Review: The Pambele band's debut album blends Afro-Colombian influences taken from their shared heritage with the vivid sounds of 60s psychedelic rock. It's a work rich in "Caribbean creolisation" with traditional Colombian percussion, joyful, rhythmic vocals and intricate guitar melodies all underpinned with wild organ tones. This powerful cross-fertilisation creates a transatlantic but also distinctly Caribbean sound that draws you into a world of exuberant musical atmosphere. The tunes often get you into a trance-like state while combining raw improvisation and dancey rhythms. It's an authentic escape to a very distant part of the world but one with a universal sense of rhythm that cannot be escaped.
Review: Penza Penza, led by Misha Panfilov, is back with a fourth LP, Alto E Primitivo, which was recorded at private events in Funchal, Portugal, and Tallinn, Estonia. The album underscores Panfilov's genre-blending prowess on Detroit's Funk Night Records across 14 tracks that blend deep grooves, intricate guitars, and soulful rhythms from psychedelia to garage rock. The dynamic tracks showcase the groups' newly matured sound with refined production that will find favour with fans of Khruangbin and The Budos Band. Tracks like 'Wacky,' 'Pterodactyl,' and 'Boo Hoo Boogaloo' highlight their instrumental prowess while occasional distorted vocals add texture. Alto E Primitivo then is another gem from Penza Penza.
Review: Modern psych master Misha Panfilov unleashes yet more fresh psych heaven under his new outfit Penza Penza, laying down the unbridledly satisfying new album Electrocolorized. In the words of its chief endorser Matt Chandler, the album is chock-full of Stax, Motown and Blue Note-esque notes, circling in and around the thematic cornerstone that is the funk jam, though not succumbing to its cliches and pratfalls. Finding joy in the imperfect - the sonic wabi-sabi - the likes of 'Der Himmel Uber Kakumae' and 'The World Of High Voltage Badgers' are instrumental exemplars of the vintage, basking in the style's psychic, sun-beaten buzz.
Review: Linda Perhacs' debut is a unique, psychedelic folk masterpiece that remained largely undiscovered upon its initial release in 1970. Its eventual reissue in 1998 allowed the album to gain the recognition it deserved. The music is a haunting mix of folk and experimental psychedelia, with Perhacs' intricate, multi-tracked vocals and cosmic arrangements creating a sound both intimate and otherworldly. Songs like 'Chimacum Rain' explore nature and sensuality, while the title track layers geometric lyrics and lush soundscapes to evoke a mystical, transcendent experience. While some moments, like 'Porcelain Baked-Over Cast-Iron Wedding', introduce some experimentalism, the album's strength lies in its more straightforward, emotionally charged tracks such as 'Paper Mountain Man', The work stands as a singular example to Perhacs' visionary talents, capturing the psychedelic experience in a way few artists could. Her ability to blend experimental techniques with folk sensibilities places her alongside the greats of the era, offering a deeply personal, unforgettable journey into sound that remains a timeless gem.
Review: Phish's aptly titled 16th studio album, Evolve, marks their first release in over four years and continues their tradition of fusing rock, jazz, bluegrass, and eclectic sounds. Known for their ever-changing live shows, this album captures the band's essence with a collection of tracks that have been part of their live repertoire for years. Evolve opens with 'Hey Stranger,' an engaging track featuring a catchy staccato beat and minor-key melody, setting the stage for a dynamic listening experience. The album then flows into the bluesy 'Oblivion' and the title track, 'Evolve,' which highlights bassist Mike Gordon's pulsating rhythms and Trey Anastasio's lyrical depth. Tracks like 'A Wave of Hope' show Page McConnell's keyboard abilities amidst driving guitar riffs, reflecting the band's roots in '70s rock. 'Pillow Jets' offers a mix of chaos and calm, while 'Life Saving Gun' delivers a paradoxical title with rock-driven energy. The album closes on a mellow note with 'Mercy,' a contemplative track that feels like a serene end to an adventurous journey. Phish fans are known to be loyal. This record and media focus back ond the band, will surely introduce more new people to the masses.
Review: On April 2nd 1998, jam and psych band Phish performed one of their best and most storied shows at the Nassau Veterans Memorial Coliseum in Uniondale, New York. For the first time, they would perform such later Phish favourites as 'Birds Of A Feather' and 'Frankie Says', and this is a rare case of a show from a
"micro-tour"; this was a band whose popularity bespoke an uncanny ability to tour whenever they felt like it, and for whichever length of time they chose, "because the band were getting bored and wanted to play some shows", according to Trey Anastasio. As ever, with irreverent quaternary glee, the group span neo-barbershop and smooth-tongued improv, crafting yet more fodder for a diehard fanbase's obsessive quibbling over the nuances of each performance.
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