‘Psych Lovers’ is a Facebook group, well for lovers of psych music. We don’t have any hangups about what constitutes psych music and, frankly, take a dim view to those who do. That’s because it is a non-judgemental and friendly place to be, one of those rare places on the internet where everybody genuinely gets on. For me it has meant new friendships and meeting people at gigs who I otherwise would never have known.
Although secret for a number of years the group is now open to anyone who wants to join, and this has led to the membership increasing to well past a thousand. Yes there are a few rules of engagement (which I have placed at the bottom of this post), but beyond that it’s pretty easy going and, frankly, costly… you’ll not want for great music new and old.
Recently a close relative of one of our members was diagnosed with cancer and within a couple of months the group had got their collective act together and started fundraising for a Cancer charity, raising over £5000 to date. It’s that sort of group!
We recently celebrated our fourth anniversary and here’s what a few people said about being in the group:
I’ve only just joined recently but what a great group it is. I’ve found some great new bands thanks to your recommendations. It is also nice to see a part of the internet where people are nice to each other!
A wonderful source of friends and music. Unrivalled in my opinion.
My favourite place on the net. had some of the best times with some of you lot over the last few years, to many more!
As a member for only about a year, I want to thank all those involved with putting this page together and administrating to it. As a music collector for almost 60 years, the amount of great music I’ve learned about, listened to and bought from this page alone is amazing. You guys must be doing something right, so keep it up. And to all the fans, musicians and labels thank you for posting your favorites, looking forward to a stellar year.
This group is something truly special and feel lucky to be a small part. It changes my entire day sometimes!
Great place to be, to find new music, and even better, to find great people to go to gigs with.
It gives me a big virtual cuddle, every time.
This has fast become my favourite group on Facebook and I’m so glad I found. Top group with top people. The suggestions and music are out of this world!
Every year (here are the lists for 2018, 2017, and 2016) we have a vote on our favourite album of the year and get members of the group to write their appreciation of the top ones. There were around 150 album nominations for the year, with the Top 20 appearing here.
So if you like these and are intrigued by the group, and feel it is something for you then we’d love you to join us, maybe you’ll be writing one of these reviews next year.
1. 10,000 Russos – Kompromat (Fuzz Club)
2019 was a great year for music. It was also a great year for 10 000 Russos. Their closing set at the Fuzz Club Eindhoven Festival was a highlight for many and they continued to wow audiences across Europe on an almost non-stop tour during November and December.
They also gave us the gift of Kompromat. The album was voted number 1 in this Psych Lovers’ 2019 Album of the Year Poll, and has appeared on countless other top 2019 album lists.
What makes it so special? Perhaps, the fact that it is dark and euphoric at the same time, while somehow managing to capture the spark of their live show.
The album starts with ‘It Grows Under’, an 11-minute-long dark and twisting journey which makes you want to close your eyes and DANCE. Or at least nod your head vigorously, for the non-dancers among us.
‘Runnin’ Escapin’, continues the dark, hypnotic vibes with the driving bassline, motorik beats, echoing vocals and effects-laden guitar which lift it into another realm.
‘The People’, has a heavy, grinding groove, complimented perfectly by the percussion, spaced-out guitar and electronics.
We are lifted again by ‘Quite A Charade’, the song which kicked off their Eindhoven set and got the whole crowd dancing and grinning from ear to ear.
The album closes with ‘The Wheel’, a looping, disorienting track with an almost punk edge to it.
‘Kompromat’ is intoxicating – it conjures up images of dancing in a dark warehouse, with a solitary strobe lighting the way. Buy it, turn it up and lose yourself.
Written by Alison Sunshine
2. The Cosmic Dead – The Scottish Space Race (Riot Season Records)
This is a monolithic slab of pre-historic space/ stoner/ pre-industrial/ regressive rock hewn from the very Glasgow stone it was recorded on, and erected for all to see and for future generations to wonder its meaning. ‘Portal’ is an elongated initiation ceremony that builds from synth drone to orgasmic rock n roll release.
