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.

From The Vault: Caravan - “In the Land of Grey and Pink” (1971)

“Progressive Rock,” and “Concept Albums,” have a rich heritage, blending themed music, stretching out the score stylistically beyond the chorus / verse tradition, and incorporated elements of the avant garde, jazz, rock, and classical music. Progressive Rock flowered out of the psychedelic sounds created in the 1960’s, yet it was also a reaction to this same music ... and probably the very best of this genre was created by Caravan, who built on the early works done by Pink Floyd, Yes, and King Crimson, who’s albums seemed to be a series of songs strung together, while the songs of Caravan actually seemed to flow in and out of each other.

The Steppenwolf Story - Chapter Six

Steppenwolf “Steppenwolf Live” (1970)

Released in April 1970, five months after its predecessor LP “Monster,” Steppenwolf’s classic two LP set “Steppenwolf Live” was recorded, mainly at one gig at The Santa Monica Civic Center in Santa Monica, CA, during the band’s tour supporting “Monster” and was one of the soon to become en vogue double album live releases of the 1970s.

Groovy Movies - “Groovy Movies” (2017) review

To say that Groovy Movies have been influenced by The Beatles, or from the pop culture from the late 60’s, would be an understatement … so please, allow me to begin with their “Chasing the Sun” single, which is a straight ahead low tempo knockoff of “Taxman,” laced with more psychedelic Beatlesque lyrics, that are delivered with enough honesty to make you smile, and allow the band to skate on through. And I haven’t even mentioned that the picture sleeve for this single that’s been lifted straight from Love’s catalog.

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.

Ross Beattie presents It’s Psychedelic Baby podcast #22 (January)

A very special thanks goes to Justin Jackley ( for the amazing illustration of Ross Beattie in his psych-lab.

A brand new podcast hosted by Ross Beattie (The Night Tripper)

Druggy Pizza - I Wanna Eat Until I’m Dead
Hills - Montelius Väg
Electric Wizard - Mourning Of The Magicians
Bulbous Creation - Hooked
Country Joe McDonald & The Bevis Frond - Bass Strings
Uffe Lorenzen - Dansker
Boris - Dear
Gibby Haynes And His Problem - I Need Some Help
Boredoms - (circle)
Moby Grape - Seeing
Haunted Leather - Phazed
Spectrum - Undo The Taboo
Sunray - Fall To Time
Alexander ‘Skip’ Spence - All Come To Meet Her

Duncan Harrison

“To find the point at which all of my influences, inspirations and ideas meet in a single expression”

Ducan Harrison is a Brighton based experimental sound artist working within the fields of free improvisation, Fluxus-based performance art and noise. 

I consider myself a music fan, but for a while now, I got irritated by music, without really knowing why. Than I read an interview with Dylan Nyoukis in The Guardian, where he said he doesn’t like to work with ‘real’ musicians because they don’t listen, they just want to play. And than I thought: that’s the problem right there! I got irritated by music because most musicians don’t really listen, do they? That’s why I prefer the records of Graham Lambkin or Gabi Losconcy; because you hear that they have been listening to what happens around them. But enough about me. How did you get into non-music, noise and sound art?

The Steppenwolf Story - Chapter One

Steppenwolf - “Steppenwolf” (1968)

January 2018 marks the 50th anniversary of the release of the debut album by the Los Angeles based Canadian band, Steppenwolf, a group fronted by East German born vocalist/rhythm guitarist John Kay, who would go on to record six studio albums, a live album recorded very early on and aptly titled “Early Steppenwolf” and the incredible 1970 2 LP live set simply titled “Steppenwolf Live” all released on the ABC/Dunhill Records label in less than four years.