BITCH MAGNET s/t (Temporary Residence) 3cd 14.98
We've been waiting for this one for ages. And thus, are having a lot of trouble figuring out what exactly to write about it. We've literally been obsessed with this band and these records for more than two decades, and one aQ-er in particular was even in a band who was heavily influenced by the late great Bitch Magnet. In the realms of late eighties / early nineties postrock / postpunk / mathrock, there's a very elite pantheon, made up of names you no doubt recognize or at least should: Slint, of course, Rodan, Codeine, Bastro and of course Bitch Magnet, who amongst those band might be the least well known, and perhaps the most unfairly under appreciated. The various members of BM would go on to other bands we love, bass player and vocalist Soo Young Park would form Seam, guitarist (and aQ pal) Jon Fine would go on to form Coptic Light and Vineland (and play briefly in Don Caballero), and drummer Orestes Morfin would end up playing in Walt Mink. But it's Bitch Magnet that was the perfect combination of the three, creating a sonic template for much to come, and creating one of the most incredible bodies of work in underground rock. An impossible hybrid of progged out mathiness, moody introspective indie rock, brooding slowcore, and an almost metallic heft, woven into actual songs that would and will stick in your head forever. They wrote the sort of parts that were effortlessly catchy, some crazy weird time signatured progmath breakdown could be as hooky in their hands as a jangly bit of melody or a soaring majestic chorus, and it's precisely that magic ingredient that makes this stuff sound as good now as it did 20 years ago.
This new collection features tons of bonus tracks, but really, those are mostly of interest to folks who already love Bitch Magnet, and everyone who already does is definitely gonna want this, for those tracks sure, but also just for a new remastered fancy versions of the records you already treasure, cuz Bitch Magnet were one of those rare bands that engendered crazy obsession and slavish worship from their fans, who were eager to offer up both. For the rest of the folks out there, who somehow missed out on BM the first time around, or were perhaps too young at the time, the records proper are more than enough.
The Star Booty ep, originally released in 1988, finds the band at their most indie rock, they're still heavy, and a bit mathy, but way more indie rock / post punk than anything, in fact much of this record is downright poppy, maybe more along the lines of other contemporaries like Superchunk and Squirrelbait, jangly and crunchy and hooky as hell, for many of us, this was our first exposure to Bitch Magnet, and it didn't take us long to realize we had a new favorite band. But it was really the following year's full length Umber that sealed the deal, and like Slint, must have launched a million copycats, cuz holy shit, Umber is a monster, the band way more mathy and heavy, opener "Motor" starting things off with a wild squall of chaotic drumming and dive bombing guitars before launching into a song that sounds like a more aggressive version of something off Star Booty, but then there's "Navajo Ace" which to this day remains one o our favorite songs from that era, with its crazy opening the weird times bass drum groove, the off time guitar chug, the swirling high end guitar crunch, and then when it launches into the meat of the song, blasting and pounding and furious, only to suddenly switch times again, only to switch it up again and lurch right back into it, the vocals sung/spoken, very Slint-y for sure, we won't postulate which came first, doesn't even matter, similar styles, two dramatically different results, and from there on out Umber doesn't let up for a second, the band trying their hand at all sorts of sonic variations, the Codeine-esque slowcore of "Clay", the almost Spacemen 3 sounding hypnorock of "Joan Of Arc", albeit a bit supercharged, the woozy bass driven dirge of "Douglas Leader", the almost "Just Got Paid" Southern sounding riffage on "Goat Legged Country God", the crazy catchy indie rock of "Big Pining", the almost Lemonheads sounding indie jangle of "Joyless Street", the metallic mathy bombast of "Punch & Judy", the very brooding Slintiness of "Americruiser" (is that where Urge Overkill got the name for their 1990 album of the same name? Hmm).
At the time, we were fairly sure nothing could beat Umber, it was practically perfect, a brilliant balance of catchiness and heaviness and mathiness, we continued to think that at least for another year, when Bitch Magnet released their final album Ben Hur, and all it took was one listen to the nine and a half minute opener "Dragoon" to convince us once again, that NOW nothing could get better than this, which was sadly proved true when the band called it quits. But what a way to go. "Dragoon" has such an epic opening, all big ringing chords, and spaced out pounding drums, it's the sort of stretched out tension that could go on forever, but when the song proper kicks in, it's easy to forget all about that, some killer angular riffing, insanely powerful drumming, crazy catchy melodies, and this time a HUGE production to match, everything sounding massive and heavy and appropriately epic. It took ages before we could stop listening to "Dragoon" and make it to the rest of the record, but once we did, like Umber before it, it pretty much killed from front to back, the band again, much more varied than folks probably give them credit for, mixing a dark brooding slowcore, with their particular brand of post punk mathiness, and hooks galore, definitely hints of what was to come in Seam in some of the melodies and vocal parts, but here, they are woven perfectly into Fine's dense guitars and Morfin's impossible drum damage. We could go through Ben Hur also, song by song, but trust us, once you're a song in, you won't want to stop until it's over, and then odds are you'll just want to start again.
It should be noted that Bitch Magnet are one of Andee's favorite bands OF ALL TIME, and the other folks of similar age around aQ hold similarly strong sentiments about these records, and the fact that listening to them now, we can still hear the influences these guys are having on new bands twenty years later speaks volumes.
Absolutely essential and utterly and wholeheartedly recommended.
Super fancy packaging too, the 3cd version comes in a 6 panel digipak style sleeve, with the album covers reproduced on the jackets, with an attached booklet featuring tons of live photos and flyers. The 3lp version come in massive triple gatefold jacket, with the inside 3 panels covered in rare photos and flyers, while the actual lp sleeves feature reproductions of the original album covers and the track listings. The lp version also includes a download coupon as well. And for the eagle eyed out there, look for the tUMULt logo on both, while this is not an actual tUMULt release really, it is at least in spirit!
MPEG Stream: "Dragoon"
MPEG Stream: "Valmead"
MPEG Stream: "Navajo Ace"
MPEG Stream: "Motor"
MPEG Stream: "Carnation"
MPEG Stream: "C Word"

