An eclectic, psychedelic fusion of jazz & rock ‘n’ roll! Fuzzed-out acid rock & blues swirl together to create some of the best late ‘60s psych out of Boston. Schamach’s jazz-leaning tendencies shine through a variety of influences on these all-original compositions, giving their sophomore album a creative edge over other bands in the Bosstown Sound scene.

A 2017 remaster of Rock St. Trop, the fascinating 1969 collaboration between The Pretty Things and Philippe Debarge (an eccentric wealthy playboy from France).
In late August 1969, Phil May and Wally Waller were flown to St. Tropez by Philippe Debarge and taken to the DeBarge family estate - a magnet for the rich and famous of the era, from politicians to film and rock stars. DeBarge had serious money and wanted to make a serious album, with him as front man. Philippe had done his research and knew exactly who he wanted to make that album with The Pretty Things.
May and Waller were at their most prolific, but were between albums and between tours, so when DeBarge came calling it was hard to come up with a good reason why not to go…

Máquina! is maybe the very first underground rock group to have recorded in Franco's Spain, their first single dating back to early 69, and the following year, their first LP was out with a striking artwork depicting a clock coming out from a croissant meaning that it was time to wake-up (and have breakfast) in Spain. The album was called Why? and it was clearly so rebellious under a dictature that fellow group Tapiman (and Barcelona crosstown rivals/friends) answered them with a track Don't Ask Why. The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years.

2001 release of what was the 2nd Älgarnas Trädgård album; originally recorded in 1973-1974, but never released (until this CD rescued these recordings from oblivion). Exact same lineup as witnessed on their epic debut from 1972. And what a fantastic offering…it slowly extends into meta-improvisations with distant guitars, heavily effected organs, swirling strings, plenty of space, reaching an early peak-build amidst the detritus floating through the 12-minute "Interstellar Cruise." Later, an Eastern-themed campfire freakout (sitars, tablas, Yod-chant) breaks out, then a bit of the mellow reverbed flute, later still a long vocal loop fade out over some well placed drones. One could say this record has a bit of everything.

The two previous Captured Tracks albums A Dream Is All We Know (2024) and Everything Harmony (2023) certainly indicated something of a ground zero in The Lemon Twigs’ then five album career. “We started making records that we would listen to ourselves,” says Michael D’Addario, the younger Twig brother, now aged 26. “We were forced to slow down and reevaluate who we were in 2020. Around that time, we tried to assess what we could do better than other groups, particularly in the studio. The live gigs had been getting crazier and crazier, and with no prospect of playing shows we thought it was the perfect time to make something a little more delicate, and to exploit particularly Brian's strengths. We decided to put all our efforts into making something powerful, and that’s how Everything Harmony came to be.” The album was a critic’s.