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23 Oct 2017

Cymbeline "1965 - 1971" Swedish Psych Prog



Cymbeline  "1965 - 1971" Swedish Psych Prog
full

Previously unreleased DIY homemade psychedelia, teenbeat and fuzz-psych/prog by this amazing Swedish band, 1965-1971!! 

Tracks like “Third Image” or “Look at the stars” are an incredible find for anyone into US garage-psych (they wouldn’t sound out of place on any Pebbles or Psychedelic Unknowns volume!) and others like “Flicka”, “Stolta Vingar” or “Mittuppslag” are top notch ‘70s fuzzed out Scandinavian psych/prog. We can’t believe that such fabulous stuff has remained hidden in a carboard box until now. 

Formed in the industrial town of Norrköping in the mid ‘60s, Cymbeline (also known as Motala Ström and W&J) only released a 45 in 1971 before breaking up. But during their existence, the band recorded a lot of stuff, included here for the first time along with their rare 45. 

Cymbeline was basically two guys, Michael Journath and Anders Weyde, who met in 1965 while they both played in beat bands. They started recording songs at Anders little home studio with help with some friends and that’s how songs like “Imagination” and “Look at the stars”, amazing examples of homemade teen-beat, were born. At the same time, Michael and Anders were feeling a bit tired of playing cover versions with their beat bands so decided to start recording more experimental stuff, using armchairs and furniture as percussion, sounds from seagulls and birds, an electric cocktail mixer, improvising lyrics…these incredible experiments were recorded as “Images”, including the killer garage-psych sounding “Third Image”. 

As the years passed by, the home studio improved and new songs were recorded in a more psych-prog vein, some of them included here. There also played a few live gigs with some help from other local musicians. In 1970, Ulf Ryberg joined the group and soon after a 45 was released containing his song “New York”. The flip side was “Sixth Image”, originally one of the “Images” but rearranged and re-recorded. In 1971, demos for an LP where recorded at Europafilm Studios in Stockholm. Two fantastic songs are included here and the sound is different from the earlier recordings – closer to the groups live performances….

Tracklist 
A1 Third Image
A2 Mittuppslag
A3 Motala Ström
A4 Flicka
A5 Stolta Vingar
A6 Strax Nedanför Tornen
A7 Sixth Image
A8 Fifth Image
B1 Look At The Stars
B2 Imagination
B3 Ur Asfalt Ropar Rösterna
B4 New York
B5 Mary Anne
B6 Vinden Viskar Mary
B7 Stolta Vingar II

22 Oct 2017

Heavy Hands “Smoke Signals”US 2008 Heavy Psych Stoner



Heavy Hands “Smoke Signals”US  2008 Heavy Psych Stoner
full vk…
https://vk.com/wall312142499_7617

spotify

https://open.spotify.com/album/0roJ7k72XCmPUyvd2doFsC


As the years stretch on and amplifiers cease to invoke the terror and horror that once seemed their calling cards, bands that carry on the quest for overdriven sonics either focus or fall flat. The wall of noise just doesn’t seem enough in itself anymore. Tasteless licks and bland distortion settings are now the most potent of insults, the calling cards of hamfisted hacks and unschooled novices. How ironic then that a band named Heavy Hands has moved into hard rock pole position with an album of proto-metal power and simplicity wed to the deftest of melodic turns. With every hook in it’s place, and a place for every hook Heavy Hands manage to reach across the years to create a sound all their own…….

Heavy Hands’ debut is psychedelic rock, early 21st century style – certainly indebted to some past influences that knowledgeable fans can detect and name-drop, but with a certain loose diffidence that marks it as a product of a different age. That kind of almost offhand, winsome casualness is especially evident in the vocals, which refreshingly lack the earnest bluster of so many guys who try to pace hard rock/psychedelic crossover outfits, past and present. It’s also present to some extent in the playing, which has a bit of the jammy flavor you might expect of a latter-day psych group, but reins it in with more structure and focus. In these respects they might be seen as throwbacks to some of the work by late-‘60s/early-'70s bands like Blue Cheer and SRC, who weren’t quite metal or flower power. You can throw a little Doors, Hendrix, and Yardbirds into the pot, too (especially as a few of the passages bring to mind the kind of extrapolations the Yardbirds put into “Smokestack Lightning”). Yet while Heavy Hands mix power chording and guitar leads with a distorted tone into their psychedelic hard rock with skill, the best riffs on Smoke Signals aren’t quite up to those bands’ level. The record’s not overtly trying to match those sounds, however, which is a good thing………by Richie Unterberger ……

Heavy Hands are groove merchants with no specific agenda aside from the desire to play a part in the loud/stoner rock/proto-metal canon; to belong. They get there like those before them, with reasonably flashy playing and a mood-establishing agenda, proudly displaying long tail-isms as a calling card. 

