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.

Advertising for next available issue (Psychedelic Baby issue 2)

We have issue two ready. Before its official release we would like to ask labels, stores, artists or anyone else interested in being part of our magazine. We are offering ads (banner) for our second issue dedicated to US psychedelic music. Below you can find example. Magazine will be released by Guerssen Records and it will be available worldwide.
Example:

Nest Egg - Respectable (2015) review


Nest Egg - Respectable (Bathetic Records, 2015)

2015 is a good time to be alive if your a fan of psychedelic music, specifically the offshoot genre "space rock". With many bands embracing the sonic soundscapes that seem almost astral we are lucky, nothing better than being blown out of this world by music! A perfect example of this cosmic rock would be Nest Egg from North Carolina. Their album "Respectable" dropped earlier this year helping spread their sound to the masses. Probably best known for being the band that the Austin Psych Fest resident in-house DJ "Al Lover" has been singing their praises since last year. Those praises were quite accurate, clearly wearing their influences on their shoulders you can almost hear the German innovators of Krautrock in the repetitive grooves of the songs, with the sonic overlords "Hawkwind" whispering into their ears much like the devil might do if this were your conscience. Nest Egg were able to record a great album that helps capture the sound of their live show which from what I've seen from YouTube clips, is a must see! Be sure to grip this record before it gets discovered by the masses and goes out of print!

Review made by Matt Yablonski/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Renny Wilson - Punk Explosion/Extension (2015) review


Renny Wilson - Punk Explosion/Extension (Mint Records, 2015)

You may recall from the interview with Edmonton wonderkids "The Betrayers" the mention of an artist named Renny Wilson. Notably known for his uber pop record Sugarglider, if you're familiar with that release you're in for a shock. Recorded off and on between 2007 - 2015 this is some of the sleaziest weirdo punk music to come out of Canada. Pitched shifted vocals are probably the first thing that grab you, don't worry your record player is working. Gnarled screams blend well with the pop song writing Renny is best known for. Humour is prominent on this record as well, I mean seriously listen to his cover of "Jukebox Hero" and try not to laugh at the hilarity of the songs. The name might be a nod to Jon Spencer's Blues Explosion but trust me this is a very different beast. Be sure to pick this up before your favorite skateboarder features a song in their next video and makes this record stuff of legends! A+ 

Review made by Matt Yablonski/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Finchley Boys - Everlasting Tributes (1972) review


Finchley Boys "Everlasting Tributes" (Golden Throat Records, 1972)

Established early 1968, Finchley Boys quickly became a popular live act in and around their birthplace of Champaign, Illinois. The next step, of course, was to transfer the magic onto tape, and in September the band entered the studio with the goal of putting together an album. Sessions continued through June 1969, but the results of the band's work did not materialize until a few years later, when "Everlasting Tributes" was released.

Acid-fried blues rock was where Finchley Boys were at, and their affection and aptitude for the music resonates loud and clear amid the album. Gutted with bone-crushing guitar leads, bristling with venom, "Everlasting Tributes" indicates the band spent a lot of time spinning sides by the Yardbirds, while casting a further ear towards the progressively heavy sounds of bands such as the Litter, Iron Butterfly, and Steppenwolf. Striking a neo-jazz stance, "Once I Was A Boy" emulates both Cream and the Doors, and a shout-out goes to the Kinks via a weighty cover of "I'm Not Like Everybody Else." But influences aside, Finchley Boys certainly had their own personal ambitions in check. The band's arrangements could be rather challenging, and their songwriting instincts were commendable. In fact, two of the album's best tracks, "It All Ends" and "Restrictions" are original numbers. Floating on atmospheric ground, "It All Ends" is wrapped in a lonely psychedelic fog, where "Restrictions" is a hard rocking monster seething with angry vocals, screaming power chords and throttling rhythms.

Navigated by military-styled drumming, "Hooked" and "Who's That Talkin'," a traditional blues piece peppered with a jagged jam and dirty harmonica huffing and puffing, also receive a solid stamp of approval. With the exception of the emotionally fragile "Swelling Waters," there's nothing the least bit poised or pretty about "Everlasting Tributes." Pockmarked with warts and scars, the album inspects Finchley Boys in their natural state. But it's the earthy and edgy performances, topped with an organic production, that make "Everlasting Tributes" the intriguing relic that it is.

Review made by Beverly Paterson/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

The Fast Camels - The Magic Optician (2007) & Dead Rooms and Butterfly Dreams (2014) reviews


The Fast Camels - The Magic Optician (Neon Tetra, 2007) & Dead Rooms and Butterfly Dreams

