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Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Tape

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Library Music: Volume One is a sixteen track double LP collecting the North London drone pop band’s 7” singles, one-offs and compilation tracks spanning the first 14 years of the group’s existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band’s current home, Where It’s At Is Where You Are. The compilation is a happily cohesive document of an inventive band that rarely stand still for long. The band says, “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done. We’ve always felt a lot more relaxed and freer making one off things for people – it’s a chance to try things that might otherwise be daunting on a full record”. Always a prolific group this is by no means an exhaustive collection, the title giving a clue to how much more they have left to share. “We have been introduced to loads of bands that we love initially through non-album compilations – Broadcast, The Chills, Stereolab, Piano Magic, Flying Saucer Attack amongst others – we wanted to add our own to that (admittedly slightly daunting) lineage.” The Leaf Library are formed around the core group of singer Kate Gibson, former Saloon and Singing Adams guitarist Matt Ashton, guitarist SJ Nelson, drummer Lewis Young and bass player Gareth Jones. They have released three studio albums (Daylight Versions, About Minerals and The World Is A Bell) as well a number of electronic and experimental albums and EPs, remix compilations and long form tracks. They have also released five Monument CDRs; an on-going series of experimental solo and side projects on their Objects Forever imprint. The band have collaborated with musicians as diverse as Alasdair MacLean of The Clientele, singer Ed Dowie, noise group Far Rainbow and string collective Iskra Strings, and have provided music for a number of exhibitions, films and performances. A collaborative album with Japanese artist Teruyuki Kurihara is due in late 2022 on the Mille Plateaux label. Tracklisting: 01 Agnes In The Square 02 Goodbye Four Walls 03 City In Reverse 04 Walking Backwards 05 Soundings 06 Diagram Loop 07 The Greater Good 08 Losing Places (ISAN Remix) 09 A Stone In Water 10 Architect Of The Moon 11 Tired Ghost 12 The Still Point 13 Wave Of Translation 14 Badminton House 15 Tranquility Bass 16 A Gap In The Trees

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Middle Eastern psych-rock collective Al-Qasar"s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music. The band calls it "Arabian fuzz." Brazenly electric yet deeply connected to their roots, guests include Lee Ranaldo (Sonic Youth), Jello Biafra (Dead Kennedys) and Alsarah (Alsarah & The Nubatones). Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Al-Qasar was born in the Barbès neighbourhood of Paris," explains band leader Thomas Attar Bellier. "I"ve lived in Los Angeles, Paris, New York, Lisbon... I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today". The musicians came together from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world"s most dangerous wedding band. During those years spent behind the control board, Attar Bellier made some good friends in the US, and they"ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys" Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record"s social critique while showcasing the first-ever English recording of Negm"s work. Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. "Lee sent me upwards of eighteen guitar tracks," says Attar Bellier in amazement. "It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee"s vibe just fit perfectly with what I was trying to do with the track." Who Are We? is an exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock"n"roll. It is modern folklore, a reflection of the cross-cultural societies we"ve become.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

A co-founder of the P-Funk movement, Clarence Eugene ""Fuzzy"" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released two landmark solo albums on Westbound Records: `A Whole Nother Thang' in 1976 and `Radio Active' in 1978. With his brand of earthy & heavyweight funk, Fuzzy Haskins' solo works fits right in with many of the other great P-Funk side projects and was sampled by renowned artists and acts from the likes of Prince, The Prodigy, N.W.A and Fatboy Slim.On the album we are presenting you today (Radio Active from 1978) you'll find eight sublime tracks written (or co-written) by Mr. Haskins himself and recorded by Richard Becker at the legendary PAC 3 Recording Studios in Dearborn, Michigan where classic albums from Norman Feels and Dennis Coffey were born. One of the tracks (Woman) was personally mixed for the album by Tom Moulton (the originator of musical revolutions like `the remix', `the breakdown section' and the `12inch single vinyl format').Fuzzy switched between drums and guitar, while taking charge of the lead vocals and production, he was accompanied in the studio by an all-star musician line-up of P-Funk family members such as Jerome `Bigfoot' Brailey (drums), Cordell `Boogie' Mossom (bass), Gary Shider & Michael Hampton (guitars), Glen Goins (piano, drums & guitar)_and of course the fantastic Mr. Bernie Worrell on keyboards. Besides these Parliament/Funkadelic alumni, also present on the recordings are Bruce Nazarian (The Temptations) on Moog and Jazz pianist Gary Schunk (known for his collaborations with Marcus Belgrave & Wendell Harrison).The result of all this musicianship was a record that oozed quality. Despite the quality of the music (and just like with `A Whole Nother Thang') the album didn't sell the vast quantities that were projected and didn't reach the audience it deserved.`Radio Active' is filled with keyboard-driven spacey funk, sharp hooks, popping bass-lines, JB styled soulful (yet sexy) vocals, a hint of disco, fantastic guitar build-ups and breaks that make you shake_a true gem that deserves a place in your record collection (mint vinyl copies are hard to find and pricey these days). If you are a Funkateer_this one's for you! This unique album comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork created by virtuoso Ronald Edwards (known for his graphic work with Parliament-Funkadelic, Bootsy Collins, Fred Wesley, George Clinton, Maceo Parker, Bernie Worrell, Fishbone_and countless others). To top it all off, this release also includes an insert featuring the original liner notes written in 1994 by renowned author and producer Rob Bowman (Otis Redding, Isaac Hayes, Marvin Gaye) who reflects on Fuzzy Haskins' two solo albums.

