Category Archives: Psychedelic

An interview with Keith Jones, owner of Fruits de Mer Records

In 2017 the postman delivered a promo pack for my Blackout Radio Show, Fuchsia‘s double single ‘Song’ and Sidewalk Society’s album “Strange Roads: The Songs Of Rolled Gold“.

Fuchsia’s first album was released in 1971, and it is widely regarded as one of the best examples of the prog folk scene of the 1970s. It has been hailed by Mojo Magazine as a “forgotten classic” and is regularly republished.

“Strange Roads: The Songs Of Rolled Gold” was a more bizarre case because Sidewalk Society is a trio from Long Beach, CA that took to the task to re-record the entire album of “Rolled Gold”, an album of the 60’s English mod band, The Action.

The sender of the package was the English label, Fruits de Mer Records and when I kept receiving more of their wonderful releases, such as the triple album “Three Of A Kind” on which Polish multi-instrumentalist Kris Gietkowski re-recorded the first albums of Atomic Rooster, The Crazy World Of Arthur Brown and Egg, I told myself “there’s something’s going on here”.

After a few more awesome recordings such as Sendelica’s 3×10” “Cromlech Chronicles III“, the triple compilation for the celebration of the first 10 years of the label, Moon Goose’s album “Source Code” and many more, I asked Keith Jones, the man behind the Fruits de Mer Records, for an interview and he was kind enough  to take some time and talk about the “Fruits of the Sea”.


You founded Fruits de Mer Records with Andy Bracken in 2008. Andy was operating Bracken Records but did you have any previous experience with any record label?

None at all! I only got involved with Fruits de Mer because Andy was a mate and we had an idea for a label that released classic and long-lost tracks from the 60s/early 70s on vinyl and he wanted someone to share the pain!

After Andy left Fruits de Mer Records in 2012, I guess it must have been difficult for you in the beginning. How did you manage to continue with the label?

Yes, Andy had already spent a few years running Bracken and had taken things as far as he really wanted to. I was just warming up – and had retired from the real world – so taking on the running of FdM was perfect timing for me; I couldn’t have done it without being able to call on some key people – Nick Leese at Heyday Mail Order, producer Fran Ashcroft and the people at the Record Industry pressing plant and Clear Spot Distribution; but most of all, the people who found FdM through Andy and Bracken stuck with the label – it only works if people actually want to buy the records.

What is the mission of Fruits de Mer?

To release records that I’d buy myself if I saw them, to share some great music and artists that might otherwise be missed, to have some fun and hope other people who are music obsessives pick up on it.

Why only vinyl releases and how many have you put out so far? Lately, there is a feeling that the market for vinyl records is doing a come-back. Is it true? Are you a record collector yourself?

Actually, I’m releasing more and more on CD – I’m starting to feel nostalgic for CDs already! Vinyl always comes first, but CDs are an excellent way to share and store a lot of music cheaply and it’s possible to recreate some of the physical/tactile aspects of vinyl – they’re a second-best of course, but they do mean something, unlike downloads.

I’m not sure how many releases there have been in total – around 150 on vinyl?

I think the vinyl revival has been seriously overhyped – we launched FdM when vinyl was dead in the water, just because we loved the look, feel and sound of vinyl; it then became a fad a few years ago…collecting for the sake of it  – fed by Record Store Day and major label reissues – it’s all calming down again now, people buying records for the music.

And yes, I’ve been collecting records for 50+ years – I’ve got rather a lot of CDs too!

Which are the 5 non Fruits de Mer releases that you would take with you to a desert island?

Every day a different choice – but today: The Pretty Things’ ‘SF Sorrow’, Led Zeppelin IV, Pete Namlook & Richie Hawtin’s ‘From Within, Jethro Tull’s ‘Thick As A Brick’ and a very large Sandy Denny box-set.

Fruits De Mer Records has several imprint labels, including Regal Crabomophone, Strange Fish, Friends Of The Fish, Head Cleaner and Tiny. What is the difference between them?

We set up ‘Regal Crabomophone’ to release a single by The Chemistry Set that included a newly-written song, so it became the home for releases that include tracks that aren’t covers.

Strange Fish’ is for the more ‘out there’/experimental releases (I didn’t want people who liked to collect everything on FdM to feel they had to buy releases that didn’t necessarily match our psych/prog/acid-folk/krautrock slogan).

“Friends of the Fish” is a bit of a catch-all…for limited-run lathe-cut releases (usually produced as specials for gigs), some CD compilations and for records that artists self-release but I like enough to want to help on the promotion side).

Head Cleaner’ was a one-off for a Cranium Pie double cassette and ‘Tiny’ is home to (so far) three 5” lathe-cut singles.

It’s all got pretty confusing – but I like to think that just adds to the fun (that’s my excuse, anyway)

Do you believe that the music today misses something compared to the music of the ‘60s or the 70s?

I think the big difference is that music meant so much more, to so many more, in the 60s/70s, when I was growing up; it meant everything – owning records, seeing bands, arguing who was the best, reading the music mags…now it‘s a niche thing, a background to other stuff, it doesn’t matter in the way it once did.

Some of your releases are sold out before they are even released. How does this happen? Is there a members club that are lucky enough to put their hands on your releases first? How can one become member of this club?

The least interesting thing about running a record label is packing and posting records! I’m not trying to make money out of FdM, I’m trying to have fun – I’d sooner sell out and move onto the next release than spent weeks/months pushing the back-catalogue (although I do that as well!). The members club is free to join and there are no commitments to buy future releases, but it’s really there for people who like most of what we do, who want to get their orders in early and can cope with lots of irritating emails from me; there’s a longer email list for people who just want to dip in and out – I try to explain it on the FdM website!

Every year Fruits de Mer releases a double album recorded on previous year’s Dream of Dr. Sardonicus, a festival in which exquisite names of the scene appear. The 17th will be released in late July and it’s already sold out. Can you give us some information regarding the Dreams Of Dr Sardonicus Festivals that you organize every year?

