[engl] The main influences of Modulares are post-punk/powerpop from the late 70s and early 80s, with a twist from the old garage-punks of the 60s. This combination of influences added to the band’s original talents to compose new gems help to create a pulsating buzz saw that doesn’t get any close to the new and pre-established clichés of today’s pop music. The lyrics (in loud and clear Brazilian Portuguese) are about the pressure and questions of people who have the big city as a frame for their lives. Love adventures and misadventures, the swinging nightlife and the loneliness imposed by the modern world are the most common subjects of their songs.

[engl] Excellent Afro LP with lots of rock elements, razor sharp guitars and English vocals.

[engl] The Nightbirds were a combo from Swiss that recorded the first single in March1966 to the italian EMI, " La Strada Bianca " writed by Mario Del Don that goes directly to the swiss Hit Parade to the 8th position. In that period the band begguins an intense activity. They turn to professional status, touring in Switzerland, Italy, France, Germany and recorded 3 more singles at EMI the played in sveral important Clubs in Swiss and Italy like Blow Up, Pony and Volkshaus in Zurich. The repertoire goes from Beatles, Yardbirds, Kinks, Rolling Stones, Pretty Things, The Who ,Spencer Davies. They always used on stage the famous "Vox a.c.30" and "Vox a.c.50 "Vox guitars and Ludwig drums. With the famous kind of Bat logo of the band in the kick drum front. For the first time reissued in LP all the tracks from the 45rpm recorded by the band in 1960's, Quelli or Alla Resa Dei Conti are some of the best tunes made by an italian/swiss band in the 60's. Freakbeat fuzz garage at is best!!!

[engl] Two new songs from one of the best psych/garage combo around. In the paths of Os Mutantes, Os Haxixins definetly put Brasil again in the map of psychedelic music. Depois de Um LSD (After a L.S.D.) and Espelho Invisível (Invisible Mirror) are the 2 tracks included . Drugs, Alucinations and teenpunk sounds smell like the 60's make this limited 7" a real jewl!! After a debut LP already sold out , this guys from São Paulo do it better than anyone....PSYCH OUT!!!

[engl] They are perhaps the best sound advert for a non- english speaking garage psych band living in the very instant of here and now. 12 tracks driven by the schizofrenic Diatron organ of Alex Romera and powerfull fuzz chords trough the fingers of Mr Fiuza. Ten original songs, and two covers, inspired on the most obsure music made in the 60’s. This brazilian guys aren’t here to play around, this is serious mindblowing music. ”Before redemption we can finally back too obscurity”. Sir Uly The LP brings a Download Card with a acess code to download the full tracks.

[engl] Having emerged from the torn and bloody earth that once belonged to the Tupiniquim Indians, OS PONTAS hash out SOUL and FUZZ influenced anthems, instrumentalizing soundtracks for a pompadour-shaking-freak-dancing good time. This is the second album, entitled, “Selva de Fuzz” (FUZZ JUNGLE), 12 tracks capable of tweaking mustaches and wasting shoe soles down to their cores. The Tupi Spirit orders that the party starts now with OS PONTAS, since after all, they are the soundtrack to the jungle.

[engl] The history of the Phantom Surfers is fairly uneventful. They have been consistently pay homage to Los Angeles's surf music and to the North West's garage-rock. Here with the reissue of their 1996 album, with nothing less than the surf guitar king, Dick Dale. The lp came with some unreleased tracks and a new artwork for this Groovie Records release.

