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SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

Tekno substances, from 150 to 170 BPM.
A deep Hard Tekno/Tribe one, mental and hypnotic, daring textures and structures... mMny surprises for a "Mental" EP, addictive ideas that need to be scanned really :)

Super soundcut !!

A must have !

The Death Doom Punks are back! “Quintessenz“ is the raw and unfiltered manifestation of the artistic
identity of ARROGANZ. Infused with brutal aggression and ominous atmosphere, it unleashes a sonic
apocalypse that transports the listener into a haunting realm. With a blend of old-school death metal,
doom metal and black metal, the band redefines their boundaries and showcases their creative
maturity. FFO Celtic Frost, Asphyx or Darkthrone, as well as for lovers of Napalm Death, Totenmond or
Wolfbrigade.

The hugo toolbox - A lasting place.

Just as my dad with words unspoken gave the tools to me, I’m passing these down to you.

A place to keep ideas safe, to hold the music, to give you space away from your phone.



Contents:

• 1x Toolbox

• 1x Chess Board with Custom chess pieces (Made by Sunny)

• 1x Incense (Made by Cremate)

• 1x Incense Burner

• 1x hugo car key with keychain

• 1x Pin Badge

• 1x Certificate of authenticity

• 1x Notebook

• 1x hugo Process Book

• 1x Georgetown Flexidisc

• 1x Plastic Flexidisc

• 1x hugo: reimagined (Live at the Royal Albert Hall) Vinyl LP

• 1x hugo Picture Disc Vinyl LP

• 1x Hidden Message

Placid aka Paul Wise is chief in command at ‘We’re Going Deep’ – an expanding online community and record label, born from lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988. He’s spent the last 3 decades moving heads and feet at venues, parties and fields across the UK and beyond.
On a mission to share and release new music via his label, you’ll find only the best in Acid, Electro, IDM, Techno and Deep House for the dance floor, front room or your headphones making the cut. For the 10th and final edition of his much prized various artist series, he unearths more machine fuelled magic: offering another set of equally excellent music from stellar talent.
Starting the dance, Dutch maestro Boris Bunnik dons his Versalife mantle to opens with ‘Skirmish 101’. Setting the machines to cycle, Bunnik fires a hefty slab of bass to bring down the walls whilst pristine robot like rhythms set your body in motion, all enveloped with sparse synthesis and shimmering effects. Crashing the joint with ‘Acid Baby’ - The Acid Pimp drops a no holds barred, riotous 303 workout that’s nothing short of a tour de force in exorcising the power of Roland’s most celebrated silver box. Putting pedal to the metal with drums and reverb, a smiley face or grimace is guaranteed!
Longtime collaborators Jamie Anderson & Owain K reset the dial on the flip with ‘Basement Dub’, a house paced workout that glides at a steady pace. Evoking the spirit of Mood II Swing whilst immersed in the depths of an underwater realm. Ending on the upbeat note of Konerytmi’s ‘Aamunkoitto’, the Finnish producer reflects a breezy disposition with a joyful melody, step-to electro beat and rolling acid bassline – all perfectly balanced to keep your calm and head out in the right direction, a great way to sign off on this highly collectable series.

Music From Memory is pleased to announce the upcoming release of ‘Salt And Sugar Look The Same’, a collaborative album from Tim Koh and Sun An.

Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012.

‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens.

Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need.

Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories.

‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.

Sleeve art by Brian DeGraw, design by David McFarline.

DJ Support:
Denis Sulta, Austin Ato, Laurent Garnier, Tom / Groove Armada, Idris Elba, Jamie Jones, Oliver Heldens, ACRAZE, Mark Knight, Sam Divine, Riva Star, David Penn, Severino, John Summit & many more.

Massive Sampler from KooKoo featuring some heavyweight names inc Mark Knight & Armand Van Helden, Full Intention alongside up and coming names Ewan McVicar & Fabrikate who combine to deliver club smashing versions of Sharon Redd's "You Got My Love", Cloud One - “Disco Juice”, legend D Train’s Keep On, and Gayle Adams “Plain Outta Luck”. Buy or cry.

