REICHEL, ACHIM & MACHINES Die Grune Reise - The Green Journey (Tangram) cd+dvd 25.00
An old fave, in fact a former Record Of The Week, at last reissued and available again, previously it was part of a 2-on-1 cd with another A.R. album, Echolung, but here it's by itself (with bonus dvd, more on that later). Nice packaging, great sound, so glad to have this back in the store! Here's more or less what we said before:
How is it that these long overdue A.R. & Machines reissues just keep making us fall in love with Ol' Achim Reichel over and over again? 'Cause it's some of the best krautrock EVER that's how. Die Grune Reise is a re-release of the first official A.R. & Machines LP from 1970 and, while slightly less epic and grand than the blissful Echo (one we raved about a few months ago), it's no less mesmerizing, exploratory and exciting. Reichel's trademark meandering, repetitive guitar and percussion are in full effect - spacey and grooving, but instead of totally transporting the listener into the realm of ether, there's something more rockin' and also sometimes ridiculous that keeps it in the realm of the studio. Well it had to be since EVERYTHING on here was performed and recorded by Achim Reichel himself, a total one-man-jam! Sounds like a whole hairy freak-troupe though. Die Grune Reise is like watching a preview of the even more awesome journey that Reichel eventually takes you on with Echo (which, by the way, is finally back in stock!). It's entirely possible that all the weird, sometimes goofy-hippy vocals on this album maybe make us a little self-conscious... Yes, there's a lot of the madhouse 'digga-digga-aahh-waaahhh!??" type vocals on here that at turns challenge and delight us, but they're tempered with a more than generous helping of signature chug-jams to keep us totally boogeying (dig the ZZ Top guitar riffery on track 2!) and lilting interludes to help us come down gently. When absorbing this album, it's hard to shake the very specific image of a naked, twirling free-spirited German longhair in the desert at night alone with his arms wide open holding a hand rolled cigarette/joint in one hand and doing graceful hand maneuvers with the other...and that's fine by us. A total krautrock essentials. Fans of both Can and Circle need to hear it.
This new, artist approved "Achim Reichel Edition" of Die Grune Reise is digitally remastered, and comes packaged with an extra, dvd disc (PAL, region 0, so it'll work in your computer but maybe not your dvd player) that contains an album length 42 minute video interpretation of the whole record ("Grune Reise - Der Film") that looks to be made fairly recently, with lots of trippy computer graphics going on, it's maybe better than the watching the "visualizer" on your iTunes but not much. Chances are, the pictures A.R.'s music will make in your mind are better than this, so use your imagination instead. The dvd also includes a 10 minute "Making Of" feature, but we don't know if that's a making of the album or a making of the video, 'cause the dvd menu/interface is just about the most confusing thing ever and we weren't able to figure out how to access that segment. So, the dvd is a bit of a bust, though again we didn't actually watch everything... and maybe the surround sound feature is a cool. Regardless, the album itself is highly, highly recommended!
MPEG Stream: "Globus"
MPEG Stream: "In The Same Boat"

V/A Pop Ambient 2010 (Kompakt) cd 15.98
Finally, the latest installment of pop ambience is here, a record we look forward to all year. Very few series, whether they be compilations, TV shows, movies, whatever, can make it to 10 installments, at least not without the quality suffering big time, but the Pop Ambient series continues to be amazing. And untouchable. We'd say that every one is better than the last, but that wouldn't be entirely true, since every single one has been equally fantastic. The 2009 installment introduced some new blood, some non Kompakt folks dabbling in their own ambient pop, like Tim Hecker and The Fun Years, along with the usual suspects. But for 2010, Kompakt decided to keep it in the family, lots of familiar names: The Orb, Mikkel Metal, Thomas Fehlmann, Dettinger, Andrew Thomas, Wolfgang Voigt, DJ Koze, but with a couple tracks from Brock Van Wey, whose Echospace imprint owes no small debt to Kompakt, and one from new to us Marsen Jules, with maybe the best song on the disc.
Jules' "The Sound Of One Lip Kissing" starts things off with surprisingly dark and ominous take on the Pop Ambient sound, a gorgeously grim, lopped slow motion creep, all deep tones, lots of space, and a spare skeletal rhythm, all murky and warm and washed out, the various tones looped and stuttered into blurred sonic ripples, cinematic and darkly epic, we find ourselves playing that one track over and over and over.
The two Brock Van Wey tracks take the post Chain Reaction minimal space dub sound of Echospace, and gives it a shimmery, sun dappled pop ambient overhaul, bits of guitar, and fragmented voices, wreathed in delay, and looped into ethereal dreamscapes, Van Wey's 17 minute closer "Will you Know Where to Find Me" begins as a muted blurry low end drift, but soon explodes into a glorious prismatic shoegaze blowout, that sounds a bit like a drumless M83, nearly static, a pulsing cloud of bleary eyed female vox and processed buzz, so epic and gorgeous.
In between lurks plenty of soft focus beauty, from glistening, echo drenched slowcore dream pop, to swirling seas of hiss and crackle and submerged melody, to stuttery high end drones, to blurred gauzy piano driven abstract ambient ballads, to cinematic sting laden drifts, to super intense and emotional looped dronescapes, to hushed outer space minimal psychedelia, to blissed out slow motion mesmer. Another utterly gorgeous and transcendently divine ambient pop music, which will just have to hold us over until 2011...
For vinyl folks, fear not, the lp version includes the cd as well...
MPEG Stream: MARSEN JULES "The Sound Of One Lip Kissing"
MPEG Stream: TRIOLA "Schildergasse"
MPEG Stream: THE ORB "Glen Coe"
MPEG Stream: BROCK VAN WEY / BVDUB "Will You Know Where To Find Me"

HARVEY MILK s/t (Hydra Head) cd 14.98
It's kind of a no brainer around here, a new Harvey Milk is cause for much rejoicing, and often means shoo-in for Record Of The Week. What can we say? We LOVE these guys. Perhaps one of our favorite heavy weirdo sludge bands ever. Andee even released their legendary Courtesy And Goodwill Toward Men on his tUMULt label, before Relapse swooped in and snatched it up. NO ONE sounds like Harvey Milk, NO ONE, and it's ironic that pretty much every band these days wants to, cuz they've sounded the same for years and years and remained patently unpopular almost the whole time.
As if to drive that fact home (not the unpopular fact, the 'always sounded like this' fact), here's the Harvey Milk holy grail, the original debut record, recorded by Bob Weston in the early nineties, after which the band took it home and promptly lost it. And lost it remained, barring a few dubious and crap sounding bootlegs, and more recently some posted downloads of the same crappy recordings. Since folks were gonna listen to it anyway, the band figured what the fuck, they oughta take the best sounding tape they had, and get it all remastered and gussied up and released properly. And voila, the long lost self titled Harvey Milk record, featuring on its cover, perhaps THE tape where it all started.
Fair warning to the uninitiated, lots of these songs were reworked and re-recorded for other albums, this record was lost after all, so a bunch of these, in altered forms, made it onto My Love, Courtesy, the Kelly Sessions, but it's a gas to hear them here, rough and raw, in some cases dramatically different than their later versions, but that probably only matters to HM newbies, the cult of HM (ourselves included) are a dedicated and obsessed bunch, and even though we have most of these songs, we HAD to have it, and odds are a lot of you will feel the same. Plus, we have to say, the rough and raw recording definitely suits these jams. And the sound, so heavy and punishing, it's hard to imagine what folks thought of these guys back in the day, not very much we'd imagine. This crushing difficult heaviness, exactly what made them our immediate favorite band from first listen is precisely what turns off most other folks.
But if you've made it this far, we'll assume you, like us, have a think for Harvey Milk. And thus, you NEED this, everything about HM that you love is already fully formed even nearly 20 years ago, the crushing glacial pummel, the killer drum pound, the impossibly slow and yet ultra complex arrangements, the insanely emotive howled vocals, it's like these guys emerged fully formed from the band womb.
But a quick whip through the tracks should sway any nonbeliever, "Merlin Is Magic" is an epic melodic sludge prog masterpiece, with weirdly melodic vocals, and lurching hypnotic arrangement, "Dating Pressures" is total classic noiserock, laced with downtuned chug, pounding drum damage, but all Milked up with a howling vocal, and some lurching convoluted progginess, "Plastic Eggs" is the quintessential Milk slow motion doomjam, so slow, so anguished, so heavy, "Anthem" is downright jangly, but still a crushing bruiser, fuck it, you should know by now that this is essential, if you already dig the band, you're gonna go nuts for this, if you've never heard HM before, we might recommend Courtesy or My Love first, but at the same time, we can't imagine anyone listening to this, and not losing their shit and becoming immediately obsessed, and if for some reason, a person did hear this and was not utterly blown away, well, then we think the problem must be you!
Cool mini, lp style sleeve, with a simple photo of a (THE?) Harvey Milk cassette on the cover, the inside sleeve with liner notes on one side and a picture of the Milk van on the other, and last but not least, a mini reproduction of what looks like a promotional HM photo, complete with 'For booking call:' info, which is hilarious whether it's a joke or not.
MPEG Stream: "Blueberry Dookie"
MPEG Stream: "Plastic Eggs"
MPEG Stream: "F.S.T.P."
MPEG Stream: "Anthem"

ACID EATER Black Fuzz On Wheels (Time Bomb) cd 22.00
When we think about it, we really should have made Acid Eater's debut, the awesomely titled Virulent Fuzz Punk A.C.I.D., a Record Of The Week, the most overdriven slab of in-the-red noise drenched hyperdistorted drug fueled punked out garage rock EVER. That is, until now.
So we can right that wrong, by bestowing the honor on record number two, the equally bad assedly (and aptly) titled Black Fuzz On Wheels, another amp destroying psychedelic garage punk blowout, fronted by none other than Yamazaki Maso, aka MASONNA, on vocals and sound effects, and ably backed up by a classic garage rock lineup, fuzz guitar, organ, bass keyboard, drums and chorus, okay, well, maybe not totally classic, but then this is not your classic garage rock. Imagine fuzzed out sixties garage rock, but with a fucked up freaked out Merzbow production, the guitars so distorted the riffs seem to be on the verge of totally falling to pieces, the drums, a blown out pound, the vocals, a sneering yowl, also doused in effects, all held in place by thick whirring Farfisa, everything rollicking and rocking, loose and wild, heavy and psychedelic, and all wrapped up in a bristly, incendiary sheen of white hot buzz and skree.
Thankfully these guys (and gal) have the fuzzed out garage pop songs to back up this sort of speaker shredding sonic onslaught, not to mention a little clutch of kick ass covers, songs by Crime, The Miracle Workers, and a band we'd never heard of before called The Tidal Wave, but whose composition here actually sounds like a sped up "TV Eye" by The Stooges! Weirdest of all, there's a cover of one of the tracks from those Schulmadchen Report soundtracks, y'know, music from saucy '60s German 'documentaries' about school girls making it with older men! Crazy, but it suits them, that cover is a cool surfy instrumental jam, with a bad ass main riff, and a cool breakdown with just drums and distorted hiss. The Miracle Workers cover is awesome too, maybe the noisiest of the bunch, and such a great song ("Love Has No Time"), the vocals especially effected, so snarly and snotty, as well as a tripped out psychedelic ambient effects drenched outro, all motorik pulses and swirling space age bleeps and bloops.
But if you didn't know, you'd probably just figure those covers were originals too, every song on here sounds like some classic sixties garage jam, dipped in a vat of liquid LSD, set afire and sent careening from your speakers. We can only imagine how mind blowing Acid Eater must be live.
Total psychnoise surfpunk distorto garage pop bliss. With super sexy naked lady motorcycle cover art to boot!!
MPEG Stream: "Yes, Motion"
MPEG Stream: "Oh Baby's No"
MPEG Stream: "Follow Me"
MPEG Stream: "Searching For Love"

NJIQAHDDA Yrg Alms (Pagan Flames) cd 13.98
It's been a while since we've listed any UNblack metal, the twisted Christian variant of the more traditionally heathen black strain of metal that we hold so near and dear to our black withered hearts. But as longtime readers of the aQ list no doubt know by now, we LOVE unblack metal, not necessarily for the message (we don't love black metal for its message either), but instead, the sound of unblack metal is so far out, so far removed from the tired tropes of BM, not sure if it's divine inspiration, or just the particular group of unblack metallers we tend to be drawn to, but it seems like the unblack tends to be weirder and more warped than the black in most cases, and thus, we've found ourselves looking to the UNdark side for that which our musical soul yearns for.
This latest slab of abstract experimental UNblackness, comes courtesy of aQ faves Njiqahdda, which just so happens to be the work of the man behind a bunch of other aQ unblack faves including Light Shall Prevail, Agathothodion, Glaciial and others. Which already meant this was gonna be some seriously experimental, evocative buzzing brilliance. Which it is, we're happy to report, but much has changed, the sound here is much prettier, much more stripped down, with less of an emphasis on buzz and blast, and more on mood and texture, ambience and emotion.
The epic 15 minute opener, is all jangly clean guitar, and wild drumming, at least in the beginning, the song soon explodes into something much more black, but after the initial burst, it sort of smoothes out, and instead of being crushing and punishing, it's hypnotic and mesmerizing, there are still harsh vocals, but the buzz is smoothed out, and the melody is lilting and melancholic, not hard to imagine this song could be stripped down to a gorgeous hazy drone, without losing to much of it's actual form and structure. The follow up skips the buzz entirely, and offers up a bit of dreamy, slightly gothic indie jangle, a sort of sweetly minor key post rock, wrapped in a light haze of shimmery ambience.
The next two tracks look back to the opener, both lengthy drone drenched black metal jams, with that muted buzz, tangled guitar harmonies, and super catchy melodies, both, even at their heaviest, manage to remain poppy and melodic, that blend, and the push and pull between light and dark, is what makes those tracks so emotional and powerful.
The closing track is an extended dronescape of whirling haze, shimmering high end, and deep cavernous rumbles, it almost sounds like a field recording set to music, one can almost visualize, the epic forests, the moon reflecting off the water, the glimmer of starlight on the frost covered branches, quite beautiful, and a fitting finish to a strangely beautiful batch of buzzing washed out unblack post metal.
MPEG Stream: "Ingratuu Maate Lagentii"
MPEG Stream: "Sombre Fortu"
MPEG Stream: "Abyssii Iiortuu Liomaatiin"

ENDLESS ENDLESS ENDLESS Black Talisman (self released) cd-r + talisman 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Debut release from this East Coast duo, who weave a dense swirl of softly rhythmic ambience, druggy dronemusic and abstract psychedelic space drift, utilizing a strange assemblage of instruments. Along with guitars, vocals and pedals, they also utilize a Gameboy, the result is not that far removed from the sounds of folks like Expo 70, Gnod, Sounding The Deep, Pulse Emitter and the like, but these guys describe their sound as "triumphant post-noise and stretched out bummer-wave", which translates to washed out expanses of skittery programmed rhythms, warm shimmery guitars, muted loops and subtle glitchery, everything raw and lo-fi but still lush and expansive, there are vocals, but they tend to be blurred into soft swirls of layered hum and whir, the sound is dreamlike and mediative, but not mellow, instead it's minimally propulsive and blissed out, sometimes slipping into full on Autechre-like skitter, but even then, the rhythms are set amidst dense layers of drone, disembodied melodies, hushed ethereal ambience, or tripped out soft noise. Cool, mysterious and definitely psychedelic, this is the perfect headphone drift soundtrack, or sounds for a rainy day lost wander, or music to help you achieve the next level, to leave your body and attain enlightenment, or to just put on and chill out.
SUPER LIMITED RUN, 53 tapes and 47 cd-r's, we only got the cd-r's, and each one comes bundled with a bad ass lazer etched black triangular talisman, that according to the band, will "bring you infinite power", and that Andee has been wearing since we first got these in!! (proof is here: http://twitpic.com/ya15g, http://twitpic.com/ya1cu)
MPEG Stream: "I Remember"
MPEG Stream: "Distortions"
MPEG Stream: "A Way"

