Search:ps

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

GNOD, the ever-transient psychedelic musical unit from northern England with over 15
years and dozens of releases under their belt, return in 2024 with a recalibrated sound and
a new sense of freedom. Spot Land’s five songs are tender and detailed, unfolding slowly
with wistful guitar textures, brushed drums and interjections of lap steel, piano and
kalimba. As founder member Paddy Shine says, the results sound like old GNOD and new
GNOD at the same time.
Though GNOD’s shift in sound from album to album is rarely planned too far ahead, there’s
been a quiet desire among the band to do something of this nature for a while. The results
might confound the expectations of some listeners, but in the longer view Spot Land is
liquid GNOD.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

Krautige Cumbia der Zukunft trifft auf unverzerrte Gitarre! Bewusstseinserweiternd! Der in Bogotá lebende kolumbianische Komponist Eblis Alvarez, bekannt als Meridian Brothers, kreiert seit 1998 eine einzigartige Mischung aus psychedelischen Klängen. Mit seinem neuesten Projekt "Mi Latinoamérica Sufre" erkundet Alvarez das ungenutzte Potenzial der E-Gitarre in einem tropischen Latin-Kontext. Inspiriert von afrikanischen Highlife- und Soukous-Traditionen schafft Alvarez ein furchtloses Klangexperiment voller Erfindungsreichtum, Verspieltheit und Emotionen. Im Gegensatz zu typischen tropischen Gitarrenalben verzichtet dieses Album auf Verzerrung und Klischees und setzt stattdessen auf einen reinen, sauberen Ansatz. Mit komplizierten Kompositionen, die Cumbia, Champeta, Soukous, brasilianische Tropicalia und psychedelischen Underground-Rock mischen, huldigt Alvarez der goldenen Ära der kongolesischen Rumba, des ghanaischen Highlife und des nigerianischen Afrobeat. "Mi Latinoamérica Sufre" ist ein Egotrip, der eine humorvolle und zugleich introspektive Reise der Selbstfindung und Identität darstellt. Die Hauptfigur, Junior Maximiliano der Dritte, navigiert mit Hilfe psychedelischer Substanzen, politischer Philosophie und Folklore durch die Komplexität der Selbstfindung. Während er sich mit Nostalgie, Paranoia und geteiltem Leid auseinandersetzt, stellt Alvarez sein stimmliches Können unter Beweis und schafft ein akustisches Theater des Geistes. Begleitet von visuellen Erzählungen des kolumbianischen Künstlers Mateo Rivano, porträtiert das Album verschiedene psychologische Zustände von Desorientierung, Selbstmitleid, Erleuchtung und Optimismus. "Mi Latinoamérica Sufre" entpuppt sich als würdige und innovative Ergänzung der Konzeptalbum-Tradition und bietet eine unverwechselbare Mischung aus bittersüßen Aromen, die von Latinoamérica inspiriert sind.

We're back! And we've brought some local aussie legends to join us on a cosmic outback bush boogie with 4 x epic dub-olicious, psych rock, Afro disco jams. On the A-side is the Space Jockeys who consist of Ash Moses (Tunnel Signs) and David Smith of mid 80's and 90's seminal dance act 'Boxcar' fame. If you don't know who Boxcar are then you need to hit that search tab and get familiar! Space Jockeys deliver an epic twist on Kingdom Comes - Time Captives, followed by Barney In The Tunnel with their take on classic Australian psych rock group The Ferrets - Tripsville. On the B-side Jerk Boy delivers some JB Edit re rubs of Snakeskin Tracksuit by African Head Charge followed by Super Mama Djombo's funky number tittled Dissan Na M'bera. JD Twitch (Optimo) - super good Charles Webster - headcharge edit is my fave here....thnx Fred Everything - Sankeskin and Time Captains for me thanks! Rob Da Bank () - wondrous music! Kenny Carpenter - Love this track. Horse Meat Disco (Severino) (Severino) - yeeeeees DJ Coco (Nitsa / Primavera Sound) - great, thanks!