Highlights: Limey and the Yanks' A-side 'Love Can't Be A One Way Deal' is a garage song with a sound pitched somewhere between the Beau Brummels and the Beach Boys. 'Guaranteed Love', on the flipside, is an outstanding bluesy number with a stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove that has made its way to various compilations since the early 80s and now gets reissued for the first time on a 7" single. This release includes notes by Mike Stax (Ugly Things Magazine) Details: In California in the mid-sixties, with the British Invasion raging, having an authentic Englishman as the lead singer of your band was an ace in the hole that gave you an edge over the competition. Such was the case with Limey & the Yanks a quintet from Buena Park in Southern California's Orange County. Limey was young Steve Cook, and his Yanks by 1965 were guitarists Gregg DeLorto and Tim Gunne, bass player Bob Batman and drummer Wes Hunsinger. With his blonde Keith Relf-style hair, Steve was a striking front man who fortunately also possessed a decent voice, and with his father managing the group they were soon making waves throughout the area. A victory at a Battle of the Bands at the Hollywood Palladium put them on the map in Los Angeles, attracting the attention of producer Gary Paxton. By this time Wally Downing had joined on lead guitar, replacing Gregg DeLorto who had defected to the Spats. Paxton produced their debut single in late 1965, and it was released in January of the following year on his Starburst label. Paxton's business partner in Starburst was Lloyd Johnson, and the single's A-side was written by Lloyd's son Ken, who also recorded for Starburst with his group Ken & the Forth sic Dimension. Paxton had already produced a version of 'Love Can't Be A One Way Deal,' a couple of years earlier with the Rev-Lons, a girl group from Bakersfield, but the version by Limey & the Yanks took a completely different approach, turning it into a lovelorn garage number with a sound pitched somewhere between the Beau Brummels and the Beach Boys, with bright harmonies, mournful harmonica and a melodic twangy guitar solo. Swinging on a guitar hook based on Bobby Parker's 'Watch Your Step,' 'Guaranteed Love,' took a bluesier approach with a confident Limey vocal, stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove. The single was not a hit, but it added heft to the group's growing reputation. A second single, 'Out of Sight, Out of Mind,' was released in October, but it would be the group's last, although they did continue, through several lineup changes, into 1967. Limey's legacy lives on_

Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

Mr. K transports us to the golden era of the Loft with two disparate, but equally heavyweight classics from the Mancuso oeuvre mastered and cut loud, deep, and clear for club play.

First up is an edit of a track that embodies the spirit of early ’80s downtown New York City. Released in 1982, “Konk Party” was the band’s calling card and first hit, and represented their multicultural, no wave, hip-hop/disco hybrid perfectly, the opening sax riff itself a sly nod to Wild Sugar’s breakbeat classic “Bring It Here” that the Beastie Boys would later sample. A Loft staple — the video was even filmed there — “Konk Party” was also played widely across the influential clubs of the day, becoming an instant staple at Danceteria, Mudd Club, and other hot spots. The easy-going groove, heavy on the percussion and low-slung bass, complimented by bilingual lyrics from Angel Quiñones, has dated well, and sounds especially ready for action in this new edit from Mr. K, largely inspired by the original 12-inch’s choice Uptown Breakdown Mix. This is the first time “Konk Party” has been available on 7-inch.

