Cerca:a inc

"From the garage, through the city‘s air, straight into those hearts drumming with want for drink and noise. Monomers clink fuzzy garage drive, the sexiness of well-oiled blues tunes and the longing of contemporary indie easily together and it only takes the spark of a real crooner to send the rocket into the veld. Which is exactly the plan and it works. Monomers rush through the fjords of noise while sucking in lots of flowers on their wild ride towards enthralling hooks. Stagnation is death which is why Monomers refuse to use any breaks. The sun is setting, so catch the train and enjoy the ride."

"Elusive by Monomers" includes the following tracks: "Strangers", "Fill In The Blanks", "Empty The Past", "Pity" and more.

After releasing "The Return of The Rocking Dead" during the pandemic, Romano Nervoso, the godfather of Spaghetti-Rock, is back with a 5th album called "From Villarosa To Rotherham". This new opus is divided into two parts ... first Villarosa (the hometown of his sicilian origins) with 8 tracks sung in italian and then Rotherham (the english hometown of his wife's origins) with 6 tracks in english. Different from the previous record, Romano Nervoso decided to return to the origin of punk and what he loves most : short, direct, spontaneous and agressive songs. The latter was written and recorded in less than 4 weeks The official release of "From Villarosa To Rotherham" is scheduled for March 8 via the belgian label Mottowsoundz.

"From Villarosa to Rotherham" by Romano Nervoso includes the following tracks: "Non Ti Scordare Del Passato", "Invisibile/Invicibile", "Per Scaramanzia", "It's Halloween" and more.

Tellusalie is a four-piece band from Fredrikstad, Norway. Their third album «The Man Across The Fountain» originally released in 2009, was produced by Knut Schreiner (Turbonegro, Euroboys) and contains no less than 18 timeless folk/country rock tunes. The press compared them to artists like Grizzly Bear and Neil Young, wich should also give a good sense on where to place Tellusalie musically.

"The Man Across The Fountain" by Tellusalie includes the following tracks: "Mistress M.", "Good Man", "Inside You", "If I'm Hazy" and more.

toe is a Japanese music group long revered in post-rock circles, while their song structures and dynamics have taken on elements from all styles of music, ranging from math-rock, jazz, pop, and R&B. toe is composed of Kashikura Takashi on drums, Mino Takaaki on guitar, Yamane Satoshi on bass guitar, and Yamazaki Hirokazu on guitar. The band has formally played with this lineup since their inception in 1998. The vast majority of the music is instrumental and features the swift, agile drumming of Takashi. The band is also known for melodic, clean guitar, often employing the juxtaposition of electric and acoustic. While the compositions feature the repetition of typical rock motifs, the subtle changes in beat and rhythm form a unique rhythmic dialect. The band has consistently expanded their sound throughout their musical tenure by incorporating singing, rhodes piano, mallet percussion, and electronic production elements.

This release comes with a Poster & Insert & Sticker & Download Code.

The vinyl is pressed as a colour in colour, green & yellow disc.

toe is a Japanese music group long revered in post-rock circles, while their song structures and dynamics have taken on elements from all styles of music, ranging from math-rock, jazz, pop, and R&B. toe is composed of Kashikura Takashi on drums, Mino Takaaki on guitar, Yamane Satoshi on bass guitar, and Yamazaki Hirokazu on guitar. The band has formally played with this lineup since their inception in 1998. The vast majority of the music is instrumental and features the swift, agile drumming of Takashi. The band is also known for melodic, clean guitar, often employing the juxtaposition of electric and acoustic. While the compositions feature the repetition of typical rock motifs, the subtle changes in beat and rhythm form a unique rhythmic dialect. The band has consistently expanded their sound throughout their musical tenure by incorporating singing, rhodes piano, mallet percussion, and electronic production elements.

Bo Carter's family had a musical tradition going back to slavery times and he learned a great deal from its very talented members

As a Mississippi musician, Bo was steeped in the region's rich early blues repertoire, but was distinctive in adding to it a new level of sophistication rarely equaled by other blues artists. As a member of the great Mississippi Shieks band he encountered a wide range of traditional and pop styles and employed many of them in his innovative performances. One particular part of his repertoire was the sexually suggestive double entendre blues that are featured here on this album. These recordings, which were demonstrably more original than any of his rivals, sold extremely well and helped Bo become one of the most prolific artists of the whole pre war blues period.

