Psychedelic / Progressive

A journey into multiple dimensions, both introverted and vibrant. He has collaborated with important German new age/ambient artists Cass. and Wolf Müller, as well as Sascha Funke. The latest release from Berlin percussionist and DJ Niklas Wandt, who is actively working with a number of groups, is now available. Emotional and escapist(?). This ambitious first solo album is an exhilarating and free mix of German kosmische musik, ethnic jazz, Afrobeat, and ambient, updating the German electronic vein in a more psychedelic and modern way.

Their latest album is out after three years. From avant-prog to no-wave, free jazz, contemporary music, and ethnic music, sublimated through their own unique filter. A new title by Orchestre Tout Puissant Marcel Duchamp, a large and creative band based in Geneva, Switzerland, has arrived. The band's new album, published by Bongo Joe, is a hybrid of Scandinavian prog and unique sophistication. Sharp rhythms, repetition, and a neat sound. A paranoid avant-rock that boldly cuts into the future of ethno music! Fans of "Cuneiform" and "Dur Et Doux" will also find this album highly recommended.

2020 repress; LP version on 180 gram vinyl. In 1983, Dieter Moebius (Cluster) and legendary producer Conny Plank teamed up for the third time, resulting in the Zero Set project, originally released on Sky Records. On this occasion, they were backed up by one of the best drummers on the German rock scene: Mani Neumeier of Guru Guru. Plank, usually more of a background figure as producer, takes an equal share of the limelight alongside the musicians. His supermodern studio is brought into play like an instrument in its own right; Plank explores the full range of audio editing, pushing recording techniques to the limit to achieve maximum brilliance and plasticity. Neumeier uses all of his many years of experience as a drummer, demonstrating the precision and stamina of a drum machine, just infinitely livelier and more inventive. And finally, to Moebius: always one of the patriarchs of German electronic music, a creator of the most bizarre sound happenings, yet never sounding forced or arbitrary. On the contrary, he consistently worked within the context of the tracks themselves and their relationship to each other. The music on Zero Set flows both smoothly and energetically. An important and mystifying chapter in the legacy of Krautrock/Kosmische Musik and a historic moment in German electronic music.

William Burroughs was in and out of London from the mid-50s to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in two sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves are also cut-ups of words on the page. The first section of the tape uses further processing by means of a second tape recorder. Recorded in Duke Street in 1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to work of sound poetry than anything literary. The album includes a 12"x12" insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP Call Me Burroughs LP (1965). Pressed at Optimal on transparent vinyl. Edition of 500 (numbered).

Cauldron is the legendary psychedelic jazzy rock & electronic album by Californian band Fifty Foot Hose. First-time official vinyl reissue since its release in 1967 on the Limelight label. 

Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now.

What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating theremin, siren, audio generators, and other various electronic effects as Cork Marcheschi, the band's original bass player had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy”, “Red the Sign Post” and “God Bless the Child”, a Billie Holiday cover. An intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. These sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them.

"Originally issued as a CDR on Matt's own Child of Microtones label, the stone madness of this session was so overwhelming we begged him to let us do it on vinyl. Luckily for one and all, he agreed. Recorded here and there, with a variety of different ensembles. Galactic Ooze is one of the most fully warped missives from Planet MV, and that is saying something. While there is a certain continuity between the layered threads of MV's deeply processed vocals and amazing stunned-noodle guitar figurines, the music here is always in flux. There's lots of electronic jiggering which brings to mind the squeedle elements of Blows Against the Empire (still the apex of the Planet Earth Rock and Roll Orchestra's discography), but there's none of the dogmatic claptrap that sometimes derails that album's liberationist thrust. The music on Galactic Ooze is a sweet sideways slip into deep space. Amidst tightly forested jams, there are many beams of sound that act like sun rays, illuminating the process from within, with skeletal frameworks outlined in pure scorch. You can catch whiffs of everything from the roll of Soon Over Babaluma-era Can to the thunder-echo of Yabby You's Beware It Dub at various points in the program, but the insanely sweet angularity of the guitar lines is trademark MV throughout, no matter how wildly the deck shifts at times. And for all their cosmic detailing, the songs are as abundantly human as always, addressing the eternal mysteries of life (whether lived in the woods of on the street). And asking the kinds of questions that require something more than a snappy answer. Galactic Ooze is a beautiful mutational meditation on where we exist inside our own personal cosmos. And its secrets unfold at their own pace, layer by layer by layer. As a great man once said, 'walking on water wasn't built in a day.' You can that that to the bank." --Byron Coley, 2021

Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances Haino has staked out a ground all his own creating a language of unparalleled intensity that defies any simple classification. For all this, his 1981 debut album Watashi Dake? has remained enigmatic. Originally released in a small edition by the legendary Pinakotheca label, the album was heard by only a select few in Japan and far fewer overseas. Original vinyl copies became impossibly rare and highly sought after the world over.

Watashi Dake? presents a haunting vision – stark vocals, whispered and screamed, punctuate dark si-
lences. Intricate and sharp guitar figures interweave, repeat and stretch, trance-like, emerging from dark recesses. Written and composed on the spot – Haino’s vision is one of deep spiritual depths that distantly evokes 1920’s blues and medieval music- yet is unlike anything ever committed to record before or since. Coupled with starkly minimal packaging featuring the now iconic cover photographs by legendary photographer Gin Satoh, the album is a startling and fully realized artistic statement.

