Calypso, Drugs and Jazz.....

My Thanks To: sludgeswamp Blogspot for the following:

Here are 3 crazy takes on the God Fathers of Doom! The first 2 I have had for a long time and (since I am a sucker for tribute albums) I bought the 3rd (Opium Jukebox) during my last record store binge. Some interesting stuff here for sure. I haven't had a chance to listen to the new one yet but my quick page through heard a lot of sitars. The lounge tribute has it's moments but the Jazz CD is awesome!! I am not claiming they are masterpieces, but they are good fun for sure. To be ingested with large amounts of smokey treats!! Enjoy your Sunday!

Lounge Lizard Entrance - http://tinyurl.com/2dqhq9p

Jazz Cat Entrance - http://tinyurl.com/32cz6ol

Opium Den Entrance - http://tinyurl.com/36byv9p


Read more: Doomed To Be Stoned In A Sludge Swamp http://sludgeswamp.blogspot.com/#ixzz0y34BlREL
Your source for Sludge, Stoner, and Doom

The Plugz - Electrify Me

While the seminal 1979 debut from The Plugz is usually characterized as a punk record, the L.A. band actually strives to embrace the scope of rock & roll on Electrify Me. Built on a sound which spikes a strong pop sensibiity with punk fury, singer Tito Larriva and his band draw on their Hispanic heritage for an anthemic cover of "La Bamba" while exploring reggae on the title cut; there are even some folky touches here as well. And as for punk, both "Revolution" and "Alienation" burn white-hot. [Source: AMG]


A1. A Gain - A Loss
A2. The Cause
A3. Electrify Me
A4. Satisfied Die
A5. La Bamba

B1. Adolescent
B2. Braintime
B3. Wordless
B4. Let Go
B5. Infection
B6. Berserktown



http://www.mediafire.com/?y3zjzh3mqmr

The Commercial Zone

The Plugz - Better Luck (1981)

Considered by just about everyone to be the first Latino punk bank, The Plugz came together in 1978 in Southern California. Part of the family of bands that was influenced by The Germs and played at legendary clubs like Madame Wong's and the Masque, The Plugz were led by vocalist Tito Larriva and formed their own label, Fatima, in 1979. Their debut, Electrify Me (1979), which featured a ripping version of the classic "La Bamba", and the follow-up, 1981's Better Luck, were well received, and tracks from the latter would eventually find their way onto the soundtrack to the cult classic film Repo Man. Although the band (Larriva, Chalo Quintana, Tony Marsico, and Barry McBride) would split in the mid-'80s, Larriva, Quintana, and Marsico resurfaced with Steven Hufsteter in tow to form the critically acclaimed rock band Cruzados. Larriva continued to supply music for movies and did some acting work, most notably as a neighbor of Pee Wee Herman on an early version of his kids' show. In 1999, Larriva released Santa Sangre with his band The Psychotic Aztecs, while Chalo would go on to play with The Havalinas. [Source: AMG]

Tracklisting:

A1. Better Luck 3:18
A2. Red Eye #9 2:42
A3. Achin' 3:32
A4. American 2:15
A5. In The Wait 2:57
A6. El Clavo Y La Cruz 2:58

B1. Blue Sofa 4:59
B2. Touch For Cash 2:43
B3. Gas Line 2:48
B4. Cesar's Song 2:07
B5. Shifting Heart 3:18
B6. No Love 4:43



http://www.mediafire.com/?zjoffjwanxm

The Commercial Zone

Nervous Gender - Music From Hell (1981)

