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A HEAVY DOSE OF unreleased GARAGE ROCK & PSYCH-FUNK TRACKS

The Perfect Toy label continues its righteous quest to unearth the finest rare sounds from way out with Volumes 3 and 4 of its Down In The Valley series and in doing so delivers what is most certainly "A heavy dose of garage rock & psych-funk."

Vol. 4 commences with Frozen Sun's acid rock beast Electric Soul, then rocks even harder with Pax 72's Ezra before Stars and Stripes's Listen edges in a funkier direction, adding syncopated rhythms and wah-wah into the mix. Then it's the turn of another unreleased track from GIN to make an appearance – Pseudo Funk - a blistering psych-rock band-rehearsal recording that the label is excited to include in the DITV series. Super-heavy funk-rock is the name of the game on Pushin, a wah-wah-drenched monster from The Outer Edge - recorded when they were 16 years old and their one and only 45 before they disbanded in 1971. The funkiness continues with Watch My Baby Do It – a shingaling and boogaloo dance-celebrating funky soul nugget from Chicago music-scene mainstays The Bossmen, dope garage-funk crossover Away With Me from Soul Intentions and groovy country-funk bump Keep On Walking from Rocky Barra, the man behind the famous Strictly Elvis fanzine. All of which just leaves space for the heavy soul-laden garage rock of Forum's Who Needs You, a mellow psych groove from Morning Reign (a name that should ring a bell since Perfect Toy dropped an album full of their unreleased material in late 2018) and Grainger Hunt 's Noah (a new discovery in rhythm & blues circles when it was first re-issued on 45 in 2011) whichmakes its first appearance on any full-length album here.

Deepest respect goes out once again to crate-digging supremo, Chan The Man, the curator of these two brand-new volumes in the Down In The Valley series. His ambition to search for the impossible and get his hands on private pressings that no one except the freakiest vinyl nerds knew existed has set the path to the release of these two discs. Accompanied by detailed liner notes and never-before-seen photos of the artists, Down In The Valley 3&4 continue the same attention to quality and detail set by their predecessors.

KEY SELLING POINTS:
- all tracks appear on a full length album for the very first time
- incl. detailed liner notes and unseen photographs

Chris Corsano & Bill Orcutt Electric Smog, the next installment in Unrock's ongoing Saraswati series, will be the most rebellious and wildest to date. Again an intercontinental output, this is a dangerous, electric brew filled with exotic aroma from Cairo's sound guerilla, Alan Bishop (Sun City Girls), Maurice Louca (Karkhana), and Sam Shalabi (Land of Kush, Karkhana). The always-changing face of Dwarfs Of East Agouza shows them in a feverish mode with an adrenalin rush; massive eruptions fight a genuine flow. Chris Corsano & Bill Orcutt manage to sound like a tonal cyclone consisting of 156 musicians, blowing heads and minds away. Out of the blue they suddenly manage to change mode and develop mild, calm, and elegant/fragile melodies. Interplay between early Baker and Clapton in Cream's looser frequencies seems sometimes just a stone's throw away. Electric Smog is meant to be a twin release to Sir Richard Bishop and David Oliphant / Karkhana with Nadah El Shazly's Carte Blanche. One-time pressing.

Active in Los Angeles’ 1980-1986 underground music scene, John Lafia is best known for the hypnotic album Prayers, released through Barry Craig’s influential, cassette-only label Trance Port Tapes. "Life Is Short", "A Promise", “Dream", “Hidden Things", "Spaghetti Western", and "Escape" come from that release.

This compilation also features tracks from subsequent Trance Port releases: LA Mantra 2 ’s "Queen Of The Nile" and Phantom Takes’ "The Moth". John’s “Odyssey Girls” appeared on the seminal 1983 spoken word LP, English As A Second Language. “The Confession,” a collaboration with legendary producer Ethan James, was released on 1986’s LP, Voices From North America. While recording this music, Hollywood-based John also dreamt of making his own films.

To support himself, he intermittently crewed on low-budget movies, including fellow UCLA Film School alumni, Alex Cox’s infamous Repo Man. Cinematic influence comes to the fore in titles such as, “Spaghetti Western”, “Queen Of The Nile”, “Escape”, and “Hidden Things”. Working alone endlessly in his home studio, John used the recording environment as a launching pad for exploring his uncensored psyche’s furthest dimensions. Hours of repetitive rhythms often transported him into trance-like states.

