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Pure Donzin is the debut solo offering by Amsterdam - based Donald “Donny” Madjid - also known for his involvement in The Mauskovic Dance Band. On a pandemic - induced break from his usually busy tour ing schedule, Donny, armed with a 60’s drum machine and a few synths, made the most of his time off by experimenting with, and home - recording new sounds - resulting in a fully - fledged 9 - track album under the artist monicker Don Melody Club.

Whilst many of his local peers tend to turn to sounds further from home for inspiration, Madjid felt drawn to honour the literary and musical tradition of The Netherlands, following in the footsteps of classic and lesser known Dutch troubadours such as Ramses Shaffy (a cover of ‘Laat Me’ features on the album) and Ronald Langestraat. Don drew inspiration from bard - like storytelling and for the first time started writing in his native tongue, craftily forging lyrics that his rich tenor voice delivers with a sincerity that translates regardless of whether or not you understand Dutch. This intimacy is balanced evenly with synth and drum machine grooves, recalling Dutch New Wave legends Doe Maar - merging ear worm pop hooks and infectious danceable beats to these otherwise pe nsive ballads.

An ode to being immersed in the magic of the night in good company, an experience so lacking during the year in which the album was recorded, is the danceable Psychonauten. The track is a fine example of the glittering synthesis of infectio us musical atmosphere and lyrically rich straightforwardness Donny has mastered on the album.

The influence of The Mauskovic Dance Band, especially the bass driven, hypnotic groove - a signature sound Don guides in new directions - can be detected on Ver anderd. Somewhat of an anthem, it is laced with tones of 70’s West - African sounds, like fast percussive key arrangements and energetic backing vocals. An example of a more laid back tune on the record is Isabel, a cool nostalgic love song, a soother for a sentimental occasion.

Opening number Geen Nood (No Panic), lyrically nothing short of a ‘sign of the times’ track, paints a mindful setting of cycling past the Amsterdam canals, seeing the leaves in the water, and feeling your blood flow peacefully throu gh your veins - letting go of the need to be anywhere other than where you are. Be it through meditative observances, or hypnotic dance grooves, Pure Donzin is a record that tempts the listener to become just that: immersed in the moment.

Compilation of all new productions from a wealth of international talent, put together by Knekelhuis.

Label Text "This is a story of friendship, about how it grows stronger through the years. But it’s just as much about fledgling togetherness and shared art in times of crisis. The result is an introspective document of contemporary music, in spirit of Eno and Hassell. A space where we embrace our differences and speak the language of collectivity together, where we reflect, adapt and value each artist's contribution equally. To witness a multitude of cultural backgrounds that speak one like-minded language. Soothing and illuminating. And felt like...

Mastered by Amir Shoat and artwork by Keziah Phillips and Steele Bonus."

Amazing collection that gathers some of the rarest Persian 45s. Such an eclectic mix of styles, from garage rock to cool Persian beat, exotic rock&roll and astonishing prog/psych numbers. Featuring female drummer & singer Zangoleah with some killer garage / rockin' tracks, obscure bands like Takkhalha doing a fab cover of the Stones 'Play With Fire' and an amazing take on the Persian traditional song 'Mastom, Mastom', Golden Ring-styled beat by Big Boys, exotic Persian beat by Saeed and Tigers, terrific garage-beat by Ojubeha and the two sides of the Kambiz 45, probably the major discovery from Iran in the recent years and one of the few, if not the only truly Persian prog/psych 45s ever recorded.

Tomahawk, the rock band featuring Duane Denison
(The Jesus Lizard / Unsemble), Trevor Dunn (Mr.
Bungle / Fantômas), Mike Patton (Faith No More /
Mr. Bungle, etc.) and John Stanier (Helmet /
Battles), return with their first full-length album in
eight years, the highly anticipated ‘Tonic Immobility’.
“‘Tonic Immobility’ could just be something in the air
we’re feeling,” says Denison. “It’s been a rough year
between the pandemic and everything else. A lot of
people feel somewhat powerless and stuck as
they’re not able to make a move without second
guessing themselves or worrying about the
outcomes. For as much as the record possibly
reflects that, it’s also an escape from the realities of
the world. We’re not wallowing in negativity or
getting political. For me, rock has always been an
alternate reality to everything else. I feel like this is
yet another example.”
‘Tonic Immobility’ is the fifth studio album and
Tomahawk are one of the biggest Mike Patton
projects outside of Faith No More and Mr. Bungle
(whose recent album is still charting around the
world)

Here is ‘Sweep It Into Space’, the 13th studio album from indie rock legends Dinosaur Jr.. Recorded, as usual, at Amherst’s Biquiteen, the sessions for ‘Sweep It Into Space’ began in the late Autumn of 2019, following a West Coast/ South East tour. The only extra musician used this time was co-producer Kurt Vile.
As is typical, Lou Barlow writes and sings two of the album’s dozen tunes and Murph’s pureFlinstonian drumming drives the record like a go cart from Hell.
Lou’s songs here are as elegant as always but there are still some moments where you wouldn’t know you were hearing Dinosaur Jr. in blindfolded needle drop.
The band have a signature sound as sure as the
Stooges or Sonic Youth or Discharge ever did.
They continue to expand their personal universe
with ‘Sweep It Into Space’ without ever losing their
central core.

