quête:spacemen 3

Repress!

180 gram coloured vinyl now at new price. Spacemen 3's debut album "Sound Of Confusion", released in 1986, was a blistering affair - establishing their love of the two-chord song and also expressing their admiration for the likes of MC5, The 13th Floor Elevators and The Stooges. Sound of Confusion was 7 tracks of overdriven assault, with a strange bleakness and despair creeping through the hypnotic sprawl. R Hunter Gibson would later say: "It boosts the value of unlit rooms, unpaid debts and unfeigned terror and it would rather tackle the gradients than settle for level best. New digipack. Tracks : 1 Loosing Touch With Your Mind  2 2.35, 3 Little Doll, 4 MaryAnne, 5 Roller coaster, 6 Hey Man, 7 OD Catastophe.

Spacemen 3 began assembling their third album, 1988's Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions' first offering came in the form of "Revolution," a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3's crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock 'n' roll.

An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like "Suicide" (named after the notorious NYC band) and the mesmeric "How Does It Feel?" catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter.

Includes download card and new insert with liner notes by Marc Masters.

1990's Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3's departing statement surely reveals a deep divide within the S3 camp – each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other's songs – Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock.

Opening saga "Big City (Everybody I Know Can Be Found Here)" marries ambient haze with narcotized indie rock, while "I Love You" manages to arrange a beautiful flute alongside a defiantly throbbing bass track. "Hypnotized," a reimagined fuzz-pop hymn, would become the group's first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3's persistent sound, rooted in both aural expansion and phenomenal songwriting.

Includes download card and new insert with liner notes by Marc Masters.

Support from David Holmes, Sean Johnston (ALFOS), PBR Streetgang, Phat Phil Cooper, Leo Mas, Balearic Ultras, Cesar de Melero, Pathaan Ahmed, Chris Coco

We have been huge fans of Spacemen 3 since the late 80s, so this track definitely has that classic indie dance vibe and it pushes all the right buttons on the dancefloor. We have also paid homage here to another favourite track which is 'Loaded' by using the same Edie Brickell drum sample to create our own uniquely laid back sunshine groove.

2024 Reissue

Restaurierte 'Original Gold Sleeve Edition' auf klassischem schwarzem Vinyl. Ein intensives neo-psychedelisches Juwel, das eine Reise durch die Gelassenheit unternimmt, bevor es in seinem eigenen, zuckenden Comedown zusammenbricht. Eine glorreiche Verschmelzung von dissonanter Psyche, Lou-Reed-Getöse und Gospel-Surrealismus. Eine kaleidoskopische Blaupause für alles, was danach kam, mit einem liebevoll restaurierten Artwork. Das zweite Album von Spacemen 3 ist eine bemerkenswerte Abkehr vom Debüt Sound Of Confusion von 1986. Reduziert auf ein Trio (die Gitarristen/Keyboarder Pete ,Sonic Boom" Kember, Jason ,Spaceman" Pierce und der Bassist Pete Bassman), nutzen Spacemen 3 den neu entdeckten Mangel an Perkussion und verleihen The Perfect Prescription einen deutlich weniger rockorientierten Sound mit viel mehr Freiraum in ihren abwechslungsreichen, subtilen Arrangements. "Like taking an acid bath in the dungeon of the mind." Pitchfork //

Classic black vinyl pressing on 140g LP. CD digipack. Note new prices for the LP & CD. Spacemen 3's second album is a remarkable departure from the band's 1986 debut, SOUND OF CONFUSION. Reduced to a trio (guitarists / keyboardists Pete "Sonic Boom" Kember, Jason "Spaceman" Pierce, and bassist Pete Bassman) following the departure of the first album's drummer, Spacemen 3 makes an asset out of the newfound lack of percussion, giving THE PERFECT PRESCRIPTION a considerably less rock-oriented sound with much more open space in its varied, subtle arrangements.

