My Home on Trees Announce Oct. Shows & New Album Recording Plans

Posted in Whathaveyou on September 19th, 2017 by JJ Koczan

my home on trees

Italian heavy four-piece My Home on Trees are set to take part next month in the Swiss fest Up in Smoke 2017 alongside Saint Vitus, Orange Goblin, Brant Bjork, Graveyard and a formidable slew of others. That appearance will be part of a five-date string of shows serving as the wrap-up for the touring cycle for their debut, How I Reached Home (review here), released in 2015 via Heavy Psych Sounds. The plan? Go back and make another record, it would seem. My Home on Trees have an eye toward a 2018 release for what will be their second full-length, but as regards much more than that, they’re playing it pretty close to the chest. That is, no word of where they’re at in terms of writing or whatnot.

That’ll come with time. It doesn’t seem unreasonable to think they might have the record done by Spring 2018 and out sometime over the summer, though of course that depends as well on label schedule, if they’ll be with Heavy Psych Sounds again, comets smashing into earth and numerous other unforeseeable potential contingencies. In any case, drummer Marcello Modica offers an update below, which you’ll see is joined by the live dates.

Goes like this:

“The Italian female fronted My Home on Trees will come back in october for a small tour around Germany and Switzerland, playing the last 4 shows in Europe before to enter in studio to record their second lenght. The stoner-doom band from Milano had a first album realeased by Heavy Psych Sounds Records in september 2015, when they started this 42 shows tour with a release party in Milano with Karma To Burn and they’ll finish on next month at Up in Smoke Festival in Pratteln, Switzerland, sharing the stage with Saint Vitus, Orange Goblin, Church of Misery, Windhand and many more. No news about the new album yet, except they’ll start to record at the begin of new year. They won’t be around for some time so don’t miss the chance to see one of these last shows.” — Marcello Modica

My Home on Trees live:
10.04 Keller Klub Stuttgart DE
10.05 Huhnermanhattan Club Halle DE
10.06 MTS Oldenburg DE
10.07 Up in Smoke Fest Pratteln CH
10.08 Immerhin Wurzburg DE

My Home on Trees, “Winter” official video

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Ufomammut, 8: Infinity Turns Sideways

Posted in audiObelisk, Reviews on August 30th, 2017 by JJ Koczan

ufomammut 8

Of the various words and phrases that might come to mind when considering Italian cosmic doom masters Ufomammut, ‘concise’ is probably pretty low on the list. Yet that’s exactly one of the most striking impressions made by 8, their aptly-titled eighth long-player and third for Neurot Recordings behind 2015’s Ecate (review here) and the preceding 2012 two-parter, Oro: Opus Primum (review here) and Oro: Opus Alter (review here). At 47:16, it’s about as long as was Ecate, but it uses its time for eight songs instead of that record’s six, and would seem to be continuing a progression toward efficiency of approach that record set forth, drawing back from the expanses of Oro or 2010’s single-song Eve (review here) in favor of a more immediate sonic impact. Of course, it’s still Ufomammut we’re talking about. Even when they were in their nascent stages across early releases like 2000’s Godlike Snake, 2004’s Snailking (discussed here) or 2005’s Lucifer Songs before 2008’s Idolum really marked the point of their arrival to wider consciousness as stylistic innovators (which they already had been for years at that point, but still), they went big in terms of sound, and 8 offers plenty of expanse, whether it’s in the nine-minute reaches of “Zodiac” or the radical tempo shifts of “Prismaze.”

But it becomes a question of context. 8 is Ufomammut‘s first album in more than a decade on which no song passes the mark of being 10 minutes long — that’s counting Eve as one track — and it’s not just about runtime. While opener “Babel” sets in motion at a steady roll, not necessarily in a rush but not gruelingly slow either, tripping out in its second half as bassist/keyboardist/vocalist Urlo, guitarist/keyboardist Poia and drummer Vita, set up an apex of crush to follow, subsequent cuts “Warsheep” and “Zodiac” build a tension that extends well past the midpoint of the latter and even then only recedes momentarily before reigniting. And as 8 continues to move forward, it becomes increasingly clear that the character of the album is as much about head-down intensity as it is about the sense of galactic expansion that seems to have always been so essential to Ufomammut‘s output.

