Digging out after a winter storm. New releases from Flying Moon in Space, EarthBall, Kronstad 23, The Space Huns, You Guitarprayer, Golden Hours, Mindbloom, The Heavenly Bodes, Dead Drugs, PHSEII, and Sun Cult.
| time | artist | title |
|---|---|---|
| 1:01 | Flying Moon in Space | Where Are You |
| 7:36 | EarthBall | Where I Come From |
| 13:58 | The Space Huns | High Like the Stars |
| 20:19 | You Guitarprayer | Transsurfer |
| 24:28 | Kronstad 23 | Helgen |
| 29:42 | Mindbloom | Liminal Space |
| 37:59 | The Heavenly Bodes | I'm So Wired |
| 40:49 | Dead Drugs | Tripping At Work |
| 43:15 | PHSEII | God |
| 50:13 | Sun Cult | The Psychedelic Movement (Live) |
Turn Me On, Dead Man 2026 Podcasts
#Alternative #ArtRock #BudgetRock #DesertRock #Doom #Electronica #Experimental #GaragePsych #GaragePunk #GarageRock #GarageSurf #HeavyPsych #Improvisation #IndieRock #Instrumental #Jam #Kosmische #Krautrock #Neopsychedelia #NoiseRock #Post-punk #Post-rock #Prog #ProgRock #PsychPop #Psychedelic #PsychedelicNoiseRock #PsychedelicRock #Punk #SpaceRock #Stoner #StonerRock |
This episode of Turn Me On, Dead Man features psychedelic music very much tied to place. Mindbloom’s Bocal Session keeps the amp tones raw and the drums punchy, aiming to capture exactly what happens at their shows, not to mention that it cites the venue in the title of the album. This episode opens with a track from Flying Moon in Space, who recorded immer für immer in Kinett, a former cinema in Leipzig. The band describes the main chamber as “alive and hungry,” a space big enough for six people to stretch out and let ideas develop in real time.
The general environment matters too. The Heavenly Bodes write directly about Penryn and The Falmouth Hotel in Cornwall. The Space Huns shifted from a rural rehearsal space to a more industrial environment and felt the change in atmosphere. Across Leipzig, Nanaimo, Szeged, Cologne, Caen, Lake in the Hills, Gothenburg, Berlin, and Cornwall, these artists are making music that absorbs its surroundings. PHSEII began as a side project fueled by rehearsal jams, cheap gear, and a melody overheard outside a Swedish liquor store. Dead Drugs wrote and recorded “Tripping At Work” alone, chasing the dizzying high of getting songs “out of my head and into the world in one fell swoop.”
Repetition is another thread running through the episode. PHSEII “grind two or three chords” until something clicks. EarthBall cultivate trance-like exploration, letting songs evolve from feel rather than concept. Even when tracks are fully written, like Mindbloom’s “Liminal Space,” the intensity comes from how the notes are played, not how many there are.
This episode, then, is psychedelic music grounded in place while transcending location.
#Kosmische #Krautrock #PsychedelicRock #ArtRock #PsychPop
Flying Moon In Space are a six-piece band from Leipzig, Germany borne out of live improvisations which are known to last hours at a time. Having clocked-up nearly fifty shows in their home-city alone, as well as support slots with The Holydrug Couple, Elephant Stone and The Sweet Release of Death and a couple of headline tours around Europe, the group have now signed to London-based label Fuzz Club for their self-titled debut LP. A shape-shifting blend of driving Krautrock aesthetics, vivid psychedelic pop and techno-indebted electronics. Atom Parks (vocals), Valentin Bringmann (guitar), Henrik Rohde (guitar), Sebastian Derksen (guitar/synth), Sascha Neubert (bass) and Timo Lexau (drums).
TMODM: You’ve described immer für immer as a “ritual against the feeling of being lost.” How does that idea translate into the way you actually make music together, especially through improvisation?
