Pop & Rock News

Melbourne psych-rockers Money For Rope release their second studio album Picture Us. Spawned from the same fertile Melbourne music scene which has fostered not only Courtney Barnett but also other friends including King Gizzard And The Lizard Wizard, The Goon Sax and Rolling Coastal Blackouts Fever amongst others, Money For Rope release Picture Us on the back of a dogged touring habit which has kept them on the road near constantly for the last four years. Entirely self-produced, mixed and mastered by the five piece, Picture Us was recorded over the course of a single summer in Victoria, Australia in a beach house next to the Southern Ocean.

Throughout, Picture Us is shaped by the volatile stretch of coastline next to which it was written and recorded. Evidence of Aboriginal middens discovered nearby inspired the track Trashtown - with a sound landing closer to psychobilly, it explores the wrestling of the area from its indigenous people and the changes wrought by the dominance of sea-freight and commercial fishing industries on the Southern Sea coast. Elsewhere, the slow-burn of bruised album opener, Hold, was built around a percussion track the band created by feeding the rattling sound of a box of old sailing boat parts through an old tape machine.

Whilst everything Money For Rope does is buoyed by a freewheeling 'Why not' attitude - including a mini tour across India, and McKenzie honouring various live commitments following a motorbike crash by performing from a wheelchair - don't be fooled by that derisive band name. 'Picture Us' thrums with the promise of one of Australia's most hard-working and charismatic new bands.

*SHIPS FOR FEB 15TH*Holiday Ghosts are back with their second LP West Bay Playroom, the follow-up to their acclaimed self-titled debut album from 2017. Originally starting out as a solo project from The Black Tambourines' Sam Stacpoole the band evolved into a partnership with Katja Rackin, before turning into a full band with the debut album - showcasing a primitive rock 'n' roll sound that's been compared to The Modern Lovers and The Velvet Underground alongside current garage rock acts, and praised by the likes of The FADER, Stereogum, BrooklynVegan and KEXP. For West Bay Playroom the band's refined their sound, offering a cleaner and more focused set of songs while breaking new ground and experimenting with influences from country, blues, spaghetti western soundtracks and more.

'A Thousand Strands' is the debut long-player from The Dandelion Set, a new collaboration between Glyn 'Bigga' Bush (Lightning Head, Rockers Hi Fi) and PK Chown (James Beige, Mr Liquorice). The album travels back to their formative years in the mid 1970s, with sleevenotes, lyrics and vocals by cult writer Alan Moore (V For Vendetta, Watchmen) and passes through a cavalcade of musical landmarks en route to the present day.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)

NYL's 1976 sole release is curiously still very much under the radar despite it being one of the most intriguing French psychedelic/prog albums from the 70's. The music is highly creative and energetic with a definite space-rock feel in the style of Hawkwind, but also a clear krautrock edge reminiscent of Amon Dull II and Agitation free. Michel Peteau's guitar is the driving force around which all other elements create a whirlwind of sonic psychedelic infusion veering between loud psychedelia and irreverent pulsating rock groove a la' Gong. Features Ariel Kalma (flute and sax), as well as Janick Top (From Magma) and Bernard Lavialle (from Ame Son). Originally released on Richard Pinhas "Urus Records", this fully licensed album is released in high quality heavy paste-on gatefold cover, limited to 500 copies in black vinyl

Originally available only in sex shops in the Netherlands, this is one of the rarest psychedelic LP's ever to be recorded in Europe. Consisting of only two long tracks, one covering side A and one covering side B, this album is probably the most mind-bending stuff we've heard from around this time. Side A starts with fast-paced free-jazz-rock with intense drumming and Anita's growing involvement (first giggling, then moaning and finally screaming in all sorts of terrifying ways) Most instruments gradually drop leaving only fierce drumming in the background, leading up to a guy repeating the words num-num-num' inter-twinned with joyful screaming, somewhat reminiscent of Can's Tago Mago. This then move's on to another psychedelic jam that culminates with more screaming and crazy cosmic stuff that sounds like out of Jodorowsky's Holy Mountain'. Side 2 is another deadly blast of Krautrock delight, similar to Brainticket's Cottonwoodhill' again with an absolute crazy vibe, addictive guitar riffs, Pink Floyd-sounding organ atmospheres and several crescendos of insane horror screaming backed by raw organ and drumming. Highly recommended to fans of Can, Agitation free, Brainticket, Magma, J.a.Caesar, Ceremony People', Vampyros lesbos, Staff carpenborg & the electric corona & Hairy Chapter.

