While the foundations of civilizations shudder and crack and the underlying ecosystem breaks down, more bands than ever venture into the timestream, between the viaducts of our nightmares, exploring inner and outer space. Here is an small compendium to the most recent reports from these psychonauts and cosmonauts.
1. Molassess – Through The Hollow (Season Of Mist) Oct 16
2. Colour Haze – We Are (Elektrohasch/Ripple) Oct 9
The first two entries are clinchers for Fester’s Lucky 13 for 2020, and already got full reviews. Molassess is most of the members of the legendary Dutch psych/prog noir pioneers The Devil’s Blood, and We Are is the first ever North American release of the hugely influential German fuzz psych masters Colour Haze. We Are is their lucky 13th, and the rest of the band’s discography will be reissued by Ripple Music over the next couple years.
3. Causa Sui – Szabodelico (El Paraiso) Nov 13
When Danish stoner psych legends Causa Sui released their self-titled debut in 2005 on Nasoni, Colour Haze were a key influence. It made sense that they would sign onto their Elektrohasch label for their next album, Free Ride (2007). The three volume Summer Sessions (2008-09) really saw the band coming into their own. They developed their gorgeous fuzz tones and stretched them out into space rockin’ improvisational jams that incorporated bits of jazz fusion and prog, while maintaining a truly zen flow. They released another three volumes of the Pewt’r Sessions (2011-14) on the excellent El Paraiso label, whose cover art aesthetic was uncannily compatible with that of the Summer Sessions art. Euporie Tide (2013), Return To Sky (2016) and Vibraciones Doradas (2017) condensed their experiments into increasingly concise, compact statements, and are all worth seeking out.
Szabodelico feels like a significant statement that showcases their virtuosic musicianship and improvisational abilities while keeping the track lengths under six minutes with the exception of two tracks — three are even under three minutes. Jonas Munk edited down several sessions recorded throughout 2019 and early 2020, often using first takes, giving many tracks a loose relaxed feel. The freewheeling nature of the sessions lends a more diverse palette, with liberal use of keyboards and synths (particularly on the kosmische “Gabor’s Path”). There’s conga drums and analog keys on “Sole Elettrico” that ends up sounding like Santana playing spiritual jazz. “Laetitia” features vibraphones and flute, and a slinky vibe that reminds me of early work of post-rockers Tortoise. “La Jolla” features some lovely guitar sounds, kind of a post-rock/surf noir fusion along the lines of the Mermen. On the longest track, the 9:51 closer “Merging Waters,” the surfer is carried out to sea and drifts, staring at the starry nighttime sky, bringing to mind Dirty Three’s languid Ocean Songs (1998). A dreamy ending to possibly Causa Sui’s most accomplished, definitive album so far. | Buy
4. Kings Of The Valley – Kings Of The Valley (Wonderful & Strange) Sep 18
This Norwegian band’s debut is highly recommended for fans of Motorpsycho, Shaman Elephant and Turtle Skull. Click link for full review.
5. Kimono Drag Queens – Songs Of Worship (Copper Feast) Nov 6
Like Karkara and Goat, Sydney, Australia’s Kimono Drag Queens draw from Middle Eastern influences, particularly the Tishoumaren desert blues popularized by Mali’s Tinariwen. The fuzztones are smoother and the tempos steadier than Karkara’s, with relatively lush vocal harmonies. Likewise, while the tribal-meets-motorik riddim of “Hunters” is similar to to Goat and Here Lies Man, the more smoothly layered production sets the band apart. This approach works really well, particularly on the danceable, standout track “Evil Desires” that draws from Algerian Raï’s fusion of traditional folk and disco in the 80s. The song changes with less than 30 seconds to go into a hard rock outro. Album closer “Willy’s World” wraps it up with nicely hallucinogenic space rock. While there’s only six tracks on the album, each one is well crafted, and there’s no wasted space. The economical use of the vocals in “Wild Animals” provide some subtle underlying menace, the song bookended by a lovely melodic guitar hook. If this album gets in front of the right ears, it will deservingly be a critical favorite. If not, I have faith they’ll soon enough develop a devoted cult fanbase.
6. The White Kites – Devillusion (White Kites) Sep 16
Six years after their debut album, Missing (2014), the Warsaw, Poland band of scurvy psych proggers have topped their debut with more ornate progressive psych pop, building on haunting cabaret noir and 60s Canterbury prog with 70s art rock and prog such as ELO and Jethro Tull. The guitar pop is colored by instruments like flugelhorn, flute, clarinet, saxophone, banjo and Rhodes piano bass. It’s the sound of a band sailing off the edge of the map into uncharted lands, where there be monsters.
