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IMPORTANT (Please read to avoid confusion):
Some items below may be tagged with a bold, red, all-caps "out of print/unavailable" notice. This does NOT mean that all other items not so tagged are, in fact, in stock -- or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us -- please email our mailorder department for availability status -- or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.


B-52'S Funplex (Astralwerks) cd 14.98

album cover B-TONG Hostile Environments (Greytone) cd 14.98
We first discovered Chris Sigdell, aka B-Tong (which, by the way, is usually written with a little circle, you know, the degrees sign, not a dash, but our website doesn't like it, so hence the hyphen), via a four way split called One Man Drone, which as you may have surmised, was a collection of one man drone-groups, and our favorite of the bunch happened to be B-Tong, whose sound was weirdly cinematic, and fantastically and psychedelically noisy and chaotic. We compared the sound to Philip Jeck mixing Goblin and Wolf Eyes! We later discovered that Sigdell played in NID, another group who utilized drones, but wove those drones into something much more cacophonous, and expansive and lushly layered. But still, ultimately, it was all about the drone.
We had always hankered for more B-Tong, and while apparently there have been a bunch of full lengths, this is the first we've managed to get our hands on, and it's just as good as we remember; and yeah, if there was ever any doubt, Sigdell firmly establishes himself as an aQ-pantheon-worthy dronelord.
The opener, is ominous and cavernous, laced with weird crackles and gritty crunch, kindred spirits with our own Jim Haynes for sure. The sounds oozing a sort of sonic decay, and some deft and subtle sample placement, makes the opener even more chilling. It's almost like some industrial doom, stripped down to its skeletal core. A moody, muted melody, playing out like foghorns in the distance, echo drenched chimes, and tinkling percussion, buried under grey washes of softly undulating thrum, lots of constantly shifting textures, and some seriously harrowing sound design reminiscent of Ben Frost. And the sound continues to drift southward as the record progresses, a virtual journey through dark caverns, toward whatever lurks below, fields of deep resonant rumbles, dripping water, distant billows of thunder, stretched out into weird glossolallic shimmers, thick chordal blurs that ooze and bleed ominously, splashing water doused in FX and transformed into a sort of garbled alien language. Plenty of barely there lowercase ambience, but also super active sprawls of electro static gristle, ultra creepy moans and gasps, sonar pings that disappear into the abyss, short wave broadcasts from beyond, lumbering behemoth beats, dulled into barely perceptible pulsations, smears of almost dub like throb, and keening high end tones dulled into bleary shimmery sonic ripples, all locked in a sort of hazy stasis, while all around, billowing clouds of black hum drift malevolently, and beneath this black soundworld, hushed melodies, and dreamlike sonic coloration, shift constantly creating an ethereally prismatic sonic backdrop. Fantastic. Essential dronemusic for sure!!
MPEG Stream: "Stasis Field"
MPEG Stream: "Processed"
MPEG Stream: "Estrus"

album cover B. MONIKER Station Identification cd-r 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
B. Moniker's "Station Identification" parallels the Cassetteboy album also recently reviewed, as a peurile form of People Like Us inspired plunderphonia / channel surfing electronica. This homebrewed concoction recontextualizes tons of non-placed media samples from a number of archetypal genres (i.e. mad scientists, kung-fu movies, gameshow hosts, televangelists, newscast pollsters, hyperbolic commercials, children's radio dramas, and quick tunings through the fm radio band) with a smug sense of irony. Far more reliant upon musical interludes than the never-ending barrage of vocal cut-ups on Cassetteboy, B. Moniker forces his dialogues into a melange of samples from Steinski-like hip-hop instrumentals, those sad post-rock grooves that punctuate the earnestness of "This American Life," and filtered Autechrish breakbeats, all topped off with whimsical casiotone melodies.
RealAudio clip: "KHZS 44.1 FM"
RealAudio clip: "KILR 99.9 FM"

B.B. BLUNDER Workers' Playtime (Long Hair) cd 23.00

album cover B.BAPHOMET Einsplundaghn (Small Doses) cd-r 8.98
Okay doomlords and dronelords, it's been a while since we got something in this heavy and grim and bleak and doomic. Something so blackened and crushing, but also so dark and droney, so blissed out and blurry.
The mysterious B.Baphomet, utilizing a strange collection of sound making devices, including bass guitars, Moogs, FX, vocals, Rhodes, percussion, oscillators, seat creaking, vibraphone and of course "knocking something over", has concocted this haunting mysterious collection of blackdrones and downtuned ambient doom, of shimmering whispers and washed out electronic landscapes. Weirdly, two of the tracks here are credited to B.Baphomet, while two of them are credited to M. Colby, who IS B.Baphomet.
Regardless, the opener is for the doomlords, a near black metal crawl, huge guitar chords poured out like black tar, super processed vocals howl and growl, streaks of feedback and long stretches of crumbling rumble, like a black metal version of that Vulture Club record we love so much. This is ultra-ultra-megadoom, an impossibly thick wall of black buzz, of low end sludge, creeping and seeping, the vocals buried in the mix, crushing and pummeling, a slow motion sonic flaying. The track eventually morphs into something much more static, the guitars spread out into throbbing drone, layered with fuzzy synths, and tons of low end, occasionally peppered with barely audible vocals, strange short wave interference, damaged FX,13 minutes of utter and glorious aural punishment.
But from that point on, the other three tracks, are for the dronelords (and hell, by now most aQ customers should count themselves as both, doomlord and dronelord), something much more abstract and minimal, the second track, is a strange swirl of muted melodies, buried rhythms, swells of processed guitar, all smeared into a blurry glimmering dronescape. The third track is similarly minimal and drone-y but much more gritty, the various tones crumbly and distorted, crackle, hiss, whir wrapped around decaying sound, the track slipping from warm alien glow, to subterranean industrial grind, but always stretched into long drawn out alien sounding sonic expanses.
The final track is the prettiest of the bunch, a sort of lullaby, drifting bell like tones, glimmering chimes, muted delicate melodies, warm soft chords, all so soft and shimmery and so unlike the rest of the disc, especially the blackened opener.
SUPER LIMITED!! Only 111 copies! Each disc comes in a super swank hand screened brown on brown cardstock sleeve, with a printed red Japanese style obi, inside, a printed color insert, each one hand numbered.
MPEG Stream: "Untitled 1"
MPEG Stream: "Untitled 2"

B.G. Checkmate (Cash Money) cd 16.98
Latest from the Bling Bling guy, with Cash Money guests Juvenile, etc.

