Posts Tagged ‘Mexican Summer’

Sightings: Quilt, “Young Gold” (Video)

Tuesday, January 10th, 2012

Massachusettes rockers Quilt have the whole playful psychedelia thing down pat. Their use of angelic melodies and simple, repetitive, jangling guitars recalls hippie forefathers (and mothers) like David Crosby, Grace Slick, and John Phillips. The video for “Young Gold” plays into the jovial innocence of the original psych generation even more, by featuring the members of the band running aimlessly through the woods, with a long golden sheet in their hands. Simple adventures ensue as they drape the sheet in a variety of formations. This is all shot on luminous, 8mm film, recalling the experimental films of the late 1960s. The term psychedelic has taken on many meanings over the years, but Quilt continue to play with the original concept, and do it quite well.

Words: Samantha Cornwell

Quilt’s self-titled debut is available now from Mexican Summer

Sightings: Purling Hiss, “The Hoodoo”

Wednesday, September 28th, 2011

Purling Hiss – The Hoodoo from Philadelphia Philms on Vimeo.

When I interviewed Purling Hiss over the summer, one of the points that all three members of the in-the-red garage power trio agreed upon was that the band was their main musical priority and that they were dedicated to upping their profile. That point is borne out by a currently in-progress European jaunt and an extensive US tour (with The War on Drugs) they’re launching as soon as they return. Check the clip above, which features the full band lineup jamming out to “The Hoodoo,” for an approximation of what you’re in store for during a live gig. In addition, the band is releasing two separate tour tapes reflecting different sides to their sound, limited to 100 copies each. Paisley Montage is a 40-minute continuous experimental recording, while Dizzy Polizzy is a more song-oriented effort that Polizze explains shares a kinship with the most recent full-length release Public Service Announcement

Words: Max Burke

Paisley Montage and Dizzy Polizzy will be available on the current Purling Hiss tour. “The Hoodoo” is now available on Lounge Lizards (Mexican Summer). Full European and American dates available at their MySpace page

Sightings: Purling Hiss, “Voices”

Wednesday, June 29th, 2011

Philadelphia’s Purling Hiss do snarling guitar rock so well that they almost seem like a concept project about shredding. Infectious as they can be, the song structures on their first two LPs were minimal point of hard rock caricature, and always seemed more of a frame for Mike Polizze’s unchained, stream-of-consciousness guitar acrobatics than focal points in themselves. “Voices” a track from the band’s new six-track EP on Mexican Summer, sees the frontman wielding his axe in more of an ornamental spirit, searing bluesy curlicues above a hulking power chord progression and some lackadaisically delivered lyrics about not wanting to be alone, not wanting to be stoned, and not wanting to go home. Sounds like we’re arriving at the eye of the Purling Hiss storm, and discovering some real songwriting chops.

Purling Hiss, “Voices”

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Words: Emilie Friedlander

Lounge Lizards EP is out now on Mexican Summer

Sightings: Linda Perhacs, “Hey, Who Really Cares?”

Friday, December 17th, 2010

Yesterday, like most days, I spent the hours before my shift at a worldwide retail giant clicking play buttons next to numerous MP3s on the “World Wide Web.” Coming across the apparently legendary Linda Perhacs for this first time in this manner might make me a “n00b” of the highest order, but this scenario proves why reissues of forgotten classics, like Perhacs’ 1970 album Parallelograms, remain important. Thanks to the folks at Mexican Summer, countless others and myself can continue to be taken in by Perhacs’ stunning work.

Not long after my first experience with this song, “Hey, Who Really Cares?”, I found myself in a conversation with a friend working as a bank teller next door to my apartment. She told me, “…and on top of everything else Marc, my personal life is completely falling apart.” I smiled before shaking my head, shrugging, and asking her to join the club. In my head, the two of us — and the rest of our underemployed, graduating class — were sitting cross-legged somewhere in the woods, listening to Perhacs’ play this gentle song. We all nod our heads and feel sorry for the song’s narrator, whose hopelessness has smothered whatever spark of optimism once remained. But then we sit up, and we look around and realize all cannot be lost. A 1970 psych-folk album written by a professional dentist just loaded on our iPods; we march toward the future.

Linda Perhacs, “Hey Who Really Cares” (Parallelograms, Mexican Summer)

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VR SXSW 2010 VOYAGE, TOLD FROM START TO FINISH IN 66 TWEETS

Monday, March 22nd, 2010

SXSW 2010 was as blissed-out an exercise in excess as an exercise in excess can be. All in all, the Visitation Rites mobile reporting team (videographer Samantha Cornwell and I) probably caught more sun, saw more live bands, walked more miles, ate more tacos, drank more beer, laughed more, bickered more, took more photos, tweeted more tweets, shot more video, and reunited with more old friends than in all of 2009 combined. After five consecutive days of non-stop partying and documenting, however, we couldn’t help feeling a bit crestfallen when we realized that SXSW wouldn’t last forever.
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Sightings: Campfires, “Stormy Late Fall”

Monday, December 7th, 2009

campfirescover500x5001“Stormy Late Fall,” the title track of Campfires‘ new seven inch, clocks in at a mere one minute and nineteen seconds. If we notice this before we give the record a spin, and consider that it was released in 2009, we are bound to expect one of two things: a) a “two-minute” scuzzy rock anthem that rages so hard that it passes out face-down in its best friend’s bathtub before hitting the final refrain, or b) something that never really wanted to add up to a pop song anyway, a collage of field recordings and half-baked melody lines that peters out like car radio slipping out of range. So which would you rather do if you were a one-man song from lo-fi Chicago, steeped in cassette culture and its affinity for shorter run-times and rapid-fire release schedules? Would you rather burn out or fade away? Jeff Walls, who cites the evocative impact of short format fiction as one of his inspirations, actually does neither. His music operates more like a tightly pulled shot of a espresso on a late autumn afternoon: all richness and warmth going down, with an aftertaste so strong you never notice that it’s over.
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