MUSIC

"E2-E4" released in 1984 under the name of Manuel Göttsching is a popular masterpiece at our company, but this is also the second masterpiece of Ash Ra Tempel released 12 years ago, which is also a representative of Krautrock. It can be called a board! In commemoration of the 50th anniversary, it reappeared from his own label in 2021 under the supervision of Manuel Göttsching. Released on in 1972, the band at the time was joined by Wolfgang Müller, Manuel Göttsching and Hartmut Enke, after Klaus Schulze left the band after his self-titled debut album (1971). It was made. It is composed of two parts, and the first half "Light And Darkness" is a chaotic psychedelic world. Manuel Göttsching strumming a bluesy guitar, and guest-participating John L.'s vocals add to the trip! And the latter half "Schwingungen" is a world of silence that contrasts with the first half. This track, named "Vibration", is a trip ambient with a fantastic reverberation and euphoria. A vivid and intense work left by Ash Ra Tempel, who was in drug culture at the time! !! Gate fold specification with stickers. Comes with a special insert printed with a copy of the original metronome press release issued in 1972.

"People who are sort of more the outcasts of society tend to tell it like it is" – Scott Seskind, 2015. Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by Noise In My Head offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe.

Paradigm-shifting percussionist Valentina Magaletti stops time on 'La Tempesta Colorata', a long-form set that rolls thru tempos and time signatures with gymnastic flexibility, offering another spectacular entry to A Colourful Storm’s gravity-defying recent run of releases. Magaletti is a regular and constant presence on these pages as a member of Moin, Vanishing Twin, Tomaga and CZN, as well as thru endless collabs with everyone from Floating Points to Nicolas Jaar, Jandek to Helm. For our money, though, she's at her most arresting when operating in solo mode. "La Tempesta Colorata" was recorded at Cafe Oto in October 2021 and follows her astonishing 2020 solo set "A Queer Anthology of Drums” with a virtuoso performance that never drags for a moment, fluctuating from ASMR scraping to angular post-punk rhythmic pulsewerk. With a full drum set, a handful of additional small instruments and a delay pedal, Magaletti somehow captures a full spectrum of sound, employing only minor additional elements to flesh out her sound. From the dewdrop swagger of the opening minutes, thru rolling tom-led seismic activity - complete with customary screams - and into echoing industrial dub-improv experimentation, she's able to assemble her rhythms with metronomic accuracy, but with enough space in the gaps to enhance inherent human qualities - a far cry from fully electronic studio productions. It’s a spellbinding display of polymetric complexities where no two seconds repeat themselves, persistently pulling patterns apart and restitching them in diffractive slow-fast-slow temporalities that arc from showers of cascading hi-hats, to pugilistic breaks, to an unexpected trough of Twin Peaks-y drones around the mid-section, only to climb out of it via icicles of melodic chimes and into more humid areas of her imagination, ultimately shoring up in pitch black Amazonian zones. If you're into anyone from Autechre to Eli Keszler, Milton Graves to Han Bennink, this one's a mindmelt.

"On a gloomy weekend in the Pacific NorthWest Oregon coast in November of 2020, we find the eleven piece cumbia orchestra outfit, Orquestra Pacífico Tropical, writing new material in a cabin for what will become their third full length album, "El Poder." The sonic exploration and the cloudy overcast of the coastal forest really gave an inspiration to the overall musical palette of the demos that weekend that eventually became El Poder. Creating a warm & inviting recording session in the living room of a cabin truly allowed for inventiveness & spontaneity to be key in the development of these melodious rhythms & movements. While continuing on the trajectory of the tradition of cumbia, the band has also delved into salsa, psychedelic NorthWest sounds and whole new audio exploration of music that truly feels unique & never heard before..."

Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.“It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.