Flying Moon In Space: Through communal improvisation, each person brings their own voice and color to the mix. The sound created is the sum of us finding ourselves in the total. Each note that lands is a beacon; every beat is a lighthouse showing the way through the dark.
TMODM: Your songs grow out of live improvisation, but the finished record feels very focused and coherent. How do you recognize when a moment created in real time has become a song?
Flying Moon In Space: It’s a fairly democratic process of acknowledging a connection with the vibe being created. We trust our ears. We listen to feelings. We discuss the results and make decisions. We’re very open with each other. The machine we’ve made refines the input until we reach a general consensus and a song emerges.
TMODM: Recording at Kinett (a former cinema with its own history and acoustics) seems central to the album’s atmosphere. How did that space shape the music in ways that might not have happened elsewhere?
Flying Moon In Space: Kinett has quickly become a home away from home for us. The team there has really opened their doors, creating a very comfortable atmosphere. With living quarters across the street, we’re able to focus and put the work under a microscope. A cosmic resonance of appreciation is there as well, which allows for exploration. The main chamber feels alive and hungry for more. The space itself is large enough for our six-person band to have ample room without tearing down gear, making production faster and more flexible. It’s a delight.
#Experimental #Improvisation #Krautrock #Psychedelic
Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions. Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellan’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written. The opener, 100%, features a cameo from comedian and cultural icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes).
TMODM: What had the strongest influence on Outside Over There?
Jeremy: Isolationism, political turmoil south of the border, LSD, early 1960s experimental films, and NFB animation.
Kellan: As far as my contributions to the record, it’s really as simple as what I was feeling and taking in and listening to at the moment it was recorded. I try not to overthink or conceptualize things too much with EarthBall myself.
Izzy: An article by Popehead on Substack called “Between Xanadu and Shambhala,” about Russian painter Nicholas Roerich and his encounter with a monk and a UFO in Tibet in the 1920s.
John: MDMA/Psilocybin, Living in a Gaslight reality, being overworked, our friends, technology, the joy of being with Izzy, Jer, Kellan, Liam and Justin
TMODM: What record(s) changed your lives?
Jeremy: Black Sabbath – Black Sabbath; Bleach – Nirvana; Sister – Sonic Youth; Mama – NoMeansNo; Drum and Bass for Papa – Plug; Free Jazz – Ornette Coleman; My Favorite Things – John Coltrane; Steady Diet of Nothing – Fugazi; Chocolate Synthesizer – The Boredoms; Shouting at the Ground – Zoviet France; Requia – John Fahey; Buzz or Howl Under the Influence of Heat – Minutemen; Sédatifs en Fréquences et Sillons – Fly Pan Am.
Kellan: People’s Instinctive Travels and the Paths of Rhythm – A Tribe Called Quest; In the Court of the Crimson King – King Crimson; Maggot Brain – Funkadelic; Live at Roseland – Portishead; The Immortal – Mississippi John Hurt; Exmilitary – Death Grips; Bitches Brew – Miles Davis; Evol – Sonic Youth; Second Edition – Public Image Ltd.
Liam: Out There / Outward Bound – Eric Dolphy; Sombre Dimanche – Abe Kaoru; Warne Marsh – Warne Marsh; Live in Toronto 1952 – Lennie Tristano Quintet.
Izzy: A wrongly titled Kazaa download of a Nine Inch Nails song that was actually a cover of “My Pal Foot Foot” by Deerhoof.
John: Shortlist
Sonic Youth – Washing Machine
Beatles – Revolver
Led Zeppelin – IV
Black Sabbath – Black Sabbath
Miles Davis – Bitches Brew
Ministry – Psalm 69
NIN – Downward Spiral
Eric Dolphy – Out To Lunch
Ornette Coleman – Free Jazz
Deerhoof – Friend Opportunity
This Heat – This Heat
Can – Ege Bamyasi
Sonic Youth – SYR 1 – 2 -3
TMODM: What’s next for you?
