Classic Rock 162 Items

Ryoko Moriyama x Comoesta Yaegashi x The Fuzziyama Surfers A special collaboration that transcends genre boundaries! The Fuzziyama Surfers, a Nagoya-based electric guitar and surf sound that has also been released in the U.S., and the original Japanese Wamono DJ Comoesta Yaegashi, aka Comoestas, and Ryoko Moriyama, whose cover of "Gauloise" last year made a splash, have collaborated on a special single. A surf & garage and brilliant cover of the Love Theme from The Godfather. This is a highly anticipated 7-inch single for a wide range of music fans.

The material for «Gemini Twins» was created in the summer of 2022 and finished in 2023. Serge: "I am interested in the themes of Man, his place in the Universe. From primitive times to the era of space exploration, people continue to ask themselves eternal questions: Who am I? Where am I from? Where am I going? The character of 'The Story Of Captain Glosster' is a slightly modified version of Homer’s Odysseus. This is the image of the End of the Wanderings. But Odysseus, after long wanderings, returned to his beloved woman. On the contrary, Captain Glosster found his love as a result of his trips. Found her in Other Worlds. I don’t use science fiction images because that’s how it’s supposed to be according to the laws of the genre. It would be too primitive and not interesting. The composition 'Time Loop' is not a reference to some kind of science fiction. In my composition, the image of the Time Loop is an image of human life. Life is rhythmic, irreversible. Under any given circumstances, we do not have the ability to press «Ctrl+Z». We can only move forward. 'Solstice' is inspired by the feeling of a calm, soft summer day. When all thoughts are stable, there is no anxiety and the world around you looks amazing through the haze of sun rays and summer smells. I tried to convey this state in my track. 'Over the Mountains' could, of course, be an image from science fiction. But not necessarily. This is the feeling of flying over the mountains. Perhaps on another planet. Or maybe not. This is a feeling of triumph from conquering air. 'Fugit Irreparabile Tempus' is my musical reflections on our world and the place of Man in this world.”

DSD was founded in the beginning of the Earth year 2011 in Oulu, Finland, on band members’ mutual love for 60’s and 70’s kraut, prog and psychedelic rock. This is the 6th full length album (4th on Space Rock Productions) by the Finnish Space Rock masters from the north! It features 6 high energy space rockers, originally released digitally in April 2023 but now it appears on Vinyl. It features several special guests including Dr Space from Øresund Space Collective. The album opens with the high energy track ‘Spaced and Confused’, with the classic DSD sound and vibe. ‘Beyond the Cosmic Wall’ has a bit of a Kingston Wall vibe and quite a psychedelic mix. ‘Void Oscillations’ is a very spacey and floating number. ‘Indigo Blue’ starts side B with a more mellow vibe for the first 3 mins and then rocks into a cool spaced out jam. ‘Matkalainen’ is sung in Finnish and features some nice flute playing on this great track. The album ends with ‘Nymphaea Tetragona (Forever Floating)’ a more relaxed track, but the end has this sort of heavy bluesy stoner vibe. Cool way to end the album. Another classic space rock record.

DSD was founded in the beginning of the Earth year 2011 in Oulu, Finland, on band members’ mutual love for 60’s and 70’s kraut, prog and psychedelic rock. This is the 6th full length album (4th on Space Rock Productions) by the Finnish Space Rock masters from the north! It features 6 high energy space rockers, originally released digitally in April 2023 but now it appears on Vinyl. It features several special guests including Dr Space from Øresund Space Collective. The album opens with the high energy track ‘Spaced and Confused’, with the classic DSD sound and vibe. ‘Beyond the Cosmic Wall’ has a bit of a Kingston Wall vibe and quite a psychedelic mix. ‘Void Oscillations’ is a very spacey and floating number. ‘Indigo Blue’ starts side B with a more mellow vibe for the first 3 mins and then rocks into a cool spaced out jam. ‘Matkalainen’ is sung in Finnish and features some nice flute playing on this great track. The album ends with ‘Nymphaea Tetragona (Forever Floating)’ a more relaxed track, but the end has this sort of heavy bluesy stoner vibe. Cool way to end the album. Another classic space rock record.