7. Karkara – Nowhere Land (Stolen Body) Nov 13
While French trio Karkara made clear starting with their debut Crystal Gazer (2019) that they hang their riffs on a mish mash of Middle Eastern melodies (60s and 70s era of the Northern African Maghreb region and Turkish psych), augmented by didgeridoo, the kosmische is also strong, along the freewheeling post-hippie energetic jams of Amon Düül II. Many bands inspired by Asian music are also interested in the spiritual matters. The Om style chanting in “The Way” hinted at that on the first album. For the most part, Karkara lean toward the sound of drug-crazed mania over meditative vibes, maintaining the rough-hewn, fuzzed out, frenetic pace on their second album. The stark, garage rock reverb on “Setting Sun,” is right up mastering engineer Jim Diamond’s alley, who’s worked with The White Stripes. Highly recommended for fans of King Gizzard & the Lizard Wizard, Slift, Goat and Oh Sees.
8. Population II – À la Ô Terre (Castle Face) Oct 30
This Montreal band is named after Randy Holden’s (who served briefly in Blue Cheer) amazing debut solo album, Population II (1969), which was reissued this year by RidingEasy. Even more than the guitar-tastic heavy psych and proto-metal from their namesake, Population II have just as much DNA of freewheeling German bands Amon Düül II, Guru Guru and Ash Ra Tempel, and even the vocal stylings of their label boss John Dwyer’s band Oh Sees. Their first two albums from 2017 and 18 contain a total of four more tracks, averaging just under 20 minutes each on the first, and down to under ten minutes each with the II – Onisme EP. Both are available super cheap on Bandcamp. Luxuriate in it all like an interdimensional bubble baff, and pity the fools who think the only significant psych albums this year were by The Flaming Lips and Tame Impala. This is a full on underground psych rennaissance.
9. Lykantropi – Tales To Be Told (Despotz) Nov 6
Man, wander into the forests of Sweden and shake any tree, and I swear out will fall another psychedelic band. I have no complaints, when they’re as great as Lykantropi, who claim the songs for their previous two albums, self-titled debut in 2017, and Spirituosa (2019) were written and recorded over the course of “decades.” Claiming influences from Jethro Tull and Coven to Fleetwood Mac, the band’s psychedelic folk prog smoothly inserts them into the modern psych pantheon alongside Rosalie Cunningham/Purson, Blood Ceremony, The Devil’s Blood/Molasses, and Jess and the Ancient Ones. Some of the guitar parts remind me of Graveyard and Hexvessel. Singer My Shaolin and guitarist Martin Ostlund harmonize beautifully. Their third album contains fresher material with a more coordinated group effort, and it clearly benefits, every song flowing into the other in a graceful swoop like an imperious raven surveying it’s territory.
10. Garcia Peoples – Nightcap At Wit’s End (Beyond Beyond Is Beyond) Oct 9
The prolific Garcia Peoples are already on their fifth album, counting their cosmic Americana collaboration with Hans Chew, Natch 10 (2019), after debuting with Cosmic Cash (2018). After their last foray into stretched out chooglin’ psych jams on One Step Behind (2019), they return to more concisely composed psych rock and pop. Some tracks reveal a bit of 60s West Coast influence along the lines of Moby Grape and the more baroque arrangements of Love. Those are just a couple elements of a whole mountain of inspiration this band as digested. The result is another progression from a really great band. Fingers crossed we’ll get to behold them live while they’re still at their peak.
11. Fuzz – III (In The Red) Oct 23
It’s a rare year that the prolific Ty Segall only has one release. If indeed the third installment from his heavy garage psych power trio Fuzz, with Charles Mootheart and Chad Ubovich, ends up his only one this year, I’ll be more than satisfied, especially since Segall trolled us with the threat that he was done with guitar based music on his admittedly clever First Taste (2019). Still, he’s too good at the guitar thing to give it up, even if it’s Mootheart who handles most of the guitars here. So after a half decade gap between Fuzz records, it’s exciting to hear a slightly different approach, this time recording with Steve Albini. Albini’s signature in-your-face drum sound aside, it’s a subtle difference from their previous albums. The band sounds a tad more tight and concise, but just as primal.