Nervous Gender is a punk band founded in Los Angeles, California in 1978 by Gerardo Velazquez, Edward Stapleton, Phranc and Michael Ochoa.
Their use of heavily distorted keyboards and synthesizers made them, along with the The Screamers, one of the original innovators of what is today called "Synthpunk", although they could equally be considered an early industrial group. The group was confrontational and experimental.
Phranc's androgynous appearance was the embodiment of the group's name, garnered the band much press in zines such as Slash and, later, proving inspirational to founders of the Queercore movement. Despite their somewhat high profile, the groups' habit of provoking the audience, obscene material and harsh erotics guaranteed they would never gain commercial acceptance. At their first show in 1979, a benefit for the Women's Video Center, Phranc called the audience "pussies" and "dykes" when the band was requested to stop playing, and songs like "Jesus Clone", contained lyrics such as "Jesus was a cocksucking Jew".
In 1979, Don Bolles of The Germs joined as drummer. The next year Phranc left the band and Paul Roessler of the Screamers joined. At this time they recorded the tracks for the compilation Live At Target, released as an LP and a video, both seminal not only in the punk scene but also as early industrial recordings; fellow contributors Factrix and Zev (listed on this recording as "UNS") were early industrial acts, and Nervous Gender found more acceptance among that scene initially. All the artists involved in Live At Target were experimenting with atonality, noise and concepts not common until post-punk groups emerged later. Nervous Gender played with bands such as SPK, Factrix, Non, Einstürzende Neubauten, and Psychic TV during the early 1980s.
In 1981 they released their LP Music From Hell, which included guest vocalist Alice Bag from The Bags singing on "Alice's Song". Nervous Gender did not record in the studio again. After the LP came out, Paul Roessler moved to New York to play with the Nina Hagen Band and was replaced by Bill Cline, and Don Bolles left the band to play with 45 Grave. He was replaced by an eight-year-old boy, Sven Pfeiffer. In 1982, Sven's mother took the young drummer back to live in Germany. During their career Nervous Gender was called by one critic, "...the thorn in the side of the L.A. music scene...".
During the mid 80s, the band was on the verge of breaking up when members of Wall of Voodoo Bruce Moreland, Marc Moreland and Chas Grey, who were fans, stepped in and offered to collaborate with them. It was at this point that a guitar-driven version of Nervous Gender emerged. During this time Dinah Cancer of 45 Grave was a frequent guest performer with them, and they played shows with bands such as Christian Death, Super Heroines, Kommunity FK and Gobsheit (a side project of Stapleton's with Patrice Repose) at venues such as the Anti Club. In 1988, Edward Stapleton played his last show with the band.
In early 1990, original members Gerardo Velasquez and Michael Ochoa along with Joe Zinnato (a long time Ochoa collaborator) revived Nervous Gender as a trio. This formation did a series of 8 performances, and were working on what would have been the final Nervous Gender album (working title "American Regime") with producer Paul Cutler (of 45 Grave). The final performance of Nervous Gender was on August 26, 1991 at Club A.S.S. in Silverlake, CA. Gerardo Velasquez died on March 28, 1992, at age 33.
After Gerardo's death, members Ochoa and Zinnato, with the addition of singer Claire Lawrence-Slater (of Honeymoon Killers, Huge Killer Ships), formed "HighHeelTitWig" a punk-industrial-pop-grunge hybrid, which played a series of shows. In 1995 Joe Zinnato suffered a serious stroke which put an end to musical activities.
As of 2005, Edward Stapleton, Michael Ochoa and Joe Zinnato were reviewing all of the Nervous Gender material (studio, live and rehearsal recordings and performance videos) with an eye towards releasing a NG retospective. At this time, Edward Stapleton (with Karene Stapleton) also recorded under the name Kali's Thugs. [Source: WIKIPEDIA]

Tracklisting:

Martyr Complex
A1. Monsters
A2. Nothing To Hide
A3. Cardinal Newman
A4. Fat Cow
A5. Alien Point Of View
A6. People Like You
A7. Regress For You

Beelzebub Youth
B1. Christian Lovers
B2. Exorcism
B3. Bathroom Sluts
B4. Pie On A Ledge
B5. Push, Push, Push
B6. Alice's Song

http://www.mediafire.com/?yomyntgvdm2

Xmal Deutschland - Viva (1987)