It’s really organised by Pete Bingham from Sendelica – I just help with spreading the word, running a stall at the venue (The Cellar Bar in Cardigan) and pulling together the almost-legendary FdM goodie-bags – free to everyone attending. It’s got a life of its own – it’s become a gathering of the friends of the label – small, relaxed, a bit scruffy but very friendly (a bit like me), with some mazing bands agreeing to play, such as The Bevis Frond, Groundhogs, The Chemistry Set, Vibravoid and, of course, Sendelica. This year, Man were due to headline – but the virus has meant we’ve had to skip a year – we’ll be back in 2021!

Are the artists free to choose which songs to cover for compilations like “Goldfish – Fruits De Mer Records 10 years on vinyl” or “The Three Seasons – The Spring, Summer And Autumn Of Love”?

With ‘Goldfish’, that was a personal selection of some of my favourite recordings from the first 10 years of the label, but usually the artists come up with the tracks – sometimes I’ve suggested a ‘theme’ for a project and sometimes with artists I’ve known for a while I might subtly suggest specific songs – The Honey Pot are a bit like the FdM house band, they have been willing to take on some of the wilfully obscure tracks from the 60s I’ve thrown at them!

Which ‘60s psychedelic artist or band do you think is the most underrated and why?

The Pretty Things. Not just for SF Sorrow’,Parachute’ is a remarkable LP too. But they started as an R&B band and they came back to those blues roots in recent years, they were brilliant live and Phil May, who died earlier this year, became one of the best lead singers the UK has ever seen and heard.

Did Covid-19 made things more difficult for your label?

It put the mockers on our summer festival and I’ve had to delay everything by about three months and cut back on pressings – but if that’s all I’ve got to worry about this year I’ve been bloody lucky.

Is there a new psychedelic or prog scene in the UK?

Not that I’ve noticed. For there to be a scene, there needs to be lots  of psych/prog bands playing live regularly and lots of venues that welcome new psych/prog bands – I’ve not seen either; sadly, the number of venues seems to be declining steadily and the ones that are hanging on can get a bigger audience for a Bowie/Bolan impersonator than for a new band.

What’s next on your list for Fruits de Mer Records? What plans do you have?

We’ll be making up for lost time for the rest of 2020 – in the autumn there’ll be a big Sendelica retrospective, another fundraising project for Cardigan’s Cellar Bar and a couple of return visits to what is probably my favourite genre of music – krautrock…and quite a bit more!

Thank you very much for this interview

Fruits de Mer Records Website



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Posted by on July 6, 2020 in Prog-rock, Psychedelic


Mayflower Madame ‘Sacred Core’ from ‘Prepared For A Nightmare’ LP Only Lovers Records 3 July 2020

Nordic post-punk psychrockers Mayflower Madame present ‘Sacred Core’ from ‘Prepared For A Nightmare’ LP

Norwegian psychedelic post-punk outfit Mayflower Madame presents the third single ‘Sacred Core’ off their new second album ‘Prepared for a Nightmare’, released via French label Only Lovers Records in collaboration with Portland’s Little Cloud Records and Parisian label Icy Cold Records,

“Sacred Core is a song about getting lost, drifting away and trying to find the way back to your safe haven – guided by swirling, hypnotic guitars and an insistent, heavy beat. Compared to the shoegazey post-punk of the album’s previous singles ‘Vultures’ and ‘Swallow’, this track digs deeper into haunting, psychedelic territories, yet still maintaining our trademark dark and atmospheric sound,” says frontman Trond Fagernes.

The accompanying video was directed by Astrid Serck, who also created the videos for previous singles ‘Swallow’ and ‘Vultures’.

“To me, the song is like an open landscape – it’s grounded, but at the same time moving. I wanted to capture that feeling visually with footage from windmill fields and beaches, where there’s constant movement – like a rhythm, as opposed to the solid ground. A contrast between motion and stillness. Something to hold on to as well as something loose and vibrating,” says Astrid Serck.

“The core is what you hold on to. The motion is what you can let go. The sunbeams are blinding you, like a sacred light. The ceiling of a church is another symbol for sanctity. The moon is dancing, in disturbing ways, on the screen. In the video there is also an abandoned house, left with the door open. It´s a metaphor for the feeling of something that is lost, you can go back there, but only the memories are left. In addition there’s live footage of the band filmed from shows in Oslo and San Diego.”

‘Prepared For a Nightmare’ presents a dark and distinctive blend of post-punk, shoegaze and psychedelia. Here, the band delves deeper into their own distinctive blend of psych-noir and post-punk with elements of shoegaze and noise-rock.

Hailing from Oslo, Mayflower Madame is Trond Fagernes (vocals, guitars, bass), Håvard Haga (guitars) and Ola J. Kyrkjeeide (drums). Formed in 2011, they first rehearsed in a desolate industrial building, sharing space with a carwash company. Their hazy, smoke-laden sound was conceived naturally amidst these gritty surroundings. They soon recorded a four-track demo and became ‘Unsigned Band of the Week’ on a major Norway stations.

After a few years of touring, Mayflower Madame finally released their debut album ‘Observed in a Dream’ in 2016, followed by the ‘Premonition’ EP in 2018. Through eight tracks of theatrical psych-gaze exploration and dark romanticism, the album conveyed the wintry feeling of their home country – icy and gloomy, haunting and majestic.

Mayflower Madame has shared the stage with bands like Killing Joke, Moon Duo, Night Beats, Psychic Ills, Froth, The Underground Youth, Crocodiles, Cosmonauts and La Femme. They have also toured North America, the UK and Europe.

‘Prepared for a Nightmare’ was released on vinyl and CD on June 12. It is available through Bandcamp in all formats, as well as digitally via iTunes and Spotify.

