Classic Rock 262 Items

Legendary garage punk recorded in the mid '80s and pressed in the mid '90s. A true classic that finally gets released after more than 30 years. A handful of promo copies got into circulation at the time and are considered a holy grail to collectors. The flipside 'Rainy Days' is a previously unheard track which could easily be mistaken for The Seeds. Real '60s style garage punk at its very best.

Limited edition for Record Store Day 2018!

Solar Project don´t try to impress with technical craftsmanship, fast licks or complex passages, but concentrate with a Pink Floyd-like overall sound. This overall picture is filled with excellent keyboard and guitar parts, various singing voices, mysterious sound effects and nice solos. The fact that Solar Project are heavily influenced by Pink Floyd only contributes to the overall idea. On Here I am, you hear that Solar Project do have a sound of their own. The core of the band is formed by keyboardist Robert Valet and guitarist Peter Terhoeven, two German musicians with a progressive heart of gold. They are assisted by several guest musicians, who are the backing band for Solar Project. Complex art rock, sometimes heavy, sometimes floydian-style filigrane, sometimes psychedelic, this perfectly describes the musical spectrum.

Black Sabbath Cover Band Rehearsal is a group of Black Sabbath lovers hailing from New York City. The group consists of Brad Truax (interpol), Mick Barr (ocrilim, Krallice), Greg FOX (liturgy. EX Eye), Nick Zinner (yeah Yeah YeahS), and Angel Deradoorian (dirty Projectors, Deradoorian). After a music residency in Berlin where Zinner, Deradoorian, and Fox met up, the first formation of the band was created. Zinner had the idea of bringing the music to NYC (when Truax and Barr joined) where the band received immediate attention and sold out their first concert. It was surprising for everyone, but they just kept on playing, and the people kept on showing up. It's been one of their favorite bands to play in ever. The love of Sabbath has brought so much joy to this group and there's no greater feeling than spreading that joy to fellow fans. Two tracks—"Sweet Leaf" and "Fairies Wear Boots."

Türküola releases maybe the most outstanding piece of Cem Karaca & Apaşlar in their adventure in Germany. Cem Karaca was a new born Anatolian Pop star from rock’n’roll roots and Apaşlar was a surf band when they united in 1967. In the end of 1967 they toured Germany and began to record with Ferdy Klein Orchestra (which was a version of Werner Müller Orchestra) between 1968-1969. “Gılgamış-Ayrılık Günümüz” is one of the singles recorded as a cooperation between the band and the “big band” . Therefore the A side of the single “Ayrılık Günümüz” (Our Day of Departi reflect this cooperation between Werner Müller Orchestra and CK & Apaşlar with a feeling of mod scene, a rock ballad with polyphonic arrangements. On the other hand the flip side of the single gives out the band’s own groove and performance with the instrumental psychedelic rock peace “Gılgamış” (Gilgamesh). Gılgamış is inspired by the Epic of Gılgamesh and the band plays a powerful groove with a Mesopotamian mood and riffs. The Apaşlar line-up playing in this piece was Mehmet Soyarslan (electric guitar), Seyhan Karabay (bass), and Leon Habib (drums). Beginning with Seyhan Karabay’s solid bass riffs which is followed by drums of Leon Habib serving an energetic groove; Soyarslan plays his Epiphone guitar with psychedelic effects which sometimes take the main theme to a micro tonal scale. Today we have the opportunity to hold this unique piece in compliance with the authentic cover coated with gelatine and its vinyl produced from the master tapes. Thanks to Türküola for this generous reissue for the collectors of Turkish psychedelia.

Limited edition for Record Store Day 2018!

Here's a collection of rare psychedelic/freakbeat tracks from such bands like The Kinetic, The Factory, Steerpike, State of Micky & Tommy, Cain, Nimrod and more. This is for fans of these 80s and 90s cult psych comps like the ones on Tiny Alice Records, the Justafixation series, Voyage Through the Sugarcube etc.