BITCH MAGNET s/t (Temporary Residence) 3lp 31.00
We've been waiting for this one for ages. And thus, are having a lot of trouble figuring out what exactly to write about it. We've literally been obsessed with this band and these records for more than two decades, and one aQ-er in particular was even in a band who was heavily influenced by the late great Bitch Magnet. In the realms of late eighties / early nineties postrock / postpunk / mathrock, there's a very elite pantheon, made up of names you no doubt recognize or at least should: Slint, of course, Rodan, Codeine, Bastro and of course Bitch Magnet, who amongst those band might be the least well known, and perhaps the most unfairly under appreciated. The various members of BM would go on to other bands we love, bass player and vocalist Soo Young Park would form Seam, guitarist (and aQ pal) Jon Fine would go on to form Coptic Light and Vineland (and play briefly in Don Caballero), and drummer Orestes Morfin would end up playing in Walt Mink. But it's Bitch Magnet that was the perfect combination of the three, creating a sonic template for much to come, and creating one of the most incredible bodies of work in underground rock. An impossible hybrid of progged out mathiness, moody introspective indie rock, brooding slowcore, and an almost metallic heft, woven into actual songs that would and will stick in your head forever. They wrote the sort of parts that were effortlessly catchy, some crazy weird time signatured progmath breakdown could be as hooky in their hands as a jangly bit of melody or a soaring majestic chorus, and it's precisely that magic ingredient that makes this stuff sound as good now as it did 20 years ago.
This new collection features tons of bonus tracks, but really, those are mostly of interest to folks who already love Bitch Magnet, and everyone who already does is definitely gonna want this, for those tracks sure, but also just for a new remastered fancy versions of the records you already treasure, cuz Bitch Magnet were one of those rare bands that engendered crazy obsession and slavish worship from their fans, who were eager to offer up both. For the rest of the folks out there, who somehow missed out on BM the first time around, or were perhaps too young at the time, the records proper are more than enough.
The Star Booty ep, originally released in 1988, finds the band at their most indie rock, they're still heavy, and a bit mathy, but way more indie rock / post punk than anything, in fact much of this record is downright poppy, maybe more along the lines of other contemporaries like Superchunk and Squirrelbait, jangly and crunchy and hooky as hell, for many of us, this was our first exposure to Bitch Magnet, and it didn't take us long to realize we had a new favorite band. But it was really the following year's full length Umber that sealed the deal, and like Slint, must have launched a million copycats, cuz holy shit, Umber is a monster, the band way more mathy and heavy, opener "Motor" starting things off with a wild squall of chaotic drumming and dive bombing guitars before launching into a song that sounds like a more aggressive version of something off Star Booty, but then there's "Navajo Ace" which to this day remains one o our favorite songs from that era, with its crazy opening the weird times bass drum groove, the off time guitar chug, the swirling high end guitar crunch, and then when it launches into the meat of the song, blasting and pounding and furious, only to suddenly switch times again, only to switch it up again and lurch right back into it, the vocals sung/spoken, very Slint-y for sure, we won't postulate which came first, doesn't even matter, similar styles, two dramatically different results, and from there on out Umber doesn't let up for a second, the band trying their hand at all sorts of sonic variations, the Codeine-esque slowcore of "Clay", the almost Spacemen 3 sounding hypnorock of "Joan Of Arc", albeit a bit supercharged, the woozy bass driven dirge of "Douglas Leader", the almost "Just Got Paid" Southern sounding riffage on "Goat Legged Country God", the crazy catchy indie rock of "Big Pining", the almost Lemonheads sounding indie jangle of "Joyless Street", the metallic mathy bombast of "Punch & Judy", the very brooding Slintiness of "Americruiser" (is that where Urge Overkill got the name for their 1990 album of the same name? Hmm).
At the time, we were fairly sure nothing could beat Umber, it was practically perfect, a brilliant balance of catchiness and heaviness and mathiness, we continued to think that at least for another year, when Bitch Magnet released their final album Ben Hur, and all it took was one listen to the nine and a half minute opener "Dragoon" to convince us once again, that NOW nothing could get better than this, which was sadly proved true when the band called it quits. But what a way to go. "Dragoon" has such an epic opening, all big ringing chords, and spaced out pounding drums, it's the sort of stretched out tension that could go on forever, but when the song proper kicks in, it's easy to forget all about that, some killer angular riffing, insanely powerful drumming, crazy catchy melodies, and this time a HUGE production to match, everything sounding massive and heavy and appropriately epic. It took ages before we could stop listening to "Dragoon" and make it to the rest of the record, but once we did, like Umber before it, it pretty much killed from front to back, the band again, much more varied than folks probably give them credit for, mixing a dark brooding slowcore, with their particular brand of post punk mathiness, and hooks galore, definitely hints of what was to come in Seam in some of the melodies and vocal parts, but here, they are woven perfectly into Fine's dense guitars and Morfin's impossible drum damage. We could go through Ben Hur also, song by song, but trust us, once you're a song in, you won't want to stop until it's over, and then odds are you'll just want to start again.
It should be noted that Bitch Magnet are one of Andee's favorite bands OF ALL TIME, and the other folks of similar age around aQ hold similarly strong sentiments about these records, and the fact that listening to them now, we can still hear the influences these guys are having on new bands twenty years later speaks volumes.
Absolutely essential and utterly and wholeheartedly recommended.
Super fancy packaging too, the 3cd version comes in a 6 panel digipak style sleeve, with the album covers reproduced on the jackets, with an attached booklet featuring tons of live photos and flyers. The 3lp version come in massive triple gatefold jacket, with the inside 3 panels covered in rare photos and flyers, while the actual lp sleeves feature reproductions of the original album covers and the track listings. The lp version also includes a download coupon as well. And for the eagle eyed out there, look for the tUMULt logo on both, while this is not an actual tUMULt release really, it is at least in spirit!
MPEG Stream: "Dragoon"
MPEG Stream: "Valmead"
MPEG Stream: "Navajo Ace"
MPEG Stream: "Motor"
MPEG Stream: "Carnation"
MPEG Stream: "C Word"

BITCHIN BAJAS Tones / Zones (Important) lp 19.98
With a name like Bitchin Bajas you would expect some bratty lo-fi garage pop or ironic washed out rock, but sometimes the name and the sound can exist in two entirely different worlds, and with Bitchin Bajas that's probably for the best. The solo project of Cooper Crane from Cave, we first got a glimpse of Bitchin Bajas on their split 7" with Moon Duo, but it's on this full length that he really pushes his sound to such spaced out cosmic outer limits. While Cave have become masterful at their ability to create rhythmic and propulsive kraut like jams, with Bitchin Bajas, Cooper is taking his aim at the more spaced out side of kosmische bliss. Evoking the kraut-drone / kraut-age of Klaus Schulze, Tangerine Dream, Deutsche Wertarbeit, Cluster as well as Terry Riley's A Rainbow In Curved Air, this is such a perfect early morning sunrise salute of a record. Tones / Zones also reaches the level to which modern day cosmic travelers like Arp, White Rainbow, Emeralds and Oneohtrix Point Never have ascended. The sounds here get locked in the most celestial grooves and you find yourself floating into the sky losing any sense of gravity or the mundane reality of everyday life. This is perfect music for dreaming, drifting and softly coming down. Majestic and so satisfying.

