Psychedelic / Progressive

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

ssabæ is a nebula of friends gathering in studios, meadows and tiny apartments all over France : the tracks of azurescens were recorded during those sessions. we’d like to send love to all the friends involved in this project, it’s a special one (and it’s been in our head and in production for a f… long time)

 

Les Rallizes Dénudés' original album "'67-'69 STUDIO et LIVE", released in August 1991, has been reissued with vinyl LP! This is a valuable collection of sound sources from the early days of the band's activities, filled with the electric guitar feedback that would determine the direction of the band's later activities.

FACE A 
1. Smokin’ Cigarette Blues (Live Version) 
2. La Mal Rouge 
3. 眩 暈 otherwise My Conviction 
    Vertigo otherwise My Conviction 

FACE B 
1. Les Bulles de Savon 
    Soap Bubbles 
2. 記憶は遠い 
    Memory is far away 
3. 鳥の声 
    Bird calls in the dusk 
4. My Conviction (2nd. Version) 
5. The Last One _1969 (Live Version)

*The two bonus tracks "Résonance" and "Tobacco Road" on the CD reissue of the same title will not be included on the LP.

MIZUTANI / Les Rallizes Dénudés", has been remastered and reissued by Makoto Kubota, a participating member at the time!
Acoustic and introspective, this important work offers a glimpse into the personal side of Mizutani, the core of Naked Rallies.

Due to recording time constraints, "Black Sorrow Romance Otherwise Fallin' Love With," which is included at the end of the CD, was cut from the analog LP.
As a result, this record is composed of only the unique sound sources in the history of the Raleys, which were created by a chance encounter between Takashi Mizutani and Makoto Kubota in Kyoto, Japan in 1970.

Marking the 20th release on Invisible, Inc. is this special limited edition double-vinyl gatefold compilation featuring tracks from some of the most highly respected musicians of the last five decades. The astonishingly diverse palette of styles comes courtesy of renowned ambient innnovator Laraaji, multi-Grammy Award-winning producer and ground-breaking synthesist and sound engineer Malcolm Cecil (in his Tonto's Expanding Head Band guise), Italian 'Cosmic Disco' pioneer and DJ Daniele Baldelli, avantgarde experimentalist K. Leimer, New York electro synth-pop legend Richard Bone (all five of whom have been active since the '70s or earlier) as well as dub techno locked groove aficionados log(m), West Coast psychedelic electronics maestro Secret Circuit, Berlin-based synthesist/composer Eva Geist plus a veritable "who's who" of some of the finest producers of ambient, dub, downtempo, leftfield and experimental electronica ever collected together on a single piece of wax (or two in this case): Baikonour, Sordid Sound System, Causa, Ulysses, Epsilove, Luv*Jam, Higamos Hogamos, Randweg, Bronze Savage, Komodo Kolektif, Bal5000 and Natural Sugars. Eliciting a distinct sense of musical other-worldlyness, the title is perhaps more than just a nod to Philip K Dick's "Blade Runner" and hints at the idea that if these transmissions 'from beyond' are 'lost' they may in essence be more rooted in our distant past than in some science fiction future. Putting needle to record, ancient rhythms and hypnotic mantras merge with synthesized soundscapes and deep basslines to propel us upward from the primeval forest floor into steady orbit before engaging the hyperspace drive on a trajectory deep into the Great Mystery.

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. First time reissue.

Hereby a classic japanese acid folk tale, also credited by the wizard master Julian Cope in his ‘Japrocksampler’ top 50 list. Tokedashita Garasu Bako, or Melting Glass Box, was a studio-only project of Nishiokai Takashi (Itsutsu No Akai Fusen), “Singing Philosopher” Tetsuo Saito and Takasuke Kida (of influential psychedelic freaks Jacks). Guest musicians included Kazuhiko Kato (Folk Crusaders, Sadistic Mika Band), Kazuo Takeda (Blues Creation) and mastermind Haruomi Hosono (Apryl Fool, Happy End, YMO).

Their sole release licensed in 1970 on URC (Japanese independent record label specializing in folk, co-founded in February 1969 by Hayakawa Yoshio, guitarist for the psychedelic band Jacks) became soon after a cult record leading the way for the eastern psychedelic renaissance. An authentic lysergic trip filled with mind-blowing electric guitar leads and many studio tricks thrown in! Get lost, now or never !
 

The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the melting debut of the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned...

