*PRE-ORDER "FOREST OF LOST CHILDREN" ON VINYL/CD HERE: http://beyondbeyondisbeyondrecords.bigcartel.com/product/kikagaku-moyo-forest-of-lost-children

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon

Kikagaku Moyo - Kodama

*PRE-ORDER "FOREST OF LOST CHILDREN" ON COLORED VINYL/CD HERE: http://beyondbeyondisbeyondrecords.bigcartel.com/product/kikagaku-moyo-forest-of-lost-children

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon


Get yers

Kikagaku Moyo - Smoke And Mirrors

*PRE-ORDER "FOREST OF LOST CHILDREN" ON COLORED VINYL/CD HERE: http://beyondbeyondisbeyondrecords.bigcartel.com/product/kikagaku-moyo-forest-of-lost-children

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.
 
But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon

Kikagaku Moyo - Streets Of Calcutta

ORDER "FOREST OF LOST CHILDREN" ON HERE: http://beyondbeyondisbeyondrecords.bigcartel.com/product/kikagaku-moyo-forest-of-lost-children

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon

Kikagaku Moyo - White Moon

Kikagaku Moyo - Hem

Kikagaku Moyo - Semicircle

ORDER "ARENA NEGRA" HERE: http://beyondbeyondisbeyondrecords.bigcartel.com/product/the-myrrors-arena-negra

The Myrrors - Arena Negra

B-side to "Mean Green" 7-inch due out April 28 on Beyond Beyond is Beyond. Pre-order: https://beyondbeyondisbeyondrecords.bandcamp.com/album/mean-green-7

Heaters - Levitate Thigh

PRE-ORDER 7-inch HERE: https://beyondbeyondisbeyondrecords.bandcamp.com/album/mean-green-7

If it takes any more than fifteen seconds to hear what “mean” means to the Michigan men who make up Heaters, pick up the needle and start again. “Mean Green” is the A-side track of the band’s new seven-inch single from Beyond Beyond is Beyond Records, presenting a surf-centric slab of sonic stomp that doubles as a definition of “mean.”

In the case of Heaters, “mean” is meant in the context that might be used to describe a 1970 GTO piloted by a jittery Warren Oates – not belligerent, but aggressive, blank-eyes staring at the horizon, fueled by dread and ready to accelerate into the nearest dangerous curve. What’s “green” about “Mean Green” then seems to be Heaters ability to glide into this path naturally, snaking absolutely without hesitation through the song’s tight turns in a way that’s insistent and invigorating.

The flipside of the single, “Levitate Thigh,” proves the band to be possessed by the power of rock and roll, initially bringing the tempo to a stuttering slow-roll, before Heaters are once again the willing captives of a Seeds-level web of sounds, guitar snarl, feedback and drums creating the trap in which the band has no chance – and no desire – to escape.
– RevoltoftheApes.com

Heaters - Mean Green

Heaters - Gum Drop

Heaters - Kamikaze

Heaters 2nd Full-length due out Aug 5th on BBiB Records: https://heatersbbib.bandcamp.com/album/baptistina-pre-order

Heaters - Centennial

DEBUT S/T ALBUM OUT: 9/23/16 on Beyond Beyond is Beyond

When Drakkar Nowhere rows itself out toward the exploratory sonic sea upon which their debut album so gracefully sails, it’s not just that their destination is undefined; it’s that the very concept of a destination, as reflected in their music, is itself something indefinable. Drakkar Nowhere capture the wind in their sails with a sound that’s boundless, expansive and, perhaps, guided only by the light of the sun and stars.

That Drakkar Nowhere ended up somewhere at all is itself more a result of circumstance than careful course-charting. The history of the album traces back to the summer of 2012, when Daniel Collás and Morgan Phalen, on tour with the New York-based Phenomenal Handclap Band, found themselves creating new music in the kitchen of a rented apartment in Stockholm, Sweden. Their new project caught the ears of nearby musicians, including members of Dungen and The Amazing, and before long, this extended family of international musicians were recording the songs that would firmly put them on the path to nowhere – Drakkar Nowhere, that is. 

