Posts Tagged ‘Texas’

The goal was to push my brain to places it didn’t want to go. The idea was to not have any idea – to keep myself confused about what I was doing,” frontman Will Sheff says about Okkervil River’s newest album ‘I Am Very Far’. It’s a startling break from the band’s previous work: terrifying and joyous, violent and serene, grotesque and romantic, it’s a celebration of forces beyond our control. 

This chapter has been a long time coming; we recorded almost every show from the American and European 2018 #intherainbowrain tour so it took a long time to sort through it all. Also, the audio liner notes are…. just shy of 5 hours long? Almost a whole audiobook in themselves. I’m super proud of the music on here and so excited for you all to hear it! Thank you all so much for coming on this journey with us and if anybody’s hesitated till now climb aboard and scope out the whole thing!

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I’ve had some of my most fun onstage experiences of the past few years doing the “Rarities & Requests” touring format, but because of logistics we’ve often had to restrict these shows to larger markets. Under the current quarantine situation, I thought it would be really cool to play a streaming “Rarities & Requests” show where we could open the request pool to anybody all over the world.
This will be the first Okkervil streaming show we’ve done his year, and I’m super excited about it. We’ll have more details soon on when it will air, but we wanted to open requests ASAP. So if you plan to watch start submitting requests via the request form link in the comment section! (But not in comments themselves please). Note that we’ll still be taking requests from the big cities but we’ll be giving extra weight to requests from people in towns we’ve never hit with the #raritiesandrequests format.

Releases September 18th, 2020

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Hovvdy released a new single, “Runner,” last month, and now they’ve followed it with a second, which “is about the mixed emotions when a relationship has to change or end,” Will Taylor says. “Grief and relief. We were excited to pull the guitars back to let the vocals and ambient textures shine. The clank and swing of the programmed drums create a resonance and energy that brings it all together.”

Hailing from Austin, Texas, indie-pop duo Hovvdy are back again with another sumptuous treat for our ears with new single; ‘I’m Sorry’. Shortly after their release of ‘Runner’ — released just last month — ‘I’m Sorry’ is Will Taylor and Charlie Martin at their finest; delightfully odd as always, whilst showcasing dreamy melodies that are best suited to lying in bed on a calm Sunday morning.

Slightly muted vocal melodies greet us from the get-go, along with a reverberated kick and snare beat that echoes through your soul to the very end. The song in its entirety feels somewhat zephyr-like; feelings of heartache but also of healing: a journey downstream that Hovvdy are kind enough to let us in on. Gradually swelling in volume, accompanied by wispy, mellow vocals throughout; ‘I’m Sorry’ is a harmonically beautiful, and melodically considerate track — created for the disenfranchised, and executed to foggy, ambiguous perfection.

Fundamentally acoustic, Hovvdy also incorporates elements of electronica in the most subtle ways; pulling us in gently at the beginning with synth-enhanced vocals and rhythms, then reverting to their familiar, honestly indie style, before welcoming back the electronic-inspired rhythms, vocals and synths for the end of the track — bringing closure in a familiar, comforting way.

Stacking on Will Taylor’s growing pop sensibility, “I’m Sorry” carves a beat around the artist’s hollowed-out, echoing vocals. Jumbled feelings in flux swirl a cloud of granular electronic ambience. “I’m sorry,” he sings. “Going under the water again.”

Of the song and stylistic venture, Taylor says: “‘I’m Sorry’ is about the mixed emotions when a relationship has to change or end. Grief and relief. We were excited to pull the guitars back to let the vocals and ambient textures shine. The clank and swing of the programmed drums create a resonance and energy that brings it all together.”

Effortlessly minimalistic in nature, Hovvdy is consistent in delivering stunningly layered instrumentals lead by melodically sweet, wistful vocals that haunt you and soothe you in equal measure; providing a plethora of influences from pop to hip-hop. All-in-all, ‘I’m Sorry’ is the oh-so-familiar nostalgia trip that Hovvdy never fail to contribute to this ever-expanding world of plentiful music that we’re currently living in. Unapologetically honest, inexplicably raw, and invariably delightful; I’m Sorry is yet another notable mark on the musical map — transcending above normality and welcoming us in to their world of authentic memories.

