This is the fifth year that I have be proud to host the outcome of the Psych Lovers album of the year poll. Psych Lovers is a Facebook group which is generally considered by its members to be one of the best things on the internet, and certainly one of the best groups on social media. It is that rare thing, a collection of passionate and knowledgeable people who also respect and appreciate each other’s views, and basically treat the whole experience as a learning curve. This brings me to the downside of the group: the expense! You can very easily find yourself being sucked down all sorts of musical rabbit holes from a casual post from someone introducing you, for instance, to a new record label that can result in the whole back catalogue arriving in your home or inbox shortly afterwards.

This is something which is amplified during the first weeks of January when favourite albums from the previous year are nominated and voted upon, the results of which you can see here below. It’s one of my favourite times because it not only gives me a chance to catch up on what I might have missed, it also gives the opportunity for members of the group to write about why a particular album has appealed to them.

So sit back, relax and enjoy 21 (there was a tie for 20th place) great reviews of twenty one superb albums, with a huge thanks to those who have written them, and to one of the group’s admins, Ian McGlyn, for organising the whole thing.

Finally, the whole music scene has taken a massive hit this year; and none more than the independent bands and labels represented here (not to mention the venues that they have not played in); let’s hope that by the time the next one of these lists comes around we are also back to experiencing music live and can enjoy the experience with others.

Until then, take care and stay safe.

Simon (The Fragmented Flâneur)

1. Ummon by Slift

You remember 2020, right?

Pandemic.

Global political chaos.

A bombardment of nonstop, perplexingly weird headlines?

Not that the surrounding terrestrial mayhem was by any means required to make, UMMON, SLIFT’s second full-length offering, any more enjoyable. But it certainly provided a much-needed escapism that carried our ears to far-reaching galaxies.

Like the chiselled musculature of the being featured on the album cover, UMMON is a powerful force. The record kicks off with the title track which provides a heavy and fuzzed-out preview of what the 72-minute sonic journey of cosmic proportions entails.  

Along the journey we are treated to titbits of kosmische on “It’s Coming…”, doomed-out riffs and screaming guitar licks on “Citadel on a Satellite” and “Hyperion” paired with chanting vocals reminiscent of genre legends Sleep, the cosmic jazz of “Sonar,” and the culmination of all the above on “Lions, Tigers and Bears.”

I feel like it is worth noting that I’ve personally seen this record, and the now-legendary KEXP session, appear with high regard in multiple musical circles from Psych Lovers (which curated this fantastic list and voted UMMON as the number 1 record in this year’s Album of the Year poll) to metal and punk-focused groups; a proper testament to the band’s captivating songcraft.

Forget those that appeared in Utah, Romania, etc., SLIFT’s UMMON is the true 2020 monolith deserving of your attention.

Ryan Sweeney of Global Garage (www.globalgarageshow.com)

2. This Can Lead to Chaos by Helicon

One of the main things that got me through this troubling year, this album is an epic and is surely assured of ‘psych classic’ status. Twelve months after release it still has that uplifting effect, hairs on my neck standing up and heart beating that little bit faster! The sound is colossal, achingly beautiful in places, righteous and defiant throughout; multi textured psychedelia with a dark twist. Not so much an escape from reality, more like a challenge to it. Some tracks have a strange familiarity – as if the band has pulled something primal out of your own consciousness that was there hidden away all along. Music for your mind and soul! What shines through is sheer song writing ability; Helicon have a knack of coming up with incredible songs that can be listened to on a number of levels; there is a controlled fuzzed up heaviness coupled with sublime, almost delicate passages that shine through the maelstrom. The sitar adds another transcendental dimension but every instrument is essential, each prominent at different times. The sort of album where you want the tracks to continue on and on.. If you haven’t got it, get it! This chaos is good for your soul, believe me….

Gary Powell

3. Sei Still by Sei Still

The new generation of Krautrock 

Hailing from Mexico, now relocated in Berlin, Sei Still deliver with their self-titled debut album (out on Fuzz Club Records) a masterfully crafted piece of good old krautrock with a particular flavour. Let’s Start With the basics: the motorik rhythm is there, the drums/bass duo delivers an unwavering rhythmic line on which a sometimes saturated, sometimes reverberating guitar and other instruments (and sometimes even a bit of voice) are gradually added, by light touches, never quite reaching a breaking point, it’s a calm, cool journey. Sei Still (German for “Be Quiet”) softly hypnotizes you, alters your senses, and by the point you reach the end of the third track, “Emission” -my personal favourite-, you’ll find that you have forgotten mundane realities and achieved a bit of interior peace. The album goes on with this monotonic yet enthralling pace until you reach the last two tracks, which up the tempo a bit, with a slightly more aggressive drum line, slowly preparing you for the return to reality. If it affects you like it does me, you will be much more relaxed to go on with your life. The good news is you can play it again. 