album cover B.O.S. O-Land (Angelika Kohlermann) cd 16.98
An Austrian band (we think) playing what they (or their label) like to call "slo-mo-kraut-progck". Hmm? Well what this is, is downtempo, bass-heavy post-rock with half-buried whispery female vox, all kinda creepy and emotionally portentous. The drummer's rhythms are plodding, head-nodding. There's lots of electronics filling out the sound, with both grand, dark synth washes and glitchy details. It's a late night cinematic sound, very moody, but maybe not quite as gripping as the vocalist wants it to be. It gets more interesting when they get heavier and freak out a bit instrumentally, adding clarinet, trumpet, violin, etc. to the mix.
MPEG Stream: "Uv"
MPEG Stream: "My Friend"

album cover B.SON Black Shape Of Nexus (Vendetta) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A while back we listed a super limited lp from these German doomlords (we still have a couple left, but after those are gone, the vinyl version is gone gone gone), a record that completely and utterly kicked our asses. Now it's available on cd, and it includes not only the tracks from the lp, but also, their tracks from a recent vinyl only split with Crowskin, another German doom/drone/sludge combo we have yet to hear...
As for the sound of B.Son, well, by now, you must all realize how much we at aQ love us some ultra doom, some seriously sick slowness, you know, that doooooom, that is so glacial, that the songs begin to crumble and ooze into viscous black pools. We do. But sometimes we just want our doom to ROCK. Sounds contrary but it's been known to happen. Doom can be slow and low and still rock. Take B.Son for example. Whose particular brand of doomic energy is drawn from bands like Harvey Milk, Karp, The Melvins, godheadSilo, more a sort of downtuned propulsive sludge with doom elements, than pure doom. But goddamn if it isn't just as brutal and heck, doomy...
Thick ropy buzzbass, pounding destructo drums, throaty howls, grinding guitars, all lurching and swaying like some drugged and demented superrock doombeast, all filtered through a bit of grinding screamo and some buzzed out metallic blackness. There are moments of blisssed out post rockiness, and weird laid back grooves, stretched out near ambience and dense little mathy jams, but those moments just serve to keep the doomed sludge rock fury from becoming too much.
Produced by James Plotkin. The cd is packaged in a golden metal fold open cd box (much like the last Caacrinolas) with a full color, four panel, thick paper insert.
MPEG Stream: "IV"
MPEG Stream: "III"

album cover B.SON Black Shape Of Nexus (Vendetta) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
As much as we love us some ultra doom, some seriously sick slowness, you know, that doooooom, that is so glacial, that the songs begin to crumble and ooze into viscous black pools. We do. But sometimes we just want our doom to ROCK. Sounds contrary but it's been known to happen. Doom can be slow and low and still rock. Take B.Son for example. Whose particular brand of doomic energy is drawn from bands like Harvey Milk, Karp, The Melvins, godheadSilo, more a sort of downtuned propulsive sludge with doom elements, than pure doom. But goddamn if it isn't just as brutal and heck, doomy...
Thick ropy buzzbass, pounding destructo drums, throaty howls, grinding guitars, all lurching and swaying like some drugged and demented superrock doombeast, all filtered through a bit of grinding screamo and some buzzed out metallic blackness.
There are moments of blisssed out post rockiness, and weird laid back grooves, stretched out near ambience and dense little mathy jams, but those moments just serve to keep the doomed sludge rock fury from becoming too much.
Produced by James Plotkin. Spiffy black and gold sleeves... This seems to already be out of print as well, so this batch could very well be the last we see of these...

album cover B.SON / CROWSKIN split (Vendetta) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We only have a handful of these in stock, and pretty sure this is already out of print at the label. We got them ages ago, but the covers were damaged in shipping, so we had been waiting for more covers, and when we finally did get more, they somehow ended up in a box in the back, until we found them a few days ago.
So lucky day for the doomlords, as this is another crushing slab of blackened ultra doom from German heavyweights, B.Son or Black Shape Of Nexus, teamed up with the new to us Crowskin.
B.Son operate somewhere between the spare spacious plod of Fleshpress, and the blood curdling speaker torture of Bunkur. It's slow, and thick, and viscous and harsh, and downtuned and HEAVY, but there's tons of space, the guitars are weirdly clean-ish, the arrangements are abstract, minus the vocals this could be some strange doom-ed post rock, but with the hellish howls, it is transformed into an oozing sprawl of glacial crush, of lumbering Teutonic lurch, shot through with some surprisingly pretty melodies, and some subtle sonic shading. There's a new full length out now too, which this has us dying to hear...
Crowskin are also from Germany, and are also somewhat doomy, but unlike the tarpit trudge of B.Son, Crowskin, are a bit more propulsive, a little more mathy, and a little more crusty / punky, but even more outwardly brutal, with long stretches of loping prettiness, moody atmospherics, which inevitably lead into massive churning swirls of distortion doused crustdoom, but they also have these strange parts, where a super clean guitar unfurls a haunting melody, WAY up in the mix, louder than everything else, making for something really off kilter and twisted sounding. Like Neurosis via Moss, Crowskin lumber monstrously through extended sprawls of buzzy drones and roiling low end crush.
A pretty lethal one two punch for the doom freeks out there. Too bad we only have 15 copies or so, and as mentioned above, it's very likely these will be the last copies ever...
Gorgeous, slightly oversized, super striking fold over cardstock sleeves, a few have barely bent corners (compliments of the post office), but these are the last copies we'll see, so we're all gonna just have to live with it, thankfully, the bends are very minimal and thus barely noticeable to all but the most anal of record nerds...

album cover B.T. EXPRESS Do It ('Til You're Satisfied) (Scepter Records) lp 12.98
Vinyl reish of a '70s funk/disco classic. Comin' atcha out of Brooklyn, the B.T. Express got a lot more disco as the decade progressed, but you can't go wrong this this debut from '74. Best known for the title track, this groovy platter is chock full of chicka-chicka-chicka guitars, funky brass, some heavy-handed synth, and lyrical wisdom like the messages delivered by "Everything Good To You (Ain't Always Good For You)", "If It Don't Turn You On (You Oughta' Leave It Alone)", and the aforementioned title track, ferinstance.
For fans of Kool and The Gang, The Jimmy Castor Bunch, Bootsy, Parliament, etc.; this record definitely belongs in any self-respecting funkateer's collection.
MPEG Stream: "Do It ('Til You're Satisfied)"
MPEG Stream: "Once You Get It"

B.T. EXPRESS The Best Of (Rhino) cd 15.98
Newly released 15-track collection of long-out-of-print stuff from this kick ass 70's funk band. Concentrating mainly on their first two lps, with such classic jams as "Do It ('Til You're Satisfied)" and "Give It What You Got". Fans of P-Funk, early Kool & The Gang, Jimmy Castor Bunch, etc., will surely dig!!

