Review: Indonesia-based Babon was founded in 2023 by longtime friends Wahyudi T. Raupp and Rayi Raditia and craft instrumentals addressing environmental issues. Their sound fuses Melbourne's vibrant music energy with dangdut rhythms, gamelan percussion, and melodic keroncong folk styles. Here they debut on Batov Records with the wonderful 'Tropical Desert Music' which blends Indonesian traditions with Afro-Latin funk, Morricone-inspired grooves, Bollywood breaks and blues. It's the sort of sound that is perfect for fans of Khruangbin or Sababa 5. The A-side 'Desert Rose' is a spaghetti blues anthem, while the flip 'TNT' tells a miner's tragic tale through cinematic, explosive instrumentation.
Review: Not to be confused with the contemporary songwriter Belles, 1960s Canadian soft rockers The Bells, 1980s British pop rockers The Belle Stars, or the seminal Detroit techno anthem by Jeff Mills, Numero Group invite you to step back in time and experience one of the best under-referenced 'response songs' of all time. Taking a lead from Them's 1965 hit 'Gloria', The Belles rework the format to sing about a guy they like. "M-E-L-V-I-I-I... M-E-L-V-I-N, Meeeeelllvviinn" the chorus kind of goes, backing track set to a lackadaisical, classic, jangling, looped rock 'n' roll stomp. Backed with the B-side, 'Come Back', which sets a lighter but brisker mood with its up tempo vocal quartet, delicate snare rolls and catchy six string chords, this is quite the trip to and through another era.
Review: Turkey has always had a fascinating funk scene and Beybonlar has been at the heart of its contemoorary scene. HIs 2019 album Gelin Aysem on Arsivplak is a gold standard from the genre and one of its key singles gets serve dup on its own 7" with a special insert. The title track 'Gelin Aysem' opens up with psyched out guitars, plenty of lo-fi drums and wailing Turkish vocals that bring the exotic flavours. On the flip, 'Nenni' is a little harder and darker in its mood and groove.
Review: Blackwater Holylight sacrifice their latest EP 'If You Only Knew' to the Suicide Squeeze gods, providing an intermezzo of cosmos and sludge. A chthonic dark psych explosion if we've ever heard one, we hear metal, shoegaze, and psychedelia culminate to an iconoclastic crunch point, as strange auraic statues of Cthulhu shatter before our eyes, evoking the god beast in actuality, not just representation. Lead track 'Wandering Lost' hears the band tear up constellate skies, as producer Sonni DiPerri shapes the track's many shifting structural tides, evoking the many emotional turmoils and stretching-thins of life; Sunny Faris (vocals, guitar, bass) further emphasises its point, that is, to embrace the inequitable unknown.
Review: Formed in Harrow in 1964, The Bo Street Runners were a short-lived r&b blues-hued garage rock band that reflected the signs and sounds of the time. Standing up to their peers pretty well, it's a case of instability killing the cat rather than a lack of ideas, with nine members going through the lineup in the two years the group were officially active for. Among them were future Fleetwood Mac drummer, Mick Fleetwood and vocalist Mike Patto, who some may remember from outfits such as Spooky Tooth, Patto and Boxer. Bo Street Runners is one of just four singles the troupe did for Decca, a brief back catalogue that culminated in a single extended player. This is a small but insightful introduction to their sound and a clear sign of just how good they were.
Review: We have always got time for new heat from Big Crown and that's just what we have here from Brainstory. This trio of artists take cues from the label's co-owner Leon Michels and his work interpreting the Wu-Tang but with this own energy. They dropped a first EP back in 2014 and since then have looked to jazz, hip-hop old and new, soul and cinematic opulence for their inspiration. This new 7" comes as the outfit is finishing off its second full length and is a fine taster of what to expect with a show stopping two-sider that will soon find its way into you heart.