DENGUE FEVER (V/A) Presents Electric Cambodia: 14 Rare Gems From Cambodia's Past (Minky) cd 16.98
Fans of the amazing Cambodian Rocks compilations we've reviewed in the past are definitely gonna want this one too, a collection compiled by the members of the modern LA-based Cambodian pop band Dengue Fever (longtime AQ faves) of their favorite classic Cambodian rock and roll jams from the sixties and seventies, a golden renaissance age for art and music in Cambodia, directly preceding the reign of the Khmer Rouge, who took over the country in 1975 and attempted to wipe out any and all traces of modern society, and as the liner notes point out, much of the music survived, but most of the musicians did not.
As with the Cambodian Rocks comps, the songs here are groovy and funky and fun, with shuffling rhythms, wild psychedelic guitar solos, warm wheezing organs, fuzzy surf guitars, and of course incredible vocals, the perfect mix of Western style rock and pop and Eastern style traditional folk music. Even though on the surface, the songs all seem sunshiney and playful, but there's definitely an element of pathos and drama, many of the songs are subtly maudlin and melancholy, there's even a song called "I Will Starve Myself To Death", but listening to it, with its jangle guitar and shuffly rhythm, you would never guess the grim title and perhaps lyrical content. There's also a killer cover of Sonny Bono's "Bang Bang", popularized by Cher, Nancy Sinatra and Terry Reid, and here it's gorgeously haunting, a waltzy bit of melodrama, with that immediately recognizable chorus, even in a different language. So good. We just can't get enough of this stuff, anyone who dug those Cambodian Rocks comps, or who loves the Sublime Frequencies collections, will no doubt go crazy for this too. There is definitely some overlap with this collection and the partially out of print Cambodian Rocks series, but there are definitely some tracks here we've never heard before (like "Bang Bang", or as it's titled here, "Snaeha"), and besides, the proceeds from the sale of this record will be donated to Cambodian Living Arts: www.cambodianlivingarts.org! So what are you waiting for??
MPEG Stream: PAN RON "Snaeha"
MPEG Stream: DARA CHOM CHAN "Give Me One Kiss"
MPEG Stream: PAN RON "Don't Speak"
MPEG Stream: PAN RON "Jombang"
MPEG Stream: ROS SEREYSOTHEA "Flowers In The Sand"

NECRO DEATHMORT This Beat Is Necrotronic (Distraction) cd 11.98
This record seemed like it was custom made for aQ. They're called Necro Deathmort, the record is called This Beat Is Necrotronic, they've been described as SUNNO))) meets Squarepusher, it's heavy, it's skittery, it's dark, it's like a metal dubstep record, or a grim electronic laced doomdrone record, some of the tracks are stuttery and rhythmic, others are grim and ominous and intense, all of them are heavy, the sound veers from spaced out and downtuned, to skeletal and psychedelic, to thick and caustic, to big beated and bassy.
Thanks to aQ customer Mark for introducing us to these guys, we've been listening to it nonstop since we got it in. It's definitely a tough one to pin down, a little all over the map, but no matter what's going on, the various sounds and vibes and moods are definitely connected, joined by a thick grim black thread.
"Spilth (Spill Your Filth)" starts things off with a lumbering electro jam, all squiggles and squelches, glitches and buzzes, but underpinned by some serious speaker destroying bass, fuzzed out and thick and rumbling and very very prickly, like the heaviest dubstep bassline you've ever heard, cranked even higher. "Hurt Me I'm Bored" is where the band get serious, spreading out a serious chunk of smoldering electronic flecked doom, haunting and propulsive, the drums simple and stripped down, the main riff minor key and a little bit woozy, all around the main groove, clouds of static and hiss swirl and spark, the low end again thick as hell, the guitars gradually growing more and more metallic until, the track is full on doooooooom, but still peppered with little squiggles of distorted leads and various shards of electronic detritus.
"I Can See Through Time" is all washed out whir and hushed shimmer, looped and chopped sounds smoothed into a droney almost pop ambience, which quickly gives way to "Return To Planet Atlas", a sort of trip hopped slowcore jam, all big beats, and thick gnarled woofer shredding low-end, surrounded on all sides by streaks of high end, and all manner of swirling effects. The beats are definitely reminiscent of Scorn, even Bomb The Bass (remember them?), but a bit amped up and a lot heavier: "Necro Effigy" is another strange beat driven groove, with strange voices, croaking frogs, fractured glitched out crunch, and stuttery stop start beats, "Broadcast" is a dreamy interlude, sampled voices, looped bass notes and distant drone-y rumbles, dreamy and ethereal, which leads right into "I Fought The Law And The Law Won" which sounds like Portishead, all smoke-y and late night, or maybe a more beaty Bohren, creepy crawly, mysterious and weirdly pretty, "Technicolour Minstrel Show" begins with a SUNNO)))-y wall of crumbling blackened sound, only to give way to a whirring soft focus dreamscape, while "Origami Werewolf" is a dark loping jam, all throbbing beats, sheets of blown out guitar, keening feedback, and some serious industrial riffage, and finally, the record closes with the nearly 13 minute "Ultimate Testament", a gorgeous super minimal slowcore crawl, the beats skeletal and spaced out, the guitar raw and distorted, thick and noxious, but the melodies epic and majestic, it sounds like it might build to classic post rock crescendo, but instead, everything drops out except for the drums, and the last few minutes are a strange minimal beatscape, booming, pounding, crashing, but with tons of space, the beats echoing into the blackness before winking out, only to be replaced by another beat, until there's nothing left.
This shit is amazing, so dark and heavy and unlikely. Gorgeously packaged too, in a super swank fold out six panel sleeve, adorned with some garish woodcut style illustrations, and be sure and check out their Myspace page as well, tons of other music that didn't make it onto the cd, including a killer reinterpretation of an old Nirvana song, that gets all Necro'd. So Rad. And just for the record, January is in no way too soon to start picking records for your best of 2010 list... just so you know...
MPEG Stream: "Hurt Me I'm Bored"
MPEG Stream: "Spilth (Spill Your Filth)"
MPEG Stream: "I Fought The Law And The Law Won"
MPEG Stream: "Technicolour Minstrel Show"
MPEG Stream: "Origami Werewolf"

NIGHT CONTROL Life Control (Kill Shaman) cd 12.98
The origin myth of Night Control is almost as fascinating as their music, it was explained in great detail in our review of the first Night Control record from a while back, but in a nutshell, Night Control was at one time called Crystal Shards, and that band released a whole mess of super limited cd-r's, all amazing and tripped out and weirdly poppy, but before we could get our hands on any of those cd-r's, the band resurfaced with a new name, Night Control, and a new record, Death Control, which cherry picked all the best songs from those impossible to find cd-r's and voila, and all time aQ favorite, twisted, fractured outsider lo-fi pop, that managed to infuse hook filled classic sounding pop music, with all manner of rhythmic aberrations and sonic inconsistencies, transforming NC's music into something truly original and transcendent.
So here we have what could be considered to be the first proper NEW Night Control record, and thankfully, all of the weirdness is fully intact, and the songwriting has seemingly grown by leaps and bounds, without sacrificing a bit of fuckedupness. So, just like Death Control was, it's gotta be a Record Of The Week! Night Control's sound is still firmly positioned amongst the current crop of warped lysergic lo-fi popsters: Ariel Pink, Gary War, John Maus, Ty Segall, Wavves, Blank Dogs, Kurt Vile, etc., but there's just something about Night Control, that makes this music different. And special. Not better necessarily, although in some ways it definitely is, but just special, the songs are ramshackly, but fully formed, catchy as all get out, but laced with all manner of clatter, and squealing feedback, the vocals are generally buried, so sometimes the melody is more suggested than anything, but somehow all the woozy warped parts fall (im)perfectly into place, and yet again, Night Control has created a songsuite, that is at once warm and familiar, but also alien and abstract.
There's no denying the fact that these songs are tighter, and more rocking, and it definitely sounds more like a real band, than a bedroom project, the opener "CS" is heartbreakingly good, warm and woozy and lush, drum machine, loping piano driven melody, big rich guitars, and a main vocal line that is so dreamy and melancholic and definitely harkens back to classic sixties pop a la The Zombies, but the record immediately changes gears, and "There's A Chance" begins as a stumbling chaotic lurching kitchen sink pop workout, very New Zealand sounding actually, the drums are distorted and tangled, the vocals are processed and all wrapped up with streaks of high end and feedback, all under a blown out haze, making the song's poppiness all the more subtle. "Take Apart" is super rocking, with actual burly guitar riffing, pounding drums, even some squirrely almost-leads, but it's interspersed with some wheezing atonal organ, some detuned guitar squiggle, some surprisingly active rubbery basslines, and the whole thing is wrapped in a cloud of hiss and crumbling distortion. It's like a Joe Meek track gone haywire.
And so it goes, the whole record veers from perfect pop to deconstructed lo-fi pop flecked weirdness, drums get blown out, vocals slip way up in the mix in a reverbed Lou Reed like sung spoken croon, guitars warble, chords jangle, rhythms are flipped backwards, fragments of songs are looped and layered, some tracks skip and skitter, you can hear someone push the stop button on the tape player, the 'ka-chunk' becoming part of the song, vocals pile on top of one another creating big lush, dense harmonies, long stretches of barely there sound drift and shimmer, like a pop song muted and melted into shimmery sonic strings, new wave collides with new age, classic rock stumbles into power pop, drum machine driven skitter explodes into druggy garage rock, hazy riffs coalesce into crystalline space rock, and on and on and on. The final track might just be the most beautiful, a nearly 8 minute stretch of processed guitars, all delicately intertwined, looped and layered, melodies and overtones surfacing and then fading into the background, notes pulse and throb, creating sort-of-rhythms, a little pop ambience, a little abstract Appalachia, warm and lush, the perfect rainy day dreamdrift, and a fitting way to finish off this perfectly imperfect record. One of our new favorites for sure.
MPEG Stream: "CS"
MPEG Stream: "There's A Chance"
MPEG Stream: "Take Apart"
MPEG Stream: "Guitar"

RHODES, EMITT Recordings (1969-1973) (A&M / Geffen) 2cd 31.00
Finally, after a handful of shoddy reissues, bootleg compilations, and a never ending quest to track down every bit of recorded brilliance from this unsung pop genius, comes this amazing and comprehensive collection from the greatest pop singer song writer you've probably never heard of.
Some folks might be familiar with Rhodes from his time in psych pop combo The Merry-Go-Round, but it's on these 4 solo records, that Rhodes truly blossomed into something of a pop music marvel, playing almost all of the instruments himself, drums, bass, piano, guitar, writing, recording, singing, and creating some of the most timeless pop music you'll ever hear. Often called 'the one man Beatles' (in fact there's a new documentary about Rhodes with that title) due in no small part to his voice, a dead ringer for Paul McCartney's, as well as his songwriting, which definitely owes much to the Beatles and the Wings (McCartney again obviously), in fact, sometimes it's incredible how much some of these songs sound like they could have been Wings tracks, but unlike the Wings' tendency toward bombast and overkill, these songs remain sublime and simply brilliant. Besides the McCartney comparisons, there's also the Kinks, the Bee Gees, among others, you might have even heard Rhodes on the soundtrack to The Royal Tenenbaums, and he did have some moderate success, with at least one album and one single charting, but for the most part hovered just below the radar, which is criminal once you hear these songs, 4 albums, every song a practically perfect pop gem, from brooding heartfelt ballads, lush soaring chamber pop, to jangly power pop, his vocals gorgeous, the harmonies angelic, the arrangements incredible.
All four records are fantastic, but his self titled debut, from 1970, ranks up there as one of THEE absolute greatest pop records of all time. Every song could have been a hit, just listen to the sound samples below, the first 5 tracks from that record, impossibly catchy, and dreamy, and lush and so goddamn good. Especially "Long Time No See", with it's strangely morose minor key main melody, fuzzed out psych guitar, strange mix, and super dynamic arrangement, really dark, but still so catchy. As for modern musicians who owe a debt to Rhodes, we'd wager Elliott Smith was a huge fan, and if he wasn't he sure would have been, and Ted Leo is another, mostly the voices, and the knack for crafting hooks.
And while most singer songwriter music from the 70's sounds dated, ALL of these tracks sound as fresh and exciting as ever. If you've never heard Rhodes, you're in for a treat, this collection is one of those rare records, that had practically everybody here in a tizzy, and thus gets played nonstop.
Total pop perfection. Absolutely recommended and totally essential.
MPEG Stream: "Long Time No See"
MPEG Stream: "With My Face On The Floor"
MPEG Stream: "Somebody Made For Me"
MPEG Stream: "She's Such A Beauty"
MPEG Stream: "Lullabye"

CLEANING WOMEN U (Cobra) cd 17.98
We're a sucker for pretty much anything Finnish. The weirder the better. So when we discovered Cleaning Women, a trio of Finns, who dressed up like ladies, housecoats, stockings, the whole nine yards, and who performed on an assemblage of customized kitchen appliances and household items, stoves, ironing boards. drying racks, clothes horses, we were sold before we even heard a note.
Luckily they had the music to back up their eccentric presentation, a strange chaos of wild percussion, blown out fuzz bass, and crooned vocals. Their second record was a soundtrack of sorts, and ended up being way more varied and schizophrenic than their debut, and once again, for record number three, the simply titled U, they've shifted gears again, and really hit their stride. Where as before, it seemed like the music was secondary to the concept, here, the music is dark and brooding and hypnotic, poppy and melodic, minimal and mesmerizing, they even seemed to have ditched the drag, if the band photo is any indication, they're still glamorous, and odd looking, but in a sort of Euro vampire glam rock way. But the music. Wow. Everything we loved about the first two records distilled and compressed into something magical.
The opening track is like a super minimal junkyard Circle, with its endlessly repeating main riff, the clanky percussion, the woozy seasick rhythm, there's even a creepy interlude partway through, with tolling bells, booming metallic rumbles and mysterious reverbed whistles, before the band launch back into it, this time adding vocals, the Circle comparison becoming even more apt, like an industrial Circle covering Morricone or something? However you slice it, it's amazing.
The second track almost sounds like an analog Kraftwerk, with it's blooping bassline, and motorik melody, mix in a little twangy guitar, swirling synths, super cinematic and dramatic. The third track is a pop gem, with it's dreamy vocal melody, and softly propulsive rhythm, and pizzicato strings, it almost reminds us of Uz Jsme Doma, but way more mellow and shimmery.
"The Miners' Song" sounds like a warped Pink Floyd outtake, until the main riff kicks in, fuzzy and fierce and downright heavy, and suddenly we're back in hypnorock territory, but with a distinctly playful pop edge.
The second half of the record is more of the same, from super minimal bowed string dronescapes, rife with surfy twang and delicate shimmer, to strange otherworldly cabaret pop, with xylophone like percussion, and cool Eastern melodies, to clattery math pop workouts that sound like some mad mix of Nomeansno and Sparks, to the eight minute closer "Scythians", which again veers into Circle territory, spidery looped melodies over simple motorik rhythms, reverbed and softly woozy, before shifting gears, introducing chanted vocals and slipping into a super dramatic slow build, culminating in a cool hauntingly harmonized choral outro.
Absolutely WAY recommended.
MPEG Stream: "Quartarius"
MPEG Stream: "Across The Void"
MPEG Stream: "Scythians"

CLEANING WOMEN U (Cobra) lp 24.00
We're a sucker for pretty much anything Finnish. The weirder the better. So when we discovered Cleaning Women, a trio of Finns, who dressed up like ladies, housecoats, stockings, the whole nine yards, and who performed on an assemblage of customized kitchen appliances and household items, stoves, ironing boards. drying racks, clothes horses, we were sold before we even heard a note.
Luckily they had the music to back up their eccentric presentation, a strange chaos of wild percussion, blown out fuzz bass, and crooned vocals. Their second record was a soundtrack of sorts, and ended up being way more varied and schizophrenic than their debut, and once again, for record number three, the simply titled U, they've shifted gears again, and really hit their stride. Where as before, it seemed like the music was secondary to the concept, here, the music is dark and brooding and hypnotic, poppy and melodic, minimal and mesmerizing, they even seemed to have ditched the drag, if the band photo is any indication, they're still glamorous, and odd looking, but in a sort of Euro vampire glam rock way. But the music. Wow. Everything we loved about the first two records distilled and compressed into something magical.
The opening track is like a super minimal junkyard Circle, with its endlessly repeating main riff, the clanky percussion, the woozy seasick rhythm, there's even a creepy interlude partway through, with tolling bells, booming metallic rumbles and mysterious reverbed whistles, before the band launch back into it, this time adding vocals, the Circle comparison becoming even more apt, like an industrial Circle covering Morricone or something? However you slice it, it's amazing.
The second track almost sounds like an analog Kraftwerk, with it's blooping bassline, and motorik melody, mix in a little twangy guitar, swirling synths, super cinematic and dramatic. The third track is a pop gem, with it's dreamy vocal melody, and softly propulsive rhythm, and pizzicato strings, it almost reminds us of Uz Jsme Doma, but way more mellow and shimmery.
"The Miners' Song" sounds like a warped Pink Floyd outtake, until the main riff kicks in, fuzzy and fierce and downright heavy, and suddenly we're back in hypnorock territory, but with a distinctly playful pop edge.
The second half of the record is more of the same, from super minimal bowed string dronescapes, rife with surfy twang and delicate shimmer, to strange otherworldly cabaret pop, with xylophone like percussion, and cool Eastern melodies, to clattery math pop workouts that sound like some mad mix of Nomeansno and Sparks, to the eight minute closer "Scythians", which again veers into Circle territory, spidery looped melodies over simple motorik rhythms, reverbed and softly woozy, before shifting gears, introducing chanted vocals and slipping into a super dramatic slow build, culminating in a cool hauntingly harmonized choral outro.
Absolutely WAY recommended.
MPEG Stream: "Quartarius"
MPEG Stream: "Across The Void"
MPEG Stream: "Scythians"