"Banana In Your Fruit Basket: Red Hot Blues 1931-36" by Bo Carter includes the following tracks: "Mashing That Thing", "Howling Tom Cat Blues", "Pin In Your Cushion", "All Around Man" and more.

Legendary cartoonist and illustrator Robert Crumb was also a captivating musician who with his band The Cheap Suit Serenaders specialized in recreations of both early popular and rural rooted music and newly composed songs in those veins

The very talented band was composed of Terry Zwigoff (who later produced the award-winning movie "Crumb"), Robert Armstrong, Bob Brozman, Alan Dodge, and Tom Marion. 'Singing In The Bathtub' offers some of their best work including the title track as well as Chile Blues, Hula Girl, Sing Song Girl, Pedal Your Blues Away, My Gal Sal, and many more. Crumb and the Serenaders always provided delightful music with great spirit, humor, and energy.

"Singing In The Bathtub" by Robert Crumb and His Cheap Suit Serenaders includes the following tracks: "Dream Of Heaven", "Collier Medley: BEN HUR MARCH & NAPOLEON MARCH", "Yearning And Blue", "Pedal Your Blues Away" and more.

Old Pride is the debut full-length from Baltimore MD’s Pianos Become the Teeth. Atmospheric, relentless, and enrapturing, Old Pride represents a crucial moment in the history of punk and hardcore with its climactic and raw screamo passages strung together with unpredictable structure and elements of post-rock. Songs barrel through seemingly endless reconfigurations of intense composition: flurries of breakdowns, melodic build-ups, and angular blasts might leave you unsure of what’s to come, but there’s a coherence in the sustained ferocity and clever musicianship. Although originally released in 2009, Old Pride remains a beacon of the screamo revival and the renaissance heralded by its release.

"Old Pride" by Pianos Become The Teeth includes the following tracks: "Sleepshaker", "Pensive", "Jess and Charlie" and more.
The vinyl is pressed as a forest green disc.

Ricochets started their career back in 1998, and quickly became a force to be reckoned with in the Norwegian rock scene. They gained a lot of attention all over Scandinavia as a solid live-band next to their Norwegian peers Madrugada & Midnight Choir. "Isolation" was their third record, first released in 2005. Now on vinyl for the first time, remastered and packed in a great looking gatefold sleeve.

"Isolation" by Ricochets includes the following tracks: "Isolation", "Written On My Grave", "I'm Gonna Eat Myself", "Blues In Bb-Minor" and more.

The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the late '60s right on time with where the most enduring artists of the early '70s took it. Had he scored the major label deal he pursued with labels like Mercury or London at the time I am confident we'd be hearing his music on classic rock radio today! The music on this album is both uncompromising and accessible. In particular, the two long tracks Wasted King and Starman have all the moves needed to grab fans of Pink Floyd, Led Zeppelin and the likes by the throat and brain in the extended progressive epic department! RidingEasy Records sets a high bar when it comes to unleashing the best vintage hard rock you never heard… take my tip people, the ride this one takes you on is definitely an 11 on a scale of 1 to 10… Gary Del Vecchio really knows how to do it!

A limited edition, full-length split album celebrating a 2024 co-tour of Japan by underground cracked-psych purveyors Fuckwolf from San Francisco and legendary prog-benders Green Milk From The Planet Orange from Tokyo. Green Milk stretch a live performance of one of their extended signature jaw-droppers “Concrete City Breakdown” relentlessly across an entire side of LET’S SPLIT (裂けても) while Fuckwolf delve into a 6-part abstract song cycle, ranging from stoned incense burners to blown out fuzz rippers, echoes of Faust Tapes, Les Rallizes and 70’s mid-west outsider proto-punk abound. Green Milk From The Planet Orange formed in Tokyo in 2001 and continue to tour, record and perform some of neo-psychedelia’s most ambitious and masterfully performed rock music. Fuckwolf formed in San Francisco in 2002 and most recently released the criticallylauded underground scuzzy art-rock gem of 2022 ‘Goodbye, Asshole’ on Silver Current Records. LET’S SPLIT (裂けても) releases March 22nd on limited edition vinyl and digital from Silver Current Records. Catch Fuckwolf and Green Milk From The Planet Orange on tour together in Japan in late March and April 2024, including a Tokyo release party.

