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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.


album cover C & B, THE s/t (Siltbreeze) 7" 8.98
A gloriously shambolic, stumbling and clattery lo-fi chunk of strum and clang from Graham Lambkin, pre-Shadow Ring, and it definitely sounds like Shadow Ring, but WAY more low fidelity, like if maybe Shadow Ring put out a cassette on Shrimper way back in the day. Which is not at all a bad thing. Monotonous, detuned guitar strum, THOSE vocals, laid back and weary, deep and heavily accented, spoken, but a little bit song songy, heavily distorted in places, weirdly distant sounding in others, the rhythms sound like pipes hitting other pipes, someone pounding on a cardboard box, or thumping on a table top, it's all very Jandekian, but even more skeletal and haunting, woozy, warped, warbly, plenty of tape hiss and dropouts, all woven together into a strangely ghostly bit of spaced out psychedelic minimal drug folk, or something. Dark and gloomy and creepy and cool, fans of the Shadow Ring will definitely want this, but even folks who just like cool weird dark creepiness, might definitely dig this, and find yet another band to obsess over.

C RAYZ WALZ Ravipops (Definitive Jux) cd 13.98

album cover C RAYZ WALZ The Dropping (Suncycleent) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover C-AVERAGE Second Reckoning (Kill Rock Stars) cd 13.98
A two-piece band of indie rockers from the Pacific Northwest doing their best to play metal...no, not The Need. It's C-Average -- but these guys might need to think about changing their name, as on this release they've manage to bring their grade point average up a bit! I'd give them a B+ for Second Reckoning, and a little gold star for "most improved". It's way tighter and heavier than their not-so-great debut from a few years back. They still do a lot of covers (this time, "The Witch" by the Sonics and Mose Allison's "Parchment Farm" by way of Blue Cheer), but play them, and their originals, much more convincingly than before. Maybe they'll figure out that with a live bass player, they'd have a chance to be really really good. Punk rock classic rock for fans of Melvins, The (Fucking) Champs, etc.


album cover C-RAYZ WALZ Year Of The Beast (Definitive Jux) cd 16.98

album cover C-RAYZ WALZ Year Of The Beast (Definitive Jux) lp 17.98

C-SCHULZ & HAJSCH s/t (Sonig) cd 14.98
I've not heard much from C-Schulz in a long time, recalling his name popping up a bunch about ten years ago along side hyper-prolific sound artists like Asmus Teitchens. At the time, it seemed that C-Schulz released a bunch of records that nobody cared about and then vanished. With the release of this album, I might have missed out on something pretty spectacular. His collaboration with fellow Cologne resident Hajsch is more of a history lesson into what the 'sound of Cologne' was long before the forest-disco of Wolfgang Voigt or the disjointed electronica pop of Mouse of Mars. C-Schulz & Hajsch's interest lies in a mesmerizing analysis of sound, discovering the mysteries that lie dormant in a textural field recording or a melancholic drone from a Harmonium. This is a beautiful album that certainly fits alongside the esoteric dronology of Andrew Chalk, Zoviet France, and even Fennesz. Oh yeah, this was released on Mouse On Mars' label.

C-UTTER / DEAD PENI split (Blossoming Noise) lp 19.98

album cover C., BERNARD Lieu Magique (Sanity Muffin) cassette 5.98
Here's a 'what the fuck?' tape for you to sink your teeth into. Bernard C. was part of a French DIY avant-garde community which loosely banded together under the flag of Illusion Production beginning in 1979. The surrealistically charged ensemble DDAA was probably the best known entity that came out of Illusion Production. Stylistically, DDAA came across somewhere between Nurse With Wound's autodidacticism, Franco Battiato's concrete-songwriting, and Alain Neffe's idiosyncratic vision across all of his Insane Music projects; and Bernard C. is not all that far removed from that aesthetic synthesis.
Lieu Magique was Bernard's only full album, getting pressed up in 1985, sporting a broad catalogue of aesthetic frameworks all of which are typically sparse, held together by minimal electronic rhythms and loosely clattering tribal percussion that bend more towards a free-jazz mode than the ritual-industrial sound that was commonplace in the underground at the time. The vocals, often whispered or situated low in the mix, seem to harken from the sound-poetry of Dada and some of the tamer variations of the Aktionists. It's an eclectic mix for sure, but one that held nicely by the claustrophobic atmosphere and primitive use of effects / electronics. On this Sanity Muffin reissue of Lieu Magique, one of Bernard C.'s other rare recordings - the Socialist Realism single from 1981 - is tossed in at the end as bonus tracks. Limited to 100 copies!!!
MPEG Stream: "8000 Hz"
MPEG Stream: "Totem Electronique"

C., PATRIC The Horrible Plans of Flex Busterman (DHR) cd 19.98
Patric (Catani) is a member of DHR/Grand Royal recording artists EC8OR.

album cover C.C.C.C. Chaos Is The Cosmos (Cold Spring) cd 15.98

album cover C.D. Un Piano En La Garganta (Drone Records) 7" 7.50
Drone Records has a pretty good track record introducing unknown artists in their ongoing series of 7" singles that sonically embody the label's name. C.D. is the work of Christian Dergarabedian, who had spent some time working with the conceptually invigorating omni-Dada rock ensemble Reynols when he lived in Buenos Aires. Now residing in Barcelona, Dergarabendian reflects the drone facets of Reynols with six interwoven tracks of lovely distorto-feedback waves that decompose into irridescent digital twitches. The noisier stuff by Drone Records hosts Troum is clearly a reference. A very nice entry from the ever exceptional Drone Records series. Limited to 300 copies, with the first editions pressed on red vinyl. We have VERY FEW of these! Don't dawdle.

album cover C.O.B. Moyshe McStiff and the Tartan Lancers of the Sacred Heart (Sunbeam) cd 16.98
This longtime AQ British folk fave from Incredible String band offshoot C.O.B. is back in print again, and with tons of extras, thanks to the fine folks at Sunbeam. Now with vastly improved artwork, tons of liner notes (courtesy of the band themselves!), loads of photos, old album covers and show flyers, and SEVEN bonus tracks, instead of the previous edition's five. Wow! As if we didn't love this record enough already!!!
Here's what we had to say about it the first time around:
C.O.B. (Clive's Original Band) was the creation of Incredible String Band founding member and one of the grandfathers of today's fringe folk scene, Clive Palmer. We don't know if you got the chance to see Mr. Palmer alongside fellow ISB founder Mike Heron at last year's reunion show, but it definitely seemed like his banjo-picking was a little rusty and he looked kind of dazed (no wonder, what with 35 years out of the spotlight). When this record (C.O.B.'s second and best, or at least most exotic and weird) was made in 1972, though, he was in top form, and the result is such beautiful melancholy! Some of the instrumentation here is similar to that of ISB (acoustic guitar, banjo, clarinet) but with lots of harmonium and the addition of a dulcimer with a widened bridge (invented by C.O.B. band member John Bidwell), an odd droning sound that darkens the mood a bit more than most stuff you'll hear from ISB. If you're a fan of British folk in the traditional and/or acid vein such as Shirley Collins, Trees, Forest, Fairport Convention, or current underground folkies such as Espers, Vashti Bunyan, or Current 93, this cd promises to be a true wistful pleasure. WAY recommended!!
MPEG Stream: "Eleven Willows"
MPEG Stream: "Oh Bright Eyed One "

