[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] In the late 1970s and through the 1980s there was a lot happening on the German "post Krautrock underground" that few people knew about, lots of independent artists doing their own thing, either via small labels or doing it themselves. Circles were one of these bands. Based on the Frankfurt suburbs, they consisted of the multi-instrumental duo of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer) plus a few collaborators. Carrying the torch of 70s bands like Cluster, Harmonia or Liliental into the 80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch and Nurse With Wound so you can also expect some similarities in their music. “More Circles” was their second album, released in 1984 as a private pressing on their tiny Einhorn label. Experimental krautrock with lots of psychedelic guitar, keyboards, motorik drums, drones, proto-ambient sounds and avant-garde / dadaist touches.

[engl] Third album by Turkish psychedelic singer Edip Akbayram, originally released in 1982. This later 3rd album really ramps up the silly synthesizers. You'll hear whooshy 80s Rolands, vocals run through a harmonizer, and tons of totally tubular bass popping, and it all makes it darned easy to hear just where the western intros and breaks stop. Ever wish Knight Rider's Kitt could drive to Istanbul? Take a ride on cheesy synthesizers with Edip at the wheel!

[engl] Whaaaauw! The Courettes is thee new garage rock duo from Brazil and Denmark. It's savage! It's dynamic! A blast of Jungle wildness & Scandinavian rock 'n' roll! 'Riot grrrl in the garage' Flavia Couri will blow off your mind with atomic fuzz guitars and screaming raw vocals, and 'Beat! Beat! Beat! man' Martin Couri will make you s-s-shake with his loud as hell drumming! Their first album, produced by Kim Kix of PowerSolo, was released by German label Sounds of Subterrania, and not surprisingly it was sold out in few weeks! This classic 7” single is their second release. Two songs, both killer garage punk tunes with fuzz guitar and driving drums! Recorded, produced and mixed by legendary garage punk legend Liam Watson at Toe Rag Studios, mastered by Wolfgang Hazelwood. Go check them out before they fly throughout the world... and the galaxy!

[engl] We are totally into CHARISMA.COM’s no frills and no bullshit attitude. More than their bouncy and electric as fuck hip-hop music, this is what we fell in love with when we discovered them in Tokyo. This is what their first album is all about, too. Meet MC Itsuka & DJ Gonchi aka Japan’s most furious CHARISMA.COM. Best friends forever since childhood, these feisty femmes started making filthy electro-rap tunes in 2011, through which Itsuka dismantles modern Japanese society with spiteful glee. They’re the ultimate haters but they have fun with it. So much funn, indeed, that they’re gaining a lot of attention at the moment in their own country and beyond, tearing every stage apart and bringing even the craziet clubber down to his knees.

[engl] THE ADELIANS is part of the Q-Sounds Recordings nebula, a bunch of skilled musicians playing under various names (RADEK AZUL BAND, 5 JACKALS, LES CHACALS) and backing some of the most talented young female soul singers in France. Forget about your nu-soul « band of the day » sensation for THE ADELIANS are here to stay. On their first album for Specific Recordings, they display a brand of soul that is hot, sexy, fuzzy and catchy as hell, mixing raw soul with a definite 60's and 70's flavour.

[engl] Full unreleased album by this legendary minimal synth band from Germany out now on our friends from RED LOUNGE RECORDS, faithfully remastered by Tim Warren for Superior Sound! Housed in a deluxe gatefold sleeve, containing the band story, family tree and more information. A true KILLER RELEASE!

[engl] "Imagine a party on Doctor Moreau's island where the dance band is made up of four giant chain- wielding, beer guzzling, leather-clad parrots... suddenly, out of nowhere, Keith Richards shows up high on his father's ashes and joins them for an encore. After hard touring around the globe, Berlin thug-rockers BIKES finally found the time to lock themselves into their East-Berlin rehearsal space and record their next album, tactically avoiding the sophomore slump. We're more than honoured to bring you their new, and yet their best effort! It's chock full of hits, equally influenced by both kinds: Rock AND Roll, guaranteed to move your bones! Songs about bars, being locked up behind bars, motorcycles – things you can relate to! Steady, no-bullshit caveman drumming! Vicious bass! Thuggish guitars with some wild monstro/mongo Chuck Berry riffs thrown in! That's right! No wimpy shit here! The return of pub-rock? Maybe? I hear they drink beer for breakfast! Record comes housed in great John Pasche inspired artwork made by the band!