Their soulful funk awareness might have found its grandest stage with their self-titled 1979 “debut” for Mercury, an album that covered the band’s gritty soul with a layer of stifling L.A. gloss, that caused few heads to turn, and that marked the beginning of the end for Father's Children. Years before the coke dust had settled, another album’s worth of material had been tracked, the creative supernova that should have ushered the group into the nation's consciousness years prior. Who's Gonna Save the World is that 1973 explosion, conceived prematurely and then uncovered decades into a lengthy incubation inside producer Robert Hosea Williams’ suburban beltway garage. Unreleased previously, Father’s Children’s true freshman offering is a work genuinely concerned with its own time and place, bringing together comet-hailing funk, sunny group harmonies, fuzz-guitar solos, shimmering keys, bubbling percussion, spiritual prophecy, and dub experiments. Our deluxe LP edition includes the bonus 45 “Linda Movement” b/w “Intellect” and a folio full of promo photos that track the band’s evolution from D.C. doo-woppers to L.A disco denizens.

Free Your Mind And Your Ass Will Follow is the second album from funk innovators Funkadelic, arriving in 1970 mere months after their trailblazing debut. Famously originating from a single LSD-fueled marathon session, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard's Pop chart. Remastered direct to lathe from original master tapes by Dave Gardner (all analog).

Released in 1970, Funkadelic’s self-titled debut was a radical collision of psychedelic rock, gospel, blues, and soul — a chaotic, genre-defying statement that redefined the possibilities of Black music. Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself.Backed by a ferocious young band — including Eddie Hazel, Billy Bass Nelson, Tawl Ross, Tiki Fulwood, and Mickey Atkins — the album rejected convention in favor of raw groove and existential noise. Tracks like “I Got a Thing…” and “What Is Soul” pulse with menace and joy, bookended by surreal monologues that echo both street philosophy and space-age gospel.As part of Org Music’s Westbound Records reissue series, this edition restores the album’s full impact across multiple formats. The deluxe double LP, mastered at 45RPM directly from tape by Dave Gardner at DSG Mastering, offers the highest fidelity to date. Gardner and restoration specialist Catherine Vericolli archived and restored the original master tapes at 54 Sound Studios in Ferndale, Michigan, with assistance from in-house engineer Nick King. A single LP edition, cut from high-resolution tape transfers, is also available, alongside CD, cassette, and digital formats.A sonic revolution in its time and a lasting influence ever since, Funkadelic remains a groundbreaking testament to music without rules and freedom without limits.

Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region’s sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020’s acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own—Bridges calls it “more introspective,” while Khruangbin bassist Laura Lee says it “feels more night time.” When Texas Sun was released, AllMusic called the results “intoxicating” and Paste noted that “their talents and character go together so well.” Now comes the next stage—a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties’ musical directions were clearly affected by their time working together. Khruangbin’s most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger’s Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. “As far as an essentially instrumental band, these guys are kind of the top for me,” says Bridges. “I’m honored to have been the first singer that they’ve incorporated in their music.” “It feels really special to me,” says Lee. “It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

Big Crown Records is proud to present Glera, Marco Benevento’s debut album on the label. Marco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling. Glera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward. Album opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello. Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still.

Big Crown Records is proud to announce Marco Benevento to the family with his unstoppable debut 7”. A true piano virtuoso who’s been playing since the age of seven, Marco’s career has taken him around the world many times over, earning him a deep discography and a reputation as an in-demand session player.??Big Crown co-founder and Grammy-winning producer Leon Michels first brought Marco into the fold during the recording of El Michels Affair’s Adult Themes album, and he’s been lending his talents to countless Big Crown projects ever since. Outside the label, Marco’s unmistakable touch can be heard on records by Clairo, Kevin Morby, and Freddie Gibbs, among others.??But enough about what he’s done for everyone else—this release is Marco at his finest: doing his own thing, and doing it well. The A-side, “Frizzante,” is pure celebration captured on wax, waiting for the needle to set it free. It’s a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. From the first note, the infectious topline riff hooks you in, giving way to

cascading piano runs, lush horn arrangements, and layers of electric piano and synths that keep the energy rising. There’s no lull, no letup—just a proper soul-jazz dancefloor affair.??On the flip side, Marco shows an entirely different shade of his sound with “Turnadot,” featuring Italy’s own Marianne Mirage.

