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Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

Released as two 45’s in 1966 in the USA on CBS, become iconic with the Garage / Northern Soul “I Want Your Love” track. The tunes were featured on the essential Girls IN THE Garage compilations also in the 1980’s and 1990’s. Now we managed to licence the only EP issued outside USA, and its the mega rare Picture sleeve portuguese 1966 ep released with four tracks of their two USA 45’s. THE Pussycats!!! Limited edition of 300 copies with limited 100 colored wax ones!

Lady Lake is the second album by British progressive rock band Gnidrolog. Originally released in 1972 offers fans an immersive experience into the band's unique blend of intricate melodies, complex arrangements, and thought-provoking lyrics. Gnidrolog's Lady Lake showcases the band's exceptional musicianship and songwriting skills. The album seamlessly combines elements of progressive rock, folk, and classical music to create a captivating sonic journey.

Stain monsters was founded in 1988 by Stein Monstad and HP Gundersen, who were both working at the legendary Bergen hangout-spot Cafe Opera at the time. They were good friends who came from two completely different worlds when it came to music. Stein was into early synthesizer music like Gary Numan & John Foxx, HP was more into polished pop a la Steely Dan. What they had in common was the love for some sixties and early seventies acts like Electric Light Orchestra, Tyrannosaurus Rex, late Beatles and Flying Burrito Brothers. They started a band called Stain Monster band and performed songs from mainly that period with a personal twist. Their first album was released in 1991 and has a great cult status today. 2 years ago, they decided to record a new song to see if the magic still were there. And it absolutely was, big time!

The last, and previously unreleased, recordings from the legendary and world renowned Swedish psychedelic organist Bo Hansson before he passed away. (Jimi Hendrix was a fan and recorded his song “Tax Free”). Here you can listen to Bosse in fine form together with his lively organ student and keyboardist extraordinary; Eric Malmberg, joined by drummer Niklas Korsell, creating mesmerizing and ethereal space jazz. The music seems to contain information about a deep perspective that questions both time and space and recognize the universe unfolding its abstract process of creation.

Bluesy rust-belt psych from Ohio's December's Children! Bouncing between male and female vocalists, tight harmonies, country flavor and rock 'n' roll style, their sound fit the transition between pop and heavy rock in the late '60s. Pressed on pink vinyl!

This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night."

Opting for a more straight forward rock 'n' roll sound, the band never considered themselves psychedelic (though that was being pushed at the time), and though they weren't as heavy as Blue Cheer, their country-blues sound is nearly a precursor to later albums by Savoy Brown and Blodwyn Pig.

Hailing from Trondheim in Norway, Arabs in Aspic has been mid-Norway’s flagship of 70s inspired progressive rock and proto-hardrock for the past 15 years. They’ve been described as a sweet mixture of loud, heavy guitars and drums, 12 string acoustics, funky bass and percussion, screaming Hammond organs, soft Rhodes, Mellotrons and 70s Synths, topped with plentiful vocal harmonies. The bands first three albums have been re-mastered by Jacob Holm-Lupo, and are collected in this limited box set on exclusive “Aspic Colored Vinyl”. The box also contains a 12 page booklet about the early years of the band, and a slipmat with their Crown logo. The booklet and slipmat will be exclusive to this box set.

“IV – VI” continues where the previous Arabs In Aspic box set left off, and collects remixed / remastered / re-worked versions of the 4th, 5th and 6th albums from this now legendary Norwegian prog band. “Pictures in a Dream” and “Victim of your Father’s Agony” have been mixed and edited from scratch by Jostein Smeby, with additional overdubs. And “The Magic of Sin” is a brand new English version of the album “Syndenes Magi” – the way the album was originally written. This has also been mixed again from scratch, resulting in a very different sounding version of the six year old Norwegian album. All three albums have been meticulously mastered by Jacob Holm-Lupo (White Willow, Opium Cartel, Solstein) in Dude Ranch Studios. All three albums are presented on limited Colored Vinyl (also available seperately). While “Pictures…” and “Victim...” have regular gatefold covers, the limited first pressing of “The Magic of Sin” comes in a special tri-fold cover revealing more of Julia Proszowska’s striking cover art made for the album – and if combined with the first version of the “Syndenes Magi” LP, all five panels of the painting will be visible. This box set also contains an exclusive 12-page booklet loaded with pictures and stories about the albums.

