#psychedelic pets

[rebeccawangart]

Chiyo (2024)

This unique kitty is Chiyo (@chiyopurrs )! She is a brown tabby and white cat with a very unique piebald marking pattern. I found her account a few months ago and fell in love with her unique style. Then I had the honor of creating her portrait in my signature vibrant colorful style! Her portrait was painted with acrylics on an 8x10 inch stretched canvas.

[pcificoceanblue]

bruce johnston of the beach boys, 1966

[funkyfractals]

Nature is Healing 🐀🍕

[wallisninety-six]

Kick-starting the Rock n’ Roll Revival - The Post-Psychedelic Fun of “Wild Honey” (1967)

1967′s Smiley Smile painted the image of a Beach Boys that is thoroughly, energetically, and creatively spent- especially following the immense stress with the band’s collapse of success, drugs & mental health issues, and the collapse of Smile. But with Wild Honey- the band has never felt more unified and alive. And not only that, they helped initiate major changes not just from within the band, but also to the music world as well thanks to one move...going back to rock and roll’s roots and embracing R&B.

After total burnout and a severely stressful 1967, and with a lot of the music world lambasting the band as “ball-less choir boys” the band sought to re-invent themselves as a self-contained rock act, intentionally distancing themselves away from the lush, theatrical and extremely complex compositions of Pet Sounds and other psychedelic acts that filled the market, and make music that the band could actually enjoy making- recording at Brian’s home with only band-mates and their talents; only a love for R&B, Soul, and Motown driving their music process, more lo-fi than Smile.

However to call this lo-fi, either musically or instrumentally is almost misleading- not less because the newer 2017 stereo transfer of it shows greater musical depth and complexities in the background than ever heard before. Indeed, perhaps the Beach Boys’ greatest yet most underrated talent is their ability to immediately & effectively evoke worlds of fun, love and summer. This is used to great effect in tracks like “Let The Wind Blow”, “Country Air”, and their fantastic single “Darlin’“ and cover of Stevie Wonder’s “I Was Made to Love Her”- using their stripped-down approach with great precision and shining beautifully here. The landscapes they paint with their songwriting and musical chops help blur the lines between psychedelia and rock and roll, in various moods, setting, and form- from hazy countrysides, frantic parties, and flowering declarations of love.

The transition to blues rock for people unaware of the Boys’ later work sounds very unusual- some tracks you’d swear were made by The Rolling Stones in the late-60s. Yet, the psychedelic sound is still here, some songs can’t help feeling still a wee bit druggy or floaty throughout the album- but this shows how the album is considered to be an important transition point from psychedelia to the back-to-basics trend rock made after the Summer of Love, predating such work made by The Beatles, The Band, and even the Doors’ later work in Morrison Hotel- perhaps consequentially enough, Jim Morrison himself was a fan of Wild Honey.

But in the midst of musical evolution, and the return of Brian Wilson and Mike Love’s songwriting partnership- perhaps the real standout star from Wild Honey is the youngest Wilson brother: Carl. Carl Wilson’s voice and performance is even more powerful, that much more soulful and at times raw. His performances in the title track and “Darlin’” command the listener’s attention for just how much the man is giving his all and singing his soul out due to his immense love of Motown and blues music. And as Brian was very slowly ceding his leadership role, Carl’s increased presence in Wild Honey and future albums was consequential as he would soon become the de-facto leader of the band after 1970.

Considering that after 1967, the band members grew older, got married and had kids, and shifted to a more mature image and sound- Wild Honey feels like the final burst of youthful energy from a band that gained its fame partially for their songs’ focus on teenage summer love and fun- it’s still here and very much alive, but the form it takes on is notably different. Considering it’s historicity for being one of the first back-to-basics rock album, and its consequential influence on other major acts, Wild Honey comes close to being as important in music history as Pet Sounds and even Smiley Smile before it- As summer rolls around, it deserves a listen while we ourselves try to find a youthful love of fun & sun once more.

[thestrangestpetonearth]

'District Nurse' (Special Edition) is now available to view for the first time ever.

WATCH ON YOUTUBE

Shot between 2013 and 2017, it is the ultra-lo-fi-no-budget-psycho-chiller 'folk-horror' you never knew existed.

"One day you shall meet, the sister, the lizard and the meat..."