12. Uffe Lorenzen – Magisk Realisme (Bad Afro) Sep 11
Uffe Lorenzen, known mainly as Lorenzo Woodrose throughout his long career, is such an influential force in the Danish garage psych scene that he was featured in a documentary, Born To Lose (2015). Forming garage psych band On Trial in 1986, the band reached a peak with New Day Rising (1999), which would be cited as influential if anyone outside of Europe actually heard it. While Blinded By The Sun (2002) was nearly as great, he’d already moved on to other projects, having released albums with both Baby Woodrose and Spids Nøgenhat in 2001. Along with three albums with Dragontears, he released at least 14 albums by 2016. His prolific career brings to mind that of Scott “Wino” Weinrich’s. And like Wino, lately he’s focused on solo work, with Galmandsværk (2017) and Triprapport (2019) more low key acoustic efforts, sung in Danish. His third solo joint returns to a more fleshed out band sound, an impressive accomplishment given he did so while being virtually homeless, couch surfing from one friend to another. While the songwriting isn’t quite up to the level of peak Baby Woodrose and Spids Nøgenhat, it’s a welcome return to his garage psych roots and holds up well when I listen to his entire discography.
13. Acid Mess – Sangre De Otros Mundos (Spinda) Nov 6
It’s been five years since Ovedo, Spain’s heavy psychsters Acid Mess put out their second album, II (2015), but they were clearly busy, writing, rehearsing, and recording their most ambitious album so far. They’ve expanded upon the fuzzed out psych to incorporate flamenco, Spanish folk, 70s Andalusian rock, punk, jazz and prog. It seems like it could be a hot mess, but this is like a well prepared paella, every flavor enhancing the other, flowing into a delicious bowl of psych prog.
Lunatic Soul – Through Shaded Woods (Kscope) Nov 13
The solo project by Riverside’s Mariusz Duda, from Warsaw, Poland, was never on my radar because Riverside, while solid, were always on the slicker side of prog and metallic art rock that didn’t quite connect with me. So it’s a pleasant surprise that his seventh outing as Lunatic Soul is something special. While he usually dabbled in electronics and ambient soundscapes, Through Shaded Woods, as the title suggests, is steeped in nature, folklore and mysticism from the Northern European woodlands. The lightly orchestrated folk prog brings to mind Wardruna if they were to write more structured songs, with tribal, often danceable rhythms.
Oh Sees – Metamorphosed (Castle Face) Oct 16
Oh Sees – Protean Threat (Castle Face) Sep 18
Technically, both of these albums are to be credited to the “Osees,” yet another cheeky variation. I can just imagine whoever assists the band in setting up the Bandcamp uploads sighing, and ignoring John Dwyer’s wishes, as they’re still listed as Oh Sees. While name changes are tiresome, the band’s prolific output is anything but. They’ve been on a roll of putting out consistently great albums for a few years, and this fall we’ve had a one-two punch of Protean Threat on Sep 18, and Metamorphosed on Oct 16. While both are recognizable as Oh Sees music, they’re quite different, with the former delving into synth punk, and the latter featuring three sub two-minute garage punk numbers, and two extended kosmische jams, “The Virologist” (14:12) and “I Got A Lot” (23:10). If that’s not enough, there’s a remix album, Panther Rotate, coming out Dec 11.
King Gizzard & The Lizard Wizard – KG (Flightless) Nov 20
When this prolific Melbourne psych band emerged in 2010 with their “Hey There”/”Ants and Bats” single, who knew they would become the globetrotting psychedelic juggernaut they were within a few years, putting out multiple albums a year and exponentially growing their fanbase. Listening to them makes me a little wistful as I had a ticket for a show they were meant to play in April, one of the first at an exciting new music venue near me. Now it’s uncertain if the venue will exist next year, and we don’t get to see King Gizzard. They attempted to make up for it by releasing a half dozen live albums this year, but what was on top of my wishlist is that they slow down and put a bit more time in crafting an exceptional studio album. There’s great stuff in all their albums, but they can be a bit uneven and haphazard. Did they accomplish it? Almost. It is their only studio album for 2020 (so far), and it does at least recall their successful and popular non-Western tunings of Flying Microtonal Banana (2017). So their 16th album is close to some of their best work, but it’s not career defining or ground breaking. For a band so used to playing together, I imagine it’s a shift to write and record remotely, so considering the circumstances I’d say job well done, and there’s hope that their best album still awaits in the future.
The Silence – Electric Meditations (Drag City) Nov 6
Masaki Batoh, formerly of Ghost (the Japanese one, which pre-dated the Swedish evil pope mask-wearing one), is in a groove, with another installment (their fifth) from The Silence fifteen months after Metaphysical Feedback (2019). Their shifts between heavy psych and jazz prog are as diverse as ever, with honking baritone sax assisting in the heaviosity.