Tracks “Propaganda” and “Art Of The Jungle” exemplify this technique. Others, “4AM”, “Doubt”, and “Montgomery Park”, are miniature psychodramas (replete with three-act structures). Songs "Life Is Short", and "Dream" grapple with life’s fragile and unknowable essence. "The Moth", "Fourth Of July", and "SOS", are sonic journeys into trance-like repetition.

This intensely personal music never intended to "find" an audience; it was a means in and of itself. Its decades-later rebirth in this compilation is a joyous surprise.

*NOTE: On big hole white vinyl*

The Pendletons take a bold step with their first full forthcoming length album, 2 Steps Away, releasing this spring on the Bastard Jazz imprint. Recorded in San Francisco with a rock-solid band consisting of some of the best musicians in the Bay Area, including guitarist Carl Locket (Shalamar, Rick James) and Star Creature recording artist Elive, the duo taps into a classic soul/boogie sound that rides a wave of '70s and early '80s funk with ease but somehow remains true to the excitement of those classic recordings without being overly nostalgic

On this preview 7" the band showcases the uptempo disco/boogie slapper "You Do You" featuring legendary Soul singer Howard Johnson (Nightflyte / Kashif) while on the flip is the sweet soul of "Life To Me" over an irresistible groove.

Compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981.

The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time.

This compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. Melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

Two mind-bending slabs of acoustic and electric guitars, wandering into corners of acid-logic only accessible to bravest explorers. Elkhorn is a duo — Jesse Sheppard and Drew Gardner — from NYC. Their earlier records (Elkhorn on Beyond Is Beyond, The Black River on Debacle) would have blown us away, even if we didn’t know Jesse from his work as a film-maker (he directed the Glenn Jones/Jack Rose doc, The Things That We Used to Do) and organizer (he put together the 1,000 Incarnations of the Rose festival). Elkhorn’s music, which we had suspected might be in a fairly traditional American Primitive vein, was anything but. And these two LPs (released individually, but recorded more or less simultaneously) explore a whole warren of new style caverns.

Sun Cycle was recorded at Jason Meagher’s Black Dirt Studio and is closer to their pure duo sound (although guitarist Willie Lane and percussionist Ryan Jewell are along for the ride). There are elements of the American Primitive thread present, but these touch mostly on the outer reaches of the form, like Gene Estibou & Jean-Claude Pickens’ Intensifications, or the crazy distentions of MV and PG Six. Layers of pluck and soar and light percussion mix at the upper edge of the cosmic barrier, and Sun Cycle is, to our ears, Elkhorn’s most adventurous and fully realized album yet.

On Elk Jam, Willie Lane and Ryan Jewell function more as members of a psychedelic folk-rock quartet, and the troupe takes things even deeper in a Bay Area-styled trip zone. Recalling the classic ruminations of Mountain Bus, the full four man Elkhorn is exactly what the doctor prescribed for a generation of sack-butts who imagine John Mayer’s pudgy phallus-riffs have shit to do with transcendental psych exploration. Elkhorn are the true sonic dealio.

Instrumental music doesn’t get much better than this. As Capt. Beefheart once said, “If you got ears/You gotta listen!” We couldn’t agree more.

-Byron Coley, 2019

Two mind-bending slabs of acoustic and electric guitars, wandering into corners of acid-logic only accessible to bravest explorers. Elkhorn is a duo — Jesse Sheppard and Drew Gardner — from NYC. Their earlier records (Elkhorn on Beyond Is Beyond, The Black River on Debacle) would have blown us away, even if we didn’t know Jesse from his work as a film-maker (he directed the Glenn Jones/Jack Rose doc, The Things That We Used to Do) and organizer (he put together the 1,000 Incarnations of the Rose festival). Elkhorn’s music, which we had suspected might be in a fairly traditional American Primitive vein, was anything but. And these two LPs (released individually, but recorded more or less simultaneously) explore a whole warren of new style caverns.

