Review: Aaron Fletcher and Tim Parkin are 77:78 and they dropped their debut album back in 2018 during a heatwave. It was perfect timing for a record that is scorched and red hot throughout with its throwback 60s beat pop sounds all rich in big hooks and English psychedelia. There are an array of deep and beautiful harmonies throughout the record, elements of tumble down dub and plenty of fragile vocal sounds. Standout include the likes of 'Papers' and the most metro of the lot, 'Love Said (Let's Go).'
Xxxtra Asceticism Or Allergic To Meditation (9:13)
Asoka Ananda (19:44)
Review: Trust Masked Replicants showcases Acid Mothers Temple (AMT) in top form, delivering their signature brand of experimental psych-rock built around skeletal frameworks. Led by Kawabata Makoto, the band navigates chaotic, drone-infused improvisations, pushing the boundaries of human consciousness with their cosmic jams. Side-2 features the standout 20-minute track 'Asoko Ananda', a fast-paced, side-long piece that fuses kosmische rhythms, filter sweeps, free-jazz piano, tabla drumming, and vocal experimentation. This track captures the full range of AMT's skills, climbing to the summit of their collective abilities. Rooted in prog, Krautrock, modern composition and noise, AMT has been a driving force in the psyche-rock scene since the early 90s. With a long history of prolific releases and global tours, the band returns to Important Records for this limited vinyl edition featuring original member Cotton Casino. Trust Masked Replicants - with its neat titular nod to Captain Beefheart's best known album - is another top album for fans of the group's improvisational, mind-expanding soundscapes.
Cotton, Tsuyama, Kawabata - "L'ambition Dans Le Miroir" (11:22)
Review: Riot Season's vinyl reissue campaign brings new life to Acid Mothers Temple's 2004 album Mantra of Love. Makoto Kawabata and the band deliver an intense journey where layers of heavy white noise are met by cosmic effects and powerful guitar solos in a fearless fusion of psych-rock and experimental sounds. The vinyl comes in a limited edition cream colour and includes carefully restored archival photos held in Acid Mothers Temple's Osaka vaults. With fresh remastering by James Plotkin, this release revives a standout in AMT's catalogue for devoted fans and new listeners alike.
Review: Does The Cosmic Shepherd Dream Of Electric Tapirs? is not just a great - and amusing - question but also the title of Acid Mothers Temple's debut release on Space Age Recordings. This Japanese soul collective, known as Acid Mothers Temple and The Melting Paraiso UFO, remains an enigma to both the Western and Eastern worlds. Their music spans acid-rock, experimental, and psychedelic genres, varying with the listener's mood. After being out of stock for some time, the long-anticipated repress of this wild offering is now available on two solid green vinyl records and complete with the original seductive artwork.
Review: Leipzig band Acid Rooster have been laying out their template for hard-boiled psych rock for some six years now, and they're getting stronger with each release. This latest album is made up of six long-form jams doused in FX and holding down sustained grooves in a manner which doffs its cap to the pioneers of krautrock from Ash Ra Tempel to Amon Duul. There is a dustier finish to the band though, as they show themselves to be equally in thrall to the lurid squall of the American psyche explosion, but somewhere in the middle they come out truly sounding like themselves.
Review: Action Pact were a punk rock band from Stanwell, an isolated village right under the flight-path of London Heathrow Airport, inspiring this compilation album's title. Consisting of two formerly unreleased John Peel sessions as well as a David Jensen session - totalling 16 tracks - this retrospective charts the band's history, from their formation in 1981 by guitarist Wild Planet, bassist and lyricist Dr. Phibes and the then 15-year-old drummer Joe Fungus and singer George Cheex, still school-kids when their Heathrow Touchdown EP was released in October 1981. BBC DJ John Peel played the single many times and booked them for the first session to appear here, recorded in February 1982. The second Peel session was recorded and broadcast in 1982 and a David Jensen BBC session in 83.
Review: Adelaida's fifth studio album Retrovisor arrives here on lovely high-quality 140g black vinyl which also comes with an insert with lyrics as part of the hand-numbered and limited edition 'The Noisy Series' on Spinda Records. It is a full throttle 13 track rock workout with dense and gauzy guitars layered up into impenetrable walls as the vocal wails fight your attention. It is a raw fusion of indie, grunge and shoegaze all the way from Santiago that will remind of classic bands from the late 90s.
