[engl] Previously unreleased demo album from 1969, UK. The loudest band from Hull in the 60s, Bare Sole played raw, in- your- face psychedelic hard rock and heavy blues. Bare Sole?s brief existence at the tail end of the 1960s reflected the realistic trappings of their geographical situation. Musical icons such as Mick Ronson and Robert Palmer would eventually rise to fame outside of their native Hull, but Bare Sole sadly only managed a handful of out- of- town gigs and a tour of US air bases in Germany. As it was, their entire existence fitted inside just over a year, but at least their inspired musical legacy has survived thanks to a 1969 recording session held at Fairview studios. Assisted by writer and producer Keith Herd and galvanized by an enthusiastic local poultry farmer, Bare Sole captured their primitive garage mannerisms inside of one fiery recording session. Aside from Decca?s rejection of their demo tape, Bare Sole continued playing alongside acts such as Family, Status Quo, The Move and the Small Faces, but the inevitable decision to quit came in 1970 and their story came to an end. Presenting Bare Sole?s entire recorded history taken from the master tapes of their 1969 recording session. Their seductive garage romp boasts explosive doses of fuzz, wah- wah and Farfisa organ, a sound that recalled an earlier and more primitive sound, but a sound that also may have unwittingly sealed their fate. Master tape sound. Detailed liner notes.

[engl] Kick- ass psychedelic / progressive hard- rock from Norway! Bazar was one of the most hard- working progressive bands from Scandinavia. This is their killer second album from 1974. Wah- wah fuelled guitar action, organ, flute, melodic vocals and radical lyrics. ''Drabantbyrock'' combines heavy numbers, West Coast guitar jams and dreamy moments, featuring the superb guitar playing of Bent Patey. Highly recommended for those into Swedish hard- rock bands such as November.

[engl] Originally released for John Peel's Dandelion label in 1971, ''Creation'' was the second album by underground folk troubadour Trevor ''Beau'' Midgley, recorded with psych band The Way We Live as backing group. Influenced by Tom Paxton, Leadbelly and Dylan, Beau started to write his own songs in the late 60s. After trying to secure a contract with Elektra Records with no success, he was approached by Clive Selwood (Elektra UK) and John Peel, who were launching a new label, Dandelion Records. Beau signed to them and released his eponymous debut album in 1969. For his second effort, Beau decided to experiment with a more folk- rock sound and add to the mix some avant- garde influences. Jim Milne (lead guitar and bass) and Steve Clayton (drums) from Dandelion stablemates The Way We Live / Tractor were the perfect backing band for him. ''Creation'' is a brilliant psych- folk / acid- folk offering with superb 12- string guitars, heartfelt vocals, studio effects and occasional acid- fuzz guitar. Beau's avant- garde influences came to the fore on the title track, which verges into White Noise territory. The album closes with ''Silence Returns'', featuring one of the most ear- splitting fuzz assaults ever committed to wax, courtesy of Jim Milne.

[engl] Most would probably agree that this is one of the very best psych- style LPs from the 1980s. Not retro at all but (like Bobb Trimble) a piece of the late 1960s preserved from time's rust. Male/female vocals lament and serenade the quest for knowledge of love and beauty in an appealing soundscape, with lyrical guitar leads throughout, good use of mellotron, occasional tablas, flute and bells. The recording has a definite 1981 sound but (again, like Bobb Trimble) this somehow becomes an advantage. There's not a questionable song on this album, recommended to anyone open for a soft, dreamy trip inside the melancholy and bliss of an acid- tinted romance.'''' (The Acid Archives). High- quality reissue in 180g vinyl, nice carton with original artwork, unbeatable remastered sound quality and also including the huge 16- paged booklet with lyrics and drawings. 500 copies limited release.