REZN – Chaotic Divine (REZN) Oct 1
Third album from this Chicago stoner doom unit. In between Calm Black Water (2018), REZN have apparently gone to stoner space camp, and emerge as fully certified intergalactic space travelers.
Kadavar – The Isolation Tapes (Robotor) Oct 23
Known as one of the best current live bands working within the hard rockin’ stoner psych genre, Kadavar started experimenting with with sound on Rough Times (2017), not always with roaring success. For the Dead Travel Fast (2019) was inspired by Uncle Acid & The Deadbeats, while their latest, their sixth album, digs more into the space rock explorations of early Pink Floyd, and kosmische musik with elements of prog rock. It’s more hit than miss, and a welcome addition to the beloved band’s catalog. | Buy
Icarus Peel’s Acid Reign – Shallow Oceans (Billywitch) Nov 20
Icarus Peel’s Acid Reign is a relatively new power trio assembled by the longtime member of The Honey Pot. This continues the mix of psych pop and psych prog from their first album, The Window on the Side of Your Head (2018), but with a more loose and live feel.
The Alex Butter Field – Psychedelipop (Hank Hoffman) Aug 14
While this was technically a summer release, it’s too good to miss. This succinct 25:19 mini-album of garage/psych pop is the first of two installments (the second, Popsychle is next), by Hank Hoffman of the New Haven psych band Happy Ending, who released just one album, Have A Nice Day in 1983. Recording of these songs stretch back to 2002, so this project has been a long time coming. I look forward to the next installment.
The Janitors – Noisolution Sessions Vol. 1 (Cardinal Fuzz) Nov 13
My favorite Swedish psych noir distributors of fuzz, drones and nightmares are not prolific, with only two albums in their seventeen years of existence, and a few EPs. I was surprised to learn they already had a full album recorded, but when the pandemic hit, they kept that in the can and recorded this fast and loose, noisy album in just a week, as something more appropriate for the times. I’ll gladly take this, and hope the other album comes out soon.
My Octopus Mind – Faulty At Source (My Octopus Mind) Nov 20
Reviews of Bristol band My Octopus Mind’s debut album, Maladyne Cave (2019) mostly referred to them as psych prog, while the band self-identifies on their Bandcamp page as experimental post-punk, post-rock and ambient. In intriguing dissonance I had to explore. Their first album perhaps did have some jagged moments that could be loosely attributed to post-punk, but with the hollow bull fiddle (double bass), viola and violin, it also has roots in Canterbury prog and dreamy psych. Their second album continues some rhythmic acrobatics that could also have roots in Captain Beefheart & his Magic Band and one could call this art rock. Whatever they want to be called, it’s bold, adventurous music.
The Left Outsides – Are You Sure I Was There? (Cardinal Fuzz/Feeding Tube) Oct 9
After one self-titled album with The Eighteenth Day Of May in 2005 (which was reissued by Cardinal Fuzz this year), Alison Cotton and Mark Nicholas continued their psychedelic folk journey as The Left Outsides. Their fifth album features somber, slow moving dirges and hymns, like the eerie “Seance” and “Things Can Never Be The Same Again.” Their fusion of Fairport Convention folk with The Handsome Family’s stately melancholia results on a new autumnal classic.
Tambourinen – Wooden Flower (Centripetal Force) Nov 13
Tambourinen is the solo project of Grant Beyschau from Tucson, Arizona’s The Myrrors. It’s a gorgeous, hypnotic journey into kosmische desert drone. For those who wish the best instrumental bits of Wooden Shjips/Moon Duo were made into an endless loop.
Painted Doll – How To Draw Fire (Tee Pee) Sep 25
While this band is equal parts power pop, garage punk and psych prog, it’s too good to fall between the cracks. This is Painted Doll’s second installment of the collaboration between Dave Hill (power poppers Valley Lodge) and Chris Reifert (longtime veteran of death metal bands Abscess, Autopsy and Death). They’ve come up with a batch of tunes that improves upon their great self-titled debut from 2018.
Gunn-Truscinski Duo – Soundkeeper (Three Lobed) Oct 9
Steve Gunn’s singer-songwriter oriented solo albums of psychedelic folk/cosmic Americana have always been must-listens, but his fourth album of improvisational collaborations with John Truscinski reaches new heights of guitar worship. Some tracks, like the 16:09 title track, were recorded live, while the carefully arranged, atmospheric “For Eddie Hazel” is like a sacred instrumental hymn for the late guitarist.
