Psychedelic / Progressive

"nehan is a Japanese free improvisation and avant-garde rock quintet formed in August 2022. Their performances are initiated by a 9hz brain wave emitted from a testee who has been brought into a deep meditative state via either hypnosis or acupuncture. nehan doesn't begin until the testee has gotten into the state of 'nothingness.' It is only then that the improvisation can begin. The role of improvisation has been key to all the musical projects of Masaki Batoh. In 2010, as Batoh was winding down the activity of his long-standing 'heavy chamber folk' group, Ghost, he became involved in the design of a machine to generate sonic data based on brain waves. An acupuncturist as well as a musician by trade, his interest was spurred by the rhythms of the body and the brain, and a desire to access the 'pulses' of brain waves to initiate improvisations. Following the release of Brain Pulse Music, Batoh toured Japan and the US, making demonstrations of his process using a local volunteer and guest performers, when available. Today, nehan arrive at their performance space prepared with a Brain Pulse testee, bringing a wide array of instruments including gongs, timpani, tabla and other drums and percussion, Crumhorn, bagpipes, mellotron, oscillators and additional sound effects. Their performance is a transformative electro-acoustic display that passes through the prism of music styles, from east to west, from traditional folk and classical to rock, jazz, and avant electronic. While nehan's performance presentation invokes a sense of ritual, they understand their process as being far removed from any type of spiritual endeavor; this is an action of improvisation, occurring in reality between the five musicians on stage, in response to the brain waves of an individual. For the personnel of nehan, Masaki Batoh asked players with whom he had good previous experiences in improvisation: Futoshi Okano (Ghost, Acid Mothers Temple, The Silence), Haruo Kondo (Espvall & Batoh) and Junzo Tateiwa (Ghost), along with female Brain Pulse testee Gozen on oscillators. The performance here, recorded live in August of 2022 at GOK SOUND in Tokyo, demonstrates their communal dedication to the improvisation. The players act as listeners and musicians simultaneously, inspired to make extended pieces of music out of the 'nothingness' of brain waves. The possibilities of nehan's chosen approach are almost infinite; An Evening With Nehan is only the beginning of their journey."

Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

Originally released as a bonus compact disc to the original The Space Lady's Greatest Hits CD, Other Hits is a 6 track E.P. of music never released on vinyl. Culled from the same original 1990 recording sessions that were the source of the original Greatest Hits, which has gone on to multiple pressings and licenses. First time on limited Clear vinyl, the tracks are amazingly remastered for release by Mikey Young. The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its leading exponents ever since. The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore. A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence. Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song, sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete and The Pirates’ 1960 hot Shakin’ All Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s spirit.

What is time? Documented here are phone voice memo recordings that range from 2015-2020, re-aligned, chopped up and spliced together. All of us reside in our individually projected reality, but when these individual inner rhythms come into contact with one another, a bigger "time clock" appears. If we can learn to see the world without the constant self surveillance, a new pattern and perception comes into view. And what splendid beauty it is. Dedicated to all the young gods out there.

Hold on to your mind! Led by Belfast-born phenom David Lewis, Andwella made three LPs circa 1970 for London's Reflection label, redolent with Cream-y rock workouts, soaring post-Sgt. Pepper psych experimentation, and earthbound laments The Band might've dreamt up at Big Pink. Barely heard back then, they now conjure a popular rock fantasia to challenge the most expertly composed and orchestrated songs of the era. This deluxe set includes meticulous reproductions of the band’s 3-LP discography, plus an ephemera-packed booklet detailing Lewis's brief moment as a downbeat songwriting visionary at the height of his powers.

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good. Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up. Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met." Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did. Album opener "Nobody But You" is an uplifting, dance floor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuffle. "It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group, and now, this expanded brotherhood is supporting them to push it further. The stars have aligned for them to take a big and well deserved step with this new album and it couldn't have happened to a better group of guys. Ups and downs of course, but they are acutely aware of how good the big picture has been for them and you can hear it in their music—music that just Sounds Good.

The lost yearbook from Louis Wayne Moody High’s graduating class of 1967, chronicling the peaks and valleys of teenage angst, lost loves, and life after summer vacation. Fourteen moody melodies of surf kings, guitar Bettys, talent show psychers, and pre-S.D.S. soft poppers. Walls of jangly guitars, maudlin organs, and melancholy harmonies deliver the bummer to ring in the summer. A replica of the Louis Wayne Moody High class of 1967 yearbook houses the 150 gram LP. Inside the bound leatherette volume is a murder mystery, told through the scribblings of Moody High’s student body. What happened to Cheryl? Only you can help solve.