The work of Texas-born songwriter Anna Roenigk, Aka Born Again Virgin first caught out ear back in 2017 with her self-titled EP. Last year Anna made the bold decision to uproot her life, and relocated to London. Her new single, “Spider in the Snow”, is her first offering to largely be recorded in the United Kingdom, although with White Denim’s Greg Clifford adding drums back in Austin, Texas. The track is released today via her new label, My Little Empire Records, home to the likes of Pip Hall and Caroline Lazar.

Discussing the inspiration behind the track, Anna has suggested Spider In The Snow was influenced by Dean Young’s poetic collection ‘Fall Higher’ – “Hark Dumbass, the error is not to fall but to fall from no height“. As Anna further explains, she takes inspiration from the freedom that line implies, seeing it as being, “courageous enough to take a chance on something or someone because either way we are all going to fall, whether it’s from a height or tripping over our own feet”. Musically the track seems to be a louder, denser offering than Anna’s previous releases, citing influences from, “the theatrics of Rufus Wainwright to the rawness of 90’s grunge”. The track starts with a sedate, meander of guitar and a raw vocal sound, perfectly suited to Anna’s memories of a relationship that seems to be long gone. Then suddenly as the song seems to be walking a familiar path, it explodes into a wave of noisy guitars, as Anna pleads for closure, “I’ll be your spider in the snow, waiting for you, and if you love me let me go, let me fall from your fingertips”. Born Again Virgin showed the bravery to upend their life and pursue their dreams across an ocean, and here it seems to have brought fresh inspiration, excitement and quite possibly her finest release to date.

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Scientists aren’t exactly sure how spiders survive the winter. Even in the coldest of climates, the arachnids seem to simply sit between the layers of snow and wait patiently for spring to come. Therefore it’s fitting that the central metaphor in Born Again Virgin‘s newest release– a ballad full of bitter patience and sombre desperation– would centre around this “Spider In The Snow.”

 

Holy Wave is an experimental dream-pop band originally from El Paso, Texas. After seeing a life-altering performance by My Bloody Valentine in 2008, the band moved to Austin to pursue their own vision of Texas psych, their sweet melodies dyed in carefully constructed noise. Over the course of four albums, the band have cemented themselves as a staple force in the international indie scene, with key performances at Levitation, Desert Daze, and nearly every psych gathering on the planet. They’ve toured the world, and shared the stage with heroes such as Slowdive, Spiritualized, Hope Sandoval and The Black Angels. Their body of work has received critical acclaim from Pitchfork, Consequence of Sound, Paste Magazine and countless others, and in 2020 they are prepared to release their latest body of work.

Hello, thank you for your support of Holy Wave! This is a band we have championed for years, and we have two announcements to share with you: The band just released their excellent new LP “Interloper”, and the band would sure love to be back on the road & playing these new songs on tour. 2020 had other plans, so Levitation is going to be bringing Holy Wave’s live show to you, via our Levitation Sessions series, Tune into Levitation Sessions at 5pm CT on July 25th to catch Holy Wave celebrating the release of their new album with a full live set, filmed and recorded at Mosaic Sound Collective. The show features tracks from their new album Interloper + choice cuts from their discography, and visuals by Drip Cuts!

Interloper sees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes.
“I’m Not Living in the Past Anymore”
 is a mantra about breaking the cycle of the mundane, “Escapism” is a dream-like meditation. “Interloper” serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward, to blissed-out moments on album opener “Schmetterling”, the saccharine haze of “R&B”, and the freak-out catharsis of live favorite “Buddhist Pete”.

Interlopersees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. I’m Not Living in the Past Anymore is a mantra about breaking the cycle of the mundane, Escapism is a dream-like meditation.Interloper serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? .

The band turns inward, to blissed-out moments on album opener Schmetterling, the saccharine haze of R&B, and the freak-out catharsis of live favourite Buddhist Pete. With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

Released on the Label The Reverberation Appreciation Society Released 03/07/20

Texas-born / Nashville-based singer-songwriter Lou Turner has crafted some kind of low-key masterpiece with “Songs For John Venn”, released a couple months back by the Spinster Sounds label. The album’s sonic picture is made up of Astral Weeks-y flute flutters, Hurley-worthy armchair boogies, garage-y rambles, and beyond. But however eclectic it gets, the album is held together firmly by Turner’s singular lyrics and perfectly breezy vocals. She can make even the most tongue-twisted of lines sound as natural as a conversation with friends, blending wry humor with piercing observations, stony wonderings with crystal clear vision. These tunes follow their own weird inner logic but remain altogether accessible for the casual listener—a neat trick, indeed. Conjuring up circles within circles and wheels within wheels, Songs For John Venn feels both mystical and earthy, both feet on the ground with its head in the clouds.