[engl] For the first time, the secrets of the Portuguese musical counter culture will be revealed through a unique book- compilation. The book is an unprecedented visual anthology of the Portuguese Rock'n'Roll. It is the most comprehensive and relevant collection of documentation - most of it unpublished - looking over photographs, record covers and other documents that reveal part of the history of Portuguese music, unknown until now to the general public. It reveals the world of Portuguese Rock between 1955 and 1982, highlighting the bands that lived and worked in the former Portuguese colonies, the British invasion, the first contest "Ye Ye", the psychedelia of the 60’s, the Progressive Rock, the first music festivals of the 70’s and the rise of punk. Around 500 full colour record covers of the 60’s, 70’s and early punk portuguese bands. Includind also more than 200 record covers pressed in Portugal from foreigner bands like THE WHO, SEEDS, SMALL FACES, RENEGADES, STRAWBERRY ALARM CLOCK, THEM, STONES.... For nearly a decade, music researchers Edgar Raposo and Luis Futre have been involved in extensive investigation to which the public will now have access with the release of PORTUGAL ELÉCTRICO- Counter Culture Rock in Portugal from 1955 to 1982. This is the largest discographic survey of its kind ever held in our country, and it is the result of the need to build and protect the memory of a unique and unknown musical culture. Scheduled to be released in December 2013, the book is an unprecm edented visual anthology of the Portuguese Rock'n'Roll. It is the most comprehensive and relevant collection of documentation - most of it unpublished – looking over photographs, record covers and other documents that reveal part of the history of Portuguese music, unknown until now to the general public. PORTUGAL ELÉCTRICO reveals the world of Portuguese Rock between 1955 and 1982, highlighting the bands that lived and worked in the former Portuguese colonies, the British invasion, the first contest "Ye Ye", the psychedelia of the 60’s, the Progressive Rock, the first music festivals of the 70’s and the rise of punk. "We are here to expose a unknown history of Portuguese music, to show that there was great musical production of rock’n'roll before April 25. Most people think that the manifestations of rock only begin to exist, in fact, from the 80’s on, with the boom of Portuguese rock, and our work ends up demystifying this idea, which is absolutely false”, says Edgar Raposo, one of the authors of the book. In addition to hundreds of photographs from the music scene, posters, magazine covers and other rarities, the book unveils over 500 color album covers of bands known as Quarteto 1111, Ecos, Steamers, Daniel Bacelar, Conjunto Mistério and Os Jets, among others more obscure such as Evolução, Os Vodkas, Mechanical Dream and Toni Araújo. Furthermore, it discloses several album covers of editions made in Portugal in the 50’s, 60’s and 70’s of foreign bands like the Rolling Stones, Seeds, Zombies, The Doors, Jimi Hendrix, The Who, among others. "Beyond our own personal compilation, over the years we have carried out a very extensive research that has led us into contact with dozens of major collectors of Portuguese music in Portugal and abroad, who kindly shared their anthologies, which makes this research even more special and different compared to any other known survey”, says Luis Futre. Among them are the invaluable works of mythical Joaquim Costa and Victor Gomes, pioneers of Portuguese rock, never publicly exposed. With graphic design inspired in the spirit of Do It Yourself, which also reflects in large part the spirit of the research itself, conducted without any support, ELECTRIC PORTUGAL counts with the participation of texts by musical investigator João Carlos Calixto, Afonso Cortez, Luís Piedade, in addition to Paulo Furtado (Legendary Tiger Man) and Daniel Bacelar. The book, which will be a bilingual edition in Portuguese/English, through its 200 pages, traces a watershed in the history of Portuguese Rock known until then, by revealing this whole universe lost and unknown. An oasis not only for collectors and aficionados of the genre, but for the general public in Portugal and abroad where some of the national bands have more followers than in their own country.

[engl] Exclusive repress on Groovie Records, with the suport of the founder band member Chico Aguiar. This is the extreme psychedelic band from Brasil. Or at least the best Garage Psych EP released, in the 60's, in Brasil. Its our opinion, maybe yours to. And when you first listen to this MONSTER you gonna aprove what we are saying here. Originaly released in 1969 its was rapidly tooked to obscurity by the public or the corporative music of the time. The content of this records is far away haead of he's time. Working in the fields of psychedelia and fuzz guitars can be compared only to Os Mutantes in greatness and quality. Or even in creativity. The band fronted by Chico Aguiar also was the band that suported Serguei "burro Cor De Rosa" and "Ouriço" tunes. The release can be aquired with a monster poster made by artist João Maio Pinto, that is a master in to put that psycdelic energy on he's art. Two colour poster with every release 50cm X 35 cm. Buys it, listen to it and blow up you mind in to outter space. Heavy Carton delux edition, oldschool sleeve glued backflip

[engl] After the great, and almost sold out, instrumental album. The Routes present here 4 original tracks, this time with vocals, back to their primary style. But this 4 tracks are fuzz embeded. Less R&B style, more garage punk. With a style of their own, The Routes makes the diference from almost al l of the bands around. This one is limited edition, we have 100 copies available with a poster (50X30 CM). Art of the poster by Mr Daren Merrinuk himself. Two diferent coloured artwork to. This one is killer, limited to 500 copies, 250 YELOW SLEEVE, and 250 GREEN SLEEVE.