The heavy percussion backing is perhaps the only similar element that links our A-side to its flip, but that only goes to show the breadth of styles that coexisted in the audio landscape of the Loft. “Hold On To Your Mind,” first released in 1970 by Northern Irish rock group Andwella, is a heavy, psychedelic tour de force that more than lives up to its cautionary, heady title. Mr. K has outdone himself with his new mix, a supercharged blend of extended percussion breaks — absent on previous 7-inch mixes — driving vocals, and fuzz guitar. For those who have never been able to track down the original single, an expensive proposition, and even for those who have, this new edit is certainly the definitive version.

Clear vinyl LP edition of 500 copies. Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs. From Reds Pinks and Purples' Glenn Donaldson, Vacant Gardens is an interstellar recording project that combines celestial, shimmering guitar on the verge of breaking like a massive, emotive wave and an ethereal vocal style from Jem Fanvu (visual artist, Minor Ghost Band also, plus collaborating with Tune-Yards, Cavity Fangs and many more) recalling Hope Sandoval or Liz Fraser that sails in its wake. Simply put, this is some of biggest, heart-tugging guitar music you'll hear in recent times. Sold out at once debut Under The Bloom, is followed now a continuation and development of the group's sound on Obscene: a frayed tapestry of Slowdiving, Flying Saucer Attack guitar noise wall married with an angelic vocal from Fanvu that glitters in counterpoint to the stringed distortion like Hope Sandoval or, in the way it shines bright in the fog, like Jonsi's surfing the surging waves of emotion in early Sigur Ros. Originally released in February on digital formats, Obscene gets a vinyl press and is sounding massive. Vacant Gardens' music suggests oceanic feelings, a hazy intergalactic consicousness that burbles beneath the surface of everything while also touching the visceral points in the human heart that makes groups like Galaxie 500, Yo La Tengo so timeless.

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

"Albert Pöschl ist seit fast zwanzig Jahren als Label- und Studio-Betreiber, Produzent und Musiker einer der umtriebigsten kreativen Köpfe in München." fasste DFL-Kultur treffend zusammen. Er holte den 90ern Bands wie Die Goldenen Zitronen, Tocotronic oder Die Sterne nach München und war maßgeblich an bedeutenden kulturellen Zwischennutzungen wie dem "Puerto Giesing" beteiligt. Mit dem Label "Echokammer" gehört er zu den einer der zentralen Münchner Szeneakteure. Die Diskographie liest sich wie ein Who is Who der Münchner Independant-Szene, mit Platten von Queen of Japan, Das weiße Pferd, Tom Wu, Kamerakino, Damenkapelle uvm. Nun veröffentlicht Albert Pöschl am Freitag 8.4 mit "Jason B.Sad / Jason B.Glad" das zweite (Solo-)Album unter dem Namen "Jason Arigato". Bestückt nur mit Akustikgitarre, Fuzz, Echo und einer speziellen Stimme ist diese Kunstfigur (ehem. Bassist bei Queen of Japan) nun schon seit 2010 aktiv. Das neue Album is voller bitterer, süßer & bittersüßer, wunderschön geisterhafter Songwriter-Nummern im Stil der alternativen 60ies, voll "analoger, wirklich zuckersüßer Lo-Fi-Ästhetik" (Groove) und erzählt von Isolation….

7" Black Vinyl limited to 1000 copies.

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.

Rare Nigerian Afrobeat-Afropop Album.

First vinyl reissue since 1985.