Can you pick up a better iconic band than Japanese Flower Travellin’ Band? Have a look at Julian Cope Japrocksampler cover with the band bare naked wildly ridin’ on their wheels. Is any description more appropriate? A sense of freedom has always enhanced their music, a heavy rock manifesto clearly informed by british stalwarts. Their second album Satori has been released on Atlantic Japan in 1971 and still is a masterpiece on its own. The band was made up of Joe Yamanaka (vocals) – possibly an eastern version of Rob Tyner MC5 - Hideki Ishima (guitars), Jun Kobayashi (bass) and George Wada (drums). By the end of 1970, they had relocated to Toronto, Canada and lived there until March of 1972. In April 1973, the band split up, but they reunited in January 2008 with all original members joined by Nobuhiko

The Smile’s new album Wall Of Eyes is the follow up to the band’s 2022 debut LP A Light For Attracting Attention, which received critical acclaim from the likes of The Guardian, Pitchfork, The Observer, The Needle Drop, Rolling Stone, New York Magazine, Uncut and MOJO, and more.

The Smile played a series of brilliantly received live shows in the US and Mexico in June and July of this year and released “Bending Hectic” from the new album in June, having initially debuted the song at the Montreux Jazz Festival in 2022.

Subtropic Cosmos is the international debut album by Japanese artist Hitomi Moriwaki. Composed and recorded at her Fukuoka home during the worldwide pandemic between 2020-2022, the album was produced by Hideki Urawa, who has also worked with Kikagaku Moyo and other musical acts on Guruguru Brain. "Subtropic Cosmos" in particular is a wonderful work that conveys the "joy of making things" to listeners, as it is filled with various influences from her diverse activities. As suggested by the album title, most of the songs were created under the unprecedented conditions of corona--and as a result, were inspired by the consciousness of traveling through imaginary foreign lands and nature. As if adventuring through the universe inside of her own mind, Moriwaki's versatility is best experienced through her fearless fusion of hip-hop, pop and experimental music. Through a lens of psychedelic production by Hideki Urawa, this album is a truly special, one-of-a-kind space experience for listeners to enjoy and embark upon.

Acclaimed guitar duo Loren Connors and Alan Licht celebrate their 30-year collaboration with release of their eighth album — At The Top Of The Stairs.Across the decades, their improvisations turned increasingly abstract and atonal, while still maintaining complex, ethereal arrangements. The harmonious blend of Licht's meticulously crafted feedback and harmonic patterns with Connors' ghostly blue tones remains the core sound of this partnership. At The Top Of The Stairs was recorded live in 2018. Across two side-long pieces, the duo ascends slowly, through layers of atmospheric tension punctuated by thunderous waves of Connors' effects.For fifty years, Connors's adaptation of acoustic Delta blues has transmuted into miniature gray scale compositions and howling riffs. His collaborators include Oren Ambarchi, Keiji Haino, and Kim Gordon. Rock/experimental musician Alan Licht was a member of the bands Love Child, Run On, and Lee Ranaldo & the Dust, and has released a range of acclaimed rock and experimental albums. He is an author with books published by Rizzoli, W.W. Norton, Faber & Faber and Blank Forms.

"Bridging the gap between American primitive pioneers John Fahey, Robbie Basho, and Leo Kottke, and the California modernists William Ackerman, Alex de Grassi, and Michael Hedges, Guitar Soli explores the private side of the solo guitar movement from 1966-1981. While Takoma and Windham Hill were laying the groundwork for the new age marketing juggernaut of the mid '80s, these fourteen loners were picking away in tiny cafes, selling records hand to hand. The single disc set comes housed in a digipack chipboard slipcase with a 40-page booklet and features Ted Lucas, Daniel Hecht, Dan Lambert, Jim Ohlschmidt, Tom Smith, Mark Lang, Richard Crandell, Tree People, William Eaton, George Cromarty, Scott Witte, Brad Chequer, Dwayne Canan, and Dana Westover." 

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.

In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.

With pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, Philosophy Of The World, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion).

Throughout _Philosophy_… simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness.

The album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone’s reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.

Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.

Decades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs.

In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.

With pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, Philosophy Of The World, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion).