OPIUM WARLORDS Live At Colonia Dignidad (Cobra) lp 29.00
We made The Puritan our Record Of The Week a couple lists back, the twisted ultra doom project of Reverend Bizarre's S.A. Hynninen, aka Albert Witchfinder, and that record was indeed twisted and doomy, crushing and slow, warped and mysterious, a little bit gothy and dramatic, a lot bit pummeling downtuned crush. So now we have Opium Warlords, Hynninen's most recent project, which we would have made our record of the week as well if it was a bit easier to get, cuz holy shit, it's like an even more fucked up Puritan, the slow parts are slower, the croony gothy parts, are, well, MORE. It's a creepy crawly burning, sprawling avant doom juggernaut, equal parts classic doom a la My Dying Bride and Paradise Lost, Japanese sludge a la Corrupted, Boris, Solar Anus, and strange minimal prog, but it's WAY poppier too, and pretty, so much so, that we often forget what we're listening to, seventies British prog? Peter Hammill? Sounds strange, and it definitely is, but even in true doom outfit Reverend Bizarre, Hynninen and his crew were way weirder than your average doom band. And the thing with Opium Warlords, is at first it just seemed slow and weird, but it totally blossoms, the more melodic songs revealing themselves as epic and catchy, well crafted avant prog. Or something.
The record opens in full on doom mode, big crashing chords ring out, lots of space, the vocals a mewling croon that goes from growl to falsetto, as the track plods along for 8+ minutes, lurching along doomily, yet melodically, before slipping into the second track, a super spacious skeletal drift, that sounds more like Bohren than Boris, before finally stumbling into full on doomsludge, harsh howled vocals, and strange twisted melodies, until the record shifts gears entirely.
The next two songs, nearly 22 minutes, is a smoldering dark cabaret, guitars distorted and spidery, with Hynninen really singing, dramatic and emotional, it almost sounds like some long lost dark krautrock ballad, no drums, minus the occasional rumbling percussion off in the distance, just a warm drift of lush chords, and minor key melodies, really gorgeous, and timeless sounding.
Which gives way to another bout of doomic pummel, but again surprisingly melodic, all instrumental this time, just the guitars churning, the drums pounding, all wound into a tense chunk of doom pop heaviness.
The next track gets all Eastern with some layered guitars, and abstract percussion, heavy for sure, but also a bit raga like, with a strange mix, big bass thrums way up in the mix, the song eventually transforming into a convoluted math metal workout, which gives way to yet another chunk of more classic sounding doom. Slooooow, and spare, harsh growled almost falsetto vocals, over the pounding drums and big distorted chords left to ring out, heavy and slow, but still really pretty...
The final proper track, is all muted bass strum, jangly clean guitar, total dreamy pop vocals over the top, eventually growing more and more rocking, before finishing off in a tangle of almost Champs sounding guitar harmonies and then 30 seconds of feedback and amp buzz.
The whole thing put to bed by the 5 second closing track, a brief burst of pounding grunted furious grind metal. Phew.
Baffling. Brilliant. Even the booklet is utterly confusional. Packed with random text, strange doodles, diagrams, there's even a fragment of one of his papers from grade school, plus the record is NOT live, and it's unclear if this is a band, or if Hynninen plays everything himself, the artwork is super striking, very pink, and on the back, Hynninen offers up this description of Opium Warlords' self described "Black Gobi Desert Rock", which just may render the above review moot:
"A ritual of jet-black sonic occultism inside an imaginary subterranean temple. A mental trip to the minimalist galaxies of suffocatingly slow and heavy nekroambiences. A ground-breaking bi-polar exploration. A droner's delight and headbanger's holiday. A rave of deranged militarist dance beats. A celebration of psychosexual isolation. Essential and easy-to-listen-to fear music for unbalanced and self-hating youth. Kutu-vibrations for sweatshirt-sporting rillirillos. A message "from beyond". Uncontrolled emotional outbursts to cheer up those with the long faces. Something just for you, who "have heard it all" and "really could not care less". Quality time for a suicidal inner-space astrodoomonaut."
MPEG Stream: "I. Soon Be Here, Prince Of Sleep"
MPEG Stream: "II. Return To The Source"
MPEG Stream: "III. Let It Pour, Let It Pour"

WHOURKR Concrete (Crucial Blast) cd 13.98
We first discovered French electro-grind-metal-psych-whatthefuck duo Whourkr a year or two back when we got their debut record, Naat, which totally blew us away, it sounded like a malfunctioning metal record and a freaked out techno record, all scrambled up together, tangled up and spit out, a skittering, skipping, looped, grinding chunk of electronic metal weirdness. The vocals would howl, but then get processed and looped and would become something else altogether, the drums and guitars were so gnarled and stretched and twisted up, that the band could explode into flurries of rapidfire mathematical grind, way faster and more complex and convoluted than any human could possible play. It was a total headfuck. Like the fastest freakiest grind, made even faster and freakier, but with a little techno thrown in for good measure. Remember the Drum>MachineGun compilation, of insane drum machine driven grind? Whourkr makes that stuff sound so so tame in comparison.
We tried and tried to track down copies for the store, but never had any luck, and then we heard that Crucial Blast would be releasing the NEW Whourkr, so we waited and waited, and now it's finally here, and it's totally different than the first one (or at least how we remember the first one), way poppier and more melodic, like the band are now actually composing songs instead of throwing all the sounds in a blender to see what comes out (not that we don't dig that too!), it's way poppier, catchier, but still totally and utterly freaked out and glitchy and fucked up beyond belief.
Chugging guitars and shrieked vox are chopped and spliced into a hyperspeed deathmetal Melt Banana, all the sounds constantly shifting, the tempo changing, the rhythms colliding and hiccuping, occasionally coalescing into full on grooves, other times splintering into bursts of electronic freakouts, and there are serious hooks happening too, it doesn't seem possible that music like this could be listenable, let alone catchy, but it is. Big time. We'll be the first to admit, that the other Whourkr record was difficult listening, brutal and to many ears annoying, and yeah, the same might be said for Concrete as well, but the band are so much better now, in terms of composition and songwriting, that once you're immersed in their fucked up and freaked out soundworld, it becomes surprisingly easy to acclimate to the rapidly and constantly shifting sounds and rhythms, in order to enjoy the songs themselves. Plus the vocals seem to play a much larger role, not just howls and shrieks, there are plenty of clean vox, soaring almost operatic, low AND high, wrapped around frenzied riffing, wound up into spiralling psychedelic freakouts, or like the instruments, chopped into crazed stutterscapes.
Take the track "Santo", with its deep crooned vox and acoustic guitars, sounding almost like Circle, the electronic effects very subtle at first, before the track lurches into full on doom, the voices and guitars just slightly glitched, eventually giving way to gorgeous delicate piano, only to be obliterated by the next track "Skovsnails", a little burst of drums, and a crazy clipped main riff, it almost sounds like some insane DJ remixing Orthrelm, the song stutters and lurches and hiccups, totally frenetic and relentless. The record dips its toes into all sorts of weird sounds, loping moody electronic downtempo, albeit a little fractured, head spinning hyper grind, shot through with unlikely pop hooks, glitched out death metal, soaring slow building post rocky drama, and more Melt Banana-esque grind pop, but nothing here sounds thrown together, or hodge podge, this is a baffling collection of sounds, but one that is meticulously composed, performed and recorded, and for those in the market for something truly demented, insane, extreme and heavy, not to mention out-there, and pretty much entirely unlike anything you've ever heard before, be next to impossibly to top Whourkr. Definite contender for metal record of the year, even though calling it a metal record is selling it WAY short. Regardless, absolutely recommended.
MPEG Stream: "Mindgerb"
MPEG Stream: "Antzcrowzing"
MPEG Stream: "Bore Injektion"
MPEG Stream: "Santo"
MPEG Stream: "Fatrubber"

SCHMIDT, IRMIN & THE INNER SPACE Kamasutra: Vollendung Der Kiebe (OST) (Crippled Dick Hot Wax) cd 17.98
Wow, it's definitely Christmas around here and how can we tell? Well, for one thing we got this amazing new soundtrack reissue that we never realized until now we have been looking for most of our adult life. It's on Crippled Dick Hot Wax, one of our fave reissue labels that we haven't heard from in years and had feared they disappeared for good. And it's another lost gem from the proto-Can universe of The Inner Space, the same early group incarnation that gave us the soundtrack to the unreleased surreal-politico film, Agilok and Blubbo!
One of our favorite Krautrock obscurities compilations from years and years ago was called Kraut Demons Kraut and two of the tracks were credited to The Can, but didn't sound like Can at all. These were pastoral and pretty with flutes and guitar, one featured very folky female vocals by Margareta Juvan called, "I'm Hiding My Nightingale", the other track was called "Kama Sutra" (billed here as "Indisches Panorama I"). We had always wondered where those recordings had come from, and how they related to Can. It wasn't until someone put this on in the store after we just got it in that it all came rushing back. Those songs were from a rare 1968 German erotic film by Kobi Jaegar called Kamasutra: Consumation Of Love and were arranged and performed by Irmin Schmidt & The Inner Space, whose then lineup of Jaki Leibeziet, Malcolm Mooney and Michael Karoli was essentially the same line-up of Can's debut full length, Monster Movie.
But much of this is different from the Can we know (though the Malcolm Mooney-sung "There Was A Man" points at what Can was to become, and Michael Karoli's simmering electric guitar lines are as signature as ever), it even sounds very different from the other Inner Space release, Agilok and Blubbo. That soundtrack was more exploratory, improvisational and experimental, while Kamasutra is much more focused and musically gorgeous. Lots of sitars, flutes, acoustic and electric guitars playing slow-burning compositions with loping repetitive rhythms. Occasionally rocking out a groove, but more often wandering through many pastoral raga-tinged extrapolations. This is the most psychedelically kosmiche recording we've ever heard from this outfit, which of course gives it our highest recommendation!
MPEG Stream: "Indisches Panorama I"
MPEG Stream: "I'm Hiding My Nightingale"
MPEG Stream: "Im Tempel"
MPEG Stream: "In Orient II"

SCHMIDT, IRMIN & THE INNER SPACE Kamasutra: Vollendung Der Kiebe (OST) (Crippled Dick Hot Wax) 2lp 22.00
Wow, it's definitely Christmas around here and how can we tell? Well, for one thing we got this amazing new soundtrack reissue that we never realized until now we have been looking for most of our adult life. It's on Crippled Dick Hot Wax, one of our fave reissue labels that we haven't heard from in years and had feared they disappeared for good. And it's another lost gem from the proto-Can universe of The Inner Space, the same early group incarnation that gave us the soundtrack to the unreleased surreal-politico film, Agilok and Blubbo!
One of our favorite Krautrock obscurities compilations from years and years ago was called Kraut Demons Kraut and two of the tracks were credited to The Can, but didn't sound like Can at all. These were pastoral and pretty with flutes and guitar, one featured very folky female vocals by Margareta Juvan called, "I'm Hiding My Nightingale", the other track was called "Kama Sutra" (billed here as "Indisches Panorama I"). We had always wondered where those recordings had come from, and how they related to Can. It wasn't until someone put this on in the store after we just got it in that it all came rushing back. Those songs were from a rare 1968 German erotic film by Kobi Jaegar called Kamasutra: Consumation Of Love and were arranged and performed by Irmin Schmidt & The Inner Space, whose then lineup of Jaki Leibeziet, Malcolm Mooney and Michael Karoli was essentially the same line-up of Can's debut full length, Monster Movie.
But much of this is different from the Can we know (though the Malcolm Mooney-sung "There Was A Man" points at what Can was to become, and Michael Karoli's simmering electric guitar lines are as signature as ever), it even sounds very different from the other Inner Space release, Agilok and Blubbo. That soundtrack was more exploratory, improvisational and experimental, while Kamasutra is much more focused and musically gorgeous. Lots of sitars, flutes, acoustic and electric guitars playing slow-burning compositions with loping repetitive rhythms. Occasionally rocking out a groove, but more often wandering through many pastoral raga-tinged extrapolations. This is the most psychedelically kosmiche recording we've ever heard from this outfit, which of course gives it our highest recommendation!
MPEG Stream: "Indisches Panorama I"
MPEG Stream: "I'm Hiding My Nightingale"
MPEG Stream: "Im Tempel"
MPEG Stream: "In Orient II"

BROWN JENKINS Death Obsession (Moribund) cd 14.98
Full length number three from this mysterious Texan one man band, whose blend of Burzumic black metal and blown out distortion drenched shoegaze has made this a longtime favorite around here. And even though the record opens with the most overtly metal track we've heard from this guy in ages, with its bellowed demonic vox and angular riffage, it still manages to be super warm and lush and in-the-red, with the guitars SO distorted they seem on the verge of crumbling.
And that feel and vibe becomes even more pronounced as the record proceeds, slow, pounding, woozy weeping expanses of mournful melody, washed out guitar fuzz, loping basslines, with some seriously gorgeous poppy moments, like the strange looping bridge on "Ashes In Her Mouth", with its spidery little repeating motif, or the almost Alcest / Amesoeurs sounding main riff of "Lifetaker", the whole record is weirdly pretty, and melancholy, it's the black metal equivalent of looking at the world on a rainy day through a window streaked with water, the rivulets, distorting everything, making shapes twist and blur, smearing forms into one another, adding a surreal quality to everything, gauzy, fuzzy, indistinct, the tone of the guitars, so dripping with distortion, evokes the same sort of soft focus feel, even though the notes and vocals and songs are still plenty black and quite METAL.
The mood is mournful, but not despondent, more like the sun struggling to shine trough pitch black clouds, the minor key melodies so intense and emotional, draped over simple driving rhythms, not blast beats here, and those guitars, to a certain degree, the defining sound of Brown Jenkins, even at its grimmest and meanest and most brutal, those guitars can't help but sound warm, washing over you, dragging you into whatever lurks below. So good. Definitely one of those rare BM records that manages to be simultaneously intense and heavy and seriously grim, but also dreamlike, mesmerizing and so so hypnotic. For the buzz obsessed, this makes some serious transcendent late night drifting off music...
MPEG Stream: "Breathless"
MPEG Stream: "Ashes In Her Mouth"
MPEG Stream: "Lifetaker"

HORNA Musta Kaipuu (Moribund) cd 14.98
Not technically a new release, but the first time on cd for some grim black rituals captured way back in 2004 by one of our favorite Finnish black metal hordes, Horna. And right out of the gate, it's everything we love about Horna, raw and grim and black, filthy and primitive, but also weirdly melodic and catchy, the opener "Piina" initially sounds like classic old school BM, but then Horna inject a woozy melancholy melody, which changes the tenor of the song big time, as it swings back and forth from pounding black filth, to moody lumbering depressive blackness, at some points it almost sounds like a muted muddied lo-fi Iron Maiden, which in the context of Horna's blackened sound is pretty excellent. And that song pretty much sets the template for the rest of the record, a blackened concoction equal parts grim black blast, and strange loping melodicism, the band never blast, but do get to some fairly punkish tempos, but also slip into weird waltzes and stumbling doomic pounds, the lilting melody of "Unohdetut Kasvot, Unohdettu Aani" is deftly wrapped around some furious black buzz, the result is dangerously lovely, and then there's "Oi Kallis Kotimaa", that's almost a sea shanty, with its jaunty tempo, epic soaring melodies and weird grunted sing songy vox, but the band quickly shift back into something much less melodic and way more grim in the form of the churning blackness of "Pohjanportti".
The final three tracks offer up more of that strange blend of buzz and howl, and moody melodic drift, dipping into Katatonia or Lifelover territory here and there, which is well balanced by bursts of serious blackness and gnarled UNmelodic riffs, like the one that bookends the impossibly lovely main melody of album closer "Menneiden Kaiku". Awesome.
MPEG Stream: "Piina"
MPEG Stream: "Haudanvarjo"
MPEG Stream: "Aldebaranin"