"Those who meditate in silence": it is one of the meanings of the Sanskrit word "Muni", a new musical project by Nicola Caleffi, multi-instrumentalist and founder of the Italian band Julie's Haircut. The debut album "Soma" (the sacred drink of the Vedic cult) was born from a day of studio improvisation which also involved Laura Storchi, a Julie's Haircut founding member, Claudio Luppi and Pierluigi Lanzillotta, the latter two engaged in various projects including the psych-rock outfit Pip Carter Lighter Maker. As invigorated by the properties of the Soma itself - the nectar that brings health and immortality - our four “cantors” unleash their minds to give life to an initiatory journey in deep communion with nature. From the thrilling Fourth-World plots of "Drinking At The River Of Light", which hides jazz-veins inspired by the Miles Davis of "He Loved Him Madly" and "In A Silent Way", to the psychedelic drifts of "Spirit Animal ”, in which horn players Silvia Orlandini and Paolo Campani also participate playing their winds, Muni manage to make spaces and silences resonate, transforming music into an imaginary landscape. Among ethno-tribal textures, in which the Bruce Palmer of "The Cycle Is Complete" era resounds, mystical psychedelia and sidereal excursions, also the tracks "Presence By The Fire" and "Corona Borealis" follow one other, closing the circle of a pilgrimage that Muni travel between heaven and earth accompanied by three very dear texts, which attended during the studio sessions: the Bhagavadgītā, the zen poem Shodoka by Yoka Daishi and the poems by Dylan Thomas."Soma" was recorded and mixed by Gabriele Riccioni and is published by Backwards Records on 300 vinyl copies. Artwork by Juan Ignacio Gimenez.

Press releases are rubbish! The band who wrote the music don't write them, so some oik who didn't write the music is wheeled in and then, with a Thesaurus propped open on their lap, they attempt to describe sounds with words. As I said, rubbish! So I asked co-founder and frontman of The Cravats, The Shend, to describe 'Dustbin of Sound', their first new LP in 37 years. "As always, it's unique" he said enigmatically. The Thesaurus gave me, 'distinctive', 'individual', 'idiosyncratic', 'different', 'eccentric' and 'unusual' for unique (flipping writing itself this).
The Cravats have indeed always been all of those things, but 'unique' sums it up just fine. Okay, you may prefer to be dragged along the motorway under a rusty Land Rover than have to listen to that sax-riddled, bass-laden Dadaist weirdness again but you can't deny they're unique. And with 13 brand new slabs of peculiarity from these particularly peculiar people (even oscillator overlord, Simeon Coxe of Silver Apples pops up for a few seconds on 'Motorcycle Man'), DoS is still the Cravats that John Peel loved (4 sessions) back in 1978, but with an extra 35 years of life on Earth soaked into their bones.
The two critically acclaimed singles from last year, Blurred and Jingo Bells which Marc Riley, Gideon Coe and Henry Rollins amongst others, played a wad on the wireless are here, as well as songs involving buried cattle, hatcheting Toyotas, death ray vapourisation, the mud-soaked sibling of Neptune and, of course, atheist yacht-owning crocodiles. Er, help me out here, Shend. "Music should always be passionate, preposterous, atmospheric and above all entertaining. We fulfill the remit." They do. It's like watching 13 magnificent mini-movies at your local multiplex but you're eyeballing them with your ears. And talking of Thesauruses, who the hell uses words like, 'maliloquent' and 'predilection' in Pop songs? If Shakespeare, Max Ernst and Beefheart had a radio show, this LP would probably be on heavy rotation.

Jerry Cutillo, deus ex machina of the artistic nucleus named O.A.K. (Oscillazioni Alchemico Kreative), is a multi-instrumentalist, singer and songwriter. Encompassing the world of prog rock, he has explored a resounding bridge between the European esoteric traditions and the magical rituals of Siberia, giving birth to a new, sophisticated and timeless musical vocabulary. His main strengths are represented by intriguing compositions, taste for the arrangements, melody and energy, stretched to the limit in his live act, which includes a wide cross-section of self-penned songs, traditional tunes and prog classics. All of this, together with a large number of collaborations with icons of the british progressive music, has given him and his band great recognition all around the world. "nine Witches Under A Walnut Tree" (out on 9th september 2020) was the missing piece of the esoteric prog trilogy started in 2016 with the album "viandanze" and continued with the successful, double LP "giordano Bruno" in 2018.