Quality pressing by SONY Austria.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- 50TH ANNIVERSARY EDITION, APHRODITE'S
CHILD 2ND ALBUM FEATURING VANGELIS,
DEMIS ROUSSOS AND LUCAS SIDERAS
- LIMITED PRESSING OF 1.000 INDIVIDUALLY NUMBERED COPIES ON SILVER VINYL

It's Five O'Clock is the second album by the Greek progressive rock band Aphrodite's Child. After settling down in London the trio consisting of Vangelis Papathanassiou, Demis Roussos and Lucas Sideras starting recording a follow up to their debut album End of the World. The title track reached the charts in The Netherlands, Switzerland and Italy. It's one of those song classics which is pretty straightforward with some psychedelic pop melodies. 'Wake Up' is a cute little singalong track drenched in key changes. Demis Roussos' unique voice blends perfectly with the impressive keyboard and piano movements and Sideras' percussions. It's definitely a record worth discovering sparkling with multiple gems.

The Greek band Aphrodite's Child was an important name in the psychedelic and progressive movement. They recorded three albums and after they disbanded in 1972 the band members Vangelis Papathanassiou and Demis Roussos started an successful solo career.

It's Five O'Clock is available as a limited pressing of 1.000 individually numbered copies on silver vinyl.

'Legendary drummer, Ikuro Takahashi played in most of the important bands of the psychedelic underground Japanese scene : Keiji Haino's Fushitsusha, Seishokki, High Rise, Che´-Shizu, Maher Shalal Hash Baz, Kousokuya, LSD March and Nagisa Ni Te, but also with Junzo Suzuki, Tamio Shiraishi, Akiko Hotaka and many others, making it difficult to write a comprehensive list. Ikuro does not make a distinction between the young musicians with whom he collaborates, and the big names of the underground behind whom he brings an enveloping rhythm, like the wind blowing through a bamboo forest.

A native of Hokkai¨do, born in 1957, exiled in downtown Tokyo, Ikuro Takahashi lived there for a while before settling back in Sapporo with his partner, dancer Yoko Muronoi, starting the Anoyonodekigoto project together. All pieces gathered here were composed for their duo shows. Yoko Moronoi was reunited with the shadows of her ancestors in 2017, leaving Ikuro alone in the world of the living. This record appears as the last flower laid at the shrine of her dance.
This album gathers 7 tracks, most of which were built from an overlay of oscillators, music boxes and metronomes. Sometimes it recalls Takehisa Kosugi's pieces, a common way of unfolding time and space, of making our perception float. Takahashi is like a weaver trapping our listening in his electric wires, dragging us in a flux of rhythmic, fluid, circular patterns. Like shamans summoning our shadows, our ghosts, to make the living core within us sing.

Psychedelic-Country-Garage-Soul oddities from the Sixties and Seventees. The tunes on this album are as good as those by famous artists like Little Richard, Jerry Lee Lewis, Tom Jones, or Jack Hammer.

Produced By Tim Green (the Former Guitarist Of Punk Iconoclasts
Nation Of Ulysses, Who Has Worked With Sleater-kinney, Bikini Kill,
Joanna Newsom And Jawbreaker, Among Others), 'post Earth' Is A
Call To Arms, Interspersed With Frustration And Hope.
'it Wasn't Intentional To Write A Politically Charged Record,' Says
Bassist Amy Allen, Who Constitutes Feels With Laena Geronimo
(guitar/vocals), Shannon Lay (guitar/vocals) And Michael Perry
Rudes (drums). 'but The Way The World Is Functioning Right Now
Made It Impossible To Write About Anything Else. We All Need To
Figure It Out; We're Running Out Of Time. The Golden Age Is Over.'
Maybe Feels Did Not Start Their Second Album With A Conceptual
Agenda But They Definitely Intended To Speak Out: 'if You Have Any
Kind Of Platform, You Should Use It For Good,' Lay States. Geronimo
Continues, 'if Our Wildest Dreams Came True, The Album Would
Sound Exciting To People While Also Inspiring Awareness And Action
Against Hate, Prejudice, Greed, The Destruction Of Our
Environment... Apathy's Not Cool And Toppling Oppression Could Be
Fun If We Do It Together!'
With A Steadfast Proportion Of Heavy And Light, Post Earth Never
Completely Wallows In Despair: Disillusionment Is Met With A Heady
Helping Of Defiance; Hard Work Battles Against Apathy; And There
Are Even References To The Simpsons, Courtesy Of Superfan Lay.
Feels Also Strike A Perfect Balance Musically Between Noise And
Energy, Breath And Space With A Mix Of Angular, Interweaving
Guitars, Lush Vocal Harmonies, Heavy Bass And Pummeling Drums -
At Times Hearty And Loud And At Others Stunningly Harmonic And
Calm. These Newly Emphasized Dynamics Highlight The Subtler,
Weirder, And Sonically Interesting Elements Of 'post Earth' And
Allowed The Four Friends (who Have Played Intermittently In Bands
Together Since High School) Room For Experimentation.
Lp Includes Digital Download Code.