It’s clear that the Brooklyn trio has an affinity for the blues, at least as how it was distilled into amp stacks and flared denim back in 1971. But where psychedelia was eventually burned out of that sound in favor of buzzsaw metallic power, Heavy Hands decides to slot it back in. Their nine-song debut album, Smoke Signals, plays directly into the past, from vantage points unavailable to the sound’s progenitors. 

At their best, Heavy Hands finds a comfortable sound and proceeds to hang out, updating bread-and-butter power trio dynamics with a bit of cooled-out psych shot through shoegaze haze and alt-rock excess. Cribbing from everything in between Randy California and the Smashing Pumpkins, it’s a roomy place to play, so drummer Matt and bass player Mitch get locked in early on and take these songs for a walk. Guitarist Sterling (no last names, the record provides minimal liner notes) keeps things cool, with a West Coast guitar god stance akin to Blue Cheer, and a sleepy, red-eyed voice cribbed from Mark Arm. He plays commendable lead guitar atop the rhythm section, rather than from inside of it. Aside from some polite Hendrixisms on She Got It, Heavy Hands eschews big riffs, opting instead to keep things simmering right at surface level, be it through single-note pulsing and a steady, Can-like motorik presence (opener 'Can’t See Through), Titanic percussion breakdowns (the opus 'See Saw), or pert boogie workouts (From Stonehenge to Saturn). Charles Burst’s recording is clean and direct, and highlights the depth of their sonic signatures as a homogenized whole. 

There’s not much of a personality on display here, but when compared with many other hard rock revivalists/apologists, they get the basics musicianship that’s well beyond capable, and an album that, at least for fans of this fraction of rock history, doesn’t neglect the details of so many beloved private-press hard rockers and nth-string Sabbath/Purple/Zep clones from years gone by. In that regard, Heavy Hands is somewhat more entitled to spin this wheel…..By Doug Mosurock………………….

The quality label Language of Stone (led by Espers’ Greg Weeks) has, with its eight first releases, highlighted largely the issue of experimental new people of the black variety. With Smoke Signals they break this stigmatizing series. The Brooklyn band Heavy Hands dives down into dark stoner / prog, 70’s heavy rock and blues-based psychedelia with a hemp-dusting veil draped all over. On the debut Smoke Signals, groovy bass lines, sparkling wah-wah fuzz and trippy strobelys melted together in a kind of traumatic nightmare as from the Vietnam War days. Not in any way completely different from the Black Angels has given us in recent years. Or a myriad of progband from the late 60’s to the mid 70’s. 

The psychedelic approach to Heavy Hands is consistently present, and can be illustrated with, for example, the Sinhalese mask on the cover and song titles like From Stonehenge to Saturn. But it’s also screaming off the band, and they do not stumble into the garage: Two-Minute Black Heart and She Got It are docked in both the 90’s and 70’s Birmingham. 

But there are some real head riders that really make this disc. Tribale See Saw is a clean killer, the best of the record and 7 minutes where the power of power of the power triumph is combined with a groovy dynamics that is both brave and danceable at one time. One of the year’s songs. Initial Can not See Thru is also a virile hell, which is more in stressed stoner terrain, yet capable of putting us in the right mood. In addition, I want to highlight 3 Days Gone, which opens like a sleepy drug ballad before it swirls down Mississippi and into the blues jungle on a cloud of pot. Not ineffective at all! At best, Heavy Hands has an unrivaled coolness, as if Creedence coves Black Sabbath with Hunter S. Thompson as mentor and Hell’s Angels as a result, but in more stagnant moments (Before It Takes Hold, No.6, I’m Standing Accused) Smoke Signals more than a pastry over something that has been. 

The band also recently played on the CMJ business event in New York. There was also the Øyafestivalen event, and I will not be disappointed if Heavy Hands is in the medieval park in 2009….by…. Bjørn Hammershaug…………..
Years ago, this is what I’d hoped for when laying an ear to “stoner rock”, “stoner metal” or whatever it was called…except the poor chemically-bedazzled lads in the groups I was being exposed to seemed far too lysergically stunned to figure out how a song goes together. After a dozen pretty pitiful examples, I moved on to brighter genre fields. Therefore, never having properly grooved into the slot, if that was even possible with those materials, I’ve no clue whether Heavy Hands would be considered in league with that brief movement, but Smoke Signals definitely stoner music, way psychedelic, and 100% pure 70s right on down to the power trio configuration. That is, these guys nail what the others couldn’t find with a map. 