Jeremy: EarthBall will be touring the UK and Scandinavia in late April 2026 and then Eastern Europe in September. Look for the third and fourth parts of the Actual Earth Music live series by EarthBall to be released this spring on Upset! The Rhythm. Between all of that, I’ll be busy putting out rad music on the label I run with my bandmate in Shearing Pinx called Isolated Now Waves, and writing and recording material for new albums with various other projects including Crotch, Aerosol Constellations, Behaviors, Shearing Pinx, GUM, and my solo project Mongst. It’s looking to be a fun year!
Kellan: In between tours this year, I’ve been dialing in my home studio more than ever and it’s really in a great spot now. I’ve been spending a lot of time recording with my project Mustang Detangler, tinkering with analog effects, and so on. Mustang Detangler has a 12″ single finished that should be out by year’s end.
Izzy: We can make our plans,
But as it stands,
No one knows anything.
John: EarthBall will be touring the UK and Scandinavia in late April 2026 and then Eastern Europe in September. Look for the 3rd and 4th parts of the Actual Earth Music live series by EarthBall to be released this spring on Upset! The Rhythm. Releasing a Record this week in a duo with Chris Corsano called Buzzing With Rumors out on Mint Records. My duo project with Justin Patterson called Modale is working on a new record. Playing in Europe after our EarthBall spring tour with a bunch of friends including Chris Corsano, Gabriele Mitelli, Peter Kutin, Dan Kinzelman, Francesco Pastacaldi, Farida Amadou, Elisa Ferrari, Francesco Fonassi.
#ProgRock #Instrumental #Jam #Prog #Psychedelic #PsychedelicRock #SpaceRock #SpaceRock #Stoner #StonerRock
After long years of improvisation we tried something new: added vocals and actually wrote the tracks. Okay, not all the tracks, 3 out of 5. Some freshly made, home cooked cosmic goulasch for gourmet people. It will make you rush through mountains with stone cold fire in your hearts. Hopefully. Just Space Huns jammin’ the stoner blues on a distant ranch. Drums by Róbert Torma Bass by Tamás Tikvicki Guitar and vocals by Csaba Szőke
TMODM: On Cosmic Mountain Rush you say you tried something new, adding vocals and actually writing some of the tracks rather than letting everything emerge from improvisation. What pushed you toward that change, and how did it feel compared to the old jam-first approach?
The Space Huns: I’m not sure exactly, but I think it evolved naturally after we met our new drummer. We were able to rehearse together a bit more than usual, so some jams were recorded and then worked on more intentionally. That process gradually led to writing and shaping tracks instead of just letting everything stay in the moment.
TMODM: You’ve talked before about rehearsing and recording on a ranch outside Szeged, with that sense of isolation and lowland space feeding into the music. Does Cosmic Mountain Rush still feel rooted in that same place, or does it represent a different kind of landscape for the band?
The Space Huns: Good question! When we wrote these songs, we rehearsed in a different place, so the new drummer and the more “industrial” environment may have influenced us. It definitely brought a slightly different atmosphere compared to the ranch setting.
TMODM: What’s next for you?
The Space Huns: One of our previous albums, Legends of the Ancient Tribes, was just published on vinyl, so we’ve started recording new material to keep the fire alive. We’re also planning a mini tour in Europe — Serbia, Romania, Hungary, and Austria — so stay tuned!
#IndieRock #Alternative #NoiseRock #Post-rock #PsychedelicNoiseRock
YOU GUITARPRAYER is a psychedelic noise rock trio from Cologne, Germany, formed in 2016. The band consists of Soheyl Nassary (vocals, guitar), Scharco (bass), and Spiro Kotsomitopoulos (drums). All three musicians have deep roots in the German and European noise underground and were part of influential projects on BluNoise Records – the legendary label run by the late and much-missed indie pioneer Guido Lucas. Known from bands like Nicoffeine, Tarngo, Clarkys Bacon, Toxoplasma and Genepool, the members of YOU GUITARPRAYER carry a legacy of sonic experimentation, raw dynamics, and unfiltered live intensity. Following their acclaimed debut “Art Won’t Tear Us Apart Again” (2019, Krachladen / Timezone) and the trippy single “Ace Of Wands” (2022), the band is now ready to open a new chapter – darker, deeper, and more transcendent. Their upcoming second album, “I Am The Light, The Light I Am”, will be released in 2025 via Worst Bassist Recordsas a limited 140g crystal-clear vinyl edition, including a round Zoetrope inlay – a true collector’s piece for analog lovers and psychedelic souls. The sound? Neo-psych, noise-infused shoegaze, cinematic freak-outs – woven into dense, ritualistic soundscapes that aim straight for the gut and the higher mind.
