Au.Ra - Jane's Lament. 2015 Felte (LP). Found this for a quarter digging in the bins. I always buy modern albums if I find them cheap. Most are of the indie rock / alternative variety, which I really can't stand. Those get scanned and dumped into the show boxes immediately, hoping to find a home to a more appreciateive audience. But this one was different, so I set it aside for a full listen and here we are. Starting with a motorik beat similar to Neu or Can, Australia's Au.Ra go about layering shimmering psychedelic guitar tones (no ripping solos however). It's just a couple of dudes, but they have an effeminate sound. I guess technically they fall into the shoegaze / dream pop category. Which I know very little about, but it seems to be the soundtrack to every multi-colored haired, pierced, and tattooed person I run into when I'm in the more densely populated urban areas. Certainly Stereolab is in this conversation given their psychedelic disposition. This is the kind of music I like hearing at a record store, though I know better than to take one home. It generally lacks depth, not ideal for multiple intensive and life changing listens. But it is very easy to listen to as background. Final track is more electronic and represents a nice diversion. Certainly the album deserves more than 5 dollar record status, but yea, I can understand that too. Lots of it in the marketplace. Not really psychedelic or garage, but where else to put this? It's fine here. (4/18)
Sky Sunlight Saxon - The King of Garage Rock. 2008 Garage Masters (CD). I'm largely ignorant of Sky Saxon's works including his legendary stint with The Seeds. Raised a Mormon in Salt Lake City, Richard Marsh can only be described as a "true believer" of the ideologies of the 60s hippie movement. He joined the YaHoWa commune in 1973 and continued to play underground music throughout his life. His music is generally associated with the garage side of the house, whereas my interests lie in psychedelic. Which is why I haven't pursued his albums with much interest prior. His legacy was alive and well going into the mid 1980s, and unlike most famous (or semi-famous) 60s artists, Saxon was a more than willing participant in the neo garage movements of the decade. He continued for another 20 years before passing away. One year prior to that event is the album I'm checking out now. It's essentially a covers album of famous 60s hits with fuzzy guitars and barking vocals. The fact that Saxon was 71 at the time gives him a free pass to do whatever he feels like. Even though Gurumaniax takes the cake for old codgers igniting stereos in flames, it's always refreshing to see others follow suit. In the end, this album is redundant and probably unnecessary. Not a bad way to go out though. (3/7)
Mount Rushmore - High on Mount Rushmore. 1968 Dot (LP). It was way back in college that I stumbled upon Mount Rushmore's 1969 sophomore - and last - album. Long sold off, I'm now hearing their debut for the first time some 40 years later. Much more consistent than most American bands from the late 60s, Mount Rushmore stick to what they know best: Heavy blues based psychedelic infused hard rock. Gruff vocals, fuzz guitar, plodding rhythms. Nothing revelatory but a good one for genre fans. Neither of their albums have been reissued on CD (legit that is), and that would be a better way to go here. This copy came from a dig in the bins and is in subpar condition. And that seems to be the case for every copy I've seen. (2/20)
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