#Psych Rock

[chroniclesofnadia111]

I think I know how I feel 💫

[kinggizzardsongbracket]

SUBMISSIONS FORM

Please submit up to 5 song nominations for the King Gizzard song bracket at this link. Remember to read the rules!

[wiltern]

[phonographica]

Levitation Room – Strange Weather (2024)

[balleralbumcovers]

EPIC ALBUM COVER #50

Pink Floyd - The Gay Triangle Album

Released: 1973 (Harvest, Capitol)

Art rock, progressive rock

[nualbums]

King Gizzard And The Lizard Wizard – Murder Of The Universe (2017)

[mentallyabsent08]

So we’re just ignoring the fact that gizz announced an orchestral album and released a single for it?

[boricuacherry-blog]

If you like psychedelic rock this is a really cool album. Some songs are kind of Led Zeppelin sounding. Some of the lyrics are social commentary, personal insight and others are comedic. The melodies are beautiful and the guitar is really good.

The album has been described as "the record Dr. Seuss would have made if Harry Potter and Nietzsche were his drinking buddies and Dr. Teeth was the producer."

[hard----onthe-outside]

David Gilmour, 1970s

[anamelessfool]

One of my favorite bands just announced a new acoustic album for 2025. Their performance in NYC was absolutely transcendent and now reading the origin for this acoustic album is poignant. The genre is called "Desert Punk" for a reason.

From their Bandcamp:

If Funeral for Justice was the sound of outrage, Tears of Injustice is the sound of grief. Mdou Moctar’s new album is Funeral for Justice completely re-recorded and rearranged for acoustic and traditional instruments. It is an evolution of the band’s critically-adored breakout – the meditative mirror-image to the blistering original. In July of 2023, Mdou Moctar was on tour in the United States when the president of Niger, Mohamed Bazoum, was deposed by a military junta who made him prisoner at the presidential residence. They ordered the nation’s borders closed, leaving band members Mdou Moctar, Ahmoudou Madassane, and Souleymane Ibrahim unable to return home to their families. Plans to record a companion to Funeral for Justice – then still many months from release – had been in the works already, but the idea now took on new urgency and gravity. Two days after the tour wrapped in New York City, the quartet began tracking Tears of Injustice at Brooklyn’s Bunker Studio with engineer Seth Manchester. We wanted to prove that we could do it on a record, too. And there’s a whole other side of the band that comes out when we play a stripped down set. It becomes something new.” They chose to track Tears sitting together in one room, keeping the session loose, stripped down, and spontaneous. “We didn’t really work on the arrangements prior to going in,” recalls Coltun. “We’d just play, find the feel, and do the song.” Things came together quickly, with principal recording wrapped in only two days. The hypnotic 8-minute take of ‘Imouhar’ is actually two distinct passes through the song performed in quick succession – Moctar didn’t stop playing long enough to split the takes apart. After a month, the band was able to return home to Niger and, when they did, Coltun gave Madassane a Zoom recorder to take along. The rhythm guitarist used it to record a group of Tuaregs performing call-and-response vocals, which were later added into the final mix. On Funeral for Justice, anger at the plight of Niger and the Tuareg people is plainly expressed in the music’s volume and velocity. On Tears, the songs retain that weight sans amplification. They are steeped in sadness, conveying the grief of a nation locked into a constant churn of poverty, colonial exploitation, and political upheaval. It is Tuareg protest music in raw and essential form. “When Mdou writes the lyrics, he typically writes them with an acoustic guitar. So you’re getting closer to that original moment,” says Coltun. “It retains heaviness, but it’s haunting.” credits releases February 28, 2025

[murderoticwoman]

Roger Waters, early 1960s

[joanofarc]

guardian angels, pearls before swine (1968).

you're trapped in a world of angels who no longer care in the space where his hand was my hand is reaching out for you there love is the weapon left after the fall it may not seem like much, but, girl, that's all that there is girl, i love you

[phonographica]

Mdou Moctar - Funeral for Justice (2024)

[balleralbumcovers]

EPIC ALBUM COVER #71

Oysterhead - The Grand Pecking Order

Released: 2001 (Elektra, Asylum)

Jam band, psychedelic rock, jazz fusion

[nualbums]

King Gizzard And The Lizard Wizard – Infest The Rats' Nest (2019)

[thisaintascenereviews]

Grace Bowers & The Hodge Podge - Wine On Venus

There’s usually some kind of talk about rock music being “dead” once a year or two, and it’s usually some dinosaur rock artist saying it, Gene Simmons of KISS comes to mind immediately, but other rock musicians have certainly said it, although it just isn’t true. Maybe what they mean is that their definition of rock is dead, like bands from the 1960s and 1970s are extinct, at least emulating that style, but that’s not true, either. There are a lot of bands that bring that style back, including some younger bands and artists that live that kind of music. The artist that I’ll be talking about today is Grace Bowers, an 18-year-old guitar prodigy that has both played the Grand Ol’ Opry and had her debut album, Wine On Venus, produced by one of the members of Brothers Osborne, a successful country-rock group that I happen to enjoy quite a bit.

If these dinosaurs want to say rock is dead, look no further than this record as being proof that it’s not. This record is more or less a hodge podge of styles of music from the 1960s and 1970s, and while this album isn’t anything unique, it does a great job at capturing that atmosphere. It’s got elements of blues, hard-rock, psych-rock, soul, and R&B, and the performances are all solid. Bowers isn’t a singer, as she only plays guitar, but the singer they do have is really awesome. Everyone does a great job on this album, although it’s mainly Bowers’ show. The album is named for her, so she has to be, but her riffs and solos are utterly killer.

I haven’t gone back to this album too, too much, but it’s more so because I’ve been listening to a lot, not because this album isn’t any good. It’s quite good, but maybe the biggest issue this album has is just not being anything special. It’s not a unique-sounding album, but fans of the styles it emulates will surely love it. I’m a sucker for a retro-rock band in that vein, and this record is quite good, especially for a really young guitarist that’s just making a name for herself. She co-wrote every track here, and she is a talented songwriter, even if it isn’t anything unique, so it’ll be interesting to see where her career goes from here. This album won’t quite win any awards this year, but it’s a damn good rock album that should shut up the “rock is dead” crowd.