BITCHIN BAJAS / FACEPLANT split (Bathetic) lp 15.98
Latest from the oddly monikered Bitchin Bajas, the solo synth project of Cooper Crain from psychedelic hypnorockers and big time aQ faves Cave, who when not contributing to Cave's rhythmic bombast, spends his time crafting drifting synth/organ soundscapes a la Tangerine Dream, Harmonia, etc., and his two tracks here, a single epic split into two movements, finds Crain doing just that, long lush tones, pulsing and percolating, drifty and near static at first, but soon the sounds begin to blossom, melodies spinning into the ether, intertwining, some serious cosmic bliss out for sure. The second movement ditches the dreamy drift for something more rhythmic and propulsive, crafting synths into a glimmery, glistening pulsing futuristic sci-fi soundscape, all frantic melodies, over lush layers, very soundtracky and cinematic.
Bitchin Bajas are teamed up with another oddly named outfit, Faceplant, which is in fact Aaron Coynes, the man behind Rahdunes, and aQ faves Peaking Lights, but Faceplant has little in common with either of those groups, instead Coynes crafts pulsing soundtracky synthscapes, bloopy groovy synthy psychedelia, that like the BB stuff, definitely sounds very soundtracky, sorta dubby, with driving beats suspended amides the pulsating synths. Coynes describes the sound as "solo modular hessian noise trance", but to us it sounds more like a mutant strain of that whole John Carpenter / Goblin worship thing, although one of the tracks almost sounds more like some alien futuristic lounge music, all spacey FX, groovy minimal rhythms, and playful melodies. Either way, we're digging it a lot.
Housed in a weird multi colored sort-of-pickle jacket, with a photocopied poster/insert. LIMITED TO 600 COPIES!
MPEG Stream: BITCHIN BAJAS "Consciousness 1"
MPEG Stream: FACEPLANT "Dickie Domecon"

BITCHIN' BAJAS Water Wrackets (Kalliste) lp 14.98
On the last list we reviewed a split record featuring Bitchin Bajas, aka Cooper Crain from hypno rockers Cave, and Faceplant, aka Aaron Coynes from Peaking Lights. Only after did we realize there there was a whole Bitchin Bajas full length that somehow just slipped right by us. So here it is, Water Wrackets, what is essentially full length number two from Crain's kosmische synth side project, this one a soundtrack apparently, to a modern remake of a 1975 film by Peter Greenaway.
Crain's soundtrack is divine, some super minimal krautdrone kosmische synthscapery of the highest order, from the opening track, "Water 1", all long layered tones, rich with shifting tonal colors and overtones, channeling the spirit of Riley and Reich perhaps, to the more distinctly krautrocky "Water 2", with a simple super minimal stripped down rhythm, beneath deep low end pulses and some shimmery sunshiney melodies. "Water 4" is hazy and lush, sun dappled and new agey, the sound warped and warbly as if it was transferred from some old filmstrip, while "Water 3" is the krautrockiest of the bunch, a darkly driving bit of rhythmic minimalism, the drums looped and locked to a slithery synth bassline, pulsing and pulsating, while all around notes and chords drift and shimmer, a hazy dreamlike swirl all anchored by that motorik rhythm. After a brief bit of synth swirl, the record finishes off with "Water 1 (Reprise)" which in fact does just that, unfurling another stretch of minimal layered drones, lush and warm, allowing the interaction between the tones to provide the motion, creating a dreamy otherworldly sonic swirl. So nice.
Packaged in super heavy tip-on style sleeves, along with a bonus dvd and a poster.
MPEG Stream: "Water 1"
MPEG Stream: "Water 2"

BITTER BITTER WEEKS Peace Is Burning (High Two) cd 16.98
It's weird. We can describe some stuff like nobody's business, dark drones and buzzing black metal, freaky folks and found sounds, harsh noise and weirdo electronic music, but for some reason, pop music seems the hardest to review. Which might be what makes the best pop music so timeless. It's some ineffable something that in some ways is actually impossible to describe, the music contains some mysterious magic, it's what makes songs stick in your head. And your heart. Some impossible chemistry, there's a moment when the drums and the guitars, the bass and the vocals, the voice and the melody, just click, and suddenly, what is just a regular old rock band, and just a plain old song, is transformed into a piece of music, that stirs your soul and that can stick with you forever, whatever is going on in your life, right at that moment, is somehow fused to the music that accompanies it. That record you loved when you broke up with the love of your life, 10 years later it still makes you weep, that first song on the mixtape given to you by someone special, still gives you a little thrill, the first music that made you want to start your own band, the songs that got you through the tough timesÉ there's a reason people NEED music.
And the more music you listen to, the more you realize that the best pop music is the simplest. No amount of overdubs, or crazy psychedelia, or far out production or instrumental prowess can disguise a mediocre record. Granted that stuff can definitely be mixed in such a way, that a record can be total ear candy, but without the songs and the hooks, candy is all it is, sweet and fizzy and then it's gone.
We first discovered Bitter Bitter Weeks a few years ago, aka Brian McTear, an engineer and producer from Philadelphia, and we're sort of kicking ourselves for only getting BBW on the list now, not sure what exactly kept us from reviewing any of those records, especially considering that the first two discs were on constant rotation. Still are actually. That's the problem with so many records to review and only so many hours in the day. But we're finally trying to make it right. The first two BBW records were mostly acoustic affairs, just McTear and an acoustic guitar, it was all about the songs and the voice, the vocals so emotive and intense, warm and familiar, a high, almost falsetto (slipping into a full on falsetto here and there), but rich and rough, and the songsÉ so so gorgeous, perfect indie pop, hell perfect pop period, just so goddamned good, that we were convinced that McTear HAD to be a guy from some other band that we knew, but nope, he was an engineer, and BBW was his first real project. This latest record finds McTear expanding his previously solo outing to a full band and as hard as it is to believe, considering how much we loved those stripped down discs, it sounds even better.Ê
The songs are still simple and spare, but manage to be lush and layered, clouds of jangle guitar, wrapped around McTear's gorgeous voice, the melodies lilting and perfect, subtle harmonies everywhere. The first song alone is worth the price of admission. A killer main riff, that manages to be heavy and crunchy, but without losing any of its jangle, a cool dark smoky twang in the guitar, intricate but understated drumming, the whole song propulsive and intense, the vocals soaring and lovely, the main hook absolutely unforgettable. This is where writing about music all falls apart, where words begin to fail to describe something that is essentially magical, not sure what else to say. Catchy, lovely, a bit rocking, emotive, lilting, jangly, by now you probably know if this is your cup of tea or not. Listen to the first sound sample, if you're not sold after that, then you have a black black heart devoid of pop and we pity you! The closest comparison we can come up with is maybe My Dad Is Dead, that same sort of dour beauty, minor key melancholia, a definite nineties indie rock / college rock jangle vibe, but at its core, just timeless and practically perfect pop.
MPEG Stream: "Once And For All"
MPEG Stream: "Writing Letters"
MPEG Stream: "Danger In The Halls"