album cover B/B/S/ Brick Mask (Miasmah) cd 16.98
The oddly named B/B/S is another aQ sonic dream team, the sort of band we might have dreamed up ourselves, this time brought to us by the always impressive Miasmah label. B/B/S/ features longtime aQ fave/pal Aidan Baker from Nadja on guitar and bass, Miasmah label head honcho Erik Skodvin, better know as Svarte Greiner, on bowed guitar, and experimental soundmaker Andrea Belfi on percussion. It's about as dark and brooding, and sonically dense as we expected, but what we didn't expect was for it to be so jazzy. Brick Mask is a seriously tranced out sprawl of minimal darkjazz dirgery, think the Necks, Supersilent, Bohren, Kilimanjaro Darkjazz Ensemble, Mount Fuji Doomjazz Corporation, etc. Four long tracks of skittery, smoldering, pulsing, blackened jazziness. Opener "Brick" spends the first half of its ten minutes in a smokey swirl, a hushed droning churn, the percussion barely there, but as the percussion builds, the guitars do to, they begin to chime, ring out, grow more jagged and sharp, expanding into clouds of keening high end, building it seems, to something explosive, but instead, the cymbal shimmers dissipate, leaving a roiling tribal rhythm, over a backdrop of ghostly chordal thrum, peppered with the occasional cloud of blurred metallic shimmer, eventually settling down into a spaced out sprawl of woozy low end murk and echo drenched abstract drift.
The opener pretty much sets the template for the rest of the record, the other three tracks offering up variations of that dark jazz-drone theme, the second track "Mask" laying down a haunting mesmeric stretch of softly undulating melodies, anchored by a thick, sinewy bassline, over the top a wild, loose, freeform percussive clatter, all of which eventually coalesces into a dense dirgey doomjazz throb, the drums driving and propulsive, the rest of the instruments surprisingly ethereal, wreathing the proceedings in ghostly chords and spectral melodies. "Plants" unfurls even more abstractly, with a strange bit of clattery minimal percussion, draped over a distant low end thrum, soft swirls, and keening melodies, all faded into the backdrop, the rhythm demarcated by a tolling bell, and little rhythmic flurries, the drums the star of the show here, even as minimal as they are. It's a super abstract rhythmic drift, woozy, and drowsily hypnotic.
Finally, "Mott" finishes things off with a sprawling 13+ minute slowburn dronescape, that begins as a hushed, barely there creep, but soon, furious cymbal skitter gives the track some tense forward momentum, while the rest of the sounds seem to ooze and drag, the implied eventual release or perhaps the promise of the whole band launching into something more meaty, only adds to the tension, and as you might have guessed, the track remains locked in this slow-mo black-jazz creep, the cymbals providing the rhythmic heft, the band doing their best to drag the sound down into the smoldering black abyss. When the cymbals do let up, the track suddenly seems loosed from it's moorings, and the final few minutes are spent in a jazzy druggy drift, a gloriously murky, somnambulant, drone-jazz finale.
Gorgeous stuff for sure. WAY recommended for fans of all of the above mentioned bands, as well as some of Baker's jazzier solo recordings...
MPEG Stream: "Brick"
MPEG Stream: "Mask"
MPEG Stream: "Mott"

album cover B/B/S/ Brick Mask (Miasmah) lp 19.98
The oddly named B/B/S is another aQ sonic dream team, the sort of band we might have dreamed up ourselves, this time brought to us by the always impressive Miasmah label. B/B/S/ features longtime aQ fave/pal Aidan Baker from Nadja on guitar and bass, Miasmah label head honcho Erik Skodvin, better know as Svarte Greiner, on bowed guitar, and experimental soundmaker Andrea Belfi on percussion. It's about as dark and brooding, and sonically dense as we expected, but what we didn't expect was for it to be so jazzy. Brick Mask is a seriously tranced out sprawl of minimal darkjazz dirgery, think the Necks, Supersilent, Bohren, Kilimanjaro Darkjazz Ensemble, Mount Fuji Doomjazz Corporation, etc. Four long tracks of skittery, smoldering, pulsing, blackened jazziness. Opener "Brick" spends the first half of its ten minutes in a smokey swirl, a hushed droning churn, the percussion barely there, but as the percussion builds, the guitars do to, they begin to chime, ring out, grow more jagged and sharp, expanding into clouds of keening high end, building it seems, to something explosive, but instead, the cymbal shimmers dissipate, leaving a roiling tribal rhythm, over a backdrop of ghostly chordal thrum, peppered with the occasional cloud of blurred metallic shimmer, eventually settling down into a spaced out sprawl of woozy low end murk and echo drenched abstract drift.
The opener pretty much sets the template for the rest of the record, the other three tracks offering up variations of that dark jazz-drone theme, the second track "Mask" laying down a haunting mesmeric stretch of softly undulating melodies, anchored by a thick, sinewy bassline, over the top a wild, loose, freeform percussive clatter, all of which eventually coalesces into a dense dirgey doomjazz throb, the drums driving and propulsive, the rest of the instruments surprisingly ethereal, wreathing the proceedings in ghostly chords and spectral melodies. "Plants" unfurls even more abstractly, with a strange bit of clattery minimal percussion, draped over a distant low end thrum, soft swirls, and keening melodies, all faded into the backdrop, the rhythm demarcated by a tolling bell, and little rhythmic flurries, the drums the star of the show here, even as minimal as they are. It's a super abstract rhythmic drift, woozy, and drowsily hypnotic.
Finally, "Mott" finishes things off with a sprawling 13+ minute slowburn dronescape, that begins as a hushed, barely there creep, but soon, furious cymbal skitter gives the track some tense forward momentum, while the rest of the sounds seem to ooze and drag, the implied eventual release or perhaps the promise of the whole band launching into something more meaty, only adds to the tension, and as you might have guessed, the track remains locked in this slow-mo black-jazz creep, the cymbals providing the rhythmic heft, the band doing their best to drag the sound down into the smoldering black abyss. When the cymbals do let up, the track suddenly seems loosed from it's moorings, and the final few minutes are spent in a jazzy druggy drift, a gloriously murky, somnambulant, drone-jazz finale.
Gorgeous stuff for sure. WAY recommended for fans of all of the above mentioned bands, as well as some of Baker's jazzier solo recordings...
MPEG Stream: "Brick"
MPEG Stream: "Mask"
MPEG Stream: "Mott"