Space Age Recordings are pleased to announce a 500 copy repress of Spacemen 3 live album “Threebie 3” on heavyweight yellow vinyl. Originally released in 1989 and only available with a coupon contained in the Spacemen 3 classic "Playing With Fire", "Threebie 3" has become something of a collector's item. Featuring four tracks from a live show at the Melkweg, Amsterdam from February 1988 and a studio version of "Live Intro Theme (Xtacy)". The tracks "Starship", "Revolution", "Suicide" and "Repeater" capture perfectly the spirit of the Spacemen 3 live experience. The trademark drones and one chord barrages are tied together by a brooding sense of urgency and a near chaotic air of energy.

Nun endlich erstmals auf Vinyl!. Das damalige CD-Doppel-Album mit alternativen Aufnahmen und Demoversionen von Songs aus Sessions zu ihrem Album The Perfect Prescription. SPACEMEN 3 waren für die Wissenden eine der besten Bands der 1980er und die Vorreiter des damals neu aufkommenden Psychedelic-Experimental-Sound. Von ihren frühen Veröffentlichungen bis zu späteren Alben wie "Playing With Fire", ist der wachsende experimentelle Anteil innerhalb ihrer musikalischen Entwicklung eindeutig. "Forged Prescriptions" wurde ungefähr in der Mitte ihres Bestehens veröffentlicht und hört sich genau so an, wie SPACEMEN 3 ihre Arbeit klingen lassen wollten. Das Audio wurde von John Rivers in den Woodbine Studios digital remastered und verteilt sich auf zwei 180g Heavyweight Black LPs um die beste Klangqualität zu gewährleisten. Im Klappcover mit erneuertem Sleeve-Artwork ist diesdefinitiv eine Veröffentlichung für die Sammlung der Spacemen 3-(und Spectrum, Spiritualized, Experimental Audio Research)-Fans.

First repress since its original release in May 1998

Celebrating twenty-five years since its release as rgirl2 – the label’s first LP – Rocket Girl is reissuing its seminal compilation A Tribute to Spacemen 3 on double vinyl with spot varnish sleeve in May 2023.

Widely acclaimed at the time of its release (garnering rave reviews in the UK, US, Canadian and European music weeklies and monthlies), the collection sounds as fresh and inventive as it did three decades ago. Launched at a time when tribute albums were prevalent, A Tribute to Spacemen 3 stands apart from other covers albums in that it not only redecorates S3’s songs in a bold new palette of colours, but also acts as a time capsule documenting a very specific wave of 90s US and UK bands that shared many sensibilities – ‘post-rock’ might be the catch-all genre, but their music also encompassed psych, slowcore, analogue electronica, dream pop and space rock to varying degrees – and many of whom (Mogwai, Low, Arab Strap, Bardo Pond) have gone on to reap major critical and commercial success, and are still thriving today. In 1998 the LP was a gateway for fans of Spacemen 3 to discover these relatively unknown experimental artists operating on small independent labels either side of the Atlantic – today it is a celebration of the timeless innovation and longevity of that scene.

As author Richard Milward states in Rocket Girl 20, the 2019 book illuminating the history of the label: ‘In no way is the LP a collection of imitators simply regurgitating Spacemen 3’s songs sound-for-sound – rather, the compilation celebrates the purity and bravery of Pierce’s and Kember’s song writing (themselves never averse to a transformative cover version) while showcasing the originality and diversity of those bands they have inspired.’ It is the simultaneous simplicity and otherworldliness of S3’s songs that make them perfect fodder for reinterpretation, the band’s ‘three chords good, two chords better, one chord best’ mantra providing a solid, tantalising foundation for these bands to experiment with freely. Throbbing and humming with equal parts euphoria and melancholia, over the course of the album’s 69 minutes the tracks slide from slithering stoner psych (Asteroid #4’s ‘Losing Touch With My Mind’) to hymnal delicacy (Amp’s ‘So Hot (Wash Away All of My Tears)’ and Mogwai’s crisp, glockenspiel-chiming ‘Honey’) to zero-gravity lounge jazz (Transient Waves’ closer, ‘Billy Whizz’). There are radical reworkings: the oozing fuzztone lava of Bardo Pond’s ‘Call the Doctor’, and not least Arab Strap’s startling take on S3 live mainstay ‘Revolution’, replete with aggressive, crunching drum machine and the lyrics delivered down the telephone in Aidan Moffatt’s laconic Falkirk drawl – ‘a change, a solution, a wee… a wee revolution’ – before its explosive climax.