Review: Aguaturbia's 1970 debut is a cornerstone of Chilean rock, crucial to understanding the genre's evolution in South America. The album is fierce and vibrant, brimming with heavy riffs, bold distortion and Denise Corales' ethereal, phased vocals that echo the style of Jefferson Airplane. Blending original compositions with dynamic covers of hits by Tommy James & The Shondells, The Beatles and Jefferson Airplane, Aguaturbia infuses these tracks with an intensity that feels fresh and enthralling. Their bold musical expression, combined with provocative cover art, pushed boundaries in Chile's conservative society at the time. The album's raw, untamed energy made it a symbol of artistic rebellion. Guitarist Carlos Corales captivates with his powerful solos, leaving live audiences in awe. His mastery, paired with Willy Cavada's exceptional drumming, is showcased in unforgettable moments like Cavada's thrilling solo on 'Ah Ah Ah Ay', recorded perfectly in one take. Standout tracks include their hypnotic rendition of 'Somebody to Love' and the sultry, electrifying 'Erotica', where Denise's seductive vocals meld effortlessly with Carlos' scorching guitar work. Their version of 'Crimson and Clover' transforms the classic into a pulsating, psychedelic experience. This album, with its raw edge and groundbreaking style, remains an essential listen for anyone delving into the roots of psychedelic rock in Latin America, providing a truly riveting sonic journey.
Review: Al-Qasar deliver their unique debut album for WeWantSounds, exothermically reacting psych rock, pop and regional Sahel sounds. The five-piece band dropped their debut album Who Are We? for Glitterbeat in 2022, marking a potent Arabic and Middle Eastern psych rock inflection, where elements such as North African trance music were helped along their way in the form of continual reintroductions to Western ears. Characterised as "Arabian fuzz" by the band, their sound now hears a metempsychotic rebirth: this album was again recorded in both Europe and Africa, and, unlike their debut's Western collaborators (Lee Ranaldo of Sonic Youth, Jello Biafra of Dead Kennedys), focuses on bustling rhythms lent by North African musicians such as Alsarah, Check Tidiane Seck and Sami Galbi.
Don't Wanna Fight (live From Capitol Studio A) (3:54)
Future People (live From Capitol Studio A) (3:25)
Dunes (live From Capitol Studio A) (3:27)
Over My Head (live From Capitol Studio A) (4:00)
Review: RECOMMENDED
It was two in two for Alabama Shakes when they first unveiled this bonafide swamp rock masterpiece. Released in 2015, Sound & Color took the blueprint laid out with Boys & Girls and then kicked up into fifth gear. It's soul. It's blues. It's sweat-soaked funk. Most importantly, though, it's the kind of record that keeps giving the more you listen, sounding equally at home in the 1950s as it does the 2010s.
It's hard to really put into words the level of husky, pained, heart-on-sleeve musicality at the core of this record. Brittany Howard's voice might never again sound as utterly distraught and reflective, pained and somehow filled with hope for a brighter day. Individual readings aside, this is among the finest blues records to land this century, and ranks up there with some of the greats of the 20th, so don't sleep on this edition complete with closing tracks recorded live at the legendary Capitol Studios.
Review: This All Them Witches reissue arrives with all the raw energy and atmospheric weight of the original, now pressed onto a stunning sea glass vinyl. Opening with the expansive 'Call Me Star,' the album sets a captivating tone, blending fuzzed-out rock with hypnotic melodies. 'El Centro' takes a more driving, gritty approach, while 'This Is Where It Falls Apart' brings a slower, introspective groove. The album's standout, 'Blood And Sand / Milk And Endless Waters,' is an intense, sprawling track that captures the band's signature sound. This reissue offers a fresh listen for long-time fans and newcomers alike, wrapped in a visually striking format.
Review: Soft Machine and Gong founder Christopher David "Daevid" Allen came of age under the influence of the Beat Generation writers while working in a Melbourne bookstore around 1960. The Australian psychedelic visionary then travelled to Paris, where he stayed at the infamous Beat Hotel, before heading to England, where his musical career really began. The point being, he was incredibly committed to exploring art forms like jazz and performance poetry. And a then-nascent field of synthesised sounds. Ten years after his death, Now Is The Happiest Time of Your Life gets a timely repress to confirm it remains his Magnus Opus. A brave and incredibly unusual collection of tripped-out folk storytelling, curious garage guitar stuff, strangely naive and innocent weird pop, and progressive rock. One to keep diving into and still find new bits to love.
