Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.
Review: Jonathan Richman's 'Egyptian Reggae' has been setting discerning dancefloors alight since its release in 1977, during the golden era of punk. Known for its infectious rhythm, the track has seen a few reggae remixes over the years. However, it was time for something freshia playful yet respectful cumbia twist. Both genres share a certain groove, making them a perfect match, and it's easy to imagine DJs weaving these sounds together in their sets. This new take on 'Egyptian Reggae' has been recorded in Lima by Pancho Acosta, the founder and guitarist of Company Quinto, and one of Peru's finest cumbia guitarists. Acosta brings his expert touch to the track, transforming it into an upbeat cumbia gem. On the flip side, we're treated to one of Acosta's own originals, 'Carnaval de Jujuy', recorded by Austin-based future cumbia outfit Money Chicha. The song blends Peru's fuzzed-out early chicha sound with Money Chicha's unique, modern interpretation of the genre, delivering a fresh, captivating cumbia vibe.
Review: Alzo's 1973 hit single 'Lover Man' is heard reissued by the amorous hommes over at Elznavour. Hailed by the label as two romantic bangers - selectly chosen from the American soft rock musician's second LP Takin' So Long - Elznavour are keen to highlight the songs' equally tragic pull, for Alzo sadly passed away in 2004. Echoing the muted hey-heys of Sixto Rodriguez on the A, before launching into a cinematic psyche-soul number predictive of much modern pop music , 'Come On, Come On', on the B, this is a premium slice of well-cured rock music on 7", recalling the music of an unforgettable musician.
Review: You always know what you are going to get from Mr Bongo's Brazil 45 series and that is pure fire in musical form. This 100th release suggests the label has no intention of slowing down nor is it running low on top source material. This one from As Meninas on the A-side has beautiful female vocal-group arrangements with flutes that soar up top and plenty of ass-shaking samba shuffles down low. It's a tune that oozes soul and charm and was first released back in 1967. It's a super sweet but short song that is backed with 'Brasileiro' on the flip. It's taken from Jorginho Telles' self-titled 1971 album on Copacabana Records and mixes up raw guitar sounds with r&b vibes into something unusual and alluring.
Review: Heavy Jazz returns with Ellis Island, their latest instrumental offering following the success of 'Indian Rope Man'. This new release highlights Brian Auger's signature jazz prowess, delivering another intricate and powerful workout. The flip side honours the late Zoot Money with the first-ever 7" release of 'George Bruno Money'. This limited edition comes in a carefully designed sleeve featuring foldout flaps and a cutaway rear. It's an essential piece for jazz lovers and collectors alike, brimming with soulful rhythms and nostalgic nods to jazz legends.
Review: Guerssen Records specialise in reissuing obscure psychedelic music from the past, and here they home in on two early British psychedelic bands, Hopscotch and Andwella. 'Look At The Lights Go Up' is Hopscotch's contribution, with the band made up of former members of the Eyes and Tomorrow, and the track comes as a rare and unreleased demo of melodic trip-sat illumination and lyrical nonsensicality ("This lady from the forest of Manhattan...". Andwella's 'Felix' comes to the B-side, and is a formerly unreleased outtake from their second album World's End.
Review: The imagination of the Munster label runs unabashed, as the late 1960s French cabaret star Rita and Chilean band Aguaturbia are heard to "team up" on this wonderful 7" slither of eroticism. Both visited their respective localities in the late 60s and early 70s, with Aguaturbia especially concluding an extensive tour across Europe with an incensing performative finale in France. They also happened to each name one of their own best songs 'Erotica'. Though they never met or really formally collaborated, this new record indulges the fantasy of what it may have been like to work together, had their shoulders been hit with golden arrows. An imaginary sexploitation film soundtrack, Rita's 'Erotica' rises to the hyperventilated brim, her delighted cries building to shaky, sighing contractions, while Aguaturbia's does remarkably similar with a brasher, dust-storming fuzz-guitar melee set to fainter but still audible groans.
Xxxtra Asceticism Or Allergic To Meditation (9:13)
Asoka Ananda (19:44)
Review: Trust Masked Replicants showcases Acid Mothers Temple (AMT) in top form, delivering their signature brand of experimental psych-rock built around skeletal frameworks. Led by Kawabata Makoto, the band navigates chaotic, drone-infused improvisations, pushing the boundaries of human consciousness with their cosmic jams. Side-2 features the standout 20-minute track 'Asoko Ananda', a fast-paced, side-long piece that fuses kosmische rhythms, filter sweeps, free-jazz piano, tabla drumming, and vocal experimentation. This track captures the full range of AMT's skills, climbing to the summit of their collective abilities. Rooted in prog, Krautrock, modern composition and noise, AMT has been a driving force in the psyche-rock scene since the early 90s. With a long history of prolific releases and global tours, the band returns to Important Records for this limited vinyl edition featuring original member Cotton Casino. Trust Masked Replicants - with its neat titular nod to Captain Beefheart's best known album - is another top album for fans of the group's improvisational, mind-expanding soundscapes.
