TEENAGE FILMSTARS Star (Art Pop!) cd 15.98
By now, pretty much everyone knows who Kevin Shields is. He of shoegaze pioneers My Bloody Valentine. Who over the course of the last 20 years or so have released all of THREE records. But what about Ed Ball. A musical contemporary of Shields. A man Shields described as "A sensitive soul from another planet. A modernist musical alchemist", going on to say "Where other people struggle, Ed Ball plays what we're thinking." Ball, over the last 20 years, has released close to 40 records, a whole mess of amazing discs with UK mod popsters The Times, a handful under his own name, and a bunch with power poppers the Boo Radleys, among others. But what Ball is most famous for, at least around these parts, is releasing three of the most perfect, and perfectly fractured genius shoegaze blisspop records EVER, as Teenage Filmstars: Star, Rocket Charms and Buy our Record Support Our Sickness. Each a kaleidoscopic blurred and blown out avant pop fantasia of sound, mixing in gorgeous melodies, with all manner of found sounds, backwards loops, ethereal vocals, studio fuckery, with very little regard for form or function, for the rules of pop. Instead, seemingly feeling their way through a totally tactile world of sound, everything bristly or buzzy or fuzzy, smeared or blurred, wah guitars wrapped around roaring motorcycles, Spectorish wall of guitars spread over, skittery almost Stone Roses-y rhythms. The most obvious reference is My Bloody Valentine. And at the risk of receiving an avalanche of hate mail, Teenage Filmstars are better. They may not have invented the sound, and they definitely didn't perfect it, instead, they fucked it all up, twisted it and chopped it and doused it in FX, and flipped it backwards, and let it sprawl and spin out of control, wrapped tightly into perfect pop gems one second, then let loose in unhinged squalls of sonic whatthefuck meltdowns the next. Each of the three records growing continually more abrasive, more intense, heavier, more backwards, more fractured and freaked out, and somehow only getting better and better and better.
Star is the first proper release from Teenage Filmstars, and was released a year or two after MBV's epochal Loveless. Opener "Kiss Me" is TOTALLY cribbed from Loveless, but it sounds like it was recorded on a busted 4-track, the rhythm track supplied by a fluttery backwards loop, the guitars super distorted but also brittle, woozy and wavery, all wrapped round the main hook, a guitar / vocal harmony that is just incredible, soaring and wistful but sort of super rocking, the whole thing dripping in effects, Loveless filtered through DIY bedroom pop, and then filtered through the twisted musical mind of visionary sonic alchemist Ball. The track crumbles near the end, the guitars disappear, motorcycles zoom by, the drums all distorted, snippets of classical piano, the twitter of birds, disembodied voices, one intoning "this just might be the finest composition I ever wrote", which it might have been, if it weren't for the follow up "Loving", which follows a similar template as "Kiss Me", with the main hook, a hushed wordless vocals crooning along to a slithery guitar line, all over a looped tribal rhythm, and tripped out wah guitar all over the place. If this was just a single, "Kiss Me" / "Loving", A side B side, it would be hands down one of the greatest singles ever! But we've barely just begun. And it only gets weirder and weirder.
"Inner Space" predates the fuzzy gauzy drift of Fennesz and Jeck and Tim Hecker by 20 years, unfurling sweeping vistas of sound, intertwined with buried melancholy vocals, muted rhythmic skitter, and deep whirring strings. "Apple" is all sixties strum and whirling effects laden swoosh, simple pop stretched out and blurred and distorted into something slightly alien, a warm dreamlike missive from beyond the stars. "Flashes" is a strange sort of electronic calypso, with a subtle techno throb beneath divine female vocals, propulsive krauty drums, and of course loads of FX. "Kaleidoscope" returns to the more MBV style rocking of the openers, and does indeed sound like a shoegazing fuzzrock kaleidoscope, a swirling dizzying space pop jam, the sounds slipping from speaker to speaker, the drums relentless and hypnotic, the vocals buried, but the main guitar melody soaring over the wavery sonic swirl beneath.
Then comes a three song suite of tripped out avant weirdness, drifting fuzzy almost melodies, strange intercepted radio broadcasts, a super deconstructed version of "Kiss Me", looped and flipped backwards and transformed into something else entirely, deep whirling drones, weird voices, samples, deep black ambience, shot though with streaks of glimmering buzz, the sounds of engines, choir like vocals, damaged effects laden rhythmscapes, flange and chorus and delay and reverb all wrapped around little sonic events, laced into a delicate framework of tripped out sound. Until the closer, "Moon", a gorgeous explosion of distorted pop effulgence, thick warbly organs, epic melodies, the guitar so distorted they almost sound like white noise, almost proggy keyboards, the whole thing fracturing into a brief falling apart coda of drum freakout, and skipping lurching guitars. Holy Shit.
So maybe it's not that Teenage Filmstars are -better- than My Bloody Valentine. Just weirder, more fucked up, more spaced out, more fractured, more challenging, more out there, less like ANYTHING you've ever heard, more... oh fuck it, okay... BETTER!!! Bring on the hate mail!!
This reissue tacks on three bonus tracks, all good enough to have been on the record proper, but with way more of the backwards production that would come to define their sound on future records, blissed out fuzzy shoegazey power pop, but crumbling and often in reverse, and thus fantastic. Also included lengthy liner notes, as confusing and obfuscated as the music itself.
The other two Filmstars discs are getting reissued soon, and will definitely also be Records Of The Week, so immerse yourself in Star while you can, cuz it only gets better and weirder from here on out...
MPEG Stream: "Kiss Me"
MPEG Stream: "Loving"
MPEG Stream: "Inner Space"
MPEG Stream: "Apple"

ZOMES s/t (Holy Mountain) cd 14.98
The magic of the band Lungfish, was that they didn't approach their songs like songs. More like loops or pieces. Each of their 'songs' was a single riff, locked into trancelike repetition, rife with subtle tonal variation, but ultimately, almost static and incredibly mesmerizing. The band somehow propulsive while managing to not move forward, but instead looping in on themselves. Even Lungfish offshoot duo the Pupils displayed the same affinity for repetition, almost like a stripped down acoustic Lungfish, letting the vocals of frontman Daniel Higgs carry the melody, while the guitar and rhythm formed the mesmerizingly repetitive support.
So when Higgs took off on his own, his music was appropriately cyclical and looped and trancelike, so it seemed the root of Lungfish's sound was in fact to be found in the personal soundworld of Higgs. Or so we thought until now.
Zomes is the solo project of Lungfish / Pupils guitarist Asa Osborne, and the sound nears a remarkable resemblance to the solo work of his ex-partner Higgs. Short tracks, each centered around a single melodic figure, the sound allowed to shift subtly, but ultimately locked into a mesmerizing loop. Whether it's heavily effected guitar, simple muted tribal drumming, chiming guitar harmonics, whether the sound is dense and fuzzed out, or spare and spacious, Osborne conjures up a gorgeous world of trancelike sound. Maybe we were premature in declaring Higgs the music shaman of Lungfish. Perhaps the power of Lungfish stemmed from the shamanistic energy of two like minded musical seers. Zomes seems to make that abundantly clear. However, where much of Higgs' solo work is steeped in crumbling distortion, glowing with a burning intensity, Osborne's sounds seem to do just the opposite, to lope lazily, to drift dreamily. Just as powerful, sometimes almost as intense, almost Lungfish like once in a while, certainly just as mesmeric, but instead of threatening to crumble or explode, they are content to just spread and sprawl, sun dappled and dreamlike, the sound lush in its lo-fi hiss and buzz, the actual instrumentation simple, often a single guitar, and a single drum, sometimes even less, but it's the melodies, it's the timbre and the quality of the recording, the immediacy, the subdued power lurking within these slow soft spirituals, the reveals Osborne to be the musical shaman his past outfits have only hinted at. So gorgeous and sublime, mysterious and so so powerful. Zomes has been spinning NONSTOP around here over the last few weeks, and once you finally immerse yourself in the sounds of Zomes, it won't be difficult to see why. Now we can't seem to stop fantasizing about them reuniting, not as Lungfish, but as some impossibly mind expanding ritualistic future trance space bliss innerspace drone duo. Maybe someday...
MPEG Stream: "Zomes"
MPEG Stream: "Night Signs"
MPEG Stream: "Sentient Beings"
MPEG Stream: "Colored Matter"

ZOMES s/t (Holy Mountain) lp 14.98
The magic of the band Lungfish, was that they didn't approach their songs like songs. More like loops or pieces. Each of their 'songs' was a single riff, locked into trancelike repetition, rife with subtle tonal variation, but ultimately, almost static and incredibly mesmerizing. The band somehow propulsive while managing to not move forward, but instead looping in on themselves. Even Lungfish offshoot duo the Pupils displayed the same affinity for repetition, almost like a stripped down acoustic Lungfish, letting the vocals of frontman Daniel Higgs carry the melody, while the guitar and rhythm formed the mesmerizingly repetitive support.
So when Higgs took off on his own, his music was appropriately cyclical and looped and trancelike, so it seemed the root of Lungfish's sound was in fact to be found in the personal soundworld of Higgs. Or so we thought until now.
Zomes is the solo project of Lungfish / Pupils guitarist Asa Osborne, and the sound nears a remarkable resemblance to the solo work of his ex-partner Higgs. Short tracks, each centered around a single melodic figure, the sound allowed to shift subtly, but ultimately locked into a mesmerizing loop. Whether it's heavily effected guitar, simple muted tribal drumming, chiming guitar harmonics, whether the sound is dense and fuzzed out, or spare and spacious, Osborne conjures up a gorgeous world of trancelike sound. Maybe we were premature in declaring Higgs the music shaman of Lungfish. Perhaps the power of Lungfish stemmed from the shamanistic energy of two like minded musical seers. Zomes seems to make that abundantly clear. However, where much of Higgs' solo work is steeped in crumbling distortion, glowing with a burning intensity, Osborne's sounds seem to do just the opposite, to lope lazily, to drift dreamily. Just as powerful, sometimes almost as intense, almost Lungfish like once in a while, certainly just as mesmeric, but instead of threatening to crumble or explode, they are content to just spread and sprawl, sun dappled and dreamlike, the sound lush in its lo-fi hiss and buzz, the actual instrumentation simple, often a single guitar, and a single drum, sometimes even less, but it's the melodies, it's the timbre and the quality of the recording, the immediacy, the subdued power lurking within these slow soft spirituals, the reveals Osborne to be the musical shaman his past outfits have only hinted at. So gorgeous and sublime, mysterious and so so powerful. Zomes has been spinning NONSTOP around here over the last few weeks, and once you finally immerse yourself in the sounds of Zomes, it won't be difficult to see why. Now we can't seem to stop fantasizing about them reuniting, not as Lungfish, but as some impossibly mind expanding ritualistic future trance space bliss innerspace drone duo. Maybe someday...
MPEG Stream: "Zomes"
MPEG Stream: "Night Signs"
MPEG Stream: "Sentient Beings"
MPEG Stream: "Colored Matter"

SUARASAMA Fajar Di Atas Awan (Drag City) cd 14.98
Wow!!! A few years ago, we were totally blown away by a compilation put out by Smithsonian Folkways called Indonesian Guitars, which among many amazing tracks happened to feature a song called "Fajar Di Atas Awan" by Irwansyah Harahap. It was of that disc's highlights, with haunting female and male vocal harmonies, lilting acoustic guitar, sruti box drones and cymbals. What we didn't know was that Harahap and singer Rithaony Hutajulu, both ethnomusicology professors at the University of North Sumatra, were the main composers and singers for a larger group of musicians and performers called Suarasama, and that song was the title track of THIS incredibly beautiful, blissful record by Suarasama, a 1997 live recording, now released for the first time in the U.S. by the fine folks at Drag City. We are so stoked, what a wonderful surprise this is.
Formed in 1995, Suarasama's musical influences are widely diverse, creating contemporary music based on vartious aesthetic and conceptual aspects of Middle Eastern, Indian, Sufi Pakistani, Eastern European, Southeast Asian as well as North Sumatra Batak and Malay traditional music. But the results are very far from academic. Instead the music is infused with a hermetic introspective devotional quality that seduces the listener with its soft trance-like rhythms and haunting vocal mantras. Persian and Indian percussion of tablas and defs meld with deft finger-picked guitar and gambus improvisations and dueling vocal harmonies that propel circularly forward in hypnotically beautiful interweavings. Meditative and organic, full of levitation-inducing majesty. For any devotee of raga folk, Masaki Batoh, Six Organs, Daniel Higgs, L, Robbie Basho, Sandy Bull, Congregacion, The Habibiyya, Malachi, Pandit Pran Nath, The Trees Community, or Bruce Palmer, this is absolutely essential!!
MPEG Stream: "Fajar Di Atas Awan"
MPEG Stream: "Sang Hyang Guru"
MPEG Stream: "Lebah"
MPEG Stream: "Habibullah"

SUARASAMA Fajar Di Atas Awan (Drag City) 2lp 19.98
Wow!!! A few years ago, we were totally blown away by a compilation put out by Smithsonian Folkways called Indonesian Guitars, which among many amazing tracks happened to feature a song called "Fajar Di Atas Awan" by Irwansyah Harahap. It was of that disc's highlights, with haunting female and male vocal harmonies, lilting acoustic guitar, sruti box drones and cymbals. What we didn't know was that Harahap and singer Rithaony Hutajulu, both ethnomusicology professors at the University of North Sumatra, were the main composers and singers for a larger group of musicians and performers called Suarasama, and that song was the title track of THIS incredibly beautiful, blissful record by Suarasama, a 1997 live recording, now released for the first time in the U.S. by the fine folks at Drag City. We are so stoked, what a wonderful surprise this is.
Formed in 1995, Suarasama's musical influences are widely diverse, creating contemporary music based on vartious aesthetic and conceptual aspects of Middle Eastern, Indian, Sufi Pakistani, Eastern European, Southeast Asian as well as North Sumatra Batak and Malay traditional music. But the results are very far from academic. Instead the music is infused with a hermetic introspective devotional quality that seduces the listener with its soft trance-like rhythms and haunting vocal mantras. Persian and Indian percussion of tablas and defs meld with deft finger-picked guitar and gambus improvisations and dueling vocal harmonies that propel circularly forward in hypnotically beautiful interweavings. Meditative and organic, full of levitation-inducing majesty. For any devotee of raga folk, Masaki Batoh, Six Organs, Daniel Higgs, L, Robbie Basho, Sandy Bull, Congregacion, The Habibiyya, Malachi, Pandit Pran Nath, The Trees Community, or Bruce Palmer, this is absolutely essential!!
MPEG Stream: "Fajar Di Atas Awan"
MPEG Stream: "Sang Hyang Guru"
MPEG Stream: "Lebah"
MPEG Stream: "Habibullah"

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ANIMOSITY + DRUMCORPS Altered Beast (Man Alive) 10" 11.98
We went a little crazy for Aaron Spectre's Drumcorps project, a crazed manic electronic workout featuring live metal guitars and chopped to bits metal and grindcore, all mashed up into some incredibly head spinning, neck snapping, dancefloor destroying moshpit annihilating heaviness.
So the latest bit of Drumcorps brutality, finds Spectre teaming up with Bay Area thrashmetal titans Animosity for a 3 track one sided 10", which takes up right where the Drumcorps record left off and pushes this whole metal / electronic hybrid even further out. This time, Animosity wrote three tracks, and Spectre got to fuck them up. But weirdly enough, unlike on the last Drumcorps disc, where it sounded like a record assembled from bits of metal and grind and breakbeats, this disc sounds more like an Animosity record, where they just happen to be incorporating bits of jungle and techno and drill+bass and whatever grinding buzzing weirdness Spectre could come up with. And the results are pretty stellar. And its core, this is a grindmetal record, but the guitars are super clipped and processed, often stuttering and chopped up into impossible rhythms, the beats are revved up and transformed into frantic breakbeats, some of the super fast blast beats just keep getting faster and faster until they turn into impossible digital stutters. Huge riffs grind and churn, often separated by squalls of jungle, freaky beats, it's a mash up, but neither side is in control, it veers back and forth from metal to jungle to grind to breakbeat often exploding into everything at once. This is the sort of shit that could get us non dancers out on the floor. Or maybe get you dancers into the pit. Either way, fucking awesome.
And we talk about insane packaging all the time, but once again, holy shit, these guys are pushing the limits of how over the top you can get - eye popping full color screened sleeves, incredible, garish illustrations, inside and out, but it's the vinyl, some are clear and white swirled, some are red and blue and clear swirled, but then the non playing side features and abstract thick metallic ink silkscreened image, either gold or silver, it's hard to explain, but the first time we slipped one out of the sleeve, everyone working had to gather around to see.
CRAZY LIMITED. We got a bunch, but odds are these are the last copies we'll be able to get.

ATAVIST / NADJA II - Points At Infinity (Profound Lore) cd 13.98
Phew. For a minute there we were worried we were gonna go a list without a Nadja or Aidan Baker disc. But fear not, we're safe! At least for two more weeks.
Team up number two from UK sludgecombo Atavist and doomdrone duo Nadja, and much like the last disc, which sort of threw us for a loop as we were expecting some serious sludgey bombast, the first of the two tracks here is all blissed out and dreamy, a churning 20+ minutes of downtuned minor key guitar shimmer, deep whirring bass rumble, locked into a looped cyclical meander, the various spidery meoodies intertwined and loose, layered and abstract, stretched out over a deep blackened canvas of undulating sonic swells, darkly ominous but quite hypnotic and mesmerizing. But then comes the CRUSH. And it's massive, we only had to wait a record and a half for the metal payoff but it's a big one. Three guitars locked into a churning riff, the drums a massive pound, howled vocals buried in the mix, all the while a haunting high end drone seems to hover over the proceedings, woven into the chugging melee below. But this sudden explosion of poundage and riffery is short lived, after 6 or 7 minutes, the blissy downtuned metallic onslaught abates, leaving a swirling emptiness of distant percussion and soft fluttery feedback. The high end gradually transforms into lowend, and the track gets a bit SUNNO)))-y, deep slowed down riffs moving glacially under a blackened canopy shot through with glimmers and shimmers and muted sparkles, finally slipping back into a softly moaning drone, that drifts like smoke through a sky grey with ash.
Another droney, doomy, blissy and briefly metallic essential from these two masters of their mysterious dark art.
MPEG Stream: "Projective Plane"

BAD STATISTICS Lucky Town Gone (PseudoArcana) cd 13.98
Awesome! We'd been waiting and wanting more from New Zealand's bizarre Bad Statistics ever since we got their vinyl-only debut, Static, last year. In addition to thinking they had a really excellent band name, we loved the doomic, droning weirdness of their propulsive krauty NZ noiserock, made even weirder by the utter outsider vocal garble that arose over their ritualistic music, like spirits or specters seemingly summoned from the other side. Now, huzzah, there's this new full-length, an actual cd on the Pseudo-Arcana label, and it pretty much picks up where the LP left off! 47 and a half minutes more of mysterious musical ceremony, Bad Statistics style, on these seven tracks. Again, the vocals (produced from the throat of one Thebis Mutante) are really strange, unhinged alien hippy rant-chant, like Ya Ho Wah's Father Yod speaking in tongues, sometimes looped and layered. Together with the throbbing drum beats, distorted electronic textures from guitar and bass, and hollow horn bleat and twitter on a track or two, you have the basic tempel-vibrating template for Bad Statistics' repetitive, rumbling, mesmerizing murk. Best listened to from a yogic position of spiritual openness, legs crossed, mind clear, third eye unblinking. Though, at their loudest, most intense chugging psychrock peaks, some vigorous rocking back and forth will be called for, maybe even full-on writhing on the floor.
Let's take the 13-minute title track as an example... it's moaningly eased into, the percussive plod slow and sparse, but after a short while Thebis cries out quite like Can's Damo Suzuki, and the pace picks up, cymbals crashing... before another long droning lull with whistling and mumbling drifting over the slo-mo chug of the guitars and drums... then towards the very end, the singer suddenly seems possessed, his voice dropping into a guttural exhortations, the din of the instruments rising into a psychedelic swirling howl... welcome to the reverse exorcism!!
Imagine the kosmic-kraut-primitivism of early Amon Duul, Tangerine Dream, or Siloah, with Circle's Mika Ratto as voice coach, encouraging Yod x Yoko vocal vibrations. Or the linear lo-fi insanity of a secret Dead C meets Reynols monster jam, if directed towards the worship of some ancient god, recorded on cheap cassette only as an afterthought. Yeah. It's pretty much awesome.
MPEG Stream: "Balloon Outbreak"
MPEG Stream: "Three Swarms Of Bees"

BAKER, JOHN The John Baker Tapes, Volume 1 (Trunk) cd 16.98
Delia Derbyshire may embody the otherworldly beauty and mystique behind the sounds of the BBC Radiophonic Workshop, but John Baker was its alchemical heart. Who else could take a simple tone from air being blown over a bottle and make it into a warm and electrifying panorama of melodious sound? This is the first of two volumes of rare and unreleased pieces from the heyday of the BBC; this one covering the years 1963-1969. In it we find TV adverts, library pieces, jazzy soundtracks, radiophonic pieces and home recordings as well as interviews on how he made the sounds contained here. Baker had a knack for melody, and often imbibed his mechanically made recordings with a warmth and playfulness that his more mathematically inclined contemporaries lacked. Yet he could also establish veils of mystery and drawn out suspense in his carefully composed themes. But Baker's real talent is brevity. With most of the 49(!) tracks contained here lasting under a minute, he evokes a complex and engaging sound world that is perfectly encapsulated within its minute long timeframe. Baker is the first of the BBC Radiophonic Workshop composers to get such a retrospective overview. Hopefully this means we'll see more individual overviews from this important laboratory of recorded sound very soon.
MPEG Stream: "Big Ben News Theme"
MPEG Stream: "Codename"
MPEG Stream: "John Baker Interview"
MPEG Stream: "Tom Tom (Theme)"
MPEG Stream: "Vendetta: The Sugar Man"

BELONG Same Places (Slow Version) (Table Of The Elements) 12" 15.98
There have been a whole bunch of killer installments in Table Of The Elements' recent guitar based series of one sided 12"s: Oren Ambarchi, Lee Ranaldo, Jon Mueller, but this is the one everyone seems to have been waiting for.
Especially considering what went on with the last belong 12". We sold out in a flash, got more and then sold out again, we couldn't keep that in stock. Well, we're happy to report that this latest is just as good if not better. Whereas the other 12" was all covers, the single looooong track here is an original and it's a doozy. A warm, washed out, dreamy, delicate, gauzy blurred woozy drift of pixilated sound. Jeck, Tim Hecker, Fennesz, all those guys have nothing on Belong. If anything, Belong take those sorts of sound and transform them into something more organic, more amorphous. "Same Places" sounds almost like actual people playing actual guitars, instead of something assembled on a computer. Layered and dense, the melodies obscured by thick swells of fuzzy whir, the fact that this is the "slow version" does explain how gorgeously glacial it sounds, and how many of the tones do sound like someone with their finger on the vinyl slowing the record player down to a crawl, but all that does is let the lowend sprawl, the melodies become even more abstract, pulled apart, and slowed down to the point where their constituent parts almost separate and drift away, almost. Instead, it's an underwater whirl, everything shimmery and indistinct, the sound as you sink deeper and deeper into the abyss, but instead of getting darker, the sounds begin to glow from within, bathing you in their unearthly light. So totally gorgeous.
Pressed on thick clear vinyl. One sided, the other side with a super bad ass etching by Savage Pencil, housed in a thick vinyl sleeve, and of course, as always LIMITED!

BLACK BONED ANGEL The Endless Coming into Life (20 Buck Spin) cd 13.98
We always sort of assumed Black Boned Angel, the alter ego of Birchville Cat Motel's Campbell Kneale, was just that, an alter ego, a one man exploration of things dark and drone-y and heavy, the sort of stuff that was maybe TOO day for his day gig in BCM. But here, on the latest BBA, Kneale has teamed up with fellow Kiwi noisemaker (and longtime aQ customer) James Kirk for something just a little bit different.
One single hour long song, that begins with all manner of barely there ambience, distant resonant rumbles, keening high end, fluttering chimes, super super minimal, tons of space. Eventually, the guitar comes in, but not crashing or exploding, instead, it comes in strumming dolefully, unfurling deep sorrowful chords, that are allowed to ring out, building a spaced out minor key melody that drifts in a melancholy haze. The sound is really quite pretty, some sort of post rock, minimal slowcore, think Dirty 3, or Low, but even slower and more abstract. And this goes on for nearly 30 minutes, lulling the listener into a soporific daze. But c'mon, this is BLACK BONED ANGEL, at about the halfway mark, the hammer falls, and the duo unleash a torrent of digitally processed distortion that buzzes and rumbles, all draped over a throbbing industrial crunch, until what sound like real drums join the fray, splattering out a spider web of disjointed beats beneath the nearly static undulating layer of undulating grinding buzz. When the buzz does shift, the chord change feels massive, the melody locking in tight, before slipping back into a metal-Niblock blur.
Eventually, the song ramps down, the guitars fade away leaving high end traces of what came before, keening streaks in the sky, shimmering lowend shadows underpinning coruscating arcs of distorted skree, eventually smoothing out into a soft, warm whirring blur that drifts off until the end.
Gorgeously packaged in a black on black digipak. Another winner from Kneale and his (for now) partner Kirk!
MPEG Stream: "The Endless Coming Into Life"

CALE, JOHN Paris 1919 (Warner Bros.) cd 12.98
We've been meaning to list this for a long time. One of those special records that so many past and present aQ employees hold close to their hearts. This is John Cale's orchestral pop masterpiece! Last list we made his collaboration with Terry Riley one of our records of the week and while this is a different beast all together it definitely shows what a wide range of musical genius Cale had going on during the early '70s. Paris 1919 is most certainly a pop record, but not just any kind of pop record. This is one that immediately transports you to the lavish and lush fantastical worlds these songs take place. Backed by a band featuring members of Little Feat as well as the UCLA Symphony Orchestra, Cale was able to create songs that somehow are as delicate and understated as they are glowing and baroque.
It's a record that always makes us want to wander along pastoral hillsides filled with the greenest grass, a cup of delicious hot tea in our hands as we twirl and daydream through the afternoon. Cale's voice has never sounded better, and it's for sure his most emotive and sensitive statement ever put to tape. It's amazing how many newer bands we love that for sure had to be influenced so strongly by this record. Just listen to The Hidden Cameras, Kelly Stoltz, Jens Lekman, Beck or Belle & Sebastian and you can hear the legacy of Paris 1919 in their songs. Total pop perfection!
MPEG Stream: "Paris 1919"
MPEG Stream: "The Endless Plain Of Fortune"
MPEG Stream: "Hanky Panky Nohow [Drone Mix] "

CAMPBELL, GLEN Meet Glen Campbell (Capitol) cd 17.98
It's tempting with this new Glen Campbell record to assume it must have been produced by Rick Rubin, since at first glance, it does seem like Campbell is pulling a Johnny Cash, revitalizing his career by taking on some unlikely covers (Travis, Velvet Underground, etc.). But just like in the case of Cash, who while very likely got some new fans out of the deal, hardly needed a reinvention, as he was about as bad ass as they come. Well damn it if the same isn't true of Campbell. C'mon. "Wichita Lineman", Rhinestone Cowboy", "Galveston", he's been recording nonstop since the early sixties, and while he wasn't quite as much of a bad ass as the man in black, you just can't fuck with Campbell. And this new disc just drives that point home.
Some strange song choices, but some incredible arrangements, some amazing playing, and Campbell's voice sounds amazing nearly 50 years on. The opener, a cover of "Sing" by the band Travis, who we had never really paid too much attention to, is just gorgeous, exultant, soaring and triumphant. So much so that it almost has us reconsidering our inadvertent Travis boycott.
The other stone cold classic is Campbell's reinterpretation of The Velvet Underground's "Jesus", with its simple acoustic guitar, soaring strings, and sweet angelic female background vocals. His cover of Jackson Browne's "These Days" is also gorgeous, heartfelt and bittersweet. Paul Westerburg's "Sadly Beautiful" is so good, so pretty, and weirdly timeless. The whole production is very sixties / seventies soft pop, all warm and fuzzy and dreamy, string wrapped around subtle orchestrations, stripped down when it suits the song, lush and over the top when it doesn't, perhaps due in no small part to the fact that Campbell's band features Robin Zander of Cheap Trick as well as 2/3 of Jellyfish! The two Tom Petty covers are obscure enough to sound like they could be Campbell originals. There's a U2 cover which is pretty nice too. The weirdest covers are probably "Times Like These" by the Foo Fighters, which to be fair gets a pretty appropriately Campbell-y makeover, and Green Day's "Good Riddance", which while it does sound pretty good sung by Campbell, it's probably too familiar to remind you of anything but the original.
But small complaints really. A gorgeous disc of classic soaring lush countrified orchestral pop from one of the best performers of the last 5 decades.
MPEG Stream: "Sing"
MPEG Stream: "Jesus"
MPEG Stream: "These Days"

CELESTIIAL / BLOOD OF THE BLACK OWL split (Worm Gear) lp 15.98
A high concept split lp from two aQ faves, two different bands, two different sounds, their bond being that of nature, both expressing their visions of the world around them, of their place, and our place amongst the living things that surround us, forests, plants, animals, insects, it's that natural force that infuses the music of both of these groups, and thus links them in such a way, that this shared 12" could almost be the work of a single entity.
The first side features a single extended track from naturalist doomlords Celestiial, their track of course begins with the sounds of birds, of water and wind, insects, a forest at dusk most likely, before from below, rises deep ominous swells, rumbling drones, distant moaning melodies, a deep dark ambience that soon gives way to a big blown out doom, but, a very spacious, spare, airy sort of doom, not heavy as much as abstract, spaced out, the guitars not crumbling and downtuned, more like chiming and ringing out, somehow weirdly processed to make them seem like they are being stretched out, moaning and then fading out, before exploding in another burst, the drums and percussion sounds industrial, the vocals howled and buried in the mix, everything strangely harmonized, sounding a bit alien, near the end the drums speed up into an almost blast beat, but the music gets more and more melodic, minor key swells keeping time with the beat, unfurling a mournful melody, until the music fades out and the track finishes as it began with deep drones and the sounds of the forest.
The flipside features a long three part track by Blood Of The Black Owl, who begin proceedings with a plodding, almost metallic dirge, but backed up by a haunting chiming high end jangle, as well as distant flute like melodies that sound distinctly Native American, the vocals howled and industrial sounding, a bit like Swans or Cop Shoot Cop. The second movement begins with birdsong, deep, slow rubbery dubbed out bass, soft ethereal reverbed vocals, very medieval sounding, until the track switches gears and transforms into something more post industrial sounding, a doomy plod but with haunting mysterious melodies. The side ends with a very tribal sort of ritualistic piece, all simple hand drums and shimmering lowend ambience, growled spoken word, very minimal and haunting, almost like some ancient rite, being captured on vinyl for the very first time.
Gorgeously packaged. Incredibly thick vinyl, thick sleeves, full color inserts, and most likely quite limited...