Gjenferd is a brand new heavy Bergen-based band, formed in Kristiansand in 2020, inspired by heavy rock's childhood when Hammond organs and walls of guitar amplifiers dominated the stages. Long nights of lager, noise, obscure 70s records and rigging of way too heavy Fender Rhodes have resulted in an album that is a sonic explosion of tenacious and hard-hitting riffs, electric noise and idiotically catchy vocal harmonies. The album was recorded by Hans Uhre at Grisehuset, mixed & mastered by Iver Sandøy (Enslaved), and features stunning cover art by Robert Høyem.

Gjenferd is a brand new heavy Bergen-based band, formed in Kristiansand in 2020, inspired by heavy rock's childhood when Hammond organs and walls of guitar amplifiers dominated the stages. Long nights of lager, noise, obscure 70s records and rigging of way too heavy Fender Rhodes have resulted in an album that is a sonic explosion of tenacious and hard-hitting riffs, electric noise and idiotically catchy vocal harmonies. The album was recorded by Hans Uhre at Grisehuset, mixed & mastered by Iver Sandøy (Enslaved), and features stunning cover art by Robert Høyem.

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.

Norwegian art-rock quartet Yobrepus returns with "rock opera", "A Rhizome Revolution", which will be released in two parts this year. (Oslo, Norway) – In philosophy, the concept of a rhizome is used to describe something non-linear, with no apparent origin or hierarchy. As such, Yobrepus explores a range of crises that together form a revolution: the climate crisis, inequality, the existential threat of AI, resource scarcity, and the crisis within our political systems. Through the two albums, listeners are presented with fragments of personal stories, in no apparent order, each offering distinct perspectives on the revolutionary events. In this first part, a group of rebels prepare for violence while the rich and powerful get ready to upload their consciousness to the cloud. Later, murderous AI drones roam the streets, and a high-ranking official gets tried for a genocide. And still, someone finds room to sing a song about love? While the moods are less melancholy than on "Mycelium Days", the stylistic range is still as wide as ever. Genre-wise the albums traverse everything from aggressive alt-rock to wistful folk, 60s-inspired prog and dark, 90s-tinged electronica.

Simulacra - Cloud People is a six-piece band from Bergen, Norway. Since its conception, the band’s mission has been to experiment with new sounds and musical expressions - fusing the energy and improvisational nature of the jazz and rock bands we love with the tight, understated elegance of electronic music. Cloud People is inspired by everything from Bonobo, Kaytranada and Todd Terje to Motorpsycho and Pantera. Simulacra is the result of this - dynamic and varied, full of rhythmic motifs, melancholic melodies and euphoric climaxes. Cloud People is very eager to release this new music into the world, mesmerize music lovers and produce jaw-dropping live shows.

While their first two releases (Prequel and Space Mirror) saw these veterans of post-punk, new psychedelic noise, and 1990s garage rock expertly navigate the murky waters of Covid isolation with yoga-worthy ambient excursions, on their third record the quartet slides into fifth gear and terraplanes toward a fresh take on instrumental prog-rock. It’s not entirely unexpected, but there’s rapid accelerated growth at play on Tabula Rasa.

Infinite River is composed of Gretchen Gonzales (Universal Indians, Slumber Party, Terror at the Opera), Warren Defever (His Name is Alive, ESP Beetles, Ethan Daniel Davidson), Joey Mazzola (Detroit Cobras, Sponge, Sugarcoats), and special guest drummer Steve Nistor (Sparks, Ural Thomas, Seedsmen to the World). These instrumental recordings were tracked between the end of 2022 and the start of 2023 in Warren Defever’s new loft studio space in glorious Hamtramck, MI, where the sessions were supervised by Defever’s cat, Brother James. “My apartment is a big, echoey room; previously we were close together in a tight space,” Defever explains. “The other studio is cozy; this is an art gallery. So it’s a really different vibe.”