[engl] Psychedelic hard-rock / heavy blues with loud fuzz-wah guitar and powerful drumming by this power-trio from Arizona, originally released in 1969. Bliss was born from the ashes of garage band The Sect. Legendary radio DJ and producer Hadley “Who Loves You Madley” (the first black disc jockey from Arizona) took them under his wing and produced some recordings. By the end of 1968, the five members of The Sect graduated and decided to break up. Soon, they reformed as a trio with Martin (bass), Reed (guitar) and Aldred (drums). Reed came up with a new name, BLISS, which not only reflected his spiritual interest but it was also more in vein with the new psychedelic sounds of artists like Cream, Blue Cheer or Hendrix. Under Murrell’s guidance, the trio recorded a full album, released on L.A.-based Canyon Records in 1969. Canyon, home to artists like Doris Duke or Swamp Dogg, was a label more focused on R&B, soul and funk than psychedelia so, not surprisingly, the album slipped through the cracks. It wasn’t until a couple of decades later that Bliss was re-discovered by psych collectors, who were attracted to the album’s heavy & bluesy psychedelic sound, highlighted by Reed's hard fuzz-wah guitar and Aldred's powerful drumming. The album offers a mix of great self-penned tracks (including two by Murrell) such as “Visions”, “Ride The Ship Of Fools” and “Cry Of Love” – which bears a striking resemblance to The Zombies “Time Of The Season”! – plus a few covers (Joe Tex, B.B. King, Johnny Guitar Watson…) 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] San Diegos only psychedelic cops is how this brilliant California band presented theirselves in their promo posters. Psychedelic they certainly were, though they might better be described as a British influenced garage- psychedelic band perhaps. They recorded a demo LP back in 1968, in plain white cover, which is a top rarity only living in a few of the warmest collectors? houses. Unavailable for some time now on vinyl, heres a welcome new reissue of this powerful organ- guitar garage rock beauty. Comes in a silk- screened fabric bag, insert and 180g vinyl. New linernotes courtesy of Clark Faville.

[engl] In 1972, Ohio based band THE BROTHERHOOD released their only album, "Stavia". It was a private edition of 200 copies, pressed at the legendary Rite custom plant. This rare album is a good example of US acid–rock / hippie psych with slight soul & funk influences: fantastic playing, swirling organ, powerful vocals, top guitar shredding, flute... "Stavia" has always been one of those shrouded in mystery albums, so rare that some collectors even doubted about its existence. Bootlegged in the ’90s in a butchered edition that included two songs from an unrelated band, here’s the first ever legit vinyl reissue.

[engl] From the ashes of 60s garage band The Lemon Drops comes power trio Buzzsaw with their loud heavy- psych sound. In the late 60s, The Lemon Drops, one of the finest garage- psych bands from Chicago (of ''I Live in the Springtime'' fame), relocated to the West Coast, where they gigged around and tried to secure a record contract. After a three- day ''strawberry acid party'' at manager Dan Herron's mansion, the original band disintegrated. And that's when power trio Buzzsaw was born, featuring Eddie and Gary Weiss (both Ex- Lemon Drops) on guitar / drums respectively and Rick Fertel on bass. Buzzsaw was the perfect vehicle for Eddie Weiss (whose use of fuzz & distortion was the trademark sound of The Lemon Drops) to push his guitar and effect pedals to the limit. The trio used to visit ''Starhill'', Neil Young's old sawmill in La Honda, where they rehearsed & wrote songs. The photo used for the front cover on this album was taken there. In 1971, Max Weiss (Creedence Clearwater Revival's manager) expressed interest in the band, so Buzzsaw entered Ampex Studios in San Francisco (the place where CCR had recorded ''Suzie Q'') to lay down some tracks. They also recorded some material at Pacific Sound Studios. All of these recordings were produced by Roger Weiss, the original producer of The Lemon Drops and co- owner of Rembrandt Records. Sadly, Buzzsaw only released one 45 during their short lifespan. And it was a frustrating release, as it included a recording from the Lemon Drops era on the A- Side backed with a new song which didn't reflect the real sound of the band on the B- Side. That 45 went nowhere, Buzzsaw split and the recordings they did at Ampex and Pacific Studios remained unreleased until 1995, when some of them were included on ''From Lemon Drops To Acid Rock'', a Buzzsaw CD compilation by Cicadelic Records. Our Buzzsaw double vinyl retrospective includes all the tracks from the previous ''From Lemon Drops To Acid Rock'' CD plus some amazing recently discovered acetates and unreleased master tapes. The music is orgasmic '71 heavy- psych / proto- grunge in the style of Hendrix and Blue Cheer with killer fuzz- wah guitar and melodic vocals. Eddie's guitar sound is just insane?despite the vintage '71 date, some of his playing would not be out of place on a High Rise or Ty Segall album. Fully licensed. Remastered sound from the original tapes and acetates.