Viva represents how Xmal Deutschland mellowed with age. No longer kicking and screaming like Siouxsie & the Banshees in their punk days, Xmal Deutschland tone down the dissonance and funereal atmospherics in Viva. Fans of the group's chaotic early records might disagree, but Viva is Xmal Deutschland's finest moment. Xmal Deutschland aren't trying to be scary anymore — their 1982 single "Incubus Succubus" was creepy stuff — just beautifully depressed. The opening track, "Matador," recalls the band's old gothic fury; however, it's more focused and accessible. The jumpy new wave drums and dreamy mid-'80s keyboards of "Matador" edge the group closer to pop, recalling the Cure in their transformation from the horsemen of the apocalypse to melodic gloom-rockers. "Matador," the band's catchiest single since "Incubus Succubus," was remixed for the clubs as well, but only the original can be found on the Viva CD. It's inevitable that vocalist Anja Huwe would be compared to Siouxsie Sioux; the similarities are striking, like Ian McCulloch and Jim Morrison. Nevertheless, Huwe has found her own voice on Viva, hitting the high notes on "Matador" with palpable passion. "Sickle Moon" and "Feuerwerk (31.dez)" are haunted by Joy Division's dense guitars and foreboding basslines; they display Xmal Deutschland's more mature approach of crafting songs instead of slamming people over the head with repetitive drones. The abundance of synthesizers also give Viva a lighter feel, preventing the music from becoming overwhelmingly bleak, especially on "Eisengrau," "If Only," and "Illusion (Version)," the latter only appearing on the CD. Although Xmal Deutschland went downhill from here — 1989's Devils was blatantly commercial — they're kings of the castle on Viva. [Source:AMG)

http://www.mediafire.com/?ydm2tl1nqj5

The Commecial Zone

Gal Costa - S/T

After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB — or music from anywhere else in the world for that matter — hasn't heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa's crazy improvisations over Caetano Veloso's tune "The Empty Boat" serve as evidence of this delightful impulsiveness when placed side by side with Veloso's own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic collection. (allmusic)



http://www.megaupload.com/?d=TMW5AUM9
Thanks earls psychedelic garden

La Revolución de Emiliano Zapata
Influenced by American 'psychedelic rock' broad casted over the air waves from the other side of the Mexican border.'La Revolución de Emiliano Zapata' were formed in Guadalajara in the late 1960's.The group won a radio competition and earned themselves a record contract. After signing a deal with 'Polydor' in 1969 the band re-located in Mexico City. In 1970 the group recorded and released their debut album, 'La Revolución de Emiliano Zapata'. The opening track 'Nasty Sex' was released as a single and the group had a worldwide hit, it wasn't massive, big enough to get them on the road, touring the US and Europe. The follow up single 'Shit City' didn't do to well, I wonder why. They should have gone with 'At the Foot of the Mountain' which is a beautiful tune. Mainly though 'La Revolución de Emiliano Zapata' play a trippy brand of rock and roll, mixed in with pop hooks and fuzzed up guitars.... another overlooked gem....

http://www.megaupload.com/?d=BN0IG9TD


Thanks to earls psychedelic garden

