psych . krautrock . prog . rock


Genre pick of the week Cover of Ty Rex by Ty Segall.
The Ty Rex corner of Ty Segall’s oeuvre represents the nom-de-rock behind which the artist puts his spin on favored Tyrannosaurus Rex and T. Rex compositions. With previous releases now dwelling in out-of-print nether-regions, the album compiles the six-song Ty Rex EP (a.k.a. Ty Rex I, originally released by Goner as a limited edition 12-inch for Record Store Day 2011) and the two-song Ty Rex II 7-inch (RSD 2013). As if this wasn’t enough of a corrective gesture, Ty Rex is expanded to include a previously-unreleased cover as a bonus—but first…

For those who missed out on this nook of Segall’s rapidly-growing footprint across the rock landscape, here is a cursory rundown: The compilation showcases a nice balance between T. Rex’s ’67-70 psych-folk incarnation under the name Tyrannosaurus Rex and the better-known pioneering and perfecting of glam-rock that defined the initial ’71-73 era under the shortened T. Rex moniker. Kicking things off is the thick, woozily rocking interpretation of “Fist Heart Mighty Dawn Dart,” one of two covers pulled from Tyrannosaurus Rex’s fourth and best album, 1970’s A Beard of Stars. Segall then double-dips into the consummate T. Rex (and for that matter, the entire glam-rock movement) achievement, The Slider, with a rendition of “Buick MacKane” followed by an excellent dirtying-up of the title track. Clearly executed with the ear and understanding of a super-fan, next up is Segall’s awesome tackling of “Woodland Rock” an Electric Warrior outtake that also surfaced on the B-side to 1971’s non-album “Hot Love” single. Returning to Tyrannosaurus Rex fare for the two tracks that originally concluded the Ty Rex I EP, “Salamanda Palaganda” originates from 1968’s Prophets, Seers & Sages: The Angels of the Ages and “Elemental Child” from A Beard of Stars. “Cat Black” (from Tyrannosaurus Rex’s 1969 album, Unicorn) and Electric Warrior’s closing song “The Motivator” follow, before wrapping up this compilation of Ty-Rex material is the aforementioned previously unreleased bonus track, Segall’s cover of “20th Century Boy” (a non-album T. Rex single from 1973).


LP Info: 150 gram vinyl.

Includes MP3 Download Code.

Jeff Buckley / Sly & The Family Stone

Everyday People

    Jeff Buckley's interpretation of Sly Stone's Classic Everyday People along with the original. Pressed on standard black vinyl.


    Ltd 7" Info: Black Friday exclusive!

    Tom Carter

    Long Time Underground

      Tom Carter is one half of the long - running and influential underground duo Charalambides (Kranky).

      Tom Carter’s new solo album, Long Time Underground, is nothing short of stunning. While Carter shrugs off suggestions that Long Time Underground represents some sort of sea change in his approach to making music, this (along with its companion post - illness release, Numinal Entry, on Halatern) comprises his first solo work this decade.

      Long Time Underground, moreover, is the first solo studio recording Carter has ever done. Long Time Underground is almost unsettling in its purity. A collection of fractal guitar études, the album is comprised mostly of composed material some of which was written in the studio, some worked out in performance over the past few years. Each song was set down live without overdubs, and the result is an almost confessional intimacy.

      The sprawling side long opener ‘August is All’ begins in a kind of languorous humidity, Carter’s bell like guitar chiming  against a scrim of cicada song and building to a storm of jagged heat lightning before subsiding again. Carter’s guitar is painting landscapes here, conjuring a panorama in such vivid colors and textures that one is happy to idle there for a time. ‘Entreaertne’ is an electric prayer, set against the harmonium-like breathing Carter somehow elicits from his guitar. The bluesy, cascading dirge of ‘Carvedilol Cowboy’ has just enough swagger to almost count as rock and roll.

      The luminous ‘Prussian Book of the Dead’ slowly transmutes a hopeful, hymn -like progression into bright, buzzing angelic noise. (The song’s title, with its intimations of mortality in Berlin, promises something radiant, if not quite human, awaiting us all on the other side.) The album closes with an older song, ‘Colors for N,’ an earlier version of which appeared on Carter’s 2007 Whispers to Infinity CD.


      2xLtd LP Info: 2LP pressed in an edition of 900 copies on 140 gram Dutch vinyl housed within a gatefold jacket (with download).