Black/White Split Colour Vinyl. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim and Grammy nominations, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape. In honor of the record's ten year anniversary, North Carolina-based indie label Psychic Hotline will release a deluxe reissue, complete with previously unreleased material. Featuring essential singles "Coffee", "Hey Mami," and "H.S.K.T.", the expanded edition also includes remixes from J Rocc, Rick Wade, Helado Negro, Dntel, and more. The deluxe 2LP package sports an all-over foil inversion of the original album's iconic foil "SE" logo.

3 cuts of the classic rhythm from Yabby You. ‘King Pharoah’s plague is coming down on the land’, righteous soulful rendition of old testament doctrine. Yabby always delivered his lyrics with authenticity and passion. This 3 track EP comes with the Tommy McCook cut and a thumping Tubbys dub. One of Yabby's most essential rhythms. Comes in a Pressure Sounds house disco bag. Rocking time is here!

- 10TH ANNIVERSARY EDITION OF TESS PARKS DEBUT ALBUM.
- GOLD VINYL, GATEFOLD SLEEVE, HANDWRITTEN LYRIC BOOKLET.
A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music.
Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.
Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and“smouldering voice”.
Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.
‘Blood Hot’ is inimitably confident. It’s slow and psychedelic at times, while being loud and ready to fill a stadium at others. There isn’t a moment on the album that isn’t relatable or that doesn’t ring to the tune of a timeless classic to be talked about for years to come (the same way people discuss The Velvet Underground or My Bloody Valentine records today).
Her cult-like following has turned into a movement. And Tess is gladly leading us all back into that space within ourselves, both deeply personal and entirely universal. Incredibly relevant yet timeless.Cool and anti-cool. An enigma that doesn’t need solving. Tess Parks is as she’s always been. Her best work is already out there. And her best yet is still to come.

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

Yellow vinyl, limited to 400 copies. There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

Ausgehend von esoterischen und mythischen Traditionen, in denen das Land der Träume in der Dunkelheit der Unterwelt angesiedelt ist, entsteht das "House of the Black Geminus". Durch labyrinthische Hallen, schattige Korridore, Keller des Grauens und Dachböden der Epiphanie, wo sich Tortur und Ekstase an den Scheitelpunkten treffen, wo jeder seinen eigenen Dämon erblickt.

AKHLYS sind jetzt eine monumentale Live-Band und die Kraft der Bühne zeigt sich in der bisher umfassendsten, zerstörerischsten und diabolischsten Platte der Band.

"House of The Black Geminus" ist eine Darbietung von beängstigender Dominanz. Indem sie intensiven Black Metal mit Elementen von Dark Ambient und Death Industrial kombinieren, vereinen AKHLYS psychologischen Horror, unbarmherzige Brutalität und unheimliche Vorahnungen auf einer erschütternden Reise in pandemonische Anbetung. #

FFO: EMPEROR, BLUT AUS NORD, NIGHTBRINGER, DARKSPACE

Der Soundtrack zur Apple TV+ Originalserie "Masters Of The Air" ist ein epischer und innovativer Score des EMMY®-preisgekrönten Komponisten Blake Neely. Die ausführenden Produzenten der Serie sind Steven Spielberg, Tom Hanks und Gary Goetzman (siehe auch "Band Of Brothers" und "The Pacific"), zur herausragenden Besetzung gehören unter anderem die Oscar-Nominierten Austin Butler und Barry Keoghan. Im Mittelpunkt von "Masters Of The Air" steht die Darstellung des psychologischen und emotionalen Preises, den junge Männer zahlten, die dabei halfen, den Schrecken des Dritten Reiches zu zerstören.

*** ULTRA RARE PSYCH-FUNK / GARAGE ROCK ***

The General Store recorded four songs in 1967 of which these two were released on a nowadays very very very very very hard to find 7inch single. This re-issue is limited to 300 copies and one with the blessing of the band. Tower of Power meets Funkadelic.

A second 7inch will be released soon with two UNRELEASED tracks!

As comped on "DOWN & WIRED Vol.7" (PT068LP).