album cover C.O.B. Moyshe McStiff And The Tartan Lancers Of The Sacred Heart (Sunbeam) lp + cd 16.98
Yay! Never had this on vinyl before. This longtime AQ British folk fave from Incredible String band offshoot C.O.B. is back in print again, on deluxe 180 gram vinyl, remastered from original tapes at Abbey Road, packaged with cd version (which includes seven bonus tracks) and a large illustrated color booklet with tons of info, the works!
Here's what we had to say about it the first time around:
C.O.B. (Clive's Original Band) was the creation of Incredible String Band founding member and one of the grandfathers of today's fringe folk scene, Clive Palmer (R.I.P., he passed away just this year). The incredibly-named Moyshe McStiff And The Tartan Lancers Of The Sacred Heart was C.O.B.'s second and best - or at least most exotic and weird - album, released in 1972. Such beautiful melancholy! Some of the instrumentation here is similar to that of ISB (acoustic guitar, banjo, clarinet) but with lots of harmonium and the addition of a dulcimer with a widened bridge (invented by C.O.B. band member John Bidwell), an odd droning sound that darkens the mood a bit more than most stuff you'll hear from ISB. If you're a fan of British folk in the traditional and/or acid vein such as Shirley Collins, Trees, Forest, Fairport Convention, Vashti Bunyan, even Current 93, this cd promises to be a true wistful pleasure. WAY recommended!!
MPEG Stream: "Eleven Willows"
MPEG Stream: "Oh Bright Eyed One "

C.O.C.ASPAR Grand Mal 2 (Epileptic Recordings) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
C.O.C.aspar is a Geman conceptual / sound artist who seems to have been quietly making interesting and puzzling work over the past three decades. "Grand Mal 2" is based around a series of live-recordings made inside a partially submerged fuel tank left over from the German occupation of a Norwegian harbor. C.O.C.aspar treats the metallic clangs and deep resonant vibrations with an excess of flanging electronics to sound like some fictional remix project between Leif Elggren and Maeror Tri.

C.O.C.O. s/t (K) cd 13.98
The Olympia, WA-based duo of Chris Sutton (Dub Narcotic) on drums and Olivia Ness on bass pump out some bare bones quite Meters-inspired grooves while staying true to the lo-fi K Records spirit. At times C.O.C.O.'s off-kilter boy/girl vocals bring to mind those of fellow K-sters The Crabs.

album cover C.O.M.A. Clinik Organik Muzak Anatomik (Desire) cd 16.98
We've been diggin' some killer late '70s, early '80s French punk rock lately, or "paink" as the as the recent compilation of that name has it, discovering some new obscure faves from the scene we hadn't known of before, bands to file alongside Soggy and Metal Urbain in the realm of Stooges-y, snotty, sometimes synth-laced underground French-speaking rawk from the new wave era. Here's a good example, reissued for the first time on cd (and also on vinyl too, backordered at the moment - but the the cd has 4 previously unreleased bonus tracks anyway).
C.O.M.A., aka Clinik Organik Musak Anatomik (great name, whatever it means exactly!), originally unleashed this way weird and super rare full-length, their only album, in 1979. It's some intense & experimental, minimal wave synth punk, manifested with shamboblic precision, their odd "musak" loaded with blurting synthesizer, noisy guitar, mechanical drumbeats, distorted disembodied vocals (often a gravelly croak), and electronic FX galore. Some tracks are more abstract, like the soundscapey segue of "Consequences", consisting of about 50 percent feedback, while others, like "Demain", are more groove-oriented, dark and dancey new wave numbers, still loaded with synth strangeness, to which we can totally imagine stylish French punks doing some kind of robo-pogo.
Yup, it's a diverse disc, wherein a moody, sparse piano piece like "Coma" could be followed by the hard-charging mechano-aggro beatdown of "Assaut", complete with wiggly wild guitar/synth solo.
The sporadic mad scientist's laboratory bleep bloop of "La Valse A Mutant" kinda has a Francophone "Hardcore Devo" vibe, and definitely Devo were an inspiration on this groop, along with the likes of Kraftwerk, Wire, and The Residents. Think Devo meets Metal Urbain, you're on the right track. Great stuff. C.O.M.A. didn't appear on that Paink comp, we don't know why, they shoulda been, though maybe just a bit weirder than the others. Fans of stuff on Medical and Dark Entries ought to check it out...
MPEG Stream: "Tete De Gomme"
MPEG Stream: "Assaut"
MPEG Stream: "Demain"

album cover C.O.M.A. Clinik Organik Muzak Anatomik ( Danger) lp 27.00
ALSO ON VINYL... but, sadly, all the copies we could get have very slight corner bends, so please don't mailorder this if you're at all anal about such things. Shouldn't bother most folks though...
We've been diggin' some killer late '70s, early '80s French punk rock lately, or "paink" as the as the recent compilation of that name has it, discovering some new obscure faves from the scene we hadn't known of before, bands to file alongside Soggy and Metal Urbain in the realm of Stooges-y, snotty, sometimes synth-laced underground French-speaking rawk from the new wave era. Here's a good example, reissued for the first time on cd (and also on vinyl too, backordered at the moment - but the the cd has 4 previously unreleased bonus tracks anyway).
C.O.M.A., aka Clinik Organik Musak Anatomik (great name, whatever it means exactly!), originally unleashed this way weird and super rare full-length, their only album, in 1979. It's some intense & experimental, minimal wave synth punk, manifested with shamboblic precision, their odd "musak" loaded with blurting synthesizer, noisy guitar, mechanical drumbeats, distorted disembodied vocals (often a gravelly croak), and electronic FX galore. Some tracks are more abstract, like the soundscapey segue of "Consequences", consisting of about 50 percent feedback, while others, like "Demain", are more groove-oriented, dark and dancey new wave numbers, still loaded with synth strangeness, to which we can totally imagine stylish French punks doing some kind of robo-pogo.
Yup, it's a diverse disc, wherein a moody, sparse piano piece like "Coma" could be followed by the hard-charging mechano-aggro beatdown of "Assaut", complete with wiggly wild guitar/synth solo.
The sporadic mad scientist's laboratory bleep bloop of "La Valse A Mutant" kinda has a Francophone "Hardcore Devo" vibe, and definitely Devo were an inspiration on this groop, along with the likes of Kraftwerk, Wire, and The Residents. Think Devo meets Metal Urbain, you're on the right track. Great stuff. C.O.M.A. didn't appear on that Paink comp, we don't know why, they shoulda been, though maybe just a bit weirder than the others. Fans of stuff on Medical and Dark Entries ought to check it out...
MPEG Stream: "Tete De Gomme"
MPEG Stream: "Assaut"
MPEG Stream: "Demain"

