Back catalogue: All genres

Review: Sandy Harless' Songs album represents the Chillicothe, Ohio artist's sole foray into cosmic American music. It came during the 1970s and the height of the hippy movement's mellow phase and was, rather remarkably, funded by a business breeding 27 aquariums of fish. The record blends Appalachian roots with a rich mix of mountain folk, rural rock, and pastoral country. It's brilliantly authentic throughout and is a great representation of "real people" music that captures the essence of the era's down-to-earth vibe. It's one to put on around a campfire on a balmy summer's evening.

Review: Harvestman, the experimental project led by Steve Von Till, has released Triptych Part Two on Neurot Recordings. Following in the footsteps of Triptych Part One, which debuted this spring under the auspices of the Pink Moon, this installment is timed to coincide with the Buck Moon. Triptych is more than just an album series; it's a profound exploration spanning three lunar phases, each release synchronised with celestial events. Part Two introduces 'Damascus,' a composition marked by sinuous synth textures and percussive depths. Von Till describes its genesis as an experimental foray into loop-based composition, enriched by collaborative insights and months of refinement. Drawing inspiration from ancient landscapes and mystical lore, Triptych weaves together sonic tapestries that resonate with primordial energies. It's a testament to Von Till's visionary approach, bridging ancestral echoes with modern experimentation, captured in ethereal artwork by Henry Hablak. Triptych Part Two promises to enrich the listener's journey through its compelling and textured soundscapes.

Review: Steve Von Till concludes his ambitious Harvestman Triptych series with a deep exploration into folklore, ancient landscapes, and sonic experimentation on Triptych. Woven from two decades of home recordings, this final installment channels primal energies and lost traditions through a psychedelic, multi-layered soundscape. Von Till's psych-folk core is joined by elements of drone, sludge, and electronic noise, with notable guest contributions from The Bug, Wayne Adams (Petbrick), Douglas Leal (Deafkids), and others. Tracks like 'Herne's Oak' pulse with seismic bass, while 'Clouds Are Relatives' and 'Cumha Uisdean' resonate with haunting melodies. The album's dense layers evoke forgotten times, blending myth and music into a hypnotic reverie. Hablak's glyph-style artwork, continuing from Parts One and Two, complements the sonic journey with its mysterious, ancient symbolism. Triptych serves as a fitting, visionary conclusion to Von Till's projectian immersive, mind-bending journey through a soundscape rooted in the echoes of ancient civilizations. A truly remarkable end to a unique trilogy.

Review: Chaos Rocks, the fourth album from Alan Davey's Hawkestrel project, continues the forward-looking trajectory initiated by The Future Is Us five years ago. The record maintains the project's tradition of star-studded collaborations. Notably, former Rolling Stone Mick Taylor joins in, lending his guitar prowess to tracks alongside legends like Bob Calvert and Nik Turner. While 'Evil Rock' features Calvert's classic vocal from his Hype LP, the numbers with Turner and Huw Huw Lloyd-Langton offer fresh material. Davey sheds light on the inclusion of unreleased recordings, explaining that Turner's contributions were recorded six years ago, while Cleopatra Records secured the rights to Lloyd-Langton's guitar playing. Despite the passing of Mick Slattery, whose contributions are acknowledged, Chaos Rocks stands as a testament to Hawkestrel's commitment to preserving and evolving the legacy of these iconic musicians.

Review: A three-disc celebration of Hawkwind's thrilling live energy, capturing their September 2023 performance at London's legendary venue. The set blends tracks from their recent 2023 album, The Future Never Waits, with space rock classics spanning decades, proving the band's timeless appeal. Fans can expect explosive renditions of favorites like 'Levitation', 'Spirit of the Age', 'Master of the Universe' and 'Assault and Battery'. Disc three features exclusive rehearsal recordings of tracks like 'Mask of Morning' and 'Frozen In Time', that is a unique glimpse into the band's creative process. Founding member Dave Brock is joined on stage by longtime members Richard Chadwick, Magnus Martin, Doug MacKinnon and Thighpaulsandra. Arthur Brown's surprise guest appearance adds a cosmic flair, delivering spoken-word poetry between songs. This release is a testament to Hawkwind's enduring ability to push the boundaries of space rock. With There Is No Space For Us, their next studio album, slated for 2025, the band shows no signs of slowing down.

