(Photo by Barbara FG)

Dallas Acid are a synth-heavy dreampop/ambient trio from Austin, Texas. They’ve signed to All Saints Records and announced a new album due out on November 1st. They recently released the title track from the album, The Spriral Arm. It’s an incredible track. The uplifting layers of sound and Lina Beecroft’s dreamy vocals catapult the listener to another dimension. The video is incredible as well.  

We wanted to learn more about the band, so we asked them to pick three albums that have influenced them and their music. These are their picks.

Pre-Order album here: https://dallasacid.ffm.to/thespiralarm

Tour dates (all with Bill Callahan)

Sun 29 Sept – Vicar Street, Dublin, IE

Tues 1 Oct – Usher Hall, Edinburgh, UK

Weds 2 Oct – Albert Hall, Manchester, UK

Thurs 3 Oct – Eventim Apollo, London, UK

Sat 5 Oct – La Cigale, Paris, FR

Sun 6 Oct – Ancienne Belgique, Brussels, BE

Mon 7 Oct – Tivolivredenburg, Ultrecht, NL

Tues 8 Oct – Admiralspalast, Berlin, DE

Thurs 10 Oct – Store Vega, Copenhagen, DK

Fri 11 Oct – Rockefeller Music Hall, Oslo, NO

Sat 12 Oct – Gota Lejon, Stockholm, SE

Sun 13 Oct – Pustervik, Gothenburg, SE

Hans-Joachim RoedeliusLustwandel

Maybe the furthest thing from kosmische musik, Lustwandel sounds more like medieval European folk music re-interpreted as chamber music and performed on piano, mellotron and synthesizers from the 1970s. The extended format of Cluster 71, with its cold, harsh textures & pulsating ambient experimentation that defined the sound ten years prior has been abandoned here entirely in favor of concise, traditional pieces that are still uniquely Roedelius. It’s not an entirely unexpected place for him to have landed considering the evolution of sound through later Cluster, Harmonia, and his previous solo albums.

The moods of the compositions range from solemn and introspective to whimsical and flirtatious, all delicately arranged and masterfully captured by Peter Baumann‘s (ex-Tangerine Dream) production.

What influenced us more than anything was the tonality of the pieces. Softer, warmer and lighter synth sounds blend so perfectly with the strings and woodwinds of the Mellotron that at times you forget these are electronic instruments at all.

Florian Fricke / Popol VuhKailash

Kailash was released on Soul Jazz posthumously as a double album compilation, collecting several of his piano works from the 1970s, and the soundtrack to the short film made by Fricke and fellow Popol Vuh member Frank Fielder, Kailash: A Pilgrimage To The Throne Of The Gods. The collection showcases two distinct sides of Popol Vuh that inspire us.

The first record, Essential Piano Recordings is a compilation of recordings that gives you a peek into the foundation of Popol Vuh’s songs – Florian Fricke’s piano. Those familiar with the Popol Vuh catalogue will recognize the compositions from the 1985 LP Spirit Of Peace, and outtakes from the Hosianna Mantra sessions in 1972. Hearing the songs completely stripped down to their primary essence gives such an insight to the nature of Popul Vuh’s compositions. Whether it’s practice sessions of repeated sequences or motifs of songs that would later be recorded as a full orchestrated band, it’s so inspiring to hear these minimalistic versions, knowing they can stand up on their own.

Record two contains the soundtrack to Kailash: A Pilgrimage To The Throne Of The Gods. While the documentary and its soundtrack were never released in Fricke’s lifetime, we are fortunate to have both the LP and DVD included in this box set. It follows the pair’s journey to Kailash – the holiest mountain in Tibet. The album is primarily composed of synthesizer pads, percussions and vocals with an airiness that feels as open as the 6675m high mountain itself. Florian Fricke’s classical-inspired composition translate beautifully to ethereal synth tones, and combine perfectly with the Tibetan vocals and musical influence, capturing the incredible landscape and breathing a new life to those classic Popol Vuh melodies. These soothing sounds are ideal for enhancing well-being and stimulating spiritual growth. A sound so unique and freeing that transports you to a sacred space.

Steve HillageRainbow Dome Musick

The Canterbury prog-guitarist joins with partner Miquette Giraudy to compose and perform two synth-heavy, side-long pieces: Garden of Paradise & Four Ever Rainbow. Just as Lustwandel was a bit of a departure for Roedelius, Rainbow Dome Musick is a bit different from the rest of Steve Hillage‘s body of work, and Giraudy’s contributions are probably a big reason why. Gone are the distinctive guitar riffs and solos that define most of what Hillage was famous up to that time. We saw glimpses of a similar synth style in Gong’s You line-up, along side Miquette Giraudy and Tim Blake.

We discovered this album about 15 years ago, around the time we finally bought our first Moog. It was so different from the German records we were familiar with – Tangerine Dream, Klaus Schulze, Cluster – considerably lighter, airier, and all-enveloping. Each piece felt like its own organic being, capable of merging consciousness with the listener. It’s influence definitely found its way into our sound at an early stage, and very much bent our ears towards a certain aesthetic. The sequences and synthesizers blend perfectly with guitar swells, Rhodes piano, Tibetan bells, and Rupert Atwill‘s work on the Eventide Harmoniser, into an amorphous, yet somewhat structured soundscape. After a few minutes it’s hard to distinguish the traditional instruments from what is synthesized.

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