Ripping Storm is proud to unveil another treasure until now hidden in the deep underground. Caligula formed in 1984 in New York City and were part of that legendary wave when punk and metal bands started crossing each other's territory and playing shows together. Caligula raised their banner high playing shows with the likes of Whiplash, Carnivore, Sheer Terror, Crumbsuckers, Agnostic Front, Rest IN Pieces and many more. "Technical Aggression" is their 1987 Demo featuring five songs of fast and violent thrash metal that betrays the hardcore influence only in its speed and in the super-aggressive approach. The LP version features 4 extra never heard before tracks recorded live at the CBGB's in 1987 with an incredibly good sound. The CD version features the whole CBGB's show as bonus and two additional tracks recorded live in 1988, never heard before as well. Mastered at Toxic Basement Studio. 400 copies on black vinyl, insert, A2 poster.

First ever release for this previously unknown late ‘60s/ early ‘70s acetate, rescued from a thrift store in Chicago. Damaged heavy blooz-psych in the vein of Blue Cheer, Majic Ship, Mount Rushmore, Houston Fearless, Apryl Fool, Sweet Slag, Mutzie, Aum, Screw, or a wasted teenage Canned Heat. In these digital and interconnected times, it’s very rare to find an album from the 60s-70s which hasn’t been documented or “discovered” yet. That’s the case with a mysterious demo LP titled “A Very Snug Joiner” by a band called Mad Timothy. In words of Steve Krakow (of Plastic Crimewave / Galactic Zoo): “A friend of mine found this no-jacket LP at a thrift shop, and there is ZERO information on them--no one knows anything and I've spoken to many collectors. Very cool sludgy Blue Cheer/Majic Ship/Mount Rushmore kind of vibe--with a few folkier tracks---it’s all pretty charmingly primitive-- I think people would want to hear this!”
Even knowing that our efforts to track down the band were fruitless, we thought that this rarity deserved to be shared with the world, so we at Out-Sider / Guerssen in collaboration with Steve’s Galactic Archive imprint, are doing a vinyl edition of the Mad Timothy demo album, hoping that any of the band members will see it and contact us…

This is the new instalment of Soul Jazz Records’ ground-breaking Deutsche Elektronische Musik series, ‘a near-definitive guide to some of the world's most extraordinary music’ (The Guardian).

This latest edition features many of the classic German electronic and Krautrock groups from the 1970s & 80s – including Can, Amon Duul II, Harmonia, Conrad Schnitzler, Agitiation Free, Roedelius – as well as a host of lesser known artists such as Dzyan, Klauss Weiss, Gruppe Between and many more.

Deutsche Elektronische rarities unearthed on the album include Kalacakra (whose fan-base included the great Moondog!) and their superb ‘Nearby Shiras,’ taken from their super-rare spiritual/psychedelic private press concept album Crawling to Lhasa, from 1972.

Deutsche Elektronische 4 includes a wealth of German electronic experimental artists – the seminal pioneering group Harmonia (Roedelius, Moebius and Michael Rother), avant-garde guru Conrad Schnitzler as well as lesser known synthetic artists such as Klauss Weiss, Deutsche Wertarbeit, E.M.A.K. (Electronische Musik Aus Koln), Gunter Schickert and others.

Finally, the album also features an array of heavy and progressive German cosmic rock groups – Dzyan, Virus and the amazing Turkish/German tripped out sound of Alex’s ‘Patella Black’, recorded at Can’s Inner Space in 1973, produced by Holger Czukay and Jackie Liebezeit.

Deutsche Elektronische 4 comes with extensive newly commissioned sleevenotes by David Stubbs, author of the seminal books ‘Future Days: Krautrock and the building of Modern Germany’, ‘Mars By 1980: The story of Electronic Music’, and ‘Krautrock: Cosmic Rock and its Legacy’.