Throughout the album’s simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness.

The album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone’s reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.

Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.

Decades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs.

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

"Beirut group Sanam’s debut record Aykathani Malakon blasts to life with its mix of low-tuned guitar jams, industrial drums, and earthy vocals – an immersive collection of dark and spacious textures” The Guardian “A gritty blend of noise rock, ambient textures and Arabic forms that cast the traditional material in a visceral new context" The Wire "Absolutely love this record, it's amazing” Tom Ravenscroft “A bit post punk and experimental and very very interesting” Gilles Peterson ++++ Debut release from the Beirut-based free-rock post-folk sextet. Album mixed by Radwan Ghazi Moumneh (Jerusalem in My Heart) and mastered by Heba Kadry. SANAM's music is a ritual where improvised rock, free jazz and noise underscore an exorcism of traditional Egyptian song and Arabic poetry. SANAM formed following an invitation to perform with Hans Joachim Irmler from the legendary German experimental group Faust, at Beirut's Irtijal music festival in 2021. Sandy Chamoun (vocals), Antonio Hajj (bass), Farah Kaddour (buzuk), Anthony Sahyoun (guitar, synth), Pascal Semerdjian (drums) and Marwan Tohme (guitars) bring a myriad of influences gleaned from years performing either solo or as members of influential acts in Beirut’s tight-knit independent music scene (such as Al Rahel al Kabir, Postcards, Kinematik and Ovid). The musicians had planned to reiterate their fortuitous experience with Irmler but when this plan fell through, they decided to go on a recording residency together instead in a traditional house in the village of Saqi Reshmaya, Lebanon. The recording of the album took place during a particularly difficult time in their native country of Lebanon, which continues to suffer from an unprecedented economic collapse as well as social and political unrest. “We decided to take eight days off in May 2022 in an effort to completely disconnect ourselves from Beirut” says Sahyoun, who also performs in post-rock outfit Kinematik. During their residency, the musicians, who come from distinct musical styles and backgrounds, decided to record the full album live with no overdubs: “The musical direction for SANAM was set out by the improv sessions with Joachim," says Sahyoun. "We weren't looking at doing something specific, it ended up coming out as a weird mix between improvised rock, tarab/arabic song and ambient. Kind of putting different things in a blender (our different musical backgrounds) and never really letting them quite fuse together. Recounting the insular experience of recording this debut, Sandy Chamoun described it as “almost hallucinogenic, as if there was a tacit agreement among us to produce an album that sounded 'unearthly' ”. Combining regional and local folklore and poetry with experimental forms of instrumental music are at the core of Aykathani Malakon. Chamoun, who chose the texts for this album and has performed in the Lebanese satirical music collective Al Rahel al Kabir, turned to modern and contemporary Arab writers and composers such as Lebanese poet Bassem Hajjar whose poem Aykathani Malakon lends the album its title and opening track, Paul Chaoul whose poem Chamoun recites in a state of ascending ecstasy in Ayouha Al-Taiin Fi Al-Mawt and the Egyptian composer Sayyid Darwish in the languorous Ya Nass that features prominently the buzuk played by Farah Kaddour. As Chamoun points out, the poetry or lyrics in the album constitute “a collective call for an escape from a hallucinatory state engendered by love but also the mysteries of life itself”.

Greasy Mike is back with LP number four! Another rambunctious array of wigged out mayhem! Don't worry, there aren't any silly jokes on this record. It's all music with a wiggle and a giggle. In fact, it's 14 frantic flippers fraught with frivolous fun-filled frolics. All good clean fun. Featuring: Pat & the Wildcats, Bobby Bunny & the Jackrabbits, Jim Doval & the Gauchos, Johnny Beeman, Diablito, Adolphus Bell & the Up Starts, The Apollos, The Royal Jokers, Lue Renney, The Zanies, Hank Mankin, Sid Ramin, Jim Backus and Friend, and The Fabulous Continentals.

When Greasy Mike returned from his travels in East Asia he brought back sixteen slices of sizzling spices in a sleazy Szechuan sauce... he may be greasy but he's certainly not greedy - all are shared with you here! No artificial flavourings required, this is raunchy rott n' roll with a rambunctious mix of sweet, sour n' saucy - tasty treats from our friends in the Orient!