As it invariably would, 8 brings new context to the turn of approach that really started with Ecate coming off of Oro, the 2015 outing serving as the point at which Ufomammut embarked on the redirection that continues here in songs like the thrusting four-minute “Fatum” or the aforementioned “Prismaze” that follows — both with their space-bound aspects, both with an overarching vibe of getting down to business as quickly as possible. But whether taken as part of the ongoing narrative of the three-piece’s progression or on its own merits, the album unquestionably succeeds in what it seems to set out to do, which is to blend expanse of sound with lung-collapsing tonal and rhythmic crush. There is much about it that will be familiar to longtime followers of the band, from the way its tracks jump right from one to the next — often in time or with noted and purposefully jarring tempo shifts, like different movements of one whole work — to the watery effects on Urlo‘s vocals, but as identifiable as these elements are, Ufomammut continue to develop their craft as well, and while some individual pieces throughout may be shorter, there’s no question of the purpose in how they’re tied together.


It’s audible in the crash that bridges “Prismaze” and “Core” and in the way the penultimate “Wombdemonium” — the shortest cut on 8 at just three minutes long — feeds into the Isis-style drum patterning of closer “Psyrcle.” Those connections definitely become more prevalent across side B, which before hitting the “Psyrcle” (7:44) moves through the already-noted shorter cuts, as opposed to “Babel” (8:23) “Warsheep” (5:06) and “Zodiac” (9:27) on side A, but even as “Zodiac” slams into its swirling finish before the chugging opening riff of “Fatum” takes hold — another direct transition for those listening digitally or on CD, in indeed I’m even right about where the vinyl divides — the band makes it plain that how one song converses with its surroundings is as important to the entire work of 8 as the standout moments of each song itself, be it devastatingly heavy, manic push and shouts of “Core” or the build that seems to take place in condensed fashion across “Warsheep” earlier, that track resolving itself in a Sleep-worthy nod at its midpoint before a tempo kick brings it to its final movement.

And if one thinks about the title, 8, it kind of makes sense — at least in a similar, on-their-own-wavelength manner as to thinking of the tracks as concise. It’s not just about the number eight, or the fact that this is Ufomammut‘s eighth long-player — it’s their ninth if we count Oro‘s two parts individually or consider the 2014 15th anniversary release, XV (review here) — but the shape of it. Imagine taking the number and stretching it out to a single, straight line. Now draw it back and twist it on itself. It loops around. It intertwines. 8, the album, functions much the same way. The material that comprises it can be taken as individual bursts, but each serves the richer notion of the whole (the proverbial “greater sum”) when brought together, and in that regard, stark changes like the way “Zodiac” seems to come to halt before lurching forth again with some of the most universe-swallowing noise here presented, or the way “Psyrcle” hits its brakes after three minutes in from its initial verses peppered with extra vocal layers — are those children singing? — and explodes in a fury of double-kick drum gallop and brain-searing fretwork, become fragments of a larger musical narrative taking shape over the course of the album.

Whether this concept is something Ufomammut embarked on consciously or it’s simply a matter of a fan-nerd reading too much into a progression between tracks, they made the choice to put these songs in this order with the lack of space between them and in so doing give 8 a personality that even as it seems to tighten the reins from Ecate succeeds in moving Ufomammut stylistically forward. It’s not necessarily just about them getting huger and huger-sounding anymore, but about what can they do within and between the spaces they’re creating. Taking this notion in context with the immediacy of what they’re actually crafting, 8 is all the more an achievement for the nuance it brings to the established parameters of Ufomammut‘s sound and the ways in which the three-piece persist in redrawing their own boundaries.

Ufomammut, “Warsheep” official video

Ufommammut website

Ufomammut on Thee Facebooks

Ufomammut on Twitter

Ufomammut on Instagram

Neurot Recordings website

Neurot Recordings on Thee Facebooks

Neurot Recordings on Bandcamp

Neurot Recordings on Twitter

Supernatural Cat website

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Fvzz Popvli Announce European Tour; Fvzz Dei out Sept. 22

Posted in Whathaveyou on August 22nd, 2017 by JJ Koczan


One month from today, Roman heavy rockers Fvzz Popvli — the fuzz of the people — will take part in one of 2017’s busiest release dates, issuing their debut album, Fvzz Dei — the fuzz of the gods — via Heavy Psych Sounds.They join the ranks of With the Dead, Ufomammut, Alcest, Process of Guilt, Nibiru, Thonian Horde, Spelljammer and Faces of the Bog — among, no doubt, others — in putting out a record on that date, but where there’s a riff there’s a way and the band, which boasts in its ranks guitarist/vocalist Pootchie, formerly of The Wisdoom and not at all to be confused with the cool sunglasses-wearing cartoon dog they put in that one Simpsons episode to add zazz to ‘The Itchy and Scratchy Show’ back in the ’90s — amazing the associations the mind makes sometimes — has already shown themselves to have plenty of those on their self-titled debut EP, which came out earlier this year.