This album comes as a heavyweight triple vinyl edition with full colour inner sleeves, as well as a deluxe double CD edition with outsize booklet and slipcase. Both formats include full liner notes and extensive rare photography.

Limited edition for Record Store Day 2018!

Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. The CD version also includes the 2 tracks 'Bruhahá' & 'Eyes' which were released as a separate single on vinyl and were not included in the 2xLP version.

Supersuckers original Sub Pop Demos 1989, for the first time on vinyl. Remastered by Mikey Young in 2020. Recorded by in late 1988 in Tucson, AZ (tracks 1-2) and late 1989 at Word Of Mouth by Jack Endino, Seattle, WA (tracks 3 to 13) Black Supersuckers on these recordings: Eddie 'Spaghetti' Daly, Dan Bolton, Dan Seigal, Ron Heathman, Eric Martin

Radio Broadcast is a brand new label specialized in soundboard recordings done for TV and Radio broadcast. All vinyl 140 gr. Limited to 300 copies.

"Lemuria" is a project led by Kirk Thompson, an original member of the band Kalapana, which is iconic in the Hawaiian AOR scene. Kirk is not only a player but also as a producer, he has left behind numerous classic albums. The only album released in 1978 features high-quality sound production and songwriting filled with an island vibe, leading many artists to cover their songs. P-vine is reissuing this album's representative hits, "All I've Got To Give" and "Hunk Of Heaven," on a 7-inch vinyl for the first time in a long while.

Altın Mikrofon (Golden Microphone) is a music contest organized in 1965 by "Hürriyet", one of the biggest newspapers of the time. The first Golden Microphone contest was organized in 1965. The qualifiers of the 2nd Competition organized in 1966 were held in 9 hours in front of a jury including the famous artist Zeki Müren. This time 7 finalists were selected and their contest tracks were released as 45 rpm singles. They gave concerts in Izmir, Ankara, Istanbul, Bursa, Bursa, Eskişehir, Samsun and Konya. The last concert was again held in Istanbul. Silhouettes won the contest with 4563 votes. Second place was Blue Lights with 2850 votes, just like last year. The third with 2382 votes was Selçuk Alagöz. The finalists Kent Yedilisi, T.P.A.O.Batman Orkestrası, Cahit Oben, Siluetler, Ali Atasagun, Mavi Işıklar and Selçuk Alagöz Orkestrası shaped the Turkish Pop Music and Anatolian Rock movement

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called Doom Sessions. We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. This record you are holding is VOL. 3 – a split album between the US "Relapse records" legendary sludge-hardcore riffers 16 and the Italian heavy sludge band Grime. All the tracks are new and never released before. Almost half an hour of angry and aggressive heavy doom and sludge riffs !!! Awesome artwork by the mighty Branca Studio.

With one foot in the harmony beat-pop of the Hollies and other in the early psychedelic pop experimentation of Revolver era Beatles and Syd Barrett’s Pink Floyd, The Mirage left behind a string of 45s and unreleased studio recordings, a selection of which is presented here for the first time on LP. Featuring UK psych classics like “The Wedding Of Ramona Blair”, “Hold On”, “Ebanazeer Beaver”, “Mrs Busby” and many more! *Includes four-page insert with rare photos / memorabilia and detailed liner notes by Stefan Granados The Mirage were a quintet from Hertfordshire, England, formed in 1965. Fuelled by two gifted songwriters (Ray Glynn & David Hynes), they were soon recruited by Dick James (music publisher of the Beatles and the Hollies) as session musicians. Allan Clarke and Graham Nash from the Hollies were so impressed with them, that they took them under their wings, helping them to get a deal with CBS. Between 1965 and 1968, the Mirage released and self-produced seven singles for different labels (cbs, Phillips, Page One…), including titles like “The Wedding of Ramona Blair” (pure psych-pop perfection, included on Rubble in the 80s), “Hold On” (a mod-psych classic), “Tomorrow Never Knows” (a surprising cover released at the same time as Revolver, thanks to their Dick James connection), “You Can’t Be Serious” and more. But they also recorded lot of stuff that never saw the light of day at the time. These unissued songs run the gamut from magical Hollies inspired harmony pop (“Gone To Your Head”, “What Do I Care”, “I Want Love”…) to pure psychedelic pop, highly influenced by early Pink Floyd and Revolver era Beatles: “Lazy Man”, “Ebaneezer Beaver”, “Mrs Busby”…some of these tracks were included in the 90s on famous bootlegs like “Artifacts From The Psychedelic Dungeon” but now it’s the first time they’re all collected on a legit vinyl compilation, making “You Can’t Be Serious: 1966-1968”, the missing album The Mirage could have released at the time and a must for any UK psych aficionado. It comes with detailed notes by Stefan Granados (author of The Beatles and Apple Records: Those Were The Days 2.0 book, telling the interesting Mirage story, including their connections to Dick James, the Hollies, Spencer Davis Group, Caleb (of “Baby, Your Phrasing Is Bad” fame), Plastic Penny, Portebello Explosion…

