MUNSTER News

Antorcha are one of the best-kept secrets of the Mexican underground rock scene. Their influences came from Iron Butterfly, Black Sabbath, Blue Cheer, Vanilla Fudge, and others. At times they also sounded like MC5, with whom they shared an anarchist and anti-establishment spirit. After a brief period during which they recorded only a couple of 7-inch singles for the Orfeón label that had a very limited distribution, Mexican rockers Antorcha fully embraced a DIY approach to managing their own career. They had evolved into a heavy psychedelic rock group, with no metaphors and no compromises. Anarchists in a country that could barely utter the word without trembling. It was the final years of the 1960s. They recorded five self-produced EPs, sold exclusively at their live performances, passed from hand to hand as if each record were a clandestine act. While MC5 stirred the streets of Detroit alongside the White Panthers, Antorcha was doing much the same in a Mexico that preferred to look the other way. The band operated as a cooperative: agreements were reached collectively, and income was shared equally. Antorcha became a forgotten band in their own country, overlooked even by Mexican rock experts. Yet their legacy proved influential on an organizational level for later groups in the independent scene, which followed Antorcha's model of self-releasing and self-managing their work. This compilation brings together the best of their discography, collecting self-released 7-inch records originally issued between 1971 and 1976, along with material that never appeared on their EPs. Includes an insert featuring liner notes by Carlos Icaza "Tropicaza" and photographs of the band.

Released in 1983, "En la guía, en el listín" remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal. Its sound combines odd electric rock, leftfield proto-hip-hop, and dark, immersive songs that simply defy categorization. An essential album. Includes liner notes and the artwork of the original insert. By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Their first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. 'Branquias bajo el agua', the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of 'Intima decoración' and 'Crematorio' -angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain-are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as 'Lo que hay' could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as 'Disco pocho,' demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had.Unfortunately, this album would never have a follow-up.

Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and Traditional Eastern influences into a sound unlike anything heard before. Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, "Satori" is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, "Satori" drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. Created for an international audience and revered by generations of musicians and collectors, more than fifty years after its release, "Satori" remains as one of the most influential and forward-thinking records in Japanese rock history. LP includes insert.

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

Get On Your Knees' (1968) was the global hit recorded by the Spanish band Canarios, a true anthem that took the British soul scene by storm and still today gets regular plays at '60s clubs. 'To Be A Man,' on the b-side, is a rare gem by Camilo Sesto, packed with fuzz bass guitar and sophisticated arrangements, making it perfect for the dance floor. Canarios, the band led by Teddy Bautista, was one of the first Spanish groups to incorporate the sounds of emerging musical trends-primarily from the English-speaking world-into its repertoire. It was also one of the first Spanish bands to tour the States (they even recorded an album there under the name The Canaries). In 1968, 'Get On Your Knees' was released, a stunning soul track recorded by Swiss producer Alain Milhaud that quickly climbed the charts in numerous countries. Its appeal remains undiminished, and it still gets regular spins in the 60s scene today. 'To Be A Man' is something of a rarity in the discography of Spanish singer Camilo Sesto, whose songs typically lean toward straightforward melodic pop and ballads. Surrounded by an international team of collaborators under the direction of former Brincos member Juan Pardo as producer, he recorded this psychedelic-tinged pop song. Its sophisticated arrangements and sinuous fuzz-laden bass line create an effective and irresistible dancefloor-filler that was released as a 7" single in several countries but, curiously, not in Spain. First-ever single reissue of both songs.

A master class of shimmering, surrealistic '67 British psychedelia that is widely considered a holy grail of the genre and currently fetches huge prices in the collectors' market. 'Baby Your Phrasing is Bad' boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal.First-ever legit reissue. Caleb Quaye only released one single in the sixties under his own name, but what a record it is! Released on Philips in June 1967, 'Baby Your Phrasing is Bad' boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal. On the other side, 'A Woman of Distinction' is only fractionally less freaky with treated vocals and a short but gracefully-executed guitar solo. Contrary to hearsay, rumors and guesswork, it can be confirmed that Elton John did not play on the session. However, shortly afterwards, this same core lineup, with Caleb producing, recorded an album with Elton, "Regimental Sgt Zippo", a superb psychedelic pop work that remained unreleased until 2021.

