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22 Jun 2017

Havenstreet "The End Of The Line / Perspectives"1974 UK Prog Folk

Havenstreet "The End Of The Line / Perspectives"1974 UK Prog Folk


The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born.

The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released "The End Of The Line", a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song "When the madcap meets the world".

This expanded double set reissue of Havenstreet's sought after album includes, the original "The End of the Line" album from 1977, a new album called "Perspectives" which presents the best tracks from the privately pressed cassettes The Autumn Wind (1974) and Transition (1976) plus rehearsal recordings for The End of the Line (1975/1976) and previously unreleased recordings for the group's projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan styled prog-rock.

Combining the back-to-basics acoustic feel of the nu-folk generation with a swirly, psychedelic vibe, "The End of the Line" could actually be an album that was made in 2014. But this album was privately released in 1977. Now finally remastered and brought into the present, the retrospective feeling is amplified and should appeal greatly to fans of 70s folk and progressive music. This reissue is a must have even for the lucky few who own an original copy of the album as it comes with a bonus disc, "Perspectives", that compiles non-LP tracks from 1974-79. The quality of the extra material shines through.
by Michael Bjorn (Strange Days Magazine) ......

The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released 'The End Of The Line', a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song 'When the madcap meets the world'.

This expanded double set reissue of Havenstreet's sought after album includes: 

*The original 'The End of the Line' album from 1977.

*A new album called 'Perspectives' which presents the best tracks from the privately pressed cassettes The Autumn Wind (1974) and Transition (1976) plus rehearsal recordings for The End of the Line (1975/1976) and previously unreleased recordings for the group's projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan styled prog-rock.

*16-page LP-sized booklet with photos and detailed liner notes. ......................

*Richard Allan - Violin
*Francis Bassett - Piano, Clavinet, Organ
*Phil Ridgway - Acoustic Guitar, Vocals
*Andrew Russell - Flute
*Helen Russell - Vocals
*Robin Smith - Bass, Alto, Tenor Saxophone
*Jenny Tillyer - Rhythm Guitar
*Jeff Vinter - Vocals
*Pete Wills - Drums

The End Of The Line
German Castles
When The Madcap Meets The World
Old Ways And Schooldays
Music In The Night
Suspended Animation
The H.S.B Song
Yesterday Was Summer
The Castle
Out Of The Fireglow
The Keeper Of The Tower
The Photograph
After Time
Falling Leaves In Autumn
Fat Old Engine
Family Laughter
Just An Illusion
Your Not Being There
The Ballroom Of Despair
Village Vespers

Jodi "Pops De Vanguardia" 1971 Paraguay Private Garage Psych Pop Rock

Jodi "Pops De Vanguardia" 1971  Paraguay Private Garage Psych Pop Rock


Original LP in 1971 as a private pressing, pressed in Argentina. "Pops de Vanguardia" by Jodi contains tracks mostly written and recorded in 1969 (with some dating back to 1966) by brothers Joern and Dirk Wenger at their homemade "Jodi Experimental Studio" in Paraguay.

 Out-Sider present the first reissue of Jodi's Pops De Vanguardia, originally released in 1971 as a private pressing. Pops De Vanguardia contains tracks mostly written and recorded in 1969 (with some dating back to 1966) by brothers Joern and Dirk Wenger at their homemade "Jodi Experimental Studio" in Paraguay. Joern and Dirk, born in Paraguay but of German origin, started playing in beat/psychedelic band The Rabbits, who released a very rare EP in 1969. After the group split, Joern and Dirk traveled to Germany where they studied arts and received musical lessons from none other than Stockhausen. The two brothers built their own homemade studio and spent many hours recording songs and experimenting, creating their own sound effects (echo, reverb, etc). They called their music "spontaneous pop". Pops De Vanguardia was recorded at their own rudimentary studio with two tape recorders. Joern played guitar, organ and was the lead vocalist, while Dirk played drums and percussion. From ultra-catchy garage-pop to killer instrumental Farfisa numbers and proto-psychedelic sounds, Pops De Vanguardia is often considered the best lo-fi garage album to come from South America. Jodi could be seen as precursors of the indie-pop and lo-fi garage which would appear some decades later. An ultra-rare and obscure album from Paraguay - ahead of its time, raw and homemade sixties garage, jangly pop and basement psych sounds. Comes with insert with detailed liner notes in English/Spanish and rare photos. CD version includes five bonus tracks (dating from 1969-1970), including three fantastic previously unreleased tracks, one track from a rare private EP and the beat-fuzz-psych track "Buscándote" from The Rabbits 1969 EP, Lo Más Nuevo.......

The Paraguayan outfit Jodi sprang to life in the late ’60s through the combined efforts of teenage brothers Joern and Dirk Wenger. In 1971 they cut an extremely rare private press album, and upon the occasion of its recent reissue, Guerssen Records imprint Out-Sider posed this question: is it “the best lo–fi garage album from South America?” That’s frankly a stumper, but after soaking up the dozen tracks on this once impossible to find LP, it’s obvious Pops De Vanguardia belongs in the discussion. It’s out now on vinyl, compact disc, and digital with five bonus selections.

Born in Paraguay but of German descent, Joern and Dirk Wenger were like countless ’60s teenagers in their catching of the rock ‘n’ roll bug, but a big distinction in their story was life under the military dictatorship of Alfredo Stroessner. Well, that and the siblings, with Joern in the lead, built their own studio, appropriating a section of the industrial paintings-related factory owned by their family.

Prior to Jodi, the brothers had debuted on record as part of The Rabbits, a high school outfit that cut a 4-song garage/ beat EP for the Guarania label in ’69. Categorized as extremely rare (only 300 units were pressed), the set was recorded in a professional studio, and based on “Buscándote,” the one tune from the EP that’s tacked onto the end of Pops De Vanguardia’s CD and included on the vinyl download card, the contrast is striking.

The Wenger’s home studio was certainly an achievement, but it’s also undeniable that Jodi’s album is an excursion into lo-fidelity, though don’t misapprehend that descriptor as commentary on competence. Joern’s interest in studio recording eclipsed any desire for live performance, with his indifference to gigs spelling the end of The Rabbits. Part of the reason for the studio focus relates to the widespread influence of LPs, e.g. Sgt. Pepper’s and Pet Sounds, that were the byproduct of advanced recording techniques rather than practice space-bandstand synergy.

If the Wenger’s couldn’t manage a Beatles/ Beach Boys sense of scale, Pops De Vanguardia’s opener “Experimento” makes plain they could effectively grapple with the same spirit; a tidy two-minute rocker distinguished by assertive guitar strum, organ injections, and intermittent whistling, what’s ultimately more impressive is that all the instruments are audible and furthermore beneficial in the mix.

