An anti-war collage of words and sounds from August 6, 1966, including contributions from a plastic clock-radio, The Velvet Underground, Gerard Malanga, Marion Brown, Allen Ginsberg, Ishmael Reed, Andy Warhol (standing around silently) and Ed Sanders.

‘Venomous Tex-Mex R&B and early rock n’roll from San Antonio’s West Side scene. From 1961-67, Bexar county kingmaker Abe Epstein cut every teen combo to grace the Patio Andaluz stage, launching the careers of Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners, and hundreds more throughout the decade.’

Crucial, preposterous David Axelrod!
Composed and arranged by the maestro, a psychedelic garage-rock opera, sung in Latin, with Gregorian chant, pipe organ, lashings of fuzz guitar, strings and horns.
A version of the opener Kyrie Eleison famously featured in the soundtrack for Easy Rider, accompanying several scenes.
This definitive reissue was mastered by Kevin Gray using the original tapes.

Not for the faint-hearted — dark and dirty psych improv from Chie Mukai, Eric Cordier and Seichi Yamamoto (Boredoms). Moody, subterranean squalls and drones, blowing up like a bad-tempered Fushitsusha.

New Face In Hell… Pay Your Rates… Container Drivers… English Scheme… Gramme Friday…

Leave The Capitol… Prole Art Threat…
The six tracks comprising the original 10” plus their contemporaneous session for John Peel in March 1981.

Smart, exuberant, deftly experimental French pop, crossing chanson and the nouvelle vague, with brilliant arrangements by Jean Claude Vannier.

From 1973, the first of her recordings as a duo with Areski. ‘Deeply rooted in North African and European folk traditions… evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings and woodwinds… One of their best-loved albums, for its remarkable sense of intimacy… beckoning listeners into a strange and beautiful world.’

From the US, Colombia, Nigeria, Sweden, South Korea, Thailand and Iran.

Lost Treasures From The Vaults, 1959-69, Volume Three.

The first reissue of this set, recorded in Paris in 1975, jubilantly blending funky Algerian rock and other North African sounds with jazz, Latin, boogie… A two-page insert carries new liner notes.

A rare sighting of Eye from The Boredoms, kicking up a rumpus with Japanese noise-rock duo Gagakirise.

‘Ghost musick… operating in the margins and intersections of folklore, experimental electronics, dreams and nightmares… Think of it as a rampant yearning, a manic laughter, but mostly as a feeling of some somnambulistic thirst for adventure and journeys into the unknown, a feeling that is grounded deep inside the heart of the continent.’

‘Shines a light on a little-heard, spooked German underground, working below the radar on mostly small-run releases. Lower Franconia’s Baldruin lays the mystery on thick, his fevered tracks here using flutes, electric organs and shaken children’s toys to create an opaque ambience. Close neighbours Brannten Schnüre voyage into similarly uncharted territory, providing laceworks of fragile folk melodies and sloshes of breathy drone offset by detached vocals. Like Brothers Grimm armed with analogue synths, Freundliche Kreisel supply the title track’s sinister fairy tale, while the oblique textures of Kirschstein’s mystically-themed efforts betray roots in Amon Düül’s hallucinogenic psychedelia and Novy Svet’s neo surrealism. A very dark delight’ (Mojo).

‘The first in a new series from Jazzman featuring the lowest of the lowball schlock n’ roll 45s never known to exist! No box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s… like The Zombie Walk, Night Sweats, The Chiller, The Prowler, and Screaming Vampire! By combos like The Sadists, The Monstrosities, The Nightmares, The Gravestone Four… Putrid pieces of raucous rot n’ roll.’