Psychedelic / Progressive

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. 

Beijing’s Gong Gong Gong and Taipei’s Mong Tong are like-minded duos known for cinematic and raw sounds, merging transglobal melodies with undeniable grooves. On Mongkok Duel, the bands join forces to create an imagined soundtrack for a lost kung-fu film. These are the sonic accompaniments, no doubt, to a supernatural tale of honour, intrigue, and (of course) revenge. Progressing from Gong Gong Gong’s long-standing Rhythm n’ Drone collaborative series, Mongkok Duel showcases the distinctive aesthetics of both groups, building a shared language of cyclical motorik rhythms, evolving drones, textural sound effects, snarling guitar and growling bass hooks. Written and recorded live at the legendary President Piano Co. rehearsal rooms in Mongkok, Hong Kong, the bands played the studios’ own instruments and amplifiers, which date back to President Piano Co.’s foundation in 1978. The studio’s recording setup is a unique system designed and set up by owner Mr. Lee King Yat, giving the album its distinct vintage sound while maintaining impressive clarity.

This austere song-cycle is a collection of tunes addressing youth, sexuality and human morays in an utterly unique fashion. Barely released in its day (1970), Corky's remains one of the pinnacles of excellence in the career of Mayo and his Red Krayola. ==== "I first heard the sudden unbelievable wave-rolling sound of this strange, acoustic, old time cartoon band singin 'I'm a student of human nature' in '94 in good ol' Memphis, TN. Played to me by a giant man with an exploding pillow of blond curls wearing overalls. Wot the fuck was this? I was 22 and getting a fast-paced indie rock education after dropping out of college mid-semester a few months earlier. Was I wasting my parents money when I called from the Blues City Cafe and told them I had moved across the country? Ah, yes it's true, I surely was. But here on the turntable was a suitable replacement for the out-of-state tuition throw to the breeze - a corduroy-professorial-erotic-swinger vibe pouring off a re-issued LP!? Who is this massively turned on man singing about Shakespeare? The picture of the man on the back said it all. I could not have imagined this existed at all. But wot does it sound like? To me, his record has sonic values of the 60's but sounds distinctively weirder than anything I've heard from that decade. And wot an incredible bit of luck there, on the decade's cusp." - Mike Donovan

“As I’m getting older, chip up on my shoulder…” is the opening line from Mac DeMarco’s second full-length LP ‘Salad Days,’ the follow up to 2012’s lauded ‘Mac DeMarco 2.’ Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), ‘Salad Days’ gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, “Passing Out Pieces,” set to huge overdriven organ chords, contains lines like “…never been reluctant to share, passing out pieces of me…” Clearly, Salad Days isn’t the same record that breezily gave us “Dreamin,” and “Ode to Viceroy,” but the result of what comes from their success. “Chamber of Reflection,” a track featuring icy synth stabs and soulful crooning, wouldn’t be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac’s widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick’s mixing board in 1972, but with that peculiar Mac touch that’s completely of right now. “Brother,” a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco.“Treat Her Better” is rife with “Mac-isms,” heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity.

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.

Originally released in 1974, Dzyan’s third and final album is a Krautrock masterpiece, blending daring world beat, jazz-prog, and mysticism. Multi-instrumentalists experiment with exotic sounds and inventive instruments, creating a psychedelic, otherworldly work—an enduring highlight of German rock. Originally released in 1974 on famous German label Bacillus, Dzyan's third and final album,it is recognized for its daring world beat elements, and totally acidic album cover art. Dzyan refined their sound even further into improvisation and exotic sounds, mixed with weird experimentations and mysticism. It offers other-worldly music of incredible beauty and strangeness, influenced by the music of Asia but taking it into far more original realms. Multi-instrumentalists Marron and Karwatky experimented with sitar, saz, tambura, mellotron, synthesizers, bass-violin, and a mysterious invented instrument called 'super-string', all merged in an extreme melting pot of styles, ideas and fertile imagination, interacting into a 'psychedelic worldgroove'; while Giger, bursting with creative power and virtuosity, holds it together with his fantastic drumming. From the weird opium-den trancesoundtrack of 'Khali' to the more funky 'For Earthly Thinking', to the even wilder tracks like 'The Road Not Taken', Dzyan crafted one of the finest and most unique works of the Krautrock era. An amazing work on its own, rhythmically adventurous and unique jazzprog, is indeed one of the landmarks in experimental rock, a masterpiece. A highlight in German rock history.