Dirk took care of drums and percussion as Joern was responsible for everything else, which on “Recuerdos De Un Amigo Ruso” included piano and assured vocals with a few la-las at the finale. If accurately tagged as garage, Jodi predominantly belongs to the melodic end of the spectrum, territory where their modest fidelity brings them added distinction.

Late ’60s studio productions frequently acquire a patina of datedness via stabs of contemporaneousness designed to conquer the marketplace of the moment, but Jodi’s LP avoids this scenario as the rhythmic chug and organ flourishes of “Reflexiones Heladas” still solidly reflect the album’s era; the bulk of the record was cut in ’69 with some selections dating back to ’66. “Onda Suave,” which consists entirely of folkish strum, Brit Invasion-ish vocal harmony and fortifying bass, seems likely to derive from early in that span.

The same applies to “Primavera Amarilla,” a flashy instrumental that flaunts their abilities (drum fills galore!) in a mode that’s easily traced back to ’60 R&B revues, with the track strengthening Jodi’s garage bona fides. “Arrivederci” follows and leans closer to Toytown psych, while “Jodi-Ritmo” swings the pendulum back in the other direction with a sound that’s halfway between Bo Diddley and a Mod place.

The organ additives are again a treat, and they extend into “Imagen En Rojo,” another R&B-ish instrumental reinforcing that with a couple added members Jodi could’ve developed into a solid club band. And yet the studio emphasis yields consistently interesting results; “Sueño De La Catedral” finds Joern’s vocals mixed lower than they would’ve been in any pro studio situation (one need only look at the bonus material here for evidence in support), a tactic that predicts subsequent developments in lo-fi.

Hard driving instrumental “Fantasmas Del Sonido” is bolder in its blend of bluesy garage punk, and it’s here that the comparison to The Monks becomes momentarily extant. Just as quickly “Canción Cariñosa” arrives with a bit of strum pop, and it’s one of the few instances on Pops De Vanguardia that cries out for a bigger production template. The album wraps up with its rawest plunge into garage-psych, with “Espíritu Fosforescente” thriving on an underbelly of oddness that reminds these ears (just a bit) of the 13th Floor Elevators.

The bonus material commences with “Sentimental Moment,” which derives from a 1970 private promo EP. Brighter and more polished in its pop-rock objectives but not disconnected from the LP’s spirit, its addition here is welcome. The same goes for The Rabbits’ “Buscándote,” this reissue’s most straightforward slab of pure garage, while the final three numbers, all previously unreleased and clearly professionally recorded, seem to point to the Wenger brothers’ later South American pop success (as Iodi).

“Little Butterfly” and “Awake,” both from ’69, are a pair of additional strum-pop pleasantries, but it’s “Poor Man, Rich Man” from the following year, its tones somewhat predicting the solo direction of John Lennon, that’s most interesting. It lends a nice capper to Pops De Vanguardia as Jodi becomes yet another name on the list of worthy resurrected international rock obscurities......BY JOSEPH NEFF ......................

Innovator, pioneer and visionary are just three of the words that were used to describe German composer Karlheinz Stockhausen. His career spanned six decades and nowadays, he’s regarded as one of the most important and influential composers of the 20th Century. Karlheinz Stockhausen was also one of the pioneers of electronic music, aleatoric music, serial composition, and musical spatialisation. He was also a highly respected academic who taught and influenced many musicians and composers.

This included members of Can, Jean-Michel Jarre, Tom Constanten of the Grateful Dead, avant-garde musician Jon Hassell, composers Gerald Shapiro and Gerald Barry. Students travelled from far and wide to study under Karlheinz Stockhausen. Among them, were brothers, Joern and Dirk Wenger, who had travelled all the way from Paraguay to study under Karlheinz Stockhausen.

After the demise of their band The Rabbits, Joern and Dirk Wenger were keen to complete their musical education. Having heard The Beatles Sgt. Peppers Lonely Hearts Club Band and The Beach Boys’ Pet Sounds, the brothers were inspired to create their own experimental music. However, they wanted to take this further. So they travelled from Asunción in Paraguay, to study arts at the Folkwang University of the Arts. That was where they encountered Karlheinz Stockhausen. He taught the two brothers music. The time the Wenger brothers spent studying under Karlheinz Stockhausen was a hugely important and influential part of their musical education.

After their time studying under Karlheinz Stockhausen, the Wenger brothers returned home and began building their own studio. This they christened the Jodi Experimental Studio. The Wenger brothers then spent their time recording what they called spontaneous pop. Some of their recording found their way onto Jodi’s 1971 debut album, Pops de Vanguardia.

Nowadays, Pops de Vanguardia is a real rarity that’s much in demand among record collectors. Given demand outstrips supply, prices of original copies of Pops de Vanguardia are prohibitive, and beyond the budget of most record collectors. Recently, though, Out-Sider Music, an imprint of Guerssen Records reissued Pops de Vanguardia complete with five bonus tracks. They’re a reminder of the Wenger brothers’ spontaneous pop.

Its roots can be traced to Joern and Dirk Wenger’s childhood in Asunción, Paraguay. Their family were industrialists who owned a factory that made paint related products. That factory would later play an important part in the Wenger brother’s musical career.

When they were growing up, their father and grandfather brought a variety of musical instruments into the family home. They taught Joern and Dirk how to play these instruments. Before long, Joern, the eldest brother, could play piano, guitar, violin, bandoneon and solfege. Soon, both brothers had mastered several different instruments. Like teenagers the world over, music began to play an important part in the Wenger brothers’ lives. It offered an escape from the reality of growing up in Paraguay.

Following a coup d’état on the 4th of May 1954, Paraguay was ruled by dictator Alfredo Stroessner. That was the case until 1989. During this period, Paraguay expanded economically and underwent a degree of modernisation. However, the Stroessner regime was an oppressive one. Human rights abuse was commonplace and those that opposed the Stroessner regime did so at their peril. As a result, Paraguay wasn’t the ideal place for the Wenger brothers to embark upon a musical career.

Just like in other countries ruled by dictators, artists, writers and musicians were viewed with a degree of suspicion by the authorities. They were often seen as subversives. However, Joern and Dirk just wanted to make music. That was what they wanted to pour their youthful energy and enthusiasm into. However, they too had a dream.

The Wenger Brothers dreamt of building their own recording studio, and were determined to make this a reality. They had even identified the perfect site for their studio. This was within a disused part of the family factory. With that part of the factory not being used, the two brothers were given permission to turn their dream into reality in 1966.

Once the studio was complete, it was christened the Jodi Experimental Studio. The brothers took the first two letters of each of their christian names (Joern and Dirk) and combined this to create the Jodi name. Joern was sixteen, and Dirk who was nineteen, set about experimenting musically and creating what they called spontaneous pop.