The title track takes the listener into much darker territory with some Sabbath-esque heavy doom power chords, chanting and shouted vocals. ‘Ursa Major’ is a needed reprieve, a song that is as light as a feather, the sound of ancient radio waves from distant planets being received through tin foil helmets. ‘The Grizzard Pt.1 & Pt.2’ feel like a tension filled attack, as if the signal sender is declaring war and all you can do is beg for mercy.
As challenging as it is beguiling, The Scottish Space race deserves its place in the Psych Lovers top 20 of 2019.
Written by Ben Adlam
3. Centrum – För Mediation (Rocket Recordings)
Picking up the Centrum album and delighting in the beauty of the artwork by Marcus Ivarsson you can see everything about this album has been carefully measured and pondered.
The first track ‘Vid Floden’ opens with the hustle of beeping horns instantly teleporting you to an exotic world miles away, then a lumbering bass line kicks in like some mythical creature waking from an eternal slumber to be slowly eased back to life by woodwind and lolloping guitar. The vocals on this album are sung in Swedish and as the title translates to ‘By the River’ I can only assume it is not about fishing!
The opening chants in ‘Sjön’ lay way to a spacious drone and vocal wah guitar whispering the secrets of the universe.
‘Stjärnor’ comes on like a ritual Moog sacrifice under the dark sky as drums and violins carry the smoke from burning circuit boards and walnut up to the synth gods until a final lone guitar wolf howls away the procession.
The last song opens with a traditional almost childlike melody then pulses and throbs for twelve minutes until bells and a drone return us back earth with a bump.
‘För Meditation’ is a beguiling and otherworldly entity. With this album Centrum and the Rocket boys have delivered an alternative reality we can all rely on.
Written by Darryl Clarkson
4. Acid Rooster – S/T (Sunhair Music)
Acid Rooter’s debut self-titled album has been the biggest surprise of 2019. The album came out of nowhere and people scrambled for the first press, some were lucky but others left without.
To me the album runs through like a soundtrack to a shuttle space voyage to the moon. The opening track, ‘Oculatus Abyss’ starts off at a frantic pace but with added anticipation as the knob twiddles in command centre force the shuttle off the ground and into orbit.
In Scene/song 2, ‘Moon Loop’, the song settles into a space like jam as the shuttle drifts through space towards the moon. The song picks up pace as the shuttle breaks through the atmosphere.
Scene/song 3 starts off with what sounds like the shuttle approaching the moon, with intermittent saxophone giving the impression of contact between command centre and the astronauts trying to land safely on the moon.
Scene/song 4 ‘Time Lapse’ is a floaty number that sees the astronauts disembark from the shuttle and drift out onto the moon’s surface.
Scene/song 5 continues the same vain but midway through, the song picks up giving a feeling of euphoria as the flag is grounded. Towards the end you can sense the danger as the astronauts leave for home heading through the atmosphere at pace.
Scene/song 6 ‘Äther’ like the first track you can feel the anticipation as the shuttle approaches earth and later euphoria as the command centre cheer as the rubber touches the tarmac.
This album is a rollercoaster ride from start to finish, leaving the listener exhausted after a nail biting journey through the cosmos. Every album has a story to tell. How does it go for you? Me? I think it deserves an Oscar!!
Written by Ian McGlynn
5. Kungens Män – Chef (Riot Season Records)
Kungens Män is a band that builds records like the Winchester Mansion*. Hallways and doors leading nowhere. Void of clearly defined architecture or boundary. A building set on a rhythmic foundation that turns and moves and often contradicts the notion of building codes and rules. ‘Chef’ (released in February 2019) is no different and, yet, feels a bit more accessible than other releases by the band. There is a definite form to many of the songs presented here; a steady rhythm that guides one through the songs…a building and deconstruction. A birth and a life and a death. At times chaotic and loose. At others, mellow and tight. What exactly is it? Chaos? Peace? Was the acid bad or the hash good?