Trond Fagernes – vocals, guitars, bass
Håvard Haga – guitars
Ola J. Kyrkjeeide – drums
Kenneth Eknes – synth on all tracks except 2, 6 & 7
Petter G. Marberg – bass on track 1 & 10
All songs written by Mayflower Madame / Trond Fagernes
Recorded by Trond Fagernes & Ola J. Kyrkjeeide at MaMa Studio, Oslo
Mixed by Bob de Wit (track 1, 5, 6 & 7), James Aparicio (track 2, 3 & 4) and James Trevascus (track 8, 9 & 10)
Mastered by Rafael Anton Irisarri at Black Knoll Studio, New York

Keep up with Mayflower Madame
Facebook | Bandcamp | Instagram | YouTube | Soundcoud | Spotify | Booking Press contact

Keep up with Only Lovers Records
Website | Facebook | Twitter | Instagram | YouTube

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Posted by on July 3, 2020 in Post Punk, Psychedelic


Various Artists – The 17th Dream of Dr. Sardonicus (July 27, Fruits De Mer Records)


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Δώσε του Cult και πάρε του την ψυχή: Godzilla εναντίον Hedorah

Έβαλα χτες να δω την ταινία Godzilla εναντίον Hedorah. Μια παραγωγή του 1971, των Ιαπωνικών Toho Studio.

Οι ταινίες με τον Godzilla ήταν η Κυριακάτικη διασκέδαση των παιδικών μου χρόνων, όταν όλα τα παιδιά της γειτονιάς ξεκινούσαμε να πάμε στο Σινάν, τον κινηματογράφο της περιοχής για να δούμε δύο ταινίες: η μία είχε πρωταγωνιστή τον Godzilla ενώ η άλλη ήταν κάποια ταινία με τον Ταρζάν, ή Ελληνική, ή Τούρκικη ή καράτε, western κλπ.

Φυσικά μαζεύονταν πιτσιρίκια απο ολη την γύρω περιοχή, και η κινηματογράφος ήταν κατάμεστος, Κυριακή μεσημέρι, ενώ το κυλικείο ξεπουλούσε τα κορνέ και τα σάμαλι στο διάλειμμα.

O Godzilla είναι η πιο γνωστή δημιουργία των Ιαπωνικών Toho Studio  και πρόκειται για ενα kaiju, οπως ονομάζονται αυτές οι Ιαπωνικές ταινίες με τα τεράστια παράξενα τέρατα. Ο όρος kaiju μπορεί επίσης να χρησιμοποιηθεί για να περιγράψει τα ίδια αυτά τέρατα, τα οποία συνήθως επιτίθενται σε μεγάλες πόλεις και συγκρούονται με στρατιωτικές μονάδες ή με άλλα τέρατα.

Το είδος kaiju είναι ένα παρακλάδι της tokusatsu (特 撮, «ειδική κινηματογράφιση») και μπορεί να θεωρηθεί συνώνυμο με τον όρο «Ιαπωνικές ταινίες με τέρατα».

Η πρώτη αυτού του είδους θεωρείται το Godzilla του 1954 και οι χαρακτήρες των ταινιών αυτών είναι συχνά μεταφορικοί. Ο Godzilla για παράδειγμα, αντικατοπτρίζει τον φόβο της μεταπολεμικής Ιαπωνίας για τα πυρηνικά όπλα, μετά από τις επιθέσεις με ατομικές βόμβες στην Χιροσίμα και στο Ναγκασάκι, καθώς και μετά το συμβάν με το αλιευτικό Lucky Dragon 5, τα 23 μέλη του οποίου μολύνθηκαν από τα πυρηνικά απόβλητα της δοκιμής που έκαναν οι Αμερικάνοι στο Bikini την 1 Μαρτίου του 1954. Άλλοι kaiju χαρακτήρες είναι οι Rodan, Mothra, King Ghidorah και o Gamera.

Συνολικά μέτρησα 32 ταινίες του Godzilla απο το 1954 μέχρι και το 2018, Ιαπωνικές και Αμερικάνικες παραγωγές.

Το “Godzilla εναντίον Hedorah” που είδα χτες λοιπόν, δεν ήταν καλό. Θέλω να πω πως, μετά από τόσα χρόνια και έχοντας δει ταινίες με ειδικά εφέ που έχουν πλέον φτάσει σε πολύ υψηλό επίπεδο, ίσως να είμαι πολύ σκληρός με την κριτική μου αλλά σε αυτό το θέμα η ταινία ήταν τουλάχιστον παιδική.

Όμως, το μήνυμα της, το 1971, ήταν πάρα πολύ σύγχρονο: Ο Hedorah είναι ένα τέρας το οποίο έχει δημιουργηθεί από την μόλυνση που υπάρχει στους ωκεανούς. Από τα σκουπίδια και τα απόβλητα δηλαδή των ανθρώπων και βγαίνει στην στεριά για να τραφεί από την κάπνα και την ατμοσφαιρική ρύπανση της σύγχρονης ζωής.

Όλα αυτά, παρουσιάζονται μεταφορικά από τον σκηνοθέτη Yoshimitsu Banno ως ένας θανάσιμος κίνδυνος για τον πλανήτη, πριν 50 περίπου χρόνια.

Βέβαια, στην περίπτωση της ταινίας, αναλαμβάνει την λύση ο Godzilla.

Αυτό που κέρδισε σε εμένα τις εντυπώσεις είναι η μουσική του Riichiro Manabe ο οποίος έγραφε μουσική για ταινίες επιστημονικής φαντασίας και τρόμου.

Η ταινία ανοίγει με το “Kaese! Taiyo Wo” (Return! The Sun) το οποίο τραγουδά η 23άχρονη τότε Keiko Mari.

Η μουσική του Manabe δανείζεται πολλά στοιχεία από την jazz αλλά έχει και κάποια γκαράζ ροκ περάσματα.

Έτσι, πέρα από την αφέλεια των ειδικών εφέ, το προφητικό μήνυμα του σεναρίου, η ταινία διαθέτει ενα αρκετά καλό soundtrack που θα ακουστεί αρκετά προοδευτικό στα αυτιά μας με την εικόνα που έχουμε για την Ιαπωνία των αρχών της δεκαετίας του ’70.

Μην δείτε την ταινία, δεν θα το αντέξετε αν είστε πάνω από 10 ετών, δώστε όμως μια ευκαιρία στο soundtrack της το οποίο ποστάρω εδώ:


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Μια απρόσμενη ευκαιρία για τους Honey Pot

Ολα ξεκίνησαν με μια εμφάνιση στο φεστιβάλ The Avalon Ballroom στο Glastonbury, ένα μέρος όπου οτιδήποτε μπορεί και θα συμβεί. Καθώς οι Honey Pot έπαιζαν το τραγούδι “Hadron Kaleidoscope” από το τελευταίο τους άλμπουμ, “Bewildered Jane” το οποίο κυκλοφόρησε φέτος η Mega Dodo Records, κάποιος απο το ακροατήριο που είχε γεμίσει ασφυκτικά τον χώρο, έδινε παραπάνω προσοχή απο το υπόλοιπο κοινό.