C41 Copernacre (Staalplaat) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
C41 is a collaboration between Joe Banks (Disinformation), Ashley Davies (Project D.A.R.K.) and John Everall (Sentrax Records). Based on N.J. McCamley's psycho-history "Secret Underground Cities," C41's first album reflects the "X-Files" claustrophobia of abandoned missile silos, subterranean research labortories, and forgotten labyrinthian warehouses filled with out-of-date weapons systems. It's a bleak album with distant metallic clangs, static electricity bursts, and shattered glass.


CAACRINOLAS A Thousand Cries Has The Night cd-r 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Members of German avant-jazz outfit Bretzel Killing Machine take their interest in horror films/music a step further by forming this two-man experimental BLACK METAL band! Yes, B.K.M. leader (and solo electronics artist) Bjoern Eichstaedt has finally delivered his his long-promised (threatened?) Caacrinolas project. Keyboardist/vocalist Bjoern, together with guitarist/bassist Larry Luer, and a drum machine, have made a very cult sounding 24-minute cd-r demo ep, numbered and limited to 100 copies. It's just one track (the title song "A Thousand Cries Has The Night") and the truth is, if this is a representative twenty-four minutes of that night, then it has a lot MORE than a 1000 cries, 'cause the screaming on here is voluminous and disturbing. Starting off with Goblin-style horror keyboards and drony atmospherics and then moving into Burzum style riffery and throat-shredding screaming backed by drum machine mayhem, this is pretty scary from the get-go. Then we move into doomy broken-guitar explorations, almost like Esoteric scoring a horror flick. The song continues to take many twists and turns, all dark and droney ones of course.
It's definitely something for fans of Mistigo Varggoth Darkestra, Abruptum, Nokturnal Mortum, Potentiam, and similar avant-ambient-black-metal trips. Excellent! We look forward to their next recording, which we're told is already underway, entitled "Satan et les lŽgions fantastiques tourmentant le CrucifiŽ"...
RealAudio clip: "A Thousand Cries Has The Night (excerpt 1)"
RealAudio clip: "A Thousand Cries Has The Night (excerpt 2)"

album cover CAACRINOLAS Caacrinolas 2: Valley of the Dead cd-r 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Cryptic and creepy, Caacrinolas is the "black metal" project of German AQ-pal Bjoern Eichstaedt and his colleague Larry Luer, both of whom more typically make music in the realms of avant-garde jazz and experimental electronics. But, inspired by the likes of Burzum and Emperor, Bjoern and Larry created Caacrinolas, whose first, cultish cd-r release "A Thousand Cries Has The Night" was much liked by AQ staff and customers. Now they're returned to terrorize us further with "Caacrinolas 2: Valley Of The Dead". Again, it's a single track, but a longer one, at 36 minutes this time. Again, it's in a limited, numbered edition of 100. The packaging is a bit fancier -- a clear dvd-sized "Super Jewel Box", with a suitably chilling black-and-white cover photo beneath a sheet of blood-red acetate. Nice (and thus, the price is a bit more than before). And again, this is a scary 'lil disc! It does seem like they maybe have less of an overt black metal concept going on this time -- they're really establishing their own style of horror soundtrack jazz vs. metal, seemingly referencing both Bohren & Der Club of Gore and Cradle of Filth, Fantomas and Morricone, Bernard Herrmann and Sigh!
This disc's journey of darkness begins with classical strings and malevolent petrodactyl squawks, seguing into a Bohren-esque, noirish jazz-drone soundscape with zombie monk vocals in the background. But sudden changes will constantly catch the listener unawares -- lurking at every turn there are bursts of jagged metalcore riffing with roiling drums, passages of doleful organ, blasts of noise and distortion, dark and droney Tangerine Dream synth-work, and, as the disc concludes, pensive, pretty piano a la David Shire's soundtrack for The Conversation. Yep, it's good! (and evil.)
RealAudio clip: "excerpt 1"
RealAudio clip: "excerpt 2"

album cover CAACRINOLAS Vargtimmen (self-released) cd-r 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's been over FIVE years since we last heard from German duo Caacrinolas and their strange brand of constantly changing black metal weirdness. The two were fixtures in the avant garde jazz / experimental electronic German underground, fronting the group Bretzel Killing Machine, but the two became fixated on black metal, and horror movies and decided to do something about it. Their debut, A Thousand Cries Has The Night, was a brief black assault, with buzzing riffage, sweeping black ambience, and some of the most intense wailing vocals we'd ever heard. We compared the music on the disc to groups like Mistigo Varggoth Darkestra, Abruptum, Nokturnal Mortum, Potentiam, bands who took black metal and shaped it into something more unique, and often more disturbing. The duo returned soon after, with a second salvo, the ominously titled Valley of the Dead, another lengthy single track, but the black buzz was pulled back to reveal a haunting Goblinesque soundworld of lugubrious dark crawls, and Bohren like blackjazz slowcore. Granted, the record was like a haunted house, with creeps and starts lurking around every corner, but the focus was a long droning black drift (btw, both of those were SUPER limited so don't try to order 'em...)
Now here we are 5 years later (although most of this was recorded in 2003 and '04), and Caacrinolas take up just where they left off, creating a gorgeous epic creepscape of drifting pointillist pianos, long drawn out minor key chords, whispery ghost like voices, dark cavernous drones, and streaks of fuzzed out ambience, all smeared into ominous, yet strangely lovely stretches of cinematic tension. Hard not to hear Bohren, and again Goblin, but also Stars Of The Lid, and even bits of Tim Hecker, Aidan Baker, and other subtle sound sculptors... Most AQ drone-heads are already in love with this kind of sound and it only takes a minute or two before those folks are ready to close their eyes and drift off... but not so fast....
About halfway through the opening track, some keening distorted high end guitar, begins to repeat, over and over, like some lonely distant minor key siren, until they're joined by some downtuned low slung slow motion riffage, that buzzes and crawls, over a warm warbly bed of synths... it never explodes into black action though, instead, it slowly twists and turns, the various layers of keyboard and synthesizer, getting all tangled up and drifting darkly above a swirling sea of subtle black drone.
The second track follows a similar pattern, a slow building horror movie ambient epic. Keyboards drone and shimmer, muted melodies drift right beneath the surface, bits of percussion pepper the Niblockian blur, the tension builds, the production crackles and hisses, a strange textured underlayer to the near static drone, until a mournful strummed guitar surfaces, and the track transforms into some strange lonely lament, drifting, drifting, drifting, until the band suddenly launches into full on rock mode, crunchy riffage, eighties synths, simple propulsive drumming, and the band is squarely in Goblin (or Zombi) territory, weaving a tense soundscape, dramatic and a little over the top, eventually, becoming -slightly- black metal with some super brittle high end insectoid buzz and some blasting double kick buried in the mix, like a black metal Goblin scoring one of those scenes where the terrified girl in her nightgown is running through the midnight forest, being chased by a mysterious maniac. Eventually, the band settles back down into a haunting slithering creep, but now with mysterious female voices mumbled beneath the buzzing synth, the sizzling cymbal swells, the spidery sad guitar melodies, and the slow motion downtuned riffing, until it all fades to black. Awesome!
Like the other discs, this one is also limited to only 100 copies, so we're not sure how long we'll be able to keep these in stock. If people freak out over this one the way they did over the first two, probably not long. But UNLIKE the other ones, which were packaged in slimline jewel cases, 3 is super elaborate, housed in a gold metallic hinged box (like those old Chain Reaction releases), with the artwork silkscreened directly onto the metal, the cd affixed to a metallic nub on the inside, and a printed black on black insert with all the liner notes tucked inside.
MPEG Stream: "Vargtimmen"
MPEG Stream: "En Un Espacio"

