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Prepare to be engulfed in the sonic maelstrom that is The Jonny Halifax Invocation as they unleash their blistering new single "Thank You”. Renowned for their mesmerising forays into extended sun-scorched psychedelic soundscapes on the critically acclaimed albums Açid Blüüs Räägs Vols.1 & 2, The Jonny Halifax Invocation now emerge with a thunderous new proposition in the form of their latest 7" single. A dynamic shift of gears in The Invocation’s sonic landscape, “Thank You” is a two minutes and thirty-seven second explosion of raw, primal energy, a revolutionary last call, an arrow shot of burning malcontent for this time. “Thank You” goes for the kill from the first beat of filthy amphetamine buzzsaw swagger cutting some heavy sonic rug with spiritual forefathers The Stooges and MC5. Cosmic free jazz saxophonic squawks soar, while the preacherman of the apocalypse invites the congregation to question the root of their original gratitude with life or death urgency. Meanwhile over on the flip side, "Gratitude Dub” slows the rumbling groove to a lurching, swaggering rollercoaster ride of hallucinogenic dub exotica just before the wheels fall off.

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

The opening track to the Alan Parsons Project’s Eye in the Sky remains the most recognized instrumental in sports—fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of “Sirius” sets the table for the band’s smash 1982 album, whose hallmark smoothness, lushness, and balance extend to the music’s exquisite song writing, dreamy emotions, and underlying orchestral scope. Credit for the record’s craft, cohesiveness, and accessibility also falls to Alan Parsons and creative partner Eric Woolfson’s knack for recruiting session pros that translate their visions with unquestioned feeling—particularly, vocalists who include former Zombie leader Colin Blunstone and soul singer Lenny Zakatek.

Mastered from the original master tapes, Mobile Fidelity’s RTI pressed 180g 45RPM 2LP version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that take you into the studio with Parsons at Abbey Road Studios. Each note seems perfectly placed, every sequence painstakingly considered. Boasting front-to- back depth, concert-hall-level separation, realistic presence, and bang-on accuracy. This release will test the capabilities of the world’s finest stereo systems. There’s more information, more texture, more nuance— more of everything to be experienced. British progressive rock would never again sound so sophisticated, suave, or steady.

Pleasure Planet’s kaleidoscopic debut album has been a long time coming, but good things come to those who wait. Developed over years of late-night studio improvisations, ‘Pleasure Planet’ is an affectionate and colorful patchwork of the New York City-based trio’s knotted influences that’s suspended between the rave and the chill-out room, weaving glistening pads and chunky basslines into vocal earworms and warm, saturated rhythmic cycles. Bandmates Andrew Potter, Kim Ann Foxman and Brian Hersey enter into a lysergic dialog with their discrete personal musical histories, drawing inspiration from vintage EBM, ambient music and heady early ’90s West Coast rave sounds and launching these classic elements into a transcendent new sonic universe.

Celebrated DJ and producer Foxman was a lead singer of Hercules and Love Affair when she first ran into DC rave veteran Potter, and the two rapidly realized their musical interests overlapped. So when Potter was recording with his studiomate Hersey, a NYC underground club scene mainstay, and they needed to bring in a vocalist, the choice was simple. Working together was a refreshing, freeing experience for the three seasoned artists, and the more they experimented, the closer they became; Foxman ended up moving into the studio, and Pleasure Planet was manifested into existence. “We’re like family,” says Potter. “We’re always on the same page – we couldn’t make this music solo.”

For Foxman, the open-ended jam sessions provided her with a chance to try something new, a few steps from the dancefloor-forward DJ tracks she’s best known for producing. And as the trio pooled their adolescent rave memories, reflecting on them with more mature ears, they began to develop the signature sound that was first heard on the Throne Of Blood-released ‘Animals’ 12″. Pleasure Planet aren’t trying to re-capture the past, but suggest a poetic contemplation that layers their recollections and musical obsessions into a hypnotic sci-fi dream. Harnessing a self-described “Aladdin’s cave” of analog and digital gear that help galvanize the timeline, they bridge the gap between avant-pop and icy bleep techno, curving suggestive words through lattices of tightly-engineered electronics.