'South Of Reality', The Claypool Lennon Delirium's
epic sophomore album, might be just the antidote
this sick world needs.
Music so potent it could repel an asteroid impact
from space, these seasoned warriors of
psychedelia have crafted timeless songs that may
as well be chiselled in stone.
The monolithic dream team's new record was
produced by Les Claypool and Sean Lennon
themselves and engineered and mixed by Les
Claypool at his own Rancho Relaxo studio in
Sonoma County, California.
Grab your goggles and a month's supply of Kool
Aid because The Claypool Lennon Delirium are
about to take you for a ride on a rock 'n' roll rocket
ship and frankly you may never come back.

Noctorum haben kürzlich die Veröffentlichung ihres vierten Albums The
Afterlife bekanntgegeben. Noctorum sind Gitarrist, Sänger und
Songwriter Marty Willson-Piper und der Produzent Dare Mason.
Marty Willson-Piper schreibt und spielt seit über 35 Jahren international.
Er ist vor allem als langjähriges Mitglied der australischen
psychedelischen Rockband The Church bekannt, mit der er über 30 Jahre
zusammen war. In den 90er Jahren trat er All About Eve bei,
veröffentlichte zwei Studioalben und 6 Soloalben. Er agiert in mehreren
Nebenprojekten. Dies ist seine erste Veröffentlichung seit über 7
Jahren.

Outrageous Cherry kombinierten Psychedelia-, Folk Rock-, Art Rock
und Bubblegum-Musik in mehr als 12 Alben und über fast drei
Jahrzehnte. Sie entwickelten einen internationalen Kult und waren seit
ihren ersten Auftritten im Jahr 1991 ein fester Bestandteil der
Rock'n'Roll-Szene in Detroit. Meet You In The Shadows ist das letzte
Studioalbum, das vor dem Tod des Gründungsgitarristen Larry Ray
fertiggestellt wurde. Einige der Songs wie Lies Feel Good und Creeps
Retreat sprechen aktuelle gesellschaftliche und politische Unruhen an,
während The Beginning of the End of the Night und Complicate Me eher
psychologische Spielwiesen sind. Der Titelsong Meet You in the Shadows
vereint all diese Dinge in sich

Das bereits dritte Album des ehemaligen Delta Spirits Frontmanns ist eine Mischung aus Balladen und
seinem typischen Southern Rock Stil.
Aufgenommen wurde es in Wimberley, TX und gemastert in seiner neuen Heimat Oslo. Nach der
Veröffentlichung des vierten Delta Spirit Albums Into the Wide (2014), das von Kritikern hoch gelobt wurde,
begann Matthew am Material für seine neue Soloveröffentlichunge zu arbeiten. Daraus entstand die Austin EP,
auf der Vasquezjedes Instrument selbst einspielte. Sie war stark Psych-Rock beeinflusst und erschien im Jahr
2015. 2016 folgte sein erstes Album Solicitor Returns. Im April 2017 veröffentlichte er sein zweites
Studioalbum Does What He Wants, welches komplett im eigenen Home Studio aufgenommen wurde. Die EP
Texas Murder Ballads dient daraufhin als Überbrückungsrelease zum nun erscheinenden Album Light'n Up.
Vasquezist außerdem Mitglied der beiden Indie Supergroups Middle Brotherund Glorietta.