Second EP (1970) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano Mecánico". Includes a new funky version of 'Born to Be Wild' by Steppenwolf, as well as three original compositions by the band. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. Their second EP "Born to Be Wild II" was released in 1970, it featured a new funky version of the Steppenwolf original. It also introduced the band's first original compositions and their new influences: 'Ritmo de la Vida,' an instrumental chord-driven melody with Latin jazz overtones where we begin to hear the influence of Santana; 'El Abrigo Café de Piel de Gallina,' a standard blues number that recalls 'All Your Love' by Otis Rush; and 'The Seeker,' with a Latin vibe and lyrics that include the first reference to drug use in Bolivian music. First time vinyl reissue.

Debut EP (1969) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano mecánico". Includes versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. The first of these is titled "Born to Be Wild" (1969), including versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. Recording covers was completely normal at the time and was also their way of learning the musical language. It's worth noting that the term "cover" did not carry the meaning it has today; back then, the main goal was to spread the music and bring it to a wider audience. First time vinyl reissue.

Reissue of the debut album by Laghonia, one of the most important bands of Peruvian rock. Originally released in 1960, "Glue" will be cherished by lovers of Latin American rock, pop and psychedelia as practiced by other similar classic bands such as Traffic Sound, We All Together, Black Sugar and Telegraph Avenue. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ) and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP "Glue" on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beatmelodies, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. "Glue" is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Deluxe edition: 180g vinyl LP in tip-on jacket and insert with liner notes.

Los Amantes Oscuros" brings together for the first time on vinyl the recordings made between 1968 and 1969 by pioneers of Bolivian garage rock, Loving Darks, originally released on their three EPs. A selection packed with proto-punk covers of hits by the Stones, Cream, Tony Hatch, and more-often surpassing the originals in attitude and power. Their original records are highly sought after and are virtually impossible to find in any condition_ If we had to choose the Latin American country where the rawest and wildest garage and beat records of the '60s were recorded, Bolivia would be one of the clearest contenders. For some strange reason-surely related to the country's extreme conditions, its high altitude, and the influence of huayno-Bolivian recordings are truly unique and fascinating. A multitude of bands sprang up under the influence of groups-mainly British-that dominated the international charts. From the ashes of two of Bolivia's most important seminal bands, Los Black Byrds and The Turtles, two new groups fundamental to the history of Bolivian rock would be born: the mythical Climax and the legendary Loving Darks. "Los Amantes Oscuros" brings together for the first time on vinyl the recordings this band made between 1968 and 1969, originally released across three EPs on the local Lyra label. Their repertoire is packed with covers such as 'El Adivino,' a sped-up reinterpretation of 'Fortune Teller,' or even 'Algo de títere,' a reworking of 'Jumpin' Jack Flash.' They also adapt the classic 'Call Me' by Tony Hatch and 'Toad' by Cream, from whom they borrow the cover of one of their most iconic albums for the artwork of their EP "Complicado." In fact, 'Complicado'-a proto-punk version of the Rolling Stones' 'Complicated' and their signature track-is a perfect example of how a Bolivian band could outdo the British giants in attitude and power. Their importance lies in having paved the way for new sounds, styles, and aesthetics within a still-emerging scene. This compilation is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history. First time vinyl reissue.

The Mexican band The Survival created a blend of blues and acid rock influenced by the U.S. West Coast movement and British blues, captured on this 1971 album-the only one they recorded. They are often described as a combination of Country Joe and the Fish, Quicksilver Messenger Service, Moby Grape, and Ten Years After. One of the rarest records ever released in Mexico, it stands as a significant testament to the "onda chicana," a historical moment when Mexican youth took up instruments to express their reality. The group formed in August 1970 and recorded a single album, "La onda de The Survival" (1971), which combined laid-back blues with distortion. One distinctive feature was that lead vocals were handled by drummer Andrés Lusher-an unusual choice that gave the band a unique sonic identity. The album captured the spirit of the time, portraying generational shifts, repression of youth, fraternity, pacifism, and the influence of drugs. Despite their brief existence, The Survival and their sole album remain a significant testament to the "onda chicana", a lasting mark on the history of Mexican rock. Includes an insert with liner notes.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