Tabula Rasa is closer to what the band is like live now. It highlights the point at which new age type music can become biker rock—which at times approximates Hawkwind or much German music from 1976, while rarely sounding like anything but itself. Tracks like “Around the Sun” and

“Sky Diamonds” definitely have evolved out of the group playing new age type music together. But here, the melodies are more pronounced; the chords and harmonies are more like pop music. Drone-based elements remain, but the pieces are shorter and far more propulsive.

Gonzales shows off her noise-guitar pedigree with both subtlety and aggression. Defever has largely ditched his tanpura for a bass synthesizer. It’s a joy to hear Nistor, who’s been a member of Sparks for close to two decades, open up, and just go gonzo on his kit. Mazzola’s songwriting has followed suit; these are great (and often lovely) compositions here. And his practice in playing with the band, especially Nistor, allows Mazzola to open up new possibilities for downright prog than he’s ever shown before.

A highlight has to be their crunchy and multi-part take on “Favorite Things,” which truly shows off Infinite Rivers’ diverse backgrounds. Defever relates that “Gretchen only knew the song from Coltrane’s take, while Joey only knew it from Sound of Music.” If that’s not worlds colliding, what is?

- Mike McGonigal

Stalwarts of the underground rock scene in Sweden for the better part of two decades, Långfinger is set to release their fourth album “Pendulum”. An album that is as much of a retrospective as it covers new methods of noise as the band reemerges for the first time since 2015’s LP “Crossyears”.

“Pendulum” delivers direct, intense and playful rock music in an immersive long play format which might not make sense in the grown-up digital age, but for Långfinger, rock n roll is not about growing up, or making sense for that matter. It’s about the exploration and continuum of all things related to their sound that was, is and will be.

180g 2LP 45rpm

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

First Genesis album to feature drummer/vocalist Phil Collins!

180-gram 45 RPM double LP

Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering

Pressed at Quality Record Pressings

Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Genesis' album Nursery Cryme, released in November 1971, marked a significant moment in the band's evolution and showcased the burgeoning talents of their new drummer and vocalist, Phil Collins, plus guitarist Steve Hackett.

Nursery Cryme saw the band take a more aggressive direction of some songs, with substantially improved drumming. The opening piece, "The Musical Box" combined the band's trademark mix of twelve-string guitars with harsh electric guitars and keyboards. The song, a macabre fairy story set in Victorian Britain, became the inspiration for the album cover, and went on to be a live favorite.

This album played a pivotal role in establishing the band's progressive rock sound and laid the foundation for their future success.

Although Peter Gabriel remained the band's primary vocalist, Collins' distinctive voice began to shine through on tracks like "For Absent Friends" and "Harlequin." Collins' vocals added a new dimension to the band's sound, blending seamlessly with Gabriel's, and hinting at the vocal prowess that would later define his solo career. His emotive and versatile singing style contributed to the album's overall charm.

Nursery Cryme is regarded as a crucial stepping stone in Genesis' discography, and with time, became recognized as a progressive rock classic. The album received acclaim for its adventurous and intricate compositions, combining elements of folk, rock, and classical music. Genesis' signature storytelling lyrics, often filled with surreal and whimsical imagery, captivated listeners and added depth to the music.

Critics praised the band's musicianship, with particular attention to the intricate guitar work of Steve Hackett and the melodic basslines of Mike Rutherford.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

The Third Sound is the solo project of Icelandic singer-songwriter Hákon Aðalsteinsson, formerly of Singapore Sling and currently touring in Brian Jonestown Massacre. Now residing in Berlin with a fleshed-out live line-up, The Third Sound are gearing up for the release of their fourth album ‘All Tomorrow’s Shadows’ - arriving via Fuzz Club Records on May 11th. Recorded by the band themselves over the harsh Berlin winter, the new record is their most refined yet – offering an expansive exploration into krautrock-tainted post-punk and dark psychedelia.