On ‘Endless’, Foxman’s voice is echoed into a glistening haze that hovers around ethereal pads and tense, electroid pulses. Slow-moving and evocative, it’s a track that capture the open endedness of post-rave euphoria, touching the afterparty but moving far beyond the material world. She’s more recognizable on ‘Alien’, the album’s most upfront track, singing in a glassy, upper-register coo over urgent bass bumps, taut guitars and florid electronic atmospheres. “Are you an alien, or are you an angel?” she asks, fractalizing the borders between genres. And the band’s sense of cosmic togetherness bubbles to the surface on ‘Saved by the Bells’, a meditative after-hours experiment that diminishes the pulsing beats for a moment to bring out a spectrum of interconnected, serpentine melodies.

Modular bleeps and echoing percussion anchor the swooning ‘Planet Love’, one of Pleasure Planet’s most recent compositions and one of the album’s most outwardly psychedelic cuts, while the urgent and anthemic ‘Go With Madness’ steps back towards the main stage, evaporating Foxman’s memorable calls into a thumping procession of analog drums and squelchy, acidic bass tweaks. But they save the best for last, tugging at the heartstrings with ‘Remember (In Dreams)’, a giddy spiral of blipping synth arpeggios and haunting, reverberated chorals. It’s the perfect way to conclude an album that cryptically gestures towards the vulnerability of friendship, celebrating the shared experiences that result in some of the most meaningful memories of all.

Cardinal Fuzz / Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn – ‘Other Worlds.’ Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style’s reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, ‘Other Worlds’ continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release ‘On the Whole Universe in All Directions,’ Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. ‘Other Worlds,’ on the other hand, finds them in a recognizable ‘rock trio’ format (in improvisational mode)—Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track ‘Watching the Skies’ you can feel the forward propulsion this—dare I say—power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of ‘Other Worlds.’ Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is ‘Other Worlds,’ as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one. Mastering - Chris Hardman Artwork - Brett Savage

Originally released in 1969, “Poe Through The Glass Prism” was one of the first ever concept-based rock albums. This Scranton, PA band (the first rock group from the Northeast to perform on national television shows and obtain a major record label deal) adapted Edgar Allan Poe poems to psychedelic rock with stunning results: swirling organ, fuzz bursts, passionate vocals… the sound quality was exceptional as the album was engineered and produced by Les Paul (the legendary inventor of the electric guitar and many studio recording devices) at his recording studio in New York. The album and its single “The Raven” hit the Billboard, Cashbox and Record World charts in 1969 and remained on for several weeks.

We’re proud to offer the first ever band sanctioned LP reissue of this cult psychedelic classic.

*Sourced from the original master tapes
*Insert with liner notes by Plastic Crimewave and rare photos

“The Glass Prism were forerunners of the Goth movement. “The Raven” was the first true expression of Goth Rock.

King Of None is a stoner rock group from Helsinki, Finland. Formed in 2013, their signature sound fuses heavy riffs and raspy vocals with progressive elements and psychedelic soundscapes. With three self-released ep’s, the group's sound has evolved from having a ‘90s desert stoner rock feel to include more wide-ranging psychedelic and progressive influences from their own musical pasts, while maintaining the same riff-worshipping attitude. They have received international attention in the underground stoner rock scenes and became known for their energetic and captivating live performances.

Highly anticipated 3rd album by FIGHT THE FIGHT. "Shah Of Time" is their most ambitious record to date. Just came back from an extensive European tour with Leprous. Previously shared the stage with Satyricon, High On Fire, Hatebreed, Devind Townsend Project and more!

With a new line-up, a fresh inspirational breeze caught Fight the Fight. This led the band into a psychedelic metal universe and sent them into a genre bending fusion of prog and metalcore. This drift has sparked growing interest and anticipation to the bands upcoming
release. Fight The Fights third album "Shah Of Time" is their most ambitious record to date and is set to be released May 31st 2024. With three new singles out from the upcoming album, Fight the Fight have seen an exceptional rise in numbers gaining more that 30.000
monthly listeners on Spotify alone. The new constellation just came back from an extensive European tour with Leprous, after holding back on live performances in 2023. This year Fight the Fight are ready to fully blow the mind out of their rapidly growing new audience, and fans can expect even more exciting tours and live dates when the album is released.

