That ‘bits and pieces’ concept to create a whole is very often a hard thing to achieve successfully, but on ‘unpeople’ Hasunuma is able to give it a very human touch.

The result is a deeply satisfying modern psych that will definitely find its place in any psych lover collection.

While it might sound like a quite lofty goal, Berwanger and his Gemini Parks are able to pull it off with quite some ease and come up with an album that is so easy on the ears.

The sound of Stelzer’s music here has some even darker overtones that at the same time achieve that feel of calm and the dread that hides behind it at the same time.

The loop and collage concept Sears and Chersky used doesn’t create a pieced-up, incongruous sound, but some seamless, spaced-out music that sounds as good as those images that a well-made kaleidoscope can look like.

None of the nine guest artists came up with something that goes outside the perimeters Lindhagen set initially with the music that is, simply put, beautifully reconstructed here.

The duo is able to easily jump over the possible copycat hurdle by making a thorough mix of their inspiration and turning it into something quite personal.

Essentially, the album turns into an elongated trance-inducing psych fest, that just requires those psych-inducing visuals to make the experience complete.

Nelson and his crew seem to know exactly what they are doing here, creating something like an open-ended mutant ‘kosmiche’ disco. The one that works.

Throughout the album, Niño combines his musical ideas and those of his other participants into a seamless whole, as if the music here was created through one, collective mind.

It is quite an intoxicating combination that works both with a single listener in his enclosed environment or on a club dance floor with the not-so-standard beats leading the way.

Gold came up with a set of songs that are fully formed, based on truly strong songwriting and musical presentation, coming up with one of the better modern psych-pop albums of the year.

Throughout the 11 songs here, Shulman does not only express what he knows and what he thinks but also what he feels, something that is not only a winning combination but one that produces high-quality music.

Not many artists can put such two opposites together in such a seamless manner, but Sonny Smith does exactly that here, gathering some serious self-awareness with their musical macrame.

As simple as this answer might be it is a very satisfying one, basically, ‘good old’ guitar-dominated rock that works.

It is mostly Burgos and his Rhodes electric piano and electronics throughout the album, but he is able to achieve a staggering variety of sounds throughout that exhibits some serious musical sense and imagination.

Delivered in his hushed vocals, akin to a sixties maverick Skip Spence. his lyrics stand on their own and make this album something prospective listener will cherish.

Throughout the eight compositions here, Wieland creates an intricate musical web that unveils its details with every new play creating exactly that melancholic, longing she was after.

It is that feel that is at one moment calm and serene, and at the other deeply dark as if it is sensing an upcoming sea storm whose arrival is so close.

Besides his stellar guitar playing, Wilson proves his equal adeptness at the piano, but what truly shines here is his compositional capabilities and inventiveness that make ‘Collodion’ such a great listening experience.

Having such a widespread set of musical elements involved always presents a dangerous territory if the artist doesn’t know how to handle them properly, but Williams manages to do so admirably.