Lou Turner (aka Lauren Turner) grew up in Texas, playing music in school and at church. She remembers hearing her mother harmonizing along with everything—from commercials, to songs on the radio, to religious hymns. Her listening quickly expanded in high school and college from singer-songwriters like Dylan and Van Zandt to folk and jazz traditions from around the world. She says, “The spirituality I felt in music as a child is still there, but is far more mysterious and boundless, and simultaneously more grounded and rooted to contexts and histories. Spiritual jazz (specifically Alice Coltrane’s Journey in Satchidananda) has become hugely important to me for this reason.”

Eventually landing in Nashville, Turner fell in with the underground indie/experimental music scene, in part through Chris Davis’ (The Cherry Blossoms) FMRL presenting series, and in 2018, she started deejaying at Nashville’s freeform radio station with her program Shout, Sister Shout!, highlighting music by under-represented women throughout time and space. As a solo artist and with her band Styrofoam Winos, Turner has opened for the likes of Simon Joyner (who offered a blurb for the record), Kath Bloom, Xylouris White, Josephine Foster, and many others.

Songs for John Venn was written during 2017-19, a period in which Turner began her day job in a library and became further inspired by libraries as creative, communal spaces “where we each have a little space carved out for ourselves and all of our particular interpretations can coexist and breathe together.” She researched John Venn, credited with creating the diagram in classification, and discovered that he too had grown up in a religious household and served as a priest before deciding to become a mathematician. Feeling a kinship, the symbol became an anchor for her work during this time. She says, “the theme exists on this record in form as well as content, and the backing artists make up the form of my Venn diagram.”

Official Video for Lou Turner’s “Widening Venn Diagram” on “Songs for John Venn”

Bill Callahan

Knaresborough-raised troubadour Bill Callahan returns with “Gold Record”  – an album made whilst he was preparing to tour his previous album Shepherd In A Sheep’s Vest. A lot of the album is culled from tracks he’d written over the years for other artists to sing  – all recorded on the hoof in an intuitive and creative burst with some good friends helping flesh the sounds around that rich, warm baritone vocal.  Called Gold Record and it’s out September 4th via Drag City Records. The 10-song album features a new version of “Let’s Move to the Country,” from Smog’s 1999 album Knock Knock, and a track named after Ry Cooder.

It’s the Gold Record we always knew Bill Callahan had in him! Last summer, he returned from a silence of years – now, he’s raring to go with another new one already. The abiding humanity of latter-day Callahan is highlighted by dark plumes of caustic wit upending standards of our everyday life and the songs that celebrate it: the job, the wife, the TV, the neighbors. Bill slips easily into his characters, whether they’re easy people or not – and the cross-hatch of their light and shadow is unpredictably entertaining in the manner that belongs only one singer in this whole wide world: we’re still talking about Bill Callahan.
His first record in….uh, well, just over a year, Bill Callahan gives us a Gold Record. They might not all be gold, and fortunately, they’re not all six years apart either. You could probably ALSO call it “Gold Records”: the songs all have a stand-alone feel, the way singles do, for you to have a deep encounter with ’em all of a sudden, a whole relationship, from the start of the song to the finish. And what do you got when you have a record full of singles – and let’s face it, hit singles, at that?.

For Bill, preparing to tour for Shepherd In a Sheepskin Vest meant considering being away from home for long stretches of time – months, seasons, maybe as much as a year, who knew? Feeling his oats, Bill pulled out a few sketches from the notebooks and finished them up some. Before he knew it, he was recording them, and in the shuffle, new songs started popping up too.