The Spacelords sind eine deutsche Space- und Psychedelic-Rock-Band aus Reutlingen.
Laut Selbstbeschreibung spielt die Band - instrumentalen Space- / Psychedelic-Rock mit
Stoner-, Kraut- und Prog-Rock-Einflüssen'. Die Reutlinger Band The Spacelords zählt
mittlerweile zu den bekanntesten Bands der europäischen Psychedelic / Space Rock Szene.
Seit vielen Jahren aktiv, hat sich das Trio einen exzellenten Ruf als Liveband erspielt. So
ist es nur konsequent, dass nach den letzten beiden erfolgreichen Studioalben Liquid Sun und
Water Planet nun ein Live-Album, welches die volle Wucht der Bühnenpräsenz, mit
herausragenden Sound, veröffentlicht wird. On Stage ist ein mitreißendes Live-Album
für alle Fans von modernem Psychedelic und Space Rock

- First time available since its original release.
- Includes the story behind the album as told by the artist and MP3 download card.

- Expect an interview in upcoming Ugly Things Magazine, along with reviews in other magazines.

- Think the likes of LOVE, THE MERRY-GO-ROUND, THE LEFT BANKE, BARRETT, BOWIE



Guy from Southern California packs up his life and guitar to follow a Swedish exchange student back to her home land in 1967. It doesn't work out. He goes as far as he can with whatever funds he has left, guitar in hand. It's Holland.



Having never performed outside his bedroom, he plays coffee shops for tips. Spotted by a member of prominent Dutch band, BLUES DIMENSION who brings his label's A&R guy, he's asked it he wants to record an LP. He records a lush, baroque, orchestral pop sike album. It's released on a Decca in Holland. He appears on national TV and radio, along with supporting on a few tours.

With royalties earned on the album he returns to Southern California and heads to Hollywood with the imminent release scheduled on Decca Records in the USA. It doesn't happen. Not the plot of a new movie. This is the abridged story of the lost, barely known treasure that is MIKE TINGLEY The Abstract Prince.

Der Nachfolger des im Jahr 2016 von Kritikern als Meisterstück gefeierten Albums »The Similitude Of A Dream« wird das neunte Studioalbum mit Morse, Portnoy und George werden und das dritte Album als echte Kollaboration in dieser aktuellen Konstellation. Morse und Portnoy haben gemeinsam vier Bands gegründet, doch die Gruppe, die am längsten überstanden hat und daher den größten musikalischen Ertrag erbrachte, ist The Neal Morse Band.

Die abschließende Zeile von »The Similitude Of A Dream« - »Let the great adventure now begin...« (Das große Abenteuer kann nun beginnen) - hat sich kurioserweise als Prophezeiung herausgestellt. Denn das neue Album ist genau das: ein perfektes Pendant zu TSOAD!

The Neal Morse Band führt ihre Fans mit ihrem neuesten Doppel-Konzeptalbum »The Great Adventure« auf ein großes Abenteuer. Es wird in drei Formaten erhältlich sein: als Doppel-CD, als Special Edition mit zwei CDs/DVDs inklusive Videoclips von hinter den Kulissen während der Albumaufnahme und als drei Vinyl-LPs.

Der Nachfolger des im Jahr 2016 von Kritikern als Meisterstück gefeierten Albums »The Similitude Of A Dream« wird das neunte Studioalbum mit Morse, Portnoy und George werden und das dritte Album als echte Kollaboration in dieser aktuellen Konstellation. Morse und Portnoy haben gemeinsam vier Bands gegründet, doch die Gruppe, die am längsten überstanden hat und daher den größten musikalischen Ertrag erbrachte, ist The Neal Morse Band.

Die abschließende Zeile von »The Similitude Of A Dream« - »Let the great adventure now begin...« (Das große Abenteuer kann nun beginnen) - hat sich kurioserweise als Prophezeiung herausgestellt. Denn das neue Album ist genau das: ein perfektes Pendant zu TSOAD!

The Neal Morse Band führt ihre Fans mit ihrem neuesten Doppel-Konzeptalbum »The Great Adventure« auf ein großes Abenteuer. Es wird in drei Formaten erhältlich sein: als Doppel-CD, als Special Edition mit zwei CDs/DVDs inklusive Videoclips von hinter den Kulissen während der Albumaufnahme und als drei Vinyl-LPs.

Hawkwind's debut album is an extensive mix of
psychedelic and progressive rock, resulting in the so
called space-rock. As one of the pioneers in this genre
they recorded a bunch of deep soundscapes, combining
the best of different genres. The sound of the band is
original and the approach is naive in a good sense.
This debut can be seen as the highlight of their career,
capturing the true spirit of this raw and communal
musical movement. The Pretty Things guitarist Dick
Taylor produced the debut album by Hawkwind, after
he had left his former group.