At the genesis of one of the most essential bands in Spanish pop-rock of the 1980s, this rarity presents early versions of what would later become some of the most chanted songs in Siniestro Total's repertoire: 'Matar jipis en las Cíes' and 'Las tetas de mi novia,' along with Germán Coppini's original composition 'El Vaticano va a arder.' With limited resources but plenty of energy and humor, a three-song demo was recorded in August 1981, now available here on vinyl for the first time. The songs came first, and only later did the band take a name-initially Mari Cruz Soriano y los que afinan su piano, and shortly after, Siniestro Total. 'Matar jipis en las Cíes' is an original composition by the band's founding members Alberto Torrado, Julián Hernández, and Miguel Costas, while 'Las tetas de mi novia' is a loose version of the song 'I'm a Rocket' by the Dutch band Gruppo Sportivo. 'El Vaticano va a arder' was contributed by Germán Coppini, the mysterious fourth member of this singular lineup, inspired by 'Religion,' the anti-religious rant included on Public Image Limited's debut album. This single is an essential document for both Siniestro Total fans and Spanish-language punk enthusiasts. First-ever vinyl edition.

Rikk Agnew's All by Myself is one of those records that feels like a secret you're lucky to stumble upon -- a raw, weird, totally personal snapshot of a restless artist at a pivotal moment. Originally released in 1982 on Frontier Records, the album stands apart from most of what was coming out of Southern California at the time, even though it was born right in the middle of the exploding hardcore punk scene. By 1982, Rikk Agnew was already a big deal underground. As the guitarist for Adolescents, he helped shape the sound of Orange County hardcore with sharp riffs, surf-inflected melodies, and a sense of urgency that became hugely influential. He also played in bands like D.I. and later Christian Death, moving fluidly between hardcore punk, post-punk, and darker, more experimental territory. Agnew wasn't just a fast, aggressive guitarist -- he was a songwriter with range, curiosity, and a strong DIY instinct. All by Myself lives up to its title in the most literal way. Agnew recorded the album largely on his own, playing all the instruments and handling vocals himself. Instead of delivering another straight-up hardcore record, he went inward. The result is a lo-fi, home-recorded collection of songs that blend punk energy with new wave, post-punk, psychedelic touches, and even moments of pop sensitivity. It's rough around the edges, but that's exactly the point -- the album feels intimate, unfiltered, and honest. In the early '80s, Southern California punk was loud, fast, and often confrontational. Bands were pushing against the mainstream and even against each other, racing toward more extreme sounds. While All by Myself shares that DIY spirit, it doesn't fully play by hardcore rules. The tempos shift, the moods wander, and the songs feel more like personal experiments than scene anthems. That made the record a bit of an outlier at the time -- but also what gives it lasting appeal. Frontier Records was the perfect home for a release like this. The label was known for supporting artists who didn't quite fit into neat categories, and All by Myself captured that ethos perfectly. Today, All by Myself is often seen as a cult classic. For fans of early punk, post-punk, or anyone interested in the roots of DIY recording culture, this album is essential listening

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere under the influence of today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. 'The Cigs, The Light, The Coffee and Crying' is the first single taken from their awaited soon-coming second album in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus.

'Cuéntame cosas tuyas' is perfect pop with flawless arrangements; it's crossed over into the international soul scene, made its way into playlists by DJs like Gilles Peterson, and was even covered in the early 2000s by La Costa Brava-proof of its appeal among an ever-broader audience. On the B-side you'll find the superb '¡Yeah!', packed with soul and funk flair. Two irresistible tracks that, after years out of print, we're putting back into circulation with the reissue of this essential record-one that's practically impossible to find in its original pressing. Few late-'60s Spanish pop songs have reached the status that 'Cuéntame cosas tuyas' has earned decades after its original 1969 release. The single, put out by Barcelona label Belter, has become one of the most coveted gems for collectors of '60s sounds. 'Cuéntame cosas tuyas' is perfect pop with flawless arrangements-a sure-fire dance-floor killer, right up there with Elia y Elizabeth's 'Alegría' in any imaginary ranking of Spanish-language pop anthems. Although originally from Valencia, Los Ros (formerly Los 4 Ros) built their career in Palma de Mallorca and released nearly twenty singles on Belter. Between 1968 and 1970, their friendly, commercial pop started weaving in bolder elements drawn from soul, funk, and even psychedelia-something you can also hear on the B-side of this very single, featuring the superb '¡Yeah!'