album cover B12 Last Days Of Silence (B12) cd 21.00

album cover BAADER BRAINS The Complete Unfinished Works Of The Young Tigers (Waking Records / Clean Plate / Empyre) 12" 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Baader Brains. This is one of those wonderful instances where the name kind of says it all: frenzied, powerful, pummeling hardcore punk mixed with the aesthetics and politics of extreme Marxist urban guerilla movements. It's by no means a novel combination, but it's incredibly rare for a band of this ilk to be so well done and for every one of its elements to have been given so much obvious consideration. Musically, The Complete Unfinished Works Of The Young Tigers takes the majority of its queues from Damaged-era Black Flag and the Gravity Records catalog, but manages to still sound vibrant, and totally current. It's muscular, angular, fractured and anthemic all at once and recalls everything that makes us excited about this particular brand of punk rock (post-hardcore, or whatever you want to call it). This should come as no surprise to anyone familiar with the pedigree of Baader Brain's membership: Mike Kirsch and Jose Palafox (guitar and drums, respectively) have done time in some of the heaviest hitters of the West Coast US hardcore scene since the late '80s. Kirsch, in particular, is a revered figure in the Bay Area, having lent his talents on guitar, vocals and electronics to a long list of bands including Fuel, Torches To Rome, and Please Inform The Captain This Is A Hijack; while Palafox's drumming has been an integral part of Struggle, The Swing Kids, and Yaphet Kotto. Both also did time in the mighty Bread and Circuits, who sole LP is an underrated classic. Suffice to say, if you have even a passing interest in the catalogs of Ebullition, The Mountain Collective, Level Plane, or Gravity Records, this is going to freak your beak.
Where Baader Brains becomes (as the youth say) some seriously next level shit, is with everything that surounds the music itself and their uncanny ability to balance the two without either one outshining the other. The group's devotion to the aesthetic of leftist paramilitary revolution is beyond impressive, while their command and use of its related tropes and references is encyclopedic. The packaging, album art, liner notes and samples that bridge most of the songs together manage to string together a bewildering series of shout outs (both blatant and subversive) to everything from the RAF to the Khmer Rouge to the PFLP to the Black Panthers and more (there's even some John Zerzan-style future primitivism thrown in there for good measure)! It's a flood of images, sounds and references that manages to capture the frenetic audio-visual overload of the band's live show, something that we here in the Bay Area are lucky enough to get to see on a semi-regular basis (picture ever-evolving uniforms of the Young Tigers, imposters posing as the actual band being run off the stage at gunpoint, tiger striped balloons falling from the ceiling, split screen video projections, and a seamless integration of live music and samples all crammed together in about 20 minutes of whip-tight performance). Baader Brains' commitment to its rigorous aesthetic is so complete and so all-encompassing in its mix of different media, that it almost makes more sense to think of this LP as a small part of a much larger piece of ongoing performance art. That said, this is a seriously ass-kicking record and those of you with no interest in the band's political leanings or no knowledge of the references will find nothing lacking in the record's musical content.
Unsurprisingly, The Complete Unfinished Works Of The Young Tigers comes lavishly packaged to the point that it took three separate labels to come up with enough resources to make it happen. You get a full-colour jacket printed inside and out), an LP-sized obi, two separate inserts, and a fully printed inner sleeve. It's seriously over-the-top, it's limited to 1000 copies worldwide (300 of those are on swirled yellow and black vinyl and yes we have a handful of those, but will be doled out RANDOMLY!!!), and is selling out all over the place. Don't sleep on this one - this is one of the most exciting hardcore records we've heard in a long time, and we can't recommend it highly enough!
MPEG Stream: "Year Zero"
MPEG Stream: "Boiling at the Gates"
MPEG Stream: "Be Seeing You at Camp Delta"

BABA SCHOLAE 69 (Harmonia Mundi) cd 24.00

album cover BABICZ, ROBERT A Cheerful Temper (Systematic) cd 16.98

BABICZ, ROBERT Desert (Mille Plateaux) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

BABICZ, ROBERT Momente (Mille Plateaux) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This German experimental / electronica artist has taken to record rather 'warm' source material and manipulate the original sounds through a clinical editing process into rather hypnotic sequences. Momente is quite similar in feel to the best work of Oval (i.e. the 24 minute version of 'Diskont 94'). Recommended.

album cover BABIES, THE Our House On The Hill (Woodsist) cd 13.98
Record number two from this collaboration between members of the Woods and the Vivian Girls, and like their debut, it again sounds exactly like the membership might lead you to believe, at least at first: twangy jangly pop, sweet boy/girl vocals, fuzzy and hooky, girl group classic pop smithery mixed with more modern/retro garage-iness, definitely falling squarely into that 'Woodsist' sound, which obviously makes sense. But the interesting thing about Our House On The Hill, is that after a few songs in the beginning, especially "Slow Walkin'", which is a dead ringer for Best Coast, the influences become less obvious; as the record progresses, the songs darken, and become much more interesting, the melodies more minor, the sound more tense and complex, still classically poppy, but definitely more charged and hauntingly psychedelic. In fact those first two tracks seem light and fluffy in comparison to the rest of the record, which is hitting us hard, the way the most recent Woods record did. "Mess Me Around", is a dark pop gem, with some sinister lyrics, cool dueling multiple guitar lines, drawled vox, the vibe insistent and propulsive, and a killer chorus. "Get Lost" too, cranks up the psychedelic vibe, with swirling squalls of psych guitar, and wraps ghostly female vocals around the chorus, and again it's gorgeously dark and driving, and so it goes, the whole record unwinding, like some ultra personal, minor key jangle pop classic, laced with lots of ooooh's and aaaah's, hooks galore, some of the tracks ghostly and folky, stripped down and skeletal, even the occasional lap steel, and some lush and lovely strings, and while there are moments throughout that drift closer to that opening salvo, the bulk of the record is a much more shadowy, and dreamily dark. Great stuff!
MPEG Stream: "Mess Me Around"
MPEG Stream: "Get Lost"
MPEG Stream: "Baby"
MPEG Stream: "Chase It To The Grave"

album cover BABIES, THE Our House On The Hill (Woodsist) lp 14.98
Record number two from this collaboration between members of the Woods and the Vivian Girls, and like their debut, it again sounds exactly like the membership might lead you to believe, at least at first: twangy jangly pop, sweet boy/girl vocals, fuzzy and hooky, girl group classic pop smithery mixed with more modern/retro garage-iness, definitely falling squarely into that 'Woodsist' sound, which obviously makes sense. But the interesting thing about Our House On The Hill, is that after a few songs in the beginning, especially "Slow Walkin'", which is a dead ringer for Best Coast, the influences become less obvious; as the record progresses, the songs darken, and become much more interesting, the melodies more minor, the sound more tense and complex, still classically poppy, but definitely more charged and hauntingly psychedelic. In fact those first two tracks seem light and fluffy in comparison to the rest of the record, which is hitting us hard, the way the most recent Woods record did. "Mess Me Around", is a dark pop gem, with some sinister lyrics, cool dueling multiple guitar lines, drawled vox, the vibe insistent and propulsive, and a killer chorus. "Get Lost" too, cranks up the psychedelic vibe, with swirling squalls of psych guitar, and wraps ghostly female vocals around the chorus, and again it's gorgeously dark and driving, and so it goes, the whole record unwinding, like some ultra personal, minor key jangle pop classic, laced with lots of ooooh's and aaaah's, hooks galore, some of the tracks ghostly and folky, stripped down and skeletal, even the occasional lap steel, and some lush and lovely strings, and while there are moments throughout that drift closer to that opening salvo, the bulk of the record is a much more shadowy, and dreamily dark. Great stuff!
MPEG Stream: "Mess Me Around"
MPEG Stream: "Get Lost"
MPEG Stream: "Baby"
MPEG Stream: "Chase It To The Grave"

