[engl] Excellent scuzz and buzz from the wondrous town of Geelong in Victoria, Australia!! A new track from each of these bands: the Frowning Clouds play the almost perfect 60s styled pop smothered in a sheen of fuzz, while the Living Eyes dish out a swift one-two knockout with some of their hummable garage styled thwack! Both these bands have new albums on the horizon, both bands are part of the almost unstoppable wave of killer new Australian underground.

[engl] The Galileo 7, featuring the songs of Allan Crockford, formerly base player of UK garage heroes The Prisoners who paved the ground in the 80s for the British baggy scene and 90s Britpop, is a sonic sensation combining the flash and power of freakbeat with the harmonies of baroque psych, power pop, and a dash of swirling psychedelia. In collaboration with the band, Busy Bee has picked the best of the best and made this wonderful compilation of Galileo 7-nuggets that will truly blow your mind. 2025.

[engl] Gene Rains is a hot tip within the tiki scene. His works are not as known as those of Martin Denny or Les Baxters, but musically they play in the same league. Rains colourful compositions write their own story. Once the record starts playing, you'll be taken on a orchestral journey through polynesian isles, treasures in the jungle, old stone gods and also take a short side trip with songs like "Chines Nights" or "Bangkok Cock Fight".

[engl] New album from Goat, the legendary mysterious psychic warriors possibly originated from a voodoo-worshiping sect in Korpilombolo way up north. Merging everything from Afro-beat to Anatolian funk into a maximalist, sprawling brew, Goat has got international acclaim for a groovy psychedelia that transcends time and space. On this album Goat digs deeper into the Nordic heritage while taking it to a place no one has ever been to. Take your medicine.

[engl] REPRESS! 2018 EDITION! This is a recording of a cult event, THE GRATEFUL DEAD live at the Filmore Auditorium on November 19th 1966. Recorded before their first album came out, this record features three primeval versions of tunes from their debut record and eight goodies, standards and originals, that were not featured on any official studio and live recording up to 1970?s ?Working man?s dead?. We are right there, on this magic night in November 1966 when psychedelic rock was still something fresh and exciting and the emerging hippie movement had not exploded yet. That came half a year later with the invasion of Haight-Ashbury. But these recordings are not only of historical importance, their musical value lies on an amazing level. The band smokes on stage throughout the performance. The sound is muggy for sure but each instrument comes through as it should and the simmering duels of guitar and organ make your head swirl. This album will certainly make the young generation of 60s music aficionados go crazy. A new beautiful cover artwork and some good work on the overall sound quality restoration make this album a joyful experience. And be sure, something like this 17 + minutes version of ?In the midnight hour? will have rarely hit your turntable. The overall atmosphere is just haunting. Even their official ?Live / Dead? album will never reach this intensity. The release reminds of the early DOORS or IRON BUTTERFLY live recordings released in the last few years. A band at it's prime with the world to gain and nothing to lose.

[engl] Unknown until now US private pressing from 1969. Underground, psychedelic, electric jazz–rock / improv sound with mellow folk–rock moves and homemade / basement atmosphere. Mostly instrumental with some cut–up vocal sounds and effects. A mix of self–penned songs and amazing cover versions of classics like "Summertime", "Scarborough Fair" or "A Taste Of Honey" turned into hip, extended jams not so far away from the sound of the pioneering psychedelic ballroom bands from San Francisco. Electric & acoustic guitars, bass, drums, flute...Recommended if you like similar private psych–jazz obscurities like Elysian Spring. Named after an old Detroit blues LP, Hasting’s Street Opera was formed in Montclair, New Jersey by a group of young friends (Harry Wellott, Gordon Carlisle, Don Hathaway and Chris Nelson) influenced by blues, rock, jazz and the eclectic sounds emanating from freeform / underground FM radio stations: Blues Project, Butterfield Blues Band, Miles Davies, Pharaoh Sanders, Jethro Tull... Initially born as a blues band, HSO eventually evolved into a true improvisation collective unit. "Slippery When Wet" was recorded in 1969 at Don’s house using a portable recorder operated by their math teacher, the famous old–time music preserver Charles Faurot. It was a vanity pressing of less than 100 copies, housed in hand–made covers which were distributed among friends and family. For this, the first ever reissue, original band member and visual artist Gordon Carlisle has designed a new vintage styled cover using old photos of the band.

