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viewing 1 To 14 of 14 items
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LP
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HOLY 2957LP
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2021 repress. "Suishou no Fune originated in Tokyo's fertile psychedelic scene. After landing a spot on PSF's Tokyo Flashback 5 and releasing Where the Spirits Are in 2006, the group ventured out from Japan and took every opportunity to play across the United States and Europe. During one of these trips in the spring of 2007, the group -- down to the crucial duo of Pirako and Kurenai -- went into a recording studio for a few days and laid down eight massive new tracks. Two tracks, chosen by the group -- 'Becoming a Flower' and 'Till We Meet Again' -- appear on this special vinyl edition. Much about Suishou no Fune has had to do with volume, but this new set of duets adds forays into starker songwriting and a languid serenity that works to make one feel as if it were necessary to hold one's breath through the entire album."
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LP
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HOLY 21345589LP
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2021 repress. "The Wooden Shjips' earliest material was released on vinyl, pressed in small quantities that were either free or hard to come by and are now hopelessly out of print. Who are we to keep you away from the rush of 'Shrinking Moon for You'... Vol. 1 collects all the tracks from the free 10-inch, the Dance, California 7-inch, and the SOL 7-inch." "... [T]ight-wound repeato psych guitar raunch with spoony (maybe even imaginary) percussion, surprisingly Rev-like keys, and vocals buried under burning driftwood. It's a nice one." --Byron Coley, Wire
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LP
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HOLY 2000LP
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"The sky goes on forever in Barry Walker Jr.'s Shoulda Zenith, and it's crackling with unexpected lightning. The Tennessee-bred, Portland-based pedal steel master subverts his instrument's tradition for lachrymose, innocuous Rootzak?. Instead, he ventures to outward-bound strata more frequently traversed by Sonny Sharrock than Gram Parsons. 'So often, the pedal steel is used as a textural flavor,' Walker says, 'but it really can breathe fire itself.' Evidence for that claim abounds on Shoulda Zenith. Sprouting out of the strategies Walker used on his 2012 LP of Henry Flynt and Paul Metzger-like fiddle aberrations, Banjo Knife, the music on Zenith goes on similar extravagant tangents -- but with pedal steel. Assisted here and there by bassist Scott Derr and drummer Dana Valatka, and others, Walker has synthesized his love for country, New Age, freeform freakouts, and ecstatic music on Zenith. One can hear traces of the laid-back sinuousness of Texas psych-rockers Cold Sun, Fushitsusha's craggy, acid-rock excoriations, and Doug Sahm's sprightly melodic sweetness. One may notice 'Insect Interlude' adding new colors to Terry Riley's Rainbow In Curved Air and 'Up The Fan, Into The Keyhole' taking Sharrock's Black Woman to Appalachia. Tilt the head just right and 'Shoulda Zenith' and 'Trinity Payload' may be the most psychedelic things a pandemic-besieged mind will encounter in 2020. Cosmic country didn't know it needed its own Inventions For Electric Guitar, but now that it's arrived, the Gilded Palace Of Sin is starting to seem like a dilapidated bungalow."
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CD
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HOLY 1999CD
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"A home-recording project completely open to experimentation but in love with songs, The Lavender Flu is masterminded by Chris Gunn (The Hunches, Hospitals). Their massive 30-song debut double-album Heavy Air was conceived over a period of years and outside of the genre concentration camps. Like Terrence Malick's Tree of Life remade by the ghost of Phillip K. Dick, it's psychedelic and dense, projecting sounds as images inside your head, layers and layers yielding new secrets with each listen. Heavy Air winds a circuitous path through pop songs ('My Time,' 'Those That Bend'--with a 'Waterloo Sunset' vibe), blasted rockers ('Fingers Like Wounds'), beautiful instrumentals ('Feel the Ground,' 'Telepathic Axe'), fractured folk ('Between The Trees'), weirder experimental pieces ('Vacuum Creature,' 'La-Bas'), straight-up fried epics ('Transcendental Hangover') plus a few covers in the mix, including a maximal / minimal take on The Godz' mantra-like ode to sun worship and a Townes Van Zandt tune that is derailed by a massive panic attack. Lyrics and melodies appear and reappear as half-remembered dreams or reconstructed memories. Traces of Big Star, Royal Trux, Brian Eno, Meat Puppets II and American Beauty are in the DNA but The Lavender Flu is its own beast."
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LP
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HOLY 5QXF3
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2023 repress. Clear with purple vinyl. "Comprised of two songs that build on their use of cyclical rhythm, riff and vocal intonation, Om 's 2006 album Conference of the Birds blends metal, chant, drone, dub and psychedelia. The group's lyrics expound upon the structure of the universe, potentiality and freedom from the physical body. Engineered by Billy Anderson and produced by the band, Conference of the Birds is a fully realized work from a forward-thinking band at their peak."
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7"
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HOLY 1998EP
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"'Dump' (and its B-side 'Don't Worry Be Slow') has the massive guitar solos that Hiiragi Fukuda's masterpiece of late-night mellow My Turntable Is Slow could not contain. Both songs possess an earlier-in-the-evening swagger that make them as complimentary to Hiiragi's LP as 'Suspicious Minds' is to The Memphis Album. The single is limited to 300 copies."
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LP
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HOLY 1165LP
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Repressed. "Ben Chasny was on a holy roll when he laid down the eleven tracks on Dust and Chimes. It was 1998 and y'all were floating on that Bill Clinton peace-and-prosperity bubble. Meanwhile, Chasny had dropped his self-titled debut LP earlier that year, and the cognoscenti and illuminati were pricking up their ears. Dust and Chimes announced the arrival of a brow-furrowed troubadour whose complex, morosely beautiful guitar playing didn't Basho you over the head with Fahey-isms. The three solo guitar tracks here contain quicksilver skeins of glinting acoustic work, recorded over a decade before the American Primitive style of playing would be of any interest to the indie world. Brilliant darkness and somber ecstasy abound, as Chasny ragas against the machine with a bold inventiveness. Elsewhere one may hear hints of Tyrannosaurus Rex's impish arboreal-folk charm and feathery Donovan-esque incantations -- reverent but not lightweight in the least. Now newly remastered, Dust and Chimes sounds like the work of a young sage wise beyond his tears."
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LP
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HOLY 1997LP
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"Imagine a version of Julio Cortázar's The Night Face Up where there is no motorcycle crash and no series of dreams about trying to outrun Aztec warriors determined to capture you for human sacrifice. There is still darkness in this story -- the darkness of living in post-Reagan America, existential dread, the futility of living one's dreams and still waking up every day. Devil Worshipper is the dream that swirls and reflects landscapes in chrome as snakes dance in your spine. Blistering solos that wouldn't be out of place on a Helios Creed or The Mike Gunn LP draw the night sky as a steady, hypnotic rhythm paints the lines dividing the highway out of here."
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CD
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HOLY 1978CD
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"War Dream, the second album from Baltimore's Crazy Dreams Band, is saturated with heaviness, psychedelia, pomp and grit, and noticeably lacking any nostalgia hangups. This rock music is refractory and satisfyingly off; put on a slide, manipulated and projected on a screen, or felt through a chain-link fence. Lost love, genocide and forgotten histories collide with raw-dog vocal thundering, slippe ry bass frequencies, adventurous percussion and seductive guitar ripples. Opener 'Feels So Good' is a swirling dirge that could be a half-figured-out version of 'Carouselambra'; 'Awkward for Everyone' showcases recent addition Jorge Martins of Lisbon duo Fish & Sheep playing what sounds like a deflating blow-up Les Paul copy that actually has strings -- you've got to hear the killer solo! The sidelong 'Life Is the Knife' is like a secret ritual from an unreleased Billy Jack sequel where he went back to Vietnam and built a temple that bled the purest opium. Here, Jake Freeman's adventurous sub-frequencies and Nick Becker's saucy space wanderings shine on to break the dawn in half."