album cover CABARET VOLTAIRE Methodology '74/'78. Attic Tapes; (Mute) 3cd 26.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover CABARET VOLTAIRE Mix-Up (Mute) cd 16.98
"Mix Up" was the first album from Cabaret Voltaire, the pioneering Industrial trio of Richard H. Kirk, Chris Watson, and Stephen Mallinder, and is qualitatively the best from that period for Cabaret Voltaire. Their sound centered around the dessication of rhythm with sinewy guitar lines, super primitive electronic synthesis (cheap drum machines, rapidly spirally tape loops, warbling effects), and monotonous vocals rasping through tons of electronics effects. This last trick became a staple of the '80s industrialists, perhaps more due to Skinny Puppy's Ogre than vocalist Kirk. "Mix Up" succeeds by keeping things creepy, dark, and monotonous, whereas the albums that immediately followed got a little too clever in trying to outsmart the audience with their rhetoric of paranoia.
RealAudio clip: "Kirlian Photography"
RealAudio clip: "On Every Other Street"

album cover CABARET VOLTAIRE Nagnagnag + remixes (Novamute) cd ep 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
"Nag Nag Nag" was an early single for Cabaret Voltaire, recording it initially back in 1979 when they mere meshing a hollowed-out electro-punk sound with William S. Burroughs' notion of the cut-up. Along with the title track, this features three contemporary remixes from Montreal's Akufen, CV's mainman Richard H. Kirk, and Vice-approved electro bass-bin boomers Tiga & Zyntherius.
RealAudio clip: "Nag Nag Nag (original)"
RealAudio clip: "Nag Nag Nag (Tiga & Zyntherius Radio Mix)"

album cover CABARET VOLTAIRE Red Mecca (Mute) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Originally released in 1981 through Rough Trade, Cabaret Voltaire's third album "Red Mecca" now gets another reissue courtesy of the fine folks at Mute! Having taken their name from the club started in Zurich by the principals of the Dada art movement during the First World War, Cabaret Voltaire has always been considered one of the pillars of Industrial Culture, along side Throbbing Gristle, SPK, and Einsturzende Neubauten. That said, Cabaret Voltaire's sound was probably the weakest link in the Industrial lineage. This trio of Richard H. Kirk, Stephen Mallinder, and Chris Watson filtered disco grooves and afro-beat rhythms through paranoid constructions swelling with conspiracy theories, excessive drug use, and the politics of control, to arrive at a strangled funk, with all of the references to any sort of sensuality sucked dry. Often cited by their fans as the most horrific of the CV catalogue, "Red Mecca" had a lot of great ideas that don't seem as fully realised as their proponents would like us to believe. While many of the '80s bands have enjoyed recent renewed popularity due in part to a sudden spike of interest in all things 'new wave', time hasn't been all that kind to Cabaret Voltaire's early experiments (unlike contemporaries like 23 Skidoo, Suicide, This Heat, and even Throbbing Gristle) sounding very, very eighties (and not necessarily in a good way).
RealAudio clip: "A Thousand Ways"
RealAudio clip: "Red Mask"

album cover CABARET VOLTAIRE The Living Legends (Mute) cd 16.98
"The Living Legends" is a collection of the earliest Cabaret Voltaire singles recorded for Rough Trade between 1978 and 1981. While still lumped in with the Industrial family alongside Psychic TV, SPK, and Chris and Cosey, the Cabs' may have been the most overreaching in their attempt to subvert pop structures. Their ideas were quite clear in their attempt to mutate disco and jangle pop through a bombardment of electronic effects (lots of frequency shifting, flange, delay, etc.), but they didn't really do that much in terms of altering what the root song was. Take for example the singles included on "The Living Legends," which transcribe upbeat pop songs into insectoid mutations that still essentially speak as upbeat pop songs. Their best work is of course when they actually turn their pop structures into something dark and paranoid such as in the electronic wasteland dub of "Silent Command" and "Seconds Too Late," but even these were effortlessly done better by The Pop Group a couple of years later.
RealAudio clip: "Silent Command "
RealAudio clip: "Seconds Too Late"

album cover CABARET VOLTAIRE The Original Sound Of Sheffield '83/'87. Best of; (Virgin) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Northern industrialized town of Sheffield, England was home not only to Cabaret Voltaire, but also to Warp Records, which is probably where the notion of a 'sound of Sheffield' came from. The period in question found the 'Cabs' on EMI, thus providing the band with much better access to equipment and good studios. They (Stephen Mallinder and Richard H. Kirk, as Chris Watson had departed to form The Hafler Trio with Andrew McKenzie) took the opportunity to further investigate the William S. Burroughs idea of the cut-up within a system of organized repitition. At the center of the Cabs' slice-n-dice funk, gritty beat-box repititions, and media samples was a urgency that club culture was a viable political atmosphere standing in opposition to mainstream control tactics. The sound that Cabaret Voltaire produced during this period was an incredibly influential one, inspiring Skinny Puppy, Nitzer Ebb, the early incarnations of Wax Trax / Ministry, and the ubiquitous presence of Adrian Sherwood's production work throughout the '80s. This influence ended up becoming a double-edged sword for the Cabs, as many of their innovations - the paranoid repititions of arpeggiating synths and their stuttering use of media samples (as in "Sensoria," with the constant declaration: "Do Right, D-D-Do Right") - have become incredibly tired, vapid signifiers of where Industrial Music was going to end up. There was of course a reason why so many artists had taken the ideas from this period of Cabaret Voltaire: it worked on the dance floor.
RealAudio clip: "Crackdown"
RealAudio clip: "Sensoria"