Love's exceptional lead guitar figure Johnny Echols has said of modern-day Glasgow group The Fast Camels that they remind him of Love when the legendary LA group were just getting it together at Bido Lito's club back in 1966. So it's no surprise to learn that there's an inherent inventiveness at work, and also a high degree of musical fluidity at play within the work of the Fast Camels. A vibrant intensity shines through much of their material, and often helps to propel their collective playing overall. And it's this, coupled with a strong sense of identity - to say nothing of the pathos and particular sense of humour that can be heard shifting about inside the music being created here - that gives them a woven together definition, or at the very least sets them aside from a lot of groups that are happening on the current British scene. It's also true to say that many groups whose origins lie over in the west coast of Scotland have inherited some of the qualities outlined above (more so if they're especially blessed) when they gather to write and play music together. I couldn't begin to list all of them but certainly the likes of The Poets, The Sensational Alex Harvey Band, and Teenage Fan Club are but a few of the city's names which readily spring to mind. And so in considering the Fast Camels there is also this mixture of styles going on, gallant innovation, a creative originality beating at the heart of things, and oh yes a super-intended high fun quotient too!
The Fast Camels issued their first album "The Magic Optician" back in 2007 as a one-off CD release on the Neon Tetra label. Even when heard today this is a total blast of fresh air, a set that sounds truly hip and happening, and easily as poptastically psychedelic in places as many names who've gone on to win thousands of fans and garnered many plaudits and column inches along the way... Openers '50 Things On Your Mind' and 'Like A Magic Optician' are perhaps the most '67 British "Choc Soup" acid-sounding the group has ever been! Although 'Comforting Things' and the galloping advances of 'Can You See Me?' are also strong contenders here. The group's widely-acclaimed follow-up "Dead Rooms and Butterfly Dreams" didn't appear until seven years later when their own Magic Optician label unleashed it in the late summer of 2014. At times this comes across like a totally different sounding group altogether; the songwriting appearing more mature and inherently more serious in places; the influence of more west coast USA versus the British '67 early Floyd and psyched-out beat angles coming over very much more resounding. There are very obvious differences too in the various expressions of guitar and vocal interplay.Definite flourishes of those distinctly offbeat musical textures and a certain, hard to put a finger on tangibility that is also heard throughout much of Love's material can also be detected weaving its way in and out of the Fast Camels playing. 'Privately Insane' is one of this sets real standouts, the way it pulls and pushes itself forward in compelling art-jazz style waves. This in itself is a great homage to that '66 Love sound. However, in both full-length collections we hear a modern-day group which is teeming with many such similar qualities and ideas as their forbears and, throughout, the group can be heard reaching out and striving for their own particular identity. 
Yes I know, we are lagging behind somewhat in time as this is now already April 2015 and so even their latest "... Butterfly Dreams" isn't all that new today but, regardless, it is still pretty fresh on the ears and ... well actually this is about as bang up to date as we're gonna get. Well not quite as they now also have 'Cobbler Clarence' (their favourite song from the album) to get a taste of what constitutes this group's humorous, down-to-earth conceptuality and sense of celebration as expressed through artistic enthusiasm and an ongoing burst of momentum. Despite it being kinda challenging, and engaging too, in a strange way it's still a mightily odd choice for a single. Go here now to check it out for yourselves: http://youtu.be/Cfq76WtX9oM Purchasers of the single will also be rewarded with a bunch of non-album selections that include 'She's Seen Enough', 'Donnie's Hearse Curse' and the awfully-pun titled 'Swiggin In The Griffin' (a reference to a long-hip Glasgow watering hole) and, although not my favourite of their releases, showcases their continued fervour and wide-ranging scope; both Drew Sturgeon (lead vocalist and rhythm guitar) and lead guitarist Mark O'Connor are the group members responsible for initiating their highly enervating song craft art. 
From the very beginning of "The Magic Optician" the group has openly embraced the countless wide angles, oblique borders and grey areas of what constitutes the multi-coloured world of psychedelia. For the Fast Camels this comes, for the most part, in the shape of a raft of bounding beat-infused rockers and more out-and-out pop-psych styled toe-tappers. While they're not too shy of bringing in overtly vintage-sounding phrases here and there, with many eclectic references influencing the way the songs are built upon, and the general direction and layers of each performance, equally they aren't afraid of ringing the changes with some truly wistful, melodious and modern-thinking interchanges. 'Like A Magic Optician' from (obviously) 'The Magic Optician' as outlined earlier evokes the spectre of such as Syd Barrett's early days and traipses through the toytown psych world quite successfully, while tracks such as 'Golden Greeter', 'Penny Pinching Debt Collector' and 'Ken's Sad Vice' from "Dead Rooms and Butterfly Dreams" evince an atmosphere that comes almost from the opposite side of the spectrum, being much less psych-inclined too, and clad in something "other". Here it seems they are going for a clever, if slightly more indie sounding approach with the songs' rhythmic patterns owing more to the now than the then ...  And so it is with the presence of one or two challenging sounding snatches too that might perhaps be a little unfamiliar, or maybe not so comfortable - at least for a lot of psych and garage beat heads (who might want a slightly easier ride) but this is the bag they're in. 
I do enjoy it when some groups don't readily always fit neatly into my, or your bag too probably, as this can give them their own space and defining stance, a signpost of their own merit and making and can also invoke a sense of unity and of belonging; and not always to the pigeon-hole that you or I will automatically try to slot them into. As long as the material itself has appeal and stands out to gain our attention. Although The Fast Camels sound millions of miles away from either the likes of say The Soft Boys and REM, back in their very early days they held a similar position in the musical landscape of their day. Off kilter at times, we'll certainly, but also highly appealing and with a great sense of occasion. 

Review made by Lenny Helsing/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Psychedelic Baby T-shirt


It's Psychedelic Baby Magazine T-shirts now available! Black only. S-M-L-XL. $20 US and €22 for Europe - includes shipping...
(Directly from our illustrator Justin Jackley)



Email to: crom1513@hotmail.com

Orgasmo Sonore - Revisiting Obscure Library Music (2015) review


Orgasmo Sonore - Revisiting Obscure Library Music (Cineploit Records, 2015)