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

New music from veteran Scottish IDM producer Pliiant, who throughout the years has had releases on Pub's Ampoule label and his rare as f&ck Talent Hoover series.

This new one dips and dives between Spanners era Black Dog and early Bola / Skam Records type madness.

31st century electronic soul in 4 new sound purses from Pliiant.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.

Jenifa Mayanja is a favourite amongst true deep house heads. Her work is smoky, jazzy, and emotive, and has come on labels like Underground Quality before now. Here she arrives on the sixth EP from fledgling but already cultured label Sole Aspect and shows off her sophisticated sound once more. 'Rise To The Top' is full of elegant harmonies and jazz melodies that dance on pulsing rhythms, 'Like A Dream' brings spiritual vocals to bold chords and dusty drums while 'Our World' has piano lines floating high over the languid drums and bass.

'Rose Colored Glasses' has fresh melodies and challenging synths that defy usual genre norms and bring all new ideas to deep house. This is music that elevates mind, body and soul.

Three years in the making, Livity Sound alumni Azu Tiwaline and Forest Drive West combine their distinct but compatible styles into an EP of advanced, reduced soundsystem immersion.

The idea for the collaboration took shape not long after Tiwaline’s first Livity release, the Magnetic Service EP, and the pair took time to settle on a sound set which now shapes out Fluids In Motion. Drawing on a cohesive palette, the tracks they pieced together in a remote exchange between Tunisia and the UK explored a variety of tempos and rhythms ranging from pure ambience through to spring-loaded 4/4, with a focus on minimalism and dub-spirited spatial sound design.

The end result naturally evolves from each artist’s existing work, matching subtlety and space with intricate detail to present a complete, considered release that runs as deep as an album over the course of four tracks.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

After releasing “Columbo No.5” last September, the band went into the infamous Tunbridge Wells Forum to record their debut album. Having never recorded a debut album before, perhaps the idea of nailing it in 5 days may have been optimistic but with the budget blown and the studio engineer committed to other work for the rest of the year the band were left scratching their heads.

They knew a local bee keeper was the mother of a producer who was raised on metal but recently had engineering credits with artists such as Stefflon Don, Stormzy and Skepta...
..... A call was made, and Jake Jones delivered!

Wytch Pycknyck are LOUD yet maintain a trashy garage feel. Off the blocks with Rawkuss, almost distort with the guitar cacophony hitting the redlight in parts, and ending with Frostbite a spoken word / rap intro metamorphosis into a space rock psychedelic wig out with bassist Ewan Fitzgerald’s passion for analogue synths coming to the fore.

Sometimes the guitars shred and sometimes the bass takes pole position. Two and half minute thrash-outs sit shoulder to shoulder with nine-minute psych monsters AND it all makes sense.

2024 marks the 25th anniversary of Schizo, the first full-fledged album by Heideroosjes on Epitaph Records. The album features fan favourites “Time Is Ticking Away”and “Fistful Of Ideals”, the track “Iedereen Is Gek” was in high rotation on the Belgium radio station Studio Brussel, and “Jerry Rules In The Land Of The Free” even made it on the famous Jerry Springer TV Show. This landmark album introduced them to the rest of Europa and United States and was followed-up by an extensive tour, playing with kindred spirits such as Pennywise, The Misfits, and The Offspring. Celebrating its anniversary, Schizo is available as an expanded edition for the first time, including live versions of “Sjonnie & Anita” and “Fistfuckparty At 701”, recorded at Pinkpop Festival in 1999. Schizo (Expanded Edition) is available as a limited edition of 667 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve featuring updated and revised artwork.