Οταν τελείωσε η συναυλία, προσέγγισε την τραγουδίστρια Crystal Jacqueline, και συστήθηκε ως Django.

Μια τέτοια εισαγωγή απαιτεί την πλήρη προσοχή σου κυρίως όταν ο άλλος σου λέει πως είναι ο άνθρωπος που σχεδίασε την αίθουσα ελέγχου του Large Hadron Collider.

Ο Large Hadron Collider είναι ο μεγαλύτερος και ισχυρότερος επιταχυντής σωματιδίων στον κόσμο. Αποτελείται από ένα δακτύλιο 27 χιλιομέτρων από υπεραγώγιμους μαγνήτες με αριθμό επιταχυντικών δομών που ενισχύουν την ενέργεια των σωματιδίων κατά την πορεία τους. Ξεκίνησε στις 10 Σεπτεμβρίου 2008 και παραμένει η τελευταία προσθήκη στο συγκρότημα επιταχυντών του CERN.

Αυτή η  συναρπαστική προσφορά ήταν τόσο μοναδική, γιατί μόνο οσοι συνδέονται με την περιοχή επιτρέπεται να παίξουν εκεί.

Οπότε τους δόθηκαν τα πάσα, έγιναν οι αυστηροί έλεγχοι ασφάλειας και οι κρατήσεις για την πτήση. Σε αντίθεση με τις περισσότερες προσφορές που ξεθωριάζουν οταν χαράζει η επόμενη μέρα, αυτή η προσφορά έστεκε

Την Τετάρτη η Crystal Jacqueline και ο κιθαρίστας Icarus Peel περνούν μέσα απο την Γαλλία με το βανάκι τους κουβαλώντας Fenders, Moogs και Rickenbackers ενώ ο μπασίστας Andy Budge, η κημπορντίστρια Victoria Reyes και ο ντράμερ Jay Robertson παίρνουν την Παρασκευή το αεροπλάνο.

Η συναυλία είναι για το Σάββατο μπροστά σε ενα πλήθος 72.000 ατόμων, δηλαδή όσων επισκέπτονται τον χώρο κατά τη διάρκεια του Σαββατοκύριακου, αλλά ίσως και να μην προλάβουν να τους δουν ολοι…

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Posted by on September 11, 2019 in Psychedelic


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Bedouin – Time Is Made Of Gold (Purple Pyramid 2019)

O Alan Davey έγινε γνωστός ως μπασίστας των Hawkwind οταν τον κάλεσε ο Dave Brock στο συγκρότημα το 1984 μετά την πρώτη του εμφάνιση στο Stonehenge Free Festival εκείνης της χρονιάς.

Μαζί τους κυκλοφόρησε επτά στούντιο άλμπουμ και τέσσερα live πριν αποχωρήσει το 1996, μετά την εμφάνισή τους εκείνη την χρονιά στην Ελλάδα (που φαντάζομαι μερικοί απο εσάς είδαν αλλά εγω δεν είχα πάει μιας και τους ειχα δει πέντε χρόνια πιο πριν) για να δημιουργήσει το 1998 τους Bedouin, μια hard-rοck μπάντα με πολλά στοιχεία απο την μουσική της Μέσης Ανατολής.

Μετά το 2000 ξαναπήγε στους Hawkwind για δύο ακόμα studio άλμπουμ και τρία ηχογραφημένα ζωντανά πράγμα που τον έκανε το δεύτερο μέλος με την μεγαλύτερη διάρκεια στην μπάντα μετα τον Brock.

Εχει παίξει ακόμα, με τον Nick Turner και τους Hawklords (μπάντα απο μέλη των Hawkwind), τους Gunslinger και τους black metalάδες Meads of Asphodel, τους Dumpys Rusty Nuts, Spirits Burning ενώ μέσα σε όλα τα άλλα, εκανε και μια tribute μπάντα των Motorhead με ονομα Ace of Spades.

Το “Time is Made of Gold” που ακούω τώρα, κυκλοφόρησε φέτος και είναι η νεώτερη δουλειά των Bedouin μετά το “As Above So Below” του 2001.

Στο “Time is Made of Gold” ο Davey παίζει τα πάντα, ενω τραγουδά η ηθοποιός Michelle Jimenez-Alder.

Τα 18 τραγούδια του άλμπουμ δεν έχουν καμμία σχέση με τους Hawkwind, έχουν μια μαλακή ηχητική φόρμα, με τα αραβικά μουσικά στοιχεία που ανέφερα, η οποία την κάνει λίγο ονειρική…

Σκεφτόμουν οτι μερικές φορές με το ένα χέρι κρατιέται απο το prog-rock και με το άλλο αγγίζει τα όρια του gothic rock των Eden House, αλλά καταφέρνει να ακούγεται πιο προσωπικό, καθόλου gothic και σε κερδίζει ευχάριστα όλο και πιο πολύ, με κάθε νέο τραγούδι που ακούς.

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Posted by on August 9, 2019 in Prog-rock, Psychedelic


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Μερικά πράγματα για τους Hawkwind και το νέο τους άλμπουμ

Αν θυμάμαι καλά, ήταν το 1991 όταν είδα τους Hawkwind να παίζουν ζωντανά στο Ρόδον, στην Αθήνα.

Θα πρέπει να ήμασταν 500-600 άτομα στο κοινό και πολλοί το σχολιάζαμε μετά, πως ήμασταν πολύ λίγοι για ένα τόσο ιστορικό συγκρότημα.

Δύο απο τα μέλη τους που έπαιξαν εκείνη την βραδιά, ο ιδρυτής του συγκροτήματος, κιθαρίστας , τραγουδιστής και πληκτράς, Dave Brock και ο τρομερός ντράμερ Richard Chadwick, ο οποίος προσχώρησε στην μπάντα απο το 1988, είναι ακόμα στην σύνθεση.