      Rob Chapman

      Psychedelia And Other Colours (Hardback Editoon)

        In the summer of 1965 the informal parties that Ken Kesey was holding at his house in Palo Alto California were about to evolve into what became known as the Acid Tests. These spontaneous anarchic gatherings spread their tentacles far and wide until an entire generation seemed to be under their spell. Fifty years on from the Merry Pranksters multimedia mayhem, acclaimed author Rob Chapman explores in crystalline detail the history, precedents and cultural impact of LSD, from the earliest experiments in painting with light and immersive environments to the thriving avant-garde scene that existed in San Francisco long before the Grateful Dead and the Fillmore Auditorium. In the UK, he documents an entirely different history, and one that has never been told before. It has its roots in fairy tales and fairgrounds, the music hall and the dead of Flanders fields, in the Festival of Britain and that peculiarly British strand of surrealism that culminated in the Magical Mystery Tour.

        Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. It's a story that you think you know, but no one has laid out the narrative quite like this before. Chapman documents psychedelia's utopian reverberations - and the dark side of its moon - in a shimmering day-glo portrait where the sublime, the sinister and the just plain silly co-exist in imperfect harmony.

        Includes a foreward by Andrew Weatherall.


        Book Info: Hardback edition. 656 pages, 16.5 x 4.1 x 24.1 cm.

        The Deep

        Psychedelic Moods

          Expanded deluxe edition of The Deep's one and only album, originally released in 1966 and now well-established as a psychedelic classic. One night in a darkened Philadelphia studio, the Deep (Rusty Evans, songwriting partner and producer Mark Barkan, the legendary David Bromberg, whose credits include playing with Bob Dylan and many others, plus a bevy of talented musicians) laid down tempestuous garage punkers, sweetly-twisted ballads and ambiguous weirdness, all rife with hyper-psychedelic lyrical flashes of a rolling midnight expressway through the subconscious mind. A perfect representation of the psychedelic sound: free-form poetry, infectious drum beats, fuzzed out guitar, and playfully plucked bass (and vibes and tympani and so on), swirl together, coalescing into some of the most impressive psychedelic rock you'll hear. Cuts like 'Your Choice To Choose,' sound very Seeds-like or proto-Velvet Underground, Lou Reed snarl and all; others like 'Shadows On The Wall' and 'Wake Up and Find Me' are haunting acid ballads: the whole point of the album was to thoroughly explore the hallucinatory agony and ecstasy of a 12-hour Technicolor dream... although the end result is more amphetamine edgy than acid-soaked trippy. The Deep "Psychedelic Moods" pre-dates its closest kindred sprit in sound and energy (albeit not subject matter): “The Velvet Underground and Nico" came along five months later, and the world of music shifted on its axis—but too late for the Deep.

          This 3xLP release of “Psychedelic Moods” is taken from the original four-track master tapes. In addition to the superlative master takes, there are three sides of out-takes and alternates from the Deep original four-track session tapes. This set also marks the vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro), another LSD trip project produced by Mark Barkan in 1966. Tip-on gatefold art has liner notes detailing the mysterious rise and fall of this New York City band. Made with full co-operation of original Deep producers, Mark Barkan and Rusty Evans. A definitive example of the psychedelic sound.

          "Something of a psych fan's dream, this LP was recorded in August 1966, when the idea of a conceptual acid album was completely uncharted territory. Consequently, Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh many decades later. The twelve tracks are essentially a series of musical trip reports covering the whole emotional spectrum, from chaos and euphoria to introspection and melancholy, with an intense, challenging atmosphere." —Patrick Lundborg, Acid Archives

          •Remastered from the original four-track tapes—including three sides of alternates

          •Vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro)

          •Housed in an old school "tip on" gatefold jacket

          Like Hawkwind on even more acid or Sunn O))) meets Butthole Surfers/P.I.L. with four bassists and droning powerful songs...

          Those masked marauding architects of cacophonic, bombastic, psychedelic bass bothering rock have been at it again, by which we mean making another album of unrivalled and quintessentially unique rock music.

          Everybody Come To Church is the new album from Evil Blizzard. To say it’s been eagerly awaited in many quarters is an understatement, something we reckon fellow North-West based musician Mr Mark E. Smith, who’s been heard to say of the Blizzard “I like Evil Blizzard, they give me hope that music is alive and kicking” will no doubt agree with. The Guardian are also huge fans of the band having featured them on their cover and describing them as“…afearsome collision of Hawkwind, krautrock, molten noise, dazzling psychedelic lights and weird, gnarly looking masks.”