Following on from their 2016 LP ‘Gospels of Degeneration’, the new album takes a much more sparse and rhythmic approach than we’ve seen before, combining hypnotic guitar drones, motorik rhythms and haunting vocals – the last track boasting a guest feature from Anton Newcombe, who released the band’s debut album on his own imprint A Recordings.

A necessary collection of Jam tracks that were performed in session at the BBC.

Peter Green’s genius has its main roots in musical influences from a childhood spent in London’s working class East End. This intense collection features several of his best successes with the 1968-70 Fleetwood Mac — before their move towards pop stardom – and some interesting tunes from his tormented solo career throughout the 70s and the 80s.

On August 27th 2021, The Third Sound will release their fifth album ‘First Light’ on Fuzz Club Records. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavour since the release of his self-titled debut on Newcombe’s A Recordings a decade ago.

Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.”

‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

Summoned by the elders of Krautrock and re-defining their sound through occult rituals and old witchcraft, Hodo Gaia 保土谷化 gives a first glimpse into a captivating soundscape with their debut single Collarbones. Motorik rhythm and gut punching bass forms the cauldron that holds a psychedelic brew with bewitching vocals floating on the surface. Influences of non-western sounds and musical concepts enrich the taste and round up the intoxication. The more delicate side that lives from haunting minimalism is the other part of the experience. Get high and calm down.

The Stooges were a no brakes act who careered inexorably towards annihilation.They finally hit the wall in 1974, after the most horrible blow out imaginable at the Michigan Palace, where Iggy practically begged to be crucified by an angry mob. But remember this kids, Iggy hated himself so much he wanted to live.

The Stooges were a no brakes act who careered inexorably towards annihilation.They finally hit the wall in 1974, after the most horrible blow out imaginable at the Michigan Palace, where Iggy practically begged to be crucified by an angry mob. But remember this kids, Iggy hated himself so much he wanted to live.

"The Coffee Plant Demos" serve as a testament of the artistic chemistry and a journey towards musical stardom. These recordings remain cherished among fans as a rare treasure, offering a glimpse into the early days of two iconic musicians before they embarked on their legendary careers with Fleetwood Mac.

"The Coffee Plant Demos" serve as a testament of the artistic chemistry and a journey towards musical stardom. These recordings remain cherished among fans as a rare treasure, offering a glimpse into the early days of two iconic musicians before they embarked on their legendary careers with Fleetwood Mac.

Pride by Arena, released in 1996 was the bands second release. For the first time the original release has been remastered and released on Vinyl! The double gate fold has two red 180g vinyl discs Full colour cardboard inner sleeves with all the original artwork and lyrics.

The first in a series of mini compilations exploring instrumental Dub versions of sought after and long out of print titles from the world of Reggae, Disco, Boogie and House. Many of these versions still contain vocals, snippets here and there drenched in delay or reverb, a style you’ll recognise from many of the Jura Soundsystem edits on the label. The late Glen Adams & Finesse open proceedings with their Island Disco cover of Marvin Gaye’s classic, followed on the A2 by a super rare UK Boogie/Brit Funk mix of Tippa Irie’s ‘Panic Panic’ (shouts to Tippa for personally helping to push through the license) and the A side closes with the 80’s leaning ‘Yes I Do’ from Belgium’s Special Occasion. The first half of the B side comes from Carol Williams with the Special Club Dub mix of ‘Can’t Get Away’, originally a one sided promo only 10” from 1983 complete with spoken word intro from Carol thanking New York’s Metro DJs for their support of the song. The LP closes with a Jura Soundsystem Dubby Edit of La Palace De Beaute’s ‘Sin’ pulling back on the vocal and going heavy on the delay.

The norwegian group Boastein was founded by Are Storstein and Øistein Boassen in 1970. Boastein's debut album "Jeg har min egen luke" became something of a holy grail within alternative music in Norway. This is DIY rock from the anarchist basement with a sound and lyrics that was quite groundbraking when it came out. It was also one of the very first independent releases in Norway. The album can be described as free and progressive underground rock filled with dark humor, political sting and a good amount of weirdness. The record was first released in 399 copies in 1977.