Sunday, 27 January 2019


Not content to rest on his laurels as a 60s Psychedelelic legend, having played with Tomorrow, The Pretty Things, The Pink Fairies and Syd Barrett’s short lived Stars, there has been a lot of brand new Twink related activity at the moment…………hot on the heels of the announcement of a host of live dates and single on Gare du Nord Records, Area Pirata Records are releasing Twink’s third album with Italian Neo-Psych band The Technicolour Dream. The two previous collaborations with The Technicolour Dream produced the critically acclaimed 2013 album You Reached For The Stars that revisited the sound of the late 60s/early 70s London freak scene and 2015’s Think Pink II which featured significant contributions from former Pretty Thing Jon Povey. Again featuring Povey on a few tracks, Sympathy For The Beast sees Twink and The Technicolour Dream setting the texts of Aleister Crowley to swirling Psychedelic Rock………..let’s be honest, when you’ve got Crowley doing lyrics for you then the likes of Bernie Taupin can properly fuck off. It’s a record that can be seen as a companion piece to the concept album Crowley and Me, recorded by Povey with his band Star Sponge Vision that had Twink behind the drum kit, which was released by the good folk at Mega Dodo Records last year.

Sympathy For The Beast brings Crowley’s imaginative poetical works to life within the context of a trippy Psychedelic Rock setting, with Twink and The Technicolour Dream conjuring up a maelstrom of psychedelic guitar, keyboards and throbbing percussion providing the perfect platform for his provocative imagery. Blending together full tilt Rock ‘n’ Roll that echoes the classic Pink Fairies guitar, bass and 2 x drum kit line up with more atmospheric pieces that have spoken text over guitar and lush synth washes, it’s a fantastic Psychedelic record full of magic and mystery. In essence, Twink and the band have reimagined Crowley’s writing not as a gothic tribute to “The Great Beast” but as something ancient and organically psychedelic in the true spirit of the texts. Although not the first to fuse Crowley’s writing with loud guitars, they have taken a much more subtle approach with songs tinged with an otherworldly strangeness and beauty amongst heady Psychedelic Rock……… of the most absorbing tracks on the record being ‘The Poet’ that features a recording of Crowley mixed with a tripped out guitar and percussion improvisation. Also packed full of squalling swirling Acid Rock guitar and polyrhythmic percussion workouts Sympathy For The Beast is a quality Psych LP that has one foot firmly planted in the late 60s acid underground but still sounds very modern………..stand out tracks such as ‘One Star In Sight’, ‘Fragment From “The Ship”’ and ‘Hymn To Pan’ would sound great in any era. The album also includes two previously unpublished until recently Crowley works, ‘Your Grave Grey Eyes’ and ‘Cinnamon Curls’, that as well as the fuzzed up and freaked out Psych Rock remakes the original piano and soprano versions with singer Vita Pugliese are also included.

Due for release on vinyl by Area Pirata Records very soon as a limited edition run of 300 copies so keep ‘em peeled for an official release date.

Saturday, 19 January 2019


Back with a new record after an extended break following their critically acclaimed album Disorientation, released by the London Dreampop/Post-Rock/Shoegaze indie Club AC30 in 2011, Deep Cut have seamlessly picked up where they left off with an album brimming with kaleidoscopic guitar hooks, driving motorik beats and hazy Shoegaze comedowns. Different Planet is a stunning blend of 60s influenced Psych Pop, early 90s Indie Rock jangle, drone, Krautrock, Trip Hop and subtle Electronica (the kind of eclectic but cohesive sounds you would expect from a band featuring former members of Richard Fearless’ sprawling Psychedelic Rock, minimal Techno, Krautrock, Dub and Industrial Noise collective Death In Vegas) which references The Byrds, Velvet Underground, the early 90s Shoegaze “Holy Trinity” of MBV, JAMC and Slowdive, James Lavelle’s UNKLE records, Primal Scream  (the late 90s Sun Ra meets The Stooges in a pool of reverb version and not their lazy Stones preset) and Krautrock legends CAN/Neu!/Kraftwerk through ten excellent tracks. With the dreamy vocals of singer Emma Bailey adding a silky Indie Pop sensibility to Deep Cut’s Psych Rock shimmer, Different Planet has a sonic footprint not a million miles away from recent releases by Jane Weaver and Josefin Öhrn.