Solo Album by Ofege Frontman Melvin Ukachi.
First Ever Release Outside Of The African Continent.
180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.
Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia…but his biggest legacy is without a doubt him being the singer and bandleader of Ofege.
Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band!
Melvin Ukachi recorded four milestone albums with Ofege: ‘Try and Love’ (1973) ‘The Last of The Origins’ (1976), ‘Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: ‘Evolution-Bring Back The Ofege Beat’ (1981) and ‘I am Ok’ (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike.
On the album we are presenting you today (I AM OK from 1985) the listener is treated to Ofege’s trademark sound…but we’re also shown a perfect glimpse of the late 70’s afrobeat works combining soul, jazzy rhythms, William Onyeabor style laid back electro funk synths & fluid boogie-danceability. The female backing vocals and handclaps by Princess Bunmi Olajubu (Femi Kuti) also deserve a special mention because they add so much depth and grooves to this amazing record.
Expect some serious local ‘all-star’ guest musicians on this record as well. Next to him playing the synth, Jake Sollo also produced this gem of an album! To top things off the tracks were recorded and mixed at the legendary RAS Studio in Akwa, Nigeria…all slickly engineered by John Malife (Black Children Sledge Funk Band, T-Fire, BLO).
‘I AM OK’ was released on CRS Nigeria in 1985 and is a total Afro-pop-funk classic that begs for a special place in your record collection. It’s tight, funky and Melvin’s soulful vocals are to die for. This record is a monster!
Tracklist:
I'm Ok , I Don't Mind , Come and Dance , We are Fine , Keep on Loving Him , Wanted , I Wanna Hide You

Legendary Swedish outfit Frak for the 20th installment of Libertine Records Traditions series. Extraordinary, classy, and timeless music from recovered 80s tapes. From freaky Acid to New Wave, Electro and Industrial, high-quality standards for a future underground classic release!

Repress

Art Teachers goes deep into modern sounds with its delightfull ambiance accompagnied by
freaky "glurps" vocals. Fuzzy connection between (US) Motor City & Stuttgart (EU) amplified by dark
synth lines and the mechanics of new wave in full effect! Ltd - 250 copies.

Aleksandar Grozdanovski aka Herzel makes his debut on Massimiliano Pagliara's Funnuvojere Records. This release follows a series of EPs on labels like Dubwax, Uncanny Valley and Hivern Discs, as well as a couple of recently self released ambient LPs.

The four tracks exemplify Herzel's mastery of cosmic soundscapes. The rarefied synth lines of A1 - Bitter Tears animate an ecstatic dancefloor. This is deep psychedelic House at its best and it resonates with the arpeggiated and enveloping B1 - Shaking Slightly. A2 - DSCN is unexpectedly raw reminiscing Ghetto House washed over with Cold Waves. Closing the record B2 - Ghosting rises in a dome of fuzzy yet penetrating frequencies. All the compositions sound exquisitely sharp and alive thanks to the skilful beat structures that create a very solid groove.

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. Arriving right off the back of their second album 'El Refugio' which was released in November 2021 via Fuzz Club Records, Mexican post-punk/krautrock group Sei Still are back with a 'Fuzz Club Session' LP that's due out January 21st 2022. Having upped sticks from Mexico City to Berlin, Sei Still's Fuzz Club Session was recorded live at Berlin's Monoton Studio back in October 2020 and is comprised of five tracks from the newly-released 'El Refugio' LP: 'Esperando' (later titled 'Saldados Caidos' on 'El Refugio'), 'Hombre Animal', 'Las Puertas De La Noche', 'Me Persigue' and 'Se Asoma el Sol' (later 'Solsticio'). 'El Refugio' and the session LP set to be released in support capture a new era for Sei Still. The expansive Krautrock jams heard on their 2020 self-titled debut have evolved into a dark, motorik post-punk sound that owes far more to 70s punk, goth-rock and Spanish New Wave than any kosmische travellers. The session is released on 180g black or white vinyl with a printed inner sleeve and is accompanied by a series of videos recorded during the session.

On August 27th 2021 The Third Sound released their fifth album ‘First Light’ on Fuzz Club Records and it is now being given a second pressing after selling out upon release the first time aorund. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavor since the release of his self-titled debut on Newcombe’s A Recordings a decade ago. Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.” ‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

Cardinal Fuzz / Acid Test are proud to present to you the debut LP from Black Holes Are Cannibals – ‘Surfacer’.

Formed around the uber talent of Chris Jude Watson (founder of ‘Snakes Don’t Belong In Alaska’) who in BHAC found a band to take his vision to the outer most limits. BHAC are a collective with a varying line and each time they record all the music is improvised as they let their collective and innate abilities guide them, but what does bind them are the touchstones of Drone and Minimalism that runs through the music they create or just plain HEAVY. Call them Drone Metal or Psychedelic it matters not as the music created is an immersive, all consuming and thought-provoking transcendental listening experience that awaits those brave enough to take the ride with BHAC.

‘Surfacer’ was recorded at First Avenue Studios in Newcastle by the band using a TASCAM DR40 and is the embodiment of pent-up emotions gathered and endured during lockdown as they zap out every ounce of feeling and anguish into this recording.