Review: Alphataurus may not mean that much to a lot of people, but for anyone aware of the Milanese progressive rock titans, the fact they have a new record out will capture the imagination. After all, the outfit have been making a big impact with every album they've put out since - and including - the staggeringly ambitious self-titled 1973 debut. However, it's been a decade since we last had anything from them. Enter 2084: Viaggio Nel Nulla, then, a collection of music that marks a real turning point for Alphataurus, with the lengthy (to put it mildly) recording process ending with the departure of founding guitarist Guido Wassermann. Whether die hard fans will think what's here is worth the pain of that decision to leave is anyone's guess, but this collection is unarguably dystopian, futuristic, exploratory, cosmic and, almost conversely, accessible and catchy.
Review: Altin Gun has a famously recognisable sound and it is once again laid bare heart for all to enjoy. This new album is a triumphant return for the much-loved sextet from Amsterdam and one that is high on energy levels throughout. Though familiar in that way, this Ask album finds the band ditching some of their synth-drenched former sounds and 80s and 90s pop leanings to return to their 70s Anatolian funk of their roots. It almost sounds like a live album such is the hustle and bustle of the music with the results sounding all the more warm and welcoming.
Review: We are extremely thankful of the existence of Altin Gun, a Dutch band who focus their efforts on playing Turkish folk/psychedelic rock. Three albums so far have served to establish their sprawling sound. Their latest, Ask, does particularly well to chuck additional funk and disco edges into the mix - but contemporaneously comes On, a reissue of their debut LP released in 2018. In reissuing it, French label Le Vinyl Club document the band's eureka moment and subsequent splash onto the scene that eventually won them a Grammy. Beautiful cuts such as 'Goca Dunya' hear well-polished takes on trad Turkish folk, but with an added energy and verve brought to the fore by not only an electrifying backing band, but a whopping two vocalists, Merve Dasdemir and Erdinc Ecevit Yildiz.
Review: Alvilda crafts a sharp, nostalgic homage to 60s girl groups and 70s power pop, distilled through a lens of modern punk urgency. The jangly guitars and punchy rhythms are underscored by layered harmonies, creating an infectious energy that refuses to waver. Sung entirely in French, the lyrics carry an emotive charge, even for non-speakers, while the brisk, sub-three-minute tracks demand attention with their unrelenting focus. The production keeps things tight and bright, ensuring every hook lands with clarity, offering a refreshing burst of indie vitality that never overstays its welcome.
Review: You don't get to call your band Amyl & The Sniffers if the music is anything short of corrosive, in the best possible way. Launching at a serious pace from the off, this is punk at its modern best - a juggernaut of sweat, swearing and uncompromising songwriting that's only rival for your attention comes in the form of riffs and gritty chord instrumentation.
But the Melbourne, Australia band's second LP is far from a simple rehash of the first, which we could have also described in similar terms to those you just read above. This time round things feel more thoughtful, perhaps even patient in certain moments. Of course they still wear 'weirdos' on their sleeves, tongues often firmly placed in cheeks. But there's a depth here to the songwriting, a retro and introspective feeling that reveals far more than the debut album let us hear.
Review: The forthcoming collaboration between anaiis and Grupo Cosmo presents a captivating fusion of contemporary soul and Brazilian musical traditions. The album features tracks like 'Toda Cor' and 'Voyage,' which blend anaiis's soulful vocals with Grupo Cosmo's rich instrumentation, creating a sound that is both innovative and deeply rooted in cultural heritage. This milky vinyl LP offers listeners a unique auditory experience, highlighting the seamless integration of diverse musical styles.
Review: This October marks the 60th Anniversary of The Animals' self-titled debut album. Never heard before in official vinyl reissue form, this remarkable return hears the mod rock menagerie of Eric Burdon, Alan Price, Hilton Valentine, Chas Chandler and John Steel come together for a worthy groove-laid garage shutdown. With such hits enduring hits in tow as 'I've Been Around', 'I'm In Love Again' and 'Bury My Body' - though not packing their standalone, transatlantic treat 'House Of The Rising Sun' - this early record, first released on Columbia Records, tells the sonic tale of a now under-appreciated Newcastle band, whose efforts were nonetheless instrumental in helping to usher in the so-called British Invasion (musically) of the US music market in the 1960s.