Some things are worth waiting for… "Morning Star" is the first all-new album by The Prisoners since 1986. It
features the original line-up of
Allan Crockford – bass, vocals
Graham Day – vocals, guitar
Johnny Symons – drums
James Taylor – Hammond organ, vocals
After a phenomenally successful series of gigs in December 2022 marking the 40 th anniversary of their debut album 'A Taste of Pink', the band decided to make some new music. The recording was completed in two days, one of them in Studio 2 at Abbey Road. Their preference for recording quickly hasn't changed since they recorded that first album as teenagers, also in two days, in 1982. To celebrate, they play The Roundhouse in London on May 24th, their biggest headline gig
Biography
The Prisoners formed when they were still at school in Rochester, Kent. Between 1982 and 1986 the band released four albums plus several singles and EPs. Inspired by the local Medway DIY music ethic, their debut 'A Taste of Pink' and 'The Last Fourfathers' appeared on their own label, Own Up Records whilst "The WiserMiserDemelza" was released on Big Beat (Ace Records) and "In From The Cold" on Countdown (Stiff Records).
They earned a reputation as an incendiary live act as they plied their trade around the UK and Europe, building up a dedicated following and unknowingly inspiring a generation of future musicians. Their unique sound, based on instantly memorable and melodic songs surfing on a seething wave of brutal guitar, attention-grabbing, up-front Hammond and head-pounding rhythms, made for an explosive evening of entertainment. It was a unique combination of the sonic assault and danger of The Who and 60's garage-punk, the soulful vocals and dynamics of the Small Faces plus the groove and danceability of Booker T & the MGs. Throw in the intensity, drive and insolence of punk rock, as well as an unabashed love for instrumental TV themes and you had a wonderfully off-kilter version of where the real cool kids were at in the early '80s…
Despite some brushes with 'success', the pressures of hard living on the road took their toll and they quit in September 1986. They left behind a legacy and a sound that was inspirational to many that followed. Not many under the radar bands of the 80's would merit chapters dedicated to them in biographies of such luminaries as Steve LeMacq and Tim Burgess as well as being name checked as Brit-Pop forefathers. Their original albums make regular appearances in 'Great Lost Albums' lists and continue in print to this day.
James Taylor subsequently went on to gain huge success as the best pure Hammond player of his generation with his jazz and funk quartet (jtq). His playing and sound undoubtedly played a massive part in restoring the popularity of his chosen instrument.
That work started in The Prisoners.
Graham Day and Allan Crockford, both together and apart, continue to the present playing music that has ploughed a similar furrow to The Prisoners in such combos as The Prime Movers, The Solarflares, The Gaolers, The Galileo 7 and The Senior Service.

The short but intense initial phase of Jumbo’s career, marked by the release of three albums in 1972/1973, revealed their distinctive approach to Italian progressive rock and rapid artistic growth.

“Vietato ai minori di 18 anni?”, released in 1973, represents the peak of this era, showing the band’s evolution from an English beat-related beginning to a more mature and meaningful work for Italian prog fans.

The album stands out for its investigation of controversial and taboo themes, such as physical and psychological discomfort, prostitution and alcoholism. Alvaro Fella, with his lively interpretation and touching lyrics, gives the songs an intense and captivating edge.

On the occasion of the 50th anniversary of this masterpiece’s release, Jumbo were invited to the prestigious Prog and Frogs festival, where they performed the entire album live, enriching the experience with interesting explanatory introductions for each track. During the show, Jumbo amazed the audience, displaying the same drive and passion as they used to fifty years ago.

In Ngélar—the sextet’s sophomore LP—deeper social narratives and more intimate subject matters are more apparent. In which they speak a lot about ‘tanah’ or ‘land/soil,’ owing a lot to the fact that their hometown, Jatiwangi’s history of being the country’s largest producer of clay/terracotta-based products. The people in Jatiwangi’s intertwining relationship with ‘tanah’ is simply unparalleled—even their instruments are mostly made of terracotta.

From the reimagining of their hometown’s past glories, Lair, along with singer/songwriter Monica Hapsari (who co-wrote and co-composed three songs in the album) and Go Kurosawa (Kikagaku Moyo) helming the project as the producer, sings about the rituals and traditions of harvest, to sending off prayers towards their once-prospering land and the ruins of what was once a dense forest in Jatiwangi, which they are currently trying to reclaim while racing with the massive wave of industrialisation. It is a contextually-sorrowful album as much as it is a candid, cheery commemoration of the band members’ everyday life in today’s northern shores of Java, Indonesia.

Ngélar is one of the words that might be able to describe the essence of Lair as a group. The word itself can be traced back to the locals’ culture of ‘going around in celebration of something.’ In their village, ngélar simply means a traveling performance, in which the performers would play music and go around the village, greeting the people around them as they move from place to place, or simply within their immediate surroundings, indicating that there is something nearby that is being celebrated.