The promo literature pejoratively mis-states history in saying that the Hands’ psychedelia updates the hallowed sound, making it “relevant”. I beg to disagree, as the band basically reifies exactly what some of the lesser-known but very cool groups of the era (Dust, Blue Cheer, Sir Lord Baltimore, T.2., etc.) were engaged in&msadh;and what was relevant then is relevant now. I mean, this is a great example of dead-on re-evocation. Garagey, echoey, fuzzed-out, stripped down, and faithful to what was metal by way of blown-out psych, Smoke Signals is largely instrumental variations on basic themes triangulating all around the chord changes and hash-dripping leads. There are indeed vocals, unpolished, but, just like a lot of the material from the day, they’re secondary, a way of inserting the human voice in there somewhere. 

The front liner is blank except for the Eastern-cum-PreColumbian-cum-Aleut art on the cover, and the rear liner credits everyone but the band members…who it turns out are Ambassador Hazy (Guitar, vox), Mystical Revelation (bass), and Cristal Voyager (drums). To the groups I’ve already mentioned, add Grand Funk Railroad (mostly in the drums), and random portions of Amon Duul II, Clear Blue Sky, Stray Dog, and the fringier ensembles of the heyday of the sound. It’s entirely appropriate that Heavy Hands is appearing on the Language of Stone label, which features a lot of experimental prog but, in this group’s case, travels back to when all the experimentation started…..by Mark S. Tucker…


Tracklist 
1 Can’t See Thru
2 Black Heart
3 Before It Takes Hold
4 She Got It
5 Seesaw
6 From Stonehenge
7 To Saturn
8 No. 6
9 I Stand Accused
10 3 Days Gone 

Jimi Hendrix “Woke Up This Morning and Found Myself Dead ” Live In The Scene Club New York 1968 Jimi Hendrix with Jim Morrison and Johnny Winter (bootleg)


Jimi Hendrix “Woke Up This Morning and Found Myself Dead ”
Live In The Scene Club New York  1968 Jimi Hendrix with Jim Morrison and Johnny Winter (bootleg)

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https://vk.com/wall312142499_7612


I bought this disc (the original seeder says) back when A & B Sound still existed. They happened to carry a few select bootlegs on occasion. I remember thinking, “Wow, this is going to be amazing,” and payed something like $19.99 for it. This recording has been available on many bootleg LP’s for many years. Aside from the Red Lightning releases, most of the LP’s only had a few songs. There was a picture disc version as well, but as cool as they are, picture discs aren’t the same sound quality as black vinyl. This is the most complete recording available, and the quality is pretty good!

The harmonica player is listed as Jim Morrison, but even though the harpist isn’t that good, I think Morrison was considerably worse at harmonica, so it may not be him. Jim Morrison was evidently just at the club and is quite drunk, coming onto the stage during the track called “Morrison’s Lament” and staying basically for the rest of the recording. He starts “singing” into a recording mic, and Hendrix instructs him to use a different mic. Apparently Janis Joplin was in the crowd this night too, and Morrison spilled a drink on her lap, getting a slap in the face in return. There is some confusion as to who the drummer really was, and also a bit of debate as to whether Johnny Winter was actually there. Johnny Winter’s manager at the time, Steve Paul, owned the club and in my opinion, no one else sounded quite like Johnny at the time. However Johnny Winter claims he wasn’t on the stage that night and never performed with Jim Morrison, but he was also a major drug addict at the time, maybe he forgot? It does sound like Buddy Miles so I wouldn’t doubt that it’s him, possibly for the entire recording and not just half like the liner notes claim.

So this is far from a supergroup. More of a jam session that got ruined by one drunken Jim Morrison. But it is very interesting to listen to, and there’s some great moments. Hendrix was supposedly the one operating the recording gear, how this got to the hands of a bootleg company, who knows.
The album documents Hendrix’s jam session (which he recorded himself on his portable reel to reel machine that he had brought with him) at The Scene club, 301 West 46th Street, New York City in March 1968, with guest vocals from Jim Morrison (that consist almost entirely of drunkenly shouted obscenities). Other musicians on the recordings are unknown, though it is possible that the bassist is Randy Hobbs and the drummer is Randy Zehringer, members of The Scene’s house band at the time. It has been rumored that Noel Redding and Johnny Winter also appear. In the case of Redding, this is definitely untrue.[citation needed] Winter himself has denied that he took part in the jam, saying he never met Jim Morrison, although at times during the recording a second lead guitar (at a lower volume than Hendrix’s) can be heard playing in an electric blues style. The LP release is interesting for its strange depiction of Hendrix on the cover (an illustration by artist George Snow).

The material on Woke Up This Morning and Found Myself Dead was first released on a bootleg LP entitled Sky High [1], and at various times in the past and present under different names including High, Live ‘N Dirty, Sunshine of Your Love, Live at the Scene Club, Red House, New York Sessions, Tomorrow Never Knows, Bleeding Heart, and many more, though all are semi-official releases. This is probably the most bootleged material from Jimi Hendrix appearing on hundreds of releases (records, cassettes, CD’s etc.) worldwide. Experience Hendrix now owns the original reel to reel tape, and has it safely put away in the vaults…………..
Yes, this album is a technical piece of crap. it was probably made from tape that somebody stole from jimi and made money off of. Wether or not this recording is legitimate, it shows jimi where he did best: late night jams at some club, probably heavily under some influence. In this one, jimi is playing above average compared to what else i’ve heard, and on track 4, Uranus Rock, Jim morrison comes along and starts wailing, and in the next track he screams profanities, although he is smothered by whoever mixed the CD. Also, i think one of the tracks is used twice, and one of the tracks can’t possibly be by jimi. despite all the comebacks, this is a great recording, especially for the $5 I paid for it. if you’re a real hendrix fan, go for it. …. by Andrew le ……

01. Red House
02. Wake Up This Morning And You Find Yourself Dead
03. Bleeding Heart
04. Morrison’s Lament
05. Tomorrow Never Knows
06. Uranus Rock
07. Outside Woman Blues
08. Sunshine of Your Love 

Ten Years After "A Sting in the Tale “ 2017 UK Blues Rock Classic Rock Official release date: 20th October 2017 new album


Ten Years After  "A Sting in the Tale “ 2017 UK Blues Rock Classic Rock
Official release date: 20th October 2017 new album
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https://vk.com/wall312142499_7616

spotify

https://open.spotify.com/album/0fGGDkafIcaj3p43Db7S8d




Fifty years after the release of their eponymous debut album in 1967 Ten Years After are back with a brand new studio album containing twelve newly written tracks. As well as original members Ric Lee and Chick Churchill, the band now features Bass Icon Colin Hodgkinson and multi-award winning Guitarist/Vocalist Marcus Bonfanti. Ric Lee & Chick Churchill were keen to record a studio album that showcases this exciting new lineup that has been touring the world as Ten Years After to great critical acclaim over the last three and a half years The album was engineered and produced by Bonfanti at his Cricklewood Green Studios in Cricklewood, North London and mixed by acclaimed Canadian mix engineer Doug Organ in Edmonton Canada. Mastering duties were taken care of by the legendary John Astley who had worked on Ten Years After remasters in the past, and had also worked on projects with individual band members in various guises. The subject material on the album ranges from childhood memories of growing up in post war Britain, songs of love lost to the rock n roll lifestyle as well as sincere odes to a life well lived. They pay homage to the steam train drivers of the past and guitar heroes of the future as well as other interesting characters the band have encountered since they embarked on this journey over fifty years ago. There is a great depth of subject matter packed into this 53 minute album. Each member met individually with Bonfanti, using him as a central writing hub and crafted the songs before full band rehearsals were used to hone them in to Ten Years After songs. The band were careful not to over rehearse this new material as they wanted to capture that same energy and spontaneity in the studio that made the early TYA albums so magical. The title A Sting In The Tale reflects the same sentiment Ric & Chick wished to convey in the 2015 live album The Name Remains The Same . Although the band lineup has changed and the music continues to evolve and grow fifty years on, the sound of the band will always be heavily rooted in the way they paved the way during the late sixties and early seventies and will never forget its incredible heritage. This record is the Sting in the continuing Tale of Ten Years After………


Limited edition of 1.000 copies on GOLD COLOURED VINYL. In 1967 four young musicians from Nottinghamshire, England formed Ten Years After. Alvin Lee, Chick Churchill, Ric Lee and Leo Lyons became one of the most explosive quartets on the world stage and cemented themselves as one of the biggest bands in rock'n'Roll history. To tie in with the band’s 50th anniversary in 2017, Ten Years After recorded this studio album of original material, titled ‘A Sting In The Tale’…..