Fran├žois Riendeau, better known to most by his musical alter-ego, Orgasmo Sonore has been expanding my musical tastes for quite some time now.  I discovered him while plumbing the depths of the Cineploit label’s back catalog after hearing Zoltan, who blew my mind, for the first time.  Most of the Cineploit stuff was either right up my alley or I just couldn’t get into it for one reason or another, but I think that most experimental stuff is like that to be honest though.  When I first came across Orgasmo Sonore I honestly didn’t even know what to think.  His SoundCloud page had me listening to it for days after a while, just checking out all the different kinds of stuff that he was into.  There was some instant common ground that we shared, especially Ennio Morricone, and I knew if he could approach the work of such a talented individual as that with enough reverence to do it justice and not screw it up, I could probably trust him to open up some new doors for me musically.  I was especially fascinated by his knowledge, of all things, of ‘library’ music.  With all the love and attention the giallo genre is enjoying right now there’re a ton of other styles of soundtrack work that deserve just as much praise.  Unfortunately, it’s hard to even hear a lot of that stuff without watching whatever it was used in and next to impossible to find out who performed or wrote some of it.  That’s where someone like Frank Rideau steps in and under the helping guise of the Orgasmo Sonore moniker, walks you through some of his favorite compositions that you probably had no idea even existed.  His latest release Revisiting Obscure Library Music is specifically aimed at just that in fact.  As always it was done for the Cineploit label and is available in your choice of 12” vinyl, CD, or digital formats (hyperlink is a direct webstore link, US orders can be made for some stuff through LiTA).  While Orgasmo Sonore’s previous releases have concentrated a little bit more on some of the more widely accepted types of soundtrack work from across the globe that have seen a big resurgence in popularity lately, Obscure Library Music instead focuses simply on what Orgasmo Sonore likes and listens to.  Flutes abound on the opening track “L’Erba Di Prima” and it instantly conjures images of just about any Italian film I have ever seen right from the get-go.  Orgasmo Sonore’s unique ability to translate and reinterpret soundtrack work has long been an envy of mine, but this album truly takes things to another level.  The intensity with which he recreates the soft, vibrant pallets of sound from the 60s, 70s and 80s without any of the expensive equipment is almost unbelievable.  It’s his sheer will and determination that shine through on these tracks, immaculately constructed, composed and executed by a single man.  The second track “Prairies” moves more into the Morricone zone that I felt so comfortable with when I first heard Orgasmo Sonore, the twanging guitars and wah drenched rhythm tracks bleed Spaghetti Western from every pore.  I should also point out that Orgasmo Sonore’s drumming is done live with a real drum kit, it’s not synthesized or programmed, which for me adds to the finished product of his work in a big way heavily influencing his style and setting him apart from a lot of people that use canned or synth drums.  “Prairies” sounds like a song out of time in many ways, it was obviously written and performed sometime ago, but Orgasmo Sonore breathes such a vivid new life into it that it’s hard to imagine it’s not just a pastiche or homage piece to the songs of the past, but is in fact the real deal.  Following on “Prairies” heels “White Sands” is the quintessential idea of international film muzak to my mind.  Soft, totally non-threatening guitars croon beneath a lithely shifting section of warm mellow strings and keys.  To be honest, “White Sands” actually sounds a lot like something off of the Manos: The Hands Of Fate soundtrack, which is also coincidentally going to finally be seeing an official release on vinyl this year as well.  The surrealistic tones and bizarre structure of much of the Manos material is quite evidenced in “White Sands” and give a very good clue of where the composers from Manos were drawing much of their inspiration.  “Viadotti” keeps the playful warm energy going with the next track, this time relying more on synthesized horns than strings though.  All I can imagine is two young lovers running about in a brightly lit sunny field playfully flirting in the most cheesy innocent 70s cinema sense.  The drums bound and bubble while the bass follows it accordingly and the flutes are most definitely back at this point; you can actually hear several different types if you’re paying attention in fact.  The funky, almost disco vibes of “Viadotti” are seriously infectious to say the least.  Even if you’re not a big fan of this type of stuff normally, I guarantee that this song’s going to get you!  “Tempo Suspero” instantly shifts back into my wheelhouse from there, the original composition is after all by Bruno Nicolai who I have a pretty deep affection for.  The tense, hammered harpsichord key progression that jangles above the ebbing waves of choral voices chanting beneath them, they mix and blend with the distorted electric guitar delivering a secondary lead line for the song, almost battling it out with the synth harp, before seamlessly melding together into a perfect combination of both during the apex and subsequent ending of the song.  “Tempo Suspero” is absolutely, undeniably, certifiably, one-hundred percent bad ass!  And in my opinion “Tempo Suspero” makes Revisiting Obscure Library Music worth the price of admission simply on it’s own, far outshining it’s original counterpart and standing as a glowing example of the magic that Orgasmo Sonore is able to interject into his music even when it’s someone else’s composition.  “Canon” contains a clip of some dialogue from some film from some country, though I have no idea what language it is, what movie it’s from, or what they’re talking about.  All I know is that it isn’t English, but you can draw enough from the way the dialogue is emoted to form an emotional linchpin for “Canon” which is important.  It’s a well thought out plan on Sonore’s part that, as always, plays out nearly flawlessly.  Gentle and yet somehow strong, like green wood able to bend forever without breaking, able to resist fire, able to re-grow and rebound, living and breathing – the music of “Canon” is truly breathtaking.  The seemingly simple shifting melody of haunting strings behind soft muted flutes that breath atop them are at times ghostly and haunting, while at all times absolutely beautiful.  “Canon” appears to be the essence of this project, and I think that Orgasmo Sonore has an ability, an ability to see what others can’t, an ability to breathe a new life into the sounds and emotions that he can see and perceive in the world around us that others miss and “Canon” may be one of the strongest examples of that.  “Canon” should probably come off kind of hackish or uninspired, but instead Orgasmo Sonore drives it home to a deeply emotional place based, in the most simple and pure of memories and emotions.  It’s a level of thought applied to music that very few people outside of the actual soundtrack field are even capable of beginning to comprehend, let alone apply.  Moving forward “Confronto” is another piano and harpsichord driven song.  This time though the song’s much more in the thriller vein, the piano and harpsichord being teamed beside groaning organs and a series of echoed bass lines that hold the entire piece together.  I’d really love to hear Orgasmo Sonore tackle one of these Revisiting albums with just his choice of mystery and thriller stuff as I think that’s where he shines the most, but maybe that’s just my closed mindedness speaking because honestly, given a choice, I’m not sure I’d see a single limitation placed on Orgasmo Sonore outside of something Frank would dream up himself.  His work is always intriguing and his vision unparalleled, being just a few of the reasons he’s one of my favorite things going right now.  His intricate ear for detail and attention to such things makes him perfectly suited for creating rich and vivid performance, even if like “Confronto” they last only about two minutes.  During this finite period of time “Confronto” wavers back and forth between suspenseful mourning tones and fits of diabolical fear of some unknown thing that’s stalking you through dark streets and darkened alleyways of Orgasmo Sonore’s music that lead to “Moonlight Drive”, which is another of Revisiting Library Music’s most interesting moments.  It starts off woefully sullen, a choir of voices chanting in unison behind a slow melancholy melody, before exploding into a synthesizer lead a la the original 60s Star Trek and getting funky with it.  And I do mean funky.  The bass and flutes begin to square off and shimmy down repeated progressions of call and repeat with each other.  Now, some of this album feels like much neglected soundtrack work that could have been, or was, drawn from some of the great composers of the giallo and horror world, but this is not one of those tracks.  “Moonlight Drive” attempts to really bring home the idea that you’re listening to a much more inclusive and altogether probably more interesting and intelligent collection of music than such a stilted pigeonholed view of music from that period.  “A Mind Level” combines¬¬¬ the two opposite sides of the same coin in one convenient package right after that, as if subconsciously agreeing with me.  It’s at once both very rooted in the Carpentercore synth heavy sound of horror as well as the funky giallo and westerns soundtracks from around Italy.  It’s an extremely interesting combination to say the least.  Jazzy 80s guitars team up with a romping bass to tag team on and off with the heavy lead synth lines that permeate from “A Mind Level” from the bottom up.  The next track “Electric Manages” takes the world music genre and ingeniously flips it on its head.  At first it sounds like fairly generic world music, but then the creepy synthesized progressions and blips of keys begin to appear.  It’s also the only song on the album that I’m aware of that utilizes a vocoder, if only for one line ‘electric nightmares’ which is echoed several times throughout “Electric Manages”.  It’s as funk and giallo disco as it is discombobulated horror or thriller fodder, and it thinly treads a line of foraying into almost laughable territory.  But somehow it never once even sets foot there.  Again I think this is proof of Orgasmo Sonore’s impeccable taste and untouchable knowledge of the proud heritage from where he draws his sounds, influences, and sometimes as in this case, even compositions.  “Space Team” may well be the best track on Revisiting Obscure Library Music but I’m not sure I can explain exactly why that is.  The tightly wound synth arp in the background melts into the undulating synthesizers that probe the gritty world around them, gliding effortlessly above the rest of the mix.  It may be the almost flute like tones that Orgasmo manages to smuggle into the song, but it’s one a minute and forty seconds and I’m kind of unsure how such a short piece of work can be my favorite piece amongst such an impressive collection of otherwise pretty well full-fledged full-length songs.  Finishing out the album is the track “Gypsy Manou”.  “Gypsy Manou” seems to combine every type of music present on Revisiting Obscure Library Music, the few extremely heartfelt almost ballad like songs such as “Canon” notwithstanding, however it’s the only other track on the album with any dialogue, and again in another language, so don’t ask me what they’re talking about.  There’s funky dissonant electric guitar in the background though, tight lively drums holding a tightly wound jazz rhythm most definitely inspired by Goblin, and there’s some wonderful piano work as well.  It’s amazing to think that one person is able to simply pick up this many different instruments, sounds and unconnected pieces and then assemble them back into a reconstructed interpretation of music of which most people would have dismissed or simply forgotten about.  The triumphant lead lines of the electric guitar that build and grow along with a hissing synthesizer snarling a repeated melody along it’s side begin to break down more and more and when it’s finally greeted by a small symphony of strings, it exudes one last call into the darkness before withering away into a shrinking pinhole of sound to end the album.  Revisiting Library Music is an impressive album for a lot of different reasons, but none more so than its subject matter.  This is music that other people considered toss away stuff, nothing to be acknowledged or admired.  Frank Rideau not only vehemently disagrees with this sentiment, but with his absolutely back breaking release schedule I have no doubt that he’ll be delivering more testaments of his sermon in his continued attempts to win people over to this kind of music and his style of viewing music.  His all-encompassing, all welcoming acceptance of all things presented to him with a truly open mind.  I still remember the note that he sent me with the LP.  All it really said was, “Hope you enjoy this and it introduces you to a whole new world of music”.  It has Frank, it most certainly has.  I pay more attention to every note on every single thing that I watch or hear.  I appreciate cues and clips more.  In short, Orgasmo Sonore made my world a little bit of a better place with this album and I don’t think I’ll ever be able to thank him enough for it.  If you want to get in on the experience than I highly recommend you get a move on.  Everything that Cineploit puts out is limited, even their CDs are usually limited to no more than 500 copies.  So swing by there brand new webshop (don’t worry there’s a link below, no need for nasty Google searches) and if you need more testament to the skills and diverse nature of Orgasmo Sonore’s music than check out the SoundCloud link below for everything you’d ever need.  Oh, and enjoy!

