-player, Wonderland, and balance hypnosis and movement fluidly across the new release in such a manner that, if this is your first exposure to them (as it is mine), decidedly argues in favor of digging in further.

Check it out:

magic-shoppe-high-goodbye

Boston based MAGIC SHOPPE return with new EP – High Goodbye

Little Cloud Records are proud to present the mesmeric Magic Shoppe from Boston, Massachusetts; a psychedelic garage rock quartet who understand how to maneuver sounds in order to create dreamy, guitar-laden soundscapes.

Magic Shoppe are Josiah Webb – vocals and guitar, Tayler Fitzpatrick – vocals and guitar, Tim Cushing – drums and Jeff Bartell – vocals and bass.

Known from their spellbinding live performances under liquid lights, their recordings attempt to capture the essence of hypnotic reverb rock. They entered into public consciousness with the release of EP Interstellar Car Crash in February 2016 which encompassed feedback frenzies, metronomic beats and reverb harmonies, receiving acclaim across the psychedelic community. This was closely followed by debut LP Wonderland which saw a move toward warm, fuzzy vibes with dual vocal harmonies, delay enhanced riffs and lashings of delay.

Following on from the success of Wonderland and the announcement of a slot at this year’s influential Liverpool International Festival of Psychedelia, High Goodbye is scheduled for release on limited edition red vinyl on 16th June 2017 and sees the next chapter of the Magic Shoppe story laid down.

Title-track ‘High Goodbye’ opens, with swirling layers of reverb drenched guitar before delayed vocals lure and compel. ‘Lost in Space’ transcends boundaries laid down by conventional means with the use of compelling beats, buoyant tambourines and hazy vocals. Acknowledging that drone is the heartbeat of all great music, ‘Her Ritual’ channels krautrock elements with motorik drumming and repeated patterns certain to get feet tapping. Concluding with ‘My Mind’s Eye’ which presents as edgier with its garage rock noise opening, catchy assonance, raw static and false ending.

With a carefully chosen track listening, High Goodbye offers a tantalising taste of what is to come offering just enough to whet the appetite yet leaving the listener hungering for more.

Catch them live in Europe between 12th-22nd September 2017; shows confirmed in Paris, Rennes (FR), Barcelona (ES), Bayonne, Marseille (FR), Tubingen (DE), Zwevegem (B), Exeter and Liverpool (UK).

https://www.facebook.com/MagicShoppeBoston/
https://magicshoppe.bandcamp.com/
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https://www.instagram.com/littlecloudrecords/
http://littlecloudrec.com/

Magic Shoppe, High Goodbye EP (2017)

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