[engl] Caedmon’s legendary debut from 1978, originally released as a private pressing, one of the most sought–after progressive folk–rock albums from the UK. * LP + 7" edition just like the original release * Original artwork * 24–bit remastering from the original master tapes * Four–page colour insert with lyrics, rare photos and liner notes "One of the defining acid folk albums" – Richard Falk (Galactic Ramble Caedmon – a five piece student band in the 70s – recorded this album to mark their farewell concert in early 1978, before they went their separate ways after university. They had literally no idea of the myths, rumours, and tales that would embellish (and sometimes distort) the musical arc traced by this album in the decades to come. The album contains twelve songs. Ten were written by the band. One was based on an ancient text by 7th century poet Caedmon. And the final track was a traditional gospel song, a regular much loved closer to their live set. Angela Naylor’s lead vocals are supported by close harmony male vocals throughout. Acoustic guitars, mandolin and cello jostle with electric guitar, keyboards, percussion and bass. The resultant blend can only be described as eclectic, conjuring a slightly bizarre mix of folk ballad, bossa–nova, and psychedelic jazz and funk. Little did they know that this would be described as acid–folk in years to come. Unusual time signatures, tight arrangements, improbable instrumentation, oblique and poetic stories tackling spirituality, distorted fuzz guitar, and the odd recorder solo all combine to create something that was of its era, and yet simultaneously wildly out of synch with it. 1978 was the era of punk. Frustrated by the record company stranglehold on the market, bands were recording and releasing their own material on their own labels. Caedmon adopted this approach (if not the musical genre!) and recorded their farewell to fans in Barclay Towers Studio in Edinburgh, an attic flat, patronised by the Rezillos and others. Essentially each song was recorded ’live’ in two or three takes on a four track tape machine, with occasional overdubs. Handling their own duplication and distribution, the pressing of 500 swiftly disappeared, but not before a last minute emergency rescue operation was necessitated. During the pressing, a call from the pressing plant informed the band that they had too much music recorded to fit on a 33rpm 12" vinyl. A quick decision resulted in 2 tracks being moved across to a 45rpm 7" single. The album, with its slightly less than commonplace contents, sold for £2.50 to friends and fans. They were never a mainstream band. They were unsigned, boasted a small fan–base (mostly in Scotland), only occasionally played south of the border (notably at a disastrous gig at the Greenbelt Festival in 1977), enjoyed some success at the Edinburgh Fringe. And that was about it until.... Their niche fame came twenty years later. Both a re–release of the original album on CD by Kissing Spell records, and a burgeoning world–wide vinyl collectors market made possible by the internet, led to a sometimes feverish demand for copies of the original vinyl of 1978. At its height, you could pay £1, 500 for a reasonable quality copy of the original album (including 7" single and lyric sheet insert). A number of unlicensed re–releases followed on CD and on vinyl, being this Guerssen edition the first licensed reissue of the 1978 album since the Kissing Spell CD.

