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LP
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AKU 1057LP
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Ak'chamel, The Givers of Illness plunged into truly deranged extremes to summon the decayed, otherworldly essence captured on Spiritually Unemployed, embracing unhinged and esoteric methods during the tracking process. Recorded in a makeshift adobe studio amid liminal border-zone ruins. Nocturnal treks along forgotten stretches near the U.S.-Mexico line, through derelict border outposts and sun-bleached vehicle husks, yielded unique recording opportunities: Ak'chamel dragged tape decks like sacrificial talismans, to capture gravel crunch, distant javalina fights, and unintentional EVP-like anomalies. Harvesting the psychic weight of migration, abandonment, and geopolitical limbo. A half-broken oud, double-reed pipes, a battered hurdy-gurdy, and self-built spike fiddles were "tortured" pre-recording; strings detuned to unstable microtonal chaos, reeds soaked in questionable desert-sourced liquids, and instruments were kept outdoors to absorb ambient dew, dust, and wild temperature swings, ensuring every take carried an unpredictable, haunted instability. Vintage cassette decks and reel-to-reel units were powered through erratic, low-voltage setups (literally dying generators) which introduced random voltage drops, speed fluctuations, and ghostly dropouts mid-take -- turning tracking into unpredictable spirit interventions. Fresh analog takes were dubbed onto tapes previously buried in arid soil throughout the hot day, then exhumed and played back while layering new overdubs; creating a palimpsest of temporal erosion where past decay bleeds into present performance. Live performances were blasted through overloaded, malfunctioning analog chains (cranked cassette walkmans, battered spring reverbs filled with gravel, warped echo units), then physically "mauled" by running the tape through sandpaper-wrapped capstans or crushing segments underfoot before resplicing -- resulting in tracks that feel compressed, twisted, and ruptured. Thus the desert claims its due: instruments tortured into prophecy, tapes interred and exhumed in chapels of malfunction. Spiritually Unemployed is the resulting artifact -- a sonic border autopsy where enlightenment arrives not as a sealed doctrine but as an open infested wound.
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ASH 105LP
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"For years, Jackson C. Frank was as ghostly a legend as they come. Even the relatively few record collectors who revered his work were only aware of the lone LP released during his lifetime. For all most listeners knew, Frank made an incredible album in 1965 and then vanished, despite that record having been produced by Paul Simon. 1975 Mekeel Sessions features six tracks recorded in the mid-'70s at a studio in Lake Hill, New York about five miles from Woodstock where Frank was living at the time. Only uncovered decades later, these recordings hum with the same mysterious warmth that defined Jackson at his peak. His guitar work, alternating between strummed and fingerpicking, is perfectly understated. His stark and somber voice, more weathered than the lighter tone on his debut. While the Mekeel tapes were intended for Frank's sophomore album, it never came to be. What one hears is not a singer-songwriter fading out of view, but rather a singular artist who never stopped trying to build his own world -- even when no one was watching. For fans of everyone influenced by Jackson: from Nick Drake, Sandy Denny and Bert Jansch to more contemporary acts like Elliott Smith, Vincent Gallo and Iron And Wine who surely used Frank's sparse approach as a template."
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BEAT 120LP
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Fronted by charismatic poet and wordsmith Chinas, the band created an exciting mix of classic female fronted punk in the vein of L.A. bands like X, The Avengers, or The Bags with poetic and artistic sensibilities. Includes their two sought after EPs (Peasant/Slave (1978) and Snaps (1979)) plus unreleased studio recording, one demo take, and a blistering live cover of "The Witch" by The Sonics. Includes an insert with information about the band and photos. Essential for fans of classic American punk rock with an art twist.
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BONER 025LP
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2026 repress. 1991 release. "Available again with updated artwork and a new gatefold sleeve! Melvins' follow-up to 1989's Ozma was 1991's groundbreaking Bullhead. The songs are longer, the mood is calmer, yet more menacing. 'Boris' (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. 'Zodiac' is a frantic punk rock machine gun blasting away at Buzz's demons (both inner and outer). 'Cow' is a happy baboon bashing away at the best drum solo of his life. 'It's Shoved' is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom."
