Psych Rock Saturday ft. Color Tongue

Color Tongue, an experimental quartet from Brooklyn, write songs that are as much bookmarks as they are weather forecasts; emotional meteorology. For the last three years, they’ve been exploring the corners of their attention, trying to figure out what makes them tick. Introspection meets aspiration, their sweet spot is pursuit. Their newest album 'Bealing Bells' is more chronic than chronological, a collection of disparate songs written across several months.

‘Bealing Bells’ is a three track EP that depicts the uneven growth of life. It’s a non-linear love song to our other selves. The album’s opener ‘Adult Lessons’ says good-bye to the potential of adolescence and hello to the questions that lie ahead. Adult life is deeper, longer, and more difficult. Gone are the societal milestones of youth, if you want meaning you’ve got to build it. The album reaches its peak with ‘Over The Moon’, a gonzo love note resurrected from the wastebasket. The track starts off as a playful diary entry and crescendos to the desperate plea of an alien: ’Come walk with me’ over and over again until it's conclusion. The final track “Feathers” closes the album on a more hopeful note. It's a confident stride out of the nest and into the abyss. It’s a mating call for maturity itself. Striving for acceptance of that which we cannot control, appreciation of the now, and finding joy in the unknown.

Color Tongue have been eagerly awaiting the release of their sophomore EP. A follow up to last Fall’s ethereal ‘Us And The Bugs’, a 15-minute audio/visual farmhouse opera. ‘Bealing Bells’ strikes a more serious tone. Unlike their last record, which was written and recorded in two days on a farm, this one was crafted over the course of a few months and recorded in-studio during the dreary New York City winter. It's more examination than exploration, this record is more thoughtful. Color Tongue's latest release is an ode to the changing of seasons, in both climate and life.

Consider Natural Facts by Garcia Peoples to be your heady, friendly reminder that it’s alright to let the sunshine in. The second album in less than a year from those lovable New Jersey moptops with the sweet twin guitars, Natural Facts provides a portal to the carefree place that both indie rock and jam bands forgot, and a handy alternative to whatever you may need an alternative from. Bolstering the summer glow of 2018’s Cosmic Cash with flashes of fuzz, teeth, and power, Natural Facts is a natural progression for Garcia Peoples.

The more driving counterpart to its rural predecessor, Danny Arakaki and Tom Malach’s guitars remain at centerstage on machine gun shreds like the album-opening “Feel So Great” and the rolling grooves like “High Noon Violence” (which would fit right in with one of David Crosby’s early ‘70s studio supergroups). Playing cleanly articulated lines that perhaps recall any number of other guitar tandems–Allman/Betts, Verlaine/Lloyd, Jansch/Renbourn–Garcia Peoples’ guitars are most influenced by the sound of two guys hanging out, figuring out how to play guitar together.

With Derek Spaldo (bass) and Cesar Arakaki (drums), the quartet is joined on roughly half the tracks by keyboardist Pat Gubler (PG6, Wet Tuna, Tower Recordings), who–since contributing to Natural Facts–has become a frequent auxiliary Garcia. On the quieter passages of “Patient World,” Gubler’s zones set Tom and Danny’s entwinements into an atmosphere that suggests what the briefly-lived never-recorded Barrett/Gilmour Pink Floyd lineup might have done, given another few years.

Discovering the secret and perhaps even endangered language of riffs, Danny and Tom formed Garcia Peoples in Rutherford, New Jersey in 2011 or 2012, depending when you ask). And over the past year and change, Garcia Peoples have hit launching speed, writing albums’ worth of material too fast to release. While Natural Facts is the perfect introduction to the band’s light-footed cosmic Americana, it’s only one piece of an emerging picture that perhaps Garcia Peoples don’t even quite see yet. The tapers have started showing up for Garcia Peoples, too, keeping track of the evolving song suites. Despite only having one official full-length under their belt, the band barely repeated a song over their four shows during their weekly residency at Brooklyn’s Wonders of Nature. Depending on when you’re reading this, the next Garcia Peoples show will almost certainly contain pieces of album #3 and quite probably #4, too.

It’s been a small, happy wonder to watch Garcia Peoples transmit themselves to the outside world. From up close, they’re almost too omnipresent to keep track of, playing frequently, and out watching shows around Brooklyn on nearly any other given night. Honing their chops first at their respective parents’ places, playing until they had to unplug for the night, Arakaki and Malach would inevitably retire to the 7-11 parking lot. There, they pieced together the emerging jams, fragments, verses, and other stray ideas they had yet to write, until–at least in the Garciaverse–they coalesced into distinct albums. Then they just had to record them. As of this writing, they’re only one album behind. Like a road map with constantly changing coordinates, the Garcias’ master plan is only barely that, but they plunge into the next territory with an infectious enthusiasm.

Tracked in Philadelphia with Jeff Zeigler (Kurt Vile, War on Drugs, Mary Lattimore), Natural Facts isn’t a throwback, as much as Garcia Peoples sometimes accidentally sound like a band one might stumble into at New York’s late Wetlands Preserve in the mid-‘90s. Rather, it’s a newly emerging conversation, songs and structures and solos and duos drawing from the latest and most right-on musicians to cross Garcia Peeps’ collective transom.

The classic rock guitarists of yore might be obvious subsequent touchstones, but bend your ear and newer colors emerge, generated from hours and years of talk and music. Listen close. Nothing inorganic here, just pure Natural Facts.

– Jesse Jarnow

SUSS is a new post-country, ambient Americana, boot-gazing, psychedelic band featuring Bob Holmes, Gary Leib, Jonathan Gregg, Pat Irwin and William Garrett.

$10.00 (ADVANCE) // $15.00 (DAY OF SHOW)

Tickets Available at the Door


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