The Jodi Experimental Studio became a musical laboratory, where the two brothers were able to experiment with a myriad of different musical instruments. They were also able to experiment with the latest music recording techniques. There was only one problem.

Paraguay didn’t have a music industry as such. This meant that Joern and Dirk didn’t have access to much of the equipment musicians elsewhere took for granted. Especially effects units. This meant that the brothers had to work out a way to replicate reverb or echo. To do this, Joern and Dirk often laboured long into the night seeking a solution. Usually, they managed to do so as their creativity blossomed.

This continued during 1967. The two brothers immersed themselves in an eclectic selection of music seeking inspiration. Two albums made a big impression on them, The Beatles Sgt. Peppers Lonely Hearts Club Band and The Beach Boys’ Pet Sounds. Sometimes, the Wenger brothers listened to the Bee Gees and James Brown, other times to Little Richard, Louis Armstrong or Oscar Peterson. For the Wenger brothers this was part of their musical education. However, some of these artists would inspire and influence Joern and Dirk when they decided to form their first band.

Up until then, the Wenger brothers had spent most of their free time experimenting musically. They were dedicated to honing and perfecting their songs. Now two brothers were ready to record and release their first EP. To do that, required a little help from their friends.

When they decided to form their first band, the Wenger brothers were still at school. So they decided to enlist some of their friends from the Goethe School, in Ascuncion. Gilberto González, Naldo Nardi, Rodrigo Campos and Willy Schubeius joined the Wenger brothers in their new band, which they named The Rabbits.

Joern who was three years older than his brother Dirk, became The Rabbits de facto leader. He played organ while his brother Dirk played one of the two sets of drums. Gradually, the nascent garage band’s music began to take shape. While Joern and Dirk had spent months honing their sound in the studio, the rest of the band had some catching up to do. Soon, though, The Rabbits were on the same page. Now they could record their debut EP.

For The Rabbits’ Lo Más Nuevo EP, they decided to record Never Funny, Buscándote, Gloria and Todos Los Instantes. On these tracks, The Rabbits combined elements of psychedelia a and garage rock. Once the recording was complete, The Rabbits took the EP to the Guarania label.

When the Guarania label was formed on August 13th 1955, it became Paraguay’s very first record label. Just under fourteen years later, and it would release copies of The Rabbits’ debut EP. Only 300 copies of the Lo Más Nuevo EP were pressed and released later in 1969. Alas, there was no followup.

Not long after the release of the Lo Más Nuevo EP disbanded. This was the end of the first chapter in the Wenger brothers’ career.

The next chapter began when the Wenger brothers travelled from Ascuncio in Paraguay to Germany. Their destination was the Folkwang University of the Arts. That was where the brothers studied arts. Their music teacher was none other than

composer Karlheinz Stockhausen. He was already regarded as a musical pioneer and one of the most innovative and influential composers of his generation. Studying under Karlheinz Stockhausen was the perfect way to complete the Wenger brothers’ musical education.

After completing their studies at Folkwang University of the Arts, the Wenger brothers returned home and began work on their next project. This they called Jodi, after their recording studio where the project came to fruition.

Between 1969 and 1971, Joerk Wenger wrote much of what later became Pops De Vanguardia. Some of the material had been recorded before the sessions in 1969. Some were recorded as far back as 1966. Each of the twelve tracks were recorded at the Jodi Experimental Studio.

Two reel-to-reel recorders were used to record the Wenger brothers. Joern plays the majority of the instruments, including guitar and organ. He also takes charge of the lead vocals. Meanwhile Dirk plays drums and percussion. Eventually, Jodi had enough material for an album. These twelve songs would become Pops De Vanguardia, which was released later in 1971.

Before that, critics had their say on Jodi’s debut album. Sadly, the critics didn’t understand the eclectic and innovative nature of Pops De Vanguardia. With its groundbreaking fusion of garage rock and psychedelia, Pops De Vanguardia was way ahead of its time.

When Pops De Vanguardia was released later in 1971, the album failed commercially. Just like the critics, record buyers never understood the album. Pops De Vanguardia passed record buyers by. That’s despite Jodi showcasing a new and groundbreaking sound on Pops De Vanguardia.

Opening Pops De Vanguardia is Experimento (Experiment), which literally bursts into life. The experimental psychedelic rock of the previous track continues. Guitars and the rhythm section explode into the life, and with Joern’s vocal, power the arrangement along. Washes of swirling Hammond and bursts of bubbling bass are added. Later, so are flamboyant flourishes of Hammond organ. Jodi play with freedom and confidence. So much so, that Joern whistles during another blistering and memorable psychedelic rocker. It’s another heady brew from Jodi, and one to drink deep.

Recuerdos De Un Amigo Ruso (Memories Of A Russian Friend) is another psychedelic track. A lone piano is played, the tempo quickening as the rhythm section, chirping, choppy guitars and Joern’s urgent vocal combining. It’s a mixture of drama, urgency and emotion. Later as Joern scats, the arrangement becomes melodic. Soon, though, the emotion returns and memories come flooding back on this poignant psychedelic song.

Just a lone guitar plays before the drums, vocal and washes of Hammond guitar enter on Reflexiones Heladas (Icy Reflexions). Joern stabs at the Hammond organ as effects transform his vocal, and add a lysergic sound. Later, as he vamps the arrangement is rocky and psychedelic. Again, effects are used, but used sparingly. They help create the groundbreaking psychedelic rock sound that Jodi pioneered in Paraguay.

The tempo increases on Onda Suave (Mild Wave). A scrabbled guitar joins the bass to create an understated arrangement. They provide the backdrop for Joern’s lead vocal and harmonies. It’s the interplay between the lead vocal and harmonies that are key to sound and success of another memorable and melodic song.

Washes of swirling Hammond organ are joined by a scorching guitar and drums on Primavera Amarilla (Yellow Spring). Stabs and swirling washes of Hammond organ join the bristling, searing guitar licks. Meanwhile, Dirk keeps a steady beat, adding occasional drum rolls and fills. Soon, they’ve locked into a groove and are playing with an inventiveness. This materialises when Joerk unleashes an ascending effects laden organ solo. Effects are added to the guitar as innovative instrumental unfolds. It’s a marriage of R&B, rock and psychedelia and is without doubt, one of the best instrumentals you’ve never heard.

An urgent scrubbed guitar drives and powers the arrangement along Arrivederci along. It’s accompanied by Joern’s vocal and multi-tracked harmonies. They’re reminiscent of Big Star, and a generation later, the Teenage Fanclub. Meanwhile, effects launched above the arrangement, adding a futuristic and cinematic sound. Jodi continue combine garage rock, psychedelia with proto-punk to create groundbreaking and melodic musical fusion.