BITTERS, THE East General (Mexican Summer) 12" 17.98
Another new release from Mexican Summer, this one from The Bitters, which just so happens to feature one of the dudes from post hardcore punk rockers Fucked Up, but don't be expecting Fucked Up style pummel here, although it is a lot noisier and more rocking than lots of Mexican Summer stuff, but more on that in a second.
First thing eagle eyed aQ customers might notice is the cover art, the same cover as the debut full length from Norwegian black metal horde Orcustus, that strange medical drawing of a woman's pelvis, legs and torso removed, and gestating baby inside, with the front of the pelvis removed so the baby as well as all the various muscles and organs are visible. Seemed a little more suited for a grim black metal group, which is probably why the garish cover is now hidden by a giant sticker featuring what we can only assume are the two band members looking shocked and horrified by what lies underneath. But enough about the cover, the music is not nearly so intense or gory or shocking, the template is definitely similar to what is essentially THE NOW SOUND, fuzzy, garage rock, with female vocals, lots of reverb, a sort of Phil Spector via In The Red, definitely a sound we dig, but it's kinda crazy how many bands are doing it now. But give the Bitters some credit, that may be the root of their sound, but they infuse their jangly reverby garage pop with a Way more jagged ramshackle post punk vibe, evoking the aesthetic of groups like the Swell Maps, and the vocals are super distinctive, a yowlly yelpy new wave caterwaul, that perfectly suits the bands surprisingly heavy sound (heavy at least for this kind of thing). If we had to pick a 'hit', it would most likely be "Travelin' Girl", super frenetic and propulsive, with a killer hook, some dueling boy/girl vocals, crunchy and fuzzy, with some twisty dizzying p[arts slipped in between the more poppy moments, and then there's the sort of psychedelic middle portion, not to mention the heavy shoegazey blow out at the end.
But the rest of the record is no slouch either, from dirgey in-the-red garage jangle, sounding like a slowed down, female fronted Oh Sees, too fuzzy and wild seat-of-the-pants angular post punk, to fuzzy sunshiney Best Coast-y garage jangle. And all these elements are made all the more interesting because of the production, super hot and live and distorted, so everything sounds really loud and crunchy and fuzzy, and gives even the lightest moments some serious oomph.
Needless to say, by now you know if this sort of thing is your bag, maybe you have enough, maybe you can never get enough, but The Bitters definitely have their own thing going, so even if you think you've heard all of THE NOW SOUND you'll ever need to, these two might just change your mind.
LIMITED TO 1000 COPIES, each one hand numbered, comes with a download card as well.

BITTERS, THE Have A Nap Hotel (Sacred Bones) 12" 14.98
Maybe best know as a side project of post hardcore punks Fucked Up, the Bitters are a totally different proposition. Like their last record, their 12" on Mexican Summer, this record too is a primo slice of jagged ramshackle post punk, but this one's even MORE ramshackle than the last, which is in no way a bad thing.
The Bitters specialize in a sort of angular reverby crunchy jangle pop, that owes way more to early eighties groups like Swell Maps, guitars are sharp and jagged and distorted, the drums loud and in-the-red, but for all its clang and crunch, the sound is still lush and warm, dense with texture and melody, some twisted tangled riffage, all that wrapped around echoey vocals, strident and almost yelped, the resulting sound retro, but still vibrant and original, the jams rife with sonic references, the coolest being the ones that fall somewhere between Polvo and Blonde Redhead!
Sassy and sharp, punky and poppy, perfectly balancing between the new school of off kilter garage pop, and that classic C86 punk pop sound, the vocals are especially distinctive, the perfect match for the music, driving, propulsive, frenetic and hooky as hell. The two songs on the B-side get a bit moodier and tripped out, the songs extended and sprawling, one an almost ballad, the other just a perfectly noisy dirgey chunk of killer, classic retro post punk buzz and crunch.

BITTERS, THE Wooden Glove (Captured Tracks) lp 14.98

BITTOVA, IVA Cikori (Indies) cd 14.98

BITTOVA, IVA & DOROTHEA KELLEROVA 44 Duets For Two Violins (Rachot Behemot) cd 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Gorgeous Bartok violin duets played and sung by the wonderful Iva Bittova and Dorothea Kellerova, two sprightly Czech women who roll their own cigarettes. (And there are enclosed photo cards to prove it, along with a red feather to complement the fancy red velvet packaging.) Minor key, impressionistic, and stark, like the soundtrack to Truffaut film. Looks great, sounds great. Really lovely.
RealAudio clip: "Slovenska"
RealAudio clip: "Preludium"
RealAudio clip: "Rikaldo"

BITTOVA, IVA / ANDREAS KROPER Echoes (Supraphon) cd 18.98

BIXBY, DAVE Ode To Quetzalcoatl (Guerssen) cd 17.98
What a long strange trip it was for Dave Bixby, from a young man playing covers in a folk pop band in the sixties, to spending a year high on LSD, to discovering God, to then becoming disillusioned with God, to contemplating suicide, to finally speaking to God (or having God speak to him) and thus recording both Ode To Quetzalcoatl and most of its follow up, Second Coming, eventually released under the name Harbinger, both records chronicling Bixby's life and struggles with spirituality and drugs.
Ode To Quetzalcoatl, originally a super rare private press release, that regularly fetched thousands of dollars, was and maybe still is one of the most legendary/infamous downer/loner folk records ever, the recording sparse and mournful, mostly just acoustic guitar, reverb laden vocals, occasional harmonica or flute, but mostly just guitar and vocals, but it was enough, so haunting and heartwrenching, the lyrics twisted and depressive, so miserable and dark and anguished, the reverb only adding to the otherwordliness, the guitar lazy and languorous, the melodies minor key and melancholy, a little like Jandek if he could actually sing and play guitar. And was a recovered drug addict, born again Christian.
A simply gorgeous slab of super personal doomfolk from before there even was doomfolk, for fans of Nick Drake, Bill Fay, Roy Harper, Charles Manson and all dark mysterious folkmusic...
MPEG Stream: "Drug Song"
MPEG Stream: "Free Indeed"
MPEG Stream: "I Have Seen Him"
MPEG Stream: "666"

