[engl] Originally released in 1975, "Sexphonie" offers a mix of acid–rock, hard–psych, polit–rock and progressive / folky sounds with some eastern influences. Great studio production and outstanding guitar playing courtesy of Teflon Fonfara (who once blew up Camel’s PA system with his tape and delay guitar effects!). Tyll was formed when Teflon was approached by Kerston Records with the intention of releasing a krautrock album. Teflon’s previous group, Tyll Eulenspygel, was not active at that moment, so he assembled a new studio band featuring members and friends of Tyll Eulenspygel. Shrouded in mystery until now, Tyll’s "Sexphonie" is a Krautrock curiosity that almost never happened, and it was all created within a matter of weeks from inception of the band through to finished LP. The story is similar to that of the legendary Mammut, with an ad hoc band brought together and given total freedom to do whatever they wanted. Tyll can be seen as the illegitimate step–sister to Eulenspygel, and there was much controversy and even legal action involved and some rivalry between the two bands, especially as Tyll had poached Eulenspygel drummer Günter Klinger. Yet, whereas Eulenspygel had pretty much now lost the plot by 1973, Tyll’s sole LP was one of those surprisingly creative gems of the mid 1970s that, to the few that knew it, was a welcome breath of fresh air.

[engl] Trippy '60s-styled psychedelia from Australia! Originally issued as a 12” mini-album in 1986, Tyrnaround's 'Colour Your Mind' has become a touchstone of 1980s Neo-Psychedelia and almost certainly one of the best records of the second psychedelic era. Influenced by classic '60s British Psychedelia it was also inspired by The Dukes of Stratosphear's ‘25-O-Clock’ and perhaps exceeds that record's trip factor with the acid infused title track (featured on Amorphous Androgynous ‘Wizards of Oz’ Compilation and also famously covered by Vibravoid) blending searing acid fuzz guitar, swirling keyboards, surreal lyrics and sumptuous early Floyd like harmonies. Now expanded to a full length LP, including all the bands singles as well as the rare Freakbeat Magazine 45 'Paragon-Smythe' (featuring the never released before unedited version), this could be seen as Tyrnaround's perfect debut album.

[engl] Originally released in 19.

[engl] This is the incredible story of Uther Pendragon: a lost psychedelic band from San Francisco whose music has remained buried until now. Formed in the Bay Area in 1966 as a teen garage group called Blue Fever, Uther Pendragon lasted from 1966 until 1978. During that time, the band went through different names and phases, as their music evolved from garage to psychedelia to hard-rock: they were known as Blue Fever, Timne, Hodological Mandala, Mandala, Kodiac, Justus, Pendragon…but the core of the band remained always the same: Mark Lightcap (rhythm guitar, vocals), Bruce Marelich (lead guitar, vocals) and Martin Espinosa (bass, vocals) who after finding their ultimate drummer on Mike Beers, finally settled on the Uther Pendragon name in the early 70s. But despite being in active for all that time and recording lot of tapes and demos at different studios (including their own one in Palo Alto), Uther Pendragon never released any recording at the time. They’re not even a footnote on the books about the San Francisco Sound or a small name at those psychedelic posters of the time. Nothing. It’s as if they never existed. Until now. Their complex and fascinating story, which involves winning a Bay Area Battle Of The Bands and playing with Country Joe & The Fish, recording a killer garage-psych 7” acetate in 1967, going to the legendary Pacific Sound Recording studios in 1969 to record a demo, living as a family in the same house for many years and rehearsing 7 days a week, building their own recording studio and music corporation, being managed by Craig Pedersen (Something Wild, Tripsichord Music Box), being involved in an occult-themed rock opera called Sabbat, and much more, is being told with all details by Mike Stax from Ugly Things in the extensive liner notes.Culled from the band’s vast archive of tapes, “San Francisco Earthquake” includes their unknown until now 7” acetate from 1967 (fab garage-psych in the vein of Human Expression or Music Machine); never released ’66-‘69 tracks including a groundbreaking, moody psycher from 1966; a prev. unreleased demo tape from 1969 recorded at Pacific Recording - an incredible document for any lover of early SF garage-psych (think Oxford Circle, Savage Resurrection, Moby Grape…) and many tracks recorded at their home studio in Palo Alto. We’re talking 100% unadulterated West Coast guitar psych and hard-rock which recall QMS and even Kurihara-era White Heaven.

