Solar Bears are an Irish duo set to make a big splash, with their debut album coming soon on Planet Mu. The Inner Sunshine EP acts as precursor with four songs and two solid remixes by instrumental hip-hop maestros Lone and Letherette. But this is not a hip-hop record at all. This is some psychedelic, retrofuturistic post rock. The heavily 70s vibe works very well with the nostagic inroads of Lone and Letherette though. Solar Bears sound like the soundtrack to experimental films in the 70s, with guitars next to synths and other electronic sounds, but very much an organic sound. They could bass for a band version of Boards of Canada. The EP shows a ton of promise, but you get the sense that Solar Bears haven't let out their complete bags of tricks yet. Definitely looking forward to the album.

Tame Impala are an Aussie three piece making psychedelic indie rock that's strangely accessible. Maybe it's the Beatles-esque vocals or the occasional hip-hop inspired percussion. Maybe it's just great fucking music. The album plays like a vocal version of Yppah's last two albums if you're looking for a frame of reference. The vocals are totally sublime and work extremely well in this territory though, taking us more firmly into indie rock. Hooks here emerge naturally instead of the "oh shit, it's time for the chorus" moments of a lot of indie rock. The albums flows together and it better listened to as a whole, but there are moments I feel will be on a lot of hipsters' playlists, including the opener "It's Not Meant To Be", the infectious "Make Up Your Mind", or "Expectations", which feels like 60s pop until the psychedelic denouement. Strangely, none of those are the opening single, which is "Solitude Is Bliss" and not one of the lighlights for me, but solid. One of the better psychedelic records to come my way in a while, and probably the first I'd play in front of friends in a much longer while.

Diamond Watch Wrists is a hazy, psychedelic project between Guillermo Scott Herren (Prefuse 73, Savath y Savalas), drummer Zach Hill (Hella) and Tyondai Braxton (Battles). With GSH on lead vocals, “Ice Capped At Both Ends” isn’t entirely unfamiliar territory to those familiar with Savath y Savalas or A Cloud Mireya. In fact, the same sort of sound is quite present throughout the album as those two projects, respectively. Zach Hill’s wonderful drumming weaves beautifully with GSH’s warm, lush harmonies especially toward the end of “One Second Early Late” where familiar and catchy melodies can be heard. I find the Diamond Watch Wrists project to be in some respects the English counterpart to the Spanish/Catalan Savath y Savalas. Both projects have distinct similarities ranging from vocal harmonization to similar melody, hints of electronics and slowness of rhythm to melancholy textures. The subtle twang found on “Speculative Forensic Investigation” is a great example of a sort of dreamy solace “Ice Capped At Both Ends” encompasses.

“Out My Window” is Koushik’s full-length answer to fans after small and limited releases in the early-mid ‘00’s on Stones Throw Records. The Vermont-dwelling and reclusive Koushik delivers an ethereal and mellow album full of break beats and psychedelic dreamscapes through out the near 50 minute release. Bits and pieces of dusted soul can be found throughout the interludes and Koushik’s airy voice reminiscent of Shuggie Otis or The Beach Boy’s “Pet Sounds” era sound. The interesting thing about Koushik’s work leading up to “Out My Window” is that while it all encompasses the same technique and style, the sound palette is continually diverse as ever. From flipping psych-pop to warm soul samples, the range of sound is everywhere, yet Koushik is able to weave it all together as one. I can’t help but relax to this album or listen to it while bike riding on a sunny day. There are uplifting qualities about the music, especially on “Lying in the Sun” that is perfect for a summer march through the park with friends. “Out My Window” is definitely a summer album and is one of the main reasons I’ve waited this long to give a short review of the album. Highly recommended.

Yppah returns with some long-awaited new stuff after his fantastic debut "You Are Beautiful At All Times" in 2006. Gumball Machine Weekend is the teaser EP for his new album entitled "They Know What Ghost Know" coming later this year. If this EP is any indication, we're in for another treat from the Austin native. Yppah's always been hard to describe. His music is like what happens when downtempo and hip-hop being played in a club gets drowned out by someone playing shoegaze really loud in the parking lot. If that sounds awesome, it's because it really is. On this EP, I'd say that guy in the parking lot has turned the volume up a little bit higher, as there's a tilt more toward traditional instruments than samples and beats here. The EP actually gets very psychedelic at times, especially the last three tracks, recalling more Cloudland Canyon than DJ Shadow. But it works for Yppah. I wonder if the album will be more psychedelic as well. I'm sure whatever it is, it will be something great though.

A very impressive little psychedelic folk album. This isn't usually my genre of choice, but there's really something unique about this record; the production is such that it's quite difficult to tell if it was recorded in the 1970s or last week. There are prog-esque instrumental segues, beautiful piano pieces, etc.; Type Records has really honed in on a lot of great off-kilter folk/rock acts that somehow, taken together, constitute a cohesive sound.

After 2007's "Tio Bitar," Gustav Ejstes brings us "4." Simply, the 4th album released by Dungen. "4" moves in a somewhat different direction while keeping the signature psychedelic-folk, shredding guitar, and fuzzed out rhythms found throughout the previous three releases. Ejstes plays piano as the lead instrument on "4" as opposed to the usual guitar. Don't get me wrong, there is plenty of shredding guitar moments throughout the release (for example: "Samtidigt 1" as ever, like "Intro" from "Tio Bitar." However, the album feels more like a jazz fusion release as it is much mellower and focused around warm grooves. Tracks like the instrumental "Samtidigt 2" are reminiscent of jazz rock bands like Hatfield and the North and The Soft Machine that evoke a mellow and warm groove. "Det Tar Tid" is among the standout tracks, full of fuzzy guitar and echoing electric piano as well as Ejstes' melodic voice carrying out the rest. "4" is exciting and holds up well with previous releases.

First hearing Speck Mountain open for Morning Recordings last year, I knew their mellow, almost throwback style of psychedelic dream pop had something going for it. But a sound like this is almost always better suited for the album format, and having finally listened to their debut album, I'm now hearing all of the potential. Speck Mountain delivers lazy vocals reminiscient of Claudia Deheza'a On!Air!Library! days, but Summer Above never gets to the aggressive moments that band reached, preferring a laid-back, more subtle ambience. Marie-Claire Balabanian's voice floats over the melodies as a wandering angel, blessing each track with her voice and then drifting away to another. And just when things might start to get complacent, she throws in a whistle, or repeats a refrain until oblivion that just cements her charm. Karl Briedrick's sonic manipulations match Marie-Claire's voice perfectly, and the duo together create a delightfully harmonious album, great for those times when you just want to lounge around and bask in the warm sound.

Kranky is starting off 2008 with a vengeance. Atlas Sound and now Valet have set the bar very high for quality with two genre-defying albums of immense substance and beauty. Naked Acid may be even tougher to describe than the Atlas Sound record, as distorted vocals peer through noisy (but not loud) guitar and percussion, creating giant swirls of sound that envelope whatever room you happen to be in while listening to it. The phrase "psychedelic minimalism" has been used to describe the album, and for sure, it fits, but one needs to look no further than the last two tracks to see that there's more than psychedelia at work here, with "Fire"and its On!Air!Library! like vocals over sparse guitar, and "Streets" with its electronic-like pulsating rhythms and progression. An exceptional and unique sounding record.

Black Moth Super Rainbow return with their unique blend of electronic meets rock psychedelia. Vocoded lyrics about sunshine, flowers, and the seasons pepper playful instrumental and electronic arrangements, always focusing on more outward, verbose melodies than, say, Plone (or other Duophonic artists), while retaining the playfulness of those types of sounds.