‘Chef’ is a record for creators; painters and poets and builders and lovers. The instrumental, and I hesitate to use the phrase, jams allow one to move through the record, unbound by any sense of where it will take you. Close your eyes, grab a brush, a beer, or a pen and just go with it. Don’t ask questions. Don’t lock the music in a box, as there isn’t one that will hold it. Just listen. Go with it. Be cool.
Written by Patrick Werle
6. L’Épée – Diabolique (Because Music)
Another year has passed us by with some great releases.
This year I’m proud to review one of my personal favourites by L’Épée (French for sword) who released their debut album ‘Diabolique’. There is nothing diabolic about this release, with the group made from prominent members of other top class bands, which certainly shows some pedigree.
We’ll leave who’s in it behind and focus on just the music, which drifts from almost Sasha Distell lounge music like track 2 ‘Lou’, to more upbeat track 3 ‘Dreams’ but still with a 60s quirk onto the haunting track 6 ‘Ghost Rider’ with its towering guitar solos and dreamy vocals. In a weird way, each track is different but similar. The songs are sung in French and English but you don’t need to understand the lyrics to enjoy the music, it just makes it better. Give me a dark room, a beret and some strong French cigarettes and let me enjoy. Let’s hope for a follow up very soon.
Written by Al Wyatt
7. Psychic Lemon – Freak Mammal (Drone Rock Records)
My only previous exposure to Psychic Lemon was their great self-titled album from 2016, and Freak Mammal feels like a step-change from that. It’s fiercer, louder, gnarlier and, well, bloody great. Barrages of guitars, thundering drums, and the feeling of surfing the airwaves of psych – this album truly delivers a punch.
Nonetheless, there is light and shade here – it isn’t all bombast. This feels like a proper grown up album by a band that has not only found its mojo, it has grabbed it by the scruff of the neck and demanded satisfaction.
Written by Stephen Bradbury
8. Suzuki Junzo and Snakes Don’t Belong In Alaska – “The Ascended Master Teachings Of…” (Cardinl Fuzz (UK) / Little Cloud Records (US))
One of my personal music highlights of 2019 was catching SDBIA live…a visceral and deeply affecting experience. Live, as on record, they really are masters of the slow build before erupting into a maelstrom of fuzzy guitar, titanic drums and pulsating bass lines. So, what would happen if you were to add Japanese Psych maestro Suzuki Junzo to that heady mix. Well, magic happens that’s what. Junzo’s unique take on guitar wrangling adds a healthy dose of liquid gold to an already solid outfit.
I would like to be perfectly clear, however, that Junzo’s contribution is not at the expense of Chris (Jude) Watson’s (alas no longer with the band) guitar…Watson is a pretty mean player in his own right. The interplay between the two is mesmerising; the fuzzy riffs of Watson providing a ‘wall of noise’ base over which Junzo weaves his hypnotic magic. Add to this the chest-caving bass of Aaron Bertram and the jackhammer drums of Alex Johnston and you have the recipe for a peerless freakout. Four tracks, the shortest of which is a tad under 14 minutes – over an hour of brain bending, head frying and happiness inducing psych….a highlight of not just last year but of the past few years.
Written by Andy Uzzell
9. Hibushibire – Turn On! Tune In! Freak Out! (Riot Season Records)
For anyone who caught 2018’s Freak Out Orgasm LP, if you were like me, you wondered, can they repeat the brilliance? Thankfully the answer is yes. If you liked or loved ‘Freak Out Orgasm’, then you’ll love this. For those of you who don’t know the band, they are a 3 piece from Japan, and probably the closest thing you’ll get these days to hearing Jimi Hendrix live.