Svitlana Nianio and Oleksandr Yurchenko are musicians with a long history in the still-mysterious
Kiev Underground. Nianio’s first group Cukor Bela Smert [Sugar, The White Death] were active
from the late 80’s through to the early 90’s, and following an intense period of touring, collaboration,
experimentation and a string of mixtapes and self-published recordings, Nianio’s first official solo
album ‘Kytytsi’ was released in 1999 by Poland’s Koka Records. Oleksandr Yurchenko, a longtime
collaborator and a pivotal figure in the Kiev music scene, was instrumental in creating the Novaya
Scena, a loose conglomerate of artists who encouraged each other to excavate both the sounds of
the West and Ukrainian tradition. ‘Znayesh Yak? Rozkazhy’ (‘Know How? Tell Me’) is the duo’s most
fully realised collaboration, an enchanting, complete world in which Yurchenko’s instrumentation
and playfulness with form frames Nianio’s otherworldly soprano, recalling Liz Fraser steeped
in contrapuntal melody and hymnal improvisation. Originally made available on a self-released
cassette in 1996 (re-issued in 2017 by Ukraine’s Delta Shock label) where the album was twinned
with ‘Lisova Kolekciya’ (re-issued on LP in 2017 by Skire) this is the debut release of ‘Znayesh Yak?
Rozkazhy’ outside of Ukraine.
Recorded in an abandoned park in Kiev during a fertile period for artists and musicians following
the collapse of the Soviet Union, ‘Znayesh Yak? Rozkazhy’ sees Nianio and Yurchenko combine Casio
keyboard, hammered dulcimer, percussion, and Nianio’s unmistakeable soprano vocalisations to create
music sympathetic to the specific locations in which they chose to record. Yurchenko’s contribution
is perhaps more present on this recording than anything else we have heard from the duo. His
percussive dulcimer playing provides the basis on which Nianio can weave delicate keyboard lines
while playfully contorting her voice, shifting from a low register reminiscent of Nico to what could
be perceived as the call of a bird or an animal in distress. Whatever the intent, the effect is haunting
and beautiful in equal measure.
There’s a prevailing earthiness on the recordings, found in the warm hiss of the lo-fi means of
recording or the grinding, unspecified sounds that occasionally accompany the melody, like drones
created on the fly by hands trying to keep warm in the ice. A prevailing mood of fragility and beauty
seeps from these melodies, delicate moments of clarity spun by the two musicians. ‘Znayesh Yak?
Rozkazhy’ is a dream spun in twilight, a crystalline, private world where the listener feels both alien
and welcome. 

Epic Garden Music is the debut studio album by English post-punk band Sad Lovers & Giants. It was released in 1982 on the band's own record label, Midnight Music.

The last Henry Cow record made after the group had officially disbanded. I'm biased of course but I believe this was a milestone recording, and perhaps the closest we came to getting the music to sound the way we wanted on disc. Guest appearances by Irene Schweitzer and Anne-Marie Roeloffs.

Jacks meets Makoto Kubota & The Sunset Gang! Yokohama Rock guru Daisaku Yoshino's early masterpiece "Lamp Factory" (self-produced in 1974) is being released on LP for the first time in 48 years! Produced by Makoto Otowa, this album is known as a brother album to "Wasagetami".

Daisaku Yoshino has been performing live mainly in Yokohama since the early 70's. His musical style is diverse and elusive, from the folk rock period of the 70's to the post-punk/free form period of the 80's. Although he has never received a solid reputation, his early work "Daisaku Yoshino Lamp Manufacturing Factory" ( Although his music has never been well received, his early work, "Yoshino Daisaku Lamp Factory" (released in 1974), is well known and popular in later years, mainly in Europe, as a masterpiece of acid folk. The band's philosophical and modern poetry was expressed in straight American rock, dynamic and thirsty country rock, and acid folk style, and was regarded as "Jacks meets the Sunset Band". The band was praised by Makoto Kubota for their performance at the Hibiya Nohe rock festival, where they outclassed Tokyo bands. The bluesy, weeping electric guitar sounds are reminiscent of Neil Young's "After the Gold Rush," a superb world. The hidden masterpiece that will remain in the history of Japanese rock music is now being released in its original format for the first time in 48 years. The strength of the music is so pure that it has not wavered at all, and it is an album that must be listened to now more than ever.