Sun Cycle was recorded at Jason Meagher’s Black Dirt Studio and is closer to their pure duo sound (although guitarist Willie Lane and percussionist Ryan Jewell are along for the ride). There are elements of the American Primitive thread present, but these touch mostly on the outer reaches of the form, like Gene Estibou & Jean-Claude Pickens’ Intensifications, or the crazy distentions of MV and PG Six. Layers of pluck and soar and light percussion mix at the upper edge of the cosmic barrier, and Sun Cycle is, to our ears, Elkhorn’s most adventurous and fully realized album yet.

On Elk Jam, Willie Lane and Ryan Jewell function more as members of a psychedelic folk-rock quartet, and the troupe takes things even deeper in a Bay Area-styled trip zone. Recalling the classic ruminations of Mountain Bus, the full four man Elkhorn is exactly what the doctor prescribed for a generation of sack-butts who imagine John Mayer’s pudgy phallus-riffs have shit to do with transcendental psych exploration. Elkhorn are the true sonic dealio.

Instrumental music doesn’t get much better than this. As Capt. Beefheart once said, “If you got ears/You gotta listen!” We couldn’t agree more.

-Byron Coley, 2019

This is the definitive reissue of the long out of print first album from Italian experimental-rock band La 1919. Originally released in 1987 by ADN, the Italian Recommended Records branch, Ars srA was an early example of a long distance collaboration album as result of a virtuosic exchange of tapes between the Milan based duo and the legendary American guitarist Henry Kaiser and Canadian maverick sound artist John Oswald. The resulting music sounds like a perfect blend of '70s Art-Rock elements and '80s electronics. An eclectic mix of "Frith" oriented guitars, cold synthetic sounds and programmed drum machine beats. Some sort of sonic no-man's land where elements from the Post-Rock in Opposition aesthetic meet the experimental side of New Wave. The album includes a declared tribute to the Frith-Laswell-Maher seminal coalition, via a metronomic version of "Killing Time", the title track from Massacre's first album. The LP comes with updated graphics and contents including unpublished pictures and various memorabilia + CD with extra tracks.

Dan Melchior is great randomizer of a musician. Born in the UK, based in the U.S. for the last 20 years, his discography ranges from raw garage rock to avant garde tape collages, visiting a whole lots of other points in between. Exhibit A is his first collaboration with P.G. Six (aka Pat Gubler) the wonderful New England based multi-instrumentalist, who has previously appeared with Wet Tuna (FTR 364), Weeping Bong Band (FTR 313), MV & EE (FTR 167) and Joshua Burkett (FTR 196). This time out P.G. plays keyboards, recorder and electric 12 string guitar, leaving the vocals and acoustic guitar to Brother Melchior.

The material on Exhibit A hearkens back to some of Melchior’s early records, which had a bluesy British simplicity somewhere between Duster Bennett and Sexton Ming. The melodies are fully formed and horribly hook-laden, but theres’s roughness to the textural edges (and riff-qua-riffs) that gives the music an extra layer of surly magnificence. Some of the lyrics are funny as hell. I dare you to resist from smiling while listening to “Never Trust a Man Without Sideburns” or ‘”It Was Good Fun.” And the cover of Creation’s classic “Painterman” is as beautiful example of form-evolution as you’ll find this year. Or any other.

Exhibit A is a great spin from first note to last. There are lots of strange instrumental textures and tropes, all more or less inside the confines of modernist folk invention, and the whole shimmers with a very special kind of light, while still sounding deceptively plain. It’s hard to keep up with Melchior’s many releases and style shifts, but it’s always worth doing. And this one is a pip.

-Byron Coley, 2019

For the first release in Feeding Tube’s Unknown Province series — a run of records dedicated to exploring little known nooks of the Canadian underground, curated by Alex Moskos — we are delighted to bring you the first vinyl reissue of the 1968 zoner masterpiece by poet Bill Bissett and his fellow Vancouver freaks.

We have always been shocked this LP was not included on the NWW list, but Canadian releases often seem to exist in their own universe, so we suppose that’s the “explanation.” Because, in a list of any free-form freakouts, Awake in th’ Red Desert would surely have a high place. Bissett was a sound/concrete poet of high repute when this was recorded, and he was also something akin to the king of the Vancouver underground scene. The original album was issued by Jim Brown’s See/Hear label, which Brown founded as an adjunct to his Talon Books imprint.

Backed by a band of interesting musicians (a few of whom went on to straighter afterlives), Bissett created an insane mass of sound, comparable to what Mayo Thompson’s Red Crayola was doing in Texas around the same time, laced with heavy Fugs overtones. Pure freaked sonics, created while stoned, for an audience that was similarly blasted, and was willing to decode what was going on using the very best acid logic available.