After ‚Running in Waves‘ the Cologne based label ‚Serial Sound’ is back with the second release. ‚´till things ghost‘ is going to be Jonas Landwehr´s debut solo EP. After publishing collaborative works or various artist EPs he is now ready to take the next step. The newest project is tied around the idea of a diverse taste and inspirations while it’s centered around playing with different rhythms. Multiple styles such as House, Techno or Reggaeton as well as various tempos come together on this project. ‚ginko‘ serves as an intro and shows what kind of contrast the rest of the record will be about with it’s airy chord pads that cut to a growling bass accompanied by a slow burning reggaeton groove. ‚disaronno straight‘ adopts this idea but gives it a faster UK influenced twist with a wobbly bassline and chopped vocals ready for the club. ‚sin tí‘ closes the A-Side and aims for summer vibes and floating lightness. ‚overcome?‘ opens the B-Side with a hypnotic pulsing bass and percussion interaction and leads into ‚something about u‘, a soulful vocal feature from LAINE which sits on a broken beat with deep chords and House accents. ‚seeds‘ is closing off the record with an aggressive, faster paced metallic Dancehall rhythm contrasted with enthralling pad sounds.

Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. Combining the signature soundscapes of Scorn with tartareous textures, the newest album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. 2024 vinyl version on orange coloured vinyl!

Die 5-köpfige südafrikanische A-cappella-Band The Joy kündigt ihr selbstbetiteltes Debütalbum an, das am 21. Juni auf Transgressive veröffentlicht wird. Das 11-Track-Album wurde live in den renommierten Church Studios in Crouch End in London aufgenommen und enthält keine Instrumente oder Overdubs.

Die Songs kommen dabei nur mit dem erstaunlichen Gesangstalent der Mitglieder - Pastor (Ntokozo Bright Magcaba), Duzie (Melokuhle Mkhungo), Guduza (Sphelele Hlophe), Sthombe (Phelelani Sithole) und Marcus (Sanele Ngcobo) aus, die seit ihrer Schulzeit zusammen Musik machen. Fünf Teenager aus dem südafrikanischen Township Hammarsdale, die damals früher als alle anderen zu ihrer Schulchorprobe erschienen - früh genug, um spontan einen neuen Song zu erschaffen und zu merken, wie gut das funktioniert.

Aufgewachsen sind die Fünf in einem Teil Südafrikas, in dem die Zulu-Tradition des A-cappella-Gesangs für die kulturelle Identität des Volkes von zentraler Bedeutung ist und Ladysmith Black Mambazo seit Jahrzehnten verehrt werden.

Limitiertes Farbvinyl von Teil #4 der "Here, Hear" Serie von einer der renommiertesten und ältesten Emo-Post-Rock-Bands der Szene, La Dispute. Die 2007 ins Leben gerufene Serie gibt interessierten Hörern Einblicke hinter dem Vorhang des Songwritings, um durch zusätzlichen musikalischen und lyrischen Kontext das Verständnis für Themen und Ideen der Alben zu vertiefen.

Die aktuelle Version des Projekts ändert im Laufe seiner Geschichte regelmäßig Formen, Ansätze und Medien und besteht aus Aufforderungen zum kreativen Schreiben, die von einem einzelnen Mitglied eingeführt und befolgt werden, bevor sie nacheinander an die anderen weitergegeben werden, um in einer Art musikalischem Telefonspiel Beiträge zu leisten. Das Endergebnis sind Songs, die Schicht für Schicht, Mitglied für Mitglied, geschrieben und aufgenommen wurden, rund um einen zentralen Vorschlag oder eine zentrale Einschränkung, die ausführlich auf Patreon und in aufgezeichneten Podcast-Gesprächen diskutiert werden, in denen die Erfahrung analysiert wird.

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

First full-length release on new Rise Above Records subsidiary label: Popclaw Records. An eight-song trip through the mind of a music obsessive with ideas to burn, Caldwell is both a paean to the past and a quietly subversive contribution to the future. This is deftly
evolved psychedelia, fed through many decades years of sonic mischief and rendered in the bright, warm colours of garage rock and baroque pop. Drawing from dust-covered psych explorations on both sides of the Atlantic, Caldwell has hit a rich vein of inspiration.
Debut album from this enigmatic New Orleans purveyor of psychedelic pop and rock. Tour dates to be announced soon. For fans of The Kinks, Small Faces and 1960s garage pop & psychedelia