[engl] The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett- era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends?so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch?In the early- mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released ''The End Of The Line'', a self- released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk- rock sound. It featured one of the earliest known tributes to Syd Barrett on the song ''When the madcap meets the world''.

[engl] Second album by this Yugoslavian band from 1980, typical in sound, style and emotional expression for the classic Eastern European progressive sound. The symphonic aspect with straight but very mind blowing synthesizer harmonies and cheerfully grand guitar leads have taken over the scepter from the debut album’s more space rock oriented direction here. A colorful, very lush but still strong and visionary ocean of melodies and sounds capes opens up before your ears and invites you to dive deep into your imagination. IGRA STAKLENIH PERLI have indeed created a “garden of light”, for this is what the title would mean in English. This is a floating stream of majestic rock that recalls the greatest European fantasy prog acts of their era such as ELOY, OMEGA from Hungary, the earlier FAITHFUL BREATH and GDR greats such as BERLUC when it gets heavier or LIFT. And you can bet, IGRA STAKLENIH PERLI know everything about dynamics, so they turn up the volume and rock like wild beasts when the music demands it. So, folks, don’t be shy, don’t hesitate, take a seat and let the fantastic journey begin.

[engl] The International Love Corporation is a project formed by former Out of My Hair front man and songwriter Comfort aka Simon Eugene. A roaming collective of musicians that gather together wherever they find an opportunity to do so, the ILC concept started originally as a club in London that itself had its roots in an art led project ‘Western Power Trip’. The ILC has a fundamental philosophy at its roots as the search to find meaning in the common concepts of what love really is and how we relate the understandings in our treatment of each other as people of this world. The International Love Corporation is a band and at the same time an ethos. It is as the name suggests, a gathering of people, with a few core members, but anyone can be a part of this. A reaction to all the crap that goes on in the world, that is constant, just with ever changing players. Trying to find the light within the dark. The ILC has moved between countries. Its founder, Simon Eugene aka Comfort, has journeyed across the world with it. Setting up in different continents to create moments of celebration around the concept. The Experimental Shape of Happiness is an album is about love, of wanting to reach something higher. But if you’re going to preach that message then you have to question first what is love? And then you have to question yourself, about where you are at as a person, because you can’t start singing about these virtuous things without looking at who you are in all of that. So the ILC is about a personal journey and also creating this immensely positive atmosphere of celebration whilst understanding the conflicts within that, recognizing the dark within The light. This is what the Experimental Shape of Happiness is about. And the song Shelter captures that more than any other. To create that atmosphere, in its recording, everything had to be done live, old style, the band all set up in one room, everything bleeding into everything else, and just going with it. Nothing fake, nothing programmed. Just the moment of happening. Trust in each other. I think we all believe that each time we get together magic happens, just by the ‘declaration’ of it. The name inspires us to be that, in the moment, just this fantastic bond that exists between anyone who is part of it.