'87 KAD 3:4:5:6 ~ Newly Discovered MaterialMichio Kadotani (1959–1990) was a legendary figure in Japan’s 1980s underground punk and psychedelic rock scenes. Living with schizophrenia, he inspired characters in Ramo Nakajima’s novels and is presumed to have died young from a drug-related illness. His only known release was Kusatteiku Telepathies (‘腐っていくテレパシーズ,’ or Rotting Telepathies in English), a posthumous 1991 album on P.S.F. Records—until now.Newly uncovered tapes from Nakajima’s archive, including ‘87 KAD 3:4:5:6, a fully restored studio demo, reveal Kadotani’s original vision. Unlike the P.S.F. release, this work features his handwritten cover and tracklist, reflecting his meticulous design. His sensitivity to voice and meaning shines through in detailed notes correcting perceived lyric errors, even though the vocals remain largely unintelligible.The music, multitracked solo, blends raw acid punk energy with echoes of the Velvet Underground and the Sex Pistols/P.I.L. Outdated drum machines and multiple takes add texture, while songs like “Telepathy” foreshadow later work. Track 9, an uncredited bonus piece, was identified through interviews with Sô-si Suzuki, showcasing Kadotani’s ability to lead collaborative sessions.Long dismissed as an outsider, Kadotani was deeply attuned to sound and structure. His work is intense, vivid, and uncompromising—a rare example of someone transforming inner chaos into a coherent sonic world. He didn’t explain it. He lived it.

Musically, first of all, 1991's second album, "loveless," was more advanced and unexpected than anything else released at the time. Kevin Shields and band thoroughly pursued a sound based on pure sensuality, resulting in a work that overwhelmed the listener's senses. 1990's representative work was hailed as a perfect masterpiece that pushed the possibilities of studio recording to the limit, and has been featured on The Beach Boys' "Pet Sounds" and It has been hailed as a milestone on par with The Beach Boys' "Pet Sounds," Miles Davis' "In A Silent Way," and Stevie Wonder's "Innervisions.

Japanese obi included.
Mastered from 1/2" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g vinyl weight
Standard gatefold outer sleeve
Six 300 x 300 mm art prints enclosed
Includes DL code (24-bit | 16-bit | mp3)

 

Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.

The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.

This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.

Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.

In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'. 

Songs for Nothing was written upon Olan Monk’s return to the west coast of Ireland. The album is imbued with the influence of sean-nós singing, Irish language songs in the “old style” that often proclaim tales of love, loss and landscape; and also heavily indebted to the late Sinéad O’Connor’s confessional songwriting. Reconstructing these influences through their unique perspective has resulted in a fragmentary album veering between collaged pop, machinic rock and slow airs, “dedicated to Conamara and all who have called it home”. The western, Atlantic-facing edge of Ireland has a particular feeling and energy, one that permeates the release: the granite pulsates, the ocean and sky reflect intensities, seaweed rots on shingle shores, plants bloom, ancient trees come up for air from the drowned forest in Galway Bay, the sun splinters through the low clouds.

French-Algerian writer and composer LÉO LA NUIT presents a work of psychedelic folk devotion with Le Don Des Larmes, released on vinyl by Amsterdam’s forward-thinking label Knekelhuis. Dedicated to his newborn child, the album retraces memories of Kabyle lullabies and the popular chaâbi songs of his youth, weaving them into a sound where intimacy and folkloric spirituality converge. Minimal guitar and spectral vocals form textures that envelop the listener as if revealing hidden layers of time, resonating like a prayer reborn in the present. A rare and solemn masterpiece, born from the overlap of distant traditions and deeply personal memory.