Side A 
1. Land Of The Vandals 
2. Iron Horse 
3. Miss Constable 
4. Up In Smoke 
5. Retired Hurt 
6. Suranne Suranne 

Side B 
1. Stoned Alone 
2. Two Lost Souls 
3. Diamond Girl 
4. Last Night Of The Bottle 
5. Guitar Hero 
6. Silverspoon Lady

Young & Renshaw “This Is” 1971 US Psychedelic Folk Rock


Young & Renshaw “This Is” 1971 US Psychedelic Folk Rock 

full

http://www.dailymotion.com/playlist/x2sl02_John_Dug_young-renshaw-this-is-1971-us/1#video=x137k83

official website…

http://www.frankrenshaw.com/indexyr.html



1967 saw Paul Young and Frank Renshaw together again under the name “The Young Brothers”. The duo recorded a single for MCA, “I’ve Always Wanted Love” b/w “Mirror, Mirror”, produced by Roger Cook and Roger Greenaway. This marked the beginning of a long-lasting business relationship between Young, Renshaw, Cook and Greenaway. They formed a publishing company together called “Grenyoco Music”, and Young and Renshaw concentrated on songwriting, as well as doing sessions for a number of artists in the Cook & Greenaway stable. 
In 1970 Paul Young and Frank Renshaw formed a new group as a vehicle to present and develop their own songs. This was called Young & Renshaw and comprised Paul Young on vocals and percussion, Frank Renshaw on vocals/guitar/harmonica, Graham Harrop from “Sponge” and “Pacific Drift” on bass, Ronnie Walker from “Sweet Marriage” on lead guitar, and Phil Keen, a former member of “Johnny Peters And The Crestas” and Wayne Fontana, on drums. They spent about a year in Germany writing, rehearsing and gigging - then returned to London and recorded an excellent country rock album with Cook & Greenaway as producers. Titled “This Is Young & Renshaw”, it contained twelve Young-Renshaw originals and was released in late 1971. A few singles also saw the light of day, but sadly none of the records charted, and the group split up in 1973.. 


Young & Renshaw’s Album was released on the Bell Label. The songs were good, reflecting Frank and Pauls years on the road. But the recording, done at Air Studios, was destined for obscurity. Now a collectors item. 
So when the offer came to join Wayne Fontana again on a British Invasion Tour of America, Frank jumped at it. Paul was also offered but declined, opting to stay with Roger Greenaway. 
Frank, with Wayne, toured the states with Herman’s Hermits and the other Sixties rockers. Later, after Peter Noone left to go solo, Frank took the job with Herman’s Hermits. He left in 1981 and now has his own 60’s Music bar in Fuerteventura, Canary Islands. (see links). 
Paul eventually left Cooke and Greenaway and formed the band “Sad Cafe”, and later joining “Mike and the Mechanics”. 
As they say, the rest is history. Paul sadly died after a heart attack in the year 2000. …


Paul Young - vocals/ percussion 
Frank Renshaw - vocals/guitar/harmonica 
Graham Harrop - bass (ех - Sponge,Pacific Drift) 
Ronnie Walker - lead guitar (ех - Sweet Marriage) 
Phil Keen - drums (ех - Johnny Peters And The Crestas) 
Wayne Fontana - drums 



Tracklist 
A1 High Flyin’ Bird 3:27 
A2 Driftwood 3:39 
A3 We All Love The Sun 2:27 
A4 Road To Adana 3:32 
A5 Mary Come Now 3:25 
A6 Growin’ Up Blues 2:02 
B1 Way Up There 4:17 
B2 Wish I Was Back Home 2:34 
B3 Sabri 3:23 
B4 Can’t Get Enough Of Your Love 3:09 
B5 Gettin’ Up In The Mornin’ 3:37 
B6 The Beginning Of The End 2:27 



DISCOGRAPHY: 

THE YOUNG BROTHERS: 

UK SINGLES: 
45: “I’ve Always Wanted Love” (Greenaway-Cook)/“Mirror, Mirror” (Renshaw-Young) MCA MU1042 1968 

YOUNG & RENSHAW: 

UK SINGLES: 
45:“Way Up There” (Young-Renshaw)/“Can’t Get Enough Of Your Love” (Young-Renshaw) Bell BLL 1152 1971 

45:“High Flyin’ Bird” (Young-Renshaw)/“Driftwood” (Young-Renshaw) Bell BLL 1176 9/1971 

45:“Gonna See Delaney Again” (Tony Macauley-Roger Cookaway)/“Carry On” (Young-Renshaw) Bell BLL 1257 1972 

UK ALBUMS: 
LP: Young & Renshaw: “This Is Young & Renshaw” Bell BELLS 201 1/1972 
High Flyin’ Bird/Driftwood/We All Love The Sun/Road To Adana/Mary Come Now/Growin’ Up Blues/Way Up There/ Wish I Was Back Home/Sabri/Can’t Get Enough Of Your Love/Gettin’ Up In The Morning/The Beginning Of The End. 
(All written by Young-Renshaw). 

US SINGLE: 
45:“Silver Pearl” (Young-Renshaw)/one-sided demo only? Bell 45,257 1973 

JAPANESE ALBUM: 
LP: Various artists: “Bell Sounds - Sound Sampler” Japanese Bell BLPF-1 1972 
Contains 10 tracks including “Gonna See Delaney Again” by Young & Renshaw. 

