Föllakzoid hail from Santiago, Chile where the group began as a “product of a trance experience between friends, sort of a soul abduction in which they’ve been living since 2008.” Fans of the kraut genre will delight in the Zoid’s lengthy sound explorations, often channeling pioneers like Amon Düül and Ash Ra Temple along with contemporaries like Camera and the Lumerians. Listen to “Rio” off their new album, II, available now via Sacred Bones.
The next DGB event is a very special one. Alex Bleeker & the Freaks, Quilt and Weyes Blood will come together on February 17 for a show at Glasslands Gallery in Williamsburg, Brooklyn. Drippy Eye Projections will be providing visuals and I’ll be providing some tunes before and after each set. Come dance and partake in a night of jam-filled fun. RSVP here.
Purchase tickets via Ticket Fly.
Those familiar with Lowell George’s work outside of Little Feat generally seem to have a vague knowledge of his production work with The Meters and the Dead as well as a blurry account of his time spent as a guitarist in The Standelles and Frank Zappa’s Mothers of Invention. But far fewer seem to be aware of Lowell’s time as a budding musician on the LA psych scene during the mid 60s, where he played in a band called The Factory alongside future Little Feat member Richie Hayward. The group released at least one single during that period, and also went on to record a pair of tracks with Zappa on production duties, “Lightning Rod Man” b/w “The Loved One.” The first song is like a Captain Beefheart blues tune, ripe with George’s growls and cackles and Zappa’s eery background vocals. The second, “The Loved One,” is more of a 60s psych nugget and features Zappa on prepared piano and Stooges guitarist Warren Klein on guitar. However, these tracks didn’t see the light of day until the 1993 release of Lightning Rod Man, which gathers 15 tunes by Lowell George & The Factory recorded during 1966 and 1967. Listen to both Zappa produced tracks below.
Here’s a new track from England’s Wolf People, appearing on their new album, Fain, out April 30 via Jagjaguwar. The album was recorded over a particularly rainy period at a house in the Yorkshire Dales, while the band slept in sleep in tents and caravans parked outside. Listen to the first single, “All Returns,” below.
There aren’t too many bands still holding onto the spirit of old, gritty New York as much as Endless Boogie. And there’s even fewer still making new music. The the ever more vanilla ways of rock these days just doesn’t seem to churn them out the way they used to. But there are, of course, exceptions.
Formed in 1997 by a group of Matador Records employees and a professional record collector, Endless Boogie honed their craft for years before first appearing on stage in 2001 as an opener for Pavement frontman Stephen Malkmus. Since then, they’ve gone on to play some smaller tours, but mostly stick to playing shows around New York and Brooklyn—and only when they’re invited. Their music follows a simple formula–four bars of some blues rock riff repeatedly hammered into oblivion at the hands of guitarists Paul “Top Dollar” Major and Jesper Eklow–but it’s in this simplicity that the Boogie finds its magic. Like the repetitive ways of krautrock, the Boogie’s blues riffs expand into transportive journeys that can make an hour of droning rock seem like a few minutes.
On February 19 the group will release their third long player, Long Island, recorded this past summer in Brooklyn. Listen to “Taking out the Trash” below.
Pre-order the record via No Quarter.
On a cold Friday night in January of 1969, The Velvet Underground performed the second of three shows at their home away from home, The Boston Tea Party located at 53 Berkeley Street in Boston, MA. Since its opening in 1967, The Velvets had performed numerous gigs at the venue, with ticket prices ranging between $3.00 and $3.50 a show. But this recording in particular stands out as the best of the lot, featuring highlight numbers including “Move Right In,” “Run Run Run,” “I Can’t Stand It,” “Beginning To See The Light,” and “Sister Ray.” Future member of the Modern Lovers Jonathan Richman, who was in attendance that night, had this to say about the show:
“Sometimes you just plain couldn’t figure out where on the stage those strange sounds and harmonics were coming from, because of the eerie calm with which they played and improvised in front of you, and because every time they’d come to town they’d introduce at least one new song that would, for better or worse, sound like nothing else that had gone before in rock music.”
Download/stream the full show below and turn your speakers to 11.
If you’re into the whimsy throwback sounds of bands like Foxygen, then your ears will likely bask in the the oft-similar, lo fi psych of the Happy Jawbone Family Band. Ramshackle rock I guess you could call it. It’s like if fuckin’ Mick had been more like fuckin’ Keith, you know? Rock solid fuckers these here fellas are. Here’s “Fistful of Butter” off their new album Tastes the Broom, out January 29th on Mexican Summer.
Cold Sun were a little-known band who hailed from Austin, Texas back during the town’s psychedelic heydey. In 1969, they recorded (what I believe to be their second album) Dark Shadows at the legendary Sonobeat studios, an album full of dark, mystic poetry and transcendent sound quests, drawing close comparison to Ultimate Spinach, the Grateful Dead and the 13th Floor Elevators. However, the album didn’t see a proper release until the ’90s, when Rockadelic records released a reissue, which now goes for $500. Lengthy epics like “Ra-Ma,” “Here in the Year,” and “Fall,” will send listeners on faraway journeys, through fuzzed-out guitar realms, over rivers of floaty psych and into the grips of these long forgotten recordings. Dig the nearly 9 minute “Here in the Year” below, then seek out the rest. You will be greatly rewarded.
Here’s the invisible-man themed video for “Ich Werde Sehen”, the new single from Moon Duo, which is a German version of “I Can See” from their latest album Circles. Directed by Jovan Arsenic.
“Living Lens” is a cut off New York sound art duo Mountains’ new album, Centralia, out today on Thrill Jockey. The duo, consisting of of Koen Holtkamp and Brendon Anderegg, approached the album layer by layer, combining purely-acoustic recordings with purely-electronic sounds rather than using electronics to manipulate acoustic source material. Guitar, cello, organs, electric piano et al are seamlessly combined with modular electronics, synthesizers and other sound sources to create an engrossing, ambient listening experience. Watch the video for “Living Lens” below or download/stream the track here.
Order the album via Thrill Jockey.