RODUCT DETAILS The previously unissued soundtrack to the 1964 noir, You’re Not From Around Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo’s bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of alienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You’re Not From Around Here lives in a universe of moral ambiguity. Packaged in a replica of the original octagonal film canister, replete with rusted and glimmering varnishes alike, debossed logoture, and 36" x 27" fold out movie poster.

Wewantsounds continue its extensive Meiko Kaji reissue program in partnership with Teichiku Records and Meiko Kaji herself, with the release of "Gincho Wataridori, her debut album from 1972. This is the first time the album is reissued in its original Japanese artwork and come with newly remastered audio. Famous for her 70s exploitation movies ('Lady Snowblood', the 'Female Prisoner Scorpion' and 'Stray Cat Rock' series) and revered by Tarantino, Meiko Kaji also released a string of great albums on Teichiku mixing Japanese Pop and cinematic grooves. This reissue comes with deluxe Gatefold sleeve LP, OBI strip and a 2-p insert featuring new liner notes by by Hashim Kotaro Bharoocha.

Ndox Electrique results from the collaboration between François R. Cambuzat, Gianna Greco (also known for their work with Ifriqiyya Electrique), and the n'doëp community in Senegal. The project originated from the duo's quest to trace the origins of North African rituals, which led them to the Lebu community in Cap-Vert, an isolated region at Africa's westernmost point. The album seamlessly blends the duo's electronically-infused avant-rock with the intense, ritualistic vocal chants and rhythmic percussion of the n'doëp ceremony. It serves as a captivating bridge between these two musical worlds, capturing the essence of this cross-cultural collaboration. The text also highlights the challenges of merging Western rock and experimental influences with the sensibilities of their Senegalese collaborators, ultimately resulting in a unique and powerful musical experience. "Ndox Electrique" transcends cultural boundaries, immersing listeners in the enchanting sounds and mystical narratives of Western Africa.

Ndox Electrique results from the collaboration between François R. Cambuzat, Gianna Greco (also known for their work with Ifriqiyya Electrique), and the n'doëp community in Senegal. The project originated from the duo's quest to trace the origins of North African rituals, which led them to the Lebu community in Cap-Vert, an isolated region at Africa's westernmost point. The album seamlessly blends the duo's electronically-infused avant-rock with the intense, ritualistic vocal chants and rhythmic percussion of the n'doëp ceremony. It serves as a captivating bridge between these two musical worlds, capturing the essence of this cross-cultural collaboration. The text also highlights the challenges of merging Western rock and experimental influences with the sensibilities of their Senegalese collaborators, ultimately resulting in a unique and powerful musical experience. "Ndox Electrique" transcends cultural boundaries, immersing listeners in the enchanting sounds and mystical narratives of Western Africa.

The expansive American experience Lonnie Holley quilts together across his astounding new album, MITH, is both multitudinous and finely detailed. Holley’s self-taught piano improvisations and stream-of-consciousness lyrical approach have only gained purpose and power since he introduced the musical side of his art in 2012 with Just Before Music, followed by 2013’s Keeping a Record of It. But whereas his previous material seemed to dwell in the Eternal-Internal, MITH lives very much in our world — the one of concrete and tears; of dirt and blood; of injustice and hope. Across these songs, in an impressionistic poetry all his own, Holley touches on Black Lives Matter (“I’m a Suspect”), Standing Rock (“Copying the Rock”) and contemporary American politics (“I Woke Up in a Fucked-Up America”). A storyteller of the highest order, he commands a personal and universal mythology in his songs of which few songwriters are capable — names like Bob Dylan, Joni Mitchell, Joanna Newsom and Gil Scott-Heron come to mind. MITH was recorded over five years in locations such as Porto, Portugal; Cottage Grove, Oregon; New York City and Holley’s adopted hometown of Atlanta, Georgia. These 10 songs feature contributions from fellow cosmic musician Laraaji, jazz duo Nelson Patton, visionary producer Richard Swift, saxophonist Sam Gendel and producer/musician Shahzad Ismaily.

An omnibus album "OZ DAYS LIVE" recorded in '73 at the live house "OZ" in Kichijoji, Tokyo, will be released as a 2LP analog set, plus previously unreleased material that was not recorded at the time. Officially approved by , which holds the legal rights to Les Rallizes Dénudés's sound sources, and remastered from the original analog tapes by Makoto Kubota. Includes booklet with liner notes by Minoru Tezuka (manager of OZ/ later manager of Rallizes's) and rare photos from that time. Comes with craft board sleeve and obi.