- Listen to some music here: https://soundcloud.com/orgasmo-sonore/sets

Review made by Roman Rathert/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Martin Rev - Clouds Of Glory (2015) review


Martin Rev - Clouds Of Glory (Permanent Records, 2015)

Now most people are probably more familiar with Martin Rev, also known as Martin Reverby, for his work with the band Suicide, but he also has an almost schizophrenically eclectic back catalog of material.  Now, this isn’t to imply that he’s crazy or untalented, as obviously he’s far from either of those things.  It is instead, to point out the jaw-dropping versatility that Reverby is capable of as an artist.  A lot of people like to label use descriptors like, “it’s like a Suicide album/song BUT...” and there’s no need for such things.  I mean, Suicide was supposedly the first band to use the term Punk Music to describe their music for god’s sake, and this is not punk music.  This work, while it does resemble his work with Suicide in the vestigial sense as it’s somewhat in the same vein, has a completely different feel – at least to this reviewer.  As it’s instrumental, Rev seems to have chosen to move in an alternate direction with this material, trusting his gut instincts about the material, favoring certain differing aesthetics and a broader sense of identity than anything he did with Suicide.  I think that a lot of this is because his work with Suicide was of course accompanied by vocals.  Clouds Of Glory seems to be Rev stepping out from behind the shadow of words, which can sometimes be more of a hindrance than a help, depending on what you’re trying to get across and convey with music, and more importantly in this case, depending on the feelings that you’re trying to express.  These tracks seem like they would just as at place on a soundtrack as they would on a standalone album.  In fact, the album reminds me a lot of early 80s action film soundtracks in the best possible sense, and least contrived ways.  The throbbing beats of the album opener “Rocking Horse” just never let up once they start, sampled noises and gargling synthesizers burst through the veil of thickening sound from time to time with small enunciations of melody in a seemingly lopsided conversation between the two.  The stuttering feedback loop that backs the entire track is like a dense soup of mired grit and grime, trapping your ear in a pit of delightful misanthropic musical quagmires.  I’m still not really sure if “Rocking Horse” is a song, or actually a discarded experiment by Brad Fiedel devised for some abandoned film project.  Either way, I’m glad as hell “Rocking Horse” found its way onto Clouds Of Glory.  The bell like progression that ring throughout the song are the only thing that keeps it from going completely sideways several times, with rhythms that seem to unhinge and then move perfectly back into place following sporadic outbursts.  The relentless beat of “Rocking Horse” finally fades and gives way to the tidal wave like openings of “Parade”.  A single pulsating plasma beam of blackened low end synthesizer joins in a blaring Gregorian chant with noise after noise, decibel after decibel, stacking on top of each other like a fifty-car pileup.  Slowly fragmented stuttering bursts of sound and noise start to pop up in the song, each time stranger and more abstract than before.  There’s a pensive dread that builds from the slowly moving mountain of sound that is “Parade”, and as it picks up more and more steam, getting louder and louder, more and more in your face, the shape of what you’re confronted with finally begins to take shape.  It’s a hulking juggernaut of skull battering bottom end.  Bass begins to drip from every possible orifice of your speakers, chocking out anything that’s not slipped into the tight little pockets of slight repentant mercy of the bass.  “Parade” is like staring up at a mile high wave of water moving towards your city.  You know you should turn and run, it should horrify and shock you.  But instead, your legs refuse to work and you just stand there looking, unbelieving at the horrible beauty that you’re starkly confronted with.  Once the onslaught of “Parade” is finished the Rev lets up a little and hits you with an unapologetically sappy pop love song progression in the form of “Whisper”.  I recently heard a synthesized tribute to Angelo Badalamenti’s work on Twin Peaks and this actually reminds me a lot of that – you know, except that this predates that show by more than a decade and all…  There’s a tender softness to the key work on “Whisper”.  Everything is smooth and soft, layered so as to be like silk on the ears.  “Rodeo” on the other hand kicks things back into hard and heavy mode real quick though.  Slamming on the accelerator, a thundering blast of repetitive bass and crunchy explosive beats carpet bomb the landscape into oblivion, accompanied all the while by what I can only describe as the sounds of an oncoming alien apocalypse.  You can hear the ships as they enter the atmosphere, laser and plasma beams (likely in the 40-watt range) levelling entire cities if you just listen.  “Rodeo” puts any 8-bit band out there today, trying to ride the wave of nostalgia of classic video games, to utter shame.  When you hear songs like this you realize there were just some individuals born to write certain kinds of music, and this seems what The Rev was destined for though he may have dabbled in everything else at one point or another.  The disjoined paranoia that seeps from the song like the stench of fear on a cornered rat is overpowering at times; buzzing and whirring sounds escape from one side of the mix to the other, carrying in tow wakes of shimmering gossamer tones that they sprinkle throughout the dark expanses of madness.  The farther you get into “Rodeo” the more it feels like a video game nearing its end.  Things are moving at lightning fast speeds, nearly teleporting at times.  There’s sweat beading up on your brow, and you almost begin to question how much longer you can take it.  It’s overwhelming your senses and the pressure it starting to make your heart beat like a jackhammer in your chest…  At six minutes the song finally begins to withdraw its tendrils of subconscious angst from your brain and begins a new transplant with “Melatron”.   This album was released in 1985, twenty-nine years ago at this point and it’s astounding how well it’s aged.  The music is so dynamic and fluid, shifting like water from one place to another in “Melatron” and Rev makes it seem simple.  The shortest song on Clouds Of Glory is four minutes, and most of the rest, “Melatron” included are around six minutes long.  It’s hard to keep people’s attention, or at least my attention at least, that long when you’re working with really abstract notions and soundscapes.  It can just get into some really murky, monotonous, boring territory for me.  Rev manages to avoid the regular trappings with his music though, as there’s absolutely nothing regular about this man or his music, and there never has been.  “Melatron” is another blatant rejection of the regular idea of how a song should be constructed or executed, something that Martin Rev still continues to toy with to this day.  Throughout innumerable collaborations, projects and releases his strong stance as an unbending, uncompromising artist has remained intact.  And listening to something like “Melatron” you can see why he’s remained so true to his own musical vision – because it’s a damned interesting one.  The album finishes off with the titular “Clouds Of Glory” track, and holy mother!  This thing sounds like what The Warriors soundtrack should have sounded like!  The street grit is just oozing out of pore.  Pensive electronic percussion bites and stings the background of the song, before echoing and rocketing right at the listener in the mix.  Rev’s usage of creative mixing and subtle panning on the album is extremely impressive.  Clouds Of Glory sounded great on my speakers.  Through a set of headphones though, songs like “Clouds Of Glory” really come alive.  Clouds Of Glory really seems like one of those albums designed by another guy out there who loves to stick on a set of headphones and just block out reality for a few minutes.  I don’t know how else to describe what “Clouds Of Glory” sounds like.  It’s fun.  There’s a truly bad ass feel to this song.  The bone crunching blows of synthesizer pummel the listener over the head like a lead pipe, while the entire time the background of the song sounds like it might just pull out a knife and shank you without warning.  Clouds Of Glory ends almost exactly as it began, with an unexpectedly aggressive attack, challenging the listener and making them conform to the music, not the other way around.  While there are a lot of reissues and stuff going on it’s nice to know that labels like Permanent Records are doing their best to shine a light on some of the truly overlooked bedrocks of music.  The heritage of a lot of stuff going on right now is taken for granted and folks like Permanent are trying their best to make sure that while people look back, they examine some of the people who were so important they got overlooked in the past.  Not that Martin Rev was overlooked.  He’s enjoyed a long-lasting, fruitful career and this album is great evidence as to why, this album just hasn’t always been available.  Permanent has done another bang-up job and it sounds and looks great.  It’s limited to only 500 copies world-wide though, so I wouldn’t sleep on this as no wave and ambient dark wave electronica are two things you just can’t keep on the shelves these days.  There’s links below to check out some of the album and of course to pick yourself up some wax.  Oh, and did I mention that if you buy it from Permanent you can get the super limited Silver Wax Vinyl?  What about the fact that the Silver Wax Vinyl is limited to only a 150 copies?  Don’t sleep.  The color version isn’t available anywhere else and it won’t be around long so make sure and secure your copy today folks!


Review made by Roman Rathert/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Slasher Dave - Lunatic (2015) review


Slasher Dave – Lunatic - 7” (Bellyache Records, 2015)