Review: If the name Vangelis conjures images of new age music or the overplayed 'Chariots of Fire', you might be surprised by his earlier work. Before his solo fame, Vangelis was a member of Aphrodite's Child, a rock band from the late 60s to early 70s. While the band was based in France due to political unrest in Greece, they produced music far removed from Vangelis's later style. Another well-known member was Demis Roussos, who also had a later solo career. Initially, Aphrodite's Child released two psychedelic pop albums, Rain and Tears and It's Five O'Clock, reminiscent of Genesis' early work on From Genesis to Revelation. 666 marked a significant shift toward progressive rock, blending Greek ethnic influences with experimental sounds. Highlights include 'Loud, Loud, Loud,' featuring a spoken word piece by a young Greek diplomat's son, and 'All the Seats Were Occupied,' a lengthy jam that samples the album's other tracks. The notorious, untitled track featuring actress Irene Papas caused discomfort at their label, but it solidified the album's status as a groundbreaking work in progressive rock. Despite the musicians' later mainstream personas, 666 remains a bold and innovative album.
Review: With See The World On Fire,"The Ar-Kaics return after six years with a thrilling new album steeped in dark, moody garage psych. Recorded entirely in singer-guitarist Johnny's bedroom/garage, the album unfolds as a concept piece exploring the very act of making an album, imbuing each track with a raw, visceral energy. Drawing inspiration from the mod-rocking and blues-blustering sounds of the 1960s, the album exudes a vintage charm while firmly rooted in the digital age. From the slow, Link Wray-esque groove of 'Chains' to the Neil Young-inflected blues boogie of 'Cornerstone' and the Seeds-inspired jangle of 'Dawning,' each song pulses with a sense of hopeless drama and ragged romance. Even the longest track, 'Never Ending,' excites with its grooving basslines, hypnotic rhythms, and fiery guitar solos, building to a brilliant psychedelic climax. See The World On Fire is a powerful example of garage rock that engages and impresses.
Review: Stockholm-based multi-instrumentalist and composer Art Longo impresses here with Echowah Island, a new album sure to wind its way into your affections. It was crafted over years in his home studio and is "psychotropical pop" drawing deep inspiration from late 80s music and dub. The album's lush soundscape evokes orange sunsets and ocean breezes and is layered with spring reverb, space echo and wah-wah effects that smooth out the edges as the steady pulse of vintage drum machines moves things on down low. A standout feature is Claudio Jonas, whose ethereal vocals recall classic French femme fatale singers of the 60s. Her poetic, kaleidoscopic lyrics add to a nostalgic dream world that gently bends reality and makes his both escapist and thought-provoking.
Review: Ash Ra Tempel's 1973 album Starring Rosi, led by innovative guitarist Manuel Gottsching, showcases a more accessible sound compared to their earlier cosmic explorations. Rosi Muller, Gottsching's then-girlfriend, contributes spoken word passages, adding a unique texture to several tracks. The album opens with 'Laughter Loving', a cheerful, wah-wah guitar-driven track with hints of country-rock and droning synths. 'Day-Dream' features a stoned, two-chord acoustic sequence, paired with gentle lead guitar and dreamy vocals. Instrumental track 'Schizo' offers a detached, spacey atmosphere, while 'Cosmic Tango' delivers a funky groove, reminiscent of Gong's space-whisper style. The nearly nine-minute 'Interplay of Forces' starts in a psychedelic, space-rock vein before evolving into a guitar and drum-heavy jam. The album closes with 'Bring Me Up', a bluesy, funky track that spotlights Gottsching's masterful guitar work. The album's reissue on 180-gram coloured vinyl further highlights its timeless, genre-blending appeal.
Review: 7 Up is three things; a ubiquitous energy drink brand, an infamous TV show charting the upbringing and development of various children from the ages of seven upwards, and the third studio album by Ash Ra Tempel - their only collaborative piece with notorious psychologist and psychedelic drug advocate Timothy Leary. Supposedly, the sprawling psych-Moog album was named after a bottle of 7 Up that had been spiked with LSD was given to the band's lyricist Brian Barritt. This new version contains the original manuscript of the album's concept by Leary, as well as photos from the recording session in Bern.
Review: Ash Ra Tempel's fifth and - in most ways of judging it - final album was really also a swan song for the late, great Manuel Gottsching. Recoded at Studio Dierks, in the small, picturesque and windmill-happy German village of Stommeln by none other than Scorpions studio chief Dieter Dierks, there's a lot happening on Starring Rosi. And all of it really pretty damn good. It's funk, it's epic. It's moody, it's upbeat. It's steeped in an air of Krautrock and space rock, yet also wouldn't sound out of place providing the slap bass and guitar licks for a 1970s movie trailer. Simply put, it's Ash Ra Tempel, from the cosmic warmup and gradual build go 'Laughter Loving', through the folk-ish serenity of 'The Fairy Dance' and warbling, warped cacophonies on 'Schizo'.