Lair is simply in love with ‘journey,’ ‘time,’ and all of their interactions. Ngélar, for them, is a representation of their journey. How they go around, interacting and communicating, to celebrating and making sense of everything that is going on within and around them. For Lair, Ngélar is a method, a creative process, and—as an album—a culmination of each of their journeys since the group’s founding.

Modern day Amsterdam is a bit of an oxymoron. On the one hand, the city proudly brandishes its reputation for alternative and sub cultures, pushing back against lawmakers and their incoherent policies to adopt approaches that are more realistic and levelheaded. On the other, its a place of such rampant commercial development the local government actively discourages visitors and new hotel developments. Look closely, though, and you can still feel the spirit of what, during the latter half of the 20th Century, made this place so special. Paradiso is one of those spots. A waterside cultural venue with a history first as a church, then an illegal squat, before becoming what it is today, the walls themselves seem to pervade a sense of brave, adventurous heritage. An ideal place to catch one of the most defining bands of the 1980s in their heyday, then, here Depeche Mode deliver an astounding set in a space with the atmosphere to match.

Needlepoint live in concert! Probably Europe’s best progressive rock band serves up a fantastic live medley album that sounds as if it’s been transported directly out of the 1970’s. “In Concert” is a series of live recordings spliced together seamlessly showcasing some album cuts from the past few records as well as new jams and explorations.

Patti Smith emerged in the 70’s and became a key figure of the New York City punk rock movement. Her androgynous image, vocals style and song subjects spoke to a wide audience. She explores many genres from rocks most primal sound to jazz and reggae melodies. Always pushing boundaries Patti Smith is still a well-loved performer today that doesn’t shy away from making a statement. This intimate yet powerful recording features not just her solo music, but also her hits with Patti Smith Group, as well as covers of songs by The Doors and Prince.

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

90125 from Yes featuring "Owner Of A Lonely Heart"

Hybrid Stereo SACD

Yes' 90125 was a departure from their progressive style but it introduced the band to a new generation of fans, reaching No. 5 on the Billboard 200 and No. 16 on the U.K. albums chart. The 1983 album remains their best-selling album with more than 3 million copies sold in the U.S. "Cinema" earned the group a Grammy Award for Best Rock Instrumental Performance, while "Owner Of A Lonely Heart" was the band's first and only single to reach No. 1 on the Billboard Hot 100 chart.

Named for its Atco catalog number, 90125, the album — the band's 11th studio effort — it was born out of the band's self-reinvention. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots.

"Owner Of A Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points,

90125 is a significant and well-regarded album in the Yes discography.

Powerfull nice grooves from a series that might be beer named: "Acid folk renaissance " – as most of the work here come from the 70s, and a lot from those great years of the UK and US scene where it also seemed like there was plenty of folk in the music as well! A few of these cuts are downright acid , and all are filled with great instrumenta&on – in an approach that's a nice change from some of the more familiar Brit and US manners of the same genera&on. The &tles include, among the others: Nirvana’s Nova Sketch , Fi.y Foot Hose’s Rose, Pyranha ‘s Clepsydre , Kaleidoscope’s Keep your mind open, and more .

Dirty Sound Magnet return this year with their most eclectic and creatively ambitious release to date, ‘Dreaming In Dystopia’ – set for worldwide release via Wild Thing Records. The Swiss trio, who have links across Europe, have stunned audiences with their ethereal brilliance which combines their love for The Doors and Led Zeppelin with the cutting edge mastery of Queens Of The Stone Age and King Gizzard And The Lizard Wizard, twisting all manner of colours and sounds into their own inimitable cocktail of noise. On album number four, the band have pushed themselves to his very limits, daring to dream in ways no one else ever has and in the process uncovering musical structures from distant realms that excite and nurture the soul like nothing else. The release will be supported by European & UK tours, in order to help cement their stature as one of the most innovative and fearless rock bands of the modern age. A magic carpet ride into the deeply psychedelic, with sounds evocative and powerful enough to melt the walls and immerse you in their seductive warmth, Dreaming In Dystopia is an audacious contemporary masterpiece that will change how you look at the world around you.