CHRISTMAS DECORATIONS Far Flung Hum (Wodger) lp 17.98
Christmas Decorations are a tough band to pin down. Which just might be why we like them so much. In fact more and more with every record. Their latest, the vinyl only Far Flung Hum, might be the most confusing, the most difficult to describe, and consequently, very likely their best yet.
On their last record, they began to introduce a sort of folky twang into their soundscapes, nothing dramatic, but enough to give the proceedings a rustic vibe, to temper their electronics, helping to create a sound both modern and timeless, alien yet warm and familiar. FFH begins with a sort of disembodied alien folk, strings creak, instruments buzz and rumble, melodies are seemingly digitized and released to drift like pixilated clouds, in some places it sounds like a field recording of a hoedown on some ranch, frozen, then played back incredibly slow, allowing the listener to wander science fiction style amidst all these peoples and happenings that seem to be moving a hundred times slower than us. Drones buzz softly, bits of abstract percussion tinkle and chime, organs (or accordions?) wheeze and warble, there's a Finnish folk vibe for sure but with more twang, and somehow filtered through a much more modern, if slightly cracked approach. Some tracks have a distinct No Neck Blues Band or Sunburned Hand Of The Man feel, very tribal and jammy, but with the sounds of machines, and what sounds like folks laboring in the field, digging, water being bailed, it could all be manufactured, but it does sound like processed field recordings rendered musically. Deep resonant drones, insect like chitter, tons of ambient sound, almost as if all the recording had taken place on farms and in people's homes or on street corners, allowing all the various sounds of every day life to subtly blend into the music being made. And where the electronic aspect in the past sounded more, well, electronic, now the Decorations have mastered it so the bits of electronics and glitchery, sound less like some electronic band making weird sounds, and more like electronics are in fact some living thing, that just happens to occasionally flit by, its natural sounds and calls a part of the every day soundscape, which again helps make FFH sound so organic and alive.
Elsewhere the sounds dip back into tribal rumble, sounds are processed and released back into the wild to interact with natural sounds, there are long stretches of Morricone-ish cinematic ambience, deep growling swells, little flurries of electronics and fractured melodies, but all arranged into one constantly evolving soundworld, an ever shifting space the listener is forced to navigate, and is left to wander in freely, enjoying the sounds, returning to familiar areas, or better yet, getting completely and utterly lost.
Incredible packaging, and oversized gatefold matchbook style fold over sleeve, letter pressed on thick textured cardstock, with the inner sleeve sealed to the inside of the outer sleeve. Can't remember exactly HOW, but as you might well imagine, probably pretty dang limited.

CIRCLE OF OUROBORUS / SOMNIVORE Golden Blood (Anima Arctica) lp 27.00
It's been a good long while since we've heard from aQ faves Circle Of Ouroborus, a damaged outsider blackened folk flecked post metal combo who confound in creating gorgeously fractured ritualistic soundworlds.
This latest missive is one half of a split 12" with the equally mysterious Somnivore. When we last heard from CoO, they sounded a bit like a black metal version of Jandek or the Fall, but things have definitely changed, the sound is not so lo-fi, and the sonics are definitely much improved, but without losing any of their signature damaged weirdness.
Chant like vocals, very reminiscent of older Swans, drift over dark distorted spidery guitar lines, the drums, only occasional, dubbed out and also distorted, while in the background lurk slither little minor key melodies, before in swoops a swirl of clean detuned guitars, being strummed frantically black metal style, but instead of buzzing, the sound blurs and smears into a bleary eyed wash, crooned Jandekian vocals soaked in reverb clamber over the top, and the result is something more like some ost nineties Homestead band than a black metal band. But soon CoO kick into gear and offer up the first hints of anything remotely metallic, distorted drumming, buzzing black riffs, but again, less buzzing as much as muted and muddy, the vocals crooned and dramatic, veering into Urfaust territory. Eventually, the buzz fades to a fuzzy washed out drone, that shimmers and drifts before a clean riffy buzz re-emerges accompanied by more deep crooning vocals, emitting a sort of not very black, and not very metal black metal, that seems to be CoO's specialty. Difficult to describe for sure, but we can't seem to get enough.
Somnivore take up the flipside, the first half is all crystalline clean guitar, urgently strummed, strange whispered vocals, chimes and bells, subtle percussion. All very strident and apocalyptic, like a more ominous and creepy Kiss The Anus Of A Black Cat. Effects everywhere, the track eventually devolving into a swirling morass of deep drones, shifting from hushed whirs to barely there shimmer, to throbbing rumble, eventually dissipating in a cloud of delicate glimmering hush. Nice!
Gorgeous full color cover, printed full color insert, with lyrics and liner notes, and LIMITED TO 300 COPIES!!!!!

CLOUDS We Are Above You (Hydra Head) cd 14.98
The first Clouds record, the project of Cave In guitarist Adam McGrath, was a freaked out hodgepodge of stoner rock, hardcore, prog rock and seventies boogie rock with definite nods to Beefheart, Zappa, Comets On Fire, the Cave In mothership, it all worked, the result a heavy slab of FX laden riff heavy RAWK with lots of twisted detours.
If anything, this newest Clouds disc takes all that same stuff a little further, with a bigger focus on the riffrock aspect, and a huge infusion of POP. Not always obviously so, but some of these hooks slay. Think the beefy lumbering almost grunge of Scissorfight, melded to the pounding retro metallic pound of Karp or Big Business, some of that Cave-In magic and voila!
The second track, "Feed The Horse" sounds like it was yanked off a late era Cave-in disc and given a serious metal makeover, while the opener "Empires In Basements" gives Torche a run for their sludge pop money.
And then the band go all strange and angular and off kilter with "The Bad Seat", sounding almost like Randy Newman if he was 20 years old and signed to Hydra Head, and we know that sounds weird, but it's actually quite cool.
The record is all over the map for sure, exploding into frenzied punk rock as often as sprawling out into huge lumbering sludgey doom, offering up soaring metallic pop gems, or stripping it down to chugging classic rock grooves, but no matter what these guys do, or what sound they're tackling and making their own, the songs rule, and the band kick out the jams big time. And like we've said before, in a perfect world, instead of Green Day and the Foo Fighters, you'd be hearing Torche and Clouds all over the radio. Ahhh, maybe some day...
MPEG Stream: "Empires In Basements"
MPEG Stream: "Feed The Horse"
MPEG Stream: "The Bad Seat"

COELACANTH & KEITH EVANS Wrack Light In Copper Ruin (Seal Pool) cd+dvd 19.98
BACK IN STOCK!!! Plenty of other drone based groups have unleashed hundreds of cd-rs of extended vibrations, treated field recordings, and fucked-up droning noise; and Coelacanth could have easily fallen into that camp, releasing any number of perfectly adequate live recordings. But they didn't. Instead, Loren Chasse (Thuja, Blithe Sons, Of, Child Readers, and many things Jewelled Antler) and aQ's own Jim Haynes chose to labor on the details of their recordings so that every timbre, every drone, and every tactile grain of sound was perfectly aligned with the sounds of their elemental objects and particular environments. In the world of Coelacanth, there are rocks, rust, sand, leaves, strobe lights, weird electrical devices, shortwave, and plenty of oceanic field recordings (in honor of the fish they're named after); and from those sounds, Coelacanth creates multiple layers and deep textures, all together in a mesmerising tapestry of sub-aquatic abstractions and chiming reverberations. Perfecting their tactile dronework was just the beginning in preparing for their fourth album Wrack Light In Copper Ruin, as they also began collaborations with the film/sound artist Keith Evans in finding a visual corrolary for their sonic abstractions, utilizing breathtakingly hypnotic film and video installations to compliment Coelacanth's music and vice versa. Evans is also a member of Silt, a multimedia collective that specializes in elaborate multi-projection / kinetic-sculpture installations -- one of which was featured at the Whitney Biennial back in 2002. Given that Evans has previously worked with Chasse for a Thuja performance in Scotland a couple years back, a Coelacanth / Keith Evans pairing seemed logical.
So, Wrack Light In Copper Ruin is both a CD and DVD, with the audio portion finding Coelacanth not only collaborating with Evans on some of the recordings, but also Matmos who had asked Chasse and Haynes to join them for part of their 96 hours of performances at the Yerba Buena Center for the Arts. Underwater bell tones, raked stringed instruments, ringing glass harmonics, and gaping drones saturated in a density of texture so complex that it almost sounds like an acoustic version of a Fennesz album! The DVD features Evans' jaw-dropping video work: abstract undulating landscapes of refracted light, all scored to a subtle Chasse / Evans remix of the sounds on the CD. The rippled linear patterns seem innocuous at first; but like the hypnotic primal power of fire, it totally sucks you in. So gorgeous!
MPEG Stream: "Nerine"
MPEG Stream: "Sessile Rotifer"
MPEG Stream: "Alluvial Dust"

COUGH Sigillum Luciferi (Forcefield Records) cd 10.98
On first glance, you might assume this was a black metal record. The cover is all black, with intricate metallic silver inked designs, a strange pentagram like shape in the center, pentagrams on all four corners, there's even an upside down cross in the band logo. But then you realize the band is in fact called Cough. And that all around that strange pentagram like sigil in the center are the distinct shape of pot leaves.
Then the music starts with a solid 15 seconds of high end solid state feedback, before the band kicks in, and we are suddenly in druggy slow motion ultra stoner doom country, and we like it. In fact it's almost three minutes of nearly continuous Eyehategod style feedback, separated by the occasional crash of the band, before the song really kicks in, and then the band lock into a lurching druggy stoner groove, more Electric Wizard than Eyehategod, but still plenty of both. Clean vocals carry the melody, but harsh blackened shrieks pepper the landscape, the riffs huge churning downtuned black swells, about as slow as a band can get while remaining even slightly 'groovy'. And don't worry, throughout, the band pause now and again to unleash lightning bolts of high end feedback, before lurching back into action.
And so it goes. Six long songs, each blessed with a handful of kick ass riffery, oozing hate and distortion and filth and crust, the rhythms staggering from doomic plod, to druggy slither, to an almost rocking pound, the riffs slipping into Sabbath territory, but usually straying much further south. The band dabble here and there in tripped out space rock, getting a little psychedelic, the vocals wreathed in effects, the melodies crazy catchy, but no matter what, they thankfully never wander too far from their gloriously filthy fucked up drug drenched doom-ed sludge.
MPEG Stream: "Killing Fields"
MPEG Stream: "Lyssavirus"

CRISTAL Re-Ups (Flingco Sound System) lp 23.00
Not sure about you, but Cristal for us conjures up images of MTV Cribs and Jay-Z and 50 Cent partying at some exclusive club, or hot babes in bikinis sipping drinks on a yacht moored right off Miami Beach, but most definitely evoke the dark blackened sonic abyss that is this, the first release from the oddly monickered Cristal, a trio that just so happens to feature one member of long time aQ faves Labradford.
And Labradford is a good jumping off point for Cristal, there's a definitely sonic connection, but where Labradford built on the most minimal of sounds, this trio seems to break the sound down into the smallest possible parts, creating, hyper detailed microscopic droneworlds that virtually REQUIRE headphones.
Lots of blurbs have referenced SUNNO))) but the sound of Cristal is less about power and force, more about texture and timbre, whereas SUNNO))) explode outward, Cristal collapse inward, like that ride at Disneyland, where you travel into the microscope. This is minimal microscopic, but incredibly rich and detailed sound.
Ultra deep ambience, a sound both subterranean and subaquatic, metallic shimmering high end washes over everything like some sort of alien sheen, fields of glistening cricket like chitter adds texture to otherwise slow shifting smooth expanses of warm soft swirl, dreamy and ethereal, fields of high tones surface here and there like a symphony of gently rubbed wine glasses, the only real jarring moment is at the beginning of side 2, the opening track an ear splitting burst of super hot white noise hiss, almost Merzbowian in its intensity, all chaotic and crumbling and buzzy, but the disc quickly returns to it's more tranquil drift for the remainder of side 2, a wash of low end whispers, of textured blurred melodies, sounding quite a bit like some Ligeti choral piece sloooooowed way down. Really quite lovely. Just be prepared for that brief blast, otherwise, a gorgeously deep dark minimal dronescape that will for sure hit the spot for the slow and low obsessed.
LIMITED ONE TIME PRESSING OF 500 COPIES. Pressed on 180 gram vinyl. Housed in a super swank gatefold sleeve, printed black on black!

ESOTERIC The Maniacal Vale (Season Of Mist) 2cd 15.98
While formerly Esoteric was about the most bongloaded experimental sludge metal you could find, perhaps more stoned and bizarre than countrymen Electric Wizard, this new album sounds a bit different, like maybe on different drugs, Esoteric finding some crystal shit to inject in their collective boiling bloodstream that renders them a genius doom-death metal machine, technically and aesthetically uber-achievers. On this, the band's first album since 2004's Subconscious Dissolution Into The Continuum, they again move further from the drug-addled "retardation" (which we loved of course) of their early weirdness, and add another brick to the wall of ultimate doommastery that they already built on Subconscious. And yet, they're still pretty darn weird, as befits their name. Even if way more My Dying Bride or Paradise Lost than before, with that romantic, gothic, doom-death kind of vibe, one that (on the romantic side) even reminds us of fucked up black metallers Eikenskaden or Mystic Forest... With its long passages of ambient spooky spaceiness, and sheer heaviness, The Maniacal Vale also makes us think of a more metallic version of Aussie arty riff merchants Dumb & The Ugly, more metallic due to the awesomely wretched, bestial vokills ensconced within gorgeously noodly neo-classical electric guitar shred. The Esoteric equation includes minor key melody, classical chamber music chops, echoey psychedelic darkness, sizzling drone FX, and much in the way of massive, crushing, METAL.
And this just get more crazed as it gets more deathmetally. Like on disc one's final track, the speedy "Caucus of Mind", wherein you're being chased by utter grunting cookie monster vocals (perhaps even the cookie monster itself) down a hall of mirrors / wind tunnel hybrid, architecture that exists in some extra-dimensional space. Where death metal brutality and doomic drone both tug heartstrings and excite the grey matter simultaneously, thereby proving some obscure theory of quantum physics. Is heaviness a wave or a particle? Maybe a very LARGE particle. Experimental, emotional, extreme. ESOTERIC.
And oh yeah, you noticed where we said "disc one"? That's right, this IS Esoteric, and after the mere single-cd anomalies of Metamorphogenesis and Subconscious..., they're at last back to the sprawling double disc format of their first two op-art-adorned opi, The Pernicious Enigma and Epistomological Despondency.
MPEG Stream: "Circle"
MPEG Stream: "Beneath This Face"

FAUST IV (EMI) 2cd 16.98
We've been wanting to correct a glaring omission from our site for some time now. Well, its not so much an omission as it's an overdue update on a very old review; one that was made when our reviews served only as shelf-talkers in the store instead of entryways into the vast online catalog of our website. And now with an affordable reissue with a bonus disc of rare BBC radio sessions and alternate versions, the time is right to reappraise this mighty, weird, and awesome jewel of classic krautrock greatness that is Faust IV.
Essential as any krautrock album we can name, including Can's Tago Mago or Future Days, Amon Duul II's Yeti, or Neu! 1, Cluster, Kraftwerk etc. It's also the record that coined the term "krautrock" which is the title of the nearly 12 minute opening track, a thick pulsating rumble of motorik groove that out-Neu's Neu!. But things definitely get stranger after that with bizarre forays into reggae, pretty ballads, prog, pop and free jazz. Yet for all the weirdness, this is the record to get if you've never heard Faust before as it's their most accessible and structured. Not nearly as kaleidoscopic and avant as, So Far or Faust Tapes, and even with the genre-hopping, the songs all seem to belong together. "The Sad Skinhead" has got to be the most left-field excursion into reggae we've heard, complete with marimba passages and echoing vocals, while "Jennifer" has to be about the prettiest song ever made. Each song linked together by odd passages of detuned piano, far away screams and noisy stews of synth warbles and feedback stabs. "Giggly Smile" obviously influenced Battles recent debut Mirrors, as strange effected vocals accompany groovy prog excursions that abruptly shift tempos into one of our favorite rocking moments ever put to tape before suddenly ending, launching into the sublime folk groove of "Lauft... Heisst Das Es Lauft Oder Es Kommt Bald... Lauft". And it just keeps getting better and better.
The bonus disc features many alternate versions of the songs including a much longer version of "Just A Second (Starts Like That!)", plus rare BBC radio sessions of two songs "The Lurcher" and "Do So" and one previously unreleased piece, called appropriately "Piano Piece".
This is definitely one of those records, where we wish we could just invoke some physical force to reach out and grab you through the computer by the shoulders and just scream "Buy this already!!!!!!"
MPEG Stream: "Krautrock"
MPEG Stream: "Jennifer"
MPEG Stream: "Giggly Smile"
MPEG Stream: "The Lurcher"
MPEG Stream: "Piano Piece"

FINAL SOLUTION, THE Brotherman (OST) (Numero Group) cd 15.98
Leave it to the Numero Group to dig up a soundtrack so lost that the film it accompanies was never even made. Cut back to 1975, when the blaxploitation film era was at its peak before its downhill slide from socially uplifting noirs to clowning ninja-pimp buffoonery, and you have the seeds of a film in the making. A former gangster turned preacher who robs the robbers and gives to the poor. Brotherman! But first, before casting, before even finishing the script, what's needed is a Grade A soundtrack. Cue guitarist, songwriter and arranger Carl Wolfolk and his fledgling Chicago-based vocal group, The Final Solution. Dipping into the SuperFly well, but with enough uniquely inventive guitar work that allows it to stand apart firmly on its own, Wolfolk created an amazing score of songs and instrumentals that still sounds remarkably fresh and non-cliched. Using flamenco style funk guitar flourishes that stab around the four part harmonies, Wolfolk interjected socially smart song-writing with sweet Northern soul nuances. Unfortunately, the plug was pulled on the film before even a still was shot, leaving Wolfolk to carry around his masterwork for more than 30 years, hoping someday the music would be released. Well, Brotherman, your time has come!
MPEG Stream: "Brotherman"
MPEG Stream: "I'm Ready For Love"
MPEG Stream: "No Place To Run"

GAS (WOLFGANG VOIGT) Gas (Raster-Norten) book+cd 49.00
Maybe even more anticipated that the recent Nah Und Fern box set from Gas, compiling all of the previously released Gas records, is this, a book of art from the man behind gas Wolfgang Voigt, which beside being beautiful and packed with variations on the foresty images that graced all the Gas records, also comes with a 5 track disc featuring rare, old, unreleased Gas tracks, which have the Gas faithful in a frenzy. More on the music in a second.
The book itself is quite striking. A slightly blurred shot of a forest, tinted deep red, it could be the cover of a lost Gas album (which in some ways it is), the band name embossed in a deep red metallic ink, Voigt's name on the back. Inside is a selection of photos, which seem to be from the same shots that produced the record covers, all shot of trees and branches and leaves, close up, from afar, they would look amazing all blown up on a gallery wall, but manage to be pretty dang striking here too.
Even sans cd, this would make a pretty excellent coffee table art book. But there is a cd, and as we mentioned before, it does in fact include nearly an hour of unreleased Gas, soŠ
Five tracks, all ten minutes or longer, each a deep dark gritty drift, almost completely eschewing the beats that would find their way into later Gas albums, these tracks explore deep billowy black ambience. A few have some glitch and crackle, but never does it evolve into that murky thump Gas does so well, instead, it sounds like water dripping, or ice melting, while the leaves and branches sway in the background, one track is super lo-fi and raw, with an industrial machinelike loop beneath the glistening musical mumble, underpinned by deep string swells, and haunting melodies, but that track is quickly followed by something much darker and elegiac, a brooding longform shimmer, like a string quartet slowed waaaaaay down, and blurred into soft shifting shapes. The closer is the most pastoral of the bunch, almost like it could be the music for some sort of nature show, slow panning shots of glaciers glistening in the sun, leaves falling in slow motion, time lapse films of wildflowers blooming then withering, clouds drifting across a deep blue sky, the only thing keeping it from going to far in that direction, is the soft patina of fuzz, the buried buzz, the looped mesmer, the barely audible glitch, all the things that make it distinctly GAS.

GLORY FCKN SUN Spectra (Tipped Bowler Tapes) lp 16.98
There really is something about music from New Zealand. We used to think it was sort of shorthand cheapshot music journalism, comparing everything to the Dead C, and lumping all these disparate sounding bands together based entirely on locale, but dammit if the more we listen to this stuff, the more it does seem to be true. Take this Glory Fckn Sun lp, the latest chunk of sweet dreamy noise from New Zealanders Antony Milton, Ben Spiers and Simon O'Rorke. As we were listening to this, all sorts of other bands came to mind, but when we thought about it more than a second, and listened really closely, we realized that this music could not have come from anywhere else. A blind listening, and we're fairly sure, even if we couldn't name the band, we would have immediately known New Zealand.
None of that is to say this record isn't unique or its own entity, or that it sounds like everything else from NZ, it most certainly doesn't, but it does share much sonically, and texturally, and there's just something ineffable that makes the music of GFS distinctly New Zealand.
Regardless, it's a big glorious fucking soft noise explosion, beginning with soft cymbal swirls and rumbling low wend, lots of effects, and deep buried melodies. Long streaks of buzzing metallic skree skitters over bits of clatter and clang, all held in place by a field of creaking metal on metal shimmer, murky vocals swimming in swirling pools of crumbling distortion. If you need references, think of some lost record on Corpus Hermeticum in the nineties, Surface Of The Earth maybe, a softened Dead C, muted and swathed in electric crackle, the whole thing a glorious whirling abyss of sound peppered with the clank and clunk of mini pipe fights, and twisted atonal chords, chiming harmonies, all layered and spread out into gritty streaks of droning abstract, slightly noisy beauty.
Pressed on clear red vinyl, housed in a striking chipboard sleeve hand screened, two color, and of course LIMITED TO 300 COPIES!!

GUNSLINGERS No More Invention (World In Sound) cd 23.00
Woah. What a surprise! See, the German psych/prog/kraut specialists at World In Sound have been responsible for a lot of cool '60s/'70s reissues and comps (Cold Sun, Modulo 1000, Psychedelic Minds Vol.1...) but they also have released some unfortunately not-so-hot cds by a bunch of modern prog and stoner rock bands doing the retro thing, and well, we haven't reviewed any of those based on the old "if you don't have anything nice to say..." principle. Just not worth bothering. BUT, that was until this disc came along. Like we said, a surprise. This Julian Cope approved (Record Of The Month for August '08 on his Head Heritage website) band has come up with a doozy of debut (?) here, a real humdinger from these Gallic guitarslingers. Featuring Matthieu Canaguier on "thunderbass", Antoine Hadhoannou on "prophetic drums", and most importantly, badass-in-chief Gregory Raimo on "guitar & guitar lighter, yaya preach, feedback", this trio's No More Invention sounds something like the French answer to The Heads, or White Hills, or even Mainliner. Utter aggro over the top distortodelic geetar excess. Frickin' savage. SAVAGE.
Nope, not at all what we'd have expected from World In Sound. Not only have they found a current signing that's good, in fact great, said signing are also a lot more punk than we'd have thought. Heck we bet these guys grew up on Metal Urbain, maybe even Soggy! The rabid vocals are somewhere betwixt Johnny Rotten and Mark E. Smith, babbling indecipherably. They also remind us a bit of the guy from The Trashmen (if "Surfin' Bird" was a raving, epick 12:50 long biker/garage meltdown blowout kraut jam called "Lighter Slinger Festival", ferinstance). Some other song titles, just to whet yer sick appetites: "Into The Garage", "The Beheaded Motorbiker's Head", "Black Dwarf Man", "Gigolo Albinos", and (uh-oh) "Auschwitz Boogie". Nothing holy here. Simply full tilt, fucked up, freaking out-out-out. Don't come looking to Gunslingers for songs and melodies and suchlike. Come looking for the blinding white lighting of FX overloaded, speed freak amp-sploitation, and the rhythm section rough-and-tumble of mainlined rock action energy, and you'll find it. Timeless stuff, heck if this WAS a '70s acid-punk reissue we would be less surprised. Gunslingers could do battle with the likes of Gaseneta, based on what we're hearing here. Recommended!
MPEG Stream: "Lighter Slinger Festival"
MPEG Stream: "Black Dwarf Man"

HEY COLOSSUS Happy Birthday (Riot Season) cd 16.98
London's heaviest, most hypnotic head-cavers, Hey Colossus, have found a home for their third album on the Riot Season label, who have previously brought us noize from the likes of Mainliner, Shit and Shine, and Aufgehoben. Heck, the label's logo features a trio of tanks, so of course Hey Colossus is a good match for their aesthetic. Being so brutally heavy and all, tank-like basically.
Happy Birthday (ironic title we guess, this is about as far from "Happy Birthday" the song as you can get) sees Hey Colossus doing what they do best: throbbing, distorted, kill 'em all action. Uber heavy, totally bad trip psychedelic. From the feedback intro of opening track "War Crows" and the rasping, ranting throat abuse that follows amidst pulsating, amped up electric murk, this Hey Colossus album destroys like a more rockin' version of Khanate... the Khanate comparison even more apropos on the next track, the more slowly thudding "Tight Collar". Part metal, part punk, part psych... what to call it? Ugly rawk doom drone maybe? With wailing Hawkwindy ampfriedification n' FX, heading into tortured dead zones of sheer nihilistic sludge, Hey Colossus fits in with such faves as Indian, Brainbombs, Unsane, Cadaver In Drag, godheadSilo, Pissed Jeans, Vincent Black Shadow, Cavity, Rusted Shut... and those other Riot Season acts mentioned at the beginning of this review. In other words, glorious stuff for those so inclined (like us!), pulling the listener who dares inexorably into its extreme vortex.
There's eight tracks here, 46+ minutes of the Hey Colossus experience, which threatens to run itself (and you) off the rails into total insanity as it rocks and rumbles on. Can't pick fave tracks really, they're all pretty badass, but the driving uptempo umph of the waveringly blown-out "Fire Up The Tambourine" is certainly quite wicked. Even more out there, "Permanent Vacation" parts 1 and 2 is full of bottom-of-the-abyss, buried alive vocals in a shitstorm of droning distortion... And how can we not like a track, especially a pounding, noisy, rhythmic near-13 minute epic, that's called "Overlord Rapture In Vines Part 2"?? It's the psycho-delic explosion that ends this album appropriately apocalyptically. Happy fuckin' birthday indeed.
MPEG Stream: "Tight Collar"
MPEG Stream: "Fire Up The Tambourines"

JIMMY CAKE, THE Spectre & Crown (Pilatus) cd 17.98
Hard to believe it's been 6 years since we last heard from Ireland's The Jimmy Cake. Back in 2002, we were heavily digging their second record, Dublin Gone. Everybody Dead., which found the band getting more and more aggressive. Their sound went from a drifty post rock to a dense blend of Godspeed, Magyar Posse, Explosions In The Sky, Salvatore, Hwyl Nofio, long sweeping epics, sweeping vistas of cinematic sound peppered with intense crescendos and stretches of free jazz freakout.
Six years later, the band has really mellowed out, harkening back to their debut, Brains, but with even more of an emphasis on the cinematic side of things. Utilizing an unlikely arsenal of instruments (at least for an ostensibly 'rock' band), clarinet, trumpet, saxophone, piano synths and accordion along with the usual guitar bass and drums, the band use the piano as the focal point, crafting swirling slow building epics, that really do sound like music pulled from some strange indie soundtrack. It's all instrumental too, so it's easy to hear bits of the Tindersticks, the Dirty 3, Arab Strap, in the Jimmy Cake's melancholy moodiness. The horns are used more for texture and drone out in dark harmonies, the guitars are spidery and minimal, the drums often a subtle shuffle, the gorgeous blend of strings and horns and accordions afford each track a distinct grandness that glows regally. Another definite reference point is the Rachel's, the sound is distinctly chamber music-esque, but set in a more post rock context. Think the Drift, old Tarentel, very evocative and strangely Eastern European in places, with some more experimental tracks of long shimmery dronemusic and drifting harmonics here and there, separating the more (almost) rocking tracks, as a whole creating the perfect imaginary soundtrack for a movie filled with dark moonlit nights, lonely strolls, cobblestone streets, rolling hills, grey skies, rain against windows, and brief bits of sunlight. Lovely.
MPEG Stream: "Red Tony"
MPEG Stream: "Jetta's Palace"

LAY, JOSH Asphyxiation Worship (Black Horizons) 7" 8.98
Everybody except a tiny handful of folks missed out on that Josh Lay cd-r on the last list, sold out in a flash, but for those of you who missed out, here's a brand new 7" from Mr. Lay, drummer for aQ faves Cadaver In Drag. But of course the sound here is a bit different than the cd-r. The first side begins with a noisy drone, but soft noise, an undulating layer of deep gurgly rumble and highend whir that gradually grows thicker and more ominous, until it explodes into a blast of chaotic blackness, a weird abstract black ambience with howled demonic vokills, a bit like a black metal track with the guitars and drums removed, haunting and evil and black, but more a sort of blackdrone. The flipside is all drone however, never exploding into any sort of evil blackness, instead opting to lurk in shades of grey, slithering and shimmering and whirring.
Super fancy trifold gold ink on thick black cardstock sleeve, and LIMITED TO 350 COPIES!