[engl] Totally under the radar US private pressing from 1982. 60s/70s influenced psychedelic hard–rock full of distorted guitar and freaky synths with some mellowed–out folky moments. File next to other psych misfits such like T Kail, D.R. Hooker, Marcus, Michael Angelo? Cal – also known as "Cal Rock&Roll" – was a band formed in the mid–70s in New York by some veteran musicians from the club scene: Larry Calabrese on guitar & vocals, Andy Barone on bass, Jerry Joly on drums / vocals and Jeffrey Gaer on keyboards. Famous for their powerful live shows ? one of their stellar moments was opening for Leslie West & Mountain – , Cal secured a faithful fan base, especially among the biker crowd. In 1980, they recorded their only album: "Homegrown". As the title suggests, it was self–produced by the band and recorded by Larry at his 8–track home studio. But unlike other similar private albums, there’s nothing amateur here. This is a perfectly recorded & played effort, featuring well crafted songs. There’s lot of loud distorted guitar, Hammond, analogue synths and some Doors influence on the vocals, especially on the lysergic "Couragous Cat". "Homegrown" was released in 1982 in a edition of 2000 copies, most of which were discarded due to pressing faults. Also, the album mastered at lower speed. Soon after, Larry met Todd Rundgren at a recording studio and he expressed interest in the band and some of their songs. Famous record label Sugarhill were also interested in adding Cal to their roster but nothing came of it in the end. So "Homegrown" vanished into obscurity until some original copies were discovered by psych dealers and collectors in the 90s. First ever legit reissue Insert with detailed liner notes and rare photos

[engl] Recorded live during summer 1975.

[engl] It's crazy what these two guys can do live on stage. Hard going heavy rock / stoner / psychedelic, whatever.

[engl] Catatonic Suns is Patrick Shields (guitar, vocals) , Jakob Christman (bass) and Caleb Strobl (drums) Catatonic Suns new album sees them blend the underground psychedelia of the late 80s / early 90s Pacific Northwest with the shimmering shoegazery of Britain from the same time. Heavy and soft guitars, songs that soar, these new recordings verge on the epic. For fans of The Verve (early), Screaming Trees, Truly, Ride, Slowdive, Alice In Chains. Pennsylvanian threepiece Catatonic Suns release their brand new album via Agitated records this autumn (Fall if you reside in the US), Patrick and Jake have known each other since birth, obsessing on punk rock, but the band actually formed in 2019. Vocalist / guitarist Patrick and fellow guitarist Llambro Llaguri began creating homemade psychedelic psychedelic 4 track cassette demos during the Winter of 2015, taking heavy inspiration from an eclectic mix of acts ranging from Ween to R.E.M. As these early songs were created, the duo sought other like minded individuals in their hometown of Allentown, PA to take these primitive demos to the next level. It was then that Patrick recruited another childhood friend, Jakob Christman, to fill the role of bass along with another mutual friend Caleb Strobl completing the rhythm section of Catatonic Suns. In 2019, the group put out their first release, the Catatonic Suns demo, a collection of lo-fi recordings made by Patrick over the years. During this period, the band began to make a name for itself by playing shows across eastern Pennsylvania including the Lehigh Valley where local garage rock heroes Original Sins hailed from. During the months of August and September of the same year, Catatonic Sun's reputation for wall of sound psych-grunge was really brought to life when the group teamed up with local record producer guru Matt Molchany of Shards Recording Studio to track their debut studio venture “Aphelion” (more an extended EP). Self -Released in the December, the album found an audience beyond the local music circuit of Pennsylvania, even reaching countries such as the U.K.,Germany and Japan. The band continued to play shows growing their fanbase and honing their skills as a cohesive unit resulting in radio airplay across the country and a feature on the compilation “Pedal Worship” by Bummer Recordings. During this same period, Matt Molchany once again helped the band carve their next album (a full length) “Saudade” along with mastering engineer Matt Poirier (War On Drugs), which was also self released, in February 2022. They played plenty more gigs, and ventured to the west coast for some shows in LA with local friends Laurel Canyon, one especially wild night was with both bands supporting Strawberry Alarm Clock at the Whiskey A Go Go. Now a three piece and into 2023 the band record the 7 original songs and one Original Sins cover for this new release..