Debut solo album from Wobbler’s Lars Fredrik Frøislie! Fitting perfectly into the 70s prog-rock tradition where the keyboardist makes a solo album between the band albums, this is music Frøislie has been doing, mostly alone, during the pandemic. Had it not been for the pandemic, much of the material would probably have ended up on a new Wobbler album - but then run through the Wobbler grinder and with English lyrics. In other words, this is unpeeled and raw, as spontaneous as possible without going through too many rounds of processing. Trying to preserve the impulsive - much of what you hear is improvised, and one-takes (preferably with playing errors and piano strings that break and the like). Trying to preserve the human aspect to a large extent, avoiding click tracks, auto-tune, Midi or too much technology. Expect lots of old analogue keyboards such as cembalo, Mellotron, MiniMoog, Yamaha Cp70 and Hammond organ. Four tunes; Four stories. The first song "Rytter av dommedag" is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief. The second song “Et sted under himmelhvelvet” is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago. The third song "Jærtegn" opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home. The final song “Naturens Katedral” is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness.

Øresund Space Collective (øsc), formed in 2004, is a totally improvising Scandinavian space rock band and has been releasing albums since 2006. The band has played concerts & festivals all over Europe. Their music is quite diverse and influenced by the ever-changing line up in the collective. The material on this LP was recorded in October 2010 on the 2nd day of recording and features a lot of different musicians from days 1 and 3. A lot of the material has a funky nature, but it is a very diverse album with a nice chillout sitar number and a lot of space rock!! Some of the tracks have been edited for the vinyl edition. Recorded at the Black Tornado Studios in København, Denmark in Oct. 2010 by Lars Lundholm Mixed & mastered by Dr Space at Estúdio Paraíso Nas Nuvens, Portugal in 2020 with sonic advice from Hasse Horrigmoe Artwork / layout by David Graham

Øresund Space Collective (øsc), formed in 2004, is a totally improvising Scandinavian space rock band and has been releasing albums since 2006. The band has played concerts & festivals all over Europe. Their music is quite diverse and influenced by the ever-changing line up in the collective. The material on this LP was recorded in October 2010 on the 2nd day of recording and features a lot of different musicians from days 1 and 3. A lot of the material has a funky nature, but it is a very diverse album with a nice chillout sitar number and a lot of space rock!! Some of the tracks have been edited for the vinyl edition. Recorded at the Black Tornado Studios in København, Denmark in Oct. 2010 by Lars Lundholm Mixed & mastered by Dr Space at Estúdio Paraíso Nas Nuvens, Portugal in 2020 with sonic advice from Hasse Horrigmoe Artwork / layout by David Graham

Everyone has their own imagination about outer space, and each one us gets to daydream about what exactly floats or exists there. ‘Fortune Goodies’ is Minami Deutsch’s long-awaited 3rd studio album and an encyclopaedia of Krautrock, as band leader Kyotaro Miula describes it. While not all the songs on the record function as straightforward Krautrock this time around, they still manage to capture the spirit and heart of the genre. After relocating from Tokyo to Berlin, Miula’s musical vocabulary has greatly expanded, thus resulting in this ultimate Japanese take on cosmic music in 2022.

All tracks previously unreleased including unheard recordings from Daryl Hall and John Oates, David Johansen (New York Dolls), Terry Allen, Delbert McClinton, Andy Warhol’s Superstar Ultra Violet, Norma Jean Bell, and The Jim Carroll Band Restored and remastered audio by GRAMMY®-nominated engineer, John Baldwin Extensive booklet featuring unseen archive photos, ephemera and label history (LP: 20-pgs, CD: 40-pgs) Liner notes by journalist Joe Hagan with exclusive interviews Double LP pressed on 180-gram vinyl and housed in a gatefold jacket ‘Cocktail Party’ Vinyl Color Edition pressed on Clear Wax “Earl was a wonderful man with a great eye for new and innovative art. And such an amusing companion, too.” – Mick Jagger

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.

Friend to Joan Didion, Andy Warhol, and a galaxy of luminaries, Earl was an inveterate tastemaker. Actor Harrison Ford, who before Star Wars fame was Earl’s handyman and pot dealer, called him “the last of a breed, one of the last great gentlemen and bohemians.”

After Earl died in 2016, journalist Joe Hagan, author of the critically-acclaimed Sticky Fingers, the biography of Rolling Stone founder Jann Wenner, discovered a trove of rare and unheard tapes in Earl’s apartment in New York—literally inside his closet. “I asked for a step ladder and the first box I pulled off the shelf was a master tape of Some Girls, the Stones album,” says Hagan.