Hard for me to describe how much I love this album. And I will attest that this version sounds better than any other available version ever has or could. It is jacked.

Nice detailed liner notes by Alex Moskos set the scene as well as anyone ever will, and if you don’t feel your teeth wiggling while this plays, I suggest you may never feel that particular feeling. In your life.

Bill Bissett is still going today, and we heartily suggest that anyone who digs this album runs out and tries to nail down one or another of his wonderful books before the sun sets.

–Byron Coley, 2019

Well-known bluesman and one-time Oklahoman Bill Homans, known in the blues world as “Watermelon Slim” and known by ’70s rare psychedelic vinyl collectors as “Merry Airbrakes” found work as forklift driver, funeral officiator, small-time criminal, newspaper reporter, saw miller, and truck driver for industrial waste among others. In 1979, Slim and a friend came to Oklahoma and wound up in Pushmataha County, where he bought a piece of land and took up watermelon farming. That vocation didn’t last, but the nickname he got doing it did.

It was in Vietnam, while laid up by an extended illness at a Cam Ranh Bay hospital, that Homans negotiated in French the five dollar purchase of his first guitar from a “papasan” in a tiny commissary on the hospital grounds. “It was the nastiest old guitar you ever saw, but it did have all six strings on it,” he said. There, with a Zippo lighter and a broken shard of a coffee can top, he began to teach himself to play his unique, backwards style of bottleneck slide. After returning stateside he would join the ranks of Vietnam Veterans Against the War (VVAW), and in 1973 recorded with his brother and friends an LP titled Merry Airbrakes, a protest album he categorized as “psychedelic folk.” A cut from that record eventually appeared on a Country Joe McDonald compilation of music by Vietnam veterans. However, his music career would soon tank. A brief career in petty crime ensued, which he would forsake by 1978.

What is an underground album? Some people would say that it is one which has been produced outside, or in spite, of the music industry, whether or not it has prospered. This album, Merry Airbrakes, has incontrovertible underground credentials. This may be one of the only albums one can hear by a Vietnam veteran, and aside from certain American bluesmen, John Prine, and a literal handful of others, American music has never addressed the Vietnam War and its effects. Certainly it is the only place one can ever hear a song from the Vietnamese point of view.

A lot of people flipped out over how amazing Mako Sica’s last album, Ronda (FTR 409), was. Ronda was a 2LP set whereupon the Chicago trio collaborated with legendary local percussionist Hamid Drake. This pairing seemed like a natural to us, but for some reason people have been woefully unaware of Mako Sica despite the fact they’ve been releasing killer records for a decade, and playing live shows that submerge your brain in a sonic soup that recalls the Sun City Girls at their most psychedelically Eastern.

The band’s approach to music feels almost alchemical. Trumpet, voice, guitar, drums and keys blend together in mysterious ways. The vocals are always more abstract than declarative, the guitar lines are sinewy, the rhythms roll and splash like a mirage oasis made real, and the trumpet arrives (when it does) sounding almost more like a shofar being played in a temple.

The sound of Manifest Being is celebratory and so fully freaked you’ll be soaking in it for years to come. The songs played are similar to the live set Mako Sika were polishing last year, and the results are stunning.

-Byron Coley, 2019

Reissue of a true avantgarde-rock classic: Skeleton Crew were the maverick duo of Ex-Henry Cow guitarist Fred Frith and the great late cellist Tom Cora. Formed during one of Frith's early American residencies, Skeleton Crew was a legendary two man crew who somehow - in real time, managed to play all their instruments, cello, bass, electric guitar, violin, vocals - as well as, drum parts dislocated between the two of them. No one sounded like Skeleton Crew, ever. An unprecedented and tight duo coalition that produced some of the best music of the decade. Originally released in 1984, Learn to Talk consists of a highly integrated mixture of art-rock, punk energy, tape manipulation and re imagined folk elements. A catalogue of invention that remains breathtaking today. Fully re-mastered and including a printed inner sleeve with previously unpublished text by Fred Frith in memory of Tom Cora on the 20th anniversary of his premature passing.