Jodi showcase their versatility on Jodi-Ritmo (Jodi Rytmus). Joern’s guitar has a surf rock sound. Meanwhile, he unleashes a snarling proto-punk vocal. Behind him, the the rhythm section and percussion add to the sense of urgency. Later an organ is added, augmenting and briefly replacing the vocal. When it returns, it continues to showcase the bravado fuelled, proto-punk style vocal that Rotten, Strummer, et al would later claim as their own. However, this was nothing new, as Joern Wenger was one its pioneers.

Flourishes of swirling organ are to the fore on Imagen En Rojo (Red Image). They’re joined by the rhythm section. Dirk’s drums keep a steady beat. Meanwhile, Joern lays down a bass line and plays the organ. It plays a starring role, swirling, stuttering and breezing along, on this R&B inspired instrumental which sounds as if was recorded in Memphis, not Ascuncion. Jodi were it seems, a truly versatile band.

Sueño De La Catedral (Cathedral Dream) is an organ driven track where Jodi showcase their psychedelic rock sound. This they do with an organ that replicates the sound of a cathedral organ. They’re never played this way. Joern powers his way across the keyboard, adding flamboyant flourishes and delivering a vampish vocal. Dirk lays down the heartbeat, while Joern is transformed into Lizark King on one of Jodi’s finest moments.

Guitars are at the heart of Fantasmas Del Sonido (Sound Fantasm), and with the rhythm section helping to drive the arrangement along. Soon, they’ve locked into a groove. Joern lays down the guitar and bass lines. Meanwhile, Dirk plays drums and percussion. All the years two brothers have played together has paid off. They’re a tight unit, who don’t necessary stick to the script. Sometimes, it seems their playing is inventive and off the cuff. Occasional fills and flourishes are added, during this driving, genre-melting instrumental. Everything from surf rock, R&B and rock have been combined to create one of the great lost instrumentals.

It’s all change on Cancion Cariñosa (Loving Song). Jodi return to their melodic garage rock sound. Again, the guitar and vocal play leading roles. Joern’s vocal is tender and heartfelt. He plays his guitar with speed and accuracy, using the occasional effect to produce a variety of sound.This range from a chirping to choppy sound, on what’s a hook-laden paean.

The psychedelic sound of Jodi returns on Espiritu Fosforecente (Glowing Spirit), which closes Pops de Vanguardia. A choppy, effects laden guitar combines with washes of Hammond organ and drums. Joern’s vocal is deliberate and powerful, as Jodi draw inspiration from Jimi Hendrix, The Doors, the Rolling Stones and even Cream. It’s an experimental fusion of rock and psychedelia. This proves a potent and heady brew that proves irresistible. Jodi it seems have kept the best until last on Pops de Vanguardia.

That’s not the end of Out-Sider Music’s reissue of Pops de Vanguardia. It comes complete with five bonus tracks. This includes three previously unreleased tracks, a track from a private EP and Buscándote from The Rabbits’ 1969 EP Lo Más Nuevo. It’s two magnificent minutes of psychedelic rock at its very best.This is a tantalising taster of The Rabbits Lo Más Nuevo EP, which nowadays is almost impossible to find.

The other bonus tracks include Sentimental Moment (Momento Sentimental) and Awake (Despierte). Both memorable and melodic reminders of late sixties guitar pop. Little Butterfly (Pequeña Mariposa) is a beautiful and timeless indie pop song. However, the best of the bonus tracks is Poor Man, Rich Man. Jodi combine blues, psychedelia, rock and effects. Joern sounds not unlike John Lennon, on this innovative and genre-melting track. It’s a reminder of a truly talented group, Jodi which featured the Wenger brothers Joern and Dirk.

Pops de Vanguardia was just the start of Jodi’s career. Jodi went on to release two further albums. They transformed the career of Jodi, when commercial success and critical acclaim came their way. Their music was popular across South America. This was a far cry from 1971, when Jodi released their debut album Pops de Vanguardia.

Critics failed to understand what was a groundbreaking album of where Jodi combined elements of blues, garage rock, indie rock, proto-punk, psychedelia and rock. There were even elements of avant-garde and experimental musical on Pops de Vanguardia. It’s was an ambitious album that deserved to find a much wider audience upon its release in 1971. Sadly, that wasn’t the case.

Since then, a new generation of record buyers have discovered the music of Jodi. Their rarest album is their debut album Pops de Vanguardia. It wasn’t a commercial success, and very few copies of the original album exist. Those that do, are prized possessions among record collectors. So Out-Sider Music’s recent reissue of Jodi’s debut album Pops de Vanguardia is a welcome one.

Jodi’s debut album Pops de Vanguardia showcases the combined and considerable talents of the Wenger brothers. It should’ve been the album that launched their career. Instead, it failed commercially, purely because the critics failed to understand Jodi’s ambitious, groundbreaking and genre-melting album.

Nowadays, though, Jodi’s debut album Pops de Vanguardia is belatedly receiving the recognition it deserves. So much so, that Pops de Vanguardia is regarded by some musical connoisseurs as a lost genre classic.Pops de Vanguardia is a true musical hidden gem that showcases the versatile and multitalented Wenger brothers, as they embarked upon a new chapter in their musical career as Jodi. .............................

A1 Experimento (Experiment) 1:54
A2 Recuerdos De Un Amigo Ruso (Memories Of A Russian Friend) 2:44
A3 Reflexiones Heladas (Icy Reflexions) 2:02
A4 Onda Suave (Mild Wave) 2:06
A5 Primavera Amarilla (Yellow Spring) 2:09
A6 Arrivederci 1:40
B1 Jodi-Ritmo (Jodi Rytmus) 2:53
B2 Imagen En Rojo (Red Image) 3:03
B3 Sueño De La Catedral (Cathedral Dream) 2:26
B4 Fantasmas Del Sonido (Sound Fantasm) 2:42
B5 Canción Cariñosa (Loving Song) 1:50
B6 Espíritu Fosforescente (Glowing Spirit) 3:00 

Cozmic Corridors "Cozmic Corridors" 2017 Kraut Rock,Electronic,Ambient

Cozmic Corridors  "Cozmic Corridors" 2017 Kraut Rock,Electronic,Ambient

Recorded 1972-1973, in Cologne Germany


LP version. Includes download code. Mental Experience present a reissue of Cozmic Corridors self-titled album. Cozmic Corridors is an underground kraut-kosmische monster, recorded and produced circa 1972-73 in Cologne by Toby "The Mad Twiddler" Robinson for his Pyramid label. The album was apparently released as an ultra-limited handmade edition back in the early '70s, but no original copies have surfaced. Featuring Mythos drummer Hans-Jürgen Pütz on percussion and effects, alongside synth/keyboard freak Alex Meyer, poet/vocalist Pauline Fund, and the mysterious guitarist Peter Förster. Cozmic Corridors is an album if tripped-out electronic ambient soundscapes, dark atmospheres, drones, plenty of MiniMoog, gothic Hammond organ, Rhodes, electric and 12-string acoustic guitars, ritual chants, effects, and horror cinematic vibes. It is not advisable to listen to this alone in the dark. RIYL: Terry Riley, Cluster, Ash Ra Tempel, Popol Vuh, Emtidi, Jacula, Franco Leprino, Dead Can Dance. Master tape sound; Insert with detailed liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996).........................