‘Surfacer’ is not an album for the faint of heart with 2 long tracks of transcendence that will challenge and push you to lose yourself in the sonic experience of the timbre / vibrations of droning instruments and throat vocalisations as BHAC weave together mesmerizing waves of sonic texture.

‘Surfacer’ draws influence from bands like Neptunian Maximalism, Qujaku, Neurosis and the visual work of Andrei Tarkovsky, Kenneth Anger and Larisa Shepitko which influence the energy and darker sounds of the music while still taking influence from more traditional psychedelic sounds and experimental places like Taj Mahal Travellers, Suzuki Junzo, Pauline Oliveros, Vahvistusharha, and Tōru Takemitsu aurally and visual energies from occult works like Jodorowsky's 'Holy Mountain', Helena Blavatsky and Hilma Af Klint's Alterpieces 1-3.

As Terence McKenna might have said – BHAC are best experienced when listened to in complete solitude in a dark room while you are doing nothing else. To experience this album to the fullest, you must not have any distractions. Just sit down, relax, plug in, and let this album take you up into outer space.

‘Surfacer’ is pressed on Heavy Black Vinyl and presented in a 350gsm Outer Sleeve with artwork that perfectly matches the music drawn by James Watts (Inspiration coming to James from an article on beaked whales being "more surfacer than diver" before we had that jam and thats what inspired his drawing of an abstract beaked whale skull for the cover).

Burying '60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live setup is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, Lemons is the natural next step after his celebrated self-titled 2008 debut on Castle Face.

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

Over the course of the decade, Meatbodies’ Chad Ubovich has been
a perennial candidate for MVP of West Coast’s fertile rock scene. The
LA native could be seen peeling off guitar solos in Mikal Cronin’s
backing band, supplying the Sabbath-sized low end for Ty Segall and
Charlie Moothart as the bassist for Fuzz, and, of course, fronting his
own Meatbodies. Today the recently dormant experimental noise /
freak-rock outfit has announced their return with 333—a corrosive
stew of guitar scuzz, raw acoustic rave-ups, and primitive
electronics that charts Ubovich’s journey from drug-induced darkness
to clear-eyed sobriety. 333 simultaneously reflects on how the world
he re-entered was still pretty messed up—if not more so. “These lyrics
are dark, but I think these are things that a lot of people are feeling
and going through” he says. “Here in America, we’re watching the
fall of U.S. capitalism, and 333 is a cartoonish representation of that
decline.”
In mid to late 2019, the band—Ubovich and drummer Dylan
Fujioka—had a new album in the can, ready to be mixed. But
when COVID hit, like so many other artists, they put their release
on hold as they rode out the pandemic’s first wave. During that idle
time, Ubovich discovered a cache of demos that he and Fujioka had
recorded in a bedroom back in the summer of 2018, and he really liked
what he heard. In contrast to Meatbodies’ typical full-band attack, it
was deliriously disordered. “It sounded gross, like a scary Magical
Mystery Tour,” he recalls proudly. After subjecting them to some
mixing-board freakery, Ubovich fast-tracked the songs into becoming
this third release of theirs, 333. It proves Meatbodies have greatly
expanded their palette, opening new portals to explore. And for an
album that wasn’t supposed to exist, 333 is the ultimate testament to
Meatbodies’ renewed vitality.

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

Limited 7inch vinyl with a risograph hand-printed poster. Be sure to get in
fast as these will sell out. Gatefold jacket.
Death Racer is the first single from Auckland via Berlin cyborg rockers,
Data Animal.
The latest signing to Oliver Ackermann’s (A Place to Bury Strangers / Death by
Audio) new label, Dedstrange, Data Animal’s sound is said to be a mix of the
harsher sides of No-Wave, industrial and techno but in rock n roll format.
Taking sonic influence from groups like Suicide, Throbbing Gristle, Spaceman 3
and Boris, Death Racer deals with themes of nihilism, narcissism and the death
drive within a digital context.
Analogue rock is turned into full out digital and chemical annihilation as kick
drums slam up giant detuned synths and walls of fuzz. Mastered by NYC noise
legend Oliver Ackermann, Death Racer is Data Animal’s algorithm bug seeking
to destroy.

