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Psychedelic Horseshit - Laced

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Laced

Psychedelic Horseshit

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Dissatisfied with the “shitgaze” sound that they helped establish, Psychedelic Horseshit get wildly experimental on Laced. Instead of thriving in their usual fuzzy, brittle environment of distortion, Matt Whitehurst, Ryan Jewell, and Rich Johnston clean up their act and go the cosmic route with dubby electronic sounds recorded straight to a ‘70s reel-to-reel machine. Everything is still purposely half-assed and ramshackle, but crisp percussion is the basis -- much like Black Dice’s Repo, Growing’s Pumps!, or even aspects of Ween’s Pure Guava -- full of analog synths, drum machines, samplers, and weirdo sounds that are rendered indecipherable and sliced and diced in time. In fact, the name Psychedelic Horseshit is more accurate than ever, as they truly sound psychedelic for the first time, surrounded by wild soundbursts and shiny musical squiggles that would probably be called “horseshit” by most mainstream rock fans. If shitgaze seemed to go out of style as quickly as it became vogue, the mutated shoegaze of “Revolution Wavers” could potentially bring the term back to life, with its soaring, swirling synths and pummeling drums being the ideal definition. Whitehurst’s congested vocals add to the atmosphere, as he mumbles in a druggy stream of semi-consciousness about how “silver streams keep glowing up over top the city and raining scorpions down” or how the “twisted lines in carpets tend to swirl about the room, leaving behind trails, disappearing soon.” In a way, it’s perfect. A perfect mess, with Times New Viking's Beth Murphy singing a duet with Whitehurst on the spacy ballad “Dead on Arrival,” to provide a soft, cushy ballad as a resting place from all the mad beats.
© Jason Lymangrover /TiVo

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Psychedelic Horseshit

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1
Puff
00:01:28

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

2
Time of Day
00:01:24

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

3
French Countryside
00:02:49

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

4
Laced
00:03:00

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

5
Tropical Vision
00:02:50

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

6
I Hate the Beach
00:07:31

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

7
Another Side
00:02:04

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

8
Revolution Wavers
00:05:51

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

9
Dead on Arrival
00:03:08

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

10
Automatic Writing
00:02:56

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

11
Making Out
00:01:45

Psychedelic Horseshit, Composer, MainArtist

2010 FatCat Records 2010 FatCat Records

Descrizione dell'album

Dissatisfied with the “shitgaze” sound that they helped establish, Psychedelic Horseshit get wildly experimental on Laced. Instead of thriving in their usual fuzzy, brittle environment of distortion, Matt Whitehurst, Ryan Jewell, and Rich Johnston clean up their act and go the cosmic route with dubby electronic sounds recorded straight to a ‘70s reel-to-reel machine. Everything is still purposely half-assed and ramshackle, but crisp percussion is the basis -- much like Black Dice’s Repo, Growing’s Pumps!, or even aspects of Ween’s Pure Guava -- full of analog synths, drum machines, samplers, and weirdo sounds that are rendered indecipherable and sliced and diced in time. In fact, the name Psychedelic Horseshit is more accurate than ever, as they truly sound psychedelic for the first time, surrounded by wild soundbursts and shiny musical squiggles that would probably be called “horseshit” by most mainstream rock fans. If shitgaze seemed to go out of style as quickly as it became vogue, the mutated shoegaze of “Revolution Wavers” could potentially bring the term back to life, with its soaring, swirling synths and pummeling drums being the ideal definition. Whitehurst’s congested vocals add to the atmosphere, as he mumbles in a druggy stream of semi-consciousness about how “silver streams keep glowing up over top the city and raining scorpions down” or how the “twisted lines in carpets tend to swirl about the room, leaving behind trails, disappearing soon.” In a way, it’s perfect. A perfect mess, with Times New Viking's Beth Murphy singing a duet with Whitehurst on the spacy ballad “Dead on Arrival,” to provide a soft, cushy ballad as a resting place from all the mad beats.
© Jason Lymangrover /TiVo

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