[engl] 'Cologne Curiosities' collects, for the first time on vinyl, all the otherwise unpublished/un-reissued material that firstly appeared on the three "Unknown Deutschland - The Krautrock Archive" CDs released on Virgin during 1996. These CD only releases were originally compiled by Trevor Manwaring (Paratactile, Impetus, Virgin, Harmonia Mundi) from tapes supplied to him by Toby Robinson. Toby - aka The Mad Twiddler, aka Genius P. Orridge - is well-known to Krautrock collectors as one of a number of engineers working at Stockhausen’s WDR and Dierks Studio in Cologne in the mid-1970's, where he assisted on recordings by many famous Kraut bands such as Can, Birth Control, Mythos or Dzyan. The recordings included here were made between 1972 and 1976 using studios in and around Cologne, produced by Toby Robinson for his own amusement, just having fun on the studio. Bands would come in for practice sessions, to record demo's, and during slack periods impromptu jams would happen. Most of these sessions were recorded by Toby, and they feature Toby himself plus a revolving cast of friends and musicians (some of them apparently big Kraut names under pseudonym). Including lost-in-time bands / studio projects like Astral Army, Fuerrote, Spirulina and Baal among others, the music here ranges from killer proto-New Wave Kraut psych to wild space rock, proto-ambient electronic, dark psychedelia and raw Kosmische sounds with lot of analog synths / Moog. It was during that time in Cologne, that Toby, along with Fluxus artist Robin Page, gave birth to the mysterious and controversial Pyramid label, for which these tracks were originally made for.

[engl] Christoph Dallach, Andreas Dorau and Daniel Jahn present Echo Neuklang, a compilation which explores the question of how Krautrock has influenced generation after generation of musicians since its inception. A contentious genre at the best of times, the music within its spectrum is essentially intangible. The common thread running through it is a compulsion to seek out the new. Beginning in the year 1981 and extending as far as 2023, the music in this collection demonstrates how the idea of what passed for Krautrock in the 1970s has been interpreted or reinterpreted by a diverse array of artists with distinct approaches in the decades which followed, without recourse to any generic conventions.

[engl] Over the last ten years a strange mycelium was sprouting from the ground of Germany’s sound topography, going widely unnoticed while creeping its way up through the copse of the ubiquitous “Neo-Kraut”, “Diskurs-Pop” and the like. We’re talking about a small underground network of artists and projects with poetic, mysterious names such as Brannten Schnüre, Baldruin, Kirschstein, Freundliche Kreisel and Balint Brösel. Operating in the margins and intersections of folklore, experimental electronics, dreams and nightmares, the “Gespensterland” LP archives and compiles their magic works for the very first time and already today it stands as a contemporary testament with an auratic presence comparable to that of Pordenone’s “Great Complotto”. “Deutschland – Gespensterland”: they’re lurking in each and every crack of a brittle reality, amongst the concrete of apartment blocks and motorway bridges, twixt and tween the shopping mall and the leisure park, they’re floating along gap sites and post-war facades, apricating in the ludicrous snobbery of Germany’s suburbia, whispering from behind crammed sheds in a labyrinth of allotments. Gossamer ghosts spun from daily rituals, spectres of a mundane here and now, that suffuse the land with an invisible veiling. Hardly ever have their frequencies been transmitted as unadulterated as on this record. Much like the fever dream imagery of gothic novels and early horror flicks has equipped our senses with a new perception of reality itself, Gespensterland’s surreal songs and oblique sound textures yield an array of microscopic reflections and deeper insights into the psychogeography of the land. Raised in Lower Franconia, both Baldruin and Brannten Schnüre already have a considerable discography under their belt. A string of vinyl and cassette releases issued in lovingly designed small runs contributed to their underground fame, securing them a distinguished but growing cult following, especially abroad. Due to their rather brief or latent existence, the legacy of Balint Brösel and Kirschstein, hailing from the Ruhr area, however is of a more obscure nature. Hence, it’s all the more important that their fascinating and idiosyncratic skein of ghost musick is being documented here as well, emerging like a seldom ore that slumbered too long inside the earth, having accumulated the collective dreams of generations of necromancers. Ghosts stories, both uncanny and hilarious, are likewise the main ingredient of Freundliche Kreisel’s songs, a joint project of Brannten Schnüre and Baldruin, and as with all material on this record these tracks have been unreleased to date. For as much as these bands differ in their respective sonic approach, “Gespensterland” can still be considered as a cipher for a shared cosmos and a mutually found aesthetic language. It is always a similar sentiment of a slightly disconnected, shifted and delayed reality that manifests itself in Brannten Schnüre’s wistful and whimsical ambient-folk loops, the evocative and rhythmic poltergeist interludes of Baldruin, the sweet and naïve C86- jangle of Balint Brösel, Kirschstein’s rhenish mutant-NDW and post-kraut-romanticism and the electro-acoustic séances of Freundliche Kreisel. Think of it as a rampant yearning, a manic laughter, but mostly as a feeling of some somnambulistic thirst for adventure and journeys into the unknown, a feeling that is grounded deep inside the heart of the continent. We imagine, this is the music of a few like-minded recluses, sitting alone at night in their chambers, immersing themselves in the darkest and innermost Tibet of their own work. It’s not too far-fetched either to read “Gespensterland” as a contribution to a specifically German response to Mark Fisher’s hauntologic theories. In every track, the fancy of an abandoned future uncoils a narrative thread that has long been discontinued, a dream vision that remained unredeemed forever, now haunting the dull grey corridors of the post- historic presence. These songs glimmer and shine with moods and stories that draw their tension from the same force fields that once gave rise to Alfred Kubin’s demonic visions, Hans Henny Jahnn’s nightmarish “Night of Lead” or the bizarre adventures of Baron Muenchhausen. And yet, it is not the spectres of the past that are being summoned or dealt with here, but instead the quotidian, perpetually recurring disintegration of reality that lies within the close encounter with one’s own unfamiliarity: “is this my hand, or is it someone else’s?”. Margot Benetti, Walpurgis 2023