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CS 34396CLP
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2026 restock; reissue -- originally released in 1976. Color vinyl, 180 gram. "Water Babies is a compilation album by American jazz trumpeter Miles Davis. It compiled music Davis recorded in studio sessions with his quintet in 1967 and 1968, including outtakes from his 1968 album Nefertiti and recordings that foreshadowed his direction on In a Silent Way (1969), while covering styles such as jazz fusion and post-bop. Water Babies was released by Columbia Records in 1976 after Davis had (temporarily) retired." Personnel: Miles Davis, Trumpet; Wayne Shorter, Soprano Saxophone; Herbie Hancock, Piano; Ron Carter, Bass; Tony Williams, Drums; Chick Corea, Electric Piano; Dave Holland, Bass; Teo Macero, Producer
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CHR 004LP
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"What a treat this LP is for fans of the Celtic legends! Gathering together the first two amazing Peel Sessions they recorded on April 1984 (as Pogue Mahone!) and December 1984, plus an equally astonishing selection of other radio recordings done in those glorious early years, this record is filled to the rims with the band's infectious magic. Extra charged with the live in the studio energy, the band is absolutely on fire during these recordings, with Shane MacGowan probing over and over he's one of the best to ever do it. A must!"
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12"
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DE 331EP
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"Chicago legend K. Alexi returns to Dark Entries with Warehouse Trax, an EP of previously unreleased acid and house mayhem. K'Alexi Shelby's illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began writing songs and honing his poetic craft. 'I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.' Dark Entries previously reissued Shelby's debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Warehouse Trax follows with six tracks recorded in Chicago between 1991 and 1994. The material here has all the hallmarks of classic K'Alexi. Salsa-inflected rhythms, emotive basslines, and hip-house vibes are displayed on tracks like the high-octane 'Jungle Line' or the low-key tearjerker 'Protect and Survive.' There are also some unexpected surprises in store. 'Aaaah' comes out of the gate swinging with hard-hitting beats and apocalyptic ravey vocal pads evocative of the edgier material on Saber Records or Djax Up Beats, and the surprisingly contemporary-sounding 'Klub Dred' delivers half-time dub with stuttering vocal samples. Warehouse Trax comes in a retro-styled sleeve designed by Eloise Shir-Juen Leigh. This is essential material for devotees of classic house sounds."
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12"
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DE 336EP
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"Chicago legend K. Alexi returns to Dark Entries with K.A. Posse's Strkes Again, an EP of preleased unreleased acid and house mayhem. K'Alexi Shelby's illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. 'I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.' Dark Entries previously reissued Shelby's debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn's personal archive. This record showcases the rawer, more immediate side of Shelby's sound, with tracks full of overdriven 808's, careening sirens, and dangerously funky breakbeats. 'Imported Taste' brings Shelby's signature deep pads to the front of wild Congo-laced percussion. 'Suckas Be Ready' is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking 'Muzic Box.' Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh."
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2LP
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DKR 286LP
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20256 repress. "This compilation is dedicated to the memory of the late great 'Prince' Philip Smart -- the first apprentice of King Tubby and the first engineer at Tubby's studio besides Tubby himself. Alongside Tubby, Philip was integral to the innovation that took place at Tubby's studio in the mid-1970s, where the mixing of new roots reggae revolutionized the sound of Jamaican music and created styles and techniques that are still being echoed today, nearly 50 years later. Though rarely credited on records in comparison to Tubby, Philip also mixed a lot of the paramount music produced by those close associates of Tubby's studio such as Bunny Lee, Yabby You, and Augustus Pablo. Philip was closely tied to Pablo due to their childhood friendship and was a partner in his stylistically significant early production works. In the early years of Tubby's studio, both men were making and cutting custom dubs there for their sound systems before starting to produce their own tunes from scratch, and Philip becoming the second chair engineer. Several of the songs on this compilation are a selection of the aforementioned work. All of the songs here are sourced from Philip's personal tape archive, and basically all of these mixes and versions have been scarcely if ever heard, and never released before. This double album comprises a rare and genuine glimpse into the dubplate workings of the inner circle of Tubby's studio in the mid-1970s, where the prime players and emerging giants of reggae music production and sound system versioned, remixed and voiced rhythms for custom and exclusive cuts. Some of the cuts heard here were formerly exclusive power plays on King Tubby's own legendary sound system, and unlike some previous issues of such material, these are genuine mixes done at the time. Some other tracks clearly exude the youthful enthusiasm of the participants. Rest in power Prince Philip Smart." --RB/DKR, Summer 2023
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12"
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DKR 310EP
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"This murder three track 12" is the next installment in the ongoing Park Heights series. The Heptones 'Get Up & Chant' is a certified roots anthem, FINALLY retrieved from album duty and now on a nice fat single for the first time, heavy anthemic roots with a killer mix and lashing reverb. Following this is another total gem formerly hidden away exclusively on an old Park Heights compilation -- Bobby Floyd's 'Need to Belong,' a beautiful soulful roots tune with harmonies by the Heptones. On the flip side is a total killer previously unreleased Stranger Cole roots tune from the early '80s, in extended discomix style."