Double LP on heavyweight 180 gram audiophile black vinyl in a wide spined sleeve with new artwork layout. Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Includes a bonus track not on the CD version and new artwork design. Never has a record been so aptly titled, or so perfectly descriptive of a band's particular vision of the universe. For all that, the original appearance of Taking Drugs was in fact a bootleg on the semi-legendary/semi-notorious Father Yod imprint in 1990, later supplemented with contemporary outtakes and cuts for the Bomp reissue in 1994 and one further song for the Space Age version in 2000. The original seven tracks, dated January 1986 and the first recordings to feature Pete Bain on bass, are collectively known as the Northampton Demos, understandably named for the recording location in a studio outside said English city. Both Sonic and Pierce have been on record as long preferring these takes to the eventual versions that surfaced for the most part on Sound of Confusion. Certainly it's a fine set of performances, showing a definite step toward the more familiar sound of the group and away from the rougher takes on For All the Fucked Up Children of the World. "The Sound of Confusion," aka "Walkin' With Jesus," rips along with fierce energy, Pierce's singing and the rampaging, primitive wail and rumble of the band just wonderful. "Losing Touch With My Mind" takes things to an even higher level, a huge wallop of feedback and beat (Natty Brooker's drumming in particular delivers just what the doctor ordered), Pierce delivering the lines with a flat, cutting drawl. On the slightly lighter tip, "Come Down Easy" is more or less fully in place (aside from singing about it being 1986!), possessing a more upfront but less vocally distinct feel than the Perfect Prescription take. The tracks that surfaced on the later reissues come from a variety of different sessions, including the original take on "Feel So Good" and a good live version of "Things'll Never Be the Same," one of several cuts featuring Brooker's drumming replacement Rosco.

Following the quickly sold out limited edition red coloured vinyl that was exclusively released for Record Store Day 2017 Space Age Recordings are pleased to announce a new vinyl pressing of Spacemen 3's fourth and final studio album "Recurring'. This album is again pressed on heavyweight 180 gram vinyl with printed card inner sleeve but this version is the standard black vinyl version.

Now presented in a shrink-wrapped 6 panel fold out card wallet on CD, on heavyweight double vinyl in a gatefold sleeve. Digitally re-mastered by John Rivers at Woodbine Studios, November 2017 August 1988, Spacemen 3 embark on one of the strangest events in the band's already strange history. Billed as "An Evening of Contemporary Sitar Music" (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders' film 'Wings of Desire'. Spacemen 3's proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the "Sweet Sister Ray" of '80s Britain. Their signature sound is at once recognizable and disorienting - pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3's classic 'Playing With Fire' album. 'Spacemen Jam,' featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects.

180 gram coloured vinyl now at new price Recorded in Amsterdam in 1988, the live Performance documents a set from the Perfect Prescription tour; the emphasis here is on the group's loud, noisy origins -- only the closing "Feel So Good" hints at the more subdued atmospheres and textures which emerged as Spacemen 3's primary focus as they approached Playing With Fire. Among the highlights: "Take Me to the Other Side," "Walkin' With Jesus" and "Come Together." New digipack.

Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.

Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)

Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.

Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.

Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”

a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

Die Musik von Panda Bear und Sonic Boom war schon immer ein Spielplatz: ein Ort, an dem Klangexperimente, Loops und unerwartete Ideen aufeinandertreffen. Während Sonic Boom einst mit Spacemen 3 die Balance zwischen Drone und Pop neu dachte und später mit modularen Synths experimentierte, erschafft Panda Bear, solo oder mit Animal Collective, schillernde Klangwelten zwischen Noise, Folk und Elektronik. Ihr gemeinsames Debüt Reset (2022) wirkte wie ein kreativer Befreiungsschlag im Pandemie-Nebel.

