Dreamy percussion exotica by a group of fourteen-year-old students (ten girls, including Evelyn Glennie, and one boy) in Aberdeen, 1978.

Jarvis Cocker’s thrilled to bits — ‘Here, at last, is the the soundtrack to maybe THE underground film of all time in all its crazy daisy glory’. A mental cut & paste of Czech orchestras, folk, jazz and experimental sounds.

Intensely sought-after, highly-considered, late-60s psych rock — homespun, funky, introspective — privately pressed in the dark, hazy twilight of flower power. Plus D’s back pages, expertly restored.

‘Experimental jazz, chanson, bluesy folk and various strains of outsider music permeate a rich layering of music boxes, walkie-talkies and plastic straws, plucked charrango and banjo, kazoos, flutes and snake-charming ocarina, accordion and melodica, found percussion and traditional tuned drums. The moods switch from child-like and epiphanic (Tarzan en Tasmanie, Madrigal for Lola) to babbling (Pocarina), mysterious and dark (Septième Ciel, Rugit Le Coeur) to tender and simple (Rainbow de Nuit, Chevalier Gambette); from murky, suspenseful melancholy (Levy Attend, Eno Ennio) to pensive psychedelia (Un Cercueil à Deux Places). A world of echoes. A tale of tales. You’ll be whistling and humming along on first listen.’

The CD is from Fontana / Decca France; with a sixty-page booklet.

Dead Moon’s first record, originally released in 1988.
‘An authentic mix of psychedelic rock, punk, blues, country & every other American music worth a damn,’ writes Mississippi, questionably. ‘This LP features all-time classics such as Graveyard (a 13th Floor Elevators type vibrating psychedelic song), Don’t Burn The Fires & I Hate The Blues. Lo-fi as hell.’