What of history, and context? What if Astral Weeks and There’s a Riot Goin’ On had never been given a chance carve their place in the pop music landscape? Such is the case of Paêbirú, a 1975 collaboration between Brazilian artists Lula Côrtes and Zé Ramalho. With most copies purportedly destroyed in a warehouse fire, Paêbirú has remained a holy-grail for collector’s willing to shell out the cheddar (like, 1,300 cheddars) for this psychedelic opus. And while it’s a stretch to assume any album can run with the luminary discs mentioned above, it’s tempting to dream that every once in a while history will uncover a lost classic and drop a fully-formed world-beater into our grubby little hands. Little is known about the recording of Paêbirú. Côrtes, who composes and plays on many of these tracks, seemingly appears only when we’re talking about obscure Brazilian psych reissues (Ramalho, on the other hand, has built a solid career as a Brazilian pop singer and takes on most vocal duties here). With all the murk surrounding the album, it’s easy to overlook the frankly silly nature of what we’re dealing with. Say the following out loud: Paêbirú is an obscure Brazilian psych concept album about the four elements (earth, air, fire, water) that was lost to time in a warehouse fire. Age and scarcity lend this record a legitimacy—and audience—it might otherwise be unable to muster. The most impressive aspect of Paêbirú, then, is the ease with which it transcends its goofy elemental approximations. If Paêbirú is too uniform in sound and style to truly transport from one element to another—your mind will not, for instance, immediately cease conjuring images of air and move on to fire at the close of track six—then it compensates with its transformative power. Côrtes and Ramalho are on some rainforest shit here, and when dealing with such gung-ho psych monsters it’s easy to forget things like “couch,” and “stereo,” and follow them down the rabbit hole. Côrtes and Ramalho skip the unicorn-horn crystalphones and do their best conjuring with pedestrian instruments, peppering their novel-length folk with liberal amounts of flute, sax, and congas. Interspersed among these longer, often improvised tracks are shorter arrangements, whose memorable melodies and vocal chants stand out against the Technicolor jams. The albums begins in a purple haze of buzzing insects and leafy drone, but by the time “Trilha de Sumé” ends, ritualistic grunts and a canopy-scraping sax are all that remain. The remaining two songs of the Earth segment traverse in galloping drum patterns before a placid guitar outro teases into the considerably calmer, and weaker, Air compositions. Chalk it up to an over-reliance on field recordings and a lack of Ramalho—these tracks lack the visceral heft of the album’s first segment. By design, perhaps, because on “Raga Doss Raios,” Côrtes check-raises the whole she-bang, ushering in the Fire portion with two and a half minutes of brilliant, muscular Hendrixian noodling. All of this, however, is warm-up for “Nas Paredes Da Pedra Encantada,” which approximates what the Doors might’ve sounded like if 1) they were capable of having a good time, 2) were a funk-rock house band from some lost Amazonian hit factory. Rifle shots of organ fight for face-time with a bulbous bass line, all before Ramalho bulls in with a blissful wall of vocals that encompasses the song’s final minute of mindfuck. The band lives off the sonic heat of “Nas Paredes” for two minutes on “Marácas De Fogo” before pushing forward into the Water segment, the band’s most focused and coherent work. “Louvaçao A Iemanjá” is a beautiful, unaccompanied call-and-response chant, while “Trilha De Sumé” sets the album over calm seas, a tidy acoustic coda for an intimidating, expansive music album. Paêbirú is a unique experience; a dated album untouched by time. It would be ludicrous to suggest that any indie rocker was shelling out the kind of e-Bay bucks it would take to land a wax copy, and as such, its influence on contemporary music is essentially non-existent. Deserving of its lofty reputation, if not its stratospheric price tag, Paêbirú is a time capsule of Brazilian psych music, a mercurial run through the jungle finally available to the rest of us. (Stylus Magazine )