A limited edition, full-length split album celebrating a 2024 co-tour of Japan by underground cracked-psych purveyors Fuckwolf from San Francisco and legendary prog-benders Green Milk From The Planet Orange from Tokyo. Green Milk stretch a live performance of one of their extended signature jaw-droppers “Concrete City Breakdown” relentlessly across an entire side of LET’S SPLIT (裂けても) while Fuckwolf delve into a 6-part abstract song cycle, ranging from stoned incense burners to blown out fuzz rippers, echoes of Faust Tapes, Les Rallizes and 70’s mid-west outsider proto-punk abound. Green Milk From The Planet Orange formed in Tokyo in 2001 and continue to tour, record and perform some of neo-psychedelia’s most ambitious and masterfully performed rock music. Fuckwolf formed in San Francisco in 2002 and most recently released the criticallylauded underground scuzzy art-rock gem of 2022 ‘Goodbye, Asshole’ on Silver Current Records. LET’S SPLIT (裂けても) releases March 22nd on limited edition vinyl and digital from Silver Current Records. Catch Fuckwolf and Green Milk From The Planet Orange on tour together in Japan in late March and April 2024, including a Tokyo release party.

Growing up on the outskirts of Manchester, Daniella Lubasu feels that the city's strong indie rock legacy has had an "inevitable" impact on her Equally significant was the music of her Congolese heritage - with its upbeat rhythms, driving bass and intricate electric guitar riffs a constant presence in her childhood. It's in this intersection between the genres where Daniella grounds her sonic identity as DellaXOZ - one which has already garnered extensive love from Clara Amfo at Radio 1, early nods from The Guardian, The Line Of Best Fit, Clash and many more, and support slots with the likes of Beabadoobee, Spill Tab, Wallice, Two Door Cinema Club and Connie Constance. At age 13, armed with a cheap mic and free software from the internet, Daniella wrote and produced her first song, using music as an emotional outlet throughout her teenage years. The potential for music to shape mood is a recurring trait of Daniella's idols too. The clever wordplay and bravado of Nicki Minaj have emboldened her to channel her own "irreverent villain energy", the untethered chaos of La Tigre and Bikini Kill directly influenced her single 'AHH!!', and she is in awe of pop stars like Lana Del Rey and Lorde's ability to seamlessly shift emotions en masse. DellaXOZ is Daniella's real-time chronicle of expression and introspection, manifested via her own brand of glitchy, alt-pop-fecked indie rock. With her formative teenage years navigated during a global pandemic, it's little wonder that Daniella sets classic coming-of-age concerns to the backdrop of wider social issues and commentary. Her current ethos as DellaXOZ is to capture "the fleeting emotions and multi-dimensionality of the teenage experience", and she rejects the narrative of apathy and distraction misassigned to her generation, explaining "I think it's necessary to know what's going on in the world to not become distanced or ignorant. Current world issues like hate crimes, bans on safe abortion and poor gun control are things that I feel personally provoked to shed light on, and have already written some rage- y unreleased songs about." Currently studying for her A-levels, her lessons too expand the narratives within her songwriting. Drama classes led her to include references to Greek mythology in her tracks, where sociology galvanised her to pen her own "riot girl feminist song". It's exactly this kind of boldness and conviction to play with sounds and ideas that mark DellaXOZ as a key young creator in the next chapter of Manchester's musical tradition.