Μαζί τους απο το 2008 είναι και ο μπασίστας και πληκτράς Niall Hone με τον κιθαρίστα  και τραγουδιστή Magnus Martin.

Οι Hawkwind φτιάχτηκαν το 1969 στην κεντρική Αγγλία και άνοιξαν τον δρόμο για το space rock.

Μέσα σε λίγες εβδομάδες από το σχηματισμό τους, είχαν δημιουργήσει ενα καλό όνομα στο κύκλωμα των φεστιβάλ και έπαιζαν ζωντανά χωρίς χρέωση, οπουδήποτε μπορούσαν. Μέχρι τη στιγμή της κυκλοφορίας του άλμπουμ τους ‘X In Search Of Space‘ το 1971, είχαν γίνει ηδη γνωστοί για την θεατρικότητα των συναυλιών τους, οι οποίες φημίζονται για το light show, την κατανάλωση LSD και για (μεταξύ 1971-75) την γυμνή Ιρλανδή χορεύτρια Stacia Blake.

Το συγκρότημα φλερτάρισε αρκετές φορές με το folk rock, την heavy metal, το new wave, την ambient και την techno.

Απο τις τάξεις του πέρασαν μουσική όπως ο Lemmy (ο οποίος θα πήγαινε κατόπιν θα έκανε μεγάλη πορεία με τους Motörhead, όνομα που χρησιμοποίησε απο ενα τραγούδι που ειχε ο ιδιος γράψει για τους Hawkwind), o Ginger Baker των Cream και ο συγγραφέας και πατέρας της Βρετανικής επιστημονικής φαντασίας, Michael Moorcock.

Αυτές τις ημέρες, η Cheery Red Records ανακοίνωσε πως ο τιτλος του νέου άλμπουμ των Hawkwind,  είναι “All Aboard The Skylark”.

Πρόκειται για το 32ο άλμπουμ των Hawkwind και με εννέα νέα τραγούδια, σηματοδοτεί την επιστροφή τους στον space rock ήχο.

Θα κυκλοφορήσει σε διπλό CD στις 25 Οκτωβρίου 2019 και οποιος θέλει μπορεί να το προπαραγγείλει απο ΕΔΩ.


Το ‘Berliner Grotesk’ του Anton Barbeau

Ο ψυχεδελικός τραγουδιστής και συνθέτης Anton Barbeau παρουσιάζει το «Berliner Grotesk», ένα παράξενο και μαγικό τραγούδι από το νέο του άλμπουμ, με το ίδιο όνομα. Το άλμπουμ “Berliner Grotesk” είναι το τελευταίο μέρος της Τριλογίας της Μεταμορφώσεώς του, ακολουθώντας το “Magic Act” (2016) και το “Natural Causes” (2018). Είναι ένα είδος φόρου τιμής στην πόλη που τον υιοθέτησε. Βασιζόμενη σε μεγάλο βαθμό στα synthesizer και στα πλήκτρα, ο δίσκος συνδυάζει την ξεχωριστή, ιδιότροπη pop του Barbeau με την γοητία του σκοτεινού καμπαρέ.

Με καταγωγή απο το Σακραμέντο, και ζώντας σήμερα στο Βερολίνο, ο Barbeau είναι ένας παραγωγικός καλλιτέχνης, η μουσική του οποίου είναι γεμάτη απο ψυχεδελικό-ροκ και underground club-tronica. Η δουλειά του συνδυάζει μελωδία και ποίηση. Είναι γνωστός για την ” pre-apocalyptic ψυχεδελική ποπ” του, σε αυτό το συγκεκριμένο άλμπουμ όμως, βρίσκουμε αναφορές σε τραγούδια σε στυλ ευρωπαϊκού καμπαρέ, απολογητικές μπαλάντες παιγμένες με πιάνο με στοιχεία παλαιού new wave.

Ο Barbeau έχει κάνει περίπου 20 άλμπουμ και έχει συνεργαστεί με τα μέλη απο τους XTC, Soft Boys, Bevis Frond, Cake, Loud Family, και τους ομόσταυλούς τους στην εταιρία Mystery Lawn, Corner Laughers. Παλιότερα είχε το συγκρότημα Three Minute Tease με τους πρώην συνεργάτες του Robyn Hitchcock, Andy Metcalfe και Morris Windsor. Όταν πηγαίνει στην Καλιφόρνια ο Barbeau, παίζει με το συγκρότημά του, Kenny. Επίσης γράφει και κάνει την παραγωγή στα άλμπουμ της Allyson Seconds.

Επιπλέον, ο Barbeau τραγουδά και γράφει στίχους για την Γαλλική κολλεκτίβα Salt, των οποίων το ντεμπούτο άλμπουμ ‘The Loneliness of Clouds‘ ηχογραφήθηκε στο Abbey Road του Λονδίνου και στο Ferber του Παρισιού σε παραγωγή Ken Stringfellow, μέλους των The Posies, R.E.M. και Big Star.

Anton Barbeau 1 – photo by Julia Boorinakis Harper

Αυτό το τραγούδι, οπως και ένα μεγάλο μέρος του άλμπουμ “Berliner Grotesk”, φαίνεται να είναι γραμμένα για την αγάπη, αν και δεν υπάρχουν πολλά πραγματικά ερωτικά τραγούδια στο δίσκο. Προσπάθησα, μετά από την μετακόμισή μου στο Βερολίνο, να γράψω αυτό το βρώμικο είδος του βαλς του καμπαρέ, αλλά οι πρώτες μου προσπάθειες δεν ήταν καλές και παράτησα την ιδέα για τα επόμενα 7 χρόνια. Περιέργως, αυτό το συγκεκριμένο τραγούδι, ξεκίνησε από μια αποτυχημένη προσπάθεια που έκανα να γράψω το πιο άσχημο industrial τραγούδι που μπορούσα.Τα χέρια μου πάντα ψάχνουν για ακόρντα και ο εγκέφαλός μου πάντα φτιάχνει μουσικές δομές. Υποθέτω πως το κόλπο με εμένα, είναι να επιχειρήσω ένα πράγμα, να αποτύχω και να κάνω κάτι εντελώς διαφορετικό“, λέει ο Anton Barbeau.