TMODM: What were your main reference points on I Am The Light / The Light I Am?
You Guitarprayer: There weren’t any specific or consciously defined reference points for I Am The Light / The Light I Am. What we did was simply continue the line we had already established with our first album. Our musical tastes are very broad and genre-spanning, and that was already true back then.
With the second record, we wanted all the other influences that have accompanied us over the years to flow in naturally and organically. There was no moment where we said, “This is the concept we want to work under” or “These are the references we want to focus on.”
For us, the statement, the aesthetic, and the audible influences don’t come from a fixed framework — they emerge automatically during the process. Our main goal was actually very simple: to finally work on the follow-up. Everything else — atmosphere, attitude, sound, and influence — always develops on its own with You Guitarprayer.
TMODM: All of you have roots in earlier noise and underground projects connected to BluNoise and Guido Lucas. How does that history continue to shape what You Guitarprayer is now?
You Guitarprayer: It still shapes us very strongly. BluNoise was basically our home.
I played in Nicoffeine. Scharco was part of Nicoffeine, Clarkys Bacon & Tarngo, and Spiro worked with Genepool as well as other projects together with Guido Lucas. Guido was also the bassist in Nicoffeine.
That background and way of working clearly come from the old BluNoise school. We’re all deeply rooted in that noise-rock history and the BluNoise sound — it’s part of our DNA. And yes, you can definitely hear our noise-rock background.
At the same time, you can also hear very clearly that we draw from many other influences. Despite our BluNoise history, we never wanted to limit ourselves to our noise roots alone. We’re basically fans of any genre that feels powerful and meaningful to us.
We take influences from all over the place and process them into our sound. With You Guitarprayer, this is never a consciously designed concept. We don’t try to explicitly display our background — it’s simply there.
It’s also important to remember that BluNoise Records was never just about pure noise-rock bands. There was always a wide stylistic range under that roof, connected more by a shared attitude and philosophy than by a single genre. In that sense, we might simply be a BluNoise band in the broadest possible way — with very open ears.
TMODM: The album’s physical presentation (the zoetrope inlay, the emphasis on vinyl) suggests a strong commitment to the object itself. How important is the physical form of the record to the way you imagine listeners experiencing this music?
You Guitarprayer: The physical medium is absolutely essential to us. I don’t know if that comes from our musical background or simply from our age, but we come from a time when the physical format played a central role.
On top of that, we’re all passionate record collectors ourselves. For us, an album only really feels complete once it exists in physical form — when you can actually hold it in your hands.
I’m also a designer and photographer and was responsible for the artwork. For me, the visual aspect is an integral part of the record. The artwork and design offer the listener a first point of orientation — a way to visually enter the sound world and the overall work.
In the past, it was often the case that you discovered a band or artist simply by seeing an album cover in a record store. Those images would stick in your mind, and sometimes you got to know the music because the artwork caught your attention or sparked your curiosity in the first place.
When listening to music, you naturally associate it with colors, images, moods, and atmospheres. Artwork can help support this process and provide a sense of direction — not as an explanation, but as an invitation to engage more deeply with the album.
TMODM: What’s next for you?
You Guitarprayer: Right now, our main focus is on bringing the album to the stage as much as possible. Playing live is a priority for us. Several shows are already confirmed for 2026, and more dates will be added soon.
