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We Are Ever So Clean

SKU: SBRCD5035
Label:
Sunbeam Records
Category:
Psychedelic
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"Released at the height of ‘flower power’ in 1967, We Are Ever So Clean is widely considered to be the finest popsike album ever recorded. Produced by Giorgio Gomelsky (discoverer of the Rolling Stones and the Yardbirds), it’s a fascinating amalgam of whimsical pop, music hall humour and acid rock. Much-bootlegged over the years, this is its first official reissue, timed to coincide with its 40th anniversary. Produced with the band’s full involvement, it’s presented with no fewer than ten bonus tracks, encompassing non-LP singles, demos, out-takes and live performances, and comes complete with a full-colour 12-page booklet incorporating many rare photographs and a comprehensive band history, as well as an introduction from the band’s leader, Brian Godding."

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  • 1976's Straosfear clearly defined the band's heavily sequenced sound.  It was highly melodic - all the experimentalism of the early 70s was gone.  Dark and a bit intimidating, its one of their best.New edition remastered from the original master tapes.  Includes two bonus tracks.
    $13.00
  • This is the one - the masterpiece.  1974's Phaedra featured the classic Froese/Franke/Baumann lineup.  The music became a bit less freeform as they started to rely on sequencers, creating what would be termed the "Berlin school" sound.  Dark and mysterious - an album to be played high or straight late at night.Remastered edition from the original master tapes.  Includes 2 bonus Steven Wilson remixes.
    $13.00
  • Raccomdata Ricevuto Ritorno refomed and cut a shockingly good album called Il Pittore Volante.  A lot of these Italian bands from the 70s are reforming and offering up mediocre fare.  This wasn't the case with RRR.  They are now billed as La Nuova Raccomandata Ricevuto Ritorno.  This is a live recording from Elba in which they run through material from Per Un Mondo Di Cristallo, Il Pittore Volante, as well as a handful of covers.  I guess sometimes you can catch lightning in a bottle.
    $9.00
  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • Perhaps a bit of a rehash (or a further extension) of Leftoverture, it sold like mad back in 1977. Has the played-to-death-even-hear-it-in-elevators hit "Dust In The Wind". This remastered set also has two unreleased bonus tracks.
    $7.50
  • LImited edition digipak with one bonus track.Scorpion Child are yet another new band that sets the Wayback Machine to England 1971.  This Texas based band has latched on to Nuclear Blast who are really riding the retro-wave with Graveyard and Witchcraft.  Scorpion Child create full on Zep worship.  Plain and simple...and they do it really, really well."Less enamored of the new wave of British heavy metal than its fellow contemporaries, Scorpion Child pledges troth to the early Seventies, when hundreds of proto-metal bands joined Led Zeppelin and Black Sabbath in redefining the art of the riff. The Austin quintet doesn't imitate the standard forebears on its full-length debut for major label metal imprint Nuclear Blast, even if the John Bonham thud and golden god howl of opener "Kings Highway" indicate otherwise. Instead, the gnarled, psychedelic roots of early metal feed the Child's headbanging. "Your remorse finds a virtual Zen," asserts singer Aryn Black in "Antioch," dismissing sleazy seduction from power balladry with a psychotropic twinkle in his eye. "Salvation Slave" interrupts its dramatic stomp with a dreamy midsection, while the anthem "Red Blood (The River Flows)" swells from acoustic guitars and bongos to power chords and wails, dissolving its celebratory wistfulness into cricket noises and pastoral acid pop. It's not all electric fairy tales, either. The brawny "Liquor" pushes addiction agony ("I've been aching lately to see you again/And lose another friend") through a melody rippling with thunderous power, and heartbroken stomper "The Secret Spot" climbs a guitar wall four decades thick. The locals find their sweet spot with "Polygon of Eyes," a perfect marriage of chugging verses and wide open chorus breathlessly fielding the lyric, "A time sent event horizon will leave our stories behind." Produced by Chris "Frenchie" Smith, Scorpion Child keeps jeans on its hips and stars on its brow." - Austin Chronicle
    $9.00
  • Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard 
    $5.00
  • New edition from Vinyl Magic comes in a mini-lp sleeve. One of my favorite Italian albums features a bunch of unknown musicians doing one of the great ELP ripoffs ever. A killer.