Biff! A violin bow scrapes across the strings of a guitar Bang! The hiss of a an aerosol can releases paint on to canvas Pow! As the violin bow pierces the canvas. “We were supporting The Walker Brothers on a string of dates around the UK,” recalled Creation guitarist Eddie Phillips. “We had just recorded ‘Painter Man’ and were really excited about it, and wanted to make it the central focus of our live performance. We were in the van, traveling to Great Yarmouth for a show and we came up with the idea of Kenny creating some artwork in the instrumental break of the song. It was a Sunday afternoon so when we arrived in Great Yarmouth, nearly everywhere was shut, but we found some wood, and our roadie Bill Fowler started making it into a six foot by six foot frame in the car park. He found an old decorating shop open and got some wall paper to make the canvas. The band, all in their purple and black finery, were bent down and bashing nails into it. No paint shops were open so we went to a garage and they had aerosol touch up spray paints. We started extending the break. I’d be playing away and the violin bow would get wrecked, so I’d chuck it at the screen like an arrow, and it would get stuck in there. The aim was to create a visual madness to illustrate the music. Then we got smoke effect powder from a joke shop and made a smoke screen around it, and eventually Kenny started setting the canvas alight.” The Creation were a go. With producer du jour Shel Talmy at the helm (The Who, Kinks, Easybeats, Cat Stevens, et al) the Creation went on an incredible two year tear of singles, including “Making Time,” “How Does It Feel To Feel,” “Tom Tom,” and “If I Stay Too Long.” By 1968 it was over. Eddie Phillips’ trademark guitar bowing would be nicked by Jimmy Page and Boney M would cheese-up “Painter Man.” Over the nearly five decades since, the Creation has seen a tremendous resurgence in interest. First it was the Jam flossing “Making Time” on the inner sleeve of All Mod Cons. A few years later Alan McGee formed the band Biff Bang Pow and his Creation record label. By the turn of the century a new generation had discovered the band via a strategic placement in Wes Anderson’s Rushmore. Presented here for the first time are the complete Creation studio recordings. All 42 tracks have been remastered from the original tapes by Shel Talmy, and given fresh stereo mixes where previously unavailable. New essays by Dean Rudland and Alec Palao tell the band’s story and dive into their complete studio sessions. Scores of previously unpublished photographs adorn the accompanying 80 page hard bound book. We’ve rounded the whole package out with four tracks by pre-Creation freakbeat quartet the Mark Four, making Action Painting the definitive collection of this legendary UK band.

Speed, Glue & Shinki's last album is a gorgeous, faithful reproduction of the original, including a full-wrap-around band! Released in 1972. The second and last album of Speed, Glue & Shinki, released in 1972. Famous for its tiger jacket. This album has many songs that seem to be mainly by Joey Smith, but like the previous album, it is full of bluesy rock. Some of the songs are lyrical, but the medley on the D-side makes extensive use of the Mogg synthesizer, which was still very valuable at the time. Guests include Michael Hanopol [ba etc.], Shigeki Watanabe [key], and Hiroshi Oguchi [drums]. The analog version uses a 96khz 24-bit sound source that was mastered in 2017. Jackets include two single jackets, full-length wraparound obi, lyric card, and others. The original has been reproduced as much as possible.

Shin Otowa, is a legendary Japanese psychedelic musician who is coveted by psychedelic enthusiasts around the world.
Makoto Kubota and the Sunset Sunset Orchestra participated in the release of his acid masterpiece "Wasuretami" (self-produced in 1974) on LP for the first time in 48 years!

Self-produced album (1974) by a singer/songwriter known for having contributed lyrics to Makoto Kubota's first solo album "Machiboke" (1973).
Makoto Kubota, who made full use of his 12-string guitar and contributed so much to the overall sound that it could be said that he almost produced the album, Yoma Fujita, who created a fantastic space with his slide guitar, and Takashi Onzo, who played the bass guitar in a lighthearted and eerie manner. The members of the Yuyake Gakudan (Sunset Sunset Band), including Makoto Kubota, who contributed to the overall sound, Yoma Fujita, who creates a fantastic space with his slide guitar, and Takashi Onzo, who plays a nice and light bass, all played on this simple but richly expanded world of Otowa's songs, inviting our consciousness into a world that extends far "beyond", but gives a mysterious sense of peacefulness. In other words, it is a masterpiece of acid folk. In this era of rock, this album is a pure and miraculous album of intense rock that abandons any superficial rock sound in order to be rock. Therefore, it has been enthusiastically supported by psychedelic enthusiasts around the world and has been talked about for a long time in Japan, although only a small portion of the Japanese public has heard of it. In 1976, just after the release of this album, Otowa suddenly left for Ibiza, Spain, and is said to have returned to Japan in the mid-1980s.

Tuareg rock from Niger's singer-songwriter Mdou Moctar. Tales of anguished love and broken hearts, plus some well known classics. Famous for his autotuned studio sessions popular on West African cellphones, here Mdou performs live. Recorded on location in Niger, electrifying, distorted and blown out guitar balances with sweet melodies of Saharan folk. 