Review: The music of David Axelrod is a rite of passage for many record collectors. The great composer, arranger and multi-instrumentalists crafted several seminal albums that all take you deep into gorgeous worlds of jazz, funk and library music with narratives you'd expect in film scores and emotion in high supply. Heavy Axe might be one of his best and so this welcome reissue is a timely reminder of that. Its sweeping strings, grand horns and orchestral arrangements ebb and flow with great drama and absorbing artistry so stick it on loud and give yourself over to its rare pleasures.
Review: BaBa ZuLa, Istanbul's most experimental band, continues to push the boundaries of Turkish psych-rock. Known for their hypnotic blend of Turkish percussion, electric saz, and electronic elements, they've gained a cult following across the globe. With influences from legends like Einsturzende Neubauten and Can, their latest album Istanbul Sokaklari is a sonic and political statement. Combining deep rhythms, glitchy electronics and dual male-female vocals, BaBa ZuLa's music transports listeners into a world where tradition meets modernity, offering a glimpse into both the future and the heart of Istanbul's streets.
Review: Byron Bay 60s-psych revivalists Babe Rainbow are the first band to be signed to King Gizzard & The Lizard Wizard's newly created p(doom) Records. When they announced this album at the end of 2024, with the release of single 'Like Cleopatra', it was the label's inauguration. The mystery in all of this, though, is how one earth does King Gizzard find the time to run a label when they release album as quickly as Mo Salah scores goals? Anyways, they clearly have a great ear as they've done the right thing in putting out this album of psychedelic acid pop, with its lysergic jams 80s synth-funk workouts. For all its nostalgia, there are parallels to more modern neo-psych bands that are really appealing, too. 'Aquarium Cowgirl' could have been a great release for the now disbanded London-based band Childhood, thanks to the reverb-y transcendental falsetto and floaty layers of dreamy guitar. Ultimately, this is a great, uplifting mood antidote to all the post-punk and shoegaze that's cornering the market at the moment.
Review: Bailey's Nervous Kats was a teenage dream who combined surf, rock n' roll, exotica, and r&b in their music. They operated in the rural fringes of Northern California in the 1960s and released only one long player, sadly. The Nervous Kats is it and it now gets reissued by the quality Numero Group. It came right at the end of the band's time together and was released by the Emma imprint in 1965. It's a real doozy of the era and will take you to a time and place you didn't live but make you wish you had.
Review: Balthvs' second album, Cause & Effect, marked a significant evolution from the chill psychedelic vibes of their 2020 debut, Macrocosm. Rooted in Colombian rhythms, the album explores deep house, Turkish music, Vaporwave, trip-hop and disco, all while maintaining the band's signature psychedelic essence. This eclectic mix takes listeners on a dynamic journey through time, space, cultures, and eras. The songwriting and production are praised for their excellence, making Cause & Effect a worthy successor. Tracks like 'Turkish Coffee' and 'Light It Up' are standout favorites, with listeners highlighting the album's dreamy, Latin-infused psychedelic sound. The music of Balthvs resonates with those who appreciate a nostalgic yet fresh vibe, reminiscent of the lost sounds of the 1970s. The band's unique blend of cool grooves and shoegaze elements has created something truly special, earning accolades for their accomplished musicianship and strong, hopeful vibe.
Review: Bananagun's long-awaited follow-up Why is the Colour of the Sky? reflects the upheaval and transformation the band experienced in the four years since their debut. Released during Melbourne's strict lockdowns, the group was scattered, making it impossible to rehearse or record as they once did. However, that tumultuous period also led to a new creative process. Gone are the meticulously pre-planned tracks of their debutithis time, the songs were jammed, written, and recorded on the fly, capturing raw energy and spontaneity. The result? An album brimming with bold, jazz-infused freak-beat experimentation, groovy rhythms, and spiritual overtones. It's a departure from the sunny afrobeat of their debut, showcasing a more adventurous and human side of the band.
Review: Barbican Estate's latest release blends psychedelic rock with atmospheric folk influences. 'Reconquista' sets the tone with swirling melodies, while 'Abandon' offers a haunting, introspective vibe. 'Angel' brings a dreamlike quality, and 'The Innocent One' closes with intricate composition, showcasing the band's sonic exploration. This 2xLP captures their unique style and provides a captivating listen for fans of experimental rock.