Both Collás and Phalen took inspiration from their Swedish surroundings – in particular, the enchanted forests that surround the neighborhoods of Bagarmossen and Midsommarkransen. And given the talents and histories of the collaborating musicians, it’s no surprise that the ever-evolving shadow of what we might broadly call Swedish psychedelia should perfume the proceedings as well. Collás and Phelan also took the recordings to New York and Los Angeles, where new surroundings and influences could intertwine into the musical flora and fauna. When in LA, the band even got a hero of theirs, unsung 70s singer-songwriter Ned Doheny, on board for “Higher Now.” Some light was recently shed on Doheny’s music from the 70s when Numero Group released the Doheny compilation Separate Oceans a couple years back. To those who have discovered his fantastic body of work, his warm, breezy Malibu vocals are instantly recognizable on “Higher Now.” 

One thing is surprising – and what makes the Drakkar Nowhere album one that benefits from repeat listens – is how unobtrusive all of these influences are on the album’s ultimate sound. Drakkar Nowhere present a combination of influences – cosmic jazz, syrupy soul and mutated prog among them – in such an effortless manner that they don’t really feel like “influences” at all. As a result, Drakkar Nowhere have built an album that may have listeners ears recalling the crystalline harmonies of the Brothers Gibb more often than it does Träd, Gräs and Stenar.

No destination, no influences – just nowhere. And in the hands of Drakkar Nowhere, it’s clearly the place to be. - Ryan Muldoon


Drakkar Nowhere - Higher Now (featuring Ned Doheny)

Hasta La Victoria FINAL MIX

The Myrrors - Hasta La Victoria

The Myrrors - Tea House Music

From Heaters upcoming 2017 album, "Matterhorn"

https://heatersbbib.bandcamp.com/album/matterhorn-pre-order

Matterhorn

Heaters - Séance

Polymood

L'Eclair - Taishi-Koto Pt.2

L'Eclair - Si O No

Born out of hazy nocturnal walks around London during the Winter of 2015, L’Eclair initially took form as a duo consisting of Sébastien Bui and Stefan Lilov, who conceived of the band for months before coming back to their homeplace of Geneva, Switzerland where their muse was eagerly awaiting them. The groove was their aim but they needed a bigger band to accomplish it. Long times friends and brother, Elie Ghersinu and Yavor Lilov joined the band, respectively on bass and drums, and not so long after, Quentin Pilet on percussion and Alain Sandri on keyboards & cowbell rounded out the current lineup.

L’Eclair was prepared to make people dance. After playing lots of wild shows with the likes of White Fence, The Mauskovic Dance Band, Derya Yildirim & Grup Simsek, the band released their first LP in 2016. “Cruise Control” was recorded in one day and the album received support from radio and venues around Switzerland that led to just what L’Eclair wanted… more and more chances to work it out on stage. “Cruise Control”’s Swiss Groove™ and crunchy, high-tempo jams caught the ear of producer and renowned live engineer Jasper Geluk (Allah Las, Jacco Gardner, Eerie Wanda) who invited them to record their next record at his studio.

After a year working on new songs and perfecting their Swiss Groove™ on any stage they could, L’Eclair took their guitars and shitty old synths to Geluk’s Tone Boutique studio in Haarlem, Netherlands. There the young groovers were confronted with the beautiful vintages machines and keyboards that would set the spirit high for the rest of the sessions that birthed the fine far-out funkiness that is 2018's “Polymood” on Beyond Beyond is Beyond Records.

“Polymood” is a further expansion on L’Eclair’s quest to channel and honor their Afro-Disco, Kosmische, and early House 70s influences. And what we end up with is a collection of timeless Swiss Groove™ music—inspired by William Onyeabor, French band AIR, Piero Picioni, Sly Stone and CAN’s ‘Future Days’—bringing euphoric dance to the human machine while it perseveres in its never-ending search for the soul.