Anyhoozle, a week after they play the release show in their native Roma, Fvzz Popvli head off on a lengthy European run that will consume the bulk of October, which was also newly announced by their label. The following came down the PR wire:


Fvzz Popvli ON TOUR!!!

Heavy Psych Sounds Records & Booking is proud to announce the tour dates of FVZZ POPVLI

Magical Mistery Van & Heavy Psych Sounds are proud to announce the first leg of the “Fvzz Dei European Tour” from October the 5th to 22th in Italy, Germany, Swtizerland, Austria and France. Ready to catch FVZZ POPVLI around the EU? Here, their routing!

05.10.2017 – PARMA (IT) – TITTY TWISTER
07.10.2017 – GRAZ (A) – MUSICHOUSE
08.10.2017 – MUNCHEN (D) – GARAGE DELUXE
09.10.2017 – SALZBURG (A) – SECRET SHOW
10.10.2017 – MANNHEIM (D) – KURZBAR
12.10.2017 – POTSDAM (D) – BLECK FLECK
16.10.2017 – TBA
17.10.2017 – NANCY (F) – LA MACHINE A VAPEUR
19.10.2017 – PARIS (F) – OLYMPIC W/ NAXATRAS(GR)
20.10.2017 – ROUEN (F) – LES 3 P
21.10.2017 – LYON (F) – JACK JACK W/ MONKEY 3(CH) & LIBIDO FUZZ(F)
22.10.2017 – CECINA (IT) – TBA
27.10.2017 – PALESTRINA (IT) – MENTELOCALE 2.0
28.10.2017 – LATINA (IT) – TBA

The mighties Fvzz Popvli will present their debut album Fvzz Dei, that will be released on September 22nd !!!

“Fvzz Dei” wich in latin means “The Fuzz Of The Gods”, it’s the debut album of the roman Fuzz Rock trio named “Fvzz Popvli”. Datio on bass, Doncalisto on drums and Pootchie already guitar player from “The Wisdoom” and “Beesus” are ready for introduce you tribute to the Fuzzy sounds from the “Proto-Punk” till the modern “Heavy Psych”. “Fvzz Dei” will bring you into a rough and bluesy fuzzed-out universe. The album is produced mixed and mastered in Murduck Productions studio based in Rome, recorded with the warm sound of an analog mixer from italian 80’s tv shows, and mastered with a real tape analog support! The songwriting it’s a compromise between instrumental jammed songs and the “classic tune format”. The artwork conceived and maked by Rise Above, it’s a illustration about an ancient roman teathral mask, the first example amplification in the world. Just three words: FUZZ, ATTITUDE and ROCK’N’ROLL!

FRANCESCO “POOTCHIE” PUCCI – Guitar and Voice (BEESUS,The Wisdoom)
DATIO PALATIO – Bass (The Anthony’s Vinyls)
Doncalisto – Drums

Fvzz Popvli, Fvzz Popvli EP (2017)

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Epitaph Announce New Album Claws out Sept. 22

Posted in Whathaveyou on August 10th, 2017 by JJ Koczan


Granted, the back end of September is getting pretty crowded with new releases as everyone tries to pack in their wares before things quiet down for the winter (as much as they ever really quiet down), but you might want to hold a spot the week of Sept. 22 for Italian classic doomers Epitaph. The Verona-based outfit who formed in 1987 and didn’t release their first album until getting back together ahead of 2014’s Crawling out of the Crypt will issue their much less it-took-decades-to-make-this-happen sophomore long-player that day in the form of Claws on High Roller Records, and it’s a five-track/41-minute slab of Pentagram/Sabbath/Vitus-style doomery that’s preaching righteously to the converted. Doom for doomers, man. Sometimes nothing else will do.