Yes I mentioned Hendrix. The first side of this LP is full of Hendrix style riffs, riffs, riffs. And it is glorious. Without being any sort of homage. It is top psychedelic guitar jam city with underlying riffs. In case that was putting you off, flipping over to side 2 we get a slightly different approach, the riffs and the great guitar lines are there but it’s a heavier chugging beast, at times almost Motorik! It builds and develops and builds and blasts you into submission with a thunderous underlying bass and rhythm before letting the guitar run free once more, whilst still keeping the riffs (did I mention there were riffs?). Awesome!
Written by Peter Baird
10. Kungens Män – Hårt Som Ben (Riot Season Records)
Kungens Män went into Silence Studio in May last year and recorded 13 hours of material. They picked these five tunes to regale us with on ‘Hårt Som Ben’. The title track has an insistent rolling riff that hooks into your subconscious, before eventually pulling back into a chilled outro. ‘Måttanpassad Minneslucka’ starts with a nice bass riff with dreamy synth and a recurring melody line. ‘Evigetern’ has a beautiful refrain and is probably my pick of the album, though that’s like picking a favourite child! ‘Rose-Maries Bebis’ is much darker, foreboding even, and serves to contrast with ‘Patriarkivet’, the epic album closer, clocking in at 14 minutes. It’s a slow-burner with some great guitar interplay and nicely bookends the album.
The great thing about this band is that I find myself listening to the lead guitar lines, then drift through the interweaving guitar parts, the other-worldy synth noises and down into the solid groove of the bass and percussion. Kungens Män are so good in the studio, but are undoubtedly a band to be savoured live. Catch them if you can.
Unsurprisingly, this album finished 10th in the Psych Lovers Album of the Year poll and their other 2019 album, ‘Chef’, hit #5.
Written by Hot Rod Jam Room
11. Firefriend – Avalanche (Little Cloud Records & Cardinal Fuzz Records)
Firefriend is a band that has been on an upward trajectory since their outstanding performances at the Fuzz Club festival. Touring on the back of their new double LP ‘Avalanche’, released on Cardinal Fuzz and Little Cloud Records, Firefriend picks up where they last left us on ‘Sulfer’.
Blending sounds from the past like Nico era Velvets or 90’s Sonic Youth, Firefriend delivers us another release drenched in a whirlwind of fuzz and effects. Vocal duties on ‘Avalanche’ split between Yury Hermuche and Julia Grassetti, which allows them to explore different musical styles.
The entire album is fantastic but there are two real standout tracks on ‘Avalanche’. The ten minute ‘Who’s Gone What’s Missing’ features pulsing basslines and driving guitar riffs with some muttering vocals low in the mix. ‘Avalanche’, a highlight at the live shows, features lots of echo and reverb and one can’t help but turn up the volume.
‘Avalanche’ has a live feel to it but whether you are listening to the slower dirges or the heavier tunes you may find yourself trancing out a bit. Lucky for those late to the party an expected reissue should be on the way soon.
Written by J. Wasko
12. Lamagaia – Space Garage Vol. 1
I think back when Dave Cambridge first mooted a Lamagaia release in a newsletter, I immediately formed a vague mental image of what it would look and sound like. Happily however, in the event the CD/cassette/digital release amounted to much more than that, providing some nice extended jams (even by Lamagaia’s epic standards), and also some broader insight into the band through these full-throttle rehearsal room blow-outs.
For instance the first track, ‘Alabamian Horologists’, is a Krautrock monster that continually morphs into other things throughout its 33:42 minute trippy roller coaster ride through space, revealing numerous new aspects of the band as it powers relentlessly along, and almost inevitably prompting me to dance if I am on my feet when I hear it. None of the other three can match that in length, in fact the others come in at 33 minutes between them, but they still continue to deliver pacy, infectious rhythms overlaid with spacey goodness from the synths and guitars, with the odd bit of sax and vocals here and there to complete a marathon workout for mind and body!