Το συναρπαστικό σκοτεινό βαλς του “Berliner Grotesk”  ζωντανεύει το βίντεο που το συνοδεύει, σκηνοθετημένο σε στυλ καμπαρέ απο την Julia VBH και τον Anton Barbeau.

Προσπαθούσαμε να έχει μια ατμόσφαιρα καμπαρέ, αλλά προσθέτωντας μιά δόση απο την εποχή που έπαιζε ο Phil Judd με τους Split Enz. Κινηματογραφήθηκε, στο Auburn της California από την Julia VBH και εμένα, με μερικά αποσπάσματα πραγματικών ταινιών του Βερολίνου που προστέθηκαν για ισορροπία. Συνολικά το κόστος που δαπανήσαμε ήταν 25 δολλάρια για ενα τραπεζομάντηλο που χρησιμοποιούσαμε ως κόκκινες βελούδινες κουρτίνες. Μαζέψαμε μερικούς φίλους και κάποιος φώναζε “action” και έγινε η ταινία”, λέει ο Barbeau.

Ολοι οι φίλοι μας έπαιξαν τους ρόλους τους φυσικά, με μηδενικές πρόβες και ελάχιστες οδηγίες. Όλοι έφεραν τα δικά τους ρούχα και η Alison έφερε και τον Louie το Κανίς. Ετσι είπε ο μπαμπάς μου την πρώτη φορά που είδε ένα βίντεο του Adam Ant, καθώς διάβαζε την εφημερίδα του. ”

Το άλμπουμ ‘Berliner Grotesk’ κυκλοφορεί μέσω των Beehive Records (ΗΠΑ) και της Pink Hedgehog (Ηνωμένο Βασίλειο). Είναι πλέον διαθέσιμο ψηφιακά παντού, συμπεριλαμβανομένων των Apple Music, Spotify και Bandcamp, και τώρα το άλμπουμ είναι επίσης διαθέσιμο σε CD.


Anton Barbeau – Performance, recording and mixing in Berlin

Morris Windsor – drums

Jon bucket – sound engineering and tracking of drums in Swindon, UK

Myles Boison – mastering engineer

Video created by Julia VBH and Anton Barbeau

Photography by Julia VBH



July 19   Grass Valley, CA – Wild Eye Pub (6:30-9:30 PM, $10-12)

Aug. 15  Auburn, CA – Auburn Co-Op (5-9 PM)

Aug. 23  Sacramento, CA – Old Ironsides

Aug. 25  Chicago, IL – Bucktown Arts Festival

Aug. 30  Sacramento, CA – Luna’s (with Allyson Seconds)

Sept 14  Burbank, CA – Joe’s Great American Bar and Grill

Nov. 15  Berlin, Germany – Madame Claude

Για να κρατήσεις επαφή με τον Anton Barbeau
Website | Bandcamp | Patreon | Facebook | Twitter | Soundcloud | YouTube | Instagram | Spotify | Apple Music | Wikipedia


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Posted by on July 17, 2019 in Psychedelic


The Orb : Sendelica : Jack Ellister : Soft Hearted Scientists : London Underground : Secret Knowledge – new releases from Fruits de Mer Records

Late-July releases from Fruits de Mer Records include exclusive remixes by The Orb, searing Hammond-led instrumentals from Italy’s London Underground, not to mention new versions of classic songs by Roy Harper, The Bee Gees…and Black Sabbath.

WINDMILL’ by Sendelica : Secret Knowledge : The Orb (12″ colour vinyl single strangefish seventeen on sale late July)

A very special one-off 12″ single, featuring Sendelica, Secret Knowledge and The Orb.

Sendelica are well-known to all followers of FdM, of course, but Secret Knowledge are unexepected visitors – legendary writer Kris Needs and singer Wonder Schneider recorded some classic House/Techno tracks for the likes of Andrew Weatherall’s Sabres of Paradise label in the 90s…as for The Orb, well Dr Alex Paterson and co pretty much invented ambient house at the end of the 80s and have been breaking through musical boundaries for the last 30 years.
‘Windmill’ marks a rare organic collision between three disparate outfits who turned unimaginable tragedy into a beautiful eulogy after an astonishing musical journey.

On the night of Sunday June 3, 2018, Kris Needs lost his soul mate Helen Donlon after an illness she preferred not to know about. A respected literary agent and author, Helen and had got together with Kris in 2013 and they lived happily in a medieval cottage in Thaxted until events took their terrible turn. Kris was already on a mission to bring Sendelica into the mainstream music press and struck up a friendship with Pete Bingham that was already pointing to a cover version of Tim Buckley’s ‘Driftin’.
On hearing the awful news about Helen, Pete quietly transformed the music into a poignant eulogy with this tragic new dimension to deal with, bringing in Sendelica bassist Glenda Pescado, sax god Lee Relfe and production maestro Colin Consterdine to enhance its gorgeous swirl.
When Wonder, who had sung with Kris in Secret Knowledge 25 years earlier, heard the piece she called it ‘Windmill’, after the beautiful place where Helen had been laid to rest. “The windmill looks so big and strong and beautiful,” she explains, “in a silent way it watches over her, like you did. And it never stops, always protecting“. Wonder flew to the UK from her home in Cleveland, Ohio to sing the song at the magical Mwnci Studios, near Cardigan, giving a heart-wrenching performance while facing Helen’s photo (wearing her favourite purple velvet scarf) that reduced the room to tears. Helen’s beloved dog Jack, now her earthly representative, was also there to make the picture complete.
It didn’t stop there either. Kris’s old friend Alex Paterson had already said he wanted to do a remix. Working with Paul Conboy, his co-pilot in Orb spin-off Chocolate Hills, Alex produced two time-stopping remixes, using a recording of Helen’s speech on her beloved Ibiza at the 2017 Breaking Convention conference; her last major appearance in public entrancing the crowd at the world’s foremost psychedelic drugs conference.
With Kris’s photo of the Thaxted windmill on the cover, a rare heavenly synchronicity seemed to have been at work to produce this record. It’s an unimaginably beautiful tribute to a very beautiful person, lost too soon but alive forever in the music. She would have loved it.

’CROMLECH CHRONICLES IV’ by Sendelica – The Door Into Summer – three-sided colour vinyl double LP (4th side – UV colour printed) winkle 37
on sale late July

Sendelica’s latest annual Pilgrimage to Mwnci Studio in has resulted in a full-on musical head collision of West Wales with the West coast of USA.

Not so much down the rabbit hole but more of a trip through the door into the summer of West Coast USA circa 66-70 – a door of perception opening into the jamming delights of Jefferson Airplane,the Grateful Dead, Blue Cheer, Iron Butterfly and The Byrds at the heights of their improvisational prowess.

Although these bands were quite adept at writing ‘hit songs’, it is their live alchemy that has been drawn into the ever-evolving brewing pot of Sendelica…disjunctive song structures, key and time changes, modal melodies and drones that entwine and evolve into a magical musical journey.

Tune In, Turn on, Turn down the lights, indulge in whatever tickles your fancy and let the Odyssey of Cromlech IV engulf your senses!

Cromlech IV is the final part of the Sendelica series and they’re signing off with something a bit special – a double LP, but with three long (23 min+) sides of music and the fourth blank side overprinted in UV full-colour, a new technique offed by the Record Industry pressing plant (not so much a picture disc, more a disc with a picture on it…)

‘WHEN AN OLD CRICKETER LEAVES THE CREASE’ / ‘SUPERNAUT’ by Jack Ellister vinyl 45rpm – crustacean 90, on sale late-July

Jack Ellister was recently voted FdM’s favourite solo artist, so it’s great to have him back on Fruits de Mer with a newly-recorded single – even more so when you hear that he’s chosen to reinterpret two songs that are about as far apart in their style and origins as anything that’s appeared on the label in over 10 years.

‘Supernaut’ first appeared on the album, ‘Black Sabbath IV‘ and is based on one of the all-time great heavy rock riffs.

‘When An Old Cricketer Leaves The Crease’ is from Roy Harper‘s album, ‘HQ‘ and is probably Roy’s best-loved song.

According to FdM’s Keith: Jack had been working on ‘Supernaut’ for a while when we met in a pub near Spitalfields record fair, along with Heyday’s Nick Leese and mate Craig Palmer. For some reason, talk moved onto Roy’s classic track – I think because we felt Jack’s voice was really suited to it; coming from Poland, by way of Germany and the Netherlands, Jack didn’t know the song, let along why the hell cricket means so much to middle/old-aged English blokes, but he vowed to investigate further – and he didn’t disappoint.

When it comes to two sides of a single, the phrase ‘poles apart’ never seemed more apt.

Jack explains the background behind the recordings….
“the grand piano used on ‘Cricketer’ belonged to my grand father in Torun, Poland.
In 1990/1991 my father took me and Tomasz to Poland to get it over to Germany. We had to smuggle it out because it was forbidden to transport instruments across the border, as they might be valuable collectible items or state property. We did it in two turns using an old Mercedes 9-seater. On the first trip we took the inner metal works and mechanics out and hid them under lots of other stuff. On the second journey a month later we got the wooden frame, which appeared like a sort of cheap big wardrobe when not inspected properly. Luckily the wooden outer parts fit into the lift in Stuttgart and didn’t need to be carried up the stairs to our flat on the 6th floor where we lived in at that time. It was great to have it around and we used it a lot on early recordings.
My brother Tomasz was then made to play classical music on that thing for about seven years, and he recorded me playing ‘Cricketer’ in the living room in Stuttgart (not the same flat) just before it went back to Poland for good, together with my parents.

‘Supernaut’ is one of those Sabbath tracks that doesn’t seem to belong to their obvious classics, but for me it somehow earned itself a special place in their canon. Tomasz sent me the drums recorded in his cellar studio/rehearsal space and I added all the rest at home.”

PLEASE READ ME’ / ‘MOTHS MISTOOK US FOR THE MOON’ by Soft Hearted Scientists vinyl 45rpm – winkle 38, on sale late-July

The Welsh cardiologically-inclined alchemists returned to the studio earlier this year after a lengthy break to record a cover for a year-end Fruits de Mer retrospective that we’re still working on – but the result was so strong I felt it deserved a single release in its own right and the band had such a good time they decided to work on a new song to go with it.

So here we have The Bee Gees‘ ‘Please Read Me’, a 60s pop-psych gem from the brothers Gibb with not the faintest whiff of cheese to it is given a magical makeover, paired with an all-new SHS song, ‘Moths Mistook Us For The Moon’, that’s just lovely and has that classic Soft Hearted Scientists sound.

SPACE EDITION’ by London Underground colour vinyl double LP, crustacean 89, on sale late July

With a history that traces back to the classic Italian band, Standarte, London Underground formed in December 1998 in Florence; they began by recreating the UK keyboard sounds of the likes of Brian Auger and George Fame, moving onto a more progressive rock feel by the time they released their second album.

After a period of inactivity, in 2008 Gianluca Gerlini reformed the band and recorded their third album ‘Honey Drops‘; The London Underground today have a sound that is still inspired by the Hammond – now purely instrumental, they also draw influences from soundtracks of films from the 60s and 70s.

The website Progressive Rock Fanatics summed things up rather neatly…’If you like keyboards and more keyboards layered over keyboards, with an astonishingly tight rhythm section laying down tight grooves- you’ll love LONDON UNDERGROUND. Add in spacey, jazzy jams that sometimes sound lifted from classic progressive albums of yore (think Atomic Rooster, Pink Floyd, Argent, heck, even vintage Santana – you’ll get the flavor, fall under the spell of the music, and emerge on the other side with a grin.

Keith explains: “FdM and London Underground started dating when I heard their version of ‘Queen St. Gang‘. That led me to their latest album, ‘Four‘, which is bloody marvelous from start-to-finish; it’s up there with the Tor Peders album, in my humble opinion, the only thing that stopped FdM from pouncing on it being that the band have already self-released it on vinyl.
What to do? the LP is a natural for FdM but what could be done to enhance/extend/expand it…how about a special colour vinyl edition? Good start, but it needed more and it’s the only album by the band that’s found its way onto vinyl so far…so how about making it a double LP including a bonus LP comprising some of the best tracks from their first three albums?