[engl] "A Place In The Sun" is a vinyl anthology of Rubble / British Psychedelic Trip cult heroes JASON CREST, including a selection of their classic ’68–69 psychedelic singles for Philips ("Turquoise Tandem Cycle", Black Mass", "A Place In The Sun", etc...) plus their unissued at the time studio recordings/demos. The result is a great British late 60s psych album, recommended if you like Tomorrow, Procol Harum, Moody Blues, Small Faces, The Move, The Who et al. The origins of Jason Crest are in beat band The Good Thing Brigade. Originally from Kent, they made quite a stir in the London club circuit, supporting established groups like The Who and The Moody Blues. No wonder they caught the eye of en vogue producer Fritz Fryer (Open Mind, etc) who got them a contract with Philips, changing their name to Jason Crest after one of their songs, "’The Collected Works of Justin Crest". Between 1968 and 1969, the band released five singles and left behind a bunch of unissued demo recordings / acetates. Jason Crest’s music run the gamut from brilliant psych–pop full of wah–wah organ to Mellotron / phasing fuelled introspective numbers and even heavy acid–psych / proto–metal on the freaky "Black Mass". Sadly, due to lack of success and problems with the label and between the band members, the band split after releasing their last 45 in 1969. Vocalist Terry Clark joined hard–rock band Orang–Utan, whilst the remaining members formed High Broom (featuring ex–Mike Stuart Span / Leviathan guitarist Brian Bennett). In 1971, Clark, along with fellow Jason Crest members Derek Smallcombe and Roger Siggery, formed Holy Mackerel.

[engl] Here we go with some awesome underground live material from one of the most important psychedelic rock pioneers in history of mankind. JEFFERSON AIRPLANE, ladies and gentlemen, in a very early incarnation when Skip Spence and Signe Anderson had just made way for the goddess of psyche Grace Slick on vocals and Spencer Dryden on drums to form what should become the classic line up leading this band to their huge success. Four of nine songs also appear from their cult album ?Surrealistic pillow? released in 1967, two more have appeared as part of ?Jefferson Airplane takes off? in 1966. There are later live versions of ?Fat angel? and ?Other side of life? on the 1969 live album ?Bless it's pointed little head? but these are the earlier, more rough edged and insane psyche out recordings of both beautiful pieces. Well, you get JEFFERSON AIRPLANE on this record, bare naked and honest to the bone. Just as they had been when they plugged in and played. The sound is amazing, raw and wild but clean and powerful enough to give every instrument and voice enough room to unfold. Technically not overwhelming but with a feeling of passion and dedication that only a true live recording can capture. And from every note that is played here you can feel the breath of the era where the cold war nearly turned into a very hot one and the world stood on the edge of a nuclear war while down in Vietnam ... well you all know the story. It was a time when the people freed themselves from the frowst of the past and lived a self destined life. This recording is an eye witness on historical developments. But however you behold it, it's awesome music by awesome people. This is indeed a little masterpiece and will please any fans of late 60s psychedelic sounds, die hard JEFFERSON AIRPLANE freaks and whoever cares for the best ever period in music. A must have!

[engl] Five years on from his impressive debut album, 'Banana Sludge', we are buzzing to welcome back our beloved Aotearoa-based psychedelic and garage rock artist, Joe Ghatt with his sophomore album, Caper. Joe Ghatt's record is a labour of love and dedication that sees the New Zealand artist evolving his jangly psych and surf-infused garage rock sound with exciting, exotic style and sounds, exploring his love for Afro-Beat, Tropicalia, Bossa Nova, Peruvian and Latin music. Different to Joe’s 2019 debut album Banana Sludge, where he recorded and mixed the album all through his Tascam Reel-To-Reel, on Caper, Joe enlisted Melbourne’s John Lee (The Murlocs, Bananagun, Sunfruits) to mix and master the album, giving it a contemporary sound, while staying true to Joe’s colourful, analogue charm.

[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] A West Coast classic back on vinyl at last! Recorded in 1968, the lone album by the group known as Kak is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream. The oddly–named, eminently talented quartet from the college town of Davis was together less than a year from start to finish, yet within that short time created a record renowned for powerful performances, solid production values and the brilliance of its song craft, with a full playlist of compelling material like ’Electric Sailor, ’ ’Lemonaide Kid’ and ’Trieulogy.’ Kak can stand nobly alongside records like Surrealistic Pillow, Electric Music For The Mind And Body, Sailor or the first Moby Grape album, as one of the most satisfying listens of the late 1960s SF rock renaissance. This newly remastered vinyl edition features extensive liner notes by Kak aficionado Alec Palao, with contributions from band members Gary Lee Yoder, Dehner Patten, Joe–Dave Damrell and Chris Lockheed.