          The album was “recorded live in one day with minimal overdubs at Magnetic North Studios” “Everybody Come To Church is a fierce, spontaneous outburst of evil noise.” Like we’d expect anything less. They hadonly four songs written before entering the studio and the rest of the album just ‘happened’ around ideas they’d had knocking about.“Everybody Come To Church features eight tracks of brooding, sinister psychedelic rock that will melt your mind and soul. You have been warned” concludes the press release. Amen to that.


          Ltd LP Info: Red vinyl repress - limited to just 300 copies.

          Fumaça Preta

          La Trampa

            Tortured organ derails your mind as the Funana drums force your feet to move. Soon we dine with the devil; Fumaça Preta are leading the conga line to hell. La Trampa’ is a Venezuelan slang opera. A dancefloor tsunami.

            B side ‘Apelo’ offers up a twisted Fumaça Preta arrangement of Paolo Begunca’s lost classic, mixing sabbath rock, tambu, voodoo and fado. Lose your soul to the impossible cocktail that is Fumaça Preta.

            Gurgles are a three piece (Bass, Keys, Drums) brother-and-sister plus Bradley Cunningham Bradford progpopband. Songwriter and Fender Rhodesman is Augustin Bousfield of Mucky Sailor and ex of Nope. Also promoter of Saltaire's Pleasure Grounds night, synthpop bon viveur Lord Adonis and writer of TV music.

            The album was lovingly recorded by MJ from Hookworms and features artwork of the destruction of Shipley Clock by famed illustrator Kenn Goodall.

            'Gurglefirst?' is a multi-hued Fender Rhodes driven pop-trip whose influences include Jim O'Rourke, Steely Dan, High Lamas, Deerhoof Prefab Sprout, Cardiacs, Kraftwerk, Yellow Magic Orchestra, Robert Wyatt, Chicago, Pink Floyd and Van der Graaf Generator.

            Lee Hazlewood

            Its Cause And Cure

              The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.

              It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.

              The second of his MGM trilogy - 1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure - took on countrified French ye-ye (“The Girls In Paris”), a tale of a young bullfighter built on Spanish guitar and choral cowboys (“Jose”), a string-drenched song about the passing of time (“The Old Man And His Guitar”), and a western epic about a Native American tribe (“The Nights”). And that was just the first four tracks. Elsewhere, the honky tonk madness of “Suzi Jane Is Back In Town,” the Byrds-like jangle of “In Our Time” and–in the bonus tracks–an instrumental named “Batman” confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever.

              It’s the result of two main factors: ambition–to top Phil Spector, primarily–and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. “I think the big sound of those records came out of the Spector thing,” says Hokom, in the new liner notes. “If you can have a big sound and you have money to burn… it was a flamboyancy.”

              Released before the Nancy & Lee LP–a bona fide hit for Reprise Records–Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, The Very Special World Of Lee Hazlewood and follow-up, Something Special. Welcome to Hazlewood's magnificent–and mad–MGM years.


              LP Info: LP housed in a deluxe gatefold Stoughton tip-on jacket.

              Lee Hazlewood

              Something Special

                The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood. He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the "boy/girl” songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when “These Boots Are Made For Walkin’” made him a star songwriter) had become.

                The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label–experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like “Little War” and “Hands,” the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.

                The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his “expensive demos. I’m sure that MGM thought that they would be successful.” Little chance of that with Something Special–it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best–and most varied–work.

                FORMAT INFORMATION

                LP Info: LP housed in a deluxe gatefold Stoughton tip-on jacket.

                Lee Hazlewood

                The Very Special World Of Lee Hazlewood

                  Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with “These Boots Are Made For Walkin’,” the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned.

                  In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning–in as much as he ever did–for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.

                  Lushly orchestrated and–like the album that preceded it–half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others (“Sand,” “Boots,” “So Long Babe,” “Summer Wine”–included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, “For One Moment.” It’s a record of extremes: “When A Fool Loves A Fool” is as light and throwaway as anything he ever laid down, while the wistful “My Autumn's Done Come” (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.

                  Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups Lee Hazlewoodism: Its Cause and Cure (1967) and Something Special (1968). Welcome, then, to Hazlewood's magnificent MGM years.

                  FORMAT INFORMATION

                  LP Info: LP housed in a deluxe gatefold Stoughton tip-on jacket.



                    Stabs is the debut LP of the Swedish garage rock act HOLY, the project of Hannes Ferm. Released via Stockholm label PNKSLM Recordings and Ny Våg Records, the label of Dennis Lyxzén from Refused, it’s a mix of lo-fi production and instantly catchy, and expertly crafted, songwriting. HOLY is without a doubt one of the most exciting new acts in Scandinavian, mixing the sound of sixties psych pop with the past decade’s Californian garage rock scene to create his own distinct brand of home-recorded pop and HOLY’s already picked up attention from Stereogum, DIY, The Line of Best Fit as well as toured the UK around Liverpool Psych Fest.

                    Dave Jackson & The Cathedral Mountaineers

                    Red Fin Sunset

                    For fans of; Tom Waits, Nick Cave, Johnny Cash, Leonard Cohen, Velvet Underground. Red Fin Sunset by Dave Jackson & The Cathedral Mountaineers follows on from his critically acclaimed first solo album Cathedral Mountain. This time, he’s reunited with Benny Profane and Dead Cowboys guitarists, Robin Surtees and Greg Milton, and augmented by Andy Wilson on keyboards and the celestial Cathedral Mountain Choir.

                    The album contains six new songs and five re-imagined ‘covers’ of Benny Profane classics, all stripped back to the atmospheric, two guitars, no drums mood of the previous album but making wider use of heavenly choir and keyboard textures to create a more expansive sound. The songs give prominent place to vocals and continue in the storytelling vein of yore: Having seduced the mother by stealing her Mojo Hand, a Saltspell Man swaps their first-born for a Changeling Girl. A Jekyll & Hyde style drug fiend dances through Victorian London, accompanied by his Pet Ape and wielding his Dragon-headed Cane. The spirit of Vlad Impaler visits a Tory Tax evader at his Andorran mountain retreat. A man on life-support contemplates the cosmos through palliative bliss. An estranged lover watches his paramour diminish from the gondola of an airship.

                    Dave Jackson has been writing, recording and singing with his bands The Room, Benny Profane, Dust and Dead Cowboys since the early 1980s and has toured in the UK, Europe and the USA with The Fall, The Birthday Party, Bauhaus, The Violent Femmes, Tom Verlaine, New Order, Echo & the Bunnymen, Aztec Camera and The Wedding Present. Tracks by The Room and Benny Profane are included on Cherry Red’s Scared to Get Happy: the Story of Indie Pop Box Set and C86 Deluxe Box Set. Jackson’s first novel is due out this winter, accompanied by the micro-budget feature film he adapted from it and co-produced. Violet City was shot entirely on green screen, by director John Maxwell and has been in post-production for 5 years.

                    Les Rallizes Denudes

                    Live 1977

                      LES RALLIZES DENUDES are one of the earliest and most revolutionary Japanese psychedelic rock bands, and have existed off and on through four decades. Formed in November of 1967 at Kyoto University, inspired by Exploding Plastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer and Mario Schifano’s avant garde ensemble Le Stelle.

                      By 1968 they were gigging live and even began a regular collaboration with an avant-garde theater troupe, which ended the next year because of Les Rallizes’ penchant for extreme volumes of sound. Not only did they use massive amounts of feedback at loud volumes, their stage shows used strobe lights, mirror balls, and other effects for a live experience that was a total sensory assault. This historic performance recorded in Tachikawa is a document of the band’s sound: extreme feedback, distressed guitar with detached vocals laid over languid rhythms, unbelievable in intensity.

                      Al Lover

                      Zodiak Versions

                        San Francisco-based producer Al Lover has spent the last several years evolving a unique approach to psychedelic music by way of exploring the common threads within it’s various genres. His newest effort, ‘Zodiak Versions,’ sees Al exploring what he views as two musical styles that have defined modern underground music culture, Jamaican Dub Reggae and the German experimental “Krautrock” from the 1970’s. Sketching out repetitive dub baselines and leads using only the keyboard of his laptop as a musical device, Al formulated the basic structures of the what would become these versions. Reminded of what artists like Kraftwerk and Neu! attempted to portray with the driving motion with their motorik beats and expansive washes of analog synthesis, Lover felt compelled to write music directly within the environment that had once inspired the original ‘Krautrock’ sound.

                        Once back in the states Al teamed up with good friends Burnt Ones in LA to add some touches of guitar and synth drone to the sketched out songs. At this time he was further introduced to the some of the lesser known efforts of Kraut pioneers that would later influence the rise of Ambient music. Returning home completely inspired, he added even more layers of analog Moog synthesizer, tribal percussion, and vintage rhythm box drum sounds before sequencing and mixing all the elements through a vintage Roland RE-201 Space Echo. The end result is is what you have here in Zodiak Versions. With his last few projects, Al Lover has been bouncing back and forth between a more sample based remix approach and actual synthesized music composition.

                        You can hear elements of his earlier works - Distorted Reverberations (of Reverberating Distortion), Vodun Moon, Goat Remixes, Sacred Drugs, Cave Ritual (& Redux) - in Zodiak Versions, but the music is heading in a more textured, droned out direction. An experiment in maximized minimalism. Subtlety and nuance hidden within an intense wall of sound, as if the psychedelic aspects of everything that influenced the record have been extracted and reconfigured to produce the sonic dub version of a bad trip. 


                        Two Ways - Coloured Vinyl Edition

                        London-born brothers Ben and Tom Page return from their travels with Neneh Cherry with a crisp new black-and-white split colour vinyl 12”, the James Holden-produced two track celebration of synth and drums "Two Ways". Accomplished jazz drummer Tom also plays in Holden’s own live band so Border Community provides a fitting home for his live take recordings of the RocketNumberNine brothers’ in-the-moment improvisations, capturing them at the peak of their performative powers. "Two Ways" sees afro-tinged percussive melodics and a beefy bass component build to a wild and joyful free jazz crescendo. The insistent rave stabs of flipside "Balance Of Imbalance" meanwhile power ahead noisily over judiciously placed atonal metallic clangs and the frenetic rattle of Tom’s vintage drum kit.

                        Ananda Shankar / The Savages

                        Jumpin Jack Flash / Born To Be Wild

                        From rocking Bombay to swinging London: what a terrific trip! in the 60s, young Indians and young Brits struck up an unlikely relationship that resulted in some truly amazing music.

                        For this generation, culture was currency. hip young Indians rocked up in London. ‘Beat’ bands in Bombay belted out versions of the latest rock’n’roll hits. Indian musicians dreamt of making it big in the West, while British bands were eager to explore mystic, exotic India. Despite their very different upbringings, both Eastern and Western youth revelled in their opposing cultures. 'Slip-disc - Dishoom's London Bombay Grooves' is the sound of this cross-Continental youth revolution and a long-distance love affair.

                        Sonic Jesus

                        Neither Virtue Nor Anger

                        Shindig Magazine has called them “one of Psych’s best kept secrets”. Drowned In Sound compared them to Brian Jonestown Massacre, combined with the sonic intensity of A Place To Bury Strangers. Last year they grasped the attention of Psych Nouveau godfathers The Black Angels, who were enthusiastic of sharing a 10” split single, collecting astonishing reviews and premiering on Consequence Of Sound and Exclaim. Shortly after getting together in 2012, the band from Doganella Del Ninfa, Italy, released their first self-titled EP and almost immediately sold-out, followed by their mind-blowing London live debut at The Shacklewell Arms.

                        Since then, they have taken part in the Reverb Conspiracy compilation (curated by Fuzz Club and Austin Psych Fest) twice and toured intensively around Europe. They also shared stage with Damo Suzuki and collaborated with iconic Icelandic artist Jón Sæmundur aka Nonni Dead of Dead Skeletons, who did the cover art for the EP and joined them on stage at Eindhoven Psych Lab 2014. After leaving their fans lying in wait for a follow-up for two years, they are now about to release their debut album Neither Virtue Nor Anger, a double LP out on Fuzz Club Records on the 13th Of April 2015. Recorded in their studio between 2013 and 2014, Neither Virtue Nor Anger is something beyond the colourful blend of 60s Psychedelia, Folk, Krautrock, Shoegaze and Post-Punk anticipated by Locomotive. The more it progresses, the more it turns into a desperate stomping Bacchanalia, spiced up with an hypnotic flavour and distorted atmosphere a la Faust. Obscure ceremonies for Greek-Roman mystery rituals, songs like My Lunacy and Cancer are the perfect soundtrack for a futuristic and dystopian Fellini’s Satyricon.

                        The album features the artwork of prominent Italian artist Mirco Maracci. His work has been exhibited in Palazzo Taverna in Roma in 2014, along with Andy Warhol, Giorgio De Chirico, Keith Haring and Amedeo Modigliani. Mixed by Fabio Vedardo at Circe (as in the mythological character) Digital Studio and mastered by Brett Orrison at The Austin Recording Service, Neither Virtue Nor Anger is anticipated by the video of Lost Reprise, by Emanuele Manco.

                        FORMAT INFORMATION

                        Ltd LP Info: 500 only limited vinyl repress on clear frosted vinyl.

                        The Sonics


                          * Deluxe all ‘tip-on’ box set with 3 LPs, book, folded 18”x 24” poster, and download card
                          * 36 page LP-sized book featuring dozens of unpublished photos and a 5,000 word oral history of The Sonics, as told by all five original members and Etiquette founder Buck Ormsby.
                          * Includes exact replicas of Here Are The Sonics & Boom! albums with Volume 3, a ten-track collection of Sonics rarities.
                          * Limited to 3,000 copies

                          The legendary Sonics are recognized as one of the hardest-hitting aggregates in rock’n’roll history. The Tacoma, Washington quintet blew the roof off the Pacific Northwest scene back in the mid-1960s with a raucous and righteous blend of vintage rock’n’roll and R&B, hot-rodded in spectacular fashion upon iconic discs such as “The Witch” and “Psycho.” The group’s savage, visceral recorded legacy remains a benchmark in communicating the power of basic rock, and since reuniting in 2008, The Sonics have brought their pounding, uncompromising brand of garage rock to all corners of the globe.

                          In celebration of The Sonics’ half-century as a recording act, we are proud to present this limited edition vinyl box set of their complete and essential Etiquette Records catalog. The contents of Fifty feature 34 tracks that constitute the true lexicon of Northwest garage rock, including “The Witch,” “Psycho,” “Boss Hoss,” “Strychnine,” “Cinderella,” and “He’s Waitin’.”

                          Fifty is packaged in deluxe fashion as three vinyl LPs: exact replicas of the Here Are the Sonics and Boom albums, along with a third disc of rarities. The 36-page LP sized booklet features a brand new oral history by all five original Sonics members and is illustrated with over two dozen previously unpublished images from the archives of famed photographer Jini Dellaccio. Last but not least, the box includes a 18" X 24" color poster.

                          Fifty is thus the last word on a small yet essential part of the American rock’n’roll landscape.

                          The Stairs

                          The Great Lemonade Machine In The Sky 1987-1994

                          The Stairs were truly one of the great-lost bands of the early Nineties, championed by Elvis Costello, Paul Weller and many other luminaries, they influenced (along with the La's), a whole new generation of musicians including The Coral & The Zutons).

                          They released little, apart from a few singles, one of these being the unforgettable cult classic: 'Weed Bus'- and their celebrated psyched up, debut LP (Go!Discs) : 'Mexican R'n'B'. (a triumph of the soul!)

                          The Viper Label proudly presents: ‘The Great Lemonade Machine in the Sky', a collection of previously unreleased recordings all thought to be lost but recently rediscovered in a relative’s attic!

                          A heady mixture of Psychedelia, Motown, Garage Rock 'n' Soul, R ‘n’ B that confirms their credentials- not just in the great canon of Liverpool bands but also as an essential part of British Underground Rock.

                          The Wolfmanhattan Project

                          Smells Like You / You Are My Glue

                            The Wolfmanhattan Project is a brand new band featuring Mick Collins, Kid Congo and Bob Bert. Their debut single sounds like the sort of trashy, swampy, sleazy, damaged music one would expect from the gentlemen involved. An album will follow soon(ish).

                            Various Artists

                            Transformers The Movie OST - 30th Anniversary Collector's Edition

                              Marking the 30th Anniversary of the Original Motion Picture Soundtrack to Transformers The Movie comes this collector's edition, double vinyl package including two etched, coloured vinyl LPs in a Transforming gatefold sleeve. LP1 is pressed on red vinyl and etched with the Autobot logo, while LP2 is pressed on purple vinyl and etched with the Decepticon logo. The gatefold sleeve completely "transforms" all four sides from an Autobot themed jacket to a Decepticon themed jacket. This original 1986 cult classic, remastered and re-imagined, has never sounded or looked better! Transformers, There's More Than Meets The Eye!

                              “Heavy Soul” looks at what happened after soul and rock crossed paths in the late 60s. Like the Rolling Stones recorded at Muscle Shoals studio in Alabama, it’s funky and down home, and includes Tony Joe White, Bobby Womack, Dr.John, Donnie Fritts, James Luther Dickinson, Leon Russell, Allen Toussaint (RIP), Jim Ford, Link Wray, Johnny Jenkins, Delaney & Bonnie & Friends, Buddy Miles, Allman Brothers Band, Aretha Franklin (covering The Band), Wilson Pickett (doing “Born to Wild”!) and much more.

                              Back to top