Review: The latest addition to Echo Edits keeps the funk coming courtesy of Break Character who delivers two powerful tracks that are indicative of his unique approach, names to enhance each edit with extra layers of FX and beats. 'Cosmic Freaks' takes a 60s go-go rock groove and infuses it with Moog and Space Echo effects while paying homage to the psychedelic club sounds of Pierre Henry and JJ Perrey. 'Cherie Boca' then transports you in an instant to the funky samba rhythms of 70s Brazil with an extended edit and added beats to guide dancers from the favela to the beach. Two distinct styles, perfect for different vibes.
Review: The 60s Liverpudlian rock quartet are famed for their song '6 Day War', which has been sampled from the likes of DJ Shadow in Tokyo Drift and Pusha T on his album released earlier this year. This track is undoubtedly a classic, written in the aftermath of the ongoing Arab-Israeli war of 1967, '6 Day War' is one of the best anti-war tracks of all time. The slow jam-rock ballad comes from the band's album 'Oh What a Lovely War!' released in 1973 which has not been released in Britain until now, making this a landmark pressing. The record is a psychedelic soft-progressive rock LP with emphasis on heavy guitars like in 'Lay it Down' and even pulls from folk rock in 'Dirty Delilha Blues'. Colonel Bagshot were almost criminally overlooked, though their music seems to consistently stand the test of time and it's easy to hear why. The sound is quintessential Liverpool rock, even down to the naming conventions being evocative of The Beatles.
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: Following a few years spent focusing on his ambient, drone and instrumental shoegaze focused GLOK project, former Ride man Andy Bell has finally got round to recording a new album of songs. Titled Sonic Cathedral, the album is undeniably nostalgic in tone, not only reacalling the jangly and sonically dense days of shoegaze and jangly indie-pop, but also the funkier and more intoxicated indie-dance records of that period (think Weatherall productions and remixes of the period, the Stone Roses and - whisper it quietly - Candy Flip). It's a bold and hugely enjoyable blend, with Bell sashaying between the tactile, Spiritualized-ish 'The Notes You Never Hear', the krautrock-goes-funky flex of 'Space Station Mantra', the Beck-esque 'Music Concrete' and the Tony Allen/Afrobeat-influenced 'Apple Green UFO'.
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: After a touring break, soul outfit Black Pumas hit the road in 2024 in support of their celebrated second album, Chronicles of a Diamond. Live From Brooklyn Paramount captures the electrifying 'Electric Church' energy crafted by Eric Burton, Adrian Quesada and their six-piece band. The setlist spans highlights from both Chronicles and their million-selling debut, featuring Grammy-nominated hits like 'Colous' and 'Black Moon Rising' alongside fan favourites such as 'More Than a Love Song' and their soulful take on Tracy Chapman's seminal 'Fast Car'. This live release is a wonderful way to immerse yourself in the band's powerful live performances.
Review: There are moments in the spellbinding and often criminally overlooked Blue Cheer anthem, 'Summertime Blues', when it feels like we've descended into the depths of industrial guitar chaos. A cacophony of feedback, growls, and low, rumbling refrains. A pithy reinterpretation of Eddie Cochran's 1958 hit single, here rendered obtuse for the second, decidedly less-radio and commercial-friendly rock 'n' roll generation.
The whole version plays out in a way that's much like we can imagine Jimi Hendrix might have made happen. Grizzled, gritty, fraught and, ultimately, very loud indeed. It's a standout on this triple-A-side of 1967 Blue Cheer demos, three tracks committed to the pantheons when the psychedelic blues and acid rockers were first beginning to focus their energies. But while the aforementioned is the main event, everything here shows why there was so much excitement around them in the first place.
Nude Love (long version - previously unreleased - bonus track) (3:20)
Review: Codice d'amore orientale may not be Piero Vivarelli's best film according to those who know, but its fantastically groovy soundtrack is a standout feature. Composed by Alberto Baldan Bembo under the alias Blue Marvin, the nine tracks blend Italian pop, orchestral arrangements, Asian influences, breakbeat, funk and experimental sounds. The soundtrack captures the essence of the era and offers a unique mix of genres that perfectly complements the film's vibe. Its eclectic style makes it a must-have for any self-respecting DJ's collection while showcasing Baldan Bembo's versatility.