[engl] Following their (Global Tyranny) incarnation the artists occasionally known as Koolaid return in their new guise of (Holy Sunshine!) to question the burning answer of our time: reality is a put-on? Who or what is The New Agent? Who or what are The N.W.D.F.? Where is The Canyon? Does The Canyon even exist? Can the Circuit Break? If you can grok 7 Up then is it possible to get 8 Up? Is it really just a choice between Turn On or Turn Off? ...and where did the hippies really come from? Cause suddenly they were just there... CIA / FBI / LSD / Gettin' High / Monterey Pop / Vietnam / Timothy Leary / Groovy, Man... It's a whirlwind double-tryptamine blast thru Acid Rock, West Coast Tech, Surf Sitars, Post Punk Junk, 808 FolkBuzz, 303 PulseBeat, Backwoods Reverb, Unplugged No-Wave, Twin Jag Attack, Secret Agent Men... and A Sample Storm of unwitting guests such as Allen Ginsberg, Ralph Malph, The Ambrosia Singers, Art Linkletter, Herbert Marshall McLuhan, and Doctor Leary hisself. Peter Fonda says "WOW". Koolaid themselves say "did you hear the one about the love and peace movement being a test-tube baby birthed in a secret military lab in the heart of hippie heaven?" We hadn't. But could it be that Koolaid (Holy Sunshine!) are hinting that the Classic Rock Music of the late 60s & early 70s was created to brain-wash the human population of Planet Earth? When confronted with this possibility they replied "Well, it may be true or it may not, but we just wanted to kick out the jams & get it on."

[engl] The absolute cornerstone of Acid Folk and Psychedelic Folk, 1970s Perry Leopold masterpiece remains today still as the one to compare with when new psych folk vintage records are discovered. Still no one beats him, and they will probably never do. 180g vinyl, repro of a 1973 promotional flyer, and an insert with linernotes by Patrick Lundborg, newly remastered sound. First ever official vinyl reissue.

[engl] PLUS 4 BONUS TRACKS! Les Baxter (1922-1996) used to be an utterly talented composer and bandleader who was on the go to the max during his active years. His version and as I should say vision of jazz music was a contemporary fresh and colorful sound with an exotic vibe due to the use of many elements of latin music within a modernized big band sound. We speak of the exotica and space age era when jazz music became more than just a few musicians on stage in a back street pub sweating their life out while improvising. He draws inspiration from the various swing orchestras of the late 1920s and combines this lush big band approach with a hot south american groove that shows an affinity for Cuban club music, for mambo and salsa. With rhythmical effects and a few wordless female vocal passages added he builds this haunting jungle atmosphere on top while leaving out the too obvious animal voices. The latin jazz and swing elements harmonize fairly well with each other and the melodies Les Baxter and his orchestra create drag you into a different world. You can dance to this or just close your eyes and float upon this gentle river of sound. The tunes are all built and arranged like a movie score which is no wonder as Les Baxter has been a soundtrack composer ever since. What makes this record so special are the pictures that come to ones mind with the always changing soundscapes it features. It is by far not only an evergreen jungle forest with big cats, apes and savage men hunting for white goddesses but also an urban jungle with grey skyscrapers growing beside the dirty streets, a bridge between the exotic dreams of each young American in the 1950s and the often gloomy reality in the big cities. But it is always a joyful experience. The album gets performed by an orchestra of extraordinary talent with an exceptionally tight interplay and still sounds fresh and powerful after nearly 60 years. A reissue is welcome to drag it back into the light of attention as many younger jazz fanatics might have overlooked this gem due to whatever circumstances. This new edition makes sure ?Jungle jazz? survives and infects a whole new generation of swing kids.