LTD Edition im goldenen Vinyl!

"Future Days" aus dem Jahre 1973 ist das fünfte Studioalbum der Band und zugleich das letzte Album mit dem japanischen Sänger Damo Suzuki. Auf dem Album herrschte eine für Can bis dahin ungewohnte lyrische Atmosphäre, insbesondere bei den Stücken "Future Days" und "Bel Air".

Das ansonsten eher metal-lastige Label Golden Core hat sich sechs „harte Rockthemen aus 1980 und 1981“ gesichert, die zwischen Januar und Ende April 2021 erscheinen (meist CD und LP). Nach den Hardrockern Piledriver und dem kräftigen Prog von Requiem, wird es mit der Beschreibung der Band und gleichnamigen Platte FLOATING OPERA etwas schwieriger. „Der harte, gitarrenorientierte Rock weist viele Soli auf und hat eine druckvolle Produktion. Auch ein paar obligatorische Balladen dürfen nicht fehlen (…)“, schreibt das Online Magazin Cosmic Dreams At Play (1996). Damit liegen sie nicht falsch, aber es fehlen noch einige Zutaten. Auch ohne vertrackte, omplizierte Parts schwingt auch bei „Floating Opera“ noch der Prog der Siebziger mit, während man auf der anderen Seite heute von Proto-Metal sprechen würde. Heavy Metal-Fans werden u.a. beim Titelsong bemerken, dass die Vocals von Andreas Ulbricht stellenweise an
J.D. Kimball von Omen erinnern. Das Wort Krautrock darf dann, wenn 1981 auch verspätet, ebenso fallen

Manchmal fragt man sich, warum eine Platte unbekannt blieb und lediglich regional für Aufruhr sorgen konnte. Bei Poker weiss man gar nicht wo man anfangen soll mit all den Argumenten, die für eine Eroberung der Rockwelt hätten sprechen müssen. Beginnen wir mit den Musikern, die 1980 diese Band ins Leben riefen. Gleich zwei Mal taucht der Name Kin Ping Meh auf, der Krautrock-Fans nervös werden lässt. Gitarrist Gagey Mrozeck und Sänger Michael Pozz gehörten dieser Legende an, während Peter Oehler (Gitarre) und Jürgen Astor (Drums) von der Geff Harrison Band kamen. Nicht nur für den Raum Mannheim handelte es sich bei Poker um einen Allstar-Gruppe, zumal auch noch die Namen Nine Days Wonder und Twenty Sixty Six And Then fallen müssen, damit die Liste der ex-Bands halbwegs
komplett ist. Der energiegeladene Hardrock wurde 1981 mit einer international konkurrenzfähigen Produktion auf LP gebannt. „Red Neck Roller“ nennt sich das „rote Ding“, welches vom optischen Konzept zwar künstlerisch spannend war, aber eben auch wenig aussagekräftig wirkt. Sogar das Vinyl selbst war rot. Kein Bandfoto zierte die Hülle oder das Innenleben. Ein weiterer Stolperstein war das Label SL-Records (Gama), welches noch recht neu im Geschäft war und längst keine Verbreitung wie eine Majorfirma hatte. Heute sind sich die Fachleute einig: Wäre „Red Neck Roller“ bei einer der großen Companies erschienen, hätte es „richtig geknallt“! Das bisher unveröffentlichte Demo aus dem Jahr 1983, welches
bei der CD-Version dieser Wiederveröffentlichung als Bonus zu finden
ist (die LP enthält einen Track daraus), untermauert diese Annahme.
Annahme? Nennen wir es lieber Tatsache.

Birdsong and bright mornings announce the arrival of spring, and Growing Bin celebrate the season of rebirth with the return of a hardy perennial. In the three years since he introduced the world to his Baltic Beat, Bartos Kruczynski has traded dub techno, Berlin electronics and jazzy Balearic on a string of highly regarded labels. Now the Polish musician is back in the Growing Bin, ready to take us on another audio adventure through the meadows and forests of his native land.

Vivid LP opener ‘Pastoral Sequences’ leads us down the garden path, around the lakeside and across the train tracks, striking a cinematic tone as gentle piano and subdued synth tones drift around natural field recordings. Dip a toe in the stream and feel the breeze between your fingers as you stroll towards the Balearic brilliance of ‘In the Garden’, a carefree cooler built on a subtle bossa rhythm, serene chords and chiming mallets. Bartosz reprises the aquatic grandeur of his first Baltic Beat on the immersive ‘Petals’, a selected ambient work where Tangerine pads underpin interlocking electronics and stately keys. Guitars ring out, Reich’s mallets ripple and well tempered piano drift over a thick sequence as ‘Voices’ propels us to the halfway point with soft power.

