Cosmosis is a unique festival in Manchester featuring some of the best alternative and psychedelic rock and roll bands from all over the world over 3 stages. Following its successful debut in 2014, Manchester’s Cosmosis returns with an international line-up of alternative music and arts. The Cosmosis collective and their love of psychedelia, the mechanics of DIY festival organisation amd just look at the line-up what we should expect from Cosmosis #2.
LINE UP OVER 2 STAGES
The Black Ryder
Dead Meadow (Official)
Singapore Sling
THE VACANT LOTS
Lorelle meets The Obsolete
The Oscillation
Radar Men from the Moon
Black Market Karma
Dead Rabbits
Delta Mainline
The Watchmakers
Saint Agnes
The Altered Hours
Brahma-Loka
Desert Mountain Tribe
Dead Horse One
Enemies Eyes
Moon
Jacco Gardner is a neo-psych/baroque pop artist from the Netherlands. Gardner debut Album “Cabinet Of Curiosities” came out February 11th 2013 on Trouble in Mind and Excelsior Recordings in Benelux. Biography Jacco Gardner is a neo-psych/baroque pop artist from the Netherlands. Check out his newly released single “Where Will You Go”. Description He creates a unique sound by combining the sounds of Harpsichord, Strings, Flutes and other classical instruments with raw psychedelic effects
The video for the song “Electric” by Chilean psychedelia band Föllakzoid, lasts a full 12 minutes. For something to hold your undivided attention that long these days is a minor miracle, so let’s figure out how directors Ion Rakhmatulina and Domingo Garcia-Huidobro did it. First, there’s the strobe light. Rakhmatulina, the Santiago-based video artist who shot the film, pairs Föllakzoid’s hypnotic pulse to beams of light that plunge the grainy hand-held footage in and out of complete blackness.
Then there’s the smoke. Disorienting plumes of it surround the camera as the lights turn on, then off, then on, then off. Soon, you see the silhouettes of the band itself — Garcia-Huidobro on guitar, Diego Lorca on drums and Juan Pablo Rodriguez on bass, assembled on a darkened stage, shrouded in the mist. But the thing that takes this whole production to the next level is the ballerinas.
And when Föllakzoid’s organic tribal trance starts to take hold. This is what occult ceremonies are supposed to sound like. Lorca and Rodriguez establish a hypnotic groove, and Garcia-Huidobro uses foreboding reverb to fill the room.
“Electric” was shot in a darkened fine arts theater in the Chilean capital with only the strobes providing light. The opulent architecture of the theater takes on a dilapidated eeriness as Rakhmatulina’s black-and-white camera slips in and out of focus.
Bell Gardens official music video for “Take Us Away” from the album “Slow Dawns For Lost Conclusions”.
Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, and Brian McBride (one half of Stars of the Lid) who began releasing music in 2010, beginning with an EP, “Hangups Need Company” on their own imprint Failed Better.
Their debut album Full Sundown Assembly (Southern / Burger Records) appeared in 2012 and, now signed to Rocket Girl in the UK, the band are set to release their second, “Slow Dawns for Lost Conclusions”, in October 2014.
Bell Gardens’ origins began arguably as more of an experiment than the duo’s current ‘experimental’ projects – McBride’s drone- and string-laden ambient symphonies, and Gibson’s ventures in dub and minimalist techno – as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens’ sound is less reliant on effects and studio trickery than the pairs’ independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Five piece The Asteroid No 4– once of Philly and now relocated to San Francisco have been conjuring this kind of cosmicness since the mid-Nineties. Over a period of eight albums, including a 2013 collaboration with psych royalty Peter Daltrey of 60’s acid prog act Kaleidoscope (who’s ’67 classic Tangerine Dreamnamed that band), they’ve peddled a krautrocky, proggy, psych sound throughout. Unfashionable for many of those years, and always slightly overshadowed by Anton Newcombe’s Brian Jonestown Massacre, the timing is perfect this time. Krautrock’s re-emergence as a favoured sound is in turn leading to a slow re-acceptance of kraut’s much unloved cousin, prog rock, and this self-titled release has them excelling in such sounds.
Ranging from grimy Spaceman 3 influences (note their influence on their name) and stoner rock to Asian vibes and metronomic rhythms, “The River” even takes in Deep South country rock andThe Beta Band’s baggy shuffle, with backwards guitar and sitar sounds. This ain’t Kasabianwe’re talking about – a far more hippyish air pervades the whole affair. The grungy “Rukma Vimana” is driving psychedelic rock with quasi-mystical lyrics referencing a Sanskrit text about flying machines which will “Take you to places that you’ve never seen”, and “The Windmill of the Autumn Sky” is lovely, lilting country-tinged Americana, taking references from Gram Parsonsand Fleet Foxes and encasing them in a smoky fragrant fog. It’s the least ‘out there’ track, but it nonetheless proves to be a highlight.
Their Americana and Asian influences are most apparent on the Rickenbacker and sitar-led “Ropeless Free Climber” – which manages to contemporise the raga rock of a late 60’s Byrds – and “Mount Maru”, a lysergic piece of 5am desert rock and wordless chants augmented by tabla, sitar and a spooked-out spoken word passage which indulges their passions of bothSyd Barrettand a 1968 George Harrison to eerie, bummed out effect. It’s not all looking at the castles in your cortex or whatever – they operate just as effectively when they come across as snotty. The grinding riffs on “Back Of Uour Mind” (yes, really), give the album a much welcome kick ofThe Stooges‘ rock swagger, and “Revolution Prevail” is a welcome break from all things double denim led, sharp, oppressive and druggy.