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the band’s own Heart Swells record label.

In the band’s words All Hell is an album about…

Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // suburban boredom // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon ///

Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster… (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Now with the release of All Hell, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

Sweet soul and sentimental music has never really gone out of style, and in the particular cases of the innovative wave of 1950's filin era Cuban boleros, or 1960's Nuyorican street soul, they both remain a thriving beacon of timelessness and universality, capturing a particular style of breezy Caribbean romantic music that has stubbornly thrived in the tough concrete landscape of New York City.

Perhaps there is some love in the heart of the city, as the new ensemble La Triunfadora has managed to tap into something of significant substance on their debut recording, Clasicos Sentimentales Para Una Nueva Generación. Co-produced by band leader Benjamin R. Juliá and renowned talent William Holland aka Quantic (recorded and mixed at the latter's Selva Recording studio in Brooklyn), the group has managed to capture the essence of this reemerging style of classic music, while further injecting their own inspired vision of experimental and psychedelic arrangements.

On A-side display for this debut 7-inch release on Names You Can Trust are two canonized Cuban boleros from maestro composer and guitarist Cesar Portillo De La Luz, stacked together in an old school continuous medley, and transformed with lush orchestration that has the talented musicians sparkling behind the duet of lead vocalists Candace Camacho and bandleader Juliá.

The B-side jumps from 1950's filin into Ralfi Pagan's iconic 1969 latin soul masterpiece "Hijo De Mama." Once again La Triunfadora peppers in just enough exquisite arrangements and musicianship to transform the original into something fresh, yet still guided from an analog sensibility, and ultimately performed with a familiar romanticism that these classic lovers' songs have managed to express over the decades to different generations.

Glasgow septet The Joy Hotel are announcing their debut album Ceremony with the release of its lead single, the surging and rapturous 'Jeremiah'. It’s a song that grapples with the idea of approaching unknowns, and how conflicting attitudes illicit different responses to the same situation. More directly, it’s about staring death in the face and choosing how to come to terms with it.

Newly signed to SO Recordings and with a debut album proper in hand, The Joy Hotel have become a word-of-mouth success story in the Scottish DIY scene, and have since taken their live show across the UK and Europe, playing festivals including Hidden Door, Doune the Rabbit Hole, Connect, TRNSMT, Twisterella, Latitude, Sound City and The Great Escape.

The band spent eleven days at Rockfield, the legendary studio in Monmouth, Wales, recording live-to-tape. When they left, they had a sound. It is often contradictory, in that it combines the songwriting sensibilities of pop and country with arrangements reminiscent of the psychedelic scene of the 60s, six-part vocal harmonies with elements of noise rock, beautiful balladry with a sense of humour, and a cinematic quality. The result of those eleven days is debut album Ceremony, a record that searches for the profound in the seemingly routine, and reaches out with arms wide open to wring celebration out of each moment.

Ceremony will be accompanied by a short film documenting the creation of the album called ‘Come The Ringing Bell’.

*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".s*

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

Graceless is already a legendary name in the Dutch metal history, and “Shadowlands” was their cult debut album from 2017. With ex-members of bands like Asphyx and Soulburn this experienced old school doomed death metal band, from Leiden and surroundings, immediately made a huge impact. “Shadowlands” still sounds thick and raw, with mighty riffs and fierce solos. It’s a great deal of heaviness, somewhat sludgy and even psychedelic, with doom, ferocity and melody.

Graceless is already a legendary name in the Dutch metal history, and “Shadowlands” was their cult debut album from 2017. With ex-members of bands like Asphyx and Soulburn this experienced old school doomed death metal band, from Leiden and surroundings, immediately made a huge impact. “Shadowlands” still sounds thick and raw, with mighty riffs and fierce solos. It’s a great deal of heaviness, somewhat sludgy and even psychedelic, with doom, ferocity and melody.

Stereometrix is given the responsibility of taking care of the first release from the new label Tread A Measure and boy does he come through. His cultured Fall EP is a deep exploration of liquid techno landscapes that draw on cosmic energy, psychedelic colours and evolving synth patterns to melt your mind whether in the club or at home. There are downbeat and melancholic cuts like 'Fall', serene and soulful percolators like 'IO' and twisted sonics for afterparty freakouts like 'A2', while 'Glitch' is a collage of ghostly sounds and warped pads to close out this top-class EP.