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LP
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DIS 115LP
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"2026 pressing on silver metallic opaque vinyl. Lungfish's sixth full-length LP, originally released in 1998."
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CD
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DOG 084CD
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"Introducing the Bayside Beat of The Gnomes! Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only recently, Gnomes actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material -- quite a few albums' worth -- on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like-minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnomes became a band. Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP -- four songs of kranked up Kinks-style mono riffage -- was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views. At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers. And now, finally, comes The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from savage Rhythm & Blues to vibrant beat pop, with forays into heavy reverb psych, Cavern/Star Club stylings and first flyte jangle along the way. There's more of course, including a new version of that Kinks-style kranker 'I Like It' for good measure. Frankston's Fab Four are taking their sound to the world. Join them for the ride!"
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2LP
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EMEGO 135LP
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2026 repress. Remastered, expanded gatefold double LP version. This version features new artwork by Tina Frank, based on the original 2001 Mego release. Contains "Ohne Sonne" and "47 Blues," previously only available on the Japanese CD versions, as well as a new, extended version of "Happy Audio," exclusive to this release. Endless Summer, originally released in 2001 by Mego, was a breakthrough album for Christian Fennesz -- the album which brought his name and music towards the first steps of mainstream recognition. Following on from the more experimental Hotel Paral.lel (EMEGO 016CD) and the Beach Boys-homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to become a classic of its time, topping many end-of-year polls. Cut at Dubplates & Mastering, Berlin, September 2010.
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2LP
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GOO 017LP
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2026 repress. "Daydream Nation was Sonic Youth's sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen. Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wide commercial success without compromising their artistic vision. More recently, Daydream Nation has been recognized as a classic of its time: Pitchfork ranked it #1 on their '100 Greatest Albums of the 1980s'; Spin listed it at #13 on their '125 Best Albums of 1985-2010'; Rolling Stone put it at #45 on their '100 Best Albums of the Eighties' list and #328 on their '500 Greatest Albums of All Time.' It was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006. 2007 saw the release of an expanded four-disc vinyl box set, but now the album is back in its original form after years of being out of print and highly sought after. As a special 21st century bonus, the vinyl now includes a digital download card -- radical adults rejoice!"
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GOO 018LP
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2026 restock. LP version with download code. "Sonic Youth's second full-length LP Bad Moon Rising was originally released on Homestead and Blast First in 1985. The album is a fascinating examination of 'the junction where hippie idealism [meets] the cold hard world,' says guitarist Lee Ranaldo, 'where Woodstock [meets] Altamont -- Death Valley, Charles Manson, Brian Wilson, musicians, murderers, heroes and villains.' Its original eight-song tapestry of droning guitar feedback, distant clattering percussion, and sullen vocals, all held together with interstitial noise loops and shadowy haze, ambles through a long, dark night before the feverish 'Death Valley '69,' driven by runaway guitar riffs and a frantic Thurston Moore/Lydia Lunch vocal duet, pounds the capstone into place. Sonic Youth's big leap forward from Confusion Is Sex and Kill Yr Idols 'reflects the spirit of the time,' to quote All Music Guide. Bad Moon Rising views 'American gothic through the glassy eyes of willful moonlit paranoia.' Back in print on Goofin' Records, this reissue includes bonus tracks 'Flower' and 'Halloween,' both from a 12-inch single of the same era. The sound collage morsels 'Satan Is Boring' and 'Echo Canyon' are your cue to begin moving toward the exit and get out while you can."
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HPS 378CD
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The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death.
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LP
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HPS 378LP
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LP version. The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death.
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LP
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HPS 378LTD-LP
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LP version. Green color vinyl version. The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death.
