0014: Lukka – Encounter (2018)

On Friday, November 16th of 2018, Lukka released her very first LP — Encounter — on the independent label, Santa Rosa Records.

The album is a shimmering tale of futile hope — lost in a cosmic wasteland littered with plastic shrines and iconoclastic caricatures.

As you set aside your headphones, you wonder if there really is a connection to that thing you forgot long before. That thing that now feels like nothing more than a fading dream.

 Lukka’s Encounter (2018)
Lukka’s Encounter (2018)

Lukka’s experimental album is an iridescent trip through space and time, and will leave the listener stewing upon the greater mysteries of our ever expanding universe.

Her modern take on each and every track seems to blur the rigid lines between sixties psychedelia and the harder stuff of later decades. All I know is that she’s arrived at the perfect time — lucky for us.

Lukka’s new album is now streaming and available for download just about everywhere, and will also be available to purchase on cassette!


“We are like butterflies who flutter for a day and think it is forever.” — Sagan

YouTube Exclusive: Eyes Eyes | No Hay Dolor | Sissysocks | Paul Nelson

EYES EYES – “WAR”

Swedish/American outfit Eyes Eyes’ new indie-pop anthem “War” is an infectious track now set to film in an eerily familiar manner — depicting the lost innocence of a man floundering in the weighty depths of darkness and angst.

Actor Jonatan Blode, and Director Daniel Lundh choreograph an emotionally gripping work of art that seems to bleed the consumer at every turn. The short film was masterfully shot by Olle Lundin, and is now available via Vimeo and YouTube.

Johan Barrett is on the vocals, Markus Miljand on the guitar and keyboards, Lars Skoglund on the Drums, and Daniel Bengtson is on the bass. The chorus seems to pluck the very strings which rule the heart.

Eyes Eyes new album is set to be released sometime in January I believe — so be on the lookout my friends!

NO HAY DOLOR – “LA VERDAD”

No Hay Dolor is a beautifully fragmented trio out of Madrid — digging up lo-fi diamonds of particularly stunning clarity and texture.

They’re truly masters of their craft — and their latest experimental track “La Verdad” lays down the truth, as it slowly burns itself into a manic state of pure oblivion.

The driving drums and wailing guitars of “La Verdad” seems to harp back to a time of simpler beauties and more blissful thoughts of ignorance — a time lost in the vapor of its own reflection.

Like the legendary fable of the transcendental choir of harmonic demigods singing their glorious songs of holiness to their empress — the vocals of a mere mortal man shine through the eclectic soundscape and bestows his godlike glory upon the listener in the most radical of manners.

SISSYSOCKS – “I’LL DIE ONE DAY”

Sissysock’s latest track takes an inevitable sonic trip through the mind’s eye to remind itself of the ravenous yearning of the great abyss — a sort of murmuring whimper in the dead of night.

The soundscape shimmers with undertones of ancient atmospheric origins, and seems to whisper of a desperate heart trying to find its way back home.

“I’ll Die One Day” is a track off of Sissysock’s upcoming album, Slink Away.

As one contemplates the bizarre dualities of our flickering existence — silence shrouds the listener, and beckons him to rest his weary head for but one more night.

PAUL NELSON – “DO OR DIE”

Nashville outcast Paul Nelson delivers to us an ode of what must be done. His latest track “Do or Die” is a down-home dalliance — wreaking of an honest inflection of beauty and grit.

The jam weeps and wails its way to a happier place — a temporary refuge of hiding one can only hope to stay for but a little while longer.

The two track album was recorded at The Bomb Shelter — and was entirely written by the infamous, Paul Nelson.

His 7” vinyl album is now available on his Bandcamp! Get it while it’s hot my friends. And as always, stay cool.


“We are like butterflies who flutter for a day and think it is forever.” — Sagan

Soundcloud Exclusive: Mathijs Leeuwis | Wax Machine | Elvyn Rhud

Mathijs Leeuwis

Mathijs Leeuwis (Waalwijk, 1985) is an experimental artist out of the Netherlands.

The lonesome craftsman plays pedal steel guitar, with which he performs alternative country outside the domain of traditional country music and pedal steel…

In 2018, Leeuwis released his first full instrumental album entitled, Galbier.