Review: Something of a cult record amongst those that know, this Bardo Pond album now gets a fully deserving remaster job for 2023. It brings the recording into sharp focus which means you can delve deep into its hallucinogenic charms, as initially recorded in Philadelphia back in 1993. The rather unique band's influences were said to be Black Sabbath, free jazz and no wave but you can also hear shades of early Dinosaur Jr, My Bloody Valentine and Spacemen 3 too. The band was a quartet when this was recorded and cooked up some dense garage and psyche-rock sounds with plenty of wax noise and explosive energy.
Review: Melt Away, the forthcoming double LP compilation, offers rare tracks and outtakes from Bardo Pond's peak creative period in the late 90s. A gem from this collection, 'The Trail', initially featured on the 1997 compilation What's Up Matador, encapsulates the essence of fleeting momentsiits six-minute journey is ethereal and immersive, urging listeners to linger. Bardo Pond, the American psychedelic rock ensemble formed in 1991, continues to captivate with their immersive soundscapes. Their music blends elements of space rock, acid rock, and shoegazing, often drawing comparisons to Pink Floyd, Spacemen 3 and My Bloody Valentine. Their work is characterised by droning guitars, heavy distortion and enveloping feedback and rooting in ecstatic jazz and avant-garde influences, creating a dreamlike experience that transcends conventional understanding. If that sounds like your thing, dive in.
Review: Matador has released the long awaited reissue of Bardo Pond's iconic 1999 album Set and Setting, remastered and pressed on striking purple vinyl. Known for their expansive and immersive sound, Bardo Pond's Set and Setting remains a standout in their discography, featuring the epic eleven-minute opener 'Walking Stick Man' and the intense single 'This Time (So Fucked)'. This album captures the band at a peak moment, blending heavy psychedelia with sprawling sonic landscapes. Set and Setting might not be Bardo Pond's heaviest record, but it's certainly among their fuzziest. With the fuzz dialed up to eleven, the album teeters on the edge of sonic overload, creating a swirling, sludgy atmosphere that's a dream for those who love their rock dense and gritty. Bardo Pond's music can be challenging to categorise, with their discography swinging from focused psych-rock to sprawling, loose jams. In the 90s, they didn't capture the mainstream attention of bands like Sonic Youth or Mudhoney, but they carved out a unique niche, blending shoegaze, desert rock and Krautrock influences into a potent, heady mix. Set and Setting, though perhaps not the easiest entry point into their catalog, encapsulates the band's distinct approach. While it might lack traditional hooks or radio-friendly tracks, it's rich in the droning, psychedelic explorations that define their work. For those who crave unfiltered, immersive jams, Set and Setting stands as a prime example of Bardo Pond's enduring appeal.
Review: Marking their first LP to not be named after a colour, Savannah, Georgia based sludge-prog metal collective Baroness make their illustrious return on Stone; a darker and more introspective opus of heaving heft and unsettling atmospherics. Leave no doubt though, this is still the band fans have come to know and adore with their reliable brand of fuzzed out psychedelic guitar solos, crushing riffs and catchy hooks. Just one spin of lead single 'Last Word' should be more than enough to dispel any concerns whilst signalling a gloriously grim and captivating new era for the group.
Matilda Mother (alternative version - 2010 mix) (3:58)
Chapter 24 (3:37)
Bike (3:21)
Terrapin (5:04)
Love You (2:28)
Dark Globe (2:01)
Here I Go (2010 remix) (3:20)
Octopus (2010 mix) (3:59)
She Took A Long Cool Look (2010 mix) (1:40)
If It's In You (2:29)
Baby Lemonade (4:11)
Dominoes (2010 mix) (4:02)
Gigolo Aunt (5:45)
Effervescing Elephant (1:37)
Bob Dylan Blues (3:11)
Review: Syd Barrett's An Introduction To Syd Barrett is a compilation of his best bits spanning the period 1967-1970. It takes in music he wrote while a part of the legendary British prog rock outfit Pink Floyd as well as material from his solo career in the years after. Newlyeemastered and remixes also make up the original tracklist, which was overseen with the watchful eyes and sharp ears of Pink Floyd's David Gilmour. The album didn't chart so well but still serves as a superb overview of the career of one of Britain's great singer-songwriters.
Review: Spectral musical favourites Ghost Box return with the beautiful third album by Beautify Junkyards. Extending the idea that junkyards aren't already beautiful in their own scrappy sort of way, Nova is an exquisite selection of junk-larked tropicalia "finds", visually (album-cover-ally) building on the news cut-up assemblages of Dada and committing them to the beatific atmospheric siblings that are trip hop, psychedelia and what we'd trepidatiously deign to call cosmic lounge. With special guests Paul Weller, Dorothy Moskowitz (of United States of America) and Jesse Chandler (of Pneumatic Tubes & Midlake), this is a thoroughly far-flung metal detecting foray indeed, but it's not the inclusion of the canonic names of 60s psychedelic rock that makes this one special, more than it is its bright, refined, verging on impeccable recordings; despite much guitar echo and analogue anaphora, nothing gets lost in mire, despite this being a nominal junkyard. Best of among the shiny things has to be 'Sonora', the star prize in this magpie's nest. These acid folk have well and truly done it again.