So, here comes London Undergound’s ‘Space Edition’ – a double LP reproducing their ‘Four’ LP on purple vinyl plus a bonus LP, also on purple vinyl, of a selection of tracks from their previous releases.

There’ll only be 300 copies for sale, so FdM club members will get priority…” SORRY – ALREADY SOLD OUT ON PRE-ORDERS – BUT MAY GET A FEW EXTRAS



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Posted by on June 16, 2019 in Prog-rock, Psychedelic


SpaceFest! 2018 – 7 December 2018

SpaceFest! 2018 to launch, Pure Phase Ensemble 8 led by Will Carruthers (Spacemen 3, Spiritualized, Spectrum, The Brian Jonestown Massacre, Dead Skeletons)

On December 7–8, the city of Gdańsk will again be the East European hub of psychedelic sounds, celebrating guitar distortions, noise drones and other mysterious sounds created under the influence of cosmic energy: ladies and gentlemen, welcome to the eighth SpaceFest!

This year’s edition will include even more concerts, taking place not on one, but two stages of Klub B90. The lineup includes a mouth-watering, transcontinental selection of music for fans of the heavier side of rock, new psychedelia, space-rock and shoegaze, as well as electronic and experimental music. SpaceFest is offering concert-goers a one-way ticket to discover new psych sounds and bands (without having to go to the moon).

This year’s selection of artists includes Brazil’s very own RAKTA will immerse you in their garage psychedelic music, strongly inspired by tribal rites, occultism and trance rhythms. These girls rock and don’t take no prisoners!

Hailing from Cape Town, South Africa is MEDICINE BOY. This duo will enchant you with their oneiric female vocals and downtempo, unsettling, heroin-fuelled sounds, only to explode in solid, noise drones when you’re least expecting it.

Italians SONIC JESUS are no strangers to guitar distortion, trance electronic beats or anything gothic. Their concerts promise a blast of pure energy. EYRE LLEW are an ambient-rock trio from Notthingam UK, who are making waves with their beautiful, ethereal sounds. If you’re fans of Sigur Rós or Mogwai, this concert is a must.

THE LUCID DREAM represent the UK’s young alternative scene and do not shy away from experimenting with various genres. Their set will combine psychedelic rock with elements of acid house, dub and kosmische Musik.

PIN PARK’s music is strongly inspired by German experimental electronica from the 1970s. Using original instruments from that time, they create a broad spectrum of analogue sounds, generating music that is soothing, melancholy, structured based on looped, developing motifs, and punctuated with crafty details and nuances.

NEST EGG, a heady trio from North Carolina (US), like to call their heavy, motoric, rock sound “mood music for nihilists”. SPOIWOcombine post-rock, shoegaze, modern classical and film music. This will be the band’s first concert in Gdańsk after a long break. This shoud be a real treat for faithful fans, as the band will be presenting some tracks from their upcoming album.

Gdańsk-based trio POPSYSZE also promise to debut some new tracks. Perhaps the strongest psychedelic, space-rock representation in northern Poland, they are strongly inspired by the wild nature of the Kashubian region and ethnic music from various corners of the world.

The SpaceFest! 2018 line-up is would not be complete without two winners of our competition for interesting psychedelic acts: COLUMBUS DUO from Gdańsk (noise/ drone / ambient /improv) and XDZVØNX from Wrocław (sacral noize/dark electro – a surprising mix of broken beats, Orthodox music, hip-hop and hypnotising visuals).

Mexico’s SUNSET IMAGES also merit particular attention with their pure-blooded guitar psych, peppered with elements of experimental noise and shoegaze.

As every year, one of the main highlights of the festival is PURE PHASE ENSEMBLE 8 – an international formation created specially for SpaceFest! Throughout the week before the festival, a group of 10 musicians will meet to jam at Łaźnia CCA, composing and playing material that will later be presented live at SpaceFest. PPE 8 will be curated by WILL CARRUTHERS, a legendary musician who has spent the last 30 years playing in 33 bands, including Spacemen 3, Spiritualized, SPECTRUM, The Brian Jonestown Massacre and Dead Skeletons.

In past incarnations of Pure Phase Ensemble, the group was curated by Mark Gardener (Ride), Anton Newcombe (The Brian Jonestown Massacre, Laetitia Sadier (Stereolab), Ray Dickaty (Spiritualized), Steve Hewitt (Placebo), Jaime Harding (Marion), Chris Olley (Six By Seven), and Hugo Race (The Bad Seeds, The True Spirit).

Last but not least, is SpaceFest regular DR SWITCHOFF (RU), whose crazy Finders Keepers-inspired DJ sets and absurd visuals will wrap up the festival.

Organized by the Nasiono Association
, this event is co-funded annually by the City of Gdańsk in partnership with Łaźnia Centre for Contemporary Art, Metropolitalna Karta do Kultury, B90, Saltus Ubezpieczenia
. Media patrons include Shameless Promotion PR, Drowned in Sound, Last Day Deaf, Radio Gdańsk S.A.,, Gazeta Wyborcza, Co Jest Grane24, Full Moon Magazine and

The years go by, but one thing stays the same: SpaceFest stands for great music, zero gravity and maximum psych factor! Tickets cost between PLN 25-75 (discount for students and CARD TO CULTURE holders) and may be purchased at or via GoOut, Soundrive Tickets and

7 December 2018 | doors: 6:30 p.m.
Nest Egg (US)
Medicine Boy (ZA)
Pin Park (PL)
Sonic Jesus (IT)
Sunset Images (MX)
Rakta (BR)
Dr Switchoff (RU)

8 December 2018 | doors: 6:30 p.m.
Eyre Llew (UK)
Popsysze (PL)
The Lucid Dream (UK)
Columbus Duo (PL)
Pure Phase Ensemble ft. Will Carruthers (PL/UK)
Spoiwo (PL)
Dr Switchoff (RU)

Keep up with Pure Phase Ensemble / Nasiono Records
Website Facebook | Bandcamp | Twitter | YouTube | Soundcloud

Keep up with SpaceFest
Website | Facebook Twitter | Soundcloud

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Posted by on November 24, 2018 in Festival, Psychedelic