Psychedelic / Progressive

Psychedelic Rock … Long-awaited compilation of hard-rocking, psychedelic songs from Indonesia’s premiere rock outfit Panbers culled from their most fertile years with Mesra Dimita Records. For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series. “Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001. We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995): “When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues ! Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality. The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic. 7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers. The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions. In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though, Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W. Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away. In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Part fantastical historic sonic biopic, part anthropologic journey into the deep roots of Belgium’s monstrous cosmic rock sound, this wholly individualistic concept album combines the lead members of the mighty COS (Daniel Schell and Pascale Son) with studio genius Alain Pierre (Ô Sidarta/Des Morts) and celebrated Dutch progressive rock singer Dick Annegarn, for what many consider to be both the overlooked hiding place of Belgium’s deepest psychedelic moment and European prog’s lost map to the ‘Franco-Flemish Boom’. Emerging from the wider musical family that counted Marc Moulin, Placebo and Marc Hollander amongst its creative kin, Daniel Schell’s most profound conceptual project ambitiously combines the tale of the heroic historical figure of Count Egmont, while simultaneously tracing the evolution of the ud, or oud, (‘the grandfather of the guitar’) in this multifarious hallucinogenic epic. Featuring key members of other collectable groups such as drummer Felix Simtaine from Solis Lacus and bass player Jean-Louis Baudoin from the mythical Classroom (COS predecessor), this best-kept secret vinyl release also harbours the voices of Dirk Bogaert (of Belgian hard rockers Waterloo) as well as Catalan singer Ilona Chale (Marc Hollander/Aksak Maboul) before her later tenure as the COS front woman. Initially released in 1978 via Zeuhl school distributors Free Bird alongside French pressings of Don Cherry, Jacques Thollot and CAN, it is plain to understand the niche nature of this maligned “lost COS” LP as it finally blooms from between the cracked branches of European jazz-rock-synth-psych-prog-pop history… and beyond!

SIDE-A
01. That Was Illegal
02. You Still OK?
03. Like A Fable
04. You Have Time But I Don’t
05. Sad Errand
|
SIDE-B
01. Star
02. Floating Weeds
03. Thickness of Love
04. One Day
05. The Whereabouts Of Romance

Written & Produced by Shintaro Sakamoto

"There was a time when the strength of a musician's vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic." --Jim O'Rourke

An unholy grail of near-mythical status is finally now available in the form of this first-ever reissue. Masahiko Sato composed this elusive, sensual, psychedelic free jazz score for the stunning 1973 Japanese witchcraft animation Belladonna of Sadness (Kanashimi no Belladonna) directed by Eiichi Yamamoto. Since the mid-2000s, Belladonna of Sadness has risen from the ashes and now shines brighter than ever. Now, on the eve of its third or fourth global DVD release in 2015, fans no longer have to settle for third-generation VHS telecine dubs or stuff their wish-lists into the hands of lucky friends visiting Tokyo. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers, and other creative types along the way. Original copies of the soundtrack, however, are much less likely to rear their heads, with prices literally doubling each time the original stock copies swap hands among the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, originally released by the Italian Cinevox label in 1975, has extra credentials. Finders Keepers Records and Sato himself agreed that this record should finally be liberated among those who know the magic words. With the decision to keep this album "strictly Sato," a track from the original release has been removed -- the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana -- which in all honesty is very much detached from Sato's psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato's wife at the time, Chinatsu Nakayama, including the track titled "TBFS," which only appears on the master tapes and never actually made it onto the theatrical cut of the film (though the theme is briefly alluded to, with different instrumentation, in a cut-scene available on the German DVD release). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in film music, jazz, and avant-garde composition.

Exclusive Mesh-Key release of Sakamoto's brilliant third solo album, with completely different art from the Japanese release. Comes with full-color inserts with lyric translations, and digital download cards.

After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.

