[engl] "Two years ago as Austin’s complacency felt saturated by the overall stagnation of rock n roll, I came across The Bolos. They were young, hungry, and most importantly not just another band jumping shark and attempting to poorly play psyche. From the very beginning they stood out as a band with grit, shaping music out of creativity rather than a need to feel cool, a rare band from San Antonio to not lean on the region as a crutch but instead using it to incubate their noise and presence into something worth more than scene nods and not having to pay the cover whenever hitting up the local spot. In the time that’s passed I’ve kept a close watch on how their sound has developed, taking note as they stretch into themselves all the while climbing the impossible hill of recognition with absolute determination without the socialite stigma that often comes with it (which if we are being honest is what gets me the most stoked about the rest of the world slowly opening its heart to them). My days of tolerating bands who define themselves by rock n roll in hopes of being propped up as some holy savior of it are over, The Bolos are New York in the 70’s, a band without sly intentions or music shaped for the convenience of cool, a band who gets on the stage each night with a presence that clearly shouts, “fuck you if you can’t dig this,” never once have they seemed to need you to accept them, never once have I heard them put out a song backseating their integrity to chum up with whichever hyped sound of the week is, two years in on my awareness they have certainly proved themselves tough enough for our love".

[engl] Bottomfeeders, the band from Louisiana, makes one stop in France to release their first 7 "," Blockade ", via Six Tonnes De Chair Records, distributing the minutes between hordes of rock that suck from garage, punk and psychedelia, do the honors the song that gives name to the album with a master class covering the 50's and 70's, without forgetting the rattle snake of the 60's, a framework that slides through the guitar strings of Chris Lyons and Luke Junk, Alex Zilinski's bass and Lucas Bogner's drumsticks, showing Chris's vocals an endemic addictive evil, whose toxicity increases thanks to that reverberation that hits the neurons making it impossible to hear beyond his voice, weakening its effect when positioning Oh Sees in the instrumentation , although his reason is imposed to the Californian's delirium before turning off and on again the lights to welcome 'Myth', a fuzz and lyric scourge, which carries the extrasensory of the title to his own nation, umpteenth agitation against what it is happening there right now, maintained with a rhythm that invites to be danced from one place to another, and with enough energy to leave the movements aside and join the vocal slogans. 'Reverse Perverse' intrudes into the anti-system underworld to create a global panic, which the quartet has under control through a sound made in Pennsylvania that gives the theme its own identity, walking between the chosen degeneration and the possible repentance of it , but this last one, in another life in which little seems to matter details like this one, so it touches nothing more than to lose the head in the here and now.

[engl] 200 copies. Hand screen printed sleeve.

[engl] Chicago post-punks Cel Ray have returned with another fast, frenetic, funny freak show in the form of 4 new songs on a beautiful slab of wax. Across this EP, vocalist Maddie Daviss warps day-to-day anxieties, ranging from finding the ideal location to publicly urinate to the struggle of attaching names to faces, into frenetically charged anthems, reminiscent of those of Poly Styrene and Su Tissue before her. Josh Rodin’s guitars jangle aggressively atop the punchy and urgent grooving of bassist Kevin Goggin and drummer/recording engineer Alex Watson, creating an angular framework as sincerely sardonic as the vocals that ride atop it. Raw enough for the hardcore and refined enough for the hip, Piss Park fucks on its own terms.

[engl] COMMUNICANT is the brainchild of Dylan Gardner, who wrote, recorded, produced, and played most of the instruments on The Wheel and La Roue taken from the band’s debut full-length effort Sun Goes Out that consists of heavily psychedelic pop-rock. The Wheel is another beautifully melodic song that is synth-heavy and trippy. La Roue is the Wheel French singing version by Natasha Recoder. For lovers of 60s psych.

[engl] DOROTHEO was formed in 2011 in Guadalajara, Mexico by Benjamín Zárate, Otto Malgesto, Anton Cerda and Vicco González. In 2013 the band released their first self-produced, self-titled album in which they established the essential elements of their sound. In 2014 Dorotheo made their first tour of the west coast of the United States, which was repeated in 2015, 2018 and 2019, highlighting their appearances at festivals such as Viva Pomona! (Pomona, CA), Northwest Psych Fest (Seattle, WA), Flower Fest (Seattle, WA), Portland Psych Fest (Portland, OR) and Caliblablabla Mini Fest in Tijuana. Additionally they have shared the stage with Tame Impala, !!! (Chk, Chk, Chk), Kinski, Masters Musicians of Bukkake, Diminished Men, Los Dug Dugs, etc. NADA ESCRITO is Dorotheo’s third full-length album and a reflection of the band’s evolution through the years. The project's progressive nature and their psychedelic rock foundation has blossomed to a different sonic direction, reminiscent of hauntology music, echoing the experimental spirit of bands like Broadcast, Stereo Lab or Silver Apples, yet landing ideas from latin-american and middle-eastern music among many other influences with their signature song-writing, channeled by the production hand of Hugo Quezada (Progreso Nacional, Exploded View) and the musical possibilities enabled by the new line-up. This album is the follow-up to their celebrated Como Es (2021), which was conceived as a duo integrated by front-man, singer and guitarist Benjamín Zárate and Otto Malgesto on drums and vocals. However, the album release tour was performed as a quintet, introducing new songs with the return of co-founder bassist-singer Anton Cerda, the inclusion of Efraín Valadez on synthesizers and the extraordinary Cynthia Estévez adding a second lead vocal persona, spacey keyboards, hypnotic wind instruments and new lyrics. Together, they created Nada Escrito, expanding their music to a completely new form.