Now Light in the Attic Records proudly presents Earl’s Closet, a double album of the treasures discovered inside, including unheard music by Daryl Hall and John Oates, David Johansen, Terry Allen, Delbert McClinton, Warhol “Superstar” Ultra Violet, Detroit sax legend Norma Jean Bell, Jim Carroll and an eclectic cast of undiscovered artists who once vied for fame and glory—folk, rock, country, funk and R&B gems that virtually no one has heard in decades. Whether it’s the almost-famous power pop of Shadow from Detroit, or the Delfonics-style soul of the Blood Brothers Six, Earl’s Closet retraces the dreams of artists who once sent demos to Earl McGrath. Longtime Light in the Attic-affiliated reissue producer Pat Thomas assisted Hagan in tracking down the artists and finalizing the paperwork.

At once an archival mixtape, a secret history and a journey into the heart of an era, Earl’s Closet features a deep booklet of documents, images and ephemera from Earl’s archive, expansive liner notes by Joe Hagan, who tracked down and interviewed the artists, and astonishing photographs by Earl’s late wife, the Italian countess Camilla Pecci-Blunt McGrath.

Following the breakup of Cream, lyricist/vocalist Pete Brown formed his Battered Ornaments with guitarist Chris Spedding, drummer Rob Tait, bassist Butch Potter, percussionist Pete Bailey and saxophonist Nisar Ahmed Khan, but during the recording of sophomore album Mantle Piece, Brown fell out with Spedding, resulting in his departure. The resultant spacey venture has jazz and blues shades, riding the sonic waves under Spedding’s direction, with Khan’s sax and Potter’s bass fitting foils to Spedding’s guitar and keyboards. This is another great piece of the Spedding puzzle, with pleasantly meandering interludes.

All tracks previously unreleased including unheard recordings from Daryl Hall and John Oates, David Johansen (New York Dolls), Terry Allen, Delbert McClinton, Andy Warhol’s Superstar Ultra Violet, Norma Jean Bell, and The Jim Carroll Band Restored and remastered audio by GRAMMY®-nominated engineer, John Baldwin Extensive booklet featuring unseen archive photos, ephemera and label history (LP: 20-pgs, CD: 40-pgs) Liner notes by journalist Joe Hagan with exclusive interviews Double LP pressed on 180-gram vinyl and housed in a gatefold jacket ‘Cocktail Party’ Vinyl Color Edition pressed on Clear Wax “Earl was a wonderful man with a great eye for new and innovative art. And such an amusing companion, too.” – Mick Jagger

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.

Friend to Joan Didion, Andy Warhol, and a galaxy of luminaries, Earl was an inveterate tastemaker. Actor Harrison Ford, who before Star Wars fame was Earl’s handyman and pot dealer, called him “the last of a breed, one of the last great gentlemen and bohemians.”

After Earl died in 2016, journalist Joe Hagan, author of the critically-acclaimed Sticky Fingers, the biography of Rolling Stone founder Jann Wenner, discovered a trove of rare and unheard tapes in Earl’s apartment in New York—literally inside his closet. “I asked for a step ladder and the first box I pulled off the shelf was a master tape of Some Girls, the Stones album,” says Hagan.

Now Light in the Attic Records proudly presents Earl’s Closet, a double album of the treasures discovered inside, including unheard music by Daryl Hall and John Oates, David Johansen, Terry Allen, Delbert McClinton, Warhol “Superstar” Ultra Violet, Detroit sax legend Norma Jean Bell, Jim Carroll and an eclectic cast of undiscovered artists who once vied for fame and glory—folk, rock, country, funk and R&B gems that virtually no one has heard in decades. Whether it’s the almost-famous power pop of Shadow from Detroit, or the Delfonics-style soul of the Blood Brothers Six, Earl’s Closet retraces the dreams of artists who once sent demos to Earl McGrath. Longtime Light in the Attic-affiliated reissue producer Pat Thomas assisted Hagan in tracking down the artists and finalizing the paperwork.

At once an archival mixtape, a secret history and a journey into the heart of an era, Earl’s Closet features a deep booklet of documents, images and ephemera from Earl’s archive, expansive liner notes by Joe Hagan, who tracked down and interviewed the artists, and astonishing photographs by Earl’s late wife, the Italian countess Camilla Pecci-Blunt McGrath.

The Psychedelic Side of Kosmische Musik Fellow humans, Bureau B invite you on an expedition to Silberland, a singular span of spacetime created by Germany's sonic futurists of the seventies and eighties. Embracing the early electronics and tape experiments of the sixties' avant-garde, these artists aimed to boldly go, eschewing small steps for giant leaps into a nebulous and novel sound.