    $15.00
  • Here's another one of those great German bands that fell through the cracks but thanks to Long Hair Music, their music is available for us to hear.  For Example was a large scale ensemble HEAVILY influenced by Chicago Transit Authority.  Notice I mentioned CTA as opposed to Chicago - this was not commercial music like the later incarnations.  For Example also utilized a horn section to excellent effect but also like their US counterparts there is killer guitar work all over this material.  Vocals are present but the music is predominantly instrumental.  So basically excellent jazz rock with killer guitar leads.This set consists of a session the band recorded for SWF Radio in 1973 as well as unreleased demos from 1972 while they were shopping for a record deal that never came.  Highly recommended.
    $23.00
  • “You can expect a beefy rock album, freak style. I think that Cooking with Pagans finally has the sound and energy of Freak Kitchen live; the energy and rawness. It is anything but overproduced, stripped down, drums, bass and guitar. To the point.” – Mattias “IA” EklundhIt has been 5 years since Freak Kitchen graced us with a new album.  Since the release of 2009’s Land Of The Freaks, the band has toured the world – making stops in Europe, USA, and Asia along the way.  Finally the band was able to settle down in their home base of Sweden to record the long awaited follow up Cooking With Pagans.The album finds the band collaborating with Blacksad comic book creator and former Disney animator Juanjo Guarnido.  In addition to creating the amazing packaging for the album, Mr. Guarnido has created an incredible animated video to support the album release.Freak Kitchen consists of world renowned guitarist Mattias “IA” Eklundh, bassist Christer Ortefors and drummer Bjorn Fryklund, The trio offers an intense blend of progressive metal and rock, often served up with a wicked dose of humor.  RIYL Frank Zappa, Steve Vai, and Bumblefoot. 
    $6.00
  • Legit reissue (on Long Hair Music) of the first album from this essential German band.  The lineup and overall sound was quite different from the two more familiar albums "Time Machine" and "Electric Silence".  Guitarist Harry Kramer didn't have quite the frenetic virtuosity of Eddy Marron but he does the job more than ably.  The band featured a vocalist, Jochen Leuschner, who had a real beautiful and soulful voice.  Inclusion of sax gives the music a jazz rock feel with more of an emphasis on the rock side.  I'm actually reminded a little bit of Chicago Transit Authority.  Quite a beautiful album and highly recommended.
    $18.00
  • Vocalist Silje Wergeland has been fronting The Gathering since 2009.  She has developed into a more than able replacement for Anneke Van Giersbergen.  The Gathering's music is far removed from the early death and gothic metal days.  They have firmly moved into the post-progressive rock genre.  Their music deals more with mood and tension - textures and atmosphere.  Think of a more rock oriented version of Portishead. 
    $15.00
  • Phase - Midnight Madness is the third release in our limited edition Modulus series.  Pressed in an edition of 500 copies, it comes housed in a old school style tip-on mini-LP jacket.  A 12 page booklet features detailed liner notes from the members of the band.Phase was a New Jersey based quartet formed in 1978.  It featured Regan Ryzuk (piano, Moog, Celeste), Dave Anderson (electric and Anscor stereo guitar), Carl Scariati (Carl Thompson electric bass), and John Hvasta (drums/tympanis).  All members were young but highly accomplished musicians with a serious interest in jazz, classical composition, and progressive rock.  Their high energy instrumental music clearly demonstrated these influences.  The music of Phase can easily be classified as fusion but there are strong undercurrents of progressive rock that weaves its way through the album - not just in terms of the instrumentation or playing, but the compositions as well.The band signed a deal with QCA/Red Mark Records in Cincinnati.  The band left New Jersey and heading out to Ohio to record Midnight Madness.  The album was recorded and mixed very quickly.  It saw a release in 1979 and unfortunately sank without much of a trace.  Keyboardist Regan Ryzuk reissued the album two years label, rebranding and repackaging the release under the Fusion Quartet moniker.Hearing this music for the first time was quite a revelation.  I was blown away to say the least.  When I'm asked to describe the music I typically reply "Return To Forever meets Emerson Lake & Palmer".  Not only did this quartet have chops from hell but the compositions were challenging as well.  If you are a fan of RTF, Mahavishnu Orchestra or the prog giants ELP, Yes, Zappa, and PFM you will find much to enjoy here.Please keep in mind that when this edition sells out it will be gone forever.   
    $27.00