[engl] Famous in collector circles for being the home of rare progressive/psych albums such as Salamander, Julian's Treatment or Moonkyte, Miki Dallon's group of labels also released many obscure 45s during the late 60s / early 70s. Here's a selection of the most psychedelic sounding ones plus some overlooked LP- only tracks. From Mod- Psych to Hard- Rock, from Psychedelic Pop to early Glam, including the devastating hard- psych sounds of Taiconderoga (featuring a young, pre- Damned Brian James!), Small Faces mod influenced sounds by Revolver, Moog psych / proto- glam by The Damned and much more.Remastered sound, insert with informative liner notes and pictures / memorabilia from the Miki Dallon archives.

[engl] Eighteen sacred psychedelic suppositories from the laboratory of Mad Scientist and scalpel happy pop mutilator Jean-Pierre Massiera. Including the rarest and most sought after fuzz funk, spooked surf and interplanetary prog from “The French Joe Meek” and all his schizoid split-personalities and freakish friends – The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus himself. Let us introduce you to some old friends of ours… Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg… This might sound like we’re flicking through the imaginary LP racks in the record shop from A Clockwork Orange or perhaps congratulating the runners up in a Halloweeen fancy dress competition but for the previously uninitiated you have just been ordained into the congregation of the many split personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the nine headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aireian province ravaging and pillaging the music of the European people for his own twisted benediction along the way. This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric JPM his distinct flavour it’s a large dollop of drama. Add sprinklings of szichophrenia, shock, myrth and macabre and you are on the way to a B-movie broth with an acquired taste, that has, like all the best cheese, taken over thirty years to mature to perfection. Like all the best monsters, from the Centaur to the Minotaur to Dr. Jeckyl and Mr. Hyde his split personality is the key to his infamy and the secret of his blood sucking success! This is why Jean-Pierre Massiera is (un)commonly known for two key periods in his career which, like a worm, can be split down the middle and thrive and flourish independently. To cut a long story short Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer… For years prog rock obsessives and disco aficionados have wondered if there was two unrelated freak merchants called Jean-Pierre Massiera, but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single handed monstrous music manufactory! Another way to dissect the Histoire De JPM would read like a fantastic comic book. He started off as a musical scientist who was affected by chemical fallout in World War Two – he spoke to Jesus, went crazy and became a mad scientist. He then created a strain of mutant piranha fish which gave birth to a world of horrific monsters who assisted him in his murderous merriment. In the end he finds a giant egg and finally makes contact with aliens… That would be the end of chapter one and this is the era that we will focus on for this compendium (in chapter two JPM would be kidnapped by the Aliens and taken to planet disco to have sex with green goddesses and snort space dust on intergalactic nudist beaches where he probably still resides) In the worldly, derelict, laboratory of Dr. Jean-Pierre Massiera we are surrounded by decaying fish fins, test tubes, fuzz pedals, echoplex units and the lost souls and ambitions of aspiring young pop groups… I think your gonna like it here.