Mit A ? of WHEN setzen sie diese Spielfreude fort, gehen aber noch weiter. Harfen-Loops, Steel Drums, Pedal Steel, sogar Jodeln: Das Duo greift bewusst auf vermeintlich „uncooles“ Material zurück und macht daraus etwas Eigenes. Songs wie „Something Like Dreaming“ oder „Like a Moth to a Flame“ verbinden verspielte Psychedelik mit eingängigen Melodien, als würde man von Station zu Station durch einen musikalischen Abenteuerspielplatz springen.

Gleichzeitig wird der Ton ernster. Die zehn Stücke verhandeln digitale Erschöpfung, politische Verwerfungen und ökologische Fragen, ohne dabei die Leichtigkeit zu verlieren. Inspiriert von einer Welt aus „AI slop“, algorithmischem Dauerrauschen und permanenter Vernetzung, suchen Panda Bear und Sonic Boom bewusst nach anderen Formen der Verbindung: weniger Scrollen, mehr echtes Erleben, mehr Radio, Live-Shows, Listening-Partys und reale Begegnungen. Statt Zynismus setzen sie auf Empathie, Glück und gegenseitige Unterstützung.

Im Kern bleibt das Album jedoch ein Akt der Aneignung: Klänge aus unterschiedlichen Kontexten werden neu zusammengesetzt, getragen von ungewöhnlicher Percussion wie Harfe und Steel Drums. So entsteht Musik, die zugleich verspielt und reflektiert ist. A ? of WHEN blickt auf eine widersprüchliche Welt und verwandelt sie in etwas Verbindendes. Kein großes Heilsversprechen, sondern die Einladung, gemeinsam offline darin aufzugehen.

Konsequenterweise wird das Album nicht auf Streaming-Plattformen verfügbar sein: Panda Bear und Sonic Boom setzen stattdessen auf reale Begegnungen, Listening Sessions und direkten Austausch jenseits algorithmischer Dauerbeschallung.

J-Walk return to BiD with a one off single 'Never Go Home' ahead of an album of new works to be released next year...

Recorded in his Stockport studio & channeling the DIY ethos of his previous BiD release Broken Beauty, 'Never Go Home' is a paeon to the mind-altering oeuvre of late 80's indie psychedelia, influenced by artists such as Spacemen 3, Nick Nicely & The Field Mice.
On the flip 'Dub Never Go' expands the vision with a version that wades deeper into dub territory, spacing out the stems & positioning the song in an abstract format.

This limited-edition vinyl release comes in a homemade sleeve which is stamped, numbered & implanted with J-Walks DIY DNA.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

A groundbreaking collaboration between British experimental artist Pete Kember aka Sonic Boom (Spacemen 3) and Swiss electronic duo SINNER DC, MAPS blends music, visuals, and interactive gaming (Mac/PC) into a multidimensional experience.

Originally conceived for a one off live performances in 2013 in Geneva, MAPS draws inspiration from Borges' meditations on the limits of representation, crafting a surreal auditory and visual journey

The story of Ultrasonic Grand Prix is one of two vintage 60s guitars and their owners. I love my 1967 Vox Grand Prix guitar,” declares multi-instrumentalist/producer Shawn Lee - creator, among other feats, of the soundtrack for Rockstar video game classic Bully, and one half of Ultrasonic Grand Prix. “It is a serious beast and an important part of my arsenal. Every tone you need…’For guitar maestro Barrie Cadogan - of Nottingham Freakbeaters Little Barrie, best known for the main title theme of ‘Better Call Saul’, The The, Liam Gallagher and playing on the soundtrack for Baz Luhrmann’s ‘Elvis’ - it was the Vox Ultrasonic, also from the same period, that caught his eye. “I first became interested in Vox guitars because of people who used them like Spacemen 3 and the James Brown band of the late 60’s”, he explains, “but it was when I was part of a recording session at Anton Newcombe’s studio in Berlin that I had chance to get to know the Vox gear better. I was borrowing an Ultrasonic from a friend for a while and Shawn already had his Grand Prix. I thought it would be a good name for our project whenever we got it going.’ It was with this shared passion for these weapons of vintage, psychedelic gold that the suave, velvety, and off-kilter cool of INSTAFUZZ was born. While a project born of recent times, the flames of INSTAFUZZ were first ignited all the way back in 2010, where the two met during mixing sessions for Little Barrie’s 2011 LP King of the Waves. Snap forward a decade and we find Cadogan ripping guitar licks on Instagram, the workaholic Lee using these as inspiration to lay down rhythm tracks on analogue drum machines. And not long after that, cut to the two trading files back and forth furiously online, birthing music together in ever more completed forms. And the music that did emerge was weird, startling, and insatiably groovy. With one foot dipped in the organ-warbling garage of 60s psych, and the other vibrating in the mind-expanding fractals of the British Acid House boom, INSTAFUZZ plies the earthly quintessence’s of blues, rock, soul and jazz, against the preternatural discomforts of programmed drums and unhinged synthesisers to produce something distinctly and nostalgically futuristic

