Psychedelic / Progressive

Celebrating half a century since its legendary debut, Guruh Gipsy returns in a definitive 2026 official reissue—honoring one of the most visionary works in Indonesian music history. Widely regarded as one of the greatest Indonesian albums of all time, this landmark release is an experimental collaboration between Guruh Soekarnoputra and the progressive rock collective Gipsy. Its bold fusion of Balinese traditional music, orchestral composition, and progressive rock spirit resulted in a work far ahead of its time—a sonic artifact that remains deeply relevant and inspiring today.

Celebrating half a century since its legendary debut, Guruh Gipsy returns in a definitive 2026 official reissue—honoring one of the most visionary works in Indonesian music history. Widely regarded as one of the greatest Indonesian albums of all time, this landmark release is an experimental collaboration between Guruh Soekarnoputra and the progressive rock collective Gipsy. Its bold fusion of Balinese traditional music, orchestral composition, and progressive rock spirit resulted in a work far ahead of its time—a sonic artifact that remains deeply relevant and inspiring today.

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.

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 fifth studio album & last euphoric mind-trip to Kikagaku Moyo's imagined island. Best-suited for counting stars, looking at the ocean, and dancing in one’s daydream.”

Previously released on May 20th 2014. Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Think about Can as performed by a shaman commune ! Two long LP-side size compositions, focusing on tribal rhythms (without real drummer), heavy-folk and electronic samples and loops. Takahashi Yoshihiro (Brast Burn) was the man behind this cultish project originally released in 1974. Buried deep in time, this obscure artifact is something of a revelation. No group information was ever given, and no production date or location is indicated, however, it would seem that this record and the "Brast Burn" LP (also reissued by Paradigm) are both by the same group of Japanese nutters and that they were both recorded in the mid seventies in Japan. But all you really need to know is that it is stone cold fantastic, a wild and manic trip full to the brim with hypnotic jams constructed from all manner of eclectic instruments.

The tribal blues sound is augmented with fascinating tape experiments, electronics, environmental sounds, moaned (howled) vocals and a host of musical delicacies, as dangerous as they are delicious. The influence of German bands such as Can, Faust and Guru Guru is evident throughout, so too is the influence of the good Captain (Beefheart that is) whose gut wrenching blues dirges find compadres in this unearthed swamp. Deranged psychedelic music for anyone with a passing interest in Kraut rock, the new Japanese psychedelic scene (most of whom owe these pioneers a great debt) or great music from the edge of the solar system. Recommended.<iframe width="560" height="315" src="https://www.youtube.com/embed/6kWuJcXCYCM?si=qzWOtQkBPaAemmZ5" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

La Düsseldorf's debut album, formed by Klaus Dinger after the dissolution of NEU!, sublimated the experimental nature of Krautrock into a pop sensibility.

The tracks "La Düsseldorf," "Silver Cloud," and "Time" create a hypnotic and celebratory atmosphere through their repetitive motorik beat and shimmering synthesizers. The album is marked by the energetic vocals of Klaus Dinger and a sense of openness within its minimal structure.

Transcending the boundaries of German rock, this work radiates a genre-crossing appeal, where an art-rock perspective fuses with a DIY spirit. It stands as a symbol of Krautrock's evolution, continuing to shine brightly with a freshness that influenced later new wave and techno music.

Clube da Esquina is a 1972 double album by the Brazilian music artists collective Clube da Esquina, credited to Milton Nascimento and Lô Borges. Considered one of the greatest Brazilian albums and an important record in the history of Brazilian music, it features arrangements by Eumir Deodato and Wagner Tiso, and conductions by Paulo Moura. The album garnered high attention for its engaged compositions and miscellany of sounds. Indeed, the LP was considered in the list of the Brazilian version of Rolling Stone as the 7th best Brazilian album of all time. In 2022, the album was ranked number 1 on the Discoteca Básica podcast's 500 Greatest Brazilian Music Records list and Spin ranked the album at number 19 in its list for the 50 Best Albums of 1972. Despite popular belief, the photo on the album cover does not depict Borges and Nascimento as children. It was taken by a member of the collective, Brazilian photographer Cafi (Carlos da Silva Assunção Filho), on the side of a road in the rural northern Rio de Janeiro state.