MACHINEFABRIEK Mort Aux Vaches (Staalplaat) cd 23.00
We're really not sure what else to say at this point about Machinefabriek. This will be the 25th release in 2 years, and those are just the ones we carried and reviewed. That may seem like a lot, but they are all different, and all pretty great. He is definitely one of the modern masters of soundscaping, able to weave gorgeous landscapes of sound using whatever sound or tones or equipment are at hand, seemingly effortlessly. Live albums prove he can pull it off there as well. And this is in fact sort of a live record, recorded for the radio, released as part of VPRO's esteemed Mort Aux Vaches series, limited to 500 copies, and housed in a beautiful thick clothbound cardstock, hand screened sleeve, each hand numbered.
And the music inside, as we would expect, is just as carefully and uniquely crafted. This three part, 35 minute piece seems to be based on guitar mostly, simple muted strums and subtle melodies, wreathed in effects and allowed to blur and smear into long stretches of soft shimmer, sometimes interrupted by bits of digital glitch or crackle, a bit of buzz, some abstract guitar twang, but those just seem to ground the proceedings in the moment, adding grit and texture so the music sounds more organic, like it's being played not produced. The second movement is another looped guitarscape, the main melody growing more and more faint and disappearing into a haze of crackle and soft static.
The closing movement, is the most minimal, offering up a deep drone, rich with subtle layers, what sound like voices, shimmering tones, harmonics and overtones, muted scrape and buried buzz, haunting and ghostly, drifting glacially until disappearing in a brief flare of static. As always, very very nice.
LIMITED TO 500 COPIES. We only have a handful...
MPEG Stream: "Bathyale 1"

MB (BIANCHI, MAURIZIO) Mectpyo Box (E'Est) 10cd box 250.00
Since around 2004, the Italian industrial composer Maurizio Bianchi has unleashed an impossible stream of recordings, often in collaboration with electronics musicians all over the world but unfortunately with spotty results. There are plenty of reasons why any label and / or artist would jump at the chance to release and / or record something, anything by Mr. Bianchi; and this 10cd boxset of his seminal recordings from the early '80s defines them all. This actually marks the second reissue campaign for these recordings, some of which originally appeared on Sterile Records and Broken Flag; but many of which had been self-published on Bianchi's own imprint. Bianchi - who simply recorded at the time as MB - had infamously been released through William Bennett's Come Organisation, who had recontextualized Bianchi's recordings of grim mechanoid drones with Nazi speeches spliced on top and changed his nom de plume to Leibstandarte SS MB... all without Bianchi's consent. Numerous cassettes, plenty of compilation appearances, and 10 lps marked this very prolific period in the early '80s for Bianchi, whereby he issued forth brutal, hallucinatory blasts of electronic noise and grinding rhythms of hand-cut tape noise and overblown synthetic distortion. These were the blackened, nihilist version of Conrad Schnitzler, Cluster, and Klaus Schulze as filtered through the industrial ethos of Throbbing Gristle and Whitehouse.
But by 1984, Bianchi just stopped. There were innumerable rumors about his departure from the music community. Some said, he had become a monk. Some said, he was crippled in an accident. But the truth of the matter was that he dedicated himself to his faith as a Jehovah's Witness. His distance only heightened the mythology about this artist and increased the cultural cache of those early recordings. Hence, the necessity for this boxset.
Here, you will find those ten LPs - Symphony For A Genocide, Menses, Neuro Habitat / Moerter Under Uns, Regel, Mectpyo Bakterium, Das Testament, Endometrio, Carcinosi, The Plain Truth, and Armagheddon - each released with plenty of bonus tracks from any number of those various compilation tracks. And for those of you who had picked up the two 5lp anthologies of MB's work on Vinyl On Demand, we don't think there's any overlap between this box set and those collections.
The first records are violent display of neurotic vibrations and deadly electronics, the second is relatively dreamy, albeit retaining the sonic qualities of erratic vertigo and shadowy hallucinations. His suffocating experiments with primitive synths, delay pedals, turntables, and tape machines collapsed in on themselves with an electrocuted obliteration of sound. Out of the ashes of such early albums as Symphony for a Genocide and Neuro Habitat, Bianchi allowed for a structuralism with tentative rhythms and melodies to rise out of the blackened grit on the work found on Endometrio and The Plain Truth. Each of the albums found on this box set are available individually; however, the box set features additional artwork, plenty of bonus tracks not on the original lps (but still the same from the first reissue campaign), and a handful of Bianchi's cryptic music critiques. Of all of the dronescapes, noise attacks, and electronic warbles that Aquarius has lavished with critical hyperbole, MB remains at the top of the list in terms of innovation and actualization of metaphor and intent.
MPEG Stream: "Endometrio Secondo Ciclo"
MPEG Stream: "The Plain Truth : M.B. 55 T.D. 56"
MPEG Stream: "Symphony For A Genocide : Treblinka"
MPEG Stream: "Morder Unter Uns"

MELTING GLASS BOX (TOKEDASHITA GARASU BAKO) s/t (Erebus) cd 21.00
Writing as many reviews as we do each week, trying to sell records to the people who will like 'em, we really appreciate it when a band makes it easy, as in this case, like, by being from Japan. And from the early '70s. Playing acid folk. And then they've got a cool name like Melting Glass Box. All that really remains is for us to tell you if is as amazing as it seems it might be - and it is.
Of course, though they're pretty obscure, you may have heard of them already, as this 1970 album has quite a deserved rep among connoisseurs of Japanese psych stuff - though it's mysteriously given short shrift in Julian Cope's Japrocksampler book, though he does praise albums by another band, Five Red Balloons (Itsutsu No Arai Fusen) from whom comes the main Melting Glass Box guy, singer-songwriter Takasi Nishioka, who is the pretty sharp looking denim clad hipster gent in the Melting Glass Box cover photo. MGB was a one-off studio project (though Takasi made many albums with Itsutu No Arai Fusen, and a bunch of later solo records as well) that also featured folks from such crucial underground Japanese psych acts of the era as The Jacks, Apryl Fool, and AQ faves Blues Creation. There's three members of proto-metal heavies Blues Creation on board here, actually, including Iommi-esque guitarist Takeda Kazuo. Not that this is at all heavy, it's actually a mellow, melodic record, quite gentle and pretty and placid, the lazy la la la's of their folky flowerpowered pop punctuated with such surreal details as the sound of shattering glass that startles the listener halfway through the lead off track "Anmari Fukasugite". Likewise, electronic FX, tape speed manipulations, ethnic instruments, and some stinging acid guitar licks are sparingly stirred into the mix throughout, this album one of many interesting, dreamy details and odd arrangements, but that still succeeds especially due to Takasi's balladic songs, that are so very melancholic and emotional - even though we can't understand the lyrics. We bet Masaki Batoh and Ghost grew up listening to this record!
Definitely a thrilling reissue that all of us here at AQ are digging, it's been getting a LOT of in-store play. Nicely done, too, by the Erebus label, with liner notes, original sleeve shots, and discographical information in the cd booklet.
MPEG Stream: "Anmari Fukasugite"
MPEG Stream: "Kimi Ha Dare Nanda"

MGR Wavering On The Cresting Heft (Conspiracy) cd 15.98
First proper full length in almost two years from Isis' Mike Gallagher, and his project MGR, aka Mustard Gas and Roses. Much like his debut Nova Lux, and the two more recent releases, a split and a collaboration, Gallagher continues to explore a darkened universe of slowly sprawling, slow building post rock ambience, blending skeletal guitars, deep string like swells, distant drones, and all manner of whirs and shimmers into gorgeous expanses of minor key melancholia. It 's probably not surprising to discover that MGR actually sounds a bit like Isis with all the metal removed, which is in no way a bad thing.
As a band Isis are as deft at weaving gorgeous loping postrockscapes as they are kicking out the metallic jams, so it's nice to hear similar sounding parts allowed to blossom in a wide open expanse, the distortion and heaviness are kept to a minimum, used sparingly as opposed to an integral part of the sound.
There is a definite dark vibe, haunting and ominous, which might be the only thing keeping this from being pure instrumental cinematic postrock that would be right at home on Temporary Residence instead of on Neurot or Conspiracy.
But that darkness is also what makes the sound of MGR so vibrant. Like it COULD explode at any moment. And it almost does here and there, a thick wash of distorted chordal buzz, a sheet of keening high end feedback, some dense swaths of reverb and rumbly distortion, a killer chunk of stuttering clipped metallic chords, but again, these are just elements of a much bigger sonic picture, an expansive, epic, sprawling soundscape, minimal and minor key, mellow, but not without menace, a huge powerful music that manages to sound personal and intimate at the same time. See the review of the new Jimmy Cake elsewhere on this list, MGR's Wavering is like its evil twin, lurking in the shadows, brooding, droning, drifting, and shimmering ominously.
MPEG Stream: "Allusions"
MPEG Stream: "It Darkens His Door"

MOSS Sub Templum (Rise Above) 2lp 31.00
Finally this dooooooooomy Record Of The Week from list #295 is available as a deluxe double lp!!
It's been a while since we've had to employ multiple 'o's in a review. A bit of a death of doom it seems. Or at least the sort of doom that requires all those extra 'o's. A loyal customer of ours even whipped up this "doom chart" based on our usage of multiple 'o'd doom in reviews!
And if memory serves, Moss was one of the bands that routinely got described as doooom, or doooooooooom, and sometimes even doooooooooooooooooooooooom. So we were all ready to put finger to key and just let the 'o's roll out, one after the other after the other, until we felt we had conveyed the crushing doom of Moss. That is until we pressed play, and were treated to "Ritus", a five and a half minute soundscape of whirring synths and washed out ambience, of cymbal sizzle and proggy keyboard drones, of whispered voices and buzzing shimmer. Hmmm. The liner notes say it's inspired by Doris Norton, an electronic musician who's also a member of AQ faves Jacula!! An interesting start from one of the sludgiest, crustiest bands around. Doooooooooooooooooooooooooooooooooooooom. Ahh. That's better. The second track returns us to that dank dark sloooooooooow place Moss call home. Twenty three minutes of downtuned crush, the tempo only slightly faster than the growth of actual moss. But even all gnarled and sludge-y, something has definitely changed. It's not nearly as filthy, and harsh, it's actually weirdly pretty. Almost like it's some more melodic metal record being spun manually with one finger at 3 or 4 rpm. The distortion is still dense, the long drawn out chords seeming to crumble, the drums spaced way out, but somehow still more buys than you're average ultradoom drummer, the vocals are still harsh and howling, but somehow, they too seem to be a bit more smooth, further down in the mix, like another layer of sound, the howls allowed to unfurl into another layer of buzz. It's strange, but we definitely dig. And we're not saying this is NOTHING like old Moss, or folks into Bunkur and Esoteric and the like won't love it, you will, the differences are subtle, and the sound is just a little bit, well, prettier, if you can imagine something bleak and black and harsh and hateful being pretty. Which we can!
The next track, a nine minute dirge, is a bit more raw and rough, most of that prettiness we were blathering on about above is GONE. Shrieking feedback, the drums even slower and more spare, the guitars even more distorted and the vocals throat shreddingly harsh, the tempo slightly accelerated, bordering on Eyehategod territory.
But it's all bout the closer, "Gate III: Devils From The Outer Dark". Clocking in at 35 minutes + and beginning with a churning sea of downtuned rumble and buzz, before the drums finally kick in, and f course by kick in we mean pound sporadically. This track is WAY more than a dirge. It makes the track before it sound like thrash metal. This is slooooooow and so so so so dooooooooooooooooooomy. The guitars thick and corrosive, the chords allowed to ring way out and fade away before the next one drops in to take its place, but weirdly enough, this one too sounds sort of pretty, not like the opening track, but still very dreamlike and mesmerizing. Long streaks of feedback spread out over wide open expanses of minimal thud and warm warped slow motion buzz, when the vocals drop out, it becomes something entirely different, finishing off with several minutes of thick low end drone, the guitars rumbling and wrapped into a thick nearly static pulse, something truly hypnotic and almost spacey, but without sacrificing a single one of those extra 'o's.
Definitely a progression, a band can only pound and plod for so long, but so subtle that the casual listener might not even notice. "Oh yeah, heavy, slow, dooooooom", but as with most music, deep listening reveals a whole lot more going on beneath the surface, and once your ears lock on to that stuff, even the sounds on the surface begin to sound different.
WAY RECOMMENDED for the doom-ed amongst you. And just cuz we knew you were waiting for it, Sub Templum could very well be doooooooooooooooooooooooooooooooooooooooooooooooooom disc of the year!!
MPEG Stream: "Subterraen"
MPEG Stream: "Dragged To The Roots"

NEHIL, SETH & MATT MARBLE Ecllipses (And/OAR) cd 13.98
Naturalist aktionism? Sure, let's call it that. We can't really say that the Hermann Nitsch and Gunter Brus bloodletting as grand allegory is applicable to this collaboration between Portland based sound artists Seth Nehil and Matt Marble; but a rigorous body of work is definitely at hand. These two are the editors of the sound art journal FO A RM, and have both generated impressive bodies of conceptually minded compositions through field recordings, found objects, the almighty drone, and hand-built instruments. Here, Nehil and Marble wax poetic about the overlay of tactile sounds to emphasize the ruptures, holes, and negative spaces which may have been present on each layer of sound. So, instead of a gaping piece of unbroken ambience, Ecllipses is a tense and discordant album of rollicking textures which bristle and scrape against each other. Nehil and Marble revel in tumbles and scrabbles of what could be a revolving metal drum filled with various pine cones, twigs, and pebbles. Elsewhere, they focus upon churning bowed steel-strings, which offer buzzing clouds of softly rendered acoustic noise; and then soft pluckings of what sound like softened dulcimers drift into prolonged echo, hinting at avant-folk drones of Jewelled Antler (especially the Ov recordings) and Kemialliset Ystavat. Barring a minimal amount of signal processing and ring modulation, the album flourishes in the sodden palette of natural objects: wood, grass, leaves, soil, and rock.
MPEG Stream: "Aprupture"
MPEG Stream: "Hither"
MPEG Stream: "Ecllipses"

ONEIDA Preteen Weaponry (Jagjaguwar) cd 14.98
Ok, we admit that we have never been the biggest fans of this group, having only reviewed one previous full length and an ep out of the almost dozen or so they have released over the past ten years. And even when we gave praise to the releases we reviewed, not everyone here was so convinced. Their was always something a little too precious, mannered and often inconsistent about their past recordings that left many of us unsatisfied. Overrated, we thought. So we are all quite wonderfully surprised that their latest has become a unanimous store favorite. Big time! A far cry from the lush lavender orchestrations of The Wedding, the last Oneida record we dug, Preteen Weaponry is the first part of a planned trilogy that showcases the bands new beefed up sound. One full of thick rumbling krauty trance pulse, acidy sheets of distortion, and big dynamic cavey pummel. Thanks to the addition of Phil Manley (Trans Am, The Fucking Champs), the band's sound has more "in the red" heft and focus, earning heaps of praise for their recent stint of mindblowing live shows. Comprised of three long parts, Preteen Weaponry is less vocal-driven than previous outings. In fact, there's barely any vocals on here at all or melodic song structures even. Instead we're introduced to the album by a loud buzzing wall of subtlety shifting noise before the drums make the song propel forward in a lurching rhythm while bass keyboards and guitar start begin layering interweaving progressions reminding us of This Heat, Cave or a more fucked up Mogwai. The rhythms become more tribal and Boredoms-like for the second piece with layered and swelling sheets of feedback that build intensely into the albums only vocal passage before unwinding into the final part. Beginning with an almost cosmic peacefulness before hurtling full throttle into the sonic stratasphere, exploding and unfurling synth stabs and loud ear-shattering drones leave us aurally exhausted by the end. Definitely the heaviest and trippiest album we've ever heard from this group, and one that makes us extremely excited for the next two rounds. If you dig any of the bands mentioned above than you need to have this record. We're doubters no more!
MPEG Stream: "Preteen Weaponry Part 1"
MPEG Stream: "Preteen Weaponry Part 2"

ONEIDA Preteen Weaponry (Jagjaguwar) lp 17.98
Ok, we admit that we have never been the biggest fans of this group, having only reviewed one previous full length and an ep out of the almost dozen or so they have released over the past ten years. And even when we gave praise to the releases we reviewed, not everyone here was so convinced. Their was always something a little too precious, mannered and often inconsistent about their past recordings that left many of us unsatisfied. Overrated, we thought. So we are all quite wonderfully surprised that their latest has become a unanimous store favorite. Big time! A far cry from the lush lavender orchestrations of The Wedding, the last Oneida record we dug, Preteen Weaponry is the first part of a planned trilogy that showcases the bands new beefed up sound. One full of thick rumbling krauty trance pulse, acidy sheets of distortion, and big dynamic cavey pummel. Thanks to the addition of Phil Manley (Trans Am, The Fucking Champs), the band's sound has more "in the red" heft and focus, earning heaps of praise for their recent stint of mindblowing live shows. Comprised of three long parts, Preteen Weaponry is less vocal-driven than previous outings. In fact, there's barely any vocals on here at all or melodic song structures even. Instead we're introduced to the album by a loud buzzing wall of subtlety shifting noise before the drums make the song propel forward in a lurching rhythm while bass keyboards and guitar start begin layering interweaving progressions reminding us of This Heat, Cave or a more fucked up Mogwai. The rhythms become more tribal and Boredoms-like for the second piece with layered and swelling sheets of feedback that build intensely into the albums only vocal passage before unwinding into the final part. Beginning with an almost cosmic peacefulness before hurtling full throttle into the sonic stratasphere, exploding and unfurling synth stabs and loud ear-shattering drones leave us aurally exhausted by the end. Definitely the heaviest and trippiest album we've ever heard from this group, and one that makes us extremely excited for the next two rounds. If you dig any of the bands mentioned above than you need to have this record. We're doubters no more!
MPEG Stream: "Preteen Weaponry Part 1"
MPEG Stream: "Preteen Weaponry Part 2"

ORPHAN Aborted By Birth (From The Nursery) lp 14.98
Armed with drums and (ultra distorted) bass only, this heavy, hellbound girl-boy two-piece from Brooklyn crashes and bashes though ten trashed tracks of roughhewn rumble, making quite a crazed art-metal-noise racket. The drummer (girl, Speck Brown) also sings, in the most vicious nasty shriek she can muster, which is indeed brutal, to match her drumming. Meanwhile the bassist (boy, Brendan Majewski) keeps his head down and rips out the distorted riffage - which can get kinda catchy, on such negative creep cuts as "Love Is For The Birds". Elsewhere they lay waste to such troubling topics as "Penis Farm", "Swan Blood", and "Jane Fonda".
Titling their album Aborted By Birth may be intended to draw comparisons to death metallers Cannibal Corpse, if only to stress their metallic bona fides, since otherwise they probably get a lot of Lightning Bolt references, due to the bass-drums duo setup. Naturally, godheadSilo, Jucifer, and Israel's Barbara would be other good comparisons.
By the way, if you go on YouTube and look 'em up, you'll find some pretty cool, arty homemade videos for each of this album's songs!
Released on evil white vinyl only, limited to 666 numbered copies (isn't that convenient?). We have but a handful.
MPEG Stream: "Penis Farm"
MPEG Stream: "Love Is For The Birds"

OSCILLATION, THE Out Of Phase (DC Recordings) cd 22.00
Here's another, not quite so new release from the UK's fab DC Recordings, that we imported in the same batch with the new Padded Cell we highlighted last list. This one's from last year, but actually it's one of the main reasons we finally did a direct order with DC, 'cause we'd been dying to list it ever since we first heard it at the end of '07. Well, better late than never, eh?
Out Of Phase easily made the upper echelon of Allan's top 20 of 2007 list, being a druggy, dubby mix of rhythmically krauty space rock, angular Nowave funkiness, and, yes, oscillating electronics. It entrances with limber, rubbery grooves, awash with buzzing, echoey FX, occasionally adorned with echoey English-accented vocals also. The fantastic track "Violation" is almost some sort of post-punk Hawkwind worship, and elsewhere the motorik pulsations of Neu! get the nod (and get you nodding). The whole album's heavy with hypnotic bass, and nervous with propulsive percussion. The Oscillation also have a definite knack for pop bliss too (best exemplified by their dreamy cover version of Julian Cope's "Head Hang Low").
Sometimes trance-inducingly atmospheric, evoking radiation-like transmissions from the cosmos ("Distant Transmission", natch), at other times building up into a funky, fuzzy throb that's equally trance-inducing, The Oscillations' electro-psychedelia could easily slide into a DJ mix alongside stuff by Salvatore or the Boredoms, whilst sounding like neither... Imagine a Tussle/White Hills hybrid, perhaps!
Super recommended.
MPEG Stream: "Violations"
MPEG Stream: "Head Hang Low"
MPEG Stream: "Gamelan Mindscape"

OSCILLATION, THE Out Of Phase (DC Recordings) 2lp 23.00
Here's another, not quite so new release from the UK's fab DC Recordings, that we imported in the same batch with the new Padded Cell we highlighted last list. This one's from last year, but actually it's one of the main reasons we finally did a direct order with DC, 'cause we'd been dying to list it ever since we first heard it at the end of '07. Well, better late than never, eh?
Out Of Phase easily made the upper echelon of Allan's top 20 of 2007 list, being a druggy, dubby mix of rhythmically krauty space rock, angular Nowave funkiness, and, yes, oscillating electronics. It entrances with limber, rubbery grooves, awash with buzzing, echoey FX, occasionally adorned with echoey English-accented vocals also. The fantastic track "Violation" is almost some sort of post-punk Hawkwind worship, and elsewhere the motorik pulsations of Neu! get the nod (and get you nodding). The whole album's heavy with hypnotic bass, and nervous with propulsive percussion. The Oscillation also have a definite knack for pop bliss too (best exemplified by their dreamy cover version of Julian Cope's "Head Hang Low").
Sometimes trance-inducingly atmospheric, evoking radiation-like transmissions from the cosmos ("Distant Transmission", natch), at other times building up into a funky, fuzzy throb that's equally trance-inducing, The Oscillations' electro-psychedelia could easily slide into a DJ mix alongside stuff by Salvatore or the Boredoms, whilst sounding like neither... Imagine a Tussle/White Hills hybrid, perhaps!
Super recommended.
MPEG Stream: "Violations"
MPEG Stream: "Head Hang Low"
MPEG Stream: "Gamelan Mindscape"

REVEREND BIZARRE / RATTO JA LEHTISALO split (Full Contact / Ektro) 12" 16.98
Ratto Ja Lehtisalo are a weird band. Made up of half of aQ faves Circle, their sound is less krautrock, and more like some weird hybrid of eighties new wave faves, Oingo Boingo, The Fixx, Sparks, Talking Heads, but then Circle are pretty weird themselves, flitting from murky propulsive hypnorock, to bombastic metal to atmospheric drone to eighties style New Wave Of British Heavy Metal and back again. And the side projects, too many to name here, but needless to say, they are all pretty far out.
This here is the latest from Ratto Ja Lehtisalo, and find the band, doing what they do best, confounding and confusing, and even more confounding and confusing is that they are teamed up with the mighty late great doomlords Reverend Bizarre!! Sure they're both from Finland, and yeah, RB's Albert Witchfinder got recent aQ Record Of The Week recipients Quest For Blood signed to Jussi from Circle's Ektro label, but sonically, the couldn't be more different, and yet, weirdly enough, they sound kind of cool back to back.
Anyway, Ratto Ja Lehtisalo start things off with some demented court jester music, sounding very twisted and Renn Faire, before slipping into some moody almost Circle-ish drama, a weird almost-krautrock, but way lighter and jazzier, with chanted vocals that sometimes sound like Queen, sometimes like Circle, the first thing that came to mind was Cluster mixed with Shadowfax, which sounds bad, we know, but is more, just sort of, strange, it's like the music to some insane production of seventies mime troupe Mummenschanz, the band lock into a very Circle-like jam, but soft and fuzzy and jazzy, but just like the Circle mothership, easy enough to get lost in and carried away by.
The flipside comes from Finnish doomsters Reverend Bizarre, who like Tupac, just seem to keep releasing records post mortem, but heck we're not complaining ONE BIT.
A new track composed over an improvised drum track, and it's obvious cuz the drums steal the show. Huge roiling guitars, throbbing doomy bass, and those vocals, deep and resonant and soaring. This is, my friends TRUE DOOM! The track lurches and sways, grooves and swings, sometimes slipping into seriously dense tangles of angular riffing and freaked out drumming, near the end the band launch into a blissed out psychedelic space rock drift that devolves into a bizarre coda all bellowed vocals and wild drums, and yep, a DRUM SOLO!! Before slipping back into the riff and dooming their way to the very end. As always. awesome.
A weird and wonderful, and did we say WEIRD, split of far out Finnish freakiness. Super limited. Pressed on thick swirled opaque white vinyl, with killer cover art by Albert Witchfinder.