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ brings you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill-a-minute dive into the crazy awesome world of Garage Psychedelic Rock.

From the Psych sound explosion onto the underground club scene in the US and UK in the mid 1960s, to its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990 - early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of ‘60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of underground floor fillers a plenty.

US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.

In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and ‘60s sound and made it their own. A whole crop of bands such as White Hills, Gnod and Goat from the scene have evolved the music into a ‘Pzyk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.

The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s The Stairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered ‘90s Psych Hammond band from France with ‘Electrocution’. Hailing from Sweden Goat bring us ‘Gathering of Ancient Tribes’ and The Hives their dancefloor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig-out that is ‘Half Full Glass of Wine’ that closes the album.

This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!

It’s been said before - in my house, at least - but all the best punk music right now hails from the land Down Under. Stiff Richards, Split System, C.O.F.F.I.N., Polute… that’s before we even get into that ‘Smoko’ band and a whole heap of other mullet-wearing reprobates. To this stack of names, we must add another: Cutters. It’s a raucous squall they make, that’s for sure. Much like setting off rockets at a petrol station, they’re beautifully, terrifyingly explosive - ‘Psychic Injury’ is their second album, following 2021’s gleefully cacophonic ‘Modern Problems’. Much like their aforementioned fellow Aussies, you can trace some of their stomp back to the UK’s 70s pub rock scene, a good chunk of their chutzpah to Chris Bailey and Kim Salmon, and even more to the fact that hardcore feels once more like a re-energised scene filled with purpose and drive (...and other words that rock hacks use to make it clear that certain noises are Really Fucking Important Right Now). They’re among the finest exponents of this stuff and it’s a joy to hear it. With titles like ‘Landlord Nation’ and ‘An Ode To Shoplifting’, it doesn’t take a genius to identify their targets; with lyrics like ‘I’m the first of many suckers’ you can tell they’re not above self-deprecation, even as they rage gloriously about a system that’s rigged against us. The album drips - like an icicle in the Sahara - with righteous rage, and even when that anger feels knowingly futile (“I hate the public / Get away from me”), it’s delivered with such wide-eyed venom that it still feels potent as fuck. Whether operating a top velocity or through brutal rifferama, ‘Psychic Injury’ delivers in spades. Apply it to your ears forthwith

LP Black Vinyl with DLC, CD Capacity Wallet. "Her significant solo output has been remarkable" Drowned In Sound. Following a special vinyl release for this year's Record Store Day celebrating its tenth anniversary, 'Crooked' will be reissued on black vinyl and CD on 27th September. 'A figurehead for feminist indie rock' (Classic Rock), Kristin Hersh achieved a music and publishing first when her eighth solo album was initially released as a multi-media book in 2009. Hersh's "poetic, provocative and puzzling songcraft" (The Washington Post) makes 'Crooked' a stunning record. The resplendent, melancholic 'Flooding' came to Hersh in the form of song but was also a premonition of the imminent death of close friend and musician Vic Chesnutt. Mainstay in her recent live shows, 'Mississippi Kite' is snarly and unsettling whilst the spectral psychedelic tones of 'Rubidoux' stem from a 50foot Wave car ride and a late-night recording session. The songs still lead the way hitting Hersh fully formed but it's her beguiling raspy vocals paired with guitar, and any other instrument that she chose to play on this album, that has a beautiful intensity that's jarring, unpredictable and inherent in her music. "She's still as powerful a presence as she ever was." Pitchfork_

Ein sehr persönliches soziopathisches Juwel, das als futuristische Interpretation der Funktionsweise von Musik geliefert wird, eine melodiöse Brise mit einem Hauch von giftigem Lärm. Ein Album mit zehn Songs, dazu ihr zehntes Studiowerk. Die Gegenüberstellung des Konzepts des `dunklen Sonnenscheins', eine brütende Solo-Platte, auf der Kristin Hersh zusammen mit Freunden ihre klangliche Vision erweitert; ein quietschender Mix aus disharmonischer Schönheit, Rückkopplung und Phasenkreisel von einfach klirrender Normalität. Man stelle sich Dinosaurier Jr. und My Bloody Valentine vor, die Dylan Verse vertonen. Mit beiden Extremen des Klangspektrums: atonal und arrhythmisch, ein einzigartiger Sound und eine glorreiche Rückkehr zur Form für eine der wahren Innovatorinnen des Alternative Rock. "Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can't, really. Darkness we've seen." - Kristin Hersh, July 2018 "She's still as powerful a presence as she ever was." - Pitchfork "The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician." - The Quietus