Sensational reissue for the first volume of iconic compilation Simla Beat 70. A psych garage manifesto, the record consisted of groups who appeared at the All-India Simla Beat ‘battle of the bands’ contest held in two years (1970 and '71) in Bombay. The annual event and the records were sponsored by The Imperial Tobacco Company. Bands from all around India would compete for first prize. The album - indeed - was not recorded live on the stage but in a primitive makeshift studio using very little overdubbing or sound reinforcement. The sound is generally influenced by the proto-garage western movement of the mid sixties and later became a massive cult for all the 70s rock fans.

Recorded again at the legendary Kerwax Studio by Christophe Chavanon, fully on analog tape and gear, Witchthroat Serpent's latest LP “DEMONS LEFT TO ROAM” is yet another hymn to the last century’s sordid dreams and fears, moral panic and the creepy costumes from Halloween in the 30’s. Huge and gritty walls of guitars, rumbling stereo bass and plundering ritual drums. Songs of horror tales and satanic litanies, carried by haunted vocals.

Minami Deutsch is back at it again with their latest LP "With Dim Light". Whilst softening their sound and cushioning the blow, you can expect a more profound diversity in their sound, whilst retaining the principle ingredients that make Minami Deutsch so great such as their signature fuzz, thumping bass and dream like vocals. There is a heavier experimentation in regards to genre exploration. With hints of post punk and nods to late 60s psychedelic rock, this shows that Minami Deutsch is willing to push musical boundaries further whilst retaining a clever songwriting ability to achieve this album Minami Deutsch is back at it again with their latest LP "With Dim Light". Whilst softening their sound and cushioning the blow, you can expect a more profound diversity in their sound, whilst retaining the principle ingredients that make Minami Deutsch so great such as their signature fuzz, thumping bass and dream like vocals. There is a heavier experimentation in regards to genre exploration. With hints of post punk and nods to late 60s psychedelic rock, this shows that Minami Deutsch is willing to push musical boundaries further whilst retaining a clever songwriting ability to achieve this album

Aging Asian club. 8 duos from Guruguru Brain making music together for the first time, imagining from a distance what future elders might sound like. Some with decades between them, some just a few years. Nobody in the same room: different cities, different languages, different time zones. Slow, drifting, a little wobbly, and still somehow in tune. Which kind of Future Elder will you be?

A long-selling album that includes a cover of “Firecracker”—a live staple also known for its YMO version! Kruangbin, the Texas-based groove trio whose sound—rooted in Thai funk and wrapped in a unique, mellow groove—has earned them a global following, is releasing a Japan-exclusive album titled *Everything Smiles at You* to commemorate their highly anticipated Fuji Rock appearance, following their sold-out debut Japan tour in March 2019! This release features 10 tracks—all previously released as singles or on EPs but never included on an album and now available on CD for the first time—including “The Infamous Bill” and “The Number 4,” which were performed during their Japan tour and are popular live staples; “Firecracker,” also known for its YMO version; and a cover of Serge Gainsbourg’s classic “La Javanaise.”

Rare and obscure live material taken from the same late 60’s sessions that spawned ‘Psychedelic Underground’. AMON DÜÜL spontaneous jam sessions are essentially instrumental and dominated by repetitive, tribal, savage acoustic percussive pulses, fuzzy psych guitar rythms & leads. A musical trip set to freak you out.

Kraftwerk 2 is the second studio album by German electronic band Kraftwerk, entirely written and performed by founding Kraftwerk members Ralf Hütter and Florian Schneider in late 1971 and released in January 1972. Perhaps the least characteristic album of their output, it features no synthesizers, the instrumentation being largely electric guitar, bass guitar, flute and violin. On the second side, the more rock-oriented origins of the group still cling on, mostly without any percussion whatsoever.

