Back catalogue:

Review: The imagination of the Munster label runs unabashed, as the late 1960s French cabaret star Rita and Chilean band Aguaturbia are heard to "team up" on this wonderful 7" slither of eroticism. Both visited their respective localities in the late 60s and early 70s, with Aguaturbia especially concluding an extensive tour across Europe with an incensing performative finale in France. They also happened to each name one of their own best songs 'Erotica'. Though they never met or really formally collaborated, this new record indulges the fantasy of what it may have been like to work together, had their shoulders been hit with golden arrows. An imaginary sexploitation film soundtrack, Rita's 'Erotica' rises to the hyperventilated brim, her delighted cries building to shaky, sighing contractions, while Aguaturbia's does remarkably similar with a brasher, dust-storming fuzz-guitar melee set to fainter but still audible groans.

Review: Aguaturbia's 1970 debut is a cornerstone of Chilean rock, crucial to understanding the genre's evolution in South America. The album is fierce and vibrant, brimming with heavy riffs, bold distortion and Denise Corales' ethereal, phased vocals that echo the style of Jefferson Airplane. Blending original compositions with dynamic covers of hits by Tommy James & The Shondells, The Beatles and Jefferson Airplane, Aguaturbia infuses these tracks with an intensity that feels fresh and enthralling. Their bold musical expression, combined with provocative cover art, pushed boundaries in Chile's conservative society at the time. The album's raw, untamed energy made it a symbol of artistic rebellion. Guitarist Carlos Corales captivates with his powerful solos, leaving live audiences in awe. His mastery, paired with Willy Cavada's exceptional drumming, is showcased in unforgettable moments like Cavada's thrilling solo on 'Ah Ah Ah Ay', recorded perfectly in one take. Standout tracks include their hypnotic rendition of 'Somebody to Love' and the sultry, electrifying 'Erotica', where Denise's seductive vocals meld effortlessly with Carlos' scorching guitar work. Their version of 'Crimson and Clover' transforms the classic into a pulsating, psychedelic experience. This album, with its raw edge and groundbreaking style, remains an essential listen for anyone delving into the roots of psychedelic rock in Latin America, providing a truly riveting sonic journey.

Review: A cultish band who there at the dawn of psychedelic rock in Mexico and had a mind-bendingly beautiful sound full of revolutionary potential. In the late 60s when they formed and in the early 70s when this self-titled debut LP of theirs was released, the band were inspired by hippy counterculture and by politics. They're named after Mexican revolutionary Emiliano Zapata whose influence still has a far-reaching influence today - the Zapatista social movement, with its far-left and anti-neoliberal ideology, takes its name from him. They were also at the forefront of La Onda (The Wave), a cultural and political movement that spawned Mexico's answer to Woodstock, Avandaro. Sonically, you can't get a better fit for a festival of that sort - you'll hear that they are quintessentially psych; loose and jangly with hip-shaking rhythms. Opener 'Nasty Sex' - their biggest international hit - works around a hypnotic riff and has a Cream-meets-surf rock tone; 'Shit City' cranks the free-spirited vibe up even further, while 'Platicas Con Un Rey' shows they could tackle a more pastoral psych sound, too. Few bands nail the true psychedelic rock sound this well.

Review: Independent Spanish label Munster Records benevolently reissue the sole record by Venezuelan psych rock band Ladies Water Closet. Made up of Adib Casta, Jaime Seijas, Mario Seijas and Stephen Scott, Ladies W.C. were prominent members of many other bands in the 60s psychedelia heyday, and yet the Water Closet was by far their most unserious project, consisting in ragtag twang-offs, dusty drum fill fandangos and yet quite amazing vocal performances, the combination of which factors likely went on to cause one online user to rightly call it "the most collectible record from Venezuela". No wonder they say so: only tens of copies were originally printed in 1968, and a reissue hasn't surfaced again since 1999. The wah pedal is really put to the metal here, so this must be a special privy midden indeed; but the cinematic synth moments are impeccable too, as on 'The Time Of Hope Is Gone'.