So, in summary, Lamagaia previously struck me as a hard vacuum sci-fi flavour of Space Rock, but this energy-packed cassette has revealed several other interesting flavours too, and as such I can’t really recommend it highly enough… stellar stuff!
Written by Sean Gibbons
13. Snakes Don’t Belong In Alaska – S/T (Cardinal Fuzz)
When I first heard someone mention, Snakes Don’t Belong In Alaska, my immediate thought was ‘of course they don’t, it’s too bloody cold’. I soon realised that they were referring to the Newcastle based psychonauts. The three piece have been self-releasing monolithic slabs of freakout, freeform psychedelia on ridiculously limited cassette (and download) since 2015 and have built quite a following.
What you have here is a compilation of two long sold out tapes appearing for the first time on vinyl. Mountain Rituals and Ancient Alien Temple Ritual get a slab of wax each and you’re treated to four side long jams of guitar driven transcendence. Organic and ethereal primal drones build slowly into Fuzz laden wig outs that are truly a joy to behold. I was lucky enough to witness such a ritual in person last year and can honestly say that they blew my mind. Buy their records, see them live and wallow in the sonic bliss that is Snakes Don’t Belong in Alaska.
Written by Dai Croll
14. JuJu– Maps and Territory (Fuzz Club)
More aural alchemy from JuJu with their third stunning album! Each track is hugely different yet it all hangs together as a whole; an odyssey through different styles and emotions with loads of depth and an earthy undercurrent to it, always new things to discover with repeat listens.
Opener ‘Master and Servants’ is hard edged, fuzzy and guitar driven with something ominous and primitive under the surface; this leads to the percussion-heavy primal psych funk of ‘I’m In Trance’ and then to ‘Motherfucker Core’ – which weaves some subtle touches into a crunching dance track, psychedelic trance with guitars, celebratory and sublime.
The journey continues on side 2; ‘If You Will Fall’ is an epic – slower and more menacing, dripping with atmosphere, ghostly blues with a hallucinatory sultry urban jungle vibe. ‘God Is A Rover’ charges along, hypnotic and luminous and life affirming. ‘Archontes Takes Control’ ends the set, off at yet another tangent, haunting atmospheric sax morphing into an electric storm jazz trip that you’d probably hear in a bar in William Burroughs’ ‘Interzone’.
Juju again recognises no boundaries, no rules. A visionary and rewarding album oozing exotic rhythms and magick, angelheaded and joyous…
Can’t wait for the next one!
Written by Gary Powell
15. Frankie Teardrop Dead – Plane Eclipse ( Little Cloud Records & Captain Beefart)
To get a feel for any band, the best thing you can do is see them live. Lucky for me I got to see them for the first time just before the release of ‘Plane Eclipse’, their third album. The band got together in early 2018 in a warehouse in London and recorded it in a week, with Jason Shaw at the helm.
The opening track ‘Obamarama’ has a very distinctive Arabic feel to it, which sounds like an invitation to a psych gathering, allowing ourselves to take time out and listen to this blissed out cacophony of sound.
‘Van Goth’ gets proceedings off with Ben’s goth like vocals telling us, “it’s just a waste of time, a waste of lies” hinting at the ongoing Brexit issues in the UK. At times you can hear the disillusionment and angst in the guitars throughout.
The album continues on with ‘Your Way’ and ‘Boomerang’ soothing and massaging our consciousness with beautiful melodies and at times vocals akin to Sonic Boom.
The second half of the album kicks off with ‘Shush’, a mesmerising instrumental that draws you in, making you feel like you are drifting off on a cloud of blissfulness.
The next two songs will have your foot tapping, with Carling adding backing vocals in ‘All in Your Head’.
The title track closes this gorgeous album with the longest number here at over 7½ minutes long, with Ben repeatedly telling everyone, “I need you, I need you, to fill my soul”. This song epitomises the whole album in that it touches, feels, lifts, massages our soul. In these unpredictable times, it’s something we could with a lot more of.