BIXBY, DAVE Ode To Quetzalcoatl (Guerssen) lp 26.00
What a long strange trip it was for Dave Bixby, from a young man playing covers in a folk pop band in the sixties, to spending a year high on LSD, to discovering God, to then becoming disillusioned with God, to contemplating suicide, to finally speaking to God (or having God speak to him) and thus recording both Ode To Quetzalcoatl and most of its follow up, Second Coming, eventually released under the name Harbinger, both records chronicling Bixby's life and struggles with spirituality and drugs.
Ode To Quetzalcoatl, originally a super rare private press release, that regularly fetched thousands of dollars, was and maybe still is one of the most legendary/infamous downer/loner folk records ever, the recording sparse and mournful, mostly just acoustic guitar, reverb laden vocals, occasional harmonica or flute, but mostly just guitar and vocals, but it was enough, so haunting and heartwrenching, the lyrics twisted and depressive, so miserable and dark and anguished, the reverb only adding to the otherwordliness, the guitar lazy and languorous, the melodies minor key and melancholy, a little like Jandek if he could actually sing and play guitar. And was a recovered drug addict, born again Christian.
A simply gorgeous slab of super personal doomfolk from before there even was doomfolk, for fans of Nick Drake, Bill Fay, Roy Harper, Charles Manson and all dark mysterious folkmusic...
MPEG Stream: "Drug Song"
MPEG Stream: "Free Indeed"
MPEG Stream: "I Have Seen Him"
MPEG Stream: "666"

BIXOBAL Number 1 October 2007 (Ri Be Xibalba) magazine 2.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Basically, if you're into the more experimental, droney, improv-y, internationally adventurous, whatever side of the stuff we feature here at AQ, and you like to read which of course you do, and you've got a lousy two bucks, you should pick this up!! Edited by Eric Lanzillotta (of Anomalous records fame), this new 'zine is devoted to all sorts of interestin' music n' stuff, this debut issue featuring Robert Millis waxing nostalgic about his favorite Korean 78 rpm record, an interview with ESP-Disk experimentalist Alan Sondheim, an article about the books of number one Fug Tuli Kupferberg, an Indian travelogue from Sun City Girl Sir Richard Bishop, and a no-holds-barred interview with Dave Nuss of the No Neck Blues Band (which gets into some interesting, open-minded discussion about what might be bullshit or not about NNCK's music!!). A great read. Plus there's a plethora of reviews and other 'zine-ish goodness. 56 pages, digest-sized. Looking forward to issue 2!

BIXOBAL Number 2 January 2008 (Ri Be Xibalba) magazine 2.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Seems that our pal Eric Lanzillotta (former proprietor of Anomalous Records) is serious about this 'zine publishing venture. Issue one of Bixobal appeared just three or four short months ago, now here's the equally interestin' issue number two, again a bargain at two bucks. It's a digest-sized black and white 55 page xeroxed affair, crammed with cool things to read if you're into stuff along the lines of experimental drone, free improv, and international exotica. Based in the Pacific Northwest, Bixobal's got various folks from Sun City Girls/Climax Golden Twins axis on board as contributors. Contents this ish include among other things Part II of Sir Richard Bishop's Indian travelogue, interviews with avant vocalist Phil Minton and electronic musician Robert Haigh, an article about the whys and wherefores of collecting "bad records" with advice about doing so, a Rob Millis essay about the wondrous "talking machine", and a hilarious rant from cranky old Uncle Jim taking music journalism to task for the overuse of certain words, like "jangly" and "soundscape" (good thing we're careful never ever to use such terms, ha!). Plus then there's 24 densely packed pages of music reviews, from Angelblood to Zashiki Warashi. Plenty of readin' here to entertain and inform the average AQ customer for sure!

BIXOBAL Number 3 April 2008 (Ri Be Xibalba) magazine 2.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Already up to issue number 3! Issues #1 and #2 are already sold out, but it looks like we can look forward to the regular appearance of many future issues. Editor Eric "Anomalous" Lanzillotta (with the able assistance of Patrick Marley, Rob Millis, Allan MacInnis and others) has really got a 'zine on his hands.
He explains that the main purpose of Bixobal is to be "delving deeper into the worlds of the musicians behind the music" in the form of articles and interviews. The music, in Bixobal's case, being that of the more experimental, psychedelic, folky, obscure international, or otherwise usual variety. Thus, this ish we find an extensive interview with Peter Stampfel of legendary NYC hippie folk outfit the Holy Modal Rounders (his ex-wife, Antonia Stampfel, is also interviewed separately). Whether discussing his theory of the importance of 1957 in the history of rock n' roll, or the effect of recorded sound on musicians' use of vibrato, or the unfortunate inter-band personality conflicts that apparently plagued the Rounders, it's pretty interesting even for those not already Rounders fans. There's another, briefer interview this issue as well, with Gerd Kraus of '70s cosmic krautrockers Limbus 3 (and 4). It's interesting as well.
And then there's the usual 'zine things like reviews and ads. Oh, and Rob Millis has another "Talking Machine" column wherein he tells of searching for rare shellac (78rpm records) over in India... yet he doesn't find exactly what you'd think he'd find, his "Victrola favorite" this issue is by the Beatles... or is it?

BIXOBAL Number 4 July 2008 (Ri Be Xibalba) magazine 2.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Issue #4, already! Good grief, this 'zine comes out so frequently, with such regularity, that's almost not 'zine-like. We mean, in our experience it's pretty standard, obligatory even, for every 'zine to begin with an apologetic note from the editor giving excuses for the current issue being late... instead, the best Bixobal's editor and publisher, Eric Lanzillotta (of Anomalous Records fame) can manage is to explain that he had TOO much material for this issue, so we can expect #5 to show up even sooner than ever!
Otherwise, however, Bixobal perfectly fits the old school 'zine mold... it's digest sized, black & white zeroxed, devoted to obscure, out of the mainstream subject matter, and full of true fannish (though expert) enthusiasm for said subjects, which should appeal to quite a few AQ customers, into the musical margins from the experimental to the ethnological. This issue is indeed packed, 55 pages dense with articles, overviews and reviews... specifically, an in-depth guide to the works of Japanese avantgarde percussionist and prog/jazz composer Stomu Yamash'ta, a look at the films of '60s/'70s Spanish auteur Fernando Arrabal, a rundown of the many limited edition releases from noisnik Raymond Dijkstra, and a tour diary from Japanese sound artist Akio Suzuki! Even if some of these folks aren't familiar to you, you'll probably become interested in 'em from reading these pieces.
We're looking forward expectantly to Bixobal #5... and #6, and #7, etc.... as there's always much that's intriguing and unexpected to be gleaned from this excellent 'zine (and at a bargain price).

