Artist description not just another alchemical fuzz folk band with a jazzy drummer

Music Style indie psyche

Musical Influences Wilson, Lennon, McCartney, Spector, Barret AND Waters, old sounds, modern things, Ye Olde Cult of the Six Elephants, Eno's rock albums

Similar Artists Flaming Lips, Olivia Tremor Control, Neutral Milk Hotel, Soft Boys, Love, Pavement, and Phish (really)

Artist History Blastic Pubble was an indie kid's 4-track crayola wet dream until lead songwriter Matt Taylor moved to Athens, GA in 2000 with hopes of finding a niche in the city's psychedelic indie rock scene suitable for his brand of late teenage mushroom pop. By early 2001, Blastic Pubble had stretched out to include drummer Shadd Scott, bassists Gary Kellaur and Ryan McEneely, guitarist John Simpson, and keyboardist Damian Kapcala.

Group Members Matt Taylor, Shadd Scott, Gary Kellam, and others.

Instruments vox, guitars, keys, synths, bass, drums, occasional toys and midi noise

Press Reviews From Splendid E-Zine 1/4/2002 www.splendidezine.com Blastic Pubble: LEMONADEFOOLSDAYYou're either gonna love this one or hate it. I think it's brilliant. Buried beneath layers of overchorused electric guitars, drum-machines, keyboards, whimsy and other unnameable sonic ephemera, you'll find melodies and other inchoate pockets of genius, dying to get out. Interpreters of the fancifully fruity days of English psychedelia, with a heavy emphasis on Floyd's first two efforts, Blastic Pubble fill their music with imagination, and more importantly, invention. Instead of wah-wah pedals, dulcimers and sitars, they use their own collection of strange-sounding instruments (the "Corporal Klegg" kazoos are still popular, though) to entertain and mystify. A more recent comparison would be Guided by Voices, without the rock and roll (Pollard's Back Back Pages) or the Segalian experimentalism of early Camper Van Beethoven. The album is confusing -- and the more you try to wrestle it, the more it changes shape. As soon as a discernible melody of the Kleenex Girl Wonder's Ponyoak variety takes shape, the song will digress into something completely different. Suddenly, you go from '60s pop to an appropriated Will Oldham spoken/sung verse, followed by some sound effects and a strummed acoustic (a modern reinterpretation of "Broken Arrow"?). Bongo jams may also ensue. The songs are similarly titled, with names like "The Day the Pope Stopped Breathing", "Taxi Cat (Nos. 3-33)" and "Blue Flame (Mountains on Mars)". Even with the rapid to-and-fro of ideas, the group's songwriting displays more sophistication than the sophomoric construction gives it credit for. Blastic Pubble's key concern is giving each idea its full run, but the amount of time the idea has to germinate depends on the idea. These sixteen tracks vary in length from a curt forty seconds to a staggering twenty minutes, and the lyrics teem with seemingly unrelated nonsense, sounding a little like a pocket radio tuned between stations. However, despite what sounds like a lack of focus, the album remains consistently listenable. Unlike other modern concept albums that look upon the twentieth century bittersweetly -- i.e. Neutral Milk Hotel's In the Airplane Over the Sea -- LemonadeFoolsday could be an audio analogue of a six-year-old's coloring book and all the nascent joy and naivete it represents. This, I feel, is what gives Syd Barrett and Ray Davies some of their finest moments -- e.g. "Vegetable Man" and "Phenomenal Cat". If Blastic Pubble ever decided to change their name, I would volunteer The Lewis Carrollers simply because their music makes you feel like Alice at the Mad Hatter's Tea Party: disoriented, yet still enjoying yourself. -- Daniel Arizona darizona@splendidezine.com

Additional Info an unusual appearance on a goth compilation

Location Athens, GA - USA

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