album cover CABLE The Failed Convict (The End) cd 13.98
Man, another favorite of ours that somehow slipped through the cracks. These guys have been rocking for close to 15 years now, they've put records out on Hydra Head, Translation Loss, This Dark Reign, now The End, eight full lengths, even a sort of greatest hits cd/dvd, and we're only now giving these guys some love. Well, apologies to the band, the labels, and to you, if you've somehow managed to miss out on these guys this whole time, you've go some serious catching up to do, cuz these guys RULE. Heavy and dirgey and noisy, definitely reminiscent of the classic AmRep sound, if you dig stuff like Today Is The Day, Botch, Neurosis, Killdozer, all that sort of low slung pigfuck heaviness, you'll probably dig these guys. They sort of get lumped in with the post hardcore / emo outfits, but they're sort of more filthy and fierce, the guitars super thick and angular, crunchy, the drums massive, and the vocals, a totally impossible throat shredding howl, that manages to still be melodic even though it sounds like the dude must be coughing up blood after every show. The arrangements are mathy and complex, lots of starts and stops, and yeah, hooks too, for being heavy and obtuse and fucked up, this stuff is pretty goddamn catchy too.
Been a while since we listened to these guys, but this record is kicking our ass, and reminding us how hard these guys rocked. We're definitely gonna revisit all those old records. That is if we can get ourselves to stop listening to this one, which at this point seems very very unlikely...
MPEG Stream: "Jim's Dream"
MPEG Stream: "Gun Metal Grey"
MPEG Stream: "Be The Wolf"

album cover CABOLADIES Renewable Destination (Students Of Decay) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Latest analog onslaught from this Midwestern duo who add a distinctly kitchen sink aesthetic to their brand of guitar/synth/effects soundscapery. After a brief bit of simulated field recording, cricket like electronic chitter and deep low end thrum, the record slips right into a swirling soft cacophony of warm whirring tones, wild electronics careening every which way, fragmented rhythms, clatter and crunch and bloop and bleep, spidery guitar melodies, on the surface it's a big old swirling mess, but there does seem to be a method to their madness as the various and disparate sounds seem to coalesce into something that does in fact have design, and ends up somehow listenable and not a little bit dreamy. The record continues on, shifting into something a bit more blissed out, a hazy smoldery shimmer peppered with tinkling chiming melodies, and a blurred gauzy drift, before finishing off the side with a weird bit of cartoony sonic chaos.
The B side begins with what sound like it could have been a prime slab of heroin house or minimal dub, but here it's gone totally haywire, all robotic glitch and sputter, everything reverby and echoey, clicks and pulses swooping to and fro, simultaneously dizzyingly disorienting and mesmerizingly hypnotic. The rest of the side plays out as a hazy, druggy, blurred soft psych drift, everything woozy and washed out, before finishing off with another brief bit of twisted electronic faux field recording.
LIMITED TO 300 COPIES. Already sold out from the label, these could very well be the last copies we're able to getÉ
Includes a download coupon as well.
MPEG Stream: "Counterfeit Reflection"
MPEG Stream: "Collector"
MPEG Stream: "Woodn"

album cover CABOLADIES s/t (DNT Records) lp 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Caboladies specialize in ecstatic electrical jams that have been making the rounds of the various psychedelic-post-noise-zonked tape and cd-r labels (Arbor, Gneiss, Peasant Magik, Digitalis, etc.). And at one time, these two Kentucky ex-pats (now living in Chicago) shared a tape release with Oneohtrix Point Never. They've always been a bit loopier and more shambolic than Oneohtrix, elevating their work to the druggiest plateau of spiralling bloop and eyes-dilated sparkle that you might expect from an Astral Social Club reworking of J.D. Emmanuel. Many of those tape and cd-r releases had disappeared from physical distribution, although some less than stunning sounding mp3s are making their way around the blogosphere. So, it's really great to hear Caboladies on wax, which is certainly the best medium for these celestial crystallizations blossoming from piles of analogue gear. Taken separately, each piece of electronic gear is dialed to a twitchy spasmodic set of bleeps and swoops, that would be ungainly had Caboladies not playfully situated five, six, eight, ten complementary sets of tones that smear together into an ambient shimmer that's anything but static. These irregular vibrations and delirious patterns are alive with psychedelic energy, that you could almost see fitting into some freak-folk nature jam session... but then again, everything needs to be plugged rather heavily into the grid. Great stuff!

album cover CABOLADIES / ONEOHTRIX POINT NEVER split (NNA Tapes) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Missed out on this the first time around, but the label pressed up a second batch, just as small as the first so don't dawdle...
Caboladies are a duo from Chicago, who traffic in the same sort of rhythmic lysergic antipop as the current crop of hyped lo-fi 4-trackers. Heaping on layers and layers of woozy warble, and stumbly clatter, warped guitar FX, super lo-fi but weirdly lush as well. Reminds us a bit of James Ferraro and his 'hypnogogic pop' but a bit more spaced out, louder and druggier like it could have been played live by a proper band instead of assembled by dudes sitting on the floor in front of their gear. Trippy and dreamy and washed out and just the sort of thing we've been digging like crazy lately. And definitely a good match for...
Oneohtrix Point Never, aka Daniel Lapotin, whose presence on this tape will no doubt ensure that these are gone in a flash. But that sort of obsession is well deserved, we definitely find ourselves a little bit Oneohtrix obsessed these days, and Lapotin's contribution to this split certainly does nothing to dull that obsession. A hazy, spacey retro-future sprawl of Tangerine Dream synths, ominous John Carpenter like eighties soundtrackery, a little Goblin, beginning with a Technicolor explosion of prismatic synths, only to give way to something much more creepy and subterranean, slithery and somber, only to shift gears again into a blissed out 8-bit drift, like the interlude music from some lost Commodore 64 game, albeit layered into a strangely symphonic bit of lo-fi melancholia.
Gorgeous as always. And crazy limited, we got a bunch of these, but odds are these will indeed be the last copies we can get our hands on, so snag one quick!