[zocchini37]

All the tattoos I've designed for myself so far, it's therapeutic to have my own art of me. I like to cover my skin in fun pictures. Makes me feel more complete.

[constructbreakdown]

Baby | Lo-fi | Jazz | Chill | [original AI song]

[mothyca]

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[beatleshistoryblog]

LECTURE 17: APOTHEOSIS: “God Only Knows” by The Beach Boys, which appeared on their enormously influential PET SOUNDS album in 1966, represented a new sound for the band. The band’s main creative force, Brian Wilson, spent hours, days, weeks and months (ultimately years!) in the studio, working on a kind of sound that represented a departure from the band’s earlier feel-good surf and sun and babes and fast cars pop. His songs took on more soulful and yearning qualities, and tackled more ambiguous and complicated subjects, such as growing up, getting married, facing an uncertain future, and working out differences with loved ones. Wilson’s occasional collaborator, fellow band member Mike Love, wasn’t always crazy about the band’s new philosophical direction.  But the Beach Boys managed to reinvent themselves as musicians and, in the process, influence other bands of the era, including The Beatles. 

[softgrungeprophet]

(windowverse) putting lespedeza bicolor and moonflowers in Miles Warren's yard for very innocent and definitely legal reasons*

*definitely not for DMT and Datura or anything

[rebeccawangart]

Churro (2024)

A painting of an orange tabby longhaired cat named Churro! His portrait was painted with acrylics on an 8x10 inch canvas. The bright green background, which was requested by the owner, contrasts nicely with the natural orange and cream colors of his fur!

[waledxman123]

Psychedelic Cubist Cat iPhone Case

Add a touch of surreal art to your style with this "Psychedelic Cubist Cat" t-shirt. This striking design features an abstract portrait of cat crafted in a unique blend of cubist and psychedelic art styles. The cat’s face is vividly fragmented into geometric shapes, highlighted with dynamic colors like blue, orange, red, and yellow. Expressive eyes and stylized, layered fur patterns bring an energetic and one-of-a-kind look to the piece. The background’s abstract shapes and 3D shading add depth and a dreamlike vibe, making this t-shirt a bold statement piece for art and cat lovers alike.

visit our stores from here

[wallisninety-six]

Defining a Legacy: The Historical Significance of “The Smile Sessions” (2011)

It’s not that it wasn’t meant to be; it needed to grow- and it needed time, to shine on it’s own.

October 31, 2011 marked the day that would change The Beach Boys forever: 44 years after the much-anticipated Smile album was scrapped, and only 7 years after Brian completed the album as a solo project- Smile was finally released not only as its own 19-track album, but also was included and released as a legacy compilation with vast amounts of the original recordings named “The Smile Sessions”

Coincidentally or not- 2011 was the 50th anniversary of the Beach Boys’ formation as a band in 1961. As such, its release and its wide swaths of material to listen to feels like a total culmination for not only the band’s discography, but for Brian Wilson and his legacy: not only did it live up to the near-impossible expectations for both critics and fans alike, but as one of the group’s final releases- The Beach Boys finally got to define their legacy largely on *their* own terms, not critics who lost faith in them while they struggled with blacklists and personal tragedies and even abuse.

And all of the original surviving members of The Beach Boys slowly started to put a major cap on their career together with the band as we know it- not with embarrassment (as with their much-derided “Stars and Stripes Vol. 1″) but with one of massive triumph and exceptional quality that made even the most seasoned and established musicians (like Brian’s creative rival and friend Paul McCartney) turn their musical world upside down with how deeply unique, unusual, yet masterful and often deeply complex the 2011 Smile album and all its recordings sounded. For once, the world’s reaction to the band was not one of pity- but one of massive respect for all the incredible creativity and hard work from Brian, songwriter Van Dyke Parks, the band members, and The Wrecking Crew musicians that birthed this album.

The Smile album included- while still unfinished, sounds remarkably whole and practically complete thanks to the engineers Dennis Wolfe, Alan Boyd and Mark Linett (as well as Brian himself) largely basing the album off Brian’s 2004 solo album, and taking whatever fragments they could to compile and create finished tracks- a massive undertaking for a big project, especially one whose history is incredibly long and complex in itself. Whether we like it or not- this is as officially finished the album will ever be, and what’s here is breathtaking.