[engl] The Routes always seem to be do something different stylistically on every record they release; from their largely R&B influenced debut album “Left My Mind”, to the playful US garage drenched “Alligator”, to the Strummin’ Mental madness of the “Instrumentals” album, right up until “Skeletons” in 2016 which saw them on more of a modern garage punk trip. It doesn’t seem to matter what they do, and who plays in the band; it still unmistakably sounds like The Routes. “In This Perfect Hell”, the fifth album by The Routes, brings you ten original songs. No filler and no covers. From the start, you can tell it’s not going to be your stereotypical garage album. This time The Routes seemed have strayed far from your average garage bands comfort zone. They have stripped everything right down in the playing department, with leader Chris Jack playing pretty much everything apart from the drums. The stripping down seems to have the opposite effect, of creating a huge, thick, heavy wall of sound. The nasty Japanese fuzz pedals, and very simple guitar leads stab through the wall, and stick into your brain. It’s not exactly your typical garage, it’s not exactly psych; it’s not exactly any one thing in particular. Is it a huge mass of perhaps everything Chris Jack listens to? One wonders if he opened the floodgates on his musical tastes and just let it all come through? The brain penetrating heavy fuzz, and Maureen Tucker-esque rhythm of opening track “Thousand Forgotten Dreams”, instantly tells you we are again on a new, different tangent. The hypnotic guitars are actually not unreminiscent of early Spacemen 3 or Jesus and Mary Chain. “Worry” sounds like it could be the cover of a long lost Tamrons acetate, being played by The Fall. You have catchy up-tempo lyrically playful numbers like “Peeling Face” and “Housework In My Head”, sounding like The Kinks meet The Modern Lovers, meet Guided By Voices; “Something Slipped Through My Window” and “Oblivious”, again see the band in fine songwriting form, with The Routes Acetone organ resurrected. The Routes take a heavy trip to Gonn land with “Make You Hate Me More”, yep they always have one “Fuck You” anthem without fail (without actually swearing in the song of course, because the lyrics have more than enough hate in them already). One wonders how many flashbacks were channeled to create the acid tinged freakout that is “No Permanence”? Is this garage punk meets Can’s Mother Sky? You could imagine The Lemon Drops singing “In Years Gone By”, before being having their minds blown away by the trip that is “Perfect Hell”. Are you doing well living in this Perfect Hell? Reading what I’ve written you’d think “That’s ridiculous, how could all that go together, and sound like one band, or one album?”. The answer is; it’s so well done, and so subtle. That my friends is the genius of The Routes. Everything they do sounds like The Routes, and they sound AMAZING!

[engl] That is one of those bands I would love to release myself on VOODOO RHYTHM RECORDS, just to make that clear... I met CHRIS JACK back in Japan when I was touring with my band, THE MONSTERS. The gig in general was amazing and wild. We had naked men and almost naked girls at the show... and a rock’n’roll scene that I dream to have in Switzelrand, with lots of girl's bands. I was super impressed, then Chris told me he had a band. He gave me his recordings and I heard that like 20 times a day... It was something like 10 years after I met The Sonics. FUCKING KILLER. Anyway, time went by and we kept contact all these years... Now THE ROUTES released an album on the fantastic GROOVIE RECORDS, from Portugal. A full INSTRUMENTAL album, a super fox on bass and a animal on drums, with the new Jeff Beck on guitars. That is RAW WILD and OUT OF CONTROL guitar instrumentals with sometimes an EXOTIC touch as in "Bossa Hossa Nova", in "Shove-it" or in the beautiful "Yeti Spaghetti" and SURF instrumentals like "Luck Of The Devil" or the SMASHER "Hang Eleven". This album is a super INSTRO KILLER! If you like The Shadows only, it may not be your cup of tea... but if you live in the gutter and drink booze instead of water, this album will be the HOLY GRAIL FOR ALL YOU SURF PUNKS OUT THERE! (Beat-Man)

