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Music That Escaped From The Sixties - 25 Excursions Beyond the Ordinary
There was a brief period in the history of popular music when absolutely anything seemed possible.
Guitars stopped behaving like guitars. Organs began making noises that suggested electrical disturbances in neighboring galaxies. Drummers abandoned the responsibility of keeping time and began investigating whether time existed in the first place.
And singers, having exhausted the usual subjects of love, heartbreak, automobiles, and teenage romance, began addressing such matters as the dissolution of the ego, the elasticity of reality, the architecture of dreams, and the possibility that the universe was actually a very large practical joke.
This was psychedelic music.
And somewhere in that extraordinary territory, The Trippers have established their headquarters.
The Trippers are not particularly interested in taking you back to the sixties. They are more interested in taking you somewhere the sixties were trying to reach.
Their music inhabits a peculiar intersection of rock and roll, electronic experimentation, surrealist poetry, cosmic speculation, and the occasional suspicion that somebody has slipped something unusual into the punch bowl.
The instrumentation is familiar enough: electric guitars, bass, drums, keyboards, voices, and the assorted sonic equipment traditionally associated with making a considerable racket. What happens to those instruments, however, is another matter.
A guitar may begin a perfectly respectable musical phrase and end it somewhere near the Crab Nebula. A keyboard may produce a sound resembling a cathedral organ being played underwater by an extraterrestrial octopus. A vocal harmony may start with three singers and finish with what sounds suspiciously like an entire civilization. None of this should be considered a malfunction.