François Momo of More Fuzz (morefuzz.net)

4. II by Korb

The British duo Korb is definitely my favourite discovery of the year. I’m actually still wondering how I could miss their debut from 2018… And retrospectively, as good as ‘Korb’ sounded already, they really brought it to another level with ‘Korb II’. This is, to me, the most perfect mix of instrumental Krautrock and Space Rock. Staying true to the 70s Kosmische roots while bringing their personal touch to it, the motorik vibe from the rhythm section supports wonderfully the synths, organ, and guitar layers, bursting out and swirling freely through the galaxy. It results in a flawless collection of 8 sonic explorations into deep psychedelic cosmos broadcasting through the prism of multiple dimensions. The overall atmosphere could feel a bit dark at first, but while going further on the trip that this record is, I find it mostly positive, comforting, mysterious, and joyful. It’s like a thrilling discovery tour of the universe, going smoothly through different sorts of galaxies, letting you all the time you need to bathe your eyes, ears, and mind in the wonders of the otherworldly landscapes they’re depicting while stretching the barriers of time and space.

Flyin Caillou of More Fuzz (morefuzz.net)

5. Ascend! by The Cult of Dom Keller

Picture the scene, four figures gathered around, wielding their tools of trade. A drone fades in and lingers in the air, slowly building. No, not the intro to Stanley Kubrick’s masterpiece ‘2001’, but the intro track, not dissimilar to that opening scene, and suitably titled ‘An Intro’, to Cult of Dom Keller’s 5^th studio album. A seismic, face melting, beast of noise and cacophony that has every whiff of a studio jam, with nothing but self-indulgence on the part of the band involved. From intro fading out at just over four minutes, you are instantly hit with a pummelling barrage of ear blistering wailing guitars and pounding drums which maintain a sense of bedlam and confusion for most of this album, with just a few minutes of respites of calm, before the storms are further unleashed upon the listener.

It’s not the easiest of the CODK albums, and it certainly challenged my mindset but in its own right has a complexity and integrity of all that is expected from a band that is certainly making waves in the Psyche world. CODK hold their own and stand high on a pedestal that they can claim as their own. No one else sounds like them. I hear influences from the likes of SPACEMEN 3 & HOUSE OF LOVE, but nothing but originality is present here.

As the album reaches the end of the helter skelter of a trip, you reflect on the last track and sit back and safely say, ‘We’re all now, well and truly fucked up’.

Brian Dennis

6. White Canyon & The 5th Dimension by White Canyon & The 5th Dimension

Hailing from São Tomé das Letras in Brazil, and on vinyl courtesy of Peruvian based label Necio Records, this duo have released one of the most accomplished psych debuts I’ve heard in a long time. Yes, we’ve heard similar before but you have to straddle a wide range of psych to spot all the influences. We have Lo-fi garage rock with more than a nod to the VU and 13th Floor Elevators alongside tracks that owe more to the recent desert rock styling of bands such as The Myrrors. That said, they always make it their own with a coherent blend of garage, shoegaze, space and all-out psych rock. It has the riffs, the Drone, and the heavily reverbed guitar licks. 

There is a certain sense of laid-back melancholy in some of the tracks but it’s an album that isn’t afraid to full out rock and reach for the sky amongst all that. Regardless of your psych preference, this album has something for everyone (except fans of laid-back electronica maybe). It’s one of those albums that you discover extra layers the more you listen to it; and for a debut, that’s quite some achievement. Simply superb! If you haven’t already, check it out.

Peter Baird

7. Where This Leads by Carlton Melton

I’ll say it right up front: where this latest album leads, is peak Carlton Melton; a perfect refinement of their unique sound that combines everything I love about them on four sides of vinyl. Travelling through space and time, while simultaneously reaching out to the spirit world and the vast forests of Northern California, we variously drift and power through songs short and long. There are some slow burners that gently coax all of the elements into alignment, others total barnstormers that pound them mercilessly into the required configuration.