It happened fast. Basics were recorded live, with Matt Kinsey playing guitars, guitars, guitars and Jaime Zurverza holding it down (then letting it go) on bass. Drums and horns were brought in for a couple songs. Spirits were high! Six out of the ten tunes were done first take; overdubs, when needed, came equally quickly. Listening, one hears the intuitive cohesion coming together richly, back of Bill’s titanic voice spread across the stereo spectrum: the gentle-yet-spirited conversation of Bill and Matt’s guitars, the subtle percussing of bass and drums and oddments of trumpet, woodwind and synth, striking notes decorous and discordant, sounding for all the world like the naturally occurring sound meant to accompany and express lives lived everywhere.

We know how you feel right about now, over midway through this tumultuous year: another week, another…. oh hold up, wait – it’s another Bill Callahan song! With 2020 chock-full of unprecedented, fundamental shifts, it’s only fitting that modern day Bill C would tackle the Gold Record reveal with a similarly conceptual yet seriously positive approach!. Bill’s latest offering, “Protest Song” details a singer-songwriter aghast at the unreality of the musical guest’s cartoonish protest POV on late night TV, leading to a protest song of its own kind. An apex of faux-noir, brooding in bluesy atmosphere up to his armpits, Bill flies in a touch of Bowery Boys-style comedic elevation to let everyone in on the joke, through song.

Releases September 4th, 2020 , Drag City Inc

Gold Record is the follow-up to last year’s Shepherd in a Sheepskin Vest, which marked Callahan’s first album in six years. He recorded Gold Record with guitarist Matt Kinsey and bassist Jamie Zurverza.

Bill Callahan will share a new song every week leading up to the full album’s release. The tracks arrive on Mondays, starting on June 29th.

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we’re very excited to share an album of demos today. please consider supporting us or an artist you love on Bandcamp today as they have graciously forfeited their cut of sales.

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demos for Heavy Lifter written & recorded at home by Hovvdy.
mastered by Ben Littlejohn.
art by Ben Johnson (@johnsonstretch).
Band Members
Charlie Martin, Will Taylor
Released March 20th, 2020

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Born out of a union of club bands on the burgeoning Austin, Texas bohemian scene and a pronounced taste for hallucinogens, the 13th Floor Elevators were formed in late 1965 when lyricist Tommy Hall asked a local singer named Roky Erickson to join up with his new rock outfit along with guitarist Stacy Sutherland. Four years, three official albums and countless acid trips later, it was over: the Elevators‘ pioneering first run ended in a dizzying jumble of professional mismanagement, internal arguments, drug busts and forced psychiatric imprisonments. In their short existence, however, the group succeeded in blowing the lid off the budding musical underground, logging early salvos in the countercultural struggle against state authorities, and turning their deeply hallucinogenic take on jug-band garage rock into a new American institution called psychedelic music.

Before the hippies, before the punks, there were the 13th Floor Elevators: an unlikely crew of outcast weirdo geniuses who changed culture. Paul Drummond has spent years documenting every aspect of the history of this amazing band and amassing an unprecedented archive of primary materials, resulting in this comprehensive visual history. The book recounts the story not just of the Elevators as a band–wild and remarkable though it is–but that of the American counterculture itself: the hallucinogens, the rebellion and the truly profound music that resulted. The 13th Floor Elevators: A Visual History places the band finally and undeniably in the pantheon of innovators of American rock music to which they have always belonged. The band was together from 1965 to 1969, and during that period released four albums and seven singles for the International Artists record label who signed the Elevators to a record contract and released the album The Psychedelic Sounds of the 13th Floor Elevators in November 1966, which became popular among the burgeoning counterculture Tommy Hall’s sleeve-notes for the album, which advocated chemical agents (such as LSD) as a gateway to a higher, ‘non-Aristotelian’ state of consciousness, has also contributed to the album’s cult status.

