It's Psychedelic Baby Magazine

It's Psychedelic Baby is an independent, music magazine. We are covering alternative, underground, non-commercial and non-mainstream artists in variety of shapes and genres. Exclusive interviews, reviews and articles. A place where musicians can express themselves. We serve an international readership.

Beachglass Interview


Filtering in from the deep beyond, or perhaps merely as a musically sustained echo that’s been working its way like a long lost postcard to your front door, Clouding breathes with atmospheric lonely guitar washes, over which have been laid hauntingly enticing vocals that neither invite you in nor hold you out, as if they exist tethered in the moment of their being, and are gone just as mysteriously.

The Steppenwolf Story - Chapter Five


Steppenwolf “Monster” (1969)

“Monster,” Steppenwolf’s fifth LP, fourth from the studio, was released in November 1969, a mere four months after “Early Steppenwolf” a live set recorded May 14, 1967, while the band was still performing under their original moniker, Sparrow. Consisting of seven tracks, highlighted by the opening, nine minute, fifteen second, medley, of which the title track was the opening section, it was Steppenwollf’s most political album and their first to not make the Top 10 on the Billboard charts, peaking at #17 in early 1970.

Pete International Airport - “Hurray For The People” premiere


Peter Holmström named his solo project Pete International Airport after a song by his other band The Dandy Warhols. Safer With The Wolves is a meticulously crafted psyche rock journey into the dark heart of electronica upon which Peter has enlisted the help of numerous like-minded musical allies. 

Arcadian Child - “Irresistible” premiere & album announcement


Psyched, potent and intoxicating, Arcadian Child deliver daunting guitar-orientated psychedelia blended with ambient elements, hallucinogenic patterns and cathartic outbursts.


Arcadian Child signed with Rogue Wave Records, the psychedelic imprint of the mighty Ripple Music. 

The Steppenwolf Story - Chapter Four


Steppenwolf “Early Steppenwolf” (1969)

Steppenwolf’s fourth release, “Early Steppenwolf” which hit record stores in July 1969 is a most confusing part of the band’s legacy for several reasons. The album, consisting of six tracks recorded live at The Matrix in San Francisco on May 14, 1967, predating the recording of the group’s 1968 s/t debut LP, and was actually a performance done while the quintet was known by its original name, Sparrow.

Beachglass - “Clouding” (2007) review


Beachglass - Clouding (2007)

Filtering in from the deep beyond, or perhaps merely as a musically sustained echo that’s been working its way like a long lost postcard to your front door, Clouding breathes with atmospheric lonely guitar washes, over which have been laid hauntingly enticing vocals that neither invite you in nor hold you out, as if they exist tethered in the moment of their being, and are gone just as mysteriously.

The Steppenwolf Story - Chapter Three


Steppenwolf - “At Your Birthday Party” (1969)

Released only five months after its predecessor, Steppenwolf’s “At Your Birthday Party” their third LP, is an important part of the band’s ABC/Dunhill catalog for several reasons. The album segued the transition of the band’s sound from psychedelic to harder-edged rock, was the last album with Michael Monarch as lead guitarist and marked the return of bassist Nick St. Nicholas, who had been an original member of the band, but exited before the recording of their debut s/t LP.

From The Vault: The Glass Family - “Electric Band” (1968)


Being the perpetual opening band, The Glass Family, displaying an invitingly harmonic surf and garage sound, nearly channeling the likes of Spirit, this good natured band of eccentrics, who opened for groups such as The Doors, The Grateful Dead, Gram Parsons, Vanilla Fudge, and Love, have more backstage stories than you could ever imagine. Perhaps one of the best being the time Owsley Stanley was walking around in the shadows dosing tiny paper cups of punch laced with LSD, handing them out to the band, and then disappearing into the audience with a tray of the same, setting minds on fire, melting walls, and increasing the intensity of the music ten fold.

Tori Kudo - “Live At Harness” album premiere


“Take a harp, go around the city, O forgotten prostitute. Do your best at playing on the strings; make your songs many, in order that you may be remembered.”


Tori Kudo is a musical pioneer from Japan whose inspired a unique cult following since the late 1970s. His music has often included elements of avant-folk, psychedelic, art pop and free jazz, and perhaps his most exclaimed musical characteristic is his openness to error in performance. Tori has cited this characteristic as purposeful, to reflect our imperfect life.

The Steppenwolf Story - Chapter Two


Steppenwolf - “Steppenwolf The Second” (1968)

Less than a year after their debut s/t LP, John Kay and Steppenwolf delivered their second album, appropriately titled “Steppenwolf The Second” consisting of twelve tracks, and full of some of the most biting social commentary ever delivered, covering topics from the War in Vietnam to the domestic war on drugs in the form of President Nixon’s misguided and ultimately pitiful failure “Operation Intercept” which attempted to stem the flow of drugs coming across the Mexican border. The album sold well, reaching #3 on the Billboard Hot 200 and yielded a #2 single in an edited version of “Magic Carpet Ride” one of many musical highlights contained in this sophomore effort by Steppenwolf.

Sunfields - “MONO MONO” (2017) review


Sunfields - MONO MONO (Exit Sign Music, 2017)

With three albums under their belts, Sunfields is not new to the game, and to that end, not a single of their albums come off sounding the same at all, though with MONO MONO being perhaps the most lucid and enchanting, filled with a rootsy sound that blends the flavors of alternative country when they kick into a groove with songs that blossom with a richness right before your ears … and while I hesitate to make comparisons, Sunfields certainly bring to mind the early material of Neil Young, along with Wilco’s less aggressive numbers.