[engl] Pyramid was an underground / homemade label created by Toby Robinson and his friend Robin Page (the Fluxus artist) while they were living in Cologne, Germany, in the ’70s. Toby – aka The Mad Twiddler, aka Genius P. Orridge – is well–known to Krautrock collectors as one of a number of engineers working at Stockhausen’s WDR and Dierks Studio in Cologne in the mid–1970’s, where he assisted on recordings by many famous Kraut bands such as Can, Birth Control, Mythos or Dzyan. Pyramid was home to a series of fascinating homemade albums by impossible and lost–in–time kraut–kosmische bands like Cozmic Corridors, Golem, Nazgul...all of them reissued by Mental Experience in the last years. One of the most celebrated tracks from the Pyramid catalogue is "Interstellar Shortwave" by The Astral Army, originally included on the "Cologne Curiosities" comp. It’s a heavy–disco–kraut–groove, DJ friendly, Hawkwind–inspired track recorded circa mid–70s, and it’s presented here in its original version – pressed at 45rpm for maximum and expanding sound quality – and also as an edit by Gareth Goddard aka Cherrystones, who also offers another edit of "The Dead Marshes", one of the tracks included on The Nazgul album. Here, Cherrystones transforms the spooky, avant–garde sound of the track into a kind of cinematic, horror Spaghetti Western soundtrack. To round up the 12", there’s an experimental Cherrystones rework of "Daruber", a dark ambient / kosmische classic by Cozmic Corridors. *300 copies pressing, includes digital download card.

[engl] limited to 250 copies Third album of the band and that closes the trilogy. A mature album with post-punk, psychedelia and space-kraut are exquisitely wrapped.

[engl] Where does a band of Indian guys in East South Africa even play, and how on earth would they end up with fuzzy guitar riffs, wah- wah and funky drums? Riddles abound when you discover a platter like this one. Durban, famous for its beaches and also for beach signs that marked off areas for white people, had a very unique dance band scene in 1971. The Vampires are a strange footnote in a strange world, and they slosh through each song like they're having the time of their lives. The mostly instrumental band covers everything from a soundtrack that prefigures the drama of Ennio Morricone fuzz, to middle of the road Nashville country, to Zeppelin, with flute, organ and fuzz guitar high in the mix.

[engl] In 1970, when Swiss garage- beat band Les Sauterelles split, their leader, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and, influenced by bands like King Crimson and Pink Floyd, he started incorporating psychedelic & electric elements to his sound: feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, Seven Deadly Sins. In 1971, Toni released his debut solo album, ?Information?. A folk- rock / psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive- rock?From fragile acoustic numbers to dark, wigged- out psychedelic tracks, this is highly recommended to anyone into ?CQ? era Outsiders or Frank Nuyens ?Rainman? album.

[engl] First ever vinyl release of 1970- 71 recordings by this band from Colorado. A blend of hard- rock, psychedelia, and acid- rock with powerful jamming sound, long tracks, stunning lead guitar, organ, latin percussion, dreamy / bluesy vocals?Fans of Leslies Motel don?t miss this one!

[engl] WEEED is an American biocosmic rock n roll band from Portland, Oregon, formed in 2009. The band consists of Gabriel Seaver (guitar, bass, vocals, keyboards), Mitchy Fosnaugh (guitar, vocals, flute), John Goodhue (drums), Evan Franz (drums), and Ian Hartley (percussion). They are known for their cathartic, rhythm heavy live shows and for blending progressive compositions with improvisation and trance. Do You Fall? will be their seventh full length release. Music trance, letting go, relinquishment, releasing, catharsis... these themes are represented in the title. Falling can be seen as a foundational experience of being human and learning to walk on this Earth. It is associated with grief and loss, as well as new love. This theme of falling is deeply tied to the context in which this music came to be. Sometimes songs may serve as the catalyst and the medicine for emotional transformation.

[engl] he sound is a logical progression from 2021’s Do You Fall? album, which featured the band shifting over from heavy acid rock to more acoustic-based tracks. On this album, the band dips into trance-inducing wooden drone pieces (“Harmonium”), spiritual Popol Vuh-esque folk rock (“Song for the Homies”) and even some violin-heavy cosmic jams (“What Was Lost”), the latter of which brings to mind heady Swedish prog bands like Kebnekajse. The release even ends with an uncharacteristically pastoral nylon string guitar and harmonium duet that sounds like something that might appear on a Tara Jane O’Neil record.

[engl] Originally released in 1978.