Hauntingly beautiful and cinematic, the song sits comfortably between Portishead and Serge Gainsbourg. Marianne’s vocals float over Marco’s perfectly balanced arrangement—his production both restrained and expressive, making the tune universally captivating, whether or not you speak Italian.

Sensible Soccers return to 8mm Records with a remix EP that hands three standout tracks to a trio of cult producers. Tolouse Low Trax transforms ‘Efeito Zandinga’ into a hypnotic collision of afrobeat rhythms and stripped-back techno, while Danilo Plessow reworks ‘Saravá’ into a driving acid house cut that balances club energy with the warmth of the original. Peaking Lights close the record with a spacious reinterpretation of ‘Rosa Mota’, drawing out its dub and psychedelic elements into a drifting, cosmic finale. Together, the three remixes offer contrasting perspectives on Sensible Soccers’ sound, connecting psychedelic dub, afro-futurist rhythms and adventurous dance music.

Epic 2 hour trip of astral-planing, ambient psychedelia shimmering with displaced traces of pop, slurred acid grooves and ample flange. Definitely one for the road or rail trip this summer, and FFO The KLF, Fennesz, Jefre Cantu-Ledesma, Eno. “From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia — Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025. An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away — as if to deceive reality, or at least our perception of it. More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey — somewhere between ambient, IDM, and post-pop.”

Kikagaku Moyo's debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair. =Band Description= Kikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free musiccollective, it quickly evolved into a tight group of multi-instrumentalists. Kikagaku Moyo call their sound psychedelicic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound.

The blissed family band is back! TENGGER have always moved together, through time, space & genre. 'SKY' arrives as a new chapter: a little more still, a little more inward, while keeping all the warmth that's always been at the heart of what they do. Embodying the band name meaning "endless sky" in Mongolian and "vast sea" in Hungarian, their 8th album 'SKY' centres on the feelings of boundless, infinite expansion. Conceived as one continuous environment rather than a collection of tracks, the album unfolds slowly through luminous synths, patient drones and Itta's breath-like vocals. Like a soft big sky you can actually float on: 'SKY' is vast, warm, and wide open. "Rather than a specific emotion, we hope the record opens a certain awareness — that the sky is not just something to be seen. Through it, we sense a connection to something much larger — a feeling of being linked to the wider universe. This sense of connection runs through the entire record."

Like a long journey this record unfolds itself through many layers.

Fans of Kikagaku Moyo will be comforted by the soft vocals harmonies and warm Sitar but what sets this release apart is the refinement of the band’s songwriting and their delicate execution.

Side A begins with a pair of travelling songs where the interplay between the vocals, guitar, and sitar lift and suspend you on an unexpected journey.

The patient listener is rewarded by tracks like “Trad” and “Silver Owl” that demonstrate the masterful balance the band has between soft and loud; chaos and order, or being both cold and tender at the same time.

“House in the Tall Grass” takes the listener by the hand on a comfortable quest through destinations both familiar and unknown.

It is a natural step forward for the band and perhaps the most refined example of their style to date.

Emerging from Italy’s contemporary underground scene, La Festa Delle Rane is the project of Naples-based musician Lucia Sole, whose new cassette release is a collaboration with UK label All Night Flight. Her music gently captures fleeting everyday moments, evoking dreamlike nostalgia through a childlike lens. With a simple setup of melodica, acoustic guitar, and flute, combined with percussion and brass, the sound balances intimate stillness and kaleidoscopic improvisation. Lo-fi recordings preserve the delicate textures of her innocent vocals, whispering glockenspiel, and distorted organ—tracing the breath and presence of space itself.

Side A
1. 夢は今日も / Dream Again Today
2. 造花の原野_1976 / Wilderness of False Flowers_1976
3. 白い目覚め / White Awakening
4. Guitar Solo 1（ボーナス・トラック *Vinyl Only）

Side B
1. カーニバル / Carnival
2. 氷の炎 / Flame of Ice

Side C
1. Guitar Solo 2（ボーナス・トラック *Vinyl Only）
2, 夜、暗殺者の夜 / The Night, Assassin’s Night
3. お前の眼に夜を見た / Saw the Night in Your Eyes

Side D
1. イビスキュスの花　或いは満ち足りた死 / Hibiscus Flower otherwise Dying Satisfied
2.  Enter the Mirror

A very welcomed reissue for this rare Jackie Mittoo album, originally released in 1979 on unknown label, Rite Sound inc. The original release was sold without a jacket, adding a mysterious vibe to the whole thing. The dubby effects-intensive sound of the album extends from "Russian Satelite" to the whole side A, with "Harder Than The Rest," "Stepping Tiger," and "World Of Love" being an excellent triptych of note. The thrill of Jackie's crazy keyboards intertwining with the floating dub sound like a heavenly space is beyond description. Space is the place.

A cornerstone in European experimental and popular modern composition! Formed around the core of jazz vibraphonist Christian Burchard and drummer Dieter Serfas, the group started its career in Munich in 1969. More than 300 musicians have passed thru’ their ranks, from their colleagues in Amon Duül II (Lother Meid, Chris Karrer, Jimmy Jackson), Xhol (Hansi Fischer), Between (Roberto Detree, Peter Hamel) to renowned jazzmen (Charlie Mariano, Mal Waldron) and countless musicians from around the world (Yoruba Dun Dun Orchester, Okay Temiz & Oriental Wind, Karnataka College Of Percussion, Mahmoud Gania, Xizhi Nie), making Embryo an ever-changing but always interesting collective of musicians. This is where it all began. Originally released by Ohr in 1970, Embryo’s legendary debut was an inventive piece of progressive jazz-rock spiced-up with free moves and soaked in a late ’60s psychedelic atmosphere. Miles Davis was right, Embryo was more than a unique experience. While talking with Charlie Mariano (the saxophone player was one of the most impressive collaborator of the band) one day he stated: ‘Embryo – they are these crazy creative musicians playing really weird stuff.’ When you get the blessing from the prince of darkness himself, nothing can go wrong, so here’s the story. Opal was the beginning of all things to come, the record was released in 1970 and licensed by pioneering early Berlin rock/jazz/experimental music label Ohr. It was quite a shock!

A powerful survey of 1970s Pinoy rock, spanning hard rock, glam, acid rock and heavy blues across a golden era of Philippine music. Drawn from recordings between 1971 and 1978, this compilation captures the grit, swagger and invention of a scene firing on all cylinders. Featuring key figures including Juan de la Cruz Band, Judas, Anak Bayan, Hot Dog, Maria Cafra, Sampaguita, Joey Smith and Wally Gonzalez, the collection moves from fuzz-laden stompers to groove-driven rock’n’roll with ease. Each track reflects a distinct strand of the era’s sound while contributing to a broader picture of a vibrant and often overlooked movement. An essential introduction to the depth and energy of 70s Philippine rock.

Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.

Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, “Onda Esotérica”.

Psychedelic cumbia amazónica with South Texas swagger. “Like taking a hit of acid, downing a couple shots of tequila, and hopping a plane to 1960s Peru” – KUTX.

Essential 1969 album from Gal Costa, one of the defining voices of the Tropicalia movement. It showcases a bold fusion of psychedelia, Brazilian pop, rock, and samba, featuring standout tracks like Caetano Veloso’s ‘Baby’ and Caetano and Gilberto Gil’s ‘Divino Maravilhoso,’ as well as songs written by other iconic artists such as Jorge Ben and Erasmo Carlos. A timeless classic that still sounds fresh and relevant.