German quartet Cozmic Corridors only self titled 1974 release, is the kind of effort which portrays effectively the fine borders of Krautrock's "let's be playful but not clowns", and the "artsy" part of prog/electronics, closer in mood to Conrad Schnitzler's improvisations than Tangerine Dream's flowing environments, just to explain the prevailing air breathed in this 5 songs project, not as a comparison.

Their minimalistic exercises are intelligent composition wise, yet in their irreverent approach, they do climb great heights in matter of seconds, all due my friends to their genial songwriting, which once inside, it won't let go!

The mixture of deep spaced electronics, organ church like progressions, as vintage organ mystery movie ambients, menacing as attractive string works, serious and mysterious yet subtly humurous and measured performances, some religious like chanting voice in one track, some sexy female crooning in other, the pre-Lustmord like obscure environments, being almost entirely instrumental and a set of non-stop creative musical ideas and goals, do make for a flawless effort.

An unquestionable must, far beyond the somewhat repetitive Krautrock scene, as a must for any prog/electronic audiophile looking for something in the mid 70´s which offered a fresh route and not the TD or Schulze like material everyone started to copy, as a spacy clear and dark unorthodox entirely psychedelic trip for those who favour that sub-genre´s unearthly admireArt .............

So it's the '90's, and krautrock appreciation has evolved from post-punk influence and Nurse With Wound approval to an all out love fest for dozens of the greatest and most unique albums of all time. Julian Cope's "Krautrocksampler", while admittedly a little biased and at times reliant on hearsay, is a great resource and helps keep the hype train choo-chooing along, as is proper for these bands. So what's a few unscrupulous yet very enterprising fellows to do but resurrect the '60's era trend of faux psychedelic bands for personal gain? The hoax is fairly obvious: listening to this record, it's clear as day that the production is way too clear as day to have been recorded circa 1972, and no one has ever found a "Pyramid" "first issue" of any of these releases. But, like Hell Preachers Inc. before them, the musicians who otherwise did by-the-numbers rock jams to fill out their "Pyramid" catalogue managed to make magic, suddenly focusing on keys, electronics, Stereolab influence (a wonderful recursion that also further proves that this is a hoax), and emptiness and creating an inspired and spine-tingling meisterstuck.

Built on useage of one-two combos of organ notes that jump off of the aforementioned Stereolab, the band wring forth keyboard and electronic tones and melodies that would've been revolutionary if recorded in the '70's. On "The Summit" alone, the band gives us a pretty use of minimoog, then towards the middle gives a strange and disquieting key and guitar combo that could even be considered quasi-industrial, before going into a cathedral filling organ section. Percussion wonderfully rounds out the keys. On top this, "Niemand Verstent" allows guitar to really shine, and the closer, "Daruber", has a multitrack of the male vocalist chanting. Also notable is the openness and silence surrounding the music, uncanny yet perfect, '90's era production and theme going into a rewarding overdrive.

Both beautiful and gloomy in equal measure and at the same time, this ultimately stands toe-to-toe with the real classics of krautrock as an unlikely, brilliant, and skillfully performed LearsFool ...............

If you're the sort who believes in Big Foot or the Loch Ness Monster, then you will believe this album was released in Germany in 1972. Despite multiple claims of sightings at art museums and record fairs, actual hard data seems to still be missing. Funny that. Most likely these were recorded in the Acme studio (UK) in the mid 90s along with the other Prescription Drug series albums coming from the same studio, and that contained the premise of utilizing only analog equipment from the early 70s. Why the need for the ruse is anyone's guess, as the music holds up well without the made-up pretext. These albums will always be judged accordingly, and it's their own fault. After all these years, they should come clean.

Oh, the music you ask? A fine electronic album made with organ, Moog, Rhodes, guitar percussion, and wordless voice. Sounds like something that would have been released in Germany in 1973 - and so they did accomplish their ultimate goal. They should have just stated it as such..........ashratom ............

I don't tend to review re-issues very often, but some there are some records that deserve to be shouted about, especially when it's one that has been out of print for a while and one with some controversy surrounding it's provenence (that's a long story and bears no relation to this review). Cozmic Corridors self-titled release is one of those albums, little known outside of krautrock/kosmische circles since its original pressing in the mid 1970s, but scarily prescient and 'of the now'. Guerssen, through its Mental Experience imprint, have had the wisdom and nous to give this gem of electronica a well deserved new lease of life. Cozmic Corridors was ostensibly a vehicle for eccentric, peripetetic Moog botherer Alex Meyer (a man known for sleeping in his Camper van) and the album was original released by the seminal Pyramid label. It is a fantastic album full of experimental electronica and sublime atmospheres...its one of those albums that I had resigned myself to never having on vinyl...thankyou Guerssen.

'Dark Path' leaps straight from a seventies horror movie, specifically Giallo, with an atmosphere of dread and suspense courtesy of the drones and dark synths. It sounds uncannily like the material that a lot of the hauntological acts are replicating now...the likes of Belbury Poly, Mt Vernon Arts Lab and Demdike Stare...but this is the original. 'The Summit' shifts the mood from one of dread and fear to something more optimistic. The organ work is reminiscent Of Terry Riley and is surprisingly groovy in a jazz way while the background synth plays two notes over and over which acts as a fine counterpoint to the dexterous organ playing. The organ gets more unhinged the further we get into the track, replacing the smooth Riley notes with something more dissonant and abstract. 'Mountainside' is a beautiful slice of meditative ambient music - the synths swooshing and covering everything in rich washes of sound. The addition of the Gregorian like vocals add an esoteric aspect to it all - it brought to mind some of the material coming out of Italy at the moment, the likes of Architeuthis Rex, The Hermetic Brotherhood of Lux-Or etc, or even some of the work of Lustmord. 'Niemand Versteht' sees the return of the Riley-esque organ, this time accompanied by female spoken word vocals. The track appears to be made of two disparate songs that have been merged - there is the organ/synths that play out another eerie horror soundtrack while the guitar in the background is positively psychedelic...but the melding of these produces something that is bewitching and enthralling and richly atmospheric. Final track 'Daruber' revisits 'Dark Path' in its dread laden horror score but much heavier on oscillating drones and spooky organ work. This sepulchral atmosphere is enhanced by the echo drenched chanting vocals. Again, its not hard to see where so many contemporary acts sought inspiration.