“Like a language of Sakamoto’s own…made with a ship-in-the-bottle-like focus.” Pitchfork (7.8)

“Love If Possible is the pay-attention-moment. Not enough know. More should know.” Under The Radar

“Perfectionist pop for the extraterrestrial bachelor pad.” Spin

Back in 2016, producer Seth Applebaum released two EPs that marked the inauguration of the band Ghost Funk Orchestra. ‘Night Walker’ and ‘Death Waltz’ were conceived as one-man-band, reel-to-reel tape recorded experiments that would bring together elements of all the sounds that Seth most adored at the time: tape-saturated drums, gratuitous spring reverb, surfy guitar, Latin-style percussion, odd time signatures, and Spanish-language female vocals. Initially released only in the digital domain and on a short run of cassette tapes, these two EPs that defined the early era of GFO are now finally available together on a single LP via Colemine Records. The tracks have been lovingly remastered by Doug Krebs. We invite you to take a dive into the humble beginnings of a project that has continued to grow, shape shift, and accrue new and exciting sounds for its sonic palette.

"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.

Hiroshi Tanaka and Yoichi Fuwa are two mysterious creatures who in 1974 made an album that contains 19 tracks without names. Their music is like a fairy tale. It’s leisurely and relaxed yet bursting at the seams with melodies and youthful ambition, exactly what you would expect from the self-proclaimed heirs of the Beatles. A holy grail of Japanese psychedelic pop, the Untitled White Album was self-released in only 100 copies. Reissued here for the first time with an additional bonus LP, an Untitled White Album II featuring 16 previously unreleased songs from the original sessions.

This album celebrates the Beatles as a live act, at the peak of their fame. Presenting material drawn from several thrilling appearances broadcast in Japan.

“Blue” Gene Tyranny’s debut album Out of the Blue — newly remastered with original cover art — which was among the first to releases on Lovely Music in 1978 alongside Robert Ashley Private Parts, David Behrman On the Other Ocean, Jon Hassell Vernal Equinox, Meredith Monk Key, and Peter Gordon Star Jaws. Disarmingly direct, funky, and profound, Out of the Blue is an equanimous, wide-open exploration of Tyranny’s musical world: equal parts song cycle, tone poem, keyboard fantasia, and avant-garde pop record. Recorded and mixed by Tyranny at Mills College, this album emerged following the legendary 1976 Trust in Rock concerts, where Tyranny and collaborator Peter Gordon presented New Music for rock band. “Next Time Might Be Your Time” and “For David K.” were co-produced by Gordon, and also feature Mills’s Maggi Payne on flute as well as Oingo Boingo’s Steve Bartek on guitar; “Leading a Double Life” is sung by Lynne Morrow and Jane Sharp, accompanied by Tyranny on piano and polyMoog synthesizer; “A Letter from Home” is a half-hour electro-acoustic narrative meditation on “the Doppler effect as a metaphor for the development of consciousness.” Out of the Blue lives up to its name: it is both surprising and familiar, revealing for the first time something that was always already there.

For a legacy filled with legendary performances, the Grateful Dead Live at the Great American Music Hall in San Francisco on August 13th 1975 stands out. The band only played 4 shows during that entire year! (Remarkable for a band that toured non-stop for decades) and at their August 13th show, they rolled multi-track tape (which allowed for the band decades later to properly mix the show). Because the Great American Music Hall holds less than 1,000 people (another unique thing about this show), it was an invitation only performance in which the band debuted their recent studio album Blues For Allah in a live setting. Although One From The Vault has been available on CD nearly continuously since 1991, the vinyl version was only available for less than a year (and in Europe only) in the early 1990’s. This deluxe vinyl reissue marks the first time this legendary show has been available anywhere in over 20 years and the first time in America.

Les Rallizes Dénudés, an album full of live performances at CLUB CITTA' in 1993 will be released as a 3-disc analog record!

