Psychedelic horseshit magic flowers droned

Psychedelic horseshit magic flowers droned full#

Over percussion that sounds like breaking glass (and, at one point, what's probably a phone ringing), Debroux strums simple chords and wails over estranged friends in an exaggerated, self-mocking tone on 'Dead End'- yet rather than sounding aloof, it just sounds more intimate and pitying. To hear how easily the band can move from earnest to stark and creepy, wait for the final moments of 'Up the Sleeve' where sober banjo plucking is pierced by horns that sound like heavy furniture being dragged across a linoleum floor- loud as they might get on stage, Pink Reason don't need to blow a speaker to get a jump out of the listener. The drug-heavy strum of 'Goodbye' sounds like the rest of the band was erased from the tape on accident, and 'Motherfucker' is like an three-minute excerpt from a song that gets played all night to try and stay awake. Pink Reason's own distinctive lo-tech production isn't very distracting it just makes everything sound like something is amiss, like you're hearing it through a wall or coming up from a sewer grate. The record's acoustic guitars, deep-hallway reverb, and hushed percussion almost make for an album of bleary-eyed folk-rock, but their take is both more nonchalant and far more bleak. In spite of cheap recording and sometimes blatantly offensive cover art, Pink Reason would be a jackpot find for any label: From their earliest 7''s to Cleaning the Mirror, everything from Kevin DeBroux and the occasional friend has been raw and honest expression that's made tired modes sound new.

Perhaps it's the distortion on the vocals (as opposed to the guitars and other instruments like most practicing rock bands) that's the biggest stumbling block for some, but fans of lo-fi punk probably aren't intimidated by the likes Times New Viking or Psychedelic Horseshit. Bargain-minded as their recording methods might be, they nod to the same influences as other acts we've praised time and time again (early proto-punk like Velvet Underground and Modern Lovers, New Zealand pop-rock, Can, the Rolling Stones). Several more bands in a similar studio-scorning vein continue to pop up on other labels, but these scant few examples are very easy records to love. So as a minor corrective to the polite and sensitive strands of indie we do so often love, and to avoid getting myself fired, we took a look at just a few of Siltbreeze Records' recent releases, as well as the 2005 debut of TNV that slipped through our fingers. We've done our readers a disservice by ignoring most of what Siltbreeze has released this year, not to mention sleeping on Times New Viking's debut.

Psychedelic horseshit magic flowers droned full#

He hasn't been seen or heard from in two years, though I occasionally get mimeographed concert flyers in the mail with no return address and scribbled notes on the back about 'the kids' and 'shitgaze' (whatever that means), as well as envelopes full of receipts for Robitussin.

After we overlooked Times New Viking's Dig Yourself, I sent out a fresh-faced and eager new staffer to Columbus to see what the fuss was about. As acting head of Pitchfork's Fact-Checking and Research department, it's also my responsibility to assign local correspondents.