Das zweite Album der Brightoner 'Supergroup' Pascagoula mit Mitgliedern von Charlottefield, Trencher und Mullholand reflektiert das zunehmende Chaos und die Härte der Welt. Die Songs sind schärfer und bissiger, gehässiger und grausamer als zuvor und handeln von Traumata, Bedauern, Ängsten, toxischen Beziehungen, psychischen Erkrankungen, schlechten Entscheidungen und ihren Folgen. Hier drinnen ist es nicht einfacher als da draußen. Die LP erscheint auf Deluxe Graphite Grey Eco Mix-Vinyl, wobei 10% aller Einnahmen an den Gaza-Hilfsaufruf von War Child UK gespendet werden.

The word Simultaneity is a technical term from the theory of Special Relativity representing two distinct events happening at the same time. This fluidity is embodied in the musical exploration of Ari Tsugi. Comprised of mostly self-taught musicians, the soundscape is a unique melting pot of UK Jazz scenes and the raw energy that comes from psychedelic rock. Produced and mixed by Glasgow-based musician Sam Bancroft (Starsky-Rae) alongside engineer-producer Villus Vilo Jokubaitis, the album features offerings from Liam Shorthall and India Blue (Azamiah) alongside the original Ari Tsugi trio -Clement Gaud, Joe Weisberg and Mashu Harada - with keys from Angus MacDonald being added later down the line.

Look who got up on the wrong side of the bed. Breakfast With Death is the 5th studio album by Austin Texas stoner metal riff dealers DUEL. Nine angry, blistering tracks flexing the faster and heavier side of DUEL. Every song is a beer soaked banger capturing the ferocity of the band's legendary live performances.

Purple Lavender Vinyl, limited to 400 copies. Look who got up on the wrong side of the bed. Breakfast With Death is the 5th studio album by Austin Texas stoner metal riff dealers DUEL. Nine angry, blistering tracks flexing the faster and heavier side of DUEL. Every song is a beer soaked banger capturing the ferocity of the band's legendary live performances.

"Ogives Big Band is a riff powerhouse hailing from Bristol, UK. Initially forming as an instrumental trio with a view to expand the existing Øgïvęš solo material. The addition of an established and furious rhythm section warped the compositions and song writing process into a new beast entirely. Featuring polyrhythmic soundscapes crashing into brutal breakdowns, blistering riffs melting into luscious ethereal drones, & an all encompassing sense of drive & menace. 2020 saw the addition of a new vocalist which has transformed a previously instrumental setup into a much fiercer prospect. Replete with furiously yelled vocals, serene croons & abstract lyricism and wordplay. 2023 will see the quartet appear at Portals and ArcTanGent festivals as well as tours in support of their new album, set to be released late 2023/early 2024. The new album – entitled ‘Boisterous Love’ - will showcase a move into whole new musical territories of savage, angular, doom laden sludge, progressive metal and psychedelic stoner rock."

Transcendental outernational funk and psychedelic jazz from mystery L.A.- based collective Sun Atlas

2nd edition with alternative sleeve and label design.

Little is known about Sun Atlas. The group members are hidden behind masks and costumes to keep their identities secret and to put the focus entirely on the music and oneness. A sense of community and universal spirit as an alternative to idolization and individualism is heavily reflected in their eclectic musical style.

The sound of Sun Atlas is mystical and cosmopolitan, combining afrobeat, cinematic soul, spiritual & ethio jazz with space sounds, hiphop-breaks and a garage funk vibe.

Their cryptic first 45 single "The Mystic Parade" b/w "Grand Theft" sold out immediately after release and has often been mistaken for either "lost" hiphop samples, 70s habibi funk or another project in disguise from the inner circles of the Mocambo, Big Crown or Daptonefamilies (which it is not).

Return To The Spirit picks up where Sun Atlas' first single leftoff, with everyone wondering where the journey might lead. With the door to a colourful universe opened, the full-length format gives time & space for further exploration.