Black vinyl w/ standard sleeve. Juju is the brainchild of Sicilian multi-instrumentalist Gioele Valenti (Lay Llamas, Herself) and this Fuzz Club Session LP finds Valenti and band (Vincenzo Schillaci, Simone Sfameli) storming through four tracks at I Candelai in Palermo, Italy. The resulting session is released as a series of videos and pressed on vinyl. Due for release August 13th on London-based label Fuzz Club, the session comprises two tracks from their 2017 second album 'Our Mother Was A Plant' ('In A Ghetto' and 'And Play A Game') and two from 2019's 'Maps and Territory' LP ('Master and Servants' and 'Motherfucker Core'). Juju's worldly, genre-bending experimentalism fuses psychedelia, new wave and krautrock with touches of afrobeat, funk and zamrock and it's in a live setting, such as that captured here, where that captivating blending of sounds is at its most spellbinding and hypnotic. Juju's Fuzz Club Session (the latest in a series which has previously included the likes of A Place to Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more) makes all too clear why the band have been praised as one that "resets the coordinates and makes the past seem startling new again" (The Quietus).

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

fter a hiatus of over eight years Fuzzy Lights are making a welcome return. Burials is the follow-up to the critically acclaimed album Rule of Twelfths, and the fourth album from the Cambridge-based post-folk collective. 

Their sound has been stripped back to its component parts, deconstructed and rebuilt under less obvious influences. There’s a bedrock of folk-rock - predecessors like Trees and Fairport Convention - but this is then built upon through multiple layers, from the stillness of Talk Talk to the orchestral chaos of Godspeed You! Black Emperor. With Burials Fuzzy Lights have cultivated these sounds and influences into something new and fresh that distances the album from the rest of the folk-rock crowd.

The most striking element of these songs is how intimate they are. Lyricist Rachel Watkins has revealed a lot about herself in these seven songs, which have been written from a very personal perspective. Raw experiences have been distilled into each piece, her translucent vocals often betraying the content of the songs themselves. The album is bookended with the most personal of these. Opener ‘The Maidens Call’ reveals her loss from suffering a miscarriage, whilst album closer, ‘The Gathering Storm’ frames the rallying cry of women’s rights around how individuals must work together now, and in future generations, to destroy prejudice. There is also engagement with humanity’s immediate surroundings and the environment. ‘Under The Waves’ deals with devastation of coral reefs, ocean resources and our natural world, and ‘The Graveyard Song’ imagines the perception of time from the juxtaposed views of a yew tree and a young woman.

As scenarios, paths, and outcomes shift around us, Burials’ amalgam of glowering, intense instrumentation, timeless, weightless melody, and exactingly revealing lyricism carves a very particular path through the world. This is music that tears us away from the everyday not just as a form of escapism, but as a means of self-reflection on hardship and the strategies we develop to overcome it.  It is the band’s rawest yet most accomplished statement to date.

Toronto’s infamous psychedelic multimedia collective, Intersystems, make a surprise return with a new full-length LP, #IV. Coming via Waveshaper Media, #IV is Intersystems’ first new material since 1968! Intersystems’ pioneering avant/electronic music sounded positively alien in the 1960s, and more than 50 years later, this latest body of work sounds just as otherworldly.

When they arrived on the scene in the late 1960s, Intersystems stood out from their peers. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events and released a trilogy of defiantly disorienting records.

Where more conventional purveyors of sonic psychedelia were content with fuzztone guitar and orientalist tropes, Intersystems managed to approximate the full psychedelic experience in all its euphoric wonder and terror. Initially wrangling homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, Intersystems were also among the very first to deploy a Moog Synthesizer; their Moog modular system was the first to be imported into Canada. Intersystems’ three vinyl LP recordings, meanwhile, justifiably became coveted collector's items given their scarce quantity and singular unsettling vision.

The reissue of Intersystems’ full discography in 2015 prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era..." Mills-Cockell’s work in Syrinx has also been reissued to great acclaim in recent years.

Fifty-plus years after their 1968 album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton's storied Grant Avenue Studio. The resultant music remains remarkably congruent with the project's original vision while clearly emerging from the present moment. With original poet/lyricist Blake Parker now deceased, Hayden and Mills-Cockell made the counterintuitive (yet strangely apt) decision to render Parker's words electronically. As the computer-synthesized voice alternates between an eerily life-like delivery and slurred cybernetic faltering, it brings a new dystopian tint to the group's anxious surrealism. Taking cues from its predecessor, Free Psychedelic Poster Inside, a modular Moog Synthesizer system is the primary instrument, yet here it offers a dynamic blend of different sonorities: barbed wire basslines, Subotnickesque chirping, gestural plumes of colour and percussive filigree.