Recorded live and released in 1987 in Montevideo, Uruguay. this album is the most professional record of the duo that Eduardo Mateo and Fernando Cabrera formed for a period of a few months. These two great composers, performers and arrangers from different generations, premiered with the duo several beautiful new songs, in addition to concocting together renewed versions of some of the classic tunes from each one's repertoire. It is an intimate and acoustic work. Cabrera's guitar appears many times backed by the tasty and peculiar percussion of Mateo, and there are also grooves with precious arrangements of two guitars. The duo of Mateo and Cabrera was a milestone for the careers of both. 500 copies

Uruguayan groove and multicultural sophistication – 40th anniversary special edition, 500 copies, including 20 page booklet. 
With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Aquello, his third album, recorded in France in 1980 with an impressive cast of international musicians, reflects Europe’s multicultural landscape during the late seventies. Psychedelic folk, afro-candombe, murga, rock, new tango and jazz-fusion are combined in a surprising way in a one-off album that exudes strangeness and sophistication.

Includes the classic song "The Thief", which has been covered by Radiohead! The 13th album was recorded in 1968 when Malcolm Mooney, the first vocalist of German Rock Gods Can, was in the band, and was not released until 1981. By 1968, the band had already foreseen the arrival of post-punk, no-wave and even electronica, and their edgy psychedelic sound was already in full swing. This is a masterpiece that fully showcases their edgy psychedelic sound.

In his long career Dick Hyman has covered a great variety of music fields, from Broadway through music for film and television to jazz, classical, pop, and electronic music.

"The Age of Electronicus" originally released in 1969 is one of his Electronic Pop jewels. A breathtaking sequence of reworked hits of the day including outstanding electro-versions of Lennon McCartney's classics such as "Ob-La-Di, Ob-La- Da" and "Blackbird" and Bacharach's "Alfie" A whole feast of analog Moog sounds, primitive drums machines, repetitive bass lines and lots of robotic beats. All packaged in a memorable, colourful album cover.

Weirdo-rockabilly, early pop-electro, great drums, haunting. from collection of 45s

Henry Flynt took a high-brow approach to so-called low-brow music. Combining sounds from his native North Carolina with an avant-garde sensibility honed in New York City's loft scene in the 1960s, Flynt created what he describes as "new American ethnic music." As a student of Hindustani singer Pandit Pran Nath alongside La Monte Young and Terry Riley, an associate of the Fluxus movement, and even a live collaborator with The Velvet Underground, Flynt was a part of one of the 20th century's richest art and music milieus. Graduation, recorded between 1975 and 1979, was meant to be the debut of his avant-garde hillbilly music. The album's title track is a slow, twisted ballad that unfolds like a funeral dream over dirge-like country riffs. "Celestial Power," the album's 20-minute closing track, is an entrancing minimalist composition performed strictly with oscillating vibrato guitar. As Flynt explains, "I aspire to a beauty which is ecstatic and perpetual, while at the same time being concretely human and emotionally profound." Shelved upon its completion in 1980, Graduation was not released until after the turn of the century. In 2013, it still sounds years ahead of its time.

"After a cancer diagnosis last year, Charlotte felt the urge to produce and release new music. ¡ÈIt became like a vital thing.¡É MRI Song and Planet Ping Pong were recorded during chemotherapy. Mind Contorted is a duet with Terry Hall, also featuring Terry¡Çs son Theodore, and Noel Gallagher on guitars, in a cover of Daniel Johnston. The song Fourteen Years is the oldest inclusion. Meant for LVC¡Çs second album — I Wish Dee Dee Ramone Was Here With Me — it announces a fresh, freer direction."

British Vashti Bunyan, known for the 70's freak folk masterpiece Just Another Diamond Day. This is Lookaftering, the second album released in 2005 after a long period of silence since the first album.
The simple beauty that hasn't changed since 1970, the use of sounds, the singing voice like a precious crystal, and the many melodies that make you think of the countryside, the atmosphere that instantly turns into a fairy tale world from the first note played... The arrangement gives an elaborate impression, and it is full of charm that will not just be a resurrection work, but will soar into another masterpiece.

Deluxe Edition pressed on 180 grams vinyl. Iconic and much sough after self titled LP by Piry Reis now re-issued as a deluxe edition containing an extra bonus track (spaced out Jazz interpretation of No Risco Do Relâmpago). After playing for several years with Egberto Gismonti group and other prominent Brazilian acts, Piry decided to record this album which was originally released in 1980 featuring a special guest appearance by Egberto Gismonti.

A masterpiece of sock jackets that became a trademark !! The famous experimental rock band Henry Cow's 1st album in 1973 by Fred Frith and Tim Hodgkinson !! The reissue from the home base [ReR] is finally repressed this year. !! A great lifeline leading to "Rock In Opposition". With the tremendous influence of pioneers such as Soft Machine and Frank Zappa as the undercurrent, Avant Rock has been elaborated with unparalleled precision. There is no arrogant arrangement, and the mystery of free-form improvisation explodes without being disturbed. Definitely one of the best in the Canterbury scene. If you haven't experienced it yet!

Minima, who has joined the group "Permanent Music Theater" established by La Monte Young in New York at the end of the 1960s, which has a history of music as the birthplace of minimal-drone music, with John Cale and Angus MacLise, and continues to work as a filmmaker. Liszt, 1973 legendary collaboration masterpiece rare edition with Tony Conrad and Krautrock legend Faust !!!

When Tony Conrad visited Germany in 1972, he met the avant-garde rock band'Faust'created by the country, and this session was realized.
It seems that Tony Conrad had instructed the drummer to "keep the beat unchanged", but the drums with the shamanic and rock dynamism that the number of notes was cut off to the limit are exactly the same. Oriental and trancey violin drones that are directly related to the "Permanent Music Theater" intersect endlessly minimally. In each of Avant-Rock-Indian music, only the most psychedelic elements meet at the atomic level, and the extreme content seems to have been transformed from the existing music composition. Carefully mastered from the original master tape, Jim O'Rourke is in charge of the liner notes.