This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)_ The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history

Juegos Nocturnos is the new project from two essential musicians of the '80s Spanish scene, coming from iconic bands like Décima Víctima and P.V.P. In this new musical venture, they deliver nine guitar-centered, refined pop-rock songs that reflect influences developed over 40+ years, recorded between 2020 and 2022. Jesús Amodia (guitar, vocals, programming, and keyboards) was a founding member of the punk-rock group P.V.P., a band often compared to The Clash and other British acts of the era thanks to their blend of punk energy with Jamaican influenced sounds. The project also features Per Mertanen (bass), member of cult band Décima Víctima, known for crafting a very distinctive sound with echoes of Joy Division, The Cure, and other British post-punk groups. Now united in this new musical adventure called Juegos Nocturnos, they present nine guitar-driven, sophisticated pop rock tracks that showcase influences shaped over more than four decades of musical career, recorded between 2020 and 2022.

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. "Tougher Than the Rest" is their awaited second album. They take a step forward with a darker sound with gloomy riffs and ethereal voices in which they describe perfectly how the sound of a night full of random events -that surely, we all have experienced- would be like. Their sound is influenced by today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. 'The Cigs, The Light, The Coffee and Crying' is the first single in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus. Their debut LP "Cult Band Member" (2021) is sold out and the growing interest in the band anticipates that copies of this new album will not last long.

Known to fans simply as The Blue Album, Adolescents' self-titled debut album captured the raw pulse of Southern California's teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk's first wave. Few records from the American punk underground have echoed as far and wide-or as enduringly-as the Adolescents' self-titled debut, first released by Frontier Records in 1981. Formed in Fullerton, California, Adolescents brought together members of earlier OC punk outfits like Social Distortion and Agent Orange, fusing their varied influences into something uniquely their own. With songs like 'Amoeba,' 'Kids of the Black Hole,' and 'No Way,' the album offered more than just speed and volume-it spoke directly to suburban alienation, youthful frustration, and the search for identity in a world that felt increasingly hostile and conformist. This new edition offers longtime listeners and new fans alike a chance to revisit-or discover-an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, "Adolescents" remains a vital listen, as relevant today as it was over four decades ago. It's an album that didn't just reflect its moment-it shaped what punk could be: loud, smart, emotional, and unflinchingly real. Reissued with care and respect for its original spirit, The Blue Album stands not only as a milestone in punk history, but as a testament to the enduring power of youth in revolt. This reissue includes a repro of the original insert and poster.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

"It's a Beautiful Day" brings together 12 outstanding songs recorded between 1971 and 1976, reminiscent of sunshine pop, psych folk and soft rock with Peruvian touches, taken from extremely hard to find records, some of them reissued here on vinyl for the first time. A mindblowing look at a really stunning musical moment in Peru. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups. MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax... Following our recent release "14 MAGníficos Bailables", comprising some of the best tropical music on MAG, this new compilation brings together 12 songs recorded between 1971 and 1976, reminiscent of sunshine pop, folk psych and soft rock but with Peruvian touches. The lyrics range from youthful reflections, environmental awareness, paradigm changes to all shades of love that the youth of the day experienced. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups.