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In November 1967, the band released a second album, “Easter Everywhere”. The album featured a cover of Bob Dylan’s “It’s All Over Now, Baby Blue”. However, shortly before work began on Easter Everywhere, Walton and Leatherman left the band and were replaced by Danny Thomas on drums and Dan Galindo on bass, because of disputes over mismanagement of the band’s career by International Artists and a fundamental disagreement between Walton and Hall over the latter’s advocacy of the use of LSD in the pursuit of achieving a higher state of human consciousness. As a result, they were not credited in the Easter Everywhere sleeve-notes, despite having appeared on “(I’ve Got) Levitation” and “She Lives (In a Time of Her Own)”. Despite the lengthy studio work and resources utilized, Easter Everywhere was not the success the band and International Artists had hoped for. Lacking a hit single and released too late in the year, it sold out its original run, but was never reprinted, suggesting somewhat disappointing sales. Record label paperwork indicate that the band’s debut album sold upwards of 40,000 copies during its original run, while Easter Everywhere may have sold around 10,000 copies. As documented in a lengthy interview and article in the Texas underground music magazine Mother No. 3, the band worked all Spring of 1968 on their new album, which at one point was to be called Beauty and the Beast. However, because of an unstable member line-up and the increasingly erratic behaviour of the psychedelicized Tommy Hall and mentally fragile Roky Erickson, little of value came out of these sessions. The live shows had lost their original energy, and often the band would perform without their lead singer Erickson, due to his recurring hospital treatments at the time. The last concert featuring the “real” Elevators occurred in April 1968.

A special aspect of the Elevators’ sound came from Tommy Hall’s innovative electric jug. The jug, a crock-jug with a microphone held up to it while it was being blown, sounded somewhat like a cross between a minimoog and cuica drum. In contrast to traditional musical jug technique, Hall did not blow into the jug to produce a tuba-like sound. Instead, he vocalized musical runs into the mouth of the jug, using the jug to create echo and distortion of his voice. When playing live, he held the microphone up to the mouth of the jug, but when recording the Easter Everywhere album, the recording engineer placed a microphone inside the jug to enhance the sound.

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At Tommy Hall’s urging, the band often played their live shows and recorded their albums while under the influence of LSD, and built their lifestyle and music around the psychedelic experience. Intellectual and esoteric influences helped shape their work,

Around this time, the original 13th Floor Elevators disbanded, as the nucleus of Erickson-Hall-Sutherland had been reduced to guitarist Stacy Sutherland only. Sutherland brought some of his own songs for a final set of studio sessions, which led to the dark, intense posthumous album Bull of the Woods. Initially disliked by many Elevators fans, it has found a substantial fan-base today, with some even rating it the band’s best LP. These final sessions consisted of Sutherland on guitar, Ronnie Leatherman on bass, and Danny Thomas on drums.

Hall remained the band’s primary lyricist and philosopher, with Sutherland and Erickson both contributing lyrics as well as writing music, and, later, working with Danny Thomas to arrange the group’s more challenging music. In addition to Erickson’s powerful vocals, Hall’s “electric jug” became the band’s signature sound. Later, Ronnie Leatherman returned for the third and final studio album, Bull of the Woods along with Thomas, and Sutherland.

A few live gigs were played around Texas during the second half of 1968, until an article in Rolling Stone magazine in December 1968 declared the band gone. International Artists pulled together the various studio recordings from 1968 and, with the assistance of drummer Danny Thomas, added some horn arrangements, which became the Bull of the Woods album, released in March 1969. Drug overuse and related legal problems left the band in a state of constant turmoil, which took its toll, both physically and mentally, on the members. In 1969, facing a felony marijuana possession charge, Roky Erickson chose to be admitted to a psychiatric hospital rather than serve a prison term, thus signaling the end of the band’s career.

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Bull of the Woods, was released in 1969, was the 13th Floor Elevators’ last released album on which they worked as a group, and was largely the work of Stacy Sutherland. Erickson, due to health and legal problems, and Tommy Hall were only involved with a few tracks, including “Livin’ On”, “Never Another”, “Dear Doctor Doom”, and “May the Circle Remain Unbroken”.

Today, the 13th Floor Elevators continue to influence new generations of musicians. In 1990, 21 contemporary bands—including R.E.M., Richard Lloyd, David Leonard, the Jesus and Mary Chain, and Primal Scream who all recorded covers of Elevators songs “Slip Inside This House” was covered by Scottish alternative rock band on their album Screamadelica album. 1980s drone/space-rock band Spacemen 3 were influenced by the 13th Floor Elevators, covering “Roller Coaster” twice, for their debut album, Sound of Confusion, and as a 17-minute version for their debut EP Walkin’ With Jesus. Vocalist/guitarist Pete Kember also covered “Thru the Rhythm” with his post-Spacemen 3 project Spectrum. Radio Birdman, features a song titled “Lunatics at the Edge of the World”, which Tek described as “An ode to Syd Barrett and Roky Erickson.”