After releasing three original albums in 1991, Les Rallizes Dénudés resumed their live performances in 1993, making their appearance in front of fans for the first time since 1988. Following the return live at the Baus Theater on February 13, the performance at CLUB CITTA 'held four days later on the 17th became one of the most notable performances in Les Rallizes Dénudés's history and is still legendary. It is said that the tremendous volume of the guitar, which surpassed the loud volume he had played in the past, shook the door of the venue, and the audience evacuated to the lobby.
The performance, which showed an amazing performance that shook all the senses of the audience, was recorded in its entirety with an 8-channel digital recorder.
In this work, based on the multi-track sound source that has been secretly stored for nearly 30 years, Makoto Kubota's soulful mixing, which has been reconstructed with the sound source recorded at the venue, is the result of the "something that surpasses the roaring sound" that resounded that night. ” is reproduced as an album work. You can experience the rally's sound that has never been heard before.

The members on the day were Takashi Mizutani (Vo, G), Katsuhiko Ishii (G), Yokai Takahashi (B), and Yukimichi Noma (Dr).
The jacket artwork features photographs taken by Takehiko Nakafuji.
Includes liner notes by Shinya Matsuyama.

■ Recorded songs:
Side A
1. The Night, Assassin's Night
2. Memory is Far Away

Side B
1. Deeper Than the Night
2. Eternally Now

Side C
1. White Awakening_1993
2. Bird Calls in the Dusk

Side D
1. Darkness Returns 2

Side E
1. The Last One_1993(Part 1)

Side F
1. The Last One_1993(Part 2)

“Unlike much of my work recently, it is not a ‘concept album’ and is without any collaborators. I just wanted to focus on my core sound really but without any of the genre tropes that may have been present the last time I made a solo album. I had hoped that the album could work on multiple levels. In that respect, it is intended as a psychedelic album as much as anything. You can listen to it in a more meditative way without getting distracted by the details. I suppose that is why the frequency spectrum is more similar to my earlier work, but there is a lot going on under the surface and it can be quite demanding if you are paying attention as there are odd time signatures and dissonant elements in there too. Light and shadow I guess. I am hoping that it may be the kind of album that people play at the end of an excessive night, like after a club being back home with some friends, sleep deprivation and whatever else kicking in together with the music helping to launch your mind into space! I am also hoping though that it will be interesting enough to stand up in the cold sober light of day as ‘just good engaging music’. It is quite foggy and scuzzy in feel and I am using a lot of filtering and reverb to get this. I think the vocal samples are an attempt to offset this, to bring a bit of light to the murkiness. I also wanted the vocal aspects to reflect influences or things I could closely identify with for the most part, so there are a few hints at British folk songs in amongst the music, albeit rather ghostly and not directly recognisable. But anyway, all this is much more a question of feel, rather than a signifier in this respect. I like the haunting, melancholic aspects of these songs I suppose. I am putting it out on my own label, Woe To The Septic Heart! I just felt it was time for that. It is a bad time for pressing records but conversely, Bandcamp has proved to be useful in showing you do not need to have the backing of an established label. I think I can do something independently and hope that it will still reach the public.” — Shackleton

During the 60's and early 70's, Singapore had one of most vibrant and interesting music scenes in Asia and even the world, and this compilation presents undeniable proof of it. Focusing exclusively on the female presence on the scene (be it as solo singers, backed by other bands or as band leaders) "Singapore Nuggets. The Ladies", presents such and amazing collection of songs many will be shocked by the sheer genius of this ladies.
 
Ranging from Naive Pop to Fuzzed out Garage (and more!) all within the confines of Pop Yeh Yeh, the fresh, colorful, local sound of 60's Singapore in which western influences, Chinese, Arabic and Indian sounds were mixed by the locals to create a wonderfully idiosyncratic style. A must!

Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and latin music, to rock-and-roll , rhythm-and-blues, surf, psychedelia, soul and many more) the few pre 75 Cambodian recordings that survived -most of them were destroyed- are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years.
 
Gathered in this amazing album are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made.