Punk pioneer/Eater main-man, Andy Blade's 7th solo album and follow up to 2024's critically acclaimed & heavily rotated, Sparks bros endorsed "Being Alive Is Fun". It is imbued with the usual left-of-centre Blade-ism's & themes: star maps, UFO's & a slightly twisted nod to tragic 70's heroine Karen Carpenter. You get what you deserve with Blade, and with Tiny Specks you are rewarded with a rich code to decipher at your leisure. Most of all, however, it is all about the quality of his songwriting. Opening track 'Karen Is The Drummer' (featuring Blade's regular singing collaborator - PseudoPomp's Katerina Sharkova) seems unsettlingly self-explanatory, but all does not seem well in the Carpenter M.O.R world - 'It's just her & her brother & her folks indifference to that girl'. Occasional Dinosaur Jr vocalist Tiffany Anders gives 'I'm Not Myself' a poppy but eerie nuance. PollyPikPocketz's Myura Amara pops up on the short but very sweet 'About That'. Matilda Scotland, Quick Romance's uber-cool punky-chanteuse - adds her Gen Z aura to the summery 'I Like It When You're Happy'. Former Generation X guitarist Bob 'Derwood' Andrews, with whom Blade has worked with consistently of late, once again features heavily on 'Tiny Specks'_ Like with Katerina Sharkova's voice, Derwood guitar lines interweave with Blade's honeyed vocal as though they made for each other. 'This Place' is another key track, capturing the claustrophobic-genocidal mood of what has been taking place in Gaza/Palestine for over two years now, and counting. 'This is not so much a protest song as it is the noise in my head'. If John Lydon is the Widow Twanky of Punk, and Billy Idol, its Elvis, then Andy Blade must surely be the Sinatra of Punk.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself - led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt - but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. After many years unavailable, we are now delighted to reissue their second album "¡¡¡Viven!!!" (2009) featuring new artwork by Mik Baro. It includes their classic originals 'Copa, raya, paliza' and 'Viva Link Wray!!!' as well as a bunch of wild cover versions of Los Mockers, The Lyrics, The Troyes, The Hatfields, Jonah & The Whales_ The album was produced by Jorge Explosion (Dr. Explosion) and Mike Mariconda (Raunch Hands, Devil Dogs), and recorded at the celebrated Circo Perrotti Studios in Gijón. Please welcome again the undisputed kings of garage punk!

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself _ led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt _ but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.

Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. Let's set off together to discover the magic of Caracas in the late '60s! DESCRIPTION Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. The golden age of Caracas pop started in 1965. It replaced the wave of cloyingly romantic song writing as fresh talents leant into richer and more complex styles: folk-rock, psychedelia, soul, hard blues, symphonic pop, Latin rock etc. Singer-songwriters, experimental electric guitars and jam sessions all appeared on the scene, creating music that became increasingly refined and free. The industry took a while to catch on to this new trend and leave behind the teen idols and dream lifestyles. By the late 60s, there was a long list of new bands in the capital city. Young people finally found their voice. Let's set off together to discover the magic of Caracas in the late '60s!

"Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. This reissue includes bonus tracks and extensive liner notes. DESCRIPTION "Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. The positive reception albums by artists such as We All Together, Telegraph Avenue and Zulu garnered between 1972 and 1975, marked a change of paradigm and in preferences within the Peruvian rock scene. Eclecticism gained new ground, to the detriment of the sectarian and orthodox, while melody grew more present and visible, moving away from the progressive experimentation that typified underground Peruvian rock up to the beginning of the 70s. For their first single on MAG, included on this reissue, the band adopted a formula in which Beatles harmonies converged symmetrically with folk motifs. 'Dirty Girl' was a hit on the radio. A full album followed but only a fairly small number of copies of the album were pressed, which seems to have been the main reason for omitting it from the historical accounts of Peruvian rock music from the late 90s onwards. In "Paloma mensajera" all compositions were penned by the group, after several years during which cover versions were a staple. Some of the musical resources that the band had at their disposal in terms of composition and arrangements are striking and even surprising, considering that they were a debut band, whose members were under the age of 20. The arrangements included the clever use of a Moog synthesizer which had just arrived at the MAG studio. The success achieved by the Beatles tribute performances played by the members of Grupo Amigos for decades have eclipsed the songs that Edmundo, Andrés Da Ros and Simón Ames composed with youthful enthusiasm and energy between 1972 and 1973 to the point where they have almost been forgotten. This re-release of "Paloma mensajera" should help rectify this major injustice. It includes bonus tracks and extensive liner notes.

Released exclusively in Germany in March 1966, "Black Monk Time" by The Monks has become a cult classic -praised as a groundbreaking forerunner to punk and krautrock. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men-Walther Niemann and Karl Remy-who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Nowhere is this clearer than in the album's opening track, 'Monk Time,' which captures their entire aesthetic in under three minutes. A pounding, repetitive groove of bass and drums anchors the track, layered with distorted guitar bursts, percussive electric banjo, chaotic organ stabs, and unrestrained, shouted vocals. It's a declaration of intent-urgent, jarring, and unforgettable. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. From the explosive opener 'Monk Time' to the fierce 'Complication,' "Black Monk Time" rejected flower power for something more urgent-anger, humor, and innovation. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history-loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, "Black Monk Time" still resonates. This is your chance to experience the album that dared to be different - don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.