[engl] Screaming psychedelic garage from L.A. with fuzzed out guitars, Vox organ, killer vocals, early Oriental vibes...Recorded in 1967-68 but not widely released until 1972. File next to Music Emporium, Tiffany Shade, Seeds, Rebecca & The Sunnybrook Farmers … Formed in California in 1967, Lite Storm was the first incarnation of spiritual seekers Johnima & Kalassu Wintergate (later on Lightstorm, One…). A pioneering psychedelic band, Lite Storm played at all the hip Sunset Strip clubs, were friends with Kali Bahlu and travelled to the Orient and Far East, touring in Vietnam in 1970. “Warning” was recorded at a four-track studio in 1967-68, first released as a custom tiny pressing before being licensed to the Beverly Hills label for a proper release. This is the first ever vinyl reissue.

[engl] Little Big Horn evolved from Luton–based pop–psych band Wild Silk. As occurred with many British bands from the 60s, they adopted different musical influences as the decade progressed and "underground" was the thing to be, so by the late 60s, Little Big Horn incorporated West Coast, Americana and hard–rock elements to their powerful sound. Their sole album was released only in Germany in 1971 as part of a deal between Shel Talmy Productions and the Bellaphon label (along with other obscure acts like Sunday and Diabolus) and it’s an interesting mix of rootsy Americana and heavy rock. Here’s the first ever legit vinyl reissue, expanded to a double LP set with the addition of the killer 45 B–side "Just A Game" and excellent unissued material from the time. Transferred from original master tapes. Gatefold sleeve plus insert with rare photos and detailed liner notes by Alec Palao.

[engl] Limited edition new two tracker from one of Geetroit’s (that’s Geelong, Victoria to you pommy losers!) best! The Living Eyes deal in punk rock, as in pop, with a snarl and whipsmart edge. Australia has some killer stuff going on (as usual), and this new breed of Murder Punk Unknowns features the likes of the Living Eyes at the forefront. Snotty, snarly, and almost both tracks being pop hits (from the gutter), fans of the Hard Ons, Psycho Surgeons, Fun Things, and Ramones might want to check some of this action out!!

[engl] In 1969, Locksley Hall, a psychedelic band from Washington, recorded a full album at Audio Recorders in Seattle produced by Sonics Engineer Kearney Barton and long time Northwest guitarist Ned Neltner (Mark Five, Gas Company…). Never released at the time, this is a great example of West Coast styled psychedelia / acid-rock, featuring female vocals, prominent organ, hard guitar, excellent songs…

[engl] Björn Synneby, known from his extensive 30-year career touring the world with bands like Whyte Seeds, The Sun, and Pacific!, is embarking on an exciting new musical chapter. Drawing from years of experience on international stages, his latest project promises a fresh perspective while maintaining the craftsmanship and authenticity he's always delivered. 'East of Gothenburg' by L'île Volante is a lo-fi masterpiece that channels the raw spirit of 1970s McCartney, the sun-soaked harmonies of 1960s California, and the atmospheric finesse of Air. The album blends melodic nostalgia with a modern sensibility, offering intimate, stripped-down arrangements filled with warmth, subtlety, and a touch of psychedelia. Each track invites listeners to explore a sonic landscape where breezy West Coast vibes meet understated European elegance.

[engl] It’s now three years that the Madcaps have been roaming France and its neighboring lands with their pearly, Italian guitars and their champagne old drums. With 150 shows under their belts, they managed to save up enough to head back to Kerwax recording studio, analog Mecca of Western France. While there they churned out their third album, Slow Down, recorded live with all four Madcaps together in the same room, all in an effort to capture on wax the energy from six months of touring that shaped this album. If the first two albums were more the brainchild of lead singer Thomas, Slow Down evens things out with Bastien and newcomer Wenceslas asserting themselves as both singers and songwriters. Despite personnel changes and new musical directions, the Madcaps have never sounded more unified. They continue to gouge out their own particular rock and roll groove while leaving behind the adolescent garage of their beginnings. The pop melodies are still there, but the songs are more stripped down and spacious, leaving room for horns, piano, organs, congas and acoustic guitars, hitting by turn shades of rhythm and blues, soul, country western, and even calypso.