RIGOR SARDONICOUS Vallis Ex Umbra De Mortuus (Paragon Records) cd 14.98
It's been a while, but it's time to haul out all those extra doom 'o's we've been saving for an occasion just like this. The return of ultra doomlords Rigor Sardonicous, they of the monstrous glacial downtuned crawl, the 'evil' cymbal (more on that in a second), the growled demonic vox, the lugubrious slow motion trudge, all that stuff we love, and all the stuff that can usually only be described by a whole handful of extra 'o's in doooooooooom.
But the opening track threw us for a bit of a loop. All weirdly folky, with chanted vocals, and fluttering flutes, some haunting almost Renn Faire court music, which quickly gives way to clean mournful minor key clean guitar, could this be the same Rigor Sardonicous? All doubts are wiped away moments later when the whole sound shifts down about a hundred octaves, the crumbling super distorted guitar spreads out like a black fog, the drums pounding, the cymbals still way up in the mix (beginning to think it's their trademark), and then the vocals. WOAH. Impossibly gurgly rumbles, like a frog croaking from the bottom of a tarpit, perfectly complimenting the band's murky plod. Weirdly the band does speed it up, but everything is so muddy and blurred that it almost makes no difference. You can hear what sounds like a little girl way off in the distance, as if she's locked in the dungeon of some great black beast. This is some awesomely creepy, heavy, and fucked up dooooooooooomy shit for sure.
If it's even possible, this is the most extreme Rigor record yet. The guitars more dense, heavier, even more downtuned, the vocals absolutely inhuman, it does almost sound like some super slow dooooom record, slowed down even more. And when the band do 'rock', they still out-doom most of their slow motion contemporaries.
Nothing else to say really. Been digging the most recent Moss, the Corrupted reissue? Still loving those Monarch records, the recent Trees disc? Fancy yourself a doomlord? Well strap on your armor, your headlamp, some industrial strength ear protection, and crawl headfirst into this black tarpit of sound, Rigor Sardonicous take even the heaviest and slowest sounds somewhere even slower and lower and so much doooooooooooooooooooooooomierŠ
MPEG Stream: "Silens Somnium"
MPEG Stream: "Incompertus Quod Anon"

RIGOR SARDONICOUS Vallis Ex Umbra De Mortuus (Paragon Records) lp 21.00
It's been a while, but it's time to haul out all those extra doom 'o's we've been saving for an occasion just like this. The return of ultra doomlords Rigor Sardonicous, they of the monstrous glacial downtuned crawl, the 'evil' cymbal (more on that in a second), the growled demonic vox, the lugubrious slow motion trudge, all that stuff we love, and all the stuff that can usually only be described by a whole handful of extra 'o's in doooooooooom.
But the opening track threw us for a bit of a loop. All weirdly folky, with chanted vocals, and fluttering flutes, some haunting almost Renn Faire court music, which quickly gives way to clean mournful minor key clean guitar, could this be the same Rigor Sardonicous? All doubts are wiped away moments later when the whole sound shifts down about a hundred octaves, the crumbling super distorted guitar spreads out like a black fog, the drums pounding, the cymbals still way up in the mix (beginning to think it's their trademark), and then the vocals. WOAH. Impossibly gurgly rumbles, like a frog croaking from the bottom of a tarpit, perfectly complimenting the band's murky plod. Weirdly the band does speed it up, but everything is so muddy and blurred that it almost makes no difference. You can hear what sounds like a little girl way off in the distance, as if she's locked in the dungeon of some great black beast. This is some awesomely creepy, heavy, and fucked up dooooooooooomy shit for sure.
If it's even possible, this is the most extreme Rigor record yet. The guitars more dense, heavier, even more downtuned, the vocals absolutely inhuman, it does almost sound like some super slow dooooom record, slowed down even more. And when the band do 'rock', they still out-doom most of their slow motion contemporaries.
Nothing else to say really. Been digging the most recent Moss, the Corrupted reissue? Still loving those Monarch records, the recent Trees disc? Fancy yourself a doomlord? Well strap on your armor, your headlamp, some industrial strength ear protection, and crawl headfirst into this black tarpit of sound, Rigor Sardonicous take even the heaviest and slowest sounds somewhere even slower and lower and so much doooooooooooooooooooooooomierŠ
MPEG Stream: "Silens Somnium"
MPEG Stream: "Incompertus Quod Anon"

SEHT Dead Bees (PseudoArcana) cd 13.98
Brand new disc of free drone weirdness from long time aQ fave Seht, aka Stephen Clover, whose discs never disappoint, whether he's crafting long form minimal dronemusic, or kicking up a clattery freerock buzz, Dead Bees is a little of both, two looooong tracks, the first a super minimal dronejam of deep soft shimmers and warm warbly whirs, that begins soft but gradually gains momentum, and along with that momentum, layers of gradually thickening whir, what begins as a barely there whisper quickly transforms into a heaving slab of rumbling static heaviness, eventually introducing some unlikely melody to the mix, the sound suddenly almost orchestral, a layer of horn like drone draped over the undulating lowend backdrop, the grit and buzz and fuzz slowly sloughing off eventually leaving a smooth stretch of soft soft shimmer.
The second track, another long one, is much more active, beginning with some random clatter, and slowly transforming into a weird pulsing circusy abstract pulse, with strange haunting melodies, almost like Chain Reaction via a New Zealand 4-track, soon the playful pulse is enveloped in a cloud of hiss, creating a haunting gauzy throbbing drift that is both mesmerizing and mysteriously unclassifiable. And once again, the hiss dissipates, leaving a warm whirling warble that slowly settles into a dark, dreamlike drift.
MPEG Stream: "One Moment"

SKULL DEFEKTS, THE The Sound Of Defekt Skulls And Intense Cranium Contact (Feedbacking Gothenburg And Chicago) (Utech) cd 14.98
Here's a Skull Defekts artifact that we've had hanging around for quite a while, meant to list it long ago but somehow it got lost in the shuffle! But since we luv this Swedish noisemaking duo (just raved about their latest, Drone Drug, on list #298) it would be a shame not to finally review this one too. Released on Utech, in one of their stylish slim die cut sleeves, this cd finds the Defekts doing their thing, using a "custom Drone Machine" and multiple mixing desks, also maybe a field recording of a flapping crow? We're not sure, that's what we read. The Skull Defekts are a cryptic crew indeed. Anyway we could believe it, and this sounds like what we like: one long 43 minute track here of whooshing, whirring, droning, crunching, crackling, glitching, abstract electronic bliss n' brutality with plenty of piercing peaks and lulling lows. Doubtless dangerous at high volumes, but hummingly hypnotic too (not in the "you can hum along" pop sense, but 'cause it sounds like a soothing huuummmmmmm!). No drums here, so it's not as rock or rhythmic as records like Blood Spirits and Drums are Singing.
Lovely, noisy stuff, looping and grainy, for fans of Pan Sonic, Stilluppsteypa, Vulture Club, Sunroof!, Space Machine, just to name a few you probably have already sitting nearby to the Skull Defekts cds you already possess.
Fun fact: 1/2 of Skull Defekts was once the drummer for '80s Stooges-style Swedish psych/punk rockers Union Carbide Productions. Did not know that until recently.
MPEG Stream: "The Sound Of Defekt Skulls... (excerpt)"

SKULLFLOWER Pure Imperial Reform (Turgid Animal) cd 13.98
We're relisting this because it was actually meant to be a highlight originally, but somehow, half of the discs we ordered went missing, so not wanting to wait forever we went ahead and listed it, then a few weeks later, lo and behold, the missing discs resurfaced. So, here we go, big time highlight, for those who are way into the new more furious and noisy Skullflower, this live set is an absolute killer.
Another blast of Skullflowery fury, the second in as many months. Recorded live in 2007, live on the air, at a Belgian radio station, Pure Imperial Reform finds Skullflower mainman (only man?) Matthew Bower joined by fellow axeman Lee Stokoe for 42 minutes of unmitigated dual guitar overload.
As we mentioned in the last Skullflower review, Bower and his 'Flower have gone from riff to noise to and back again over the last twenty years. The last clutch of releases finds Bower once again exploring noise in lieu of any actual riffing. So for folks expecting some sort of Exquisite Fucking Boredom or IIIrd Gatekeeper, this might just rub you the wrong way. But if you loved Bower's Total project, and the more intense and facemelting side of Skullflower, then this live set will definitely hit the spot.
Two guitars, a wall of amps, the sound both white hot and in the red, these two gents spewing furious gouts of hissing fuzz from their respective axes, kicking up a planet splitting din, blown out buzz, squalls of feedback, jagged chunks of deconstructed melodies, streaks of garbled psychedelia, the guitars soaring and screaming, grinding and growling, strings scraped and bent, notes split into a million pieces, chords laid over other chords, gnarled pulsing drones, walls of full on Merzbowian white noise, all whirled into a constantly shifting, roiling miasma of fractured sonics.
Like most stuff like this, a cursory listen will get you nothing but a headache and some sore ears, but dig in, dive in, lay back and let the molten flow pour over you, and suddenly, like all 'great' noise music, the layers unfold and unfurl, melodies surface, rhythms reveal themselves, the sounds, however harsh and brutal, begin to soothe and mesmerize, about halfway in, you'll be totally entranced, a master musical hypnotist, who instead of a pocket watch, swings feedback and amp destroying buzz before your heavy lidded eyes. Wicked stuff for sure, heavy, noisy, brutal and impossibly beautiful.
LIMITED TO 1000 COPIES!!!
MPEG Stream: "Pure Imperial Reform (Excerpt)"

SPIERS, CRESTON (HARVEY MILK) Yesterday's Parade / The Time Has Come (Southern Shelter) 7" 8.98
Shame on anyone who somehow managed to miss the acoustic Harvey Milk instore, with HM frontman Creston Spiers tackling stripped down Milk tracks, Leonard Cohen covers, heck, he even covered "Three Is A Magic Number" from Schoolhouse Rock. Well this one is for those of you who blew it, or for those of you who didn't but still need more.
A super limited yellow vinyl 7", the second and supposedly last pressing, 300 copies, already sold out, we have about 30, of Creston Spiers from Harvey Milk performing acoustic, two originals, both awesome. And both sounding like could-have-been Harvey Milk tracks, or obscure Leonard Cohen covers, anyone at the instore knows exactly what we mean, his voice and way with melody is so distinctive, and owes quite a bit to Mr. Cohen. On these two tracks, Spiers' vocals are rough and ragged but still melodic, accompanied by stripped down steel string guitar, spare and melancholy, with slightly off kilter arrangements, the tone mournful and melancholy. Barring a recording of "Three Is A Magic Number" you couldn't hope for more.
Pressed on thick clear yellow vinyl, housed in a clear plastic PVC sleeve, limited to 300 copies, out of print, this is most likely your last chance...

STEREOLAB Chemical Chords (4AD) cd 12.98
While they released some great 7"s that were compiled onto one disc a couple years ago called Fab Four Suture, it's actually been over four years since these swirling pop masters have released a proper full length. Chemical Chords finds them in top form and while there are still plenty of keyboards, organs and electronics the album's real magic comes from the rich and layered string, brass and horn arrangements. This is Stereolab at their most lush and catchy. mining the gold out of of their love and rich appreciation of '60s French pop, Motown, exotica, and psych-pop. Chemical Chords is filled to the brim with songs that get right to the point and the band effortlessly keeps them filled with the brightest colors and most vivid of sonic shapes throughout. While we're not always crazy about High Llamas records (although we do like some of them) we have to say that the Llamas' Sean O'Hagen's contributions to this record are so striking (he's responsible for all the string and brass arrangements). Like all Stereolab records it's important to remember that it takes several listens for the songs to really reveal themselves and start sinking in. It's easy at first to say this just sounds "like Stereolab" which of course it does, but sounding "like Stereolab" means being one of the best pop bands of our time and Chemical Chords is one more great record to add to their already impressive catalog.
The first batch of these come with a free 7" with two non-album tracks, while supplies last!
MPEG Stream: "Neon Beanbag"
MPEG Stream: "Valley hi!"
MPEG Stream: "Chemical Chords"

STEREOLAB Chemical Chords (4AD) 2lp 16.98
While they released some great 7"s that were compiled onto one disc a couple years ago called Fab Four Suture, it's actually been over four years since these swirling pop masters have released a proper full length. Chemical Chords finds them in top form and while there are still plenty of keyboards, organs and electronics the album's real magic comes from the rich and layered string, brass and horn arrangements. This is Stereolab at their most lush and catchy. mining the gold out of of their love and rich appreciation of '60s French pop, Motown, exotica, and psych-pop. Chemical Chords is filled to the brim with songs that get right to the point and the band effortlessly keeps them filled with the brightest colors and most vivid of sonic shapes throughout. While we're not always crazy about High Llamas records (although we do like some of them) we have to say that the Llamas' Sean O'Hagen's contributions to this record are so striking (he's responsible for all the string and brass arrangements). Like all Stereolab records it's important to remember that it takes several listens for the songs to really reveal themselves and start sinking in. It's easy at first to say this just sounds "like Stereolab" which of course it does, but sounding "like Stereolab" means being one of the best pop bands of our time and Chemical Chords is one more great record to add to their already impressive catalog.
The first batch of these come with a free 7" with two non-album tracks, while supplies last!
MPEG Stream: "Neon Beanbag"
MPEG Stream: "Valley hi!"
MPEG Stream: "Chemical Chords"

SUISHOU NO FUNE Mystic Atmosphere (Cut Hands) cd-r 13.98
Oftimes, in the past, the drifting dark psychedelia of Tokyo "bleak folk" combo Suishou No Fune has been on the dreamier side, never quite as distorted and heavy as some of their amp-frying Japanese peers. Up-Tight and LSD-march and Acid Mothers Temple and so forth tend to crank it up more brutally, more often, while Suishou No Fune, though often displaying flashes of heaviness, are usually content with wallowing in a more atmospheric, delicate sort of murk... so a title like "Mystic Atmosphere" is to be expected... yet on this new limited edition cd-r, Suishou No Fune (here a trio, with occasional drummer Tail on board) are fairly quick to turn it up to 11! The dreamy drift is still there, but also lots of clattery drum-pound and guitar grind, taken to its most loud n' distorted degree on the final, 14:48 monster jam "SUSANO'O". Elsewhere Suishou carve canyons of feedback through the mists of opener "The Memory Of Ancient Times" (also 14+ minutes), plod ritualistically into sweet oblivion on "Endless Descent" (11 minutes), and throw a lo-fi thrashing psych tantrum on "UZUME" (3 minutes). Definitely a SNF disc for those hankering to hear 'em heavy it up and freak out a bit more than usual. WAY limited. We only have a very small handful and they're the last copies ever...
MPEG Stream: "Endless Descent"
MPEG Stream: "UZUME"

SUNFOREST Sound Of Sunforest (Acme Gramophone / Lion Productions) cd 16.98
Somewhere between The Free Design, The Incredible String Band and The Buggaloos lies Sunforest. Sunforest were a mysterious British female trio that recorded this sole 1969 gem of acid-folk prog-tinged popsike that has been a holy grail of sorts for sample-searching record heads. Even our own Antaeus (Lazer Sword) admitted to sampling the opening track "Overture To The Sun" to make a beat. That song along with another track, "Lighthouse Keeper" are also famous for their inclusion in the film "A Clockwork Orange". Medieval and baroque at times with harpsichord, piano and pump organ flourishes, lilting horns and sublime triple harmonies, Sound of Sunforest also features some of the best British session players around including Herbie Flowers (bassist on Lou Reed's "Walk on The Wild Side, Bowie's Space Oddity and Serge Gainsbourg's Histoire Du Melody Nelson), and Big Jim Sullivan (Lord Sitar) on guitar. Like most British records of the era, whimsy and zaniness can gain the upper hand at times with songs about candy shops, insect weddings, and eccentric old hippy ladies taking us back to the Sid and Marty Kroft days of our youth, but there is plenty of insanely beautiful songs of the likes we've never heard making this an odd but highly satisfying listen.
MPEG Stream: "Be Like Me"
MPEG Stream: "And I Was Blue"
MPEG Stream: "Magician in The Mountain"

TAMAM SHUD Goolutionites And The Real People (Aztec Music) cd 24.00
Ready for an ecological concept album from an Australian psych/prog/pop act, circa 1970? We are, we've been waiting for a reissue ever since Tamam Shud's first album, Evolution, appeared on cd as part of EM Records' odd & enjoyable "Under Water Series" of psychedelic surf music last year. Released by the deluxe Aussie reissue imprint Aztec (who brought us Buffalo and Coloured Balls already), The Shud's wonderfully titled second album should charm all who loved the earlier one EM put out. And while we haven't really wrapped our brains around their whole Goolutionites concept, which probably is along the lines of "give a hoot, don't pollute!", we're certainly enjoying this groovy record.
The Shud's music here is mostly mellow and melodic, lazy and laidback and even loungey, but the album is littered (whoops) with sudden proggy shifts and somber mood swings (as befits the serious subject matter), and they are definitely capable of doin' some harder rockin' too, with the bluesy, fuzzy, acid-rock guitar leads getting whipped out often enough. It maybe reminds us of stuff like the Amboy Dukes, Cream, Vanilla Fudge, and (to cite another recently reviewed reissue) Mecki Mark Men. Plenty would qualify as Vertigo-esque "hairy funk" as Andy Votel would put it, like the loping riffery of "I Love You All".
This reish is handsomely digipacked, with a thick, info/photo packed booklet, and there's a whole bunch of bonus tracks too, weirdly some of 'em the SAME as the bonus tracks on EM's Evolution disc (the three cuts from the the Morning Of The Earth soundtrack, originally released as the Bali Waters ep) which you think someone would have realized was a bit redundant, but there's also four fairly rockin' (though sax-laced for some reason) numbers from a 1971 live performance, and a couple of especially sunny singles tracks too.
MPEG Stream: "I Love You All"
MPEG Stream: "Heaven Is Closed"
MPEG Stream: "Goolutionites Theme Part 2"

THOMAS, IRMA The New Orleans Series (Mississippi) lp 11.98
You should see all of us at the store when a box arrives from Mississippi Records. It's like a house full of little kids on Christmas. All of us running towards the box and practically tearing it apart to see what amazing treats await us. Mississippi's track record speaks for itself, a seemingly endless stream of amazing vinyl reissues, so kick ass, that at this point, many of us will buy anything they put out. And we haven't been disappointed yet.
When we discovered that our treat this time around was a slab of early era cuts from New Orleans soul queen Irma Thomas, those of us who were already in love with her voice and style jumped for joy and those who had yet to discover the magic of Irma Thomas, her sounds and songs quickly convinced them why she is truly one of the great soul singers of all time.
Thomas has been singing her heart out for over four decades now, she even has a brand new studio record coming out. But it's those years in the early '60s where her voice shines and sparkles with a special kind of magic. It's that era that this LP spotlights. Such amazing songs fill this record, with spot on arrangements, broken hearted laments, catchy melodies and such warm and full hearted delivery. Mixing the best of girl group sass, the melody of doo-wop and the deep emotive core of classic Southern soul. While the lp notes that the songs were written by N. Neville, it's known that the so called Naomi Neville was really a pseudonym used by legendary producer Allan Toussaint.
If you love folks like Betty Harris, Aretha Franklin, Otis Redding, Helene Smith or Sam Cooke we can guarantee you are going to fall in love with Irma Thomas if you haven't already. It's a total crime that Irma has never experienced a larger kind of fame or commercial success. She's only had one top 40 single in all her years, but we dare you to listen to this record and not wish you could hear any of these songs played on the radio over and over as her voice on these songs is something no one could ever get tired of hearing!

THOU Peasant (Autopsy Kitchen) cd 13.98
Another band of slow heavies from New Orleans, following in the deep muddy footprints of the original NOLA sludgelords Eyehategod, and while Thou do in fact share much sonically with their legendary forefathers, they inject way more melody into the proceedings, some stretches are downright pretty, still caked in filth and crust, but weirdly melodic and pretty.
In fact in some ways, Thou seem to be drawing on true UK doom for inspiration as much as their fellow NOLA noisemakers, Paradise Lost, old Cathedral, My Dying Bride, sure the vocals are harsh and throat shredding, the drums a lugubrious pound, the rhythm a lurching almost groove, but the melodies and the arrangements almost soar at times, the sound epic and massive, the melodies expanding what might otherwise be more of the same old sludge, in fact there are long stretches of undulating heaviness where the riff becomes a sprawl of near static buzz, and harmonies glisten and drift over the top, but it's never long before the band slip back into their grinding downtuned lumber and pummel.
Fans of the usual dooooooomy crawl will not be disappointed, if you love Moss, Monarch, Corrupted, Trees, Bunkur, you'll pretty much definitely dig this, but Thou mix it enough to maybe convince some of the more skeptical freaks out there, that there's more to sludge than just pummel and pound. Definitely recommended.
MPEG Stream: "The Work Ethic Myth"
MPEG Stream: "An Age Imprisoned"

TO BLACKEN THE PAGES None (Colony) cd 10.98
Highlighted last list, we had A Semblance Of Something Appertaining To Destruction, the most recent disc from Dublin, Ireland's To Blacken The Pages. Now we've got their prior release, None, released just a month or two earlier in 2008, which is essentially the part I to A Semblance's part II. Don't get 'em confused (and we'll try not to, too), 'cause they do look virtually identical, the same almost-black-on-black no-color scheme for the cover photo and logo. The black-on-black music is similar too, of course, but different and equally essential for anyone who loved the minimal doomdrone instrumental ambience of that other disc. And again, there's three tracks. 13:45, 16:10, and 8:06. Each stately, somnolent, fuzzed out and, this time, drumless... heavy in a restrained, spacey, spacious way.
Track one, "Alien", tiptoes in, super slow, individually suspended guitar notes one at a time connecting the dots of melancholic melody over a void of silence. Then, suddenly, the needle jumps. DISTORTION. An electric crackle and buzz. The song is still super sloooooow and sparse, but each note is now planetarily weighted with rumbling vibratory effect, surely speaker shredding if it all happened at once, and at volume. An underlying howling hum begins, buried beneath but gradually filling all that empty space with its own not so silent emptiness. The next piece, "None", starts with an eerie electric wind, and some sparse Earth-style guitar strum over it, reverberant and lonely, before sheer fuzzdrone kicks in, fuzzdrone nirvana to our ears, that continues in like manner on final track of the disc, "As If Forever"... Ah, yes, so glacially good. For fans of Earth, SUNNO))), Expo '70, Bohren & Der Club Of Gore, Slomo, Boris, Skullflower, Nadja, etc. All at their darkest yet dreamiest.
To Blacken The Pages is actually a solo project, the work of one guitar wielding, amp abusing man, Paul McAree. We're told he has a non-solo side project coming up, a band called Slaves Of War Orphan Farm (!) that is supposed to be a worthy offering of Les Rallizes Denudes worship! Can't wait to check it out...
MPEG Stream: "Alien"
MPEG Stream: "None"

UGLY THINGS Issue #27 Summer / Fall 2008 magazine 8.95
It's baaack! Another mammoth (216 pages!) issue of one of our favorite magazines, all about "wild sounds from past dimensions" as they put it - garage, beat, psych, punk, etc. Now, a lot of you reading this probably have some idea of what it's like to be a musician in a band today. You're in a band, or were in a band, or have friends who are in bands. But not so many of you probably know what it was like to be in a band back in, say, 1964. Sure in 2008 we have garage bands - and GarageBand too - but things were different back then. Let's see, the band you were in, did you have a manager, and were they your drummer's mom? That's part of what makes Ugly Things so interesting, the way it delves into what might be termed the "human interest" or "behind the music" stories of bands that otherwise you haven't heard, and in some cases, will never ever hear. For instance, the 30+ pages devoted this ish to a teenage surf/R&B combo from Orange County called The Spats. Remember them? And their bottom of the Billboard Top 100 hit "Gator Tails and Monkey Ribs"? No, well us neither of course, but we still enjoyed reading their detailed history here, which included regular gigging at Disneyland, and some tantalizing brushes with fame.
And of course Ugly Things isn't all about things quite that obscure - The Who and The Small Faces are also featured in this issue, with an article detailing the story of their tempestuous tour Down Under in '68. Also you get stuff about The Animals, The Koala, Beatles manager Brian Epstein, Bo Diddley (R.I.P.), Chile's Los Vidrios Quebrados, "Beat Girl" actress/singer Gillian Hills, '70s punks The Victims... There's also a glam rock/junk shop top 50 from Johan Kugelberg (as always with his contributions, a highlight of the issue), a psych top 10 from Clinic's Ade Blackburn, and the usual gizillions of reviews. Plus loads more. This will keep you busy reading for a while, though maybe not 'til the next issue is due out, in early 2009, which we're looking forward to already.