Rickshaw Billie’s Burger Patrol – Burger Babes...FROM OUTER SPACE! (RBBP) Nov 13
Oh jeez, I saw this stupid name and garish cover art and knew, despite how much I hate the name, this was gonna be awesome. And it is. Damn you Austin bands. Why are they all so good at garage psych? Hearing this brings back memories of Venomous Maximus’ first EP — rock ‘n’ doomy, raw and fuzzy, but with super sticky riffs. I wonder if they have Beyond Burgers.
The Wytches – Three Mile Ditch (Cable Code) Nov 13
Third album of garage psych/punk from this UK crew. After a promising debut Annabel Dream Reader (2014), All Your Happy Life (2016) was a disappointment. The weedy vocals can grate at times, but the self-conscious indie-tastic attitude has been shed like an old snakeskin, and they sound more unfettered, wild ‘n’ wooly than ever before.
Dune Sea – Moons Of Uranus (All Good Clean) Nov 13
Ah, jokes about the seventh planet from the sun never get old, at least for Norwegian stoner psych/space rock band Dune Sea. This is their second full length, where they continue to make Star Wars references (“Sarlaac” and “Tusken”). That might seem a bit too obvious for a space psych band, but I don’t mind. I hope next time they’ll write a song about Baby Yoda’s insatiable appetite for eating weird random critters.
Stone From The Sky – Live In La Grange (STFS) Sep 25
This band from Le Mans, France combines the stoner psych fuzz of Glowsun or Mars Red Sky with a cleaner post-rock sound. A lovely combination, and while the rich tones of most of the live cuts here sound better on last year’s Break A Leg (2019), plus closing track “Welcome To Trantor” from Fuck The Sun (2017), the performance here is worthy of permanent record, especially at Name Your Price.
Of Arrowe Hill – 2010-2000 / 2020-2011 (Ouija Board) Sep 11
Never heard of ‘The Most Haunted Group in England”? Have no idea who “Her Majesty’s 23rd Psychedelic Battalion” is? Join the club, this band and their eight albums managed to slip through my radar for the past 20 years, even though they are a really great combination of psych, prog pop and power pop, somewhat along the lines of Guided By Voices. (Genesis + White Album + Faust + Britpop). Their first album, The Spring Heel Penny Dreadful and Other Tales of Morbid Curiosity (2003) garnered a fair amount of UK press at the time, but by 2010, they scaled down the lineup, recording budgets and distribution, and the albums took a more low key and lo fi acoustic approach. These two collections are a perfect introduction to the band, featuring about three songs for each album. A great way to catch up in time for their next album, Hangover Square, out Dec 4.
Pharaoh Overlord – 6 (Rocket) Nov 27
Hermi Flagglenack’s Timestream Dispatch
Ozric Tentacles – Space For The Earth (Kscope) Oct 9
I honestly had some doubts about the new album, but after just a few moments in all of that vanished. It sounds exactly like the kind of album I wanted. Feels a bit like a throwback. Started having flashbacks to when I first discovered them and was filled with an obsessive wonder. I read that the original drummer from the cassette days made a return and brought along his original snare from those early albums. Ku. It’s a beautiful collection of sounds. Funny thing about the Ozrics. Despite all of the electronic wizardry and nonsensical chaos, Ed Wynne and the gang have a way of producing an organic sound that can certainly support the idea of transcendent music. Absolutely amazes me sometimes. “Space for the Earth” delivers some rich tones and varied constructions that contains everything I like about the band. A good blending of psychill and what I would consider to be new age rock (a genre tag idea that amuses me). I read a review that made comparisons to a couple of older albums, Arborescence (1994) and The Hidden Step (2000), both of which I own and enjoy, so I guess I’m not the only one feeling flashbacks. They also went to say that this is probably the best sounding Ozric album to date, which I don’t think I could argue with. The production is outstanding. A complete delight.
Øresund Space Collective – Four Riders Take Space Mountain (Space Rock) Nov 24
Space Mountain.
Legendary.
Mythological.
“It doesn’t exist”, they say. “Even if it did, you’d never find it”, they add. Space Mountain is said to be a vast mountain of space hidden somewhere amongst the even more vastness of space itself. It would be like trying to find a giant waterfall in an ocean the size of our solar system. It’s reason for being is unknown. How anyone knows about it is unknown. The idea itself is unbelievable. Surely such a thing doesn’t really exist.
