Ertlif was formed in 1970 by two ex–members of Egg & Bacon, lead guitarist Dany Andrey and bass player Teddy Riedo. They were joined by keyboard player James Mosberger (The Only Ones, The Countdowns), drummer Hanspeter ’Bölle’ Börlin (The Countdowns) and lead guitarist Martin Ruder: the cream of the Basel music scene from that time. The band name was derived from a mysterious medieval magician and alchemist. They were inspired by Pink Floyd, Yes, Procol Harum, Van der Graaf Generator and Genesis amongst others. A strong rhythm section and twin lead guitars blended with the Hammond organ created the characteristic Ertlif sound. In August 1971 they were the only Swiss band invited to the "Pop Meeting 71" in Münchenstein, Germany. Soon after, Ruder left the band. In November 1971, Richard John Rusinski, an experienced singer from England (ex–Autumn Symphony), joined the band. Riedo and Beni Hauri (the band’s roadie) had been experimenting with oscillators, noise generators, ring modulators and other devices since 1969. In early 1972 they introduced these electronic sounds into the band’s closing number "Classical Woman" so becoming pioneers of electronic music in Switzerland. They also became the first Swiss band to use a Mellotron. The band’s instrumental virtuosity established them as one of the country’s top acts and a phenomenal live band and they were one of only a few Swiss groups to be offered a recording contract.

In August 1972 their album and a 45 were completed in only four days. The records were launched in October generating radio interviews, television appearances and a great deal of press coverage. The promotional tour began with sold–out shows on three consecutive nights at the legendary Atlantis club in Basel. Ertlif continued performing until 1978, when they disbanded. In 1992, they reformed with the original band members and continued playing live. In 2001 they released a new album on CD. With a new line–up, Ertlif have been active until last year when founding member Teddy Riedo sadly passed away. This album is dedicated to the memory of Teddy, who was the brainchild behind this new Ertlif reissues. This double LP contains: –The first Ertlif album from 1972, featuring the original tracklist and sound taken from the original master tapes. – A bonus LP consisting of previously unreleased 1971 demo recordings, done at the band’s rehearsal studio without overdubs. With these demos, Ertlif were offered a recording contract with Tell Records. Also included as bonus is "Plastic Queen" from 1973, taken from the album "Heavenly and Heavy – Mixed Swiss Rock Candies".

Obscure hard–rock / proto–metal beast from Belgium, originally released in 1978 as a private edition of 300 copies. Dangerous, aggressive sound with wall of fuzz guitars and manic speed drumming. Highly recommended to anyone into "Raw Power" era Stooges, "Back in the USA" era MC5, Pink Fairies, early Motörhead, Hawkwind, Acid Archives US obscurities like White Boy & The Average Rat Band, early NWOBHM bands and compilations like "Bonehead Crunchers". The S to S album is one of those obscurities that have remained unknown to collectors of hardrock for many years. We present the first ever reissue with the band’s story told for the first time. S to S emerged out of the ashes of local band Etna, featuring the Cannella brothers: Fulvio on lead guitar and Mirco on bass along with George Abry on drums. After the demise of Etna, the Cannella brothers decided to form a power–trio: S to S was born. Upon meeting producer Michel Dickenscheid, they were offered a deal: the band would help Michel to build a new recording studio in exchange of free studio time with the intention of recording their first album, which would be produced by Michel. So they built a state–of–the art studio with their own hands and soon after the recording of the S to S album started. Mirco switched from bass to guitar so they recruited a new bass player, Picci Salvatore, who abandoned the band just after the recording sessions.

A friend of the band played occasional keyboards and Michel, the producer, played sax on "I’m fool", the most psychedelic sounding song of the album, similar to early Hawkwind. The rest of the songs are prime examples of pure hardrock featuring layers and layers of fuzzed–out guitars and killer riffs by Fulvio, a monstrous sound created by producer Michel using primitive homemade pedal effects and up to four guitar overdubs. The album was completed in early 1977 but remained in the shelf until the following year. The band members were very pissed off when they received the albums from the pressing plant and discovered that their manager had included a logo with Sig runes lettering in the cover without consulting them. Only 300 copies were pressed on their own Overcome label. Meanwhile Mirco formed a punk band named Acétylène but decided to concentrate on S to S soon after. S to S continued right into the 80s with some changes in their line–up, playing many successful shows in Belgium, changing their style towards a more heavy–blues–rock sound, before splitting in 1982.

Sounding at times like Vashti Bunyan fronting Sunforest, "Floret Silva" is a haunting mix of medieval music and progressive / psych / folk with Latin lyrics straight from the Carmina Burana book. The "Floret Silva" project was born when minimalist composer Kay Hoffman went to Italy in the mid- 70s. Once there, she met with welsh soprano Jacqueline Darby, who had recently been working with the Italian avant- prog band Pierrot Lunaire. Jaqueline was working on new compositions with RCA producer Vincento Miccocci in Rome and she asked Kay if she was interested in getting involved in a new project. Kay agreed and Gaio Chiochio and Arturo Stalteri of Pierrot Lunaire also joined them on this new venture. Gaio travelled from Rome to play the guitar and other friends of Jacqueline also offered their collaboration. In a short time, Kay wrote all the material, inspired by the Carmina Burana book and her love of Medieval and Renaissance music. Kay also contributed vocals, clavinet and piano and together with Jacqueline Darby - on haunting vocals - plus an impressive cast of jazz/rock/progressive musicians, they recorded "Floret Silva" during 1977- 78, under the guidance of Vicento Micocci. Sadly, RCA backed off and the album went unreleased until a copy of the masters found their way to Japan, where the great Belle Antique label put out the first vinyl edition of "Floret Silva" in 1985.

In 2006, US label Robot Records resurrected it again for the first CD release. After many years out of print on vinyl, we present a new edition of this lost piece from the 70s Italian underground scene. A visionary album which anticipated the sound practiced by many neo- folk bands some decades later.

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.

Although nearly 60 people have played in Pig Rider or its various offshoots over the years, there have only been two ever- present members, Colin Kitchener and John Mayes, who founded the band at Sevenoaks School in Kent, England in the late 60s. They met when they were 12, and not long after began haunting the music rooms at the school to hammer out current three- chord pop songs on pianos. After a number of other names (including D Jabferg Flossyakkit and Bob Scratch and his Country and South Eastern Spring Blues Band) they settled on 'The Pig Rider Robinson Heterophony' to perform under. After an attempt to build a seven- foot robot bassist called Peregrine Robinson to front the band failed the name was finally abbreviated to its current form. Pig Rider's music has been described as ''joke folk / mock rock'' and although they claim that their minds were only altered by lot of beer drinking, there's a real psychedelic element to it. Also, they should be regarded as pioneers of the DIY movement which would came a few years later. They recorded at home with rudimentary equipment, they used handmade modified instruments (''orgasmatron'', ''banjelele'', ''torture machine'', ''aquaphone'', ''swanee bicycle pump''?) and they self- released a series of acetate only albums housed in primitive, handmade sleeves.

''Heterophonies'' was originally pressed by the custom label Deroy as a private edition of five acetates in 1975. The music is an amazing mix of psychedelic electric folk, acid folk and twisted pop with funny / bizarre lyrics, tape experimentation, effects and homemade / stoned atmosphere.