Northern California psychedelic sorcerers Carlton Melton are brain surfers, mind trippers, … “psychlists,” if you prefer. The band will take your head for a ride, occasionally rushing at superluminal speeds through a wormhole or gliding softly on a gentle breeze in a leafy glade. Sometimes your brain needs to rage, and sometimes it needs to repose. For a decade and a half, the band has yo-yo’ed, almost schizophrenically, between these two modes: walloping space jams with furious guitar solos in one hemisphere of the brain and ethereal, feather-light splashdowns in the other. Not to mention a track here and there that builds from the latter into the former. But with two new releases in 2023, the band has evolved. Whether psych rock or ambient trance, their sound remains driving, organic, and flowing. With the addition of Anthony Taibi (White Manna, DDT), however, the group’s metal freak-outs are Hawkwindier and their droning kraut trances are Spacemen 3-er. In January, the quartet released the playfully spacey Resemble Ensemble, recorded in Taibi’s home studio 3D Light. October now sees the band Turn To Earth, a work with scents of Autumn, a season of death and transition. The cover art evokes a vine-covered, electric crucifix. The sound is, well, earthy but also gritty and striving towards change. The album was recorded in Fall 2022 and now harvested in Fall 2023. Phil Becker (Terry Gross, Pins Of Light) contributed drums and percussion to a few tracks on Turn To Earth, recording the album at El Studio in San Francisco.

With Becker at the helm, the synths have become more prominent (“Cosmicity,” “Roboflow,” “Migration”) and the tone heavier on the doom (“Cloudstorming,” “Unlock The Land,” title track): several moments could even serve as background music for epic dark fantasy films like Conan the Barbarian, Fire and Ice, or Heavy Metal. As exquisite as Turn To Earth is, Melton are best appreciated as a live act: their recordings as well as their gigs are largely improvised – not so much composed as birthed. And yet their most recent tour ended abruptly and perilously. The group had to cancel its final three shows once members were admitted to Arnhem hospital in the Netherlands. Five years later, reinforcements have strengthened the band and restocked its arsenal of great tracks. After the rockus interruptus of that 2018 tour and the tantric tease of the intervening Covid lockdown, Melton have some unfinished business. An October 2023 tour is poised to set the freshly minted quartet back onto the stages of Europe and within the cerebral folds of its fans. Turn To Earth, sure … but keep your head in outer space. Carlton Melton is: andy duvall – drums/gtr; clint golden – bass; rich millman – gtr/synth; and anthony taibi – synth/gtr.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

Die Musik von Panda Bear und Sonic Boom war schon immer ein Spielplatz: ein Ort, an dem Klangexperimente, Loops und unerwartete Ideen aufeinandertreffen. Während Sonic Boom einst mit Spacemen 3 die Balance zwischen Drone und Pop neu dachte und später mit modularen Synths experimentierte, erschafft Panda Bear, solo oder mit Animal Collective, schillernde Klangwelten zwischen Noise, Folk und Elektronik. Ihr gemeinsames Debüt Reset (2022) wirkte wie ein kreativer Befreiungsschlag im Pandemie-Nebel.

