He is joined by original members Stephanie Bailey on drums and guitarist Geary Christian Bland, along with some new additions, all propelling this rocket’s controls to the heart of the sun. Lead singer/co-founder and occasional bassist Alex Maas captures the freaky, spaced-out quality of Barrett on each of these 15 tracks. Even though the Angels grabbed their name from a Velvet Underground tune, and there are hints of that New York City band sprinkled through their catalog, album number six from Austin’s psychedelic warriors lands squarely in vintage Floyd territory. Push play on any of the 15 tracks comprising this, the Angels’ first album since 2017, and the effect turns back the sonic clock to 1967/ ’68, the years the initial two Floyd albums landed from another galaxy. The reference is to Syd Barrett, Floyd’s founder and initial driving artistic force who burned out after just two albums. "And they were looking at me with their mouths open like, 'Wow.Oh, by the way, which one’s Pink? is Pink Floyd’s classic scathing takedown of clueless record company executives in “Have a Cigar.” But concerning The Black Angels, the question might be rather … which one’s Syd? "I stood in front of the board of directors and said, 'This is the new product.' It was a pack of five or six, and took the color out and started coloring it and said, 'This is how I would do it, but this is how a 4-year-old would do it,' and I started going completely across the poster with the marker, and the only thing you saw was where it was white," he says. He made two prototypes and pitched the idea at a board meeting. And instead of paper, he overlaid the poster with black flock, which gives it a velvet feel.
Instead of filling in color, he'd leave the image white. A few months after Choquette started, he came up with the idea for a new take on the blacklight poster. He didn't get it, so he walked around town with his portfolio and wandered into Western Graphics, where he was hired.Īt the time, the company had about 20 blacklight posters, but was focused mainly on doing silk-screen printing on glass. He first visited Eugene in 1979 for a job interview at a radio station. This makes sense Choquette came from counterculture, but worked in advertising most of his life, following in the footsteps of other hippie artists who eventually cashed in.Ĭhoquette worked as an artist in the '60s and '70s in San Francisco, where he rubbed elbows with counterculture icons like Bill Graham. The blacklight fuzzy poster was both a return to the creativity of the 1960s and a commodification of the time.
Fuzzy blacklight posters were for the '80s stoner hippies who missed the '60s but loved the Grateful Dead "Touch of Grey" era, probably smoked with Zane Kesey and brushed their teeth exclusively with Tom's of Maine. The posters eventually came to define the aesthetic of the '60s, as synonymous with stoner culture as lava lamps and LSD. A kid is not going to appreciate a Jimi Hendrix poster, but he would if it had two puppy dogs tugging on a sneaker shoelace and he was the one who colored it."īlacklight posters originally gained popularity in the 1960s as a "way of getting high with yourself," according to Dan Donahue in Ultraviolet: 69 Classic Blacklight Posters From the Aquarian Age and Beyond. "The hippies had their blacklights, but then they got married and had kids. "They were for the hippies' children," Choquette tells WW.
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