[engl] The Routes will always hold a special place in my twisted heart ‘cuz they were the first band to give me a shot at doing their album cover. That was back in 2011 for their second LP, Alligator. That ain’t the reason why I’m trying to sell you the band though. The reason I’m trying to sell you the band is far more simple; the Routes are one of, if not THE best garage outfit out there today, and their new album SKELETONS just confirms it. So forget about the bands hiding their inadequacies behind tons of effects and divert your attention with their flashy costumes. Forget about the bands who claim to be a garage band, but play a wimpy mix of shoegaze and light pop. You can even forget about the multitude of garage bands who got the right idea and gear but fail to deliver. This is the real deal! Eleven songs that only rely on raw talent, raw power, and raw production (and the scuzziest fuzz guitar sound you’ve ever heard) to deliver some of the best garage punk tunes this side of ’66. Yet, unlike many of their 60s counterparts, the Routes managed more than a one hit wonder, as you’ll rapidly realise listening to Skeletons. The album is simply full of memorable tunes, bursting with pissed-off energy and earworm melodies (and the scuzziest fuzz guitar sound you’ve ever heard), and the Routes’ highly distinguishable sound. So play that record already, and get ready to blow the cobwebs off your speakers with the stompin’, grindin’ sound (and the scuzziest fuzz guitar sound you’ve ever heard) of the Routes!

[engl] The Classic singles collection stills goes on, this time nothing less than the wild and garagers THE ROUTES.Taking influence from amongst many others Link Wray, The Yardbirds, The Animals, The Sonics, The Wailers, The Downliners Sect and Hound Dog Taylor, The Routes distinctive sound featuring Chris' sublime guitar playing is a must-have for any Garage fan. This amazing japanese band, have now two nice cuts at Groovie, for those who like to dance at the sounds of 60's wild garage, this is for you...

[engl] Sérgio Augusto Bustamante was a flight attendant. He flew by the Southern Cross, Panair and Varig. In the sky, above the clouds, he used to daydream about Elvis. One day, he came down from the heights and he added a "u" to the Russian name Sergei, which he took out from a friend. He put on his boots and with them he embarked in an exciting trail of Rock’n’ Roll. Like a dreamer, he let emerge in all its fullness the figure of a rebellious, argumentative, naive and, above all, authentic character. His true self, Serguei. With his colorful clothes, long hair, red contact lenses, and in his hands, the hippies’ flag of peace & love, the anti-commercial Serguei, through several decades, carried on his back the weight of a public image much bigger than the work he was able to produce. Marginalized by option, Serguei tried psychedelia, tropicalism, and even Brazilian folk music without, however, settling down in any musical style. Between 1966 and 1975, which correspond to his musically bolder period of time, his work materialized erratically through records released sporadically, which succumbed in the presence of the singer’s strong image. Archetype of Keith Richards rocker’s style but without the drugs (for many!), Serguei was just a caricature, whose work was just a prop. "I've never been recognized, few people give me value," he told to the magazine Pop in April 1978. Despite his short adventure with singer Janis Joplin (in the summer of 1970 in Rio) has always been the most prominent reason in articles about him, were the records he released between the years 60 and 70 that caught the attention of collectors and of people who have special appreciation for rock produced at that time .. Serguei self named “psychedelic” long before everyone. He sang his hallucinations, found someone from alpha centaur and went in search of peace, from sunrise to sunset. You can find his work in compilations like GUITAR FUZZ BANANAS. His music ranges from psychedelic to garage psych with some folk psych tunes. Fuelled in fuzz and arrangements that are typical of genius. This man, SERGUEI is maybe Brazil's best kept secret in music from the 60's/70's...