Review: Sunshine Hit Me is the debut album from the British band The Bees. A testament to summery jovialty and DIY ingenuity, the album is as raw and earthen as it is soulful, with the band at the time only made up of founding members Paul Butler and Aaron Fletcher, who wrote, performed and recorded the album alone using a home studio in Butler's parents' garden on the Isle Of Wight. Don't be confused by the LP's normative categorisation as "indie rock"; deft listeners can hear everything from reggae to neo-soul in this one, flaunting the pair's impressive musical education going into its making.
Review: Ghost Box founder Jim Jupp returns with a new album from his flagship project, Belbury Poly, and this time around he's doing things a bit differently. Compared to the usual winsome minimal synth soliloquies, he's recruited a full band to round out his sound on The Path. As a result, this isn't like any other Belbury Poly record to date, even if past collaborator Christopher Budd returns on bass and guitar. Elsewhere, Midlake's Jesse Chandler lends some flute, clarinet and key tones, Max Saidi holds down the drums and Justin Hopper offers his narration to the record. Striking on a slinky, library-meets-lounge style without losing that hauntological charm, it's a bold new direction for Belbury Poly.
Review: Andy Bell is a blessed man: he had none other than Neu!'s Michael Rother supply guitar parts to the opening cut 'I'm In Love' (a cover of The Passions' post-punk classic). Moreover, One Love's Dot Allison is guest vocalist and supplies ethereal tones to the breathtaking song. It opens the gate beautifully for the heady collection of entirely new material that follows. It's an album that navigates Stone Roses grooves and Arthur Russell style experimental textures and works just as well for close listening as it does moodily-lit dancefloors. The Ride guitarist is on the form of his life here and you could do far worse than letting this wash all over you.
Review: We get it - there's a lot of music released everyday and it can feel overwhelming to sort the wheat from the chaff. There's no doubt, however, that Ride guitarist Andy Bell has delivered the goods here. His latest solo effort is helped by some influential collaborators. Proto-shoegaze cut 'I'm In Love...' features none other than One Dove's Dot Allison and Neu!'s Michael Rother. It's a beautiful reworking of The Passions' 1981 hit, certain to strike a chord with those who love the dreamier side of shoegaze. Bell has mixed and produced this record himself and proves himself to be a tireless conduit for beautiful ideas and sounds. Long may he keep producing music this good.
Review: Following the success of Matt Berry's 2021 release, The Blue Elephant, and last year's collaboration with KPM, his eighth studio album, Heard Noises, arrives via Acid Jazz. This album comes in a stunning label-exclusive gatefold edition on a classy sky blue vinyl. The lead single, 'I Gotta Limit', shows Matt's lyrical exchange with Kitty Liv, reflecting a man yearning for another chance with a woman who is losing patience. The song, influenced by Sly Stone, packs a wealth of musical ideas into its three-minute duration, blending Northern Soul with psychedelic elements. In contrast to the eclectic sounds of The Blue Elephant, Heard Noises embraces a looser, Californian psychedelic vibe, infusing the album with space pop influences and haunting melodies. Displaying Matt's remarkable musicianship, he plays nearly every instrument, from guitars to synths, joined by longtime collaborator Craig Blundell and an array of talented guests. This album encapsulates the diverse musical journey that has defined Matt Berry's career as a musician, alongside his roles as comedic actor.
Review: Pioneering and mercurial DJ Erol Alkan and former Grid man Richard Norris have been spinning discs together for well over a decade, and remixing other outfits for almost as long, after bonding on a love of '60s psychedelia and classic acid house - yet this marks their bona fide debut as recording artists, and it's a glorious collision of both these passions - fuelled by crate-digging acumen and exemplary taste, and reflective of a magpie spirit that renders these third-eye-massaging gems more than mere psychedelic pastiche, rather a bold and joyful reinvention of lysergic glories of yore for a new aeon.