[engl] Another gauzy glimpse of psych-pop sunshine rolls in from Doug Tuttle today. The a-side to his latest single from Six Tonnes de Chair, “Anywhere You Run” lopes in on a gentle jangle and a sun-faded feeling that’s hard to shake. The song is a bleary-eyed cruiser passing by in slow motion, but even so it seems to end too soon forcing the needle back to the beginning for replays again and again. Both sides of the single pair well with Tuttle’s last LP, the blissfully beautiful Dream Road. The songs here are cut from the same cloth as the album’s dream-doused psych-pop, wafting in on autumnal breezes that ripples just slightly in the sun. The single’s limited, so don’t let the lounged feeling lull you into complacency — 2 variants : 200 on black vinyl and 100 on blue vinyl. Artwork created by New Zealand artist Callum Rooney. I recommend nabbing one while you can. The single lands April 3rd.

[engl] 'Just a little sun, gets wasted on my own. Won't you come and open up and join me?' Through the dense cloud of gloom cast over the beginning of the 20’s, bursts TUBULAR SWELLS – a joyous sonic enterprise that pairs impeccably with the hopeful rebirth of our communities and of our lives.

[engl] Following up their excellent album of space-sliced psych from last year, L.A.’s Hoover III return with a new single on French enclave Six Tonnes De Chair. Starting with a riff that scratches the ol’ runes of Sabbath in the sand, the band proceeds to drive the track in a lighter direction, welding the heavy guitar chug to echo-dripped harmonies. The track doesn’t just troll for grooves, though. As they arc into the second half the band stompboxes the warp drive and takes “Fathom” through a few layers of cosmos. Hoover III have been working a particularly potent strain of Space Rock in their first couple of releases, and if this new single is an indicator of where they’re headed, then the next LP threatens to be one to watch out for. In the meantime, this is a good reminder to shake the earthly tether once in a while.

[engl] Welcome danger, welcome debauchery and welcome Death. And please, be at ease. 'Cause Rotterdam's Iguana Death Cult doesn't perceive the three of you as outcasts or misfits. In the hex of their dynamo-like garage wallop, you belong. Because Iguana Death Cult doesn't play by reality's rules. Their racket is both fierce and hook-heavy, bending the psyche into submission until the scenery warps into something akin to that famous lizard scene in Fear And Loathing In Las Vegas. After releasing their debut ‘The First Stirrings of Hideous Insect life’ last year, Iguana Death Cult has hit the ground running, performing with the likes of together PANGEA, Guantanamo Baywatch and King Gizzard & the Lizard Wizard. Iguana Death Cult is currently in the midst of writing and recording their sophomore LP, which promises to expand far beyond their well-established proto-punk/garage rock blueprint. More info coming soon you little bunch of herbivorous lizards !

[engl] JEFF The Brotherhood is an art project started by brothers Jake and Jamin Orrall in 2002 in a basement in Nashville, TN. Their work is influenced by many types of music including jazz, black metal, motorick rhythm and hard rock, as well as many artists and environments including the film work of Werner Herzog, the choreography of Kate Bush, and the rivers of Tennessee. Over the last decade their art has taken them all over the world including Hawaii, New Zealand and Russia. They have given well over a thousand live performances and created countless art objects including zines, puppets, videos, and eleven full length albums. JEFF The Brotherhood was started with one goal in mind, to do or create whatever they feel with no rules or boundaries. Their latest offering is an experimental rock album called "ZONE". It was recorded and co-produced by Collin Dupuis in a converted warehouse called Club Roar. Alicia Bognanno (Bully) makes a guest appearance on the album, she is the lead vocalist on the song "Roachin". The album took about two weeks, 4 racks of ribs, a few dozen chicken wings, 3 pork chops, some sausage, a brisket, and a whole lot of smoke wood to make. It is the third installment in a spiritual trilogy of albums including Heavy Days (2009) and We Are The Champions" (2011). It is available worldwide August 12 from Dine Alone records.

