Fourth LP from Northern Cali's Sleepy Sun, released by Dine Alone Records.

These lot have been touring non-stop with the likes of The Black Angels and if the video for opener "The Lane" is anything to go by it's gonna be something of a psyche-fest. Could be wrong, but the press release describes it as "a tripped-out journey through the clouds, the ocean, the galaxy, and beyond" so, yeah, a psyche-fest most probs!

Vinyl Double LP £17.49 DAV07

Ltd. 180g 2LP w/DL on Dine Alone.

  • Includes download code
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CD £10.99 DA093

CD on Dine Alone.

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Maui Tears by Sleepy Sun
1 review. Write a review for us »

8/10 Mark 29th July 2014

There was a time when I was madly in love with Sleepy Sun. I stumbled across them playing live at the ATP Festival in New York and thought they were great, a truly epic live band that throw everything into the performance. Subsequently first two albums 'Embrace' and 'Fever' spent a lot of time rattling through my head in the summer of 2010, but for some reason I lost touch with them following that.

It was with a hint of trepidation that I hit the play button on new album 'Maui Tears', some bands are best left in the past and I feared they may have lost some of their wonder following the departure of singer Rachel Fannan - whose vocals on 'Marina' are quite simply mesmerizing.

I was reassured within the first minute of album opener 'The Lane' that Sleepy Sun had lost none of their power. A psychedelic prog rock blast that will have you hunting for a desert to go and sit while you eat LSD and talk to Coyotes. Their sound does, undoubtedly, owe a lot to the 60s but they do a great job at dragging that sound into the present day while never getting so prog that you wish you were dead. Just great songs with Bret Constantinos vocals tripping along to the music like a California surfer effortlessly riding the psych-garage wave, blissed out and wonderful.

There are some heavier moments, 'Everywhere Waltz' kicks like Black Sabbath with some tough riffing and screaming guitars while "11:32" rattles along all guitar fuzz and garage psych.

Then there's 'Galaxy Punk' where they flirt with a Stadium rock sound, and 'Thielbar' where they blast us with some epic guitar work only to snap back to the great melody and suddenly I'm in the desert again caught up in a sandstorm.

There will be fans that miss what Fannan brought to this band, but for me they have moved their sound forward and in many ways left her behind. I think musically they appear stronger for it.

I look forward to seeing them live again sometime soon.


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