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

The acclaimed 2016 summer hit album from the UK Art Rock stars. the band's first record to feature the King Crimson / Porcupine Tree drummer Gavin Harrison.

'It's atmospheric and even moving.' - Q Magazine

'Prepare to fall in love.' - Kerrang!

'Wonderful Prog Rock album with great guests and guaranteed goosebumps' - 6/7 Metal Hammer (DE)

The Pineapple Thief reissue their breakthrough 2016 album 'Your Wilderness' on 180g vinyl ahead of their second headline Europe & UK tour in February / March and following the new heights reached with their 2018 album

'Dissolution'. Their efforts on 'Dissolution' earned them their highest UK album chart entry to date at #36 and also #1 in Rock and Metal, as well as reaching #22 in the German album chart, #4 in the Netherlands Platomania album chart

and #14 in the Finland album chart. They also embarked on an ambitious 16-date headline Europe and UK tour in September / October culminating at their biggest ever show at a packed

London's O2 Shepherd's Bush Empire. This success was in part due to the groundwork laid by 'Your Wilderness', which has so far produced 4 million+ album streams and a collection of fan-favourite songs, including 'In Exile',

'Tear You Up' and 'The Final Thing On My Mind'. For the first time, TPT brought in several guest performers for 'Your Wilderness', alongside Gavin Harrison: a four-piece choir, Geoffrey Richardson (Caravan),

who arranged and recorded string sections, Darran Charles (Godsticks) contributed additional electric guitar work, and Supertramp's John Helliwell performed some beautiful clarinet parts that bring the album to a poignant close.

Featuring conceptually sympathetic Carl Glover artwork, lyrically 'Your Wilderness' follows the journey of a parent and child through love, estrangement and reconciliation as their lives unfold. This edition of 'Your

Wilderness' is presented on heavyweight 180g vinyl in single sleeve packaging.

Metropolis Pt. 2: Scenes From A Memory is the fifth studio album by American progressive metal/rock band Dream Theater. Originally released in 1999, it was recorded at BearTracks Studios in New York, where the band had previously recorded their second studio album Images And Words and the EP A Change of Seasons. The album is the sequel to 'Metropolis-Part I: The Miracle And The Sleeper', a song previously featured on the band's 1992 album Images and Words. It was the first album to feature Jordan Rudess on keyboards. In 2012, Metropolis Pt. 2: Scenes From A Memory was voted as the number one all-time progressive rock album in a poll conducted by Rolling Stone, beating Rush's 2112 and Close to the Edge by Yes.

Dream Theater is one of the most successful bands in the progressive metal industry, having sold over 12 million records.

Metropolis Pt. 2: Scenes From A Memory is available as a limited edition of 5.000 individually numbered copies on coloured (solid orange & gold mixed) vinyl.

Debut solo album from the psychedelic visionary and founder of the legendary Ozric Tentacles.

A visionary, a prodigal symphonist, one of the UK's leading influential musicians: Ed Wynne is undoubtedly a gifted instrumentalist. He is credited as one of the

linchpins of the UK festival scene's re-emergence along with his band Ozric Tentacles, who formed at Stonehenge Free Festival 1983 and became staples of the Glastonbury Festival, with their most recent performance at Glastonbury

in 2016 on the Glade stage. With an incredible flair for creating masterful tapestries of sound, and for having sold over a million records worldwide, Ed Wynne's debut solo album on

Kscope will be quick to take a hold on fans of psychedelic synth and rock music. 'Shimmer into Nature' was recorded and inspired by the different locations Ed Wynne travelled to over three years, from deep in the Colorado Mountains,

to the coastlines of Cornwall and South Devon, before being completed on Scotland's East Coast by the Firth of Forth. 'The idea is to transport the listener to a place where the everyday ups

and downs of the world dissipate, leaving the mind free to wander through a colourful, omnidirectional guitar and synth driven musical landscape for a while, landing eventually, hopefully freshly charged, with a smile and a calmer spirit.'

The music was written, programmed, mixed and performed by Ed, with mastering by Adam Goodlet at Re:Creation studios, with artwork designed by prolific English psychedelic illustrator John Hurford.

'nice & greasy' is an appropriate title for this album. Not only was the familiar progressive rock sound in place, the soulful and funky vocals of Chris Farlowe continued to influence their sound as it did on 'Made in England.' It was indeed absolutely nice n' greasy, albeit maturely.

