The Crystal Rainbow Pyramid Tour is an apt name for two psychedelic bands on tour in the United States. Mammatus, a recent addition to the revival of psychedelic, progressive loudness are from Santa Cruz, California. Their first record, featuring artwork from Arik Roper, is a stumbling cohesion of early Dead Meadow and Sleep. Pure fantasy is summoned in four long, down-tempo psychedelic allegories; swords, dragons and the epic all notably included.
a pioneer of this reawakening, alongside the likes of Witch and Dead Meadow
It was quite surprising to see them turn up with so little amplification, albeit what was there was a marvelous shrine to the essential criterion of a psychedelic aesthetic. However, this first worry was pretty much the only thing I could take into account that was negative about their set. The clarity of all the layers of reverb and echo was outstanding, and at times, thanks to my persistence with a desire for stoner authenticity, the perspiration on each member’s skin seems to be resonating and reverberating — giving of an aural affect. Pretty much like the fun you’ll have with a Sunn 0))) concert, but without the novelty of some really loud amps. Mammatus are as good as the originals, but their efforts aren’t completely familiar with their predecessors from the Nineties. Theirs has much more inclusion of the criterion that produced the original Psych and Doom of the late Sixties and onwards, including a larger ensemble of effects, and more focus on the grander scale of psychedelic potential. This tour, hopefully, will throw Mammatus down as a pioneer of this reawakening, alongside the likes of Witch and Dead Meadow.
sometimes insouciant as a result of being exhausted
Acid Mother’s Temple have in recent years set themselves in the armchair of fame, with top festival performances worldwide and a string of successful records. Hailing from Japan, this collective plays vintage style: walls of sound and eccentricities in all used instruments, especially Kawabata Makoto’s various demonstrations of calamitous, mind-being solos. After having seen the band a few times now, it was surprising to see a show that was not completely mind blowing. Again, they did not play loud enough, and new addition Kitagawa Hao and her theremin were nearly completely inaudible. It’s a shame, because the theremin is a constant driving force in the pandemonium of the Acid Mother’s Temple sound. Although the band usually employ comedy in their performance, they did more so on this occasion, and I generally feel that the band were sometimes insouciant as a result of being exhausted from only flying into Los Angeles on the day of the performance. Regardless, the show was by far not a let down, as Acid Mother’s always provide much awe. This tour is a mobile kaleidoscope roaming North America; go and take a peep.