Yura Yura Teitoku “Sweet Spot” 2005 Japan Psych Underground Experimental Rock


Yura Yura Teitoku “Sweet Spot” 2005 Japan Psych Underground Experimental Rock
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https://vk.com/wall312142499_7608

superb official web site..

http://www.yurayurateikoku.com/index2.html


Yura Yura Teikoku are a highly influential 3-piece psychedelic rock band from Tokyo’s underground music scene centered around Koenji……


“Cutting classic-sounding Quicksilver Messenger Service moves with acid rock in the vein of Les Rallizes Dénudés, Org-styled idiot-avant, baroque 60s sunshine pop ala Ballroom/Millennium and some tough, guitar-driven power pop in the post-Velvets mode of Alex Chilton circa Radio City…[Yura Yura Teikoku] succeeds in cramming a hell of a lot of classic/weird influences into a singularly potent form.”…….D. Keenan…


Underground rock legends in their native Japan, these psych-garage rockers are far too unheralded throughout the rest of the world.

Yura Yura Teikoku have experienced about as much success as an underground rock group can in their native Japan. Their following has grown steadily in the almost 20 years since they began as a four-piece, psychedelic garage band, despite enduring countless lineup changes. In the meantime, they’ve leapfrogged from their own tiny label to various larger indies and finally to the majors, each time gaining wider exposure and more popularity. At this point their music can even be found in Japan’s famous karaoke bars, allowing patrons to drunkenly experience their own version of the band’s psychedelic freakouts. 

Yet Yura Yura Teikoku have remained virtually unknown outside of their home land. While their concerts sell out in minutes in Japan, they’ve only played elsewhere a small handful of times. If the crowds at two N.Y. appearances in 2005 and the buzz since those performances are any indication, however, then it would seem that the band is poised to make a name for themselves stateside. After all, the U.S. underground has a history of adoring Japanese psych rock imports. But whereas Acid Mothers Temple and DMBQ utilize walls of noise and swirling instrumentation, Yura Yura Teikoku have streamlined their sound, creating psych-pop that can be quiet and sparse one moment and infectiously catchy the next. 

Sweet Spot begins with its longest track, “2005 Nen Sakairyoko”, a minimalist exploration of bluesy psych-rock. Everything starts quietly, from the high-hat and rimshot beat to the plucky, reverbed guitar. Frontman Shintaro Sakamoto’s distorted vocals are right up front, though, and as the track progresses, they are joined by the various hums and buzzes that threaten to smother the instruments to death. “Robot Deshita” is built almost entirely on a simple drum beat until tinkling piano and mechanical squeals segue into sci-fi noise about halfway through. 

Yura Yura Teikoku’s earlier records were much more grounded in garage rock, and there are still a few tracks here that hearken back to that earlier, more primal sound. “Kyusyo” is this album’s noisiest, with guitars layered to dizzying effects. “Hate Ningen Ha?” borderlines on B-52’s territory with its catchy, twangy guitar line, and falsetto whooing throughout the verses. But the majority of the record is atmospheric and reserved, giving the instruments plenty of room to do their own thing. The band’s voice is unique, and despite borrowing from many American bands from the 1960s and 70s, it’s impossible to simply label Sweet Spot as a Japanese version of American psych-rock……..by Cory D. Byrom….Pitchfork


Yura Yura Teikoku were an experimental/psychedelic rock band from Japan that formed in 1989. They split in 2010, but remainone of the most influential and commercially successful psychedelic bands in Japanese rock history