At the same time, we’ve already started collecting ideas and working on initial song structures for the next record. Some pieces already exist in demo form, so the coming year is definitely shaping up to be an exciting one for us.
And if anyone is interested in booking us, we’d be very happy if bookers get in touch with us directly via email.
Something is brewing in the state of Norway! Kronstad 23 are the latest trailblazers from northern Scandinavia: a creative force exploring the boundaries of musical genres, including but not limited to: psych rock, jazz, post-rock & scandinavian folk music. The group of young players follows the footsteps of Motorpsycho, Elephant9 & El Paraiso’s own Lotus, Fra Det Onde & Kanaan, carving out their path through the musical landscape in seemingly effortless ways! One minute you’re floating on cosmic Pharoah Sanders waters, the next you’re ascending on electrified if-Tortoise-played-Allman Brothers-style jamming. The band describes their approach as: “Sommermørket is an escape from inhumane technology and politics in search of something that feels authentic. The music breathes in the little that is left of old air and rises slowly into the hazy summer twilight like brittle thoughts that try to connect and fade away.” Kronstad 23 was formed in Kronstad, Bergen, Norway in the Autumn of 2023. As old friends and musical collaborators, they rekindled a creative spark that had been dormant for over 10 years. Rarely rehearsed and often caught on first take, Sommermørket was recorded live on tape in the studio of Keyboardist Øyvind Vie Berg in Bergen, Norway. The record captures three sessions across one year, from spring and late summer in 2024 to winter of 2025.
TMODM: What had the strongest influence on Sommermørket?
Kronstad 23: The fun of exploration and discovery probably had the strongest influence on Sommermørket. That feeling of treasure when you’ve found a riff or melody that resonates. In this case, what resonated most were ideas with a spacious, open-ended sense of exploration, journey, and ambiguity.
In the studio, we sought to capture the essence of those original ideas by allowing them to remain somewhat underdeveloped and to rely on the moments created by the players in live performance. We love music that is loose around the edges and takes its time to develop simple ideas organically. We wanted to recreate a tiny bit of the exploratory joy we felt when first listening to our favorites. It feels amazing the few times you get even close to that.
TMODM: What record(s) changed your lives?
Kronstad 23: A few albums that were life-changing — and somehow also part of the Sommermørket/K23 musical web (though there are many more):
Anthem of the Sun – Grateful Dead
Caravanserai – Santana
Laughing Stock – Talk Talk
Mwandishi – Herbie Hancock
My Goals Beyond – John McLaughlin
TMODM: What’s next for you?
Kronstad 23: We are releasing our third record in May on Batov Records, where we take a turn into more Afro, cinematic, and groove-oriented territory while holding on to some of the same psychedelic and jazz influences.
We also finished recording a batch of new tracks a couple of weeks ago for later release(s). The plan is to meet again later this year for more recording — and possibly a first live gig!
#DesertRock #Doom #HeavyPsych #Post-rock #Psychedelic #Stoner #Doom #StonerRock
Formed in 2023, Mindbloom is a four-piece band based in Caen, Normandy. Blending hypnotic reverb and searing fuzz, the group draws from a range of influences at the crossroads of desert rock, heavy psych, and doom.
TMODM: Your Bandcamp bio mentions influences at the crossroads of desert rock, heavy psych, and doom. What were your main reference points while developing Mindbloom’s sound?
Mindbloom: We aimed to recapture the thick, fuzz-laden sound of 1000mods and Elder, along with the deep reverb tones of Holy Fawn and Elephant Tree. But our influences go beyond bands from this genre. We’re also driven by iconic gear sounds — like those from Sovtek, Orange, Black Arts Toneworks, and Walrus Audio.
TMODM: Bocal Session captures a very focused but open live performance. How close is what we hear on this recording to the way Mindbloom usually plays together on stage?
