Quantum Fantay are a Flemish space-rock band, who formed in the early/mid 00s, and in the last few years have released a number of albums (this is their fourth). All of them are excellent and these albums, along with their NEARFest performance, have propelled them into the international arena. Like their obvious heros, Gong and the Ozric Tentacles, there's lots of flute, keyboards, guitars and a supple rhythm section, but they've got a sounds that also reflects the 00s and keeps it all new sounding.

This bootleg includes mono edition of "Revolver" plus session outtakes and different mixes of "Revolver" era songs.

Ozric Tentacles are simply put, legends of the UK underground. Inspired by a myriad of musical genres and musicians from Kraut-rockers Kaan to guitar maestro Steve VAI, from ethnic Arabic to electronic techno, from Hendrix to Hillage. Ozric Tentacles' music is a fusion of sounds, styles and genres that cannot be categorized nor plagiarized, such is its complexity. The essence of the Ozric Tentacles remains essentially a free-willed musical unit oblivious to fashion trends and intent on exploring instrumental experimental music with an obsessive zeal. Formed in the early eighties, the Ozrics began life as a free-form psychedelic vehicle for jamming, attracting a dedicated fan-base at grassroots level by playing at all the free festivals to fans of space-rock, dub, psychedelia, and later on when the festivals had developed into raves, to fans of house and techno…

A little known and extremely rare album. Soul influenced prog rock, with a few funk moves, and featuring long, improv driven tracks with soulish vocals, some brass, organ, flute, some strings, and a mix of light and heavy.
Its members most of all known for his session work, as Brent Forbes was in Locust in the mid 70's who also worked for Bob Peggy The surprise sisters. Norman Leppard played with Aynsley Dunbar and Alan Marshall, who was in Zebra mid 70's playing for Pete Bardens. Conrad Isadore was the most prolific of all, growing several albums of various artists.

The songs that were taking shape during 2013 / 2014 show an exciting progression of Pocket Size's concept. The recording sessions started out after an initial meeting with producer Tom Van Heesch at Big Island Sound studios. When he had heard the demos there was no turning back. He came up with the ideas how these tunes were going to be recorded and did a blueprint for the recording sessions. The primary idea was to highlight the retro elements of the music without going all the way into nostalgia. Exposed Undercurrents differs a bit from the last record (The Hornplayer…). There are two tunes with lyrics in Swedish, while the rest of the tunes are in English. There is also a stronger coherence within the album since the songs pour from the same well. But it is still not a concept album, all songs are individual entities.

As we entered into the second decade of the new millennium, the world was blessed with the birth of Pocket Size. You´re steppin´ through the door to a magical, musical universe. It´s all about vast sonic landscapes that penetrate the brain. On all levels. A progressive way of thinking, a progressive way of acting, a unifying progressive form of music that reaches out to everyone. You are invited to take part of the experience! As we had finished the last Pocket size album Exposed Undercurrents, I ended up there in a subconscious way. It had been a lot of hard work, stretching ideas to the limits and a little bit of artistic fatigue was present…

This special line up of Acid Mothers Temple & The Cosmic Inferno was happened just for "MIMI Festival" in Marseille 2015. We've played 3 shows, The Doom in London, "MMI Festival" in Marseille and Club Goodman in Tokyo then. Though Acid Mothers Temple & The Cosmic Inferno has gone on a hiatus, The present Acid Mothers Temple & The Melting Paraiso U.F.O. took many songs over from this group. It's the only one release of this special one up, also this digital album was released only for Bandcamp.

A comprehensive twenty four track CD covering this London rock band's full history from 1972-77 that encompasses prog-rock blues, pop, glam, heavy funk and even some post Turquoise influenced psych plus a rare Dutch radio interview from 1975. Detailed history written by Pete Sarfas who saw the band live over fifty times in the early to mid 70s, blowing the lid on the explosive story of how some of Slowbones songs, ideas and even logo were ripped off by the Sex Pistols and Iron Maiden.
Taken from original quarter inch masters, The Real Rock & Roll Swindle highlights the band's song writing strengths by presenting a cornucopia of rare studio gems, catchy singles, forgotten B sides and exhilarating live material…

Clearlight Symphony is a progressive rock album released in 1975 on Virgin Records in the UK. It is the first in a series of albums by a project led by pianist Cyrille Verdeaux with the participation of other musicians, including in this case three members of Gong on one side, and two other French musicians, Gilbert Artman (of Lard Free and later Urban Sax) and Christian Boulé (formerly with Verdeaux in the band Babylone, and a later Steve Hillage sideman) on the other. Primarily psychedelic, but also serving as a forerunner of new-age music, the album's musical style manages to blend seemingly contrary elements: the symphonic rock concept is flexible enough to permit extensive jamming in both rock and jazz fusion styles.

Alice is one of the first generation of groups to have done progressive rock in France, even if their sound often came close to the blues rock, they mixed in some heavy psychedelic ideas and threw in a couple pinches of prog purée in their music and achieved a very interesting album, recorded in London and released in early 70. Clearly the leader was multi-instrumentalist and singer JP Auffredo and his style on flute was reminiscent of Jethro Tull, Traffic but sometimes the Yardbirds as well.
This re-mastered version of Alice’s auspicious BYG debut provides an opportunity to reassess a band that deserves wider recognition.

Iconic British band Ozric Tentacles have announced ‘Travelling The Great Circle’, an expansive new hardback book release, featuring remastered music from one of the bands most creatively thrilling and acclaimed periods.

This Quebecois band has three phases. First came the psych period under which they were known as Morse Code Transmission and made two psych albums in 71 & 72 sung in English. The second phase saw their names shortened and with the Quebec prog explosion under way decided to switch to French singing. The three albums that followed are real gems of progressive music oscillating between Genesis and Barclay James Harvest but the French texts (sometimes highly impressive) gave them a sound of their own. They disbanded, as the disco wave became a Tsunami in La Belle Province only to reform in 83 to make a best-forgotten English-sung album and again in 95 for a much better one again in French.

Mutantes E Seus Cometas No Pais do Baurets is the fifth album by the Brazilian rock band Os Mutantes and the last to feature all three founding members. There was little sound technology available, so they had to invent their own wah-wah, flanger, and phaser pedals, sound systems, and more. The second track is an acoustic ballad where the innocent voice of Rita Lee presents the love declaration of a bitch to her dog, backed by a bumbo leguero (typical instrument of South American countries and a trademark of protesters against dictatorship). It is no surprise that they were hated by the government: censorship delayed the release of the album, due to the title and the lyrics of "Cabeludo Patriota" ("Hairy Patriot")…

In the summer of 1968 after the demise of his last band The Attack, John Du Cann formed Andromeda. For the next year they gigged up and down the UK at clubs,Universities and prestige London venues such as The Round House and The Lyceum. Having caught the eye of the late John Peel Radio One appearances followed. John Du Cann and his colleagues recorded their first album which they presented to their then record company who promptly dropped two tracks (too long for an LP) and remixed it as the original was considered “too heavy”. The band was gutted and John moved onto Atomic Rooster - but that as they say is another story. Now released for the first time ever in its original form, remastered from the original acetates is one of the classic heavy psych, underground albums of the 60’s…