V/A (Triskaidekapohobia) 13,000.00 Milliseconds (Ratskin Records) cd 6.98
You know those Sublime Frequencies "Radio" compilations we love so much, the ones that just sound like someone sitting in a hotel room in another country flipping stations on the radio and recording the results. Well imagine a similar compilation, but in this case, the listener/recorder has an extreme case of ADD, and is flipping between some insane non existent all avant freaked out noise satellite radio station and all the strange little non-stations you discover when you're driving across the country, flipping through the dials at 4am. Little chunks of beautiful pastoral sound, bursts of ear gouging static, voices, snippets of speeches, some crazy guy testifying, some country or classical music that is just out of range so the sound  is all skittery and blurred, delicate swaths of soft plinked piano, blasts of grinding deathmetal, talk radio, skittery rhythms, lots of textures and timbres, noises and melodies, most often swallowed up before they can develop into anything more than a fragment, than a partially formed musical thought, but that's sort of the point. This comp will definitely enrapturously engorge the ears of aural adventurers and noise devotees, but just might rattle the nerves of those less prepared. Despite the incredibly lengthy list of incredibly eclectic artists who participated in this brand new compilation titled (Triskaidekaphobia) 13,000.00 Milliseconds:
Venetian Snares, Matmos, Thrones, MGR, I Am Spoonbender, Wildildlife, David Scott Stone (Melvins), Blevin Blectum, Winters In Osaka, Leslie Keffer, Microwaves, Sword Heaven, To Live And Shave In L.A., Wobbly, The White Mice, Skozey Fetish, Brad Laner, Rubber O Cement, Bobb Bruno, Cock ESP, Panicsville, Otto Von Schirach, Crank Sturgeon, Deletist, Drums Like Machineguns, Valerio Cosi, Eats Tapes, Evil Moisture, No Doctors, Two Dead Sluts, One Good Fuck, Leslie Keffer and about a million more....
The nature of 215+ 13-second compositions strung together non-stop without room to take a breath pretty much ensures that this cd will be catalogued in most libraries and music shops in the experimental/noise section. Unfortunate really, since while it definitely has its share of earwax-dislodging aggressive assaults, it also has quite a few shining moments of artful sound design and subtle songcraft that defy genre-fication. And somehow, the bits of noise, and the bits of prettier sound, do balance out, almost seeming to play off one another, or at the very least, slowly seep into each other, helping form what is ultimately a constantly shifting somewhat schizophrenic sonic whole. It's an overwhelming and intense listening experience, another one for the iron eared, or at least the adventure eared, and while we just listened to the whole thing all the way through, for the third or fourth time, for some folks it might work better in smaller chunks, because admittedly for some tracks the 13 seconds seems like an eternity, while others fly by all too swiftly. That said, we just started it over again from the top...
MPEG Stream: "1 (Different Dentist / Beta CLoud / To Live And SHave In L.A.)"
MPEG Stream: "2 (Migrations In Rust / Deep Fried Radio Static / Rubber O Cement)"
MPEG Stream: "3 (I Am Spoonbender / I Think I Did Something Wrong)"
MPEG Stream: "4 (Neon Leather Drip / Big Epoch Feat. Bizzart)"
MPEG Stream: "5 (Cheap Machines / Animal Hospital / Beneya Vs. Clark Nova)"

V/A A Cleansing Ascension (Elevator Bath) cd 14.98
They don't make compilations like they used to; but this one from Elevator Bath is certainly an exception to that rule. A good percentage of the currently released compilations tend towards collections of impossible to find rarities (at best) or (at worst) a random assortment of tracks which never quite made it onto proper albums, so why not lump them all together on some disposable compilation with the good tracks just ending up on the iPod anyway. But there was a day when labels took the job of curating compilations very seriously with the artists rising to the task as well. One can think back to the Perspectives And Distortion comp from Cherry Red back in 1981, or the eccentric electronics on The Elephant Table Music Album, or those weird comps on United Dairies, or even 4AD's Lonely Is An Eyesore. Dare it be said that A Cleansing Ascension might be one of the few modern comps that even comes close to those seminal compilations of post-punk atmospherics and obscure experimentation.
Elevator Bath was birthed in Texas, although relocated to Seattle in 2004; and this compilation marks the 10th anniversary of the label, which has quietly and consistently released an excellent body of deep drone construction, damaged plunderphonic collage, sound ecological research, and even a few things which are down right sublime. The heavy hitters on A Cleansing Ascension are LAFMS ring-leader Tom Recchion and the globe trotting field recordist Francisco Lopez (operating here in a more musique concrete guise), with plenty of Aquarius favorites as well: Keith Berry, Adam Pacione, Matt Shoemaker, and aQ's own Jim Haynes. Shoemaker opens the album with a synthetic soaking of midrange din and drone immaculated sculpted in a blur of mottled hiss. Pacione, Keith Berry, and label boss Colin Andrew Sheffield conjure the more lush moments of Eno's Music For Airports with remarkable flare for restraint through their smoke & mirrors. Haynes does his best Organum impersonation with a cranky motor rumbling beneath a hallowed gasp of refined long-form tones. Rick Reed moves from a Delia Derbyshire squiggle into a deep reverberant belllow. The vastly under-published Dale Lloyd generates a thick rumble dappled with bristled electronics and distant Andrew Chalk-ish half melodies. James Eck Rippie turns toward a clank and clamor of found objects scraping across the patina of vinyl surface noise and Phillip Jeck stabs at turntable manipulation. Tom Recchion's maudlin lullaby reconstitutes haunted melodies of ye olde carnival into a beguiling conclusion to the compilation.
While each track is quite solid, the album also flows very well, with somber drones dominating the palette of sound although similar themes and complimentary sounds seem to return after small detours towards the heavy, the oblique, and the desolate. Highly recommended!
MPEG Stream: MATT SHOEMAKER "Waning Ataraxia"
MPEG Stream: JIM HAYNES "Like A Thief In The Night"
MPEG Stream: DALE LLOYD "Our Morphosis"
MPEG Stream: TOM RECCHION "Drift Tube"

V/A Andy Votel's Brazilika (Far Out) cd 17.98
One of our favorite mix makers, DJ Andy Votel. One of the most sparkling genres of music ever, Tropicalia. Can't go wrong with this one! Andy Votel is responsible for such AQ fave discs as Prog Is Not A Four Letter Word, Folk Is Not A Four Letter Word, Vertigo Mixed, Welsh Rare Beat, and the recent Well Hung (that killer comp of Hungarian funky fuzz rock we highlighted last list), among many others. Tropicalia? Well that's the late '60 Brazilian musical movement (with political and artistic dimensions as well) that melded psychedelia with Latin rhythms like bossa nova... chances are most AQ customers have some passing familiarity with it, probably having an Os Mutantes, Gilberto Gil or Caetano Veloso reissue or two or more in your collection.
Of those three biggies, only Mutantes appear hear on Votel's Brazilika mix, which should appeal to both Tropicalia fans and the simply curious as well. And of course Votel digs fairly deep to bring some definite obscurities into play, all from the vaults of the Brazilian Som Livre and RGE record labels. Some names: Os Brazoes, Tim Maia, Novos Baianos, Sidney Miller, Trio Soneca, Azimuth... Those familiar with his penchant for heavy, "hairy funk" on his previous mixes won't be surprised that this rocks fairly hard (and also jazzily), full of organ jamming and wah wah fuzz guitar, giving less of a look in to the breezier, more delicate and folky aspects of the Tropicalia sound. So it's not exactly a primer, but if you can untangle which part of each track is by what artist (Votel mashing several into each cut), it should whet your appetite and give you some clues for further reissue exploration. And be a surefire hit at your next party, of course.
MPEG Stream: NOVOS BAIANOS/TIM MAIA/TRIO SONECA "Baby Consuelo/Flores Beles/Funga Funga"
MPEG Stream: AZIMUTH "1974 / Periscopio"

V/A Des Jeunes Gens Modernes (Naive) 2cd 27.00
Just a month or so ago we listed the vinyl version of fantastic collection. Most of us picked it up, and we're probably going to do the same with this expanded double cd version as well. Afterall, the lp (already now gone and out of print, boo hoo) was great, but the vibrant and prolific scene that it showcases can hardly be summed up in just one disc! If you have the vinyl, the good news is that you have the vinyl, which, well, totally rules. The bad news is that the extra tracks on here are even better, and now you're going to want this too! End Data's "Jungle Soho," MKB Fraction Provisoire's "Fights in Technonights," and Martin Dupont's "Just Because" alone can sell this compilation. Ahhh! Truth be told, this is probably - if not definitely - the absolute best grouping of late '70s/early '80s French post-punk, cold-wave, new-wave, whatever we've ever heard. So, if you have even a passing interest in this type of music, welcome home. Here's what we said about the vinyl version:
If you've been keeping up with the fairly recent wave of late '70s, early '80s French post-punk and new wave experimentation, then you're definitely going to need this. Des Jeunes Gens Modernes - Modern Young People - oscillates between the pop electronics of Ruth and the angular guitar stabs of Metal Urbain. Officially, the compilation is in conjunction with a show at the Agnes B gallery in Paris, but for those of us too far to just stop by, this is the next best thing. Also, we've got to admit, college was a long time ago, and our French is pretty rusty. So, attempting to decipher the fold-up insert was a bit of a challenge, and instead of potentially embarrassing ourselves we'll just tell you that it's there. In addition to the bands mentioned above, there are some other rare favorites on here. Guerre Froide, Lizzy Mercier Descloux, and Charles de Goal all make appearances. You may remember Guerre Froide's "Demain Berlin" from the Flexi-Pop series, as well as the band Visible. If nothing else, let it be known: GF's absolutely anthemic and completely amazing "Ersatz" is finally available again! That alone makes this worth buying! For sure one of the better, if not the best, of the whole early '80s French electronic/punk revival compilations. If you've got any interest at all in that scene then you need to pick this up pronto, because there's no telling when half of these tracks will be available again!
MPEG Stream: END OF DATA " Jungle Soho"
MPEG Stream: MARTIN DUPONT " Just Because"

V/A Give Me Love: Songs Of The Brokenhearted - Baghdad, 1925-1929 (Honest Jons) cd 17.98
The Honest Jons label has lately been giving Dust to Digital a real run for its money, in terms of releasing those far flung old world global sounds that we have not been able to get enough of. After devouring the Victrola Favorites and Black Mirror comps on D2D, the gorgeous I Don't Feel At Home In This World Anymore LP on Mississippi records and Honest Jon's last foray into dislocation, Living is Hard, we couldn't help but get excited over Honest Jon's latest release of early twentieth century recordings from Baghdad. Pulled from the same EMI archives as the Living is Hard compilation, Give Me Love: The Brokenhearted of Baghdad gives a keenly focused view of the ethnically diverse musical output of Iraq when it was still a British mandated territory. Arab folk singers backed by Jewish dance bands, solo Kurdish violin excursions, nightclub bands with female singers who doubled as prostitutes, circular zorna improvisations on par with the most out-jazz out there. So unearthly,beautiful and emotionally urgent. For obvious reasons, this release couldn't be more timely, as continued forced occupancy in the region has created such intense division and strife that it's a wonder we'll see such beauty again. Heartbreaking!
MPEG Stream: SAYED ABBOOD "Min Fergetak Lilyom"
MPEG Stream: SIDDIQA EL MULLAYA "Wehak El Kab Walkossein"
MPEG Stream: BADRIA ANWAR "Lega Taresh Habibi"

V/A Give Me Love: Songs Of The Brokenhearted - Baghdad, 1925-1929 (Honest Jons) 2lp 22.00
The Honest Jons label has lately been giving Dust to Digital a real run for its money, in terms of releasing those far flung old world global sounds that we have not been able to get enough of. After devouring the Victrola Favorites and Black Mirror comps on D2D, the gorgeous I Don't Feel At Home In This World Anymore LP on Mississippi records and Honest Jon's last foray into dislocation, Living is Hard, we couldn't help but get excited over Honest Jon's latest release of early twentieth century recordings from Baghdad. Pulled from the same EMI archives as the Living is Hard compilation, Give Me Love: The Brokenhearted of Baghdad gives a keenly focused view of the ethnically diverse musical output of Iraq when it was still a British mandated territory. Arab folk singers backed by Jewish dance bands, solo Kurdish violin excursions, nightclub bands with female singers who doubled as prostitutes, circular zorna improvisations on par with the most out-jazz out there. So unearthly,beautiful and emotionally urgent. For obvious reasons, this release couldn't be more timely, as continued forced occupancy in the region has created such intense division and strife that it's a wonder we'll see such beauty again. Heartbreaking!
MPEG Stream: SAYED ABBOOD "Min Fergetak Lilyom"
MPEG Stream: SIDDIQA EL MULLAYA "Wehak El Kab Walkossein"
MPEG Stream: BADRIA ANWAR "Lega Taresh Habibi"

V/A New Orleans Funk Vol. 2 (Soul Jazz) cd 21.00
Soul Jazz takes their second dip into the deep vaults of funk gems drawn from New Orleans in the late 60's to early 70's. It's a non stop funkified throwdown filled with songs by so many of the city's brightest stars of that era: Eddie Bo, Jimmy Hicks, Allen Toussaint, Lee Dorsey, The Meters, Betty Harris, etc. The collection does a good job of mixing in some of the more well known songs from this era in New Orleans (you will probably recognize a handful of these cuts) with a big chunk of tunes new to our ears (and probably yours) but just as smokin' if not even more so. If you like your soul and funk uptempo and full of punch and fire then this collection is for you. Another reminder of the powerful spirit that helped establish New Orleans as such an important place for music with true soul to flourish.
MPEG Stream: RAY J "Right Place, Wrong Time"
MPEG Stream: BONNIE & SHEILA "You Keep Me Hangin' On"
MPEG Stream: JIMMY HICKS "I'm Mr Big Stuff"

V/A New Orleans Funk Vol. 2 (Soul Jazz) 3lp 27.00
Soul Jazz takes their second dip into the deep vaults of funk gems drawn from New Orleans in the late 60's to early 70's. It's a non stop funkified throwdown filled with songs by so many of the city's brightest stars of that era: Eddie Bo, Jimmy Hicks, Allen Toussaint, Lee Dorsey, The Meters, Betty Harris, etc. The collection does a good job of mixing in some of the more well known songs from this era in New Orleans (you will probably recognize a handful of these cuts) with a big chunk of tunes new to our ears (and probably yours) but just as smokin' if not even more so. If you like your soul and funk uptempo and full of punch and fire then this collection is for you. Another reminder of the powerful spirit that helped establish New Orleans as such an important place for music with true soul to flourish.
MPEG Stream: RAY J "Right Place, Wrong Time"
MPEG Stream: BONNIE & SHEILA "You Keep Me Hangin' On"
MPEG Stream: JIMMY HICKS "I'm Mr Big Stuff"

WOLVES IN THE THRONE ROOM Two Hunters (Southern Lord) lp 17.98
Now available on vinyl. Super limited of course (2000 copies). Crazy deluxe gatefold with a gold metallic ink WITTR logo on the cover. AND BONUS MATERIAL ONLY ON THE VINYL!!!! So the Wolves obsessed might just have to buy it all over again:
Southern Lord snagged 'em. Good call, since Olympia, WA's Wolves In The Throne Room are one of the absolute best things that US Black Metal has got going right now. Sure there's lots of awesome, oxymoronically one-man "hordes" (Leviathan, Xasthur, Draugar) but no offense meant, this is an actual band, one that you can go see live, y'know? And they slay. Firmly (and intentionally and worshipfully) in the tradition of the now legendary San Francisco epic black metal act Weakling, WITTR build the same sort of trance-inducing, technically tight, extended compositions (here, up to over 18 minutes in length) of unending grimness and sheer majestic, melancholic beauty.
Post-rock dynamics, classical-sounding female vocals, New Agey synth drone, acoustic intros, and other more-prog-than-metal elements are utilized with ease, while the music, in all its ambient-stormclouds-pregnant-with-ominous-doom glory, is such that would waft and wail through the tall trees of the dark forest of black metal myth exclusively... a forest that these dwellers of the Pacific Northwest can easily conjure, living amidst dark primeval woods for real.
AQ customers of the black metal persuasion won't need much persuading, WITTR's previous record Diadem Of 12 Stars is one of our biggest black metal sellers already and this new album has been eagerly anticipated. And it's good. As if there was much doubt of that.
Another stellar offering showing that these Wolves are in the Throne Room not as interlopers, but by divine (or, rather, diabolical) right of rule. Along with Bay Area bands like Ludicra, Leviathan, Asunder, and Hammers Of Misfortune, WITTR are leading the pack in putting the West Coast on the map as the home of avant-metal artistry, Nordically blackened or otherwise opposed to the norm.
MPEG Stream: "Cleansing"
MPEG Stream: "I Will Lay Down My Bones Among The Rocks And Roots"

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731 Live On PBS 106.7 FM 06.12.2006 (Testsubject) cd 4.98
A seriously corrosive chunk of ultra blown out frenzied power violence from down under. Or as the sleeve proclaims over and over around the border "raw-grind-violence". And that's just what this is, violent, raw, and grind. Recorded live on the radio, 7 tracks, 12 minutes, of buzzing blown out riffage, churning chugging guitars, screeched shrieks, bellowed howls, furious octopoidal drumming, relentless blastbeats, pounding doomy plod, all wound up into a face melting explosion of power violence fury.
Fans of any of the recent crop of power violence warriors will definitely dig: Iron Lung, Endless Blockade, and it's always good to know the spirit of Crossed Out, MITB, Drop Dead, No Comment still burns bright worldwide.
Super limited cd-r, pretty sure it's out of print already, we only have a handful of copies...
MPEG Stream: "A Most Deafening Silence"
MPEG Stream: "Record Collector Dissctor"

ACID MOTHER'S TEMPLE & THE COSMIC INFERNO Pink Lady Lemonade - You're From Outer Space (Riot Season) cd 16.98
What if we'd never reviewed an Acid Mothers Temple release before? Let's pretend... the first thing we'd say would be, what's with the matching Hawaiian shirts the band sports in the photo on this cd's back cover?? Then we'd go, like, check it out, they're this weird hippy rock group from Japan, maybe more like a cult than a band, with this hairy bearded crazy guitar player named Kawabata Makoto, the band's called Acid Mothers Temple & The Cosmic Inferno and they obviously love krautrock and Hawkwind and other druggy '70s psych stuff. They have this new album with the weird title of Pink Lady Lemonade - You're From Outer Space, and boy howdy is the music trippy, even trippier than the crazy colorful cover art collage. Recommended if that's your scene. We can't wait to hear more, let's hope they follow this one up with another album soon, if that's possible after expending all this cosmic pink lady energy!
But of course AMT have about 1,000,000 previous releases, you know 'em and you love 'em, so we probably should add just a little more info (or maybe actually DON'T need to add any more info?). FYI, as you might guess from its title, this disc features another revamped, reinterpretation of the AMT concert fave "Pink Lady Lemonade". We count different versions of that epic track on at least nine other AMT cds/dvds that we've previously listed!! So obviously it's something special in Acidmothersland. Making it extra special here, perhaps, is the presence of a brand new drummer/vocalist recruited from Japanese all-girl groop Afrirampo, the "cosmic shaman" known as Pikachu. Must be her offering up all the haunting vocals with the mildly Yoko-ish waver, that soar through the gentle kosmiche bliss of this album's lengthy space-outs, "songs" which eventually tend to swirl into something a little more intense and chaotic and guitary. "Pink Lady" is split into two parts, 24 and 11 minutes, bookending between them this disc's two other tracks, "Message From Outer Space" and "Take Me To The Universe". And oh yeah, what IS with the matching Hawaiian shirts?? Have AMT gone yacht rock? Well you could sip a margarita to this, if it was appropriately dosed.
MPEG Stream: "Message From Outer Space"
MPEG Stream: "Take Me To The Universe"

ALICE COOPER Billion Dollar Babies (Warner) cd 10.98
Yup, it's another vintage Alice Cooper album, and it's worth grabbing for the title track alone. After the recent reissues (Pretties For You and Easy Action) spurred her to revisit Billion Dollar Babies, the song has been stuck in Cup's head for weeks! So sinister and bizarre... kinda makes you feel as though you've been crawlin' the back alleys of Detroit or crashin' out in a decadent Laurel Canyon mansion. So dirty. So good. Amazing rock musicianship and composition. Gnarly grungy bass and guitar riffs. Multiple awesomely strange vocal leads. An unexpectedly delicate piano interlude ("Mary Ann"). Social programming methods for patriots ("Generation Landslide"). Plenty of creepy cold sweat moments (the epic sprawling "I Love The Dead"). Although this album may be most remembered for the anthemic pop rock of "No More Mr. Nice Guy" - itself quite a snapshot of the mysterious 'fame' underbelly - the album is truly a vivid document of the burgeoning Detroit / LA glam / shock rock scene circa '72-'73... most importantly, Alice Cooper as a strictly kick ass band, not a celebrity!
MPEG Stream: "Billion Dollar Babies"
MPEG Stream: "Generation Landslide"
MPEG Stream: "I Love The Dead"

ANAAL NATHRAKH Hell Is Empty, And All The Devils Are Here (Feto) lp 19.98
Another chunk of vile blackness available as a chunk of not so vile blackness (i.e. vinyl!)...
Wow. Does the dictionary definition of brutal have the words "anaal nathrakh" in it? Well it should. We've loved this brutal British band for years, from back in 2001 when their devastating debut The Codex Necro blew us away with its ultra-extreme black metal, uh, necro-ness. Well, what's amazing is that Anaal Nathrakh (their name comes from one of Merlin's incantations in the movie Excalibur, btw, if you didn't know) has evolved, from raw black metal to a more melodic hybrid of black and death metal, with some crusty punk grind etc. thrown in, maybe having to do with their inclusion of members of Napalm Death for live gigging and some studio sessions too. And yet, they've stayed about as brutal as can be, even with the clean vocals (i.e. actual singing, and not just cookie monster grunts or shrieking vokills) that pop up on some tracks, amidst the other sorts.
The blasting drums are insane, the keyboards deranged, and the guitars killer -- it's quite a piece of work they have here for those into both the necro, and the slightly more nuanced. Frenzied yet technical. Maniacal yet melodic... you get the idea. If you liked Codex's follow-up Domine Non Es Dignus, or the one after that Eschaton (which we bizarrely failed to review, though the black metal fans here all own it), then get set for another treat. And if you're a black metal dissing death metaller (if that breed still exists at this late date), well maybe this album will be the one to win you over...
MPEG Stream: "Shatter The Empyrean"
MPEG Stream: "Genetic Noose"

APSE Spirit (ATP) cd 15.98
Now reissued on UK label All Tomorrow's Parties with a bonus track!
The original release of this album last year arrived quietly enough. The band's name, the album title and stark black slipcover offered little fanfare of what sounds might lurk within, nor where the band originated (psst, it's Connecticut!). For that matter, its original record label the Madrid based Acuarela has such an eclectic array of artists on its roster that we weren't allowed any tell-tale hints from peeking at their catalog. So, we tentatively slipped the jewelcase out of its slipcover. It revealed a dreary, fog blurred outdoor photo with leafless tree branches vanishing into the mist and damp mossy banks sinking into the chilly river's edge. Although that image could easily reside on any number of Norwegian Black Metal album covers, it totally captures the overriding mood of the non-BM Spirit, leaning towards the dark, the mysterious, the slightly sinister. Apse's stormy post rock soundscapes churn up the gloom with a goth industrial edge. Hushed high male vocals lend a ghostly quality to the already haunted atmosphere. In fact, this may draw comparisons to Sigur Ros, but its heart is far more heavy and unsettling.
MPEG Stream: "Shade Of The Moor"
MPEG Stream: "The Crowned"

BLOODY PANDA Pheromone ( Level Plane) lp 14.98
NOW ON VINYL! This panda is bloody, dead, and gone...welcome to the funeral. Bloody Panda's debut full length, Pheromone, is a treat of funerary DOOM to be sure, but we get a lot of super rad doom don't we? It seems like every list there's another sky-melting, sun exploding super heavy band to flood your earholes (thankfully!). Among the heap of doomy metal Bloody Panda certainly stand out. First of all, the most obvious unique quality is the wailing, crooning vocals of front woman Yoshiko Ohara. Her beautifully chromatic singing adds a sort of otherworldly haunted vibe to BP's punishing sound. So weird and sick and ghostly. Also the band is just ruling! The musicianship on this is outrageous. Check out the drumming on the opening "Untitled" track, the pattern at the end (you'll know). That's some bugged out shit right there. There's organ, and guitars and basses tuned to the sublevels of hell, and really interesting rhythmic structures scattered throughout the entire record. There's also a ton of subliminal noise elements beneath much of the music. Basically if you're a fan of less-traditional, fucked up weird ass doom metal, this record is for you. Enough twists and turns to make it stand out among the hordes of heavy. Recommended.
MPEG Stream: "Coma "
MPEG Stream: "Fever"

CALABI-YAU Compactified (Faria) cd 18.98
This Russian dark-ambient duo have named themselves after two mathematicians (Eugenio Calabi and Shing-Tung Yau) who specialized in differential geometry and collaborated on defining a hypertechnical thesis which was later expanded through string theory. It's unclear whether these electronic cosmonauts have a background in high-level mathematics, although they do give a rudimentary explanation (in English) as to the metaphors that they are seeking through their music towards their namesake's research: as string theory describes poly-dimensional spacetime as coiled up and unobservable amidst those dimensions which are able to be seen. A clinical distance is duly noted in the sounds grafted onto this CD, as billowing clouds of synthetic mist and slow-motion shadow streaked across the refined surface of this album. But at the same time, Compactified isn't a completely detached piece of inhuman computer music trapped by the restraints of pure mimicry. There is a sense of the sublime which hovers throughout the album, the mystery of what we do not know about our own universe even as science makes great advances as to its origins, and the cosmological beauty which parallels the subatomic and the galactic. At times, Calabi-Yau recalls some of Lustmord's investigations of sound minus the death obsession; at times, Aidan Baker's softly modelled ambience is not far from earshot.
MPEG Stream: "Voie Lactee"
MPEG Stream: "Ocean Heliomorfique"

COH (PAVLOV & COSEY) Coh Plays Cosey (Raster-Norton) cd 17.98
Ivan Pavlov (aka Coh) has been making a minor career of collaborating with the kingpins of Industrial Culture. Jhonn Balance of Coil had appeared on a number of Coh tracks over the years, Peter Christopherson and Pavlov have recently begun a project together called SoiSong, and now there's this joint venture with Cosey Fanny Tutti. We would imagine that a Chris Carter / Coh duet for old synthesizers would make for a kick-ass record; but for Genesis P-Orridge, hmmm. Anyway, the Pavlov / Cosey album began with a dialogue between the two artists, out of which Cosey supplied spoken word tracks for Pavlov to use as the source material for the album. The first few tracks are tentative collages of Cosey's breathy, sexually charged voice cut up into airy constructions that recall some of the sparse digitally treated voice pieces of AGF. By the middle of the record, Cosey & Coh quite literally say "Fuck It," and the hammering electrical streams of post-Moroder arpeggiation, digital distortion, and effortlessly simple sequencing of monophunk meets electro-crash dynamics. These latter tracks are certainly worth the price of admission, but one has to wonder why the earlier tracks don't pack such a punch. Even if they were meant to be moody and dark, those could have been pushed much farther.
MPEG Stream: "Closer"
MPEG Stream: "Near You"
MPEG Stream: "Fuck It"

DARKER MY LOVE 2 (Dangerbird Records) cd 14.98
If you're not scared of labels like Cherry Red, Creation, or Hut, then keep reading. And if you first heard those labels on college radio, then definitely keep reading. Darker My Love is an LA-based 4-piece that channels the energy of bands like The Stone Roses and very early Oasis. Sure, throw in some Supergrass. Absolutely summertime, windows down, driving along the coast, feel good music. The group's arrangements are thoughtful while remaining accessible and breezy. In particular we can't help but notice the vocal melodies, provided by guitarist Tim Presley and bassist Rob Barbatto. Interestingly, both artists are former members of The Fall. Also, drummer Andy Granelli was in both The Nerve Agents and The Distillers. Either way, if '90s pop, early '80s power pop, or any other kind of pop has an appeal, this is your summer record! Recommended.
MPEG Stream: "Pale Sun"
MPEG Stream: "Talking Words"

ETRAN FINATAWA Desert Crossroads (Riverboat) cd 16.98
True desert blues! Originating from the never-ending dunes of the Sahara Desert, Etran Finatawa have been casting quite the entrancing spell on our ears with their second full length. While they do share many similarities with folks from their region like Tinariwen and Toumast they also have their own identity and places of departure. It's mostly their guitar sound and sense of melody that will have many comparing them to Tinariwen (which is an awesome thing in our book!). But we love how there are also moments on the record where their use of stripped down percussion, chanting call and response vocals and odilirou flute are used to perfection to help carve out a sound that is more of their own. And we have to mention how mesmerizing the soulful vocals that fill the record are, something that you almost take for granted as you listen, as it it so perfectly melds with the music. Another gem from the Sahara that will be in our ears and hearts for a long time to come!
MPEG Stream: "Kel Tamasheck"
MPEG Stream: "Naanaaye"

FIERY FURNACES Remember (Thrill Jockey) 2cd 16.98
For those of you that somehow have missed seeing a Fiery Furnaces show or for those of you wishing to relive the magic... The band has defied The Foghat Principle (as immortalized in Yo La Tengo's "Sugarcube" video which starred the fellas from Mr. Show... but we digress!) which proclaims that "your fourth album shall be DOUBLE LIVE!" Instead they held out a few albums longer, and made it their seventh. It's a good thing though, we think, because that means this hefty 51 track compilation features a bunch of songs from their most recent (and arguably their best) album Widow City. Psst, you might even recognize their touring bassist - Sebadoh's awesome Jason Loewenstein! Woo hoo! The band is as deliciously delirious, dark and strange in concert as they are on records, but with the added unpredictability of the live setting their songs of twisted folklore and fairytales seem to unravel at the seams and reweave into themselves and the adjoining tunes into something that's at once oddly familiar yet altogether different. The track names on the back of the digipak add to the disorientation - they're not the actual original song names, but a set of six equally perplexing chapter titles. A vast, wild 'n' wooly, suitably enigmatic listening experience.
MPEG Stream: "Chief Inspector Blancheflower (Live)"
MPEG Stream: "The Wayward Granddaughter (Live)"

FIERY FURNACES Remember (Thrill Jockey) 3lp 24.00
For those of you that somehow have missed seeing a Fiery Furnaces show or for those of you wishing to relive the magic... The band has defied The Foghat Principle (as immortalized in Yo La Tengo's "Sugarcube" video which starred the fellas from Mr. Show... but we digress!) which proclaims that "your fourth album shall be DOUBLE LIVE!" Instead they held out a few albums longer, and made it their seventh. It's a good thing though, we think, because that means this hefty 51 track compilation features a bunch of songs from their most recent (and arguably their best) album Widow City. Psst, you might even recognize their touring bassist - Sebadoh's awesome Jason Loewenstein! Woo hoo! The band is as deliciously delirious, dark and strange in concert as they are on records, but with the added unpredictability of the live setting their songs of twisted folklore and fairytales seem to unravel at the seams and reweave into themselves and the adjoining tunes into something that's at once oddly familiar yet altogether different. The track names on the back of the digipak add to the disorientation - they're not the actual original song names, but a set of six equally perplexing chapter titles. A vast, wild 'n' wooly, suitably enigmatic listening experience.
MPEG Stream: "Chief Inspector Blancheflower (Live)"
MPEG Stream: "The Wayward Granddaughter (Live)"

FINEST DEAREST s/t (DIY Or Die) cd 9.98
Onwards and upwards, Bay Area pop darlings Finest Dearest have returned with their second cd release, and it's filled with some terrific driving tunes! Indeed, since 2005's Pacemaker cdep and even last year's Off Sides 7", it sounds like they've gotten a whole lot darker and edgier, and the shadowier tones are evident right way with the cd packaging's deep hues and stylin' fontography. it's a definite marked contrast with the delicate homespun art of their previous releases, and yes, the music contained within follows suit. Led by Carly Schneider's sweetly biting vocals, the band definitely still recalls the early '90s indie pop dreams of Velocity Girl and Tsunami, but with more of the modern day sheen and wise-beyond-their years complexity of groups such as Tegan & Sara or Rilo Kiley.
MPEG Stream: "Naming Ceremony"
MPEG Stream: "Making A Sound 1"
MPEG Stream: "March Into Flames"

