July, in truth, was a pretty poor month for psychedelic music, very few records blew it out of the water this month. What July did do, though, is remind us of the myriad of ways that psychedelia can manifest itself. From electronic storms of oddball sound to '60s revivalism, psychedelia is omnipresent, even when you take a look away from its inherent cultural signifiers.


With all its political chaos, mass high-profile deaths, terrorism and record financial declines, 2016 is struggling to offer much certainty. Perhaps the only thing that you can rely on in the modern age is Ty Segall being involved with great garage-psych records. This, his collaboration with Ex-Cult's Chris Shaw and longtime partner-in-distortion Charles Moothart, is further proof that Segall is incapable of making bad records. GØGGS is the sound of three friends discarding external expectations; finding beauty in primitive, raw garage rock. For all of its fuzzed-out, restless basslines and hardcore-indebted song structures, it's a record built on an irremovable foundation of friendship and trust - a record that begged to be written. Although it's Segall that takes care of most of the guitar-trickery that this thing is centred around, the effortlessness of the interplay between the three transcends; it's a record that you can't quite believe didn't come to be until 2016, but then you remember Ty Segall's schedule.

Floating Points - Kuiper

Few can demand attention quite like Floating Point's nucleus Sam Shepherd can. Floating Points is a spectrum, ignorance towards his back catalogue could leave you watching him at a festival and enjoying him spin Brazilian disco rare cuts, or you could be immersed in his Coltrane-esque, psychedelic storm of a live show - whether he's playing live or not, Shepherd has a knack of drawing people in and keeping them there. Kuiper finds the sweet spot between the two, though. On the title track, he and his band whip up an almighty sea of sounds; pulsating, compressed electronics, cymbal-worshipping drum frenzies, and a loud-quiet dynamic that Pixies themselves would die for. It's of the ilk of Floating Points material that is not so much an immersive ritual as a slap in the face and a deep sleep - and the eleven-minute mark marks the most vicious slap in the Floating Points discography so far. 'For Marmish Part II', however, seems Sherphard at his isolated, introverted best. It's more of a nod to last year's stunning debut LP Elaenia than the live shows, hollowing out the expansive, textual wall of sound to a thinly-veined, formative piece of electronic jazz instrumentation; not as immediate as its predecessor, but certainly as special. Floating Points is a true one off.

Rodrigo Romero - Nacimiento

With Britain cutting of its links to its more culturally-enriched and artistic neighbours, it seems important to take some time to delve into some European psych-pop, and where better to start than Chile. As if boasting kraut-drone frontrunners Follakzoid and shoegaze revivalists The Holydrug Couple wasn't enough, Chile seems to offering another oddball gem in Rodrigo Romero. Nacimiento, the 17-year-old's fourth record of 2016, is one of the most mature and accomplished psychedelic LPs in a long time. Whether it's psychedelia via Mogwai-esque universes of sound or via off-kilter key sounds and textures, it's a record that opens up a galaxy of ideas thoughts. One that, in all honesty, most psychedelic rock bands in the UK could only dream of making. It's hard to recall a record as equally youthful as expansive.