The B-side opens with the delicate hypnotism of ‘If You Go Down In The Woods Today’,
a modern minimalist masterpiece alive with circular mallets and sultry woodwind, before ‘The Orchard’ paints an impressionistic vignette from the same palette. Shifting focus but not feeling Kruczynski takes us home ‘Along The Sun Drenched Road’ in two stages; the first a gorgeous combination of the acoustic and electronic where hints of dub techno sit beneath languid piano notes, the second an eastern tinged reprise of the album’s opening and a welcome return home before the storm breaks.

The Savonian occult rock behemoth Jess and The Ancient Ones have emerged with a new album! Their brand of heavy guitar and organ-led swagger has progressed from the twin guitar metal blast of yesteryear to Jess and The Ancient Ones’ very own take on soulful late sixties garage psychedelia. Titled Vertigo, the new record is set for release on Svart Records on May 21st this year with a foreboding sound of lysergic doom. What began on the previous record, ‘The Horse & Other Weird Tales’ is taken further and deeper, towards a conclusion on Vertigo. Songwriter and guitarist Thomas Corpse comments, “To me this album sounds like a dark horse – a brother to the previous album. There’s a strange ominous feeling that hovers upon the entire album, maybe it’s the feeling of nostalgia that’s arising from the lyrics.” Wrapped in a crude tornado-adorned old school sleeve, the album’s eight tracks bubble in a boiling cauldron of vintage pop culture influence and occult-tinged paranoia. Ranging from the softly fiery opening track ‘Burning of The Velvet Fires’ to the almost heavy metal -ish nihilistic banger ‘Born To Kill’, Vertigo is a spiraling journey of heavy Finnish psych rock at its finest. The first single cut “Summer Tripping Man” is a heavy hitting prophecy of doom condensed into the classic three minute garage format, and it has already become a steady part of the band’s live set long before it was captured on tape. The single comes accompanied by an animated music video, created by Giuliano Di Girolamo.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
Re-emerging in 2013, after two full decades in relative hiding, my
bloody valentine’s third album, ‘m b v’, is by turns their most
experimental record but also their most melodic and immediate; proof
real of their unerring desire for re-invention. Continuing to push
boundaries of both music and genre, ‘m b v’ is an album of
astonishing music, some of which could lay claim to being of a type
never been made before. Otherworldly, intimate and a visceral listen,
‘m b v’ is a startling and beautiful metamorphosis of what was known
of the my bloody valentine sound, pushing the boundaries of genre
unlike any other band. The album’s closer, ‘wonder 2’, is an example
of this, seeing Shields meld hypnotic guitar with drum & bass to
astonishing result.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
With their debut album, ‘Isn’t Anything’ (originally released in 1988),
my bloody valentine revolutionised alternative music and heralded a
new approach to guitar music for generations to come. The album
birthed a sound which became a template for thousands of new
subgenres, heralding a new approach to guitar music and studio
production. Not only was it a new type of music, it paved the way for a
new type of journalism; inciting comparisons to elemental
phenomenon, tapping into how the music affected the psyche.
Shields and Butcher frequently sang in a similar vocal range that
allowed their voices to blend together. This had the effect of making
their gender indistinguishable, to the point where their voices could
be used as another melodic layer to complement the vertigo-inducing
sounds made by Shields’ guitars. It is a record characterised by the
ominous sense of space that inhabits many of its songs, which
veered between the harried and propulsive, to the subdued and eerie.

7" on photoluminescent vinyl. In 1981 Walter Verdin recorded the demos for two songs of Lennon's Plastic Ono Band before he formed the group Pas De Deux, the Belgian entry for the Eurovision Song Contest 1983.The artwork of this 7" is inspired by the artwork of the original record sleeves.

IDER (Megan Markwick and Lily Somerville) release their first ever physical record - a limited edition (300) white label vinyl release of their first two singles released on Glassnote records alongside two exclusive remixes that have never been heard before.

Nur wenige Bands haben den französischen Pop im letzten Jahrzehnt so belebt wie La Femme, und 2021 kommen sie, um unser aller Leben besser zu machen. Paradigmes, ihr mit Spannung erwartetes drittes Album, bietet eine Verschiebung in der Art, wie wir die Welt sehen, einen kaleidoskopischen Wirbel in eine andere, lebendigere Dimension. Nach Psycho Tropical Berlin (2013) und Mystère (2016), die beide in Frankreich Goldstatus erreichten und ihnen hunderte von Shows auf der ganzen Welt einbrachten, verblüfft die in Paris und Biarritz ansässige Band auch mit ihrem neuen Album. Auf diesem Album hört man alles von Coldwave bis Yéyé, von Kraftwerk bis Velvet Underground, alles destilliert, sequenziert und psychedelisch aufbereitet, so dass es unverwechselbar nach La Femme klingt. Der Titeltrack ist ein fetziger, knisternder Elektro-Song, der den Geist von Flappern und Philosophen, Cabaret und Art Deco und Fritz Langs Meisterwerk Metropolis einfließen lässt, unterlegt mit einem Hauch lyrischer Melancholie. Paradigmes ist ein Album, das im Moment lebt, auch wenn dieser Moment gerade eine Herausforderung ist. Seine fantastischen Reisen werden zweifellos eine Flucht in eine Welt jenseits unserer eigenen ermöglichen

Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

Children were a great psychedelic band from San Antonio, TX, who released only one classic album on Cinema in 1968 (later that year picked up by Atco).