Different Planet is a distillation of a whole host of different sounds and influences skillfully woven into a sonic tapestry way more than the sum of its parts. Although essentially rooted in the classic guitar driven Shoegaze and Dreampop sound of Creation Records circa 1991, Deep Cut mix it up with elements of Byrdsian Neo-Psychedelic jangle (‘Washed Up’), pulsing Krautrock (‘Alarm Button’), spacey Dub grooves (‘Spiralling’) and mellow Trip Hop breaks (‘Different Planet’) to create an off kilter Psych/Pop record full of light and shade that sounds new and vibrant. There is so much to love here and with ten really great songs it’s difficult to pick out any single stand out track, however ‘Alarm Button’ is an absolute killer tune with it’s motorik groove and seductive synth pulse straight out the DIV song book. For fans of early 90s Shoegaze and modern melodic Psychedelia, Different Planet is the first essential album of 2019. You can check out/stream selected tracks here……………

Due for release on CD/Digital via Gare du Nord Records on 25/01/19, Different Planet will be available from all the best record shops with pre-orders available from Deep Cut’s Bandcamp page.

Saturday, 12 January 2019


American Garage/Psych band The Marshmallow Overcoat, straight outta Tucson, Arizona, were founded by singer/Garage Rock obsessive Timothy Gassen back in 1986 and although maybe not the best known of the 80s Neo-Psychedelic bands, they had a career that spanned the best part of 30 years of tuning in, turning on and tripping out, playing shows across America and Europe and releasing nine full length LPs along the way. The band’s amazing three-decade crusade, made on a perpetual shoestring budget, cemented The Marshmallow Overcoat as one of the longest-running Garage bands in the history of Rock and Roll. Their first recording deal was with Dionysus Records in Los Angeles who released their first LP, The Inner Groove, in 1987……….The Marshmallow Overcoat couldda bin contenders around the turn of the 90s after the release of critically well received albums on Skyclad/Get Hip Records and exposure on MTV but like many great Psychedelic bands from that era never really got the breaks. Their long strange trip has now been documented in a feature length film, All You Need Is Fuzz : 30 Years In A Garage Band, directed by Gassen. His documentary gives a rare and intimate insider’s glimpse into how a no-budget rock band rehearses, makes records, climbs in a van to take their show on the road and then survives decades of changing musical trends, commercial resistance………….and each other. The songs featured in the film have been released by the very groovy Italian Garage/Psych/Punk label Area Pirata Records as a 25 track CD titled………erm……..Songs From All You Need Is Fuzz that also conveniently works as a “Best Of” compilation of the music of this remarkable band.

The Marshmallow Overcoat exploded on the scene in a kaleidoscopic swirl of Vox keyboards and Amps, Rickenbacker guitars, Ludwig drums, Fender basses, paisley shirts, Beatle boots and everything else that screamed cool 1966/67 with a sound inspired by classic 60s bands such as The Chocolate WatchbandThe DoorsThe BeatlesThe ByrdsStrawberry Alarm Clock and The Electric Prunes. Although their early songs were somewhat raw, by the time their excellent 1990 LP, Beverly Pepper, had landed The Marshmallow Overcoat had developed a shimmering Psychedelic sheen, honing their signature sound with Farfisa organ and 12-string Rickenbacker to the fore. Songs From All You Need Is Fuzz is a treasure chest brimming with Psych Pop gems with the pastoral ‘The Beyond’, ‘The Knights Of Fuzz’, the groovy ‘Kiss The Tears’, the jangling ‘Beverly Pepper’ along with the swirling ‘13 Ghosts’ being real highlights. For existing fans of The Marshmallow Overcoat who have followed the band on their long journey this is a real treat with three new songs, including the sublime Paisley Pop single Wait For Her’, and seven songs on CD for the first time. The disc also includes a detailed 56-page pdf book, chronicling the 30-year discography and recording history of the band. For those of you new to the band, Songs From All You Need Is Fuzz is the perfect introduction to one of the more obscure bands from the Neo-Psychedelic 80s and for fans of the “classic” Nuggets bands this is well worth your time. You can check it out/stream it here……..

