{"title":"Compilations Of 2025","description":"","products":[{"product_id":"maybe-i-m-dreaming-various-artists","title":"Maybe I’m Dreaming - Various Artists","description":"\u003cp\u003e\u003cstrong\u003eThe best compilations patch you into worlds previously unknown, so it’s no surprise then that the strange sweep of oneiric sounds, lost melodies, and wistful sentiments (all gleaned from private presses) that make up ‘Maybe I’m Dreaming’ crack open a door to a mysterious universe existing in parallel to our own.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSelected by the mangled minds behind the beloved ‘Follow the Sun’ and ‘Sad About the Times’ compilations, the 20 tracks of ‘…Dreaming’ make a conscious, and unconscious, detour from its predecessors, spanning new decades and production modes within homespun folk, soft rock, and otherwise 70s and 80s FM radio adjacent music.\u003cbr\u003e\u003cbr\u003eStep through the door frame and dream the world away…\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThe magic of 'Dreaming' is the untold story of the artists behind these songs; those who missed the big time, but whose song craft and unrequited care hit the right notes, both high and low. Where 'Follow the Sun' and 'Sad About the Times' introduced us to the fame chasing, ambition crashing crooners who missed their shot in the mainstream, 'Dreaming' delves deeper into the isolated wilds — a private world where production quirks, late-night tape hiss, and one-man studio dreams were not necessarily a choice but the hand that was dealt.\u003cbr\u003e\u003cbr\u003eWith the parameters set to \"private press only,” Young and Abrahamsson follow a circuitous trail of invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier, and often a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent and precious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingering over even the brightest melodies.\u003cbr\u003e\u003cbr\u003eAs with their previous collaborations, Young and Abrahamsson weren’t interested in constructing a museum or drafting a historical survey. 'Dreaming' is a sentimental mixtape, assembled late at night when the mind wanders and old memories blur with imagined futures, those within reach and those far too mysterious to ever encounter. Songs were unearthed in personal collections, deep YouTube burrows, dilapidated web archives, and the dim corners of Discogs, with many selections tied not only to intuition but to personal connection. Some tracks arrived via friends — Kelley Stoltz, a frequent guide for Young, tipped him off to both Peter Kraemer’s lost gem “Let the Light Slip” and Awakening’s revelatory closer — adding an unseen but deeply felt thread of camaraderie to the compilation.\u003cbr\u003e\u003cbr\u003eThe journey takes in a wide, strange sweep: The Watson Brothers Band's “Just Whistle” opens the collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to be heard again. Jim Huxley’s “Tessa on a Magazine,” rediscovered after a long and winding search by Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta's “My Story Changes” and Twice As Nice’s delicate “Thoughts of You” float easily alongside the more buoyant, radio-dream sheen of Barracuda’s Baby “I Love You” and MAK’s sunshine-dappled “That's Life.”\u003cbr\u003e\u003cbr\u003eWidening the aperture to the late 70s and early 80s allows for a deeper exploration into evolving production techniques and musical technologies. The Squad’s “D.L.M.H.I.M.A.” and Christoph Spendel Group’s “Forever” crackle with the kind of bedroom synth warmth that could only come from the analog age, while the soulful, yearning undercurrent of Awakening’s “Gotta Do Somethin \/ Might As Well Cultivate” caps the collection with a call for action — or maybe just acceptance – in an accidental Brian Eno Here Come the Warm Jets parroting.\u003cbr\u003e\u003cbr\u003eWhile 'Dreaming' moves away from the \"sad man with guitar\" archetype that hovered over its predecessors, it remains tethered to a familiar emotional gravity — a balance of longing and lightness that defines this corner of the musical universe. Each track shuffles gently between resignation and hope, sadness and serenity, as if the artists themselves were chasing a dream just beyond reach, recording not for fame but for the simple act of getting it, that primal, creative itch, out into the world.\u003cbr\u003e\u003cbr\u003eThe result is a collection that feels both ephemeral and eternal. A flicker caught in amber. A transmission from the other side of the night; a place where the angels and demons mingle, sharing shots and lines with those that enter their parlor. Dreaming is an invitation to drift a little while longer, eyes half-closed, into that liminal space between memory and imagination. Maybe you're dreaming. Maybe you're awake. Maybe it doesn’t matter.\u003cbr\u003e\u003cbr\u003eFeaturing the third-eye-opening artwork of Dang Wayne Olsen, the double LP set arrives in an outrageous double wide spine sleeve with printed inners and a dream journal by Pacific Northwest artifactual authority, Josh Lewellen. 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It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. 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For over forty years Richard has played a part in many of the UK’s most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle’s Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard’s career has continually seen him work to expand both his own and the public’s musical horizons. With Mr Norris Changes Brains it’s the most recent part of his mercurial career that he’s focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard’s Sleeve, alongside Trash’s Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem. “A lot of these tracks are fairly recent discoveries, things that I’ve discovered from around the time I started working with Erol and going right up to today,” Richard explains. “Whether that’s from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that’s allowed for a much broader selection.” That freedom sees Mr Norris Changes Brains take us on a trip not just through time, with tracks from the 1960’s rubbing up against releases just a few years old, but around the world too. As you’d expect the US is well represented by heady fuzz monsters like Evolmia by Boston’s Banchee and the lysergic rhythms of Forest of Black by Oakland’s The Dirty Filthy Mud, but elsewhere we encounter mind expanding sounds that have emerged everywhere from the valleys of Wales to sweaty Parisian basements, from underground Turkish clubs to Italian film scores and beyond. There’s obscurities aplenty, of course. Many of these recordings have never been officially available outside of their original, often hard to find, releases with some, like Thumbquake and Earthscrew by A to Austr and DAVE’s In My Mind, culled from punishingly rare private press albums. But Richard’s also not too precious to pass over often overlooked b-sides to otherwise big hits with the likes of Rare Bird’s Hammond Organ stomper Devils High Concern or Iron Butterfly’s Iron Butterfly Theme duly making an appearance. Despite their disparate origins what does unite these tracks is that they aren’t just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. 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