album cover CACCIAPAGLIA, ROBERTO Sei Note In Logica (Mirumir) lp+cd 29.00
Released in 1979, the same year as The Ann Steel Record we raved about awhile back, Roberto Cacciapaglia's second release, Sei Note In Logica, exists in an entirely different sonic universe, one closer to his minimal classical leanings. While The Ann Steel Record was a retro-future pop album, Sei Note In Logica is an avant-garde systems composition for voices, orchestra and computer, that takes a six note melodic phrase and runs it through every possible musical combination with a choir of female vocalists (including the processed spoken voice of Ann Steel!) and the instrumentation of marimbas. strings and woodwinds and computer-based electronics. Its emphasis on repetition and rhythm puts Cacciapaglia rightfully in a more well known circle of minimalist composers like Philip Glass, Steve Reich and Terry Riley and is a beautifully epic piece of economic means. Recorded in two parts, this vinyl reissue includes a cd of the vinyl recording plus a bonus version of the acoustic version of the piece with the ensemble without the computer derived enhancements and Ann Steel vocal. It's great to see this on vinyl, but don't hesitate as these great deluxe reissues have a way of disappearing fast! Highly Recommended!

album cover CACCIAPAGLIA, ROBERTO Sonanze (Mirumir) lp+cd 29.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've been working backwards in the Roberto Cacciapaglia catalog. We started with the eccentric pop of The Ann Steel Record from 1979, then a few lists back moved on to his minimalist systems composed piece, Sei Note In Logica. We'd planned on reviewing his first record, 1975's Sonanze, when Wah Wah originally reissued it, but are glad we waited for this Mupymup version which contains a bonus disc of 15 extra pieces from the period which really detail the beautiful range of this experimental classical composer with both Italian prog and Krautrock ties, and this will most definitely appeal to fans of either genre.
Sonanze is perhaps the most classical leaning release of the bunch, but it definitely has a deep kosmiche feel. Its 10 movements begin with cascading gongs filtered through tape loops against an airy atmosphere of piano runs. Chamber string dramatics lay out the definitive feel of the entire piece of plaintive horns and kettle drums before getting full on cosmic in the Second Movement with pulsating synths and deep phased chanting leading to a percolating soundscape of jaw harp vibrations and swelling strings. The third movement brings in Lubomyr Melnyk-style piano cascades, while the fourth movement introduces a disembodied angelic choir, reminding us of Ligetti's "Lux Aeterna" from 2001: A Space Odyssey. The 5th movement brings in Peter Michael Hamel-style organ arpeggiations devolving into bowed gong scrapes. The 6th movement is very Michael Rother like, with cloudy gliding guitar and on and on it goes, a different feel or instrument in each changing movement, but somehow tied into a deeply introspective and gorgeous whole. Mixed by legendary krautrock producer Rolf-Kaiser Ulrich (Tangerine Dream, Klaus Schulze, Ash Ra Tempel), Sonanze is definitely our favorite of the three releases we reviewed thus far (though the Ann Steel scores major points because it's so dang out there!).
The bonus disc is also pretty killer, filled with cosmic new age compositions of Moog and piano, filled with wonderful vocal experiments (check out the proto-Grouper track, "Manuela"), gongs and some abstract soundscapes to boot. So totally recommended and these reissues don't stick around long, so get it while you can!
MPEG Stream: "1st Movement"
MPEG Stream: "2nd Movement"
MPEG Stream: "6th Movement"
MPEG Stream: "Manuela"
MPEG Stream: "Skywaves"
MPEG Stream: "Floating Clouds"

album cover CACCIAPAGLIA, ROBERTO The Ann Steel Album (Half Machine) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It took a while for us to be able to list these - first our supplier ran out, then we got copies that were damaged, but now we've got more and we're glad to be able to review it, 'cause few records in recent memory have brought us as much unbridled joy as this one. We've heard inklings here and there about this record over the years and when we heard it was being reissued several months ago, our excitement grew with each new report. Straddling the lines between post-disco and new wave electronica without quite being either, The Ann Steel Album from 1979 is the product of avant-classical composer Roberto Cacciapaglia, a multi-instrumentalist that performed on Franco Battiato's Pollution (a unanimous aQ favorite!) and who is mostly known for composing works of progressive classical minimalism (Wah Wah recently reissued his debut Sonanze from 1975, and Sei Note in Logica from the same year as this, is also worth seeking out). But The Ann Steel Album is an entirely different animal, not only because of its skewed electronic dance-pop leanings, but because it features the beautifully strange and charming vocal presence of American model Ann Steel, who obviously is the real star of this record. She sings like a warm bodied android in clipped chirps and strange phrasings like a machine with english language programming for public interaction. Think Siri with a higher register. In the awesome opening song, "My Time", she's ready to sell you on the artificial wonders of modern society, where consciousness is akin to commodification: "My life runs smooth like a highway / Billboards show me the way" (Belgian synth trio, Telex covered this in a smoother, more well known version on their debut a year later). Every song on here fully rejoices in the positive joys of the synthetic present, making this an infectiously grooving pop art statement with any trace of irony fully camouflaged under layers of glossy surface. It's easy to tell that retro-futurist bands like Stereolab and Sweden's Komeda were influenced heavily by this record, and it fits right in with the brilliant like-minded eccentric synthesis of Bruce Haack and Giorgio Moroder. Not sold yet? Go here to see an awesome clip from Italian dance show, Tilt, from 1980 and just try and remain unconvinced that this is awesome!: http://www.youtube.com/watch?v=Tu2ESLpe-rE
Thank you Half-Machine for bringing this record back to life! Might just be reissue of the year! And apologies to you non-vinyl folks as this looks like for the present to be vinyl only.
MPEG Stream: "My Time"
MPEG Stream: "Sport et Divertissement"
MPEG Stream: "Portrait"

album cover CACTUS Ultra Sonic Boogie 1971 (Purple Pyramid) cd 14.98

CADALLACA Introducing (K) cd 12.98
Cadallaca features Corin Tucker of Sleater Kinney. It's less fierce than Sleater Kinney, but just as heartfelt with organs and off-key vocals.

CADALLACA Introducing (K) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Cadallaca features Corin Tucker of Sleater Kinney. It's less fierce than Sleater Kinney, but just as heartfelt with organs and off-key vocals.