Starting out as The Stoics back in 1966, they later evolved into The Mind's Eye, then their final incarnation as Children with the beautiful female vocals of Cassell Webb. Ex-Monkee Davy Jones took them under his wing in 1967, promoting them on the LA Sunset Strip Club scene!!

Rebirth' combines soft psych and baroque pop with fuzzed out psychedelia. Produced by Lelan Rogers (13th Floor Elevators, Golden Dawn, etc).

Original gatefold artwork faithful to the beautiful Cinema original release.

Newly remastered sound.

Insert with detailed liner notes / photos.











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Initially self-released in 1975 by the Drumcondra, Dublin-based Cromwell, At The Gallop is a blistering, heavy, loud'n'lascivious ten track offering (thirteen in this expanded edition) of proto-metal infused street rock'n'roll from a time when Ireland was still under the sway of conservative showbands, quasi-religious, sentimental pop pap and traditional Irish music.

Despite their cultural struggles, Cromwell crafted a creative and compact catalog—five fuzzed'n'ferocious 45s and this footlong—led by co-vocalist/bassist Michael Kiely's come hither coo and fey Jagger pose'n'preen, the in-the-pocket drumming of Derek Dawson and minor-guitar hero moves of Patrick Brady, exercising taste, talent and towering mountains of fuzz'n'fury as comfortably as greasy '70s raunch and rural modes. At The Gallop is a rare—fetching upwards of 400€ when the original LP does appear—little heard classic in the pub/ fried rock'n'roll /proto-punk terrain.

RIYL: Teenage Head/Flamingo-era Flamin' Groovies, Mott The Hoople, '70s Stones, pre-punk American street rock and the Bonehead Crunchers series.

- First time reissue, including bonus tracks from the group's rare singles.

- Insert featuring rare photos and in-depth liner notes by Jeremy Cargill (Got Kinda Lost Records / Ugly Things Magazine).

- LP includes free digital download coupon

Emerging from the giant shadow cast by the greatness of Thin Lizzy, this obscure band with a venomous guitar attack, and dual vocalists that kick ass and take names, puts the 'ire' in Ireland and delivers with a sound that's not for the squeamish'

- Rich Haupt (Rockadelic Records / The Acid Archives)

Ultimate underground, lo-fi, psychedelic private press album recorded in Singapore by four US teens in 1975.

Loose feel, raw sound, spacey prog /funk touches, sound effects and some proto-DIY, pre-punk vibes which bring to mind Velvet Underground or avant-garage 70s Cleveland bands like Pere Ubu but also hard-rockers ala Pink Fairies or Stray...

Crystalaugur was formed by four young ex-pats attending school in Singapore in the early 70s: Howard Kukla, Kim Bengs, Bryan Hall and Guy Rittger. For most of them this was their first serious musical experience. Terranaut' was recorded on a 4-track machine and subsequently released by the band in a private edition of 200 copies on their own Warped Records imprint. Bootlegged many times over the years, we present the first ever legit reissue of this lost-in-time' psychedelic artefact.

*First ever legit reissue done with the band's involvement.

*Insert with rare photos and detailed liner notes by Jeremy Cargill (Got Kinda Lost, Ugly Things), explaining the fascinating story behind Crystalaugur and debunking many myths and false rumours about the band and their only album.

*LP housed in an old- school- style tip- on sleeve.

*Featured in Hans Pokora's 'Record Collector Dream's book with the maximum scale rarity.

A Wild, Esoteric Mix Of Psychedelic Funk, Afro-latin Grooves, Jazz And Italian / French Styled Library Sounds Courtesy Of Cuasares, An Enigmatic Studio Project Created By Pianist / Arranger / Visionary Waldo Belloso.Acid Fuzz Guitar, Cosmic Synth Splashes, Distorted Organ, Flute, Vibraphone, Trippy Studio Effects...
Originally Released In Argentine In 1973 As A Micro-edition, Here's The First Ever Reissue.Includes Insert With Photos And Detailed Liner Notes By Eduardo A. Elizalde Pietruczyk (a.k.a. Bubbling Minds) And Mike Wallace.
Digital Download Card

Edition of 350 copies. Includes an insert with lyrics and additional information."Play With Lies" features Zoè Zanias(Linea Aspera/Keluar) on backing vocals.

Top notch US garage / psychedelic album from 1969: Vox organ, fuzzy guitars, snotty vocals and impressive songwriting / recording quality.
Featuring all-time acid-punk classics such as 'It's Her' and 'Walkout Of My Mind'.

Cykle was formed in 1968, North Carolina, when gifted musician and songwriter Jimmy Sossamon (previously in famous local band The Young Ones) heard a local group, the Glory Cykle. He was so impressed that he approached them about becoming their manager. The band -- guitarists Ralph Stevens and Jeff Hardin, bassist Grady Pope, organist Rick Wilson, and drummer/vocalist Ken Allen -- practiced at the studio Sossamon had built in his parent's garage, and by the end of the year, Sossamon took up the drummer's seat to free up Allen as lead vocalist.