SCANTILY CLAD 2 (self-released) cd-r 8.98
The second cosmic synth-drone-rock missive from Scantily Clad, a duo of instrumental improvisers split between Northern and Southern California. We loved their first cd-r, an amalgam of lo-fi synth styles from soft lullabies to abrasive noise that showed a lot of promise. Well, that promise is made good on their follow-up, a richer, more focused, and self-assured outing than before. The sonic intensity is beefed up, the songs more composed, the instrumentation more varied, the dreaminess heightened ( especially on tracks like Vanilla, Baby"), and the nosier parts (like what sounds like chipmunks speaking in tongues on "Deep Witch") are even weirder. But it all fits together very well as a fully-realized piece of heavy instrumental spaciness. Even the packaging is cooler, with their clipart collages of mandalas and symbolic animals housed in a sturdy transparent plastic case. Fans of groups like Emeralds and Carlton Melton will find lots to dig here!
MPEG Stream: "Plain Galaxies"
MPEG Stream: "Vanilla, Baby"
MPEG Stream: "Mud Dreams"

MILLER, LLOYD A Lifetime In Oriental Jazz (Jazzman) cd 17.98
We first heard Lloyd Miller on that amazing Spiritual Jazz compilation we reviewed recently, and while pretty much every track was a killer, Miller's "Gol-E Gandom" definitely stood out, beginning with a santur solo, that sounded like a sea of buzzing sitars, until the jazz kicked in, bopping bass, fluid piano, shuffling rhythms, somehow following the melody laid out by the opening santur solo. So magical. We were smitten and were dying to hear more. Luckily, Jazzman endeavored to put together this amazing collection of Miller's various recordings, which was no small feat, considering that even after a lifetime playing jazz, most of these songs were only available on super limited self released records, which made it into fewer hands, and ears, that would seem right considering the power and originality of Miller's music.
He grew up in America, but his father was transferred to Iran, so his family moved there when Miller was 19, and they lived there for 5 years. Then Miller finally moved to Europe, to pursue jazz, after all, Europe was where it was happening, he landed in Germany, later heading to Switzerland, all the while creating these amazing, and mostly unheard pieces, incorporating an incredible array of ethnic instruments with some seriously intense and inspired jazz.
While some of the tracks here sound like straight up jazz, flecked with bits of ethnic instrumentation, others are totally far out. "Le Grand Bidou" finds his group riffing on a single chord, while Miller inserts an Indian style tonic drone played on the micro organ, and the result is bizarre, the whole track twists and squirms and heaves, it's an odd fit, but fit it does, we can only imagine how freaked out purists must have been. and frustrated, considering the caliber of playing, but it's these twisted takes on standard jazz that makes this stuff so magical, and the fact that this was the late fifties / early sixties, it's a wonder Miller didn't become a sensation. This stuff is radical, revolutionary, considering how important the incorporation of African music and instruments into jazz became (Don Cherry, Art Ensemble), how is it that this wasn't equally if not more radical? A white kid from Utah, with impeccable jazz chops, playing all sorts of Turkish and Persian instruments, wrapping standard jazz tropes around Indian arrangements, kind of mindblowing even now.
The liner notes are super detailed, and Miller's life is fascinating, but it's really about the music, and as much as we dig jazz, and fancy ourselves, if not experts, at least super fans, we had NEVER heard Miller before that comp, and this stuff is so cool, and so unlike ANYTHING we've ever heard, from the instrumentation, to the arrangements, to modal systems, some of the tracks are Indian ragas transformed, others seem to eschew the jazz completely and sound like some mysterious magical world music, but it's where the two elements mesh where things get truly magical, tablas underpinning pianos, strange horns droning over upright bass and shuffling percussion, all woven deftly into a strain of jazz that is wholly unique and original. So fantastic, and so utterly and wholeheartedly recommended. Easily THE jazz reissue of the year, if not the decade!
MPEG Stream: "Gol-E Gandom"
MPEG Stream: "Gozel Guzler"
MPEG Stream: "Hue Wail"

PURITAN, THE Lithium Gates (Spinefarm) cd 16.98
The demise of legendary doomlords Reverend Bizarre had two strange but positive after effects, first, there seemed to be a flood of posthumous RB releases, more we think than when they were actually a band, a from-beyond-the-grave release schedule to rival Biggie or Tupac, as is further demonstrated by yet another new Reverend Bizarre release reviewed elsewhere on this week's list! The second outcome was the more inevitable one, a whole slew of new projects from RB mainman S.A.Hynninen (aka Albert Witchfinder), whose voracious need to rock would obviously need a new outlet, and thus we have The Puritan and Opium Warlords. Both born of Hynninen's newfound obsession with ultra doom, with sludge, especially of the Japanese variety, Boris, Corrupted, Solar Anus, Hynninen set forth on a mission to create some serious Japanese style ultra doom sludge. We'll have the Opium Warlords disc for next list, but for now, we shall celebrate The Puritan, and Lithium Gates, which compiles two previously released, now out of print vinyl lps, one of which we never had, the other which we had in extremely limited numbers.
We've become convinced, that Hynninen must be somehow related to Circle's Jussi Lehtisalo. They're both Finnish, they both front or fronted kick ass heavy rock bands, and both have totally twisted senses of humor, which finds its way, however subtly (or not) into their music. So while the Puritan was originally inspired by Japanese doom and sludge, by the time it worked its way through Hynninen's cracked Finnish filter, it had been transformed into something else entirely. Something heavy and brutal, but warped and far out and brilliant.
This is no ordinary doom. And is far removed from the doom of Reverend Bizarre. Although on first listen, maybe not so far removed after all, beginning with the first Puritan lp, The Untitled, the sound is ultra heavy, downtuned, spaced out, melodic, with a distinctly classic strain of classic doom running through it, the opening intro could indeed be the opening salvo from some doom classic, and the follow up too does not sound that far our, awesomely epic and troo vocals over a lumbering slow motion dirge, but then the record shifts gears, and "The Sulphur - Coloured Clouds Are Hurrying Through the Lithium Gates" explodes like some nineties noise rock juggernaut, loping bass, crumbling guitars, jagged riffing, only to gradually slow to a nearly complete halt, before slipping back into slow motion ultra doom dirgery. "The Sepulchral God Holding a Speech for the Moribund" sounds almost like some extra heavy slowcore, with some dramatically crooned Slough Feg like vox, before a strangely haunting outro, with clean guitars, whirling ambience, mysterious sampled voices, including a classic Charles Manson rant, all hovering beneath thick washed out guitars and lilting sweetly sorrowful melodies. Then it begins to get even weirder.
The second half of Lithium Gates contains the entirety of The Black Law, the second Puritan lp, which begins with some old timey organ, wheezy and lo-fi, some lost in time parlor music, lilting and melancholy, until everything is flattened by a massive wall of downtuned guitars, exploding into a plodding doomic dirge, which is not really funereal, or even all that slow, a plodding lurching doom that reminds us of Midwestern pigfuckers Killdozer more than anything, which as far as we're concerned is good news for sure. The chuggy midtempo crunch pounds and churns while the vocals howl and bellow, there's a distinctly AmRep / Touch And Go vibe to the doom on display, the main riff locked into a loop that seems to go on and on and on, giving the proceedings a sort of Gore vibe as well. The riff eventually gives up the ghost leaving a tranquil, almost ambient fade out, all soft streaks of feedback, delicate melodies, distant slabs of slow moving sludge, all smeared into a weirdly dreamy drift.
From there on out, the record continues to devolve gloriously with some bizarre gnarled super distorted guitar weirdness, completely panned so it careens from speaker to speaker, ear to ear, until the riff finally kicks in, a big ol' filthy doomy dirgey riff, the drums and guitar locked tight, while in the background, the WHOLE time, the moans and groans of a lady seemingly in the throes of violent passion(!), the whole track endlessly looped and cyclical, the only variation being the woman's voice, here the Gore vibe is undeniable, a killer riff, just pounding away, over and over, very hypnotic and strangely minimal, but that's only the first track. The second revolves around a muted chug, spread out over a layer of seemingly constant buzz, with more deep crooned dramatic vocals, the production reverby and very new wave sounding, a little like Joy Division or the Cure but way heavier and dripping with doooooom, the wind-down at the end laced with bursts of super epic and melodic drama, turning the outro into some sort of doomic Godspeed.
Needless to say, fucking awesome! And essential listening for any one into sounds slow and low, doomy and heavy, fucked up and far out.
MPEG Stream: "Opposite the Fireplace - The Wall of Shotguns"
MPEG Stream: "The Stars Above Us Are all Evil"
MPEG Stream: "The Sulphur - Coloured Clouds Are Hurrying Through the Lithium Gates"
MPEG Stream: "The Blue and Purple Lesson in Love"

JUTE GYTE Old Ways (Jeshimoth) cd-r 11.98
We should all be very grateful to the mailmen who serve aQ. Without them, the aQ list would be a very different beast. They come by almost every day, through sleet and rain if necessary. Usually bearing gifts of strange sounds transported from all corners of the globe. And often, some mysterious unmarked package will contain something special, a gorgeous ambient lp, or some obscure otherworldly folk record, or in many cases, some bizarre twisted chunk of black metal. And often those records will go on to be big time aQ faves, which is bound to be the case with this strange disc from a mysterious black metal horde called Jute Gyte, that just showed up one day in the mail.
The package we got was jammed with records by bands with names like Night Troll, Tremor Of The Black Manx, Pumpkin Buzzard, Testikill, but we were strangely drawn to this Jute Gyte record, weird name, cool oversized dvd style packaging, and once we threw it on we understood why. The description on the label's website introduces us to Jute Gyte with these words:
"A bipedal humanoid rat releases a sandpaper-throated screech as most of its internal organs exit through a huge hole in its furry back. Large and small intestines launch forth in whip-like arcs, briefly straightening into perfectly even ropy lines. A massive snail-demon explodes into fragments of confetti: red, green, blue."
And as weird as that reads, once you immerse yourself in the blown out crumbling ultra raw industrial tinged synth laden black metal of JG, maybe it'll make more sense. Then again, maybe not.
The guitar sound is so fierce and fucked up. Ultra distorted, super saturated and fuzz drenched, not so much chuggy or abrasive as massive and blown out, as if a tiny bit more of anything and the riffs would just crumble to pieces, the drums mechanical and machinelike, the vocals a demonic shriek, howling and anguished, everything wreathed in washed out synths and what sounds like a million layers of distortion. The melodies are super catchy, the sound is impossibly warm and lush, even though in every other way it seems harsh and heavy.
Things slow down here and there, the music transformed into a lurching industrial stomp, all gnarled guitars and new wave synths, almost like some crazy blackened Six Finger Satellite jam. There's a cool abstract mandolin interlude (apparently there's mandolin throughout the whole record too!), that's all super spare and skeletal, before a thick warped and warble synth comes in and obliterates the mandolin, leading directly into the second half of the record, the guitar comes back in and is again sop distorted and heavy, that it almost sounds like a synth, the chords ringing out crumble and distort and cause the speakers to nearly implode. Locked into a churning low end psychedelic blow out, the track just throbs and pulses, not so much metal or industrial as some sort of drone music unleashed, the various tones and notes expanding like miniature supernovas.
After a bout of woozy twisted detuned-guitar post rock drift with harsh vokills, burbling underwater synths, and tangled atonal melodies, like Khanate heard through a funhouse mirror, the record closes with another massive and epic dose of in-the-red blackdrone buzz, like Nadja, if they decided to throw in with the dark lord, another heaving wall of crumbling blackness, wrapped around a surprisingly catchy melody, the drums buried in the mix, just a distant throb, with a lurching stop start arrangement, like some sort of slowed down black metal math rock, but dripping with distortion and effects, infused with spaced out synths, and again on the verge of total implosion. And like the rest of the record, impossibly warm and fuzzy and melodic, while simultaneously being one of the most distorted and blown out things we've ever heard.
This isn't brand new, it's maybe a year old, but we only just discovered it, and figured it was something we had to share with the loyal aQ. Quickly becoming a new black metal favorite, just in time for our year end lists...
MPEG Stream: "Waves"
MPEG Stream: "Teeth"
MPEG Stream: "Round"

TONY TEARS Voci Dal Passato (Manium Evocandorum Doctrina) cd 22.00
We first got a couple of these in a few weeks back ('cause we were curious) and it didn't take long before we realized we had a Record Of The Week on our hands. It was obvious, really, since some of us here ending up getting so obsessed with this that it was just about ALL they'd listen to, for days, getting home after work and throwing it on, listening to it going to sleep at night, and when they'd get up in the morning, playing it at the store too... At first, though, we thought well heck maybe that's just us, maybe we're weird to like Tony Tears that much. But of course, we ARE weird, and so are a lot of AQ customers, and that's why this is definitely a good choice for Record Of The Week. Anything this hypnotic and dirgey and doomy and last but not least weird, has got AQ (and possibly you) written all over it.
We had to go to some trouble to acquire enough of these to list, contacting Tony Tears via MySpace, importing copies from Italy, getting all the cds we could lay our hands on. Which means we may or may not be able to get more when we run out, and if we can, it will certainly take a while, so be forewarned...
Tony Tears? So what IS that, you ask? Actually when we first saw the name, we thought it said Ebony Tears, which is the name of another band. But no, it's Tony Tears, as in a guy named Tony, last name Tears. And the "band" is indeed just the work of one man, whose (we presume) stage name gives this its monicker. How perfect is that, a mournful Italian doom metaller named Tony Tears? Already you feel sorry for him. Awww, Tony Tears...
Tony Tears' MySpace page is also perfect for this sort of depressed, lonely sounding music. It's really stark and plain, with a sort of electric purple/pink background color. He's got, like, only 66 friends (one of 'em us), and in his "top friends" listing he still has Tom. You know, Tom the founder of MySpace, who is automatically your first and only friend when you first sign up, but then of course you remove Tom 'cause he's not actually someone you know or care about... But lonely Tony, grateful for Tom's friendship, keeps him around.
So, anyway, to answer your question, this is some sort of underground doom metal, but also Italian in that spooky proggy soundtracky way, so it's kind of like Goblin crossed with St. Vitus, or Umberto teamed up with Trollman Av Ildtoppberg. Or, our early '70s proto-doom prog faves Jacula, channelled through someone's (Striborg's?) basement 4-track today.
Tony wrote the lyrics and the music, sings, and plays all the instruments... there's layers of fuzzy, foggy bass, gorgeously melancholic psychedelic electric guitar leads, eerie Goblin-y synths tinkling and droning, and a rhythmic foundation of slightly stumbling drum machine programming. Along with enough echo effects to give parts of this a bit of a dubby, or druggy, vibe.
Perhaps most crucial to our enjoyment of this are the vocals, which are spoken rather more than sung, and are all in Italian. Which works great, it's a language which even when simply spoken still sounds rather musical, we LOVE hearing Italian in this manner (we're reminded of old fave "Ordine Pubblico" by Starfuckers, especially by the track "Antichi Messagi" here), and we feel Tony's echoing, emotional chant-like recitations further enhance the hypnotic aspect of this lugubrious music. We can imagine Om fans zoning out to this quite easily!
Speaking of hypnotic, one of the times recently we had this playing in the store, a customer asked if it was some sort of new Circle side project... we can see why he thought it might be.
The overall atmosphere of this record is sooooooooo sad, yet somehow comforting. Even though we don't understand the Italian, this comes across as being very intimate & personal, and not just because of a certain sparseness to the mix that speaks to this being a one-man effort.
Tony Tears' repetitive lumbering heavy riffs and dark keyboard coloration, punctuated with mechanical, but not entirely predictable drum beats, awash with flangey, spacey effects and further embellished with his poetically mannered, incantatory Italian, has had quite an effect on the psyches of those here who can't help but keep this in heavy rotation. While rather raw and ragged in a charming DIY home-recorded way, the results are sheer beauty, weird weeping dreamlike beauty.
Definitely in the tradition of such strange Italian dark underground metal/prog/psych as Death S.S., Paul Chain, and Black Hole. But quite something else besides, with no prior interest in that tradition being necessary for appreciation of this. Even moreso maybe than The Puritan album we ROTW'd last time, being into doom metal isn't a prerequisite, as long as you like unusual music. Being into Goblin though might help.
If we can persuade a ton of folks to buy this, hopefully that won't make Tony Tears any -less- unhappy, because we're looking forward to more from this miserable, mesmerizing, and altogether unique act... stay doomed Mr. Tears!
MPEG Stream: "Le Ossa E Il Fuoco"
MPEG Stream: "Voci Dal Profondo"
MPEG Stream: "Antichi Messagi"
MPEG Stream: "Mondo Parallelo"