Studio albums
The Psychedelic Sounds of the 13th Floor Elevators, (October 1966)
Easter Everywhere, (November 1967)
Bull of the Woods, (March 1969)

Noted Hollywood actor/Musician Johnny Depp praised the Elevators in a 2005 magazine interview “Roky Erickson and the 13th Floor Elevators, a band out of Texas. They were basically the first psychedelic-rock band. 1965. And if you listen to old 13th Floor Elevators stuff—Roky Erickson especially, his voice—and then go back and listen to early Led Zeppelin, you know that Robert Plant absolutely copped everything from Roky Erickson. And it’s amazing. And Roky Erickson is sitting in Austin, Texas; he’s just there. And Robert Plant had a huge hit. It always goes back to those guys, you know? I love those guys.”

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The 13th Floor Elevators burned bright—so boldly that little filmed footage was made of the titanic Texan ensemble. Having created spacey psychedelia from a dusty, Austin garage rock vibe—a prestigious tag in the annals of rock history—Roky Erickson, Tommy Hall, Stacy Sutherland, John Ike Walton, and Benny Thurman would have all but disappeared if not for the late Erickson’s tale of woe (2005’s You’re Gonna Miss Me), their brand of psilocybin-laced influence (best heard on the 1990 tribute LP, Where the Pyramid Meets the Eye, starring R.E.M., Julian Cope, and ZZ Top) and copious records from the Austin Police Department.

Paul Drummond. The author and Elevators historian will make sure you don’t forget what you never realized you’d remembered when it comes to the haunted, hunted-down sound of vocalist-guitarist Erickson and his band. He’s a one-man army, what with having written Eye Mind: The Saga of Roky Erickson and the 13th Floor Elevators, The Pioneers of Psychedelic Sound in 2007 and digging deep through Texas archives and Austinians bottom drawers and musty closets for his brand new coffee table book, The 13th Floor Elevators: A Visual History.

Most of the big mythology around who the Elevators were, and what their friends and followers (including Hall’s wife Clementine, who helped the band come up with a name; Mother magazine editor Larry Sepulvado; Texas music figurehead Powell St. John) felt, is given rare visual aids. Sepia-toned studio session and live gig photographs, crinkled ticket stubs and colorful DayGlo poster art all set the stage for the story of how scraggly lyricist Hall invited Erickson to join forces to engulf themselves in the space-time-mantras, inner-outer monologues, and electric wiry wheeze of The Psychedelic Sounds of the 13th Floor Elevators (1966), Easter Everywhere (1967) and the 1968-recorded, but post-break-up-released, Bull of the Woods (1969).

The only print interview they did as an outfit (so they say) and given to Mother magazine in 1967 is reproduced in full in the coffee table tome for the first time, and the text from Drummond—plus a forward by expert witness/historian Lenny Kaye—says as much as can be said about the Elevators beyond hyperbole and exaggeration. Despite the fascination with all things acidic, beyond, and other-realm oriented, the Elevators come across as no-nonsense and matter-of-fact musicians on a trip to the outer limits.

It is the totems and tokens of The 13th Floor Elevators—the yellowed, blistered family photographs, the childhood etchings, and the adult-age, Aquarian-Aged (by way of the gritty Texas panhandle, and not the fussy, flowery San Francisco scene) poster art and gig announcements—that make this creeping vine of a volume a caffeinated epic. Like imagining Flower Power as a dried weed with a silvery, halcyon cloud above, the images of The 13th Floor Elevators are as grungy and gorgeous as the musky, mystic music itself.

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White Denim are prolific at the best of times. Put the band – which is driven by frontman James Petralli – in isolation and you’re bound to get results. ‘I Don’t Understand Rock And Roll’ is more of that driving, guitar-heavy, psych rock with delightful pop hooks that the band do so well.  Written and recorded in 30 days under quarantine from March 18th – April 17th, 2020.

World As A Waiting Room’ vinyl update! Thank you for your patience as our manufacturer works through some unavoidable delays with their printing vendor. The current timeline is for records to be assembled the last week of May.

Their isolation album, which they wrote and recorded in just 30 days, is called World As A Waiting Room and it’s available now.

Band Members:
James Petralli,
Steve Terebecki,
Michael Hunter,
Greg Clifford,