Band's name was shortened to Cykle and in early 1969 they began recording an album consisting entirely of Sossamon originals. The resultant eponymous LP was released later that year as a private pressing of 500 copies on the band's own Label Records. But despite the 1969 release date, 'Cykle' sounds straight from the 1966-67 garage-punk-psychedelic book.

*Master tape sound

*Insert with detailed liner notes

*LP housed in an old- school- style tip- on sleeve.

'When the most popular garage bands of the day were moving further and further away from the genre's 'less is more' production ideal, Cykle offered a raw, authentic take on what garage rock was meant to sound like.' - Psychedelized

Previously unreleased DIY homemade psychedelia, teenbeat and fuzz-psych/prog by this amazing Swedish band, 1965-1971!!

Tracks like Third Image' or Look at the stars' are an incredible find for anyone into US garage-psych (they wouldn't sound out of place on any Pebbles or Psychedelic Unknowns volume!) and others like Flicka', Stolta Vingar' or Mittuppslag' are top notch '70s fuzzed out Scandinavian psych/prog. We can't believe that such fabulous stuff has remained hidden in a carboard box until now.

Formed in the industrial town of Norrköping in the mid '60s, Cymbeline (also known as Motala Ström and W&J) only released a 45 in 1971 before breaking up. But during their existence, the band recorded a lot of stuff, included here for the first time along with their rare 45.

Cymbeline was basically two guys, Michael Journath and Anders Weyde, who met in 1965 while they both played in beat bands. They started recording songs at Anders little home studio with help with some friends and that's how songs like Imagination' and Look at the stars', amazing examples of homemade teen-beat, were born. At the same time, Michael and Anders were feeling a bit tired of playing cover versions with their beat bands so decided to start recording more experimental stuff, using armchairs and furniture as percussion, sounds from seagulls and birds, an electric cocktail mixer, improvising lyrics...these incredible experiments were recorded as Images', including the killer garage-psych sounding Third Image'.

As the years passed by, the home studio improved and new songs were recorded in a more psych-prog vein, some of them included here. They also played a few live gigs with some help from other local musicians. In 1970, Ulf Ryberg joined the group and soon after a 45 was released containing his song New York'. The flip side was Sixth Image', originally one of the Images' but rearranged and re-recorded.

In 1971, demos for an LP where recorded at Europafilm Studios in Stockholm. Two fantastic songs are included here and the sound is different from the earlier recordings - closer to the groups live performances.

So, 40 years later, here's the LP that Cymbeline always dreamed of.


*Remastered sound

*Insert with photos and liner notes by band member Michael Journath

*LP includes digital download card

First ever vinyl reissue of this elusive US private pressing from 1971, originally released on the legendary RPC custom label.


Intense & crude garage-psych with echoing vocals, loud distorted guitar, fuzz bass and organ. Three killer band originals plus some insane cover versions (Steppenwolf, Neil Young...) with a basement sound not unlike Mystic Siva!

Remastered sound, insert with liner notes and photos.

Proto-progressive, groovy instrumental psychedelia, recorded in France in 1969 by this pre-Sandrose band and released on the tiny Katema label.

Swirling Hammond grooves by keyboard virtuoso Henri Garella, top guitar playing by Jean-Pierre Alacen and a tight, funky rhythm section create one of the best early prog/psych French albums ever.

First reissued on Guerssen back in 2016 and out of print for many years, here's a repress in hard cardboard sleeve + OBI - resealable outer sleeve.

Previously unreleased '74-75 homemade recordings by Swiss prog /psych legends Ertlif.

Raw, in-your-face hard-progressive sound with ultra-loud fuzz-wah guitar plus Hammond, Mellotron, synths, powerful (English) vocals...

A great find for anyone into underground psychedelia.

RIYL: DEEP PURPLE, ATOMIC ROOSTER, BLACK SABBATH, CRESSIDA, AINIGMA, NECRONOMICON, PACIFIC SOUND

Ertlif was formed in 1970 by two ex-members of Egg & Bacon, lead guitarist Dany Andrey and bass player Teddy Riedo. They were joined by keyboard player James Mosberger (The Only Ones, The Countdowns), drummer Hanspeter 'Bölle' Börlin (The Countdowns) and lead guitarist Martin Ruder: the cream of the Basel music scene from that time. The band name was derived from a mysterious medieval magician and alchemist.

They were inspired by Pink Floyd, Yes, Procol Harum, Van der Graaf Generator and Genesis amongst others. A strong rhythm section and twin lead guitars blended with the Hammond organ created the characteristic Ertlif sound. In August 1971 they were the only Swiss band invited to the "Pop Meeting 71" in Münchenstein, Germany.

Soon after, Ruder left the band. In November 1971, Richard John Rusinski, an experienced singer from England (ex-Autumn Symphony), joined the band. Riedo and Beni Hauri (the band's roadie) had been experimenting with oscillators, noise generators, ring modulators and other devices since 1969. In early 1972 they introduced these electronic sounds into the band's closing number "Classical Woman" so becoming pioneers of electronic music in Switzerland. They also became the first Swiss band to use a Mellotron.