GIROUX, ANNICK Hellbent For Cooking: The Heavy Metal Cookbook (Bazillion Points) book 27.95
The lucky few who managed to snag a copy of Canadian metal mag Morbid Tales #6, also got a glimpse of something pretty spectacular, strange and unexpected: a heavy metal cookbook, recipes from famous rockers, their own peculiar and particular metal food faves, compiled by Morbid Tales editrix Annick "Morbid Chef" Giroux, who has now taken her love of metal, and food, and that little cookbook supplement, and expanded it to a full on, honest to goodness cookbook.
And it's awesome. We really can't imagine a metalhead who wouldn't want this, even if they never planned on actually making all the recipes. Pretty much the perfect gift for the metaller in your life, and who knows, maybe this cookbook will be the catalyst for some homemade meals. Although some of these recipes might have you thinking twice. Some sound delicious for sure, and the pictures are appropriately appealing, but others maybe not so much, and some seem to be purposefully disgusting, something only a very drunk metalhead would eat. But that's part of the fun of the book. We wanted to make a bunch of these before we reviewed it but ran out of time. We will though, already have a few bookmarked.
For all her troo metal cred, editor Giroux is just too cute, on the cover in her metal patch-ed apron and huge knife, or on the dust cover chowing down on a sausage, heck the book is even dedicated to her grandmother, but let's get to the meat of this here cookbook. Every recipe features a full color photo (which at first glance seem like standard cookbook photos, until you begin to notice various metal items in the background, leather jackets, spikes, album covers, beer cans, wine bottles, etc.), the band logo and bio, the ingredients and instructions from the chef, as well as a little note from the Morbid Chef, her own take on each recipe. Some highlights include: Mummified Jalapeno Bacon Bombs from Chris Reifert of Autopsy/Abcess, Candied Sweetbreads On A Bed Of Sacred Heart from Balsac The Jaws Of Death from Gwar, Fried Egg Rigor Mortis Cure from Ustumallagam Of Denial Of God, Devil's Porridge from Montalo of Witchfynde, Welfare Nachos from Jason Decay of Cauldron/Goathorn, Bull Testicle Surprise from Tomas 'Necrocock' Kohout of Master's Hammer (and while many of the recipes have funny metal names and in fact are something else entirely, this one is in fact bull testicles!), The Stew Of True Doom from Karl Simon of Gates Of Slumber, Thundering Beef Brisket from Lips of Anvil, Doro's Black Forest Cake from Doro of Warlock, Beer Pizza Crust from Olaf Zissel of Tankard, New Orleans Blood Red Beans And Rice from Mike IX Williams of Eyehategod, Shellfish Crossfire from King Ov Hell of God Seed/Gorgoroth, and we could go on and on...
More than 100 recipes from more than 30 countries, other bands contributing their favorite delectables include: Abigail, Accept, Amebix, Anthrax, Tygers Of Pan Tang, Uriah Heep, Thin Lizzy, Trouble, Electric Wizard, Destruction, Mayhem, Melechesh, Death SS, Judas Priest, Budgie, Impaler, Brutal Truth, Mutiilation, Lord Vicar, The Lord Weird Slough Feg, Piledriver, Pentagram, Rigor Mortis, The Rods, S.O.D, Stiny Plamenu, Warpig, Kreator and more more more.
Separated into sections for: appetizers and side dishes, beef, pork, lamb, poultry, seafood, vegetarian, desserts, even drinks (of course - and many of the food recipes include instructions to drink beer WHILE MAKING the food, not just when eating it), with lots of awesome illustrations, photographs, record covers, it's pretty epic, and totally metal, and we really can't recommend this enough. As Giroux says in her intro, making a meal is a great excuse for drinking and listening to metal! INDEED!!!

OPIUM WARLORDS Live At Colonia Dignidad (Cobra) cd 17.98
We made The Puritan our Record Of The Week a couple lists back, the twisted ultra doom project of Reverend Bizarre's S.A. Hynninen, aka Albert Witchfinder, and that record was indeed twisted and doomy, crushing and slow, warped and mysterious, a little bit gothy and dramatic, a lot bit pummeling downtuned crush. So now we have Opium Warlords, Hynninen's most recent project, which we would have made our record of the week as well if it was a bit easier to get, cuz holy shit, it's like an even more fucked up Puritan, the slow parts are slower, the croony gothy parts, are, well, MORE. It's a creepy crawly burning, sprawling avant doom juggernaut, equal parts classic doom a la My Dying Bride and Paradise Lost, Japanese sludge a la Corrupted, Boris, Solar Anus, and strange minimal prog, but it's WAY poppier too, and pretty, so much so, that we often forget what we're listening to, seventies British prog? Peter Hammill? Sounds strange, and it definitely is, but even in true doom outfit Reverend Bizarre, Hynninen and his crew were way weirder than your average doom band. And the thing with Opium Warlords, is at first it just seemed slow and weird, but it totally blossoms, the more melodic songs revealing themselves as epic and catchy, well crafted avant prog. Or something.
The record opens in full on doom mode, big crashing chords ring out, lots of space, the vocals a mewling croon that goes from growl to falsetto, as the track plods along for 8+ minutes, lurching along doomily, yet melodically, before slipping into the second track, a super spacious skeletal drift, that sounds more like Bohren than Boris, before finally stumbling into full on doomsludge, harsh howled vocals, and strange twisted melodies, until the record shifts gears entirely.
The next two songs, nearly 22 minutes, is a smoldering dark cabaret, guitars distorted and spidery, with Hynninen really singing, dramatic and emotional, it almost sounds like some long lost dark krautrock ballad, no drums, minus the occasional rumbling percussion off in the distance, just a warm drift of lush chords, and minor key melodies, really gorgeous, and timeless sounding.
Which gives way to another bout of doomic pummel, but again surprisingly melodic, all instrumental this time, just the guitars churning, the drums pounding, all wound into a tense chunk of doom pop heaviness.
The next track gets all Eastern with some layered guitars, and abstract percussion, heavy for sure, but also a bit raga like, with a strange mix, big bass thrums way up in the mix, the song eventually transforming into a convoluted math metal workout, which gives way to yet another chunk of more classic sounding doom. Slooooow, and spare, harsh growled almost falsetto vocals, over the pounding drums and big distorted chords left to ring out, heavy and slow, but still really pretty...
The final proper track, is all muted bass strum, jangly clean guitar, total dreamy pop vocals over the top, eventually growing more and more rocking, before finishing off in a tangle of almost Champs sounding guitar harmonies and then 30 seconds of feedback and amp buzz.
The whole thing put to bed by the 5 second closing track, a brief burst of pounding grunted furious grind metal. Phew.
Baffling. Brilliant. Even the booklet is utterly confusional. Packed with random text, strange doodles, diagrams, there's even a fragment of one of his papers from grade school, plus the record is NOT live, and it's unclear if this is a band, or if Hynninen plays everything himself, the artwork is super striking, very pink, and on the back, Hynninen offers up this description of Opium Warlords' self described "Black Gobi Desert Rock", which just may render the above review moot:
"A ritual of jet-black sonic occultism inside an imaginary subterranean temple. A mental trip to the minimalist galaxies of suffocatingly slow and heavy nekroambiences. A ground-breaking bi-polar exploration. A droner's delight and headbanger's holiday. A rave of deranged militarist dance beats. A celebration of psychosexual isolation. Essential and easy-to-listen-to fear music for unbalanced and self-hating youth. Kutu-vibrations for sweatshirt-sporting rillirillos. A message "from beyond". Uncontrolled emotional outbursts to cheer up those with the long faces. Something just for you, who "have heard it all" and "really could not care less". Quality time for a suicidal inner-space astrodoomonaut."
MPEG Stream: "I. Soon Be Here, Prince Of Sleep"
MPEG Stream: "II. Return To The Source"
MPEG Stream: "III. Let It Pour, Let It Pour"

KATATONIA Night Is The New Day (Peaceville) cd 16.98
Nobody does heartbreaking heaviness like Sweden's Katatonia. Nobody. Every record is just the perfect blend of dour gloom pop, and crushing massive metal crush, and Night Is The New Day is no different. It's tempting to say this is the best Katatonia yet, but we really can't because they're ALL great, all practically perfect. If you have all the other ones you're obviously gonna need this one too, odds are you've been dying for it since you first found out a new one was coming. For the rest of you, if you've somehow gone this long without ever hearing Katatonia, it's definitely time to fix that.
This is Katatonia's 8th full length in a little over 15 years, originally these guys were something way more metal, but even back then, they sounded more Cure than My Dying Bride, the gloom and miserablism already seeping into their music. But once the focus shifted, their sound was perfect, and has remain virtually unchanged ever since. Dark brooding metal ballads, we've described them in the past as a doom metal Cure, or a metallized Depeche Mode, but they've become so much more. The covered a Jeff Buckley on a past record, and suddenly it wasn't that difficult to imagine what might have happened had Buckley played with a metal backup band.
Katatonia manage the impossible, balancing delicate, hushed classic rock balladry, with epic modern doom, the guitars massive, the drums pounding, the vocals lush, lots of harmonies, no screeching, it's more like Alice In Chains in the vocal department, but it suits their chugging doom ballads. This is one of those bands who are really difficult to describe, their sound definitely borrows from all over the place, but manages to be totally original, it seems like it would be too wussy for most metalheads, yet, rare is the metalhead who doesn't LOVE Katatonia, and we MEAN LOOOOOVE. Must be tied in to that weird phenomenon of most metalheads digging the Cure and Depeche Mode, and in that case, Katatonia makes way more sense, cuz while they do sound a lot like those two bands, they are also HEAVY, when they want to be. Not sure what else to say, check the sound samples, if "Forsaker" doesn't convince you, then another couple hundred words probably won't either. Deep, dark, melodic, doomy, heavy and heartfelt, and just so goddamn good.
Some of us around here have been waiting for this record for months, maybe even years actually, and we were NOT disappointed, a record of the year contender for sure.
MPEG Stream: "Forsaker"
MPEG Stream: "The Longest Year"
MPEG Stream: "Idle Blood"
MPEG Stream: "Onward Into Battle"

MARDUK Wormwood (Regain) cd 14.98
In the beginning, Swedish black metal horde Marduk were a special breed, a sonic panzer division onslaught, that mostly consisted of locking into a riff, dropping in an insanely fast blast beat, and then letting rip, rarely veering from their course. Fast and furious and heavy. Lots of folks thought they were boring, but for us, the sound of Marduk was transcendent, mesmerizing, hypnotic, cyclical, it was trancelike, and we loved it.
The something changed, and Marduk began to morph into something new, something much less one dimensional (even though it was a great dimension), their sound began to drift more toward the avant garde side of BM, becoming more gnarled and convoluted and fucked up, where was once old school classic Swedish blackness, aligned with the Scandinavian pantheon, was now some strange modern avant black weirdness, now more in line with groups like Deathspell Omega, Funeral Mist and the like, which make sense considering Funeral Mist vocalist Mortuus joined the group right around this shift.
And while we still hold the old Marduk records near and dear to our hearts, it's hard to deny the twisted beast Marduk has become, especially considering how much the BM envelope has been pushed lately, Marduk may be old guard, but they've stepped up and put most of the new guard to shame.
2007's Rom 5:12 was a totally twisted game changer, bumming out lots of old time fans, but reinvigorating the group, and turning on a whole new legion of fans enmeshed in the more progressive side of BM, which has all lead to this, easily the best Marduk record yet. Certainly the weirdest, and catchiest, the same folks who hated Rom 5:12 will probably hate this one too, unless they've finally come to their senses, for the rest of us, it's a chance to dig in to an incredibly dense and bizarre record by a band at the top of their game.
There's plenty of furious blasting blackness on Wormwood, it's just that there's so much more, and even when the band is blasting blackly, they're still twisting it all up. After a creepy intro the band explode into a frenzy of super complex convoluted thrashing, the riffs are strange, atonal, warped, the arrangement is incredible, with the band stopping and starting, lurching wildly, slipping into a doomy creep, only to launch right back into it, the sound is MASSIVE, there's bass all over the place (in a notoriously bass-less genre), Mortuus' vocals are SICK, an inhuman gurgling rasp, and the riffs amazing, wild and tangled and melodic, it's 3 minutes for Marduk, but for other bands it would be a whole record. Which leads right into the seasick lumber of "Funeral Dawn", with an almost industrial martial vibe, soaring epic and melodic, the main melody impossibly catchy, while streaks of noise swirl around the riffs, there's even a breakdown where Mortuus's sick vox are laid over a thick undulating bassline, the resulting sound is like a blackened Laibach.
"The Fleshy Void" is a 3 minute hyperblast of black intensity, still tangled and warped, but impossibly heavy and fast, giving way to the super creepy "Unclosing The Curse", all tolling bells and pulsing bass, abstract guitar chords, and hateful vokills, spare and spaced out and super ominous.
Wormwood is not inherently a 'weird record', it's not fucked up and freaky the way Furze or Necrofrost are - the weirdness here, the strange song structures, the freaked out non black parts, the fucked up samples, the drones, the doomy breakdowns, they're all seamlessly integrated into Marduk's sound, for every blast of Swedish blackness, there's some soaring melodic almost NWOBHM sounding melody, for every stretch of doomy pound, there's some gurgly bass heavy creep, the whole record is twisted, but subtly so, it's not about being weird or fucked up, it's about making a truly original piece of black art, which by its very nature IS both fucked up and weird. But the fact that's not the be all end all, keeps Wormwood from being gimmicky, instead it's a fierce and furious ultra heavy black metal record, with lots of twists and turns, which in a nutshell, means quite possible black metal record of the year for sure.
MPEG Stream: "Nowhere, No-One, Nothing"
MPEG Stream: "Funeral Dawn"
MPEG Stream: "To Redirect Perdition"

TAYLOR BOW Thin Air (Youth Attack) lp 14.98
Last time we were in New York, we managed to grab a single by this band, Taylor Bow, named for an infamous online porn site featuring videos posted by a disgruntled and spurned ex boyfriend, we heard it playing in a store, and had to buy it. An insanely furious and frenzied, blown out chunk of metallic punkness, or maybe punked out metal, either way, the speakers seemed to be melting and malfunctioning, spewing red hot daggers of sound, the vocals ultra distorted and in the red, the drums, total practice space boom and crunch, chaotic and unhinged, the guitars slipping from wild feedback soaked squalls, to churning Brainbombs-y sludge. So we of course tried to order a bunch, but it was the LAST copy.
So we waited and waited, and our patience was finally rewarded with this, the first full length from NYC hardcore noise metal weirdos Taylor Bow, fronted, you might not be surprised to discover by Dom Fernow, of Prurient, Vegas Martyrs and Ash Pool among others. Taylor Bow features the same sort of lo-fi metal-punk noise drenched crush, but instead of blasting blackly, or exploding into sheets of white noise, TB slip back and forth between freaked out on-the-verge-of-collapse hardcore and looped sounding sinister dirges, that totally push all our Brainbombs buttons. The sound is red hot, blown out, brittle and brutal, but still thick and heavy, the vocals are super intense, which sometimes makes Taylor Bow sound like a way more rocking Whitehouse, but there are definite nods to the current crop of stripped down raw black metal, Fernow's Ash Pool for sure, but also stuff like Akitsa and Bone Awl. But even with that metal edge, this stuff is way more filthy and punky, and we're loving it. Released on the same label that brought us Ancestors and that Hallow record, which makes perfect sense, just more fucked up freaked out heaviness that we can't seem to get enough of.
SUPER LIMITED of course, we may have the last 20 or so copies, so grab one while you can...