 Phil Manley joins them for a few tracks, adding a layer of sustain into the mix as well as his expertise at the mixing desk, and we even revisit an old favourite Smoke Drip in one of the more reflective moments en-route to the big finish of side four. When you get there Three Zero Two will have your foot tapping and head nodding as the big old Carlton Melton bus thunders along seemingly unstoppable, with Rich’s guitar on fire as Andy and Clint pound and groove the tune to its abrupt close and on to lilting Porch Dream, a gently reflective and restorative rocking chair number. And then, with your aural senses nicely attuned, Closer is a mighty three-pronged assault on the mind to complete this uplifting, earthy and organic trip of an album and leave your senses buzzing for the next journey.

Sean Gibbins

8. Wooden Flower by Tambourinen

So, the Psych Lovers review is upon me again, and I’m pretty glad I got to choose Wooden Flower by Tambourinen, as it ranked pretty high on my personal lps of the year. I was lucky enough to grab one of the cassette releases that came out pre vinyl, so I’ve had a physical copy to enjoy for a while now. 

With only 4 tracks to listen to, the opening track “Wooden Flower” clocks in at over 11 mins long.  It is a huge sonic ride of musicianship which ebbs and flows along like a gentle river cruise and to be honest you don’t want it to end, but end it does and seamlessly takes you into the next track. “Wollensak”, which is a much softer and gentle track to mellow you out and ground yourself softly. 

“Power To” is the opener for side 2 and at 14 mins long definitely doesn’t disappoint, it is an amazing blend of instruments perfectly crafted together, gently rocking you from one side to another and a never ending crescendo. It is definitely one to sink into the sofa to. 

The final track “The People” has a more middle eastern feel to it, which is a perfect relaxing come down. 

If you love music, you will love this lp and I personally cannot wait for more.

Al Wyatt

9. Exoplanets by Moths & Locusts

This album kicks straight in with the pumping rock blast of Cocaine Kangaroo, but over the course of two sides draws you in to another dimension of sound, a whole exoplanet of alien psych. Hailing from Nanaimo BC, Canada, this is (I think) their 4th studio album, although to be honest I’m only familiar with Helios Rising, and the collaboration they did with Twink (which is tremendous, by the way).

Right from the off this one sounds like a step change to me – they’ve slammed their feet to the floor and powered off into the stratosphere. You could say that side one has a familiar space rock scope, but it has the power, detail and otherness of classic psych. As side one progresses you are drawn ever further into extra-terrestrial realms, and the side finishes with the throbbing gem that is Avulsion 2020.

It is on side two, and the titular Exoplanets that the acidity really kicks in, and planet earth is left far behind. Exoplanets is a slow-burning ascent to the heavens, building relentlessly over 15 minutes to a full-on all-rockets-blasting climax. The album closer Fresh Red Blood is a soul reviving splash down, a balm for the soul after the rigours of outer spaciousness.

This is one of those classic records that repays repeated listens – the more you listen the more detail is revealed. Powerful, trippy and evolving, brilliant stuff!

Stephen Bradbury

10. Szabodelico by Causa Sui

The first thing you notice about this alum by Causa Sui is A) the title of the album and B) Jakob Scøtt’s sleeve art. 

The title is an obvious nod to the Hungarian jazz guitarist Gabor Szabo, who released a number of albums in the late 60s and early70s, most notably the album, “Dreams”. Jakob Scøtt’s sleeve art gives us another indicator of how the album is going to sound, reminding me of the sound of crashing waves on a beach with the hazy sun in your eyes. 

The opening track, “Echoes of Light” sees the band warm up their instruments like any band would at the start of a gig, then effortlessly head into the finest track on the album, “Gabors Path”. A beautiful jazzy/psych number that lets you drift away on an inflatable lilo in the pool with a cocktail not far away.  

The next few track follows similarly but with added Ray Manzarek like keys in places to give the album a different texture that we may not have seen before.

Side C opens up with the title track “Szabodelico”, a pounding bass with heavy drums alongside Jonas Munk’s signature guitar drifting through it. Halfway through, the fuzz pedal is put through its paces with a full wig out reminiscent of Kikagaku Moyo. 

The album closes with a near 10-minute track, “Merging Waters” which is the longest track on the album. It is a slow burner that meanders its way through to a final rattle of a cow bell. Anyone else fancy 60 minutes poolside?

Ian Mc Glynn

11. Trappmusik by Kungens Män

In May 2019, improvisation masters Kungens Män left the city behind and headed out to the Silence Studio in the woodlands of Värmland to record the wonderful, sprawling, hypnotizing record that is Trappmusik. 