Songs From All You Need Is Fuzz is out NOW on CD via Area Pirata Records (the home of Italian Garage Rock) and available from their online store or from the usual groovy internet record stores.

Friday, 11 January 2019


Kicking in the doors of perception into 2019 is the first release from former Popdog and B-Leaguer Jim Styring’s new band The Ego Ritual. Spiked with a fizzing Power Pop sensibility, the self titled EP by The Ego Ritual is a Neo-Psychedelic gem loaded with layers of rolling and tumbling guitars that evokes the best of the early records from L.A’s Paisley Underground and the 90s Psych Pop quirk of bands such as Orgone Box, Green Pajamas and Hindu Rodeo. Driven by guitarist William James Ward’s subtle blend of fuzzy tones and Eastern flavours with the supple drumming of Gaz Wilde holding the bottom end together, The Ego Ritual EP is a 4 track trip into a swirling psychedelic vortex.

The opening track is a trip back 50 years to 1969 where the acid whimsy of 1967/68 had evolved into a much harder sound that had by the early 70s fully mutated into post-psychedelic heavy rock. Echoing the psychedelia infused heavy riffing of late 60s/early 70s bands such as The Open Mind and Stray, ‘Chakra Maraka’ rocks like a proper bastard with a pounding backbeat and squalling guitars crashing together in a Psych Rock tour de force with the second track, ‘Ten Points For The Red Star’, very much in the same vein. The rest of the EP is much more acid soaked filtered through a kaleidoscopic lens with a twisted Power Pop meets the Paisley Underground sound spiraling skywards leaving a vapour trail of guitars in its wake. The whole record is a total turn on for any fan of Psychedelic guitar driven rock and packed with catchy melodies and terrific songwriting, the first EP from The Ego Ritual is a quality calling card promising great things in the future for a band still doing interesting things with a genre that goes back half a century…………….recommend!!!

Due for release 18/01/2019 on CD via the New Jersey Power Pop label Kool Kat Musik with copies also available from The Ego Ritual’s Bandcamp site, so keep ‘em peeled kidz.

Saturday, 8 December 2018


Yup it’s that time again where everybody shows off their impeccable taste with a end of year list of their “best” albums. It’s not been a vintage year for Psychedelia but there have been enough releases we have been digging down in our psychedelic basement to put a list together of 20 albums along with a few compilations/anthologies and singles/EPs. As we always say, this is the music we have really liked throughout 2018 and other opinions are available…………..however these are the sounds that have been on heavy rotation in our psychedelic basement and that we feel warrants inclusion on a list of great records of the year. As usual it’s an eclectic mixture of face melting Psych Rock, fuzzed out Psychedelic Pop, strange and beautiful psych tinged Folk music, 70s influenced retro Rock, innovative Folktronica, Prog Rock, ethereal Shoegazing, Kosmic exploration in distant galaxies and what other far out left field sounds we have been digging throughout the year with everything on the list being of equal merit.


Spiritualized - And Nothing Hurt (Bella Union).

The Oscillation - Wasted Space (Fuzz Club).

Beautify Junkyards - The Invisible World of Beautify Junkyards (Ghost Box).

Harmony Rockets with Peter Walker - Lachesis/Clotho/Atropos (Tompkins Square).

Chickn - Wowsers! (Inner Ear Records). "during the recording of the album the band were inspired greatly by sounds from The Stooges, David Bowie, T.Rex and Ariel Pink to Sun Ra, Red Crayola, Captain Beefheart, CAN and Alice Coltraine and have managed to make a record that sounds an awful lot like Gong (both the classic 70s line up and the rebirthed post Daevid Allen band). WOWSERS! is essentially a 70s influenced left field Prog Rock record with bright splashes of heady Psychedelia added to the mix"

Melody Fields - Melody Fields (Kommun 2/Sound Effect Records).