The time pilots at Øresund Space Collective think otherwise. As experienced timestream explorers, they are accustomed to delving into the imaginary and mythological. With data collected from previous expeditions, they have managed the exact coordinates of this space within space. This album is the recorded log of their journey, as told by the time engines that propel their crafts. Yes, the crafts do look like horses, but these are highly sophisticated biomechanical timecrafts powered by Øresund’s own signature and trustworthy engines. They are more than capable of protecting our adventurers throughout the journey.
After a bullet like ride through the nonexistence of the timestream, they enter the proximity of Space Mountain with the whoosh of re-existence. Percussive igniters prepare the crafts for synchronization as the engines begin to stabilize into a steady time flow. The first order of business is that of reconnaissance. Grappling with seemingly invisible matters is tricky business and attacking this mountain without a proper map is a surefire way to a very short and final adventure. Finely tuned instruments aboard the horses that aren’t horses are able to map out the mountain and chart a course for the peak in a matter of minutes.
After gaining confidence in their surroundings, the team begin to accelerate toward their target. Upon closer inspection the mountain appears to shift, causing changes in engine modulation. On board diagnostics make note of the changes and produce compensations. All systems go for ascent.
The not-horses find the “surface” of Space Mountain and begin climbing the behemoth with astounding speed. As hooves find grip, chunks of space are freed from the mountain and hurled into… well, space. A trail of debris follows our riders like a comet’s coma. All goes well until a sudden and strange gravitational surge causes a serious drain on the engines and the furious riding is forced to come to a halt. The ever changing spacescape is proving a challenge for both rider and machine. With more compensations made, the decision is made to proceed at a reduced rate, allowing the crafts some time to adjust to changes on the fly.
In approaching the summit, the not-horses appear nervous, but the riders urge their steeds forward until finally the peak is crossed. In cresting the peak, the adventurers find themselves on a gigantic plateau, seemingly without end. The ride continues further from the edge and closer to what they hope is a center of this new environment. Speed is increased until the team notice the engines running in a decidedly cyclical manner. Something has happened to the time flow. It hasn’t stagnated, but the time here feels somehow incomplete. Unstructured almost. No, too structured. Restricted, like a ghost condemned to a holding pattern. The team are able to proceed well enough until they finally see it. The enormous gaping depression that makes up the middle of the summit’s plateau. No, not a depression. A crater. It could now be imagined that this mountain has a giant hole in it. By this point they no longer needed their engines as they found themselves being pulled hastily and violently towards the imposing crater without choice, the crafts’ engines forced into overtime in an effort to keep pace with the forces imposed on them. The team prepare to meet their fate head on as they are sucked into the mountain without ceremony.
And that’s when everything changed. They found themselves floating. Gracefully falling. As if on a slow motion waterfall, but a waterfall not of water, but time. A timefall? Time had entered the mountain and was now desending down the internals of the mountain. Slow and undulating, as if gravity was somehow at odds with itslef in here. And they were riding it. Riding time. Inside a mountain made of space. Inside space. It became almost too much to comprehend. The Collective had seen some very strange things before, but nothing quite like this. The mountain shifts were happening again, but more profoundly here on the inside. Descent velocity began to increase as the group noticed a merging of their timefall with some other shapeless, motionless, empty nothingness that seemed to fill the cavernous void of this mountain. It was space, but not as we know it. It was space without entrance or exit. Space nothing could exist in, or perhaps didn’t even exist itself. It was space without time.
They began to realize that Space Mountain was no simple mountain of space inside space, but an actual spacetime factory, melding the two into the very fabric of our reality. A reality generator.
The group continued their tour of the factory assembly line while their speed undulated between stages of spacetime development.
Reaching the bottom of colossal, suddenly not so mythological mountain found them being ejected with as little ceremony as their entrance, but with much less violence. They simply floated out and found themselves in the reality of normal spacetime, same as when they first arrived. Strangely, though, the not-horses’ instruments showed no traces of what used to be Space Mountain, as if it had merely vanished.
The wonders of the universe never cease to amaze. Of course, no one believes a word of their tale, since Space Mountain doesn’t really exist.
Sure was a fun ride, though.
Doctors Of Space – First Treatment (Space Rock) Oct 30
Yep, it’s a good’n. Like it.