"Anti Todo" is Eskorbuto's most celebrated album, recorded in the shortest time imaginable and released in 1985. It shows what the Spanish punk band did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. A new remastering for this edition has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic recorded at Eskorbuto's peak of their creativity and energy. It includes a large poster and insert with notes. DESCRIPTION 1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things_ When it came to recording "Anti Todo", Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and we have to ask: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song 'Tamara' was practically composed on the spot in the studio in less than two recording days, as was much of 'Ha llegado el momento'. The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic in our musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy. This edition of the album includes a large poster and insert with notes.

This is one of the most obscure singles ever released in Venezuela in the 60s. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. The band's only album, released in 1967, shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original 'El entierro de un hombre rico que murió de hambre', one of the finest garage tunes to emerge from Latin America that was also released as a 7" single. Their stunning take on The Doors' 'Hello, I Love You' takes the B side of this mega scarce 45. A garage DJs favorite! First time 45 reissue, audios remastered from the original master tapes.

Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

Décima Víctima were a Spanish-(Swedish) band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the "Un hombre solo" album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound. After many years a rehearsal session that DV had recorded on an old cassette tape has been resurfaced. It had originally been laid down on a four-track recorder but unfortunately the tape got lost.The story of these tracks goes back to the last weekend of October 1983, when DV went to record at friend Paco Trinidad's family home in the mountains north of Madrid. Paco recorded the latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where the drums were played. The sleeve design is a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. The directness and passion of the tape makes it an interesting item for collectors and fans and the fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the following LP "Un hombre solo".

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Despite not participating in the legendary Avándaro festival, La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their fantastic 'Nasty Sex', along with other songs like 'If You Want It' or 'Melynda' boosted their first album at the top of the sales charts worldwide. Although their sound changed over time, their debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.

Discover the groundbreaking sound of Los Texao, a legendary Peruvian rock band that helped shape the music scene in the 1970s. Born in the culturally rich city of Arequipa, Los Texao's journey to stardom was paved with innovation, passion, and an undeniable connection to their roots. Their music fused the energy of psychedelic rock with Latin American influences, captivating audiences across their native Peru, Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. This release comprises their complete recordings, including all their singles and also covers of some of the most influential rock bands of the era, most of them previously unavailable on vinyl. Formed in 1969, the band took their name from Arequipa's emblematic flower, the nasturtium, and made an immediate impact with their debut at a local band contest. Soon after, they recorded their first 45 RPM single, which included covers of tracks by Chilean group Los Beat 4. But it was in the early 70s when Los Texao truly found their voice. With a dynamic lineup, including the talented Fernando "Feño" Humbser and Juan Núñez on guitar, Víctor Dibán on vocals and bass, and Edgar "Chito" Manrique on drums, their musical evolution began to take shape. The addition of Julio Torres, a keyboardist and guitarist from the iconic bands Los Beatniks and Los Dig It, further elevated their sound. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. They embraced the emerging trend of playing rock in English, despite the language barrier, and incorporated cutting-edge gear. With the help of the legendary Peruvian jazz musician Jaime Delgado Aparicio, they created hypnotic tracks like 'Algún día' and 'Nunca cambias,' capturing the essence of 70s rock with swirling textures and atmospheric vibes. But it wasn't just the melodies that set them apart - their electrifying rhythms and powerful arrangements, like those heard in 'Stone' and 'La pelea del gobernador,' showcased their refined musicianship and intense dedication. Los Texao quickly became a sensation in Peru, performing in cities like Puno, Moquegua, and Arica (Chile), and sharing stages with iconic bands like Los Shain's, Traffic Sound, and Telegraph Avenue. Their infamous hit 'La pelea del gobernador' tells a tale of generational conflict and rebellious youth, captured in a live performance that still resonates with audiences today. The band's wild live shows became the stuff of legend, with fans packing into intimate venues to experience the raw energy of their loud, unapologetic rock. In addition to their 45s, Los Texao also recorded covers of some of the most influential rock bands of the era, including Cream, Steppenwolf, and The Guess Who, showcasing their versatility and love for classic rock. Unfortunately, this session remained lost for years and some of these covers have never been available on vinyl before. Despite their growing success, Los Texao eventually disbanded in 1975 due to personal and professional challenges. But their legacy never faded.