UK label FRUITS DE MER RECORDS, a small enthusiast label specializing in limited edition vinyl releases featuring current bands exploring classic psychedelic rock, have been an ongoing concern for a good handful of years by now, and has a high star among those who have an affection for the psychedelic music of yesteryear. They release new material four times a year or thereabouts, and for the fall season of 2014 they have two new releases out. One of them is this ambitious product: A box set of 7 vinyl singles.
There’s a novelty factor involved when a label opts for a box set of singles rather than putting all the material on a CD or a vinyl LP obviously, and while there may be many different reasons for the label to do so I won’t speculate upon that now. The product is here and it is what it is, and the limited amount of people that will get the chance to buy it will most likely be pleased with a fairly original product as well as with the contents.
The set up here has been to give a band the chance to record two songs from one artist, so that each vinyl single contains two songs performed by the same band and covering songs by one specific artist. The seventh single is the sole exception with two different bands on either side covering the material of two different artists.
The least interesting of these seven singles for me was the fifth one. King Penguin is the artist featured here, covering two tracks originally recorded by The Byrds (She Don’t Care About Time / 5D. Fifth Dimension). Both of them are careful affairs in these renditions, exotic sounding and with a folky vibe to them. Rather too careful actually, and with a plethora of psychedelic sounds that for me got in the way of each other rather than managing to invigorating these mellow, hallucinogenic runs. Pleasant material by all means, but nothing that got me really excited.
The Gathering Grey fares slightly better when exploring similar territories in their renditions of two compositions by Moby Grape (I Am Not Willing / Sitting by the Window). Especially the latter of these comes to it’s right with folky rhythms, organ details, a flute solo tucked in there and a subtle but very nice alteration in vocal intensity in the transition from verse to chorus, and slightly more of a less is more approach to the psychedelic aspects of the arrangements worked very well for this band.
The first of these singles that made a truly solid impression was The Higher States take on material first performed by 13th Floor Elevators (Wait For My Love / You Don’t Know). In this case we’re dealing with a more pop oriented variety of psychedelic music, with slight touches of garage rock, and both of these songs are given a good and compelling take in the psychedelic pop department. This one should satisfy those with an affection for the psychedelic pop made 50 years ago quite nicely indeed.
A further thumbs up to Welsh band Sendelica and their takes on songs penned by The United States of America (Hard Coming Love / Love Song for the Dead Che). Effects laden affairs with a strong psychedelic spaced out rock vibe to them, and as far as the latter is concerned I got something of a classic movie soundtrack feel to it, and then the classic James Bond movies in particular. Which may be due to the female vocalist presumably guest starring the band for this specific occasion. I haven’t looked up who that is or what she does otherwise, but if she hasn’t taken a go at it already I suspect she would be a killer choice for a jazz band of the kind that we usually see playing in seedy clubs in crime noir movies.
The shared single features Black Tempest covering Spirit (Nature’s Way) and The Seventh Ring of Saturn having a go at Grateful Dead (Cream Puff War). Both renditions are solid affairs, the former dominated by bass and a light toned acoustic guitar, with careful Mellotron/keyboard embellishments and a nifty brittle guitar solo, where only the voice effects book-ending the track had a slight detrimental effect. And as for the latter, I found it truly interesting to hear how a band made a song by Grateful Dead sound like it could have been pulled from UFO’s debut album. Just how different or not this take is from the original I truly don’t know, but in sound and style this one gave me a strong association to what UFO sounded like before they said their goodbyes to psychedelic rock and hit the high road with the hard rock that made them famous.
The first of two big thumbs up goes to The Bevis Frond and their renditions of songs by Clear Light (Night Sounds / Sand). These are harder edged, majestic affair, where darker toned guitars and organ are central, and especially in the case of the second of these songs the end result isn’t too far removed from Krautrock in sound and expression, and the early Eloy in particular. Compelling material through and through.
The second big thumbs up goes to The Chemistry Set for their covers of songs by Love (A House Is Not a Motel / Live and Let Live). Especially the latter of these really made a strong impression. While fairly delicate renditions with a folky vibe to them these takes somehow managed to create a strong nerve and tension by using subtle variations and careful effects, and the clever use of slight contrasts on Live and Let Live really made this one a goosebumps inducing experience despite the instrumental end sequence that didn’t quite catch my fancy.
As tastes do differ I guess the individual experiences as to which of these singles that makes most of an impression comes down to taste first and foremost. But as there’s plenty of variety at hand here I suspect most if not all people with a deep affection for psychedelic rock will find something that will strongly appeal to them in this box set, and I suspect most with a widespread taste in this kind of music will find plenty to fill their needs. As far as I’m concerned this box set, like the greater majority of Fruits de Mer productions so far, holds a solid and high quality.
My rating: 79/100