Written by Ian Mc Glynn
16. Dead Sea Apes – The Free Territory (Cardinal Fuzz)
With ‘Free Territory’ the Dead Sea Apes have recorded what feels like a natural progression to 2017’s ‘Sixth Side Of The Pentagon’ but rather than focus on the dark psych dub aspects of their sound, they have chosen to follow an even more experimental and, to these old ears, a more industrial route. The album is an intricate and often complex array of sounds not only delving into the reflective, paranoid soundscapes we have become accustomed to over the years but somehow taking us deeper and escaping the shackles of the present and leading us to an almost J.G. Ballard-esque dystopian bleakness.
Take for instance ‘Free Moon’ and its (I think) use of tape loops and tape manipulation the vibe and sound created sounds like something HAL might listen to moments before killing off the crew of the Discovery. Then there is the title track is a massive twenty minute journey of sound which builds at glacial pace but it never once becomes boring. The use of repetition and drones really do give it a feel of controlled claustrophobia, ratcheting up the tension to the nth degree and then somehow going full circle to give the ending a positive vibe.
Once again I have found myself totally absorbed by the music of Dead Sea Apes, once again I find myself making excuses to find the time to listen to their music and with this album you need time because this double album deserves to be listened to in one sitting. The album uses light and shade as if it is an instrument. This is yet another brave step forward in the band’s sound and to these ears it’s nothing short of brilliant.
Written by Iain Wiltshire
17. Hawkeyes – Last Light Of Future Failure (Cardinal Fuzz & Helmet Lady Records)
How do you follow up from the brilliant bone crushing ‘Poison Slows You Down’? Simple, you change direction slightly. Out with the doomier feel and still integrate heaviness with a more textured and layered approach. More psych and a touch floydesque in my opinion.
‘The Lickening’ gets us off to a great start with a very Middle Eastern feel to it which sets you up perfectly for ‘Look at em scramble’. This starts with a build-up of guitars that I can’t help tapping my feet along to.
Then onto my favourite track on this LP ‘Nude Karate’. For me this should be the soundtrack to a 70’s sci-fi show. Phasing guitars, pounding bass, added synths and the drumming of a man possessed.
The flip the disc over for the 18 minute closing track ‘Full of Secrets’ a floydesque soundtrack to a film I’d watch just for the music. It builds and builds then releases all that tension to bring you back to earth.
One word describes this album for me ‘Stunning’.
I eagerly await the next one………
Written by Chris Lane
18. White Manna – Ape On Sunday (Cardinal Fuzz)
The album is drenched in fuzz, drone, reverb, echo, synths and bass everything fans of Krautrock/Kosmiche would love and expect, and follows the classic form of psychedelic improvisation.
‘Ape on Sunday’ is seven minutes of space rock vibes and trance like beats with hypnotic vocals it has an experimental improvised feel to it. The synth joins with heavy guitars towards the end but remain engulfed in the fuzz and drums.
‘Spirit of St Louis’ is bass driven, pulsating throughout and creating a steady beat with swirling keyboards add further layers.
‘O Captain’ flows from track 2, its much slower and dramatic than its predecessor, drums and crashing symbols open the track joined by dark vocals, it remains one paced throughout, dark and moody.
‘Night in Lisbon’ heavy bass and awash with fuzz, vocals continue as before dark and moody and covered in heavy layers.
‘Eye in The Cloud That Serves Thunder’ another instrumental track again heavy drums and constant rhythm, ends on improvised screetchy brass sound.
‘Zodiac Spree’ is awash with atmospheric synths and ambient drone brings a softer element to the album and brings another element to proceedings.
‘More More More’ brings familiar space rock and improvisation end this very excellent album.