Review: Does The Cosmic Shepherd Dream Of Electric Tapirs? is not just a great - and amusing - question but also the title of Acid Mothers Temple's debut release on Space Age Recordings. This Japanese soul collective, known as Acid Mothers Temple and The Melting Paraiso UFO, remains an enigma to both the Western and Eastern worlds. Their music spans acid-rock, experimental, and psychedelic genres, varying with the listener's mood. After being out of stock for some time, the long-anticipated repress of this wild offering is now available on two solid green vinyl records and complete with the original seductive artwork.
Review: Leipzig band Acid Rooster have been laying out their template for hard-boiled psych rock for some six years now, and they're getting stronger with each release. This latest album is made up of six long-form jams doused in FX and holding down sustained grooves in a manner which doffs its cap to the pioneers of krautrock from Ash Ra Tempel to Amon Duul. There is a dustier finish to the band though, as they show themselves to be equally in thrall to the lurid squall of the American psyche explosion, but somewhere in the middle they come out truly sounding like themselves.
Review: Action Pact were a punk rock band from Stanwell, an isolated village right under the flight-path of London Heathrow Airport, inspiring this compilation album's title. Consisting of two formerly unreleased John Peel sessions as well as a David Jensen session - totalling 16 tracks - this retrospective charts the band's history, from their formation in 1981 by guitarist Wild Planet, bassist and lyricist Dr. Phibes and the then 15-year-old drummer Joe Fungus and singer George Cheex, still school-kids when their Heathrow Touchdown EP was released in October 1981. BBC DJ John Peel played the single many times and booked them for the first session to appear here, recorded in February 1982. The second Peel session was recorded and broadcast in 1982 and a David Jensen BBC session in 83.
Review: Adelaida's fifth studio album Retrovisor arrives here on lovely high-quality 140g black vinyl which also comes with an insert with lyrics as part of the hand-numbered and limited edition 'The Noisy Series' on Spinda Records. It is a full throttle 13 track rock workout with dense and gauzy guitars layered up into impenetrable walls as the vocal wails fight your attention. It is a raw fusion of indie, grunge and shoegaze all the way from Santiago that will remind of classic bands from the late 90s.
Review: Aguaturbia's 1970 debut is a cornerstone of Chilean rock, crucial to understanding the genre's evolution in South America. The album is fierce and vibrant, brimming with heavy riffs, bold distortion and Denise Corales' ethereal, phased vocals that echo the style of Jefferson Airplane. Blending original compositions with dynamic covers of hits by Tommy James & The Shondells, The Beatles and Jefferson Airplane, Aguaturbia infuses these tracks with an intensity that feels fresh and enthralling. Their bold musical expression, combined with provocative cover art, pushed boundaries in Chile's conservative society at the time. The album's raw, untamed energy made it a symbol of artistic rebellion. Guitarist Carlos Corales captivates with his powerful solos, leaving live audiences in awe. His mastery, paired with Willy Cavada's exceptional drumming, is showcased in unforgettable moments like Cavada's thrilling solo on 'Ah Ah Ah Ay', recorded perfectly in one take. Standout tracks include their hypnotic rendition of 'Somebody to Love' and the sultry, electrifying 'Erotica', where Denise's seductive vocals meld effortlessly with Carlos' scorching guitar work. Their version of 'Crimson and Clover' transforms the classic into a pulsating, psychedelic experience. This album, with its raw edge and groundbreaking style, remains an essential listen for anyone delving into the roots of psychedelic rock in Latin America, providing a truly riveting sonic journey.
Review: Al-Qasar deliver their unique debut album for WeWantSounds, exothermically reacting psych rock, pop and regional Sahel sounds. The five-piece band dropped their debut album Who Are We? for Glitterbeat in 2022, marking a potent Arabic and Middle Eastern psych rock inflection, where elements such as North African trance music were helped along their way in the form of continual reintroductions to Western ears. Characterised as "Arabian fuzz" by the band, their sound now hears a metempsychotic rebirth: this album was again recorded in both Europe and Africa, and, unlike their debut's Western collaborators (Lee Ranaldo of Sonic Youth, Jello Biafra of Dead Kennedys), focuses on bustling rhythms lent by North African musicians such as Alsarah, Check Tidiane Seck and Sami Galbi.
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