Crane's hammond b-3 organ was ever present and always influential in the final outcome of each song, with this album being no exception to that rule.

'Voodoo in You' is a shining opportunity for new guitar player Johnny Mandala to show his wares and he really seizes the moment by giving Crane some great biting chords to wrap his spirited keyboard playing around. 'take one toke' leads off side two in a big way. It's the best track on the album, combining the strengths of each band member effectively and mightily without any compromise. Crane was never one to negotiate his music in any way, and this final effort for this line up gave their fans another classic Atomic Rooster LP to covet and cherish for the years to come.

The Visit was recorded in 1970 in LA and it redefined the existing borders of the psychedelic movement, resulting in obscure and complex songs with mind blowing instrumentation and depth. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years. Another significant collectable from the California rock scene that will interest many.

This top notch Dutch band from The Hague had their pinnacle during the early Seventies when they delivered some out standing 24 carat symphonic rock albums. EARTH & FIRE was fonde by the twin brothers Chris (guitar) and Gerad (keyboards) Koerts in '68. Soon bass player Han Ziech, drummer Kees Kalis and singer Lisette moine

Debut and sole album from this Newcastle hard prog rock trio. Originally released in 1971 this album has become a real rarity and collector's item. They had a good reputation as a live act and wrote some strong material on their album, with the continuous track "The House"/"Sun In A Bottle" the highlight, alongside a cover version of The Beatles "And I Love Her". Geoff Sharkey had earlier played in Sammy.

If Jade Warrior's second album has any overwhelming flaw, it is that its predecessor traveled so far off the conventional beaten tracks of early-'70s prog that anything less than absolute reinvention could only be regarded as a rerun of past glories. To write off Released as little more than a slapdash shadow of Jade Warrior, however, is to overlook the leaps and bounds that the band did make. The opening "Eyes On You" journeys in on a positively spiky guitar and horn duel, while Glyn Havard's vocals have taken on tones that are far-removed from the Jethro Tull-shaped nuances with which they were once most readily compared. Staggering, too, are the almost bluesy guitar work-outs that leap unexpectedly in and out of the mix, overwhelming all but the most ferocious elements elsewhere in the arsenal -- judging only by the crescendo that closes it, "Three Horned Dragon King" could not have been better named. Similarly, "Water Curtain Cave" is as much a melting of souls as it is a gentle song, while other numbers tackle light jazz and classical prog without once vacating the band's accustomed framework of brilliance. Again, there is little here that Jade Warrior itself did not predict, but the unerring delivery of those predictions is a marvel in itself.

Issued in ultra-limited quantity in 1970-and now changing hands for sums more familiar to Nasdaq-this album is an other-worldly blend of sweet female blotter acid harmonies, hypnotic farfisa and high-octane fuzz guitar histrionics Cut by Kevin Gray and pressed at Third Man!

The title track, along with "Love City," "Plastic Jim," "Into My Own Thing" and especially "Dynamite!" signaled a perfect alliance between Sly's multi-influence, far-reaching musical vision and the burgeoning hippie ballroom community, already spreading like lawn daisies throughout the land. Never before had juicily syncopated beats dovetailed so perfectly with distortion-laced rock guitar.

Underground, psychedelic, electric jazz-rock / improv sound with mellow folk-rock moves and homemade / basement atmosphere. Mostly instrumental with some cut-up vocal sounds and effects. A mix of self-penned songs and amazing cover versions of classics like 'Summertime', 'Scarborough Fair' or 'A Taste Of Honey' turned into hip, extended jams not so far away from the sound of the pioneering psychedelic ballroom bands from San Francisco. Electric & acoustic guitars, bass, drums, flute...Recommended if you like similar private psych-jazz obscurities like Elysian Spring.

Named after an old Detroit blues LP, Hasting's Street Opera was formed in Montclair, New Jersey by a group of young friends (Harry Wellott, Gordon Carlisle, Don Hathaway and Chris Nelson) influenced by blues, rock, jazz and the eclectic sounds emanating from freeform / underground FM radio stations: Blues Project, Butterfield Blues Band, Miles Davies, Pharaoh Sanders, Jethro Tull...

Initially born as a blues band, HSO eventually evolved into a true improvisation collective unit. 'Slippery When Wet' was recorded in 1969 at Don's house using a portable recorder operated by their math teacher, the famous old-time music preserver Charles Faurot. It was a vanity pressing of less than 100 copies, housed in hand-made covers which were distributed among friends and family.