The Limiñanas - Shadow People (Because Music).

Trembling Bells - Dungeness (Tin Angel Records). "Taking the sounds of the more tripped out late 60s/early 70s Acid Folk bands as a launch pad for their songs, Trembling Bells then add plenty of modern Psych Rock influences creating music that is Folk Rock inspired but is not really Folk Rock in the…….erm……traditional sense but a complex mix of a whole host of of fluid layers and textures seeping down to the Folk roots."

A Place To Bury Strangers - Pinned (Dead Oceans).

Prana Crafter - Enter The Stream (Sunrise Ocean Bender/Cardinal Fuzz). Inspired/influenced as much by the sounds of early 70s kosmische German bands such as Agitation Free as by American introspective Alt-Rock singer/songwriters, Prana Crafter’s very unique approach to Acid Folk takes his new long player, Enter The Stream, deep into uncharted waters rarely explored by his peers."

Julian Cope - Skellington 3 (Head Heritage).

Lay Llamas - Thuban (Rocket Recordings).

Landing - Bells In New Towns (El Paraiso Records). Less experimental than their previous release on El Paraiso, 2016’s Third Sight, Bells In New Towns is a hazy blend of full tilt Shoegaze/Psych Rock that sounds not unlike the present day, bulked up Slowdive with shimmering guitars and half whispered vocals fusing together in the mix and glacial Eno-esque ambience that resonates over 10 exceptional tracks."

Jack Hayter - Abbey Wood (Gare du Nord Records).

The Prefab Messiahs - Psychsploitation Today! (Lolipop Records/Burger Records). "All the cool stuff you are going to need for a right proper rave up is here………….sounding in parts like the best tracks that never made it onto Nuggets (and then again sounding like lost gems from the Neo-Psychedelic 80s), The Prefab Messiahs are back with a new record of fuzzy Freakbeat, kaleidoscopic Psychedelia and Garage Rock swagger that knowingly channels bands such as the Oh Sees, The Kinks, The Flamin’ Groovies, Electric Prunes, Night Beats, Soft Boys and The Dukes of Stratosphear with a sly wink."

Herself (Gioele Valenti) - Rigel Playground (Urtovox Records).

Wooden Shjips - V (Thrill Jockey). It’s been a while…………….Wooden Shjips are back with a surprisingly mellow record that is destined to be the Psychedelic sound of the summer. 50 years on from the Summer Of Love, the new record channels hazy West Coast vibes with the bite of contemporary Psychedelia."

Three Dimensional Tanx - A Compulsion For Propulsion (self release). “The Stooges in space, Astral travel with the Buzzcocks, The Doors and The Damned jamming on one of the moons of Jupiter and The Ramones on acid”

Sherpa - Tigris & Euphrates (Sulatron Records). "new LP sees Sherpa dive deeper into the narcotic netherworld channelling everything from Popol Vuh to Spiritualized , slowly unfolding through six tracks summoning ancient magic. It’s a dark album, slow and sometimes menacing, but at the same time letting brilliant white shafts of light and hope break through the haze. Much like the first LP, the band’s second album blends together the trippy Krautrock of bands such as Bröselmaschine, Gila and the more mellow moments of Amon Düül II,near transcendental Middle Eastern flavoured drone outs with the foggy vibes of late 80s/early 90s bands like Spaceman 3, Loop etc. but this time Sherpa ramp up the atmospherics and they texturally almost come across like Slowcore Post-Rock in the quietest sections."

The Sunflowers - Castle Spell (Stolen Body Records).


Various Artists - Reverb Conspiracy Vol 5 (Fuzz Club). ”peerless 16 track collection of some of the best fuzzed up and freaked out tunes released in the last 12 months from all around the world and other planets. Featuring a mix of Fuzz Club signings and tracks from bands on other cool, psychedelically inclined Indie labels, these compilations have been likened to a modern-day Nuggets series and hailed by The Vinyl Factory as a time-capsule-like documentation of modern Psych”

Various Artists - Running The Voodoo Down Vol 2 (TAD Republic of Music).