The album opens with ‘Fånge I Universum’ – a gentle, swaying groove which builds layer upon layer, sending pulsating waves out into the universe.  ‘Senvägen’ is slightly more upbeat, with funky beats and bassline anchoring the song while sax drifts off into the cosmos.

There is a sense of urgency in Tricksen För Transen, with transcendental guitars, free-flowing percussion and dark, almost menacing synths and bassline. The blissful intro to Främmande I Tillvaron gives way to a sombre organ and guitar-led melody with 70s prog rock vibes.  We then have a change of pace with the mellow Vibbdirektivet – take a deep breath and EXHALE. All is well.

Lastkajen is tentative, but hopeful. Very gradually building and setting the scene for the title track and album closer – Trappmusik. There is looseness here, enough space in the music for you to become one with it, as it ebbs and flows, sways and builds to almost a desert rock groove. I feel as though the band are smiling now as they realise their alchemy has once again produced something magical. 

Alison Sunshine

12. Graft by Mugstar

Mugstar are a psych/space rock juggernaut that graced us with two amazing records this year. The first was a live collaboration recorded a few years ago with Damo Suzuki released earlier this year via Weird Beard Records. Then, October saw the release of Graft, their 13th full length record. Graft is an album full of polarities and dichotomies; six tracks filled with skilfully painted sonic terrains and flowing space landscapes. The album opens with the soft drones of the atmospheric “Deep is the Air.” This gives way to the full-on rocker “Zeta Potential,” with its blistering guitar, thundering bass line, and galloping drums. It demands attention right out of the gate and holds on until its thundering conclusion. Finishing outside one is the epic and transcendental “Ghost of A Ghost.” Over the course of 12 minutes, Mugstar bend space and time in effortless flourishes of psychedelic haze. Side two opens with another scorcher, “Cato,” whose intensity surrenders nothing to its brevity. Bringing the flow down to a simmer, “Low, Slow Horizon” opens with a synth drone and a dirty fuzz bass riff. As the drums and guitar enter, they effortlessly build into a deep space groove that shimmers beyond the horizon of the song’s title. The album closes with the thrilling krautrock influenced “Star Cage.” Here the dichotomies of the more atmospheric songs and the intensity of the more rock-oriented songs merge like shards of space debris crashing into an interstellar craft set on a crash course to the heart of the Sun. With Graft, Mugstar show they are masters of their craft and deliver an record worthy of being called one of 2020’s Psych Albums of the Year.

Vita Vita

13. Live at Freak Valley by Electric Moon

Electric Moon is known for powerful extended jams with a pounding rhythm section augmented by an array of electronics and effects to create a hypnotic state. You can’t help but slowly nod your head and sway along in a trance.

 Live at Freak Valley begins with the 20 minutes long “Increase”. Trademark pounding rhythms and a solid wall of sound from the guitar with swirling phasers and massive distortion creating quite the maelstrom. “777” follows, picking up the pace a bit for 14 minutes until things slow down into a more experimental final 7 minutes, heavy on the repeat percussion effects and wailing guitar sound until we finally end off with a head-banging conclusion. “The Picture” follows and is a track that first appeared on 2015’s Theory of Mind live album. A very heavy Sabbath-like piece that stretches over 18 minutes with only a few changes of pace. “D-tune” from “Lunatics Revenge” follows and is an extremely short piece of only 7 minutes with a bit of an Eastern sound to it before it kicks into high gear and takes off. The album closes with Der Mondsenator auf dem Weg zur Erde, an acoustic piece taken from the Rockpalast Interview session.

 The sound is fantastic on this release and if you get a chance to check out the show on YouTube, do so.

John Waskiewicz

14. Northern Song by Asteroid No. 4

Northern Songs is the most perfect album title, this record could only be more northern if it came with a free whippet and a side order of gravy. Taking obvious cues from Joe Meek via 2000’s also ran’s The Drums, opening track All Mixed up sets the tone nicely. Hand Grenade has a disconcerting, disorientating feeling, like being on a roundabout going the wrong way.  There are some moments that strike as obvious, there is an easy line to draw between Paint It Green and Saint Bowie’s Heroes, whereas No One Weeps gives Donovan’s Sunshine Superman the stoner treatment. I Don’t Care is the kind of track XFM would get their knickers in a twist over, as they should, perfectly crafted pop contrasting with Juniper’s heavy Velvet’s heroin vibes. Northern Song and Stardust are straight from Madchester. Swiss Mountain Myth has the most fantastic drum sound, like listening through pillows, adding to the flying euphoria of the song. Album closer The After Glow is a huge, cinematic slice of sonic gold with an outro that never seems to end, nor do you want it to. After 22 years a band should sound like they know what they are doing, and The Asteroid No. 4 really do.