Yura Yura Teikoku (ゆらゆら帝国, literally “Unstable Empire”) was a 3-piece band from Tokyo’s underground music scene centered around Kōenji. They have an eclectic sound usually described as psychedelic rock. Whilst renowned and highly influential within Japan, it took them 16 years since their formation in 1989 to play a show outside of Japan, performing in New York City in 2005. 
Yura Yura Teikoku was formed in 1989 with vocalist/guitarist Shintaro Sakamoto as leader, bassist Chiyo Kamekawa and a succession of other members. Drummer Ichiro Shibata joined in 1997 to form the current lineup, and the trio soon signed with Midi Records. The band released five studio albums, one live recording album and two greatest hits albums on Midi. 
In 2005, Yura Yura Teikoku signed with Sony Japan and released their ninth studio album, “SWEET SPOT”, and a remix 12-inch,“SOFT DEATH / FRANKIE TEARDROP" (Suicide cover). “SOFT DEATH" was embraced by the dance community, and “SWEET SPOT” was elected one of the best albums of the year in various media in Japan and overseas. The band also released a live album of material from their Midi years titled “na.ma.shi.bi.re.na.ma.me.ma.i” on New York-based Mesh-Key Records. In October of the same year, Mesh-Key Records organized two shows for the band in New York (their first shows ever outside Japan), and was welcomed with rave reviews by the local media. New and old fans alike packed into the venues to see the band’s one-of-a-kind performance. 
In June, 2006, the CD single “Into The Next Night” and remix 12-inch“Into The Next Night / You Can’t Fight Fate”were released. In July, Mesh-Key Records released the 12-inch“SOFT DEATH / IT WAS A ROBOT" and brought the band back for a second batch of New York shows, which were even more packed than the first. The “SOFT DEATH” 12-inch has been championed by such deejays as Rub'N Tug and DJ Harvey. In 2006, the band headlined at various major festivals in Japan and Taiwan. In May 2007, Mesh-Key Records released the US version of “SWEET SPOT.” In the same year, YURA YURA TEIKOKU went on their first Australian tour. In July 2007, they released the single “Beautiful" and in fall 2007 they released their first studio album in two and a half years, “Hollow Me.” DFA Records combined Beautiful and Hollow Me for a full-length CD release in November 2009. 
As of March 31, 2010, according to the band’s official website, after 21 years playing together the band has amicably broken up citing a loss of excitement. Each member plans to continue playing music in other projects in the future…


Yura Yura Teikoku first formed in 1989 as a four-piece, led by guitarist/ vocalist Shintaro Sakamoto, a graduate in design from Tama Art University . The group played out frequently at Koenji’s celebrated if tiny UFO Club, for which Sakamoto designed the interior. Their first recording appeared on Tokyo Flashback, a compilation put together by Tokyo’s PSF Records, home to a wealth of top flight psychedelia including Keiji Haino, Ghost, High Rise, White Heaven, and Acid Mothers Temple. Yura Yura Teikoku’s first full albums were of prog-ish psychedelic music on their own Jigoku (Hell) label. They later moved to the slightly larger independent label Captain Trip, where they released a live album in 1995 titled simply Live, and in 1996 Are You Ra?. Compared to other bands with psychedelic leanings, Yura Yura Teikoku has a distinct pop flavor to their sound, but of a quite odd variety that frequently had them compared to the 13th Floor Elevators. After a number of member changes, present bassist Chiyo Kamekawa joined the band in 1990. In 1992 the band became a trio when the second guitarist dropped out. The current, and perhaps “classic”, line-up of the band jelled in 1997 when Ichiro Shibata joined as drummer - the umpteenth to hold the position. In 1998 the group released 3 x 3 x 3, their first album on the major minor label MIDI. The album was very well received critically, and posted comparatively strong sales. For some fans it remains their most popular recording. Albums since include Shibire, Memai, Taiyou No Shiroi Kona, and Zukku Ni Rock, all four of which include guest appearances by Michio Kurihara of internationally celebrated Japanese psychedelic band Ghost. These albums were picked up for distribution in the United States by the Brooklyn based Mesh-Key Records, and in recent times the group has been receiving attention in the international media. In November 2003 they released Na Ma Shi Be Na Ma Me Ma, which they retailed for the bargain price of 1,000 yen - less than half the normal price of Japanese CDs. They also have a Double disc retrospective called 1998-2004. Yura Yura Teikoku continue to be a popular live band, and these days are able to fill considerably larger venues than in their early years. They played Fuji Rock’s main stages in 2000, 2001, and 2004, and often sell out shows that they headline. However they do not seem to be overly money minded; their shows in April 2005 at Tokyo’s Hibiya Yagai Onagkudo and at Osaka’s Hattori Ryokuchi Yagai Ongakudo were free to the public. In May 2005 the band plan to release a new album Sweet Spot…