Nocebo, the first full-length by the Boston, Massachusetts five piece Elizabeth Colour Wheel, is inspired by anxiety, the fear and the desire of being constantly overwhelmed. The album came to fruition over the summer of 2018, when the band embraced a heavy “kill your idols” mindset, crafting an album that is distinctly schizophrenic yet familiar, touching on ’90s heavy rock, shoe-gaze, and black metal influences.

Mixed and mastered by Seth Manchester of Machines of Magnets (The Body, Street Sects), Nocebo is a five-walled haunted house, constructed from the wild, chantlike vocals of Lane Shi, the heavy, reverberant guitars of Emmett Palaima and Alice Jackson, the sludgy, distorted bass of Billy Cunningham, and the powerful, aggressive drumming of Connor Devito. Inside these walls frequencies of spectral anger echo and resound, gathering into thunderous waves, which crash against the borders of the room before dying out into eerie silence.

Elizabeth Colour Wheel, whose name is pinched from The Lily’s track of the same name, formed in 2014 around the Boston area. The band has shared the stage with numerous bands, mostly notably The Flenser label-mates Have A Nice Life and Planning for Burial.

I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played, he admitted that he knew only a part of that music, but that he would love to learn more. So I began to feed him tunes to listen to, sharing with him an imaginary track list. When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include Peaches en Regalia and The Black Page on the album. That made me very happy because those are two of my favorites, and there was no better way to acknowledge the technical challenges behind this adventure. Marco studied Ionisation by Edgard Varese when he was in Conservatorio Rossini of Pesaro, even before he graduated in percussion at Berklee. It was strange for me that he could know more about Varese than about Zappa! I liked his idea of playing The Black Page alone at the marimba, just adding the beat, as if hearing the footsteps of an imaginary listener turning around. Who could it be My very first wish was to include Pink Napkins with Zappa's guitar solo played at the vibraphone.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Alvin Ranglin GG's productions reissued in finest quality by Dub Store Records.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

Rooted in Swedish psychedelic folk music, Hanna Ostergren (Hills, Trad Gras och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Ostergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Hoga Nord Rekords now releases her debut album.

Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, 'Agnetero / Huset' Ostergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system.

Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret.

Das erste neue Album der Emo / Hardcore Legende
aus Kansas City nach 11 Jahren.
Nach ihrer gefeierten - Kicker EP' im Sommer 2018 (Pitchfork:
"The band's most satisfying release in nearly 20 years")
kommen The Get Up Kids mit dem Album - Problems',
produziert von Peter Katis (The National, Interpol, Gang of
Youths).
Gegründet wurde die Band 1995 von Matthew Pryor (Gitarre,
Gesang), Jim Suptic (Gitarre, Gesang), Robert Pope (Bass)
und Nathan Shay (Schlagzeug). Schwer melodisch und mehr
einbrennend als eingängig, hüpfen die Jungs aus Kansas City
mit Leichtigkeit über die Gipfel der Emo-Szene und schaffen
es dabei noch, wie so viele ihrer amerikanischen Kollegen,
nicht bei jeder Platte als Plagiat ihrer selbst zu enden,
sondern sich in kleinen, aber feinen Schritten zu veredeln.
ihrer Heimatstadt. Sänger und Mastermind Matthew Pryor
widmet sich seit dem verstärkt seinem Soloprojekt The New
Amsterdams während Keyboarder James Dewees seine
Energie in sein Projekt Reggie and the Full Effect steckt

Das erste neue Album der Emo / Hardcore Legende
aus Kansas City nach 11 Jahren.
Nach ihrer gefeierten - Kicker EP' im Sommer 2018 (Pitchfork:
"The band's most satisfying release in nearly 20 years")
kommen The Get Up Kids mit dem Album - Problems',
produziert von Peter Katis (The National, Interpol, Gang of
Youths).
Gegründet wurde die Band 1995 von Matthew Pryor (Gitarre,
Gesang), Jim Suptic (Gitarre, Gesang), Robert Pope (Bass)
und Nathan Shay (Schlagzeug). Schwer melodisch und mehr
einbrennend als eingängig, hüpfen die Jungs aus Kansas City
mit Leichtigkeit über die Gipfel der Emo-Szene und schaffen
es dabei noch, wie so viele ihrer amerikanischen Kollegen,
nicht bei jeder Platte als Plagiat ihrer selbst zu enden,
sondern sich in kleinen, aber feinen Schritten zu veredeln.
ihrer Heimatstadt. Sänger und Mastermind Matthew Pryor
widmet sich seit dem verstärkt seinem Soloprojekt The New
Amsterdams während Keyboarder James Dewees seine
Energie in sein Projekt Reggie and the Full Effect steckt

Ear-splitting hard-rock / proto-doom-metal from the early 70s!