Review: They may have been formed in 1967 in Long Island near New York, Blue Oyster Cult are synonymous with the 70s, scoring numerous hits and filling arenas with their neat fusion of Californian-style stoner rock and more pop/rock/metal influences. The title track of this 17 track best of is obviously their best known song, one that is almost universally known, from its weaving opening to its iconic cowbell-whacking. But there are plenty of hidden depths to the band's history revealed here. 'Shooting Shark', for instance, given a very 80s production job that goes heavy on the synths and Linn drums, is one of a number of collaborations with queen of New York punk Patti Smith. 'Godzilla', meanwhile, proves they can successfully inject an element of funkiness into their approach too, not a million miles from Frank Zappa's sublime 'I Am The Slime' in its feel. No better time to join the Cult.
Review: Anton Newcombe's prolific Brian Jonestown Massacre notch up their 19th studio album with Fire Doesn't Grow On Trees. It's headed up by lead single 'The Real', which shows the psych-rock lifer hasn't lost any of his inspiration this far into his career. He worked in the studio with Ricky Maymi, Ryan Calrson Van Kriedt, Hakon Adalsteinsson, Hallberg Daoi Hallbergsson, Uri Rennert and Sara Neidorf in a whirlwind 70 days of tracking new music, and this album, whittled down to 10 incendiary tracks, is the result. It's everything you want from a BJM record - a perfect addition to their monumental oeuvre.
Review: Sandro Brugnolini's Overground stands as a rare gem in library music and is also generally regarded as some of this artist's best work alongside his formidable Underground from 1970. Originally released on Sincro Edizioni Musicali, it served as the soundtrack to Enrico Moscatelli and Mario Rigoni's documentary Persuasione having been commissioned by Ente Provinciale Per Il Turismo Di Trento. Featuring top Italian musicians like Angelo Baroncini, Silvano Chimento, Giorgio Carnini, Enzo Restuccia, and Giovanni Tommaso, the album traverses from underground psychedelic prog rock with swirling organs and fuzzy guitars to sophisticated lounge grooves with avant-garde orchestrations. Now remastered from the original tapes, it is one to add to the racks tout suite.
Review: .They don't come much tighter than the legendary New York City outfit, Budos Band. The acclaimed funk outfit has long been associated with Daptone Records - for over two decades, in fact - but here they land on new label Diamond West with latest EP Frontier's Edge. Across five cuts it has their famously tight grooves under pining each track and the whole thing is said to have been written in just a few days. The lead single and title track is a menacing head banger with bone rattling guitar and tejano-flavored horns.This one comes on lovely opaque lime vinyl.
Review: After years spent delivering heady fusions of deep funk and Afro-funk on Daptone Records, The Budos Band resurface on Diamond West, an imprint founded by two of the band's key members earlier this year. Their first missive on the California-based imprint is as rousing and fiery as ever, with their usual riotous and heavyweight sound being subtly expanded via nods towards psych-funk, Mariachi Band music and the funk-rock sound made famous by Sly and the Family Stone. The six scorching instrumentals on show are all superb, with our current favourites including the punchy 'The Devil Doesn't Care', the trippy solo-laden explosion that is 'KRITIN' and the deliciously psychedelic and suspenseful 'Curled Steel'.
Review: Brian Auger's Streetnoise was originally recorded in 1969 with Julie Driscoll and The Trinity. It stands proud as a genre-blurring work of jazz, rock, folk and soul greatness that found the group moving beyond their r&b and jazz roots. Instead, Auger and Driscoll crafted a progressive, avant-garde yet deeply soulful record in which Driscoll's haunting vocals contrast beautifully with Auger's instrumentation. The gatefold sleeve was designed by Hunter S Thompson collaborator Ralph Steadman and was inspired by Hogarth's satirical etchings which in turn reflects the album's artistic ambition. Streetnoise features dynamic instrumentals like 'Ellis Island', great reinterpretations of 'All Blues' and 'Flesh Failures' and standout tracks such as 'Indian Rope Man' which highlight Auger's visionary fusion of styles.
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