[engl] Wet Blankets are from Australia. Rise Of Wet Blankets is the first 12” from these Geelong whackers, packin’ 11 bangers into 18 minutes. Wet Blankets don’t write long songs, don’t get played on JJJ (UK residents, read, XFM), don’t have a permanent guitarist on this LP, in fact, Wet Blankets don’t even have a front cover on this LP (hand stamped cardboard to protect the record!). Wet Blankets write songs about real world problems like homeless people, stealing from Coles (UK residents, read Tescos) and being late for school. The band came together round August of 2013, when 14-year-old Zane Gardner started slammin’ chords and rippin’ solos on his brother’s guitar. By the years end, a two track 7” was recorded in the bedroom and released in February ’14 on Italian label Goodbye Boozy. A couple of months later, Rise Of Wet Blankets was born. The record was recorded on the industrial side of West Geelong with top bloke Mark Doman on his reel-to-reel 8 track one Saturday last year, spitting out influences like the Reatards, Swell Maps, Ramones and Dead Kennedy’s to name a few. Guitarists Zak & Jake (of Hierophants fame) take turns shredding over the top of each track to give it some extra life, but what it really sounds like is a fifteen-year-old kid yellin’ his guts out about bogans stealing carrots, crummy school teachers and eating overcooked steak for breakfast.

[engl] White Canyon & The 5th Dimension is psychedelic rock with shamanic shoegaze desert rock. Deeply engrossing and each song takes the listener on a new trip. This is the debut from White Canyon & The 5th Dimension! White Canyon & The 5th Dimension has ripping guitar leads, experimental drones, garage rock and a lo-fi approach which creates a spectacular album. The guitars are a highlight with their vibrato tones that call back to the Velvet Underground at other times they are blowing out fuzz and echo to blast craters in the Moon. The vocals are dripping in reverb and always add to the melodic arc of the songs and are a bit catchy at times. The use of drone instrumental like the tanpura and reverse echo is classic psychedelia and very well done. White Canyon & The 5th Dimension is from S?o Tomé das letras in Brazil. The album has diverse musical styling that connect with the psychedelic movement of our current times. Shoegaze dreams collide with garage rock, space rock and desert rock. Only 250 copies.

[engl] Obscure Dutch private pressing from 1977. Laid–back instrumental psychedelic / progressive sounds with jazz–funk–groove and abstract / experimental / Latin–indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental–underground scene of France & Germany during the early 70s but actually recorded and released in Holland. Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the "Wild Havana" album at his home studio on a 4–track, using effect devices developed by himself, like a modified proto–drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time. Buried for many years, we’re excited to bring to life this unique album. RIYL: HERBIE HANCOCK, RICHARD PINHAS, CHRISTIAN BOULE, OREXIS... *Insert with liner notes by band member Johan Smit.

[engl] Raw, in–your–face hard psychedelia with plenty of Vox and Hammond organ, hard guitar and powerful vocals courtesy of WILDWOOD. Formed in the late ’60s in Stockton, California, this powerful outfit rubbed shoulders with groups like Country Weather, Steve Miller Band or Grateful Dead and played at legendary venues such as the Fillmore and the Matrix. Featuring tracks from their two rare 45s for the Magnum label (including the punk–a–delic classic "Plastic People") plus a selection of their fabulous, not released at the time studio cuts from 1968–1970, recorded at Max Weiss’ Fantasy Studios and originally unearthed by Frantic Records in 2012 for their 2CD Wildwood compilation.

[engl] Formed in Amsterdam in the late 60s, Windy Corner were a psychedelic folk- rock band who rarely played live. Using self- made instruments and amplifiers, they recorded long sessions at their rehearsal space in a cottage. In 1973, they released their first album, ''The House At Windy Corner'', a 100 copies custom pressing on the collectable Deroy label. Underground progressive / psychedelic folk- rock with charming home- made sound and fragile atmosphere. Dreamy vocals, organ, acoustic / electric guitars, bass and drums, similar at times to other obscure lo- fi psych bands like A- Austr or Ithaca, Agincourt... First ever reissue. Remastered sound, original artwork, insert with liner notes and rare photos.''Something of an enigma in the collector's circle, their ambitious and intricate long instrumental passages remind me of the British underground group Sindelfingen and the more understated and meditative improvisations of the San Francisco- bands Mad River (first album) and Grateful Dead (1968- 70). Windy Corner's home recordings were generally quite strange and highly rewarding?'' - Dag Erik Asbjornsen, Scented Gardens Of The Mind

[engl] Top–notch USA psychedelic album from 1968. Superb male–female vocals, fuzz guitar, organ. A classic of the genre including many killer tracks such like the opener "Sanctuary", "City Sidewalks", "Live and let live"...Remastered sound, original artwork.