album cover BABIES, THE s/t (Shrimper) cd 13.98
This one shouldn't need much of a description. The debut full length from this new group featuring Kevin Morby from psychedelic stoner folk garage poppers Woods, and Cassie Ramone from girl garage group the Vivian Girls, and it sounds just like you'd expect/imagine/hope. A perfect mix of the two. Fuzzy, jangly, ramshackle boy/girl lo-fi garage rock / indie pop, big crunchy guitars, simple pounding drumming, droned out repetitive melodies, and some seriously killer hooks. A little bit Velvets, a little Ramones/Misfits (in that sort of hooky poppy punkness), some stonery psychedelia, lots of bouncy and poppy pep, plenty of echo and reverb, the songs slipping from wild and punky and loose and loud, to more dark and layered and less raucous, to hazy and sun dappled and folky. And of course the dueling boy/girl vox and the occasional harmonies which result only seal the deal.
Fans of both Woods and Vivian Girls will of course dig, but so will anyone into Thee Oh Sees, The Dum Dum Girls, Royal Baths, the Mantles, Brilliant Colors, Male Bonding, Parting Gifts, Home Blitz, the Vaselines, Vermillion Sands, Grass Widow and the rest of the current crop of garage-y jangle poppers...
MPEG Stream: "Run Me Over"
MPEG Stream: "Sunset"
MPEG Stream: "All Things Cme To Pass"

album cover BABIES, THE s/t (Shrimper) lp 14.98
NOW ON VINYL!
This one shouldn't need much of a description. The debut full length from this new group featuring Kevin Morby from psychedelic stoner folk garage poppers Woods, and Cassie Ramone from girl garage group the Vivian Girls, and it sounds just like you'd expect/imagine/hope. A perfect mix of the two. Fuzzy, jangly, ramshackle boy/girl lo-fi garage rock / indie pop, big crunchy guitars, simple pounding drumming, droned out repetitive melodies, and some seriously killer hooks. A little bit Velvets, a little Ramones/Misfits (in that sort of hooky poppy punkness), some stonery psychedelia, lots of bouncy and poppy pep, plenty of echo and reverb, the songs slipping from wild and punky and loose and loud, to more dark and layered and less raucous, to hazy and sun dappled and folky. And of course the dueling boy/girl vox and the occasional harmonies which result only seal the deal.
Fans of both Woods and Vivian Girls will of course dig, but so will anyone into Thee Oh Sees, The Dum Dum Girls, Royal Baths, the Mantles, Brilliant Colors, Male Bonding, Parting Gifts, Home Blitz, the Vaselines, Vermillion Sands, Grass Widow and the rest of the current crop of garage-y jangle poppers...
MPEG Stream: "Run Me Over"
MPEG Stream: "Sunset"
MPEG Stream: "All Things Cme To Pass"

BABLICON In A Different City (Misra) cd 13.98
Somewhere between free jazz reeds, Savage Republic-ish percussion and Spaceheads-like electronics manipulation...this Chicago trio are a better bet than, say, the new Isotope 217. Of course that's not saying much. BUT, if you're interested in this simply because it boasts a member of Neutral Milk Hotel (not Jeff), be wary. Very wary.

BABLICON The Orange Tapered Moon (Misra) cd 13.98

album cover BABY BUNNY SLIPPERS (Four Inch Feets by Cup) baby slippers 16.98
No, there isn't a new band called Baby Bunny Slippers (tho' maybe there should be!). These are actual baby slippers! Cozy cute polar fleece ones handmade by our own Cup. We wish she'd make some for us grown-up kids, but alas, not yet. These are size 0-6 months, about 4" long, and the ankle opening will stretch to 6". Current color available: chocolate brown with light pink ears (but feel free to ask about other color combos - custom orders are possible!). Adorable!

BABY CARROT Play Every Day (Some Guy Down The Street) cd 9.98
High quality downer pop from local darlings Baby Carrot, who've been toiling away for several years now, and just may have made their best record yet. Play Every Day contains thoughtful indie-rocking on the order of Rex, Codeine, Karate, or Pavement. Inching towards epic and always dolefully melodic.
RealAudio clip: "Chinese Food + Donut"
RealAudio clip: "Forgot to Read"

album cover BABY GRANDMOTHERS s/t (Subliminal Sounds) cd 17.98
THIS JAMMING FUZZ FAVE, AT LAST REPRESSED! This '60s Swedish psych trio is pretty obscure - they only ever officially released one record, a 7" single that came out in Finland only - but they haven't been forgotten 'cause the guys in this band eventually went on to play with such bigger, better-known acts as Mecki Mark Men and Kebnekajse. If you picked up that Psychedelic Phinland compilation we highlighted not long before we first got this in, you've heard "Being Is More Than Life" the B-side of their 7", it appears here too along with the A-side "Somebody Keeps Calling My Name" and several previously unreleased live recordings from the era (1967-'68), for a full hour of music in all.
The Baby Grandmothers really liked to jam, they had a thrice-weekly (Wednesdays, Fridays, and Saturdays!) residency at the short-lived psychedelic Stockholm club FILIPS, where much of the live material found here was recorded - there's a reproduction of a flier in the cd booklet advertising them appearing at FILIPS with AQ faves Parson Sound (oh for a time machine!). So if you dig mostly-instrumental electric guitar oriented psych improv, dosed with plenty of feedback and fuzz, there's plenty here to turn you on, from stoned moody meanderings to freaked out solo spasms. It's all rather raw and energetically alive.
The lengthy liner notes in the photo-illustrated 15-page cd booklet tell the whole Baby Grandmothers story, from their origins in a R&B combo called the T-Boones to gigs opening for Jimi Hendrix to their transformation into the Mark II line-up of the prog-psych act Mecki Mark Men and beyond.
MPEG Stream: "Saint George's Dragon"
MPEG Stream: "Somebody Keeps Calling My Name"

album cover BABY GRANDMOTHERS s/t (Subliminal Sounds) 2lp 34.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL.... and limited to 500 copies.
This '60s Swedish psych trio is pretty obscure -- they only ever officially released one record, a 7" single that came out in Finland only -- but they haven't been forgotten 'cause the guys in this band eventually went on to play with such bigger, better-known acts as Mecki Mark Men and Kebnekajse. If you picked up that Psychedelic Phinland compilation we highlighted a while back, you've heard "Being Is More Than Life" the B-side of their 7", it appears here too along with the A-side "Somebody Keeps Calling My Name" and several previously unreleased live recordings from the era (1967-'68), for a full hour of music in all.
The Baby Grandmothers really liked to jam, they had a thrice-weekly (Wednesdays, Fridays, and Saturdays!) residency at the short-lived psychedelic Stockholm club FILIPS, where much of the live material found here was recorded -- there's a reproduction of a flier in the cd booklet advertising them appearing at FILIPS with AQ faves Parson Sound (oh for a time machine!). So if you dig mostly-instrumental electric guitar oriented psych improv, dosed with plenty of feedback and fuzz, there's plenty here to turn you on, from stoned moody meanderings to freaked out solo spasms. It's all rather raw and energetically alive. Gets played a lot in the store and we always are like, what's this? it's great.
MPEG Stream: "Saint George's Dragon"
MPEG Stream: "Somebody Keeps Calling My Name"