For this, the first ever reissue, original band member and visual artist Gordon Carlisle has designed a new vintage styled cover based on old photos of the band.

Previously unreleased recordings, 1968/1970, by British quintessential psychedelic / progressive band MANDRAKE PADDLE STEAMER / MANDRAKE, culled from the band's archive of reel tapes and acetates.

Pure late 60s UK psychedelic sound with early prog moves, plenty of Hammond and fuzzed out guitar, powerful vocals... Including such lost gems as the Barrett-Floyd sounding "The World Whistles By", killer psych-rockers like "Pandemonium Shadow Show" or "Doris The Piper", the mellotron fuelled "October Country" and more!

Unlike other 60s British bands who changed their music to 'psychedelic' or 'progressive' with the time, MPS were born "progressive" from day one. Formed in 1967 in Walthamstow (London) by a core of art school students, their members were Brian Engel, Martin Briley, Paula Riordan, Martin Hooker and Barry Nightingale (later replaced by David Potts).

During their short lifespan (1967-1970), MPS supported big names like Pink Floyd, The Nice or Vanilla Fudge. They played at the Isle Of Wight Festival, had a residence at the Star Club in Germany and ran their own club night (Asgard).

Signed to the Parlophone label (though the band was aiming to be part of the more progressive Harvest imprint) they released in 1969 the 'Strange Walking Man' 45, recorded at Abbey Road and now widely considered a lost British psychedelic classic (check Rubbles, Perfumed Garden, etc). Due to lack of promotion and interest from their record label, the 45 went nowhere. After some line-up changes and shortening their name to just Mandrake, the band definitively split in 1970.

'Pandemonium Shadow Show' collects studio recordings registered by Mandrake Paddle Steamer / Mandrake during 1968/1970 at various London studios such as Regent, Orange and other unknown locations. Some of these tracks had been previously included on several bootleg albums with inferior sound quality / wrong titles and others have remained unreleased until now.

*Insert with detailed liner notes by band member Paula Riordan and rare photos / memorabilia.

*Free digital download card

Galveston's premier Psychedelic/Garage band! Here's a compilation (1967-68) featuring a selection of their 45 sides for Toucan and Cobblestone (including the mod-psych classics 'Uncle Kirby' and 'Shaka Shaka Na Na') plus some amazing studio tracks which were never released at the time. Fab Beatlesque / Anglophile psych with great vocal harmonies, jangly and fuzzy guitars, organ...

Formed in Galveston in the mid-60s, the Countdown 5 were one of the leading psychedelic / garage bands from Texas. From sharing stage with legendary Houston groups like Moving Sidewalks, the Clique and 13th Floor Elevators and opening for big names like Paul Revere & The Raiders, they went to running their own label (Toucan) and were also part owners of the renowned Walter Andrus Studio, home to bands like the Elevators and Fever Tree.

'Uncle Kirby' is focused on the psychedelic period of the band (1967-68), including their most psych sounding 45 sides (in original mono mixes) plus unreleased tracks recorded at Andrus Studios which had never been released on vinyl until now.

*Master tape sound.

*4-page insert with liner notes and photos.

Fronted by Texan native Danny Lee Backwell, 'Myth Of A Man'
is Night Beats' fourth studio album and their second for
Heavenly Recordings, following the release of 'Who Sold My
Generation' in 2016.
While Blackwell has always fed off the musical legacy of his
Texas roots - Roky Erickson and the 13th Floor Elevators, The
Red Krayola, The Black Angels and more paving the way for the
napalm-coated psych-rock headtrip of past albums - 'Myth Of A
Man' has him pulling from the surrogate wellspring of Nashville,
Tennessee.
In short, it's an album that holds its own next to the classics,
less of the bloodshot acid trip of 'Sonic Bloom' (2013) and 'Who
Sold My Generation' (2016 here, Blackwell has recalibrated
them, slowed them down just enough and allowed them the
space to breathe and exist as something new. It's the same
book, just a different chapter.
Written during a particularly destructive period of the band, the
album is populated by fallen angels, blood-sucking wanderers
and vindictive lovers - sketches of people the band has surely
come across during their cosmic roving through the
underground - but the character most present is Blackwell
himself. ''Myth Of A Man' can be summed up as a personal
display of vulnerability and guilty conscience,' he explains,
'Destroying the mythos of what it means to live and function in
society.'
With its bold steps forward, 'Myth Of A Man' serves as both a
takedown and reintroduction of the band as we know it - the
strongest evidence that you'll never be able to pin Night Beats
down.
LP pressed on red vinyl.

