Back catalogue: Psych/Garage Rock

Review:  Darge curates a selection of US garage stompers from the 60s, blending the easily accessible with the rare and coveted. Aimed at both new listeners and seasoned collectors, the compilation features artists like the Hooterville Trolley, the Litter, the Music Machine, the Venturie "5", the Lyrics, and the Nightcrawlers. These tracks reflect the raw energy of the 60s garage scene and pay homage to the British invasion bands such as the Who, the Kinks, and the Rolling Stones. With fuzzed guitars, driving beats, and a proto-punk attitude, the music feels fresh and is gaining traction with a new generation of fans. The compilation includes standout tracks like 'Action Woman' by The Litter, 'Hang It Out To Dry' by Bud & Kathy, and 'No Silver Bird' by The Hooterville Trolley. Housed in a sleeve designed by Robin Banks, who also created the artwork for Darge's Rockabilly compilation, this release is a visual and auditory treat. Liner notes from Keb Darge add a personal touch, making this an essential addition to any garage punk collection.

Review: A rock n' roll compilation with a twist, 28 Little Bangers From Richard Hawley's Jukebox is a brand new selector's V/A LP from the 1990s Britpop figurehead and former member of the band Longpigs and Pulp. Diving deep into his personal collection here, this album reflects Hawley's absolute dedication to a pastime few may already know him for: slowly amassing a mammoth selection of 7" records in the mode of garage rock and skiffle. Many are instrumentals, flaunting Hawley's ear for a sound that goes beyond just lyricism or theme. With star cuts from the likes of The Timekeepers and Bobby Gentry, certainly do not miss this is if you're the the right kind of British rock obsessive.

Review: Bob Stanley and Pete Wiggs of Saint Etienne fame are the diggers behind this new rock assemblage which pays tribute to mid-afternoon set times at lesser-known festivals from years gone (well, the 70s) such as Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton. They were just as important to those who attended as the more celebrated likes of Glasto' and this collection shows the sounds were just as good, too. The sounds - from big names liek Deep Purple, Hawkwind and Alan Parker & Alan Hawkshaw to lesser known acts like Jonesy, will appeal to hippies and bikers alike with big riffs, funky drumming and some psyched-out sounds.

Review: Saint Etienne's Bob Stanley and Pete Wiggs have more than proven their music knowledge across a stellar run of prior compilations, including The Daisy Age, Fell From The Sun and English Weather. This time around, they're tapping into the freeform climes of the late 70s and early 80s, as punk exploded and a myriad of bands channelled the unique, downcast mood of Britain into wildly creative, nervously urgent songs. Across four sides we take in all manner of cult selections and outer limits largely in the loose fit realm of post-punk. It's flawlessly selected and programmed - another reminder of how immersive a proper compilation can be.

Review: Way back in 2004, Sanctuary Records commissioned pre-Britpop pop hipsters St Etienne member and serial compilation curator Bob Stanley to put together a collection celebrating the British 'acid folk' movement of the late 1980s and early 1970s. Long deleted, the previously CD only compilation is finally returning on vinyl - this time in expanded form, with the inclusion of additional tracks and a few picks from its (also unavailable) sequel. It's a superb set all told and one that showcases a take on folk heavy on effects, unusual rhythms, sweet vocals, horror-adjacent sounds and pastoral but otherworldly instrumentation. A few well-known names aside, it's a genuinely deep dive too - as you'd expect from someone of Stanley's knowledge and experience.

Review: A new collection that documents a micro-niche of American baroque pop with a fresh new compilation. Diversifying the selection from, but still including, the most obvious figureheads in the style - Nico, Linda Rondstadt, even The Monkees - to also focus on the fulgurant but less visible sparks in the sound, such as Appaloosa and Eternity's Children, this is a record whose focus is on both greater and lesser objects of renown. The chamber orchestral instrumentation of the sound is made palpable; quaternary strings, harpsichords, woodwinds and autoharps abound, gelling neatly with the hip connotations of the genre's late 60s efflorescence.

Review: American baroque pop, or chamber pop as it is also known, flourished from 1966 to the early seventies. It's a sound that blends string quartets, harpsichords and woodwinds to evoke a unique summer-into-autumn kind of melancholy. Far from the raw energy of early rock 'n' roll, this style often attracted musicians from folk backgrounds who were drawn to its acoustic richness. Linda Ronstadt's first band, the Stone Poneys, introduced the autoharp in 1965 while artists like Bonnie Dobson and Nico experimented with string arrangements as they sought new, post-electric directions. This era marked a shift toward intricate, orchestral textures that redefined the boundaries of pop and folk music and are explored in this superb and comprehensive collection.

Review: Since the release of Make Mine Mondo in 2018, fans have eagerly awaited a follow-up - and the second instalment is a thrilling collection of wild instrumentals, rockabilly, garage rock and energetic r&b. This compilation collects some rare music that helps the collection of obscure tracks be a blend of the quirky, the rebellious and the heartbroken. It's a fascinating mix of the mad, the bad and the dangerous, each song oozing raw energy and a sense of urgency. Volume 2 proves just as captivating as its predecessor, delivering an exhilarating ride through the fringe of musical history. Expect the unexpected.