[engl] First ever legit vinyl reissue of this impossible to find private psychedelic hard-rock album from 1973. Remastered sound, colour insert with rare photos and liner notes by David Wells. Includes digital download coupon. Charge were a British power-trio born from the ashes of local South Coast heavy-blues bands Baby Bertha and Sweet Poison. Comprised of Dave Ellis (guitar), Pete Gibbons (drums) and Ian Mclaughlin (bass), they played heavy rock influenced by Hendrix, Cream, Free, Peter Green’s Fleetwood Mac, etc. In 1973 they cut a demo album at SRT studios of which 99 copies in blank covers were pressed and later distributed between family & friends, with a few of them also shipped to record companies in what proved to be an unsuccessful attempt at earning a recording contract. The music is raw hard-rock with unrestrained guitar, Lemmy-esque vocals and psych / heavy progressive touches. Side B contains the epic anti-war suite “Child Of Nations”.

[engl] Children were a great psychedelic band from San Antonio, TX, who released only one classic album on Cinema in 1968 (later that year picked up by Atco). Starting out as The Stoics back in 1966, they later evolved into The Mind’s Eye, then their final incarnation as Children with the beautiful female vocals of Cassell Webb. Ex-Monkee Davy Jones took them under his wing in 1967, promoting them on the LA Sunset Strip Club scene!! “Rebirth” combines soft psych and baroque pop with fuzzed out psychedelia. Produced by Lelan Rogers (13th Floor Elevators, Golden Dawn, etc). Original gatefold artwork faithful to the beautiful Cinema original release. Newly remastered sound. Insert with detailed liner notes / photos.

[engl] US 72 private psychedelic- progressive conceptual album: two long suites featuring fuzzed out guitars, spacey vocals, effects , complex vocal harmonies and heavy organs. Top level recording and musicianship with Barry Tashian from The Remains assisting and writing one of the tracks. Newly remastered sound, repro of the original insert with newly added liner notes.

[engl] limited to 300 copies

[engl] Christopher were an underground acid rock trio featuring future Josefus drummer Doug Tull. They evolved from United Gas, a psychedelic band from Houston who rubbed shoulders with legends like The 13th Floor Elevators and Moving Sidewalks . After relocating to Los Angeles, where they changed his name to Christopher, they played at numerous biker parties and recorded their sole album in 1970 for the Metromedia label. Its an amazing example of West Coast psychedelia / acid- rock featuring strong fuzz- wah guitar, great compositions and superb musicianship. Terrific cover depicting the band at the same hippie crash- pad where some scenes from the The Trip movie were filmed. One of the holy grails of American psychedelic- rock and the rarest album originally released by the collectable Metromedia label. Newly remastered sound, original artwork, insert with liner notes.

[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. Circles? was their first album, released in 1983 as a private pressing on their tiny Einhorn label, housed in a cool and mysterious looking cover. This little known but excellent kraut/psych/experimental album is highly recommended to anyone into Harmonia, Cluster, Fripp / Eno, Heldon, Conrad Schnitzler, Neu!, Throbbing Gristle, Ilitch, Irmin Schmidt, Amon Düül II?

[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] Second Complex album released in 1971 in a edition of 99 copies, one of the rarest private pressings from the UK along with their debut album. Another set of Swingin' London styled psychedelic pop and underground psychedelia featuring some of the best tracks the band ever recorded like the Zombies sounding ''Hey girl, you've got style'' and the killer psych number ''We don't exist''. Carefully remastered sound, 180 gr vinyl, insert with rare pictures and extensive liner notes by David Wells.