Ben Adam

15. Dances/ Curses by Hey Colossus

For almost 20 years now, Hey Colossus have been building a reputation for themselves within the UK’s psych rock community, and their latest offering ‘Dances/ Curses’ might just be the one that defines them as one of the UK’s true greats. Combining a mixture of noise, alt-rock, motorik-driven krautrock and post-punk, this record is a 75-minute journey filled with tight, melodic and noisy anthemic tracks. One of the big selling points would be the spoken-word appearance of the alt-rock icon himself, Mark Lanegan on “The Mirror,” which shows you just how far the band have come globally. The obvious centrepiece is the immense “A Trembling Rose”, a 16-minute epic that holds your attention throughout with beautifully layered guitars maintaining a surging, steady rhythm throughout as it builds towards its thundering climax. Tracks such as “Stylites In Reverse” and “U Cowboy” slows things down a bit and shows off their trippier side, while “Medal” and “Dead Songs For Dead Sires” harkens back to their heavier and sludgier roots. Double albums are usually a huge gamble, but with what ‘Dances/ Curses’ gives us, it’s a gamble that pays off big time. Maybe this could be the album that sees Hey Colossus finally get the global recognition they deserve.

Greg Barratt

16. Dickfehler Studio Treffen I by Kombynat Robotron

 Not hard to see why this album made the Psych Lovers Top Twenty-One for 2020. This is a kosmische dream and one of my favourites. They also managed to release 3 cassettes, and a few digital albums in 2020. Just as well, if there was one year that we needed to be lost in music, that was it!

 The album is named after the studio where it was recorded, and the band spent the weekend creating these four jams. A Bandcamp user said “Great music to ride a motorbike to”, and you know, he’s not wrong. This LP, courtesy of Drone Rock Records, is a cruise across the country.

Sequoia kicks off proceedings, ebbing and flowing in a most splendid manner. Jannes and Richard providing the guitar motifs and meoldies, with Claas and Tommy providing the rock-solid beat, effortlessly powering the music along. Pendo ups the ante, and the pace, being the most uptempo track. It wouldn’t be out of place on an Earthless album. After a short stop for gas (or a flip to side two), Fontäne continues on down that long road, the sun beginning to set, a hypnotic, repetitive melody to keep you company. Hollywood is the end of the line, with a jam that makes for the perfect finale. What a great trip! Maybe you should take it too?

Hot Rod Jamroom

17. Fantasma by Firefriend

Some albums are promoted and pushed and you have to wait months to get your hands on them, others like Fantasma just roll out one late November day and catch you unawares.

Obviously, it was straight in the bag as the only albums released this time of year are Michael Bublé Christmas tripe. 

Luckily this is nothing like Bublé! If you are familiar with Firefriend’s previous albums you will know their distinctive nonchalant spacey sound. The opening aptly named track” Three-Dimensional Sound Glitch” stalls and splutters like a malfunctioning android from a Phillip K Dick Novel. Before paving the way for the UNKLEesque beats of Hexagonal Mess.

Spin and Dead icons have a more 90’s Shoegaze feel and Tomorrow keeps the album moving at a more languid pace.

Home or Exile could easily be the B side for Flowered Up’s ‘Weekender’ with just a hint of The Beatles thrown in for good measure.

The album closer ‘One Thousand Miles High’ evokes the dying moments of a vintage satellite beaming down its last signals before floating away to a graveyard orbit.

The album is due to be released early this year under a different name (Dead Icons) and remastered for vinyl. Maybe it might make the best of 2021 too perhaps a little higher on the list!