Mit A ? of WHEN setzen sie diese Spielfreude fort, gehen aber noch weiter. Harfen-Loops, Steel Drums, Pedal Steel, sogar Jodeln: Das Duo greift bewusst auf vermeintlich „uncooles“ Material zurück und macht daraus etwas Eigenes. Songs wie „Something Like Dreaming“ oder „Like a Moth to a Flame“ verbinden verspielte Psychedelik mit eingängigen Melodien, als würde man von Station zu Station durch einen musikalischen Abenteuerspielplatz springen.

Gleichzeitig wird der Ton ernster. Die zehn Stücke verhandeln digitale Erschöpfung, politische Verwerfungen und ökologische Fragen, ohne dabei die Leichtigkeit zu verlieren. Inspiriert von einer Welt aus „AI slop“, algorithmischem Dauerrauschen und permanenter Vernetzung, suchen Panda Bear und Sonic Boom bewusst nach anderen Formen der Verbindung: weniger Scrollen, mehr echtes Erleben, mehr Radio, Live-Shows, Listening-Partys und reale Begegnungen. Statt Zynismus setzen sie auf Empathie, Glück und gegenseitige Unterstützung.

Im Kern bleibt das Album jedoch ein Akt der Aneignung: Klänge aus unterschiedlichen Kontexten werden neu zusammengesetzt, getragen von ungewöhnlicher Percussion wie Harfe und Steel Drums. So entsteht Musik, die zugleich verspielt und reflektiert ist. A ? of WHEN blickt auf eine widersprüchliche Welt und verwandelt sie in etwas Verbindendes. Kein großes Heilsversprechen, sondern die Einladung, gemeinsam offline darin aufzugehen.

Konsequenterweise wird das Album nicht auf Streaming-Plattformen verfügbar sein: Panda Bear und Sonic Boom setzen stattdessen auf reale Begegnungen, Listening Sessions und direkten Austausch jenseits algorithmischer Dauerbeschallung.

Carlos Giffoni reconnects with Thurston Moore for two sides of loose-limbed axe noise, oscillator worship and hard-phased, Spacemen 3-style feedback.

Giffoni’s been on a roll recently. Since the No Fun founder returned to the scene with »Vain¡, a genius set of synth mutations that appeared in iDEAL back in 2018, he’s been slowly ramping up the activity, dropping the celestial »Dream Walker« on Stephen O’Malley’s Ideologic Organ in 2024 and following it with »Pendulum«, a bumper compendium of collaborations, just a few weeks back. For those who remember Giffoni’s first trip round the block, he was always able to hold his own chopping it up in person, not just by mail.

Just scrub through his early catalog and you’ll see collabs with Nels Cline and Chris Corsano, Merzbow, Jim O’Rourke and Lasse Marhaug, and of course, Thurston Moore. The two rekindle their thing on »IGUANA’« picking up where 2001’s fabled »4 Guitars Live« performance left off. Here, Giffoni straddles a tabletop synth and FX while Moore attacks his signature Jazzmaster with a drumstick and a screwdriver – vibes fully intact.

Moore is on blistering form, sounding as if he’s taken a step back to refresh his approach since the early ‘00s when he could be spotted moonlighting on any number of basement-adjacent noise sides. Sawing at his strings and turning the guitar into a shrieking resonator, he leaves only faint vapours of the classic Sonic Youth sound as opiating accents on his animalistic wails and rumbles. On the opening half, his whammy – assisted shreds are balanced out by Giffoni’s off-world whirrs and airlocked vibrations, building a dense wall of noise towards an unexpectedly elegiac conclusion. At some point, Giffoni’s rasping churr transforms into a simmering shudder and Moore’s into hymnal drones – squint a bit and you could almost call it pretty.

Of course, they ramp things up on the flip, dissolving the melancholia with smokey white noise and twangy, post-Derek Bailey chimes that Giffoni accompanies with aggy oscillations. Like every great taped noise set, the recording quality is crucial - »IGUANA« was captured from the pit by Guillermo Hernandez Avendano, the dad of Lia Miranda who provides the cover photo. It’s that kinda show.