http://www.megaupload.com/?d=GGQ9WGNA

The band is Peer Günt, a veteran of the “hard’n’heavy” style which is aging well as an excellent wine. Their newest release, Buck The Odds, is out now and it rocks!

Peer Günt (joyfully deforming the name of that fine opera, Peer Gynt, by Edvard Grieg) are a trio from Kouvola, Finland. The line-up includes charismaticTimo Nikki (vocals and guitar), Pete Pohjanniemi (bass) and Sakke Koivula (drums).
They started in 1976 and became famous in the late 80’s with albums Peer Günt (1985), Backseat (1986) and Good Girls Don't... (1987). They play an energic and catchy rock’n’roll with a strong bluesy background, although Motörhead’s influence is very strong. Frontman Timo Nikki is the charismatic element of the band, with his gritty and powerful voice singing about typical rock themes: “on-the-road” ruthless life, smoke-filled bars, rock’n’roll, easy girls, …
Apparently the frequent recalls to “Old American style” is related to the “frontier-like” region where these musicians come from in Finland.
Well, years pass by but these guys still know how to raaaawwwwk!
http://www.mediafire.com/?djtintznwgn

Read more: Doomed To Be Stoned In A Sludge Swamp: Finnish raaaawwwwk!

Cherry Five

As for an original and expression of feelings part to which the band of Prog Rock of Italy had gone, a lot of unique cultures that the band in other countries doesn't have are involved. The rush power and the throb feeling of this Cherry Five will have been existence in a lot of bands where the diversity existed to which uniformity by the construction of a technical tune in respect to perform was done enough.
Generally, this band is known as an antecedent of the situation that reaches "Goblin". However, the united music characters and technical parts might have had the originality not installed only by Prog Rock of simple Italy. Certain part of composition of sound and tune. And, the impression that "Yes" and "Gentle Giant" are recollected will be given. However, the absorption of an original melody of Italy and music is expressed enough as their tastes.
The relation between about some respects and time can be enumerated if it thinks about the situation by centering on this Cherry Five. Part of creation of composition power of expression of feelings by Claudio Simonetti of keyboard player who will be known later as member of "Goblin" and guitar player's Massimo Morante and Bass player's Fabio Pignatelli and tune to rush. In addition, existence of "Il Ritratto Di Dorian Gray" that had existed as history of activity of music before this Cherry Five. And, the situation of the band that was called "Oliver" that derived from the band might have been in the part gradually exactly revolutionized in the market of Prog Rock of Italy. It is said that the member had already visited Britain as a guess at this time. Perhaps, it is guessed that it is reflected in lyrics all English to which the event at this time is sung by this album.
The existence of Carlo Bordini of the drum player known by the member of "Rustichelli&Bordini" might act overwhelmingly on the band, too. It contributes enough as a Music character of the band ..him.. the part of the nucleus. Part of construction of rhythm that supports band from the under and complete technology surely. And, the song of active Tony Tartarini gives the listener the impression of the axis of the band as a member of "L'uovo Di Colombo". The melody of the song completely contributes to an original tune that is. The flavor and originality that Italian Rock done at this time is good are equipped enough.
The activity of Cherry Five known well as a situation in which it went to "Goblin" for the above- mentioned description did not continue long as a result. The band by this member did not exist when the debut album of Cherry Five was announced because of the relation of the recording of "Profondo Rosso" of Goblin produced at the same time. The absorption of exactly good symphonic and the unique culture are uniting valuable existence. the Music character that Cherry Five didThe throb feeling and the rush power united overall might be overwhelming. If you like 70s symphonic progressive rock, you should definitely get this.

Goblin's score to Dario Argento's Suspiria is a timeless, horrifying ride into crazed vibes and buzzing progressive rock. Billed as "The Complete Original Motion Picture Soundtrack," this edition goes a bit overboard in its four redundant extra tracks. Before those final additions, Goblin kicks out the jazz-rock jams with cool aplomb and creates a number of genuinely unnerving compositions. Argento fans will swoon being able to hear Suspiria's terror centerpieces "Suspiria," "Witch," and "Sighs." "Suspiria" might contain some dated keyboard work, but the music rings like a demonic version of the score to The Exorcist. A wicked voice chants and hums along to the melody, before the song takes a prog rock departure nearly three minutes in. The song turns into something that Trans Am or their contemporaries might concoct on a better day; in that sense, Goblin's music is ahead of its time. "Witch" is equally creepy; it's the song that acts as the background to the movie's demented opening sequence. The song is as cinematic in its scope as Argento's brutal visuals. "Sighs" might one of the scariest songs ever recorded. Sounding like a throbbing didgeridoo nightmare, it's a monument to tension and suspense. On the remainder of the album, Goblin mostly strives for a cool jazz-rock hybrid. Suspiria works best for fans of the film, who will appreciate the terror of the songs more than newcomers who haven't experienced Argento's darkest creation. The score is as enjoyable removed from the movie as it is attached. Suspiria is quite an achievement, as a scary soundtrack and as a vibe-heavy rock album.
by Tim DiGravina

PRE-MED are a space rock band put together in 2004 by multi-instrumentalist Danny Faulkner and Hawkwind bassist Alan Davey. Soon Lewis Turner (guitar) came in and with the help of drummer Danny Thompson and former Landmarq keyboardist Steve Leigh they produced the band's debut in 2006, originally entitled 'Invisible Spies' but one year later re-released as 'Medication Time' by Voiceprint Records.

Lewis Turner was substituted by Eamon O'Neill some time later and in 2008 they offered another album called 'The Truth About Us'. Although influenced by Hawkwind PRE-MED have their own style featuring ambient and hypnotic moods, based on a rich keyboard/synth background and Danny Faulkner's unique voice.

"Pre-Med are a decidedly Space Rock band. The band was put together in 2004 by Danny Faulkner with help from Hawkwind bassist Alan Davey. The other main member of the band is guitarist Lewis Turner although he has since left the band. The bands debut release Medication Time was well received on its release in 2006 and also featured guest appearances form Danny Thompson and former Landmarq keyboardist Steve Leigh. Danny’s brother Martin also contributed to some of the lyrics on Medication Time The truth About Us is the follow up to that well received album and again features material." ~ VoicePrint

Band: Pre-Med
Country: UK
Genre: Space Rock

Listen to Pre-Med @ MySpace
Buy their records through their MySpace page

Alberta Cross are a New York-based band, formed by Petter Ericson Stakee (vocals, guitar) & Terry Wolfers (bass). Despite their different upbringings - Petter travelled from an early age between Sweden and England with his singer-songwriter father whilst Terry was brought up in London's East End - they formed what would later become Alberta Cross. After relocating to Brooklyn, New York, Petter and Terry solidified the line-up with the addition of Austin Beede, Alec Higgins and Sam Kearney.