album cover CADAVER Necrosis (Candlelight) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A few years ago, the once-defunct Norwegian death metal act Cadaver reactivated themselves, morphing into a blackened, industrial-tinged monster dubbed Cadaver, Inc. whose album was a brutal comeback indeed, in the vein of their comrades Satyricon.
Now they've dropped the Inc. and become plain old Cadaver again (perhaps because their amazing Cadaver, Inc. website, which was done to look like that of a fake corpse-disposal crime-scene cleanup company, was getting more attention than the actual band). They've got their old logo back and with it a more old-school death/black metal approach to the music: as the first track is titled, they are indeed "Necro As Fuck". Instead of Satyricon, now they're sounding more like Celtic Frost. Extremely aggro, raw stuff with gruff, too loud vocals. As fierce as it is, there's definitely some weird parts in the songs too that reward careful listening. And the cover art is lovely by the way.
MPEG Stream: "Evil Is Done"
MPEG Stream: "Goatfather"

album cover CADAVER EYES The Acquisition Of Power Over Fire / No Time To Haste (Heart & Crossbone) cd-r 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We listed an amazing record a while back from a band called Barabara, from Israel, who sounded to us a bit like a black metal Hella! So here we have the newest record from a band called Cadaver Eyes, which just happens to be the solo project of Barbara drummer David Opp, who in Cadaver Eyes also plays drums, but the twist here is the drums trigger samples, so it's a seriously self contained one man band, just one guy singing and whipping up a huge grinding metallic shitstorm with his drums. Pretty impressive. Sounds like some of the samples must be crusty Napalm death / Carcass style guitar riffs, while others are rumbling super distorted bass. The end result is a sludge-y grinding thrash attack that would be right at home on Earache or Peaceville circa late '80's. All sung in Hebrew, with some songs peppered with random bits of found snippets, traditional Israeli folk songs, media bites and other random sonic interference. This should also hit the spot for folks into the grind-sludge of Burmese, UK crusties Doom, Texas scuzz merchants Rusted Shut as well as anyone into crushing spastic chaotic musical mayhem!
MPEG Stream: "Dive Into The Abyss"
MPEG Stream: "Scandal Shaaruriyah"
MPEG Stream: "Powerless Emperor"

album cover CADAVER IN DRAG Raw Child (Animal Disguise Recordings) cd 12.98
Ok, let's start adding 'em up. This band gets point for their name, first off. 'Cadaver In Drag' is both disturbing and humorous enough to be worth a nervous chuckle (it's even funnier if you imagine that they know something about the Swedish death metal band Cadaver that we don't know). And their knack for names extends to album and song titles too, especially that of track two, "Fuck This Place". Could be an anthem for folks sick of living in, say, Kentucky (from whence Cadaver In Drag hail). Plus, they get points for this being released on the Animal Disguise label, run by one of the guys from Mammal, whose recent album was an Aquarius Record Of The Week, last week. That certainly piques our interest. And also then there's more points for this being picked, before it was even released, as an Album Of The Month (October 2007) by pagan pope Julian Cope on his Head Heritage website, which puts 'em in league with such past heavy AQ faves as Harvey Milk, Orthodox, Om, Death Comes Along, Vincent Black Shadow, The Heads, SUNNO))), and others. As always, we recommend reading his reviews.
So, before we even heard this, Cadaver In Drag had already run up the score pretty high in their favor. And now that it's here, and blasting on our stereo, the verdict is: hella more points!! For being a totally fucked, mesmeric mash of doooomic sludge metal and shrill psychedelic noise rock... part Khanate, part Wolf Eyes (or Mammal), and, as Julian Cope sez, part Les Rallizes Denudes. Nasty, noisy, nauseous. Early on in both the first two of this disc's three tracks, some angsty, wretched screams carry on about something or other, but those are quickly forgotten as Cadaver In Drag concentrate on their plodding, powerful instrumental raison d'etre: monomaniacal repetitive riff-bashing, each track an extended, distorted, metallic, trebly throb, crashing and clanging, staying more or less the same for up to 19 minutes in the case of the first and longest cut, the aptly titled "Walking Through The Gates Of Hell". However, subtle, simple shifts in sound do occur, almost as if they're playing their own destroyed dub versions of these compositions. It's like Skullflower covering Super Roots 3 (or 5) by the Boredoms, if you can imagine that sort of sickeningly hypnotic hybrid. Or Eyehategod and Hair Police (a member of whom contributes synths here) locked in a minimal march to death, freaking out with as few chords as possible, but plenty of FX. Or Cavity vs. Harry Pussy... Yowza. And it must be said that Cadaver In Drag does mellow the fuck out for the almost melodic, calm-in-comparison album closer "Secession '61". Nice. Points for that too.
MPEG Stream: "Walking Through The Gates Of Hell"
MPEG Stream: "Secession '61"

album cover CADAVER IN DRAG Raw Child (Animal Disguise Recordings) lp 14.98
Ok, let's start adding 'em up. This band gets point for their name, first off. 'Cadaver In Drag' is both disturbing and humorous enough to be worth a nervous chuckle (it's even funnier if you imagine that they know something about the Swedish death metal band Cadaver that we don't know). And their knack for names extends to album and song titles too, especially that of track two, "Fuck This Place". Could be an anthem for folks sick of living in, say, Kentucky (from whence Cadaver In Drag hail). Plus, they get points for this being released on the Animal Disguise label, run by one of the guys from Mammal, whose recent album was an Aquarius Record Of The Week, last week. That certainly piques our interest. And also then there's more points for this being picked, before it was even released, as an Album Of The Month (October 2007) by pagan pope Julian Cope on his Head Heritage website, which puts 'em in league with such past heavy AQ faves as Harvey Milk, Orthodox, Om, Death Comes Along, Vincent Black Shadow, The Heads, SUNNO))), and others. As always, we recommend reading his reviews.
So, before we even heard this, Cadaver In Drag had already run up the score pretty high in their favor. And now that it's here, and blasting on our stereo, the verdict is: hella more points!! For being a totally fucked, mesmeric mash of doooomic sludge metal and shrill psychedelic noise rock... part Khanate, part Wolf Eyes (or Mammal), and, as Julian Cope sez, part Les Rallizes Denudes. Nasty, noisy, nauseous. Early on in both the first two of this disc's three tracks, some angsty, wretched screams carry on about something or other, but those are quickly forgotten as Cadaver In Drag concentrate on their plodding, powerful instrumental raison d'etre: monomaniacal repetitive riff-bashing, each track an extended, distorted, metallic, trebly throb, crashing and clanging, staying more or less the same for up to 19 minutes in the case of the first and longest cut, the aptly titled "Walking Through The Gates Of Hell". However, subtle, simple shifts in sound do occur, almost as if they're playing their own destroyed dub versions of these compositions. It's like Skullflower covering Super Roots 3 (or 5) by the Boredoms, if you can imagine that sort of sickeningly hypnotic hybrid. Or Eyehategod and Hair Police (a member of whom contributes synths here) locked in a minimal march to death, freaking out with as few chords as possible, but plenty of FX. Or Cavity vs. Harry Pussy... Yowza. And it must be said that Cadaver In Drag does mellow the fuck out for the almost melodic, calm-in-comparison album closer "Secession '61". Nice. Points for that too.
MPEG Stream: "Walking Through The Gates Of Hell"
MPEG Stream: "Secession '61"