Germany in the 1970s produced many pioneers and innovators of the cosmic electronica scene - some, like Tangerine Dream, Klaus Schulze Conrad Schnitzler, have gone on to become recognised for the geniuses they were. Alex Meyer should be a name spoken in the same reverential terms. 'Cozmic Corridors' is an album that needs to be lifted from obscurity, one that is a well kept secret among the cognescenti, to an album that gets the plaudits it richly deserves. It laid down the blueprints on which many, many bands have based their output, from the gothic sensibilities of Dead Can Dance to industrial ambient artists like Brian Lustmord via the more experimental material of Nurse With Wound and some of the fantastic stuff coming out of Italy at the moment. 'Cozmic Corridors' is released by Guerssen/Mental Experience on February 15th ............................

Cozmic Corridors ... exactly the name, which should have a dashed Krautrockband. At least nowadays, or since the Krautrock and Psychedelic Revival of the 90s of the last century. But it seems unlikely that someone around the year 1972 should have chosen this name for his music project, but it was not so long since Edgar Froese had unintentionally created a new stylistic concept (see "Alpha Centauri"). , The Cosmic couriers were to go on the journey only a few years later. And then still cozmic with z.

Of course no one in 1972 in Germany this name devised. This was more a British in 1995. "Cozmic Corridors" is another, or even the first Fake Krautalbum, which appeared 1996 on the British Psi-Fi label. Six CDs were released, which were supposedly reissues of very rare LPs, which were published in the middle 70s on an obscure label called Pyramid in small edition. I do not want to spread the whole story here again. More information can be found in the reviews of the albums "Orion Awakes", "The Nazgûl" and "Cologne Curiosities".

Pseudokrautrock offers "Cozmic Corridors" so, even if in the book of the reviewed album Alan Freeman is every effort to prove the authenticity of the album. However, he only makes allegations and tells stories that no one has yet confirmed, especially none of the allegedly German participants. We learn here that the man behind the Cozmic Corridors should have been a certain Alex Meyer, who lived in Cologne in the first half of the 1970s, in an old van with three (!) Hammond organs. Note: Anyone who has played through the cracked Krautrockalben, must also have been a cracked type.

In 1972-73, this Alex Meyer, together with a few musical assistants, including the later legendary drummer Hans-Jürgen Pütz (see "Dreamlab"), brought in the music to be heard here, largely in the Dierks studio in Stommeln As PYR-09 appeared on LP. Jo, and then, in about the same way, Meyer, with his cart and organs, went to the Balkans and was not seen.

But, let's deal with the music. This is not bad at all. Organ and synthesizer are at the center of it, which sounds quite retro and krautig, but a trace too powerful and voluminous from the boxes comes, than the whole thing for a recording from the 70s could hold. In addition there is some percussion and rarely guitar and painted. In "Nobody Understanding", text is also recited, by a lady with the alleged name Pauline Fund, in German, but with a strong, French (?) Accent.

Mysteriously and wobbly, "Cozmic Corridors" glides through the auditory canals. "The Summit" and the already mentioned "Nobody Understanding" offer organ excursions à la Riley or Hamel, decorated and underlined with all kinds of electronics, hum, whistling and hissing. Electronically, "Mountainside" therefore comes before eclipsed strings and eunuchs singing create a strange gothic atmosphere. The long "Daruber" seems rather floydig-psychedelisch, determined by worn guitar sounds and repetitive organ patterns. Later on, sacred Popol = Vuh-Gedächtnischöre are working forward (see "In the Gardens of Pharaohs").

All in all, "Cozmic Corridors" is a very entertaining affair with retro-erotic-electronic-psychedelic music. The fact that the whole thing is still hailed as a lost cabbage masterpiece is annoying. Also at Mental Experience, a label that is otherwise known and appreciated for high-quality reissues of real rarities, one has apparently been entranced by Freeman and praises the material, which was recently reissued on CD and LP (early 2017), as authentic. But no Breiling ..............

Line-up / Musicians
- Alex Meyer / Minimoog, Hammond organ, Fender Rhodes, vocals
- Peter Förster / 12 string guitar, electric guitar
- Pauline Fund / vocals
- Hans Jürgen Pütz / percussion, effects

A1 Dark Path
A2 The Summit
A3 Mountainside
B1 Niemand Versteht
B2 Daruber

Elektro Hafiz "Elektro Hafiz & ELektro Hafiz Dub" two albums 2016 Turkish Psych Funk groove

Elektro Hafiz  "Elektro Hafiz & ELektro Hafiz Dub" two albums 2016 Turkish Psych Funk groove


For many musicians who have been part of a band, embarking upon a solo career isn’t easy. It can be a risky business. Especially if the band is successful, and has released groundbreaking albums. This makes embarking upon a solo career a big decision.

Often, band members have invested much of their career in getting the group to where it is. For some musicians, it’s all they’ve know. They grew up in the band, and have enjoyed various adventures and shared experiences. However, for some musicians, the band has become a musical comfort blanket. Other musicians simply outgrow a band; while some decide the time is right to embark upon a solo career. That was the case with Elektro Hafiz.

He’s been a musician for twenty years, and for the majority of that time, was a member of Fairuz Derin Bulut. They were founded in Istanbul in 1996, the city where Elektro Hafiz was born and grew up. It was also where Elektro Hafiz met the other members of psychedelic rockers Fairuz Derin Bulut.

Originally, their music was a fusion of arabesque, funk, oriental, pavilion music, psychedelia and rock. These genres were the foundations for Fairuz Derin Bulut’s music. It evolved over the next nineteen years, when they released a trio of innovative albums between 2003 and 2015.

Fairuz Derin Bulut released their debut album Kundante. It was hailed a landmark album from one of the second generation of Anatolian psychedelic rock bands. However, it was another five years before Fairuz Derin Bulut released their sophomore album in 2008. Arabesk was a collaboration with Ali Tekintüre. Just like their debut album Arabesk was regarded as an influential and innovative album. So was Fairuz Derin Bulut’s third album Patlantis, which was released in 2015. Patlantis proved to the final Fairuz Derin Bulut album featuring Elektro Hafiz.

After nineteen years with Fairuz Derin Bulut, Elektro Hafiz decided the time was right to embark upon a solo career. So he moved to Cologne, in Germany where Elektro Hafiz began the next chapter in his career. This began with the recording of debut album Elektro Hafiz, which will be released by Pharaway Sounds on 10th June 2016. It’s a genre-melting album which is full of contrasting sounds.