L'Eclair - L'Arrivée Au Port De Lagos

L'Eclair - Taishi-Koto Pt. 1

Sauropoda

L'Eclair - Castor MacDavid

https://leclairbbib.bandcamp.com/album/sauropoda-pre-order

L'Eclair - Endless Dave

L'Eclair - Still Steeve

Earth Song of Silence

Wax Machine - Turiya

Wax Machine - Truth

https://waxmachinebbib.bandcamp.com/album/earthsong-of-silence-pre-order

Brighton’s Wax Machine are a band so steeped in the kernel of psychedelic seep that there’s every indication they may have slipped through a side door in space-time and sprouted anew a few years back on the UK coast. However, for all intents and purposes it’s best to believe that they truly sprang from the fertile mind of Brazilian-born, Italian/English-raised Lau Ro (Guitar/Vocals). Lau’s international upbringing served as the wellspring for some of the eclectic taste that informs the core of Wax Machine’s sound. On Earthsong of Silence, that eclecticism incorporates Spiritual Jazz, Krautrock, Tropicália and Library Music while filtering them all through a psychedelic lens. Per Lau, “The album is an exploration into paradoxes, meditation and magic, predicated on the underlying idea of becoming one with nature and in harmony with the environment.” It borrows from dreams and trances to give life to a psychedelic experience that feels hauntingly familiar, yet strikingly new. On his journey Lau met up with fellow Brighton musicians and birthed Wax Machine with members from local bands Rokurokubi, Hill, Strange Cages and singer-songwriter Woody Green. Ro’s fellow travelers include Isobel Jones, who adds soaring vocals and provides Wax Machine’s entrancing flute work alongside Toma Sapir who locks down a groove on the kit that keeps Earthsong of Silence from floating into the ether.

The band’s laid down a couple of great EPs over the last couple of years, awash in the same smoke curls that surrounded Ivory, Fifty Foot Hose, and The United States of America — a distinctly more nuanced niche than most of their peers are filling. They pick up right where their last EP’s title track, “Mind Palace,” left them —growing into the mossy eiderdown of the English countryside, delightfully dosed and drenched in the sun that filters through the trees. The flutes, wandering guitars, and jazz touches come rising through the mists once again, but this time they’ve given the album an aura of mystique not quite present in their early offerings. Along with a guiding hand from Kikagaku Moyo’s Go Kurasawa behind the boards, they add a new dimension to their sound, further exploring both their English psych-folk roots and mining a deeper appreciation for a West Coast sound dipped in sun, peace and serenity. They add splashes of Serpent Power’s quieter moments to the languid grooves of “Sun Dance,” channel the mystic melancholy of Susan Christie on “Birdsong” and tap into the sunshower psych of Sapphire Thinkers and Sarofeen & Smoke on “Truth.” Their love of lush arrangements brings to mind The Millennium and The End in subconscious snatches. Wax Machine aren’t passing travelers on the path to psychedelic oblivion, they are full-fledged guides, so maybe take a few notes.

There’s a wealth of lost bands that outpaced their more high-profile brethren from the era of brotherly love, but fate and fortune lost them to time until a voracious reissue market snatched them back from the brink of obscurity. Wax Machine lives in the creases and cracks between these reinvigorated volumes, tripping easily among the children of the sun without ever feeling like tourists. They are kindred spirits, or perhaps the channeled chosen brought back to life for a new era. Their sound coalesces within Earthsong of Silence. They skirt the blade like full force psych-folk warriors, but also skitter through more OUT territory — clattering odysseys that resolve to map nowhere and everywhere are nestled next to propulsive grooves that lap at head-nodding ecstasy. As they slide into the second half of the album they infuse the turbulent “Turiya” with the spirit of Hapshash & The Coloured Coat if they’d been produced by Joe Byrd. Wax Machine are on both sides of the mirror, and with Earthsong of Silence they’re showing the rest of us the way through. The only question remains if you’ll follow them.

Wax Machine - Shade

10-10-2019 Nublu, NYC

Garcia Peoples - Show Your Troubles Out (Live)

Nomad

TENGGER - Eurasia

TENGGER - Water

TENGGER - Bliss

TENGGER - Achime

https://garciapeoplesbbib.bandcamp.com/album/nightcap-at-wits-end-pre-order

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