United Sates Of Existence were one of earliest neo-psychedelic groups from the US. Born in Baltimore in 1978 out of the ashes of prog-rock outfit Klangfarb, their goal was to reproduce the sound of their favourite 60s psych bands: Strawberry Alarm Clock, Electric Prunes, Blues Magoos, Nazz, The Assocation… They consisted of Paul Rieger (guitar, bass and electric sitar), Bob Tiefenwerth (organ, electric harpsichord and piano), Dennis Davison – of Jigsaw Seen fame - (lead vocals, acoustic guitar and theremin) and Gary Schwartz on drums and harmony vocals. The group used vintage instruments and antiquated recording techniques to fully embrace the sounds of the first psychedelic era (1967-68). They never got to play live, preferring to spend their time recording in their basement studio or going on record-buying binges at all the discount stores, searching for obscure psychedelic albums with weird names like Harumi, Phulph, Bohemian Vendetta… They were championed by Greg Shaw (Bomp!) who chose one of their first recordings, the killer Return To The Psychedelic, as the opening track for the seminal Battle Of The Garages LP compilation (1981). They also appeared in another famous compilation, The Rebel Kind (1983). Anything Goes!, their first 45, saw the light in 1984, self-released on the band’s own label, U.S. Fidelity Sounds, and featuring members of the Association on backing vocals (no kidding!). In 1986, they caught the attention of the Bam Caruso label from the UK, where they released their only album, Introducing: the United States of Existence, in 1986. The Psychedelic Yesterdays Of Tomorrow compiles all the material released by United Sates of Existence, including their Bam Caruso album along with various single / compilation tracks, as well as a few previously unreleased tracks and alternate mixes. “Surround sound not required – these stereo recordings will transport the listener to the proper state of existence. Recorded in the band’s basement and mixed down on a picnic table - because that’s where it was all happening.”

Famous for their freaked out ride down “Tobbaco Road” (included on the now legendary “A Fistful Of Fuzz” comp), Peabody Co. were a mysterious US band who left behind a set of 10” acetates, collected here for the first time. Late 60s acid-punk / garage-psych, featuring seven self-penned songs plus three terrific cover versions of “I Can’t Explain” (The Who), “Let’s Live For Today” (Rokes / Grass Roots) and the aforementioned “Tobbaco Road” (based on the Blues Magoos cover but including an extended crazed theremin/drum freak out!).
NYC psych collector Mike Ascherman recalls how he came to acquire the acetates:
"Pyramid Records was a classic small used record store that opened in 1982 or 1983 and was open for about ten years. It was a gold mine for psych and private press LPs in a time when there was virtually no competition in the City for those. On the day it opened, psych collector/dealer Paul Major walked in and found a copy of Gandalf the Grey. That was but the tip of the iceberg."
"Not long after, I made my first trip there one day after work, and it immediately became my favorite store. Over the years, I became friends with both owners. As a result, I was often given the opportunity to see the new psych arrivals before they were placed in the bins in addition to my usual digging through the store. This led to me being able to buy the first known copies of such gems as Daybreak on RPC (offered to me) and the first BLO LP (2 copies, one the same day as I found my only copy ever of Spirits & Worm - all for $15 each)."
"One day in 1990, I came into the store and was shown a set of 10" acetates that one of the owners had just unearthed in one of his well-guarded secret digging spots. He asked me if I'd ever heard of a band called Peabody Co., to which I replied I had not. He then played their cover of Tobacco Road and I was instantly hooked. He then offered the set to me at a moderately hefty but very reasonable price. It took me about two seconds to hand him the cash. The rest is, as they say, history, leading up to now, when they are finally being given the LP release they should have had over 50 years ago. Many thanks to Alex and Out-sider for making a dream become reality."