Bert Jansch - Just A Simple Soul (BMG).


Heligoland - Coriallo EP (Commission 45). "Working at the margins of Dreampop/Shoegaze and Post Rock, Heligoland’s music is characterised by expansive, layered arrangements and the soaring vocals of Karen Vogt and has been described as a combination of “the emotive ethereality of The Cocteau Twins with the stark balladry of Low” which perfectly encapsulates the glacial beauty of the Coriallo EP."

The Chemistry Set - Firefly (Fruits de Mer Records).

The Thinglers - The Thinglers EP (Area Pirata Records).


Saturday, 10 November 2018


For 50 years King Crimson have been driven by the singular vision of Robert Fripp. From the early days of Prog Rock trailblazers through the Post-Punk years to their late period of experimental music innovators going toe to toe with the heaviest “Industrial” bands, King Crimson have always been ahead of the curve but never over staying their welcome with Fripp regularly disbanding and reforming KC with subtle line-up changes totally in sync with the musical direction he wants to take next. The current incarnation of King Crimson is a “road” band built for touring with eight master musicians on stage having the depth and scope to dip into any part of the band’s extensive history………….however unlike many of the “classic rock” bands still touring, this is not merely an exercise in cheap nostalgia as King Crimson are still a thrilling live experience with this line up of the band being an absolute monster with three drummers, still cutting edge with the ability to surpass any preconceived expectations you may have had. Seasoned session players and incredible technicians, Robert Fripp has assembled a band that includes long time member drummer/percusionist Pat Mastelotto, former Porcupine Tree drummer Gavin Harrison and Jeremy Stacey (who also contributes understated piano to the sonic maelstrom) combining to form a formidable interlocking percussion ensemble that skillfully navigate Crimson’s complex song structures. Stacey’s last gig was with Noel Gallagher’s plodding Dad Rock outfit High Flying Birds…… must have been……erm……easy money compared to playing with KC. The rest of the band includes Mel Collins, who originally played with King Crimson in the early 70s, with an array of saxes and flute that adds an extra layer of texture, from the mid 80s line up Tony Levin on bass and Chapman Stick, former Swans, Ministry and R.E.M collaborator Bill Rieflin sat behind keyboards/Mellotron and guitarist Jakko Jakszyk also handling vocal duties.………it’s a astounding line-up of players and possibly the best version of King Crimson ever. This is not a band that is on one final trek around the concert halls, but one that is breathing new life into Crimson’s back catalogue, reworking and reinventing classic tunes while also including new and unrecorded material    