The band's sound has been compared to Kings of Leon, The Band, Neil Young, The Raconteurs and other blues-influenced rock bands.

The band has toured extensively in the UK, performing with bands like The Shins, Bat for Lashes, Simian Mobile Disco and played the Latitude tour with Findlay Brown in summer 2007. During October 2008 Alberta Cross supported Oasis on its UK arena tour; playing at both Bournemouth and Cardiff. The band appeared at the Coachella Valley Music Festival on April 17, 2009. They were the support for Dave Matthews Band at the O2 Academy in London in June 2009 and for DMB's full European Tour in February-March 2010. Alberta Cross performed at the 2009 Bonnaroo Music & Arts Festival in Manchester, TN, held in June, and they played at the 2009 Lollapalooza Festival in Chicago, IL, on August 9, 2009.

On May 11, 2010, the band opened for Them Crooked Vultures in Quebec City, Quebec, in Montreal, Quebec on May 12, in Ottawa, Ontario, in Windsor, Ontario on May 16, 2010, in Indianapolis, Indiana on May 17, 2010, and in Chicago, Illinois on May 18, 2010.

The band's first full-length album Broken Side of Time was released September 22, 2009.^[1]

The band embarked on its first headlining tour in the United States in early 2010, selling out shows in Los Angeles, Santa Barbara and San Francisco. The Santa Barbara venue oversold the show, so when police arrived and forced 50 patrons to leave, the band offered to play two sets so that everyone who came to see them could.

2007 - the thief & the heartbreaker *r *m

2009 - broken side of time *r *m

"Out of the ruins of 'Reeder' (former band members) rides 'Koyen' with their high energy simple rock medium tempo desert/pop tinged numbers. It reminds me of the same level of energy that bands like Dozer come across as having, well that and other things in common.

It's safe to say that the members of Koyen probably describe their sound as desert rock, and why shouldn't they? It's got that same sort of Kyuss/Queens/Desert Sessions vibe.

The vocalist is definitely going for that melodic soul singing s t y l e similar to John Garcia, and the guitar tones and leads could be equally compared to Homme's s t y l e on some levels. Nonetheless, these guys are good at what they do and rock out...and that's what it's all about, the Koyen sound that is.

Simple desert blues rock numbers with soul, not quite as good as the originals but what is? On the same note it would be unfair to say that these guys sound exactly like any of those bands...there is definitely some indie rock flare thrown in here and there, and the songs are more actual written songs than jams if you know what I mean. Good middle of the road stoner stuff overall." ~StonerRock.Com

Band: Koyen

Album: Comatoso

Year: 2003

Genre: Stoner - Desert Rock

*r

*m

Abunai! were an American psychedelic space-rock band who were fond of adding traditional British and American folk elements to give an added dimension to their sound.

Formed in Brighton, Massachusetts (a neighborhood of Boston) in 1996, they released three albums and two EPs for the Australian Camera Obscura label.

Abunai! broke up in 2002, but not before playing at three of the Terrastock festivals to date. They also reunited in 2006 for Terrastock 6 in Providence, Rhode Island.." ~ Last.Fm

Artist: Abunai!

Country: USA

Genre: Psychedelic Space Rock

Listen to Abunai! @ MySpace

for more info visit their homepage

to purchase their albums go here

1997 - universal mind decoder *r *m

1999 - mystic river sound *r *m

2000 - deep mu flux 2 *r *m

2000 - round wound *r *m

2006 - two brothers *r *m

Epitaph ~ 1971 ~ Epitaph - 28 February 2010 - Oldish Psych and Prog

Epitaph ~ 1971 ~ Epitaph - 28 February 2010 - Oldish Psych and Prog

Los Mockers ~ 1994 ~ The original recordings 1965 - 1967 - 28 February 2010 - Oldish Psych and Prog

Los Mockers ~ 1994 ~ The original recordings 1965 - 1967 - 28 February 2010 - Oldish Psych and Prog

Mythos ~ 1972 ~ Mythos - 28 February 2010 - Oldish Psych and Prog

Mythos ~ 1972 ~ Mythos - 28 February 2010 - Oldish Psych and Prog