- Event Details
Austin Psych Fest
The Reverberation Appreciation Society and The Black Angels present: Austin Psych Fest 2012 at Emo's East and Beauty Bar April 27 - 29 2012 $100 for a weekend pass. Your weekend pass gets you entry to the festival Friday, April 27 - Sunday, April 29. All tickets are will call. Limit 4 per transaction LINEUP Daily schedules, 20 more artist confirmations and daily tickets will be released in March. Brian Jonestown Massacre, The Black Angels, The Black Lips, Olivia Tremor Control, Dead Meadow, Wooden Shjips, Bombino, Woods, The Telescopes, Pink Mountaintops, Disappears, Sun Araw, Peaking Lights, Prince Rama, Psychic Ills, Pure X, Indian Jewelry, Sleep Over, Lotus Plaza, Moon Duo, Quilt, Spindrift, The Intelligence, Amen Dunes, Ringo Deathstarr, Headdress, Night Beats, Acid Baby Jesus, The UFO Club, Allah Las, Federale, Quest for Fire, High Wolf, Christian Bland and The Revelators, Cosmonauts, MMOSS, Smoke and Feathers, Orange Revival, The Band In Heaven, The Cush
Brian Jonestown Massacre
The Brian Jonestown Massacre is a neo-psychedelic rock band. The group was founded by Anton Newcombe, Matt Hollywood, Ricky Maymi, Patrick Straczek and Travis Threlkel in the early 1990s in San Francisco, California. Their sound is heavily influenced by the psychedelic sounds of the 1960s, but also carries influences from shoegaze, jangle pop, garage rock, and lo-fi sonorities.
It doesn't take long after listening to the Meat Puppets' thirteenth studio album overall, Lollipop, to realize that they have boiled the essence of what the group is all about right down to its core. As a result, singer/guitarist Curt Kirkwood, bassist Cris Kirkwood, and drummer Shandon Sahm have an instant Meat Puppets classic on their hands, and an album that fits in perfectly with such mid '80s classics as Up on the Sun and the underrated Mirage (while not coming off as an attempt to recreate a certain musical era of the group). Interestingly however, the Meat Puppets did not achieve this by working out the songs' arrangements beforehand, or even extensively rehearsing together. "This one here was an experiment in just viewing the parts as Tinkertoys, and seeing the little Tinkertoy circus that needed to be built, and putting it together simply like that," explains Curt. "With just the band in the studio and the engineer, we didn't learn the songs - we just went in the studio, and went, 'OK, here's your part. Now play this good.' So we cut the stuff on acoustic guitar and drums first, and then built it. It's an interesting concept of a way to do something. It seems like it might be a stiff way to do something, by just putting it together a piece at a time like that. But I really enjoyed it. I think the overall sound of the way it came out is kind of a contradiction of the way it was recorded. To me, that's the coolest thing - to put something together like that, so you have the sum of the parts, and then the whole. The whole thing about the whole being greater than the sum of the parts. To force yourself to do it that way. We were able to keep track of the music." The band got back to trusting their instincts once more - a major catalyst in their earlier work. "The similarity between the '80s and now is that once we started getting a lot of attention in the '90s, we brought producers in and stuff, and there was a thing that started happening - and it might sound egotistical - but this band always ran off of my intuitions. As much as songwriting or anything else. I write intuitively, and I never wanted to be a songwriter - I just got into it when I had the band. I just wanted to be in a band. So it's all been this intuition of 'This is what we need to do.' This was kind of taken away from us in the '90s, as money came in and people said, 'You need to do this.' It clouded the whole easygoing...like, 'Well, what does Curt think?' You could say it was the money or it was the thrust of popularity stuff or the Nirvana thing. But it just was like the band as a whole quit trusting that, I think. We just became more compliant, and like they say, 'Cooperation leads to corruption.' So in this way, I think the album harkens back to that."
Thee Oh Sees
The ridiculously prolific Bay Area band Thee Oh Sees are back with another full-length long-player. Warm Slime is guaranteed to please fans of their whacked-out garage / psych / punk jams. Recorded by Sacramento sultan of sound Chris Woodhouse, Warm Slime carries on in the same tradition as the group's previous In The Red release, Help, showcasing their more electrified and rocking side, in comparison to other recent home-recorded releases. The centerpiece is undoubtedly the mind-bending title track, which clocks in at nearly 14 minutes and takes up the entirety of the album's first side. It's a psychedelic epic of "Inna Gadda Da Vida" proportions! John Dwyer's guitar playing is at its quadra-spazzed best here, and the vocal interplay with Brigid Dawson gives it a B-52s-at-their-least-cheesy-crossed-with-the-Troggs vibe. The results are stunning.
Omara "Bombino" Moctar, a young Tuareg guitarist and songwriter, was raised during an era of armed struggles for independence and violent suppression by government forces. His electrifying jams capture the spirit of resistance and rebellion while echoing with guitar riffs reminiscent of fellow Africans Tinariwen and Ali Farka Touré not to mention rock and blues icons such as Jimi Hendrix, John Lee Hooker and Jimmy Page. Already a superstar in the Tuareg community, with the release of Agadez on Cumbancha Discovery Bombino's stature as one of Africa's hottest young guitarists has been revealed to the world.
Dead Confederate take a post-grunge approach to their music, which also leans heavily on the group's psychedelic and Southern rock influences. Seeds for the band's formation were planted during the late '90s, when future bandmates Hardy Morris (vocals, guitar), Brantley Senn (bass), Walker Howle (guitar), John Watkins (keyboards), and Jason Scarboro (drums) bonded over a shared affinity for Pink Floyd and Black Sabbath. Although hailing from Augusta, GA, the quintet relocated to Atlanta following college graduation. A second move quickly followed, this time to Athens, where the group doubled its touring efforts and caught the attention of former Capitol Records president Gary Gersh. Impressed with the band's haunting sound, Gersh signed Dead Confederate to his new label, The Artists Organization, and issued their debut EP in early 2008. A full-length album, Wrecking Ball, followed in September, and the group returned two years later to release its second record, Sugar.
Federale is a band based in Portland, Oregon that playes music in the genre of Spaghetti Western soundtracks. Federale formed in 2004 after the breakup of Portland band "Cocaine Unicorn" by Collin Hegna of The Brian Jonestown Massacre. Their music is often compared to the work of Ennio Morricone. Other notable members include Sebastian Bibb-Barrett of "The Builders and the Butchers", Colin Sheridan of "The High Violets", and Dusty Dybvig of "Bark Hide and Horn"
What would west coast pop art experimentalism sound like filtered through an industrial midwest prism? No clue, but perhaps Secret Colours can shine some light on that. The newly minted Chicago quintet channels the finest in the greats of late '60s psychedelia, '90s newgaze reverence, and a touch of driving, bucolic, no frills RnR straight from the greasiest of garages. Secret Colours at their most beautiful help you to turn on, tune in, and drop out. Secret Colours are bad dudes, and in a day and age where Anton Newcombe is making dance beats and Syd Barrett was long assimilated by the Borg, Secret Colours are a Kodachrome tinted breath of fresh air.
Daniel Huffman is the sole creative force of NEW FUMES. Huffman has lent his talents to a multitude of diverse bands. He was a member of the 90s space rock outfit Comet as well as the Bitches Brew-loving improv group Ghostcar, and he's been a touring guitarist for the Polyphonic Spree. He's been part of the touring entourage for and a collaborator with the Flaming Lips. With the release of NEW FUMES' Bump and Assassination, Huffman finally gets the opportunity to submerge listeners into a sonic world purely of his own imagination.
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