Neues Splattered Vinyl-Format des wegweisenden Meisterwerks "Tangerine Dream" der legendären Psych-Rock-Band Kaleidoscope. Remastered von Pete Kember aka Sonic Boom (Spacemen 3) von den Original-1/4"-Mastertapes. Splattered Coloured Vinyl im Gatefold inklusive Bonus-7" mit zwei bislang unveröffentlichten Outtakes aus den Sessions von 1967.

Originally formed in the early 1990s, Tadpoles earned a reputation as a neo-psychedelic rock band known for their impressionistic textures and adventurous sound.
After a 25-year hiatus, the band has reunited, now working across Sacramento, New York City, and Basel. They collaborate remotely to create new music that expands into unexpected genres, including jazz, ambient, country noir, and ambient shoegazer rock, all while maintaining their core psychedelic essence.
In this new chapter, the Tadpoles have teamed up with legendary producer and mixer Sonic Boom, known for his work with Spacemen 3, Panda Bear, MGMT and Beach House, to sculpt their evolving sound. His influence helps weave those new layers of psychedelia, ambient, and even jazz into the band’s signature adventurous spirit.”
This release reflects the band’s evolution and continues their legacy of blending noise, melody, introspection, and a bit of sly humor.

First-ever vinyl edition of Magic Castles' 2014 cult album The Lore Of Mysticore. A hypnotic blend of shimmering psych pop, hazy drones, and kaleidoscopic guitar textures, this record captures the Minneapolis band at the height of their creative powers. Originally released in 2014, The Lore Of Mysticore stands as one of the most compelling documents of the contemporary psychedelic underground. Minneapolis-based Magic Castles craft a hypnotic and immersive sound that blends shimmering psych-pop, hazy drones, and kaleidoscopic guitar textures into expansive, sun-drenched songs. This first-ever vinyl edition brings the band's beloved debut album to wax for the very first time, offering fans a chance to experience its swirling, cinematic beauty in a format that truly does it justice. Essential listening for fans of The Brian Jonestown Massacre, The Asteroid #4 and Spacemen 3

Warsaw 480km ist das Debütalbum des irisch/portugiesischen Quintetts pôt-pot, das die treibenden Grooves des Krautrock mit einer phosphoreszierenden Psych-Rock-Ausstrahlung verbindet, unterstrichen von Harmonium-Drones, hypnotischen männlich-weiblichen Gesangsharmonien und tiefen Schichten rauer Texturen. Das Album entstand in erster Linie aus Demos des Multiinstrumentalisten und Leadsängers Mark Waldron-Hyden während einer Zeit der Trauer und des persönlichen Umbruchs und wurde durch eine Reihe von Live-Studio-Sessions in voller Besetzung zum Leben erweckt, die ein außergewöhnliches Spektrum an Talenten dokumentieren, die sich in einer Umarmung der rohen Katharsis mit einer süßlich düsteren Kante vereinen. Ein entscheidendes Element von Warsaw 480km ist die beeindruckende Bandbreite an Einflüssen und atmosphärischen Landschaften. Waldron-Hyden beschreibt: ,Ich habe die ersten Songs geschrieben, als ich noch nicht wirklich an einem Ort lebte, daher denke ich, dass sie sich irgendwie vergänglich anfühlen - sie mit der Band zu entwickeln half mir, eine Zeit zu verarbeiten, in der ich emotional frei war, daher erinnern sie mich gleichermaßen an die schönen Erfahrungen, die wir als kreative Einheit teilten, und an die schwierigen Zeiten, die sie inspirierten." Die Leadsingle ,WRSW" ist ein Beispiel für diese Komplexität, denn ihr robustes rhythmisches Rückgrat trägt Tremolo-Gitarren, ein wummerndes Harmonium und eine halb gesprochene, an Lou Reed erinnernde Gesangslinie, in der Strophe und Refrain wunderbar miteinander verschmelzen. Vor allem ist Warsaw 480km ein Album, das seinen Reichtum und seine Aura durch bewusste Sparsamkeit erreicht, wie Waldron-Hyden erklärt: "Ollie Oliver Smith und Sara Sara Leslie sind Experten darin, das Beste aus einem Pedal, einem beschissenen Verstärker und einer geliehenen Gitarre herauszuholen, ein Ergebnis von angeborenem Talent und jahrelanger Erfahrung; sie verwenden einige Modulationen für dröhnende Passagen, aber es sind ihre Spielstile und ihr Verständnis für ,den Vibe`, die die geheimen Zutaten sind." Diese Art von intuitiver Verbindung und Zusammenarbeit ist unglaublich selten, und mit diesen zehn Stücken vollbringen pôt-pot etwas wahrhaft Entrücktes, indem sie tiefen Schmerz in eine leuchtende Träumerei alchemisieren. Für Fans von Lewsberg, Spacemen 3, Spiritualized, Brian Jonestown Massacre, Velvet Underground, The Oh Sees, Ty Segall, Uranium Club, Night Beats, Goat, Black Lips.

