“The Heavy Friends is Japanese musician Takashi. Formed in 2010, Takashi continues to thrash out great psychedelic noise rock. A little bit Boris, My Bloody Valentine and Dinosaur Jr., this music is best listened to at the loudest setting.”
Expo Seventy – Virtually From the Unknown (2012)
“Expo ’70 is Justin Wright. He began producing this otherworldly music in 2003 while living in Los Angeles. Residing in Kansas City, Missouri now, Wright produces music that is sought after by people all over the world. Wright has toured extensively over the last decade. More recently Wright has added a drummer and bassist to the mix which has started release albums and touring as Expo Seventy.”
Fungal Abyss – Bardo Abgrund Temple (2011)
“Fungal Abyss is the psychedelic sister project of Seattle stoner metal heavyweights Lesbian. Fungal Abyss captures the band’s free-flowing improvisations under the influence of the sacred Teónanácatl mushroom, prized for centuries by Mesoamerican shamans for its perception-altering spiritual properties.”
Liquid Sound Company – Acid Music For Acid People (2011)
“Totally disregarding any trends in psychedelic or other forms of music, the band stretches out and produces a soothing and at times intense mind altering stew fit for cosmic travels and massive mind meandering… Texas band keeping it simple with little or no overdubs, wrenching out a pure and raw connection to the psychedelic properties of the music. Sit back, fire up the lava lamps, pop those tabs and get ready to transport.”
Sadhu Sadhu – Live at the Hideout (2009)
Heavy psych trio from Chicago with lots of repetitive groovy fuzz bass and wah-wah guitar. Think if Les Rallizes Dénudés mixed with Jimi Hendrix. Raw psychedelic freakout jams recorded live.
Burnt Hills – The Moon of the Sky (2010)
“This is the sound of burnt hills, the smell of burnt hair, the black musical smoke from a burning methlab in an abandoned trailer park, a glorious blown out, burnt out, drug addled freak rock free for all. Imagine the Dead C if they had grown up in Modesto, skipping school and doing lots of speed in the 7-11 parking lot, or if they had spent their formative years in Texas in the early eighties smoking pot and huffing glue. Or imagine a Hawkwind practice space jam session moments after each band member received a partial frontal lobotomy. How about a playground fight between Liquorball and Faxed Head, the ‘Ball armed with flaming wadded up balls of black aluminum foil and the ‘Head flinging guitar picks dipped in lighter fluid and an rusty guitar strings. Weird and wonderfully fucked up. Fans of freaked out psychedelic punch ups, dizzying clattery outsider free rock and getting super high and diving head first into a huge pile of drums and guitars will feel right at home.”
Bakerloo – Bakerloo (1969)
“Bakerloo (previously The Bakerloo Blues Line) was an English heavy blues-rock trio, established by Staffordshire guitarist David “Clem” Clempson, Terry Poole and others in the late 1960s, at the high point of the influence of The Jimi Hendrix Experience and Cream. Although the group was prominent only for around a year (1968-9) and released only one album it played an important part in the history of the genre, especially in view of its members’ subsequent involvement with Colosseum, Humble Pie, May Blitz, Graham Bond, Vinegar Joe, Judas Priest and Uriah Heep.”
Dom – Dom / Devil’s Grandma (1972)
Improvised set from obscure German group with lots of wah-wah and fuzz.
Residual Echoes – California (2006)
“The Residual Echoes were formed by Adam Payne after he moved to Santa Cruz and met the encouraging forces of Ethan Miller (Comets on Fire) and Ben Chasny (Six Organs of Admittance). They have blossomed into one of that city’s finest groups. Their sound is a vibrant collage of everything that has ever happened in music, all deftly manipulated and manicured by Mr. Payne into some of the most farfreaking-out jams ever heard.”
Skullflower – Ruins (1990)
“Led by guitarist Matthew Bower, the highly prolific Skullflower boasted the largest cult following of the bunch, with a sound based on sludgy, Black Sabbath-style riffs overlaid with feedback, fuzzed-out guitar noise, and throttling rhythms, all played at an ungodly volume. Always an improvisational outfit, their textured noise freak-outs grew increasingly free-form over the course of their career, moving farther and farther away from even loose definitions of “rock.” Skullflower claimed a broad range of influences in addition to the aforementioned Sabbath: heavy psychedelia (Blue Cheer, et al.), Krautrock, classical avant-gardists (John Cage, Steve Reich, Terry Riley), early industrial music (Throbbing Gristle, Einstürzende Neubauten, Whitehouse), and noise rockers from the American indie world (Sonic Youth, Big Black, the Butthole Surfers).”