Of all the recent horror themed synth worshipping bands that are out there right now, only a handful of them have really managed to catch my interest.  And at the top of that list is Slasher Dave.  I don’t really know jack about the Slasher Dave outside of the fact that it will occasionally include the odd guest on guitar or something, but for the most part it’s just really the brainchild of one seriously talented dude.  His last offering, 2014’s Tomb Of Horrors (Review Here) was one my top ten albums of the year, but it’s been a while since I heard much out of him.  Now, all of a sudden he’s released his first soundtrack, at least to my knowledge, the Chubbies Original Soundtrack and a brand new seven-inch EP of four previously unreleased tracks of his patented pulsating, wailing insanity, called Lunatic – both of which are for the Bellyache Records label, the guys responsible for Voyag3r’s album Doom Fortress if that rings a bell for you.  I don’t know if the Lunatic EP is a glimpse of some new material for a new record or Slasher Dave just felt like these four tracks were a kind of self-contained series/unit that stood on their own, but either way, man, am I happy to hear some new tunes from this guy!  “Disturbance At The Mackenzie’s” slithers and glides out of the gate with hypnotic tendrils of synthesizers reaching up from a glittering bottomless pit looming in front off you.  Gritty, echoed bass rumbles up from the demonic chasm into your headphones before suddenly beginning to transmogrify and then lift, like a fog in the amber morning twilight.  Pulsating beams of plasmatic sound begin to slither and drift towards you, their grasp gargantuan and inescapable.  Suddenly, sirens in the distance snap you back to some semblance of reality and you realize that you’re knee deep in undulating synths that are drowning out screams coming from another room of the house.  But just as you head to investigate where the muffled cries are coming from, we fade from that scene and the titular “Lunatic” gets underway.  It’s a truly heavy sounding song, thundering drums that threaten to crack and break apart, hammer ominously as a mist of creeping synthesizers slip in from the top end, disappearing and then reappearing like specters at will throughout the short arrangement.  Sinister stabs of bass and a growing sense of impending doom pave the way to transition from “Lunatic” to for “Evil Lives Forever”.  “Evil Lives Forever” sounds like it could easily have come off of last year’s Tomb Of Horror LP but it’s just at home here on this four track compilation of bedlam amongst the inmates of the asylum known as the Lunatic EP.  A slow lumbering rhythm bubbles up behind the veil of the restrained soundscape of “Evil Lives Forever” until the ghastly organ-like procession of synthesizers begin.  One by one they step into the mix, each one darker and more foreboding than the last, until they’ve created a lurching Frankenstein’s monster of unholy sounds.  As they reach the peak of their frenzy the wails of the organs fade and give way to the heavily Halloween III influenced sounds of “Darkside”.  If there wasn’t quoted dialogue throughout the song it literally could have come off of some unused reels from some of Carpenter’s top-shelf stuff.  But the longer you listen, the more you can hear one of Slasher Dave’s trademark pads in the background, a sting that I have fallen in love with over his past two albums, and one that marks it as uniquely his own.  The tracks on Lunatic are all good, they’re short, sweet, and straight to the point – really, I don’t know what else you could ask for from a release.  I can only hope that this is a primer for a new album from Slasher Dave, but either way this is a killer EP of four tracks that any synth loving, horror, giallo or dark wave electronic freak is not going to want to miss out on.  Slasher Dave’s stuff doesn’t always immediately sell out, but rest assured it won’t stay in print long.  For now Lunatic is available in equal pressings of 250 copies on Black Wax and 250 copies on Red Wax, but that red stuff ain’t gonna stick around much longer, so get on it if you want it!  If you’ve read my review of the Tomb Of Horror (Review Here) or even just checked out Slasher Dave’s stuff before than I probably don’t have to sell you on the guy, but I seriously recommend his stuff, it’s top-shelf, certified bad ass with no questions asked and one hundred-percent It’s Psychedelic Baby endorsed!


- Listen to some music here:  https://bellyacherecords.bandcamp.com/album/lunatic 
- Buy some music here:  http://bellyacherecords.com/store/records/ 

Review made by Roman Rathert/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Music On Vinyl


Music On Vinyl is a vinyl only record label that releases high quality 180g LP and 7" vinyl pressings of titles licensed from a wide range of record companies and artists who control their own repertoire.

These are both re-issues of classic titles, or a simultaneous vinyl release to complement a CD/DVD release, all marketed under the Music On Vinyl brand, which vinyl lovers worldwide recognize as a trusted name providing a superb LP vinyl product.

When did Music On Vinyl came to realization and what's the story behind its formation?

Music On Vinyl was established in 2009 as a cooperative effort between music distributor Bertus Distribution and vinyl pressing plant Record Industry. Out of a mutual love for vinyl, as well as building on the strength of each individual company in manufacturing and marketing vinyl, our aim is to market fully licensed classic and brand new albums on audiophile quality vinyl.

What was the original concept? 

Apart from reissuing classic albums, we are more and more releasing brand new albums, as demand for vinyl of contemporary artists and their latest releases has been a significant factor in vinyl’s resurgence. Artists themselves also increasingly demand vinyl releases of their latest work, which MOV still facilitates to this day. 

You are covering a wide variety of Rock, Jazz and lately also Classical music. How do you select your reissues?

Good, timeless albums simply deserve vinyl pressings, and we know our music. Each individual in our team has their own taste and deep knowledge of catalogue and new artists. Our audience can file requests for vinyl reissues through our website www.musiconvinyl.com, which we take into consideration as well. 
Bringing out quality music is the one main factor in our release schedule, regardless of genre. Like our Classical releases, each and every one of them are essential albums in music history in our opinion. Also, last year we introduced At The Movies, a sub label specifically targeted towards soundtracks and scores. 


How many people work in your company?

Currently we are with 5 people working full-time, managing the product development, marketing and promotion. Apart from the core team, we work closely together with said companies (Bertus and Record Industry) when it comes to sales, distribution, promotion, manufacturing, packaging and quality control. 

Can you tell us a bit more in-depth what is the releasing process like?

First we get in touch with the copyright owners and see if there is potential for good quality release(s). After a particular (range of) title(s) is approved for a vinyl release, we source the audio and art from the same copyright owners. We use original metals, tapes and digital master recordings on high resolution audio files. We don’t use CDs as masters. 
We regularly cut new metal masters using the latest advances in technology. Some releases require DMM (Direct-to-Metal-Mastering), some require a lacquer cut. It all depends on the audio, sound, dynamics, time length per side, and so on. Meanwhile, we prepare the original artwork for printing. Sometimes the art needs polishing and fine tuning, which takes additional effort. After everything (audio & art) are approved by the copyright owners, we press the vinyl and sleeves, after which products are packaged, stored and ultimately sold from the distributor’s warehouse. 

DMM cutterhead.

Do you have your own mastering studio?

We use the cutting rooms present at Record Industry. Their mastering engineers have years and years of experience cutting quality records, and the gear is top notch. Whenever needed, they can add the finishing touch to the vinyl master.


How about pressing plant?

We press exclusively at Record Industry in Haarlem, The Netherlands.

Can you tell us about the audio gear you're using? What turntable, cartridge etc. 

For an overview of audio gear Record Industry is using to cut their records: http://www.recordindustry.com/audio-artwork/.

How many albums have you released?

We have released over 1.500 vinyls so far, including box-sets, 10”s, 7”s, limited editions etc.

You're one of the very few record labels, that really releases only vinyl format. What led to such a decision?

We are a bunch of vinyl enthusiasts who love what we do. 7 years ago, vinyl wasn’t as huge as it is today, but there has always been a consistent demand for classic albums. Very few albums were available on vinyl those days, so our thought was; let’s fill in that gap.


What are some future plans for Music On Vinyl?

More lovingly manufactured classic re-releases, brand new albums, soundtracks, more music in every genre imaginable… and in the best quality possible. Another goal would be to enable record shops to grow their business further, so in 100 years, there will still be record shops for our grand kids to shop at. One of these initiatives is our online store locator (containing a whopping 750 addresses in Europe alone, and growing weekly) which gets thousands of visits each day, and the recently launched VINYL STORES Tumblr photo blog, where every record store worldwide (also those who don’t sell MOV) can upload a few pictures to get more exposure to the vinyl buying public. 