For his eponymous debut album, Elektro Hafiz wrote seven of the nine new tracks. Elektro wrote the music to John Dere whole Stephen Ouma wrote the lyrics. Ozan Ata Canani wrote Deutsche Freunde, and like Steven Ouma joined Elektro in the studio in Cologne.

When the recording of Elektro Hafiz began, Elektro had assembled a band that featured musicians from Austria, France, Germany, Kenya, Switzerland and Turkey. This included a rhythm section of drummer Christoph Guschlbauer and bassist Famer Ozsevim. They were augmented by vocalists Dennis Matto and Steven Ouma; Ismail Darıcı who added talking drum and Ozan Ata Canani who played electric saz. Playing most of the instruments, was Elektro Hafiz who also acted as recordist.

Elektro Hafiz seamlessly switched between bass, guitar and synths, to programming drums, adding vocals and playing Eastern instruments, including the electric saz, darbuka and finger cymbals. During the recording sessions, Elektro used his guitar primarily as a rock instrument, but used the Anatolian scale. This was part of Elektro’s determination to innovate and fuse contrasting instruments and sounds on his debut album. Once the album was recorded, Yasin Bayrak mixed and mastered Elektro Hafiz.

The finished album, Elektro Hafiz was album full of contrasts and surprises. Anatolian psychedelia was a starting point for Elektro Hafiza. From there, he and his band experimented and innovated, adding Eastern sounds and elements of electronica, funk, rock and even dub. This resulted in an innovative, genre-melting album of new, progressive music, Elektro Hafiz.

Hayat Bu Malum opens Elektro Hafiz. Straight away East meets West, as musical influences unite. A searing, glistening guitar is panned quickly, and assails the listener. That’s sure to grab their attention, before Eastern percussion is added. Anchoring the arrangement, is the rhythm section, while the vocal is understated, whispery and dramatic. Soon, washes of synths join the arrangement, and later they buzz and beep. Along with the crystalline guitar, and rhythm section they play leading roles in a genre-melting arrangement that’s mesmeric, moderne and full of clever hooks.

Contrasts abound on Günahkar Helvasi. A buzzy synth is joined by a talking drum before a chiming, chirping, funky guitar enters. It’s soon joined by the rhythm section and crystalline guitar. It adds an Eastern influence as the arrangement is powered along by the rhythm section. Meanwhile, synths punctuate the arrangement before a tender, heartfelt vocal enters. When it drops out, the searing, bristling, guitar takes centre-stage, and proves a fitting replacement. From there, the vocal and guitar, swap places, each enjoying their moment in the sun. Both play their part in a joyous, Eastern sounding psychedelic anthem.

There’s an almost futuristic sound to Belki Son Kez as the arrangement unfolds. This comes courtesy of clunky, robotic synths. They’re soon joined by the rhythm section, who spring into action and propel the arrangement along. Washes and vortexes of synths whoosh and whirl, before a searing guitar solo cuts through the arrangement. It’s replaced by the clunky, robotic and sci-fi synths. Then it’s all change. A brief burst of vocal gives way to DJ Steel. He adds a myriad of urgent scratches and dubby sounds, before the band kick loose one more time. They continue to fuse rock, psychedelia and electronica to create an innovative musical marriage of genres and sounds.

As Dubb-i Akbar begins, synths whirl. They’re reminiscent of a helicopter taking off. That’s until the melancholy sound of a guitar enters. Meanwhile, synths sound as if they’re replicating the gunfire of an eighties computer game. Soon, the melancholy sound grows and builds, as Eastern percussion, including a darbuka, which plays slowly, adding a moody backdrop. Elektro plays an electric saz. It adds to the cinematic sound. So do a myriad sounds that encircle the arrangement. Later, a squelchy acidic synth adds a contrast to the authentic Eastern sounds. The bass synth drifts in and out, while distant vocals drums and percussion combine. Mostly, though, the track is cinematic, evocative and atmospheric. Then Elektro throws as a curveball, and the squelchy synth takes centre-stage as the track meanders to a close, adding complete contrast to the earlier cinematic, evocative and atmospheric sound.

John Dere sees Elektro Hafiz change direction again. Straight away, dub and electronica seem to have influenced him. Synths join the rhythm section, who anchor the arrangement. The bass sits atop the beats, while the synths further fatten the sound. Eletro’s brisling guitar rings out, as the arrangement meanders along. All the time, effects are add to the dubby sound. Then Steven Ouma adds a reggae vocal. Still, there’s a dubby sound. Later, a brief scratch ushers in a rocky guitar as the drama builds at 2.40. Suddenly, the reggae has given way to rock, as a blistering guitar cuts through the arrangement. Elektro adds a guitar masterclass as scratches augment his playing. The result is four magical minutes where dub, electronica, reggae, rock and hip hop create a captivating, genre-melting track.

Synths are panned left to right, and buzz, bubble and squeak on Destur III. They add a myriad of sci-fi sounds, before an electric saz rings out, and joins a darbuka. From there, the arrangement meanders along. That’s until DJ Steel adds scratches, and the arrangement flows melodically along. By then, contrasts are everywhere. The synths and darbuka prove to be polar opposites. Despite this, both play an important role in the sound and success of the track. So do the rhythm section, guitar and weeping gypsy violins. They’re played against a backdrop of static, while a darbuka plays. Later, Elektro adds a brief moody vocal, as the rhythm section add a degree of drama. After that, the arrangement meanders melodically along and Elektro Hafiz’s musical adventure continues.

Alas, Nossa Bowa Gitara closes Elektro Hafiz’s eponymous debut album. Birds cheep and chirp; water flows; and stabs of keyboards are joined by the rhythm section and percussion. Soon, a guitar with reverb added plays, and provides the finishing touch as the arrangement as it breezes along. Stabs and washes of keyboards punctuate the arrangement, as the rhythm section provide the heartbeat. However, it’s the guitar that plays the starring role in Nossa Bowa Gitara’s summery sound. It’s a beautiful way to close Elektro Hafiz.

After nineteen years with Fairuz Derin Bulut, Elektro Hafiz decided it was time to leave the band he had cofounded. This was 2015, and Elektro Hafiz decided that he wanted to embark upon a solo career. For even members of the most successful groups, a successful solo career doesn’t always follow. However, Elektro Hafiz should enjoy a successful solo career. He’s a talented and innovative musician, whose eponymous debut album oozes quality.

Elektro Hafiz will be released by Pharaway Sounds on 10th June 2016. Two versions of the album will be available. There’s the Dub version, which features dub and remixes of the nine songs; and then there’s the original version of Elektro Hafiz which I’ve reviewed. It finds Elektro Hafiz as he experiments and innovates.

As a starting point, Elektro Hafiz used Anatolian psychedelia. To this he and his band added elements of dub, funk, jazz, reggae and rock. The result was an album new, progressive, genre-melting music full of subtleties, surprises and contrasts.