Written by Ian Newton
19. Anunnaki – Immanentize The Eschaton (Cardinal Fuzz & Noiseagonymayhem)
Religious or not, the possibility of an end of days seems a lot closer in these troubled times as we negotiate our way trying to find meaning through the endless news cycles and chaos that surrounds us. Like most of us, I struggle to detach, and my view of this album is likely seen through that lens.
‘Immanentize the Eschaton’ means to force the apocalypse and the Anunnaki were deities (or aliens) said to come from the heavens to decide our fate, sitting in judgement.
The British Columbian based duo, Anunnaki also come to witness and bear warning. ‘Rise of the Millenarian’ starts ominously, building the sense of urgency; things can’t continue like this – change is inevitable. The final fall to almost silence just puts us in the eye of the storm.
‘Procession to Apocalypse’ lulls us with guitar gently leading, reflective, almost melancholy. A cleansing of sort but it’s transient. The modular synth lifts, and the drums become more demanding while the guitar weaves, building to a wall of sound. We are judged and found wanting.
As the antithesis of the spiritual and while we worship the material world, the ‘Demiurge’ of final track offers not so much rebirth as warped renewal. There’s malevolence in the guitars but also moments of peace, hope even, as the drums slow, leaving us with a softer bass line before the synth comes to the front finding its way in this new world. A gnostic view says we should find our own paths, not have them decreed – we can create our own fate.
Psychedelic music should take you someplace else. Anunnaki took me back to primal beliefs that have influenced different cultures and doctrines for millennia, ultimately, all looking for a salvation of sorts. Heavy themes and heavy cosmic vibes.
Written by Denise Arkley
20. The Myrrors – Curved Entrances (Cardinal Fuzz)
Both tracks on this record were recorded back in 2014, but didn’t see the light of day until Cardinal Fuzz released it in the first half of 2019. Even though Nik and Grant from The Myrrors play on this record, ‘Curved Entrances’ is more or less an offshoot that could be considered an archival release of sorts.
The A side features ‘Inscribe The Night’, a lengthy jam that clocks in at a little over 18 minutes. The slow, meditative build-up sets the scene and if you close your eyes and let your mind drift away for a moment it is not that difficult to imagine yourself watching the sunset in a dusty ghost town in the middle of the Arizona desert. The tempo picks up as the track progresses, which leaves plenty of room for improvised guitar freak outs and scorching fuzz as the drum beat is getting ever more pronounced. Very subtle changes in tempo and speed mark different sections of the track, the quality is definitely in the details here. Great jam!
On the B-side we have ‘Remaining Light / Lost Beginnings’, which is a little shorter and more focused on introspective drones and reverberated guitar patterns, especially in the first half. Second half smacks you in the face with some improvised, free-form psychedelia at its finest, when the drum beat is gaining momentum and provides an ecstatic, monolithic wall of sound combined with the freak out guitar noise that is going on.
Essential listening for anyone even remotely into The Myrrors, highly recommended.
Written by Kevin D Smit
PSYCH LOVERS RULES OF ENGAGEMENT
For the love of everything psychedelic.
Welcome to Psych Lovers, an inclusive group where members are invited to share music, gigs and art relevant to the psych genre.
We’re pretty relaxed (as you can imagine) but obviously certain rules should be abided by:
1. If you’re asking to join the group, please answer the questions. It helps us weed out bots / fake accounts / spammers and the like. It only takes a couple of minutes. If they don’t get answered, you don’t get in.
2. Posts of a racist, sexist or otherwise bigoted nature will not be tolerated and will see you removed from the group.
3. Please try & keep posts on point, Sundays are deemed ‘Non Psych Sunday’ (#NPS) and you are welcome to post other things that may not be considered psych.
4. Get involved! There are a lot of very knowledgeable people in the group, fans, band members, labels & promoters. Feel free to share your own stuff as well as others, the main contributors to the group have an insatiable appetite for new music.
5. Enjoy the group, open up your mind & let everything come through!
🙂PEACE, FUZZ & HAPPINESS🙂