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

Over the last 20 years, Portland, Oregon's Federale has carved out a unique niche within the indie music landscape, blending their signature spaghetti-Western instrumental sound with increasing doses of moody vocal arrangements in the spirit of Lee Hazlewood or later-period Leonard Cohen. Still, through it all songwriter (and lead singer, when there is one) Collin Hegna has maintained a strictly retro vibe, and Federale's records have always sounded period-correct for an alternate-universe 1971 where rock and roll never caught on.

Reverb & Seduction, Federale’s sixth studio album, marks the band’s 20th anniversary, and finds them beginning to color outside those Ennio Morricone lines. Perhaps Hegna—who also spent the last 20 years as a dues-paying member of The Brian Jonestown Massacre—has finally decided to give his psych-rock alter ego a seat at the Federale table.

“Before, I'd have an idea and think, ‘Well, that can't be a Federale song’, because it had distorted guitars or whatever,” says Hegna. “But then I thought, 'Well, why not?’” This openness to a broader palette of influences allows Reverb and Seduction to veer into psychedelic and even gothic territory—think Love and Rockets or Sisters of Mercy—that the 2010s Federale might have considered off limits.

The album's first single “Heaven Forgive Me,” for example, draws on Goblin (the Italian prog-rockers who scored Suspiria) and perhaps even a little Depeche Mode, while “Advice from a Stranger” borrows the fuzz and feedback of DIG!-era BJM and The Electric Prunes.

‘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.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

After gaining recognition both in the Korean indie scene and abroad as vocalist/guitarist of Vidulgi OoyoO (shoegaze/post rock) and guitarist of JuckJuck Grunzie(noise/psychedelic), Ham relocated to Chicago where she began experimenting with home recording. In 2019, she released an EP comprised of intimate acoustic compositions under the name Sophysoon.

With Home in the Desert, Ham embraces the solitary action and lo-fi aesthetics of home recording to create a fuzzier, more expansive sound, inspired by the organized noise of bands she grew up with in Korea's indie scene. Home in the Desert, written and recorded in her apartment between 2021-2022, developed out of Ham's attempts to envision how skeletal guitar lines might sound when performed live at ear-splitting volumes by a full band. “I never expected that I would make loud music again, but one day I took my guitar out and started jamming on my own.“

As its title suggests, Precocious Neophyte's debut release negotiates the impossible longings for perpetual spaces and times of home. In doing so, Ham fills unstable distances with what KEXP calls "ethereal vocals and soaring melodies," and cradles the insecurities of isolation in overdrive warmth and many layers of distorted guitars.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

‘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.

"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.

FOR FANS OF: Enterprise Earth, Bodysnatcher, Thy Art Is Murder, Decapitated, Slayer, Behemoth, Aesthetic, Lorna Shore, Abigail Williams, Mental Cruelty, Darkest Hour. Love Is Fear

Die Deathmetal-Künstler TURIN veröffentlichen ihr zweites Album "The Unforgiving Reality In Nothing". Das britische Quintett beschäftigt sich auf dem Album mit den Kämpfen der Menschheit, den Auswirkungen des Nihilismus, dem Loslassen von Traumata und der Heilung in der modernen Welt. The Unforgiving Reality In Nothing" ist eine Kombination aus den Blackened-Death-Metal-Wurzeln der Band mit Elementen des melodischen Deathcore und cineastischen Nuancen. The Unforgiving Reality In Nothing" ist ein modernes Death Metal-Album, das einen schonungslosen Einblick in die harte Realität des Menschseins, der psychischen Gesundheit, des laubensverlustes und des Kampfes um das Loslassen von Traumata in einem verzweifelten Versuch, sich selbst zu finden, bietet.

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.

- 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.