The PR wire brings a heads up:

epitaph claws

EPITAPH – Claws – High Roller Records

Release date: 22.09.2017
Distribution: Soulfood

More than 30 years after the birth of EPITAPH, the Italian Doom masters from Verona unleash their brand new full-length album »Claws« via High Roller Records. In the eighties and nineties, Italy spawned a big black mass of great doomy bands, as the underground flourished with illustrious names such as Death SS, Black Hole, Sacrilege, Zess or Abysmal Grief… Epitaph were an integral part of this glorious movement, having close bonds with other legendary acts, namely Black Hole and Sacrilege.

In the guise of »Crawling Out Of The Crypt« EPITAPH had made a new start in 2014 with a record that was mostly made up of old compositions and ideas.

However, the band’s brand new studio album is entitled »Claws«. Original drummer Mauro Tollini explains: “»Claws« is our little warped, insidious creature. It’s the first release of ours to be ascribed to the current line-up, in its scope and not just in execution. It’s a harder and perhaps more demanding listen. In most respects it’s a genuine EPITAPH album. We’re not giving up on riffs, melodies and a pinch of the horrific! It also sports illustrations for each track, thus continuing the grisly gallery we had started with the ‘debut’ album.”

The main riff in “Waco The King”, surely one of the key songs on this exceptional album, has a certain Tony Iommi feel about it, very dark, very heavy, and quite rocky… “That’s undeniably true,” says Mauro. “We grew up in the eighties, listening to the generally reviled incarnations of Black Sabbath of that time, as well as to their older classics (we’re glad to hear that the late period of Sabbath history is finally getting more recognition!). Their sharper riffing surely influenced the band, and has stuck since then.”

After the release of »Claws«, EPITAPH will be out on the road for a lengthy European tour with their label mates Procession.

Epitaph is:
MAURO “Tolly” TOLLINI: drums
NICO (the doomer) MURARI: bass
EMILIANO (il confessore) CIOFFI: vocals

Epitaph, “Ancient Rite” official video

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Nibiru Announce New Album Qaal Babalon Due Sept. 22

Posted in Whathaveyou on July 31st, 2017 by JJ Koczan


Proffering noise-infused sludge ritualism over the course of its four extended tracks, Nibiru‘s forthcoming Qaal Babalon is a chamber of horrors worthy of headphone-and-closed-eye immersion. Its 57-minute stretch begins with the engulfing drone extremity of “Oroch” (19:07) and unfolds from there in manners deathly and churning, whether it’s the hammering “Faboan” that follows or the feedback-laden crashing recesses of “Bahal Gah” and the Ramesses-style altar-building of the instrumental “Oxex” that finishes out, all expansive guitar and echoing thud and ultra-creeper moodiness. It’s a weight as much ambient as it is tonal, but rest assured, it’s a weight all the same, and the Torino trio wield it in the manner of some kind of obscure medieval weaponry. Not that I’ve heard it or anything.

Qaal Babalon is available now to preorder via the near-ubiquitous Argonauta Records and follows a 2017 special edition of Nibiru‘s 2013 debut, Caosgon, that the same label released just earlier this month. No substitute for keeping busy.

From the PR wire:

nibiru qaal babalon

NIBIRU – Qaal Babalon

(Argonauta Records) Italian Ritual Sludgers new album! Their best to date, the natural continuation of the very first works CAOSGON and NETRAYONI. PREORDER NOW AND SAVE 20% – RELEASE DATE SEPT 22nd, 2017.

After their latest full length PADMALOTUS (2015), the impressive EP TELOCH (2016) and the Roadburn Documentary (2017), NIBIRU are today a consolidated strength of the international underground scene, thanks to their inexhaustible attitude both in composition and in live performances, a physically and mental experience.

QAAL BABALON is “the exact continuation of our first opus CAOSGON (2013, re-released in 2017) and NETRAYONI (2014)” the band says “Anger, uncontrolled psychedelia, and now the most sick, intense and suffering creation. ‘Qaal Babalon’ is the lacerating scream of a lost soul.”