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CD
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HOLY 83268CD
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"On Mono/Stereo, Fred Bigot's early 'Panasonic meets rockabilly' sides are compiled and sequenced such that you can't help but mistake it for a 21st century version of KLF's Chill Out -- except the country and Elvis references have been replaced by things like the sounds of attack ships on fire off the shoulder of Orion and C-beams that glitter in the dark near the Tannhauser Gate. You know, shit you'd read about in a Samuel Delany book or something. Culled from two 12-inches of murky, minimalist proto- Schaeffel-beat, this CD also features rare outtakes from the full spectrum of heaviness. T-Rex-like rock-groove head-nod decadence expands the notion of stereo separation so far that the Memorex dude on the couch would be reduced to a puddle of flesh. How do you explain this stuff? You can't -- it was from the future."
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HOLY 181106CD
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"La Otracina was formed in Brooklyn, NY, in the summer of 2003 by drummer Adam Kriney and guitarist Joshua Anzano (now of Tee Pee Records' Titan) to penetrate the deepest and most surreal realms of psychedelia, prog, and Krautrock, with an emphasis on exploration. Taking heavy nods from psychedelic forefathers (Flower Travelin' Band, Guru Guru, King Crimson, Neu!, Yes, Agitation Free, Blue Cheer, Amon Duul, etc.), their music is also rooted in a deep understanding and appreciation of free jazz/improvisation and the wizardry of minimalism -- not to mention the extreme sounds of the Japanese underground. La Otracina's brew of cosmic music is a ride across the galaxy, a slice of magical lemon wedges, a rainbow of crystallized comet dust. La Otracina is Adam Kriney on drums, Ninni Morgia on electric guitar, and Jordon Schranz on electric bass. KindaMusik listed La Otracina's Love Love Love 2 CD as one of the top 20 best psychedelic albums of the new millennium, along with releases by Six Organs of Admittance, Bardo Pond, Ghost, and Tower Recordings."
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CD
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HOLY 8516CD
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"Mammatus' second album The Coast Explodes straddles the line between psychedelia and hard rock while introducing more progressive aspects. The music is heavily influenced by both the power and complexity of the natural world and the ongoing battles of light and darkness. 'Excellent Swordfight' is a continuation of the same story told in the debut's 'Dragon of the Deep.' 'Pierce The Darkness' explores being a light in a dark world. 'The Changing Wind' is a pipe-led psychedelic folk tune that could have been cited by Ghost's Second Time Around and the shanga vibes of the forest in the autumn. It unfurls into the title track which encapsulates the massive fury of the ocean."
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HOLY 90156CD
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"Phoenician Flu And Ancient Ocean is another seething mishmash of psychedelia, Krautrock and free-noise -- the perfect follow-up to last year's highly regarded self-titled debut LP. A combination of self-recordings and studio numbers, Phoenician Flu and Ancient Ocean is full of absolutely staggering material. The endless riff-sanity of 'Death Comes for the Archbishop' is followed by billowing smoke, and a fuzzy pop number that shoots itself when the smell of smoke turns out to be a smoldering amp that has been on too long too loud. That piece of reverbed noise might've been all were it not for the depraved psychedelic dub and Monoshock tribute that follows. Odes to the acoustic guitar and former gods of the six-string close the album."
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LP
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HOLY 77525LP
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2022 repress. "OM reunites one of the most powerful rhythm sections in rock music: Al Cisneros [bass, vocals] and Chris Hakius [drums], both ex-members of the legendary Sleep. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. The album's numerous lyrics serve as symbolist vehicles to a state outside the field of time and space. Variations on a Theme is a series of vibrations and flow. The opening track,'On The Mountain at Dawn' is the thematic blueprint of the entire album; a transportive series of differentiated verse with sets of solid groove. 'Kapil's Theme' furthers the motif while the closer 'Annapurna' breaks the spell, where the final wash of sound reflects the infinite."
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