What’s your opinion about the great vinyl comeback, which mostly started in USA, but it’s spread all around the world. I think, it’s the best format and that’s not only because of the analogue signal, but also because it’s a timeless object. Music became easy accessible and one of the very best format is vinyl with digital download code. What’s your opinion?

We think it’s great that a young audience is rediscovering the ultimate music carrier. Who would have thought 10 years ago… About those downloads, including a download coupon surely adds something extra to the vinyl package, but at the same time we see that streaming is rapidly becoming the most convenient solution of taking your music with you, everywhere. 

With all-round global wireless internet for affordable prices around the corner, and cloud based computing becoming a standard, these are very exciting times for music lovers. We love to see what happens in the next few years. 
However - the collectability, charm and experience of playing vinyl is something that has proven to stand the test of time, even in an increasingly digital world, and therefore we have good hopes for the future of vinyl.

Erik Guillot of Music On Vinyl.

Thousands of people are buying your vinyl records. Would you like to send a message to all of your fans.

Thanks to everybody who showed their support throughout the years and we wish large vinyl collections (and much understanding from your significant other) to everybody who just started out buying records!


Interview made by Klemen Breznikar/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

The Prefab Messiahs - Keep Your Stupid Dreams Alive (2015) review


The Prefab Messiahs - Keep Your Stupid Dreams Alive (Burger Records, 2015)

The Prefabs made a lot of noise back at the turn of the ’80s (some of it intentional and most of it recently reissued by Burger Records on the 27-track compilation, Devolver). The original provocateurs gathered for some 30th anniversary gigs and since no one got hurt, they decided to have a go at rekindling the old flames and try not to burn too many bridges – or britches – behind them. Keeping their stupid dreams for superstardom alive has resulted in this eight track (not 8-track, about the only medium it’s not available on) set of punky garage psych tunes that suggest the lads are having too much fun for grown up men in their fifties. But as mid-life crises go, this is one hell of a party!
For starters, it’s housed in a bitchin’, day-glo sleeve that’ll transport you, er, straight back to the early ’80s garage/neo-psych scene dreaming of the likes of the Dukes of Stratosphear, Dementia 13, Plasticland, and Plan 9. Going for the jug-jugular right off the bat, “SsydarthurR” swirls around your head like a mouthful of Everclear, peeling away the cobwebs and namechecking essential heroes Barrett and Lee (I guess “BbarrettleeE” was too obvious!) 
If The Monkees ever recorded real garage music it might sound like “Weirdoz Everywhere” (dig those “Hey, hey, hey, heys”!) And every punky garage band had to have a token surf tune, right? So the ‘Fabs through some eerie theremin onto a Peter Gunn theme, toss in a riff right off their old “Paint It Black” record, and graft on some Surf Punks’ shenanigans and lock everyone in the “Orange Room”.
The band continue their tip of the domes to their heroes and influences with a ride in Bobb Trimble’s suped-up wheels, “Bobb’s Psychedelic Car” and circle around for a quick reprise with Syd, Arthur, and all their freaky friends. Hop on board and join the trip to keep your own dreams alive, stupid or otherwise.

Review made by Jeff Penczak/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Pro-Ject Audio Systems


Austrian based company Pro-Ject Audio Systems provided their turntable and headphones. Pro-Ject is a worldwide known company for turntables. What we have here is RPM-1 Carbon with Ortofon 2M red cartridge. This is a radical concept that does not compromise sound quality at an entry-level price. RPM-1 Carbon utilises a lot of innovations and enhancements. If you want to play vinyl records and don't want to spend a lot of money on a new turntable this is the perfect solution. No complications, just plug & play. 


Read more about RPM-1 carbon.

Interview with Justin Jackley


Justin Jackley is an artist from Austin, Texas. He's a great friend of our magazine and also our official illustrator. He made all the headlines and logos for us and his artwork can be seen on the cover of our first physical issue of the magazine and also on a cassette we released. That's not all. He's also involved with various other projects and he has made several cover artworks for bands from all over the world. Here's our interview with him. For more go to his website.

How old are you and where are you originally from?

I am 31 years old and I was born and raised in San Antonio, Texas.


How old are you and where are you originally from?

I am 31 years old and I was born and raised in San Antonio, Texas.

What was your home like when you were growing up?  Was there a lot of art or music around your house?  Were either of your parents or any of your close relatives musicians or artists?  Or maybe just extremely interested/involved in the arts?

I grew up in a pretty "normal" suburban home in the '80s and '90s with a police officer father and a nurse for a mother.  My parents didn't seem to be too much into art or music.  They mainly only listened to music when driving and it was always country pop stuff that they would listen to.  I didn't like it then and it really gave me a bad impression of country music until much later when I discovered the older stuff - the "outlaw" country musicians that actually had something to say.  I remember my father having a decent collection of 8-track cassettes and records of '70s rock bands but I rarely remember him ever playing them.  Both of my Grandmothers were artistic and painted as a hobby.  Mostly landscapes and still life - the usual grandma stuff.  The more I think about it, my family was so not into art, music, or literature that it made me have a strong interest in those fields.

What was the local music scene like where you grew up?  Did you get very involved in that scene or anything?  Do you feel like it played a large role in shaping your musical or artistic development?

When I got older and realized there was much more music out there other than what I had been hearing from my parents' radio, it was exciting and a bit of a relief.  Aside from the vast majority of people in Texas that listen to bad country and/or tejano music, there was a strong presence of punk and metal with the younger people.  I never realized how metal-oriented San Antonio was until I moved a couple hours north to Austin where the music scene was much more laid back.  However, San Antonio was punk and metal.  I've always been a bit of a recluse or a loner for some reason and didn't make it out much.  I had a few friends that played in bands and I'd go to shows occasionally but I wasn't involved in the scene at all.  It wasn't until after college and I moved to Austin that I began to get involved with the music scene which was much more welcoming.  At that point I got really into making fliers, posters, and album covers for friend's bands or people I'd meet around town.  That led to me setting up art tables at shows and doing live painting performances while bands would play.  I love music but have no musical ability at all.  I was happy to use my art to get in and make some sort of contribution in that way.

What do you consider your first real exposure to music to be? And how about art?