"This is the soundtrack to being trapped in a mudslide on crystal meth in the middle of the worst thunderstorm you've ever seen. Whereas I don't recommend that you ever put yourself in that situation, I do recommend that you GET THIS RECORD and imagine what it would be like to be that fucked. GREAT STUFF!"

"spacey psych-rock is still alive and fighting, but the Fog is a distinct pedigree. They're dimension-shifting. They're sound is both muddy and translucent, but never stagnant. The band members play not as themselves, but as a presence, generating one continuous sound surge that vibrates through the decades, alluding time. You need gills to breathe their oxygen, it's that thick."

"Like other hard-psych-revisionists, these guys seem to have learned some of their guitar and vocal moves in a post-Dinosaur universe, but we were never too big on yappy emotive vocals anyway (unless it was Stackwaddy). Dark Fog manages to conjure up a good wad of psychedelic guitar overload." Byron Coley

"A future underground classic like they made in the good old days, you know you want some." (Simon Lewis/Terrascope)

"Literal comparisons music duo with Hawkwind, Amon Düül II, Spacemen 3, My Bloody Valentine, Flaming Lips, Dinosaur Jr., Acid Mothers Temple, Dead Meadow, Pharaoh Overlord, etc., Abused by foreign writers, was not taken seriously. DARK FOG successfully absorb all of the above and more, and from himself tricked out something different - in any frame does not fit. Just and still is - to relate to the music of another phenomenon of the "new musical aesthetics (psychedelic)." Inquiring students, researchers recommend!"

Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

LP2 - Crawl EP b/w Covers EP

2 years after releasing Life of Crime, Kevin Strickland and Jim Kimball had left to form Mule. Many people thought this marked the end of the band; not the case. Todd Swalla (of Necros) stepped in on drums and Kevin Ries on bass. Over the new slightly toned down direction, the sound of the band somehow seemed even more extreme.

- Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)

In 2016 Dead Meadow's Jason Simon ventured north to San Francisco to take part in the Family Folk Explosion: a Last Waltz-style concert series hosted by Trans Van Santos and what the SF Weekly has called "his band of Merry Pranksters." Simon picked a handful of songs to perform with the Trans Van Santos band, leaning heavily on unrecorded material and selections from his last solo album. When he arrived in San Francisco for rehearsals he was immediately taken with the band's much jazzier interpretations of his songs; a particular revelation coming from the loose and idiosyncratic swing of San Francisco drummer and Spirit Jazz elder Dave Mihaly (known for his work with Jolie Holland and his own group; Dave Mihaly & The Shimmering Leaves Ensemble).
Of all the songs that Jason Simon brought to the table that evening, none were more important to the future NorCal/SoCal collaboration between these two sonic tribes than 'Past the Western Wall;" a song Simon felt necessitated a Free Jazz approach that had proven difficult to capture. Not so in San Francisco, where the song became the lengthy and searching centerpiece of the set. Behind Dave Mihaly's inspired work on the trap kit, Jason Simon's exploration of Indian motifs on lead guitar, and the Bob Weir-like rhythmic accompaniment of Trans Van Santos, the song found its wings, stretching freely in the open landscape of the songs middle section. Clocking in at nearly fifteen minutes, 'Past the Western Wall" was the clear highlight of a show that featured more than a few bright moments. The next morning Jason Simon drove back to Los Angeles with a copy of Dave Mihaly's most recent album and an invitation to join Trans Van Santos at the TVS2 sessions in Joshua Tree, California the next month.
Jason Simon listened to the Dave Mihaly album on the drive back to Los Angeles and then he listened to it again, and again. The next month in Joshua Tree he presented Trans Van Santos with a proposition to record an album featuring material from the three songwriters. They pow-wowed and smoked the peace pipe and formulated a plan: the album was to be recorded in both San Francisco and Los Angeles, in the northern reaches of Old Mexico, and feature contributions from members of their respective solo projects. Songs would be recorded live over a couple of sessions with very few overdubs. 'Western Wall" would be the foundation that the album would be built upon. Jason Simon would produce and steer the ship through the process and toward completion. This album is the fruit of that cross genre and multigenerational collaboration out on the edges of West. Welcome to Old Mexico.