Darryl Clarkson

18. Immersion by Automatism

‘Immersion’ is the second album proper from the Kungens Män spin-off band Automatism. This superb record opens with ‘Heatstroke #2’ and a propulsive, motorik bass and drum combination. This is shortly joined by gradually building and overlapping twin guitars, sometimes scuffed and fuzzy, and some subtle staccato keyboards. The track, and indeed album, had me in mind of Television in places…no bad thing. ‘Falcon Machine’ follows, with further spiralling guitar lines over the fluid but punchy rhythm section building to a finale. Over fifteen minutes of appreciative head nodding so far. Side A ends with the chilled ‘Monochrome Torpedo’, where echoey winding guitars chime over a sensitive but solid beat, to fade out. ‘New Box’ slowly emerges as a mid-tempo track where scuzzy and clean guitar notes weave round each other and with a notable ethnic tone in places. Next, ‘Smoke Room’ eases the pace further. Drums are slightly more prominent in the mix, and accompanied by rippling notes up and down the guitar fretboards. Closing track ‘First Train’ is full of shimmery echoing delights, with piano and mellotron-like keyboards making a welcome appearance in the mix along with metronomic click of a drum rim, leaving you relaxed and smiling by the end. Each 7–8-minute track has room to breathe and stretch without ever outsaying its welcome. ‘Immersion’ is perfect for morning or evening listening, Winter or Summer. Sheer class.

Simon Scott

19. Infinite Korridor by Aquarius Lux

The collaboration of Primitive Knot and The Wyrding Module, Aquarius Lux smashes go-go garage fuzziness, space rock, retro and futuristic sounds into one massive freak-out with The Infinite Korridor.

The acid jazz psychedelia of the opening track, White Out in The Black Room evokes bright colours in dark clubs. The sci-fi synth sounds drifting through the motorik beats and hard, driving guitar riffs in Ripped and Starlost take us back into space. Higher.

Priestess of Phobos chills us out again. Hanging in the back room.

Drums and shakers lead us in the title track, building to a rich motorik drone, inviting us to listen to the space sounds and guitars dance together while the percussion chatters around them. 

The last third of the album take us back into deep space from the go-go dancing ‘60’s to a more expansive prog ‘70’s feel. Green Suns and Flying Sharks finish the album with a satisfying climax of noise.

There’s nothing here that hasn’t been done before, but its homage, not plagiarism. The Infinite Korridor is an album to put the headphones on, turn the lights off, kick back and enjoy the journey to some familiar places but maybe visited from another angle.

Denise Arkley

20. Viscerals by Pigs ×7

Newcastle’s Pigs×7 third album Viscerals is a monster of an album. Each record seems to just get heavier and more polished as they progress. 2018’s Kings of Cowards has been taken and smashed against a brick wall and they have arrived at Viscerals. The riffs are harder, faster and dirtier this time around. We are treated to 8 tracks with the first being Reducer ” Ego kills everything ” is screamed at you repeatedly a statement that hits close to home and currently very newsworthy. Part Motorhead, part Mastodon but all Pigs. Rubbernecker is another track that seems to be slightly more commercial but gives us the hard-hitting lyric ” it’s hard to smile when you’re playing to lose ” something that we are all facing at the moment during lockdown. Viscerals closes with Hells Teeth a perfect end to this crazy as fuck album. The words that stay with me at the end of all of the madness is …… ” one heart, two horns, I guess we’re cursed, Let’s Rock! Let’s Rock in Peace.

Krishan Singh

21. Invisible Wind Factory by Damo Suzuki/ Mugstar

When Ian said he’ll get me to write a review for one of the Psych Lovers forum albums of the year I thought that I will write about Rocket Recordings album of course. It probably would have sounded like this “TOTS/Teeth of the Sea rule” However I looked at the end results of the poll and it only made sense that I take on the Damo Suzuki and Mugstar live album recorded in the invisible wind factory in Liverpool on April 28th,2018. Most significant and one of the best days of my life. I hope that Chris and Johnny would let me off on this one since it is Damo with Can that eventually led me to the Rocket path, Ege Bamayasi album, and the track Mother Sky, And then to my favourite album and track of 2020- 6 by Pharaoh Overlord and Blue Light Hum. I would like to share a few thoughts about what this album means to me rather than the music itself as I am sure we all know it is incredible; This show was a part of the Damo Suzuki experience network and as Damo said himself “I wouldn’t recommend anyone buying my records come to the show and experience the music live instead.” It is the energy that stays with you in the end. It was at Wrong fest that I met Damo for the first-time witch I never thought I will he has always been my favourite person and guru his approach to life and his music has always inspired me and helped me make peace with and embrace my own weirdness and also to realise that things and I tend to tease, evolve, change and there is no formula of doing things. This is why I don’t feel I should be writing about his music but to ask you to go and experience it yourselves, I would also like to mention that just to top up the magic this album was realised by the wonderful Weird Beard label which is run by the Psych Lovers group own admins, go check it out and enjoy

Nadia Beniamin