[engl] Formed in Glasgow in the early 70s, White Light were not an ordinary Xian rock band: influenced by the explosive sound of The Who, the hard blues of John Mayall’s Bluesbreakers and even Black Sabbath, their live performances across the country featured heavy rock sounds, feedback howling round, phased lighting effects and commitment to the real enjoyment of Rock Music. They weren’t formed to play in churches – but to take The Message to the rock generation in loud clubs, halls and big rock venues. In 1972, they were finalists in a national rock competition organized by Melody Maker magazine. This event encouraged the band to enter the studio for the recording of their first album. “Parable” was released as a private pressing in 1974. Housed in a mysterious looking cover, the music is Xian hard psych straight from the garage with lot of raw fuzz guitar and Vox Continental organ. Combining hard-rock with heavy blues and dreamy moments, it features the monster sidelong track “Prodigal”, which has to be heard to be believed. First ever reissue of this ultra-obscure private pressing (as featured in the last Hans Pokora’s “7001 Record Collector Dreams” book with the maximum scale rarity). Done under license from the band members.

[engl] Cosmic, acid-psych-soul-funk-prog extravaganza from Spain, 1971. Proyecto A was the brainchild of the great Frank Dubé from Barcelona. What can we say about him? A truly fascinating character: a pioneer of rock & roll and twist in Spain during the late 50s and early 60s, an accomplished accordion player, a showman, comedian, a Psychoaesthetics master…But he should also be considered as one of the first psychedelic pioneers in Spain due to his groundbreaking work on the Proyecto A album. Frank started working on Proyecto A in 1969. Impressed by the moon landing, he wanted to create a concept album about the Solar System planets using tone scales and groove music so people could dance to it at clubs. He recruited some of the best studio musicians around and the result was delirious concept album fuelled by fuzz-wah guitars, powerful, crazy vocals, electronic & bizarre effects, Hammond organ, soulish horns, funky drums… Due to the limitations of recording studios in Spain at the time, Frank had to create his own effects and sound effects for the album. He used a primitive Binson Echo unit, he recorded vocals through guitar amps, he used guitar effects on the keyboards, recorded with a portable microphone the sound of the beach, waves and TV sounds… Proyecto A was released in 1971 housed in an amazing gatefold sleeve depicting all the musicians wearing strange & bizarre psychedelic outfits. The project was shrouded in mystery (Frank used pseudonyms for all the musicians involved) and for many years the Proyecto A album has been plagued with many false rumors and stories. We set the record straight with this, the first ever reissue done in cooperation with Frank Dubé. This reissue also includes the previously unreleased Proyecto B recordings from 1974, which were meant to be the second Proyecto A album. Recorded at EMI studios in Barcelona but never released at the time, this features Frank Dubé backed by famous Spanish prog band Iceberg plus sax / flute player Juan Mena (ex-Máquina and Eddie Lee Mattison Band). This will surprise anyone into Latin-Funk-Psych and Library / Cinematic sounds. Lots of killer flute, drumbreaks, Hammond, Fender Rhodes, electric guitar…Including tracks like the cosmic “Missatge espaial d’amor”, conceived by Frank as the soundtrack to the first sexual intercourse in space.

[engl] Baton Rouge play great melodic emo rock mixed w/ a raw noisy edge like Unwound meets a little Hot Snakes and Twelve Hour Turn. These 9 new songs are even more catchy then on the one before - so it was worth waiting two years.

[engl] Baton Rouge is 4/5 of Daitro playing "a kind of indie - noise in the vein of Unwound /Television /Mission Of Burma / Sonic Youth mixed with some emo-rock ala Twelve Hour Turn / Tubers". 4 friends who grew up in the landscape of the Beaujolais vineyard close to Lyon France, between birds and grapes. They learned how to play together being inspired by Sonic Youth, Mudhonney, Nirvana or things like that. This is a new project in the vein of their first love, a kind of indie rock with power chords, arpeggios, clear voices, and tremelo. Same people, different way to play, different music with the feeling to discover everything, as the beginning of learning music even as they had been playing together for a long time. Everybody says that 30 years is a rebirth in people's life, for Baton Rouge, it's an extra time of their friendship, just good time spent together in playing old things, with a lot of common pleasant recollection. "Fragment deux meme" is an 8 piece record where all these influences are suggested closely or remotely connected, as if it was the natural following of their last ten years.

[engl] The Gospel Swingers from Austin, TX release their debut album, following a killer 7" on In The Red Records. They are sort of a garage soul rock supergroup: Former members of Blacktop, Ronnie Dawson??s band, Fireworks. 3 members are in the Now Time Delegation as well. The album is produced by Tim Kerr, who plays some guitar, too. The result: organ-driven, soul-injected garage shakin' rock 'n' roll. This 180g LP is limited to 500 copies!