[engl] There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Konrad Schnitzler. Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were charac- teristic of the period. The magic words were “subculture”, “progres- sivity” and “avant- gardism”. West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak was the ultimate point of convergence for subculture in West Berlin, with Konrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public. The red album (“Rot”) was Schnitzler’s first solo effort. As a member of Tangerine Dream, however, he had participated in the band’s debut release “Electronic Meditation” some three years earlier (1970). He, Dieter Moebius and Hans-Joachim Roedelius had also already founded Kluster, whose first album “Klopfzeichen” attracted a wealth of attention. On “Rot”, meanwhile, Schnitzler uncompro- misingly pursued his very own vision of electronic music. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former’s “extended definition of art”, in which controlled randomness assumed an important role. Schnitzler actually extended the concept of “music”. Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. Improvisation grew in importance. The most exciting aspect of Schnitzler’s music is not the fact that he only used synthetic sound and noise; the apparently chaotic movements of his microscopic particles of sound draw the listener into a paradoxical, yet also crystalline and vibrant artistic world. It doesn’t get much more outlandish than this. Schnitzler’s debut surpassed virtually every other pioneering artist of the day in terms of radicalness. Not content merely with making psychedelic soundtracks, he turned these on their head with his defiant artistic will. The rigour of his approach has never been matched. Schnitzler’s inimitable cascades of sound and their transparency were, and remain, unique.

[engl] All manner of trailblazers shaped the soundscape of the era. Conrad Schnitzler (born 1937) and Karl Horst Hödicke (born 1938) – longstanding members of the official artistic canon – were multifunctional artists who painted, performed, sculptured, made films and music. They were always to be found on the edge of the “permissible” and invariably went beyond “modern” perceptions of art. Schnitzler, Hödicke and many of their contemporaries arrived at a completely new definition of the avant-garde. The circumstances of Schnitzler and Hödicke’s first meeting are unknown, but it should come as no surprise that it was Schnitzler who composed the soundtrack for Hödicke’s film entitled “Slow Motion” in 1976. The two artists were cut from the same cloth, routinely crossing any boundaries they happened to encounter. Schnitzler wrote music for each of the film’s 14 sequences, linking them together in a logical progression of minimalist imagery. Each piece of music quite brilliantly accentuated the preceding one. Schnitzler’s musical sensibility was wholly compatible with Hödicke’s approach to film. Not that Schnitzler was ever a film composer. “Slow Motion” worked because Schnitzler and Hödicke were on the same wavelength, daring to experiment with sound and vision in such a way that auditory and visual components were interdependent. Nevertheless, it still makes sense to release the soundtrack without the images. Schnitzler undoubtedly responded to the pictures as he composed, but his customarily uncompromising style is very much in evidence: rhythmically structured electronic cascades, intermittent impulse chains and manual improvisations alternate with planar clouds of sound. Analogue sequencers and an analogue rhythm machine played a crucial role. The tracks on “Slow Motion” vary in length (the shortest is only 58 seconds long) and mood, but the listener never has to leave Schnitzler’s sonic universe, even without the pictures for which the music was composed. “Slow Motion” is an important document in Schnitzler’s oeuvre, seamlessly taking its place alongside his many other releases, whilst also highlighting his constructive input as an equal partner in an experimental film production. What makes “Slow Motion” particularly worth listening to is the fact that Schnitzler surrenders none of his aesthetic independence at any point in the project. It is an enduring document of its time. Asmus Tietchens, 2024

[engl] "Day Of Light", the first album by Chicago musician Constantine, released as a private edition in 2015, took the underground psych–folk scene by storm and it’s now a cult album between psychedelic aficionados. So we at Guerssen are pleased to announce the release of Constantine’s second effort: "In Memory Of A Summer Day" is another psychedelic folk–rock gem filled with pastoral tales of adventure, beauty and sorrow. Housed in a whimsical storybook–illustrated gatefold sleeve (artwork by Stephen Titra of O.W.L), and includes twelve lyric insert pages.