These contrasts come from the instruments used on Elektro Hafiz. He experimented with a myriad of traditional Eastern and Western instruments and scales. When Elektro Hafiz was laying down the rock guitar parts, he stayed true to his Anatolian roots, and used the Anatolian scale. This transformed the rock guitar. So did the other instruments Elektro Hafiz deployed,

Alongside his bass, drumbeats and synths, he added traditional Eastern instruments like an electric saz, darbuka and finger cymbals. Each of these instruments added contrasting sounds, and became part of the bigger musical picture that became Elektro Hafiz. It’s the equivalent to a magical mystery tour.

During this magical mystery tour, Elektro Hafiz combines musical instruments, genres and influences. The result are nine tracks that are variously anthemic, beautiful, joyous and melodic. Other times, the music is dramatic, mesmeric and moody. Occasionally, Elektro Hafiz is tinged with humour. Sometimes, the music on Elektro Hafiz is cinematic and paints pictures. Always, though, the music on Elektro Hafiz is captivating, inventive and innovative, as Elektro Hafiz continues to pushed musical boundaries, and experiment.

That’s what Elektro Hafiz spent nineteen years doing with Fairuz Derin Bulut. Now that he’s embarked upon a solo career, Elektro Hafiz continues to experiment, innovate and create genre-melting music on his eponymous debut album. It features Anatolian psychedelic pioneer Elektro Hafiz, as he embarks upon what’s a new and exciting musical adventure.............

Elektro Hafız "Elektro Hafız"  2016 album

A1 Hayat Bu Malum 2:58
A2 Günahkar Helvasi 3:57
A3 Belki Son Kez 3:22
A4 Ne Diyeyim 4:25
A5 Dubb-i Akbar 4:39
B1 John Dere 4:18
B2 Deutsche Freunde 4:10
B3 Destur III 3:19
B4 Nossa Bowa Gitara 3:14 

Elektro Hafız ‎ "Elektro Hafız Dub" 2016

Günahkar Helvasi 2:31
John Dere 4:34
Destur III 4:00
Ne Diyeyim 5:23
Belki Son Kez 3:53
Deutsche Freunde 5:02
Hayat Bu Malum 3:02
Dubb- I Akbar 4:31
Nossa Bowa Gitara 4:48

Gallery "The Wind That Shakes The Barley" 1972 UK Private Folk

Gallery "The Wind That Shakes The Barley" 1972 UK mega rare Private Folk


For those of you out there that love the great sounds of the 70s British folk underground scene, Guerssen, the Spanish label, are reissuing one of the rarest albums from that period on vinyl for the first time:

Originally released on Midas Recordings in 1972 The Wind That Shakes the Barley (now fetching around £1000) featured the wonderful vocals of Barbara and Royce Seabourne. Gallery’s slightly medieval sound inevitably leads to The Wicker Man references although the film which has taken credit for many 70’s underground Folk music releases wasn’t released until 1973. The best sound comparisons appear to lie at the door Mike and Mandy Morton of Spriguns Of Tolgus who formed in the same year of this release................

Gallery's sole album is similar enough to enough British folk albums from the 1970s (and onward) that it's hard to say much about it that would distinguish it from the rest of the crowd. That's not a heavy criticism, though; it's decent British folk, sensitively sung and played, with dulcimer, mandolin, violin, and electric bass in addition to the expected acoustic guitar. There's also a nice mix of male and female lead and harmony vocals, particularly on the male-female harmonized duet of the sad "Queen of Hearts," the record's best track. Barbara Seaborne takes a good lead vocal on "Let No Man Steal Your Thyme," though some other artists (such as Pentangle) have done more notable interpretations of this famed tune. While there are more songs with a plaintive folk lilt than there are of any other type, it's broken up by an a cappella vocal number, a violin-dominated instrumental, and a more reel-like instrumental. The CD reissue on Kissing Spell adds a 20-minute bonus track of excerpts from 1969 rehearsals that are too lo-fi and jarringly edited together to give pleasure, though as it's placed at the end of the disc, it's easily ignored if you Richie Unterberger .............

Very rare UK style folk rock, and another privately pressed folk rariety from the mid seventies.( now fetching Ј400.00 on the collectors market) With fine guitar and mandolin work from Steve Morrison this is classic UK '70's hippy folk with a traditional edge. Also includes extra unreleased material from an informal rehearsal in 1969 by the band. Freak Emporium.......................

"It is a beautiful record, released on MIDAS label in 1972. In my research I've found only one of the personnel names, the female voice, Barbara Seabourne. The record title is "The Wind That Shakes The Barley" (Kissing Spell KSCD9503-f) and some of you could instantly remember the Dead Can Dance late version of this beautiful traditional here included. On the KS version there is also a 20 minute bonus track that was recorded in 1969 (so the record notes).
Seems that this MIDAS label pressed also a record from a band named "Folkal Point" and two solo records from a certain Janet Jones.
The Gallery sound is not "acid" folk, but more traditional stuff, well clever done."
"The Gallery album is superb IMO. The label was set up by Alan Green who was also behind the Folk Heritage / Westwood labels. Gallery is phenomenally rare as an original LP (About £1000). Equally as rare is Folkal Point (Even the band only have one copy between them!!) Janet Jones did 2 for the label and both are more common, but excellent" Ian from Ammonite Records........................

Dulcimer – Barbara Seabourne
Fiddle – Mark Uttley
Guitar – Alan Morrison, Barbara Seabourne
Mandolin – Mark Uttley
Vocals – Barbara Seabourne, Royce Seabourne

A1 Seven Gypsies
A2 False Bridge
A3 Queen Of Hearts
A4 Gilderoy/Staten Island Harvest Home
A5 Let No Man Steal Your Thyme
A6 Dowie Dens Of Yarrow
B1 The Wind That Shakes The Barley
B2 Broomfield Wager
B3 Chaconne
B4 The Baron Of Brackley
B5 Icy Acres

The Osmosis Jones Band "Osmosis Jones" 2017 Canada Psych Space Rock

The Osmosis Jones Band  "Osmosis Jones" 2017  Canada Psych Space  Rock
Benjamin Cornel - Guitar/Vocals 
Julian Iacovantuono - Bass/Vocals

01. Osmosis Jones 08:17 
02. We All Shine 05:30 
03. Queen Bitch 03:19 
04. At Joe's 03:28 
05. Osmosis J. Simpson 03:28 
06. The Line 04:49 
07. Eggshells 01:54 
08. Luna 03:48 
09. Chilli Peppers and Bath Salts 03:52 
10. Last House on the Left 01:29 
11. The Sun to our Planets 03:20

johnkatsmc5, welcome music..