1 Oroch
2 Faboan
3 Bahal Gah
4 Oxex

Nibiru is:
Ardath | Guitars, Percussions and Vocals
Ri | Bass, Drones and Synthesizers
L.C. Chertan | Drums

Nibiru, Caosgon – 2017 Edition

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Hands of Orlac & The Wandering Midget Split Due Sept. 8

Posted in Whathaveyou on July 28th, 2017 by JJ Koczan

Those who seek the maximum bizarro quotient in their doom likely don’t need me to tell them that the pairing of Italy’s Hands of Orlac and Finland’s The Wandering Midget — who haven’t had a release out in a what-happened-to-the-last five years, apparently — is good news. Cruz del Sur will boldly stand behind the two outfits as they join together for a new split out Sept. 8 that brings four cuts from the former and one extended piece from the wildly politically-incorrectly-monikered latter, and it’s sure to be a dark-hued freakout of a high order both in terms of quality and chemical ingestion. Both bands will be making their debut on the label with this release.

Gonna hope to have more to come on this one as we get closer to Sept. 8, but here’s cover art and the basic social medias announcement of its impending arrival. Hooray for getting weird:


HANDS OF ORLAC / THE WANDERING MIDGET Split Release out in September

The worlds of occult metal and colossal doom collide on the HANDS OF ORLAC and THE WANDERING MIDGET split, set for a September 8 release via Cruz Del Sur Music.

Featuring four contributions from Italian/Swedish occult metal troupe HANDS OF ORLAC and one 18-minute epic from Finnish doomsters THE WANDERING MIDGET, the split finds two disparate, unique bands offering a glimpse into their dark and mysterious worlds.

Formed in 2009, HANDS OF ORLAC has gradually evolved from its early doom forays into a horror soundtrack-infused outfit, heavily inspired by the works of BALLETTO DI BRONZO, GOBLIN, BIGLIETTO PER L’INFERNO and ALPHATAURUS. The band’s four offerings on the split were recorded by veteran producer Berno Paulsson at the renowned Berno Studio in Malmö, Sweden. With the mystical vocal and exotic flute work of G. leading the way, HANDS OF ORLAC offer up an invigorating take on occult metal, with both the progressive “Curse Of The Human Skull” and straightforward “From Beyond The Stars” displaying a degree of balance that is emblematic of a band capable of pushing boundaries without falling prey to genre clichés.

THE WANDERING MIDGET hail from Lappeenranta, Finland and were formed in 2005. The band’s 2008 “The Serpent Coven” and 2012 “From The Meadows Of Opium Dreams” LPs were riff-intense bodies of work, channeling the true spirit of doom forerunners BLACK SABBATH and CANDLEMASS. THE WANDERING MIDGET’s contribution to the split, “Where We March The Vultures Follow”, is their first sonic offering in over five years, and is a true stroke of monolithic doom, laced with anguished, slow-churned melodies and the animated vocals of Samuel Wormius.

The split is the first release on Cruz Del Sur Music for HANDS OF ORLAC and THE WANDERING MIDGET, representing the label’s continued focus on unearthing the underground’s most challenging bands. The sounds of occult metal and epic doom joined together have never sounded so foreboding.

Split track listing:
1. HANDS OF ORLAC – Curse Of The Human Skull
2. HANDS OF ORLAC – Per Aspera
3. HANDS OF ORLAC – From Beyond The Stars
4. HANDS OF ORLAC – Ad Astra
5. THE WANDERING MIDGET – Where We March The Vultures Follow

G. – Vocals / Flute
A. – Guitars
F. – Bass
J.– Drums

Samuel Wormius – Fire Lungs & Tornados
Thomas Grenier – Storm of Locusts
Jonathan Sprenger – Earthquake Sorcery

Hands of Orlac, “Witches Hammer”

The Wandering Midget, From the Meadows of Opium Dreams (2012)

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Rancho Bizarro Announce Debut Album Due this Fall; New Video Posted

Posted in Whathaveyou on July 25th, 2017 by JJ Koczan

If you’re like me and you dug the Italian one-man psych rock outfit Bantoriak‘s debut album, Weedoism (review here), when Argonauta Records released it in 2015, you’ll probably want to pay extra attention to the forthcoming initial public offering from newcomers Rancho Bizarro. The four-piece was founded by Izio Orsini, who was and remains the driving force behind Bantoriak, and even as that incarnation prepares to release a new long-player in 2018 — good news in itself — word has come through that Rancho Bizarro will make their own debut this Fall, also via Argonauta.

