Review: Stockholm-based multi-instrumentalist and composer Art Longo impresses here with Echowah Island, a new album sure to wind its way into your affections. It was crafted over years in his home studio and is "psychotropical pop" drawing deep inspiration from late 80s music and dub. The album's lush soundscape evokes orange sunsets and ocean breezes and is layered with spring reverb, space echo and wah-wah effects that smooth out the edges as the steady pulse of vintage drum machines moves things on down low. A standout feature is Claudio Jonas, whose ethereal vocals recall classic French femme fatale singers of the 60s. Her poetic, kaleidoscopic lyrics add to a nostalgic dream world that gently bends reality and makes his both escapist and thought-provoking.
Review: Bamma Gamma returns with a sizzling slab of funk in the form of 'Omelette' via Detroit's renowned Funk Night Records. This one is a digger's dream, raw, gritty instrumental funk with break-heavy drums, tight guitar licks and basslines so greasy they practically drip off the record. True to Funk Night's underground sound, Omelette is unapologetically retro and authentic and serves up irresistible dancefloor heat that feels like a lost '70s cut that has been newly rediscovered. For DJs looking to inject some analogue soul into their sets, it's a no-brainer.
Review: Primarily known for his sprawling LA-based psych/garage/punk/all of the above work as Osees aka Thee Oh Sees aka Oh Sees, John Dwyer links up with experienced percussionist Dave Barbarossa (Fine Young Cannibals, Adam & The Ants) for the retro bratty glam-punk experience of the year - Chime Oblivion. Their self-titled debut is packed full of squelchy synths, jagged minimalist guitar lines and high-pitched eccentric vocals, paying clear homage to classic acts such as The Slits and Bow Wow Wow. Chock full of bite-sized bangers including 'Neighbourhood Dog' and 'Kiss Her Or Be Her', both of which scoff at the notion of a three-minute track, this is retrofitted throwback dance-punk in the stylised era before it even had such a moniker.
Review: Dark Shadows by Cold Sun is a stunning trip into vivid psychedelia, reminiscent of a blend between The 13th Floor Elevators and The Velvet Underground, yet possessing a distinct and unique character. Recorded in 1970 but never officially released, the album features future members of Roky Erickson's backing band Bleib Alien/The Aliens. Led by visionary lyricist and autoharp player Billy Bill Miller, Cold Sun emerged from the Austin music scene of the late 1960s, experimenting with unconventional sounds and influenced by vintage sci-fi/horror aesthetics. The album, characterized by Miller's electrified autoharp and Tom McGarrigle's massive fuzz guitar, delivers a sonic landscape dressed in feedback and futuristic lyrics. This new edition by Guerssen captures the essence of the original recording, with improved sound quality and vintage-style artwork.
Review: Dando Shaft were a British folk rock band active during the early 70s, and at the time of the release of their debut self-titler, all seemed to be looking up. This is reflected in its sound as much, with the album combining original songwriting and a sunny acoustic disposition with regional folk musics, whether they hailed from or near their local Coventry, or the furthest-Eastern corners of the globe. Trading Places do well to reissue this one, as it's a time-honoured classic that does solid justice to Dando Shaft's cache as one of the foremost group figures in the English folk revival movement of the 1960s and 70s.
When The Apples Blossom Blooms In The Windmills Of Your Mind I'll Be Your Valentine (Dope Jams Kaatskill Mountain take) (5:37)
Review: This special green slab of wax brings together two Emerson, Lake & Palmer tracks, one of them with a fresh twist from a legendary US record store. The classic ballad 'From the Beginning' is rich in warm acoustic guitar and Greg Lake's evocative vocals so it stands as one of the band's most beloved and accessible moments. On the flip, 'When the Apple Blossoms Bloom...' receives a bold Dope Jams Kaatskill Mountain take, which flips it into a sprawling, psychedelic-drenched remix that infuses the instrumental with hypnotic grooves and experimental textures. With both cuts on one 12", this one is both a nod to prog rock's legacy and a bridge to new sonic frontiers.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Queen Matilda
Something Like You
And Luna
X Hits The Spot
The Prize
Undecided (reprise)
Glynys & Jaqui
It's Harvest Time
Loaded Man
Hocken's Hey
Fontilan
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: Originally released in 1993, this special edition enhances The James Taylor Quartet's legacy with remastered tracks and bonus material. Known for its infectious grooves, soulful melodies and catchy Hammond organ riffs, it captures the energy of London's 90s jazz scene and then some. Featuring standout tracks like 'Love Will Keep Us Together,' the album seamlessly blends jazz, funk and soul and this reissue reaffirms its timeless appeal by introducing new generations to its dynamic sound while offering nostalgia for longtime fans. A cornerstone of modern jazz-funk brilliance.