Giacomo “Mino” di Martino started his musical career in several early 1960s Italian beat bands. By 1968 he had found enormous success with pop superstars I Giganti. After a brief split in 1970 –during which Mino formed Il Supergruppo with Ricky Gianco and other greats of the Italian scene– he came back to I Giganti in 1971. With them and with new advanced ideas that set the band pretty far away from the sophisticated pop and beat sounds they had been so successful with, they would record the amazing Terra in Bocca conceptual LP, an adventurous experimental album that explored the obscure connections between the Italian state and the mafia. A delicate topic full of political criticism which also found them having to fight censorship –it was played only once in the radio. This fact, along with the advanced new sound probably being too far ahead from the mainstream audience’s taste, turned the record into a commercial flop. Nowadays Terra in Bocca is a highly regarded album among critics, afficionados and collectors, and a pretty seminal one for the Italian scene of the seventies, since it can even be seen as a precursor to the works on the Cramps label. Gianni Sassi, producer and photographer who founded Cramps was involved in the release of Terra in Bocca –his is the amazing cover concept.

After the Terra in Bocca experience, Mino’s will was to keep exploring new musical paths and free his mind to experimentation. Along with his wife, actress and singer Edda “Terra” di Benedetto, they formed the Albergo Intergalattico Spaziale, just after the brief post-Giganti project Telaio Magnetico (with Franco Batiatto, among others) was over. The Albergo was a venue where artists from diverse disciplines, mainly musica and theatre, could meet and create works together.

On the musical side of the community, Mino and Terra explored the cosmic sonorities that were coming from Germany and mixed them with the Italian experimental scene of names like Franco Battiato, Luciano Berio or Roberto Cacciapaglia. It is from the sessions that took place in the Albergo from 1974 onwards that the Albergo Intergalattico Spaziale LP came out. Originally released in 1978 the compositions had been made during those years of exploration, the goal not being the release of an album but the aim to explore new sounds and experiment with music. Eventually it was decided to present a sample of all that work, and a few copies of the Albergo Intergalattico Spaziale LP were privately pressed.

The record sleeve and notes on the insert reivindicate the fight against nuclear power. The music is dominated by Mino’s keyboards, creating amazing space sounds reminiscent of those from 1950s and 1960s science fiction B movies brought to the most avantgardist experimentation of the moment, exploring new sounds with the newest keyboards available. This intriguing background sets the athmosphere for Terra’s voice to improvise all over.

This is a 500 copies only reissue, housed in its original artwork with the addition of a bonus 7" EP, a reproduction of a giant original poster and 3 inserts.

Second volume of Vampisoul's "Czech Up!" series, which compiles 60s and
70s gems from the vaults of Supraphon and Panton labels from the former
Czechoslovakia. Freakbeat, soul, baroque pop, prog-funk, garage rock, psych-jazz...
all that and more is contained within these 22 tracks, wonderfully produced and
now carefully remastered, many of them never reissued before. Includes detailed
liner notes by Lukás Machata

33 minutes of pure, unadulterated, psychedelic Krautrock courtesy of PYRAMID: an obscure studio project produced by Toby Robinson aka The Mad Twiddler. These sessions were recorded circa 1975-76 in Cologne for the underground Pyramid label, which was operated by Toby and his friend Robin Page (the Fluxus artist). During that time, Toby worked as engineer and assistant at various studios in Cologne, including the famous Dieter Dierks studios, where most of the albums from the Ohr/Pilz/Cosmic Courier catalogue were registered. Having access to the studios during dead hours, Toby recorded lot of sessions just for fun without any commercial interest, featuring friends and musicians who frequented the studios and the underground art/music scene of Cologne. Some of these sessions were later relesed as hand-made vinyl micro pressings on his Pyramid label with help from artist Robin Page.