BIXOBAL Number 5 October 2008 (Ri Be Xibalba) magazine 2.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Lotsa 'zines, in the old days, tended to peter out after just a couple issues or three. But Bixobal, which debuted about a year ago, is going strong, and on schedule, up to issue #5 now. If you missed the first few issues, you just need to know that Bixobal, published/edited by Eric Lanzillotta of Anomalous Records fame, is a 'zine dedicated to all sorts of interesting, obscure culture (experimental music, psychedelic stuff, weird film, ethnographic research, etc.). And it's well worth your $2, this issue consisting of 56 digest-sized pages packed with good readin'. On the cover, a happy Djinn Aquarian of Ya Ho Wa 13, heralding an article by David Nuss of the No Neck Blues Band about his trip to Hawaii to visit with the Source Family. Also in this issue: Rob Millis further adventures in the world of shellac 78 rpm record collecting, an interview with Belgian noisemakers Onde, a remembrance of late Noggin violinist Michael Griffen, an interview with Canadian '80s art-punks Tunnel Canary, a feature about the output of new "jazz" label Assophon Records, and several pages of record reviews... Again, $2 well spent!

BIZARRE Blue Cheese & Coney Island (Koch) cd 16.98

BIZARRE Hannicap Circus (Sanctuary Urban) cd 16.98

BIZZ CIRCUITS Very Best Of (Deluxe) cd 13.98
Sebastien Meissner, aka Bizz Circuits, has also released albums as Random_Inc and Open_Source, among other names. Here, he plunders his record collection for samples that are recontextualized in a pretty much unrecognizable way, allowing the resultant electronic fuzz to take on meanings completely separate from their sources, which (according to Meissner) include everything from Ornette Coleman to Metallica to other contemporary electronic and micro-sound artitsts. Apparently, the package relates to Meissner's childhood pop obsessions, referenced by titles such as "Blinded With Science" and "Can't Get No Satisfaction (Thank God)." An interesing, pleasant puzzle to be enjoyed by appreciators of the Mille Plateaux aesthetic.
RealAudio clip: "Breaking Hands"
RealAudio clip: "She's Hit"

BIZZY B Science EP Volumes III + IV (Planet Mu) cd 16.98
We've said it once, we'll say it again. Actually, we've probably said it a million times, but we'll STILL say it again. There are some sounds we just never get sick of. NEVER. The bombinating buzz of grim black metal is one, a drone-y relentless hypnotic swirl that never fails to lull us into a beautifully blackened state. And of course, super distorted, blown out ragga drum and bass is another (a la aQ faves The Bug). This here is a prime slab of that classic sound. Bizzy B was one of the most influential junglists of the early nineties having released his first blast of brutality in 1991. The stuff on this here ep is BRAND NEW, but you'd never know it from the sound, and is the follow up to Volumes I and II, released in '93 / '94. HUGE amen breaks, super complex and chaotic, crunchy synth stabs and lots of creepy ambience and found sounds. But it's all about the rhythm. We've joked that someone could just make a 24 hour loop of the amen break and we could lay there blissfully listening forever. The Amen break, for those of you who don't know, is a drum loop, THE drum loop, that was sped up and chopped up and basically become the primary building block for jungle and drum and bass. The loop is from the Winstons' track "Amen Brother", hence the name. And the original is the perfect shuffling stutter step funky beat, but once it's been tweaked and messed with and sped up and chopped up, it becomes a relentlessly convoluted, pounding and pummeling beat that we just never get tired of. There are a few snippets of cringeworthy diva style vocals, but skip those brief moments and you're left with a divine slab of darkcore jungle madness!
MPEG Stream: "Afraid Of The Dark"

BJECT Object 4 (Locust) cd 14.98

BJERGA / IVERSEN Most Things Are Made Of Water (Utech) cd-r 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've long been fans of this Norwegian duo, but have only ever listed one of their other records, due in no small part to the fact that the majority of their releases have been of the incredibly limited variety. This one is no different. We listed the Rural Faune cd-r a few months back, limited to 71 copies, this new one on Utech is thankfully limited to 200, so there's still a chance at least that a few more folks can get turned on to these guys' quiet cacophonies. Using mostly guitars and electronics, with a handful of mysterious "amplified objects", Bjerga and Iverson create super dense little soundworlds, heavy on the drone, with finger picked guitars stretched into insectoid like buzz, streaks of feedback and thick layers of glitchy buzz, all smeared into super dreamy longform blissouts, each one dotted with all sorts of sharp and jagged, fuzzy and fragmented sonic bits and baubles. Surprisingly heavy and dirge-like, it's almost like a less low end, more FX drenched SUNNO)))!
Packaged in gorgeous hand assembled card stock covers with a pasted on black and white sort of obi. Limited to 200 copies, each one hand stamped. We only got about 15 or so, and we're pretty sure once these are gone we won't be able to get more.
MPEG Stream: "Two"
MPEG Stream: "Four"

BJERGA / IVERSEN The Trumpets Of Silence (Ruralfaune) cd-r 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We won't go into too much detail with this one as it was limited to only 71 copies of which we got the last 20.
This Norwegian duo have a pretty lengthy discography, but somehow this is the first disc we've gotten enough of to list (and unfortunately we only got 20 so they'll be gone before you know it). Utilizing a wide array of electronics and amplified objects, Bjerga and Iverson craft a rich world of pulsing and pulsating sound, crackles and squelches, snippets of conversatio s, shortwave interference and all sorts of random electronic filigree are embedded in warm rivers of rumbling drone and glistening streaks of keening high end shimmer. Glitch and grit pepper huge washes of murky ambience, while multiple layers of sounds slowly shift and drift. Dark and mysterious, droney and lovely.
Limited to 71 copies, each one hand numbered, in a cool heavy fabric sleeve, -most- but not all of 'em packaged with a gorgeous see through leaf, and tied shut with a little piece of twine.
MPEG Stream: "The Trumpets Of Silence"

BJORGULFFSON, HEIMIR / JONAS OHLSSON Fur Your Bears Only (Bottrop-Boy) cd 16.98

BJORGULFSSON, HEIMIR Circulations (Staalplaat) 12" 12.98

BJORGULFSSON, HEIMIR Discreet Journey Digitalis (Ritornell) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Heimir Bjorgulffson is the ringleader of the Icelandic powerbook trio Stilluppsteypa and presents his second solo project on the Mille Plateaux experimental subsidiary Ritornell. "Discreet Journey Digitalis" finds Bjorgulffson pushing further into the quote unquote Lowercase territory mapped by Bernhard Gunter and Steve Roden (in particular Gunter's ultra quiet "Details Agrandis") with miniscule digital events scattered through prolonged silences, muffled drones, and sparse field recordings. Headphones required.

