Back catalogue: Psych/Garage Rock

Review: Entering White Hills' Brooklyn studio reveals their intense passion for music and art. Vinyl crates line the space, and guitars are scattered about as synthesisers and cables cover a purple satin bed and gouache paintings and subversive memorabilia adorn the walls. This creative hub also serves as the headquarters for their label and was the birthplace of their latest album, Beyond This Fiction. For nearly two decades, White Hills has dazzled with their blend of neo-psychedelia, art rock, and post-punk. Their cult status was cemented by their role in Jim Jarmusch's Only Lovers Left Alive and their new album, recorded with Martin Bisi, delves into Joseph Campbell's concept of "riding between opposites," blending shoegaze and ambient sounds with a stronger focus on vocals. Tracks like 'Throw It Up In The Air' and 'Killing Crimson' highlight their evolving sound, and make this a great addition to the band's discography.

Review: Not to be confused with the landmark London club of the same name - one of many sorely missed spots in the UK capital - Plastic People is almost the opposite of that now-defunct electronic dance music stronghold. Wildwood's 1968 garage psyche triumph is equally determined to encourage us to escape, only in a far earthier, rawer, and rougher kind of way. With plenty of hoarse guitar riffs, Hammond organ lines and powerhouse vocals coming from the man himself, this is a wonderful reminder of a ridiculously fertile period in rock & roll history that maintained values of the decade it rounded off, but was also increasingly looking to a future in which punk and progressive were beginning to lay their own foundations. In short, it's epic and trippy and incredibly human.

Review: This timely reissue of Zamrock's Afro-prog-psychedelic masterpiece makes its debut on vibrant yellow vinyl. WITCH was a group influenced by James Brown, the Stones, and Deep Purple and they dominated 70s Zamrock stages in their heyday. Their musical journey spanned only five years and culminated in the fifth and final rock album, which predated a split and a new disco venture in Zimbabwe. The record fuses traditional Zambian rhythms and folk melodies with progressive rock and, somewhat echoing Lukombo Vibes, it embodies the Osibas' "afro-rock" style. This release encapsulates WITCH's evolution and influence and gives a vivid glimpse into the era's musical fusion and cultural resonance.

Review: Zamrock, anyone? Often stylised as W.I.T.C.H, WITCH were one of the leading musical lights of post-colonial Zambia, a band that rose to prominence during the early-1970s, a particularly fertile period in the East African nation during which hopes for the future were incredibly bright. Independence leading to the blossoming of homespun ideas, culture, art and creativity. The story takes a tragic turn as the decade reached its final years, the economy collapsing and policymakers turning increasingly authoritarian. Like many in the 'scene', WITCH would fade, almost into obscurity, although the psychedelic rock-hued legacy they left survived, and then experienced a resurgence from 2012, when they reformed amid renewed interest. Kuomboka represents the group at the height of their fame, an album that still sounds packed with optimism, despite insidious changes in the air when it landed in 1976.