[engl] This 7inch was recorded during those sweet years of confinement, KACIMI offers us for this autumn a high-flying collaboration with his new 45 "Les Rois/ Visions" and surrounds himself with François Serin, Julien Zumkehr and the figurehead of the French garage psyche: Lionel Limiñana founder of the LIMIÑANAS. Psychedelic frescoes inspired by the German kraut rock highways of Neu! where we find the ingredients of the endless white lines (reverse guitar, free electronic sax and a crooner's voice). A real invitation to nocturnal journeys where the sun never rises

[engl] Kaz Mirblouk is the self-titled solo project of the Los Angeles-native multi-instrumentalist. Despite playing music growing up, Mirblouk didn't begin writing or performing his own songs in a live setting until he went to college in Davis, CA. To date, Kaz has released both an EP, Through the Glass, with long time collaborator and current drummer Joey Kaufman, and his debut album, Imitate, Intimidate, both on lolipop records. After a move back down to his hometown of Los Angeles, Kaz began to perform live as a four-piece, with newcomer Crosby Lloyd as a second guitarist and more permanent member alongside Joey Kaufman. Mirblouk's sound has been described as being "drenched in a sunny Golden State vibe while retaining a great deal of urban grit and grime" with enough psychedelia to add some space and groove.

[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] The three piece strikes again with a record that represents the band itself : beauty, chaos, tension and relief. This ep is the result of numerous jams where the drums/bass remain frenetic, and the guitar/vocals stand impassive in front of what could look like a big beautiful mess. The band has proudly kept the same team as it’s previous LP to work on that new material: this has been recorded at le K7 studio with Franck Molin, mastered by Renaud de Saint Vaast, and cover designed by the mighty Chufy.

[engl] French heavy-garage-synth- band with unbridled screamo singing and high energy rhythms. Early Fidlar material inspiration.

[engl] Make-Overs are a unique duo of redheaded musical malcontents who hail from the grey suburban waste- land of Kilnerpark South Africa.?Formed in mid 2010 with Martinique on drums/ vocals and Andreas on guitar/vocals, the couple hit the South African scene with a frenzied live act that cuts through you like a machete. With elements of rock, pop, punk and noise and an intense, ener- gy-driven performance, the Make-Overs can fit a variety of bills, venues, and stages - from opening for Thee Oh Sees at the Empty Bottle in Chicago, playing at the renowned Memphis festival - Goner- fest, notorious Hozac Blackout Fest in Chicago, Oppikoppi in South Africa,?in-store shows at popular local hangouts like Bric-A-Brac, Permanent and Used Kids Records, basement shows, art exhibitions and even public access TV appearances like Chic-A-Go-Go. Frequently noted as one of South Africa’s most hard-working and prolific acts, it is no surprise that in 2016 alone they recorded and released both their 9th and 10th full-length studio albums. The 9th album “Try Me”, already available online and on CD, was also released on 12” limited edition vinyl through Columbus Ohio’s Heel Turn Records, and their 10th album “Dichotomy” was recently made available on BandCamp. They got awarded a Music Mobility Fund from Concerts SA and SAMRO to do an extensive local tour in April and they will be embarking on their 4th USA tour to promote their recent releases. Due to their astonishing work ethic, from producing and recording all their own albums, releasing on multi- ple formats (CD, tape, digital and vinyl) and touring vigorously both locally and internationally, it is no surprise that they are becoming known as being one of South Africa’s most beloved independent bands.

[engl] Memes is John Meme and Paul Meme - a laptop rock duo from Glasgow, formed in February 2019. "Nine months is what MEMES have taken to get together and release their first 7", " Blah Blah Blah ", whose vinyl will reach the buckets in less than a week through the French label Six Tonnes De Chair Records, happening everything so fast thanks also to Steve Lamacq on the BBC6, who praised the John and Paul hard work behind the eponymous single to the album, whose strategy is based on a saturated lo-fi that makes post-punk and garage go hand in hand before the strings end up taking the control in favour of the motivating rock, implanting also its lyrical message in 'Happy Shopper', which takes it to the Sleaford Mods ground while the instrumentation is approaching a Christmas dyed of BODEGA, getting noticed by the use of a megaphone with which they approach their lyrics to the people, causing the hips to not stop moving at any time, which well taken advantage of by 'Funny Man', means visiting the 70's, chanted by the 50's, generating a mosh whose limits are not yet defined."