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LP
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JPR 7105LP
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2026 Limited restock. "Yodeling Astrologer (aka: Color By The Number) could be considered an anomaly, a one-off or a miracle of circumstance in the history of psychedelic pop music. Mij, a.k.a. Jim Holmberg was discovered by ESP-Disk owners while playing in Washington Square Park in the summer of 1968. His style and persona mesmerized the label heads, and he explained to them a recent auto accident had fractured his skull but left him changed. He perceived sound, color and vision differently and he had funneled this new world of perception directly into his music. All this was enough to warrant getting Mij into the studio to lay down a record of his rambly, cosmic folk songs. The entire album was recorded in three hours, first-takes and impromptu production intact, then pressed up and introduced to the world shortly thereafter. To focus on the yodeling aspect of the Yodeling Astrologer would miss some of the depth of this album. Not just a hippie novelty act of the time, this is a truly thoughtful and somewhat frenzied document. Like Buffy St. Marie's Meditations, Linda Perhacs' Parallelograms or Cold Fact by Rodriguez, this is an album of sincere folk songs colored with subtle psychedelic touches. Uneasy reverberations and soft echoes glide over Holmberg's breezy songs, creating a consistent sonic environment as spontaneous as it is intriguing. Available on vinyl for the first time since an incredibly limited original pressing in 1969 on ESP-Disk."
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CD
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JL 027CD
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2026 restock. "Totally killer previously unreleased dub companion LP to Flick Wilson's School Days LP. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby's for the mixing of many of the classic Junjo/Radics/Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased... until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett's What's Wrong With the Youths album. Classic Scientist 1980-style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser."
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LP
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LMS 1725576
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2026 restock; LP version. Alongside Joy Division, The Durutti Column were amongst the first artists to be released by Factory Records. Their debut album, produced by Martin Hannett, showcased the filigree guitar work of Vini Reilly, awash with reverb and early experiments with synthesizers. It would be a first album of a five-decade career, in which The Durutti Column would quietly emerge as one of the most influential acts from the Manchester scene and beyond. To celebrate the album's 45th anniversary, London Records revisits the album with new editions, with audio sourced and remastered from the original tapes for the first time since 1980, with vinyl cut at half speed. LP version includes restored "second edition" artwork with textured sleeve. Liner notes by The Durutti Column/Factory Records expert James Nice.
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2LP
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LOV 030LP
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"Maximillian Colby fashioned seminal works on their own terms. Neither purely aggressive nor depressingly somber, Maximillian Colby's music creates soundscapes that can rupture the eardrums and soon after lull the mind. As a band, they melded crisp whispers with clamor drenched in feedback to dizzying, cathartic effect. With songs that run such a gamut of genres, Maximillian Colby never let their music lapse lazily into incoherence. Rather, the sounds they created are a lesson in methodical precision and totality. For example, how many other bands can succeed in writing an engaging, eight-minute song whose two primary tones are within a half-step of each other? Maximillian Colby were all too happy to wring the utmost out of something as deceptively innocuous as a pair of notes, exploring their many inherently possible rhythms, dynamics, and effects. This all-encompassing exploration of the different, nuanced qualities of each song reflects Maximillian Colby's playful, deft approach to their art. Songs will build and build, only to have the climax moments or even half a song later. What seems like relentless adolescent pummeling is in fact incredibly intentional and calculated. This charismatic musical approach ensures that Maximillian Colby's music remains as captivating, animated, and vital as it was a decade ago. Remastered double LP (color vinyl) of the Max Colby discography with two exclusive live tracks. Exquisite pantone metallic color print on the sleeve with Lovitt Archives OBI-Strip."
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MGART 424CD
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2026 restock; In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes six-page booklet with notes and pictures.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes ... A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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CD
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MR 350CD
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Los demenciales chicos acelerados is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of Quadrophenia by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial Nazi pictures on the front and back covers. Eskorbuto were equaling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. Although Los demenciales came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with a different cover. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest." The album contains new versions of a few previous tracks such as "Ratas rabiosas" and "Enterrado vivo" plus the studio version of "Más allá del cementerio." For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.
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CD
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MR 493CD
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With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US North West at the same time. Theirs is the same DNA shared by The Sonics, Rocket From The Tombs, The Cramps and Black Lips. This release compiles all their recordings, including some later rarities available here on CD for the first time, and tells their amazing story.
"I'd never heard Los Saicos until a few days ago but had experienced the Wau y Los Arrrghs!!! version of 'Demolición.' Whilst appreciating the inherent wildness, I never for a minute considered that the original could have been even more deranged. More importantly, this snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles. I hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. The unhinged nature of the song titles is one thing but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and kicks in the call of the wild. The individuals have no other option than to just go with it. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton
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