NIRVANA Live At Reading (DGC) cd 15.98
Nirvana were always a pretty iffy proposition live. Always sloppy and chaotic, sometimes inspiringly so, other times not so much. It wasn't always clear whether it was a drug thing, or a disdain for playing live, or being sick of the music business, but for all of the perfect pop and classic heaviness to be found on their records, live, things often devolved into total mayhem, often gloriously so. Fucking up songs, destroying drum kits, mixing in random covers, letting songs just sort of stumble to a halt, or more famously, changing the lyrics, singing in a deep baritone and hamming it up when forced to lipsync on TV, or not playing the hit the TV people were expecting, instead playing one of the super noisy thrashers. All part of what made Nirvana so cool, and so fun to watch. We had the records if we wanted to hear those songs, we'd much rather see the trainwreck that often occurred live.
This show, for all it's fucked-up-ness and weird goings on, was anything BUT a trainwreck. Widely considered to be one of the best live recordings of the band, hearing this again, all polished up definitely drives that point home. Lots of stuff from both Bleach and Nevermind, the band sound incredible, the recording does too, and even Kurt's vocals are pretty together, the crowd goes apeshit between songs, and rightfully so, witnessing a band totally hitting their stride, and for a band prone to falling apart live, just utterly destroying.
For folks who don't necessarily watch music videos, the cd should be plenty, but we'd have to recommend getting the dvd too, as there was some crazy shit going on (Kurt being rolled on stage in a wheelchair wearing a hospital gown), hilarious between song banter, some equipment destruction and other stuff worth seeing, that was edited out of the recording for the proper release.
Essential for Nirvana fans, and if you need some convincing as to the merits of Nirvana, check out some of the other reviews elsewhere on the aQ website, and we'll do our very best to convince you that Nirvana were indeed one of the best bands EVER.
MPEG Stream: "Breed"
MPEG Stream: "Drain You"
MPEG Stream: "Aneurysm"

OVSKUM Atto III (Obscure Origins) lp 17.98
Finally, the first proper vinyl release from mysterious Italian avant black metal horde Ovskum, presented by the just launched Obscure Origins label. Atto III is the first in an Ovskum reissue campaign that will hopefully also include a cd on Andee's tUMULt label.
Bu for now, let's just revel in the blackened musikal actions that make up this amazing collection of haunting and otherworldly blackness. We don't know all that much about Ovskum, but one thing we do know is that we fucking LOVE them. One of our favorite BM outfits for sure. For the uninitiated, this is no ordinary buzzing black metal, although it does buzz and is most definitely BM, Ovskum, conjure up some sort of midtempo, near ambient blackened plod. The guitars are huge and thick and seem to be crumbling into pieces, the drums are a midtempo trudge or a relentless martial march, the riffing is sometimes sludgy and thick, other times, angular and jangly, often both, a swirling slithering low end beneath keening upper register guitar skree and howled vocals. It's almost weird to call these guys black metal, they sound more like some super chaotic ambient noise rock, or spacey black sludge, or dreamy noise rock doom, all definitely fit... melodies are angular and obtuse, the drumming is sort of stumbly and simple, but the sound is HUGE, thick and swirling, raw and atmospheric, guitars are gnarled and convoluted, bits of melody and keening droneguitar are whispy streaks above the roiling fury below, some tracks forego the drums completely, and become these haunting abstract riffscapes, drifting and throbbing and crawling along malevolently... it's all so intense and dark and so so so good.
This deluxe vinyl version, comes in a plain black sleeve with a sticker on the front of the jacket, as well as a front cover insert, along with a massive printed booklet of original artwork from Morte404, the mysterious woman whose creepy line drawings have accompanied all the Ovskum releases. III collects all four actions from the 2006 s/t tape on Insikt as well as a track from Ovskum's split with Necrolust.
LIMITED TO 490 COPIES!!!

SHIT AND SHINE 229-2299 Girls Against Shit! (Riot Season) lp 17.98
This bad ass past Record Of The Week, finally available on vinyl!!
When we first heard / heard about Shit And Shine, a mysterious noise rock collective from the UK, they definitely seemed custom made for aQ, multiple drummers, multiple bass players, someone playing lawnmower, a sound equal parts vintage Butthole Surfers, classic Hawkwind, and modern kraut-psych-drone-rock a la Circle and Pharaoh Overlord and Cave and the like, not to mention the garish, sometimes offensive album, art, the hilarious and usually offensive song titles, we were sold, smitten, totally obsessed. And thankfully, in the several years since that very first 12", very little has changed, almost all of the aforementioned essentials are still part and parcel of the Shit And Shine experience (minus the lawnmowers, but then the more we've come to understand these jokers, the more we realize that probably a lot of the 'facts' circulating about S&S is total bullshit, so odds are there never was any lawnmowers, sigh), and if anything, they've managed the impossible, getting tighter and more polished, more rocking, with better and somewhat proper 'songs', while simultaneously getting more and more fucked up and far out, taking super minimal elements and combining them into something massive and bewitching and baffling and heavy as fuck, but sounding literally unlike anything we've ever heard. Sure there are elements of plenty of stuff we love, but the way these guys twist those elements and cram them into whatever shape THIS is, just blows our minds, and eardrums.
So yeah, garish pink on black cover, masked lady with one of her breasts out on the front, a weird long necked headless super hero lady on the back, inside an awesome scary photo of two little girls, long hair obscuring their faces, standing hand in hand in front of a massive wall of amps, and song titles: "Have You Really Thought About Your Presentation?", "Goodbye And Good Gardening", "Girls Against Shit", "20 Years Of Caring For The Nations Eyes", "The Cusp Of Innocence, Prettily", "I'm Making My Lunch", " People Like You... REALLY!" and on and on, but none of that would mean shit if there wasn't a head spinning gut churning din to back it up, and holy shit do these guys bring the noise this time around.
The opening track, "Have Your Really Thought About Your Presentation" is equal parts Brainbombs and last list's Record Of The Weekers Rusted Shut, but with a little bit of krautish hypnorock mixed in, so what you get is a crushing, super distorted mega main RIFF, a pounding mesmerizing drum beat, everything super hot and blown out and in the red, looped and locked and pounding away over and over and over and over, but with some weird stuff going on, buried vocals, strange bits of glitch and crunch, and the weirdest part of all, seems impossible to play, but every few measures, it sounds like the band skips a beat, almost like the record skips, but it's super subtle, like a weird stutter step, that just makes it all the more weird, but no less trancelike and heavy, and it only gets weirder from there on out.
All the songs here are based on rhythms, which comes with the territory when you have multiple drummers, the second track begins all skittery, an almost drum machine sounding shuffle, which slips into a looped dubbed out pound, while all around the rhythms is buffeted by swirling FX, jagged shards of jangle guitar, and super distorted wild over-saturated leads and weird voices buried in the mix. The next track explodes in a tangle of twisted string buzz and fractured electronics, before those sounds coalesce into a crazy noise drenched rock racket, rife with angular guitars and layer upon layer of drones and voices and feedback and sonic chaos. "USA / Mexico" is some Buttholes gone black metal weirdness, super murky muddy riffage, pounding blast beats, start stop rhythms, bizarre vokills and crazy electronics all over the place.
The crushing stop start chug of "The Cusp Of Innocence, Prettily", almost makes the record for us, with a killer main riff, and an increasingly distorted guitar tone, until a sample of some cheesy European sounding folk song comes in, and like magic, the crunch and chug and pound lock in and fit perfectly with that lilting little ditty, turning it into something nasty and scary and AWESOME. It's only a second, but it's sooooo good.
The abstract dub of the title track, the main rhythm made out of what sounds like someone writing on a chalkboard, some super effected tripped out dubby bursts, random spoken words, thick sheets of warm washed out guitars, until the track gets all Circle-y, but filtered through some fractured nineties industrial, like Pharaoh Overlord jamming Meat Beat Manifesto, but with strangled metal guitars and vrooming motorcycle sounds. There's some dance-y almost house sounding throb and pulse, but it's butted up right against a twisted angular noise rock / electro mashup, that is so distorted it's dabbling in Merzbow territory.
The other looooong track "Roberts Church Problem" sounds like it was recorded live, ad thus sounds like vintage S&S in full on unhinged Buttholes mode, multiple pounding drummers, wall of buzz, fuzzed out heaviness, repetitive and looped and seemingly never ending (we wish!). "Friseur Nelson is another good one, all very Circle, distorted and murky, a killer tribal rhythm, crumbling fuzz bass, and a muted chugging low end, some weird haunting chiming minor key melodies, another one that could have been stretched out to the end of the record and we would have been perfectly happy.
We could go on and on and on (even more than we already have), but why bother? Every song here rules, they're all super strange and heavy and hooky and groovy and noisy, and somehow, for being so disparate, they all manage to sound like part of a proper record. Well, certainly not a PROPER record, but you know what we mean. And while the rest of the songs are just as tripped out, and what-the-fuck and holy shit! as the ones we already described, odds are by now you probably got the feel for whether this is your cup of blown out rhythmic heaviness or not.
The sound of Shit And Shine is like some constantly twisting and transforming, bloody and mangled wreckage, equal parts This Heat, Aluk Todolo, Geronimo, Butthole Surfers, Rusted Shut, Brainbombs, Merzbow, Terminal Cheesecake, Strangulated Beatoffs, Faust, Laddio Bollocko, all pulled apart and reassembled into some damaged Frankenhooker noiserock drum circle spacejam. And odds are if you like any or all of those bands, you're gonna LOVE this...
MPEG Stream: "Have You Really Thought About Your Presentation?"
MPEG Stream: "USA / Mexico"
MPEG Stream: "The Cusp Of Innocence. Prettily"
MPEG Stream: "Girls Against Shit"
MPEG Stream: "Friseur Nelson"

SPEEDWOLF Bark At The Poon (Black Shit Noise Productions) cassette 4.98
They're called Speedwolf. Their demo tape is called Bark At The Poon. They have song titles like "Time To Annihilate", "DeathRipper" and "I Am The Demon". The inside cover features a pants down drummer, wearing a wolf headdress, on the can, rocking out. They're obsessed with football, their hometown the Denver Broncos (they not only thank John Elway, but they named one side John, the other Elway). The cover features a rad high school binder drawing of a crouched wolf in front of the full moon. Sounds goofy, and maybe it is a bit, but fuck do these guys slay. Or shred. Slay AND shred. Full on thrashing metallic madness, with a vocalist who sounds a bit like Lemmy, and with super catchy classic sounding thrash jams, the first of which sounds a little like aQ favorite Young Ones faux metal heroes Bad News fronted by Lemmy, but way heavier. The guitars chug and churn, the drums blast relentlessly, flurries of double kick laid beneath , the songs shift from full bore neck snapping frenzy, to loping hooky groove, to pounding almost doom, laced with some creepy samples, some killer riffs, and plenty of rad licks. Definitely on the punker side of thrash, with the vocals and some of the hooks reminding us of a way more metal Danzig, which is definitely not a bad thing. "I Am The Demon" is THE jam here, with its killer Danziggy chorus, its super catchy guitar harmonies and insane drum breakdown (complete with wolf howl at the end), these guys kick so much ass, heavy and hooky is a pretty unbeatable combo. If you're hip to the whole modern retro thrash revival, these guys will definitely hit the spot, and if there's any justice, they'll end up on some huge label rocking stadiums with dressing rooms overflowing with coke and booze and groupies, cuz this shit is so much better than 90 percent of the new thrash we've heard...
Way recommended. LIMITED TO 200, each one hand numbered.
MPEG Stream: "I Am The Demon"
MPEG Stream: "Speedwolf"

SPEEDWOLF / THE HOOKERS split (Splattered!) 7" 4.98
One more track from our new favorite retro thrashers, Denver's Speedwolf, whose killer demo tape is reviewed elsewhere on this list, which you should grab immediately before they're gone. Think classic thrash, but with some Danzig mixed in, as well as some Bad News (really!), hooky and heavy and pounding and frantic, and so fucking killer. Bad ass riffs, crushing drumming, throat shredding vox, and hooks all over the place. These guys should be HUGE.
Speedwolf share this single with long running rockers The Hookers, who we'd only heard once or twice before, but who prove to be a pretty epic match for the 'Wolf. We remembered them being more punk rock, and while this is till plenty punky, it's got a serious NWOBHM vibe. A little Iron Maiden, a little Venom, wild feral vocals, killer riffs, rad harmony guitars, and hooks that slay. Definitely gonna have to give these guys another chance and track down some of their full lengths.
Both sides rock AND rule, anyone into classic sounding heaviness NEEDS this (and the Speedwolf tape) BAD!
Super cool cover art, and limited of course, ONLY 500 COPIES, each one hand numbered...

HOME BLITZ O.ut O.f P.hase (Richie) cd 13.98
Another out of left field record that just knocked our blocks off. Not sure what we were expecting, something super noisy and fucked up actually, but what we got was some totally irresistible sloppy chaotic garage power pop, that actually sort of ends up sounding a bit like noise rock guys unleashing their inner power pop demons. Before we go any further though, listen to the first sound sample, "Two Steps", we'll wait...
Man that song destroys, some of you have probably already added this to your cart, heck, that's what we would have done, there's no resisting that one, easily THE pop jam of the year, we've literally listened to that song about 50 times in the last week, so much that it wasn't until a couple days ago that we finally listened to that whole record, which thankfully revealed a whole 'nother bunch of killer pop chaos, not to mention some even more chaotic off kilter noisiness.
Let's talk about that song first, it's definitely the best song on the record, and we would gladly pay $14 for a one sided single with JUST that song, it's pretty much the most perfect pop song we've heard in forever, with wild almost cracking vocals, some incredible riffing, including a weird slippery almost slide part that gives us chills every time, sloppy drumming, and a killer tempo shift part way through that's just fucking perfect. And the hook, that song has been stuck in our head non stop since the first time we heard it.
But after you get it out of your system and listen to it 20 or 20 or 50 times, the rest of the record will reveal itself as a pretty much non stop kick ass punky power pop gem, like some eighties pop record transported through time. but on the way it got all tangled up in the slipstream with some random noise and garage rock records and emerged like, well, THIS.
"Other Side Of The Street" is a short sharp ultra distorted pop jam, with a punky frame but laced with all sorts of amazing hooky guitar melodies, "Route 18" (after the 3 minutes of near silence that is "Live Outside") is total bubblegum FM radio pop, but all twisted up and tweaked, and just like the other tracks, it's the extra guitar that turns it into something super special, adding some super rad melodic filigree. It's hard to not hear some Guided By Voices and other purveyors of lo-fi pop, but this isn't traditionally lo-fi, it doesn't sound muddy and 4-tracky and much as it just sound ramshackle and haphazard, and if there are hints of those other lo-fi rockers, these guys definitely make it their own, plus there's the weird extra noisy parts which manage to fit perfectly, not disrupting the flow at all, rather highlighting the subtle noisiness in the poppiest tracks, while hiding some serious poppery within the various layers of crunch and howl, the angular no-wave opener "Nest Of Vipers", with its sampled broken glass, fucked-with tape speed, mumbled vocals, super blown out drumming, and dreamy hushed detuned piano backward outro, "A Different Touch" is super in-the-red, the drums so distorted they sound like bursts of radio static, the guitars practically melting, but the whole thing wrapped around some killer hooks, with amazing guitar melodies, an impossibly noise drenched murk-pop blow out, and that's basically the magic of Home Blitz, the practically perfect pop is infused with noise and on the verge of total implosion, while the fucked up noise jams are infused with pop, threatening to shed the noise completely and explode into another burst of wild eyed power pop. If these guys went in a real studio and spent a fortune, it's almost possible to imagine them getting huge, but smooth out the rough edges and it just wouldn't be the same band.
Absolutely killer noisepop, and yet another record to add to our year end faves list...
MPEG Stream: "Two Steps"
MPEG Stream: "Don't Talk To Me"
MPEG Stream: "Other Side Of The Street"
MPEG Stream: "Is Anybody There?"