Mindbloom: The Bocal Session tries to capture a focused yet spontaneous performance. The main idea behind this live session was to convey the same energy as during our shows, with full dedication. The mix reflects that approach by letting the amp tones and pedals do their work, while keeping the drums and kick natural and punchy. What’s captured in this session is true to our gigs — we always try to convey the atmosphere of our live shows.
TMODM: “Liminal Space” unfolds in unexpected ways. How much of that structure is planned in advance, and how much emerges in the moment?
Mindbloom: In this case, the entire structure of the track is written. We like to choose every single note and silence carefully. What emerges in the moment is more about playing intention — the strength (or restraint) we put into the strings and onto the drumheads.
TMODM: What’s next for you?
Mindbloom: We’ve just started working on a DIY album. It will take some time before it comes out, but we’re really excited about this project. At the same time, we’re kicking off a short run of shows in western France. We can’t wait to share our musical universe with you.
#GaragePsych #GaragePunk #GarageRock #GarageSurf #Psychedelic
The Heavenly Bodes Penryn, UK West-coast garage psych from the plantar-facia of Cornwall.
TMODM: What were your main reference points for this EP?
The Heavenly Bodes: It’s hard to say for the EP as a whole, since it’s the first part of a larger body of work (soon to be announced) all from the same recording session.
We actually had a full album recorded last summer but decided to re-record all the songs we’ve been playing live over the past few years and keep a consistent, fairly raw, garage-tape sound throughout. When everything is released, it should reflect what we’ve been doing as a group up until this point fairly well.
TMODM: Your description mentions “West-coast garage psych from the plantar-fascia of Cornwall,” which is both evocative and slightly unhinged (in a good way). How do you think about place when you’re making this kind of music? Does Cornwall seep into it in ways that aren’t obvious?
The Heavenly Bodes: Whether consciously or subconsciously, Cornwall features heavily in the majority of the songs we’ve written so far. Some are explicitly about it, and some only connect back once everything’s finished.
All three of my songs on the EP are explicitly about Cornwall (I can’t speak for Fin’s one — “Benno’s Lament”). Both “Not Anymore” and “Down the Pen” are about Penryn itself, and “I’m So Wired” is about a dream I had about The Falmouth Hotel from when I worked there — the building partially inspired Norman Bates’ house in Hitchcock’s Psycho.
I don’t usually begin writing with the intention of making songs about Cornwall, but it does tend to inform a lot of what we do as a whole.
TMODM: Garage psych is a style that’s been revived and re-revived over the decades. What keeps it feeling alive or relevant to you rather than just archival?
The Heavenly Bodes: In our opinion, it’s just the best genre of music. Each revival movement since the ’60s has brought its own flavour and subculture, and all four of us share a love of it — which is part of why we decided to make music together.
Its accessibility is important too. You can write great tracks with two chords and a pedal or two. I wouldn’t class myself as the most talented musician or instrumentalist by any means, so that accessibility was important in having the confidence to give it a shot.
It feels more alive as a result — more honest and (hopefully) less pretentious. The scene here is thriving, full of groups that have started because of its relative accessibility compared to other music scenes in the UK.
TMODM: What’s next for you?
The Heavenly Bodes: More releases coming very soon. We’re touring with School Disco (Brighton) this month and have just announced a load of dates across the UK for early May. We’re just gonna keep on keeping on.
#BudgetRock #Punk #GaragePunk #Punk
One man garage punk band from Illinois. Dead Drugs is: Jeffrey Drugs – foot drums, guitar, singing/yelling at the same time, recording/mixing, cover photo
TMODM: Last time we talked, Dead Drugs was a two-piece. What does being a one-man band give you that you didn’t have before, and what does it take away?
Dead Drugs: I always wanted to be in a band, and I tried a few times to add other members, but I always end up taking myself too seriously when other people are involved. When it’s just me, I can yell at myself and cuss myself out all I want and no one gets mad or threatens to break up the band except me — and I know how to deal with that guy.
TMODM: These lyrics for “Hate Bomb” feel less like political rage and more like personal revulsion. Is this song about someone, or something else you’re reacting against?