They’ve got a video playing now for the track “Garage Part Two” that you can see below, and it’s about as straight-ahead unpretentious desert riffing as one can get. I don’t know much else about the record — title, art, if it’s done being recorded, release date, etc. — but going from the three minutes of audio provided, it sounds tonally warm and like there’s a clear head about where it wants to go aesthetically. It wants to go to the desert, basically. One looks forward to finding out if it gets there.

Argonauta posted the following:

rancho bizarro.

Argonauta Records New signing: RANCHO BIZZARRO

We’re proud to announce to have inked a deal with Italian Stoner Rockers RANCHO BIZZARRO, the new project by Izio Orsini, who after his debut “Weedooism” with the name BANTORIAK (new album due later in 2018), took the decision to start a new band.

RANCHO BIZZARRO is an Instrumental four-piece formed by two guitars (Matteo Micheli and Marco Gambicorti), bass (Izio Orsini) and drums (Federico Melosi), with a clear Stoner Desert Rock influence. The original idea takes form from jams run into the rehearsals room, then rearranged in studio where the sound gets a typical ’70 attitude.

Be prepared for a stunning album to be released by Fall 2017, with influences from Brant Bjork, MC5, Black Sabbath.

Rancho Bizarro, “Garage Part 2” official video

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The Diaphanoids to Release Blessed Poisons Aug. 8

Posted in Whathaveyou on July 25th, 2017 by JJ Koczan

the diaphanoids

Sometimes it’s just a pleasure to find something so endearingly weird. Enter the noisy, synthy, semi-electronica freakout of The Diaphanoids, an Italian duo whose new album, Blessed Poisons, is out Aug. 8 via People in the Sky. The proceedings get unhinged quickly on the eight-track outing’s leadoff title-track and tend to stay that way from there on, though amid the pulsations of “My Friends Can Fly” one finds the soundscaping “Too Many Stars Not Enough Night” and “Iconize Yourself,” and the gone-way-way-far-out-like-so-far-out-how-is-this-not-British “FYW,” so there’s nothing to Blessed Poisons if there isn’t variety, at least working along the common theme of wanting to melt your brain as much as its own.

Sounds like hyperbole until you dig in. You can hear “FYW” at the bottom of this post, and I can all but guarantee that whatever else you might be listening to today, it won’t sound like this.

Have at you:

the diaphanoids blessed poisons

THE DIAPHANOIDS – ‘Blessed Poisons’ New album released 8th August via People In The Sky

The Diaphanoids return with their sleazy, iconic brand of psychallucisergic rock, with new album ‘Blessed Poisons’, released 8th August, via People In The Sky.

Jumped-up and re-toxed, ‘Blessed Poisons’ is the band’s answer to the current, sterile psychedelic scene; a punkier, snarling interpretation of the comparatively childish and harmless new cosmic sound of their contemporaries.

The final story in an epic trilogy, the space travellers, having survived a series of inner and outer trips, their strangest and most peculiar dimension has become daily reality, in which the only way to escape is by staying disconnected and in an altered state of mind. It’s the sound of transcendent visions, of scarves drenched in oils, blood full of fractured rhythm, x-ray guitars and stoned vocals.

From tracks such as ‘Too Many Stars and Not Enough Night’, with its ecstatic floating guitars and infinitely shining crystal keyboards, to the smacked-down drums and hashed-up guitar solos of ‘Iconize Yourself’, ‘Blessed Poisons’ is a true howl from the gutter, a full-throated battle cry from the underground. Hallucinatory rage echoing out into a dead, empty reality.

The Diaphanoids were formed in 2001 by two Italian musicians; Andrea Bellentani and Simon Maccari.

The band’s debut album, the dreamy retro-inspired ‘Astral Weekend’, was released on Bearfunk Records in 2008 and was created using a collection of 50 vintage synthesizers including one that previously belonged to former Tangerine Dream member and synth wizard Klaus Schulze!

The 2014 follow-up, ‘LSME’, blended 70’s cosmic flavours, fuzzed-out guitars and motorised rhythms. Released on Tirk Recordings (home to Richard Norris’s psych rock outfit ‘The Time And Space Machine’ and Greg Wilson’s ‘Credit To The Edit’ series) the hallucinatory Moog-drenched record referenced everything from cosmic soundtracks to kitschy sci-fi to psychedelia and krautrock, and was met with critical acclaim.

People In The Sky Records began life in the back of a record shop in east London in early 2006 and were behind the early Friendly Fires releases along with sharp art-poppers, Plugs.

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