Through dogged determination, The Asteroid No. 4 have continued down their particular path, managing to avoid being written off as revisionist. It’s encouraging that the success of the likes of Tame Impala and Ty Segall has led to precursors such as these also getting a look in guys have been doing it for so long now that they could, certainly on the evidence of this album, be cast as one of the originators of the new psych scene.
TRACKLIST
The River – 0:00
Rukma Vimana – 5:45
Ghost of Dos Erres – 12:33
The Windmill of the Autumn Sky – 16:49
Mount Meru – 22:54
Back of Your Mind – 26:37
Ropeless Free Climber – 31:09
Ode to Cosmo – 36:08
Revolution Prevail – 38:05
Yuba – 41:37
It’s become rare to stumble across a band who effortlessly blast away the cynicism. Lola Colt are one of those preciously innovative exceptions and after witnessing them live last year, October’s released album `Away From theWater’ only cemented the conclusion that this band stand head and shoulders above some of the rest.
Like some moody,western hybrid of the Gun Club, with touches of PJ Harvey and Jefferson Airplane, the debut album by this London sextet rolls wall-eyed and black-lipped over the horizon. Singer Gun Overbye has a dagger in her voice, albeit one wrapped in a velvet sheath, plus a movie show of stylish noir violence constantly playing in her head. And with a gang of five behind her to bring that film to life, Lola Colt’s relatively well-populated line-up means they’re never short of instrumentation or colour, even if that colour is always black, with slashes of red.
Lola Colt may have spent hours practising their moves in front of a mirror, but then they surely smashed that mirror to a hundred pieces, and this album is that fractured, multi-faceted reflection. Defiantly dark but cruelly seductive, the chemtrail guitars and tribal drums with psychedelic in the purely narcotic sense, desert peyote trips and, with haunted organ emerging from tangled barbed wire feedback at the song’s coda, ‘Heartbreaker’ suggests the drive and pulse of the Black Angels, except that, while you sense the Austin band are too cool, or too stoned, to get worked up about much of anything, Lola Colt have a better understanding of dynamics and emotional expression, and sound genuinely agitated as a result. The release of “Heartbreaker” surely designed to dominate the airwaves of the more discerning radio stations. Starting up on some Cramps-style down-and-dirty guitar chords, Gun’s sonorous voice smoothly rides psyche-inspired layers of sound that swell and build, ebb and flow, even wandering through a momentary Doors-inspired tribute courtesy of Kitty’s deft keyboards, before building a brooding, hypnotic tension again.
This self-titled album is the second in as many years for the much-lauded Carlisle four-piece, The Lucid Dream. Fusing krautrock’s motorik rhythms with Mary Chain / Valentines decibel-troubling controlled aggression as well as a penchant for a multi-hued three-part vocal harmony, this is an early contender for those sought-after end of year best-of lists.
The album arrived without much of a song and dance about its unassuming cover and press release, but I’ve found myself returning to it on an unerringly regular basis this last month.There are levels and layers to the songs that hint at dreamlike and lysergic qualities; at the same time The Lucid Dream are untethered by the polite “please like me” mannerisms of many new bands. They’re happy to let it rip and believe me, they can certainly unleash the dogs of war when it suits.
They cite the aforementioned JAMC as well as Sonic Youth as influences, but I was most reminded of the tripped-out wash of Spacemen 3, particularly in opening song Mona Lisa. The mind-bending quality of much herein suggests a familiarity with the transcendental as well as the pharmaceutical and this is a record that you can probably forget about dancing to. Cold Killer has a startling off-kilter riff and droning bassline. Many of the songs on the album often have a theme or central riff that they’ll return to like a familiar ghost coming out of the ether and Cold Killer is no different. Mark Emmerson’s vocals have a little of John Courtney from Pure Reason Revolution’s swoops and gentle danger about them and the chiming, ice-pick guitars and vibrato synth add textures amongst the climbing arrangement.
With a deluge of support building from radio and the music press as well as some high-profile festival and support appearances, I reckon The Lucid Dream won’t be underground for very long, although that’s probably where they like it. No-one to bother them as the create exactly what they want to.
New video from the band DEAD MEADOW.Taken from the album “WARBLE WOMB” – new single “IN THE THICKET” directed by Roope Ahola a brand new video from DEAD MEADOW entitled “In the Thicket”. The Psychedelic band and their spaced-out form of rock, In more DEAD MEADOW news, they kick off a European tour on March 13th in Belgium – the UK dates are listed below Now get your high on and space out to the new DEAD MEADOW on XEMU RECORDS http://www.xemu.com
3/14 | UK, MANCHESTER – COSMOSIS FESTIVAL
3/15 | UK, GLASGOW – O2 ACADEMY, ABC
3/16 | UK, STOCKTON ON TEES – THE GEORGIAN THEATRE
3/17 | UK, BRISTOL – THE EXCHANGE
3/18 | UK, BRIGHTON – GREEN DOOR STORE
Transmissions From Planet Telos Vol. iii by Lumerians (Cardinal Fuzz)
This albums represents a great return to form for a band who seem to have been around forever and have developed an impressive back catalogue. In many ways “Transmission from Planet Telos iii” represents a return to the kosmische Krautrock mutterschiff with its epic space journeys and introspective allusions. This is one of those albums that takes to both without and within, leaving you covered with space dusk , an album that is a must for it to be listenend to the whole way through,
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The Fat Angel Sings 