Best Psych of Autumn 2020
- Molassess – Through The Hollow (Season Of Mist) | Netherlands | Bandcamp
- Colour Haze – We Are (Elektrohasch/Ripple) | Germany | Bandcamp
- Causa Sui – Szabodelico (El Paraiso) | Denmark | Buy
- The Pink Moon – Cosmic Heart Attack (Crispin Glover) | Norway | Bandcamp
- King Gizzard & The Lizard Wizard – K.G. (Flightless) | Australia | Bandcamp
- Kings Of The Valley – Kings Of The Valley (Wonderful & Strange) | Norway | Buy
- Kimono Drag Queens – Songs Of Worship (Copper Feast) | Australia | Bandcamp
- The White Kites – Devillusion (Deep Field) | Poland | Bandcamp
- Frankie & The Witch Fingers – Monsters Eating People Eating Monsters (Reverberation Appreciation Society) | USA | Bandcamp
- Karkara – Nowhere Land (Stolen Body) | France | Bandcamp
- Little Barrie & Malcolm Catto – Quartermass Seven (Madlib Invazion) | UK | Bandcamp
- Population II – À La Ô Terre (Castle Face) | Canada | Bandcamp
- Lykantropi – Tales To Be Told (Despotz) | Sweden | Bandcamp
- Witchwood – Before The Winter (Jolly Roger) | Italy | Bandcamp
- Ozric Tentacles – Space For The Earth (Kscope) | UK | Bandcamp
- Garcia Peoples – Nightcap At Wit’s End (Beyond Beyond Is Beyond) | USA | Bandcamp
- Death Valley Girls – Under The Spell Of Joy (Suicide Squeeze) | USA | Bandcamp
- Uffe Lorenzen – Magisk Realisme (Bad Afro) | Denmark | Bandcamp
- Acid Mess – Sangre De Otros Mundos (Spinda) | Spain | Bandcamp
- Oh Sees – Metamorphosed (Castle Face) | USA | Bandcamp
- Little Barrie & Malcolm Catto – Quartermass Seven (Madlib Invazion) | UK | Bandcamp
- Kadavar – The Isolation Tapes (Robotor) | Germany | Buy
- Orchestra Of The Upper Atmosphere – Theta Five (Discus) | UK | Bandcamp
- Rickshaw Billie’s Burger Patrol – Burger Babes…FROM OUTER SPACE! (RBBP) | USA | Bandcamp
- Oh Sees – Protean Threat (Castle Face) | USA | Bandcamp
- Kairon; IRSE! – Polysomn (Svart) | Finland | Bandcamp
- Automatism – Immersion (Tonzonen) | Sweden | Bandcamp
- John Jeffrey – Passage (John Jeffrey) | Canada | Bandcamp
- The Asteroid No. 4 – Northern Songs (Cardinal Fuzz) | USA | Bandcamp
- Moths & Locusts – Exoplanets (The Weird Beard) | Canada | Bandcamp
- The Flaming Lips – American Head (Warner/Bella Union) | USA | Buy
- Spencer Cullum – Spencer Cullum’s Coin Collection (Full Time Hobby) | USA | Bandcamp
- The Silence – Electric Meditations (Drag City) | Japan | Bandcamp
- Jefertitti’s Nile – The Entire Universe (Nomad Eel) | USA | Bandcamp
- Icarus Peel’s Acid Reign – Shallow Oceans (Billywitch) | UK | Bandcamp
- Upupayama – Upupayama EP (Alessio Ferrari) | Italy | Bandcamp
- Daniel Romano’s Outfit – How Ill Thy World Is Ordered (You’ve Changed) | Canada | Bandcamp
- Rainbow Face – Stars’ Blood (Rainbow Face) | USA | Bandcamp
- Dimorphodons – Searching For Dimorphodons EP (Dimorphodons) | UK | Bandcamp
- Hey Colossus – Dances / Curses (Wrong Speed) | UK | Bandcamp
- The Janitors – Noisolation Sessions Vol. 1 (Cardinal Fuzz) | Sweden | Bandcamp
- October And The Eyes – Dogs And Gods EP (KRO) | New Zealand | Buy
- Onsègen Ensemble – Fear (Svart) | Finland | Bandcamp
- Iterum Nata – Bardo Disorder (Svart) | Finland | Bandcamp
- My Octopus Mind – Faulty At Source (My Octopus Mind) | UK | Bandcamp
- The Left Outsides – Are You Sure I Was There? (Cardinal Fuzz/Feeding Tube) | UK | Bandcamp
- Tambourinen – Wooden Flower (Centripetal Force) | USA | Bandcamp
- Painted Doll – How To Draw Fire (Tee Pee) | USA | Bandcamp
- Fleur – Fleur (Bickerton) | Netherlands | Bandcamp