FINN, SIMON Pass The Distance (Mayfair Music) lp 32.00
NOW ON VINYL!!!
Back in 2003 when Current 93 played in San Francisco, David Tibet came into Aquarius, having previously arranged to use Andee's practice space in preparation for C93's gigs. Inevitably, I (Jim) got to talking with Tibet about music and so forth. In the course of our conversation, Tibet happened to mention that if I liked the demented folk wanderings of Comus, then I should attempt to track down a copy of Simon Finn's Pass The Distance. Almost all of C93's references to the esoterica of folk music have been right-on (e.g. Shirley Collins, Incredible String Band, Comus, etc.), so when Tibet utters praise for something, it's worth listening in. The quest to find this record did not look good, considering that there were legal problems surrounding this record back in 1970 that resulted in very poor distribution of the original vinyl. Even if I did manage to come across it, would I really want to cough up a couple hundred bucks for something I've never heard?
Fortunately, Tibet solved that problem for me by re-issuing this exceptional piece of oblique folk through his Durtro imprint. Anyone who has been enamored of the current string of avant-folk wanderings of Devendra Banhart, Jewelled Antler, Jandek, and Fursaxa would be advised not to miss this record. Yeah, it's as good as Tibet made it out to be. It appears that Finn was an individual who was probably swept up in the Jesus Movement of the late '60s which took an antinomian, free-spirited approach to Christian scripture. The lyrics to Pass The Distance, Finn's first and only record, are splattered with loosely Christian imagery and apocalyptic doomspeak, which are the obvious appeals for Tibet and his polyglot of Christian gnosticism. His songwriting is a primitive concoction of psychedelic free strum and Wicker Man-ish pagan folk; but the delivery is Finn's strength. On certain songs, Finn wanders through his lyrics with a bizarre lack of melody as if he's enjoying a handful of mushrooms at the time; yet at others, he bares his teeth with an incendiary emotional ferocity which uncannily resembles Devendra Banhart's possessed yelps on his first album. Altogether, Pass The Distance emerges as a true gem and easily ranks as one of the best reissues of 2004, the year we first heard it, but still sounds just as good, 4 years later.
MPEG Stream: "Very Close Friend"
MPEG Stream: "Jerusalem"
MPEG Stream: "Big White Car"

FLEET FOXES s/t (Sub Pop) lp 15.98
And also now in on vinyl too.... We weren't all that into Fleet Foxes when we heard this record the first time. Not sure if it was us reacting to the usual way-too-much-hype that seems to surround so many debut releases these days. Or if the music just didn't move us. So we had sort of written them off as another 'whatever' band, decent enough to carry, but not special enough for us to worry about reviewing. But then we saw them perform live, and something changed. It was a revelation. It's difficult to pinpoint what it was exactly, but they sounded amazing, lush, timeless, sort of rocking, the vocals impossibly beautiful, harmonies to die for. It might have been hearing them LOUD, it could have been the fact that they were performing in a sun dappled glade, surrounded by tress and green grassy hills, probably a little of both. Whatever it was, it opened our ears, and the beauty of Fleet Foxes was revealed to us. A lush seventies Laurel Canyon sort of countryish pop folk. Crosby, Stills and Nash are the obvious reference, maybe the Eagles too. But also mix in some Beach Boys, some Big Star, the pop element is undeniable, the sound fuzzy and sun dappled, the percussion orchestral, the arrangements grand and epic, but somehow, it all sounds so intimate and personal. Sunshiney, melancholy, dreamy, intricate steel string guitars, shuffling drums, hand claps, all just a background for the lovely vocals, a high crystal clear croon, that easily slips into a falsetto, before swooping back down again, and the harmonies, oh the harmonies, absolutely divine. So much so we sometimes find ourselves just waiting for the parts where the band pulls back leaving just the vocals, perhaps an acoustic guitar, those are the moments that make this band so fantastic. Thus returning to the record, we have a whole different take. All of the above describes the sounds within, pretty perfectly, not sure why it took seeing them play live, but for whatever reason, we're glad we did. Otherwise we would have missed out on Fleet Foxes' lush loveliness. Just listen to "White WInter Hymnal" and if you're not sold, well then, figure out a way to get these guys to set up and play for you in some field or forest, it will be well worth it.
MPEG Stream: "White Winter Hymnal"
MPEG Stream: "Sun It Rises"

GARSON, MORT The Wozard Of Iz: An Electronic Odyssey (El / Cherry Red) cd 17.98
Mort Garson is probably best know for playing on records by folks like the Sandpipers, Glen Campbell, Mel Torme, Doris Day and others, which is to say, probably not very well known at all. He even composed and played the music accompanying a short film of past space missions to fill in the spaces when not much was going on during the 1969 moon landing.
He was however, one of the earliest proponents of the Moog synthesizer, and for the crate diggers out there is probably most famous for two records, a disc of Moog music based on the signs of the zodiac, and a record credited to Lucifer, called Black Mass, another freaked out Moog holy grail. But until those get reissued we'll have to make do with this tripped out drug addled re-envisioning of The Wizard Of Oz. And tripped out and drug addled it is!
Narrated with some freaky beat poetry (a voice uncannily like Jello Biafra at times), the story peppered with all manner of sound effects, blown out fuzz, warbly melodies, fuzzy static percussion, blurpy basslines, swirling space-y FX, and then there are the songs. Almost Gary Numan-ish sounding synths, laced with operatic female vocals, growling menacing monster like male vocals, some more abstract beat poetry, all woven into a head spinning retro exotica mishmash.
Some of the tracks are definitely reminiscent of Perry and Kingsley, some of the tracks slip into almost groovy porno style seventies psych jams, some are manic, with the Moog spitting out super percussive sputter and hiss, others are dreamy and trippy and almost Beatles-esque (if the Beatles only played Moogs), and some tracks, like our favorite on the disc, "Killing Of The Witch" are downright freaky and sound like primitive lo-fi Goblin jams.
The narration is really weird and funny and goofy but can be incredibly distracting, and it's probably the one thing that might limit the re-playability of this disc, strip away the random dialogue, and this would have been a pretty awesome fucked up synth freakout, but since the narration is here to stay, it ends up being exactly what it was meant to be, a truly over the top exotica oddity, that might not get played all the time, but it's exactly the sort of record that will probably end up on plenty of mixtapes, and will get pulled out at parties, and will most definitely feature heavily in wild whatthefuck DJ sets.
MPEG Stream: "Prologue"
MPEG Stream: "Leave The Driving To Us"
MPEG Stream: "Upset Strip"

HOLD STEADY Stay Positive (Vagrant Records) 2lp 28.00
NOW ON VINYL!
The Hold Steady follow up their widely embraced third album Boys And Girls Of America with a mountain of more burly college radio ready rock that harkens back to the glory days of Husker Du, The Clash and The Replacements. Y'know what we're talkin' about - crunchin' electric guitars strummed by mannish fists, vocals sung through husky workin' man beards, and gang-style backing vocals probably contributed by everyone who was in the building at the time. However, The Hold Steady show their softer side getting a little more fancy pants with the addition of horns and harpsichord among other pleasantries. In fact, we'd might even liken them to the bleak weathered Scottish romantics The Arab Strap. All of these are of course good things in our books!
MPEG Stream: "Sequestered In Memphis"
MPEG Stream: "Lord, I'm Discouraged"

JANDEK Ready For The House (Corwood / Jackpot) lp 22.00
AVAILABLE ON LP!!! Well, it was an lp once before, long long ago, but Jandek's been cd only for years now...
Here's our review of the cd version when we listed it way back when...
The album that started it all was actually not released as Jandek but quite curiously as The Units back in 1978, although there is no denying that Ready For This House is the work of our beloved Texan mystery man Jandek. With Corwood Industry's CD reissue campaign which began several years back, Jandek claimed his rightful authorship over this record. From this album and onward past 34+ records, Jandek has crafted one of the most unique, incredibly personal bodies of music of all time. Within this huge catalog, Jandek (whose real name might be Sterling Smith, then again it might not) is painfully alone, even on those few records with enigmatic duets with female singers or possible collaborations with "John" the drummer. Where the archetypes of blues can accurately describe the sobering truths about hard drinkin' and hard livin', Jandek delves way deeper into the emotional pit of raw abjection and existential torment. His deformed post-blues of incredulously shrill notes, meandering monochords, and lithium saturated vocalizations are unbearable to the average listener. Yet, when given half a chance by the adventurous among you, the enigma that is Jandek will inevitably become revelatory.
The mere fact that this was the first record does not in any way indicate that Jandek (or The Units, if you must) was fishing around for a sound. In retrospect, the Jandek signature was fully developed from day one, and Ready For This House still stands as one of the greatest in the catalogue.
For the majority of Ready For The House, Jandek meanders through a single, slightly offkey, acoustic guitar chord with a half-strum / half-plucked style that emphasizes loud / quiet dynamics and a rhythmic laziness as the perfect accompaniment for his obtuse lyrics and delivery (i.e. 'Inside myself there is no question / Just the jangle of our brain / Three times four is twenty-seven / Only fragments still remain' from "First You Think Your Fortune's Lovely"). This musical signature dominated his first seven or eight records up through the mid-'80s. It should also be noted that Jandek also debuted one of the few actual tunes that he repeated on a number of later records in "European Jewel." This track broke from that single monochord with a comparatively musical descending set of notes heralding Jandek's warped vision of the blues.
If you are new to Jandek or are looking to get a hold of one of the better albums, Ready For This House is marvelous place to start. Very highly recommended.
MPEG Stream: "Naked In The Afternoon"
MPEG Stream: "European Jewel (Incomplete)"

JUNIOR PANTHERS Sirens (self-released) cd 14.98
Sirens is a new limited edition cd from this fine Bay Area foursome! Our first encounter with Junior Panthers was back in 2002... no, not really all that long ago! Their band name was fitting, collegiate and energetic. Their self-titled debut album was a bright sunbeam of buoyant pop. The next we heard from them was their Derelicts cdep in 2006, and it seemed they were still destined for jangly indie pop darling status. Now just two years later, they're a whole 'nother band... still very good, but very different. Think: a lot less bounce, and more beefed up rock. Ultra drenched in reverby guitar effects, Sirens is far more shoegazerly and spacily psychedelic than past recordings seemingly inspired by equal parts My Bloody Valentine, Ride, Jesus & Mary Chain, Swervedriver and Polvo. Cool.
MPEG Stream: "Another Side"
MPEG Stream: "Solar Attraction"

KISS Destroyer (Mercury / Casablanca) cd 10.98
Those of you who have been reading our New Arrivals list carefully for the past month know that I (Allan) have embarked upon a quixotic little project, reviewing one old KISS album per list. Why? Dunno. I guess 'cause Kiss rooooooooool. So, so far I've done write ups on two of the more kwestionable Kiss platters of the make up era, the disco inflected (infested?) Dynasty (1979) and the Styx-ish concept album Music From The Elder (1980). Go back and read about 'em if you didn't, we'd be happy to sell a few more of those...any of those. This time 'round, however, I thought it best to feature a maybe more acclaimed, essential Kiss album. I've chosen... Destroyer! From the Bicentennial year of 1976, their fourth studio album, coming after in-concert classic Alive!, Destroyer is one of the biggest Kiss successes ever. In part 'cause of drummer Peter Criss' surprise hit ballad, "Beth". But you're not gonna buy this for "Beth" (probably). You're gonna get it for the heavier fare here, such classics as "Detroit Rock City", remarkably Sabbathy in the riff dep't, and "God Of Thunder", a song Paul wrote for Gene for obvious reasons, of course this album's most heavy metal moment. Catchy, campy party starters like "King Of The Nighttime World", "Shout It Out Loud", "Do You Love Me?" (cowritten with Kim Fowley) are all over the place here too. Along with much studio embellishment both within and between songs, album opener "Detroit Rock City" getting a sound collage intro new to you if you've only heard it on the radio before.
Basically, if someone were to ask us what Kiss sounds like, we'd wouldn't hesitate to reach for Destroyer. The glammy, cartoony '70s kitsch Kiss phenomenon was about as full in effect here as anyplace else. Just check out the larger than life, band portrait on the cover. Wouldn't you want that on your lunchbox? And elementary schoolkids' older siblings could appreciate that Kiss was ready to rock hard for respect, capable of competing with the likes of Grand Funk sure enough but also doing battle in the arenas with some of the more metal acts of the era. So, Destroyer: hit ballad, hit rockers, good times all around, what more do you want? And well, heck, if we have to tell you too much about THIS album, maybe Kiss just isn't for you. C'mon nostalgia, do your thing...
MPEG Stream: "God Of Thunder"
MPEG Stream: "Sweet Pain"

KRISIUN Southern Storm (Century Media) cd 13.98
Maybe you remember the good old days. Obituary's Slowly We Rot, Morbid Angel's Blessed Are The Sick, and - of course - Sepultura's Beneath The Remains. THOSE good old days. The days when metalheads could look each other in the face and say things like, "Dude, Scott Burns fucking rules," and it would mean something. Maybe even one tattooed tear would drop. Earthdogs worldwide would only consider purchasing longsleeve versions of their favorite band's shirts. When the only guy in the band allowed to have short hair was the drummer. Guitar solos were mandatory. Well, Brazil's Krisiun have managed to continually exist within that realm. It seems that for them the only difference between then and now is heightened production value. Their music remains heavy, tight, and fast. You're getting zero corpsepaint, no buzzing guitars, and absolutely no art-school-esque Banks Violette collaborations. Metal dudes weren't wearing makeup and crying about how they hate people, because they were too busy trying to kick ass. Death metal, no bullshit necessary. We're not even sure if they know that black metal has taken the spotlight in "extreme metal" for like, oh, almost 15 years now. Make sure to bang your head in a circular motion, even while listening to their cover of fellow Brazilians Sepultura's "Refuse/Resist."
MPEG Stream: "Slaying Steel"
MPEG Stream: "Origin of Terror"

LAMP OF THE UNIVERSE Arc Of Ascent (Astral Projection) cd-r 12.98
Another backroom discovery, this time, a super limited (only 100 copies, and now almost for sure out of print) cd-r from New Zealand space raga outfit Lamp Of The Universe. Each one of these packaged in a gorgeous swirled hand painted sleeve, with a printed insert. Two long songs, and this is LOTU at their most drone out, way more raga than space rock, longform drones, extended tones, shimmering buzz stretched out into minutes long melodies, bits of percussive shimmer surface here and there, but for the most part this is all about the mighty DRONE. The opening track introduces some high end snake charmer style horns, and some buried hand drums, but those really only add to the undulating layered drone.
The second, slightly shorter track (22 minutes) is a slowly shifting thick tangle of layered tones, wound into one huge slithering reverberating drone, deep and resonant, thick and dark and shimmery, plenty of buzz and fuzz and whir, intoxicatingly mesmeric, a drone so dense and intense it nearly sucks the air out of the room when it finally ends.
LIMITED TO 100 COPIES. Each hand numbered, we have the last copies ever, so please don't be disappointed if these disappear quick...
MPEG Stream: "Levitation Orchestra"

LINDSTROM Where You Go I Go Too (Smalltown Supersound) cd 16.98
It would be difficult to say that Lindstrom has finally come into his own, but it's really not his fault. Given the retro-modern angle of his entire project, it's not really even a good or bad thing. The sounds, the composition, the melodic structures, they're all questionably '80s. Not '80s like Giorgio Moroder or Daniele Baldelli - as most commonly referenced, but more like a blend of Jan Hammer, Rick Astley, and, like, Paul Lekakis? Sure, a little John Carpenter even. If you can overlook all the kitsch, the bizarre nostalgia for music that may or may not have really been necessary, then Lindstrom is your guy. This particular release shows him both more minimal and more maximal, restrained and indulgent. Each of the three tracks unfold slowly, releasing one arpeggiation after another, deftly resting upon various analog drum sounds and sampled percussive devices. The production is great as usual, and no doubt the guy must have an impressive collection of vintage synths, etc. So far as songwriting, it's suspiciously absent. As with the majority of his releases, the focus is on process, development, and a definite amount of abandon as a listener. Just sitting back and seeing where he wants to take you, which is more often than not just some '80s soundtrack. Sure, "I Feel Space" was a great track, and undoubtedly helped to spark the fairly recent explosion of space disco and gave people a strange justification to somehow openly talk about Todd Rundgren as a musical hero, or something. However, the promise of that single has largely fallen flat. Truth be told, this release is a better than his usual fare, but not really essential for anyone other than completists or huge fans.
MPEG Stream: "Grand Ideas"
MPEG Stream: "The Long Way Home"

LOUDEST WHISPER The Children Of Lir (Sunbeam Records) cd 16.98
A 1974 folk rock concept album outta County Cork... a real rare record, reissued for the ye olde hippie folk interested among you. 'Tis all about the old Irish myth of King Lir and his cursed swan-children, in a dramatic presentation of lilting Celtic folk melodies with proggish majesty, full of sweet male/female vocal harmonies and electric psych guitar leads. At many moments mellow and dainty, at others darker and fairly rockin', this is nice enough, though they're no Comus (who is?). Often pretty but also a bit precious, perhaps. Includes full liner notes, photos, and 6 bonus tracks including a 10+ minute television broadcast soundtrack complete with narration, which should help out those of us not up on our Irish mythology. Also there's disparate demos and singles tracks (one of 'em, "False Prophets" is quite the stormer, sounding almost proto-metal with Neil Youngish vocals).
MPEG Stream: "Mannanan II"
MPEG Stream: "Children Of The Dawn"

OH SEES, THEE Thee Hounds Of Foggy Notion (Tomlab / Castle Face) cd + dvd 19.98
Thee Hounds of Foggy Notion may be a live cd / dvd set of this venerable SF outfit, but it also serves as a "best of" of sorts as well. Pulled mostly from the last four records, the point the band changed their name from OCS to its many incarnations of "Ohsees", "The Oh sees", or "Thee Ohsees", and the record titles went from numbers to quasi-absurdist phrases. Those who may shy away from live albums over fidelity issues should not fret here, as Dwyer and his cohorts are seasoned and energetic live players and hi-fidelity has never been a major concern on their studio records anyway; so there's really not a discernible distinction between live and studio sound quality. In fact, this may be just as good as a starting point into the band as any one of their studio records, which just keep getting better and better. Got to love a band that can move so effortlessly from southern garage to one of the best Shirley Collins interpretations ("Highland Wife's Lament") we've heard in awhile. Plus the dvd showcases the band's wild and wooly performances.
MPEG Stream: "Guilded Cunt"
MPEG Stream: "Thee Hounds of Foggy Notion"
MPEG Stream: "Highland Wife's Lament"

OSANNA Milano Calibro 9 (Vinyl Magic) lp 37.00
Finally reissued on vinyl, one our all time favorite Italian prog albums!!! Here's our gushing review when we listed the cd reissue not too long ago:
A few years back, we were all excited to review the first and best three albums by "possibly Allan and Andee's all time favorite prog band" Osanna. As we said then, even limiting our discussion to the realm of Italian prog, it would be difficult to claim that Osanna are objectively better than the also amazing likes of Il Balleto, Le Orme, Area, New Trolls, Franco Battiato, Goblin, I Teoremi, RDM, Museo Rosenbach, etc. But, Osanna do somehow combine the key elements of what we like about those bands and prog in general into their first three crazy, colorful records, and thus deserve our hype. Ripping flute and sax solos, heavy psych guitar, powerful vocal choruses, hard rockin' prog drumming, weird musical changes and juxtapositions, electronic synth experimentation... Catchy, fun, fucked up prog from five nutty Italians, who want to rock out as much as be arty and display their adept musicianship. We went on to say that self-proclaimed "prog" dedication is not necessary for enjoyment of Osanna, as we think that these discs are good and weird and silly enough for AQ-customers into whatever sort of musical extremity (experimental, krautrock, psych, metal, classic rock) to dig.
This record was a soundtrack to a film called "Milano Calibro 9". Working in collaboration with arranger Luis Bacalov, who is also known for his work with the New Trolls' symphonic efforts, on this album Osanna incorporates strings, piano, and classical motifs. And, as befits a film soundtrack, many moods are touched upon... We don't know what the movie was all about, but it must have featured a fair amount of action, and trippy scenes. Osanna come up with super bombastic themes, high-energy instrumental freak-outs, suspenseful bits of jazziness, pretty vocal interludes, bleepy-bloopy synth fx, heavy electronic organ riff-drone, and the most heavy metal flute soloing you've ever heard. Totally kick ass. Osanna, you rock. Goblin was never this heavy.
MPEG Stream: "Preludio"
MPEG Stream: "Tema"

PADDED CELL Night Must Fall (DC Recordings) 2lp 23.00
DC sent us new covers (the first batch were a bit bent) so now we can list the vinyl of this! Here's the highlight review we ran of the cd version last list:
Time for the noirishly groovy, '70s prog and funk infected, jazzily inflected debut full length from the UK's sinister, stylish Padded Cell. What time is that? About 2am maybe. Night must fall, indeed it must.
Those of you that picked up that excellent Milky Disco comp on Lo last year oughtta remember the track "Konkorde Lafayette", which also appears here in edited form. Padded Cell's contribution was a highlight of that comp, which also featured Studio, Sorcerer, Quiet Village and fellow DC artists The Emperor Machine, among others.
Almost entirely instrumental (there's only a couple of vocal cuts), generally dark and creepy and sometimes bleepy, Night Must Fall slow-burns through slinky, cinematic Goblinesque grooves that bring in some no-wave sax blat, and plenty of vintage analog synth zapp and bass brapp. Padded Cell certainly nods to Italo disco... and also the "disco not disco" NYC '80s downtown punk-funk scene - in fact Dennis Young of Liquid Liquid is this album's propulsive guest drummer! Imagine a spooky and suspenseful John Carpenter soundtrack gone dubby disco... Very cool, so cool in fact we had to import these directly from the label in England.
MPEG Stream: "Savage Skulls"
MPEG Stream: "City Of Lies"
MPEG Stream: "Konkorde Lafayette (edit)"

PEACE, THE Black Power (Groovie) cd 17.98
This is the first-ever reissue of the sole, rare-as-hell mid '70s LP by The Peace, an Afro-rock band that may or may-not have been made up of service members from the Zambian Air Force (and definitely included members of another obscure African rock band, The Witch), and holy crap it's a winner! Unlike the Nigerian bands of the same era that retained a more distinctly African sound (for more on that, check out Sound Way's phenomenal Nigeria Rock Special comp), Black Power is a full-on Western-styled psych-fuzz groover that rocks in a soulful, funky way from start to finish. It's American-sounding to the point that the only thing that truly gives this record away as being from Africa is the distinctly ESL-sounding vocal delivery. Pretty awesome. We can best describe it like this: imagine that weird band that sort of sounded like a ragtag version of the Allman Brothers that played at the county Apple Blossom Festival every year when you were a kid, somehow managing to get sent to Africa's Copperbelt region, absorbing the local culture, and then playing through smashed up amps at some mining town honky tonk. Loose and funky, kinda fuzzed and Hendrixy. With some lovely mellow, melodic moments, and harder rock riffing too.
We're constantly having our minds blown here at aQ by the steady stream of gems coming from African crate diggers, and this find is no exception!   
PLEASE NOTE - We'd be remiss were we to leave out the following note from the label: "The sound for this album is not perfect at all. It's understandable that it's probably impossible to get a good condition copy of the original vinyl to remaster, as this is so so rare even to find in trashed condition. So it has remastered with a decent result in the most part of the album... but there are two songs that have some prominent noise."
MPEG Stream: "Black Power"
MPEG Stream: "I Have Got No Money"
MPEG Stream: "Peaceful Man"

PEACE, THE Black Power (Groovie) lp 30.00
This is the first-ever reissue of the sole, rare-as-hell mid '70s LP by The Peace, an Afro-rock band that may or may-not have been made up of service members from the Zambian Air Force (and definitely included members of another obscure African rock band, The Witch), and holy crap it's a winner! Unlike the Nigerian bands of the same era that retained a more distinctly African sound (for more on that, check out Sound Way's phenomenal Nigeria Rock Special comp), Black Power is a full-on Western-styled psych-fuzz groover that rocks in a soulful, funky way from start to finish. It's American-sounding to the point that the only thing that truly gives this record away as being from Africa is the distinctly ESL-sounding vocal delivery. Pretty awesome. We can best describe it like this: imagine that weird band that sort of sounded like a ragtag version of the Allman Brothers that played at the county Apple Blossom Festival every year when you were a kid, somehow managing to get sent to Africa's Copperbelt region, absorbing the local culture, and then playing through smashed up amps at some mining town honky tonk. Loose and funky, kinda fuzzed and Hendrixy. With some lovely mellow, melodic moments, and harder rock riffing too.
We're constantly having our minds blown here at aQ by the steady stream of gems coming from African crate diggers, and this find is no exception!   
PLEASE NOTE - We'd be remiss were we to leave out the following note from the label: "The sound for this album is not perfect at all. It's understandable that it's probably impossible to get a good condition copy of the original vinyl to remaster, as this is so so rare even to find in trashed condition. So it has remastered with a decent result in the most part of the album... but there are two songs that have some prominent noise."
MPEG Stream: "Black Power"
MPEG Stream: "I Have Got No Money"
MPEG Stream: "Peaceful Man"

PINK FAIRIES Finland Freakout 1971 (MLP (Major League Productions)) cd 25.00
Even if this wasn't a recording by the legendary Pink Fairies, anything with that title (Finland! Freakout!! 1971!!!) you know we'd have to love, right?
It wasn't too too long ago that you couldn't find hardly any Pink Fairies stuff on cd at all. This freaky band of early '70s proto-punks, hairy hippie underground rock n' rollers often (fairly accurately) described as England's version of the MC5, were more the stuff of legend, and if you wanted to hear 'em "do it", you had to look pretty hard for the goods. Then a few years back, their three classic albums (Neverneverland, What A Bunch Of Sweeties, and Kings Of Oblivion) finally got nice new reissues. You've got those, right? Hope so, 'cause goddammit it seems like they've gone out of print again!! Obviously the powers that be in the record industry, The Man if you please, don't really appreciate the Pink Fairies like they should. In a perfect world, they'd be household names - not 'cause they're the best band ever, they're not, but 'cause few bands embody the anarchic spirit of rock n' roll and its most deviant extremes (punk, psych, metal) as much they do.
So anyway, if you don't have those albums, start with one of 'em, any of them - if you can find 'em. But if you're already a fan, or we just made you impatiently curious, then this newly released archival disc is well worth checking out. It's an hour-long, previously unreleased festival set, professionally live-recorded for broadcast by Finnish national radio (from the Ruisrock festival in Turku, Finland, sometime in 1971, where the Fairies played alongside such international acts as Fairport Convention, The Kinks, the Jeff Beck Group, and Canned Heat and well as Finnish bands like Wigwam, Tasavallan Presidentti, and Charlies). They kick out the jams big time here, starting off with a loud n' heavy, totally blown out cover of the Beatles' "Tomorrow Never Knows", and also including such classic Fairies fare as "The Snake", "Walk Don't Run", and their 20+ minute festival standard "Uncle Harry's Last Freakout" (to the Fairies what "Black To Comm" was to the MC5, who by the way played the same festival a year later in 1972). Rumbling with distortion, wasted psych guitar leads a-wailing, raspy vox only occasionally emerging from the din, everything underpinned by the urgent caveman pounding of the rhythm section, this is the Pink Fairies as a power trio with a capital P.
And it's fully legit, from the master tapes, pretty decent sounding for an unearthed live thing from way back when, the cd booklet packed with photos and liner notes, including some by drummer Russell Hunter. Nice! Fairies fans, queue up.
Man, what else lurks in the archives, you've gotta wonder?
MPEG Stream: "Tomorrow Never Knows"
MPEG Stream: "Walk Don't Run"