Another lost musical treasure unearthed by the Everland-YU imprint! Seven years have passed since this material landed in our hands and we counted the days since we could give it the justice it deserves. Fully licensed and remastered from original master tapes, this chronologically arranged LP is a collection of previously unreleased radio recordings all of which have one thing in common: the unmistakably original musical ideas and vocal performances of Marin Škrgatić (1950-2014). Marin was a Croatian prog-rock pioneer, who as a result of a series of unfortunate circumstances, did not receive much recognition in the dawn of the Yugoslavian prog-rock era. In their prime, his groups were an active and well-acknowledged underground phenomenon, filling stadiums and music halls all over Yugoslavia. This material represents some of the first attempts to record complex progressive rock arrangements in Yugoslavia – sourcing heavily from local folk music, jazz, and classical influences. Interestingly enough, most of the songs presented here were dismissed as being too progressive at that time - by the largest Yugoslavian record company Jugoton. This gatefold LP includes thus far unpublished photos and detailed liner notes about the evolution of Marin’s groups resulting from interviews with former band members with whom we’ve uncovered some of the mysteries of Yugo-prog-rock’s annals.

RSD 2023 release. One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists Una Luz and El Zigui who was once described as the local Bob Dylan. First time reissue.

The Smile will release their highly anticipated debut album A Light For Attracting Attention on 13 May, 2022 on XL Recordings. 

The 13- track album was produced and mixed by Nigel Godrich and mastered by Bob Ludwig. Tracks feature strings by the London Contemporary Orchestra and a full brass section of contempoarary UK jazz players including Byron Wallen, Theon and Nathaniel Cross, Chelsea Carmichael, Robert Stillman and Jason Yarde. 

The band, comprising Radiohead’s Thom Yorke and Jonny Greenwood and Sons of Kemet’s Tom Skinner, have previously released the singles You Will Never Work in Television Again, The Smoke, and Skrting On The Surface to critical acclaim.

Following on the heels of Light In The Attic’s vinyl LP release of One and Two From The Vault comes the final release in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman’s Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night–all of which went on to become Dead “standards” including “Playing in the Band,” “Greatest Story Ever Told,” and two absolute classics: “Bird Song” and “Deal.” Essential Dead.

Spacemen 3 began assembling their third album, 1988's Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions' first offering came in the form of "Revolution," a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3's crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock 'n' roll. An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like "Suicide" (named after the notorious NYC band) and the mesmeric "How Does It Feel?" catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter. Includes download card and new insert with liner notes by Marc Masters.

Minami Deutsch 3rd full studio album "Fortune Goodies" "Everyone has their own imagination about outer space, and each one us gets to daydream about what exactly floats or exists there. ‘Fortune Goodies’ is Minami Deutsch’s long-awaited 3rd studio album. While not all the songs on the record function as straightforward Krautrock this time around, they still manage to capture the spirit and heart of the genre. After relocating from Tokyo to Berlin, Miula’s musical vocabulary has greatly expanded, thus resulting in this ultimate Japanese take on cosmic music in 2022.”

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born. Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going. Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best tracks. Although many became local hits, few were ever heard outside the Amazonian region... until now. With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

Guitar and bass duo Gong Gong Gong (工工工) charge out from Beijing’s underground scene with a distinct vision and uncompromising sense of purpose. The duo taps into a wavelength uniting musical cultures, drawing on inspirations ranging from Bo Diddley to Cantonese opera, West African desert blues, drone, and the structures of electronic music. Gong Gong Gong’s debut LP, Phantom Rhythm, is their mission statement: between the locomotive chug and banjo twang of Tom Ng’s guitar and Joshua Frank’s thumping bass harmonics, an aura of ghostly snare hits and timpani overtones emerges. Over Frank’s enigmatic melodies, Ng sings in Cantonese, piecing together abstract tales of absurdity and doubt, desire and lust. Formed in 2015, the band’s earliest shows were in Beijing underpass tunnels and DIY spaces. Ng and Frank are both outsiders who call the city their home: Ng, who was born in Hong Kong, defiantly sings in his native tongue, while Frank, originally from Montreal, has lived in Beijing on and off since childhood. (He is the English translator of Ng’s lyrics, adding another layer to the duo’s close collaboration). A compact, almost telepathic unit, Gong Gong Gong use their minimalistic tools and idiosyncratic playing style to challenge the notions of rock n’ roll, stripping the form down to its bare essentials: rhythm, melody, and grit