Review: Hawkwind's Live at the Royal Albert Hall captures their mesmerising September 29, 2023, performance at one of the world's most iconic venues. This triple vinyl release serves as both a celebration of their enduring legacy and a testament to their continued innovation in the space rock genre. Following their well-received studio albums The Future Never Waits (2023) and Stories From Time and Space (2024), the live setlist spans decades of brilliance, delivering both timeless classics and fresh favorites. The band electrified the audience with essential tracks like 'Levitation', 'Spirit of the Age' and 'Master of the Universe', alongside newer gems such as 'Rama (The Prophecy)' and the previously unreleased 'Underwater City'. Frontman Dave Brock led the lineup of seasoned musiciansiRichard Chadwick, Magnus Martin, Doug MacKinnon and Tim Lewisithrough a masterclass in cosmic rock, their chemistry palpable throughout the night. Adding to the spectacle was Arthur Brown, whose evocative poetry readings and theatrical presence elevated the performance. This release is not just a live album but an experience, cementing Hawkwind's reputation as pioneers who bridge nostalgia with uncharted sonic adventures. Journey through Hawkwind's ever-expanding universe live with this excellent package!

Review: ***B-STOCK: Sleeve slightly creased, slight surface marks on records***


Hawkwind's Live at the Royal Albert Hall captures their mesmerising September 29, 2023, performance at one of the world's most iconic venues. This triple vinyl release serves as both a celebration of their enduring legacy and a testament to their continued innovation in the space rock genre. Following their well-received studio albums The Future Never Waits (2023) and Stories From Time and Space (2024), the live setlist spans decades of brilliance, delivering both timeless classics and fresh favorites. The band electrified the audience with essential tracks like 'Levitation', 'Spirit of the Age' and 'Master of the Universe', alongside newer gems such as 'Rama (The Prophecy)' and the previously unreleased 'Underwater City'. Frontman Dave Brock led the lineup of seasoned musiciansiRichard Chadwick, Magnus Martin, Doug MacKinnon and Tim Lewisithrough a masterclass in cosmic rock, their chemistry palpable throughout the night. Adding to the spectacle was Arthur Brown, whose evocative poetry readings and theatrical presence elevated the performance. This release is not just a live album but an experience, cementing Hawkwind's reputation as pioneers who bridge nostalgia with uncharted sonic adventures. Journey through Hawkwind's ever-expanding universe live with this excellent package!

Review: A rock n' roll compilation with a twist, 28 Little Bangers From Richard Hawley's Jukebox is a brand new selector's V/A LP from the 1990s Britpop figurehead and former member of the band Longpigs and Pulp. Diving deep into his personal collection here, this album reflects Hawley's absolute dedication to a pastime few may already know him for: slowly amassing a mammoth selection of 7" records in the mode of garage rock and skiffle. Many are instrumentals, flaunting Hawley's ear for a sound that goes beyond just lyricism or theme. With star cuts from the likes of The Timekeepers and Bobby Gentry, certainly do not miss this is if you're the the right kind of British rock obsessive.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The 1998 debut record from Michael Head & The Strands was six years in the making. Having taken up refuge in a Liverpool recording studio in 1992, Head had set his Pale Fountains and Shack days aside, and was now dead-set on a new project, The Strands. Iain Templeton, Michelle Brown and Les Roberts joined in, resulting in a two-year set of recording sessions in which Head would be offered a new major label deal, muddying the proceedings at the midpoint. The record therefore only made it to the mixing studio in 1995, but perhaps the long break was needed, as the result is redolent: its pearly guitar arpeggiations and patchwork verse make for a glistening listen, one that all too readily translates to this reissue via Megaphone.

Review: Commonly regarded as the first official release from avant-garde prog/space rock outfit Heldon; Electronique Guerilla (also known as Heldon 1), served as a pioneering piece of studio experimentation and manipulation, utilising a myriad of guitar effects, tape delay and electronics, collated together by the genius of Richard Pinhas. Building the pieces from a Schizo (the earlier incarnation of Heldon) track together with solo guitar loops and electronic works, while warping elements from another collaborative cut with guitarist Alain Renaud, the fruitful, cosmic, proto-wave machinations are often credited as some of the earliest influences from King Crimson's Robert Fripp (who Pinhas cited as a major influence and master of the guitar) and Brian Eno, yet while in no way shying away from their inspirations, Pinhas has since specified that "Heldon 1 was released in '74 at the same time Muff Winwood released the first Fripp & Eno", so while similarities and comparisons are welcome, more attentive ears should be able to extract the nuanced differences with which Heldon crafted their hallucinatory, boundary-pushing early opus. Originally released on Pinhas' own Disjuncta Records and limited to 1000 copies, this long overdue reissue won't stick around anywhere near as long as these swelling brain-pieces.

Review: From the moment they emerged in the early days of the 80s Tokyo underground, High Rise set themselves apart as radical outliers, shattering the limits of rock and psychedelic music with a ferocity unmatched even in that heady era. Their third album, 1992's Dispersion, maintained the group's in-the-red intensity while also pushing into new directions. A rough-n'-ready, Ballardian nightmare, this new reissue repackages the album in all its huge-roomy, intense-soloing instrumental rabidity.