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat. The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry. Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

A work by Makoto Kawabata, leader of Acid Mothers Temple, and Toyoyuki, cosmic sound synth hermit. It is another extreme sound of Acid Mothers Temple.

This album from 1976 unites a dream team of musicians from Os Mutantes, Black Rio, Som Nosso and special guest Dominguinhos, into an amazing fusion of Brazilian regional rhythms of capoeira, forró and candomblé, with the heaviest funk, soul, rock, progressive and psychedelic music ever released in Brazil. In his own words, Eduardo Araújo stated in 1976: "Our musical philosophy remains the same: mixing rock and northeastern music to make a universal sound." It is curious to observe the aesthetic changes that Eduardo Araújo underwent until he reached the cult sound of this 1976 album: echoes of Santana, Tim Maia, Luiz Gonzaga and Emerson, Lake & Palmer in an album that was released independently at the time and, until today, never re-released. The original release of 'Sou Filho Desse Chao' in 1976 was made totally independent by Eduardo Araújo himself, with total lack of commercial distribution, remaining obscure from music charts and later rediscovered acquiring a well-deserved status of rare gem for music collectors.

Life Goes On Records present a reissue of The Beat Of The Earth's The Electronic Hole, originally released in 1970. Second album from the cultish experimental jam band formed in 1967 in Orange County, California. Their second effort from 1970 -- The Electronic Hole -- takes a step away from their earlier work, being composed with definite song structures versus the earlier drawn-out freeform jams. Sounding much like a west-coast version of The Velvet Underground & Nico, the album has melodic motifs but is much more primitive and mysterious than its cousin, with loads of fuzz, haunting organ, Phil Pearlman vocals, and even some sitar, acoustic strumming, and ballad-like moments ("Love Will Find A Way, Part I"). The album includes even a wild cover of Frank Zappa's "Trouble Every Day". Had the story ended here it would have been a real tragedy, as Pearlman's finest hour was yet to come. Six years later (with who knows what in between), recording commenced on the majestic Relatively Clean Rivers album with an entirely new band and musical vision.

This is the first re-issue of the first Silver Apples 7“ vinyl single. Originally released in 1968 on Kapp Records. Re-mastered and fully authorized by the band and the record label.

Now-Again Records presents a new, essential entry into the growing phenomenon known as Psych-Funk with Those Shocking Shaking Days: the untold story of Indonesia¡Çs various underground 70s musical scenes. Few are aware of the progressive music scenes from 1970s Indonesia, as censorship imposed by the dictator Suharto lead to crackdowns on those courageous enough to rebel. This insurgent sound - marked by relentless fuzz, over the top, politically charged lyrics, strong rhythms and a cranky low-fidelity - is as similar to that of Rare Earth protégés Power of Zeus as it is to that of South Korean psych-god Shin Jung Hyun. It is as informed by James Brown¡Çs funk as it is by the hard, progressive rock of Deep Purple and King Crimson. This anthology contains 20 tracks of hard, psychedelic, progressive rock and funk that has been largely unheard or ignored outside of the confines of this island nation. This is all thanks to the tireless (and expensive) research of Canadian hip hop producer and Southeast Asian music specialist Jason ¡ÈMoss¡É Connoy, the trust that Indonesian rock legend Benny Soebardja placed in Now-Again Records as he traversed his homeland¡Çs islands securing the necessary rights for the tracks contained within this anthology, and the cultural context added to the proceedings by Indonesian ex-pat Chandra Drews, who assisted in a track-by-track annotation. This anthology is the first of its kind – the first Western-based survey of the most impressive organizations to offer their take on the psychedelic and progressive rock and funk sounds during the shocking, shaking days of Suharto¡Çs regime. This gem can be purchased as a deluxe ¡Èmini-LP¡É tip on sleeve CD or a 3 LP triple paste on gatefold. Included are extensive liner notes, photographs, ephemera in full color booklets and, of course, fully restored and remastered audio.

released their seventh album in 2007.

Connecting Wasulu hunter music, griot praises, Senufo pastoral dances, Fula and Mandingo repertoire alongside Western psychedelia, blues and afro-beat, Zani Diabaté’s Super Djata Band de Bamako was among Mali’s top orchestras by the late 1970’s well into the mid-1980’s. Tracked live inside Radio Mali’s raw but inspiring studio in January 1982, En Super Forme was briefly available via Côte d'Ivoire’s Musique Mondiale imprint. The album centers around Diabaté and his electric guitar’s pyrotechnics, a relentless shredder that stands shoulder to shoulder with Mali’s fingerstyle gods Ali Farka Touré and Rail Band's legendary Djelimady Tounkara.