The band's instrumental virtuosity established them as one of the country's top acts and a phenomenal live band and they were one of only a few Swiss groups to be offered a recording contract.

In August 1972 their album and a 45 were completed in only four days. The records were launched in October generating radio interviews, television appearances and a great deal of press coverage. The promotional tour began with sold-out shows on three consecutive nights at the legendary Atlantis club in Basel.

In January 1974 Urs Schumacher took over the drums and in March they recorded some of their songs in the large reception hall of the Vogelsang schoolhouse in Basel. With these demo recordings, Ertlif acquired concert bookings and later that year a German record company offered them an album contract. In preparation for the studio they completed a demo recording of "Edgar Flee". In January 1975 they recorded the song in their rehearsal studio using the same equipment as for the March 1974 demo recordings. All recordings were made without overdubbing. Sadly, the record company went bankrupt before they made it into the studio.

By that time, Ertlif were playing what they called symphonic rock with a strong emphasis on keyboards - two organs, Mellotron, electric piano and synthesizer. Together with a distinctive guitar sound, they had established their reputation as a highly creative band and this is what you can now hear on this album.

Ertlif continued performing until 1978, when they disbanded. In 1992, they reformed with the original band members and continued playing live. In 2001 they released a new album on CD. With a new line-up, Ertlif have been active until last year when founding member Teddy Riedo sadly passed away.

This album is dedicated to the memory of Teddy, who was the brainchild behind this new Ertlif reissues.

*First ever release of these '74-75 unreleased recordings by Ertlif, the leading prog/psych band from Switzerland

*Remastered from the original master tapes by Eroc

*Lacquer cut by SST Brüggeman

*Insert with liner notes by band member Teddy Riedo plus rare photos and memorabilia.

Fabulous UK psych & proto prog, recorded in 1970 at IBC Studios (Factory, Who, etc) and originally pressed only as a handful of ultra-rare test pressings. Melodic vocals, killer Hammond + distorted guitar and fabulous songs. With connections to Scots Of St James, Hopscotch, Fleur De Lys, Glencoe, Studd Bump… Remastered sound, insert with detailed liner notes and rare photos / memorabilia. New artwork by artist Sara Gossett.

Five Day Rain was formed when Rick Sharpe (guitar), Clive Shepherd (bass) & Dick Hawkes (drums), from power trio Iron Prophet, met organ player Graham Maitland (Scots of St. James, Hopscotch, Fleur De Lys…). The original intended name for this new band, “The Entire Building Is About To Collapse”, was soon discarded in favor of Five Day Rain.

Thanks to a mutual friend, they were recruited by the producer / engineer team of Brian Carroll & Damon Lyon-Shaw, famous for their work at IBC Studios with some of the top bands from the Sixties. Drummer Dick was replaced by Kim Haworth and sessions for the FDR album began at IBC in late 1969. Guitar player John Holbrook (Baba Scholae) was invited to play some leads and the great Sharon Tandy and members of America did some backing vocals.

The result was a perfectly recorded and executed finished album comprised of 10 songs. Showcasing the stellar work of Rick and Graham on guitar/organ on tracks like “Marie’s A Woman” and the long instrumental “Rough Cut Marmalade”, the FDR sound is a great example of the transition from post-mod psychedelia to early prog.

Once the album was finished and a few test pressings in blank sleeves pressed, the whole project was abandoned due to some disagreements with the producer, so the album was never actually released.

In the late 80s, copies of the original test pressing were discovered by psych collectors and bootleg reissues appeared on the collectors market. It wasn’t until 2006 that an official reissue, done with involvement from the band members, was released by the Nightwings label from Italy. After many years out of print, we present a long overdue new vinyl edition of the Five Day Rain album.

Another shrouded in mystery album from the Pyramid label, produced by Toby Robinson in Cologne circa 1974. Kosmische and Head sounds with plenty of Minimoog, analogue synths / keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind...

A glorious blend of Space-Rock, Kraut and Psychedelia courtesy of the mysterious Golem. Plenty of Hammond organ, analogue synths, ripping guitar, effects, trippy jams... Orion Awakes' was recorded and produced circa 1976 by Toby Robinson a.k.a. Genius P. Orridge, while he worked as second engineer at the famous Dierks Studio in Cologne. Memories from those hazy times are sketchy but all leads to believe that the musicians featured here were well-known names from the Kraut scene under pseudonyms, recording 100% underground, non-commercial music under Toby's guidance, just for fun.

Apparently, Orion Awakes' was released as a very limited hand-made pressing housed in a silver foil sleeve on the Pyramid label, which was ran by Toby and his friend Robin Page, the Fluxus artist. No original copies have ever been found. The fascinating liner notes by Kraut expert Alan Freeman talk about seeing an original copy of Golem at a record shop in Germany many years ago and he also sheds some light on who could be the real musicians involved, as well as discussing the controversial story of the Pyramid label and the accusations of Golem being a manufactured 90s fake' instead of a real vintage 70s recording.