First career spanning compilation on vinyl, covering studio albums, singles and unreleased tracks (2009-2023) by the acclaimed Peruvian instro band, Los Protones. A collection of intense recordings - mostly originals - which combine surf music, psych, garage, and tropical & Andean flavors. DESCRIPTION The Protones began their strange journey in Lima, Peru, in early 2007. The band's roots were as a side project for several members of Manganzoides, a well-remembered Peruvian garage rock band, but they quickly consolidated their own instrumental style that, to this day, combines musical genres from the 60s such as psychedelia, surf music and garage rock, sometimes paying tribute to Peruvian rhythms such as chicha and Amazonian cumbia. They are surely the only band in the world that has shared stages with Los Shapis and the New York Dolls, although not on the same night... Over the course of two decades they have played countless concerts, including visits to Europe and other Latin American countries. The music on this compilation comes from their four, full-length studio albums: "Los Protones", "Hijas del Diablo", "Maravilla!" and "Misión: OA4", in addition to the previous CD compilation "20 Monstruos! 2007-2015" and "Double Feature", a split CD with the Brazilian band Os Brutus. The group's current lineup includes Gonzaleo (guitar), Tito (drums), Jimi (keyboards), Andrés (bass) and Lucía (violin). Dance floor oriented tropical music at its best!

Ainu are a Genoese sludge/post Doom cinematic trio formed by Guitar / synth / samples (Dani) Bass (Jacco) and Drums (Gelso) and active since 2021.

The project takes shape from the passion for cinema and their close relationship with the sea, its stories and the creatures that inhabit it.

Their first album is a concept that moves between sound settings alternating power and emotional openings, at a slow pace between psychedelia and post metal.

An intense, dense and emotional experience that uses the descriptive foundations of sea men and the calls of huge animals to tell the connection between sound and the environment that composes it.

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

Two brand new tracks by The Courettes on RED coloured vinyl. The A-side will also feature on the band's next album! The B-side exclusive to this release! Both tracks feature guest vocals by La La Brooks of The Crystals! 'California' is a song we wrote on our first tour in California last year. We wanted to bring all the sunshine and some psychedelic vibes from The Byrds, the Laurel Canyon, and tons of 12-string guitars to our songwriting. But somehow the lyrics kept some black clouds. It talks about traveling and leaving your loved ones behind. Any musician on the road can relate to this. Although you can have a great time around the world, you're always missing someone. Home is really where your love is. We are very proud of this track, and on top of it we have a guest vocalist. The legendary singer La La Brooks - yes, from The Crystals, the lead voice on the classic 'Da Doo Ron Ron', one of our favourite Phil Spector produced songs of all time. To have La La singing with us is an absolute delight and honour. It's so surreal that we haven't even realised it has really happened! For the mixing our producer Soren Christensen has teamed up with the fantastic Darian Sahanaja (who produced and mixed no less than Brian Wilson's SMiLE album) to enlighten even more the Californian good vibrations. So open up your windows, let the sunshine in and play this one to the max!

"Trauma and the shock effect of it - the leftover residue of harsh reality so impactful that it shapes the way you imagine, envision and calculate your position in regard to everything and everyone around you.
A new type of psychological radius evolves. Boundaries are reinforced. Relationships are recessed. A damaged brief system float aimlessly. Vulnerable to and for anything reminiscent of a worthy cause. The truth about facts became satirical monologue, dead end expressions that have no critical arrangement. We all know someone that either has been or will be"

- Jeff Mills


The Eyewitness reveals a habitual pattern in the way it symbolizes a mirror reflection of mankind in our most vulnerable moments. It is the forthcoming album of Jeff Mills and it is composed from the perspective of an unknowingly complicit bystander and it is at the very least, psychologically pathological in nature. What this release is essentially proposing is an admission to the diagnosis that no one is immune to shock and trauma. Not the accuser or the accused. And this abnormality s culturally and generally transmittable - handed down and passed over to one another disguised as righteous theatre.

As an artist, what Mills is notoriously known for is the perspectives and paths he chooses to approach hefty, complex, and sometimes, awkward subjects. The best way to recognize the narratives of his mostrecent album works such as "The Clairvoyant", an eerie transcending album that plays through like a Seance for creating a bridge to reach another dimension or "Mind Power Mind Control", a cautionary warning about the consequences of supporting deceit, mind control and mass mental persuasion is to start by first taking a moment to look at yourself in a mirror. He's suggesting sound as a reflection and what we might be able to see in ourselves. Proposing that we might be the problem and a solution. In the same vicinity of his recent solo albums, the direction, scope or target of The Eyewitness is first about us, then about it.

