If you were to grab a music dictionary (a thing that certainly exists) and thumb through until you get to the term “psych pop,” you might just see a photo of Anand Wilder in place of a definition. Since his early days as a co-founder of one of indie rock’s great what-ifs, Yeasayer, Wilder has been a consistent purveyor of slightly off-center, deliriously catchy, crunchy, and wacky pop songs. Perhaps my dude is an expensive bottle of wine, because his ability to craft unimpeachably good rock songs is getting better with age.
His 2025 solo LP Psychic Lessons is what lazier writers than myself might call a tour de force, but which I will refer to lovingly as a proper wall-to-wall slapper. Taking a look at some of the songs Wilder chose for his “influences” playlist helps illuminate some of the places he pulls from for Psychic Lessons—even beyond salvaging scrapped beats for a Heems album. Westerman and Porches seem like predictable enough choices, but electropop vocalist Charlotte Adigéry makes an appearance, as does soul icon Bill Withers, dance-punk revivalists Automatic, and a number of ’80s-era blockbuster film scores. It’s a real array of artists that write songs as electrifying as Wilder—good company for Psychic Lessons, indeed.
Check out his full playlist below, and listen to Psychic Lessons here.
Westerman, “Easy Money”
Got obsessed with his Bullion-produced album—great songs and production. I think I tried to emulate some of their production tricks on the bridge to “Give Us a Wink” on my album.
Roger Miller, “They Won’t Get Me”
[Co-writer] Walter Fancourt and I were on a Giorgio Moroder kick and were loving the synth-country thing. I think Moroder produced the whole Superman III soundtrack. I love the synth pedal steel sound on this song; I tried to copy it on “Get a Dog.”
Haruomi Hosono, "Shimendōka" (四面道歌)
“Tech Job” was initially named Hosono Numan when Walter and I were recording it, since it had some Hosono and Gary Numan qualities.
Nusrat Fateh Ali Khan, “Shamas-Ud-Doha, Badar-Ud-Doja”
“Appointment in Samarra” was initially named “Nusrat Dundee” when Walter and I were recording it, since it had some Nusrat and Crocodile Dundee soundtrack qualities.
Paul Spring, “Money and Love”
Paul Spring does this baroque Bach thing combined with really high-level songwriting, satirical and profound poetry. He’s so prolific—I aspire to achieve this level of songcraft and guitar-picking prowess, but I think I missed my window.
Heems, “Damn, Girl”
A lot of the songs on the album started out as me and Walter attempting to make beats for Hima to use on an album—it was a liberating exercise in just coming up with different rhythms without being too precious. I think “Bog People” started out as one of these beats. He’ll use one of our beats someday.
Jachary, “Corner of La Isla”
Met Jachary after an Animal Collective show when L’Rain was opening up (he plays bass in L’Rain). We hit it off, and he opened for me at National Sawdust. Then I asked him to help produce the new album. Great ear for production, great bass playing, and synthesizer tweaking expert—talented guy.
Charlotte Adigéry & Bolis Pupul, “Thank You”
Mark Creegan, Yeasayer’s old sound guy, put me on to Charlotte Adigéry and Bolis Pupul. Walter and I saw them at Elsewhere while we were recording—incredible show. This is the song Creegan first shared with me.
Automatic, “Skyscraper”
Love the space in Automatic’s music—so simple but so massive, spare bass and drums and thick synths, great arrangements, great hooks, classic band. Jachary told me about them. I love blasting this loud while driving around with the windows down. Makes me feel tough in my Subaru Outback.
Porches, “Find Me”
The late great promoter and Baby’s All Right owner Billy Jones told me about Porches, and I’ve always loved this song. Fun to play during DJ sets; cool, distinctive voice; weird melodies; nice, skippy dance production.
El Michels Affair feat. Piya Malik, “Unathi”
A muso friend of mine Zeshan Malik told me about this great album at one of my King Tai DJ sets. El Michels Affair is just an incredible sonic sculptor and arranger-producer, and Piya Malik’s voice and melody are so fun and hooky and nostalgic. I don’t understand any words, but maybe someday I’ll learn ’em...
Mariangela Celeste & Vangelis, “My Dear Life”
Love the early drum machine and synth sounds on this. Mariangela’s voice kinda reminds me of ABBA but wider vocal vibrato. The cascading synths are kinda like what we were going for on “Molly’s Song.”
Walter Fancourt, “Contractor”
This is a great instrumental that Walter put on this year, also mixed by Eric Zeiler who mixed my record. Freaky free-form jazz stuff, but with fun electronic beats. This is a great showpiece for Walter’s many musical sides.
Aldous Harding, “Zoo Eyes”
I probably already put this on another list, but whatever—I just love Aldous Harding’s voice and weird lyrics and the silky production. I tripped on acid really late at night and we just listened to this album over and over again, and I truly believed she’s tapped into the secrets of the universe. My spirit guide whispering in my ear.
Bill Withers, “We Could Be Sweet Lovers”
This was another song Walter introduced me to and the song Social Exile started with Walter playing a similar chord progression. “’80s island vibes” was a continuous reference point for the album—glass marimba and steel drum sounds to make you feel like you’re sitting on the beach.
Amadou & Mariam, “Sabali”
I always liked the lo-fi to hi-fi trick on this song, which I tried to rip off for “Selkie Bride” using a thinly miked-up Vangoa keyboard at the start, which then bursts into full spectrum after one long verse. I think we got it to work pretty well.