[engl] In the beginning, Lonely Walk was a post-apocalyptic and personal digression created by Mickael Appollinaire, AKA Monsieur Crane, being also a dark preacher in the band Strasbourg. The record label Satanic Royalty released V.I.H.S., Lonely Walk's first LP in stores in 2013, which was well received by the critics. Then followed the NGHTMR EP, then a more personal album called BORE in 2014. All these secluded compositions came on stage radically changed with the addition of a 5-piece live band, which counted Alice from JC Satàn on the bass guitar and Johan Gustafsson from Black Bug in its ranks. The label BORN BAD RECORDS will release the album TEEN at the end of 2015, Lonely Walk's first album recorded with the live band in the studio Mikrokosm in Lyon, France. What can we hear on this record ? Eleven dark and addictive songs. A hypnotic post-punk slumming it with pop and making a few psychedelic stops, led by an obsessive singing with catchy slogans.Happy innocent children shout because school's out (Burial Tomb), the epic violin of Tamara Goukassova shreds the toxic atmosphere (War, Black Dragonfish). To cut a long story short, Lonely Walk takes us right to Doomsday, but not the one we dread. The one we crave for, eyes wide open and dilated pupils, drinking a nice and cheap cocktail of liquid nitrogen. One can think of Clinic, Soft Moon or A-Frames, but you must look towards Australia to find cousins to Lonely Walk, with bands like Eddy Current Suppression Ring or Total Control.

[engl] The name Afroamericans gave to this dirty style of music was funk in reference to the body odour produced while in a state of excitation. That’s what we do, repetitive riffs and a maximalist attitude in a mosaic of arabic melodies, analogue drum machines, sinuous guitars, with a bombastic horn sections that could make snakes dance. The album includes 13 tracks, composed and produced by the duo C’mon Tigre and arranged together with its extended family, a great cluster of musicians from all over the world: Jessica Lurie, Henkjaap Beeuwkes, Pasquale Mirra, Ahmad Oumar, Enrico Fontanelli, Danny Ray Barragan, Eusebio Martinelli, Dipak Raji, Rocco Favi, Paolo Berluti, Malik Ousmane and Simone Sabini. More than two years of recordings, with a constant change of longitude and latitude. We have travelled far. We have met musicians with great souls and worked together with them on these 13 tracks. A group of people mutually contaminated sharing their musical memories. C'mon Tigre began life in the Mediterranean basin and spread out to the corners of the world's metropolises. C’mon Tigre talks about the fascination that Africa holds in a tales that stretch along a curve line from San Diego to Bombay. That's the reason why we choose not to sign this project with our birth names, because C'mon Tigre represents the single artistic voice which keeps those memories. Where do we come from, who are we similar to? that is not relevant. There’s not one single place, there are many places. There’s not one single face, there are many faces. C'mon Tigre are two people but at the same time is a collective of souls. This condition will change constantly, on stages, in the next recordings sessions and also in all those areas that are not strictly related to music. C'mon Tigre will invest in artistic research continuing his collaborations with animators, illustrators, visual artists like the successful experiment made with Mr. Toccafondo. More it will change, the more it will grow.

[engl] A Sunday in August 1965: While the grown-ups are tending to their cars and gardens, a bunch of kids are maltreating budget guitars, cheap Italian combo organs, and ramshackle drum sets in the garage. Mandatory accessoires: longer hair than all the other boys at school, and black boots pointier than the tip of a knife. What had happened to these youths? N What had infected the young (amateur) musicians brought to you by Schnitzelbeat Vol. 2 was the exciting, new, hot sound seeping into cozy, provincial Austria from happening places like New York, London, and Hamburg. The artists compiled on this collection translate the air of unrestrained abandon transported by the newly emerging popular genres into their own, locally flavored idiom: Teenage Beat and Garage Rock Made in Austria, 1964-1970.Presenting internationally operating epigones of Austrian underground sound of the 1960s (THE SLAVES, THE GAMBLERS) alongside recently re-discovered trailblazers of independent production (THE LOST GENERATION, THE EARLS), Schnitzelbeat Vol. 2 is the first compilation of its kind to pay respect to the wilder side of home-grown Austrian teenage sound of the 1960s in all its diversity: you’ll find Instro Rock smashers, Beat ballads, straight-up Rhythm’n’Blues pieces, jangling, Folksy harmonies, savage Proto-Punk blowouts, and – of course – the off-the-wall appropriations of well-known interna-tional Beat hits that often provided ambitious amateurs with the jump-start they needed to get their own sound up and running. Curated and compiled by Al Bird Sputnik of the TRASH ROCK ARCHIVES (Vienna), this volume makes a compelling case for a revisionist history of Austrian Pop and Rock music. No 1960s underground Beat in the Alpine republic? Not true!

[engl] Brutal and complex, furious and spirit-evoking, making spikes then descending, the new album (sept2015 born bad/ animal factory) strikes the nail of black-garage-gospel with the hammer of Viking gods, right in the middle of a storm of decibels that lance the climate, electrically charged by each of J.C. Satan's coming shows. Imagine QUEEN OF THE STONE AGE backing SERGE GAINSBOURG during Mexico's Day Of The Dead