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.
Clouds Are Relatives (The Bug Amtrak dub mix) (7:21)
The Absolute Nature Of Light (4:14)
Herne's Oak (5:57)
Cumha Uisdean (Lament For Hugh) (2:49)
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: 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: 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: The raw, mind-expanding energy of a band that invennted space rock and went on to influence everything from punk to electronica, captured at various shows from 1977 to 1982. Opening with tracks from the 1977 Spirit of the Age tour, including the hypnotic 'Quark, Strangeness & Charm' and the anthemic live classic 'Masters of the Universe', the interplay between Bob Calvert's commanding vocals and Dave Brock's driving guitar, paired with Simon House's soaring violin, creates a spellbinding atmosphere. The B-side features some of the band's most celebrated moments, from their most famous single 'Silver Machine' to the frenetic 'Urban Guerrilla', recorded with varied lineups that reflect the band's ever-changing, yet consistently powerful, dynamic. Hawkwind's live brilliance lies in their ability to combine intricate musicianship with immersive, sci-fi-inspired themes. If heavy riffs, swirling synths and hypnotic energy are your bag, this LP will be right up your interstellar highway.
Review: Hawkwind's Doremi Fasol Latido stands as one of the band's most defining albums, pushing the boundaries of space rock with its heavy, relentless energy. Released in 1972, it was their first album to feature Lemmy Kilmister on bass and vocals and Simon King on drums. This lineup injected a raw, aggressive edge into Hawkwind's already cosmic sound, propelling tracks like 'Brainstorm' and 'Lord of Light' into new sonic dimensions. 'Brainstorm', an 11-minute psychedelic journey, opens the album with mind-bending intensity, while 'Space Is Deep' brings a haunting calm before launching listeners back into the stratosphere. The album blends the harsh and the serene, balancing driving riffs, Lemmy's pulsating bass and atmospheric electronics. The newly remastered edition from the original tapes adds extra clarity to this space-metal classic, including a bonus single of the rare 1972 German release of 'Lord of Light' and 'Born to Go' (live). This is a progressive space rock landmark.
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!
B-STOCK: Sleeve slightly creased, slight surface marks on records
Levitation (0:30)
You'd Better Believe It (0:30)
Psychedelic Warlords (0:30)
Arrival In Utopia (0:30)
Rama The Prophecy (0:30)
The Beginning (0:30)
Spirit Of The Age (0:30)
Underwater City (0:30)
Assault & Battery (0:30)
Golden Void (0:30)
Peace (1:32)
Right To Decide (7:00)
10th Second Of Forever (5:36)
Born To Go (7:25)
Star Explorer (6:46)
Brainstorm (5:54)
Neurons (2:29)
Black Corridor (6:54)
Master Of The Universe (6:34)
Welcome To The Future (1:42)
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!
Roger Ekman - "Motivationen Maste Vara Stor" (2:39)
Heaven & Earth - "Feel The Spirit" (4:44)
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: 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: Homer's only album, Grown in U.S.A., is a notable entry in the realm of Texas psychedelic and hard rock. Originally released in 1970 as a private pressing, this record showcases the band's unique blend of rural psychedelic rock with early progressive elements. The album features impressive dual guitar work, melodic vocals, and occasional mellotron, all encased in a visually striking hard cardboard sleeve with original artwork, OBI strip and in this case, purple vinyl to fully compliment the vibrant colours. The album's eclecticism is evident with the music occasionally echoes early 70s British progressive rock through its multi-layered compositions and dynamic instrumentation, while also integrating country and folk influences, including steel guitar.
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