Review: Bill Orcutt's Music for Four Guitars album emerges as his most mature and exhilarating LP to date and exudes undeniable Apollonian beauty. Praised by underground aficionados and featured on NPR, the Bill Orcutt Guitar Quartet - comprising Wendy Eisenberg, Ava Mendoza, and Shane Parish - embodies technical prowess and improvisational brilliance. Recorded live at Le Guess Who? festival during their inaugural European tour, Four Guitars Live captures the quartet's seamless fusion of faithful renditions and expansive improvisations. From Mendoza's captivating lines to Parish's ethereal solos, the album transcends boundaries, showcasing soulful polytonal improv accessible to all. Orcutt's visionary compositions, enriched by collective virtuosity, redefine contemporary guitar music, captivating audiences with classic intervals and layered intricacies.
Review: Birdie's debut album, Some Dusty, first graced the music scene in 1999 and is now experiencing a well-deserved revival with a remastered vinyl reissue by Slumberland Records. The album's origins trace back to 1992 when Debsey Wykes (Dolly Mixture) and Paul Kelly (East Village) joined Saint Etienne's live band, sparking a connection over their shared admiration for '60s and '70s sunshine pop and soft rock. This bond led to the formation of Birdie in 1994, and the release of their 'Spiral Staircase' 7" single in 1997 on Summershine. Some Dusty was crafted in the summer of 1998 with producer Brian O'Shaughnessy (Denim, Moose, The Clientele). The album's deep and beautiful soundscapes are enriched by Debsey's sweet and soulful vocals, perfectly matched with the melodic, understated yet sophisticated arrangements. The quest for the quintessential pop moment is evident in every track, from the shimmering chimes of 'Port Sunlight' to the intricate interplay of acoustic guitar, trumpet, and keyboards on 'Let Her Go,' and the gentle wah guitar on 'One Two Five.' The addition of lush string arrangements by Sean O'Hagan of The High Llamas elevates the album to classic status. The reissue of Some Dusty allows a new generation to experience its timeless charm and impeccable production, solidifying its place as a pop masterpiece.
Review: Vapor is the fifth album from Sao Paulo Afro-Brazilian heavyweights Bixiga 70, breaking a four-year hiatus to bring you sizzling grooves played with an intensity which is all their own. There's a streak of 70s psych running through these full-bodied jams which splices with the rolling Afrobeat grooves and the piquant brass section - the results are as explosive as you would expect. It's worth noting the changes within the band and in the world around them since they last laid down recordings, so you can consider Vapour a re-birth of sorts for this nine-strong powerhouse.
Review: Since forming in Austin in 2004, American Psych-Rock group The Black Angels have become standard-bearers for modern psych. Over 5 years since the band's fifth album 'Death Song' was released, the group have spent two years working on 'Wilderness of Mirrors', the times providing more than ample fodder for the Black Angels' signature sonic approach. And does it show, packaged in this beautiful gatefold housing limited red and blue coloured discs There are classic blasts of fuzzed-out guitars alongside melancholy experiments in the realms of shoegaze and garage rock. Even amidst these new experimentations, The Black Angels remain true to psych-rock forebears such as Syd Barrett, Roky Erickson, Arthur Lee and the members of the Velvet Underground, all of whom are namechecked on album highlight 'The River.' Another highlight is 'El Jardin' and its sorrowful lyrics and vocal delivery, lyrics discussing a toxic relationship as guitars strum away.
Review: Black Market Brass are back on Colemine with a third full length that once again finds them offering up an all new take on Afrobeat that mixes the traditional sounds of the genre with heavy, hypnotic and sci-fi influences. Saxophonist Cole Pulice has said of the record: "We didn't leave the traditional Afro-beat sound behind, but we did allow ourselves to pull from different places with less hesitation." The nine piece album was recorded live to tap which lends it a lived-in feel and mixes organic instrumentation with heavily processed synthesizers, harsh glitches, fuzzed out guitars and raw percussion. It is a truly arresting and infectious listen.
Review: When it comes to plugging in mega stacks of amplified prog-rock, Vancouver-area band Black Mountain deliver a retro-futuristic sound that's as large as any Godzilla soundtrack. With Destroyer presenting a fifth LP on Bloomington label Jagjaguwar, Black Mountain go someway in delivering a bold cross reference of only the best and most legendary points of 60s, 70s and 90s rock n roll regalia. With keys and piano mixed with guitars, distortion and vocoders giving the band a futuristic, krautrock (Deutsche elektronik musik) edge, British psychedelic and raw but atmospheric arrangements give the band their own undeniable identity. With songs passing the bottle from slow dancing rock, flashy hair metal, to synthy guitars and cosmic arpeggios, the best metal of today is still way up there, on Black Mountain.
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