The PPU debut EP from Japan outfit Wool & The Pants. The Tokyo trio includes players; Yu Tokumo (Guitar / Vocals), Kento Enokida (Bass), and Aki Nakagomi (Drums). First discovered in 2017 by Mad Love, Tokumo has been making this music since 2008 drawing inspiration from Jagatara, Kimidori, Daisuke Tobari, Sakana, Think Tank, Les Rallizes Denudes, ECD, Haruomi Hosono, Can, Syd Barrett, Laraaji, and SunRa.

Globetrotting Texan trio Khruangbin are set to release ‘Hasta El Cielo’, the band’s glorious dub version of their second album ‘Con Todo El Mundo’. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.

The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t find this a surprising release. Dubs of tracks from their first album ‘The Universe Smiles Upon You’ appeared on limited vinyl releases of ‘People Everywhere’ for Record Store Day 2016 and ‘Zionsville’ on the BoogieFuturo remix 12”. The especially eagle-eared will have caught a dub of ‘Two Fish And An Elephant’ playing over the credits of the track’s celebrated video.

“For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The first dub albums we listened to were records mixed by Scientist featuring the music of the Roots Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo.”

- Khruangbin

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.

Since the album’s release, the band have continued their almost non-stop approach to touring, playing over 130 dates in 2018 alone. They return to the UK this summer for festival shows at Green Man, Latitude, Mostly Jazz, Funk & Soul Festival and Barclaycard British Summer Time.

Press for ‘Con Todo El Mundo’

Sababa 5 return to their roots on Ça Va Ça Va - a melting pot of Middle Eastern and Mediterranean sounds, layered with psych-soaked guitars, cosmic synths and heavy, driving grooves. A pure dose of party energy and nostalgia from Batov Records’ finest.

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and togetherness.

Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff.

The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima.

Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

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

Six years have passed since Swiss-based duo Klaus Johann Grobe’s last long player “Du bist so symmetrisch” (2018) and you’ll hear they’ve come a long way. “Io tu il loro”, their fourth album for Chicago-based Trouble In Mind Records was written over two weeks in a cabin at the very end of a remote Swiss valley, where - pretty much at the same place - Klaus Johann Grobe came up with their whole debut full-length “Im Sinne der Zeit” album in 2014. What started out as simply making music again quickly turned into seriously making a new album. Once decided, the whole thing was finished rather quickly and recorded once again at David Langhard’s Dala Studio at the end of 2022. “Io tu il loro” is a record that cannot be done by endlessly fiddling around with hundreds of ideas and sounds. All it needed was a real break (Dani and Sevi didn’t work on any Grobe-related stuff until they met up in the mountains in 2022). It’s an album with a blurry vision and soft limitations. You can somehow feel them looking back on all their work forgivingly and then moving on to what felt right. So here we are with nine tracks full of embracing warmth, so melancholicly welcoming you don’t know if you want to smile or cry. Some might call it timeless, some might call it dad-rock... well, it certainly isn’t disco for the masses, it’s more like, “If I can’t make myself dance after four beers, I can as well go home.” So, no disco? No syncopated synths? No German? No reverb? Where’s The Grobe? Take your time, you’ll notice Klaus Johann Grobe aren’t gone, they just took a turn before driving yet into another unknown.

