Fever the Ghost Bring Their Droll Blend of Glam, Psychedelia and Art-Rock to Bushwick

by delarue

The title of Fever the Ghost’s new album Zirconium Meconium – streaming at Bandcamp – basically means “fake shit.” Is that because their style springboards off a sparkly psychedelic sound that crystallized about a half-century ago? Whatever the case, the quality of the music is no joke, even if the album is full of them. Fever the Ghost have a gig tonight, November 7 at around 9 at Alphaville,140 Wilson Ave (Stuydam/Willoughby) in Bushwick, cover TBA, guessing around $10. Take the M to Central Ave.

Bobby Victor’s ornate, baroque-tnged piano kicks off the instrumental overture Metempsychosis, which segues into Rounder II, frontman Casper Indrizzo’s strobe guitar mingling with the organ for a high, High Romantic vibe with a touch of glam. If Spacehog was a keyboard band, they’d sound like this. From there the group segues into Hinterland, Indrizzo’s playful faux-Bowie vocals rising over pulsing waves of ELO keyb arpeggios, bassist Mason Rothschild and drummer Nick Overhauser providing an unexpectedly balletesque beat.

Peace Crimes has a mystifyingly out-of-tune synth underneath the balmy vocals, lingering guitar and Tschaikovskian tune. Surf’s Up!…Nevermind puts a droll prog-pop spin on Astronomy Domine-era Pink Floyd. Long Tall Stranger – a trippily twisted tale of a child kidnapping – reverts to a blend of blue-eyed Bowie soul and vintage symphonic rock.

Fathoms puts a third-wave glam spin on an old Status Quo garage rock classic. From there the band takes a techy-tacky, Pulp-ish detour into synthy disco with 1518, then bookends a nebulous interlude with new wave Motown in Sun Moth. Vervain (Dreams of an Old Wooden Cage) leavens the gravitas of mid-90s Blur with a wry Gringo Star sensibility. The album winds up with Equal Pedestrian – a not-so-successful parody of Disney autotune pop – and the George Harrison-esque piano ballad A Friend in Lonely Jesus. Like a lot of the best psychedelia, this music doesn’t take itself the least bit seriously, especially as far as the faux-operatic octave effects on the vocals are concerned. If the band can replicate any reasonable proportion of this studio grandeur, they should be a lot of fun live.