Like most kids growing up in the pre-internet days, we were pretty limited to only hearing the mainstream music of the time.  I wasn't interested in my parent's music and there were no music stores nearby to help me out.  I was limited to the one rock station in San Antonio and, of course, the ubiquitous Mtv.  So, I'd have to say it was really Mtv that first opened my eyes to the world of music in the late '80s and early '90s.  At that time, it was mostly alternative/grunge stuff I was into.  Although, I'd say that Primus probably had the most profound effect on me.  It was great to hear something funky and weird that didn't sound too much like all the other bands of the time.  Primus' Sailing the Seas of Cheese was the first CD I ever bought (I won't go into detail on my cassette collection).  I still have that CD - although, it is scratched to hell.  Luckily, I bought the vinyl re-release last year and it is still an amazing album if not even better and more meaningful than it was to me back then.

Art is another thing I wasn't really exposed to as a child.  We had grandma paintings on the wall but that didn't really do it for me.  The closest thing I had to art exposure were cartoons - which I loved and watched and drew over and over again.  I think becoming a cartoonist was the first legitimate idea I had for a future career.  I still regret not being in the animation world but it's certainly not too late. 

Who are some of the major influences on your work?

First seeing the otherworldly paintings of Hieronymus Bosch had a big influence on me as a teenager.  His large landscapes filled with bizarre creatures  and tormented figures are fascinating.  It's even more amazing that he may have actually seen these sort of things on a daily basis due to ergot poisoning that causes severe hallucinations (among other less desirable effects) and was widespread in Europe during his lifetime.  As I began to look deeper into art history, I found myself drawn to the surrealists of the early 20th century - Max Ernst, Andre Masson, and Rene Magritte to name a few.

In more recent art, I really like Frank Frazetta, RodneyMatthews, and Ralph Steadman.

What's your opinion regarding '60s poster making artists?

The big poster artists of the '60s, of course, also had a major influence on my work.  I really admire Mouse, Kelley, Wilson, and Moscoso - but in my mind, Rick Griffin will always be the rightful king of poster art.... I admire those artists for bridging the gap between fine art and advertisement.  I realize that they were not the first artists to do this - Toulouse-Lautrec and Alphonse Mucha being early pioneers in the poster world, but there is something to be said about those '60s artists being in the right place at the right time with the perfect balance between progress and rebellion that had a lasting effect on the world.  Those artists are still massively important today.  Honestly, it's hard for me not to see the influence and borderline copying of Rick Griffin's posters - especially his iconic text style.  I'm definitely guilty myself of lifting things from the masters but I try not to take it so far as to get lost in all the imitators and lose my own identity as an artist - but there is nothing wrong with a nod to our predecessors.

How would you describe your style?

I would describe my style as "tripped out lowbrow surrealism".


Are you a self-taught artist or do you have any formal background/education in art?

I've always taken art classes throughout my public education and later on studied art in college.  I have a BFA (Bachelor of Fine Arts) in painting from Texas State University in San Marcos, Texas.  I really miss college classes sometimes and wish I had the time and money to go back to school.  Not so much for the degree but to continue pushing myself and growing as an artist.

What’s the typical creation process like for you? Do you work on various of stuff or do you focus on just one particular project you're working on?

It depends on whether I am working on personal artwork or a project for a customer.  In my personal artwork, I usually begin by just scribbling nonsense until it begins to look like something cool.  If it still looks cool the next day, i may enlarge the whole thing or a section of it onto a canvas and go full color and more detailed.  Although, sometimes I just go straight for the canvas.  If it's awful - I can always just paint over it again.  Working for a customer takes much more prep work.  When trying to satisfy a paying customer, that usually takes more research, reference images, and preliminary drawings. 


I tend to take on more projects than I probably should all at once.  At any given time I am usually working on a few album covers and/or posters as well as some personal projects and whatever else may pop up.  I have a hard time telling people "no" and sometimes really stress myself out with too much to do.  But I'd rather have too many things to do than sit here with nothing to do.

Do you have any preferred mediums when it comes to creating your artwork?

My favorite medium is probably ink and watercolor.  I love the looseness and unpredictability of the watercolor and the permanence of the ink.  I do like the way charcoal drawings look but I hate the way they are so fragile and want to smudge.  With charcoal or pencil drawings I might as well take a photo and trash the original - it will last longer.


Do you accept commission work?  If you do, what’s the best way for interested parties to get a hold of you about that kind of thing?

I certainly do accept commissions and welcome them!  I would love to continue working with musicians and creating album covers and posters for them.  I am a big fan of music of various genres but have zero musical talent myself.  I enjoy being a part of the music scene through my art.  As an artist, I am really glad that we are having this vinyl renaissance going on and that I occasionally get the opportunity to design record sleeves.  That is the way album covers were meant to be seen - large!  Not a tiny square on an ipod.  Any bands or otherwise that think my style may work for their particular project can email me at CROM1513@hotmail.com or find me through facebook if you must...

What are some projects you're most proud of?

One of my favorite posters was in fact rejected and never used!  A few months back, I was asked to make a poster for some friends in Scotland in a band called the Mushroom Club.  I had worked with them for quite a while already doing album covers, posters, and t-shirt designs.  They had a show coming up opening for Dead Meadow (interview here and here) and the Cosmic Dead (interview/review).


I was really excited because I love all those bands and worked really hard to make what I thought (and still think) was an excellent poster.  I even made amendments adding and changing the information per the venue's request.  Then, at the last minute, the venue says "No, we are not going to use your poster."  I wouldn't have minded at all if the poster they had used was super bad ass and just blatantly better than mine.  But the poster they used was a generic "psychedelic mirrored pattern" that someone got off of google images (I know this because I have the same image in my reference files) and added the information below it in very plain text.  I'm talking Times New Roman or some other default font.  I contacted all of the bands and they seemed to all really like my poster but it wasn't their call.  The venue chose that poster that someone made in 10 minutes for whatever political reasons that were out of my control.  It still kind of burns my ass how much time and effort i put into that poster and it never made it beyond facebook.  But that's alright - hopefully, I can work with those bands again and make something bigger and better.


I am currently anticipating the release of an album by a psychedelic band called the Strawberry Jam from London.  That will be coming out in October and be released on vinyl - which is always an honor for me to see my artwork on nice big record sleeves.


And, of course, I am very proud of my artwork for It's Psychedelic Baby! Especially the cover of the first issue which focuses on 60's psychedelic bands from Austin where I currently reside. (http://psychedelicbaby.blogspot.si/p/store.html)

Last word is yours.


I'd like to thank the fans of It's Psychedelic Baby for supporting this project and reading all the excellent articles.  Thank you to all the writers, bands, musicians, and artists that make it all possible and keep their positive creativity going and sharing it with the world.


Interview made by Klemen Breznikar/2015
©Copyright http://psychedelicbaby.blogspot.com/2015