Electric Funeral were a pioneering Swiss hard-rock band who sadly never registered any studio recordings at the time.

Formed in the late 60s by Edi Hirt (drums), Pierrot Wermeille (bass), Alain Christinaz (guitar) and Dominique Bourquin (vocals), they were influenced by bands like Deep Purple, Black Sabbath and Led Zeppelin. Famous for their loud (they played behind giant stacks of Marshall amps) and powerful shows, their sound was too heavy-sounding for a regular label to offer them a contract.

'The Wild Performance' is made of private live & rehearsal tapes recorded in 1970, very raw and lo-fi but it's the only testimony of their brutal sound. First released in 1991 as a very limited (now heavily sought after) LP, here's an expanded edition with newly remastered sound and four killer bonus tracks, taken from reels and tapes recently found in the band's archives. These tracks were also recorded in 1970 except for 'My Destiny' (1973). Sound is still lo-fi but slightly better than the original 'Wild Perfomance' tracks, especially on the killer 'You Can Help' (proto-punk á la Electric Eels!), 'My Destiny' and the alternate version of 'You Can Help'.

*2LP expanded edition including previously unreleased tracks

*Insert with rare photos and liner notes by Klemen Breznikar (It's Psychedelic Baby Magazine)

*Download card

*Poster

RIYL: BLACK SABBATH, IRON CLAW, EDGAR BROUGHTON BAND, MOSES, SAINTE ANTHONY'S FYRE...

'Electric Funeral should be mentioned right next to their country companions such as Toad, Haze, After Shave, and Pacific Sound.' - Klemen Breznikar (It's Psychedelic)

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

Melting jazz, rock and zeuhl influences, French unit POTEMKINE released its first album in 1976.

Far from their early days as a garage cover band, this masterpiece is the beginning of a singular musical odyssey lead by the Goubin brothers.

A must-have for every MAGMA or WEATHER REPORT fans out there.

The 40 Watt Banana, formed in 1968, was a unique band in New Zealand, the only group that ventured into the esoteric realm of Indo-Afro psychedelic music. 'Peeled' includes their sought-after 45 from 1971 (the sitar-psych-dancer 'Nirvana') plus previously unreleased recordings full of sitar, tabla, sarod, tanpura, trumpet, recorder, effects, tape echo...

Formed by Kevin Clark and Dave Parsons, initially as a jazz combo playing in restaurants, they soon incorporated elements of Indian and African music to their sound, after some soul searching and spiritual experiences. The result was an atmospheric, spacey, improvised sound. In 1971, they released their only 45 for the HMV label. It featured a great sitar-psych track, 'Nirvana', similar to other psychedelic jazz-pop-funk experiments from the time such as 'Mathar' by Dave Pike Set. But during the late 60s and early 70s, the band also recorded other stuff which has remained unreleased until now.

After taking a deep dive into the dusty crates with Belgian & Dutch music, Harde Smart now unearths a smooth selection of jazzy, funky & soulful gems from their collected vinyl stash. All the music you hear, was recorded and produced during the 1970's, in either Flanders (the Dutch-speaking part of Belgium) or Holland. Besides exquisite grooves and hard-pounding drums, the selected songs also have Dutch lyrics in common, making this a rather unique way to approach and compile lyric-driven Flemish and Dutch music from back in the days. Record collectors all over this language area seem to have neglected a considerable part of their own musical legacy for a few decades, while firmly searching for rare grooves and breaks in the bins with more exotic music.

Yet nothing is so certain as the unexpected. 'Flemish & Dutch grooves from the 70's' is the first 'Dutch' compilation album to uncover the genuine, Afro-American funk and soul vibe. A sound that - albeit infrequently - influenced the work of some of the popular and less popular singers and musicians in this small part of the world in the 70's. Although influences undoubtedly also derived from the French chanson and rock music from that era. This 21-track album smashes all musical predictability and takes you on a weird and nostalgic trip; offering a revised set of 'essential homegrown classics' for the local listener, yet also being very exciting to the ears of the non-Dutch speaking audience.