album cover CADAVER INC. Discipline (Earache) cd 14.98
Formed out of the ashes of Swedish 90's Earache deathmetal act Cadaver, the 21st Century Cadaver (Inc.) is an-all new "post-black-metal" beast, drawing upon bandleader/guitarist Anders Odden's experiences contributing to recent Apoptygma Berzerk (Swedish techno!) and Satyricon albums. The band is filled out by former members of such notable Nordic black metal acts as Aura Noir, Dimmu Borgir, and Dodheimsgard. And, providing a spoken word segment from his jail cell, is ex-Emperor dude Faust.
RealAudio clip: "Primal"
RealAudio clip: "Point Zero"

album cover CADAVER YELLETH AT AMBER TOWER Code: Algeria (Res Adversae Productions) cd ep 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
From the same mysterious Russian otherworld that brought us the blackened genius of Ithdabquth Qliphoth comes the amazingly monickered Cadaver Yelleth At Amber Tower, which as far as we can tell is one of the many side projects that IQ mainman AL-LA-ShT-ORR employs to explore some seriously twisted and esoteric sounds.
And it doesn't get much more esoteric than this. Falling somewhere between the mysterious shortwave broadcasts of the Conet Project, and the disembodied ghostly blacknoise of Prurient, Code:Algeria is a strange sonic artifact, a manufactured lost transmission from the abyss, voices from some recovered black box recorder, broadcast from some other dimension, travelling through the atmosphere, gathering strange distortions and interference as it goes, a dizzying assemblage of beeps and hiss and warm buzzing textures, the voices speaking French? Arabic? Russian? Hard to tell, distorted as they are, 3 voices, 4 voices, the cadence and interplay almost musical, interrupted by bursts of hiss and sonar like pings, by the second track, some woozy warbly organ has joined the mix, the hiss sounds more scuplted, stuttering and skittering almost rhythmically, still wound around those strange voices, and the hiss taking on an almost Sunroof! like melodiousness, but those voices, continue to haunt and perplex, is it a military exercise? Is it something more sinister? Definitely sounds like it. Whatever it is, it's fantastic, and enthralling, and like the Conet Project, transcends its parts to become melodic and musical and surprisingly listenable. For field recording freeks too, especially ones into EVP and the Ghost Orchid and the like...
MPEG Stream: "One"
MPEG Stream: "Two"

CADAVERIA Far Away From Conformity (Scarlet) cd 14.98

album cover CADAVERIA The Shadows' Madame (Scarlet) cd 14.98
This Italian metal band is hard to figure out: visually, they look kinda Marilyn Manson-eque with big boots, devil-locks and black vinyl trenchcoats. So we expected some sort of vampire industrial goth thing, maybe with female vocals...well it's got female vocals, but not your usual variety! This band actually plays a weird hybrid of mid-tempo pounding black metal and catchy classical/folk riffage. Singer Cadaveria (ex-Opera IX) teamed up with members of Italian black thrashers Necrodeath for this new band that combines her unique vocals (a melodic but throaty rasp, sometimes venturing into sweeter, higher register) with majestic riffs on keyboard and guitar that really sound like Slough Feg or Hammers of Misfortune parts. Way more "heavy metal" than we'd expected at first glance. And way more original, fully of tricky twists you won't expect. We like! A kick ass surprise metal discovery for sure.
RealAudio clip: "Circle Of Eternal Becomings"
RealAudio clip: "Black Glory"

album cover CAESAR, J.A. Jashumon (Phoenix) cd 17.98

album cover CAESAR, J.A. Kokkyou Junreika (Phoenix) cd 17.98
Woah. Only previously available in the form of expensive Japanese imports, this is the first time we've been able to stock and list this amazing album, and we've wanted to for a long time. It's one that anyone into weird heavy '70s psych / prog, particularly of the Japanese variety, should add to their collections posthaste. Seriously. You perhaps have heard of J.A. Caesar (variously, J.A. Seazer, J.A. Ceaser), a Tokyo based playwright and composer, responsible for many wild, psychedelic theatrical productions that we can only imagine were utterly mindblowing to witness, judging by their soundtracks. This disc, reissuing a 1973 record, contains the highlights of his dramatic score for a 5-hour play called Kokkyou Junreika, here about 54 minutes of music. And it's an intense 54 minutes, this album being the best, and heaviest, J.A. Caesar release we've heard, with ceremonial-sounding Buddhist chant and fuzzed out guitars and doomy organ and heavy riffs and moody female vocals out the wazoo. Wow. Magical Power Mako meets Magma would be one good (if potentially puzzling) description. Or perhaps imagine Flower Travellin' Band participating in a freaked out rock opera / ritual, with the fate of mankind hanging in the balance. For krautrockier comparisons, Amon Duul II and Necronomicon are obvious ones, and should suffice as an excellent recommendation. Another would be that this album was highly rated by Julian Cope in his Japrocksampler book (ranking at number 5 of his top 50). This reissue says it's remastered, and is limited and numbered to boot, packaged in a gatefold sleeve.
By the way, one of the tracks here was later covered by druggy doomsters Solar Anus, you can hear it on their tUMULt double disc, Skull Alcoholic...
MPEG Stream: "track 1"
MPEG Stream: "track 3"
MPEG Stream: "track 6"

album cover CAESAR, J.A. Kokkyou Junreika (Phoenix) lp 24.00
NOW REISSUED ON VINYL!! Here's what we said about the recent cd version, also reissue on Phoenix:
Woah. Only previously available in the form of expensive Japanese imports, this is the first time we've been able to stock and list this amazing album, and we've wanted to for a long time. It's one that anyone into weird heavy '70s psych / prog, particularly of the Japanese variety, should add to their collections posthaste. Seriously. You perhaps have heard of J.A. Caesar (variously, J.A. Seazer, J.A. Ceaser), a Tokyo based playwright and composer, responsible for many wild, psychedelic theatrical productions that we can only imagine were utterly mindblowing to witness, judging by their soundtracks. This disc, reissuing a 1973 record, contains the highlights of his dramatic score for a 5-hour play called Kokkyou Junreika, here about 54 minutes of music. And it's an intense 54 minutes, this album being the best, and heaviest, J.A. Caesar release we've heard, with ceremonial-sounding Buddhist chant and fuzzed out guitars and doomy organ and heavy riffs and moody female vocals out the wazoo. Wow. Magical Power Mako meets Magma would be one good (if potentially puzzling) description. Or perhaps imagine Flower Travellin' Band participating in a freaked out rock opera / ritual, with the fate of mankind hanging in the balance. For krautrockier comparisons, Amon Duul II and Necronomicon are obvious ones, and should suffice as an excellent recommendation. Another would be that this album was highly rated by Julian Cope in his Japrocksampler book (ranking at number 5 of his top 50). 180 gram vinyl, gatefold jacket, doubtless limited.
By the way, one of the tracks here was later covered by druggy doomsters Solar Anus, you can hear it on their tUMULt double disc, Skull Alcoholic...
MPEG Stream: "track 1"
MPEG Stream: "track 3"
MPEG Stream: "track 6"

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