Mastered From THE Original Master Tapes With Mobile Fidelity's One-step Process: Pressed ON Mofi Supervinyl, Limited TO 7,500 Copies. Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer who knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's Ud1s 180g 45rpm 2LP box set presents the landmark effort like never before.

Astral Magic is a new Finnish Space Rock project lead by Santtu Laakso (Dark Sun).This album is highly inspired by ‘Hawkwind’ and the ‘Spirits Burning Project’. All music, instruments, vocals and lyrics by Santtu Laakso. + guest Musicans: Guitar by Martin Weaver (ex-Dark and Wicked Lady) on 6 of the 9 tracks, Ukulele by Samuli Sailo on ‘Winds of Time’ Additional synths by Scott Heller (øsc, Dr Space, ...) on 'Winds of Time'

Das dänisch-schwedische Quartett Vola meldet sich mit einem neuen Studioalbum zurück. Auf ‘Witness’ präsentieren sie ihre ikonische Mischung aus futuristischem Progressive Rock, Electronica und modernem Metal, gekrönt von klaren, schönen Gesangslinien. Der Grammy-nominierte Sänger, Gitarrist und Musikproduzent Jacob Hansen (Volbeat, Delain) inspirierte Vola dazu, mit ihren vielseitigen Fähigkeiten ein sehr zeitgemäßen, atmosphärischen Albums aufzunehmen. Es gibt immer eine unterschwellige cineastische Ästhetik bei Vola. Die Band vermag es den Hörer zu fesseln um immer tiefer in die Sounds und Geschichten der Songs einzutauchen.Mit ‘Witness’ laden Vola den Hörer auf eine Reise ein, Charakteren zu folgen, die in ihrem Leben Zeuge von großen Veränderungen wurden.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching. We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

Really an amazing atmospheric and psych-influated album by Afet Serenay. Mind-blowing tunes by the players, band members were famous musicians and the band called "arilar" (which means The Bees). Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Psychedelic Folk.. Most of the songs are from traditional Turkish folk songs with groovy arranges, drum attacks, percussions, saz and absolutely superb moog sounds going there and here.. Lovely and tasty Turkish Delight..! Enjoy the sound!

In 2019, at a time in which irrationalism seems to be king, with far-right politics enjoying mainstream status worldwide, religious fundamentalists, flat-earthers, and anti-vaccinists testing the limits of freedom of speech, Planet of Zeus return with their highly anticipated fifth studio album, "Faith in Physics" (Heavy Psych Sounds records). Lyrically, this album seems to be Planet of Zeus's most socio-politically conscious release, dealing with themes such as digitalization, religion, social network pseudo-revolution, addiction and lonerism. Musically, it sounds like the band's chosen to take the dirtiest path possible in order to create the highly charged atmosphere needed to get its messages through. 46 minutes of heavy, intellectual riffology and fat grooves, reminiscent of RATM's best days, MC5-esque attitude and energy, coupled with QOTSA's pop sensibilities. An album that flows like water and closes with Planet of Zeus's signature psychedelic last track, that sounds like "the Doors" landing in 2019 Athens via teleportation.

RSD first. Limitation: 2500. “Let’s show the people coast to coast that we here in New Orleans can party! Are you ready to roll ’78 and light up 79?!” announces the boisterous (and probably slightly buzzed) emcee introducing The Marshall Tucker Band to the tight-knit community of joint-passing, beer-cheersing rock ‘n’ rolling regulars at The Warehouse, New Orleans’ legendary 1970s music hall. Not only would the audience of 2,000+ longhairs enjoy the New Year’s Eve concert that night, but so would a huge audience of radio listeners rockin’ in simulcast nationwide. The emcee claimed that this was the largest radio audience ever to hear a broadcast and at the time, it probably was. The band elevated themselves to the occasion and delivered an absolutely smokin’ performance of what were already their most memorable and cherished hits.
• Sourced from the original 24-track tapes
• Mixed in Macon, Georgia in 2019 by Paul Hornsby, the original Capricorn Records producer who recorded and produced their first six gold and platinum albums.
• Featuring never before published photos by The Warehouse’s photographer, Sidney Smith, plus images of archival documents form the recording engineers.

This release comes on 180g.

A master of the mixing board, from the late '60s until the '90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This "giant" had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album 'La Formule Du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof.