Review: Side-1 kicks off with a raw and funky garage band jam that perfectly captures the spirit of 1967. With its dynamic energy, the track blends elements of jazz, rock, funk and blues, creating an exciting, soul-infused experience. The rhythm section drives the track with relentless energy, while the soulful melodies and infectious groove make it a standout piece. The mix of surf rock and mod influences gives it a timeless, gritty edge that resonates with both vintage and modern listeners. Side-2 takes a more experimental turn with a unique jam laden with saxophone and rich instrumental textures. The track's experimental nature is underscored by its unconventional structure, utilizing the harpsichord to create a distinctive, jazzy vibe. The saxophone adds a layer of depth, intertwining with the rhythm to produce a mood that's both introspective and lively. This track offers a refreshing, avant-garde twist that contrasts beautifully with the raw energy of the opening side.
Review: Wand returns with Vertigo, an album marked by its multichromatic complexity and innovative restructuring. Transitioning from a quintet to a quartet, Wand's new formation builds on their previous altars of experimental sound. The album is a mix of sentiment, tension, theatricality, and raw, improvised pieces reshaped into cohesive tracks. Recorded in their studio, the process was intuitive and ego-less, capturing the spontaneity of their performances. The result is a dynamic blend of folk-like simplicity with synthesisers and lush backdrops, creating a unique auditory experience. Vertigo offers a swaying, associative journey, with granular details embedded in the jams. Wand funnels energy and space, merging infinity with atmospheric reverb, delivering an album that stands your hair on end with every verse and chorus. This is Wand at their most explorative, committing to an ever-evolving sound that pushes boundaries while maintaining a forward momentum.
Review: Toronto-to-LA starlet Elyse Weinberg's debut Elyse achieved only moderate success, reaching number 31 on the ole Billboard. Her second album, now reissued via Trading Places, was never officially released due to the collapse of Tetragrammaton Records, clinching the anticlimactic career of a genius (may we add that the highest heights worth climbing aren't the most visible). This lost album, arguably the most cohesive of her entire catalogue, sported a stellar lineup, with JD Souther on drums, Kenny Edwards on bass, and Nils Lofgren on guitar. Neil Young made a precious appearance on the standout track 'Houses', perhaps helping award the song its later covering by a seemingly never-ending daisy chain of contemporary folk-psych greats: Dinosaur Jr, Vetiver, Courtney Barnett. Weinberg's delivery is cuetsy, garrulous and gallant, touting herself a "good-time girl" in chirpy spirit spilt across ten ready-steady grooves.
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