Review: Recorded in 2021, The Road to Tibooburra marks The Winged Heels’ second album: an eclectic, inspired collection of Steve Kilbey’s songs, loosely converging in the middle of outback Australia. Originally conceived as a musical during Kilbey’s journey through the backblocks, four intense days in the studio later conceived an album as the mode of choice, whereafter the band would commit their signature fusion of pop-rock to ancient, medieval, and classical troubadour influences. Kilbey’s 12-string and vocals form the album’s core, with additional bass and electric guitar on select tracks; Gareth anchors much of the bass work, alongside classical and resonator guitar, while Roger provides keyboards and cello.
Review: Ultra lo-fi stereo funkage from L'Eclair, the latest signage to Swiss label Rock This Town. 'Cruise Control' is a muddy and smoggy six-track instrumental disco-funk EP, with seven members laying down parts on wah-wah, space horn, and synth. It sounds as if a mega-talented disco troupe were performing in the next building, but they could only be heard through thick insulation or some kind of muffling foam. The tone is ultimately pleasing, blurry and cloudlike, as if this were disco beamed to us from heaven as opposed to the material world. The softest cuts, such as 'Safari In D', are our highlights.
El Paso Del Gigante/La Dana De Los Mirlos/Cumbia Sampuesana (4:17)
Lucia (4:27)
Angel’s Point (3:17)
San Fernando Rose (3:21)
Juana La Cubana (3:52)
Llorar (3:41)
Ooo Baby (4:00)
Cascabel (4:07)
Review: LA Lom's March 2024 show at Chicago's Thalia Hall debuts on vinyl for Record Store Day 2025 a year or so after the band's defining live moment. Just months after packing the Empty Bottle, the band returned to an even larger crowd, which served as proof of their ever-growing Chicago fanbase. Determined to keep the raw energy of their LA roots alive, they built a bright red round stage in the centre of the hall and were surrounded by fans dancing and singing from every side. The night was captured on film and tape by longtime collaborator Jacob Butler and now, the much talked about performance featuring original tracks, classic cumbia covers and a Smokey Robinson ballad finally makes its way to wax.
Al Pie De La Montana (At The Foot Of The Mountain) (4:25)
Bajo Los Cielos (Under Heavens) (3:55)
Review: A cultish band who there at the dawn of psychedelic rock in Mexico and had a mind-bendingly beautiful sound full of revolutionary potential. In the late 60s when they formed and in the early 70s when this self-titled debut LP of theirs was released, the band were inspired by hippy counterculture and by politics. They're named after Mexican revolutionary Emiliano Zapata whose influence still has a far-reaching influence today - the Zapatista social movement, with its far-left and anti-neoliberal ideology, takes its name from him. They were also at the forefront of La Onda (The Wave), a cultural and political movement that spawned Mexico's answer to Woodstock, Avandaro. Sonically, you can't get a better fit for a festival of that sort - you'll hear that they are quintessentially psych; loose and jangly with hip-shaking rhythms. Opener 'Nasty Sex' - their biggest international hit - works around a hypnotic riff and has a Cream-meets-surf rock tone; 'Shit City' cranks the free-spirited vibe up even further, while 'Platicas Con Un Rey' shows they could tackle a more pastoral psych sound, too. Few bands nail the true psychedelic rock sound this well.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.