HOME BLITZ O.ut O.f P.hase (Richie) lp 16.98
This recent aQ Record Of the Week, now available on vinyl!!!
Another out of left field record that just knocked our blocks off. Not sure what we were expecting, something super noisy and fucked up actually, but what we got was some totally irresistible sloppy chaotic garage power pop, that actually sort of ends up sounding a bit like noise rock guys unleashing their inner power pop demons. Before we go any further though, listen to the first sound sample, "Two Steps", we'll wait...
Man that song destroys, some of you have probably already added this to your cart, heck, that's what we would have done, there's no resisting that one, easily THE pop jam of the year, we've literally listened to that song about 50 times in the last week, so much that it wasn't until a couple days ago that we finally listened to that whole record, which thankfully revealed a whole 'nother bunch of killer pop chaos, not to mention some even more chaotic off kilter noisiness.
Let's talk about that song first, it's definitely the best song on the record, and we would gladly pay $14 for a one sided single with JUST that song, it's pretty much the most perfect pop song we've heard in forever, with wild almost cracking vocals, some incredible riffing, including a weird slippery almost slide part that gives us chills every time, sloppy drumming, and a killer tempo shift part way through that's just fucking perfect. And the hook, that song has been stuck in our head non stop since the first time we heard it.
But after you get it out of your system and listen to it 20 or 20 or 50 times, the rest of the record will reveal itself as a pretty much non stop kick ass punky power pop gem, like some eighties pop record transported through time. but on the way it got all tangled up in the slipstream with some random noise and garage rock records and emerged like, well, THIS.
"Other Side Of The Street" is a short sharp ultra distorted pop jam, with a punky frame but laced with all sorts of amazing hooky guitar melodies, "Route 18" (after the 3 minutes of near silence that is "Live Outside") is total bubblegum FM radio pop, but all twisted up and tweaked, and just like the other tracks, it's the extra guitar that turns it into something super special, adding some super rad melodic filigree. It's hard to not hear some Guided By Voices and other purveyors of lo-fi pop, but this isn't traditionally lo-fi, it doesn't sound muddy and 4-tracky and much as it just sound ramshackle and haphazard, and if there are hints of those other lo-fi rockers, these guys definitely make it their own, plus there's the weird extra noisy parts which manage to fit perfectly, not disrupting the flow at all, rather highlighting the subtle noisiness in the poppiest tracks, while hiding some serious poppery within the various layers of crunch and howl, the angular no-wave opener "Nest Of Vipers", with its sampled broken glass, fucked-with tape speed, mumbled vocals, super blown out drumming, and dreamy hushed detuned piano backward outro, "A Different Touch" is super in-the-red, the drums so distorted they sound like bursts of radio static, the guitars practically melting, but the whole thing wrapped around some killer hooks, with amazing guitar melodies, an impossibly noise drenched murk-pop blow out, and that's basically the magic of Home Blitz, the practically perfect pop is infused with noise and on the verge of total implosion, while the fucked up noise jams are infused with pop, threatening to shed the noise completely and explode into another burst of wild eyed power pop. If these guys went in a real studio and spent a fortune, it's almost possible to imagine them getting huge, but smooth out the rough edges and it just wouldn't be the same band.
Absolutely killer noisepop, and yet another record to add to our year end faves list...
MPEG Stream: "Two Steps"
MPEG Stream: "Don't Talk To Me"
MPEG Stream: "Other Side Of The Street"
MPEG Stream: "Is Anybody There?"

BUNKUR II - Nullify (Displeased) cd 13.98
It's been 5 years since the last Bunkur record, the appropriately titled Bludgeon, possibly one of the slowest, heaviest sickest doomdronedirge discs EVER. Corrupted, Esoteric, Khanate, Asva, Rigor Sardonicous, Skepticism, Fleshpress, all heavy and slow, but it always seemed like Bunkur managed to push that sound a little further. And if anything, record number 2 from these guys, titled Nullify, might have thrown down the gauntlet, creating a single, sprawling, 77 minute cloud of oozing slow motion black hate. Until Corrupted come through with their rumored triple disc single song, Nullify might just rank as the one to beat. That is if by beat, you meant create a doom record, that was impossibly slow, with instruments tuned insanely low, a sprawling skeletal song structure that is so spare and sparse it seems essentially structureless, with vocals that sound like you're vomiting up your internal organs, drums that sound like they're playing to some subterranean deathmarch, and basslines that aren't really lines at all, more like subsonic tones emanating from some bottomless pit. Cuz that's what it would take to out-doom these Dutch destroyers. But hell, why bother, better to just sit back, and let Bunkur's filthy black tide wash over you.
Slow, and epic, not really 'heavy' as much as dense, dark, deep and dismal, in fact Nullify almost sounds more ritualistic and abstract than doomy, like a heavier blacker Abruptum, lots of rumbling and groaning and howling and creeping and oozing, here and there the band do lock into something more propulsive, and by that we mean like 4 or 5 bpm, the drums offering up some chaotic fills, the bass swelling and undulating, but just as quickly whatever forward momentum is generated is dispelled and the band grinds back to a near static rumble. In a weird way, this is almost a drone record, strangely soothing in fact, a blurred smeared expanse of rumbling buzzing low end, the vocals and grinding riffage, so low and filthy and downtuned, that they just sound like more layers sound, but strap on some headphones, and it's like being sucked into hell, a harrowing sonic journey through the deepest pits of the underworld, every crushing thrum like the soul shattering footstep of some massive demon, every streak of hiss like a fiery blast of hellbreath, intense and brutal, massive and mysterious, punishing and pummeling, a gorgeously grim expanse of ultra, mega, multiple o'd, beyond funereal, kvltish hell doooooooooooom. And thus, gets our highest, or perhaps lowest, recommendation.
MPEG Stream: "Nullify - Excerpt I"
MPEG Stream: "Nullify - Excerpt II"

INBRED, TH' Legacy Of Fertility (Alternative Tentacles) cd 13.98
Some of us came to punk in a seriously roundabout way. Seems like most folks we talk to, got into punk rock, then moved toward heavier stuff and got into metal. But we went straight to metal, then gradually discovered punk rock, so we ended up learning about bands like Fear and Black Flag and Die Kreuzen and the Dead Kennedys well after we had been into Slayer and Venom and Motley Crew or whatever. One effect that had on our taste in punk, was that we liked the stuff that was heavier, and more metallic, Cro Mags, Die Kreuzen, Black Flag, and we got super into West Virginia's Th' Inbred, partially for that reason, sure they were punky and fast, and had a vocalist who sometimes sounded like Jello Biafra and sometimes sounded like Lee Ving from Fear, and their lyrics were snarky and political and funny, but musically they had lot more going on than a lot of punk rock bands, super complex guitar playing, very Greg Ginn influenced, bordering on jazzy now and then, but often gnarled and twisted, and the band were pretty noisy too, easily mistaken for some punky AmRep band, but then able to bust out a super complex almost proggy start stop punk jazz groove, and then explode in a frenzy of pounding pure punk energy, plus they had a wicked sense of humor, as evidenced not only by their lyrics, but their album covers as well (the Jerry Lee and Myra Kissin' Cousins cover for example).
Listening to this again, it's hard to believe these guys were even as popular as they were, this is some weird shit, every few tracks the band would throw the crowd a bone, with something full on punk, but they definitely spent most of their time trying everything but!
Killer reissue, both albums, the first ep, as well as some bonus tracks, all stuff circa '85-'88, a HUGE booklet jam packed with new liner notes, track listings, tons of photos, and some awesome (and awesomely funny) illustrations.
MPEG Stream: "Scene Death"
MPEG Stream: "Th' Shitpile"
MPEG Stream: "Fool's Paradise"
MPEG Stream: "Plain Speaking"

FROST, BEN By The Throat (Bedroom Community) cd 16.98
We first discovered Ben Frost on, of all places, a dubstep comp. It definitely worked, this long brooding chunk of creeped out electronic dronemusic plopped down right between to stuttery stripped down dubbed out jams. It quickly became our favorite track on that disc, and got us to hunt down his full length, Theory Of Machines, which was just as good as that track. A strange assemblage of mysterious psych jams and minimal techno, drones and glitchy electronica, but all shot through with a mysterious darkness, that seemed to infuse every track with a bit of malevolence.
But if that record was dark and mysterious, then his new one, By The Throat, is downright terrifying. Who knew electronic music could be this harrowing, this epic and intense?! Mixing organic instruments, field recordings (lots of wolf howls and growls) and fucked up glitched out electronics, Frost has conjured up an incredible cinematic electronic dronemusic masterpiece. Sounds like hyperbole, but it's not. This record is amazing, playing out like a soundtrack to some lost-in-the-woods Italian horror film, pianos and strings, dense swells of static, the aforementioned wolves, all wound into tense soundscaped vignettes, each one rife with tension, and emotion, and a sprawling darkness.
The opening track is worth the price of admission alone, a series of slow building sonic swells, each a wall of crumbling distorted hiss, throbbing over a minimal stretch of subtle glitch and muted melody, the tones are jagged and sharp, the melodies are fragmented and minor key, bits of acoustic guitar drift over the squalls, ghostlike, while beneath, thick ominous low end rumbles and whirs. It's like a more electronic, more minimal, and much darker Godspeed.
That track segues right into "The Carpathians", where the wolves make their first appearance, howling over Bernard Hermann like strings, their growls providing seriously scary low end, the baying matched by the mournful melodies, it's easy to imagine being lost in the snow, miles away from civilization, wandering through the dark, the night filled with the howling of wolves.
The whole record really does play out like a soundtrack, each track evoking a certain mood, "O God Protect Me" is all clipped abstract rhythms and muted crystalline melody, soft glitches and distant beeps, pretty and melancholy and subtly ominous, while "Hibakusja", which starts out with a simple guitar melody and what sounds like the moan of horns, becomes the scariest track on the record, the wolves growling processed into fucked up glitched low end stutters, that original opening guitar remains, but beneath those fucked up grinding glitchy growls, totally intense, before becoming more and more staticky and abstract.
If there's not a movie, someone needs to make it NOW. The rest of the record evokes still more strange territory, skipped Jeck-like loopscapes, all glitchy and tense, the skipping records offering up snippets that on their own would be fairly haunting and mysterious, but recontextualized become something even more, thick swells of buzzing cellos and harmonized voices transformed into massive crumbling walls of sound, various melodies and elements resurfacing throughout, especially a main theme that seems to define the record, and sounds like a simple melody, but here is infused with the terror and fear of the surrounding sounds, long stretches of layered high end shimmer, more glitched out electronic minimalism, again, all rife with tension, with a cinematic weight, that makes this record sound like so much more than just a collection of songs and sounds.
Gorgeous cover art too, all reflective inks on a matte background, all images of snow and wolves and empty landscapes, the spare frostbitten white wasteland, where the seemingly imaginary events described by the sounds on By The Throat could have taken place. Intense and amazing.
MPEG Stream: "Killshot"
MPEG Stream: "The Carpathians"
MPEG Stream: "Hibakusja"

LIFE ON EARTH (EDWARD WILLIAMS) OST (Trunk) cd 17.98
Another amazing lost gem from Trunk records, this time it's the soundtrack to a legendary (so we're told) nature show on the BBC called Life On Earth, from 30 years ago. Obviously we've never seen the show, but the music is magical. Mysterious and haunting, orchestral chamber music that sounds way too dark and haunting and serene to be designed to accompany shots of frogs and seals and tigers and bears, that is unless they're dying or wandering away sadly into the sunset. The music here, composed by Edward Williams is really quite lovely, but is so surprisingly dark, and melancholy, minor key, sad and sometimes otherworldly, almost almost like it would be better suited for an animated Tim Burton movie, but removed from the show, taken on its own, this music is indeed fantastic, yet still sounds like it must have been taken from some old horror film, or Italian giallo.
Lonely coronets, strummed harpsichords, creepy pizzicato melodies, muted hand drums and marimbas, Bernard Hemann-esque strings, fluttery flutes, ominous swells, booming kettle drums, singing violins, bells and chimes, lots of reverbs, clouds of gentle harp melodies, so gorgeous, but definitely has us wanting to see the show, to understand just how this music worked with shots of animals and plants, it makes nature seem quite ominous and malevolent indeed.
The record finishes off with what sounds like an actual clip from the show, whirring drones, distant drums, what sounds like reverbed Theremins, and a deep British voiceover (David Attenborough in fact!) discussing the disappearance of man. Wow.
Cool liner notes too, and photos, including the story of how Johnny Trunk tracked down the composer, and had to also track down Sir Attenborough himself.
Totally recommended!
MPEG Stream: "Life On Earth Begins"
MPEG Stream: "First Fossils"
MPEG Stream: "Comb Jellies"
MPEG Stream: "Coral Larvae"

NIRVANA Bleach (Deluxe Edition) (Sub Pop) cd 15.98
Really, what needs to be said about Nirvana's Bleach? Nothing probably. But also everything. Most of the folks here probably rank Bleach as their favorite Nirvana record, and some of us might even include Bleach in our best of all time list as well (c'mon, we know you keep one too, even if it's just in your head). And listening to this again today, it's shocking out great it sounds, not at all dated, better than 90 percent of the music coming out today, and it cost like $600 to record. EVERY song here is a goddamn classic, equal parts punk rock, pop, sludge, grunge, '60s garage, everything perfect, the vocals raspy and raw, the drumming killer, the guitar parts weird and wonderful, thick and heavy and grimy and so utterly catchy. Half the bands around today wouldn't even exist if it weren't for this record, hell, the musical landscape would be WAY different if it weren't for Nirvana, sure we grew up listening to Bleach, but we can only imagine discovering this record today, it would blow your fucking mind. How could a band on their first time out create a record that would basically reinvent rock for a new generation. Odds are most folks probably have this, and some of you are probably big ol' Nirvana geeks like us and will need to buy it again, for the improved sound, the killer packaging, the bonus live show tacked on the end, but if for some crazy reason you've yet to hear this, drop everything, don't buy another record until you take this one home and immerse yourself in its utter rock genius. Listen to the sound samples, and either be reminded how good this record is, or discover your new favorite band and let your life be changed, the way ours were when we first heard this 20 years ago.
The bonus tracks are from a live show recorded in Portland back in 1990, and it sounds amazing. Admittedly, Nirvana live were a dodgy proposition, or at least Kurt was, often singing weirdly or not at all, fucking up songs on purpose, or sometimes not on purpose, but this set is wicked tight, and loud and heavy, the vocals are pretty much perfect, they do some killer covers, some rad non-Bleach songs, and a few songs that would show up on future record, but it's cool to hear with this lineup, live all rough and ragged. And yeah, the new packaging is pretty badass too, no new liner notes but tons of photos and flyers and stuff, the perfect companion to the Live At Reading set which was also just released, and which we'll probably review on the next list.
MPEG Stream: "Blew"
MPEG Stream: "Floyd The Barber"
MPEG Stream: "About A Girl"
MPEG Stream: "Negative Creep"

NIRVANA Bleach (Deluxe Edition) (Sub Pop) 2lp 29.00
Really, what needs to be said about Nirvana's Bleach? Nothing probably. But also everything. Most of the folks here probably rank Bleach as their favorite Nirvana record, and some of us might even include Bleach in our best of all time list as well (c'mon, we know you keep one too, even if it's just in your head). And listening to this again today, it's shocking out great it sounds, not at all dated, better than 90% of the music coming out today, and it cost like $600 to record. EVERY song here is a goddamn classic, equal parts punk rock, pop, sludge, grunge, everything perfect, the vocals raspy and raw, the drumming killer, the guitar parts weird and wonderful, thick and heavy and grimy and so utterly catchy. Half the bands around today wouldn't even exist if it weren't for this record, hell, the musical landscape would be WAY different if it weren't for Nirvana, sure we grew up listening to Bleach, but we can only imagine discovering this record today, it would blow your fucking mind. How could a band on their first time out create a record that would basically reinvent rock for a new generation. Odds are most folks probably have this, and some of you are probably big ol' Nirvana geeks like us and will need to buy it again, for the improved sound, the killer packaging, the bonus live show tacked on the end, but if for some crazy reason you've yet to hear this, drop everything, don't buy another record until you take this one home and immerse yourself in its utter rock genius. Listen to the sound samples, and either be reminded how good this record is, or discover your new favorite band and let your life be changed, the way ours were when we first heard this 20 years ago.
The bonus tracks are from a live show recorded in Portland back in 1990, and it sounds amazing. Admittedly, Nirvana live were a dodgy proposition, or at least Kurt was, often singing weirdlt or not at all, fucking up songs on purpose, or sometimes not on purpose, but this set is wicked tight, and loud and heavy, the vocals are pretty much perfect, they do some killer covers, some rad non Bleach songs, and a few songs that would show up on future record, but it's cool to hear with this lineup, live all rough and ragged. And yeah, the new packaging is pretty bad ass too, no new liner notes but tons of photos and flyers and stuff, the perfect companion to the Live At Reading set which was also just released, and which we'll probably review on the next list.
MPEG Stream: "Blew"
MPEG Stream: "Floyd The Barber"
MPEG Stream: "About A Girl"
MPEG Stream: "Negative Creep"

