Review: Magic Trick’s ‘Ruler of the Night’

Magic Trick.Matthew Dara Alavi, courtesy of Hardly Art

The city that spawned the original psych-rock scene is at it again with a burgeoning group of bands and artists playing psych-pop, weird rock, and all manner of arty, eccentric takes on classic song structures and themes. Tim Cohen is one of the mainstays of this new scene: In addition to playing with the Fresh & Onlys, he started Magic Trick, initially a solo project in his apartment studio that gradually expanded to include San Francisco musicians James Kim, Alicia Vanden Heuvel, and Noelle Cahill. The band’s new album, Ruler of the Night, is its second full-fledged effort after a couple of Cohen-only records.

As magic tricks go, this is a sleight of hand rather than a grand illusion—that is, one that enchants and delights in small, subtle ways, but only occasionally gives cause for outright marvel. The album is anchored by Cohen’s deep, resonant voice, often distant and washed in reverb, while tambourines, washboards, and multi-part harmonies take songs in unexpected directions. Sometimes the experimentation doesn’t quite work—the quiet, twanging song “Next to Nothing,” for example, is sprinkled with a distractingly obtrusive sound effect—but usually it adds a welcome note of the uncanny to catchy but otherwise straightforward pop-folk tunes.

Indeed, songs don’t stand out on this album so much as moments do: the warbling, whistling refrain of “Angel Dust,” the soaring synths and chorus of hoots fading in and out of the background throughout “Ruby,” the rousing chorus of “Invisible at Midnight,” the melodiously twinkling intro to “Torture,” the poppy sweetness of “Sunny.” The eponymous track is an exception: Cohen sings over a lulling background of tambourine and muffled guitar in an eerie tune that’s at times oddly reminiscent of something out of Phantom of the Opera. But Magic Trick doesn’t seem to be aiming for hits so much as trying out different sounds and combinations in search of moments of surprise, discovery, and recognition. “Melodies,” Cohen sings, “don’t last too long / but nothing lasts forever.”

It’s hard to imagine a better setting for a Magic Trick show than the Golden Gate Park’s space-age-inspired California Academy of Sciences, on a stage flanked by a planetarium and a giant jungle terrarium, underneath a glass dome through which the fog drifting across the city was plainly visible. That the power went out briefly at the beginning of the night only added to an aesthetic that matched the band’s lushly atmospheric, overtly weird, often interrupted sound.

Click here for more music features from Mother Jones.


Mother Jones was founded as a nonprofit in 1976 because we knew corporations and the wealthy wouldn't fund the type of hard-hitting journalism we set out to do.

Today, reader support makes up about two-thirds of our budget, allows us to dig deep on stories that matter, and lets us keep our reporting free for everyone. If you value what you get from Mother Jones, please join us with a tax-deductible donation today so we can keep on doing the type of journalism 2019 demands.

We Recommend


Sign up for our newsletters

Subscribe and we'll send Mother Jones straight to your inbox.

Get our award-winning magazine

Save big on a full year of investigations, ideas, and insights.


Support our journalism

Help Mother Jones' reporters dig deep with a tax-deductible donation.


We have a new comment system! We are now using Coral, from Vox Media, for comments on all new articles. We'd love your feedback.