BJORGULFSSON, HEIMIR Machine Natura (Staalplaat) cd 13.98
Heimir Bjorgulfsson is one of the members of the Icelandic experimental electronic trio Stilluppsteypa, and presents "Machine Natura" as a part of Staalplaat's "machine series" for microscopic glitch music -- pretty much Staalplaat's answer to Ritornell. This 15 minute EP begins with two slightly out of phase sine waves that criss-cross into a noxious high pitched squeal. Bjorgulfsson abruptly brings this to an end, with several minutes of silence and incredibly quiet electronic activity. The volume remains very low, but tiny clatterings do begin to emerge out of the solitude. Of particular note is the packaging, which features all of the text etched into the jewel case. Altogether this is nicely done, but is yet another foray into sinewaves and silence really necessary?
RealAudio clip: "track 5"

BJORGULFSSON, HEIMIR & JONAS OHLSSON Unspoken Word Tour (Brombron / Staalplaat) cd 15.98
Having recently left the obscurant electronica ensemble Stillupsteypa, Icelandic transplant Heimir Bjorgulfsson has wasted no time in starting up some new projects. This collaboration with Swedish installation artist Jonas Ohlsson was commissioned by Extrapool - an arts residency program which, in conjunction with Staalplaat, gives two likeminded artists unlimited access to a really nice recording studio for a week and publishes the results as a limited edition CD. While Bjorgulfsson's work is certainly a known quantity through his numerous solo projects and the AQ-endorsed Stilluppsteypa albums, Ohlsson has primarily been active in the Northern European gallery scene, executing willfully sloppy installations of consumerist excess, punk-as-fuck attitudes, and that post-ironic sentiment that's so fashionable in San Francisco galleries these days. That said, Ohlsson's resume cites some training in electro-acoustic compositions and he also seems to have a taste for Acid House. In their condensed studio session, Bjorgulffsson and Ohlsson have produced a surprisingly diverse album, splattering through fractured techno beats, at times strangulated into Matmos-esque noise-funk and others into the classic Sahko sound with frigid shards of electricity cascading down upon taut rhythms.
Most everything in the Brombron series has been quite good, and "Unspoken Word Tour" is no exception.
RealAudio clip: "20 People Gathering On My Field"
RealAudio clip: "Pyramids of Pure Pleasure"
RealAudio clip: "Old Panther"

BJORGULSSON, HEIMIR The Opposite (Fire Inc.) 3"cd 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The powerbook has pretty much replaced the razor tape splice as the primary instrument for musique concrete, and Heimir Bjorgulfsson's laptop has been a extra busy machine in expediting this transference from old to new. Outside his work in AQ-faves Stilluppsteypa, Heimir has produced his first solo recording, this cute 3". An alien array of mutable clicks and pops corrode a digital arena where the high frequency damage of Ryoji Ikeda meets the hypnotic malevolence of John Duncan. Very good!

BJORK Alarm Call (Polygram UK) video 41.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
9 versions of "Alarm Call", including ones by "Bjeck" (Beck), Matmos, Andy Bradfield and Mark Bell. Plus a video directed by Alexander McQueen, bad boy clothing designer.

BJORK Alarm Call (Polygram UK) 3cdsingle box 32.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
9 versions of "Alarm Call", including ones by "Bjeck" (Beck), Matmos, Andy Bradfield and Mark Bell. Plus a video directed by Alexander McQueen, bad boy clothing designer.

BJORK Alarm Call (Matmos Mixes) (Polygram UK) 12" 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
While there are 4 remix singles of Bjork's "Alarm Call," the only one of any merit is from Matmos who deconstructs her vocals into snippets of vocoded utterances and breathy slurs. The heady downtempo electro breaks and squiggly sampling weirdness that one expects from the San Francisco duo dominate their two remixes. Beck (here cutely identified as "Bjeck") adds an exceptionally good carnivalesque mix on flipside.
The other 3 mixes which we do have in stock feature DJ Krust with his two brittle drum & bass reworkings on one of the singles, a dreadful single of handbag house courtesy of Alan Braxe and Ben Diamond, and the last single from LFO member Mark Bell, who coincidentally co-wrote the original song with Bjork.

BJORK Biophilia (Deluxe Edition) (Nonesuch) cd 17.98
Forget about the multimedia / iPad formats of this new album via which Bjork originally released Biophilia, all that app stuff just gets in the way, and clouds the fact that this is one of the most emotionally intense, dark, and rewarding albums Bjork has crafted yet. Biophilia continues display what a rare vision Bjork has, making her undisputedly one of the most imaginative and original musicians of our time. Filled with haunting organs, primitive electronics, majestic harps, delicate bells, and of course one of the most commanding and mystifying voices we've heard. It's a record that shares the intimacy of Vespertine, the dark intensity of Medulla, and the focus and power of Homogenic.
Much of Biophilia is filled with slower, brooding sounds. But the moments of ecstatic release that come on tracks like "Crystaline", "Mutual Core", and "Natura" are so perfectly paced, making us freak out and lose ourselves in the sound before returning to the heavy emotional essence of the rest of the record. When Bjork sings lines like 'craving miracles', you are reminded that she is one of the view artists who has the ability to truly create magic and miracles with her music. She continues to be steadfast in her vision and uncompromising approach to making music. These songs slowly crawl beneath your skin, recalling the best moments of records by Brigitte Fontaine and Robert Wyatt, yet so utterly modern, futuristic and timeless all at once. Brilliant!
MPEG Stream: "Crystalline"
MPEG Stream: "Mutual Core"
MPEG Stream: "Thunderbolt"
MPEG Stream: "Nattura"

BJORK Debut (Elektra) cd 16.98

BJORK Debut - Surrounded (DualDisc) (Rhino) dualdisc 17.98
Ooops, meant to list this last time with Homogenic and Post...
Hey, have you heard of this newfangled technology? It's called a dualdisc. A CD on one side, a DVD on the other! Pretty good idea except you should be forewarned that these discs do not play on every cd player nor every dvd player. For one thing they are thicker than 'normal' cds and dvds. Yeah, we know these things aren't all that new, but we felt the need to elaborate a bit 'cause they do seem to cause some confusion and disgruntlement.
Anyhoo, Bjork fans probably already own these just-released reissues of her early albums, right? And everyone else is to some degree or other probably pretty darn familiar with them too just by their omnipresence, eh? Sooo are introductions to these albums all that necessary?
We will say that Bjork really got her post-Sugarcubes solo ball rolling on this one back in 1993, didn't she? Who'da thunk that over the years she'd roll it into such a Katamari Damacy-like colossal mammoth of a body of work (and if you don't know what that means, well then, you don't know FUN! Google it!). At times and often all at once, she's wickedly mischievous, sugary sweet, coyly sexy, quirkily charming, and elegantly sophisticated. Pushes all the right buttons! Continues to delight old fans and new listeners (if there are any left!) alike.
What we will bring to your attention today though is that these dualdisc Bjork reissues are all subtitled 'Surrounded'. Why? Because a major feature on the dvd side of each one is a Dolby Digital 5.1 and DTS Surround Sound version of the album. So why listen to this album 'just' in stereo, when you can have some "Big Time Sensuality" pulsating though your whole living room!? Of course, if you do want the stereo option, the cd side has that for ya too in a freshly remastered state. To sweeten the deal even further, there's also five of her deliriously delicious videos -- "Human Behaviour", "Venus As A Boy", "Play Dead", "Big Time Sensuality" and "Violently Happy" -- which are also in Stereo, Dolby Digital 5.1 and DTS Surround Sound. Swoon.
Psst, we should add that for all of you SERIOUS Bjork fans there's also a deluxe seven dualdisc Surrounded boxset which includes her six studio albums plus the Drawing Restraint 9 soundtrack!