Minimal Wave is releasing a newly mastered compilation of 6 tracks made by Scene de la Bohème (aka Anthony Waites), 2 come off his sought-after untitled 7" from 1982 and 4 are previously unreleased. Limited to 1000 copies on 180 gram vinyl with an illustrated inner sleeve featuring Anthony Waites' personal story and illustrations.

Minimal Wave is releasing a newly mastered compilation of 6 tracks made by Scene de la Bohème (aka Anthony Waites), 2 come off his sought-after untitled 7" from 1982 and 4 are previously unreleased. Limited to 1000 copies on 180 gram vinyl with an illustrated inner sleeve featuring Anthony Waites' personal story and illustrations.

Buoyed by the success of Endless, their 2015 primer on forgotten electronic explorer Dimitris Petsetakis, Into The Light Records has worked with the Greek composer to compile a follow-up album that takes an even deeper dive into his archive of previously unreleased material. Like its predecessor, On Shores draws on music recorded in the 1980s and early '90s. It contains just two previous released tracks, the humid 'Clearance (Part 2)' and poignant 'On Endless Shores', both of which first featured on Petsetakis's cult 1991 album Missing Links.

On Shores offers another unparalleled insight into the picturesque and atmospheric soundscapes created in the Piraeus-based composer's basement studio using a mixture of electronic and acoustic instruments, a wide range of global influences and a keen interest in both minimalism and new age ambience. Listeners will encounter a range of stunningly beautiful and beguiling compositions, from the creepy, slow-burn exoticism of 'Pythia's Dance' and rhythmic, otherworldly escapism of 'Violated Asylum', to the gentle bliss of 'Like a Knife' and sun-bright joy of 'Nearxi (Minimal Marimba Edit)'.

Emotional Rescue starts a non-defined set of reissues where some of the label's favourite artists have lesser known, but (cult) classic songs unearthed, remastered, reappraised and then reinterpreted by contemporary producers and fans, for today's DJs and collectors alike.

To start, the idea of the legendary British psychedelic band Hawkwind appearing on the label might come as a surprise, but when the nature of songs and remixer involved is explored it makes perfect sense.

Following the departure of Lemmy to the Motorhead hinterlands, the band's sound took a wider but more defined style, including their burgeoning interest in electronics. With that, the 1976 album Astounding Sounds, Amazing Music contained a song that has become a secret spin for the more leftfield and adventurous. The Aubergine That Ate Rangoon - itself referencing cult psychedelic band Dr. West's Medicine Show and Junk Band's alien invasion opus The Eggplant That Ate Chicago - with it's use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way. Focusing on much of Hawkwind's musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation.

This is backed with the album's other stand out, in the beautifully laidback stoner vibrations of City Of Lagoons. Lanquidity rules as West Coast meets Floyd touches abound. A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon.

An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given. With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC.

His heavy retake of The Aubergine pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum. To close, his City Of Lagoons rework becomes 'Head' outtake overkill. Trippin' beyond the light fantastic.

Words from Cherrystones:

"When the prolific and albeit consistent Emotional Rescue label & head honcho Maestro Chuggy proposed this as a potential project to me I was initially excited as much as honoured, but also hesitant. Why you ask Because that which is to the heart is often the most sacred and foreboding to envisage or should I say take out of context or possibly leave in context via sympathetic realisation.

My history with Hawkwind is as murky as anyone that truly let the band into their hallowed cerebral bandwidth whilst following their smoke signals and oily pipes serenading the riff fuelled synth washed sunsets where dogs on strings jugglers tents and paratrooper boots were standard issue on stage and backstage. This is more than a mere band, these wrote the book on themselves, used pages to roll with and smoked their own scriptures and blew smoke rings that became parables with no care to any place scene or need to fit within or out.

This entire project was created using no stems, no multi tracks hence we did not use remix as a theme, these are re-works which I made via intense hacking at open sections in the songs whilst manipulating and treating those hard. The only parts added were the synth I played, added and re -chopped with a view to colour these re-imaginations. It was essentially making a new meal from the existing but adding and subtracting flavours to create a new
Essence, a new sensation and believe it, it was not easy which kept it exciting and close to me. By no means am I metaphorically adding a moustache to the Mona Lisa, I'm more to the point tickling her or poking my tongue out with a view to get a response or smile. Hurry on sundown so I can see your shadows dancing in the grassy lucid light.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'Closer To You' gets its very first vinyl edition 25 years after its release. 180gr heavyweight vinyl with CD album included.