PUMICE Quo (Tipped Bowler Tapes) lp 16.98
List #297's Record Of The Week (well, one of 'em) is now available on vinyl, 180 grams of it, limited to 300 copies! With new cover artwork as well. Here's our review from when we listed the cd version:
For the last 14 years, New Zealander Stefan Neville has been issuing a steady stream of cassettes, lathe-cuts, cd-rs, 7"s and other assorted slabs of mysterious small-run skronk under the Pumice moniker. Somehow through it all Neville has managed to find a comfortable spot nestled in between two very distinct strains of NZ music-making. At their heart, the songs he writes are pop songs obviously indebted to the legacy of Flying Nun, The Tall Dwarves and The Clean; that said, his willful disregard for fidelity, his love of tape hiss, wow and flutter, garbled vocals and blasts of harsh drone are a tip o' the hat to kiwi noiseniks like Birchville Cat Motel, Dead C, and Antony Milton. It's a compelling combination, as it allows his records to be both densely textural and supremely melodic - for every piece of blown out headphone candy, there's a memorable vocal or frighteningly catchy guitar riff. It's this incredible tug-of-war between (as we put it in our review) "doleful drone" and "sheer pop umph" that made us flip out over the last Pumice full-length, Pebbles, and we're happy to report that Neville's latest, Quo, finds him refining the Pumice formula in all the best possible ways to create a record full of impish charms, slack anthems, rambling bedrooms hiss, and speaker fried drone assaults!
Quo opens with "Pumice Quo," a song that hints at what is to come on the rest of the album: fuzzed-out, atonal guitars klang and skree like some sort of netherworldly faux-sitar over a ragged, swinging stomp that effortlessly mutates back and forth with a breezy, expansive, half-time swagger. Rhythmically and structurally it's all angular and math-y but it never sounds cold or analytical - it's like some incredible mix of Doc At The Radar Station and Celebrate The New Dark Age where you can't tell if it's Beefheart covering Polvo or vice versa, but everything sounds perfectly fucked up and damaged but so inexplicably catchy at the same time. Likewise, "World with Worms," a creeping, rumbling, blown-out, billowing sea shanty that mixes Neville's signature, mannered (almost goth, really) vocals with a teetering melody pounded out on some sort of half-broken chord organ or accordion.
The first half of the record continues to cast a few different lines - "Fort" sounds like some sort of classic mid-'90s B-side pop anthem you'd expect from GBV or Boyracer buried under 10 feet of shrieking keyboard noise; "Thermos in the Studio" is a winsome bedroom pop instrumental that would sound right at home buried amongst the ruins of Pavement's Westing (By Musket and Sextant) with lyrical slide guitar melodies that are simple, gorgeous and over in an instant; "Pebbles" is 2 minutes of rambling, shuffling, ramshackle pop. However, everything starts to come together with the second half of the record, as "Whole Hoof" looks back to the Polvo/Beefheart battle royale of the album opener but this time ads layers of distorted howling vocals. It starts out like Simply Saucer plowing through some freaked out rockabilly jam but mutates into something completely creepy and sinister at the end.
The album's second half is incredibly strong and manages to focus the scattershot elements of the first half without sacrificing any of those songs' chimpy playfulness. There's a darker element that emerges, but it never overwhelms the whole proceedings. "Sick Bay Duvet" starts out like a lost Fahey side being played back on a broken down gramophone, all rumbling, twanging, echoing, and slightly out of tune. When drums, melodica and a low, throbbing drone finally kick in at the end, it changes into something completely different - a kind of dour, anti-anthem that leads perfectly next track, "Dogwater," whose warbling, garbled take on Blackheart Procession's western goth vibe manages to come as both tongue-in-cheek and gracefully mannered. Things get stronger still with the last three songs: "Heavy Punter" is a solemn funeral shuffle built around a fractured Beefheart/Polvo riff filled out by ghostly keyboards that woosh and drone in and out of the background and fantastic, layered, pseudo-goth vocal stylings; "Battersby" is almost like Pumice's stab at punk rock with Casio tweeters battling against four on the floor drums and stumbling, disaffected vocals that wouldn't sound out of place on a Fall record (the whole thing comes across like some weird mashup of a NZ cd-r salvo and something off of a Messthetics comp - bizarrely catchy and certainly one of our favorites!); and album ender "Beak Remedy" is 7 minutes of blissed out, see-saw chord organ drone, ghostly tape loops, fluttering, stuttering ambient flickers of feedback, hum and hiss with percussive clomps that sneak in toward the end until the whole thing trickles out with choppy puffs of feedback and static.
All this adds up to a brilliant mix of pop songwriting and freaked out fuzzmongering that has been perking the ears of both customers and staff since it first arrived. We're confident that Quo is going to show up on many of our year end best-of lists, and we think you'll feel the same way about this blissed-out, smashed to pieces, melodic, thoughtful, mannered, playful and thoroughly recommended record!
MPEG Stream: "Pumice Quo"
MPEG Stream: "Heavy Punter"
MPEG Stream: "Whole Hoof"

RUBY SUNS, THE Sea Lion (Sub Pop) cd 13.98
Before summer starts to fade away we wanted to make sure to list this colorful, breezy, and tastefully eclectic pop album from New Zealand's The Ruby Suns. Packed with songs that are perfect for those long drives on a summer night, they tap into that carefree classy spirit that bands like The Aislers Set used to capture so perfectly. There's also plenty of Beach Boys harmonic glory and hints of soft psychedelia that on many songs finds the 'Suns sounding like the super sweet and cuddly version of Panda Bear.
MPEG Stream: "Oh, Mojave"
MPEG Stream: "There Are Birds"

SCOTCH EGG, DJ Drumized (Load) lp 15.98
NOW ON VINYL!
Another manic blast of freaked out 8-bit jams from this curiously monickered purveyor of blown out video game gabber. The sound of Scotch Egg is a bit hard to describe, the closest we can get is, maybe imagine being in an arcade, playing your favorite eighties video game, when inexplicably, lightning strikes the arcade, and the electricity surges through the wiring and right into the video game you're playing, suddenly, the machine freaks out, shooting sparks, the characters on the screen transform into weird shapes and start doing unspeakable things, and the sounds, oh the sounds, that music you grew up with, the soothing lullaby of primitive computer melodies, gone totally haywire, exploding into squalls of utter 8-bit chaos, the rhythms fast and furious tangled and chaotic, flurries of tones, melodies become gnarled and dizzying.
You know that part in Galaga where the mother ship comes down and captures one of your men so you can shoot id down later and have a dual shooter? The sound it makes when it sends out its green and blue tractor beam? Now imagine that sound stretched into a whole song, with the dude from Hella going apeshit on the drums in the background. That perfectly describes one of the songs here. Some of the other tracks sound like the Boredoms if they were transported back to the eighties and tapped to do music for Dig Dug and Mr. Do. Or maybe imagine Venetian Snares, zapped Tron style and beamed into a video game, and these are his desperate musical cries for help. Sound wacked? Well, it is, WAY wacked.
The sounds are all over the map, many you'll recognize as being purloined from some of your favorite video games, but here, they're just tiny parts of a ear pummeling barrage of sound, from Melt Banana style video game grind, to weirdly intense 8-bit drones, all the 'death' music from video games stretched out into actual songs, There are some real drums here and there, some guitar, some fucked up vocals, some tracks even sound like damaged video game free jazz, while others sound like creepy computer math rock, but for the most part it's just frenzied electronic gabber video game lo-fi 8-bit freak out dancefloor destroying mayhem and we LOVE it. Be sure and stick around for the final track, a weird looped groove assembled from what sounds like a tape recorded video game, all lo fi and muddy, but here looped and assembled into some druggy repetitive almost krautrocky drone jam.
MPEG Stream: "Wwwww"
MPEG Stream: "Drumized"
MPEG Stream: "Scotch Stoner"

SHALL NOT KILL / FANTASTIKOL HOLE / TEKKEN / MOON split (Ocinatas / Wee Wee / 213 / Burning Emptiness Inc. / Krusty Le Clown / Nhdiyst / Shifty / Parade / Noisey Bear) cd 9.98
BACK IN STOCK. A four way split, discovered via our obsession with the band Fantastikol Hole, but all four of the bands here destroy! If you missed out on this first time around, here you go...
It seems like maybe we're becoming a little predictable sometimes, letting the name of a band, or some insane cover art get us all gaga over a record before we even hear the music. But while it's only a theory, it seems like in most cases, the music is just as good as the artwork. Or the band name. For years, we've applied that theory to our record shopping and have rarely been disappointed.
So here we are again. You obviously know where this is heading since we ARE reviewing this record, AND highlighting it, but a while back, it was just a name, Fantastikol Hole. How could we not be curious, if not utterly smitten. A band called Fantastikol Hole? C'mon. SO we tracked down every shred of recorded music from these guys and got just a little bit obsessed. But this is the first one we could track down enough of to list. Four bands, all amazing, all totally different, all French we think, a record so heavy and weird it took TEN labels to release it. And after all that talk of Fantastikol Hole, they only have three tracks here, but it's enough to get you as obsessed as we are.
So what exactly are Fantastikol Hole all about? Super aggro, mathy, convoulted experimental heavy rock weirdness. Stop start stuttery arrangements, huge slabs of Neurosis-y sludge, bits of shimmer and drone-y ambience, wild tangled squiggly leads, angular atonal riffage, howled distorted vocals, long stretches of crumbling doomy buzz, and that's just the first song of three. The second is even more manic, a sort of proggy grind, with tons of space, and weird stops, jagged riffing, swirling dizzying bursts of buzzing fury, programmed drums, explosions of impossibly convoluted synth swathed hypergrind, shortwave radio interference. The third track is only two minutes, but they spend it plodding along doomily, a huge downtuned riff, wrapped around a simple percussive thud, the vocals processed and super distorted, so genius. Complex and confusional and mathy and heavy as fuck. We need to carry more Fantastikol Hole. We will remedy that as soon as humanly possible.
But what about the other fantastikol bands here? Well, there's Shall Not Kill, who offer up three tracks of their own brand of heaviness, a groovy stoned, heavy as fuck plodding midtempo post punk sludgy doom, rife with harmonized lead guitars, yowled vocals, super psychedelic squalls of twisted tangled leads, busts of furious octopoidal drumming, some super fast Maiden style jams, some blissed out droney dirges, but always returning to some sort of cracked classic doom sound.
Up next is Tekken, who are fast and fucked up and furious, a white hot metallic hardcore, bordering on grind, with weird samples, blasts of incendiary buzz, pounding chaotic drumming and snarling punk as fuck howled vocals. The last track finds their grinding punk chopped up and flipped backwards, slathered in static, turning it into some weird fuzzed out, stuttering soundscape of skipping punk rock cds and shortwave interference.
And finally, comes the band Moon, whose three long tracks fall somewhere between ultra minimal dronemusic, and the slow motion sludge riffery of Old Earth or SUNNO))), nearly ambient the slow low rumbles eventually build into a lugubrious downtuned crawl, the buzz occasionally receding, and revealing a glimmering glistening shimmer beneath the rumble.
A pretty weird combination, but a tough one to beat. We've found ourselves digging for more stuff from all four of these bands, although our heart still belongs to Fantastikol Hole.
WAY recommended.
MPEG Stream: SHALL NOT KILL "Resilience"
MPEG Stream: FANTASTIKOL HOLE "Untitled 1"
MPEG Stream: FANTASTIKOL HOLE "Untitled 2"
MPEG Stream: TEKKEN "Die Young = Stay Stupid"
MPEG Stream: MOON "Dead And Dreaming"

SHIT AND SHINE Kuss Miche, Meine Liebe (Load) lp 17.98
NOW ON VINYL!!!!
Ahhh, Shit And Shine, even the name give us the warm fuzzies. That's because multiple drummer-ed lawn mower bass tribal drug jams often do. And no one does it better, or quite like the UK's Shit And Shine. With a constantly shifting lineup that often swells to double digits, including as many drummers as they can pack into a room. And a wall of amplifiers that makes SUNNO))) seem like they're playing through practice amps, several bass players, often just a phalanx of shitty Casio keyboards, howling vocals, all tangled up into a heaving mass of post-Butthole Surfers drug psych heaviness.
Much like the cd reissue of Cherry (last week's Record Of The Week), Kuss Mich, Meine Liebe is not entirely brand new, the two longest tracks we've had before on a super limited, crazy expensive lp, but here on cd for the very first time. Along with one other loooooooong jam, and a handful of shorter, but no less appealing chunks of what-the-fuck tribal psych-out heaviness.
Let's cover the tracks we've heard before. "Biggest Cock In Christendom" is an in-the-red tribal workout, like a more metallic and way more distorted and druggy No Neck Blues Band. Or a WAY heavier Chain Reaction disc. Thick pulses of low end drift beneath streaks of super distorted amp damage, all very krautrock sounding, but filtered through a bank of effects pedals, all broken or with dying batteries. Definitely blissed out and mesmerizing, but so ominous and creepy. This is the shit musical dreams are made of. 15 minutes of this stuff is not nearly enough. Set it to repeat, drink a bottle of Nyquil and let yourself get sucked under. The other track from the 12", "Toilet Door Tits", is an endless rhythmic jam, with ultra blown out drums, sounding a bit like some Butthole Surfers / Laddio Bolocko hybrid, albeit WAY more distorted and damaged. The sound is completely fried, the whole track sounding like it's crumbling through your speakers, strangled vocals drift amidst the tribal pummel, as do weird alien sounding squiggly leads that squirm and slither from speaker to speaker giving the whole track a super disorienting effect.
The other long track on Kuss Mich is the epic and drowsily sprawling "Preventions Arise", 10 minutes of muted almost industrial sounding rhythms, way more moody and washed out than the other tracks, an endless muddy murky rhythmic jam, pulsing and throbbing, a propulsive groove beneath a very noir spoken word. Strange but a good balance to the sheer brutality of the other tracks.
Scattered all around these three massive jams are jagged little chunks of shiny shit, blasts of noise and crunch and buzz and pound, from brief flurries of machine like grind, furious blast beats, and stuttering off kilter rhythms, to total Buttholes worship, pounding tribal rhythm, buzzing fuzz guitar, hypnotic and intense, to tripped out abstract skitter, all warbly distorted bass, and processed vox, to huge blown out chug and churn, heavy and epic and massively distorted and blown out.
Once again, more proof that these guys (and gals) are the current reigning kings and queens of crushing chaotic drugged out drone drenched drum corps psych-doom heaviness.
Killer packaging, very simple and cryptic, shit brown paper and metallic gold ink shine!
MPEG Stream: "Biggest Cock In Christendom"
MPEG Stream: "The Germans Call It A Swimming Head"
MPEG Stream: "Kuss Miche, Meine Liebe"

SILENCER Death - Pierce Me (Autopsy Kitchen) picture disc lp 14.98
This maniacal depressive black gem available as a super limited picture disc, housed in a deluxe jacket with a printed inner sleeve!
It seems like a lot of the black metal we've been digging lately has been of the 'tortured anguished vocals' variety. Sterbend from last list is probably the most obvious. But Marblebog too. Also Hekel elsewhere on this list. But go back a ways and you can find plenty of black hordes who not only buzz grimly, but howl and wail as if their souls were trying to escape from their bodies, Bethlehem, SF cult legends Weakling, and of course Silencer. This record isn't really new, and actually we have been trying to track down copies of this forever. Silencer are spoken of with hushed reverence, and for good reason. Death - Pierce Me is dark and damaged, grim and suicidal miserablist doom-drenched black metal of the highest order. Talk to any of the current crop of the black metal elite, Wrest from Leviathan, Malefic from Xasthur, and they will fawn unabashedly over Silencer. Thankfully, Autopsy Kitchen have stepped up and rescued this all time black classic from oblivion. And now you can finally experience one of the original black cults who expressed their blackened misery through impossibly anguished vocals. Hysterical shrieks, frenzied and overwrought howls of absolute terror. Never has a band captured grief and misery and loneliness so perfectly and in such an utterly frightening way.
But it's not just the vocals, the music is completely intense and seething as well, with an unrestrained turbulence, dense and buzzing and so emotional and personal and overwhelming. Heart rending minor key melodies emeshed in black swirls of buzz, the riffing so intense and totally manic, exposing a tortured inner world wrought with drama and tension, a dark soul exposed, a damaged personal hell expressed through shriek and buzz. The anguished blasts of blackness are separated by dark doomy ambient passages, from simple mournful acoustic guitar to droney piano fugues to simple melodic doom metal minimalism, but when the riffs and the vocals kick in, a huge brutal blackness dropping on you from above, it's the sort of musical moment that gives you chills, makes your hair stand up on end, and in the right frame of mind makes you want to just break down. Which is precisely why Silencer and Death - Pierce Me are so revered, this record set the template for ALL depressive suicidal black metal to follow, and while some have come close, Xasthur and Nortt certainly, there is just something so special, and so utterly frightening about this record that keeps anyone from ever capturing the same black musical world of abject fear and unmitigated misery.
MPEG Stream: "Death - Pierce Me"
MPEG Stream: "Sterile Nails And Thunderbowels"
MPEG Stream: "Taklamakan"

SMITH, CHRIS & JUSTIN FULLER s/t (Sweat Lung) cd 12.98
Dug up 5 or 6 of these. Thought they were sold out for a while now, so grab em while you can...
We're huge fans of Australian guitarist Chris Smith, but until now had only ever been able to get a hold of the split 12" he shared with the Ivytree. There have been plenty of other releases, but the only proper stateside release has been out of print for ages. So finally, we managed to get a bunch of these, Smith and fellow countryman Justin Fuller's first full length collaboration, a full 7 years in the making, and it's quite nice. 
Hard to discern exactly what the instrumentation is, there are most certainly guitars, and according to the liner notes there is also piano and accordion, but with records like this, it's not what you're playing, it's how you play them and what you do with the sounds once you've made them. These two wrangle the various sounds into long stretches of slow shifting ambience. Some tracks are delicate and dark, barely there shimmers of crumbling low end and distant glimmering high end, while others are massive walls of guitar, churning chaotically, but smoothed into warm thick whorls. The heavier tracks definitely remind us of Sunroof! or Vibracathedral Orchestra or even a less mangled Wolf Eyes or a way prettier SUNNO))). The prettier tracks have a bit of Tim Hecker going on, all blissy and fuzzy and beautifully blurred. The whole record is quite dreamy in fact, whether buzzing malevolently, or drifting languorously, a gorgeous chunk of blissed out guitardrone. The usual suspects will definitely need this...
MPEG Stream: "In Cars That Ate Paris"
MPEG Stream: "Condition"

SONIC YOUTH / MATS GUSTAFSSON / OG MERZBOW Andre Sider AF Sonic Youth (SYR8) (SYR) cd 10.98
Recorded live at the 2005 Roskilde Festival in Denmark, this latest installment of the self-released SYR series chronicles the monolithic collaboration between Sonic Youth, Japanoise master Merzbow, and Swedish saxophonist Mats Gustafsson. Even Jim O'Rourke re-joins the band for this hour long improv sesh that results in a smoldering heap of damaged free jazz. These dudes really had to bring out the big guns here, considering they were opening up for Black Sabbath (!!!) on this particular night of the festival, not an easy task. On one level, this record sort of shows that improvising isn't exactly what Sonic Youth does best, although there is a charm in the clumsy nature of the collaboration that ends up being really cool and unpredictable. Merzbow and Gustafsson really shine here, conjuring a sea of noisy textures that are harsh and cataclysmic but never over the top or indulgent. "Andre Sider Af Sonic Youth" is the perfect addition to the SYR series and a must-have for any fan of free noise sorcery.
MPEG Stream: "Andre Sider Af Sonic Youth Excerpt 1"
MPEG Stream: "Andre Sider Af Sonic Youth Excerpt 2"

TAUSSIG, HARRY Fate Is Only Once (Tompkins Square) lp 14.98
Now on Vinyl!
The Tompkins Square label who puts out the Imaginational Anthem compilations, has reissued the 1965 sole private press record of finger-picking guitarist Harry Taussig. A contemporary of John Fahey and Robbie Basho (Taussig's only other recording is on a 1967 Takoma label compilation featuring both Fahey and Basho), Taussig's repertoire explores blues, ragtime and Americana, covering songs from Reverend Gary Davis and Elizabeth Cotten as well as other traditional songs. Comparisons to Fahey will of course abound, but there are definite differences in their playing styles. Most notably Taussig's exploration of stark ragtime idioms and stricter adherence to songforms, leaving less room for the excursionary meditations that Fahey fostered.
While this reissue is remastered with original liner notes and photos, our only complaint about it is the lack of Taussig's back story. What happened to him? Is he still alive? Perhaps the mystery is what the title eludes to: Fate is Only Once.
MPEG Stream: "Blues For Zone VII"
MPEG Stream: "Dorian Sonata"

TREES Lights Bane (Crucial Blast) lp 15.98
Now available on vinyl!!
Every single time we play this, someone either asks us if we're listening to Monarch. Or Khanate. Every time. That should give you enough to go on right off the bat. And indeed, Trees are a dead ringer for both. Maybe a perfect mix of the two. They don't write songs so much, as put together slow moving arrangements of buzz and howl, throb and skree, crush and chunk, much of the two loooooong tracks here are spent in long drawn out slowly decaying drones, huge chords almost melting before our very ears, feedback and downtuned buzz crumbling to pieces, tones beating against each other, slipping into shrieking streaks of feedback. The long stretches are of course peppered with huge jagged shards of drum pound and demonic vocals, these spaced out blasts somehow arranged to form some sort of skeletal song structure, but it's much more of an exercise in tension and atmosphere, dynamics and drone, and ultra slow motion heaviness.
They do introduce some of their own flavor into the mix, little flurries of double kick, skittering snare drums, some strange strangled mewlings, haunting complex chords, some monklike chants, and some intense abstract soundscapery, so almost-pretty it threatens to slip into some serious black ambience, and at some points, they even -almost- rock, slipping into Eyehategod territory, but it's in the swirling black morass these guys feel most at home, and thankfully, for the dronedirgedoom obsessed, that's precisely where they spend most of Lights Bane. Needless to say, you dig Monarch, Khanate, Moss, Bunkur, etc., you will dig Trees.
Fancy mini-lp style gatefold sleeve with super striking, dense tangled red ink cover art.
MPEG Stream: "Nothing"

WARD, M. Transfiguration Of Vincent (Jealous Butcher) lp 13.98
This long time aQ favorite now available on vinyl!! Here's our review from when we listed this way back in 2003 on cd:
After releases on Howe Gelb's Ow Om label and Future Farmer Records, M. Ward finds his new album a welcome and fitting home on Merge Records, and what a splendid one it is! It might get filed under "country/folk/Americana", but Ward doesn't stay within the confines of these genres. He's much more of a vagabond, bringing a great deal more to his slightly skewed aural canvas - very akin to Tom Waits or the aforementioned Gelb's Giant Sand. For example, lend an ear to the warm rollicking pop of "Vincent O'Brien" with its plinky piano and driving tempo or the creeping, almost funereal cover of David Bowie's "Let's Dance". Pretty darn fine! Vocally, Ward has drawn comparisons to the weathered, emotive pipes of Waits, Vic Chesnutt and Sparklehorse's Mark Linkous. It can go from hoarse and near-spoken in one song to gentle and sweetly pleading in the next. He's backed up by The Old Joe Clarks with some extra field recording input from Grandaddy's Jason Lytle. So timeless, otherworldly, and intriguing. Recommended.
MPEG Stream: "Vincent O'Brien"
MPEG Stream: "Let's Dance"

WIRE Object 47 (Pink Flag) cd 14.98
Now over 30 years old, this British art-punk trio has released their 47th recording, whether that be a single, a concert document, a compilation, or a full-length album. Yup, this one is a full album, but something is missing on it. And we aren't simply referencing the absence of guitarist Bruce Gilbert from the band. Wire - now the trio of Colin Newman, Graham Lewis, and Robert Gotobed - have sought to sound a lot like Wire, but their mimesis of themselves is not for the classic sound of Pink Flag or 154 but rather the quasi-angular, plasticine collage-rock of the late '80s which did produce a handful of legitimately great singles: "A Head," "Kidney Bingos," and "Drill" being the most noteworthy. Lyrically, Wire are just as punk-smart as ever, twisting the banal vernacular of daily life into something slightly sinister and misanthropic; but where Graham Lewis had previously penned some fine basslines in the past to augment the drone-plus-chime of Colin Newman's guitar, many of the songs aspire to a punchy pogo-pop, but Lewis lets us down with some less than imaginative riffs. For a man whose work in Dome and in collaboration with John Duncan have produced some ecstatic experiments with sound, this is a bit of a head-scratcher. To be fair, Object 47 is an entirely different beast than the extremes found on many Wire related releases; but this could have been a whole lot better.
MPEG Stream: "One Of Us"
MPEG Stream: "Patient Flees"

WIRE, THE #295 September 2008 magazine 9.98
The Wire gets political as "audio activists" Ultra-red make the cover this time. Elsewhere in this latest issue of the indispensable British magazine covering all kinds of new (and old) music (jazz, electronic, dub, improv, noise, avant-rock, techno, world, psych, etc.), you'll meet wax cylinder collector Alex Kolkowski, dubstep duo Dusk & Blackdown, ethno-experimentalist Ghedalia Tazartes, and others. There's also Tom Recchion's "epiphany" over Eno's Obscure label, our pal Sami Sanpakkila of Fonal Records talking about his favorite album cover, the usual tons of reviews to check out, and, last but not least, an "Invisible Jukebox" test taken by not one, but two infamous indie rock outsiders: Daniel Johnston and Jad Fair!