Legitimately tripped out, fans of the Cosmic Jokers could certainly get behind this one.'

- Angela Sawyer (Weirdo Records)

RIYL: Gila, Mythos, Guru Guru, Cosmic Jokers, Novalis, Neu!, Hawkwind, Brainticket, My Solid Ground, Pink Floyd...

*LP includes free digital download coupon

*24-Bit domain remaster from the original tapes

*Housed in a silver foil sleeve

*Insert with liner notes by Alan Freeman (Ultima Thule / The Crack In The Cosmic Egg)

Originally released in 1970 but sounding more akin to ‘67-68, “For Fox Sake” is a superb example of UK psych, highly recommended if you’re into APPLE, KOOBAS, ZOMBIES, OCTOPUS, SKIP BIFFERTY, SPENCER DAVIS GROUP, RUBBLES…

First ever vinyl reissue with original UK artwork.

Remastered sound and insert with photos / memorabilia plus liner notes by band member Steve Brayne.

Formed in Brighton in 1968 with roots to the mod-soul scene, The Fox consisted of Steve (Stephen) Brayne on lead guitar & vocals, Winston Weatherill (ex-Gary Farr & The T-Bones) on lead guitar & sitar, Alex Lane on keyboards & vocals, Tim Reeves on drums and Dave Windross on bass.

During their brief existence they supported The Herd and opened for David Bowie. Their sound was loud and righteous with great vocal harmonies, tight rhythm section and wonderful keyboard /guitar solos. After getting signed to a London management, they recorded their only LP in one session and they had it released in the UK on the Fontana label and on the USA on Crewe, featuring a different cover. Sadly, the band broke up following year and since the inclusion of “Butterfly” in one of the Rubbles comps several decades later, they've become a cult group among psych collectors.

Exclusively on vinyl - 14 defining tracks from the most glamorous indie rock & roll legends.

Kicking off with The Killers ‘Mr Brightside’ and Franz Ferdinand’s ’Take Me Out’ - both huge anthems from the post-punk revival of the early 2000’s - a genre that took inspiration from the distorted rock scene of the late ’60s alongside the guitar & synth driven new wave of the early ’80s and produced some of the most creative and bruised tracks of the past twenty years. Some acts found mainstream appeal and delivered huge radio and chart friendly pop - The Bravery, Razorlight and Kasabian (represented here with ‘Club Foot’ which sounds as fresh today as it did when it was released).



The scene gave rise to bands whose growing fanbases could easily identify with them, not only for the music, but also the look and attitude. From New York, Yeah Yeah Yeahs and The Rapture are included here and from the West Coast, Dandy Warhols hit big with ‘Bohemian Like You’ and Black Rebel Motorcycle Club who scored a Top 5 album with their debut release. With particular emphasis on captivating live shows and an alignment to grittier rock aesthetics, The Vines, The Hives, The Libertines and The Fratellis all represented different elements of Indie Glam, while MGMT delivered one of the greatest debut albums of the period by melding Indie Pop with synth-driven psychedelia which included the incredible cut ‘Kids’, also featured here.



14 Essential Tracks on one vinyl album - ‘Glamorous Indie Rock And Roll’

Olivia Jean is back on the scene with a brand new single "Palladium", teaming up with April March (whose cover of "Chick Habit" was featured in Tarantino's "Death Proof"). The duo focuses their inimitable blend of danceable badass on three "versions" of the same song. Each song is sung in English and in French.

The 7" vinyl release will contain side A en Francais "Allons-y" and side B in English "Let's Go". All 6 versions will be available digitally.

Super fun! Génialissime! Beautiful! C'est magnifique! Get to it!!

The Bitter Seeds were one of the pioneering bands from the early Monterey music scene. Leaded by flashing guitar player Leonard "Pooch" Paschini, they were active from 1966 to 1970, gigging regularly at such legendary venues as Bull’s Eye Tavern, Longshoreman’s Hall, Matrix, Fillmore, etc, sharing stage with famous bands like Grateful Dead, Jefferson Airplane, Iron Butterfly or Steppenwolf...
In 1967, The Bitter Seeds recorded their only 45, issued under The Rock Shop name, as they wanted to avoid confusion with The Seeds. "State of your mind" b/w "Is that your halo" was released on the Rowena label and it’s a brutal garage–psych double sider.

The following year the group recorded four studio tracks which have remained unreleased until now. These are perfect examples of the transition from R&B–garage to early psychedelic sounds which many San Francisco ballroom bands experienced at the time. An exciting find for any lover of lost West Coast psychedelic sounds.

For this Bitter Seeds / Rock Shop retrospective, we’ve also unearthed some wild live recordings from 1966 with good sound quality. And amazing document which had been buried until now.

Four page insert with liner notes and lot of photos / memorabilia.

Remastered sound.

Psychedelic hard-rock / heavy blues with loud fuzz-wah guitar and powerful drumming by this power-trio from Arizona, originally released in 1969.

Bliss was born from the ashes of garage band The Sect. Legendary radio DJ and producer Hadley “Who Loves You Madley” (the first black disc jockey from Arizona) took them under his wing and produced some recordings. By the end of 1968, the five members of The Sect graduated and decided to break up.