BJORK Family Tree (Elektra) 6cd 60.00
Bountiful new, rare and previously unreleased Bjork! Six cds totalling 35 tracks in all - five mini 3" cds and one full size - stunningly packaged in a cool pink tupperware-ish box with an embossed white slipcover. The first two discs are named "Roots". They exemplify how she drew from the Icelandic cultural and natural environment. Containing five tracks each including "Cover Me" and "Joga (Strings and Vocals)". The third "Beats" features four cuts of her experiments with electronic rhythms. The fourth and fifth are grouped together as "Strings" and contain nine tracks including alternate versions of "Cover Me", "Hunter" and "Bachelorette". The sixth is her "Greatest Hits" as selected by Ms Gudmundsdottir herself - not to be confused with the concurrently released single cd "Greatest Hits" which was compiled by fan vote on Bjork.com. In the process of assembling this extensive retrospective package, Bjork spent six months revisiting works from her past. The results are remarkable, revealing her awesome artistic evolution and leaving the listener eager to discover her next pursuits.

BJORK Gling-Glo (Takk!) cd 25.00
A hard-to-find import from Bjork who performs vocal jazz numbers entirely in Icelandic.

BJORK Greatest Hits (Elektra) cd 17.98
A guy came into the store the other day, pointed at this cd and said "How's this Bjork cd?" Uhhhh. What more can be said other than that it's her greatest hits - well, at least fifteen of 'em as chosen by her adoring masses (via a vote on her website)! Dedicated fans must already own all of the albums from which these songs originated, but in case you need the highlights all neatly gathered on one disc, this is for you. Needless to say, this is a truly luminous and fanciful array.
A super bonus treat is the final, previously unreleased track "It's In Our Hands"! Prior to its appearance on this cd, the song was only exposed to the world at her live performances.
Special note: a very different greatest hits collection is included in her 6cd boxset that was released simultaneously. How is it different? Well, the selection was chosen by Bjork herself.

BJORK Homogenic (Elektra) cd 16.98
Even weirder than her last record, with orchestrated stuff and more jazz/lounge crooning. Cover is a Photoshop masterpiece art-directed by Alexander McQueen that must be seen to be believed.

BJORK Homogenic - Surrounded (DualDisc) (Rhino) dualdisc 17.98
Hey, have you heard of this newfangled technology? It's called a dualdisc. A CD on one side, a DVD on the other! Pretty good idea except you should be forewarned that these discs do not play on every cd player nor every dvd player. For one thing they are thicker than 'normal' cds and dvds. Yeah, we know these things aren't all that new, but we felt the need to elaborate a bit 'cause they do seem to cause some confusion and disgruntlement.
Anyhoo, Bjork fans probably already own these just-released reissues of her early albums, right? And everyone else is to some degree or other probably pretty darn familiar with them too just by their omnipresence, eh? Sooo are introductions to these albums all that necessary?
Back in '97 we had this to say: Even weirder than her last record (Post), with orchestrated stuff and more jazz/lounge crooning. The cover image is a Photoshop masterpiece art-directed by fashion designer Alexander McQueen that must be seen to be believed. Pretty much the same can be said for the otherworldly music in all of its elaborate intricacies.
What we will bring to your attention today though is that these dualdisc Bjork reissues are all subtitled 'Surrounded'. Why? Because a major feature on the dvd side of each one is a Dolby Digital 5.1 and DTS Surround Sound version of the album. So why listen to Bjork's third full length Homogenic 'just' in stereo, when you can have her "Alarm Call" resonating though your whole living room!? Of course, if you do want the stereo option, the cd side has that for ya too in a freshly remastered state. To sweeten the deal even further, there's also five of her deliriously delicious videos -- "Joga", "Bachelorette", "Hunter", "Alarm Call" and "All Is Full Of Love" -- which are also in Stereo, Dolby Digital 5.1 and DTS Surround Sound. Swoon.
Psst, we should add that for all of you SERIOUS Bjork fans there's also a deluxe seven dualdisc Surrounded boxset which includes her six studio albums plus the Drawing Restraint 9 soundtrack!

BJORK Hunter (Polygram UK) video 41.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
6 versions of Hunter spread over three cd singles, some featuring remixes by U-ziq and State of Bengal. Plus the absolutely great Funkstorung remix of "All if Full of Love", and the DJ Krust remix of "So Broken". We don't expect to be able to stock these again, and supplies are very limited.

BJORK Hunter (Polygram UK) 3cdsingle box 32.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
6 versions of Hunter spread over three cd singles, some featuring remixes by U-ziq and State of Bengal. Plus the absolutely great Funkstorung remix of "All if Full of Love", and the DJ Krust remix of "So Broken". We don't expect to be able to stock these again, and supplies are very limited.

BJORK Inside Bjork (One Little Indian) dvd 16.98

BJORK Live At Cambridge (Elektra) dvd 24.00
Live DVD from Bjork's 1998 tour supporting "Homogenic" with the musical accompaniment of the Icelandic Octet and Mark Bell.

BJORK Live At Shepherds Bush Empire (Elektra) dvd 24.00
Live DVD from the 1997 tour in support of "Post". Previously available in VHS format.

BJORK Livebox (One Little Indian) 4cd + dvd 56.00
We've had a couple of these in stock for a little while, hidden away on a shelf behind our front counter where nobody ever seems to see 'em (along with such other items as the giant Yahowah 13 disc box set, several of Cup's delightful Sog Mongeys, a 2cd reissue of Japan's Tin Drum, both Nuggets box sets, a weird video tape-in-a-bag-of-ephemera from the Japanese Augen label, and of course we can't neglect to mention the ZZ Top box set that looks like a Texas barbeque shack and comes with little cardboard standup ZZ Top figures, which Allan's gonna buy if nobody else does). So we thought at least a few of y'all would want to know about this Bjork box. Basically, it's one disc of songs from Bjork's Debut album performed live, one of songs from Post live, one from Homogenic live, one from Vespertine live, and a fifth bonus DVD disc of video footage. Plus a 36 page booklet all in a handsome lil' box with art and text in that cool Bjork font. Whoo-hoo! And if you want the ZZ Top box too, maybe we can work a deal...just kidding, Allan doesn't want anyone to buy it, so he can have it...

BJORK Medula Videos (Elektra) dvd 15.98