[engl] Chances are, if you picked this record, you know what you're headin' for. If you don't, let me tell you this; you'd better gear up for an unhealthy dose of raw garage punk. But what makes this band all so different from any other garage punk outfit out there, I hear you say? Well, maybe it's the fact that the band doesn't fuck around with superfluous crap and certainly manages to keep it simple & efficient. That could be explained by the fact that what is now a full-blown band (well, a three-piece to be exact), started as a one-man project in a dirty garage somewhere (OK I actually don't know WHERE it started but I assume it's a garage). So maybe Bart (Vox & guitar) was limited by his ability to play all the instruments back then and it showed in his compositions, but most likely, he just knows how to write a good garage song! But don't think that the Skeptics went all fancy 'cuz Bart got himself a real band (that's Kristal on bass & vocals and Xavier on drums). The songs sound as vicious as ever and the formula stays the same, thick fuzz, skin bashing, gnarly vocals & straightforward riffs. And yet, we're led to believe that those garage-heads dig stuff other than their 60s punk comps if we're to listen to their fuzz-driven rendition of Chrissy Zebby Tembo's Troubemaker. And I gotta say, that's another point for the Skeptics, cause who seriously wants to hear another cover of Wildman? Anyway, I'm not gonna go into much more details about the sound of the Skeptics cuz if you're reading this, the record can't be that far and you should just give it a spin instead of wasting your time with my rambling. Christophe -Bananas Magazine

[engl] It defied reason. Forming a band in order to raise from the dead a short, obscure musical period of lawlessness between 1965-67, in a day and age of predictable, artificial and uninspired "music". Coming from the 4 corners of LA County, The Sound Reasons got it together. Locals began seeing where it was at, because, every performance they saw, the boys brought the thunder and lightning down in the form of a hip shaking, pounding, jangly, fuzz drenched soundscape.To the Sound Reasons, music is THE THING with no artificial ingredients, and real SOUL. With the Sound Reasons, Rock and Roll, really, is alive and well. For this band, the only thing that counts is getting it tight, out of sight and nailing the elusive SOUND. This debut release is sure to turn your party, cookout, or freakout ON because these guys have the stuff. The stuff that defies Reason! Heavy Carton delux edition, oldschool sleeve glued backflip

[engl] Remember The Gories with their fucked up solos, off tempo and beat, sounding as wasted as they can be? This is the japanese translation. Infused with fury of the blood orange sun, its a collection of rollicking tunes for the rollers, rockin’raucousness for the rockers, and carnal drumming for the carnivores that will send your ass dancing to Nippon.

[engl] In the early 1960s, when rock ‘n’ roll started dying in Portugal, a new trend was already here. Hailing from the UK and headed by Cliff Richard, fast upstaged by his supporting band The Shadows, this would be the first ‘British Invasion’. An entire generation quickly fell under its influence and all across the country dozens of bands were formed, playing rock-based guitar-driven instrumental songs with catchy tunes that were often adaptations of traditional songs. Like the Killer surf garage tune TARTÁRIA, maybe one the wildest surf tune record in Europe in that era. Oblivious to what was happening abroad, the Portuguese press dubbed them ‘Shadows-influenced instrumental bands’. This was the context in which Os Tártaros were formed in an Oporto garage. Featuring Joaquim Gualter on lead guitar, Alberto Abreu on rhythm guitar and keyboards, Hernâni de Melo on bass and harmonica, and Eduardo Alves on drums, the band began touring the country, performing in associations, fairs, and festivals. The early 60s explosion of Shadows-influenced bands grew substantially stronger when The Beatles came onboard and also benefited from the charitable actions of one man, Gouveia Machado, the owner of a musical instrument store who let young people pay for their guitars and drums by installments. From 1964 onwards, with the advent of new influences and instruments, hundreds of bands followed, not just in Lisbon and Oporto but all across Portugal. Some of the tracks were included in the fabulous compilations, PORTUGUESE NUGGETS, this LP is more than a anthology of all their material, its a historical document from a band that runned againts their fate in a time that playing in a rock band, in the portuguese dictatorship, was like a crime.