Very first vinyl - first time on vinyl - edition 23 years after its release.
To celebrate the release of the new album 'Stay Around', JJ Cale's 'Guitar Man' gets its very first vinyl edition 23 years after its release.180gr heavyweight vinyl with CD album included.

JJ Cale's 'Live' album gets its very first vinyl edition. FIRST TIME ON VINYL incl.all influencial tracks.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'Live' album gets its very first vinyl edition. Originally released in 1996, this live album features 14 classics including 'After Midnight', 'Cocaine' and 'Old Man'. All tracks were recorded across several different shows : Carnegie Hall (New York, 1996), The Philharmonic (Munich, 1994), Flynn Theater (Burlington, 1993), The Great American Music Hall (San Francisco, 1994), The Hammersmith Apollo (London, 1994), The Sommerville Theater (Sommerville, 1993) and Park West (Chicago, 1990). Double 180gr heavyweight vinyl with CD album included.

very first vinyl - first time on vinyl - edition 15 years after its release.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'To Tulsa And Back' gets its very first vinyl edition 15 years after its release. Double 180G heavyweight vinyl in gatefold sleeve with CD album included.

Since their inception in 2012, BIG|BRAVE have explored terrains of experimental rock with a clear focus on the key principles; space, volume, and raw emotion. The essence of BIG | BRAVE's magic has always been the way they balance these dynamics, and particularly how much sheer power comes from the beautifully quiet moments. 
 
The same principles are the starting point for the new album, only the approach is different, beginning with the question "How do we take very little and make something bigger than what we actually have" vocalist and guitarist Robin Wattie explains further "the biggest challenge was to not do what is easiest. i.e. what we knew worked for the last albums or what is, for us, easy to write. With A Gaze Among Them, Mathieu and I put ourselves through the ringer - I did not want to do what seemed to me to be a 'logical next step' in what we could do musically. I wanted to go back to our original concepts and work from there - space, tension, minimalism and voice (finding melody and musicality in pieces that consist of one note for longer than ten minutes, for example) were the primary concentrations I wanted to push."

In the process of revisiting their early intentions, BIG | BRAVE have boldly evolved, emerging with a thrilling new body of work that is all at once refreshingly new, explosively heavy, dynamically loud, beautifully minimal, carefully repetitive, and totally and utterly cathartic.  

A Gaze Among Them features Robin Wattie (vocals, electric guitar, guitar amp, bass amp), Mathieu Ball (electric guitar, guitar amps) and Loel Campbell (drums) with guest appearances from Thierry Amar (Godspeed You! Black Emperor, Thee Silver Mt Zion) on Contrabass and Seth Manchester's synth overdubs. The album was recorded with Seth Manchester at Machine with Magnets in Pawtucket Rhode Island.

The beautiful image adorning the cover (created by Robin Wattie) further demonstrates that BIG | BRAVE have blossomed. The trio sound rejuvenateed and confident, and A Gaze Among Them is the sound of a band truly honing their craft, and feeling totally satisfied with it.  Compelling. Necessary. Important. 
 

New York based producer, engineer and composer Marc Urselli (Nick Cave, Mike Patton, John Zorn) had the idea to bring people together who had never met before and let that meeting of minds create beautiful soundscapes. Film director and musician Jim Jarmusch, Sonic Youth co-founder and guitarist Lee Ranaldo shared space with versatile drummer Balázs Pándi (Keiji Haino, Venetian Snares, Zu, Merzbow) for a night session at Urselli's EastSide Sound studio in downtown NY. These are the unfiltered results. Absorbing instrumental patterns of cinematic sounds and improvised rhythms. No overdubs, no editing. All was recorded live and analog, produced and mixed by Marc Urselli. The front/back cover were taken by photographer William Semeraro in Norway. That is why Marc Urselli gave all the songs titles that come from Norwegian mythology.

Originally released in 1972, Vento Sul (translation 'South Wind') was a rewarding collaboration with Brazilian progressive rockers O Terço.