The self-titled album track is an instrumental ode to the most painful, yet beautiful falls and accents a man can possibly endure in a lifetime riddled with chaos, order, and beauty.

The mesmerizing instrumental work of art was recorded using a pedal steel guitar in the name of expanding the conscious realm of psychedelic country and alt-folk music.

Wax Machine

Brighton, UK-based Wax Machine is a transcendental throwback to an era of psychedelia now heaving its final breaths in an age littered with plastic messiahs and digital fraudsters.

Wax Machine is a psychedelic organism of organic stardust floating through the foggy mist of a deep cavernous mountain valley — an entity engrossed with the sublime mysteries of the infinite universe and beyond.

Intricate flute work to mind-melting solos and eerie vocals — “Time” is an experimental track that undulates both space and time in rare vintage fashion.

The album was recorded and mixed by Lauro, who is also on the guitar and vocals. Izzi is on the flute and also holds down some vocals, Woody’s of course on the bass, and Toma is holding down the drums and percussion.

Wax Machine’s new Mind Palace EP was released on Time Spun Records — and is now available just about everywhere music is streamed and downloaded!

Elvyn Rhud

Psychedelic underground rock and roller — Elvyn Rhud — is a fresh breath of death in times of utter blackness and hopeless despair.

The lonely artist hails from France, and carries with him a downtrodden feeling of forlorn resonance — a sort of harmonic revolution in a time encumbered with mocking birds and gimciky artistry.

The driving vocals of Rhud cuts through a rugged soundscape embellished with gravely guitars and a lonesome tamborine fit for the majestic halls of a gothic castle.

The track is an iridescent homage to an underground movement that will live fast and die hard. I promise you this.

Elvyn Rhud’s Alpha Du Centaure 7′ Split is now available via Bandcamp, get yours today: pyrrhicvictoryrecordings1.bandcamp.com/album…-tuel


“We are like butterflies who flutter for a day and think it is forever.” — Sagan

Bandcamp Exclusive: Big Dill and the Boys | Ananda Luna | The Magic City Trio

Big Dill and the Boys – Lazy River

Big Dill and the Boys are an alternative psychedelic folk-rock band hailing from the midwestern state of Wisconsin.

The tattered outfit of musical misfits formed in the long hot summer months of 2015, drawing from the songwriting vibe of their idol Neil Young, the sublime instrumental intricacies of the Grateful Dead, and the soft and subtle twang of the Flying Burrito Brothers.

Big Dill’s debut album — Dead on the Run — came out in August of 2018.

The boy’s “Lazy River” jam off the same album, floats the listener along a sumptuous sonic stream of luminous love in absolutely beautiful fashion.

Ananda Luna – Play Dough

Ananda Luna is a creative collective currently based out of Almeria Spain. The ever-evolving group is a cross generational, cultural, and spontaneous collaboration fronted by singer songwriter, and multi-instrumentalist, Anjalirose.

Anjali often invites her friends to join her on tour across the US, Montreal, and beyond. She often brings makeshift hand percussion and passes around the microphone — coupled with tantalizing looped sounds to create a sense of kinship through her spontaneous performances.

Luna’s latest single — “Play Dough” — is an experimental trip into the multi-dimensional world of vocal a·mal·ga·ma·tion. The world percussion seems to anchor down and unite a vivacious soundscape and vivid vocals bordering on the edge of methodical chaos.

The Magic City Trio – Black Dog Following Me

The Magic City Trio is a vintage outfit made up of Frank Sweeney, Annie Holder, Adi Staempfli, and Charlotte Burke. The band is a magnificent experimental conglomeration of pre-war americana music and modern hillbilly noir, with their very own touch of vintage psychedelia.

Amerikana Arkana — their debut album — was released back in April. The songs off the record occupy an arid landscape of murder ballads, outlaw stories and desperate songs of loss and despair. The record bears the influential mark of Ennio Morricone and the psychedelic cowboy music of Lee Hazlewood. 

“Black Dog Following Me” is the lead track off the album — and is an iridescent homage to the greats now dead and gone.

Though based out of London, The Magic City Trio has travelled and played throughout the US, Ireland, and Germany. Their LP is now available as a deluxe vinyl package plus a CD, download, and a 16 page book.


“We are like butterflies who flutter for a day and think it is forever.” — Sagan

Uncensored SubmitHub Review From the Perspective of Both an Artist and Blogger

A couple years ago, after finally releasing my experimental indie debut album, the time had come for me to do what I hated most — promote my own music.

I love making music, and I also love promoting other people’s music (that I like), but I despise promoting my own music. The whole thing feels kind of gross to me for some bizarre reason — like i sold out, or worse yet, sold my soul to the devil himself.

How could I sum up my experimental masterpiece in mere written words? How could I exploit something so personal, and dear to my heart? Would I even be able to handle rejection, or worse yet — no response at all?

I started perusing the web for music blogs who accepted submissions — and almost immediately noticed that many of these blogs were also accepting submissions via a platform called SubmitHub — and some only accepting submissions through this service.

I’m not going to lie, my shit radar immediately began to sound its alarm upon this realization. the whole idea pissed me off a bit for some weird reason. I have no idea why, it just did.

I remember thinking to myself: “Fuck these SubmitHub blogs!”

However, after emailing my album to over a hundred music blogs and college radio stations, and then spending over $200 on postage — mailing physical copies of my album to blogs and radio stations around the world, and then hearing back from only one outlet, I hit the snooze button on my shit radar and sauntered on over to submithub.com to see for myself what the commotion was all about.

My initial reaction to the submission platform was the strikingly simplistic layout reminiscent of the late 1990s, and also the pale color purple — that seemed to pervade the site. It honestly looked pretty damn legit (shiny websites with lofty claims tend to scare me off), so I said fuck it, and bought a shitload of credits to try my hand.

Honestly, at the time — the bulk discount got me.

I submitted my favorite track to around forty blogs, and to my surprise, received feedback from nearly all of them.

The responses were initially quite hard to stomach, but it was apparent they had at least listened to the track and put some thought into their critique, which made me feel a little bit better about the whole thing.

Two of the blogs accepted my track — and included it in blog posts with a slew of other artist’s tracks. At first this bummed me out a bit that they didn’t feature my track by itself, or at least with a couple other solid tracks. However, I’ve come to find that this really just depends on the blog, because since then, several blogs have featured many of Santa Rosa Records’ other tracks in a more intimate, and thought provoking way — which is much cooler of them than just stuffing a shitload of track embeds into a single blog post accompanied by a sentence or two, and calling it good. This practice should come to an end IMHO.

Subsequently following this initial semi-successful experience with SubmitHub, I decided to take a gander behind the curtain, so I signed up my very own indie music label & blog with the submission service.

We have and always will accept music submissions via email (a totally free option), just don’t expect to hear back from us. We receive over a hundred submissions every day, so it’s become nearly impossible for us to acknowledge each and every track that comes our way, that is, unless you submit your music to us via SubmitHub.

With this submission service, you’re practically guarandamnteed a response.

Why? You may ask. Well, simply because you pay us to take an extra moment of our precious time to verbalize in coherent written words what we like and don’t like about each and every track sent to us via this platform. It’s as simple as that.

If you cannot handle constructive criticism or are very easily offended, then I highly discourage you from using SubmitHub. The music blogs using this submission service will not bullshit you. The platform is not for thin-skinned individuals who deem negative feedback — indie artist abuse.

It is, however, good for you lonesome artists out there who are beginning to feel like you’re pitching your music to a brick wall. It’s sometimes good to hear back from a fellow living and breathing human being — telling you that they actually listened to your track, even if their opinion of it is not what you’d like (or were expecting) to hear.

So, if you’re looking for an easier and more efficient way to submit your tracks to music blogs — and don’t mind putting a few bucks behind this endeavor — then SubmitHub is your best bet.

Good music is highly subjective, so please don’t take the feedback too personally.

I must admit though, there really is some horribly palatable music out there. So, if you’re getting absolutely lit up with harsh critical feedback, then perhaps it’s high time for you to change something up.

Merely my $0.02.

Much love. And please, stay cool all you psychedelic dreamers. Your time will come.

How to Make it in the New World of Digital Music: The Dream