Dead Drugs: I had a few falling-outs with some fake friends recently, and the song is kind of about a few of them. I was bottling up these bad feelings and resentments for a while, and it felt like I had to exercise those demons before they got too big and ugly. Luckily, they came out in the form of a sloppy lo-fi punk song.
And I’m still extremely revolted politically, and that revulsion still kind of informs everything I do — even if the songs aren’t explicitly political.
TMODM: The EP is very lo-fi, but it doesn’t feel accidental. What do you like about working at that level of rawness?
Dead Drugs: I love being able to write and record a bunch of stuff in one sitting because the dizzying high I feel when I get a bunch of songs out of my head and into the world in one fell swoop is something I don’t really get anywhere else. I’m chasing that feeling every time. The fact that some people like it is a total bonus.
TMODM: I’m editing the episode and decided to feature “Tripping At Work” from the Jeffrey EP. Would you like to comment on that track?
Dead Drugs: No worries at all — thanks for even thinking of me, truly. “Tripping At Work” is about the time I took too many psychedelic mushrooms at work by mistake (true story).
#Electronica #Post-punk #Psychedelic #Punk
PHSEII is a duo from Gothenburg, Sweden, consisting of Henrik Bäckström (guitar, vocals) and Sebastian Jannesson (synthesizers, drum machines). They create uncompromising, repetitive music built on analog machines, monotony, and raw nerve.
TMODM: The tracks on God EP feel very locked into a specific headspace, almost like they were carved out of one continuous moment. What was the recording process actually like?
PHSEII: PHSEII started out as a side project to Melody Fields, a band we both play(ed) in. It began back in 2019 when we decided to meet up and just fool around at rehearsal with a bag of beers. Sebastian already had the drum parts for “God,” and I added the vocal and guitar parts.
Part of the second verse — where I sing “Jesus is the name over all other names” — came from some Jesus freaks standing outside Systembolaget with a sign, shouting as we were on our way to that first rehearsal.
In 2023 we opened for The Vacant Lots here in Gothenburg, and after that we decided to record properly. Fast forward to 2025 — this EP is the result of what we managed to create alongside family life and other projects. It was recorded by us at Studio Parkeringshuset (the same studio used by Goat and Melody Fields), with vocals and mixing done at Studio Påtår by our dear friend Johan Holm.
TMODM: You describe the music as repetitive and monotone, but it never feels static. What does repetition do for you creatively?
PHSEII: We usually grind on two or three chords until we find a melody that works, and then it is what it is. Repetition helps us relax. It creates space. We both come from playing in bands and writing in more traditional ways, so this feels different — more hypnotic and direct.
TMODM: As a duo working with analog gear, how do you decide when something is finished rather than just looping forever?
PHSEII: Since we both come from band settings, we still think in terms of songs rather than endless jams. Even if something could loop forever, there’s usually a feeling when it’s done — when the idea has said what it needs to say.
TMODM: What’s next for you?
PHSEII: We’re playing gigs around Sweden and recording demos for an upcoming album. Hopefully it will be released at the end of 2026 or early 2027.
#DesertRock #DesertRock #Neopsychedelia #PsychedelicRock
Sun Cult is the musical project of Alexander Wikle. Sun Cult takes influence from psychedelic rock, new wave and experimental music. Alexander was born in California and moved to Berlin for his passion of music and sound.
TMODM: What has had the strongest influence on your music?
Sun Cult: I have a background in classical music, but I would say that The Velvet Underground and the Revolver-era Beatles have had the strongest influence on my music. Also the band Kikagaku Moyo.
TMODM: What record(s) changed your life?
Sun Cult: Revolver by The Beatles and Meddle by Pink Floyd — definitely records that changed my life.
TMODM: What’s next for you?
Sun Cult: I’ll be releasing a sophomore album titled Desire in early 2026 with a label. It will be a mix of psychedelic rock and new wave. I’m very excited to share this album with the world.