Review: Little is known about this early 1970s psychedelic soul group from Germantown, Philadelphia. However, their record was recorded in 1969 and released in 1970 as one of two releases on Michael Nise's Round Records (Nise Productions INC). Now, remastered from an original pristine vinyl copy in collaboration with Nise Productions, this marks the first official reissue of the album. The group's music captures the essence of the era's soul and psychedelic influences, making this a long-awaited release for collectors and fans of vintage soul.
Review: Spectral musical favourites Ghost Box return with the beautiful third album by Beautify Junkyards. Extending the idea that junkyards aren't already beautiful in their own scrappy sort of way, Nova is an exquisite selection of junk-larked tropicalia "finds", visually (album-cover-ally) building on the news cut-up assemblages of Dada and committing them to the beatific atmospheric siblings that are trip hop, psychedelia and what we'd trepidatiously deign to call cosmic lounge. With special guests Paul Weller, Dorothy Moskowitz (of United States of America) and Jesse Chandler (of Pneumatic Tubes & Midlake), this is a thoroughly far-flung metal detecting foray indeed, but it's not the inclusion of the canonic names of 60s psychedelic rock that makes this one special, more than it is its bright, refined, verging on impeccable recordings; despite much guitar echo and analogue anaphora, nothing gets lost in mire, despite this being a nominal junkyard. Best of among the shiny things has to be 'Sonora', the star prize in this magpie's nest. These acid folk have well and truly done it again.
Review: Krautrock legends, visionary iconoclasts and one of the most influential bands of the last half century they may be, but not many folk would have had Can pegged as a singles band, given that their origins in the kaftan-clad realm of the late-'60s and early-'70s tended more to full-length explorations in which the full force of their expression could be unleashed. This triple vinyl compilation not only rubbishes this preconception but offers a glimpse into the full spectrum of sound, from the sky-kissing serenades of 'Future Days' to the dancefloor-filling swagger of 'I Want More' and even the unlikely Christmas carol 'Silent Night'. A life-affirming compilation from a gang of longhairs like no other.
Review: The Daily Flash originated in Seattle in 1965, and true to their name burned bright and fast for around three years before disbanding. Fronted by Steve Lalor and with Doug Hastings on guitar, it's also noticeable their drummer was Jon Keliehor, who has since had an accomplished career in ambient and experimental music. As a perfect embodiment of the original psychedelic wave when it was still relatively attached to 60s pop, The Daily Flash have been revisited in scattershot form over the years, but finally their outstanding archive of recordings has been gathered in one coherent compilation which covers their brief but brilliant tenure.
Review: Dream Division present their latest album Rose In The Garden Of Winter, a contemporary gothic disco undertaking of polished and still genre-various proportions. Echoing the stylistic ambitions of Bauhaus, but perhaps describably updating their sound for the modern ear, Dream Division offer a metamorphic record, able to shapeshift into a range of chiropteran forms: cinematic punk, dub, goth-disco, lounge, even interluding raga. Impressively, the personnel list on this record make up an intricate human nonagram, through the central vector on this ritual star is Tom McDowell, who handles synths, vocoder, production and songwriting and commands a puppeteer's control over various synthesists, sitar caressers and theremin cooers. Delightfully devilish throughout, A Rose... reminds of something between a lycanthropic, late 70s Mancunian punk blowout and a fanged Italo-disco bashment in which the sprinklers sprinkle blood on sight of a daywalker.
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: More than half a century on from the recording of this double live album from Ladbroke Grove space garage rockers Hawkwind, there's still no-one quite like them. Taking the raw grooves of MC5 and Stooges and combining them with Krautrock sensibilities and synth technology, the band would go on to inspire everyone from John Lydon - who confessed to lurking near the back of many a 'Wind show selling acid - to Henry Rollins, Ty Segal and Ministry, among many others. They also spawned Motorhead when Lemmy, featured on bass here, was ejected from the line up either for a) having a drugs record (officially) or b) taking too much of the limelight by singing on hit single 'Silver Machine' (allegedly), having already penned a track called 'Motorhead'.
This stoner favourite was recorded in 1972 at two venues, the 3,700 capacity Liverpool Stadium - not actually a stadium, but in fact the UK's first purpose-built boxing arena - and Brixton Sundown (now the Academy), as the band promoted their Doremi Fasol Latido album. It's almost certainly the best way to experience them in full flow too, letting rip with mind bending sonics and longing out their already epic jams, although moments like the more (in fact, extremely) relaxed 'Space Is Deep' proving a nice counterpoint to cosmic bruisers like 'Brainstorm' and 'Orgone Accumulator'. Both a priceless snapshot of the time and an enduring listen that still compels - not bad going for something 50-plus years old.
Review: Un, Deux, Trois, the third album from French indie group Juniore, shows off their unique blend of 60s-inspired French indie cool with modern psychedelic touches. This release is highlighted by its sophisticated, theatrical, and cabaret aesthetic, featuring the standout tracks 'Bizarre' and 'En solitaire.' The French lyrics add to the allure, offering an engaging experience even for those who don't understand the language. Juniore, led by Anna Jean with Swanny Elzingre and Samy Osta, seamlessly blend influences from Yeye singers and American garage rock, creating a sound reminiscent of Tarantino soundtracks. The album features a mix of upbeat and downbeat tracks, ensuring a well-thought-out flow that keeps listeners engaged throughout its 40-minute runtime. New single 'Mediterranee,' with its honky-tonk pianos and bubblegum backing vocals, exemplifies the album's charm, painting vivid scenes of carefree beach life in the south of France. Despite the darker, mysterious tones typical of their previous work, Un, Deux, Trois introduces a brighter optimism influenced by the pandemic's forced isolation, marking an evolution in Juniore's musical journey.
Review: The debut album Approach to Anima by Maya Ongaku landed originally in May 2023 but sold out quickly so is now being reissued. Initially available as a rare import, the album features Sonoda's fluid guitar and vocals, Takano's undulating bass, Ikeda's ethereal woodwinds and delicate synths and percussion to create a calm yet unsettling atmosphere. Tracks like 'Approach' and 'Water Dream' showcase their diverse influences by blending "Neo-Dada and Fluxus" with 1960s recording advancements. Based in serene Enoshima, the trio's music is free-spirited and reveals hidden depths and untamed vitality which reflect their ongoing creative journey.
Review: Eight years after their last outing, Mondo Drag are finally back with another sprawling suite of psych rock masterpieces. This time around they've drawn on a lot of heavy personal experiences and channeled them into the music, with frontman John Gamino in particular folding deep personal losses into the fabric of the music. It comes through abundantly in his synth and organ playing amidst the crushing guitars and rhythm section, but as well as the emotional weight it's the sound of a band savouring a renewed purpose, fired up on tough times and purging through the sheer power of their sound.
Review: Tess Parks brings a shoegaze come progressive rock ripening with Pomegranate, a rightfully raw solar flare of nine songs set to themes of heartbreak, joy, longing and nouveau-delica. The musician and singer-songwriter first rose to prominence as a Brian Jonestown Massacre collaborator and subsequent 'And Those Who Were Seen Dancing' releaser, though the Pomegranate LP pinpoints a stylistic shift away from that EP's opening opines of warm electro- and dream pop, in favour of an increased sonic fizz and climactic mood, intended to express the artist's lack of a feel for the passage of time. In Parks' own words, Pomegranate's explosiveness of sound echoes the bigness of now, otherwise referred to by the artist as the "all-time now", that momentous, flattened, ultimate feeling one often feels at the back of one's limbic mind - an emotion unique to 2024 - and yet which cannot be accessed without us daring to acknowledge it.
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