More than the few previous albums he's released lately, this one has a unique relationship in terms of imagery and visual treatments that represent the concept. The front cover shows Mills, neatly dressed in a black suit that appears to be caught in the act of doing something methodically as he cohorts to supportwith a bright white type of surgical light towards the viewer. Stark and in the act of.......something offensive - it could be some type of hypnotic machine at work. Other photos show him in darkened spaces. Remote and deep in thought.

Other clues are the titles of the tracks such as "Sacred Iridescent Mirror (The Pledge)": this refers to the act of installing value and credit to something ambiguous and "Menticide" which means the systematic effort to undermine and destroy a person's values and beliefs. In the opening track, "in A Traumatized World" we hear the narration spoken by Mills. In a language he specifically created for this album. It's a dialect that is designed to be undistinguishable, but spoken with a compassion that it could be sympathized with. In the latter part of the track, it reaches a climatic point. Meaning, "it" has happened. And the album is the evidence.

On extra note:

In this day and age,it's comforting to see a musician like Jeff Mills administer music conceptually without any conditions attached. The artistry and craft of using sound and rhythm to bring forth a concern, a warning or the result of a diagnosis to the listener.

One of melodic techno’s biggest breakout stars, Massano steps up for his Drumcode EP debut. The emerging DJ/producer from Liverpool already gave us a taste of his elite studio capabilities via the fantastic ‘Betrayal’, his contribution to last year’s Drumcode A-Sides Vol.12 release – one of the highlights of the compilation. Massano’s sound hits with a fantastic punch, characterised by super charged sound design and powerful melodic riffs with key releases on Afterlife and his own Simulate to date. His ‘Telepathic’ EP reinforces why we’re rightly so excited to have him on Drumcode. The title track is a juicy psy-laced stomper, propelled by a menacing low-end vocal that adds plenty of atmosphere to the cut. ‘Destructure’ is formed around rattling percussive effects, before euphoric melodic layers build in intensity throughout the second half. When the two elements coalesce, we’re treated to a track with immense peak-time power, that never loses its unique edge. ‘The Method’ is a melodic ace, shifting between laser-kisser dynamism and full throttle bass-driven energy.

Repress!

HERBERT HUNTER will be forever worshiped by the UK Northern Soul scene for his anthemic 45 'I Was Born to Love You', recorded in the home of country music, Nashville, in 1967. Sometimes things are just meant to be and they collide in perfect harmony. 'I Was Born To Love You' is a case in point. The perfect lyric - 'I Was Born To Love You, You Were Born To Tear My Heart Apart' - the perfect beat, and perfect timing as it crashed onto these shores in the summer of '76 when Northern Soul was at its zenith and Wigan Casino owned the All-Nighter scene! But, Hunter is no one-trick pony, as his list of collectable 45s bears testament, not least 'Happy Go Lucky', also on Spar. Hunter was part of Ted Jarrett's roster of artists and, under Jarrett's stewardship recorded a string of cover versions under the pseudonym Leroy Jones for the neighbouring budget label 'Hit'. He learnt much of his trade from established artists and label mates such as Gene Allison who he toured with as minder and nursemaid, due to Allison's drink problem. Often, when they arrived a venue, Allison was too drunk to perform and Hunter would step in for him.
For our B-side we've chosen a lesser known, but no less wonderful and gritty Northern Soul dancer 'I Know The Feelin'' by THE JADES. Currently very much in demand with a mint copy selling earlier this year for over $900. We know little about The Jades who recorded this incredible slab of up-tempo soul for Ted Jarrett's Poncello label in 1964 featuring, of course, Herbert Hunter's booming lead vocal.
Many thanks to Fred James for making this superb double-sider possible.

The inaugural chapter of a two-part epic. Get ready for an eclectic and unique modern twist fusion of proto- EBM, New Beat, Electro, Rave Breaks and early UK house, weaving together a tapestry of diverse influences. Experience the raw energy pulsating through potent basslines, driving each track forward with unstoppable force.