While the group cut their teeth in the 1960s, make no mistake these new Intersystems recordings aren't a “comeback" or an attempt to rehash the "good old days". What one hears instead is the sound of Mills-Cockell and Hayden re-energizing the project, bringing with them the myriad experience they’ve accumulated in the intervening 50 years. These aural concoctions—no less perplexing than their 1960s predecessors—build upon the Intersystems foundation but very decidedly reside in the present moment, reminding listeners of just how forward-looking this group was in the first place.

Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia_but his biggest legacy is without a doubt him being the singer and bandleader of Ofege. Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band! Melvin Ukachi recorded four milestone albums with Ofege: 'Try and Love' (1973) 'The Last of The Origins' (1976), 'Higher Plane Breeze' (1977) and 'How Do You Feel' (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: 'Evolution-Bring Back The Ofege Beat' (1981) and 'I am Ok' (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike. On the album, we are presenting you today (Evolution-Bring Back The Ofege Beat) the listener is treated to the trademark Ofege sound (as the title of the record obviously suggests). Next to the rootsy and raw Ofege sound, we're shown a perfect glimpse of the late '70s afrobeat works combining soul, jazzy rhythms, William Onyeabor style synths & fluid boogie-danceability Expect some serious 'all-star' guest musicians as well_featured on the album are Chyke Madu (The Funkees) on drums, Berkley Jones (Ofege) on guitar_and many other local legends. To top things off the tracks were recorded and mixed at the legendary Abbey Road Studios in London_all slickly engineered by Rafiu Ayoade (The Apostles) and produced by the president of sound himself Odion Iruoje (known for his work with Manu Dibango, Fela Kuti_and many others). 'Evolution-Bring Back The Ofege Beat' was released on EMI Nigeria in 1981 and is a total Afro-psych-funk classic that begs for a special place in your record collection. It's tight, funky and Melvin's soulful vocals are to die for. This record is a monster! Tidal Waves Music now proudly presents the first-ever reissue (supervised by Melvin Ukachi himself) of this amazing Nigerian Afrobeat album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork made at Grafikad (who were responsible for designing landmark sleeves for renowned artists such as Fela Kuti).

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

Names You Can Trust is proud to present a special collaboration with Barbès Records and the legendary godfathers of cumbia amazónica, Los Wembler's de Iquitos. Featuring two songs mixed expressly for 7-inch directly from the reels of their 2019 album, VISIÓN DEL AYAHUASCA, it's the latest entry in the group's historic canon of a particular brand of bonafide psychedelia, a worthy addition to a catalog of recordings that have made their way around the world to fans, DJs and sound systems since the group's beginnings in the late '60s.

The band's 50 year-old origin story begins when electric instruments started showing up at the port city of Iquitos, Peru. This seminal moment of international trade at the gateway to the Amazon inspired a shoemaker named Solomon Sanchez to start a band with his five sons. Los Wembler's were the first band in the capital of the Peruvian Amazon to play popular local rhythms with electric guitars. Their revolutionary sound, fuzzy lysergic guitar helixes wrapped around melancholic melodies, would go on to have an enormous impact on the whole of South American popular music, echoing throughout the continent and further, into the States and eventually across the world.

The past few years have seen a new wave of interest in the band's music. Los Wembler's, the sons, now fathers and grandfathers themselves, have brought their trademark sound on recent tours to Mexico, Europe and North America, where it has been embraced by a new generation of musicians and listeners.

As Los Wembler's prepared for a lengthy tour in 2020 to coincide with this new 7-inch issue, the world abruptly changed course. The COVID-19 outbreak has had particularly devastating consequences in the Peruvian Amazon. With an urban density of around a million people, Iquitos is the largest isolated city in the world, reachable only by boat or plane and surrounded by the vastness of the rainforest. A buzzing multicultural city, Iquitos was catapulted into modernity during the late 19th century's rubber fever. It is home to not only the members of Los Wembler's, but several legendary and influential musicians who helped lay the groundwork for the roots of chicha, the distinctively Peruvian brand of cumbia.

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax