MAGIC MIX

psych . krautrock . prog . rock

WEEK STARTING 21 Jul

Genre pick of the week Cover of Thru Me Again by La Hell Gang.
Thru Me Again is the 2nd release from Chilean trio La Hell Gang and their first with Mexican Summer. Hailing from Santiago, which plays host to an ever growing psychedelic scene (Holydrug Couple, Follakzoid, La Banda, etc), the band create a remote and wild brand of rock ‘n' roll. The eight tracks across Thru Me Again weave seamlessly, channeling heat, light and endless desert dunes.

Despite the heavy context, there's a real clarity in the production, making the blistering guitar solos and mirage-like vocals all the more potent. Tracks like "Inside My Fall" and "Last Hit" recall bands like The Black Angels and BRMC, but some of the more lucid moments ("Sweet Dear", "So High") feel like a grittier Brightblack Morning Light. The soundtrack for your heat swept summer.

The Black Angels

Clear Lake Forest

    New EP of seven new tracks, from Austin Texas Psych Rock band.

    It follows their album Indigo Meadow (2013) where once again The Black Angels proved themselves the undisputed avatars of contemporary psychedelic rock, simultaneously exalting the genre’s kaleidoscopic past as they thrust it further into the future. the band brought new focus to their wide-ranging songcraft, the righteous riffs and dogmatic drones gaining increased power as they fuel a more expansive emotional terrain. A 21st century trip as transcendent as any in the canon.

    “Imagine tossing bands from the pantheon of American psychedelia like The Electric Prunes, Count Five, 13th Floor Elevators and The Seeds into your blender, adding a splash of Sabbath and a dollop of early Soundgarden or Mudhoney, and you’ve got Austin’s The Black Angels.” Associated Press.

    FORMAT INFORMATION

    Mini LP Info: Limited edition clear vinyl.

    Kate Bush

    Sensual World

      "Sensual World" took Kate 4 years to make and the songs elevate sexuality, romance, politics and emotion to an all together higher, more mystical and more poetic level.

      The album includes the classics "The Sensual World", "Never Be Mine" and "Rockets Tail". The songs and the music are further enhanced by the stunning guitar work by David Gilmour of Pink Floyd. The album also features "This Woman's Work", which was a smash hit by Maxwell.

      FORMAT INFORMATION

      Ltd LP Info: 180gm Audiophile vinyl repress.

      Can

      Flow Motion - Remastered Edition

        Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

        The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

        Can

        Future Days - Remastered Edition

          Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

          The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

          Can

          Landed - Remastered Edition

            Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

            The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

            Can

            Saw Delight - Remastered Edition

              Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

              The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

              Can

              Soon Over Babaluma - Remastered Edition

                Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

                The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

                The Carpenters

                The Singles 1969-1973 - Back To Black Vinyl Edition

                  Universal Music are proud to present the next batch of Back To Black reissues. Presented as exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.

                  Cretin Stompers

                  Looking Forward To Being Attacked

                    Recommended If You Like: Magic Kids, Barbaras, King Tuff, R. Stevie Moore, Ween, Jay Reatard, Hawkwind, Styrenes.

                    "Cretin Stompers landed in our lap on an other-worldly afternoon one day, sent directly from the future and completely ready to bury your past and everything you've ever held dear. Not even a fully formed embryo upon their first recording, the interstellar project began as a long-distance collaboration between past members of the ethereal Barbaras, Magic Kids, Boston Chinks, (and later, Jay Reatard Band/Wavves) in Memphis, and their mysterious cohort, (who had never been met or even spoken to while making the record!) BIG MUFF RADIO, living up north in Brooklyn, and has reached it's fully-developed final mutation in the form of the Looking Forward To Being Attacked debut LP. And just like a Xenomorph wrapping its way around your head right before that inevitable lobotomy, the Cretin Stompers infectious oozing pop slime will find its way into any of your exposed orifices, so be sure to wear a tight belt as this is one debut album with the power to entrance and eviscerate like never before...

                    With as many studio tricks and alien-like pop moves Cretin Stompers conjure, it will become obvious by the first few tracks that this is unlike any other album you've heard before, a true pioneering and sublime step into the iridescent pop dreams (and nightmares) of the not-so-bleak future. But don't be afraid of what's ahead, that's just part of who we are, and more importantly, who you are, as someone who doesn't let uncertainty cloud their ambition to make new discoveries or hold back your enthusiasm for the unknown. For this, you will be rewarded with a dynamic explosion of space punk filtered through a clogged toilet of remarkable pop hooks and impeccable melodic surges that hit such wavering heights, you just might need some orange slices to keep your eyes on the road. And as if Cretin Stompers couldn't give you any more ear candy to clean out your cavities with, they have culled two superb covers from The Styrenes and Dave Brock (of Hawkwind) to knock you back to summer school with another research assignment, always the true sign of real innovators of any era of music. So don't keep taking the same route to rock'n roll salvation when there are so many exciting ways to live, and get ready to have your mind thoroughly blown, because the future sounds fucking unreal. Also features exclusive artwork from the legendary Memphis fine art photographer WILLIAM EGGLESTON (known for his BIG STAR album cover photos)!"  – Victimoftime.com.

                    Crosley

                    Record Player CR8005A - Cruiser (Tweed)

                      Love the rich, warm sound of vinyl, but wish it was a more moveable music format? Put down the iPod and mobilize your music with the Crosley Cruiser 3-speed portable turntable.

                      Constructed of wood and bound in a leatherette material, the briefcase-styled record player is lightweight and easily transported from place to place. It features built-in stereo speakers so you can listen to your music without having to connect it to a speaker system.

                      Cruise over to a friend's house and experience vinyl's superior sound together.

                      - Belt-driven turntable mechanism 33 1/3, 45 & 78rpm.
                      - Dynamic full-range stereo speakers
                      - AC power adapter RCA audio out
                      - Dimensions: 15.50in X 14.00in X 6.10in

                      Sandy Denny

                      The North Star Grassman And The Ravens - Back To Black Edition

                        Sandy Denny’s 2nd solo album from 1971 has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                        The North Star Grassman and The Ravens album is much more assured than her debut album and is co-produced by Sandy Denny, her husband Trevor Lucas and her old Fairport Convention guitarist Richard Thompson. Engineered by John Wood.

                        Electric Eels

                        Jaguar Ride / Splittery Splat

                          "This is still hard to even fathom, let alone anywhere near realistic, but HoZac Archival Records is proud to present a little piece of history for you here, which, if you are still unexposed, will knock your "punk clock" back a few years, resetting your concept of what punk evolved from, where punk germinated from, and how unhinged the Midwest (Ohio in particular) was in comparison to the East & West Coasts in the days before the Ramones & Sex Pistols records littered the land. The Cleveland-based (and formerly Columbus) electric eels were unrivaled in terms of sonic mayhem for 1974/1975, especially for the Midwest, where extremities in music were very much unwelcome and were not given the opportunities that the art scenes of the coasts got to foster. Despite the fact that this band was the starting point for not only Nick Nox, later of THE CRAMPS, it must be understood that this was not composed, blues-based Stooges-style grunt, gorgeous VU-type noise, glammy Alice Cooper-style grime, or high-frequency bombast like the MC5. This was an entirely new species emerging from the primordial ooze of the fertile crescent of a cesspool that birthed the 70s version of punk as we know it, this was true madness captured on tape, catchy and infectious insanity flowing through the air that never, EVER had a chance during it's time, and this is one of the reasons the eels have such creedence. It's no surprise that it wasn't until worldwide punk was in full swing three years later that the debut electric eels single finally came out of the gates, oddly enough on the Rough Trade label, as it's certain stillborn death in 1975 wasn't even conceivable, even to the Metal Mike and Lester Bangs-types lighting up the underground. The electric eels were the nexus of outsider noise at a time when there might have been several isolated antecedents in random basements in the early to mid 1970s, but none as stripped, bleeding, and almost too-cleverly-convulsing, and none more intimidating or more enigmatic considering how long it took their material to surface. This is the real deal, and there isn't anything more we can say, but there isn't much more than the electric eels when it comes to punk evolution, and the creatures much lower on the evolutionary scale than the currently accepted "godfathers of punk" music, wo will someday inherit this rotten corpse. And did we mention the B-side is the brutally beautiful comp-only track "Splitterty Splat" also recorded in 1975? Surely the planets have aligned, and this is our ticket into heaven, or madness, and yours as well, and we could not be more excited, proud, and genuinly scared to host these sacred recordings on our imprint, AMEN". - VictimofTime.com

                          Recommended for fans of Captain Beefheart, Debris, Kim Fowley, Lou Reed's Metal Machine Music, Victoria Vein & The Thunderpunks, George Brigman, Bold Chicken, Stooges, Rocket from The Tombs, Alice Cooper Band, Roky Erickson, Mike Rep & the Quotas, and general insanity

                          Electric Moon

                          Innside Outside

                            Following the rapid fire sell out of the label’s last release in May (Eat Light Become Lights), The Great Pop Supplement follows up quickly with another real treat. The first outright UK release by German Acid / Psych legends ELECTRIC MOON.

                            Two epic sidelong jams recorded Sept 7th 2013 at PMK Innsbruck, Austria. Extraordinary slow building psych blowouts kicking off with bubbling understated moogs offering no hints to the freakouts that follow- huge swathes of feedback and fuzz punctuate both sides here; incredible stuff and possibly the finest pointer on wax to the intensity and extrasensory overload of their incendiary live shows. (The LP is released to coincide with a UK tour for June incl. headline shows at The Underworld London as well as the Berlin Psych Fest).

                            The band were formed in 2009 and comprise Sula Bassana on Guitar, Organ & Synth; Komet Lulu on Fuzz Bass & Effects (and also responsible for the bands’ artwork) and Marcus Schnitzler on Drums.

                            Sure to follow the paths set by both label and artist by selling out quickly, this one’s a beauty on multicoloured wax, reverse board sleeves and released in an edition of 500 only.

                            Fairport Convention

                            Liege And Lief - Back To Black Edition

                              Fairport Convention’s 4th studio album has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                              Liege and Lief was produced by legendary producer Joe Boyd and is widely considered to be the definitive Folk Rock album. It also boast the classic Fairport Convention line-up of Sandy Denny – Vocals, Richard Thompson – Guitar, Simon Nicol – Guitar, Ashley Hutchings – Bass, Dave Mattacks –Drums and Dave Swarbrick – Violin and Viola.

                              The Faust Studio is situated in a spacious factory building right on the bank of the Danube river. Here, 2670km past of the river’s mouth at the Black Sea, the current seems relatively weak, however past accounts of severe flooding are enough to dispel any doubts of its power. One can spend hours staring out from the studio’s wood-panelled windows at the current, pondering the fact that you never observe the same water twice Jochen Irmler and Jaki Liebzeit met in the town of Scheer last July to prepare for an upcoming concert at the slaughterhouse in Sigmaringen as well as for a subsequent appearance in the Kammerspiele in Munich. However, they quickly decided to stop rehearsing and instead record FLUT - an album that regroups six improvisations between organ and percussion.

                              FLUT adds another chapter to Irmler’s collaborations, which aim to explore, whenever possible, the hidden potential that lies dormant in the clash between prepared organ and drums. The series includes previously-published collaborations with Gudrun Gut (programmed beats), with FM Einheit’s percussive bass-string playing, and with Christian Wolfarth’s uncategorizable drumming, pushing the limits of harmony and tuning to ever more complex results. A special energy is released through the clash between Irmler, one of Krautrock’s main driving forces ever since his work with Faust, and his sparring partner Jaki Liebezeit, the living legend from Can, whose unrivalled hypnotic drumming has earned him a reputation as one of the most avant-garde percussionists, and as a human drum machine. Says Jochen Irmler: "I started jamming with Jaki as a means to play the organ very differently. On one hand he challenged me, on the other we shared an almost ESP-like non-verbal communication. A new horizon had opened up (before us)."

                              One hears elements of this statement in the piece "Sempiternity" and in the subsequent "Washing Over Me", where organist and drummer create a synergy greater than its parts; a trio rather than a duo seem to be at work. The effect is partly conjured by Irmler’s touch; his distorted right-hand melodies often sound like electric guitar, while his left hand finds unusual ways to elicit organ-like chord structures. Irmler’s relentless sonic clusters crash spectacularly against Jaki Liebzeit’s drums. Always stoic at their core, Liebzeit’s rhythms are struck with playful outbursts of groove, especially on the cymbals. Here we see a minimalist with an extremely controlled love of collisions at work. Repetition and its minute refinements are transferred with great discipline in a stream of consciousness that both sets the stage and upstages his opponent. "We play without notes. In places where notation systems do not exist, the rhythm holds a much more dominant role in music, for example as is the case in Africa. Here people make music differently than those who think in terms of notes and bars. Musical bars are like prison bars. Playing without notes means that you must play repetitively, and repetition is rhythm. At the same time repetition does not really exist here, because you never (quite) play the same thing (twice)." (Jaki Liebzeit) Through three consecutive days of noon-to-night sessions in July 2013, Irmler and Liebzeit recorded a hypnotic maelstrom of an album. They contemplated the Danube between takes, and felt the sun sink daily over their endless improvisations. Always another stream, never the same river.

                              To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

                              But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

                              Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon.


                              Gnod and Michael Holland's Ono Tesla imprint continues to bring more out-there and unique sounds, conjured up from the witch's cauldron that is Islington Mill. Although Lightning Glove are from the Czech Republic, it's undeniable that this sound falls perfectly into the post-rave-industrial ethos from which the label, and most of the music emanating from 'the Mill resides. "Brave New World" kicks things off with a firm favourite with myself (Matt) - huge air raid sirens! Can't go wrong with a bit of siren action, and over this they spread a collage of reverb-heavy ghostly artifacts, similar in vain to LA Vampires first LP with Zola Jesus but much more aggressive and demonic. Sounds fragmented and distorted through the very essence of space time and delivered by some evil spirit cyberpunk. "Dream On (Ketamin God)" strips things back to something resembling New York's dark-wave scene or perhaps Suicide if he'd had the opportunity to consume the drugs in which the song is named after. The tranquilizer element cannot be ignored, with lonnnng delays and grainy sounds characterizing this haunting piece. "Highway To Nowhere" is about as 'dancefloor' as the A-side gets, with big squelchy bass notes coinciding with a broken post-grime / industrial beat while the nasty ass front man does more of his idiosyncratic, Mark E Smith-inspired gratings. "Europe" allows waves and waves of electrostatic hum and buzz through the noise gates, sweeping sine tones and clattering drums joining the melee for a celebration of discord. "Go Away" is another evil ballad, comprising of a sharp sawtooth and the vocalist's frightening meanderings before "When I Shut My Eyes" closes off with an almost legible dance groove. A tangible 4/4 and light, airy hats lull us into a false sense of security before more pitch-black vocal abuse attacks with dark strings and ricocheting percussion hits as wingmen, not to mention the piercing monosynth melodies. The whole EP plays like Atari Teenage Riot on an OD-inducing level of opiates; essential for anyone with a penchant for dark-wave, industrial punk, cybernetic goth or electronic noise. And another piece of Manchester's complex musical jigsaw.

                              STAFF COMMENTS

                              Matt says: There's a reason why Islington Mill and the current Manc / Salford scene's been getting so much press recently: it's because they simply DO NOT GIVE A F**K. Michael Holland and Paddy throw caution to the wind with this masterpiece of musical marmite. Love it or hate it you gotta give credit to the balls-out nature of this label. Historical.

                              FORMAT INFORMATION

                              Ltd 12" Info: Wrap-around risograph sleeve designed by Michael Holland, mastered by Stephen Bishop. Strictly limited.

                              John Martyn

                              London Conversation - Back To Black Edition

                                John Martyn’s debut solo album from 1967 has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                                London Conversation was recorded when John Martyn was only 18 years old and was produced by Folk maverick, Theo Johnson.

                                ‘Mindwaves’ is the new long player from The Moons. A rich sounding, 21st century, psychedelic space odyssey, it’s full of well-crafted songs and infectious rhythms, steeped in love and destruction, peace and paranoia. Classic pop melodies brim with tight harmonies and layered guitars resulting in a rich and varied collection of songs.

                                Formed in Northampton 2008, The Moons is the ideas of singer/guitarist/songwriter, Andy Crofts. With two critically acclaimed albums to date, ‘Life On Earth’ (2010) and ‘Fables of History’ 2012 The Moons are purveyors of the great British pop song. Crofts’ songwriting craftsmanship deals with typical modern day life. With a mixed melting pot of melody, texture and influence, The Moons are honest songwriting personified with exquisite arrangement and glorious production which harks back to a golden era in classic songwriting.

                                Rose Windows

                                There Is A Light

                                This single includes two new, previously unreleased songs by Seattle band Rose Windows.

                                ‘There Is A Light’ was written near the end of the band’s sessions for their 2013 Sub Pop album ‘The Sun Dogs’ and it highlights the band’s talent for creating driving, psych-tinged pop.

                                ‘Fix Me Another One’ the B-side was written under the influence of Curtis Mayfield, who was in heavy rotation while the band toured in support of The Sun Dogs.

                                Richard And Linda Thompson

                                I Want To See The Bright Lights Tonight - Back To Black Edition

                                  Richard and Linda Thompson’s 2nd album from 1974 has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                                  The album was produced by John Wood ( Nick Drake ) and Richard Thompson.

                                  ‘For The Recently Found Innocent’ is many things - the fifth White Fence album, the first White Fence album to be recorded outside the bedroom fence (with live drumming!), the first White Fence record to be produced for Drag City, the second time that Tim Presley and Ty Segall have met to record music (does anyone remember ‘Hair’?), this time pure and simply committed in the name of White Fence. Inevitably, the collision at the intersection of all these winding roads is a beautiful pileup of deep impacts, graceful lines and open space embodied in sound,

                                  White Fence’s previous release, ‘Cyclops Reap’, demonstrated a process being executed at the top of its game. ‘For The Recently Found Innocent’ surges forth with fresh set of elaborately crafted songs, harmony vocalizations and trippin’ guitar tones that strike the face and viscera with an equal (easy) blow.


                                  JUST IN: Miltinho - Miltinho E' Samba - LP+CD Edition / Doxy http://t.co/SOHM7ljrsP
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                                  NEW TO PRE-ORDER: Madlib - Shades Of Blue - Madlib Invades Blue Note / Blue Note http://t.co/WM19ZkRJD2
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