Archive for May, 2025

Some Visionary Music from California (1980-1992)

Posted on: May 27th, 2025 by zully

Lost Coast: Some Visionary Music from California (1980-1992) assembles little-known sounds from California’s metaphysical underground. Each recording is stylistically different—dream pop, guitar soli, fourth world, avant-electronic—but they are held together by a regional ethos of the “visionary.” This is music that sees through the mind’s eye and conjures new worlds.

Some people say that California is where “the nuts stop rolling”—where those too eccentric to fit in elsewhere often find themselves. What was meant pejoratively is easily reclaimed as a celebration of the free-thinking and the freely-freaking. Until the turn of the millennium, all manner of seekers rolled westward until they hit the pacific. Stationed along this edge, music was a way to roll still further, imagining territories unencountered and wavelengths as yet unheard.

Lost Coast is a commemoration of the people who made these journeys and a resurrection of recordings they made little effort to broadcast. While some pieces were originally released with modest distribution, others were only shared among friends or never shared at all. All tracks were found on cassettes in flea markets, barn sales, rural thrift stores, and even stranger places—outside a gem and mineral shop, for example, and on the ranch of a retired mescaline dealer.

Regardless of their obscurity, these recordings are eminently listenable. California, after all, is a place where the strange and the pleasurable are frequent bedfellows.

Georges Winter’s Feelmachine

Posted on: May 4th, 2025 by zully

Strange things happened when Basel-based Georges Winter found himself in California. Ocean mists eroded his rhythmbox synth-pop and spirituality trespassed on his dry humor. Winter’s punchy song-smithing found unlikely kinship with a bleary kind of ambience. He called the results Feelmachine, an appropriate designation for a project that attempted, against all odds, to graft a West Coast sensorium to Euro keyboard robotics. Nonetheless, a very Swiss absurdism remained. Songs recorded “live on the beach” are obviously stock samples of crowds and breaking waves, for example. Only melody itself was safeguarded from this parody. Mitteleuropean new wavers like a good pop song when they hear it; as it happens, so do hippies. And so Winter could unleash his twinkly chord progressions and croon at full tilt, no diplomacy required.