album cover BABY HUEY The Baby Huey Story: The Living Legend (Water) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
I've always wanted to hear this heavily-sampled, late '60s funk/soul rarity, and now here it is at last reissued on cd! Does it live up to its reputation? Well, first, for those who haven't heard of him, Baby Huey's "story" is a sad one. The soul singer from Chi Town known as James Thomas Ramey, aka Baby Huey, only made one album, unfortunately released posthumously. Drugs and obesity (he weighed somewhere near 400 pounds -- a big guy, with an Afro to match!) contributed to his death from a heart attack in 1970 at age 26. RIP Baby Huey. That's one reason that the original LP is such a collectable... and also because heck, it DOES boast some mighty funky grooves. Including three numbers by Curtis Mayfield (who also produced the album) plus a powerful cover of Sam Cooke's "A Change Is Going To Come" and a flute-filled, funked-up instrumental version of "California Dreamin'" among other groovy gems. This is very 'of its era', for sure, which means it's got lotsa brassy horns, DJ-friendly drum breaks, lush arrangements, some slightly psychedelic touches...and great vocals. If you're into Mayfield and Otis Redding and other '60s soul/funk, chances are you'll dig this.
MPEG Stream: "A Change Is Going To Come"
MPEG Stream: "Hard Times"

album cover BABY HUEY The Baby Huey Story: The Living Legend (Curtom) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This longtime AQ fave, always a steady seller on cd, is now available as a vinyl reissue! Here's what we said when it was first reissued on cd:
I've always wanted to hear this heavily-sampled, late '60s funk/soul rarity, and now here it is at last reissued! Does it live up to its reputation? Well, first, for those who haven't heard of him, Baby Huey's "story" is a sad one. The soul singer from Chi Town known as James Thomas Ramey, aka Baby Huey, only made one album, unfortunately released posthumously. Drugs and obesity (he weighed somewhere near 400 pounds -- a big guy, with an Afro to match!) contributed to his death from a heart attack in 1970 at age 26. RIP Baby Huey. That's one reason that the original LP is such a collectable... and also because heck, it DOES boast some mighty funky grooves. Including three numbers by Curtis Mayfield (who also produced the album) plus a powerful cover of Sam Cooke's "A Change Is Going To Come" and a flute-filled, funked-up instrumental version of "California Dreamin'" among other groovy gems. This is very 'of its era', for sure, which means it's got lotsa brassy horns, DJ-friendly drum breaks, lush arrangements, some slightly psychedelic touches...and great vocals. If you're into Mayfield and Otis Redding and other '60s soul/funk, chances are you'll dig this.
MPEG Stream: "A Change Is Going To Come"
MPEG Stream: "Hard Times"

BABYLON DISCO Viva Life (D-Trash) cd 10.98

BACH, SEBASTIAN Angel Down (Get Off My Bach) cd 13.98

album cover BACHDENKEL Lemmings (Ork) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Several cool things about this newly reissued album, originally released in 1973 (recorded in 1970). First, it's called Lemmings. Who doesn't have a soft spot for those doomed little critters? And then there's the cover art, a black and white drawing depicting a flood of rather spooky looking lemmings, under a starry night sky, with an owl hovering ominously above... But most importantly, the music! The music on Lemmings makes it a bit of a cult classic in the annals of British prog rock. Darkly melancholic, super melodic and gentle, yet quite powerful too, as the guitarist occasionally lets loose with some really tasty, acid psych soloing... the warm vocals are another strong suit, both feeding into emotional epics, songs of alienation (as Lemmings is subtitled) and Eastern-influenced hippie philosophy.
Bachdenkel began as a Birmingham UK psych pop outfit called The U NO Who. They then changed their name to the much more you-don't-know-who Bachdenkel, and finding little success in England, hove off to France where they could really indulge themselves in going fully prog, though they never lost their knack for the '60s psych pop side of things, reminding us sometimes of AQ faves Kaleidoscope, with the heavier edge of a T2 or NSU.
Maybe 'cause they were based in France, and did their own unique untrendy thing, focussing on songs more than flash, they remained fairly obscure, but this album (the first of two, the second of which, Stalingrad, we've yet to hear) is nonetheless worthy of consideration as a prog masterpiece, up there with the much better known likes of early King Crimson.
Reissued by Ork, a division of Cherry Red, this disc is has been remastered by original producer Karel Beer, and features 3 bonus tracks including an unreleased single from 1969. Also, the cd booklet is stuffed with liner notes and photos detailing the whole Bachdenkel story.
MPEG Stream: "Translation"
MPEG Stream: "An Appointment With The Master"
MPEG Stream: "The Settlement Song"

album cover BACHELORETTE Do The Circuit (Drag City) 7" 5.98
Bachelorette is responsible for one of our favorite new albums, My Electric Family has been in constant rotation here for months now. It's proven to be on of those rare records that only gets better and sinks in deeper with repeated listens.
So two brand new tracks from this New Zealand songstress was bound to make us (and you) way happy, especially since they are such great songs and not just some random throwaway jams. The A-side "Do The Circuit" kind of sums up all that we love about Bachelorette, such great use of electronics, the swaying, sexy and hypnotic vocals and swirling melodies, all making for one of those perfect play over and over again 7" songs. The B-side "I Want To Be Your Girlfriend" is fueled by a rad primitive sounding drum machine, crunchy guitars and really awesome lyrics about Bachelorette wanting to be someone's, you guessed it, girlfriend. It has this awesome bubblegum new wave vibe that sounds a bit like Bjork covering Gary Numan!

album cover BACHELORETTE End Of Things (Drag City) lp 13.98
One of our favorite albums of 2009 came from the New Zealand songstress, Bachelorette. Her record My Electric Family was on constant rotation winning us over so big with it's dreamy mix of smart songwriting and a creative mix of electronics and lush instrumentation. It wasn't until we reviewed that record that we learned there was actually more Bachelorette floating around out there. We had missed the boat on her earlier outings, 2005's The End Of Things and 2006's Isolation Loops never made it onto our radar, due in part to the fact that they didn't have much/any US distribution. Luckily Drag City has just reissued both those great records on vinyl so we have two new delicious and dreamy pop records to keep us warm with this winter.
Both albums flow with such a soft, seductive touch with that weightless energy and aura of light psychedelia that reminds us of early outings by Broadcast and Saint Etienne.
We love both of the albums so can't really recommend one over the other, they both are so great!