Soon, they reformed as a trio with Martin (bass), Reed (guitar) and Aldred (drums). Reed came up with a new name, BLISS, which not only reflected his spiritual interest but it was also more in vein with the new psychedelic sounds of artists like Cream, Blue Cheer or Hendrix.

Under Murrell’s guidance, the trio recorded a full album, released on L.A.-based Canyon Records in 1969. Canyon, home to artists like Doris Duke or Swamp Dogg, was a label more focused on R&B, soul and funk than psychedelia so, not surprisingly, the album slipped through the cracks.

It wasn’t until a couple of decades later that Bliss was re-discovered by psych collectors, who were attracted to the album’s heavy & bluesy psychedelic sound, highlighted by Reed's hard fuzz-wah guitar and Aldred's powerful drumming. The album offers a mix of great self-penned tracks (including two by Murrell) such as “Visions”, “Ride The Ship Of Fools” and “Cry Of Love” – which bears a striking resemblance to The Zombies “Time Of The Season”! – plus a few covers (Joe Tex, B.B. King, Johnny Guitar Watson…)

El grupo turco Bunalim ("Depresión") es toda una leyenda: fueron la más salvaje banda de Anatolian Rock de todos los tiempos. Una panda de peludos que tocaban en directo a todo volumen, llevaban su propio light–show y corrían desnudos por la calle principal de Estanbul al grito de "LSD, LSD!". Producidos por Cem Karaça, que ejercía a su vez de manager, editaron unos pocos singles, todos recopilados en este LP. Hard–rock–fuzz psicodélico con influencias de folk Turco, 1970–72. Si pensabas que lo más psicodélico de Turquía era Erkin Koray...espera a escuchar a Bunalim!!Sonido remasterizado, insert con notas y fotos.

Caedmon’s legendary debut from 1978, originally released as a private pressing, one of the most sought-after progressive folk-rock albums from the UK.


Information about UPC 'GUESS156' ...
16,99 £ is the sum for the 7"-Vinyl and the 12"-Vinyl.

Tracklist about the 12"-Vinyl - produced by Richard Falk (Galactic Ramble) - "One of the defining acid folk albums" :
A1. Ten Maidens Fair
A2. Maker Man
A3. Death Of A Fox
A4. Sea Song
A5. Aslan
B1. Living in The Sunshine
B2. Storm
B3. Columba’s Song
B4. Smile On Your Face
B5. Caedmon’s Hymn


... And the regular Text :

Caedmon - a five piece student band in the 70s - recorded this album to mark their farewell concert in early 1978, before they went their separate ways after university. They had literally no idea of the myths, rumours, and tales that would embellish (and sometimes distort) the musical arc traced by this album in the decades to come
The album contains twelve songs. Ten were written by the band. One was based on an ancient text by 7th century poet Caedmon. And the final track was a traditional gospel song, a regular much loved closer to their live set. Angela Naylor’s lead vocals are supported by close harmony male vocals throughout. Acoustic guitars, mandolin and cello jostle with electric guitar, keyboards, percussion and bass. The resultant blend can only be described as eclectic, conjuring a slightly bizarre mix of folk ballad, bossa-nova, and psychedelic jazz and funk. Little did they know that this would be described as acid-folk in years to come. Unusual time signatures, tight arrangements, improbable instrumentation, oblique and poetic stories tackling spirituality, distorted fuzz guitar, and the odd recorder solo all combine to create something that was of its era, and yet simultaneously wildly out of synch with it.

1978 was the era of punk. Frustrated by the record company stranglehold on the market, bands were recording and releasing their own material on their own labels. Caedmon adopted this approach (if not the musical genre!) and recorded their farewell to fans in Barclay Towers Studio in Edinburgh, an attic flat, patronised by the Rezillos and others. Essentially each song was recorded ‘live' in two or three takes on a four track tape machine, with occasional overdubs.
Handling their own duplication and distribution, the pressing of 500 swiftly disappeared, but not before a last minute emergency rescue operation was necessitated. During the pressing, a call from the pressing plant informed the band that they had too much music recorded to fit on a 33rpm 12" vinyl. A quick decision resulted in 2 tracks being moved across to a 45rpm 7" single. The album, with its slightly less than commonplace contents, sold for £2.50 to friends and fans.

They were never a mainstream band. They were unsigned, boasted a small fan-base (mostly in Scotland), only occasionally played south of the border (notably at a disastrous gig at the Greenbelt Festival in 1977), enjoyed some success at the Edinburgh Fringe. And that was about it until....
Their niche fame came twenty years later. Both a re-release of the original album on CD by Kissing Spell records, and a burgeoning world-wide vinyl collectors market made possible by the internet, led to a sometimes feverish demand for copies of the original vinyl of 1978. At its height, you could pay £1,500 for a reasonable quality copy of the original album (including 7" single and lyric sheet insert).

A number of unlicensed re-releases followed on CD and on vinyl, being this Guerssen edition the first licensed reissue of the 1978 album since the Kissing Spell CD.