[engl] MJ&TK is a psychedelic rock band formed in 2016 in Toulouse, France. Nourished by 60s and 70s sounds and influenced by the current psyche scene, the group offers a universe with multiple sounds; mixing the sharp riffs of a muscular garage rock with the flights of a vaporous progressive rock, bathed in reverb, delay and overdrive. "Human Cycle", their first album, is a celebration of the cycle of life, a six-act introspection on emancipation, self-discovery and acceptance of life. an inevitable end.

[engl] Missing Jack & The Kameleons is a psychedelic rock band formed in 2016 in Toulouse, France. Nourished by 60s and 70s sounds and influenced by the current psyche scene like King Gizzard & Kikagaku Moyo, the group offers a universe with multiple sounds; mixing the sharp riffs of a muscular garage rock with the flights of a vaporous progressive rock, bathed in reverb, delay and overdrive. Shots of "Human Cycle", their first album, is a celebration of the cycle of life, a six-act introspection on emancipation, self-discovery and acceptance of life. an inevitable end.

[engl] Formed in 2012, the Perth quintet released a string of releases in their formative years, slowly setting themselves aside from the influx of Australian psychedelia through the combination of powerful live performances and genre-spanning sensibilities. Soon they were sharing stages with international heavyweights the likes of Sleep, Thee Oh Sees and Moon Duo. On their 2016 debut, Cosmos Terros, the quintet crystallised their aesthetic ambitions: an enchanting fusion of krautrock rhythms, sun-dappled guitars, haunting vocals and tectonic crescendos, brimming with equal parts menace and melody. The 2017 follow-up, Dust, unfolds like the score for a film yet unwritten, a long form musical homage to the landscapes of the Australia’s Western seaboard. Mt. Mountain would go on to perform Dust in full in concert halls and historic civic spaces, silhouetted by a carefully curated set of visuals depicting the diverse scenery from which the songs draw their inspiration. Golden Rise mark’s the band’s return to the traditional song format, but the powerful connection to landscapes remain. Each of the album’s 10 track feel rich with depth and space, even in the midst of crushing crescendos. It’s appropriate that it, along with Dust, emerged in a rural studio two hours form Perth, where country roads give ways to pastures. But the sublime green views are never far from the vast deserts. That juxtaposition of elements remains the constant throughout Mt. Mountain’s oeuvre, whether the sound emanating from the speakers is a bang or a whisper.

[engl] Ok Vancouver Ok is a Canadian indie rock band from Vancouver B.C. active since 2004. The band has been described as "anti-capitalist indie music with an environmental message". Do-it-together. DIY. The current lineup is comprised of Jeff Johnson (lead vocals, guitar, keyboards), KMVP (bass, vocals,) and Laura House (drums). The band has been building a reputation as poetic, thought-provoking and forthright.Ok Vancouver Ok has been compared to, or said to sound similar to, such bands as Talking Heads, The Velvet Underground, Beat Happening, Joy Division, and Daniel Johnston. This band could be huge and reach the charts, but they just don’t want to...

[engl] Parisian Night Suit is Jeroen Reek’s vehicle for self-producing, songwriting and composing, exploring the outer realms of blue-eyed soul, yacht rock, vintage funk, exotica and electronic pop. The project sprung somewhat incidentally; Reek was noodling around with a Rhodes piano borrowed from a friend, with the intent of writing material for his longtime band Iguana Death Cult. But as he started to experiment with it further, it sparked a chain of musical ideas that didn’t necessarily fit within the songwriting dynamics of Iguana. The moniker Parisian Night Suit, by the way, is the reference to the infamous scene from Freaks and Geeks, in which the character Sam rocks the titular garment, much to the ridicule of high school bullies and jocks. “That’s why it fits this project well,” Reek explains. “Because Sam wears it to be really cool, but the result is quite the opposite. I want to make really cool music, but I’m actually a bit of a dilettante.” The songs he crafted in his home studio’s are a delightful case of ‘not quite’ either, adrift inside the unexplored territories of Reek’s pet influences: the translucent soul of Allen Toussaint, the quirky city pop of Haruomi Hosono, the beguiling croon of Bryan Ferry. “Droplets” is a sad trombone soul ballad that meditates on how feeling rock bottom also means a new beginning. Reek: “At one point I sing this slightly dark line ‘Greet death with a smile/I’ve been waiting for you’. It’s a song that seeks a sense of comfort in your own misery.” Furthermore, the sweeping & suspenseful funk noir of “Who’s Got The Money?” is a true floor filling anthem of acidic discontent. “I’m always trying to tackle serious subject matter with a glint of humor,” says Reek. “I enjoy it whenever songs maintain a bit of ambiguity, something to keep things both light and mysterious. I’m not some tortured artist carrying the weight of the world. I feel everything as intensely as the next person, but I’m always trying to highlight the absurdity of it all.”