album cover BACHELORETTE Isolation Loops (Drag City) lp 17.98
One of our favorite albums of 2009 came from the New Zealand songstress, Bachelorette. Her record My Electric Family was on constant rotation winning us over so big with it's dreamy mix of smart songwriting and a creative mix of electronics and lush instrumentation. It wasn't until we reviewed that record that we learned there was actually more Bachelorette floating around out there. We had missed the boat on her earlier outings, 2005's The End Of Things and 2006's Isolation Loops never made it onto our radar, due in part to the fact that they didn't have much/any US distribution. Luckily Drag City has just reissued both those great records on vinyl so we have two new delicious and dreamy pop records to keep us warm with this winter.
Both albums flow with such a soft, seductive touch with that weightless energy and aura of light psychedelia that reminds us of early outings by Broadcast and Saint Etienne.
We love both of the albums so can't really recommend one over the other, they both are so great!

album cover BACHELORETTE My Electric Family (Drag City) cd 14.98
We somehow missed the boat on the first two Bachelorette albums but now that the band has landed on Drag City, all the folks who slept on Bachelorette will finally get a chance to experience the utterly charming musical magic of this multitalented New Zealand songstress.
Bachelorette employ a keen pop sensibility as well as a fresh use of electronics, all the while finding inspiration in distinctly left-field musics, creating songs that are so totally engaging and memorable. You can definitely here bits of Broadcast, Bjork, and Goldfrapp, but Bachelorette rises is so much more than her inspiration, easily soaring over the mostly underwhelming hordes aiming for the same sound. The strength of Bachelorette is how she absorbs all sorts of disparate sounds and ideas ('60s psych-pop, Delia Derbshyre-esque electronics, girl groups, and we can't help but think that her song "Mindwarp" might be a tip of a hat to Patrick Cowley's classic hi-nrgy classic of the same name) and deftly weaving them together into so many different musical landscapes, which makes the whole album totally coherent, songs that flow with an ease and assured seduction that has us under her spell. Highly recommended!
MPEG Stream: "The National Grid"
MPEG Stream: "Mindwarp"
MPEG Stream: "Long Time Gone"

album cover BACHELORETTE My Electric Family (Drag City) lp 15.98
Now available on vinyl!
We somehow missed the boat on the first two Bachelorette albums but now that the band has landed on Drag City, all the folks who slept on Bachelorette will finally get a chance to experience the utterly charming musical magic of this multitalented New Zealand songstress.
Bachelorette employ a keen pop sensibility as well as a fresh use of electronics, all the while finding inspiration in distinctly left-field musics, creating songs that are so totally engaging and memorable. You can definitely here bits of Broadcast, Bjork, and Goldfrapp, but Bachelorette rises is so much more than her inspiration, easily soaring over the mostly underwhelming hordes aiming for the same sound. The strength of Bachelorette is how she absorbs all sorts of disparate sounds and ideas ('60s psych-pop, Delia Derbshyre-esque electronics, girl groups, and we can't help but think that her song "Mindwarp" might be a tip of a hat to Patrick Cowley's classic hi-nrgy classic of the same name) and deftly weaving them together into so many different musical landscapes, which makes the whole album totally coherent, songs that flow with an ease and assured seduction that has us under her spell. Highly recommended!
MPEG Stream: "The National Grid"
MPEG Stream: "Mindwarp"
MPEG Stream: "Long Time Gone"

album cover BACHELORETTE s/t (Drag City) cd 14.98
Aw, we needed some new sounds to swoon over and thankfully New Zealand's Bachelorette has a brand new album that's had us swaying and daydreaming since the moment it arrived. We were huge fans of her last album, My Electric Family, and also we got to see her open for El Perro Del Mar a year or so back, and that only furthered our appreciation of her wonderful musical magic. Her voice melts so perfectly above the warm and woozy instrumentation, a sound with such flowing ease and floral elegance. Songs that sound like modern day hymns or fables, both so intimate and inviting. We hear hints of Bjork's Vespertine mixed with Broadcast and Mirah. It's a record that makes us want to wear all white and frolic in a lush garden filled with bright red strawberries, shining yellow lemons, and the greenest grass that hugs the earth as far as the eye can see. How's that for swooning? Bachelorette has crafted another immaculate and smart pop record that will have us swooning for a long time to come.
MPEG Stream: "Grow Old With Me"
MPEG Stream: "Digital Brain"
MPEG Stream: "The Light Seekers"

album cover BACHELORETTE s/t (Drag City) lp 17.98
Aw, we needed some new sounds to swoon over and thankfully New Zealand's Bachelorette has a brand new album that's had us swaying and daydreaming since the moment it arrived. We were huge fans of her last album, My Electric Family, and also we got to see her open for El Perro Del Mar a year or so back, and that only furthered our appreciation of her wonderful musical magic. Her voice melts so perfectly above the warm and woozy instrumentation, a sound with such flowing ease and floral elegance. Songs that sound like modern day hymns or fables, both so intimate and inviting. We hear hints of Bjork's Vespertine mixed with Broadcast and Mirah. It's a record that makes us want to wear all white and frolic in a lush garden filled with bright red strawberries, shining yellow lemons, and the greenest grass that hugs the earth as far as the eye can see. How's that for swooning? Bachelorette has crafted another immaculate and smart pop record that will have us swooning for a long time to come.
MPEG Stream: "Grow Old With Me"
MPEG Stream: "Digital Brain"
MPEG Stream: "The Light Seekers"

album cover BACHI DA PIETRA Non Io (Die Schachtel) cd 17.98
Dunno why, but we're suckers for sinister mumbling in Italian, accompanied by glitchy droning music... which brings us to this, another cd in Die Schachtel's "Zeit" series, which means original, interestin' Italian experimentalism in a nice embossed digipack, a la previous releases like A and Christa Pfangen. This time, it's a disc from a duo known as Bachi Da Pietra ("The Worms Of Stone" or something like that), who delve deep into what could be considered a form of avant-blues... no please don't run away, we really like this! The slow and sad "blues" here are so blown apart that it's more about a mood than anything that ol' Robert Johnson would recognize, though dealings with the Devil seem possible in both cases.
Bachi Da Pietra's music is damaged, dark, droning, doleful, doomed... almost like a depressed Italian Jandek playing in the style of Earth's Hex album...? Or Radian gone "wooden guitar"? Other comparisons could be made to Sinistri, and Larsen.
An ominous moodiness pervades, stark tension increasing, as insistent beats and acoustic guitar strum are deconstructed to accompany the whispery, lonely-sounding vocals (sung in Italian, with English translations provided in the cd booklet). The percussion and guitar playing both sometimes sound like splintering sticks, and you can practically hear the smoke curling up from the singer's inevitable cigarette.
MPEG Stream: "Casa Di Legno"
MPEG Stream: "Altri Guasti"
MPEG Stream: "Fisica Elementare"