Suited and booted, the band take stage at the Birmingham Symphony Hall bathed in pure white light with Mastelotto, Harrison and Stacey taking their places behind drum kits at the front of the stage and the rest of the band on a raised platform behind the drums with Fripp taking his customary seat to right behind a Mellotron and a massive FX rack. The current King Crimson two part live set is about 20 minute shy of the 3 hour mark, heavy on the fan pleasing early 70s Prog Rock period but also visiting the later years taking in pastoral Prog/Psych to the sheet metal screech of Industrial Rock and everywhere in between. Opening with the percussive riffing of ‘Larks’ Tongues In Aspic (Part 1)’, King Crimson take us on a epic journey of complex musical passages played at breakneck speed in a flurry of arms and fingers, Jazz improvisations, drum workouts and gorgeous sweeping Mellotrons. Because they can, Crimson tweak their set every night picking from a pool of songs and changing the running order to keep things interesting………..the Birmingham show had a first half stacked with “oldies” including ‘One More Red Nightmare’, a massive 20 minute chunk of Lizard, a selection from their legendary debut album before closing with a beautiful version of the title track from Islands with the second set fast and furious showcasing the heavier side of KC before ending with a majestic ‘Starless’ with the stage lit in fiery crimson, the only lighting change of the night. Although King Crimson’s newer material is brilliant, it’s the classic 70s stuff that a nearly full hall go nuts for………….the return of Mel Collins means that for the first time since the 70s King Crimson have a sax player in the band and now have the musical scope to explore the tunes from their early years. Not many fans would nave ever thought they would get to hear nearly half of Lizard played live, let alone the sublime ‘Islands’. With a expanded line up, the songs from In The Court Of The Crimson King are played in their full pomp with stunning Mellotron passages, Collins replicating Ian McDonald’s flute and sax parts and Jakszyk being an able replacement for the late Greg Lake. Following a charged ‘Larks’ Tongues In Aspic (Part 2)’ a exquisite version of ‘Moonchild’ rolls back the years to the summer 1969 eventually merging, like on the record, into the symphonic splendor of the debut album title track. Although King Crimson’s early work was outstanding, some of the songs from the first four albums can be seriously dated and hamstrung by Pete Sinfield’s terrible Sixth Form poetry………an appalling pretentious lyricist, Sinfield is responsible for the worst Crimson lyrics ever, however baring Sinfield’s crappy words, the tunes from In The Court are stunning with ‘Epitaph’ performed during the second set with ’21st Century Schizoid Man’ naturally saved for the encore. If the first part of the show was a crowd pleasing blast from the past, the second half saw KC at the top of there game running through a selection of their later material including ‘Discipline’, ‘Neurotica’ and ‘Meltdown’ along with a reworking of ‘Easy Money’ from the Lark’ Tongues LP. Transcending genres, Robert Fripp has for the last 50 years guided King Crimson down its own idiosyncratic path, occasionally meeting the mainstream before fracturing off into alternative directions and the Birmingham show was a celebration of this with 3 hours of quite brilliant music flying by. No doubt the best gig we have been to for quite a while. It was no means cheap but worth every penny…………don’t waste your money on stuff like Camel or one of the versions of Yes living in the past. but save up and go to see King Crimson still pushing the envelope when they hit your town.

Saturday, 13 October 2018


Again summoning the sounds of a bygone Psychedelic era, Finnish heads Octopus Syng are back with a sensitive and melancholic record that, like its predecessors, draws on the spirits of Syd Barrett and early Floyd for inspiration. Victorian Wonders is a LP of contrasts, in parts dissonant and eerie and in others whimsical and diaphanous, slowly drifting through a ethereal netherworld of deep dreams. It’s quite a trip……………stoned immaculate and strangely strange, Victorian Wonders is a baroque Psych Pop opus reflecting a shimmering image of the bucolic, heady days of late 60’s gentle British psychedelia, mixing the kaleidoscopic swirl of lysergic awakening with hues of beautiful pastoral Acid Folk. For those of you that know the label, this is another Mega Dodo release celebrating “thee psychedelic” in it’s purest form.

It’s a luscious experience. Gloriously unhurried, Victorian Wonders unfolds in a hazy journey through the psychedelic with previously hidden colours emerging on each listen. Seeped in the mystical world of ancient British psychedelic explorers that was rediscovered by the first wave of wide eyed acid dandies, Octopus Syng skillfully create a blend of haunting soundscapes and tripped out tunes from a mythical British Empire and way beyond channeling the vibrations of a turned on Albion circa 1967 with a strange brew of more modern Psychedelic sounds. The dreamy ‘One Day At The Amusement Park’ eases the listener into the psychedelic world of Octopus Syng, with songs a seamless sequence of sensations flowing through the record. Scattered among the deep psychedelia there are moments of sparkling Psych Pop adding brilliant contrast to the shade…………. ‘If You Were A Flower’, ‘Go Away Damn Raindrops’ and ’Roundabout’ are in essence “classic” Psychedelic Pop songs (the kind that turn up on 60s BritPsych obscurities compilations), however Octopus Syng’s thing is then to totally drench their songs in the “acid experience” with sweetness and light coated with a glaze of weird and abstract as they drift in and out of focus. For fans of the very trippy 60s Psych/Acid Folk bands, Victorian Wonders is well worth your time. Another great record from Mega Dodo.

Due for release 09/11/2018, Victorian Wonders is available to buy as a limited edition (300 copies) purple vinyl LP in a gatefold sleeve or on CD from all the best record emporiums and on line merchants…………or directly from the good folk at Mega Dodo.