REISSUE OF THEE HEADCOATS' FINAL ALBUM IN THEIR ORIGINAL INCARNATION! Originally released by Friends Of The Buff Medway Fanciers Association Records in 2000! The final studio release by Thee Headcoats (until last year's Irregularis: The Great Hiatus) gets a long-awaited vinyl reissue! Includes eleven Billy Childish originals plus a cover of Bo Diddley's 'Great Grandfather'! Recorded at May Road & Red Studios. Engineered by Graham Semark. "Thee Headcoats, who put out their first album in 1989, have recorded raw, primordial romps that seem inspired by American Delta blues musicians like Sonny Boy Williamson or the Southern swamp rock of Hasil Adkins, while maintaining a decidedly English sound. They've recorded under a slew of monikers, and issued an amazing discography of full-lengths, EPs, 7"s, and what-have-you for virtually every cool indie label since they formed (including US-based labels like Sub Pop, Get Hip, Sympathy for the Record Industry, and K, among others). Whether he's covering songs with a Bo Diddley beat, garage rock chug, or playing one of his angry young man/dysfunctional family rantings ('The Day I Beat My Father Up', for example), Billy Childish has built up a solid and somewhat rabid fanbase by releasing songs that you wouldn't normally think would attract a huge audience to begin with. However, I Am the Object of Your Desire has the distinction of being the last album by this band, as their prolific leader Billy Childish moved on to a new band; they're called the Buff Medways, which is apparently an ancient and now extinct breed of chicken which had feathered legs. It's also the name of the UK imprint this record was released on. This collection kicks right off with the album-titled track reveling in pure Headcoats fashion: that warm, fuzzy vibrato guitar with Childish's fuzzy, electronically distorted voice (an effect repeated throughout the album); Johnny Johnson's soft, flowing bassline; and Bruce Brand's primeval drums. The group keeps this sort of mid-tempo riffage going for the next couple of tracks. Johnson plays a mean harp on 'Hurt Me (Slight Return)', but things don't really take off until 'In a Dead Man's Suit' and the swaggering, Texas blues 'Chatham Town Welcomes Desperate Men'. The band's punk roots show up in songs like 'An Image of You' and 'Your Crying Means Nothing to Me' while 'Come into My Mind' has a definite Kinks influence. All in all, an excellent album from this soon to be sadly missed band." - Review from 2000 by Bryan Thomas (All Music Guide)

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

To understand the significance of the word 'featuring' on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution's continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. It wasn't until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they'd recorded at Judson Hall. After its first release in plain or handdecorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. We're lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.' —John Corbett (excerpt from the liner notes)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Hello and welcome to Cult Value, the new album from Manchester-based band Oort Clod, released by Safe Suburban Home in the UK and Repeating Cloud in the US this April. We are very excited to introduce this mercurial and unique collection of songs. The album includes garage stompers such as “#7”, off-kilter indie whining like the title track “Cult Value”, perfect indie pop songs like ‘Car Talk’ and much more. Featuring members of Unpaid Intern, the Hipshakes, Jeuce and the Early Mornings, Oort Clod was originally conceived by songwriter Patrick Glen as a fluid project with shifting members. Over the course of pandemic-era practices above the empty Peer Hat pub (the epicentre of DIY music making in Manchester) the current line-up solidified. In 2021 Oort Clod released a split E.P. with fellow Manchester band Priceless Bodies, pursuing a darker and more experimental sound. The EP received international airplay including BBC6 Music and KSFX. After playing gigs with bands like Porridge Radio, Jeffrey Lewis, and Garden Centre and even more practices above the Peer Hat, Oort Clod have mounted up once more to make Cult Value. The album’s sound is hard to pin down but it is Oort Clod’s most accessible and complete work so far. The band finds common ground in the alternative rock bands of the 1980s and 1990s, the post-punk and indie bands on Flying Nun Records and trashy compilations of post-British Invasion 60s garage gems like Nuggets. All of which come through, warped by Oort Clod’s particular sensibility, on this record made at Delicious Clam studios in Sheffield under the watchful eye of Ed Crisp. You’ll even get their cover of ? &the Mysterians “96 Tears”—rated the best ever cover of the song by the Blanketing Covers podcast, beating Jonathan Richman, Aretha Franklin, the Stranglers and Suicide (this actually exists, honestly). So there you have it the short and sweet lowdown on the new album Cult Value by Oort Clod. We hope you enjoy listening to it as much as they did making it and spread the good word as you see fit. Good luck in your endeavours and take care.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.