ASSASSIN s/t (Deep Shag) cd 14.98
aQ reviews are usually written with a collective voice, but for this one, I'm (Andee) gonna have to step out into the first person, cuz I have been waiting for this record for 25 years! Since I was 14 years old.
I had just discovered heavy metal, and not HEAVY metal, we're talking Ratt and Motley Crue and Rough Cutt and King Kobra and L.A. Guns and Great White and Poison, that sort of heavy metal, and I was living in San Diego, and every time one of those bands played, there would be a local opener called Assassin, who RULED. Who as far as my 14 year old ears could tell, should have been just as popular as any of those other bands. And they were poised for that sort of success, the word was spreading, they did some small tours, they were maybe the next big thing, but as with lots of bands, before anything could happen, the band called it a day. And that was it.
I eventually moved on, my musical tastes matured and changed, but I never stopped liking eighties metal or hard rock or glam metal, and I never forgot Assassin. Over the years, and DECADES, I tried to track down their only single, and could never find it. I must have owned it back in the day, but somehow it had gone missing. And with the onset of the internet, I figured that would make it easier to find, but alas no luck. I eventually found a compilation that featured one of the tracks from the 7", and I played it to death, but I had sort of given up on ever tracking it down. So I was telling someone about Assassin, and just randomly Googled them, and WHAT? found an actual reissue, not just the single, but a whole unreleased record, as well as a live show!! I ordered one months before it came out, and waited patiently, and it showed up finally, and I threw it on, and FUCK!!! It sounded just as rad as it did when I was 14. So I figured what the hell, I oughta share this with my aQ pals, I mean, c'mon, a record I've literally been looking for for more than half my life!! TWENTY FIVE YEARS!!
Allan worried we wouldn't sell any, but I trust you, faithful aQ-ers, don't be ashamed of your eighties glam rock guilty pleasures (if they are in fact guilty), and dig this lost gem from an era short on lost gems. If you dig any of that kind of stuff, Motley Crue, Black And Blue, Armored Saint, Keel, Stryper, Seduce, Alcatrazz, Coney Hatch, Raven, hell, Assassin even opened for Slayer and Grim Reaper and Anthrax, then dig this. Heavy and hooky, listen to the two sound samples, those are the two songs from the single, and they are the best songs here, even after 25 years, I find myself listening to those two tracks over and over and over. The vocals are high and soaring, but really unique, the drummer kicks ass and the guitar player is a total shredder, and like the best bands of the time, Assassin were essentially a pop band, the songs rule, killer choruses, memorable verses, even the bridges and leads stick in your head. "Treason" might just be one of the best metal jams of the eighties, and "All Your Love" is a close close second. But give some of the other tracks a try, "Backstabber" is bad ass, "Nuance Le Dancer" is a weirdly structured metallic groover, "Tower" is an epic majestic dirge, and "No Way" is classic eighties metal. The live stuff shreds too, but that's just a bonus. I would have happily paid $15 for the single, so as far as I'm concerned those 2 tracks are worth the price of admission alone, everything else just sweetens the deal!
Lots of photos and liner notes, and anyone out there sitting on a treasure trove of rad eighties metal in need of a loving home, by all means, get in touch!!! We now return you to the third person...
MPEG Stream: "Treason"
MPEG Stream: "All Your Love"

KING KONG DING DONG Youth Culture Index (self released) cd-r 7.98
Originally discovered by one of our pals at Root Strata, you can just imagine the emails:
"You guys gotta check out this band King Kong Ding Dong!"
"Um... really?"
"Seriously, they're so amazing, KING KONG DING DONG!"
"Ummm, okay..."
Originally we thought maybe it was all a ploy, and it was them messing with us, maybe they had recorded a bunch of stuff themselves and were trying to dupe us into heaping praises on what was essentially a joke, but we took their advice, sought out KKDD, and gave it a listen, and HOLY SHIT. All it took was about a minute of "Evil", and we were hooked. We made a sample, it's down below, we'll wait... listen, and read on...
After some woozy guitar and amp buzz and cord crackle, the band lock into a mesmerizing minimal groove, a loping melody, disembodied voices, swirls of effected buzz, simple tribal percussion, and then BAM, the main riff comes in, all languid and stoned sounding, super spaced out, just two notes, a weird sort of indie folk doom, crooned and hummed vocal harmonies underscore the warm warped riff and the stumbling drums wrapped around it. It's almost like some weird hybrid of Silvester Anfang, True Widow, Animal Collective and No Neck Blues Band or something. Raw and lo-fi, loose and shambling, but so darkly heavy and groovy and hypnotic. We listened to that track about 100 times, before we even moved on to the rest of the record, which was just chock full of sonic surprises. Nothing else on the record is quite like "Evil", the rest of the record flits all over the place from super abstract soundscapes to tuneful indie jangle, to vocal driven bliss out anti pop, to warm warped drone, but they are all somehow woven together into one organic, and constantly transforming whole.
Opener "Jample", winds a strange looped crunchy riff over a simple pounding beat, and some reverby "whooo"s, female vocals belt out an equally reverbed counterpoint, the whole thing building to a super tripped out effects heavy dream pop freakout.
Backwards guitars, lead out of that track into a gorgeous hazy acousticguitarscape, ethereal vocals definitely drifting into Animal Collective territory, but way more scrappy and lo-fi, shimmery sheets of indie jangle give way to blown out distorted drums and looped detuned melodies. Dreamy buzzy pop music gets twisted up into a strange Beach Boys dirge, all choral and chaotic, shot through with spidery high end melodies, which slips sweetly into a spare field of twinkle and twang, wrapped around distant drums and sweetly crooned falsetto vox. Then we're back to "Evil" again, which, heck, deserves yet another listen...
The final four offer up more off kilter outsider dream pop stumble, high crystalline vocals drifting over distorted drum splatter and looped guitar shimmer, soft swirls of effects drift beneath almost operatic sounding harmonies, a sort of twangy slowcore, but slowly crumbling into something much more atmospheric and abstract. After a brief fanfare, what sounds like a soft cacophony of horns, comes a strange harmonica loop, which erupts into some gorgeous, hazy, near perfect minimal space psych drone dream pop.
Shouldn't take long for the rest of the world to catch on. And wouldn't be surprised if these guys started getting hyped by Pitchfork or Matador or any other number of 'tastemakers', and heck, they deserve it, this stuff is mysterious and magical, and the fact that they're called King Kong Ding Dong, somehow only makes it that much better....
MPEG Stream: "Evil"
MPEG Stream: "A Violent Light"
MPEG Stream: "The Tiniest Anything"
MPEG Stream: "Jample"
MPEG Stream: "Here We Rest"

REFLECTOR Pass (Rock Is Hell) lp 21.00
Record number two from this mysterious metallic math rock band. Reflector's first record Flugangst was a surprise hit around here, a crunching math metal juggernaut, perpetrated by the now ubiquitous guitar/drums/no bass lineup, but Reflector certainly didn't suffer for it. Heavy and complex and brooding and massive, with plenty of doomy slow core bits and shimmery drone-y drifts.
If anything, Pass takes everything we liked about Flugangst and cranks it up, the sound is incredible, lush and thick and expansive, REALLY hard to believe they're a bass-less two piece here, the guitars are hard and dense and chuggy, the drums crushing, the two locked into killer grooves, Neurosis like lumbering plod one second, super tangled post rock weirdness the next, even some slow motion Slayer riffing here and there.
It's criminal these guys aren't huge, they should be touring with Mastodon and Baroness and all those low slung bearded sludgelords, but this ain't sludge (although they are perfectly capable of getting plenty sludge-y!), this is almost some sort of pop infused downtuned metal, shot through with plenty of post rock mathisms, strange textures, catchy melodies, and riffs that KILL.
We don't have a whole lot of these, so if we run out be patient, we have to get more from overseas, but hell, anyone into slow and low heaviness, or the new breed of post / math / metal / gaze / whatever, these guys could very well be your new favorite band.

SIXX Sister Devil - Demo 1991 (Nuclear War Now!) cd 11.98
Bay area black metal masters Von were responsible for two of the most important USBM documents ever, the Satanic Blood and Blood Angel demos, considered by many to be the first US black metal record(s), and to this day, those records continue to inspire a legion of musical hordes, who strive to emulate that furious idiosyncratic raw that few can reproduce. What few people know, is that right after the release of those demos, the members of Von shifted their focus to another project, with a way different sound and vibe, called Sixx, which was anything but black metal, instead a dark, creepy, brooding, gothic deathrock, think Bauhaus, Christian Death, Specimen, all minor key spidery guitars, swirling dark ambience, pounding new wave drums, and of course, super dramatic crooned vocals.
It seems almost prescient, considering that this sound is enjoying a pretty serious resurgence these days: past Record Of The Weekers Soror Dolorosa, Hateful Abandon, Factums, Dial M For Murder, Cold Cave, Crystal Stilts, etc. But this demo, recorded in 1991, was as mentioned above, recorded hot on the heels of two of the most grim and raw, blasting black metal records ever! And while it may not directly inform the actual sound, it does speak to what a strange and special record the Sixx demo was and is. Chiming guitars and krauty rhythms, lots of reverb and delay, a dark brooding ambience, we hear lots of classic goth and darkwave and new wave, Kommunity FK, Human Drama, Tones On Tail, and the more we listen to it, the more the link between Sixx and Von crystallizes, both bands trafficked in simple stripped down songs, most with only one or two parts, vocals repetitive and mantric, in fact, in some ways, Sixx almost sounds like Von with all the distortion removed, right down to those classic Von goaty grunts. That said, just 'cause you like Von, doesn't necessarily mean you'll like Sixx, but if you dig that sound, and any of the above mentioned bands, then Sixx's Sister Devil might just be your lost reissue / rediscovered gem of the year.
MPEG Stream: "On The Dead"

LUCE, ED Wuvable Oaf #2 (Goat Blud Comics) comic 3.95
Once again, the big, hairy, doll making, lovestruck punk rock behemoth better known as Wuvable Oaf returns! We've been champions of Luce's crazy creation since the moment we first laid eyes on Oaf and his equally hirsute cadre of pals and lovers and hangers on. Not to mention the kitties!
For those new to the Oaf, in a city, suspiciously like San Francisco, lives the Wuvable Oaf, who spends his days making cool little stuffed dollies, filling them with his shaved body hair, living in a house full of kitties, and pining after Eiffel, the diminutive lead singer of the band Ejaculoid, who are constantly battling their arch rival band, Spincterine, and that's just scratching the surface. There's lots of unrequited love, nightmarish dream monsters, wild punk rock gigs, nightmare dates, aggro-massage, jilted evil ex-boyfriend chefs, blind dates, bands with names like Muff ' N' Top Grrrlz and Wasp Women, a broKENCYDE shirt pops up during a show, so do the bad guys from Superman 2, as does our very own Andee!
It's definitely a wild ride, the art is amazing, super detailed, over the top, there's so much hair everywhere, on the big beefy dudes, on the kitties, it's no wonder why it takes Luce ages to finish each issue, but it's well worth the wait, funny, and fun, and sexy and silly, now we're dying for issue 3, especially after the back page teaser, a big hairy, horned, devil tailed man-beast with the legend "Who is Gote Blud?". Well?? WHO IS IT??????????????

EXPO 70 Mother Universe Has Birthed Her Last Cosmos (Universal Tongue) 3"cd-r 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What more can we say about these guys that we haven't already. Masters of divine sci-fi spacekraut dronemusic, sprawling epics that drift heavenward, guitars swirl and pulse, bass throbs and rumbles, rhythms don't pound or shuffle as much as pulse, a gloriously cosmic ur-rock that is not about rocking at all, but instead about sitting back and drifting off, letting the music lull you into a state of suspended animation, moving inward before moving outward, expanding like a new universe being born. All of the above imagery is especially apt to describe Mother Universe Has Birthed Her Last Cosmos, a one track, 20 minute space drone kraut jam from our beloved Expo 70. The main guitar part is surprisingly active, as is the bass, there's a definite groove here, the song has propulsion, and moves with purpose, the sound of a timelapse camera capturing the stars blinking out one at a time, viewed through a capsule full of bong smoke. Dreamy druggy and divine.
But it's not all drift here, about 8 or 9 minutes in, an old drum machine rears up and unfurls a looped beat, the guitars lock in, and suddenly this is some sort of transcendent drugged out hypnospace loop, which almost sounds like a skipping Hawkwind record, so completely mesmerizing and AWESOME. Eventually the drums drift off, and leave the throbbing bass and shimmering guitars to complete the journey on their own.
LIMITED TO 111 COPIES! We got 40 of those, and won't be able to get more. So get while the getting's good. And like all Universal Tongue releases, the packaging is super cool, full color inserts in little mini 5" high clear dvd sleeves, each one hand numbered.
MPEG Stream: "Mother Universe Has Birthed Her Last Cosmos"

HYPOTHERMIA Kold (Turannum) lp 17.98
This long out of print slab of frosty jangly depressive buzz, available again, now on vinyl for the first time, housed in a super fancy full color gatefold, with full color printed inner sleeves and a cool mini-poster, pressed on nice thick 180 gram vinyl too of course!!
There couldn't be a more appropriate name for this Swedish outfit, as it's unlikely you'll ever hear anything colder or frostier. This is harsh and frostbitten, depressive and miserable black metal for sure, predating the group's eventual shift to a sound more jangly and spacious, although within Kold's grimnity, lurk moments that certainly foreshadow that future shift.
Kold is full length number two from Hypothermia, after their Veins debut, and Kold takes Hypothermia's monochromatic miserablism a step further, two tracks, two riffs, okay, maybe four at the most, one track twenty seven minutes long, the other nineteen, each one a loping midtempo buzz, the drums a relentless plod, the guitar a buzz so blurry and indistinct it almost sounds like a drone, and the vocals, well, as anguished and tortured as they were on Veins, they're even more strangled and bizarre here, somewhere between an Orcish death rattle and some sort of beast vomiting up its last meal, sometimes mumbling in a strange mewling grunt, other times a leather lunged glass throated growl, you can almost feel the blood and spittle. But it's the perfect compliment to the music. Hateful, sorrowful, suicidal, depressive, the sound of Kold is just that, so cold and lonely, emotional and intense. About three quarters of the way through the first track, the distorted guitar drops out leaving just a jangly clean guitar, drums and vocals, which is definitely unexpected, but ends up sounding strangely emotionally charged. Soon the vocals drop out too and it's just drums and clean guitar and it almost sounds like some outsider bedroom indie rock, before the buzz kicks back in and the track unwinds in a Burzumic blaze of frosty buzz.
The second track may be even weirder, a blown out buzzy riff, and even doomier rhythmic plod, and the vocals are completely unhinged, falsetto screams, what sounds like that weird breathing-in-backwards singing, growling and grunting and shrieking and wailing hysterically, all over a surprisingly lilting minor key dirge, buzzing and droning, epic yet surprisingly melodic, with another surprise right at the end, a three minute clean-guitar and drum coda, simple garage-y drumming, sort of shuffling and crashing beneath some truly moody jangly strum.
LIMITED TO 1000 COPIES!!
MPEG Stream: "Svag Fysisk Lusta"
MPEG Stream: "Svartade Passager"

KYLA Into The Depths (Turannum) 7" 7.98
This brand new 7" from Swedish depressive black metaller Kyla sounds exactly how you might expect, considering the man behind Kyla is also responsible for the equally black and depressive Hypothermia, as well as counting himself a member of damaged black metal pop weirdos Lifelover.
Kyla traffic in a sound we love, a woozy, super distorted, melancholic, minor key buzz, which begins all warbly and minimal before giving way to a mesmerizing trancelike not-quite-blast. The vocals are howled and anguished and echo drenched and nearly hysterical sounding at points, but they surface only here and there, leaving most of the record to pound out a hypnotic blackened dirge. The guitars are downtuned and almost sludgey sounding in tone, the drums muffled enough to blend in with the blurred guitars and rumbling low end, the B-side has a weird pop vibe running through it, and a killer main melody, reminding us big time of Lifelover, but the vocals are even more unhinged, exploding in squalls of terrifying shriek.
Pressed on ultra thick vinyl, housed in super striking black and white sleeves, and of course VERY LIMITED!