Meanwhile, deep and thought-provoking lyrical voice samples captivate the mind, inviting listeners to ponder existential questions and explore the depths of consciousness and creating innovative soundscapes leaving an indelible mark on the listener’s psyche. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Sometimes music is supposed to feel weird and indescribable. It’s the moments of clarity within the dense, sonic mess that often feels the most satisfying. That’s the space that Earth Tongue occupy. At times, their songs are shrill and disorientating, other times their reverb-washed textures and instantly- familiar hooks can wrap you in a warm, loving embrace. The one consistent thread through their music, however, is the thick and all encompassing fuzz. Guitarist Gussie Larkin has become a master of the fuzz-smothered riff, and along with Ezra Simons’ off-kilter drumming, they’ve been sending punters into transcendental states since they began gigging in their home town of Wellington, New Zealand in 2016. Floating Being will be released this June 21st. The album was pieced together throughout their travels of Australia and Europe, with the finishing touches being added in their hometown. The album contains songs they’ve been playing live for the past year, and it captures the raw, primitive energy that exists within their live performance. Earth Tongue embrace the imperfections in their playing and recording - drawing influence from early 70s psych and prog rock. The last thing they wanted was to create a shiny, over-produced record - with that in mind, they recorded the drums to an old 8-track Tascam reel-to-reel in a friend’s garage in Melbourne. The result is a punchy, raw and fuzzy journey into psych-rock with songs that weave between melodic and jarring. Unexpected twists and turns leave the listener in a disorientated yet satisfying haze.

The American psych pop quintet Paper Garden had established a solid reputation performing to university students in their native New York and in surrounding states in 1967-68 before being commissioned to cut a debut LP with British producer Geoff Turner for Musicor, the resultant sessions yielding a self-contained concept album of totally new work. With sitars and tabla on some songs trading places with baroque elements and orchestrated interludes, the breezy psych pop gets pulled in all manner of directions and often sounds closer to the British psychedelic sound than anything Stateside. A rare and rich listening experience!

The roots of 80s English psychedelic freak band The Tryp lie in a hoax perpetuated by Steve Lines’ indie mag Mardenbeat, based in the town of Calne in the Marden Delta, which reviewed a gig by a non-existent band; former JP Sunshine main man Rod Goodway and partner Christine Cotter then gave flesh to the beast with Lines and Paul Ricketts of Unhinged mag, cutting My Brain Collapsed! as an exploration of mushroom-fuelled mental instability. First issued on cassette label Mardentapes and later by Acid Tapes (just as Lines took over from Alan Duffy), this edition is the first on vinyl-A Must Have FOR ALL Tryppers!

Part 1(LENGLP008) due in May, here is basic info for Part 2 (Due Early June)

Psychedelic pop act Jawbone had ample talent and keen industry connections yet remained unjustly obscure. Core members had been active in The Mirage, who signed with CBS and later recorded for Phillips; drummer David Hynes and bassist/future Elton John Band mainstay Dee Murray briefly joined the Spencer Davis Group, but regrouped as Portobello Explosion, which became Jawbone. Their rare self-titled debut, released by Carnaby in 1970, had an undercurrent of Americana, and there’s a one-off cover of The Beatles’ ‘Across The Universe’; this edition features bonus track ‘Way, Way Down,’ a non-LP Carnaby 45.

Mythical Sussex psychedelic protoprog band Five Day Rain cut an album that never was in 1970, since a dispute nixed its official release. This must-have collection of rarities includes outtakes such as the fuzz box-filled 'Dartboard' and the raunchy 'Floating', as well as a tasteful cover of Bobby Hebb's 'Sunny,' plus full version of 'Rough Cut Marmalade.' 'Spare The Children,' released as a 45 by side project Studd Pump is included here too. Required listening for all who wish to understand the Five Day Rain story in full.

Multifaceted San Francisco psyche-delic band It’s A Beautiful Day drew on aspects of folk, classical, jazz and world music, their outstanding differences driven by the lead vocalist and violinist David LaFlamme, his keyboardist wife Linda, and harmony singer Patti Santos. This engaging compilation joins the anthem ‘White Bird’ and the spirited ‘Hot Summer Day’ with ‘Don And Dewey’ (based on ‘Wring That Neck’ by Deep Purple, who nicked one of their musical themes for the intro to ‘Child In Time’), plus the previously unreleased ‘Summer Blues’ and ‘You Are The Sun’ – this stunner’s a must for all It’s A Beautiful Day fans!