Formed in Tokyo in 1989 by singer/guitarist Sakamoto Shintaro and bassist Kamekaya Chiyo, with drummer Shibata Ichiro completing a stable lineup in 1997, the band was a fixture on Japan's psychedelic underground scene for nearly a decade … Yura Yura Teikoku - Yura Yura Teikoku Live 2005 2009 (2CDS) [Japan CD] AICL-2231 Jan 26, 2011 Find album reviews, stream songs, credits and award information for Hollow Me/Beautiful - Yura Yura Teikoku on AllMusic - 2009 This page was last edited on 29 March 2017, at 10:39. All structured data from the main and property namespace is available under the Creative Commons CC0 License; text in the other namespaces is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. Watch videos & listen free to ゆらゆら帝国: 空洞です, あえて抵抗しない & more. Yura Yura Teikoku (ゆらゆら帝国, literally "Unstable Empire") was a 3-piece band from Tokyo's underground music scene centered around Kōenji. 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[Album] Yura Yura Teikoku - 1998-2004 [MP3 / V0 (VBR) / CD] [2004.09.16] Post at 2012-04-12 16:10 (over 5 years) in Music. CD1\01. Grapefruit Choudai.mp3 6.7MB CD1\02. Hakkoutai.mp3 5.7MB CD1\03 . Yakousei No. CD1\07. Idol.mp3 11.2MB CD1\08. Suberu Bar.mp3 5.0MB CD1\09. Yura Yura Teikoku De Kangaechuu (Single … Comment: This item is very good condition.Ship from Japan, the delivery time is about 14-30days. We are unable to confirm or guarantee the availability bonus items and OBI, for Used item. Artist : Yura Yura Teikoku Album : 3X3X3 3X3X3 : perhaps his best and most representative album. Year (album): 1998 Style/Genre: underground, sychedelic, heavy-psych, power pop. Place: Tokyo, Japan. Featured musical aspects: dueling guitar solos and bombastic drumwork while… Find great deals on eBay for yura yura teikoku and vladislav delay. Shop with confidence. 04-04-2006 · Underground rock legends in their native Japan, these psych-garage rockers are far too unheralded throughout the rest of the world. Yura Yura Teikoku have experienced about as much success as an underground rock group can in their native Japan. Their following has grown steadily in the almost 20 Yura Yura Teikoku ( ゆらゆら帝国 ) (literally "The Wobbling Empire") is a 3-piece band from Tokyo 's underground music scene centered on Kōenji . They have an eclectic sound usually described as psychedelic rock . Whilst they have been renowned and highly influential within Japan, it took them 16 years since their formation in 1989 to play a … Watch videos & listen free to ゆらゆら帝国 (Yura Yura Teikoku): ラメのパンタロン (Lame no Pantaloon), 発光体 (Hakkoutai) & more. YURA YURA TEIKOKU was formed in 1989 with vocalist/guitarist Shintaro Sakamoto as leader, bassist Chiyo Kamekawa and a succession of other members. Drummer Ichiro Shibata joined in 1997 to form the … Yura Yura Teikoku (ゆらゆら帝国?) (literally "The Wobbling Empire") is a 3-piece band from Tokyo's underground music scene centered on Kōenji. YURA YURA TEIKOKU was formed in 1989 with drummer Atsushi Yoshida and vocalist/guitarist Shintaro Sakamoto as leader, bassist Chiyo Kamekawa and a succession of other members. Drummer Ichiro Shibata joined in 1997 to form the current lineup, and the trio soon signed with Midi Records. The band Listen to 'Lonely Satellite' by Yura Yura Teikoku. Discover song lyrics from your favorite artists and albums on Shazam! Yura Yura Teikoku vinyl records, LPs and official merchandise on Merchbar - The best place to discover and buy vinyl. Music Hall of Williamsburg; Fri 18 In its native Tokyo, the psychedelically inclined Yura Yura Teikoku is a known quantity, its roots winding back to... Listen to 'Listless Dream' by Yura Yura Teikoku. Discover song lyrics from your favorite artists and albums on Shazam! 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Members 
Shintaro Sakamoto (坂本慎太郎) – vocals, guitar 
Chiyo Kamekawa (亀川千代) – bass guitar 
Ichiro Shibata (柴田一郎) – drums 

Tracklisting: 
1 2005 Nen Sekairyoko 7:27 
2 The Communication 6:00 
3 It Was A Robot 5:41 
4 Kyusyo 3:48 
5 Tako Monogatari 5:10 
6 Hate Ningen Wa? 2:44 
7 Kantsumae 2:37 
8 Sweet Spot 5:06 
9 Soft Death 4:45 
10 Uchujin No Hikkoshi 4:09



Discography 
Albums 
(1992) — Yura Yura Teikoku 
(1994) — Yura Yura Teikoku II 
(1995) — Live 
(1996) — Are You Ra? 
(1998) — 3x3x3 
(1999) — Me no Car 
(2001) — III 
(2003) — Yura Yura Teikoku no Memai 
(2003) — Yura Yura Teikoku no Shibire 
(2003) — na.ma.shi.bi.re.na.ma.me.ma.i 
(2005) — Sweet Spot 
(2007) — Hollow Me/Beautiful 
Singles 
(1998) — Hakkoutai 
(1999) — Zukku Ni Rock 
(2006) — Into The Next Night 
(2010) — Dekinai 
EP 
(1998) — Hakkoutai / Itazurakozou 
(1999) — Taiyou No Shiroi Kona 
(2006) — Soft Death / It Was A Robot 
(2007) — Beautiful 

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