Smile itself is a powerhouse of musical work- completely varying in sound from A Capella, atmospheric baroque pop, almost-demonic chants and incredibly abrasive instrumentals, haunting orchestral arrangements, yet also delightful country rock, experimental psychedelic instrumentals, and so many others as we are taken on a strange journey of the birth- and death of America and the American dream. All of it dizzying yet also sounding unified, each track blends to the next almost seamlessly with song cycle form- cementing its status as a concept album. And even beside the album itself, listening to the other tracks as well as hearing Brian direct during the sessions offer a vivid glimpse into a completely different time: for the band, and for music.

Brian’s production and editing techniques here were virtually unheard of and un-attempted- and even now, it all sounds unlike anything music has made ever since. And not only that, his editing, tape manipulation and production methods were so complex that they would be incredibly difficult to replicate until the advent of digital music editing around the 2000s- decades ahead of everyone else. With the Sessions album released, what we thought we knew in terms of musical production history were immediately challenged as music professors and producers studied Brian’s production methods to then try and pass down to new learners of music for years to come.

Indeed, considering the massive amount of material produced and composed, and especially considering the near-impossible task of compiling all this music into one album with massive technical, legal, and personal limitations, as well as severe mental health crises of Brian in the 60s- this is perhaps the only real way Smile could have ever been released while nearly satisfying everyone’s expectations. And perhaps this is the most important part: Smile could never, ever in a million years be released *unless* it was on Brian‘s own terms- a scenario that was completely impossible for him in 1967. It’s no coincidence at all that Smile Sessions came out after Brian finished the project in 2004.

Possibly a first for Brian, he was largely surrounded by people not constantly telling him “no” at every turn- but by those who truly believed in the project’s realization and in Brian’s talents as a whole, thanks to individuals like Darian Sahanaja (who would later preform in Smile’s live performances) giving Brian his support to finish the project how *he* wanted to. And as a result from the Smile Sessions’ release, many more musicians continued to be inspired by the completed project like Kevin Shields and his band’s most recent MBV album.

With the troubled history of the project in mind- the massive and unanimous critical acclaim for Smile, The Smile Sessions, and for Brian and The Beach Boys were way overdue, yet entirely deserved. It’s a triumphant moment for a man who nearly died for this album yet lived long enough to see his musical world and ideas validated. And thanks to Smile Sessions’ success, The Beach Boys have started releasing other archival releases of post-Smile albums, offering us a glimpse for the first time stirring & incredible compositions from him and his late brothers Carl and Dennis Wilson for the very first time in the process, while giving more exposure to the band’s largely unknown later albums for the wider public.

Henry Rollins- former leader of hardcore punk band Black Flag perhaps put it best in his review of The Smile Sessions: “Sonically, the album is one of the best things you are likely to hear in all of your life. There are moments on SMiLE that are so astonishingly good you might find yourself just staring at your speakers in unguarded wonder, as I have."

Smile’s world truly is one of wonder, showing us the unlimited possibilities for creativity in music- fans have been (and even moreso now) compiling their own versions of Smile, allowing them to test their musical chops, make their own edits of the album and its tracks and experiment with music with a fiery passion, transforming Smile from a mere musical project into a living, breathing album. And this, indeed may be the greatest gift Smile and Brian has given to the world: Sharing full creativity and spreading a love of music in people’s own unique way.

And I wouldn’t want it any other way.

[districtnurse]

A mother and child go missing. A maniacal couple are at large. Are the two events connected? ' District Nurse’ is an ultra-lo-fi-no-budget-psycho-chiller. Made between 2013 and 2017, this is the first time the ‘special edition’ has ever been available to view. 'District Nurse' is the little British ‘folk-horror’ you never knew existed.

“One day you shall meet, the sister, the lizard and the meat…”

[pkbeamgamma]

youtubers avoid using the words lsd or psychedelic for a boss fight that merely uses 3 saturated colors in small amounts challenge

[shafaqmum]

("Whimsical Vintage Mixed-Media Dog Art" Premium T-Shirt for Sale by Colorful-Garden gönderdi) vintage, dog art, paper craft, psychedelic, 1960s, 1970s, colorful, nostalgic, playful dog, retro, joyful, whimsical, textured art, handmade, artistic dog