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.

Performance at Filmore from 1968.

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.

Nomadic Pursuits is the second Yawning Man studio album, released in 2010. With a five-year gap between the first album and this one, the band had time to further expand on their freeform desert sound. Heavy Psych Sounds is now giving new life to this psychedelic gem with a new special edition!

2022 repress of 2010’s GAF & The Love Supreme Arkestra’s debut album - another tour de force from this multi faceted band, showcasing its surprising chameleonic ease of play with multi references to space rock, free jazz and the raw German sound of the early 70's. Electric mantras meet hazy synthesizers and gaseous guitar drones float weightlessly into the cosmos. If Carl Sagan had a chance to listen to pieces such as “Shine” or the sublime “Decata na sunceto”, he would surely turn into their unconditional fan. Recorded, mixed and mastered by Jorge Lozano in 2009 at Gallinero Studio ( Los Realejos, Tenerife) Artwork: Felipe González Cabezas Originally released by Foehn Records in 2010

Vultures is a first time pressed EP of the swedish stoner band Dozer. Recorded in 2004-2005 at Rockhouse Studios in Borlänge, these six tracks were used as pre-production demos for what would later become the fourth Dozer album, 2005’s Through the Eyes of Heathens. The album is now released for the first time on vinyl and digipak with a very special bonus track, a cover of the Sunride song Vinegar Fly. Vultures is a real heavy-stoner explosion, something that only Dozer can provide. The amazing artwork is made by Lowrider leader Peder Bergstrand.

Melancholic and mysterious, but at the same time strangely familiar. Combining surreal soundscapes with a distinct sixties-style songwriting, Emile’s psychedelic loner folk debut comes together like a weird dream. A dream that shows a side of reality, too strange to observe in any other way. Driven by acoustic guitar and haunting arrangements, the frontman of The Sonic Dawn presents a unique backdrop, on which songs about death, life, loss and fear of growing old melt together with a dystopian look into the near future of our civilization.

Enter the Mirage is arguably the most blazing and powerful album yet by The Sonic Dawn. It has an unusual live feel for a studio album, packing much of the raw energy and electricity that has made The Sonic Dawn’s psychedelic concerts famous in the rock underground. Enter the Mirage’s overall theme is freedom. It is about visions that may seem too distant to be real, but only those who take the trip will ever really find out. Frontman, Emil Bureau, explains about the album’s inception: “First I lost my father, then I lost my job and finally I lost my will to be a servant of anything that isn’t peace, love and freedom. It should be simple, but in this world it isn’t. Instead of getting back on the so-called career path, which is generally a dead end, I took a leap of faith, with the band’s support.” Bureau spent half a year in a songwriting frenzy, spawning not only Enter the Mirage by The Sonic Dawn, but also a solo album in the folk genre (available via Heavy Psych Sounds). To give form to these song ideas, the Danish trio rented a space in the gloomiest part of Copenhagen, set up a studio there and rocked out for two months. You hear that roughness, present as a determined attitude from a tightly knit band. With three past albums and some 200 shows under their belt, The Sonic Dawn is a psychedelic group to be reckoned with. However, at the end of their long and laborious creative process, the band was completely broke. Fortunately, friend and former producer, Thomas Vang, allowed them to mix the album in The Village Recording at night, after his own sessions. Thanks to this, and a skillful mastering by Hans Olsson Brookes (Graveyard et al.) Enter the Mirage puts the HIGH back in high fidelity. Turn up the volume and experience The Sonic Dawn.

Neil Young finally releases his 1975 album "Homegrown" which was shelved back then due to him feeling uncomfortable with it being to personal.