album cover BACHMANN, ERIC To The Races (Foreign Leisure) cd 13.98
Now, finally in stock on cd!
First things first, the sticker on the front of this cd says "debut solo record from Crooked Fingers' Eric Bachmann". Uhhh, we thought Crooked Fingers *was* Eric Bachmann's solo persona. What's up with that?! Now we've gotta say that everyone's got their own hang-ups, and for us with regards to Mr. Bachmann, they've been two-fold. We can't shake the stunning vocal resemblance between Bachmann and Neil Diamond (when we hear Bachmann we hear Diamond... not a bad thing, mind you!), and we can't help but yearn for his Archers Of Loaf days. Yeah we know, gotta let it go. This fine album does much to dismantle one if not both of those distractions though (pssst... with regards to the latter, we were pleased to report last list that Archers Of Loaf's Icky Mettle album just got reissued! yay!). Whether his music goes under the moniker Crooked Fingers or Eric Bachmann, it consistently steeps your ears with an overriding sense of weathered weariness and resignation. And yet on To The Races, his voice has acquired a surprising lightness (almost boyishness) to it not present on his previous recordings. His songs no longer seem slumped on a bar stool, but have taken to the outdoors with a broader scope and scale. There are actual glimmers of hope in these songs. That certainly seems to be the central distinction between Bachmann as Crooked Fingers and Bachmann as the official solo Eric Bachmann.
MPEG Stream: "Man O War "
MPEG Stream: "So Long Savannah"

album cover BACHMANN, ERIC To The Races (Foreign Leisure) lp 12.98
First things first, the sticker on the front of this LP says "debut solo record from Crooked Fingers' Eric Bachmann". Uhhh, we thought Crooked Fingers *was* Eric Bachmann's solo persona. What's up with that?! Now we've gotta say that everyone's got their own hang-ups, and for us with regards to Mr. Bachmann, they've been two-fold. We can't shake the stunning vocal resemblance between Bachmann and Neil Diamond (when we hear Bachmann we hear Diamond... not a bad thing, mind you!), and we can't help but yearn for his Archers Of Loaf days. Yeah we know, gotta let it go. This fine album does much to dismantle one if not both of those distractions though (pssst... with regards to the latter, we're pleased to report that Archers Of Loaf's Icky Mettle album just got reissued! yay!). Whether his music goes under the moniker Crooked Fingers or Eric Bachmann, it consistently steeps your ears with an overriding sense of weathered weariness and resignation. And yet on To The Races, his voice has acquired a surprising lightness (almost boyishness) to it not present on his previous recordings. His songs no longer seem slumped on a bar stool, but have taken to the outdoors with a broader scope and scale. There are actual glimmers of hope in these songs. That certainly seems to be the central distinction between Bachmann as Crooked Fingers and Bachmann as the official solo Eric Bachmann. Note: the cd isn't here yet, just the vinyl version, but of course there will be a cd. Soon.
MPEG Stream: "Man O War "
MPEG Stream: "So Long Savannah"

album cover BACHWIND Psychedelic Warlords Resin Their Bows (Spinefarm) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, MAINLY BECAUSE IT WAS AN APRIL FOOLS JOKE! HEE HEE! SO PLEASE DO NOT ORDER IT. SORRY.
Space rock gone classical? Yes! It's a drugs and flutes thing you wouldn't understand. We got turned on to these guys by our friends in Circle. This band from Finland started as a standard-issue jamming stoner space rock outfit, doing the heavily effected, free form freakout thing. Not quite so damaged as countrymen Doktor Kettu or Avarus, but close. But, perhaps tiring of the more untrained approach, one long dark Arctic winter they spent woodshedding, studying up on their classical chops. And they also drafted in some drop-outs from the local conservatory of music to help out. Now they make their debut as Bachwind, doing, among other things, a monster magnetized adaptation (a very loose adaptation) of Johann Sebastian Bach's Well-Tempered Clavier 1: Prelude & Fugue No. 2 (BWV 847) of 1738, with an instrumental lineup that includes both fuzz bass and viola, analog synth and harpsichord. It's Avarus meets Apocalyptica, basically. Recommended, of course.
MPEG Stream: "Well-Tempered Clavier 1: Prelude & Fugue No. 2"

BACK OFF CUPIDS s/t (Drunken Fish) cd 13.98
Back Off Cupids is the side-project of John Reis (Drive Like Jehu, Rocket From The Crypt) having made these recordings from 1994 - 1996 off and on between RFTC tours / recordings. A wide variation of mostly instrumental pseudo-math-rock / post-punk stuff not far from Pavement or Polvo's earlier / more expressive songsmithery... thus much closer to Jehu than Rocket.

album cover BACKDOOR MEN, THE Sodra Esplanaden #4 (Subliminal Sounds) cd 16.98
With all the retro-sixties rock coming out of Sweden (Dungen, The Hives, The Works), one could mistakenly think that Sweden was somehow a land that time forgot where the sixties never fell out of fashion. In fact the opposite was quite true for pioneering garage rockers The Backdoor Men and their contemporaries The Stomachmouths (big faves of ours, see AQ New Arrivals list #166). In 1980 when the group first formed, as The Pow, mod was hardly something understood by their fellow Swedes -- who preferred reggae, new wave or heavy metal -- and the sharply dressed outcasts were constantly derided or attacked. Their home town of Almhult has the claim to fame of being the site of the first Ikea store, if that's any indication of the culture the group was up against. In 1984 with the tiny mod scene splintering and otherwise deteriorating, the group changed their name to The Backdoor Men and cultivated a turbo-charged sound that fused the sounds of English punk with sixties garage. Along with a clear influence from the Rolling Stones, the band owed much to the music of the Sonics, the Chocolate Watch Band and the Music Machine (covers of the three bands are included with this anthology). In contrast to contemporaries the Stomachmouths, the music of the Backdoor Men is a great deal more jangly, with slower tempos and more noticeable shades of soul and R&B latent from their mod days. This reissue comes with a nicely printed 18 page booklet with a detailed bio on the band and archival photos.
MPEG Stream: "Out of My Mind"
MPEG Stream: "Inside Out, Upside Down"
MPEG Stream: "Magic Girl"

album cover BACKSTABBERS INCORPORATED Kamikaze Missions (Trash Art!) cd 12.98
There aren't a whole lot of badass bands from New Hampshire. Hell, there aren't a whole lot of any kind of bands from New Hampshire. But if Backstabbers Incorporated are any indication of the kind of unrestrained metallic fury that lurks just below the surface of their seemingly placid New England home state, then we'll give New Hampshire a much wider berth in our future travels.
Furious downtuned metallic punk rock crossover, with grinding riffs, thrashing drums, throbbing low end, howled vocals, but all packed into incredibly chaotic and head spinning arrangements, with plenty of plodding doomy breakdowns, and full on near-noise blow outs. Super intense and emotional. Way too metal for most punk rockers, this is fucking brutal and heavy and utterly pummeling. Think old Neurosis, Converge, Drop Dead, SSD and the like. Awesome.
MPEG Stream: "We Attack At Dusk"
MPEG Stream: "Voorhees, Krueger, Myers And Bush"
MPEG Stream: "Like Virgin Vinyl... In Bed"

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