The temptation to mythologize Bill Fay can be overwhelming; Fay was, for decades, as prolific as he was under-appreciated. Fay’s unsung-hero status has changed slowly, steadily, on the order of almost twenty-five years. With each new album comes new hosannas and evangelizers — Jeff Tweedy, Kevin Morby, Adam Granduciel and Julia Jacklin, to name just a few. The Bill Fay Group, in particular, is Fay’s most significant collaborative work; he records as a member of a larger group here, and the result summons a grander sonic scale, an elegant counterweight to Fay’s instincts for the understated. Tomorrow Tomorrow and Tomorrow brings to bear the galactic qualities of early rock, the intricacy of jazz improv, and Fay’s earthy folk magic. Tomorrow Tomorrow and Tomorrow has a patchy release history: recorded between 1978 and 1981, it was not released until 2005, when it appeared on CD with limited streaming and no vinyl companion. A 2006 reissue brought the album onto vinyl but with a truncated sequence and nine songs missing. Now, finally, Tomorrow Tomorrow and Tomorrow arrives in full worldwide. Available on streaming services worldwide and pressed to a double-album vinyl edition, it features the album’s original 22 songs and includes rare and previously unseen photographs from Tomorrow Tomorrow and Tomorrow’s original recording session. In the words of Gary Smith and Rauf Galip, missing Bill Stratton, and abbreviated from the forthcoming album notes: We chose five songs to record as finished pieces: Life, Spiritual Mansions, Cosmic Boxer, Strange Stairway, Isles of Sleep, all recorded in two studio sessions. We sent them out to try and get a record deal. There were few really independent labels back then and Punk was in the record labels’ ears. No deal. And now, Dead Oceans who have a lot of faith in Bill’s music wants to re- release the ‘Tomorrow’ album. A double vinyl package. Is there any more unreleased music for the fourth side? Of course. So, we’ve been opening old boxes, finding CDRs, cassettes, a musical archaeological dig. This is our choice from all the music we found. Fly Like a Bird.

Stan Hubbs’ privately recorded psych statement Crystal emerged from a secluded cabin in the California redwoods, where he conjured a woozy, smoked-out haze that sits somewhere between Iron Butterfly’s tranced-out heaviness and a more DIY, hallucinatory strain of outsider folk-rock. Middle-aged and working far from any scene or industry, Hubbs captured a blurred, dream-logic world of guitar leads, burnt tape ambience, spectral keys and narcotised vocals that feel both intimate and otherworldly. This edition from Numero Group restores his original 16-page poetry and doodle booklet, a handmade inner map to the record’s private universe.

“As I’m getting older, chip up on my shoulder…” is the opening line from Mac DeMarco’s second full-length LP ‘Salad Days,’ the follow up to 2012’s lauded ‘Mac DeMarco 2.’ Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), ‘Salad Days’ gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, “Passing Out Pieces,” set to huge overdriven organ chords, contains lines like “…never been reluctant to share, passing out pieces of me…” Clearly, Salad Days isn’t the same record that breezily gave us “Dreamin,” and “Ode to Viceroy,” but the result of what comes from their success. “Chamber of Reflection,” a track featuring icy synth stabs and soulful crooning, wouldn’t be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac’s widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick’s mixing board in 1972, but with that peculiar Mac touch that’s completely of right now. “Brother,” a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco.“Treat Her Better” is rife with “Mac-isms,” heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity.

Mac DeMarco’s debut full length, 2, released in 2012, cleaned up the songwriter’s warped take on soft rock and brought it to a broader audience. Given DeMarco’s affinity for keeping things lo-fi — 2 was the first time he’d bothered to record demos — it’s revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like “Annie” and the Lennon-esque “Sherrill.”

The shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined.

More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.

The 1st solo album "Himatsubushi" released in 1974 after the breakup of Murahachibu is now available in a limited edition reissue with the original cover obi from the time of its first release!

This - somehow - mythological album from one of Iran’s top sitarist lurches between traditional Eastern forms and more modern Western styles, blending the two into a fascinating fusion of cultures and flavours. Similar to the work of Indian rare groove master Ananda Shankar, the record brings to life the ultimate marriage of funky drums, lush horns, wah-wah guitars and Eastern harmonies. A necessary re-discovery !

In fact, Organisation was the first iteration of Kraftwerk and if the band had managed to overrule its record label, RCA, Tone Float would have been credited as such. But given that the album was to be released only in the United Kingdom, the label opted for the more Anglicized name, "Organisation". Tone Float is the only album produced under this name and is a seminal example of the genre. Audiences in West Germany were fortunate enough to watch and listen to the whole album, played live for German television station, EDF, and it is this broadcast featured here.