Review: Masterful curator Paul Hillery returns with another essential instalment in this wonderful BBE series. Volume 3 continues his tradition of unearthing rare, high-quality tracks so it is a perfect companion to his Children of the Sun trilogy. This one spans funky folk, jazzy AOR, lo-fi dub and DIY folktronica and includes numerous gems like Sheila Chandra's ethereal vocals and Tim Green's euphoric grooves, a playful vibe from Gil De Ray on 'Something About Nothing' and plenty more besides. With extensive sleeve notes, this is a deep sonic journey that also cements the man behind it as an expert archivist.

Review: Once unsung but now enjoying a revitalised career as a compiler and curator, Paul Hillery began his musical journey as a tour DJ for The Polyphonic Spree. But even long before this, he'd a niche knack for tracking down obscure musical gems. The breadth of his curatorial talents are demonstrated once again on We Are The Children Of The Setting Sun, which has no explicit genre focus but sonically segues through folk, psychedelia, and new age obscurities - and only ones with the utmost pristine sound at that. From the beauteous harmonic dulcimers of Graeme Gash to the closing Chicago Soul paeans of Reggio McLaughlin, we're urged to "drop out to the musical pulse that unites us all."

Review: Hinds' latest album, Viva Hinds marks a triumphant return for the Spanish indie rockers after a series of challenges. Following the departure of their bassist and drummer, as well as other setbacks, co-founders Carlotta Cosials and Ana Perrote found solace and inspiration in their friendship and musical partnership. The album, featuring their first-ever Spanish language songs and collaborations with Beck and Fontaines D.C.'s Grian Chatten, showcases the band's resilience and creativity. Lead single 'Boom Boom Back,' featuring Beck, sets the tone with its hypnotic energy and unmistakable Hinds charm. The album, recorded in rural France and produced by Pete Robertson, reflects the band's sonic evolution and commitment to their craft. With bold melodies, empowering lyrics and punk attitude, Hinds deliver a record that celebrates their shared history while embracing new possibilities. As they embark on a fresh chapter signed to Lucky Number, Hinds, Viva Hands promises to delight listeners with its honesty, celebration, and infectious energy.

Review: First dropped in 2007, The Black & White Album was well-received at the time, and for good reason. Yes, in many ways it's The Hives doing what they do best - high energy, adrenaline garage rock music you can't help but feel driven by. From another perspective, though, there's much experimentation going on, which becomes more apparent the more you dive into things. 'Puppet On A String', for example, uses nothing but a handclap and piano, stark minimalism compared to the stereotype of the band in question. Another, 'A Stroll Through Hive Manor Corridors', is this weird, atmospheric 1960s organ refrain that brings more than an air of sepia and surrealism to proceedings. Meanwhile, 'Well All Right!' and 'T.H.E.H.I.V.E.S.' introduce The Neptunes on production and the full cheerleading squad from the University of Mississippi.

Review: Tim Hollier's Message To A Harlequin emerges from obscurity as a definitive acid-folk masterpiece. Released initially in 1968 by United Artists, this reissue reintroduces Hollier's unique blend of psychedelic folk and baroque influences. Recorded with Donovan's arranger John Cameron, the album features an ensemble of notable musicians including Harold McNair on flute and Danny Thompson on bass. The title track opens the album with its dreamy, psychedelic lyrics and a rich, baroque instrumental palette. The song's evocative imagery and mystical tone transport listeners to a world reminiscent of pre-Raphaelite art and psychedelic haze, drawing comparisons to Donovan's more introspective works. Despite its similarities to contemporaries like Tim Buckley, Hollier's sound is distinctly atmospheric, weaving intricate tales through his distinctive voice and lyrical depth. Its ethereal quality and lush arrangements ensure a compelling listen. This limited reissue is a rare chance to experience Hollier's visionary artistry, making it a coveted addition for fans of acid-folk.

Review: Austin-based psychedelic rockers Holy Wave are back with their sixth studio album following 2020's Interloper. If you're already hip to their sound you won't need any head re-adjustment to get into the opening title track on Five of Cups - it's a dreamy yet powerful suite of ascending riffs and hypnotic diversions shot through with wistful intrigue. The gauze maintains as the album unwinds, although there are hidden depths to be explored in the second half as Mexican psych duo Lorelle Meets The Obsolete lend their touch to 'The Darkest Timeline' and Estrella Del Sol feeds into soaring closer 'Happier'.

Review: Haruomi Hosono of Yellow Magic Orchestra infamy gets a Stones Throw "reworks-reissue" of his landmark debut solo record Hosono House, this time under the name Hosono House Revisited. Not a reissue per se but rather an exemplary case of an "interpretations" LP - in which favourite adjacent artists and contemporaries choose their favourite track from a given artist's discography, and do their best to capture their own subjective recorded responses to the song as they know it best - this version sees several musicians from the Stones Throw roster and beyond offer up their own interpretations of Hosono's songs. Leading the charge is John Carroll Kirby's 'Fuku Wa Uchi Oni Wa Soto', a mixable, much funkier and bubblegum-gobbed version of the originally kalimba-led, totally live-recorded track.