Peel Sessions 1973-74 is a unique collection showcasing the legendary German experimental rock band’s dynamic live performances captured for BBC Radio 1’s John Peel sessions. This album brings together raw, electrifying recordings from 1973 and 1974, highlighting Can’s groundbreaking sound that blended psychedelic rock, avant-garde, and improvisational music. Fans and newcomers alike will experience the band’s creative energy and innovative spirit in an intimate setting outside the studio.

Featuring tracks that emphasize hypnotic rhythms, ecstatic grooves, and visionary experimentation, Peel Sessions 1973-74 stands as a vital document of can’s influential role in shaping modern music. Collectors and enthusiasts can look forward to remastered audio quality and detailed liner notes providing insight into the sessions' historical context.

All Songs Written and Produced by UNDER THE BIG BRIGHT YELLOW SUN

"Béwara" is Basajan's debut album, exploring the Sundanese philosophy of Tri Tangtu through ten instrumental compositions that blend Priangan vibes with psychedelic grooves and contemporary soundscapes.

The first full-length album of new recordings since 1998 by Sleep. Years after the release of Volume One in 1991, Sleep's Holy Mountain in 1992 and Dopesmoker in 2003, the sonic titans reaffirm their place at the top of the riff pyramid with this brand-new double album, The Sciences.

In 2011, Southern Lord was contacted by Sleeps’ Al Cisneros about the possibility of releasing a deluxe version of the classic Sleep recording: Dopesmoker. Cisneros wanted to breathe some new life into the old beast and finally have the original vision of the album fully realized. Southern Lord was overwhelmingly ecstatic about the challenge of taking the reigns of one of the most important recordings in the history of Heavy Metal! The Lord version features brand new artwork by long time Sleep artist, Arik Roper, who created something specifically special for the albums’ rebirth. The biggest difference between this new version and the old releases is the phenomenal remastering job by Brad Boatright . His vision was to enhance the original recording without changing it drastically. What he has done makes this epic opus sound invigorated, more powerful with renewed clarity and all-around unbelievably mammoth. His work was enthusiastically approved by the band and considering how focused, vigilant and protective of their masterpiece the band is, that is nothing short of a miracle! Also exclusive to the reborn version of Dopesmoker, is a unreleased live track of one of the best songs the band ever did, Holy Mountain. The cd version of the album is sheltered in a digipac with embossed artwork. Includes unseen photos and a “riff-chart” the band created in order to follow the epic journey that Dopesmoker takes us all on!

As the genre-defying masters of stoner metal, the latest iteration of Sleep finds founding member and lead songwriter Al Cisneros newly partnered with the generational talent of Dale Crover (Melvins, Redd Kross) on drums and the iconoclastic Bubba Dupree (Void) on guitar. While simpler minds may seek out the redundancy of a monotonous iterative exercise, the road map of new album Hempispheres is an exploratory vision, one replacing overload with nuance and subtlety yet maintaining the interplay that made the band so special from the outset. So while the discourse on messageboards and comment sections bemoan the amicable absence of long-time guitarist Matt Pike, real heads, visionaries and open-minded truth- seekers alike will be rewarded with not the Sleep album they anticipated or expected, rather with Hempispheres being the album that is needed.

As the genre-defying masters of stoner metal, the latest iteration of Sleep finds founding member and lead songwriter Al Cisneros newly partnered with the generational talent of Dale Crover (Melvins, Redd Kross) on drums and the iconoclastic Bubba Dupree (Void) on guitar. While simpler minds may seek out the redundancy of a monotonous iterative exercise, the road map of new album Hempispheres is an exploratory vision, one replacing overload with nuance and subtlety yet maintaining the interplay that made the band so special from the outset. So while the discourse on messageboards and comment sections bemoan the amicable absence of long-time guitarist Matt Pike, real heads, visionaries and open-minded truth- seekers alike will be rewarded with not the Sleep album they anticipated or expected, rather with Hempispheres being the album that is needed.

The Space Lady began her odyssey on the streets of San Francisco in the late ‘70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.  Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. The Space Lady’s Greatest Hits (LSSN021) features the best of these recordings―mostly covers but with some originals―pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. Greatest Hits contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also four originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.   In the mid ‘90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.