WOLFMANGLER Cooking With Wolves (Black Horizons) lp 19.98
Now available on vinyl, super limited, gorgeous hand screened covers, but the same gloriously twisted sounds inside:
The newest (circa June of 2007) slab of blackened wyrd doom-folk from the misty moors of... Texas? Poland? Mordor? Well, wherever main-mangler Smolken makes his home these days. Smolken, also the man responsible for the equally dark and fucked up Jandekian "black metal" of Dead Raven Choir, always has had a skewed take on his favorite subgenres of music, in the case of Wolfmangler entering the realm of doom metal riding a swaybacked country-folk steed, but eschewing the cinematically Western wide-open spaces that Earth has been roaming of late, to plow deeper into the muck and mire of the direst of wagonwheel-sucking mudflats... There's 14 doleful and dirgey tracks here, Smolken sawing away on some classical-sounding stringed instrument like an uber-depressed, one-man chamber music outfit. Besides those suicidal strings, this is sparse and skeletal, there's not much more here... some background ambience, clanking percussion, and creepy whispers... all of which work for us in a Dead Raven Choir like fashion. But then Smolken airs some almost-spoken, sorta-theatrical clean vocals (on tracks 12 and 13 fersinstance) and we're not quite as into it. For DRC fans surely, but maybe not doom metallers this time out (unlike Wolfmangler's earlier split with Moss).
MPEG Stream: "Track 4"
MPEG Stream: "Track 13"

YELLOW SWANS Deterioration (Modern Radio Record Label) cd 11.98
Deterioration was originally released as a tour only cassette, which is interesting given that it seems more instantly accessible than many of their more widely available and well-known records. Of course, even though this Portland duo has since broken up, it's going to take a while to slowly sift through their catalog and really make sense of it all. The earlier days found these guys making overtly political noise tracks, devoid of really any discernible melody at all. Towards the end, the final releases (the 12" split with Ex-Cocaine, the 12" collaboration with Burning Star Core, the full length At All Ends, etc.) showed a somewhat different side. More obviously psychedelic, more melodic, and seemingly an increased attention being paid to composition. Not to say that the older tracks were completely improvised, because we can't definitively say without asking, but there is a greater cohesion and flow with releases like this one. It really is a shame the guys parted ways, because the last year or so of their records seemed like one collective Revolver. If you're a fan of YS and haven't picked up anything in a while, you'd be well-served to check this one out.
MPEG Stream: "Broken Eraser / Time Stretch"
MPEG Stream: "Burnt Dub"

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V/A A Visit To The Spaceship Factory: 20 Gems From The Early Years Of Prog (Psychic Circle) 2lp 34.00
NOW ON VINYL!
Remember that rad White Lace And Strange compilation we highlighted not long ago? Some killer late sixties, early seventies psych rock from the USA, garage bands gettin' "heavy". Well this disc, on the same Nick Saloman-affiliated label Psychic Circle, is in some ways a sequel, featuring similar bands of the era from the UK (and one Israeli band that recorded in London, to be perfectly accurate). With the subtitle "20 Gems From The Early Years Of Prog", it's billed as a collection of obscure "progressive rock" tracks... but the stress is on the rock. After all, Black Sabbath was once considered a "prog" band too. Sure, there might be some keyboards, but there's lots of raw, raucous energy here, both singers and guitarists wailing away in full fuzzed-out psychedelic proto-metal glory, when they didn't know from headbanging but knew how to boogie! Being a comp, of course some of this is better 'n the rest, but quality control is pretty high. Some faves include the punkish Helter Skelter (ex-Crushed Butler), the powerful axe-action of Israel's Jericho, and the heavy blues thud of early UFO, among other treats here to be heard from these bands (some we already knew, some new to us): Treetops, Mousetrap, Deadwood, Fuzzy Duck, Incredible Hog, Mouse, Beggars Opera, Kingdom Come, Little Big Horn, Strange Fox, Onyx, Spontaneous Combustion, Sheephouse, Pussy, Axe, Sunchariot, and Kansas Hook.
MPEG Stream: JERICHO "So Come On"
MPEG Stream: HELTER SKELTER "I Need You"
MPEG Stream: KANSAS HOOK "Nervous Shakin'"

V/A Nigeria 70: Lagos Jump (Strut) 2lp 25.00
NOW ON VINYL!
There is absolutely no doubt as to the importance Strut Records' 2001 compilation, Nigeria 70: The Definitive Story of 1970s Funky Lagos, played in bringing about the current flood of interest in afrobeat, highlife, disco, soul and (of course) funk from Nigeria and other West African nations. It was the first compilation to really pay homage not only to the songs of that era but to the entire culture that allowed the music to come into being. By doing so, it laid the blueprint for the kind of lavishly packaged, meticulously researched, insanely detailed reissues coming from labels like Sound Ways, Honest John's and Analog Africa. It's hard, even just 7 years later, to remember how mysterious the world of Nigerian funk seemed at the time; it was a an entire world of sound that outsiders had access to only through bootleg LPs and traded tapes with giant question marks next to everything from song titles to the performers themselves. Now sadly out-of-print, the original triple cd Nigeria 70 comp was a revelation - an unparalleled wealth of sights and sounds that showed how much more there was to Nigerian music than just Fela.
If, like many of us here at aQ, you are still reaching for the original every time you make a mix tape, then you'll be happy to hear that Strut Records has not only risen from the grave but issued Nigeria 70: Lagos Jump, a second installment to the Nigeria 70 series (no doubt spurred on by the massive success of its many imitators). Rather than try to outdo the first volume, Strut have taken a decidedly lower-key approach to this single disc of astoundingly funky cuts from Nigeria's finest. The liner notes are slim but densely packed: John Collins' introductory essay traces the evolution in Nigerian popular music alongside the changes in the country's cultural and political climate, while the liner notes provide brief but informative notes for each cut. Musically, the collection is an immaculately compiled and sequenced mix of everything from the traditional highlife bounce of Ashanti Afrika Jah's "Onyame" and Rex Williams' soulful "You Are My Heart" to the swaggering afro-rock of The Immortals' "Hot Tears" and the afrobeat/ju-ju mashup of the leadoff track, Sir Shina Peters and His International Stars' "Yabis." Furthermore, we'd be remiss if we failed to mention Chief Checker's "Ire Africa," which manages to balance riddims cribbed straight from Studio One with proto-Rick James disco funk (check out the bassline!) and straight up afro sounds. Amazing!
If you've heard the original comp, it's a safe bet that you've already deemed Lagos Jump an essential purchase. If you missed out but have been loving the Nigeria Special comps even half as much as we have, then this disc will freak your beak. If your exposure to Nigerian music of the '60s and '70s subsists solely of the odd Fela Kuti song slipped in between segments on Democracy Now!, then this compilation could be the jump off point for a new musical obsession. This is raw, soulful Nigerian funk compiled by a label with an obvious reverence for the music as well as the culture and people that made it happen.
MPEG Stream: CHIEF CHECKER "Ire Africa"
MPEG Stream: REX WILLIAMS "You Are My Heart"
MPEG Stream: THE FACES "Tug Of War"

V/A Notwave (Rong / DFA) cd 14.98
DFA Records thrives on the past. The debut track by label bossman James Murphy's band LCD Soundsystem, "Losing My Edge," humorously exposed his healthy record collection and grinningly unveiled current day, hipster cynicism. But one of the conundrums about DFA is that while their influences are timeless, much of their output simply isn't. This collaboration release with Rong reifies that sentiment. And while Notwave is certainly a catchy term, it isn't immediately obvious what it means, or what the common thread is that holds it together. Styles range from the Kraftwerk musique of Nonstop's "Hydration Explosion" to the New Romantic meets The Slits-ness of Striplight's "No Search No Entry," to the abstract, paranoid peyote-soul of former !!! members Free Blood to the Gwen Guthrie-style, b-side dub of Research. Everything is fine really, nothing is great. The Nonstop track is the only one that seems to standout. It's solid bedroom krautpop. Speaking of the past, Sal P of Liquid Liquid is present on a perfectly fine early '90s acid house-style Tussle remix, and James Chance & The Contortions live freakout/meltdown "King Heroin" shows up second to last. Then out of nowhere, we're right back in some mid-'80s electro-soul for one final track. DFA completists, desperate disco revivalists, or those looking for an extraterrestrial, extraneous house/dub cover of Spoon's "I Turn My Camera On" may want this.
MPEG Stream: NONSTOP "Hydration Explosion"
MPEG Stream: JAMES CHANCE & THE CONTORTIONS "King Heroin"

V/A Notwave (Rong / DFA) 12" 8.98
Three song 12" culled from the cd of the same name, featuring three tracks:
Striplight "No Search For Entry (Tim Love Lee Dub), Tussle "Elephants Meandering (Sal Principato And Dennis Young Mix, and Welcome Stranger "Smoke Machine". The cd version is reviewed elsewhere, so check that review for more details.

V/A To The Triumph Of Evil: A Tribute To Judas Iscariot (ISO666) cd 13.98
Found a little stash of these and figured we oughta relist this, in case some of you missed out on it before. Black metal fans are no doubt familiar with the legendary Judas Iscariot, and the lineup of modern black metal acts paying tribute is pretty stellar. Here's what we had to say the first time we listed this brutal black gem:
Another super limited, ultra deluxe reissue of a compilation that came out a while back, and then again in a limited run of only 150 copies more recently, and which somehow completely slipped beneath our radar the first time around. Hard to believe considering how amazing this is. All you need to know is it's a tribute to Judas Iscariot, a USBM institution, and features the elite of what might be considered the second wave of USBM cover classic JI tracks: Xasthur, Leviathan, Nachtmystium, Krieg and more! Holy shit!
After 10 years, Judas Isacriot hung it up in 2002, but they still manage to influence countless legions of musical minions. Most of the bans here owe no small debt to Akhenaten and his Midwestern metal outfit, which is obviously why they're here paying their respects.
The mighty Xasthur covers "The Cold Earth Slept Below...", the result is an incredibly lo-fi, brittle washed out smear of fuzzy guitars, stumbling dirgelike drumming, the whole thing so hissy and buzzy it's almost dreamlike, with some gorgeously mournful melodies that would make it sound downright poppy if it weren't so frosty and harsh. So fucked and hauntingly pretty it had us digging out our old JI records to hear the original. AQ fave Leviathan takes on "Where the Weather Beats Incessant", nearly 12 minutes of moody depressive midtempo blackness, with some strange droney interludes, super harsh distorted vocals, and strange drawn out guitar parts, the whole thing epic and majestic and almost post rock sounding. Krieg cover "Babylon", a furiously fuzzy, ultra lo-fi burst of muddy murky black buzz, guttural vocals vomited up from the depths, blasting beats, amazing lightning speed riffing, but the melodies buried in the mix are haunting and again strangely lovely....
Fellow Midwesterners Nachtmystium tackle "Gaze Upon Heaven In Flames", a super loud, in the red blast of relentless buzzing black metal, the riffs and the drumming a blinding blur, until about halfway through where the song breaks down into a strange, lurching half time almost-groove with creepy melodies and a odd timed hiccuping rhythm. Frostmoon Eclipse offer up their version of "Spill The Blood Of The Lamb" the grimmest and frostiest of the bunch so far, murky and muddy, but thick with buzz and thrash, the vocals a hateful demonic gurgle, the whole thing a buzzing snarling beast. The rest of the lineup holds their own nearly as well, offering up their own varied takes on classic Judas Iscariot material. Eternity Of Darkness, Sign Of Katu, Arkenstone, Merrimack, Dead To Earth, The Black Death, Carving To Nenia, Martyr and Birkenau.
The strange thing is, that as buzzing and black, as hateful and harsh, as dreary and depressive as these tracks are, we had almost forgotten how pretty some of the Judas Iscariot stuff really was...
MPEG Stream: XASTHUR "The Cold Earth Slept Below"
MPEG Stream: KRIEG "Babylon"
MPEG Stream: LEVIATHAN "Where The Winter Beats Incessant"

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----* In Stock, Not Yet Reviewed :
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If you want to order one of these, just search for the item, then click on the buy button and it will be added to your cart!

AGGREGATION "Mind Odyssey" (Erebus) cd 21.00
ALIAS "Resurgam" (Anti) cd/lp 14.98/14.98
ANNEXUS QUAM "Osmose" (Captain Trip) cd 33.00
AURAL FIT "II" (PSF) cd 22.00
AZRAEL "Obdurate / Unto Death" (Moribund) cd 14.98
BEHEXEN "My Soul For His Glory" (Moribund) cd 14.98
BIGELF "Cheat The Gallows" (Custard) cd 11.98
BULENT "Benimile Oynar" lp 29.00
BURNING BRIDES "Anhedonia" (Cobraside) cd 14.98
BYETONE "Death Of A Typographer" (Raster-Norton) cd 17.98
CAMPBELL, ISOBEL & MARK LANEGAN "Sunday At Devil Dirt" (V2) cd 25.00
CELESTIAL BLOODSHED "Cursed, Scarred and Forever Possessed" (Moribund) cd 14.98
CLOUDLAND CANYON / MYTHICAL BEAST "split" (Not Not Fun) lp 14.98
CRANDELL, RICHARD "In the Flower Of Our Youth" (Tompkins Square) lp 14.98
CROSSFACE / SCHNAUZER "split" (Cleveland Hardcore) 7" 6.98
CRYSTAL STILTS "s/t" (Woodsist) cd/lp 11.98/14.98
CYBOTRON "Implosion" (Aztec Music) cd 24.00
DARKTHRONE "Frostland Tapes" (Peaceville) 3cd 27.00
DARNIELLE, JOHN "33 1/3 Series: Master Of Reality" (Continuum) book 10.98
DIGITAL LEATHER "Sorcerer" (Goner Records) cd 10.98
DISKJOKKE "Staying In" (Smalltown Supersound) cd 16.98
DON CABALLERO "Punkgasm" (Relapse) cd 14.98
DRY RIB "Whose Last Trickle" (Hyped To Death) cd 12.98
DUCHESS SAYS "Anthologie des 3 Perchoirs" (Alien 8) cd 14.98
DUSK & BLACKDOWN "Margins Music" (Keysound Recordings) cd 15.98
FAUN FABLES "A Table Forgotten" (Drag City) cd 12.98
FLAMES OF HELL "Fire and Steel" (Draconian Records) cd 18.98
FREE POP ELECTRONIC CONCEPT, THE "A New Exciting Experience" (Vampisoul) cd/lp 23.00/25.00
FREEDOM'S CHILDREN "Astra" (Shadoks / Normal) cd 17.98
FREEDOM'S CHILDREN "Battle Hymn Of The Broken-Hearted Horde" (Shadoks / Normal) cd 17.98
FREEDOM'S CHILDREN "Galactic Vibes" (Shadoks / Normal) cd 17.98
FUCKED UP "Year of the Pig" (Matador) cd ep 6.98
GAMMELSAETER, RUNHILL "Amplicon" (Utech) cd 16.98
GORGOROTH "True Norwegian Black Metal" (Regain Records) cd 15.98
GOTO80 "Made On Internet" (Pinipung) cd 17.98
GRAE, JEAN "Jeanius" (Blacksmith) cd 14.98
GURU GURU "Hinten" (Captain Trip) cd 27.00
GURU GURU "UFO" (Captain Trip) cd 29.00
GZA "Pro Tools" (Babygrande) cd 15.98
HEALTH "Triceratops/Lost Time" (Lovepump) 12" 14.98
HEAVENSORE "Asmodai" (Utech) cd 16.98
HILL, ZACH "Astrological Straits" (Anticon) lp 22.00
IDA "My Fair, My Dark EP" (Polyvinyl Record Co.) cd ep/12" 10.98/11.98
IKEDA, RYOJI "1000 Fragments" (Raster-Norton) cd 17.98
INDRICOTHERE "s/t" (Gilead Media) lp+cd 14.98
ITAL TEK "Cyclical" (Planet Mu) cd 14.98
JANDREUS, PETER "The Encyclopedia Of Swedish Punk 1977-1987" (Premium) book 66.00
JEPSON, WARNER "Totentanz and Other Electronic Works, 1958 - 1973" (Melon Expander) cd 19.98
JESU / BATTLE OF MICE "split" (Robotic Empire) cd 14.98
KANDING RAY "Automne Fold" (Raster-Norton) cd 17.98
KAWABATA MAKOTO "We Don't Know Where We Came From" (Important) lp 23.00
KAWAGUCHI MASAMI'S NEW ROCK SYNDICATE "Cat Vs. Frog" (Palindrone) lp 17.98
KEEP OF KALESSIN "Kolossus" (Nuclear Blast) cd + dvd 13.98
KELPE "Ex-Aquarium" (DC Recordings) cd 22.00
KHAZAD DOOM "Cherry Town" (Hallucination) cd 14.98
KLUSTER "1970 - 1971" (Water) 3cd 27.00
KORAY, ERKIN "Silinmeyen Hatiralar" (Turkuola) lp 33.00
KULTIVATOR "Barndomens Stigar" (Mellotronen) 2cd 28.00
LADYTRON "Velocifero" (Netwerk) cd 16.98
LANDED "How Little Will It Take" (Load) cd+3"cd 15.98
LOPEZ, FRANCISCO "Technocalyps" (Alien8) cd 14.98
LOVE "False Start" (Universal) cd 16.98
LOVE "Out There" (Universal) cd 16.98
LUCKY DRAGONS "Dream Island Laughing Language" (Marriage) cd 17.98
MACHINEFABRIEK & STEPHEN VITIELLO "Box Music" (12K) cd 14.98
MADE OUT OF BABIES "The Ruiner" (The End) cd 12.98
MARIS, BANCO "Dunden Begune" (Turkuola) lp 33.00
MARIS, BANCO "s/t" (Turkuola) lp 33.00
MASTERS, MARC "No Wave" (Black Dog Publishing) book 29.95
MATES OF STATE "Re-arrange Us" (Barsuk) cd/lp 14.98/
MEDESKI MARTIN & WOOD "Book of 11" (Tzadik) cd 16.98
METERS, THE "Look-Ka Py Py" (Josie / Rhino) lp 14.98
METERS, THE "s/t" (Josie / Rhino) lp 14.98
MODEL 500 "Starlight" (Echospace) cd 16.98
MOUTH OF THE ARCHITECT "Quietly" (Translation Loss Records) cd 14.98
NISENNENMONDAI "Tori / Neji" (Smalltown Supersound) cd 16.98
OMIT "Interceptor" (Helen Scarsdale) 2cd 17.98
OPETH "Watershed (Collector's Edition)" (Roadrunner) 2cd 23.00
ORCHESTRA BAOBAB "Made In Dakar" (Nonesuch) cd 17.98
PADDED CELL "Word Of Mouth" (DC Recordings) 12" 11.98
PENTEMPLE "s/t" (Southern Lord) lp 16.98
POCAHAUNTED "Mirror Mics" (Weird Forest) lp 16.98
PRAM "The Moving Frontier" (Domino) cd 14.98
PRICE, MELVYN "Rhythm And Blues" (Waxpoetics) cd/lp 16.98/21.00
PROSCRIPTOR "726" (Tarot Productions) cd 13.98
PRURIENT "Arrowhead" (Editons Mego) cd 17.98
Q65 "Nothing But Trouble" (Rev-Ola) cd 17.98
QUICK, BILL "Maravillosa Gente" (Time-Lag) lp 31.00
QUINTESSENCE "Self" (Esoteric) cd 21.00
RUSSIAN CIRCLES "Station" (Suicide Squeeze) cd/lp 14.98/22.00
SECONDO "A Matter Of Scale" (Soul Jazz) cd 21.00
SLOAN "Parallel Play" (Yep Roc) cd 14.98
SNAKE FLOWER 2 "Renegade Daydream" (Tic Tac Totally Records) cd 11.98
SPITE EXTREME WING "Vltra" (Avantgarde) cd 14.98
STONE HARBOUR "Emerges" (Lion Productions) cd 16.98
STOOGES, THE "Gimme Some Skin" (Get Back) cd 17.98
TEMBO, CHRISSY ZEBBY & NGOZI FAMILY "My Ancestors" (Hummingbird) cd 24.00
TIME, THE "Pandemonium" (Paisley Park / Reprise) cd 13.98
TRINACRIA "Travel Now Journey Infinitely" (Season Of Mist) cd 15.98
TUSSLE "Cream Cuts" (Smalltown Supersound) cd 16.98
UNEARTHLY TRANCE "Electrocution" (Relapse) cd 15.98
V/A "African Scream Contest" (Analog Africa) 2lp 28.00
V/A "Death Before Distemper v.2" (DC Recordings) cd/lp 23.00/23.00
V/A "Dr. Boogie Presents Shim Sham Shimmy" (Sub Rosa) cd 16.98
V/A "Miniatures One + Two" (Cherry Red) 2cd 21.00
V/A "My Own Wolf: A New Approach To Ulver" (Cold Dimensions) 2cd 22.00
V/A "Swinging Madmoiselles Deux" (Silva Screen) cd 16.98
V/A "Total 9" (Kompakt) 2cd/3lp 17.98/24.00
V/A "Westbound Funk" (BGP) lp 31.00
VEGETABLE ORCHESTRA "Remixed" (Karmarouge) cd 17.98
WALKMEN "You & Me" (Gigantic Music) cd 12.98
WAX POETICS ANTHOLOGY VOLUME 2 book 39.95
Y & T "Black Tiger" (Krescendo) cd 15.98
Y & T "Earthshaker" (Krescendo) cd 15.98
Y & T "Mean Streak" (Krescendo) cd 15.98
YAHOWHA 13 "Feather Of Wisdom" (Phoenix) lp 23.00
Z'EV VS PITA "Colchester Arts Centre" (Mego) cd 17.98
ZOZOBRA "Bird Of Prey" (Hydrahead) cd 14.98

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ABOUT MAILORDER


Please place your order via our website.

[1] We will contact you to verify your order and let you know when it will be shipped. Please note that occasionally it may take a day or two for us to reply. We are not a faceless bunch of computers replying to your order -- we are human beings!

[2] If we are out of some of your items and we think we will get them within the same week, we can wait to ship. Or... If it's going to be more than a few days to complete your order, we will ship what we have and then will contact you as the remainders arrive.

[ note ] Due to the everchanging nature of the independent record business, we are not responsible for listed price changes (due to supplier price changes) and often cannot update our site fast enough to reflect these changes, but we will always try to let you know of any differences.


DOMESTIC SHIPPING :
--------------------------------
1-2 items $4.50 USPS Priority Mail
3+ items $6.50 UPS Ground

Further Explanation (Please Read!):
Within the USA, an order of 3 or more items will be shipped via UPS ground for a flat fee of $6.50. These packages are automatically insured and trackable.

However, if your package contains just 1 or 2 items, we will ship your order via USPS Priority Mail, and charge you $4.50 for shipping. These packages are NOT insured or trackable, sorry. So if you desire those safeguards, please request UPS delivery at the $6.50 rate. You must mention this in the comments field of our online order form.

Also, please note that UPS will not ship to PO Boxes. If you only have a PO Box, we can ship packages of 3+ items via US Postal Service and charge you by weight according to their rates. Special shipping needs (e.g. UPS Next Day) are also do-able, just ask.

Another important note: box sets DON'T (usually) count as one item. Sorry. A box set will generally bump you up into the "three or more items" category. Y'know, they're big. Boxes.


INTERNATIONAL SHIPPING :
-------------------------------- For foreign customers we ship via US AIRMAIL ("Letterpost"). Your price is based on the actual cost of shipping plus $1. You can check the US Postal Service international rate calculator: http://ircalc.usps.gov/. (Use the "Package, No Correspondence" category and see the price for "Letterpost". 1-3 cds is usually 1 pound.)


We highly recommend insurance for your international package, but it is very expensive! You can check the US Postal Service international rate calculator: http://ircalc.usps.gov/. (Use the "Package, No Correspondence" category and see the price for "Parcel Post". 1-3 cds is usually 1 pound.)


INTERNATIONAL INSURANCE :
-------------------------------- You are hereby forewarned that Aquarius is not responsible if your international package gets lost in the mail. Insurance is your only recourse if your records never show up. Since the terrible events of 9/11, mail service has been slow and undependable... and while we haven't experienced any *confirmed* permanently lost mail, insurance might provide some additional piece of mind in this time of upheaval. We strongly recommend it. But yes, it is very expensive. It's your choice. Again: Aquarius is not responsible for lost mail, so if you aren't willing to take a (slight but real) risk, please buy the insurance.

International insurance is very expensive! In fact often the insurance costs more than the value of your package, in which case it obviously does not make sense to insure it. You can check the US Postal Service international rate calculator: http://ircalc.usps.gov/. (Use the "Package, No Correspondence" category and see the price for "Parcel Post", which is the way insured packages are sent. 1-3 cds is usually 1 pound.)

For example: for a one-pound package worth $18 going to England, shipping without insurance is about $8. But with insurance, the shipping / insurance total is over $16!

It is your reponsibility to check the international rate calculator in order to determine whether or not you want international insurance. If you tell us you want international insurance, we will add it to your order no matter how much it costs!


PAYMENT :
-------------------------------- Payment is via credit card: Visa, MC, Discover, and Amex. Money orders are accepted only from customers within the USA. If you must pay by money order, you have to confirm the order with us through email or phone BEFORE you send any payment. We cannot take personal checks for mailorder, sorry!


QUESTION?
-------------------------------- Email the mailorder department: mailorder@aquariusrecords.org

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SOME SELECTED UPCOMING RELEASES

----} August 26th
Missy Elliott "Block Party" cd
Neu! "s/t", "2" and "Neu 75" cd reissues
KK Null "Oxygen Flash" cd on Neurot

----} September 2nd
Khold "Hundre Ar Gammal" cd on Candlelight
Falconer "Among Beggars And Thieves" cd on Metal Blade

----} September 9th
Mogwai "Batcat" 12" on Matador

----} September 16th
Linda Perhacs "Parallelograms" cd reissue on Sunbeam

----} September 20th
Yoshi Wada "Off The Wall" cd reissue on EM Records

----} September 23rd
Mogwai "The Hawk Is Howling" cd/lp on Matador
Brightblack "Motion To Rejoin" cd/lp on Matador
Girl Talk "Feed the Animals" cd on Illegal Art

----} September 30th
Group Inerane "Guitars From Agadez (Music of Niger)" cd on Sublime Frequencies

----} also in September
Striborg "Foreboding Silence" cd on Displeased

----} October 14th
v/a "1970's Algerian Proto-Rai Underground" lp on Sublime Frequencies
The Alps "III" cd/lp on Type

----} November 11th
Helios "Caesura" cd/lp on Type
Peter Rehberg "Work For GV 2004-2008" cd on Editions Mego

----} also upcoming sooner or later or sooner or later
Merzbow "Eucalypse" cd on Soleilmoon
Rosetta "Wake/Lift" vinyl version
Makoto Kawabata & Michishita Shinsuke "Basement Echo" cd on Important
Cold Sun "Dark Shadows" lp+10" reissue on World in Sound
Coh "Strings" 2cd on Raster-Noton
Necrofrost "Blackeon Lightharvest" cd
Mariana Topley-Bird w/ Dangermouse
Loren Chasse & Michael Mnortham "Otolth"
Anton Batagov "Passionate Desire To Be An Angel" cd on Long Arms Records
The Heads tba 2cd 'best of' on Leafhound
Gore reissues on Southern Lord
Black Boned Angel / Nadja collaboration cd/lp on 20 Buck Spin
Jane Birkin/Serge Gainsbourg cd reissue on Light In The Attic
Serge Gainsbourg "Histoire de Melody Nelson" cd reissue on Light In The Attic
Serge Gainsbourg "L'homme à tête de chou" cd reissue on Light In The Attic
Scott Walker "'Til The Band Comes In" cd reissue on Water
Japancakes "If I Could See Dallas"
Walker Brothers "Take It Easy With The Walker Brothers" cd reissue on Water
Kath Bloom "Terror" cd on Chapter
Iro "Tamafuri" cd on PSF
Diza Star "Contact High Diza Star" cd on Fractal
DDAA "Action and Japanese Demonstration" cd reissue on Fractal
Otomo Yoshihide "Core Anode" cd on Meenna
Wolfgang Voigt "Freiland - Klaviermusik" 12" on Profan
When "Are You Silent" cd on Jester
Stomu Yamash'ta cd reissues on Esoteric Recordings (including "Floating Music" & "Man From The East")
Hiroshi Nar with Nishinihon "s/t" cd on Lexicon Devil
La Dusseldorf cd reissues on Water ("s/t", "Viva", and "Individuellos")
Jackie-o Motherfucker "Freedomland" cd on Very Friendly
Fat Cameron "No Guys, I Really Did Used To Be Fat..." 3cd on Creation
Charalambides "Branches" cd on Wholly Other
Acid Mothers Temple & The Cosmic Inferno "Journey Into The Cosmic Inferno" cd on Very Friendly
Sean Smith "Eternal" cd on Ultra Hard Gel
Plastikman "Rine 06" cd on Rinse
Acid Mothers Temple & The Cosmic Inferno "Pink Lady Lemonade (You're From Outer Space)" cd on Riot Season
Jonas Reinhardt "s/t" cd on Kranky
Deerhunter "Microcastle" cd/lp on Kranky
v/a "Eccentric Soul: The Young Disciples" cd on Numero Group
Silver Jews "Silver Jew" dvd on Drag City
The Howling Hex "Earth Junk" cd/lp on Drag City
David Grubbs "An Optomist Notes The Dusk" cd/lp on Drag City
La Dusseldorf "s/t" and "Viva" lp reissues on Four Men With Beards
Hototogisu "Pale Fatal Sister" 2lp on Important
Prurient "Cocaine Death" cd on Hospital
Acid Mothers Temple & The Cosmic Inferno "Hotter Than Inferno" dvd on Acid Mothers Temple
Dianogah "Qhnnnl" cd on Southern
Zach Hill "Astrological Straits" cd on Ipecac
Risto "Live!" cd on Fonal
Boredoms "Voaltz/Relerer" remixes 12" on Common

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CATALYST

"Catalyst" is a group exhibition that will include eight of today's most prominent visual artists from the abrasive music community. The exhibit will bring together an underground community of artists in which aural and visual expressions converge. Artwork on display will comprise of a wide source of media, including new two-dimensional paintings, drawings, video installations, screen prints as well as an installation of seminal works from each of the artists' extensive catalogues. Artists Included: Aaron Turner, Josh Graham, Seldon Hunt, Stephen Kasner, Aaron Horkey, Florian Bertmer, Justin Bartlett and Dwid Hellion. Curated by Brett Aronson. The "Catalyst" group show will be on display at FIFTY24SF Gallery September 4 ­ 25, 2008. Opening Reception: Thursday, September 4, 2008 from 7 ­ 9:30 p.m.

252 Fillmore St.
San Francisco, CA 94117
Phone: 415.252.9144

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HEAVY LODE
presents the first annual all-day

FRISCO FREAKOUT
psychedelic dance party

good trips, organic eats,
and the best in California psychedelic rock

EARTHLESS
CRYSTAL ANTLERS
WOODEN SHJIPS
SF'S DIRTY STEALER
(featuring members of Comets On Fire and Magik Markers)
ASSEMBLE HEAD IN SUNBURST SOUND
GREG ASHLEY
THE BAD TRIPS
ASCENDED MASTER
SLEEPY SUN

DJ BLACK FJORD
DUKE OF WINDSOR
LIGHTS BY AC (DONUTS)

THEE PARKSIDE, SAN FRANCISCO
OCTOBER 11, 2008
ALL AGES

Doors 2 Show 2:30  Tickets $15,
ON SALE NOW at www.theeparkside.com

more info:

www.myspace.com/friscofreakout
www.friscofreakout.com


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Lots of love from your devoted AQ staff

Andee Cup Jim AllanIrwinScottSallyAntaeusCameronFrankandJon