- David Nance – Staunch Honey (Trouble In Mind) | USA | Bandcamp
- Gunn-Truscinski Duo – Soundkeeper (Three Lobed) | USA | Bandcamp
- Trees Speak – Shadow Forms (Soul Jazz) | USA | Buy
- Samsara Blues Experiment – End Of Forever (Electric Magic) | Germany | Bandcamp
- The Wytches – Three Mile Ditch (Cable Code) | UK | Bandcamp
- Buffalo Tombs – Merkabah/Hekhalot EP (Buffalo Tombs) | USA | Bandcamp
- We Believe In Hyperspace – Hollow Gold EP (WBIHS) | Switzerland | Bandcamp
- Kaskadeur – Uncanny Valley (Nois-o-lution) | Germany | Bandcamp
- Arcadian Child – Protopsycho (Rebel Waves) | Greece | Bandcamp
- Øresund Space Collective – Four Riders Take Space Mountain (Space Rock Productions) | Denmark | Bandcamp
- The Budos Band – Long In The Tooth (Daptone) | USA | Bandcamp
- Sons Of Otis – Isolation (Totem Cat) | Canada | Bandcamp
- Heavy Moon – Abuse Your Delusions Part I (Heavy Moon) | Canada | Bandcamp
- Crystal Spiders – Molt (Ripple) | USA | Bandcamp
- Mildlife – Automatic (Heavenly) | Australia | Bandcamp
- Loma – Don’t Shy Away (Sub Pop) | Belgium | Bandcamp
- Andy Bell – The View From Halfway Down (Sonic Cathedral) | UK | Bandcamp
- Doctors Of Space – First Treatment (Space Rock) | Denmark/Portugal | Bandcamp
- Lewis And The Strange Magics – The Gloomy Corner (Soulseller) | Spain | Bandcamp
- Deradoorian – Find The Sun (Anti-) | USA | Bandcamp
- Lucidvox – We Are (Glitterbeat) | Russia | Bandcamp
- Witchfugger – Afterhour In Valhalla (Witchfugger) | Germany | Bandcamp
- Distortion Ride – Burning Waves Of Silence (Electric Blood) | France | Bandcamp
- Nick Mason’s Saucerful Of Secrets – Live At The Roundhouse (Legacy) | UK | Buy
- The Kings Of Frog Island – VI (Kozmik Artifactz) | UK | Bandcamp
- Cunning Folk – A Casual Invocation (Dharma) | UK
- Occult Hand Order – The Chained The Burned The Wounded (Occult Hand Order) | France | Bandcamp
- Anton Barbeau – Manbird (Gare Dunord) | USA | Bandcamp
- Joe Wong – Nite Creatures (Decca) | USA | Buy
- Moon Goose – The Wax Monster Lives Behind The First Row Trees (Moon Goose) | UK | Bandcamp
- Rudy De Anda – Tender Eopoch (Karma Chief) | USA | Bandcamp
- Horizon – The White Planet Patrol (Cursed Tongue) | Spain | Bandcamp
- Oneohtrix Point Never – Magic Oneohtrix Point Never (Warp) | USA | Bandcamp
- Doves – The Universal Want (Virgin) | UK | Buy
- Nick Mitchell Maiato – Pino Carrasco (Was Ist Das?) | Spain | Bandcamp
- Carlton Melton – Where This Leads (Agitated) | USA | Bandcamp
- The Nels Cline Singers – Share The Wealth (Blue Note) | USA | Buy
- Peter Bibby’s Dog Act – Marge (Spinning Top) | Australia | Buy
- Dark Buddha Rising – Mathreyata (Svart) | Finland | Bandcamp
- The Evil Fuzzheads – The Fuzz-O-Phonic Sound Of (Soundflat) | Belgium | Bandcamp
- The Moons – Pocket Melodies (Colorama) | UK | Buy
- Shit And Shine – Malibu Liquor Store (Rocket) | UK | Bandcamp
- Elvis Perkins – Creation Myths (MIR/Petaluma) | USA | Bandcamp
- Spectral Fields – Spectral Fields (Jungle Gym) | USA | Bandcamp
- The Galaxy Electric – Tomorrow Was Better Yesterday (Thegalaxyelectric) | USA | Bandcamp
- Warlung – Optical Delusions (Heavy Psych) | Italy | Bandcamp
- Ace Of Cups – Sing Your Dreams (High Moon) | USA | Bandcamp
- Professor And The Madmen – Séance (Professor) | UK | Bandcamp
- Janko Nilovic & The Soul Surfers – Maze Of Sounds (Broc) | Turkey/Russia | Bandcamp
- Mother’s Cake – Cyberfunk! (Membran) | Australia
- Scorched Oak – Withering Earth (Scorched Earth) | Germany | Bandcamp