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

Introducing Kattguld, the definitive collection of Les Big Byrd's essential singles and EPs from their PNKSLM years. Volume 1 chronicles the band's prolific output between 2014 and 2018, capturing their signature blend of swirling psychedelia and melodic invention. This long-awaited compilation brings together fan favorites and rare cuts, including the highly sought-after "Back To Bagarmossen" and "Two Man Gang" - two tracks that have become staples in the band's catalog and frequent requests for repressing. A must-have for both longtime fans and new listeners, Kattguld offers a deep dive into one of Sweden's most captivating modern psych acts. RIYL: Brian Jonestown Massacre, Dungen, Spacemen 3, Beak>, Moon Duo

Transparent Vinyl. Introducing Kattguld, the definitive collection of Les Big Byrd's essential singles and EPs from their PNKSLM years. Volume 1 chronicles the band's prolific output between 2014 and 2018, capturing their signature blend of swirling psychedelia and melodic invention. This long-awaited compilation brings together fan favorites and rare cuts, including the highly sought-after "Back To Bagarmossen" and "Two Man Gang" - two tracks that have become staples in the band's catalog and frequent requests for repressing. A must-have for both longtime fans and new listeners, Kattguld offers a deep dive into one of Sweden's most captivating modern psych acts. RIYL: Brian Jonestown Massacre, Dungen, Spacemen 3, Beak>, Moon Duo

Etched in the grooves of this 12” record, listeners will find an inspired moment in time. The 5-track LP, serving as the debut album of Estrada Orchestra, was recorded early one morning after a live gig. No session exactly the same as the next one, the founding members used their last chance to record together in their underground studio. Needless to say, these lunatics used it to fall into a frenzy of improvisation, a state characteristic of Estrada’s avant-garde spirit.

Formed of vinyl diggers, street musicians and self-taught aficionados, Estrada Orchestra started out as a spontaneous jam band in 2013. Their only intention was to enjoy leisure time and keep an open mind; unknowingly they ended up pioneering the return of jazz-funk in Estonia. (Henrik Ehte)

Wenn es darum geht, seinem eigenen Meister zu folgen, haben die PSYCHIC ILLS aus New York das seit ihren Anfängen 2003 perfektioniert. In den frühen Jahren gab es einige Veröffentlichungen bei Social Registry, und die Band verbrachte seitdem viel Zeit auf der Straße und kollaborierte mit so unterschiedlichen Künstlern wie Gibby Haynes von den BUTTHOLE SURFERS und Sonic Boom (SPACEMEN 3 / SPECTRUM). 2011 machte sich ,Hazed Dream", die erste Platte für Sacred Bones, über verdrehte Synthesizer her und wurde zu einer Platte sonnenverbrannten Psych Pops voller warmer Töne und Blues Songwriting. 2012 erledigte die Band zwei komplette US-Touren inklusive eines Stops auf dem Austin Psych Fest und einen Trip nach China. PSYCHIC ILLS nahmen ,One Track Mind", ihr viertes komplettes Album, im Herbst 2012 auf. Das Album wartet mit Kollaboration und Produktion von Neil Michael Hagerty von ROYAL TRUX und THE HOWLING HEX auf. ,One Track Mind" ist das direkteste Rockalbum, das die PSYCHIC ILLS jemals aufgenommen haben.